Opinion Pieces
The Man's Jams Opinion Piece !!
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Outsiders that found their way into pop
By: Stanley Clark
Released: 12-3-17
Everyone doesn’t have what it takes to be a pop star, in fact, many artists struggle to ever make it to the ranks of true pop fame. Other artists, however, willfully reject its allure, and enjoy their fan base from the outskirts of the inner circle. What amazes me, and what this opinion piece is about, is when those indie artist, or just out of the ordinary performers, find their way into pop, and flourish within it. This paradox deserves some explaining. How does one do it? What are some common threads amongst artist who do cross over? Is the transition always intentional? Well, let’s find out.
One common action amongst artist that crossover into pop is enlisting a famous pop musician. This can take a few forms. Some artists take a risky leap by singing a duet with a well known pop artist. This risks an image of ‘selling out’ by an artist’s base and can over extend them to an unwelcoming new group of listeners. However, when it does go right, the non-pop artist often times gets spring boarded into a new level of exposure that will make his/her next move that much easier. Kenny Rogers secured his reputations as a pop music star with the #1 hit ‘Islands in the stream’ with the immensely talented and adored Dolly Parton. The Weeknd paired up with several pop artists to gain the respect and attention he needed in the wake of his break through record, ‘Beauty Behind the Madness. These songs include ‘Love me harder’ with Ariana Grande and ‘Elastic Heart’ with the enigmatic Sia. Duets have proven to be a very obvious yet effective and fun way for artist to showcase their talent to a new pool of anxious fans of pop music.
An easier, and less cooperative way to win the hearts of pop music fans is to play them something they’ve already heard before. Cover songs offer artists the opportunity to prove their ability. When done right, a cover can be championed over the original. That sort of high praise was what the Weeknd received after dropping the nocturnal version of Michael Jackson’s ‘Dirty Diana’. Darius Ruckers even received a Grammy for his spectacular cover of ‘Wagon Wheel’. Both of these artists widened their audience when they added their style to a famous song.
Aside from style an artist’s signature song-writing can capture pop fans ears as well. Aforementioned Dolly Parton is widely respected for her intimate and romantic lyricism – a talent that allowed her to navigate effortlessly between country and pop. In a more modern example, Taylor Swift has been at the zenith of pop stardom for nearly a decade now due to her knack for melody and song writing expertise. On top of their songwriting prowess, both country cross over legends complemented their lyrics with a sweet girl-next-door image that attracted the masses.
When we view pop artist in today’s time I think it’s best we don’t put them all in the same box. Some artists have entered into the scene as pop artist, and have steadily worked their way up to make hot 100 smashes. Others, on the other hand, fixed their way inside, and the unique styles and talents they bring to the pop realm should be revered as a gift brought to the largely saturated genre. Even if some cross over artist compromised their original spark to gain more fans, their innate sonic inclinations make pop all the more exciting and dynamic. Furthermore, pop music has no distinct sound because the genre is purely the summation of what most people like, which can take many forms, and has, over the decades. As long as artist are willing to be fearless (Taylor Swift pun intended) and push the genre and music forward, pop will continue to grow and welcome artist from all corners of the indie spectrum.
References:
By: Stanley Clark
Released: 12-3-17
Everyone doesn’t have what it takes to be a pop star, in fact, many artists struggle to ever make it to the ranks of true pop fame. Other artists, however, willfully reject its allure, and enjoy their fan base from the outskirts of the inner circle. What amazes me, and what this opinion piece is about, is when those indie artist, or just out of the ordinary performers, find their way into pop, and flourish within it. This paradox deserves some explaining. How does one do it? What are some common threads amongst artist who do cross over? Is the transition always intentional? Well, let’s find out.
One common action amongst artist that crossover into pop is enlisting a famous pop musician. This can take a few forms. Some artists take a risky leap by singing a duet with a well known pop artist. This risks an image of ‘selling out’ by an artist’s base and can over extend them to an unwelcoming new group of listeners. However, when it does go right, the non-pop artist often times gets spring boarded into a new level of exposure that will make his/her next move that much easier. Kenny Rogers secured his reputations as a pop music star with the #1 hit ‘Islands in the stream’ with the immensely talented and adored Dolly Parton. The Weeknd paired up with several pop artists to gain the respect and attention he needed in the wake of his break through record, ‘Beauty Behind the Madness. These songs include ‘Love me harder’ with Ariana Grande and ‘Elastic Heart’ with the enigmatic Sia. Duets have proven to be a very obvious yet effective and fun way for artist to showcase their talent to a new pool of anxious fans of pop music.
An easier, and less cooperative way to win the hearts of pop music fans is to play them something they’ve already heard before. Cover songs offer artists the opportunity to prove their ability. When done right, a cover can be championed over the original. That sort of high praise was what the Weeknd received after dropping the nocturnal version of Michael Jackson’s ‘Dirty Diana’. Darius Ruckers even received a Grammy for his spectacular cover of ‘Wagon Wheel’. Both of these artists widened their audience when they added their style to a famous song.
Aside from style an artist’s signature song-writing can capture pop fans ears as well. Aforementioned Dolly Parton is widely respected for her intimate and romantic lyricism – a talent that allowed her to navigate effortlessly between country and pop. In a more modern example, Taylor Swift has been at the zenith of pop stardom for nearly a decade now due to her knack for melody and song writing expertise. On top of their songwriting prowess, both country cross over legends complemented their lyrics with a sweet girl-next-door image that attracted the masses.
When we view pop artist in today’s time I think it’s best we don’t put them all in the same box. Some artists have entered into the scene as pop artist, and have steadily worked their way up to make hot 100 smashes. Others, on the other hand, fixed their way inside, and the unique styles and talents they bring to the pop realm should be revered as a gift brought to the largely saturated genre. Even if some cross over artist compromised their original spark to gain more fans, their innate sonic inclinations make pop all the more exciting and dynamic. Furthermore, pop music has no distinct sound because the genre is purely the summation of what most people like, which can take many forms, and has, over the decades. As long as artist are willing to be fearless (Taylor Swift pun intended) and push the genre and music forward, pop will continue to grow and welcome artist from all corners of the indie spectrum.
References:
- https://www.nytimes.com/2017/10/11/arts/music/st-vincent-masseduction-review.html
- http://www.dallasobserver.com/music/country-musics-10-biggest-pop-crossover-successes-7053935
- http://www.rollingstone.com/music/news/10-artists-who-switched-genres-20130521
- http://www.nme.com/features/what-the-weeknd-is-made-of-1860541
Festivals: A Joyous Celebration For Fans and Musicians Alike.
By Stanley Clark
Release Date: 6/18/2018
What’s not to love about festivals. The mega-concerts unite fans from all walks of life and tastes to scream and dance in the same space. Whatever problems you have are suddenly washed away by the magical waves of sonic bliss.
Everything happens faster than the mind can keep up at a festival. Between the girl next to you losing her phone, the shameless teens throwing up behind the tree on the side of the stage, and a group of friends posing for their ever-updating Instagram accounts there’s a lot to see and be aware of. The most courageous among festival goers attends multiple every festival season, which typically starts in late spring to early fall, permeating fields and venues all throughout the summer. They’re an easy way to explore the world of camping with close friends, and making memories to laugh over for decades. Taking the extra time to dress up for festivals is another life-affirming aspect of the shows that people spend lots of time and money on. Whether its glitter or the crowns or the braided hair sharing grand spaces with thousands of young people who’re being themselves is so nourishing and rich the experience is hard to pass off.
Musicians have a lot to benefit from performing as well, sharing new music with fans, testing out lines and arrangements with a wide spectrum of listeners. These shows can also boost their public profile, and with the right set, gain them some new long-term fans. Capitalizing off of a great year can be an enticing incentive as well, which is a benefit of attending the Pitchfork Music Festival in Chicago, whose focus on critically acclaimed artists over the years shares a new type of appreciation from your typical top 40 hit-makers. Artist’s do like to sell records, that’s a given, but to get critical acclaim and invitations to shows for making a project that’s concise and genre pushing is dually exciting and worth wild.
Festivals are staples in the music world, from the standout performances at Coachella to the game-changing milestone moments at Glastonbury and all the cult classics in between (SXSW, NOS Alive, Bonnaroo etc.). Region after region has their shows that bring together their people and parades the unique culture that defines them. Annual festivals can reaffirm community pride, boost local revenue, and glue long-lasting ties that give people identity and a sense of belonging. The unlimited benefits of festivals are not only seamlessly enjoyable but beneficial and a net-positive for businesses. So, why not help out a merchant or donor as well while you’re having fun.
So if you have not, go to a festival this summer! Any counts, start small if you have to, and try to find some of your favorite artists. I’ll see you guys at Made in America ;)
Resources:
1) http://www.peppermintbars.co.uk/top-10-reasons-for-going-to-a-music-festival/
2) https://www.marketplace.org/2017/06/16/economy/brought-you/how-summer-festivals-boost-town-economies-and-foster-community-pride
3) http://www.cnn.com/travel/article/best-summer-festivals-2017/index.html
By Stanley Clark
Release Date: 6/18/2018
What’s not to love about festivals. The mega-concerts unite fans from all walks of life and tastes to scream and dance in the same space. Whatever problems you have are suddenly washed away by the magical waves of sonic bliss.
Everything happens faster than the mind can keep up at a festival. Between the girl next to you losing her phone, the shameless teens throwing up behind the tree on the side of the stage, and a group of friends posing for their ever-updating Instagram accounts there’s a lot to see and be aware of. The most courageous among festival goers attends multiple every festival season, which typically starts in late spring to early fall, permeating fields and venues all throughout the summer. They’re an easy way to explore the world of camping with close friends, and making memories to laugh over for decades. Taking the extra time to dress up for festivals is another life-affirming aspect of the shows that people spend lots of time and money on. Whether its glitter or the crowns or the braided hair sharing grand spaces with thousands of young people who’re being themselves is so nourishing and rich the experience is hard to pass off.
Musicians have a lot to benefit from performing as well, sharing new music with fans, testing out lines and arrangements with a wide spectrum of listeners. These shows can also boost their public profile, and with the right set, gain them some new long-term fans. Capitalizing off of a great year can be an enticing incentive as well, which is a benefit of attending the Pitchfork Music Festival in Chicago, whose focus on critically acclaimed artists over the years shares a new type of appreciation from your typical top 40 hit-makers. Artist’s do like to sell records, that’s a given, but to get critical acclaim and invitations to shows for making a project that’s concise and genre pushing is dually exciting and worth wild.
