If you’re a music lover of a certain age, too young to remember when contemporary R&B wasn’t joined at the hips with rap, or didn’t come dressed up in a shimmering electro-pop sheen, we’ll forgive you for asking.
Now let the history lesson begin! Flashback to 1995, back when 21-year-old D’Angelo (born Michael Eugene Archer) was quickly becoming one of the hottest things in music. Released that year, his debut album, Brown Sugar, helped usher in the era of neo soul, and with Voodoo, his long-delayed 2000 sophomore album, for whose “Untitled (How Does It Feel)” video he bared both body and soul (literally!), he became an R&B rarity: a sex symbol capable of seducing both fans and critics with his bulging talent.
The only way was up, it seemed. But instead of ascending, D’Angelo dropped out. In some ways, it wasn’t so surprising. When I met D’Angelo in the mid-˜90s before a taping of MTV Unplugged, I was immediately disarmed by his cheerful but low-key and unassuming manner. He easily could have passed as any guy in the audience who’d wandered into the performer’s circle by mistake”and I mean that as a compliment. Modesty in a hunky package, D’Angelo, unlike the egocentric superstars crowding the charts today, clearly wasn’t in it for the star trip. Whether sitting at the piano or plucking a guitar, he was playing for love of the game, not the “F.A.M.E.” and “Fortune” (to quote the crass titles of the two most recent albums by Chris Brown, D’Angelo’s modern-day antithesis).
After taking five years to release his sophomore effort, D’Angelo spent the next decade well outside of the spotlight, only making occasional scattered appearances on leaked songs and other people’s records (including Mark Ronson’s Record Collection). And like so many musical geniuses before and after, he was plagued by demons, which may or may not have shaken up his turbulent romance with fellow singer Angie Stone, the mother of his teenage son Michael, and which definitely led to several legal scrapes, including a 2005 arrest for drunk driving and drug possession, and another in 2010 for soliciting a female undercover police officer for sex in New York City. (more…)
If there has been one unifying theme between all of our SoundTrax posts, we hope it is that every playlist is put together with careful thought and features music with a little more soul than your average radio hit. We’re firm believers that music should be an extension of your personality; quirky, syncopated and with a couple rough edges, which is what makes this week’s post so special for us. While there is no unifying genre for this playlist, every song is sung with emotion and style. Some feature the aesthetic of vibrant ’20s big bands, others are stuck in the sweaty gumbo swamps of Louisiana, but they all feature one unifying force; soul. Every artist understands just how much emotional power music can have, and they demonstrate their sheer prowess at manipulating these emotions in this week’s playlist.
Fitz & the Tantrums kick us off with an infectious neo soul/indie pop song crossover that would feel just as at home on your mom’s oldies station as it would on your iPod. Next up, Parov Stelar and co. are back with an upbeat, punchy, jazz-pop tune featuring intricate bass lines and playful horn riffs. The late Amy Winehouse slows things down with her sultry tone and impeccable restraint. OurStage newcomer Ernest Rose has a voice that would make any woman buckle as well as the songwriting chops to back it up. The Crystal Method and Martha Reeves revive R&B and the spirit of Detroit in their track with a modern, bass-blistering level of synth work”definitely the heaviest and most funky track on the list. A quick change of pace as Sharon Jones & the Dap Kings fill your ears with Rhodes keys, shuffled jazz rhythms and gospel choirs. Mark Ronson and Erykah Badu team up on a tune soaked in southern whiskey and filled with New Orleans jubilation. And closing out this week, one of my new favorite OurStage acts, Smokey Robotic provide a slow, dubstep-influenced tune that defies classification, so let’s just chalk it up to awesome music.
As the summer festival series approaches, and the EDM movement shows no signs of letting up; producers and DJs are in full swing pumping out their biggest tracks of the year in anticipation of the neon-clad, twenty-something crowds that will descend on fields and desert landscapes all across the US during the summer months. The rave scene in America is slowly morphing out of the awkward teenage years of the big beat ’90s and is beginning to solidify itself as a vibrant, respected aspect of the music industry. With this explosion of popularity, the production of these events has skyrocketed, which means no more illegal warehouses or abandoned airplane hangers. Now they’re out in the open for everyone to see. Featuring extensive light shows, interactive art exhibits, go-go dancers and even carnival rides, raves have become a multi-sensory experience like never before. And so, EDM artists have been forced to up their game in order to hold the attention of our instant-gratification-oriented generation.
