Michael & Janet Jackson - "Scream" (1995)
They spent 7 Million dollars on that?
I haven't listened to this song again in the more than 15 years since its release. The video that accompanied it was reportedly the most expensive in the world at that time and so I watched it. I don't really remember thinking anything about it. Listening to the song now, after one of the artist's deaths, and years removed from the scandal and media pressure that fueled the song in the first place, it is terribly commonplace. The lyrics are strong, and the support from his sister is sincere, but the music does nothing for me.
Jimmy Jam and Terry Lewis were brought in to produce the track, and they had worked with Janet Jackson before. The choices they made were a mix of good ones and odd ones. The fact that the song contains great harmony between the siblings and other backing vocalists is a great tie back to the singers early roots as R&B performers and sounds great. The really processed sounds that are pounding out the dance beat include sounds that could have been made by a skipping hard drive, or a bad timing belt. The guitar solo about three quarters of the way through the song, as well as the break right before that with Janet singing, Michael repeating some of her words and a police siren are arresting soundscapes. But mixing them into the end of a dance/R&B hit just feels forced.
Showing posts with label dance-pop. Show all posts
Showing posts with label dance-pop. Show all posts
Saturday, April 14, 2012
Monday, April 9, 2012
"Confide in Me"
Kylie Minogue - "Confide in Me" (1994)
One of the biggest stars in the world. In the US, she's damn near a one hit wonder, and this isn't it.
The strings kind of have a Middle East/Indian sound, as understood and transcribed by Western ears. The guitars sound like a mix of guitar and sitar, and are in fact from The Doors "The End". The drums are a murky mix of bass drum, snare drum and rarely used cymbals. There is no drummer or percussionist listed in the liner notes, so we have to assume that it's all a drum machine programmed by songwriters and producers Steve Anderson and Dave Seaman. Owain Barton is listed as a songwriter on the track, because he write a song called "It's a Fine Day" for a band called Jane in 1983. The song was covered by Opus III in 1992 and became a top 5 hit in the U.K. and a #1 US Dance Club hit. Barton complained that the string parts on "Confide in Me" sounded like the melody of "It's a Fine Day" and so his name was added.
The piano opening, and Minogue's voice kind of make the song a breathy torch number. Combining all of the elements, I think the song sounds like a perfect Bond theme song. Listen to "Goldeneye" (1995), "Tomorrow Never Dies" (1997), and "Die another Day" (2002) and tell me that if they turned the vocals up just a touch on Kylie Minogue that "Confide in Me" wouldn't have made a better theme song than any of them.
One of the biggest stars in the world. In the US, she's damn near a one hit wonder, and this isn't it.
The strings kind of have a Middle East/Indian sound, as understood and transcribed by Western ears. The guitars sound like a mix of guitar and sitar, and are in fact from The Doors "The End". The drums are a murky mix of bass drum, snare drum and rarely used cymbals. There is no drummer or percussionist listed in the liner notes, so we have to assume that it's all a drum machine programmed by songwriters and producers Steve Anderson and Dave Seaman. Owain Barton is listed as a songwriter on the track, because he write a song called "It's a Fine Day" for a band called Jane in 1983. The song was covered by Opus III in 1992 and became a top 5 hit in the U.K. and a #1 US Dance Club hit. Barton complained that the string parts on "Confide in Me" sounded like the melody of "It's a Fine Day" and so his name was added.
The piano opening, and Minogue's voice kind of make the song a breathy torch number. Combining all of the elements, I think the song sounds like a perfect Bond theme song. Listen to "Goldeneye" (1995), "Tomorrow Never Dies" (1997), and "Die another Day" (2002) and tell me that if they turned the vocals up just a touch on Kylie Minogue that "Confide in Me" wouldn't have made a better theme song than any of them.
Monday, April 2, 2012
"It's a Sin"
Pet Shop Boys - "It's a Sin" (1987)
I now know where almost every Anime I've ever watched has gotten the inspiration for their closing credits song.
This is a really epic dance pop number. Church-like in tone, and disrespectful of the Church in its lyrics the song immediatly grabbed notice. Almost 25 years later, the fake storm sounds are a little humorous, but the horrible fake horns are the only thing that really need an update. The dance beat is pervasive but not overwhelming. You can actually hear the lyrics, the organ, the other synthesizer keyboards, and yes, the electronic horn section. The song sounds deep and rich, full of keyboard parts and orchestra hits and bass keyboard. Primary Pet Shop Boys keyboardist Chris Lowe had help on this song from Andy Richards, who did keyboard and programing work on many hit albums, working with acts like Frankie Goes to Hollywood, Donna Summer, Air Supply, Tina Turner and Def Leppard.
The coolest part of this song is right in the middle of it. A lot of the swirling music drops out and leaves singer Neil Tennant to sing in a minor key with a thudding bass drum behind him. Two years later Depeche Mode would release "Enjoy the Silence" and I think that song owes a lot to the bridge of this one.
I now know where almost every Anime I've ever watched has gotten the inspiration for their closing credits song.