Festivals are staples in the music world, from the standout performances at Coachella to the game-changing milestone moments at Glastonbury and all the cult classics in between (SXSW, NOS Alive, Bonnaroo etc.). Region after region has their shows that bring together their people and parades the unique culture that defines them. Annual festivals can reaffirm community pride, boost local revenue, and glue long-lasting ties that give people identity and a sense of belonging. The unlimited benefits of festivals are not only seamlessly enjoyable but beneficial and a net-positive for businesses. So, why not help out a merchant or donor as well while you’re having fun.
So if you have not, go to a festival this summer! Any counts, start small if you have to, and try to find some of your favorite artists. I’ll see you guys at Made in America ;)
Resources:
1) http://www.peppermintbars.co.uk/top-10-reasons-for-going-to-a-music-festival/
2) https://www.marketplace.org/2017/06/16/economy/brought-you/how-summer-festivals-boost-town-economies-and-foster-community-pride
3) http://www.cnn.com/travel/article/best-summer-festivals-2017/index.html
17 Great Albums that Have Graced Our Ears the First Half of 2017
By: Stanley Clark
Released: 6/11/17
Deliberately, I've reviewed and correspondingly listened to less albums than usual this year. However, this does not substantially lessen my awareness of what quality music has come out of the first half of 2017.
Thus far this year has made marks in a field of genres, with memorable and noteworthy projects by an unusual lot. Your typical top 40 hit-makers have been present, and are selling an overwhelming amount of records expectedly, but the critical acclaim has been arriving from the fringe.
Here at the The Man’s Jams we will share a short few sentences describing our take on 17 standout projects that have been a part of our sonic experience this year. ENJOY!
By: Stanley Clark
Released: 6/11/17
Deliberately, I've reviewed and correspondingly listened to less albums than usual this year. However, this does not substantially lessen my awareness of what quality music has come out of the first half of 2017.
Thus far this year has made marks in a field of genres, with memorable and noteworthy projects by an unusual lot. Your typical top 40 hit-makers have been present, and are selling an overwhelming amount of records expectedly, but the critical acclaim has been arriving from the fringe.
Here at the The Man’s Jams we will share a short few sentences describing our take on 17 standout projects that have been a part of our sonic experience this year. ENJOY!
- Nothing Feels Natural – Priests: Figuring out how to operate in the outlandish quotidian news world most people experience these days can bring anyone to shambles. Priests responsibly challenges this new normal with infectious punk rock.
- Process – Sampha: As a breathtakingly honest romantic, Sampha always seems to be on the bad side of a break up, if there’s ever any other side. There’s little to celebrate about on Process, but what the British electro-soul artist does better than most is present the healing process of the heart. With complex emotions bouncing off one another Sampha makes it feel okay to hurt.
- Godfather – Wiley: The renowned Godfather of the grime sound has brought to the American mainstream an authentic and ferocious detail of his impressive come-up and notoriety in the newly universal hip-hop subgenre.
- DROGAS Light - Lupe Fiasco: Despite being the ‘light’ version of whatever new project Lupe may or may not be releasing in the future, there’s a lot to appreciate here. Lupe’s reoccurring friends have hoisted him up into the high chair of conscious rap that is far less preachy and graciously welcomed.
- The Chief – Jidenna: A strikingly topically album tracing the roots of his heritage on his father’s side to a tribe in Africa. Filled with a colorful lot of grand pop hits and nuanced world beats.
- Salt – Shy Girls: Vibes fit for the comforts of the covers. Pleasantly layered in soft synths and subtle sensuality, there’s a night of forlorn memories encased in Salt.
- What Now – Sylvan Esso: Courageously extending their minimalistic folk pop to the outer banks of pop’s most daunting ascetics, What Now captures the duo at their most adventurous.
- More Life – Drake: A universal hip-hop playlist for the world to enjoy together. The stars are the limit for the omnipresent ‘6 God’.
- Alice Jemima – Alice Jemima: The U.K. has birthed yet another lovely young songstress. The self-titled debut delicately presents a form of dream pop that’s a more endearing blend of Lana’s raunchiest appeal and Norah Jones’ good girl charm.
- Preservation – Nadia Reid: Contemporary alternative rock has never sounded so crisp and mature. Nadia makes the complications of love sophisticated and highlights the loneliness of single life with a pragmatic light.
- Uyai – Ibibio Sound Machine: A rainbow of eclectic drums and absorbing rhythms to the foreground of an international band. This unbeknownst standout is expected to make many coveted year-end lists.
- UKG – TQD: Ready to rave? Give your DJ this album and let the party take control of itself.
- DAMN. – Kendrick Lamar: If this stellar artist could continue making these hyper conscious meticulous projects then I’m all here for it.
- Season High – Little Dragon: Can’t we all have at least one day a week where we can go to a lounge and smoke some hooka unjudged? That’s the type of life this album conveys.
- Canyons of my Mind – Andrew Combs: A steady yet miraculous sonic journey is voluntarily taken on this great southern cut. Andrew will woo you with his voice and tether you in your place with his refreshing take on the modern world and its endless issues.
- Harry Styles – Harry Styles: Heralded as the newest savior of rock the former 1Direction heart throb impresses critics with a debut that is slightly reliable throwback with enough ambition to stifle sceptics.
- The Days We Had – Day Wave: Sweet memories feel like life was inhabited on a cloud. That’s the type of dream-pop Day Wave succeeds at. A quality treat for those memorable late summer nights.
Guilty Pleasures: Why we have them and what they say about preferences
By: Stanley Clark
Released: 5/11/17
What is your guilty pleasure? Is it a smash hit by the Jonas brothers from your adolescence? Or a Spice Girl’s song your older sister would parade around the house when you were a toddler? Maybe those two examples are more personal than I’d like to admit, but the point is, guilty pleasures are songs we can all relate to, because, whether we want to admit it or not, they resonate with a part of us.
Now, let’s think about this, why is it CALLED a guilty pleasure? Should we be ashamed of a certain tune just because popular sentiment votes against it? I don’t believe that should be the case. For crying out loud, even SLASH from U2 likes Rihanna! and has come to terms that one of his guilty pleasures is ‘attractive young pop singers’ and goes to the extent of praising her ‘great voice’. Remembering a hook, some lyrics, or the whole arrangement of a song is something to take pride in, and if an artist is clever and talented enough to get you to connect to their song then there is, at a minimum, an ounce of worth in that song’s importance.
Maybe there’s something in Pop that inherently dial’s the human spirit, an innate trait in us that directs us to its quick melodic influences and short term pleasures. DJ and radio host, Rosenberg believes pop’s longevity and high sales has a lot to do with it not being ‘challenging to listen to’ and that ‘given its overall consonance, regular rhythm, and wide-sweeping lyrical content’ there is much less pressure to get into and out of the music. Today’s life of most Americans is jam packed with enough work and recreational activity that being able to alleviate some of those portions of the day with easy-to-listen-to brain-numbing music is a suppressant that is being utilized more and more.
To be honest, I believe guilty pleasures would be more accurately referred to as ‘personal pleasures’ since what makes you gravitate towards a particular song is a personal and organic chemistry that shouldn’t be quantified as bad taste to hide or keep secret of. Celebrate your guilty pleasures, don’t mock them, they’re part of what make you, you.
References:
1) http://www.nme.com/photos/50-top-guilty-pleasures-bands-and-writers-confess-1409620
2) https://www.forbes.com/forbes/welcome/?toURL=https://www.forbes.com/sites/michelecatalano/2012/12/18/in-defense-of-pop-music-and-guilty-
pleasures/&refURL=https://www.google.com/&referrer=https://www.google.com/
3) https://www.bustle.com/articles/63262-29-guilty-pleasure-pop-songs-you-absolutely-shouldnt-feel-guilty-about-loving-listen
By: Stanley Clark
Released: 5/11/17
What is your guilty pleasure? Is it a smash hit by the Jonas brothers from your adolescence? Or a Spice Girl’s song your older sister would parade around the house when you were a toddler? Maybe those two examples are more personal than I’d like to admit, but the point is, guilty pleasures are songs we can all relate to, because, whether we want to admit it or not, they resonate with a part of us.
Now, let’s think about this, why is it CALLED a guilty pleasure? Should we be ashamed of a certain tune just because popular sentiment votes against it? I don’t believe that should be the case. For crying out loud, even SLASH from U2 likes Rihanna! and has come to terms that one of his guilty pleasures is ‘attractive young pop singers’ and goes to the extent of praising her ‘great voice’. Remembering a hook, some lyrics, or the whole arrangement of a song is something to take pride in, and if an artist is clever and talented enough to get you to connect to their song then there is, at a minimum, an ounce of worth in that song’s importance.
Maybe there’s something in Pop that inherently dial’s the human spirit, an innate trait in us that directs us to its quick melodic influences and short term pleasures. DJ and radio host, Rosenberg believes pop’s longevity and high sales has a lot to do with it not being ‘challenging to listen to’ and that ‘given its overall consonance, regular rhythm, and wide-sweeping lyrical content’ there is much less pressure to get into and out of the music. Today’s life of most Americans is jam packed with enough work and recreational activity that being able to alleviate some of those portions of the day with easy-to-listen-to brain-numbing music is a suppressant that is being utilized more and more.
To be honest, I believe guilty pleasures would be more accurately referred to as ‘personal pleasures’ since what makes you gravitate towards a particular song is a personal and organic chemistry that shouldn’t be quantified as bad taste to hide or keep secret of. Celebrate your guilty pleasures, don’t mock them, they’re part of what make you, you.
References:
1) http://www.nme.com/photos/50-top-guilty-pleasures-bands-and-writers-confess-1409620
2) https://www.forbes.com/forbes/welcome/?toURL=https://www.forbes.com/sites/michelecatalano/2012/12/18/in-defense-of-pop-music-and-guilty-
pleasures/&refURL=https://www.google.com/&referrer=https://www.google.com/
3) https://www.bustle.com/articles/63262-29-guilty-pleasure-pop-songs-you-absolutely-shouldnt-feel-guilty-about-loving-listen
Myth or reality? The truth behind the Sophomore Slump
By: Stanley Clark
Release date: 2/14/17
The sophomore slump theory is the dark cloud hovering over a new artist. Whether this theory is true and has legitimate industry trends or is merely just a theory is up to debate. What we at the The Mans Jams finds most important is unearthing the realistic pressures artist have, and if the industry’s paranoia over the sophomore slump is warranted or not.
So, does the sophomore slump really exist? If we’re going by the numbers, yes, the argument can be made that artist who debut well have a tendency on average to drop in album quality the second time around. From Rolling Stone Magazine’s 100 best debut albums list about 66.5% of sophomore albums had a drop in score (consequenceinsound.com). Now, of course this is taking statistics from the top tier of artists, but the trend should be understood to reflect well upon the rest of the music industry as well. If stellar performers like The Who, Guns & Roses, and Jay-Z all plummeted at least 10 points then it can be said that pressure to the highest degree can result in sufficient quality loss (Consequenceinsound.com). These artists represent the highest level of scrutiny and judgment one person can create music under. Creativity being something that should be displayed freely and openly with little pressure from the outside world and more inspiration and motivation from the inside conscious and mind. Therefore, since there’s resounding evidence that sophomore albums on average drop in critically acclaim then where is the concrete catalyst these artists are all widely facing?
