There is an old adage in the business world; “treat all people with respect as you climb the ladder of success, because you will see the same people as you revert down that same ladder”. I would suggest that Flo Rida and Meatloaf pay strict attention to this phrase.
Flo Rida [one assumes that he originally hails from Florida] appears to be a generic rap performer who has struck it lucky and found a massive global audience. In isolation this is fine and what every performer strives to achieve, however success comes with responsibilities in order to maintain the success. Today’s breed of music superstars are invariably challenged by the prospect of “live performances”, and it would appear that Flo Rida is the latest victim of this so-called curse.
Recent media reports indicate that Flo Rida failed to “perform” at 2 concerts in Sydney during his Australian tour in October. This is despite the fact that Flo Rida’s performance fee had been paid in full upfront and all gratuitous expenses were also absorbed by the concert promoter. The irony lay in the fact that Flo Rida was actually present at the venue of 1 of the aborted concerts, however he was deemed to be “unfit to perform”.
This media release can be interpreted in any manner as one deems to be appropriate; this being said the underlying facts remain in focus for all public performers. If you are going to accept your loyal audience’s money, you need to earn your keep!!
Which brings us to Meatloaf…
Meatloaf is a rock God, however he is 30 years past his prime. His legend is earned by way of compelling live performances, although the intensity of his act saw his voice blown out many years ago. Meatloaf was contracted to perform at the Grand Final of the Australian Football League in Melbourne in early October for circa 20 minutes for a reputed fee of $150,000.00. The warning bells should have been heard from the outset…
Granted that Meatloaf performed to a backing tape & without a sound check, his live vocal performance was appalling; some might say the worst singing effort ever by an international act in Australia. Upon leaving Australia, Meatloaf was quoted in the media as stating that the Australian Football League officials were “jerks”. Meatloaf won’t be made welcome in Australia ever again, and he should not have accepted his performance fee if he wasn’t comfortable in performing at the time.
In both cases, Flo Rida and Meatloaf may actually sell a few additional CDs/ mp3s on the back of the self-inflicted negative publicity. After all is said and done, what is more important in this case? Are both artists viewed as being “entertainers” or “musicians”? Whilst neither is technically a “musician”, can either be defined as an “entertainer” if they are incapable of entertaining?
Saturday, October 29, 2011
Saturday, October 8, 2011
1980’s ROCK BANDS: WHEN THE CREDIBILITY HAS DISAPPEARED FOR GOOD
Motley Crue were at their commercial peak when I was a teenager/ adolescent, way back in the late 1980’s/ early 1990’s. Whilst I wouldn’t have ever considered myself to be a “fan”, I have always been mildly fascinated by this rock group. Most people of my age read “The Dirt” in a state of awe & amazement; if Vince Neil, Nicki Sixx, Mick Mars & Tommy Lee partook in only a 1/3rd of the debauchery detailed in the book, then I tip my hat to their continued existence and health!
“The Dirt” also focuses on Motley Crue’s live performances as being an important ingredient in their immense popularity. The Crue’s songs are essentially “rock by numbers” and standard fare in comparison to the plethora of other 1980’s “Big Hair” rock bands, however Vince & the boys could historically be relied upon for above-average musicianship & plenty of energy in their live act.
That was then; but what about now?
Motley Crue toured Australia last month, and the concert reviews in general conjure up the image that the Crue’s time is well and truly over. Vince Neil was never a great singer [he is best described as an “entertainer”], however it is fairly sad when a lead singer spends the majority of a gig with his microphone in the direction of the crowd [for a sing-a-long] in an effort to mask his sub-par vocal ability. To compound his lack of singing talent, Neil is physically bloated [too much booze] and presently wearing a ridiculous fake tan.
Motley Crue: you do have a deserved place in the history of 1980’s rock, however for the present day – it’s over!!
Let’s now turn our attention to INXS. Being an Australian, I was kind of proud of the fact that INXS enjoyed global popularity in the late 1980’s. It was a very sad day when Michael Hutchence suddenly passed away, however the true INXS fans would be honest in saying that the final 7 years of a Hutchence-led INXS were not their best years. In fact, the final INXS Australian tour in 1997 saw the band performing in pubs rather than stadiums.
