Some Songs Considered - Posts Tagged 'pop'

August 20, 2009

[Flash 9 is required to listen to audio.]

“Heartbeat” – Annie
(Words/music: Anne Lilia Berge-Strand, Svein Berge, and Torbjørn Brundtland, available on Anniemal, 679 Recordings 2004)

Right now, Pitchfork is in the process of rolling out a top 500 songs of the decade contributors’ poll (a fact many will selectively ignore when letting the complaints fly tomorrow) with the top 20 set to be revealed early Friday morning. In addition to reliving the last decade of music and reading some excellent write-ups on the songs, it’s made many a music geek think back to their own lists. I will not be making a “top X of the decade” for a number of reasons, but I’ve been thinking about a lot of the singles I’ve discovered and enjoyed over the last decade. “Heartbeat” stands out not as my favorite song of the aughts (again, I have no clue what that would be nor do I think I could figure that out) but remains an important song in my musical evolution. If I had to paint the decade in one broad stroke, I’d say that this was the decade that changed my personal stance toward pop music. I was still in high school at the turn of the decade and part of my personality involved distancing myself from pop radio. I desperately wanted to think that listening to things that my peers didn’t know made me cool (ed note – nope.) so I grew to write off most things on mainstream radio. It took a lot of those weird-yet-wonderfully catchy singles from the first half of the decade (think “Get Ur Freak On” or “Can’t Get You Out of My Head”) that made me rethink my stance. Part of it, in my opinion, was an upturn in the quality of pop music (“Thong Song” was a hit around the turn of the decade, right?), but part of it was retraining myself not to worry about things like radio airplay getting in the way of a good song.

Annie’s album helped redefine my concept of pop music. In particular, “Heartbeat” felt like it could be on the radio yet felt like it came from another world. At its core, “Heartbeat” is another song about going out and having fun on the dancefloor. However, it felt a little more real to me; Annie’s performance felt giddy and excited where a pop diva might just belt her way through the song. It gave the song a more realistic personality, and maybe that’s why I let it sneak into my playlists so frequently. It also sounds like it has a shimmery exterior, making it seem a little less real and a little more otherworldly. Most importantly, it’s a fun and easy song to enjoy. It’s safe to say that I enjoy this song a lot more in August 2009 than I would have in August 1999, although perhaps it would have convinced me otherwise! Regardless, it’s one of the finest pop songs of the last decade.

More on Annie: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: annie | 2004 | 2000s | 679 recordings | pop | pitchfork |

May 14, 2009

[Flash 9 is required to listen to audio.]

“My Love (f/ T.I.)” – Justin Timberlake
(Words/music: Clifford Harris, Nate Hills, Tim Mosley, Justin Timberlake, available on FutureSex/LoveSounds, Jive Records 2006)

Over the past decade, Justin Timberlake evolved from a cookie cutter teen idol into one of the 21st century’s first transcendent entertainers. With his spotlight-grabbing turn hosting Saturday Night Live this past weekend, Timberlake presented himself as a complete performer – he sings, he dances, he pokes fun at himself, and he can act a little bit (although he should probably stick to comedy). Looking back, his evolution hit full speed with “Cry Me a River.” While The Neptunes produced most of Timberlake’s album, this first collaboration with Timbaland provided the catalyst for both men’s careers. Timbaland produced a lot of high profile acts before working on Justified, but Timberlake provided the charisma and creative challenge necessary to motivate both men. The pair collaborated again on Timberlake’s FutureSex/LoveSounds album and earned popularity and a fair share of critical praise. Specifically, Timbaland earned the same acclaim and demand the Neptunes enjoyed around Justified’s release, and deserves his share of credit for making Timberlake into a star, as his tracks enable Timberlake’s success.

While Timbaland’s adventurous production deserves credit, it’s easy to forget Timberlake’s role in his own success. Take “My Love” as an example – it’s easy to point to Timbaland’s production – specifically those stuttering synthesizers and the glossy, “futuristic” feel to the entire track – and overlook Timberlake’s role in the song. Sure, a Timbaland production goes a long way (as T.I.’s sluggish guest verse proves), but it takes Timberlake to transform something this weird into something so engaging. He has a preternatural sense of performance even on a recording, specifically by singing the verses in his falsetto. Rather than fall back and let Timbaland’s production take center stage, he senses how he can best fit into the arrangement; in this case, his falsetto combines with the keyboard and weird vocal percussion yet manages to stand out. Then, he switches back to his normal register in time for the chorus, singing faster yet sounding more relaxed just as the track picks up steam. While Timberlake’s lyrics aren’t exactly poetry, he makes up for it with the way he delivers the words – knowing when to space out a line and when he can sing a bit faster. The lyrics are of little consequence anyway, as the track relies on feel more than anything else. Timbaland sets the stage, and Timberlake knows exactly what to do when the curtain goes up – all we have to do is sit back and enjoy.