Due to the freshness of the debut album, innately there is nothing to compare it to, and thus easier to appeal to audiences. The sophomore album is therefore inherently more critical. It will always be compared to the first project, and in instances where artists are trying to take creative new directions this can be harmful to their core fans and sound. Other times an artist will be seeking those deeper reaches of stardom and adopt a more mainstream sound, which may result in a steep gross in listeners, but leads to harsher critiques from critics (LA Weekly.com). Some have even gone as far as to say the sophomore slump exist more in the critic’s world than the artist world, who are mainly busy finding their new sound, and honing in on that crucial creative process. However, even if there is undeniable pressure from major labels, and an increase in fans, the music is ultimately given to the artist(s). In other words, why should we care, if the musician surely doesn’t?
Artist have spoken on the new phase of fame that a second album presents. Whether that be the more heartened way they refer to the fans, or claustrophobic feeling they exude in describing their record label or the marketing side of their musical distribution. There’s also the affects added notoriety and presence to the group dynamic bring. For example, Vivian Girls, whose sophomore project ‘Creation, the Pressure’ did worse than their debut complained that the fame took a tool on the group members relationship with one another, ultimately causing a number of mini group breakups that permanently did damage to the group (Larecord.com). Sometimes, when fame has given an artist all that they previously wanted the sophomore project can take a more existential and abstract form, as what happened to All Right Jaxx. Their second project ‘Rooty’ was highly anticipated and followed the party anthem collective debut album, ‘Rooted’ (Telegraph.com). Straying away from the party music label they hated, the group described their new album as ‘raw and soulful’, finding things to be happy about, especially things that don’t naturally fit (Telegraph.com). An artist’s need to contact the unfamiliar, make it a norm, and find comfort in it typically has a spiraling downward effect on fans, whose lives and hearts are caught in those initial sonic moments their debut created. Therefore, the conflict between what the fans want and are accustomed to and what the artist needs in order to feel authentic and creative culminate into a type of harrowing aura around a sophomore album. This creates an atmosphere where neither sides quiet knows what will come out of it, but are more than sure will come at a disagreement for where that direction is.
Now, there is hope among the rubble, and that being artist who’ve disproved the sophomore slump theory, and have come out with two consecutive projects that fans and critics love alike. What these projects mean for how fans receive music, what critics expect from artist, and how artist create albums may reside the anecdote and formula to the best format for the sophomore album. In order to find some answers we need to filter through some commonalities between successful artists. So, what do Madonna, Prince, and Duran Duran have in common? Well, not only did their sophomore albums sell better and produce career making hits, but their celebrity catapulted as a result of them (LAWeekly.com). Sophomore albums that bring artist deeper into stardom generate fanfare, a more accessible sound, and a finer textured project, likable by individuals from a plethora of different demographic and genre tastes. A highly political atmosphere that propelled pointed musical voices and a whole new genre of music (Hip-Hop) showcased two groups, the Beastie Boys and Public Enemy who continued to make objectively superior music their second time around (LAWeekly.com). The trend there? One could conclude that the adolescent stage of the practices of that genre garnered the groups enough space and creativity to push their sonic boundaries further without complaint or caution from fans and critics alike.
When an artist is coming upon the creative process that becomes their second full length project, surely their first thoughts aren’t ‘I hope I don’t suffer from the sophomore slump’. There is surely something more complex going on. The combined pressure from record labels, fans, and fellow musicians can provide toxic additions to the creative mind and its execution. Decisions made can be skewed, and although most artist make music because they want to be heard, as we’ve seen in our research, it’s the ones that go for it, and reach that next stage of stardom that tend to succeed in creating a dominant second album. The ability to experiment is also an attractive idea that unfortunately works more against the artist than for them, besides the rare occasions where the music is a new genre or subset genre (For example, Erykah Badu’s and D’Angelo had two stellar albums respectively in the newest form of popularized soul, called Neo Soul). Even without the theory it would be clear to understand why it’s so difficult to do anything again for a second time just as good or better than the first time. This sophomore slump theory applies also to education, movies, and books. Riddling us all with the hardened pressure to remain focused and diligent, taking what worked before and allowing our own creativity and mind to transcend whatever we’ve done prior and to build something interesting, new and capturing on top of it. The sophomore slump has taught us all how to strive to be better, despite the odds.
References
By: Stanley Clark
Release date: 2/14/17
The sophomore slump theory is the dark cloud hovering over a new artist. Whether this theory is true and has legitimate industry trends or is merely just a theory is up to debate. What we at the The Mans Jams finds most important is unearthing the realistic pressures artist have, and if the industry’s paranoia over the sophomore slump is warranted or not.
So, does the sophomore slump really exist? If we’re going by the numbers, yes, the argument can be made that artist who debut well have a tendency on average to drop in album quality the second time around. From Rolling Stone Magazine’s 100 best debut albums list about 66.5% of sophomore albums had a drop in score (consequenceinsound.com). Now, of course this is taking statistics from the top tier of artists, but the trend should be understood to reflect well upon the rest of the music industry as well. If stellar performers like The Who, Guns & Roses, and Jay-Z all plummeted at least 10 points then it can be said that pressure to the highest degree can result in sufficient quality loss (Consequenceinsound.com). These artists represent the highest level of scrutiny and judgment one person can create music under. Creativity being something that should be displayed freely and openly with little pressure from the outside world and more inspiration and motivation from the inside conscious and mind. Therefore, since there’s resounding evidence that sophomore albums on average drop in critically acclaim then where is the concrete catalyst these artists are all widely facing?
Due to the freshness of the debut album, innately there is nothing to compare it to, and thus easier to appeal to audiences. The sophomore album is therefore inherently more critical. It will always be compared to the first project, and in instances where artists are trying to take creative new directions this can be harmful to their core fans and sound. Other times an artist will be seeking those deeper reaches of stardom and adopt a more mainstream sound, which may result in a steep gross in listeners, but leads to harsher critiques from critics (LA Weekly.com). Some have even gone as far as to say the sophomore slump exist more in the critic’s world than the artist world, who are mainly busy finding their new sound, and honing in on that crucial creative process. However, even if there is undeniable pressure from major labels, and an increase in fans, the music is ultimately given to the artist(s). In other words, why should we care, if the musician surely doesn’t?
Artist have spoken on the new phase of fame that a second album presents. Whether that be the more heartened way they refer to the fans, or claustrophobic feeling they exude in describing their record label or the marketing side of their musical distribution. There’s also the affects added notoriety and presence to the group dynamic bring. For example, Vivian Girls, whose sophomore project ‘Creation, the Pressure’ did worse than their debut complained that the fame took a tool on the group members relationship with one another, ultimately causing a number of mini group breakups that permanently did damage to the group (Larecord.com). Sometimes, when fame has given an artist all that they previously wanted the sophomore project can take a more existential and abstract form, as what happened to All Right Jaxx. Their second project ‘Rooty’ was highly anticipated and followed the party anthem collective debut album, ‘Rooted’ (Telegraph.com). Straying away from the party music label they hated, the group described their new album as ‘raw and soulful’, finding things to be happy about, especially things that don’t naturally fit (Telegraph.com). An artist’s need to contact the unfamiliar, make it a norm, and find comfort in it typically has a spiraling downward effect on fans, whose lives and hearts are caught in those initial sonic moments their debut created. Therefore, the conflict between what the fans want and are accustomed to and what the artist needs in order to feel authentic and creative culminate into a type of harrowing aura around a sophomore album. This creates an atmosphere where neither sides quiet knows what will come out of it, but are more than sure will come at a disagreement for where that direction is.
Now, there is hope among the rubble, and that being artist who’ve disproved the sophomore slump theory, and have come out with two consecutive projects that fans and critics love alike. What these projects mean for how fans receive music, what critics expect from artist, and how artist create albums may reside the anecdote and formula to the best format for the sophomore album. In order to find some answers we need to filter through some commonalities between successful artists. So, what do Madonna, Prince, and Duran Duran have in common? Well, not only did their sophomore albums sell better and produce career making hits, but their celebrity catapulted as a result of them (LAWeekly.com). Sophomore albums that bring artist deeper into stardom generate fanfare, a more accessible sound, and a finer textured project, likable by individuals from a plethora of different demographic and genre tastes. A highly political atmosphere that propelled pointed musical voices and a whole new genre of music (Hip-Hop) showcased two groups, the Beastie Boys and Public Enemy who continued to make objectively superior music their second time around (LAWeekly.com). The trend there? One could conclude that the adolescent stage of the practices of that genre garnered the groups enough space and creativity to push their sonic boundaries further without complaint or caution from fans and critics alike.
When an artist is coming upon the creative process that becomes their second full length project, surely their first thoughts aren’t ‘I hope I don’t suffer from the sophomore slump’. There is surely something more complex going on. The combined pressure from record labels, fans, and fellow musicians can provide toxic additions to the creative mind and its execution. Decisions made can be skewed, and although most artist make music because they want to be heard, as we’ve seen in our research, it’s the ones that go for it, and reach that next stage of stardom that tend to succeed in creating a dominant second album. The ability to experiment is also an attractive idea that unfortunately works more against the artist than for them, besides the rare occasions where the music is a new genre or subset genre (For example, Erykah Badu’s and D’Angelo had two stellar albums respectively in the newest form of popularized soul, called Neo Soul). Even without the theory it would be clear to understand why it’s so difficult to do anything again for a second time just as good or better than the first time. This sophomore slump theory applies also to education, movies, and books. Riddling us all with the hardened pressure to remain focused and diligent, taking what worked before and allowing our own creativity and mind to transcend whatever we’ve done prior and to build something interesting, new and capturing on top of it. The sophomore slump has taught us all how to strive to be better, despite the odds.
References
- http://www.telegraph.co.uk/culture/4724295/All-right-Jaxx.html
- http://larecord.com/interviews/2009/09/10/vivian-girls-people-are-brutal
- http://www.laweekly.com/music/10-overlooked-sophomore-albums-you-should-listen-to-again-6857478
- http://consequenceofsound.net/2015/02/proof-the-sophomore-album-slump-is-a-real-problem/
Independent Artists: Fearless Rule-Breakers or Future Sellouts?
By: Stanley Clark
Release date: 10/26/16
There is no better time than now to be a successful independent artist. With amazing gateways to the fans through sites like Bandcamp and Reverbnation musicians no longer have to depend on labels to reach a wide scope of listeners. A level of sovereignty over ownership and marketing rights has empowered artist like never before. The question that lies ahead is, what does this mean for record labels, streaming sites and the music industry at large?