The subsequent 14 years have seen INXS come and go in the media spotlight, throwing up various “guest” lead singers in an effort to keep the INXS brand alive. In 2005, the remaining band members foolishly participated in a reality-TV program in an effort to find a new lead singer. The winner of the program, JD Fortune, was an unoriginal Hutchence sound-a-like with too much hair gel. A CD of new material was released, flickered briefly, and Fortune was soon given his marching orders. Amazingly, Fortune came back into the INXS camp for a series of live performances in 2010, however he was subsequently relieved of his duties for a 2nd time.
One would assume that the INXS brand be embalmed at this time, with new generations of fans being allowed to enjoy their back catalogue. However, it would appear that INXS is attempting to have a crack at global stardom again, with the recruitment of Irishman Ciaran Gribbin as their new lead singer.
There is an unspoken rule in the rock n’ roll world; you can never replace a charismatic lead singer and expect the band to retain their credibility. One must assume that the INXS camp have nothing better to do, as the music world are most likely to ignore the 3rd incarnation of INXS.
This being said, there is an interesting twist to the old adage that “rock stars can’t give up their jobs”. Jeffery Hoad [a David Lee Roth-wannabe lead singer from 1980’s Australian “Big Hair” rock group Kings of the Sun] recently pleaded guilty in Court to possessing a commercial quantity of marijuana. His lawyers argued that Hoad, now 50 years of age, had resorted to dealing drugs for a living due to the fact that his future in music had faded due to changing music trends. Whilst it can’t be ignored that Hoad has committed a criminal offence, he must be applauded for having the sense to acknowledge that 1980’s rock stars can’t continue on forever!!
“The Dirt” also focuses on Motley Crue’s live performances as being an important ingredient in their immense popularity. The Crue’s songs are essentially “rock by numbers” and standard fare in comparison to the plethora of other 1980’s “Big Hair” rock bands, however Vince & the boys could historically be relied upon for above-average musicianship & plenty of energy in their live act.
That was then; but what about now?
Motley Crue toured Australia last month, and the concert reviews in general conjure up the image that the Crue’s time is well and truly over. Vince Neil was never a great singer [he is best described as an “entertainer”], however it is fairly sad when a lead singer spends the majority of a gig with his microphone in the direction of the crowd [for a sing-a-long] in an effort to mask his sub-par vocal ability. To compound his lack of singing talent, Neil is physically bloated [too much booze] and presently wearing a ridiculous fake tan.
Motley Crue: you do have a deserved place in the history of 1980’s rock, however for the present day – it’s over!!
Let’s now turn our attention to INXS. Being an Australian, I was kind of proud of the fact that INXS enjoyed global popularity in the late 1980’s. It was a very sad day when Michael Hutchence suddenly passed away, however the true INXS fans would be honest in saying that the final 7 years of a Hutchence-led INXS were not their best years. In fact, the final INXS Australian tour in 1997 saw the band performing in pubs rather than stadiums.
The subsequent 14 years have seen INXS come and go in the media spotlight, throwing up various “guest” lead singers in an effort to keep the INXS brand alive. In 2005, the remaining band members foolishly participated in a reality-TV program in an effort to find a new lead singer. The winner of the program, JD Fortune, was an unoriginal Hutchence sound-a-like with too much hair gel. A CD of new material was released, flickered briefly, and Fortune was soon given his marching orders. Amazingly, Fortune came back into the INXS camp for a series of live performances in 2010, however he was subsequently relieved of his duties for a 2nd time.
One would assume that the INXS brand be embalmed at this time, with new generations of fans being allowed to enjoy their back catalogue. However, it would appear that INXS is attempting to have a crack at global stardom again, with the recruitment of Irishman Ciaran Gribbin as their new lead singer.
There is an unspoken rule in the rock n’ roll world; you can never replace a charismatic lead singer and expect the band to retain their credibility. One must assume that the INXS camp have nothing better to do, as the music world are most likely to ignore the 3rd incarnation of INXS.