The rolling loops of Fatboy Slim, sliced with clever recognizable a cappella’s are no longer enough. The music has morphed, along with the culture, into something that can stand on it’s own. No longer are dance tracks just loop-based building blocks for a DJ to create a set out of”these are legitimate songs in their own right. For this week at SoundTrax, I’ve put together a list of tracks that I think are bound to make huge waves at this season’s summer festivals. Porter Robinson and Madeon kick us off with my two personal favorite tracks from the past month. TheFatRat and Lenno infuse some disco sensibilities into the middle portion, while David Guetta proves that you can be the king of pop-house and still make some respectable dance tunes. Finally, U Tern‘s remix of Mark Ronson provides you with a jittery, down tempo tune to help release all the tension.
When I first heard the news about Amy Winehouse‘s passing (on Twitter, naturally), the comment that stood out most was one by Winehouse herself in an interview that the singer had done a few years ago with my former Entertainment Weekly colleague Chris Willman. In it, Winehouse jokingly made a prediction that, in hindsight, isn’t very funny at all.
In 10 years, she said, “I’ll be dead in a ditch, on fire.” Sadly, for her many fans who had rode shotgun as she drove down the path of self-destruction, the “dead” part of her premonition was no joking matter. It was a distinct possibility, if not a certain probability, and one that came to pass on July 23, when Winehouse, who had infamously battled drug and alcohol addiction and had been in and out of rehab in recent years, was found dead in her London home.
The first thing I thought, after spending a moment to grieve for her family and loved ones, was that the world would be cheated out of so much great music. With Back to Black, her 2006 breakthrough album, Winehouse did so much more than show great promise. Hers already was a talent in full bloom. Back to Black was destined to go down as one of the all-time masterpieces. I was living in Buenos Aires at the time of its release, and I knew people who didn’t speak a word of English who could recite every line from every song.
It’s better to burn out than fade away. Live fast, die young. Leave a beautiful corpse. We’ve also all heard the one about how dying (especially before one’s time) is the best career move. I don’t know how beautiful Winehouse’s corpse will be, but she is guaranteed a spot in the pantheon of musical greats who left the party too soon.
Chillingly, she’ll be right beside the musical icons that she seemed to want to emulate most: Janis Joplin, a blue-eyed soulful precursor to whom she was often compared; Jimi Hendrix; Jim Morrison; and Kurt Cobain, all of whom died when they were the same age as Winehouse. If ever there were an unlucky number, it would have to be 27.
Unlike the legends who preceded Winehouse to an early grave and left behind so much incredible, indelible music, Winehouse bequeathed us with relatively few musical gifts. There are her two albums, 2003’s Frank and Back to Black, as well as a handful of one-off guest appearances on other people’s songs (Mark Ronson, Quincy Jones, and Tony Bennett, whose Duets II album in September will feature Winehouse). Sadly, her final impression will be a June concert in Belgrade, Serbia in which the apparently bombed singer stumbled and slurred her way through a few songs before being booed off the stage.
She had reportedly been working on new music for years, and at one point, was said to be on the verge of working with Roots drummer ?uestlove and producer/performer Raphael Saadiq on a project that had been delayed because of Winehouse’s trouble securing a U.S. travel visa due to her 2007 drug arrest for marijuana possession in Norway. So from here to eternity, all we’ll have to remember Winehouse by will be masterpieces of melancholy like “Love Is a Losing Game” and “Tears Dry on Their Own.” We’ll sing along, we’ll cry, we’ll look for clues to what was going on inside her troubled mind, to figure out why she was such a lost soul.
For you I was a flame
Love is a losing game
Five story fire as you came
Love is a losing game
From this day forth, Winehouse’s world-weary look of love will make Adele’s 21 sound like feel-good music. Speaking of Adele, Winehouse should have been where the “Rolling in the Deep” singer is now, reaping continued financial and critical benefits after a first rush of success. Now who’s going to fill her f**k me pumps (to quote the title of one of her early songs)?
