Monsieur West, I Presume? Kanye Willfully Upstages Belgian Kanye
September 3, 2010
Last year, around this time, Kanye West was getting himself into trouble by hijacking an adorable white girl’s acceptance speech at the VMAs. This year, he’s taken to hijacking an established international dance-pop phenomenon with a remix of Belgian dance-pop-rapper Stromae‘s debut single “Alors on Danse”.
Though the song’s been sitting at our near the top of the charts throughout Europe for most of the last year, it has yet to make much of an impact here. But that may be changing. The apparent embargo on viewing the song’s official video in the U.S. has been recently lifted, and an actual downloadable single has also been released; in the last couple weeks, it’s shown up on the Canadian pop charts (although French language songs have an advantage in Canada they don’t have here). This may be the latest hint that the hit may soon be gracing U.S. airwaves. (Also, my teenager, who loves Linkin Park and Maroon 5 and speaks not one whit of French, completely digs this song and will probably be horrified to hear the Kanye-fied version).
Kanye’s substituted Stromae’s verses which (en Francais) detail a cycle of existential ennui with his own dorky verses (en Anglais) about being a discerning partier and a prolific consumer. The fact that he’s annointed Stromae‘s song with his holy Kanye-ness can be read as a sort of meta-proof of his rarified tastes. (Read: Dude loves himself some genuine French stuff! Err, French-ish.) That said, much – most - is lost in translation, and I hope that if Kanye does manage to get American listeners’ attention with this remix, they’ll soon enough abandon it in droves to embrace the superior original, which is that rare thing: a supersmart, superpopular pop sensation (which also has a very cool horizontal split screen video – see below).
Meanwhile, Stromae’s debut album Cheese was just released earlier this summer, and is currently promoting the follow-up single “Te Quiero”.
The Kanye Remix
Stromae “Alors on Danse”
First Listen: Cee-Lo Green “F*ck You”
August 23, 2010
From his upcoming solo album, The Lady Killer – his first since joining up with Danger Mouse to form Gnarls Barkley – a song that really needs very little further explanation. Let’s just say that profanity has never sounded so effing adorable. A radio edit – “Forget You” – debuted on the Trevor Nelson’s BBC radio showover the weekend. (The song appears around the 52 minute mark in the show.)
Kanye West Tweets Out The Remix To Power Featuring Jay-Z
August 20, 2010
Ah, late night tweeting at its best. Sometimes, you have to be up late to catch all the good stuff.
On Thursday evening, Mr. West tweeted out a link to the remix to his latest single, Power. It was being sent around earlier in the day, but this was the official tweet.
Kanye West: OFFICIAL POWER REMIX http://www.kanyeuniversecity.com/blog/
That link is fine and dandy, but use this one instead. It’s a bit more direct.
It’s available to check out or download for free. Get it before it’s gone.
Cee-lo Green’s “What Part of Forever”, or Why I’m as Happy as a Little Girl About the New Twilight Saga Movie
August 18, 2010
I’m no fan of Stephenie Meyer’s books, or the movies they’re based off of. I’m not really into vampires and werewolves. But I get as woo-hoo excited as a TRL teenage fangirl every time a new Twilight movie comes out. It’s not because of Robert Pattinson’s gravity defying hairdo or Taylor Lautner’s sculpted abdomen and dark, forbidding gaze. (Truth be told, I had to look them both up on Google just now to make sure I had their names right.) It’s about the soundtracks. The soundtracks to these movies are amazing!
Like John Hughes’s movies in the 80s, the Twilight movies draw their music from a collection of artists that could conceivably appeal to a pretty broad audience, but at the same time, are still mostly championed by the alterna-kids and that endangered species known as the record store employee. In the 80s, that meant bands like Oingo Boingo, Madness, Spandau Ballet, Nick Heyward, the Dream Academy, the Thompson Twins, Paul Young, Wang Chung, and Simple Minds – few of whom scored more than a couple of hits, but whose legacies have largely survived the reflexive 80s hating. A lot of these artists’ songs are more celebrated now than they were back when they were (almost) “popular”.
