The Genuis of "Seduction"

Since taking the rap world by storm with Doggystyle, the evolution of Snoop Dogg has been less as a rapper and more as a personality. Snoop is one of the most distinctive and recognizable celebrities, but his draw has been far more persona-based than with an emphasis on his music. Granted there have been moments of brilliance (namely "Drop it Like It's Hot") but Snoop has gained for more notoriety for popping up in some seventies pastiche film to say something is "crack-a-lackling" time and time again. Which is why it is refreshing to hear an artist of this nature try and actually advance their craft rather than resting on their laurels ... if only for one song.

On "Sensual Seduction" (or "Sexual Eruption" as the 'Dirty' version is called), Snoop sings, enhancing his voice with the auto-tune effects that have worked so well for T-Pain. The song is an homage to seventies soul and disco, employing the subtle sexual imagery Snoop is known for. There is a usual sense of humor when taking on such an homage, but that comes across more clearly in the video. "Sensual Seduction" the video retains a strict aesthetic in line with that of the period it wishes to pay tribute to. Tackling cliches of old school videos is nothing new - Gnarls Barkley are doing it right now, as well - but Snoop succeeds beyond his contemporaries. Snoop's video is pure imitation, rather than a postmodern clash of styles. The video is obviously funny, but the important point of this song and video is that Snoop is dead serious.

He does a short rap at the end, which is completely unnecessary. It does not detract from the song, but it does remind you just who you are watching. The rap does diminish the purity of the song a bit. Much of the song has been about breaking down the image that is Snoop Dogg, in showing that he is easily humbled by his idols, the rap asserts Snoop's place dominance while reminding you just what it is that makes him famous. So even as Snoop attempts to emulate the past and pay tribute to his (perhaps forgotten) heroes, he still can't quite get away from the image he has created for himself.

The Case For ObjectivityWhen Reviewing Zeitgeist

It's hard not to be cynical about reunion albums, but I'm afraid Zeitgeist - the new record from the Smashing Pumpkins - will fall victim to "Eyes Wide Shut syndrome." That is to say critisc won't be able to separate their preconceived notions from the actual quality of the work, being either overly harsh or heaping too much praise. I've been listening to Zeitgeist a bit, and there are moments of brilliance reminiscent of classic Pumpkins. Billy Corgan sounds far more excited and reenergized than he did on Machina or either of his ill-fated post-Pumpkins projects. Then again - wasn't the Pumpkins legacy perfect as it is? Why taint with that - especially with new members?

Entertainment Weekly referred to it as the relaunching of a "brand" and as that, this reunion has worked brilliantly. Corgan is able to headline festivals and sell out arenas in a way he hasn't before. He's taken over MySpace with live videos and cut deals with chain stores. One has to wonder if this isn't at least a partial financial move. James Montgomery writes, "so far no one has been able to adequately explain why these Smashing Pumpkins are really the Smashing Pumpkins at all. To me, they seem like little more than Corgan's backing band." He follows that with a string of criticisms for the band's new music video, deemed "a mess."

Thus, the problem when reviewing an album such as this - argue that the capitalist explanation renders the work meaningless or wax nostalgic about your favorite band being back together, even if in name only. Or maybe just skip past the hideous artwork and enjoy a handful of songs showing what Corgan does best.

Sir Paul + Slick Starbucks Marketing

A couple weeks back, Paul McCartney released his latest album - Memory Almost Full - on the Starbucks' HearMusic label, to much critical acclaim. Of course, for most critics, it was impossible to separate the album's financiers from the album's songs. "That McCartney's latest album is being released through an exclusive retail agreement with Starbucks only serves to reinforce the most damning stereotypes about him: he's too safe, too typical, too square," writes Stuart Berman at Pitchfork, giving the album a 6.4. Robert Christgau of Rolling Stone adds, "To win it space on his demographic's overloaded cerebral hard drives, Memory Almost Full will play all day June 5th in every Starbucks in the world, in ten of which caffeinated fans will send birthday greetings to the ex-Beatle, who turns sixty-five on June 18th."

On Starbucks' end, you'd have to say the move was quite brilliant. The coffee company has always been less concerned with spending money on print, television or radio advertising, instead thrusting themselves into every inch of the marketplace, while letting critique, pop culture references, and the stores themselves be the only marketing. Now, with a record label, they have one of the world's foremost musical figures giving an endorsement without actually giving an endorsement. For instance, the album's opening track, "Dance Tonight" is featured in a new iTunes ad. However, everytime I see the ad, I think more about Starbucks than I do about iTunes. Maybe because there is a very strong association now between Starbucks and McCartney - and the company is able to market themselves without even being mentioned in an ad that they didn't pay for.

