Posts Tagged Sinead O’Connor

The Creative-Commercial Cycle: How Pop Eats Itself

If it’s agreed that the following creative-commercial cycle occurs continuously in popular music…

The Cycle Of Music

The Cycle Of Music

…then there are a couple of things I find interesting. Namely, the process by which naturally compelling artists learn to create music with mass appeal, and the fact that this cycle seems to be speeding up as the executives get quicker at identifying and exploiting new trends.

U2 In 1980

U2 In Their Freeform Days

For an example of the cycle, we can look at U2’s output. In the early 80s they had underground ‘alternative rock’ cool factor. The songs on their first two albums Boy and October were somewhat freeform.  Melodies were cockeyed and noncommittal, lyrics never too direct. Bono’s voice and Edge’s guitar sound, together, supplied compelling personality. Steve Lillywhite’s production captured the band’s raw electricity without stylizing it.

War and The Unforgettable Fire followed, with ‘Sunday Bloody Sunday,’ ‘New Year’s Day’ and ‘Pride (In The Name Of Love)’ showing the first signs of a desire to write for radio. However, an inspired change in personnel brought a new depth to the sound of that fourth album: ambient visionary Brian Eno and roots musician Daniel Lanois were brought in to produce.

Not surprisingly, the subsequent writing on The Joshua Tree was significantly distilled.  The straight-ahead stock chord changes and emotive melody of ‘With Or Without You’ as well as the clear, sweeping subject matter of ‘I Still Haven’t Found What I’m Looking For’ and ‘Where The Streets Have No Name’ brought a mainstream audience to them as if by magnetic pull. If Eno and Lanois hadn’t purposely educated the band about mainstream pop writing, some form of growth-through-osmosis had happened as they opened up their creative circle.

Here’s a wordy section from ‘Drowning Man’ on War, followed by the confidence of the continuously building ‘With Or Without You’.

Since the watershed success of that album and the Rattle & Hum stadium tour–amid their core audience’s protests that the band had sold out–U2 has ridden out the last 20 years in various states of expectation-busting experimentation (Zooropa, The Passengers’ Original Soundtracks project) and pop duty fulfillment (All That You Can’t Leave Behind).

Bjork Exploring Blindly

Bjork’s Explorations With Kukl

Bjork–who, incidentally, at first used her voice much like Bono had in the early 80s–first helmed Icelandic band Kukl, followed by The Sugarcubes. Her childlike voice and persona showed commercial promise amidst the disarray of the bands’ post-punk art-rock.

Teaming up with respected electronic producer Nellee Hooper, she emerged as a solo artist in 1993 with Debut, securing her place in pop history. The follow-up album was Post. ‘It’s Oh So Quiet,’ the big band single America loved to hate, was as straightforward as she would ever get before making her way back into ever-deeper experimental waters.

Compare the atonal rant from ‘Copy Thy Neighbour’ by Kukl with the soaring melody on the chorus of ‘Hyperballad’.

10,000 Maniacs Before Leaving Jamestown, NY

10,000 Maniacs Of Jamestown, NY

10,000 Maniacs is an interesting case that I made an effort to crack recently. I always had a like-hate relationship (as opposed to love-hate) with their In My Tribe, Blind Man’s Zoo and Our Time In Eden albums because I never quite understood how a band could sabotage moments of melodic virtuosity with such poorly considered arrangements. Or how such a compelling voice–meaning Natalie Merchant’s vocal instrument as well as the interesting angles she took on the songs’ subject matter–could be ruined by an equal helping of preachy condescension. As well, even after a string of five pop singles (‘Like The Weather,’ ‘What’s The Matter Here,’ ‘Trouble Me,’ ‘These Are Days’ and ‘Candy Everybody Wants,’) the band seemed to retain ‘alternative’ cred. Surely it couldn’t just have been based on their name.

A listen through their early recordings, reissued later on Hope Chest and The Wishing Chair, explained much. Like early U2 and Kukl, these songs are meandering stabs at writing, with hookless melodies, wordy, unclear lyrics and unremarkable chord changes. Also like Bono and Bjork, Merchant’s singular personality came through in her voice and the way she used it.  10,000 Maniacs guitarist Rob Buck, too, had an original style. Perhaps not as iconoclastic as Edge’s, but enough to show promise to a record company like Elektra. The band’s ‘alternative’ roots show in these recordings: in addition to the beginnings of their brand of quirky rock, we’re taken through painful world music experiments in Soca, Zouk and Dub Reggae.

‘Death Of Manolete’ from Hope Chest demonstrates the freedom of their wide-open creativity while the exquisite ‘Dust Bowl’ from Blind Man’s Zoo shows us the focus that took hold by the band’s second album with major label producer Peter Asher.