Some of the biggest names in the industry today are independent artist. For instance, observe Frank Ocean, whose latest projects, ‘Endless’, and ‘Blond’, together completed his contractual obligations with Universal/Def Jam as well as gave the fans what they’ve been wanting for years.
This decision doubled Frank’s profit from the album, and got him an Apple Music exclusive release. However, the separation from Universal did find him in bad graces with their CEO, Lucian Grainge, who, following the two releases, banned all universal artist from having Apple Music exclusive release. Going against management in pursuit of greater creative power isn’t new to Frank. He started his claim to fame with a record deal and only having difficulty with his manager did he decide to drop his free mixtape ‘Nostalgia Ultra’ in order to release music without industry pressures. This decision helped him a lot in getting viewed as a legitimate force in R&B/Pop world as well as increased his circle of influential musician friends.
Some artist take even longer than Frank to sign to major labels, and gain the initial fan base and artistry through tours and merchandize. These artists include the likes of Mac Miller, Drake, and most recently, Chance the Rapper. What sets Chance away from the rest is that he is yet to sign to major label and has managed to mount a considerable presence in the music industry. His know-how to self-merchandize and avoid 360 contract schemes is a rare occurrence, but the influence of his experience and success will surely stimulate a new generation of artist to follow in his footsteps. It’s important to take note that most starting artist don’t have the information and capacity to merchandize their entire image and message across, nor the means or the time to tour extensively. Chance benefitted from help early on with an intelligent network of friends and families. This has put him in a position where he believes he doesn’t need to sign onto a major label, and credits his amazing run with dedicated fans who understand what he’s trying to do, and a long and demanding tour schedule. Other artist that appear to follow this formula, albeit in their own unique ways are Skepta, Tech N9ne, Mike Jenkins, Noname, and 21 Savage, to name a few. A new generation of artist are coming up without the burden of industry pressures while gaining the respect and exposure of signed artist. This time in history will bring with it a new role for labels to take, and an adjustment for fans and how to prioritize which artist to listen to.
In the past the label had the autonomy to distribute the music, decide when its coming out, and how the artist will speak about it through a series of test and marketing planners. This of course frustrated artists and their creative freedoms. As a result, top tier artist like Prince, Wilco, Nas, and Radiohead left their labels to either start their own or find a more understanding company that allows them to make music as the artist sees fit.
This diversion from signing onto labels too early is not only a smart long-term business plan but it’s step towards the democratization of music. Companies are slowly losing their ability to intrude on artist’s marketing decision and creative process. Furthermore, streaming services like Apple Music and Tidal have taken label’s place, to an extent, with large funds going into music videos (Hotline Bling was funded by Apple Music) tour show exclusives, and album releases. Having their hands in a variety of spaces within the marketing process of big name artist reveals how much streaming services are invested in artists in today music culture. The reason artist don’t mind this new lane of quasi -management is because streaming sites typically fund their projects after all the marketing planning is done. Afterwards, streaming services give the artist the benefit of releasing music directly on their site, most of the time through temporary exclusives (look at Views, TLOP, and Lemonade) which rounds up a remarkable amount of support and mania for the release date. Additionally, this release pattern has caused tension between competing streaming services. We’ve recently heard of the conflicts Kanye is having with making Watch The Throne 2 and the duet album he’s supposedly working on with Apple Music’s largest star, Drake. The unfortunate repercussions of having strong alliances to one site is being seen as competition and the enemy of the others, which in turn hurts the fans. Barring one artist because they released exclusively on one site leaves those subscribers, who rarely purchase more than one streaming site, without official CDQ quality musical experiences with that exclusive album. Some artist have bypassed this conflict with releases that aren’t on streaming services, ergo, Taylor Swift and Adele. This has it’s benefits of reaching more fans and listeners but is hard for most fans because, if you don’t already have fans, streaming services are a great way to become exposed to most of them.
The plight of the independent artist is long lasting, but I believe we are in the middle of a transition that will leave more artist on an equal playing field of notoriety and exposure for the widest consumption. It’s now as easy to listen to Chance’s Coloring Book, a free MIXTAPE as is it to listen to Adele’s 25, the best-selling album in over a decade, with only a left side swipe between the two. The fact that this happens should not be overlooked, and we should understand this moment in music consumption to only be the inception of something much better than what we’ve experienced before.
By: Stanley Clark
Release date: 10/26/16
There is no better time than now to be a successful independent artist. With amazing gateways to the fans through sites like Bandcamp and Reverbnation musicians no longer have to depend on labels to reach a wide scope of listeners. A level of sovereignty over ownership and marketing rights has empowered artist like never before. The question that lies ahead is, what does this mean for record labels, streaming sites and the music industry at large?
Some of the biggest names in the industry today are independent artist. For instance, observe Frank Ocean, whose latest projects, ‘Endless’, and ‘Blond’, together completed his contractual obligations with Universal/Def Jam as well as gave the fans what they’ve been wanting for years.
This decision doubled Frank’s profit from the album, and got him an Apple Music exclusive release. However, the separation from Universal did find him in bad graces with their CEO, Lucian Grainge, who, following the two releases, banned all universal artist from having Apple Music exclusive release. Going against management in pursuit of greater creative power isn’t new to Frank. He started his claim to fame with a record deal and only having difficulty with his manager did he decide to drop his free mixtape ‘Nostalgia Ultra’ in order to release music without industry pressures. This decision helped him a lot in getting viewed as a legitimate force in R&B/Pop world as well as increased his circle of influential musician friends.
Some artist take even longer than Frank to sign to major labels, and gain the initial fan base and artistry through tours and merchandize. These artists include the likes of Mac Miller, Drake, and most recently, Chance the Rapper. What sets Chance away from the rest is that he is yet to sign to major label and has managed to mount a considerable presence in the music industry. His know-how to self-merchandize and avoid 360 contract schemes is a rare occurrence, but the influence of his experience and success will surely stimulate a new generation of artist to follow in his footsteps. It’s important to take note that most starting artist don’t have the information and capacity to merchandize their entire image and message across, nor the means or the time to tour extensively. Chance benefitted from help early on with an intelligent network of friends and families. This has put him in a position where he believes he doesn’t need to sign onto a major label, and credits his amazing run with dedicated fans who understand what he’s trying to do, and a long and demanding tour schedule. Other artist that appear to follow this formula, albeit in their own unique ways are Skepta, Tech N9ne, Mike Jenkins, Noname, and 21 Savage, to name a few. A new generation of artist are coming up without the burden of industry pressures while gaining the respect and exposure of signed artist. This time in history will bring with it a new role for labels to take, and an adjustment for fans and how to prioritize which artist to listen to.
In the past the label had the autonomy to distribute the music, decide when its coming out, and how the artist will speak about it through a series of test and marketing planners. This of course frustrated artists and their creative freedoms. As a result, top tier artist like Prince, Wilco, Nas, and Radiohead left their labels to either start their own or find a more understanding company that allows them to make music as the artist sees fit.
This diversion from signing onto labels too early is not only a smart long-term business plan but it’s step towards the democratization of music. Companies are slowly losing their ability to intrude on artist’s marketing decision and creative process. Furthermore, streaming services like Apple Music and Tidal have taken label’s place, to an extent, with large funds going into music videos (Hotline Bling was funded by Apple Music) tour show exclusives, and album releases. Having their hands in a variety of spaces within the marketing process of big name artist reveals how much streaming services are invested in artists in today music culture. The reason artist don’t mind this new lane of quasi -management is because streaming sites typically fund their projects after all the marketing planning is done. Afterwards, streaming services give the artist the benefit of releasing music directly on their site, most of the time through temporary exclusives (look at Views, TLOP, and Lemonade) which rounds up a remarkable amount of support and mania for the release date. Additionally, this release pattern has caused tension between competing streaming services. We’ve recently heard of the conflicts Kanye is having with making Watch The Throne 2 and the duet album he’s supposedly working on with Apple Music’s largest star, Drake. The unfortunate repercussions of having strong alliances to one site is being seen as competition and the enemy of the others, which in turn hurts the fans. Barring one artist because they released exclusively on one site leaves those subscribers, who rarely purchase more than one streaming site, without official CDQ quality musical experiences with that exclusive album. Some artist have bypassed this conflict with releases that aren’t on streaming services, ergo, Taylor Swift and Adele. This has it’s benefits of reaching more fans and listeners but is hard for most fans because, if you don’t already have fans, streaming services are a great way to become exposed to most of them.
The plight of the independent artist is long lasting, but I believe we are in the middle of a transition that will leave more artist on an equal playing field of notoriety and exposure for the widest consumption. It’s now as easy to listen to Chance’s Coloring Book, a free MIXTAPE as is it to listen to Adele’s 25, the best-selling album in over a decade, with only a left side swipe between the two. The fact that this happens should not be overlooked, and we should understand this moment in music consumption to only be the inception of something much better than what we’ve experienced before.
The Art of Performing: Best live performers explained
By: Stanley Clark
Release: 8/31/16
Live performances aren’t easy, they’re a testament to an artist’s longevity, hard work, personal appeal and love for the fans. Extracting one’s feelings, thoughts, and beliefs on the world and personal interaction with it takes courage, and doing that in front of a group of friends let alone thousands of strangers is a resounding feet to accomplish. Those that excel at this are one of a kind, and the best of the best have mastered the craft. This article will break down some of music’s finest live performers in the past few decades, delving into their widespread appeal and through the lens of the performers as well as music aficionados alike. These artist will include the legendary Brooklyn Rapper, Jay-Z, The world wide phenomenon U2 but more specifically, their leader, Bono, New Jersey’s very own Bruce Springsteen and one of the most renowned and consistent live bands of the past 2 decades, Dave Matthews Band.
Rolling Stones Magazine crowned this artist as the greatest live performer of all time. This exceptional recognition is expected due to Bruce’s nearly super human levels of energy to each of his shows. He’s been a rock star since the mid-80’s and he still has one of the greatest tours out there. He doesn’t just perform by presenting the typical generic set list, there’s a reason he can maintain fans interest over all of these years. Instead, he asks for request from the audience and performs accordingly. A work ethic that strong a love for the fans that pure is something any artist aspires to and wishes they had. I mean, even the President of the United States calls him ‘The Boss’.
A band whose sound is built on melodic instrumentals and lyrically centered on sociopolitical issues/humanitarian concerns U2 has a very demanding view of world citizenship and artistic expression. Bono is the groups frontrunner, manifesting his experiences in a highly politically conscious Ireland in the 1960’s/1970’s into music that has inspired millions. They have ‘such a sense of duty to their public’ which reassures people’s faith in humanity. This love for the good in humankind translates very effectively across all demographics at live shows. As a result, some garner the Irish band as the greatest live band in history. They still hold the record for the highest grossing world tour, and have few that could ever eventually match them in widespread influence and appeal. May their reign remain superior.