This being said, there is an interesting twist to the old adage that “rock stars can’t give up their jobs”. Jeffery Hoad [a David Lee Roth-wannabe lead singer from 1980’s Australian “Big Hair” rock group Kings of the Sun] recently pleaded guilty in Court to possessing a commercial quantity of marijuana. His lawyers argued that Hoad, now 50 years of age, had resorted to dealing drugs for a living due to the fact that his future in music had faded due to changing music trends. Whilst it can’t be ignored that Hoad has committed a criminal offence, he must be applauded for having the sense to acknowledge that 1980’s rock stars can’t continue on forever!!
Sunday, August 28, 2011
CLASSIC ALBUMS
I’ll state my opinion from the outset – I am a HUGE fan of the “Classic Albums” documentary series which has been broadcast on television over the past decade. This statement has much to do with the fact that I love the concept of an album per se; I’ll list my “key ingredients” of a Classic Album:
• At least 5 strong individual songs, with the balance of the album being comprised of above-average songs suitable for airplay on commercial radio
• Excellent musicianship and production skills
• A high standard of lyrical content
• The Album must still “sound fresh” when listened to in the present era.
One of the most attractive points of the “Classic Albums” series revolves around the artists and/or producers recreating the process of the album’s song writing and recording. I am a producer at heart, thus I love to view and compare each artists’ skills; it’s simply magic to observe the masters at play.
It’s important to respect all levels of music, even if you are not a fan of a particular musical genre. This being said, the “Classic Albums” series may have overdone itself in labelling particular albums as being “classic”. Let’s review some examples:
• Deep Purple’s “Machine Head”, Iron Maiden’s “The Number of the Beast”, Black Sabbath’s “Paranoid”, Motorhead’s “Ace of Spades” and Judas Priest’s “British Steel” are albums which snugly fit into the British Heavy Rock genre. Are all of these album’s “classic”? If you were to choose only one of these albums, what would be the defining qualifying criteria – commercial success or artistic merit?
• If “John Lennon/ Plastic Ono Band” is deemed to be a classic album, then why have none of The Beatles’ albums been reviewed thus far?
• “Never Mind The Bollocks” by The Sex Pistols is famous primarily due to the notoriety of the band’s image. One would assume that there are many other Punk albums of greater artistic merit than this offering.
• Has the greater listening audience ever heard Primal Scream’s “Screamdelica”?
• Duran Duran is famous for individual single releases and their accompanying music videos. “Rio” does not set the benchmark for early 1980’s pop music.
“Classic Albums” has paid homage to genuine Classic Albums such as “Dark Side of the Moon”, “Bat out of Hell”, “Rumours”, “A Night at the Opera” & “Graceland”. I don’t need to state the artists’ names for these albums, as they are all universally known by all generations of music lovers. Within reason, “Classic Albums” has cheapened itself by letting too many artists into the Classic Album club.
So, where to from here for “Classic Albums”? I love music, and I love the documentary series, however I would hate to see “Classic Albums” lose its importance.
• At least 5 strong individual songs, with the balance of the album being comprised of above-average songs suitable for airplay on commercial radio
• Excellent musicianship and production skills
• A high standard of lyrical content
• The Album must still “sound fresh” when listened to in the present era.
One of the most attractive points of the “Classic Albums” series revolves around the artists and/or producers recreating the process of the album’s song writing and recording. I am a producer at heart, thus I love to view and compare each artists’ skills; it’s simply magic to observe the masters at play.
It’s important to respect all levels of music, even if you are not a fan of a particular musical genre. This being said, the “Classic Albums” series may have overdone itself in labelling particular albums as being “classic”. Let’s review some examples:
• Deep Purple’s “Machine Head”, Iron Maiden’s “The Number of the Beast”, Black Sabbath’s “Paranoid”, Motorhead’s “Ace of Spades” and Judas Priest’s “British Steel” are albums which snugly fit into the British Heavy Rock genre. Are all of these album’s “classic”? If you were to choose only one of these albums, what would be the defining qualifying criteria – commercial success or artistic merit?
• If “John Lennon/ Plastic Ono Band” is deemed to be a classic album, then why have none of The Beatles’ albums been reviewed thus far?
• “Never Mind The Bollocks” by The Sex Pistols is famous primarily due to the notoriety of the band’s image. One would assume that there are many other Punk albums of greater artistic merit than this offering.
• Has the greater listening audience ever heard Primal Scream’s “Screamdelica”?
