Ever since the early days of MTV, Flock of Seagulls haircuts, and Spandau Ballet new romanticism, it's been widely accepted that synthesizer pop is a mostly British (or at its weirdest, continental European) phenomenon: "Glitter-disco-synthesizer night school, all that noble savage drum drum drum," the band X ranted in their 1983 anti-Anglo tirade "I Must Not Think Bad Thoughts." Americans were just too gritty and guitar-loving for all that silliness, right? Well, not all of them. Lady Gaga is only the latest -- and potentially the biggest -- artist from U.S. shores to re-imagine Anglo/Euro technopop, fashion sense and all. Here's a rundown of electronically inclined Americans who preceded her.
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Ever since the early days of MTV, Flock of Seagulls haircuts, and Spandau Ballet new romanticism, it's been widely accepted that synthesizer pop is a mostly British (or at its weirdest, continental European) phenomenon: "Glitter-disco-synthesizer night school, all that noble savage drum drum drum," the band X ranted in their 1983 anti-Anglo tirade "I Must Not Think Bad Thoughts." Americans were just too gritty and guitar-loving for all that silliness, right? Well, not all of them. Lady Gaga is only the latest -- and potentially the biggest -- artist from U.S. shores to re-imagine Anglo/Euro technopop, fashion sense and all. Here's a rundown of electronically inclined Americans who preceded her.
In his eight years recording, John Mayer has walked a stylistic tightrope, splitting his time between presenting himself as a sensitive heartthrob (mainly on his solo studio albums) and a serious bluesman (on the live 2005 John Mayer Trio album Try!, for instance). By now, he seems to have found a comfortable middle ground between sex appeal and chops. But he's hardly the first musicianly beefcake to balance such seemingly competing sides. Here, some hunky virtuosos who've come before.
Britney Spears' latest contribution to pop music's math textbook, "3," is a celebration of bedroom-floor activities involving more than two people, and I don't mean vacuuming! Though that might happen too, actually. But Britney coos naughty stuff about "Not only you and me/ Got 180 degrees/ And I'm caught between" and "Peter Paul and Mary gettin' down." (Where's Puff the Magic Dragon when you need him?) But believe it or not, Ms. Spears is not the first pop star to deal with said multipartner practice, and others have documented entirely different lovemaking activities at least as nontraditional. Herewith, an inventory of sex-obsessed songs that opt for flavors other than vanilla.
It has been said that every movie worth watching since 1939 contains some reference to The Wizard of Oz. But what about music? This week, Wu-Tanger Ghostface Killah releases his new album, Ghostdini: The Wizard of Poetry, the cover artwork of which features a yellow brick road extended across hottie-bedecked poppy fields toward Emerald City. And on October 3, in honor of the movie's 70th anniversary, Netflix is streaming Oz free, in a new high-definition version. Last week, to commemorate the same landmark, Jennifer Hudson, Julianne Hough, and ?Uestlove of the Roots performed songs from the movie in New York. Rock and pop have been in love with the classic for years, but there's never been a better time to count down the highlights of Oz-rock history.
So what's there to celebrate this Labor Day, anyway? That the unemployment rate is still going up, just not quite as fast as it was going up a few months ago? The songs on the playlist below are split between how hard it can be to find work, and how demoralizing jobs can be once you finally find one. Maybe a few will even make you hope unions aren’t dead. But here's hoping they all help you enjoy your day off.- The Silhouettes, "Get a Job" (1958): Philly gospel singers turned doo-woppers, with the most topical song of rock 'n' roll's first decade. Their girlfriends nag them and claim they're lying, but no gigs can be found in the want ads.
- Tennessee Ernie Ford, "Sixteen Tons" (1955): Country-boogie dirge about digging your way toward hell for the straw boss, only to die owing your soul to the company store.
- John Rich, "Shuttin' Detroit Down" (2009): A great city approaches the breaking point -- bosses collect bonuses, calloused assembly-liners lose pensions. The singer's confused politics come off as sincere for once.
- Bachman-Turner Overdrive, "Takin' Care of Business" (1974): Canuck buffalo rock about racing to catch the 8:15 into the daily grind again and wondering if self-employment is a way out.
- Martha & the Muffins, "Echo Beach" (1980): "My job is very boring, I'm an office clerk." So Martha takes a New Wave holiday, or at least dreams of one.
- Patti Smith, "Piss Factory" (1974): Another dirge (not to mention the artist's first and best single) about monotony and deadening heat and contemptible toothless co-workers telling you to slow down, when speeding up is the only way you know to escape.
- The Roches, "Mr. Sellack" (1979): The politics of groveling to get your crummy job back -- getting down on your hands and knees, literally, to scrub behind the steam table.
- Dolly Parton, "9 to 5" (1980): Karl Marx's favorite No. 1 single of the rock era. "It's a rich man's game, no matter what they call it, and you spend your life putting money in his wallet."
- Utah Phillips, "Joe Hill" (1984): A legendary labor organizer recites the Wobblies' union anthem, but first tells even better stories about his own life of work.
- Johnny Paycheck, "Take This Job and Shove It" (1977): A longhaired country outlaw walks out of the factory after 15 years, paycheck or no.