More on Justin Timberlake: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: justin timberlake | timbaland | t.i. | 2006 | 2000s | pop | track analysis |

March 28, 2009

[Flash 9 is required to listen to audio.]

“Crazy in Love (f/ Jay-Z)” – Beyonce
(Words/music: Shawn Carter, Rich Harrison, Beyoncé Knowles, Eugene Record, available on Dangerously in Love, Columbia Records 2003)

One of my personal reasons for writing this blog was to learn about my taste in music, and while I’ve realized that my taste evolved gradually over time, there are occasional changes in perspective that catch me buy surprise. Beyonce is an excellent example. I never really cared for any of the Destiny’s Child singles and can only think of one or two of them off the top of my head. I remember Destiny’s Child being around, but I never paid much attention to them. “Crazy in Love” stopped me in my tracks, though. I loved it instantly, which made putting up with its ubiquity a little easier. Since then, I’ve enjoyed a handful of Beyonce singles, but none in the same way as “Crazy in Love.” The question becomes – why did “Crazy in Love” grab hold of me when all of the Destiny’s Child singles couldn’t even grab my attention.

I’m tempted to give credit to the horn riff sampled from the Chi-Lites’ “Are You My Woman” and that’s certainly the attention grabber, but there’s a lot of wonderful things going on underneath these punching horns. While the horn sample locks the chorus into a steady rhythmic pulse, the beat flows free during the verses. In particular, the samba cowbells fill the space between the backbeat, letting Beyonce’s vocals dance around the track. Even though she rarely strays outside of her vocal comfort zone, Beyonce lets the tone of her voice and her personality shine through the vocal mix. In particular, she delivers the “ut-ohs” in a giddy, machine gun-like stutter that locks right into the beat. Maybe she was taking note from her beau Jay-Z, who turns in another solid guest verse. Like Beyonce, Jay’s verse seems focused on creating specific rhythmic patterns, as Jay picks out his allusions and internal rhymes (“handle rock like Van Exel” being my favorite) as much for their sound as for their meaning. It’s a solid verse, but even Jay-Z, one of hip hop’s biggest stars, knows where the spotlight is on this track and wisely steps out of the spotlight just in time to let Beyonce take that horn riff one more time. It’s a masterful pop composition because it knows that the focus should be on Beyonce rather than the melody. Producer Rich Harrison lets the horns announce pop’s new queen and then knows enough to reduce them down to occasional accents in the verse, letting Beyonce charm her way to the top.

More on Beyonce: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: beyonce | 2003 | 2000s | columbia records | jay-z | track analysis | pop |

February 19, 2009

[Flash 9 is required to listen to audio.]

“That’s Not My Name” – The Ting Tings
(Words/music: Jules De Martino and Katie White, available on We Started Nothing, Columbia 2008)

I’ve revealed that I’m a sucker for catchy songs, but I still demand something else – some interesting chords, skillful lyrics, a killer drum beat – otherwise I’d listen to instrumental music all day. That being said, “That’s Not My Name” is the kind of thing I would have hated if I first heard the hook. Katie White sounds like a cross between Toni Basil and any of those female mallpunk brats who put out singles (take your pick). I appreciate her attitude (and it’s her attitude and De Martino’s bass drum that get me through the first minute and a half of the song), but it gets a bit grating when the entire focus rests on her voice; it’s more of a gimmick than a leading player. Unfortunately, this is the part of the song that gets clipped in a commercial. Thankfully, in the States at least, it’s not as ubiquitous as “Shut Up and Let Me Go,” or I might actively loathe this song.