• Duran Duran is famous for individual single releases and their accompanying music videos. “Rio” does not set the benchmark for early 1980’s pop music.
“Classic Albums” has paid homage to genuine Classic Albums such as “Dark Side of the Moon”, “Bat out of Hell”, “Rumours”, “A Night at the Opera” & “Graceland”. I don’t need to state the artists’ names for these albums, as they are all universally known by all generations of music lovers. Within reason, “Classic Albums” has cheapened itself by letting too many artists into the Classic Album club.
So, where to from here for “Classic Albums”? I love music, and I love the documentary series, however I would hate to see “Classic Albums” lose its importance.
Saturday, July 30, 2011
DID YOU KNOW THAT THESE MUSICIANS ARE JEWISH?
I have always been curious about the abundance of ethnically Jewish individuals who have achieved significant success in the music industry. This phenomenon has been in train for many decades, and it displays no apparent signs of concluding.
In order to have any chance of “making it” in the music industry, you require musical talent. This being said, in order to “survive” in the music industry, you require infinite levels of drive. Let’s explore this point in comparison to the last century of Jewish civilisation.
The global Jewish population was decimated during the World War II era, and in effect, has been required to re-populate itself in order to survive. In doing so, this fight against adversity appears to have generated a certain “X-Factor” in the character of Jewish people, to the extent that “failure is not an option”.
There are many musically talented individuals in the world, however the vast majority of these individuals never realise their true potential due to various factors, albeit predominantly based around a lack of commitment to their craft. This could be the single defining reason as to why so many Jewish people are successful in the music industry; it all comes down to talent and drive.
We are all very familiar with the musician superstars who are patently Jewish [e.g. Billy Joel, Simon and Garfunkel, Bob Dylan, Neil Diamond, Barbara Streisand] and the music industry chiefs [e.g. Clive Davis, David Geffen]. There are even some very successful rock groups who are almost exclusively Jewish!! [e.g. Kiss and 10CC]. Let’s have a look at some past and present Jewish music superstars who have reached the zenith on the music industry, albeit without actually promoting the fact that they are Jewish.
Dianne Warren – the most successful songwriter of the past 25 years.
Robbie Robertson [real name: Jaime Robert Klegerman] – his biological name defines his Jewish background, albeit it is interesting that Robertson has consistently promoted his mother’s Native American heritage throughout his long career.
Harry Connick Jr – his music tends more towards Sinatra and the South; Connick Jr has built a career around bringing a contemporary feel to the Swing Sound.
Melissa Manchester – her early musical years of singing backup to Barry Manilow and Bette Midler provides a link to her Jewish background.
The Cars – Ric Ocasek, Elliot Easton [real name: Elliot Steinberg] & Ben Orr [real name: Benjamin Orzechowski] were the driving force behind this Boston-based pop/ rock Group of the 1970’s & 1980’s.
Pink [real name: Alecia Beth Moore] – her mother is Jewish, and Pink has been the most successful female singer/ songwriter for the past 15 years.
There are also some famous musicians who have never confirmed nor denied their Jewish faith; Alice Cooper [real name: Vincent Furnier] comes to mind.
Either way, it’s a great achievement for the individuals of a rebuilding religious faith to command such a presence in an extremely demanding industry. I’m keen to read your thoughts about my statement, plus I look forward to your contributions to my list!!
In order to have any chance of “making it” in the music industry, you require musical talent. This being said, in order to “survive” in the music industry, you require infinite levels of drive. Let’s explore this point in comparison to the last century of Jewish civilisation.
The global Jewish population was decimated during the World War II era, and in effect, has been required to re-populate itself in order to survive. In doing so, this fight against adversity appears to have generated a certain “X-Factor” in the character of Jewish people, to the extent that “failure is not an option”.
There are many musically talented individuals in the world, however the vast majority of these individuals never realise their true potential due to various factors, albeit predominantly based around a lack of commitment to their craft. This could be the single defining reason as to why so many Jewish people are successful in the music industry; it all comes down to talent and drive.