This is a really epic dance pop number. Church-like in tone, and disrespectful of the Church in its lyrics the song immediatly grabbed notice. Almost 25 years later, the fake storm sounds are a little humorous, but the horrible fake horns are the only thing that really need an update. The dance beat is pervasive but not overwhelming. You can actually hear the lyrics, the organ, the other synthesizer keyboards, and yes, the electronic horn section. The song sounds deep and rich, full of keyboard parts and orchestra hits and bass keyboard. Primary Pet Shop Boys keyboardist Chris Lowe had help on this song from Andy Richards, who did keyboard and programing work on many hit albums, working with acts like Frankie Goes to Hollywood, Donna Summer, Air Supply, Tina Turner and Def Leppard.
The coolest part of this song is right in the middle of it. A lot of the swirling music drops out and leaves singer Neil Tennant to sing in a minor key with a thudding bass drum behind him. Two years later Depeche Mode would release "Enjoy the Silence" and I think that song owes a lot to the bridge of this one.
Friday, March 9, 2012
"Everybody (Backstreet's Beack)"
Backstreet Boys - Everybody (Backstreet's Back)" (1997)
Where are they back from if I've never heard of them in the first place?
Unbeknownst to most Americans, Teen pop was a very big draw in Europe all during the mid 90s. Backstreet Boys and 'N Sync both released singles and albums in Europe that garnered them success. This song was written for the Backstreet Boys' second album, which is also only supposed to get released abroad. The song title and lyrics make since for a group dropping a loud danceable hit single on an audience that knew them as Euro pop lite dance makers and ballad singers. After being released in Europe during the summer of 1997, the track got some Canadian air play. This lead to eventually debuting on American stations in February of 1998 and finally getting released as a CD single in March of that year. In a very real way, this track lead the way for 'N Sync, and then Britney Spears, Christina Aguilera and the entire Teen Pop explosion of the early 2000s.
Written by Super star writer Max Martin and DJ Denniz PoP, they produced the song as well. Martin was responsible for a long string of hits for Backstreet Boys, Britney Spears, 'N Sync and others. He faded into obscurity for a few years then resurfaced as the writer of Kelly Clarkson's "Since U Been Gone" and has continued to write for her, as well as Pink, Katy Perry, and Usher. Denniz Pop worked with Martin during the early days combining their talents to make big teen pop hits, but died of cancer in 1998.
What can I say nice about this song? The did a lot with very little. Conservation of energy was in full effect. The lyrics are simple and repetitive; The chorus is 15 words long but only uses 10 words. One of the phrases is used without change in the bridge. The music under the lyrics is catchy, but even more repetitive. If it wasn't for the breaks, where no one is "playing an instrument" I'm convinced you could have just left a four second loop of the bass going and no one would have noticed a difference. There are differences of course, there's a soft church organ sound that comes in,and sometimes the bass has an edgy fuzz effect added. Then there's the whole section where the bass drops out and the drums play along with tinkling bells. No one is singing either. It's a thirty second breakdown that features nothing. It's like they forget to buy a guitar solo, or a decent drum fill. The video doesn't even contain an amazing dance break during the thirty seconds, just the same cuts as before, the big group dance scene occurs after the break has ended. I just don't get it.
Where are they back from if I've never heard of them in the first place?
Unbeknownst to most Americans, Teen pop was a very big draw in Europe all during the mid 90s. Backstreet Boys and 'N Sync both released singles and albums in Europe that garnered them success. This song was written for the Backstreet Boys' second album, which is also only supposed to get released abroad. The song title and lyrics make since for a group dropping a loud danceable hit single on an audience that knew them as Euro pop lite dance makers and ballad singers. After being released in Europe during the summer of 1997, the track got some Canadian air play. This lead to eventually debuting on American stations in February of 1998 and finally getting released as a CD single in March of that year. In a very real way, this track lead the way for 'N Sync, and then Britney Spears, Christina Aguilera and the entire Teen Pop explosion of the early 2000s.
Written by Super star writer Max Martin and DJ Denniz PoP, they produced the song as well. Martin was responsible for a long string of hits for Backstreet Boys, Britney Spears, 'N Sync and others. He faded into obscurity for a few years then resurfaced as the writer of Kelly Clarkson's "Since U Been Gone" and has continued to write for her, as well as Pink, Katy Perry, and Usher. Denniz Pop worked with Martin during the early days combining their talents to make big teen pop hits, but died of cancer in 1998.
What can I say nice about this song? The did a lot with very little. Conservation of energy was in full effect. The lyrics are simple and repetitive; The chorus is 15 words long but only uses 10 words. One of the phrases is used without change in the bridge. The music under the lyrics is catchy, but even more repetitive. If it wasn't for the breaks, where no one is "playing an instrument" I'm convinced you could have just left a four second loop of the bass going and no one would have noticed a difference. There are differences of course, there's a soft church organ sound that comes in,and sometimes the bass has an edgy fuzz effect added. Then there's the whole section where the bass drops out and the drums play along with tinkling bells. No one is singing either. It's a thirty second breakdown that features nothing. It's like they forget to buy a guitar solo, or a decent drum fill. The video doesn't even contain an amazing dance break during the thirty seconds, just the same cuts as before, the big group dance scene occurs after the break has ended. I just don't get it.