When the second chorus begins, things start to get more interesting. De Martino enters with a second contrasting vocal line as White keeps on telling us names that won’t solicit a reply from her. Then, her sloganeering stops and her sneer becomes a song. While White doesn’t sing like a seraphim, it’s a welcome break after being yelled at for two minutes. The track then rebuilds on this vocal line – the drums join back in with hand claps and some guitar effects. Then, White’s shout returns, followed by De Martino’s line, followed by some more prominent guitar. They took the first two minutes of the song and essentially scrapped it for parts – we never return to the drums and shouting at the beginning, but the duo put the parts back together over this new bed, adding in a few new wrinkles along the way. It’s kind of like a remix mid song, and knowing that the best part comes during the final minute (ironically, the song is a solid minute too long, but I’d cut something from the middle) means that I’ll spend the first three and a half waiting for it to build up to this point. It’s an instance where knowing how the story ends makes reading the prologue a bit more satisfying.

More on The Ting Tings: Allmusic | Amazon MP3 | Emusic | Last.fm

February 13, 2009

[Flash 9 is required to listen to audio.]

“Somebody’s Baby” - Jackson Browne
(Words/music: Jackson Browne, available on Fast Times at Ridgemont High OST, Elektra 1982)

My dog Jack is named after Jackson Browne, somewhat in jest. While brainstorming names for him, “Jackson” was suggested with the stipulation that his full name would be Jackson and he would colloquially be Jack. I, of course, remarked that it was just like Jackson Browne, one of the more underrated songwriters of his era. It stuck and three years later, Jackson is stealing my socks like there’s no tomorrow.

But back to that point about Jackson Browne being overlooked – he’s had a reasonable amount of commercial success and plenty of critical acclaim, but he doesn’t seem to be cannonized the same way as many of his peers. It’s a shame because Browne’s written some of the finest songs of his era in a number of different styles. He wrote one of my favorite classic rock radio ballads (“The Load Out”), Nico’s signature song (“These Days”), and even co-wrote my favorite (read: one of the few I enjoy) Eagles songs (“Take it Easy”). In addition to many of his witty folk songs, Browne also composed “Somebody’s Baby,” one of my favorite pop songs. The arrangement flows flawlessly from one part of the song into the next; while some songs load up the chorus and settle for verses that seem like afterthoughts, Browne interlaces the hook throughout the whole song. Every bit of the song – the keyboard at the beginning, the tiny fills between lines, and the way Browne tosses off the details about this dream girl almost effortlessly – gets embedded in my brain for hours. Like the best pop arrangements of the 60s, every note is necessary and useful and works toward the common goal. It’s perhaps even a little too slick – without one single flawless line, it’s hard for the song to have a “calling card” - that one moment that makes it timeless. Instead, it has to settle for being that song that you’ll hum for the rest of the night. It’s this sort of understated genius that makes Browne a compelling musician and songwriter, even if you’ll rarely find yourself itching to put on one of his records.

More on Jackson Browne: Allmusic | Amazon MP3 | Emusic | Last.fm

January 1, 2009

[Flash 9 is required to listen to audio.]

“This Will Be Our Year” - The Zombies
(words/music: Chris Wright, found on Odessey and Oracle, 1968)

I discovered “This Will Be Our Year” a few years ago and instantly fell in love with it. It’s so simple - a restrained arrangement, charmingly sweet lyrics, and a near-perfect melody – that I can’t help but love it. I’m upset with myself that it took so long to find the Odessey and Oracle album, as I’m a sucker for well-crafted pop music. That, and lots of people with musical taste that I respect (Elliott Smith and my friend Joe to name a couple) endorsed these songs.

I was first drawn to this song not because it was something I connected with, but rather that it was something I desperately wanted to connect with. I was feeling a bit lonely after the end of a long-term relationship and a switch into full-time work and full-time graduate school (so no time to see my current friends, let alone time to make new ones) and the gratitude, hopefullness, and general excitement for the future seemed so foreign. Still, I think the song’s sweetness lulled me in, and each year since I hoped to myself (and to everyone who received a mix from me in the past few years) that this would be “our year.”

Well, 2008 was that year for me – I found that my closest relationships grew tighter, my professional life took shape into a rewarding (yet draining, but that’s OK) job, and love found me when I least expected it. Even with the country the way it is right now, there’s still this underlying sense of optimism that 2009 will bring renewal (or progress, if nothing else at least). If nothing else, it’s a great feeling to enter a new year looking back on the moments of success, growth, and love and know that 2009 will bring more of the same.

So as I start with this kind of ambitious project (ambitious at least for someone who struggles to blog once a week), I hope that 2009 will be “our year” - one filled with strength to overcome obstacles, love to keep us inspired, and the thought that the best days are still ahead of us.

More on The Zombies: Allmusic | Amazon MP3 | Emusic | Last.fm

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