We are all very familiar with the musician superstars who are patently Jewish [e.g. Billy Joel, Simon and Garfunkel, Bob Dylan, Neil Diamond, Barbara Streisand] and the music industry chiefs [e.g. Clive Davis, David Geffen]. There are even some very successful rock groups who are almost exclusively Jewish!! [e.g. Kiss and 10CC]. Let’s have a look at some past and present Jewish music superstars who have reached the zenith on the music industry, albeit without actually promoting the fact that they are Jewish.
Dianne Warren – the most successful songwriter of the past 25 years.
Robbie Robertson [real name: Jaime Robert Klegerman] – his biological name defines his Jewish background, albeit it is interesting that Robertson has consistently promoted his mother’s Native American heritage throughout his long career.
Harry Connick Jr – his music tends more towards Sinatra and the South; Connick Jr has built a career around bringing a contemporary feel to the Swing Sound.
Melissa Manchester – her early musical years of singing backup to Barry Manilow and Bette Midler provides a link to her Jewish background.
The Cars – Ric Ocasek, Elliot Easton [real name: Elliot Steinberg] & Ben Orr [real name: Benjamin Orzechowski] were the driving force behind this Boston-based pop/ rock Group of the 1970’s & 1980’s.
Pink [real name: Alecia Beth Moore] – her mother is Jewish, and Pink has been the most successful female singer/ songwriter for the past 15 years.
There are also some famous musicians who have never confirmed nor denied their Jewish faith; Alice Cooper [real name: Vincent Furnier] comes to mind.
Either way, it’s a great achievement for the individuals of a rebuilding religious faith to command such a presence in an extremely demanding industry. I’m keen to read your thoughts about my statement, plus I look forward to your contributions to my list!!
Sunday, July 10, 2011
WHEN DID THE SAXOPHONE SOLO LEAVE THE POP CHARTS?
The recent passing of ace saxophonist Clarence Clemons marked the end of an era for Bruce Springsteen’s E-Street Band, as we know it. Clemons’ distinctive playing style is irreplaceable; let’s think about his contribution to some of Springsteen’s best-known work.
• The frenetic playing during the instrumental break in “Born To Run”. Would an alternate saxophonist have been able to push the tempo of the song to the heights so famously achieved by Clemons?
• The subtle solo during the coda in “Dancing In The Dark”. It would have been sacrilege to leave Clemons’ instrumentation out of Springsteen’s pop chart zenith; a very “cool” sax break to round out a great song.
The saxophone has always been a part of modern music, whether it be playing a dominant riff [Gerry Rafferty’s “Baker Street”; George Michael’s “Careless Whisper”] or a timeless solo [Roxy Music’s “Jealous Guy”; Billy Joel’s “Just The Way You Are”]. There have even been some hit songs based predominantly around some great sax work [Kenny G’s “Songbird”; Candy Dulfer’s “Lily Was Here”]. If you check out the latest pop charts, one will find a distinct lack of saxophone work in today’s hit songs. Thus, the question that I ask is:
“When did the saxophone solo leave the pop charts?”
I don’t have the definitive answer; it’s most likely due to the fact that the modern dance music dominating the pop charts simply doesn’t gel with the saxophone sound. I would love to be proven wrong, however could it be that the saxophone has been lost to popular music forever?
Many people love the saxophone sound; the saxophone has made hit songs. Can you imagine Sade’s “Smooth Operator” without its seductive sax riff? What about the lively solo break in Bill Medley & Jennifer Warne’s “I’ve Had The Time Of My Life”? This song’s success was a contributing factor to the phenomena of the Dirty Dancing movie. The movie soundtrack’s other hit songs [Eric Carmen’s “Hungry Eyes”; Patrick Swayze’s “She’s Like The Wind”] also featured great sax solos.
