Showing posts with label ramblings. Show all posts
Showing posts with label ramblings. Show all posts
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Jamaica is Nowhere Near Europe, Right?

Okay, I'm all for supporting rappers when they want to take on roles in Hollywood. Sure, their new jobs might screw with the quality of work on the musical front (helloooooo, Common, Universal Mind Control was only a 3.7/10 in my book). If it's part of your lifelong childhood dream, though, go for it. See if I care.

I have more of a problem with actors wanting to be rappers. Exhibit A: British actor Idris Elba, most known for his roles in The Wire, The Office and Obsessed has transformed into a Jamaican-jiving King Driis. Upon first listen, I'm a bit unsure about how I feel about this. While I want to tell him to throw back on a button-down, his swagger is somewhat sultry to my ears.


However, he can never trump Tom Hanks' rapping debut.

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Have You Got Any Soul?

Previously posted on WeekInRewind.com

At a panel for the latest VH1 Rock Doc, “Soul Train: The Hippest Trip in America," The Roots’ drummer and spokesman, Questlove, spoke on the current state of the music industry. “The music industry has a big question mark over it,” he said. Questlove went on talking about how nobody knows where the industry is going to go, along with saying that the soul in the industry is quickly diminishing. Along with soul, the heart of music is disappearing, since heart and soul intertwine to make some of the best records in history. Replacing soul music is a parade of generic rockers and pop singers who are mediocre carbon copies of the idols they long to be. This is beyond troubling for current and future musical trends.

Growing up in a household full of Motown and R&B records, I have a good notion of how soul can be incorporated into music. Groups such as The O’Jays and the Four Tops may have inspired the matching outfits of the boy bands in the '90s, but they knew how to tug at one’s heartstrings. With tense vocals and testifying one’s feelings into a three-and-a-half minute time span, they knew how to perfectly sell a song to the masses. Gladys Knight and the Pips also followed a similar formula, except Knight broke through with her gospel soulful voice. Old school Whitney Houston and Mariah Carey also put their hearts on their sleeves, at least in terms of their old material. Using catchy rhythms and their insane vocal range, the ladies exposed the world to how soulful a woman can be. In the earlier part of the 2000s, artists such as Anthony Hamilton, Musiq Soulchild and Sunshine Anderson tried to break through to the mainstream, but all seem to not ear the respect they deserve.

The Billboard charts this week have artists such as Ke$ha, Lady GaGa, Justin Bieber, The Black Eyed Peas, Owl City and Beyonce dominating. While all of these artists appeal to the American population at the moment, they lack the emotion and passion that older artists had. They’re not selling good, relatable music--instead, they are selling a look, a trend, and/or a fabricated lifestyle. Even Whitney and Mariah have sunk into a well of mediocrity. Whitney’s “Million Dollar Bill” is a four-minute tune with a cliché as its basis. Meanwhile, “Obsessed” is one of Mariah’s worst singles to date. No one is obsessed with you nowadays, Ms. Carey.

Despite the most popular artists lacking some heart in their work, more underrated artists are slowly breaking through. Grammy-nominated artist Melanie Fiona may only be gaining recognition lately for her song, “It Kills Me,” but the song has some of the most painfully beautiful vocals as of late on radio. The never-aging Sade is making a comeback after not releasing anything for over the past eight years. “Soldier of Love” is heart wrenching at its finest. Maxwell’s latest album is full of tunes that are throwbacks to great songs of R&B’s past. Heck, even some of Pink’s latest material can be considered soulful. After the disintegration and reintegration of her marriage to Carey Hart, her material has been the strongest it’s been since her debut.

The fact that there are still some great soulful songs on the charts means that the music industry can come back from its emotionally barren state it’s in right now. While the trip and transition back to its heartland may take a long while and a bit of effort (throw Ke$ha back into "The Simple Life" where she belongs!), there is still hope for us who crave it.
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Has Green Day Become The Punkier U2?