Though each of the Twilight movies’ scores so far have been written by different composers, the aesthetic of the soundtracks has been remarkably consistent, and consistently thrilling. The British band Muse (who basically sound like Radiohead, only un-evolved since 1995) have appeared on all three Twilight Saga soundtracks so far, but each album features an increasingly diverse roster of the artsy cool. Though the first soundtrack trafficked more in mainstream modern rock artists like Paramore, Linkin Park, and (oh yeah) Perry Farrell, the second two have gotten more daring, bringing fairly well-known indie acts like Death Cab for Cutie, Metric and Thom Yorke, together with folks like Swedish pop chanteuse Lykke Li, rapper Lupe Fiasco and the British band Fanfarlo.
But the Twilight Saga soundtracks do John Hughes one better. Where Hughes’ movies often licensed existing songs for the group’s catalogs (Simple Minds “Don’t You Forget About Me” and Oingo Boingo’s “Weird Science” being the big exceptions – Psychedelic Furs re-recorded a song they’d released years earlier for the title song of Pretty In Pink), the songs that appear on the Twilight Saga soundtracks are most often originals written and recorded specifically for the soundtracks. You won’t find Editors’ gorgeous piano ballad “No Sound But the Wind” from New Moon on the band’s new studio record (In This Light and On This Evening) which came out right around the same time. And the thing is, “No Sound But the Wind” wouldn’t have worked on the Editors’ album anyway – not just because it’s miles better than even the best parts of In This Light (this is, sadly, true) – but because it truly belongs with the rest of the songs from New Moon. More than anything else, these records are special because they sound like they were actually conceived as unified albums – not just a cross-promotional collection of songs by Today’s Hottest Stars, all K-Tel style; and the songs are quality – not just out-takes or throwaways – and they’re bound together not just by the subtextual narrative of the movie, but with a common sense of atmosphere and evocation.
The latest Twilight Saga soundtrack, for Eclipse, has already delivered videos for songs by Muse and Metric. One of the latest is by Cee-Lo Green, the former Goodie Mob rapper turned retro-funk freak solo artist before teaming up with producer Danger Mouse to form Gnarls Barkley (whose 2007 debut hit “Crazy” essentially became the first pop standard of the 21st Century). On “What Part of Forever”, he sheds much of his signature flamboyance – in fact, he sheds his hip-hop persona altogether – singing a lyric about making life-altering choices over chiming guitars, a rhythm that rolls like stage-coach wheels, and a melody straight out of the sunny California folk-pop sound of the late 60s – a beautiful song for late summer.
Awesome Free Download: The Baseball Project “Broadside Ballads”
August 17, 2010
Broadside Ballads
D’ya like baseball? D’ya like story songs? How about story songs about baseball? How about story songs about baseball written by a supergroup of alterna-cool elder statesmen including the Dream Syndicate’s Steve Wynn, drummer Linda Pitmon, R.E.M.’s Peter Buck and Scott McCaughey of the Young Fresh Fellows, The Minus 5 and, well, a zillion other side projects. These four got together last year and formed a band that specializes in baseball songs. They call their band – duh – The Baseball Project and they released their debut full-length album Vol. One: Frozen Ropes and Dying Quails in 2009. While they’re working on Volume Two (due out next year), they’ve partnered with ESPN’s The Life this summer to provide running baseball commentary in song. And those songs – six of ‘em so far – are being made available for free dowload at the Baseball Project’s label home, the always awesome Yep Roc Records. No small feat: these songs have actually given me a reason to care about baseball this year.