Surprisingly, for all of her Grammys, accolades and albums sold, Winehouse only had one single resembling a hit in the U.S., “Rehab,” which went to No. 10 on Billboard’s Hot 100. I’ll never again be able to listen to the song in quite the same way, as a statement of bad-ass defiance. Now it will just sound like the words of a sad, desperate woman in denial and on the brink of collapse. If only she’d taken their advice.
The regal reputation of London-born, New York-bred producer/DJ/musician Mark Ronson is based in large part on his track record for producing breakthrough albums by some of Britain’s biggest young pop stars over the last several years, including Amy Winehouse, Lily Allen, and Adele. With that kind of résumé, Ronson probably wouldn’t have been too many people’s first pick to attempt a revival of Duran Duran‘s career by overseeing the 1980s icons’ thirteenth studio album. And yet, his is the name you’ll find credited with just that when All You Need Is Now is unveiled.
The original Duran Duran lineup has been back in business since the 2000 release Pop Trash, but their last effort, 2007’s Red Carpet Massacre, didn’t exactly set the world on fire, and in the aftermath of its poor chart and sales performance, the band found themselves outside of major-label land for the first time in their three-decade career. Clearly, the latter album’s follow-up had to be a make-or-break proposition. Enter unlikely savior Ronson, who”as Duran singer Simon LeBon recently revealed on British television, was a fan with a plan. You need somebody with a vision, and Mark’s a fan, explained LeBon. He had a very clear idea of what he wanted to do with this album. He said he felt that we went wrong after [1982 smash] Rio. We had to do a lot of backtracking, added LeBon jokingly. He said ˜I want to make the follow-up album to Rio that should have been made. He was very clear about that, and had a practical way of making it happen.
According to LeBon, the unabashedly ambitious Ronson facilitated this admittedly tall order in part by bringing the band face to face with what he saw as their audience’s expectations. Had I suggested singing a line a certain way, says LeBon, I might have felt a bit self-conscious about it. I might have felt it was a bit retro, a bit old-school. But Mark said ˜No, that’s what people want to hear from you!’ The results of the collaboration must have lived up to even Ronson’s exacting standards; after his labors were completed, he talked the project up, saying I’m a huge Duran Duran fan, and it’s one of my favorite Duran Duran records of all time, seriously. And I’m not just saying that because I worked on it.
In fact, the fanboy tendencies of the superstar producer”who was seven years old when Rio was released”began revealing themselves pretty early on in the process. Ronson, who hosts a weekly online radio show at New York’s EastVillageRadio.com, couldn’t resist sharing his work with the world, and started sneaking snippets of the album’s demos into his radio shows over a year ago, with the air of a naughty schoolboy, remarking at the time They can’t fire me, I’ve got all the files at my house. These are the lost tapes that’ll come out after I die, and they’ll surface on whocares.com. All You Need Is Now is set for a US release today as an iTunes-exclusive digital download, with the physical CD and LP scheduled for February 2011 (probably non-coincidentally, the thirtieth birthday of Duran Duran’s debut album). More recently, Ronson has been giving some of the completed tracks their world premiere on his show, Authentic Sh*t, as well as bringing the band themselves into the studio. And judging from the sneak previews of the uptempo, angular, New Wave-tinged Blame The Machine, the funky-but-melodic dance-pop tune Runway Runaway, the percolating, undeniably ˜80s-flavored Being Followed and the more mid-tempo, anthemic title track, Duran Duran may be ready to revisit the sonic realm of Rio after all.
- All You Need Is Now
- Blame the Machines
- Being Followed
- Leave A Light On
- Girl Panic
- The Man Who Stole A Leopard
- Runway Runaway
- Before the Rain
Bonus tracks [LP/CD]
- Other People’s Lives
- King of Nowhere
By Jim Allen
Jim Allen has contributed to a wide range of print and online outlets including RollingStone.com, MOJO, Village Voice, Uncut, VH1.com, iTunes, All Music Guide, CMT.com, The Advocate, Prefix, Blurt and many more.