This next band, whose rock folk fusion sound from the depths of Virginia has not only given them some of the loyalist fans in music but has driven them to develop most live albums out of any artist/group in music history. Dave Mathews Band is and will continue to be a must see live act for however many years that can bless us with their presence (Billboard). Dave has a joe blow look to him, and speaks with such broken vernacular that if it wasn’t already obscured by his south African accent its tangled up with a southern drawl that comes across as intelligently slow with serving spoon of southern charm. Bellowing love song and after song, their shows are a great site for a first date as well as a 20 year wedding anniversary. Fans that have stuck along with them since their early days in Virginia’s underground Jazz clubs knows this band has stayed true to their sound and have been rewarded as such.
Pigeons and Planes called this rapper’s shows a ‘fault-less, well-oiled performance’ that delivered to the liking of ‘an extremely satisfied audience’. This revered universal appeal of Jay-Z is years in the making, in a genre that is highly competitive and gives the spoils to those that are able to function most steadily in its harsh environment. Known in the Hip-Hop community as the ‘God of Rap’, ‘J Hova’, or in short, ‘Hov’, the Brooklyn MC started gaining traction and attention in a rap world ruled by music giants such as Tupac and B.I.G.. Personalities in these notable artist that were steel plate hard to crack and egos large enough to fill up the 40-50 thousand size stadiums that Jay can consistently sell out. These music fans don’t just come to hear Jay pompously brag about his smart business deals and A-list spouse but to join a massive collective of like-minded fans the will throw their hands up in a similar hand gesture, finding the same level of thrill and adrenaline from the most wild summer festivals.
When I go to a live show I want to be entertained, first and foremost, however as the night goes on I additionally want to feel a connection. This connection isn’t just with the artist or band performing, but the audience, the venue, the lights, the pyrotechnics. I want an all-encompassing experience that will leave me drifting into a world that is foreign to my normal life, I come to concerts for release and relief. The best can pull create this experience, and are exceptionally well at making the audience feel like they’re having a one on one with them, cascading through their life in audio form. Done right, concerts are truly a magically moment with artist like these as the magicians gifted with talents to create it.
By: Stanley Clark
Release: 8/31/16
Live performances aren’t easy, they’re a testament to an artist’s longevity, hard work, personal appeal and love for the fans. Extracting one’s feelings, thoughts, and beliefs on the world and personal interaction with it takes courage, and doing that in front of a group of friends let alone thousands of strangers is a resounding feet to accomplish. Those that excel at this are one of a kind, and the best of the best have mastered the craft. This article will break down some of music’s finest live performers in the past few decades, delving into their widespread appeal and through the lens of the performers as well as music aficionados alike. These artist will include the legendary Brooklyn Rapper, Jay-Z, The world wide phenomenon U2 but more specifically, their leader, Bono, New Jersey’s very own Bruce Springsteen and one of the most renowned and consistent live bands of the past 2 decades, Dave Matthews Band.
Rolling Stones Magazine crowned this artist as the greatest live performer of all time. This exceptional recognition is expected due to Bruce’s nearly super human levels of energy to each of his shows. He’s been a rock star since the mid-80’s and he still has one of the greatest tours out there. He doesn’t just perform by presenting the typical generic set list, there’s a reason he can maintain fans interest over all of these years. Instead, he asks for request from the audience and performs accordingly. A work ethic that strong a love for the fans that pure is something any artist aspires to and wishes they had. I mean, even the President of the United States calls him ‘The Boss’.
A band whose sound is built on melodic instrumentals and lyrically centered on sociopolitical issues/humanitarian concerns U2 has a very demanding view of world citizenship and artistic expression. Bono is the groups frontrunner, manifesting his experiences in a highly politically conscious Ireland in the 1960’s/1970’s into music that has inspired millions. They have ‘such a sense of duty to their public’ which reassures people’s faith in humanity. This love for the good in humankind translates very effectively across all demographics at live shows. As a result, some garner the Irish band as the greatest live band in history. They still hold the record for the highest grossing world tour, and have few that could ever eventually match them in widespread influence and appeal. May their reign remain superior.
This next band, whose rock folk fusion sound from the depths of Virginia has not only given them some of the loyalist fans in music but has driven them to develop most live albums out of any artist/group in music history. Dave Mathews Band is and will continue to be a must see live act for however many years that can bless us with their presence (Billboard). Dave has a joe blow look to him, and speaks with such broken vernacular that if it wasn’t already obscured by his south African accent its tangled up with a southern drawl that comes across as intelligently slow with serving spoon of southern charm. Bellowing love song and after song, their shows are a great site for a first date as well as a 20 year wedding anniversary. Fans that have stuck along with them since their early days in Virginia’s underground Jazz clubs knows this band has stayed true to their sound and have been rewarded as such.
Pigeons and Planes called this rapper’s shows a ‘fault-less, well-oiled performance’ that delivered to the liking of ‘an extremely satisfied audience’. This revered universal appeal of Jay-Z is years in the making, in a genre that is highly competitive and gives the spoils to those that are able to function most steadily in its harsh environment. Known in the Hip-Hop community as the ‘God of Rap’, ‘J Hova’, or in short, ‘Hov’, the Brooklyn MC started gaining traction and attention in a rap world ruled by music giants such as Tupac and B.I.G.. Personalities in these notable artist that were steel plate hard to crack and egos large enough to fill up the 40-50 thousand size stadiums that Jay can consistently sell out. These music fans don’t just come to hear Jay pompously brag about his smart business deals and A-list spouse but to join a massive collective of like-minded fans the will throw their hands up in a similar hand gesture, finding the same level of thrill and adrenaline from the most wild summer festivals.
When I go to a live show I want to be entertained, first and foremost, however as the night goes on I additionally want to feel a connection. This connection isn’t just with the artist or band performing, but the audience, the venue, the lights, the pyrotechnics. I want an all-encompassing experience that will leave me drifting into a world that is foreign to my normal life, I come to concerts for release and relief. The best can pull create this experience, and are exceptionally well at making the audience feel like they’re having a one on one with them, cascading through their life in audio form. Done right, concerts are truly a magically moment with artist like these as the magicians gifted with talents to create it.
Comeback albums, redemption or regret?
Author: Stanley Clark
Release: 8/3/2016
Making a comeback in the music industry is a surmountable task in itself, and encompasses numerous factors. In order to keep old fans interested an artist must stand true to their original convictions, however, new fans are largely accustomed to the contemporary style of music, while critique’s on a third side love music that is edgy and experimental, breaking norms and expanding the genre. Some artists make a return with grace, welcoming old and new fans alike, and crossing generational gaps in the process. This can reflect very well on their legacy, and stamp their position in the hall of fame of artistic greatness. On the other hand, a comeback can tarnish an artist’s legacy and reveal their inability to experiment and lack of talent outside their comfort zone. This opinion piece will discuss certain artist comeback’s and what those comebacks meant to their legacy and perception in the public eye.
Madonna, the queen of pop, has a discography that matches any upper echelon artist in the past 50 years. She has made hundreds of millions of dollars over an expressive 3 decades, while simultaneously influencing an entire generation of singer/songwriter’s that grew up watching by her brash attitude, digesting her groundbreaking sexual expression, and captivating musical style and production. The word Madonna, aside from its divine origins, is attributed to pop music royalty. This legacy was challenged, when in 2015, she released her ‘Rebel Heart’ album. This project was largely criticized for Madonna’s tendency to rely on features to make up the substance and creatively of the album. Instead of discussing how her sound is the overarching prototype of modern pop music she is described to be copying contemporary singers like Kesha and Lana Del Rey. This album does not harshly damage Madonna’s iconic history as a musician, but surely doesn’t help it neither.
D’angelo, a mysterious figure in popular music and an architecture of the sub-genre ‘neo-soul’ has stunned fans with absorbing R&B classics in the early turn of the century with ‘Brown Sugar’ and ‘Voodoo’ respectively. He took a 14-year hiatus and decided to bless us again with a remarkable lo-fi socially conscious masterpiece that surely pushes the guard of contemporary R&B/Soul with ‘Vanguard’. Rolling Stones called it ’56 minutes of heaven’, comparing D’angelo’s innovative sound to the likes of Prince and Al Green, excellent company to share compliments with. While already having a small yet fantastically positive critical acclaim in his discography D’angelo maintained to add to this seemingly flawless legacy with another phenomenal project. What helps him is his closeness to the music, it’s as if its apart of him, construing out of his very being and portraying every emotion he has.
Maxwell, similar to D’angelo, is one of the creators of Neo-soul and has found himself secured in the modern music spectrum most recently releasing the second album in a trilogy, titled ‘black SUMMER’S nights’. The album has garnered critical acclaim amongst critiques, complementing his adaptation of the xx’s signature eerie spaciousness. The guardian claimed the album included ‘Prince-like redemptive soul’ and also described his ‘classy comeback’ as a clear ‘collection of anguished R&B’. Maxwell appears to be comfortably in the second half of his career, and continues to make creative and fresh R&B that still resonates with listeners. He is never viewed to be copying another’s style or pushing his sound into untamed territory without the best control possible.
Gwen Stefani, a star of the pop rock group No Doubt, as well as successful solo artist in her own right came back recently with her ‘This is what the truth feels like’ album. Recently going through a divorce with her husband of 14 years, Gwen Stefani’s life is nothing short of eventful. Therefore, what better way to cope with the experience than to articulate one’s emotions into something creative, therapeutic, and productive, like music. The issue here was her lack of creativity and crutch on modern pop music’s sound and contemporary inspirations. According to ____, there was a stark contrast in subject topic from her typical guilty pleasure songs like ‘sweet escape’. With that being said, this album was viewed as exceptionably mature. Handling divorce and the emotional comeback one has to make in order to appropriately deal with it encourages much soul searching and complex introspection. The title of her 2016 comeback is nothing short of self-explanatory, where Stefani shamelessly let the truth unravel, which fans received with the utmost support and excitement.
Comebacks are hard, that is a widely acceptable belief, even for those who return successfully. We all will see how Frank Ocean makes his 5 year return with ‘Boys Don’t Cry’ this weekend, Weezer has recently impressed us with their ability to return to the lackluster rock world and still sound connected to the youth, Daft Punk serenades us with their confident, precise, and integrated return album ‘Random Access Memories’ that received much Grammy praise and critical acclaim. The best thing passionate fans can hope for is that their artist remains true to themselves, and puts everything they have into the music, because as long as they show passion and commitment to the music, the fans will follow.