And so we have the artists, feeling around for something new to chew on, and the executives, racing to learn how to capitalize on a movement, a sound, an idea, a persona. They can’t exist without each other, so I don’t mean to imply that executives are the Cruella DeVilles of the world. But the crops need time to grow before the combine comes along to harvest. And in the age of the internet, traces of new artistic energy are identified and absorbed into the machine with breakneck acceleration.

One such ‘absorption cycle’ that makes me shudder is what occurred somewhere between 1995 and 2008, when Jill Sobule and Katy Perry each released a song called ‘I Kissed A Girl.’ Sobule’s song felt like the honest confession of a woman testing the fluidity of her sexuality. Perry’s felt like a market-researched ‘girls gone wild’ capitalization on straight mens’ fascination with girl-on-girl action. The sincere feminist perspective of artists like Sobule through the early 90s was officially absorbed into the machine when Simon Fuller auditioned British Barbie dolls for the Spice Girls. What was their mantra?  ‘Girl Power’? Fast forward a decade, and it’s as though the feminist consciousness of the early 90s never existed. Lillith Fair sales are slipping this summer while the promo machine runs full-tilt for Katy Perry, who’s selling an updated Betty Page wet dream. Well, straight men still pull the budgetary levers at the major labels.

I was never fond of the smugly-named British band ‘Pop Will Eat Itself.’ As this creative-commercial cycle accelerates, however, I’m beginning to wonder if they were onto something. Adding momentum to this cycle is the fact that music went post-modern about 20 years ago. That is, sampling signified the gradual decline of truly new forms of pop music in favour of mixing original combinations of retro styles. If artists’ formulas weren’t made of old ingredients, it would be that much harder for executives to hack the recipe.

Janelle Monae Now

Janelle Monae Now

The ‘no rules’ artist to watch at this moment is Janelle Monae. She’s 24, she’s thoroughly disregarding anything that might be put on her as a female or a person of colour (in her own words: ‘I don’t have to do anything by default’), she’s got a big budget and she’s interesting. And–oh yes–she can sing. She can perform.

Andre 3000 and Big Boi of Outkast began working with her years back, and P. Diddy, of all people, has diverged from pop formula long enough to sign her and give her the kind of backing true artists only dream of in 2010.

Her trip is highly conceptual. Through a four-part suite, she’s reportedly telling the story of a robot named Cindi Mayweather who orchestrates an uprising in Metropolis. Her lyrics are so cryptic, however, that this storyline is barely apparent in the songs. At this early stage her output is coming across as a whole lot of disjointed concept, borrowed from many sources. If Fritz Lang doesn’t turn over in his grave at her shameless appropriation of his story, other visionaries like James Brown might. Virtually every song ends up a pastiche of the styles of several decades over the last century.

Melodically, the material is somewhat flat, the most memorable hooks lifted from elsewhere. Near the beginning of  ‘Many Moons,’ a single from 2008’s Metropolis: The Chase Suite, she blatantly bites a riff from the Sesame Street pinball song we all know. After escaping the distraction of the very high budget of the ‘Many Moons’ video, it struck me that the most memorable moment of the song itself was that riff.

Selections from the new album, The ArchAndroid, include: ‘Cold War,’ its arresting single-shot video summoning the moment Sinead O’Connor shed a single tear for the camera in ‘Nothing Compares 2 U’; ‘Tightrope,’ with its main ‘on the scene’ hook lifted from ‘Sex Machine,’ (something she appeared to cop to as she donned a James Brown cape while performing it on David Letterman); ‘Sir Greendown,’ something like Shirley Bassey singing a version of ‘Moon River’; and ‘Make The Bus,’ like an outtake from David Bowie’s 70s trilogy produced by Brian Eno.

Another album track, ‘Locked Inside,’ feels good because it’s written over the chords of Stevie Wonder’s ‘Golden Lady’. It’s all crammed in there, cryptic and disorganized, from cabaret to hot jazz horns and 80s hip hop. And though it’s the work of an artist getting her bearings, both overdoing the concept and underdoing the original substance, she does appear to have the potential to change the game.

In order to keep that high budget record deal so she can mature creatively, it’s important that she have a bonafide hit sometime soon. And for that to happen the songs may have to fit into a framework that people understand a little more readily. There’s the catch-22: before the artist can ignore creative boundaries and lead the way, it seems she must first learn to simplify her writing. In days gone by labels could allow an artist several albums to reach a commercial stride. These days, it’s possible that other executives may be able to pinpoint what’s special about Monae early on and manufacture other acts that are capable of overtaking her. Hurry, Janelle, hurry and grow your garden!

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Sound Of The Funky Drummer

FunkyDrummer45

Funky Drummer

1. At a 1969 recording session drummer Clyde Stubblefield played a beat on a James Brown song that came to be called ‘Funky Drummer’.