Let’s remember the saxophone sound for what it is; an instrument capable of stellar riffs and timeless solos. I’ve jotted down some of my favourite “saxophone songs”; I’d love to read your lists of favourite saxophone songs, plus any modern “saxophone hits” for my aural pleasure…
“Just The Two Of Us” – Grover Washington Jr & Bill Withers
“The Heat Is On”; “You Belong To The City”; “The One Who Loves You” – Glenn Frey
“Who Can It Be Now?” – Men At Work
“I Can’t Go For That” – Hall & Oates
“What You Need”; “Never Tear Us Apart” – INXS
“Modern Love” – David Bowie
“Harden My Heart” – Quarterflash
“The Sad Café” – The Eagles
“Your Latest Trick” – Dire Straits
“Going Home” – Mark Knopfler
“Smoke From A Distant Fire” – Sanford Townsend Band
“Rainy Days And Mondays” – The Carpenters
“True” – Spandau Ballet
“Urgent” – Foreigner
“What Can I Say” – Boz Scaggs
“The Logical Song” – Supertramp
“I Do, I Do, I Do, I Do, I Do” – ABBA
“Money”; “Us And Them” – Pink Floyd
“Year Of The Cat”; “Time Passages” – Al Stewart
“Waiting On A Friend” – The Rolling Stones
• The frenetic playing during the instrumental break in “Born To Run”. Would an alternate saxophonist have been able to push the tempo of the song to the heights so famously achieved by Clemons?
• The subtle solo during the coda in “Dancing In The Dark”. It would have been sacrilege to leave Clemons’ instrumentation out of Springsteen’s pop chart zenith; a very “cool” sax break to round out a great song.
The saxophone has always been a part of modern music, whether it be playing a dominant riff [Gerry Rafferty’s “Baker Street”; George Michael’s “Careless Whisper”] or a timeless solo [Roxy Music’s “Jealous Guy”; Billy Joel’s “Just The Way You Are”]. There have even been some hit songs based predominantly around some great sax work [Kenny G’s “Songbird”; Candy Dulfer’s “Lily Was Here”]. If you check out the latest pop charts, one will find a distinct lack of saxophone work in today’s hit songs. Thus, the question that I ask is:
“When did the saxophone solo leave the pop charts?”
I don’t have the definitive answer; it’s most likely due to the fact that the modern dance music dominating the pop charts simply doesn’t gel with the saxophone sound. I would love to be proven wrong, however could it be that the saxophone has been lost to popular music forever?
Many people love the saxophone sound; the saxophone has made hit songs. Can you imagine Sade’s “Smooth Operator” without its seductive sax riff? What about the lively solo break in Bill Medley & Jennifer Warne’s “I’ve Had The Time Of My Life”? This song’s success was a contributing factor to the phenomena of the Dirty Dancing movie. The movie soundtrack’s other hit songs [Eric Carmen’s “Hungry Eyes”; Patrick Swayze’s “She’s Like The Wind”] also featured great sax solos.
Let’s remember the saxophone sound for what it is; an instrument capable of stellar riffs and timeless solos. I’ve jotted down some of my favourite “saxophone songs”; I’d love to read your lists of favourite saxophone songs, plus any modern “saxophone hits” for my aural pleasure…
“Just The Two Of Us” – Grover Washington Jr & Bill Withers
“The Heat Is On”; “You Belong To The City”; “The One Who Loves You” – Glenn Frey
“Who Can It Be Now?” – Men At Work
“I Can’t Go For That” – Hall & Oates
“What You Need”; “Never Tear Us Apart” – INXS
“Modern Love” – David Bowie
“Harden My Heart” – Quarterflash
“The Sad Café” – The Eagles
“Your Latest Trick” – Dire Straits
“Going Home” – Mark Knopfler
“Smoke From A Distant Fire” – Sanford Townsend Band
“Rainy Days And Mondays” – The Carpenters
“True” – Spandau Ballet
“Urgent” – Foreigner
“What Can I Say” – Boz Scaggs
“The Logical Song” – Supertramp
“I Do, I Do, I Do, I Do, I Do” – ABBA
“Money”; “Us And Them” – Pink Floyd
“Year Of The Cat”; “Time Passages” – Al Stewart
“Waiting On A Friend” – The Rolling Stones
Saturday, June 4, 2011
GLEE TV & ITS POWER OVER MODERN MUSIC
I was somewhat surprised to discover that Fleetwood Mac’s classic 1977 long-play release “Rumours” is currently sitting at the Number 3 position on the Australian Album Charts.
In order for me to understand this abnormal occurrence, the usual gamut of questions ran through my head:
QUESTION: “Are Fleetwood Mac presently touring Australia?”
ANSWER: No
QUESTION: “Has Stevie Nicks passed away?”