I mean, seriously, with the exception of my sons’ little league games and the occasional excursion to Warner Park to watch the Madison Mallards play (and eat a few brats), I like stories and movies about baseball a lot more than I like baseball itself. I never miss a chance to watch Major League II when it comes on the TV. But when the guys in the Baseball Project start singing about “Lima Time”, the references are pretty much lost on me in the same way that that punchline in Modern Family about Diana Ross’s RCA period was mostly lost on the majority of the network prime time viewing audience. But it doesn’t matter that much: the band plays a handsome variety of laid back folk rock – think The Traveling Wilburys at a Miller Park tailgate party – that sounds great even when I don’t know the relevant background of the song’s lyrics.
Moreover, songs like “Phenom”, in which a 21-year-old ponders his ability to live up to his own hype – “Man of the hour, and that’s 400 percent of your 15 minutes of fame, and they say that I’m the most in the Washington Post… I just want to stick around for a while” – resonate outside of the sport they pay tribute to on an allegorial/metaphorical level. I love the relentless (and hopeless) optimism of “Cubs 2010″, the jangly, swinging, Woodie Guthie-ish singalong of “30 Doc”. And I’ve never been to or even cared about a baseball season opening day, but I can, nevertheless relate to the sense of excitement and expectation of “All Future and No Past” – Before a game is played! Before an out is made! – especially when the song sounds like They Might Be Giants fronting the Byrds on a Bob Dylan cover.
First Listen (and Free Download): The Thermals “I Don’t Believe You”
August 17, 2010
Portland indie-rockers The Thermals are known for writing nerdy, two-and-half-minute punk songs with an off-handedly topical point of view. You could call their most recent albums concept records, but that’s just a fancy way of saying they’ve been relatively thematically coherent. Last year’s, Now We Can See dealt with morality, mortality and science while their 2006 record The Blood, The Body, The Machine was a more narrative affair on the intersection of organized religion, governmental authority and personal agency.
The group, led by singer-songwriter Hutch Harris, is getting ready to issue their fifth album next month. The album’s called Personal Life, and this time around, their focus is on love and relationships, the things that make relationships great, and the things that destroy them. It’s a direction hinted by the song “Separate” (issued earlier this year as one side of a split single with the Cribs), although lyrics like “separate I’m amazed I ever gave away all I held so dear” are ambiguous enough that they could just as easily be a pointed repudiation of political bipartisanship as they might be the post-break-up musings of a freshly single free-thinker.
“I Don’t Believe You” is the lead single from Personal Life, and it’s an immediately lovable bit of candidly dismissive, singalong power-pop, even if it can’t match last year’s “Now We Can See” in either recklessly energetic dorkery or googly-eyed catchiness. Click below to hear the song for yourself. In addition to releasing the song as a good old-fashioned 45 (with a download card that includes two bonus videos), the band’s label Kill Rock Stars is currently offering the song for free download at their site. (Thank you Kill Rock Stars. You’re awesome.)
The Thermals – I Don’t Believe You by killrockstars
Big in Europe (Actually Big Everywhere Except Here): Yolanda Be Cool & DCUP “We No Speak Americano”
August 16, 2010
Back when I was in high school, there was this British dj collective called Jive Bunny and the Mastermixers who scored a Top 20 hit called “Swing the Mood” by basically taking a bunch of hits from the 40s and 50s – incongruously matching the Glenn Miller Band with the Everly Brothers, among others – and mashing them all together into a single track fit for school dances and wedding receptions. Urgh. For awhile there, “Swing the Mood” was inescapable although thankfully it never reached the achieved the sort of cultural saturation the “Macarena” would half a decade later.
Now, storming charts all across Europe – around the world, in fact – is the Australian duo Yolanda Be Cool (named for a Tarantino quote) who teamed up with producer DCUP for a single called “We No Speak Americano”, which is essentially a 21st century house music puree of a 1956 performance by Italian pop singer Renato Carosone called “Tu Vuò Fà l’Americano”. In addition to going Top 10 in the duo’s home country and New Zealand, “We No Speak Americano” has so far topped the charts in the UK, Switzerland, Argentina, Brazil, Germany, Sweden, Finland, Belgium, Ireland, the Netherlands, Austria, and, yes, Romania. Congressional Republicans may have much of the country convinced that the single greatest threat to the American way of life is creeping socialism. I beg to differ. Creeping socialism has nothing on the creeping ubiquity of this song – little more than a musical gimmick writ large, albeit one with an adorably silly (and expertly executed) “silent movie” video.