Author: Stanley Clark
Release: 8/3/2016
Making a comeback in the music industry is a surmountable task in itself, and encompasses numerous factors. In order to keep old fans interested an artist must stand true to their original convictions, however, new fans are largely accustomed to the contemporary style of music, while critique’s on a third side love music that is edgy and experimental, breaking norms and expanding the genre. Some artists make a return with grace, welcoming old and new fans alike, and crossing generational gaps in the process. This can reflect very well on their legacy, and stamp their position in the hall of fame of artistic greatness. On the other hand, a comeback can tarnish an artist’s legacy and reveal their inability to experiment and lack of talent outside their comfort zone. This opinion piece will discuss certain artist comeback’s and what those comebacks meant to their legacy and perception in the public eye.
Madonna, the queen of pop, has a discography that matches any upper echelon artist in the past 50 years. She has made hundreds of millions of dollars over an expressive 3 decades, while simultaneously influencing an entire generation of singer/songwriter’s that grew up watching by her brash attitude, digesting her groundbreaking sexual expression, and captivating musical style and production. The word Madonna, aside from its divine origins, is attributed to pop music royalty. This legacy was challenged, when in 2015, she released her ‘Rebel Heart’ album. This project was largely criticized for Madonna’s tendency to rely on features to make up the substance and creatively of the album. Instead of discussing how her sound is the overarching prototype of modern pop music she is described to be copying contemporary singers like Kesha and Lana Del Rey. This album does not harshly damage Madonna’s iconic history as a musician, but surely doesn’t help it neither.
D’angelo, a mysterious figure in popular music and an architecture of the sub-genre ‘neo-soul’ has stunned fans with absorbing R&B classics in the early turn of the century with ‘Brown Sugar’ and ‘Voodoo’ respectively. He took a 14-year hiatus and decided to bless us again with a remarkable lo-fi socially conscious masterpiece that surely pushes the guard of contemporary R&B/Soul with ‘Vanguard’. Rolling Stones called it ’56 minutes of heaven’, comparing D’angelo’s innovative sound to the likes of Prince and Al Green, excellent company to share compliments with. While already having a small yet fantastically positive critical acclaim in his discography D’angelo maintained to add to this seemingly flawless legacy with another phenomenal project. What helps him is his closeness to the music, it’s as if its apart of him, construing out of his very being and portraying every emotion he has.
Maxwell, similar to D’angelo, is one of the creators of Neo-soul and has found himself secured in the modern music spectrum most recently releasing the second album in a trilogy, titled ‘black SUMMER’S nights’. The album has garnered critical acclaim amongst critiques, complementing his adaptation of the xx’s signature eerie spaciousness. The guardian claimed the album included ‘Prince-like redemptive soul’ and also described his ‘classy comeback’ as a clear ‘collection of anguished R&B’. Maxwell appears to be comfortably in the second half of his career, and continues to make creative and fresh R&B that still resonates with listeners. He is never viewed to be copying another’s style or pushing his sound into untamed territory without the best control possible.
Gwen Stefani, a star of the pop rock group No Doubt, as well as successful solo artist in her own right came back recently with her ‘This is what the truth feels like’ album. Recently going through a divorce with her husband of 14 years, Gwen Stefani’s life is nothing short of eventful. Therefore, what better way to cope with the experience than to articulate one’s emotions into something creative, therapeutic, and productive, like music. The issue here was her lack of creativity and crutch on modern pop music’s sound and contemporary inspirations. According to ____, there was a stark contrast in subject topic from her typical guilty pleasure songs like ‘sweet escape’. With that being said, this album was viewed as exceptionably mature. Handling divorce and the emotional comeback one has to make in order to appropriately deal with it encourages much soul searching and complex introspection. The title of her 2016 comeback is nothing short of self-explanatory, where Stefani shamelessly let the truth unravel, which fans received with the utmost support and excitement.
Comebacks are hard, that is a widely acceptable belief, even for those who return successfully. We all will see how Frank Ocean makes his 5 year return with ‘Boys Don’t Cry’ this weekend, Weezer has recently impressed us with their ability to return to the lackluster rock world and still sound connected to the youth, Daft Punk serenades us with their confident, precise, and integrated return album ‘Random Access Memories’ that received much Grammy praise and critical acclaim. The best thing passionate fans can hope for is that their artist remains true to themselves, and puts everything they have into the music, because as long as they show passion and commitment to the music, the fans will follow.
Yin/Yang: 2016 Summer Tour
Author: Stanley Clark
Release: 6/26/2016
During this summer, apart from solo band tours like Dave Matthews band, The Rolling Stones, and Bon Jovi most shows are headlined with either a male or female artist, with the opposite sex either co-headlining with them, or opening. The yin/yang relationship of the two sexes is a useful marketing tool to take notice of, and gives implications on the audience, attraction, and group behavior. The display of both sexes delivering on stage shows that there's no favoritism or bias by the audience. Men and women, no matter their sexual orientation, generally have someone to check out, so the attraction is shared amongst the crowd in unison. Simply put, it's the best of both worlds, and puts to use one of the most effective marketing formula to gain the highest possible turnout. There are a number of tours this summer that exhibit this display of yin/yang and therefore prove that the formula is working.
The grandest example of them all, and the show everyone is either going to, or talking about, the formation tour, has the Queen herself, Beyonce headlining, and the always energetic and outspoken Snap Chat King DJ Khaled. The show, according to the NYTimes, displays Beyonce’s ‘anguish’ and ‘forlorn’ love with mega star Jay-Z as well as some moments of ‘slurry, gothic, desiccation’. All of this was complimented and contrasted with DJ Khaled star studded opening act, adding new guests to every show ranging from French Montana, to Big Sean and Fat Joe. This duality of emotions and thrills exhibit the accessibility that two-sex shows bring to the fans.
Another huge tour that started this spring and stretches in the deep Summer is the Anti Tour. This tour, headlined by the Barbados bombshell, Rihanna, according to vibe magazine, feels more like an ‘epic road trip’ than a ‘well-planned journey’. Juxtapose this with Beyonce’s apparent military precision dance routines the AntI appears to be more about unadulterated fun and crazy antics (pun intended). Similar to the Formation however is the opener, this time in the Texas musical anti- establishment tyrant, Travis Scott. Filled with such angst and veracity that, according to Vibe magazine, by the first few minutes of his set Travis was so exhausted he had to ‘catch his breath’ to continue his unparalleled level of energy and enthusiasm he always brings to his performances. Again, this contrast between the Yin of Rihanna’s sexual, fast, and dreamy show to the Yang of Travis dark, gloomy, and dirty insanely fast show is the type of show that will bring audiences from all walks of life and interests to sit in one venue and have an equal amount of fun.
More shows down the line of summer are adopting this yin/yang formula of opposite sex headliners to become the most accessible show it can be. These shows include the Future/Now Tour with pop Giants Nick Jonas and Demi Lavato as well as the more country oriented Charlie Puth and up-and-comer Hailey Knox tour. Shows that includes both sexes equally are a calmer and enjoyable show. We of coarse enjoy shows where men can bond over things that are unique to their life experience and the same for women, but the universality and communion that two-sex shows brings is like no other. It must be appreciated for what it does to society and what it means to society. That being, the necessity to have both sexes co-existing in peace.
Author: Stanley Clark
Release: 6/26/2016
During this summer, apart from solo band tours like Dave Matthews band, The Rolling Stones, and Bon Jovi most shows are headlined with either a male or female artist, with the opposite sex either co-headlining with them, or opening. The yin/yang relationship of the two sexes is a useful marketing tool to take notice of, and gives implications on the audience, attraction, and group behavior. The display of both sexes delivering on stage shows that there's no favoritism or bias by the audience. Men and women, no matter their sexual orientation, generally have someone to check out, so the attraction is shared amongst the crowd in unison. Simply put, it's the best of both worlds, and puts to use one of the most effective marketing formula to gain the highest possible turnout. There are a number of tours this summer that exhibit this display of yin/yang and therefore prove that the formula is working.
The grandest example of them all, and the show everyone is either going to, or talking about, the formation tour, has the Queen herself, Beyonce headlining, and the always energetic and outspoken Snap Chat King DJ Khaled. The show, according to the NYTimes, displays Beyonce’s ‘anguish’ and ‘forlorn’ love with mega star Jay-Z as well as some moments of ‘slurry, gothic, desiccation’. All of this was complimented and contrasted with DJ Khaled star studded opening act, adding new guests to every show ranging from French Montana, to Big Sean and Fat Joe. This duality of emotions and thrills exhibit the accessibility that two-sex shows bring to the fans.
Another huge tour that started this spring and stretches in the deep Summer is the Anti Tour. This tour, headlined by the Barbados bombshell, Rihanna, according to vibe magazine, feels more like an ‘epic road trip’ than a ‘well-planned journey’. Juxtapose this with Beyonce’s apparent military precision dance routines the AntI appears to be more about unadulterated fun and crazy antics (pun intended). Similar to the Formation however is the opener, this time in the Texas musical anti- establishment tyrant, Travis Scott. Filled with such angst and veracity that, according to Vibe magazine, by the first few minutes of his set Travis was so exhausted he had to ‘catch his breath’ to continue his unparalleled level of energy and enthusiasm he always brings to his performances. Again, this contrast between the Yin of Rihanna’s sexual, fast, and dreamy show to the Yang of Travis dark, gloomy, and dirty insanely fast show is the type of show that will bring audiences from all walks of life and interests to sit in one venue and have an equal amount of fun.
More shows down the line of summer are adopting this yin/yang formula of opposite sex headliners to become the most accessible show it can be. These shows include the Future/Now Tour with pop Giants Nick Jonas and Demi Lavato as well as the more country oriented Charlie Puth and up-and-comer Hailey Knox tour. Shows that includes both sexes equally are a calmer and enjoyable show. We of coarse enjoy shows where men can bond over things that are unique to their life experience and the same for women, but the universality and communion that two-sex shows brings is like no other. It must be appreciated for what it does to society and what it means to society. That being, the necessity to have both sexes co-existing in peace.
Seemingly Unusual Collaborative Albums
Author: Stanley Clark
Date: 6/8/16
Let’s admit it, who doesn’t enjoy a collab album every once in a while. It brings your favorite artist into a new sonic arena and forces them to combat the difficulties and obstacles that comes with performing in different genres. Now all collab albums aren’t exactly entertaining, and can at times come out as an embarrassment to both artist’s discography (Hov & R. Kelly’s second Unfinished Business comes to mind) but risks are in the experimentation of collab albums nature. What makes a collab albums really unique and fun to enjoy is the crossing of genre’s, with a magnificent outcomes. We find these from time to time on big songs, like ‘We are the world’ or ‘That’s What Friends are For’, but to ensure success using that formula across an entire album, is a herculean task.
