Hootie & The Blowfish were one of those bands that I always wound up buying records from, but couldn’t figure out *why* I bought them. Because, let’s face it, Hootie’s material was pretty forgettable (in an enjoyable bar-band kind of way). A greatest hits album from those guys is generally all you need.
I must admit that I was quite intrigued when I found out that Darius Rucker, the band’s lead singer, was releasing a solo album. I was even more intrigued when I found that he was abandoning Hootie’s generic rock/pop sound to embrace a funkier, more soulful vibe.
The album that resulted, 2002’s “Back To Then”, wasn’t a superb album. Hootie sounded a little at sea sharing mic space with the likes of Lil’ Mo and Snoop Dogg (who will apparently rap on *anyone”‘s album. However, there are a couple of songs on the album that soar enough to make it worth a purchase-especially nowadays, when you can probably find it dirt cheap.
I’d known for a while that there was a video for “Exodus”, the album’s second single and my favorite track on the album by a fairly wide margin. I couldn’t find it anywhere, until the song popped into my head last night and I decided to check (again) on Youtube. Check the video out. You might be surprised at how good the song is.
For the record, I think that’s Garcelle Beauvais-Nilon (AKA Fancy from the Jamie Foxx Show) in the video, and Musiq Soulchild and Kenna (who’s gonna get a spot on his own in this blog soon) sing background vocals. The video, if I’m not mistaken, was shot in South Africa. What a beautiful song. Of course, after this album flopped, darius went back to Hootie and THEN started making shitty Burger King commercials.
No, I’m not writing this to discuss her marriage to bad actor/bad rapper/semi-funny comedian Nick Cannon. Hey, if Mariah’s happy (after what seems like decades of bad relationships), then more power to her.
I’m writing this to discuss the slippery slope of suckitude that her music has bobbled around for nearly a decade now. Not that Mariah’s ever been a particularly consistent listening experience-even this diehard pop fan can’t think of more than 2 or 3 Mariah albums completely worth your time. However, her last two albums in particular have been hailed almost as masterpieces by a segment of the critical community when they’re, well…they’re not very good.
Hey, I don’t want to hear “Hero” again either, you know? But I can see what people are getting at when they turn their noses up at “hip-hop” Mariah. Not only has she caught the same excessive collaboration bug that’s afflicted just about every pop & R&B performer of recent days, but she seems to have regressed lyrically. She’s never exactly been Joni Mitchell (or even Mary J. Blige), but her earlier songs had a maturity to them that newer songs like “Touch My Body” completely lack. And “Touch” is one of the *better* written songs on her new “E=MC2” album.
Despite the fact that “E=MC2” is well on it’s way to unseating Jack Johnson as 2008’s best-selling album, it’s not much different qualitatively than Mariah’s two relative “flops”: “Glitter” and “Charmbracelet”. From the hip-hopped out “One Sweet Day” rewrite of “Bye Bye” to about 4 or 5 songs that directly rip Mariah’s comeback smash “We Belong Together”, the album is overall a lazy and unadventurous experience. And while contemporaries like the aforementioned Blige seem to be at their creative peaks in their late thirties, Mariah (who’s just a year and change older than Mary J.) seems to be regressing. Listen to “Love Takes Time” or “Can’t Let Go” (two of her best early career songs) and then listen to…well, just about any song on “E=MC2” or even half of “Emancipation”. The difference is almost startling.
For my money, her best work came on mid-career albums like “Daydream” and “Butterfly”. The former album is her only completely satisfying listening experience other than her debut. I can even tolerate her somewhat sappy cover of Journey’s “Open Arms” (although I’m not sure I can say the same about the overwrought Boyz II Men collaboration “One Sweet Day”, which I’ve deliberately avoided listening to for at least a decade) but it’s the album that best balances “Adult Contemporary Mariah” with “Urban Mariah”. The latter album ODs a bit on the collaborations (“Breakdown” with Bone Thugs ‘n Harmony, is particularly atrocious), but makes up for it with a wicked awesome song built on Mobb Deep’s unforgettable “Shook Ones” sample (“The Roof”), her all-time best ballad (the title track) and a truly bizarro cover of Prince’s “The Beautiful Ones” with Dru Hill (‘memba them??). She’s more or less been off the rails ever since. And even though I own each of the five albums she’s recorded since, there’s maybe an album and a half’s worth of great material between them.
Despite her astounding success (hell, she has more #1 singles than anyone except for the friggin’ BEATLES) and the fact that critics seem to actually dig her nowadays, it’s probably safe to say that not only has Mariah’s music been decidedly average for the past ten years or so, but that it’s *never* been consistently great. How she’s sustained a two-decade career as (more or less) nothing more than a pretty solid singles artist is one of those mysteries I don’t think I’ll ever figure out.
…but it might be interesting to see her as a guest on “Wild ‘N Out”…
Those of you who were listening to music in the Nineties might remember Mike Doughty as the lead vocalist and principal songwriter behind the alternative rock band Soul Coughing. While I knew of the band and had heard a song or two of theirs in passing, I’d honestly never paid much mind to Doughty until I witnessed a live performance of his earlier this year, after which I was so impressed by his latest solo CD, “Golden Delicious”, that I went back and not only got the two solo albums he’d released prior, but I went further back and bought (as in paid actual money for) all three Soul Coughing studio albums.
On record and in person, Doughty’s personable and witty. “Golden Delicious” is primarily loosey-goosey and fun in that laid-back, very New york singer-songwriter way, with the exception of my two favorite songs, the melancholy (at least to my ears) “Wednesday (Contra La Puerta)” and the album’s opener, “Fort Hood”.
It’s probably better for you to read what Mike was thinking about when he wrote the song than to have me explain it (because it would come out sounding like a regurgitation of his words anyway), so check out this blog entry: http://www.mikedoughty.com/blog/archives/000730.html
I’ve listened to this song practically every day for the past two or three months and I still can’t get to the end of it without misting up. Maybe because his lyrics perfectly my feelings about the war. Maybe because he eloquently describes what so many Americans are feeling without hitting you upside the head with rhetoric. Maybe because I look fondly at the innocence I had before going through my own personal war (as so many of us do). Maybe because my baby sister is in the midst of her second tour in the desert. Whatever you think, it’s a powerful song, an equally powerful video (one I almost made my way to the set of before getting sidetracked), and I hope that for those of you previously unaware, it makes you want to check out more of Mike’s music.