And if you’re curious, here’s some pretty awesome video of Renato Carosone’s original. I could totally party with these guys!
First Look: Phil Collins “Heat Wave”
August 11, 2010
Phil Collins has posted a video for his take on the 1963 Martha and the Vandellas classic “Heat Wave”. It’s from Going Back, his forthcoming collection of Motown and other 60s pop and soul covers which finds him backed by a very large band which includes former members of Motown’s iconic house band the Funk Brothers, a couple of longtime Genesis associates, and a herd of back-up singers, who all appear to be having a blast. Collins’s love for Motown is no secret. Collins was still considered mainly an album rock guy best known for his work with Genesis (who hadn’t gone completely pop yet) and for the moody atmospherics of “In the Air Tonight” when his 1982 cover of the Supremes’ “You Can’t Hurry Love” gave him his first solo top 10 hit. That song played a pivotal role in establishing Collins as the pop superstar he would become by mid-decade with his No Jacket Required album and he’d later return to the Motown sound with his original song “Two Hearts” from the movie Buster, which ending up topping the charts in early 1989.
Phil Collins “Heat Wave” (2010)
Phil Collins “You Can’t Hurry Love” (1982)
Phil Collins “Two Hearts” (1988)
First Look: Iyaz “So Big”
August 9, 2010
It was just about a year ago when most of us first heard of Iyaz via his debut single “Replay”, which ruled the airwaves all last fall ultimately reaching the top of the Billboard Pop chart. The Beluga Heights (j-j-j-j-j-r) artist and Sean Kingston protege (wait, Sean Kingston’s old enough to have a protege?) followed that song up with the lovely “Solo”, which copped a hook from Janet Jackson but failed to really take off at radio this spring; he’s since made guest appearances on singles by two teen pop newcomers, Charice and Auburn. Here he’s returning with his third single, another summery sweet, and squeaky clean Carribean-flavored dance pop dittie that should go over well with all the kiddies. And by kiddies, I mean toddlers. How big is Iyaz’s love for you? Sooo big! How big is Iyaz gonna spend it up? Sooo big! How big a hit is this song going to be? Sooo… err… well, we’ll see. (Aww, man, not “we’ll see”! I hated when my mom said that!)
Iyaz “So Big”
I Yaz | MySpace Music Videos
First Look: Miranda Lambert “Only Prettier”
August 9, 2010
Election season is ramping up and many commentators are pointing to 2010 as a pivotal year for women in politics, what with Sarah Palin and Michelle Bachmann and Sharron Angle and Carly Fiorina, and that one from South Carolina that was accused of having an affair but couldn’t possibly have had an affair because she’s, like, totally married and stuff and her husband is totally hot. Haters just be jealous. Miranda Lambert is taking notice with the fourth single off her latest album Revolution. As a former Nashville Star finalist (she placed third in the show’s debut season), Lambert has certainly experienced her fair share of the vicissitudes of the Amer’can voting public. “Only Prettier” is a gloriously old-school country rocker, a stomping celebration of catty girl politics loaded up with adorably venomous one-liners and winking, semi-sincere appeals to hatchet burial, echoing the same promises politicians trot out every election season – “oh, let’s shake hands and reach across those party lines.” Oh yes, let’s do. And let’s spike the punch while we’re at it. The song’s perfectly complimentary video finds Lambert and her band on stage playing at a 50s era high school prom where two rival cliques – the debutantes and the bad girls, both played by the same quartet of actresses led by Lambert herself – go head to head (under a gymnasium arc d’ballon) in a battle for social supremacy. And as it turns out, they’re all just two sides of the same coin.