I touched on their second album together earlier in ‘Unfinished Business’ but Jay-Z and R. Kelly had genuine chemistry and quality artistic output on their first project together, ‘Best of Both Worlds’. The 2002 collaborative was a meeting of giants, one from the hip-hop world and the other from the R&B seductive lounge. Together they created great songs, both slow paced and fast with wide range appeal. Jay sounded more intimate and suave while R. Kelly became increasingly rough around the edges. Unfortunately through disputes outside of the studio the two mega stars couldn’t continue that vision successfully onto a follow up project. After Unfinished Business Jay worked on another collobaration, this one even more out of the ordinary, with Linkin Park. The California rock band had a diamond album in ‘Hybrid Theory’ and Hov was the most successful rapper at the time, the stars aligned the rest. With entertaining mashup’s cascading back and forth between the two artist. This collaboration morphed both gigantic musicians into pop artist with record breaking hits and sales record, ‘Collision Course’ still being the best-selling EP of all time. In this case, and ironically enough coming out just a month after ‘Unfinished Business’ the album proved to be a successful and an innovative collaboration attempt by two strikingly different sounding artist.
More recent collaborations have been relatively successful, maybe not commercially not Jay’s last three, but reception wise, which I think creates a strong musical movement within the industry. The festival ready Big Grams collaborative project between Atlanta rap god Big Boi and NY trip hop duo Phantogram is a stand out among the few. We can give credit to other artist going out of their comfort zone to create some thought provoking music like Nas did with Damien Marley on distant relatives. Big Grams is both hard hitting, raw, sonically magnificent and lyrically equipped. It’s hard to find music in hip-hop that sounded like that album in 2015 and its ability to attract fans from pop the indie world and hip-hip made it an extravagant exercise of musical excellence and the gift of collaboration. A few months ago frequent collaborators and friends Big Sean and Jhene Aiko made a joint project together titled Twentty 88 which is additionally their group name (same as Big Grams release) and their reception is fantastic amongst fans of pop, r&b, and hip-hop. Jhene comes to the plate with various flows and bars that would make any rapper proud while Sean finds himself crooning and hitting melodies all throughout this album. This really is testament to the evolution of collaborations especially amongst hip-hop artist and non-hip-hop artist.
Collaboration albums are fun, and artist sharing the shine on a track is typical, especially amongst same genre starts. However, odd couplings are different, they extenuate each artist uniquely and brings them typically to a new middle ground. It adds a level to the musical dynamic and delivers an atypical sound. This can lead to a new appreciation for each artist versatility and ability to create or show how linear their talents are. As the years progress so does the quality of collaboration albums. Let’s hope this trend continues going up.
Date: 6/8/16
Let’s admit it, who doesn’t enjoy a collab album every once in a while. It brings your favorite artist into a new sonic arena and forces them to combat the difficulties and obstacles that comes with performing in different genres. Now all collab albums aren’t exactly entertaining, and can at times come out as an embarrassment to both artist’s discography (Hov & R. Kelly’s second Unfinished Business comes to mind) but risks are in the experimentation of collab albums nature. What makes a collab albums really unique and fun to enjoy is the crossing of genre’s, with a magnificent outcomes. We find these from time to time on big songs, like ‘We are the world’ or ‘That’s What Friends are For’, but to ensure success using that formula across an entire album, is a herculean task.
I touched on their second album together earlier in ‘Unfinished Business’ but Jay-Z and R. Kelly had genuine chemistry and quality artistic output on their first project together, ‘Best of Both Worlds’. The 2002 collaborative was a meeting of giants, one from the hip-hop world and the other from the R&B seductive lounge. Together they created great songs, both slow paced and fast with wide range appeal. Jay sounded more intimate and suave while R. Kelly became increasingly rough around the edges. Unfortunately through disputes outside of the studio the two mega stars couldn’t continue that vision successfully onto a follow up project. After Unfinished Business Jay worked on another collobaration, this one even more out of the ordinary, with Linkin Park. The California rock band had a diamond album in ‘Hybrid Theory’ and Hov was the most successful rapper at the time, the stars aligned the rest. With entertaining mashup’s cascading back and forth between the two artist. This collaboration morphed both gigantic musicians into pop artist with record breaking hits and sales record, ‘Collision Course’ still being the best-selling EP of all time. In this case, and ironically enough coming out just a month after ‘Unfinished Business’ the album proved to be a successful and an innovative collaboration attempt by two strikingly different sounding artist.
More recent collaborations have been relatively successful, maybe not commercially not Jay’s last three, but reception wise, which I think creates a strong musical movement within the industry. The festival ready Big Grams collaborative project between Atlanta rap god Big Boi and NY trip hop duo Phantogram is a stand out among the few. We can give credit to other artist going out of their comfort zone to create some thought provoking music like Nas did with Damien Marley on distant relatives. Big Grams is both hard hitting, raw, sonically magnificent and lyrically equipped. It’s hard to find music in hip-hop that sounded like that album in 2015 and its ability to attract fans from pop the indie world and hip-hip made it an extravagant exercise of musical excellence and the gift of collaboration. A few months ago frequent collaborators and friends Big Sean and Jhene Aiko made a joint project together titled Twentty 88 which is additionally their group name (same as Big Grams release) and their reception is fantastic amongst fans of pop, r&b, and hip-hop. Jhene comes to the plate with various flows and bars that would make any rapper proud while Sean finds himself crooning and hitting melodies all throughout this album. This really is testament to the evolution of collaborations especially amongst hip-hop artist and non-hip-hop artist.
Collaboration albums are fun, and artist sharing the shine on a track is typical, especially amongst same genre starts. However, odd couplings are different, they extenuate each artist uniquely and brings them typically to a new middle ground. It adds a level to the musical dynamic and delivers an atypical sound. This can lead to a new appreciation for each artist versatility and ability to create or show how linear their talents are. As the years progress so does the quality of collaboration albums. Let’s hope this trend continues going up.
Reference Track are Nothing to Freak Out About
Author: Stanley Clark
Release Date: May 28, 2016
Collaboration has been a founding aspect of music. It reflects human’s social nature and transcends genre’s. For example, the larger the number of instruments in a choir or jazz band the greater anticipation and thrill those pieces will bring to their audiences. Collaboration can be an artist –writer relationship as well. It was a well known fact that Elton John was not the writer for the multitude of his hits, and that the inspiration and ideas for song lyrics came from personal experiences of his affiliate Bernie Taupin. Therefore, reference tracks is just an extension of this primary part of music that allows artist to share ideas with like minded musicians and generate creativity.
On the bonus disk of Taylor’s Swift’s latest album, ‘1989’ she has a number of demo tracks of songs that made the deluxe album. This display not only shows the growth and creativity that goes into making a song but the collaborative effort sharing ideas brings to music. On some of those songs you can hear her asking if certain melodies or cadences sound good and purely having fun building on various aspects of the song with musical patterns of hers. In Hip-Hop, Kendrick Lamar has released a whole album of demo’s that have been cleverly titled ‘Untitled Unmastered’, depicting the rawness of the songs and the unfinished nature of their existence. No song from this album made the final cut of ‘To Pimp A Butterfly’ but the importance of their influence on the albums sound and musical direction is what should be noted and observed. What also made me admire and revere this album was the authenticity Kendrick was bringing to the songs themselves, adopting many elements from soul, funk, R&B, and Jazz while still maintain the overall hip-hop feel and delivery. This authenticity was no duly felt from the events that proceeded Drake’s 2015 Mixtape ‘If Your Reading This It’s Too Late’. Instead of admiring the conviction of the lyrics and the audacity of Drake to sound strikingly hungry and confident on every track the content was over shined by the realization that many of the tracks had reference tracks. This backlash had a lot to do with the hip hop’s roots being ingrained in authenticity and writing all of ones lyrics. Of coarse, like all music, even rap has a collaborative nature to it, and solo artist like Kanye West are known to have, at times, a rather large number of writers to songs. The fact that rap’s two biggest stars of the past 15 years or so in Kanye West and Drake are known to have ghost writers and significant contributions to their work shows a shift in the Hip-Hop genre from being very linear in their lyrical approach to following most of the other genre’s and adopting a more collaborative team effort.
In the past decade or so reference tracks are appearing to the public more frequently. Reference tracks have always existed in Hip-Hop but attached with a stigma to it. The negative connotation that accompanied reference tracks has been slowly fading over the years. For example, just a few days ago the Chicago MC, Chance, The Rapper displayed his reference track for Kanye’’ ‘Life Of Pablo’ cut, Waves, as well as a verse he has on Famous. These two tracks were debuted on Zane Lowe Beats 1 Radioshow, one of the most renowned radio personalities in the music world right now. Surely playing those songs on such a huge platform is a reflection of the positive backlash it was intended to receive, but also the assurances that people don’t view reference tracks in the same light anymore. Before Chance, there was the Work reference track that released in April that showed the OVO artist PARTYNEXTDOOR rapping quickly and passionately over the reggae centric beat in the flow and pattern that Rihanna would later adopt for the final version. It really puts the lyrics into perspective and the creative process on notice for non-musicians and musicians alike. Meek Mill’s beef with Drake led to the leak of Know Yourself where Quentin Miller says the hook (albeit in a much lazier fashion) that Drake would use for the future hit song. We can go on and on about reference tracks and modern examples (We all remember Cole’s original version of Coming Home that even Jay-Z contributed to and would eventually fall in Diddy’s hands and become a major hit) but more importantly it says a lot about the long term existence of reference tracks and collaboration in music as well as the social nature of mankind and the need to work together.
Release Date: May 28, 2016
Collaboration has been a founding aspect of music. It reflects human’s social nature and transcends genre’s. For example, the larger the number of instruments in a choir or jazz band the greater anticipation and thrill those pieces will bring to their audiences. Collaboration can be an artist –writer relationship as well. It was a well known fact that Elton John was not the writer for the multitude of his hits, and that the inspiration and ideas for song lyrics came from personal experiences of his affiliate Bernie Taupin. Therefore, reference tracks is just an extension of this primary part of music that allows artist to share ideas with like minded musicians and generate creativity.