ANSWER: No
QUESTION: “Has the music of Fleetwood Mac recently been featured in Glee?”
ANSWER: Gotcha!!!
I have barely watched an episode of Glee, albeit I have vicariously ingested a general understanding of the latest television phenomena by way of non-stop advertisements on all forms of media. Travelling to work each morning in a train carriage full of teenage school girls also helps with my general understanding of Glee…
There is no doubting that Stevie Nicks, Christine McVie & Lindsay Buckingham shall bank the song writing royalties resultant from the spike in sales of “Rumours”, without hesitation. When one creates a work of art, one is entitled to endless rewards. The concerning outcome of this event is the performance of the classic Fleetwood Mac songs in this Glee episode. Lindsay Buckingham’s classic version of “Go Your Own Way” was laced with bitterness; he was in recoil over Stevie Nicks’ departure from his private life, and the tension in his vocal and guitar solo underpinned the song’s enormous success. The Glee interpretation could not have been more sterile if it was produced in a hospital ward. “Songbird” was completely devoid of any level of emotion; Christine McVie must have been shaking her head over the cremation of her finest work.
So, is Glee good or bad for modern music?
Glee is providing a lucrative lifeline for a select range of artists and bands, of whom their music would not otherwise be returning to the mainstream media. In fact, Coldplay have agreed to license the use of their songs in Glee, after initially declining such an offer. Let’s face it; any publicity is good publicity!!
Glee is not leveraging off its immense popularity to introduce new talented songwriters to the mainstream media. Glee is the perfect media vehicle to enable Generation Y to understand & appreciate the power of the song writing craft.
Will Glee make a superstar out of one or more of its cast? The jury remains out on this question. One thing is for sure; Glee’s creators and the copyright holders of the classic songs featured in each episode shall become rich or richer. When you discover a gem, you get wealthy. Then again, that’s show business…
In order for me to understand this abnormal occurrence, the usual gamut of questions ran through my head:
QUESTION: “Are Fleetwood Mac presently touring Australia?”
ANSWER: No
QUESTION: “Has Stevie Nicks passed away?”
ANSWER: No
QUESTION: “Has the music of Fleetwood Mac recently been featured in Glee?”
ANSWER: Gotcha!!!
I have barely watched an episode of Glee, albeit I have vicariously ingested a general understanding of the latest television phenomena by way of non-stop advertisements on all forms of media. Travelling to work each morning in a train carriage full of teenage school girls also helps with my general understanding of Glee…
There is no doubting that Stevie Nicks, Christine McVie & Lindsay Buckingham shall bank the song writing royalties resultant from the spike in sales of “Rumours”, without hesitation. When one creates a work of art, one is entitled to endless rewards. The concerning outcome of this event is the performance of the classic Fleetwood Mac songs in this Glee episode. Lindsay Buckingham’s classic version of “Go Your Own Way” was laced with bitterness; he was in recoil over Stevie Nicks’ departure from his private life, and the tension in his vocal and guitar solo underpinned the song’s enormous success. The Glee interpretation could not have been more sterile if it was produced in a hospital ward. “Songbird” was completely devoid of any level of emotion; Christine McVie must have been shaking her head over the cremation of her finest work.
So, is Glee good or bad for modern music?
Glee is providing a lucrative lifeline for a select range of artists and bands, of whom their music would not otherwise be returning to the mainstream media. In fact, Coldplay have agreed to license the use of their songs in Glee, after initially declining such an offer. Let’s face it; any publicity is good publicity!!
Glee is not leveraging off its immense popularity to introduce new talented songwriters to the mainstream media. Glee is the perfect media vehicle to enable Generation Y to understand & appreciate the power of the song writing craft.
Will Glee make a superstar out of one or more of its cast? The jury remains out on this question. One thing is for sure; Glee’s creators and the copyright holders of the classic songs featured in each episode shall become rich or richer. When you discover a gem, you get wealthy. Then again, that’s show business…
Saturday, May 14, 2011
MAROON 5 – STRIKE 3!!