Previously on WeekInRewind.com

There is a reason why I don’t listen to the radio that much. Aside from not having a means of listening most of the time, the few occasions where I do have access leave me disappointed. The pop stations play the worst selection of the Black Eyed Peas and Taylor Swift, the classic rock stations loop the same Led Zeppelin and Pink Floyd songs once every three hours, and I don’t even go near the rap stations. The two selections I listen to, the two that I can tolerate, are my college radio stations (which plays an eclectic mix of indie rock and Irish bagpipes) and New York’s best rock station, 101.9 RXP. While fairly new, RXP has been an above-average replacement for famed K-Rock, and has a great mix of classic and newish rock.

Anyway, I was in the car today in front of suburban haven BJ’s when Green Day’s “She” blared from my car speakers. As probably the least-known single off 1994’s "Dookie," it’s a decent-but-forgettable tune about a feminist girlfriend. Still, hearing “She” was a breath of fresh air from Green Day’s singles from the past five years. I know I’m in the minority for this, but I sort of despised everything that came from "American Idiot" and "21st Century Breakdown." In a sense, Green Day became the punk rock U2 in my head.

If you’re just a casual listener to both Green Day and U2, you’re not going to hear the similarities between the two bands. They also look nothing alike, so they don’t match up visually, either (unless if Green Day lead singer Billie Joe Armstrong adopted Bono’s tinted sunglass look). However, dive a bit deeper and both are taking similar paths.

Let’s begin in 2004. Both Green Day and U2 release “concept” albums, respectively "American Idiot" and "How To Dismantle An Atomic Bomb." While Green Day had a more blatant theme of problems in Americana in songs such as “Jesus in Suburbia” and “Letterbomb,” Bono and company were vaster in topic discussion, ranging from developing countries in “Crumbs From Your Table” to universal harmony in “Love and Peace Or Else” to death in “Sometimes You Can’t Make It On Your Own.” As if either Green Day or U2 didn’t say everything they wanted, both released albums in 2009, "21st Century Breakdown" and "No Line on the Horizon." While "21st Century Breakdown" continued on making rock operas, U2 began introducing characters in "No Line." Both get political and personal, and they make the critics and the audiences go wild. To add to this excitement, both bands collaborated on the benefit single “The Saints Are Coming.” America sure loved that move.

As a personal preference, all of the material that has come out of these albums is bland VH1 fodder. Green Day and U2 had major breakthroughs with their earlier material, and that’s the material that inspire millions and influences musicians to go that extra mile. The albums that both bands have released this decade may be considered masterpieces at this immediate moment for some, but I don’t get it. I doubt that they’ll be considered as influential as time goes on.

Now, I wish that Green Day doesn’t continue on a socially aware path. I realize that they have to mature as time goes on, but they lose their hyperactive hostility that I have grown up with and loved. I’m sure a few other fans feel the way I do, but they’re losing the parts that have made them so great and memorable over these years. Hey, maybe Billie Joe should put on Bono’s sunglasses. He could see the world through his rose-tinted eyes and see that only one front man should take the job as the industry’s voice on social issues.
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...Where I Try To Convince Myself Into Liking Stevie Wonder
















Previously posted on WeekInRewind.com

I’ll be the first to admit that I am not the biggest fan of Stevie Wonder. Perhaps I have grown tired or weary of his Greatest Hits CDs that my father used to play on a weekly basis while growing up, but I can’t listen to any of his singles without slightly cringing. “Superstition” and “Higher Ground” have lost their charm years ago when each were covered by Disney starlet Raven Symone and modern rock legends Red Hot Chili Peppers, respectively. Meanwhile, “Isn’t She Lovely” and “My Cherie Amore” have been butchered too many times on American Idol for me to enjoy them much anymore.

That being said, it’s always a pleasant feeling when I stumble upon one of his lesser-known songs. To recoup after a hardcore Saturday morning gym session, I turned on a modern John Cusack classic, "High Fidelity." Right when the movie faded to the end credits, a song of Wonder’s that I never heard came on before. The song was called “I Believe (When I Fall In Love),” and I felt a very strong emotional connection to it upon immediate contact. What begins with a simple piano-guitar combination builds up to a smooth-but-powerful ballad about falling head over heels and begging for a lover to feel the same. I can appreciate the musical stylings, and I can really relate to the lyrical content. Stevie, I approve.