iTunes ad

Of course, to a certain degree, Hear Music's success will depend on the strength of its product (to what degree, however, is up for debate). McCartney's solo work overall is a bit spotty I think, though his innate ability to craft a pop song is unbelievable. With Memory Almost Full, McCartney sounds less like he's trying to compete in today's music marketplace, and instead gets nostalgic for the sounds of his past. "Dance Tonight" is a campfire singalong based almost solely around a mandolin. "Ever Present Past" recalls Magical Mystery Tour-era Beatles, until its chorus reflects McCartney's 80s output. "See You Shine" is pure seventies "AM Gold," while "Only Mama Knows" sounds like his best attempt at "Alternative Rock." "Mr. Bellamy" is a high point - a familiar tale of a loner, with the lush musical arrangement we've come to expect from Sir Paul.

"Dance Tonight" video

The Genuis of R. Kelly + "Same Girl" Video

Something - I can't really say what - compelled me yesterday to purchase R. Kelly's The R in R&B: Greatest Hits Collections Volume One. It does have 18 jams and was only $10 at Virgin. I'm rather unashamed of my fondness for R. Kelly, but this was actually my first ever Kells purchase. Leading up through 2003's Chocolate Factory, it is missing a few choice tracks. Personally, I would have traded out some of his early 90's work (or that crappy Celine Dion collaboration) in favor of, say, "Feelin' on Your Booty" but, what can you do? I'll just have to make my own R. Kelly mix at some point in time.

Kells is absolutely one of the most prolific artists in music today and he seems to just get better with time. His singles tend to be instantly memorable both for their simple, yet catchy beats, as well as lyrics that just stick with you. He can craft a great chorus, but his genius lies in the details of his verses. Whether or not he's being serious, his verses reflect a sense of humor must akin to Aqua Teen Hungerforce or something else you'd likely find on Adult Swim. His latest album finds him referring to himself as a "sexasaurus," while two years ago he was horny to have some "Sex in the Kitchen." He's totally unafraid to try new things - who would of thought that a ten song soap opera all set to the same beat would work, but it's totally brilliant. Furthermore, he seems to hop from raunchy sex jam to religious jingle to charity number back to raunchier sex jam with absolute ease. I don't think there's any other artist out there who could match that.

R's latest singles are no different - in fact they're some of his best work to date. The recent hit "I'm A Flirt (Remix)" is an instant classic. The track was originally recorded for (Lil) Bow Wow's recent release, however R must have figured it was too hot for him not to take over himself. Basically it's just a really mean song that is the antithesis of the "bro's before ho's" mentality, as R explains why you should not allow you're girl anywhere near him because he will likely steal her away from you ("she be calling you Kelly/when your name is Tommy"). He even warns his girl not to bring her friends around, because he'll probably have sex with them too. On "Same Girl," R and Usher trade hilarious verses, eventually coming to the conclusion that they're both dating the same woman, who - incidentally - "works at TBS." I don't know where in the writing process, R came up with "she works at TBS," but - then again - I'm not a genius.

"Same Girl" (R. Kelly and Usher)

R is just such a good actor - I love all of his facial expressions. The video really enhances the song in my opinion as Usher's facial reactions when he realizes R is describing his girl are positively priceless.

The DJ Evolution: From Scratches To Yells

When you think of DJs, you probably think of the classic DJ archetype - Grandmaster Flash, Jam Master Jay, DJ Jazzy Jeff - that dude behind the group with the turntables. And that dude's main purpose was scratching records. Scratching is the prominent "DJ" art form, well documented in the brilliant film, Scratch. However, today's rap music predominantly does not feature scratching - whereas DJ's still play a prominent role in the genre. In fact one could argue that DJ's are even more important now than ever before. But what do DJ's do if they aren't scratching? Well, they yell. Yelling has taken the role once played by scratching. I don't know whether DJ's were tired of being in the background or maybe just tired of using their hands, but it would seem they went from hyping one performer to hyping themselves.

Now, I don't really have a problem with this and I don't really know where it started. Regardless, it's a somewhat fascinating phenomenon. Let's take DJ Khaled - now, DJ Khaled has a new album just out in stores (entitled We The Best). On We the Best, DJ Khaled doesn't sing, or rap, and only produced two songs. Yet, it's still his album. "I'll tell you exactly what I'm doing: I'm putting the [entire] album together," Khaled explained to MTV. "And not only that, I'm on the records. My ad-libs and everything are a big part of the records, [just] like Lil Jon's 'Yeah!' and all that. That goes a long way. Mine is just a different swagger." His songs tend to be cluttered with guest appearances, but it's his boisterous yell that the track is built around. Case in point...


Thus, Khaled is an artist of the conceptual variety. He doesn't conceive the songs in a musical sense, just simply has a "vibe" he wants to convey and leads others in that direction. That is ridiculously awesome I think, because it's exactly the way I'd want to make my "solo" album. This conceptual process is very interesting - more like that of a movie producer than a music one - and further complicates the roles of "musician" and "artist."