Saturday, March 3, 2012
"You Spin Me Round (Like a Record)"
Dead or Alive - "You Spin Me Round (Like a Record)" (1984)
At the time that it reached number 1 in the U.K. it held the record for taking the longest time to get there.
This song has been covered, sampled, and dragged through the trailers and movies that need to "sound 80s" for so long it's hard to imagine but this actually sounded original when it came out. Lead singer Pete Burns got inevitable comparisons to Culture Club singer Boy George, and Frankie Goes to Hollywood and New Order were already dominating the charts with synthesizer driven danceable pop. But this had something different. I think it's Burns vocals, which are strong; both soaring and rough when they need to be, and he playfully flirts with the listener the entire song.
The rest of the track is standard 80s fair, but I should point out that a live drummer and bass player were on the track, as well as a keyboard player and various engineers adding those doodling electronic effects. The fact that the drums and bass are live, and don't stop is what gives the song its heart. All the little effects on the keyboard and otherwise make the song fun, but you need a real rhythm section to give a song a solid foundation. Not that I really think much of the song in general, other than the vocals, but at least there were instrumentalists involved and not just a guy sitting in front of a computer creating loops. Wow, I sound old and cranky. I thought the French and Tejano music would be enough to let me review an 80s tune, but I guess it's time to take a break from dance music again.
At the time that it reached number 1 in the U.K. it held the record for taking the longest time to get there.
This song has been covered, sampled, and dragged through the trailers and movies that need to "sound 80s" for so long it's hard to imagine but this actually sounded original when it came out. Lead singer Pete Burns got inevitable comparisons to Culture Club singer Boy George, and Frankie Goes to Hollywood and New Order were already dominating the charts with synthesizer driven danceable pop. But this had something different. I think it's Burns vocals, which are strong; both soaring and rough when they need to be, and he playfully flirts with the listener the entire song.
The rest of the track is standard 80s fair, but I should point out that a live drummer and bass player were on the track, as well as a keyboard player and various engineers adding those doodling electronic effects. The fact that the drums and bass are live, and don't stop is what gives the song its heart. All the little effects on the keyboard and otherwise make the song fun, but you need a real rhythm section to give a song a solid foundation. Not that I really think much of the song in general, other than the vocals, but at least there were instrumentalists involved and not just a guy sitting in front of a computer creating loops. Wow, I sound old and cranky. I thought the French and Tejano music would be enough to let me review an 80s tune, but I guess it's time to take a break from dance music again.
Thursday, January 26, 2012
"Spice Up Your Life"
Spice Girls - Spice Up Your Life (1997)
Well it's my favorite song of theirs. What of it?
It's dance pop. Pure and simple. Five girls from England, and a whole lot of production, do a Latin dance influenced anthem for the world. The group wrote and recorded their part in mere hours. They were filming a movie, dragging an MTV crew behind them, and had to have a record out the door as fast as possible. The stream-of-conscious writing that occurred gives us some hilarious lines: /We moonwalk the foxtrot, then polka the salsa/ is a favorite, also this gem: /Kung Fu fighting dancing queen/Tribal spaceman and all that's in between/. I don't know what that last one means, but it's catchy. Not good, but catchy. In a rare event, they were all in the booth together at the same time as well. Producer Richard Stannard usually had them record their vocals separate, but time was short so they all recorded the chorus together.
Musically the song is a never ending carnival dance number. Percussion including bongos, congas, steel drums, cabasa, vibraslap and police whistle make sure we know we are having fun. The piano part holds the song together. Six notes repeated in different keys are the main through line in the song. When the producers need a big sound, they just have all the girls sing. There's no horns or winds on the track that I can hear. I would have had some trumpets for sure, but alas...
Well it's my favorite song of theirs. What of it?
It's dance pop. Pure and simple. Five girls from England, and a whole lot of production, do a Latin dance influenced anthem for the world. The group wrote and recorded their part in mere hours. They were filming a movie, dragging an MTV crew behind them, and had to have a record out the door as fast as possible. The stream-of-conscious writing that occurred gives us some hilarious lines: /We moonwalk the foxtrot, then polka the salsa/ is a favorite, also this gem: /Kung Fu fighting dancing queen/Tribal spaceman and all that's in between/. I don't know what that last one means, but it's catchy. Not good, but catchy. In a rare event, they were all in the booth together at the same time as well. Producer Richard Stannard usually had them record their vocals separate, but time was short so they all recorded the chorus together.
Musically the song is a never ending carnival dance number. Percussion including bongos, congas, steel drums, cabasa, vibraslap and police whistle make sure we know we are having fun. The piano part holds the song together. Six notes repeated in different keys are the main through line in the song. When the producers need a big sound, they just have all the girls sing. There's no horns or winds on the track that I can hear. I would have had some trumpets for sure, but alas...
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