On the bonus disk of Taylor’s Swift’s latest album, ‘1989’ she has a number of demo tracks of songs that made the deluxe album. This display not only shows the growth and creativity that goes into making a song but the collaborative effort sharing ideas brings to music. On some of those songs you can hear her asking if certain melodies or cadences sound good and purely having fun building on various aspects of the song with musical patterns of hers. In Hip-Hop, Kendrick Lamar has released a whole album of demo’s that have been cleverly titled ‘Untitled Unmastered’, depicting the rawness of the songs and the unfinished nature of their existence. No song from this album made the final cut of ‘To Pimp A Butterfly’ but the importance of their influence on the albums sound and musical direction is what should be noted and observed. What also made me admire and revere this album was the authenticity Kendrick was bringing to the songs themselves, adopting many elements from soul, funk, R&B, and Jazz while still maintain the overall hip-hop feel and delivery. This authenticity was no duly felt from the events that proceeded Drake’s 2015 Mixtape ‘If Your Reading This It’s Too Late’. Instead of admiring the conviction of the lyrics and the audacity of Drake to sound strikingly hungry and confident on every track the content was over shined by the realization that many of the tracks had reference tracks. This backlash had a lot to do with the hip hop’s roots being ingrained in authenticity and writing all of ones lyrics. Of coarse, like all music, even rap has a collaborative nature to it, and solo artist like Kanye West are known to have, at times, a rather large number of writers to songs. The fact that rap’s two biggest stars of the past 15 years or so in Kanye West and Drake are known to have ghost writers and significant contributions to their work shows a shift in the Hip-Hop genre from being very linear in their lyrical approach to following most of the other genre’s and adopting a more collaborative team effort.
In the past decade or so reference tracks are appearing to the public more frequently. Reference tracks have always existed in Hip-Hop but attached with a stigma to it. The negative connotation that accompanied reference tracks has been slowly fading over the years. For example, just a few days ago the Chicago MC, Chance, The Rapper displayed his reference track for Kanye’’ ‘Life Of Pablo’ cut, Waves, as well as a verse he has on Famous. These two tracks were debuted on Zane Lowe Beats 1 Radioshow, one of the most renowned radio personalities in the music world right now. Surely playing those songs on such a huge platform is a reflection of the positive backlash it was intended to receive, but also the assurances that people don’t view reference tracks in the same light anymore. Before Chance, there was the Work reference track that released in April that showed the OVO artist PARTYNEXTDOOR rapping quickly and passionately over the reggae centric beat in the flow and pattern that Rihanna would later adopt for the final version. It really puts the lyrics into perspective and the creative process on notice for non-musicians and musicians alike. Meek Mill’s beef with Drake led to the leak of Know Yourself where Quentin Miller says the hook (albeit in a much lazier fashion) that Drake would use for the future hit song. We can go on and on about reference tracks and modern examples (We all remember Cole’s original version of Coming Home that even Jay-Z contributed to and would eventually fall in Diddy’s hands and become a major hit) but more importantly it says a lot about the long term existence of reference tracks and collaboration in music as well as the social nature of mankind and the need to work together.
Current Pop Sound From Canada? U.K?
Author: Stanley Clark
Release Date: May 21
If you could use a few terms to define modern pop music’s sound, what composition terms would initially pop into your head? Maybe, spacious, or atmospheric, like in ‘What Do you mean?’ Or maybe reverbed out introspective personal songs like ‘Blank Space or 7 Years?’. Such ways of storytelling can be traced back decades if you look back long enough (Hello James Taylor), but what we’re focused on here is the most direct influence to modern day pop music. By dissecting the lyrical content, production style, and vocal performance we find that these crucial artistic elements stem from both Canada and the U.K. from around the late first decade of the 2000’s.
Let’s first look at Canada, circa 2008-2011, So Far Gone drops, Echoes of Silence is gaining traction, and the once unknown musical hub that is Toronto is beginning to gain regional respect and global acceptance. Drake, the former Degrassi star, up-and-coming rapper is attracting a massive following with lush and moody beats complemented by his smooth vocals and powerfully transparency lyrics, reminiscent of a young Kanye West. This movement is happening alongside a PR&B star, a mysterious retracted enigma, The Weeknd, presenting to the music world art that is emotionally present, but in a grimy drug and sex filled world. The mixture of this eye-of-the-quiet-storm assurance R&B and new age hip-hop found its appeal across the border in the young American listeners and soon, with the help of the digital revolution, spread throughout the world.
Across the pond in the United Kingdom a dubstep revolution was brimming. This was transformed into a minimalist vocoder-equipped socially removed style of music. Artist like the elusive James Blake, and avant-garde Jamie XX led band The XX were the founders of this movement that took the traditional house party socially inhabited dub-step music and made it personal and singular. In this new atmosphere the music was being used as a therapist, a conduit for the emotional expression and outcry triggered by recent break ups or family conflicts. This dark, moody, electronic filtered music was a strong contrast to the previous decade. Consequently, where there is a teenage population there’s a rebellion towards the current order of things, and therefore this lo-fi, slow, furtive pop music started gaining attention throughout the households in the United Kingdom, and eventually was played loud enough so music companies could hear them.
Pop music in the past few years has been sounding very similar to these two similar styles. There is no coincidence that they follow the faded produced painstaking honesty of the first few tapes of Drake or James Blake. Both Canada and the United Kingdom had underground musical revolutions that went largely unnoticed over the radio and in A&R discussion rooms, but were loud and extremely apparent on the web. Now, if you look at the Billboard top 10 or ITunes chart there is undeniable parallels in composition, textures, and writing styles that originated in those counties. For example, if we look at one of last year’s biggest albums, Purpose by Justin Bieber, his hit leadoff single ‘What Do You Mean’ could have easily have been on So Far Gone in 2009. The sincere, love letter lyrics, slightly distorted piano led melody, and synthesized drum pattern has Drake/40 signature sound written all over it. Another huge solo act and the former One Direction member Zayn also crafted together a project that contained many cadences, flows, and production styles that could easily have been inserted on the track listing of The Trilogy. The keys on ‘dRuNk’ had a light, reverbed touch, similar to 40 (Cue Wu-Tang Forever) and contained painfully honest lines similar to James Blake. The list goes on, and we can pick songs on the pop charts from the past 5 years and find various songs and albums that have that dark eerie lonely boy aura about them that was founded in the UK and Canada semi-recently. The beauty of it all is that those artist are now the biggest starts in music, especially the Canadians boy. Even the blokes like Jamie XX made a solo project in 2015 called In Colour that was a magnificent experimental album that successfully fused unlikely genres into a musical experience of an album. James Blake recently surprised drop a heavily awaited 3rd studio project that is even more adventurous and uncharacteristically maximalist than his previous work, showing ambition and room for growth, similar to what he did in 2009 to break open the current musical mold.
Who knows where the next music movement will stem form, there are a lot of influential young soulful artist making game changing R&B in Australia right now, (Lorde, Hiatus Kyote) Spain has rock bands that sound like their from L.A. (Hinds), and Chicago hip-hop is gaining more and more worldwide acclaim as its forefront artist Chance, the rapper is defying the label mold of marketing and what it means to have rights to your music. It’s truly an exciting time for music, where everyone has an avenue to create and listeners have more than enough to pick from, with the modern tragedy of picking which streaming site to use. May time tell.
Release Date: May 21
If you could use a few terms to define modern pop music’s sound, what composition terms would initially pop into your head? Maybe, spacious, or atmospheric, like in ‘What Do you mean?’ Or maybe reverbed out introspective personal songs like ‘Blank Space or 7 Years?’. Such ways of storytelling can be traced back decades if you look back long enough (Hello James Taylor), but what we’re focused on here is the most direct influence to modern day pop music. By dissecting the lyrical content, production style, and vocal performance we find that these crucial artistic elements stem from both Canada and the U.K. from around the late first decade of the 2000’s.
Let’s first look at Canada, circa 2008-2011, So Far Gone drops, Echoes of Silence is gaining traction, and the once unknown musical hub that is Toronto is beginning to gain regional respect and global acceptance. Drake, the former Degrassi star, up-and-coming rapper is attracting a massive following with lush and moody beats complemented by his smooth vocals and powerfully transparency lyrics, reminiscent of a young Kanye West. This movement is happening alongside a PR&B star, a mysterious retracted enigma, The Weeknd, presenting to the music world art that is emotionally present, but in a grimy drug and sex filled world. The mixture of this eye-of-the-quiet-storm assurance R&B and new age hip-hop found its appeal across the border in the young American listeners and soon, with the help of the digital revolution, spread throughout the world.
Across the pond in the United Kingdom a dubstep revolution was brimming. This was transformed into a minimalist vocoder-equipped socially removed style of music. Artist like the elusive James Blake, and avant-garde Jamie XX led band The XX were the founders of this movement that took the traditional house party socially inhabited dub-step music and made it personal and singular. In this new atmosphere the music was being used as a therapist, a conduit for the emotional expression and outcry triggered by recent break ups or family conflicts. This dark, moody, electronic filtered music was a strong contrast to the previous decade. Consequently, where there is a teenage population there’s a rebellion towards the current order of things, and therefore this lo-fi, slow, furtive pop music started gaining attention throughout the households in the United Kingdom, and eventually was played loud enough so music companies could hear them.
Pop music in the past few years has been sounding very similar to these two similar styles. There is no coincidence that they follow the faded produced painstaking honesty of the first few tapes of Drake or James Blake. Both Canada and the United Kingdom had underground musical revolutions that went largely unnoticed over the radio and in A&R discussion rooms, but were loud and extremely apparent on the web. Now, if you look at the Billboard top 10 or ITunes chart there is undeniable parallels in composition, textures, and writing styles that originated in those counties. For example, if we look at one of last year’s biggest albums, Purpose by Justin Bieber, his hit leadoff single ‘What Do You Mean’ could have easily have been on So Far Gone in 2009. The sincere, love letter lyrics, slightly distorted piano led melody, and synthesized drum pattern has Drake/40 signature sound written all over it. Another huge solo act and the former One Direction member Zayn also crafted together a project that contained many cadences, flows, and production styles that could easily have been inserted on the track listing of The Trilogy. The keys on ‘dRuNk’ had a light, reverbed touch, similar to 40 (Cue Wu-Tang Forever) and contained painfully honest lines similar to James Blake. The list goes on, and we can pick songs on the pop charts from the past 5 years and find various songs and albums that have that dark eerie lonely boy aura about them that was founded in the UK and Canada semi-recently. The beauty of it all is that those artist are now the biggest starts in music, especially the Canadians boy. Even the blokes like Jamie XX made a solo project in 2015 called In Colour that was a magnificent experimental album that successfully fused unlikely genres into a musical experience of an album. James Blake recently surprised drop a heavily awaited 3rd studio project that is even more adventurous and uncharacteristically maximalist than his previous work, showing ambition and room for growth, similar to what he did in 2009 to break open the current musical mold.
Who knows where the next music movement will stem form, there are a lot of influential young soulful artist making game changing R&B in Australia right now, (Lorde, Hiatus Kyote) Spain has rock bands that sound like their from L.A. (Hinds), and Chicago hip-hop is gaining more and more worldwide acclaim as its forefront artist Chance, the rapper is defying the label mold of marketing and what it means to have rights to your music. It’s truly an exciting time for music, where everyone has an avenue to create and listeners have more than enough to pick from, with the modern tragedy of picking which streaming site to use. May time tell.