One more time...

I totally want to open my video walking through my old high school as well.

Marily Manson: His Own Self Parody?

Marilyn Manson has returned. He has a new explicit video, a new album, and appearances in several magazines. Yet the Marilyn Manson of 2007 is not much like the one we met ten years ago. In fact this Marilyn Manson is a bit of a parody of his former self. I am going to separate Marilyn Manson's career into three eras:

1 - Brief period at the beginning of his career where he is a genuine threat to middle America. This is both solidified and destroyed when Manson performs "All the Beautiful People" at the MTV Video Music Awards - he finally has a platform to shock the masses, yet such an invitation shows a level of acceptance he claims to reject. His shock cred is restored when certain politicians blame him for the shootings at Columbine High School.

2 - Longer period where Manson remains an interesting, if not so shocking, artist. No one knows what to make of Manson at first, yet an appearance on Politically Incorrect establishes a certain level of intelligence. When more see him in Michael Moore's Bowling For Columbine, it's pretty clear that the dude is pretty smart. A stronger emphasis on electronics makes his music more accessible, and kitschy hits like "The Dope Show" make him almost a modern day David Bowie.

3 - Slow descent into self-parody. Such a level of mainstream acceptance can wreak havoc on your creative output. Manson has gone from threatening cultural figure to spoof of himself. His decisions - both in terms of sound and fashion - have become increasingly predictable, void of both shock value and creative intellect. He relied on covers for a few years there - a not-so-bold take on "Tainted Love" accompanied by a pathetically sad pseudo-spoof video ...

The attempted theme is "look at me, I made it, and now me and my goth pals are crashing your party" but what comes across is merely "please let me come to your party, I'll be your clown and sing karaoke." When Manson covered "Personal Jesus" for his greatest hits album, even his most devoted followers called the decision "obivious."

Now, Manson is back, only to find that his life of absinthe, porn stars and Hollywood starlets is exactly what we'd expect of him. Oh, and he's not too fulfilled by it either. His latest move is to have sex in a rain of blood with new girlfriend Evan Rachel Wood...

To be totally honest, I kind of like the song, but it's almost a nostalgic last hurrah for a man who knows he cannot return to glory days. Many of the shots in the video remind me of David Lynch's Wild at Heart and Lost Highway, the latter of which features a cameo from Manson. It's fitting, seeing as how Manson has somehow become the victim of his own Lynchian story. He seems to be driving down this lost highway, under the impression time never leaves 1997. Only the sad reality is that he does get older, and when he reaches the present day they don't remember him - at least not the way he wants to be remembered.

Death of the Ironic Cover

Bringing sexy back???
Pretty much since the inception of MP3 blogs, the "ironic cover" has been a subgenre of indie rock. Through bootleg MP3s and YouTube videos, ironic takes on modern pop songs that are often featured in indie rock sets have taken on a life far greater than just that live performance. Surf around Hype Machine or any number of blogs and chances are you will come across at least a few. Yet, it has come to my attention that this subgenre has gone too far and needs to stop - at least for the time being. With ironic covers taking on an almost single-like magnitude, others have followed suit and the originality that made them so interesting to begin with has been lost.

This time last summer, everyone was covering "Crazy" by Gnarls Barkley. I enjoyed hearing Greg Dulli sing it when I saw the Twilight Singers around that time, yet even Dulli seemed a tad disappointed when I interviewed him that the internet had cut out the performance's surprise potential. Apparently, Justin Timberlake is still working the song into sets, changing the chorus to, "I think she's crazy" - a possible knock towards Britney Spears. And, now, even the mainstream is catching on. In the supermarket yesterday, I heard a version of "Crazy" performed by Shawn Colvin. Now, her take wasn't so bad and a fairly hip decision given her fan base. However, it also smelled of desperation.

The real nail in the coffin is Poison's recent take on "SexyBack." I would never expect Bret Michaels and co. to be beacons of originality (though I do like some "Talk Dirty to Me" from time-to-time) but their "SexyBack" is everything you expect from a bad cover. Michaels doesn't sound so much as though he's re-claiming sexy, more like he's trying to re-claim the pop audience he lost back when Nevermind first dropped. It's as if he feels Justin Timberlake should never have had the spotlight to begin with. Michaels is like an old man trying to show the ungrateful kids his still got it, only to hurt his back in the process. Sorry, Bret, JT owes you nothing.

Originality and the ability to push boundaries is the cornerstone of independent music. With the profile of indie rock and indie labels on the rise, this is not the time to fall back on old tricks, while just copying the next band. And let this be a lesson - if Poison thinks it's cool, it's probably not that cool.