Los Angeles’ pop/ funk-rockers Maroon 5 recently graced Australia’s shores to perform and promote their third CD release “Hands All Over”. It’s hard to believe that it is seven long years since “This Love”, “She Will Be Loved” & “Sunday Morning” ruled the global airwaves, and the debut CD release “Songs About Jane” became a smash hit. 2007’s follow up CD “It Won’t Be Soon Before Long” also sold in large quantities, however Maroon 5 were swiftly becoming famous solely for the latest romantic exploits of their charismatic front man, Adam Levine.
So, how does the all-important third CD release “Hands All Over” shape up?
Whether it was an act of pure honesty or a cunning marketing strategy, Adam Levine told the media that “Hands All Over” would be Maroon 5’s final CD. I remain indifferent to this comment, as the band display enormous potential to move away from a “funk” sound into a general Adult Contemporary category, which could see Maroon 5 return to their original level of popularity.
It has to be said that Adam Levine has a weak voice, and his singing tends to get lost within the heavily produced funk songs most synomonous with the Maroon 5 “sound”. The lead single “Misery” is essentially an inferior re-write of “This Love”, and in general the CD is a case of song writing by numbers with very predictable lyrics. Not even the introduction of the mega-successful producer Robert John “Mutt” Lange can bring life to a collection of songs of this standard. The title track “Hands All Over” sounds very similar to Def Leppard’s “Pour Some Sugar On Me”, noting that Lange produced this classic 1980’s rock track.
“Hands All Over” shines brightest when focusing on the songs counter to Maroon 5’s funk brand. An acoustic version of Queen’s “Crazy Little Thing Called Love” works particularly well; it’s a great pop song and the arrangement provides space for Levine’s vocals to move to the fore. However, the stand out song is “Out Of Goodbyes”, a duet with the Nashville trio, Lady Antebellum. The whole “acoustic/ country” vibe could actually work wonders for Maroon 5’s popularity. A subtle acoustic arrangement & production tends to suit Adam Levine’s voice. Let’s face it, Maroon 5’s best song [“Sunday Morning”] is based around a simple piano riff and uncomplicated rhythm. Rock guitar doesn’t suit Maroon 5, as Levine’s voice can’t compete.
“Hands All Over” won’t be a mega-platinum selling CD, however this could be a blessing in disguise. Maroon 5 have pushed their “funk” edge within an inch of its life. A change in music direction could just be the trick to spark the band’s popularity & longevity.
So, how does the all-important third CD release “Hands All Over” shape up?
Whether it was an act of pure honesty or a cunning marketing strategy, Adam Levine told the media that “Hands All Over” would be Maroon 5’s final CD. I remain indifferent to this comment, as the band display enormous potential to move away from a “funk” sound into a general Adult Contemporary category, which could see Maroon 5 return to their original level of popularity.
It has to be said that Adam Levine has a weak voice, and his singing tends to get lost within the heavily produced funk songs most synomonous with the Maroon 5 “sound”. The lead single “Misery” is essentially an inferior re-write of “This Love”, and in general the CD is a case of song writing by numbers with very predictable lyrics. Not even the introduction of the mega-successful producer Robert John “Mutt” Lange can bring life to a collection of songs of this standard. The title track “Hands All Over” sounds very similar to Def Leppard’s “Pour Some Sugar On Me”, noting that Lange produced this classic 1980’s rock track.
“Hands All Over” shines brightest when focusing on the songs counter to Maroon 5’s funk brand. An acoustic version of Queen’s “Crazy Little Thing Called Love” works particularly well; it’s a great pop song and the arrangement provides space for Levine’s vocals to move to the fore. However, the stand out song is “Out Of Goodbyes”, a duet with the Nashville trio, Lady Antebellum. The whole “acoustic/ country” vibe could actually work wonders for Maroon 5’s popularity. A subtle acoustic arrangement & production tends to suit Adam Levine’s voice. Let’s face it, Maroon 5’s best song [“Sunday Morning”] is based around a simple piano riff and uncomplicated rhythm. Rock guitar doesn’t suit Maroon 5, as Levine’s voice can’t compete.
“Hands All Over” won’t be a mega-platinum selling CD, however this could be a blessing in disguise. Maroon 5 have pushed their “funk” edge within an inch of its life. A change in music direction could just be the trick to spark the band’s popularity & longevity.
Subscribe to:
Posts (Atom)