In lieu of my recent discovery, I compiled a tiny list of underrated Stevie Wonder songs. Hopefully, I can convince others (along with myself) that Wonder really is worthy of the hype that continues to surround him. Because really, “A Ribbon In The Sky” hasn’t convinced me of his talents after all of these years.

1. "Do I Do" Released in 1982, this is one of Wonder’s more well-known songs, due in part to Ja Rule sampling it in his 2001 song “Livin’ It Up.” However, the song only reached #13 on Billboard’s Hot 100. Despite its 10.5-minute length, the song highlights three cool things--Stevie’s gift of rap, a great Dizzy Gillespie trumpet solo, and a rare usage of cowbell in an R&B song.

2. "I Don’t Know Why I Love You" Telling a story of a cheating girlfriend who takes advantage, Wonder sings with raw emotion--he slowly sounds as if he’s breaking down due to the pain she causes him. He brilliantly ends it with a crescendo, then a falsetto scream of agony. His maturity with the content is surprising, especially since he recorded it at age 18. Released as a single in February 1969, the song was unfortunately overshadowed by the more popular B-side, “My Cherie Amour.” The song didn’t die in obscurity, as the Rolling Stones and the Jackson 5 recorded covers of it later on.

3. "Skeletons" This song has a typical '80s feel to it, which might be why it has been forgotten by many, despite winning two Grammys in 1988. Replacing his usual baby grand for a synthesizer spices up the song, which sounds like it could be in "Breakin’ 2: Electric Boogaloo." However, it was featured in a scene in Bruce Willis’ classic "Die Hard"

4. "Summer Soft" Starting off with a simple piano tune, chirping birds and a soft-spoken voice, Wonder is a powerhouse on this one. On the critically acclaimed "Songs In The Key of Life," the song was buried underneath the success of “Sir Duke,” “I Wish” and “As.” However, hardcore Stevie heads consider “Summer Soft” as being one of their favorites off of the album.
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When I Grow Up, I'm Gonna Rock.

When I think about my future, I typically focus on the things that I want to be and do. They’re relatively normal goals; be a rockstar journalist, have a house with a balcony on the water, obtain a husband who looks good in a tight t-shirt and blazer, and perhaps adopt a few dogs or a black baby. It’ll be the relatively low-key life I want, but I’m not going to be a bore. I do intend to have a good time.


I went to The Cult at Terminal 5 on Friday night, where my friend Chaz and I were surrounded by an array of concertgoers. Old bikers with worn-out bandanas, middle-aged groupies, sexually frustrated husbands who were physically unable to keep their bodies off said groupies, tired frat boys who can’t help but take off their shirts and pummel their sweaty bodies onto my face, and the usual scatterings of the average music lover who just need a good night out composed the crowd. Of course, we were the youngest ones there. Being surrounded by all of these rowdy people, it makes me want to take qualities that each of these people had and become one immense mid-life-crisis-aged music lover.


Except I won’t be as slutty as a groupie. I’ll also keep most of my clothes on.

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Twist and Shout My Way Out and Wrap Yourself Around Me

500 Days of Summer inspired me to live a more musically-tinged life. For the past 24 hours, I've been nothing but obsessed over the movie since I walked out of the theatre. I haven't seen a movie that had the soundtrack fit the plot line so well in such a long time. Hell, there was even a dance sequence! With Hall and Oates! This is one of my life dreams. One day I wish I have the opportunity to dance in harmony with the rest of my surrounding world. It's official. However, in my head, there are only two types of songs I'd like to dance (or, in some cases, rock out to) in public. Either the song has to be something alternatively 90's or keytarred-tinted, synthesizer-twinged and essentially 80's. Upbeat hip hop wouldn't hurt, either. Actually, scratch that, anything upbeat is available for dancing purposes. 

During my day, I kept trying to think of the best songs that would be perfect for my future rendezvouses with making an arse out of myself. I think I came to a pretty good consensus as to my personal five. Or six. I can never stay within my personal limits. 


P.S. As an additional bonus, since I'm in a giving mood tonight, I found the literal video for Tears For Fears' "Head Over Heels". I think it's hysterical because I'm the librarian with the big glasses. 



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