Woodstock obviously featured a handful of undeniably great bands, plus the occasional world-shaking performance by B-listers (Ten Years After's "I'm Going Home.") But those were exceptions. Maybe if the lineup had more fully captured the scope of rock and pop music in 1969, the result would have been more exciting, and less a tedious snoozefest. So here's a modest proposal for an alternate roster -- with every artist replaced by somebody comparable but cooler.
In 1978, a British New Waver calling himself Elton Motello had a supremely sleazy punk-disco dance club hit called "Jet Boy Jet Girl." Almost immediately, a Belgian New Wave singer calling himself Plastic Bertrand, using both the same studio musicians and same backing music as "Jet Boy Jet Girl," turned the song into a French song called "Ca Plane Pour Moi," one of punk's greatest and silliest novelty hits. Both songs have been covered countless times over the years, sometimes by far more famous bands. The playlist below provides an overview, and tosses in other rock classics about jets and by people named JET and Jett and Jetboy that somehow, in this context, totally fit.
Believe it or not, the year hits the six-months-gone mark this week. And while there's no point in claiming these are the absolute best singles of the first half of 2009 (left "Boom Boom Pow" and "Poker Face" off, for instance, figuring you already know what they sound like), they're still 25 really good ones. Lots of rap, lots of country, lots of soul. Not a ton of "rock", though -- maybe because most of the non-rock rocks just fine.
When constructing this flawlessly gorgeous and heart-wrenching compendium of soft rock, I was once again reminded that much of history's mellow gold is in fact a secret depository of mental imbalance (see playlist selections by Helen Reddy and Gilbert O'Sullivan and Lobo for instance) and downright sleaziness (the ones by Mac Davis and Cher and Gordon Lightfoot, for starters.) Or at least that was the case in the singles-bar-and-suburban-wifeswap-and-pagan-teenage-drug-commune '70s; the '80s tunes below are perhaps more inscrutable -- if no more deniable.
Something nostalgia for the '70s and '80s tends to forget is how nostalgic those decades were in turn for the '50s -- from Sha Na Na to American Graffiti to Happy Days, the era of greasers and poodle skirts was more inescapable throughout the era of quaaludes and smiley faces than youngsters today might guess. And one natural byproduct -- especially when Elvis died in 1977 -- was an often covert seeping of rockabilly sounds into hard rock, glam, new wave, country, even funk. The playlist below delves beyond the Cramps and Stray Cats to explore how, and where, the '70s and '80s lit late great balls of rockabilly fire.
"Boom Boom Pow" by the Black Eyed Peas has now been the most popular song in the country for nine weeks and counting with no end in sight, making it the weirdest and most outlandish song to work up that kind of batting streak since ... what? "Hey Ya!" (nine weeks, 2003-2004)? "Macarena" (14 weeks, 1996)?? "Bette Davis Eyes" (nine weeks, 1981)??? Mighty impressive, either way, and what cannot be denied is that it is also the most shamelessly ridiculous and unabashedly catchy confection to hit the radio this year (only competition: "Poker Face"), and it's inescapable for primarily that reason.
So you know what? If you're not among the millions (if not billions) of human beings who've already surrendered to the song, you might as well. Otherwise, you'll certainly regret it 99 years from now (2108!), when you hear it on the intergalactic oldies station wired into the computer chip in your brain and it reminds you how life felt in the summer of 2009 the way no other song possibly could. And if that's not enough of a reason to embrace "Boom Boom Pow," here are 10 more.
We can argue 'til the heifers come home about whether this is a good or bad thing (correct answer: very very very good), but it can not be denied that the soon-to-over '00s have been the butt-rockingest decade in the entire history of country music since the beginning of time. In fact, it could easily be argued that country music rocked a whole lot harder in the '00s than rock did. Below are 25 magnificently loud and heavy reasons why. If you're a purist who gets nervous when country goes places it isn't supposed to, feel free to sit this one out. Otherwise, turn it up!
With not nearly enough exceptions, loud guitar rock has been a notorious dancefloor wallflower for the past 30 years or so: Pretty much ever since disco scared its syncopations stiff. Kind of weird, for a genre originally steeped in the blues and r&b. But one of hard rock's secrets has long been Latin counterrhythms in its closet. The following playlist -- honoring conga-metal from both sides of several different borders -- is all the proof anyone should require.
How appropriate is it that Eminem's new Relapse arrives midway between Mother's Day and Father's Day? Has the world of music ever seen a songwriter, in any genre, so obsessed with the day-to-day details of parenting -- both as a parent himself, and as somebody who was once parented? And Relapse -- featuring back-to-back numbers called "My Mom," about Marshall Mathers' mom, and "Insane," about Marshall Mathers' dad -- demonstrates that he's not yet ready to bury the theme in the back of his already-cluttered closet. In recognition of his preoccupation, then, here is a rundown of Eminem's more memorable koans on the topic -- many of which can serve as helpful advice for moms and dads everywhere!
Music historians have yet to pinpoint the precise moment when "hair metal" got its name (before that, it was "pop metal," "glam metal," "shag metal," "Nerf metal," whatever.) But the genre was pretty clearly in place as a cultural phenomenon by, say, the mid '80s. For several years before, though, metal and album-oriented rock seemed to be moving in markedly pretty and poofy directions; they weren't just for dudes anymore. The playlist below doesn't go past 1984, but it clearly portends pink guitars on the way -- not to mention fallen angels in the backstage area. (Pictured: Starz)
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