The beat was so in-the-pocket that in the middle of the song Brown asks the rest of the band to lay back and give Stubblefield an 8-bar drum break to really sink into the groove.

The track was released, split in half, on two sides of a 7″ single in 1970 but was never included on an album.

In The Jungle Groove Compilation

In The Jungle Groove

2. Some James Brown rarities and remixes were culled together in 1986 and released on a compilation called ‘In The Jungle Groove’. For the first time ‘Funky Drummer’ was available in its uninterrupted form, clocking in at 9:15.

The compilation also included a 3-minute Funky Drummer ‘Bonus Beat Reprise’ put together by New York DJ Danny Krivit which was essentially the cleanest and deepest bar of Stubblefield’s solo jam looped relentlessly, peppered only with the occasional guitar jab or James Brown vocal grunt to mark time.

Fine Young Cannibals 'I'm Not The Man I Used To Be'

Not The Man

3. Producers the world over knew what this Krivit re-edit was for.

Aside from a critical mass of rappers including Biz Markie, Big Daddy Kane, Ice T, Ice Cube and De La Soul jumping on the loop as the basis of new tracks, it began showing up as a rhythmic grid laid over pop songs far and wide.  From 1988-1990 in particular it was an undeniable bastion of street cred for artists, and it is thought to be the most-sampled recording in history.

Fine Young Cannibals were among the first to arrive on the scene with the sweeping ‘I’m Not The Man I Used To Be’ from ‘The Raw And The Cooked’, lightly funkified with muted guitar riffs weaved into a sped-up Stubblefield groove.

'I Am Stretched On Your Grave'

Stretched

Sinead O’Connor’s ‘I Am Stretched On Your Grave,’ from her seminal ‘I Do Not Want What I Haven’t Got’, LP was unapologetic about its use.  Bottom-heavy and slightly slowed, the loop was upfront, holding the track down under O’Connor’s acapella vocal for over a minute before synth bass and eventually a celtic violin riff are introduced.

Some of the other best-known upfront overlays of the beat from that period include ‘Mama Said Knock You Out’ and ‘The Boomin’ System’ by LL Cool J, as well as ‘Freedom 90’ and ‘Waiting For That Day’ by George Michael.

This Year's Girl'

Baby Love Child

4. Although the loop became fused with the aesthetic of its golden period, it hasn’t gone bad. The straight-up funk of it is impossible to deny, so it has continued to appear in a steady trickle, the producers dealing with its oversaturation in various ways.

Perhaps wanting in on the action while still recognizing its burgeoning overuse, the Beastie Boys threw in one dirty bar of the loop at the end of ‘Shadrach’.  On 1993’s ‘Reachin’ (A New Refutation Of Time And Space)’ Digable Planets tastefully reinvented it by chopping it up and weaving it subtley into the jazzy beats of ‘Where I’m From’ and ‘Swoon Units’.

Japan’s Pizzicato Five did some crafty cut-and-paste on ‘Baby Love Child’ by laying the loop over an interpolation of the chords of the Righteous Brother’s ‘You’ve Lost That Loving Feeling’. (If the song title is meant to be a mash-up of ‘Baby Love’ and ‘Love Child’ by the Supremes, we really have a mutt of a track here.)

'B-Boy Stance'

B-Boy Stance

Genre-defying artist K-Os brought the loop full circle on 2004’s excellent ‘Joyful Rebellion’ LP by putting an aggressively distorted Funky Drummer upfront again on ‘B-Boy Stance’–as if to credit it, at least partially, as the roots of his rap attachment.

The only other drum loop that may approach the ubiquity of the Funky Drummer is the drum break on ‘Amen Brother’ by The Winstons. Virtually responsible for the entire genre of music known as Drum & Bass (or Jungle) the aural etymology of the sample, from inconspicuous b-side break to 24-hour assault on Drum & Bass internet radio stations, is tracked brilliantly in this video by Nate Harrison.

Clyde Stubblefield: The Funky Drummer

The Funky Drummer a/k/a Clyde Stubblefield

So…what about Clyde?  The most-sampled man in history is in need of a liver transplant, but his musician friends have had to rally to raise the funds for him.

Since James Brown regularly taught his band the songs in his head part by part, it’s unclear whether Brown or Stubblefield came up with this beat. But because rhythmic contributions to music are not considered copyrightable ‘intellectual property’ in the same way melody and lyrics are, Stubblefield would not have been credited as a writer on the song either way. As such, beyond the original session fee, he wasn’t entitled to further royalties.

This lack of respect, at least legally, for rhythmic innovation is probably rooted in the fact that the system of notating chords and melody developed centuries ago in Europe is not equipped to capture rhythmic ‘feel.’  Because a drum beat lacks melody, it’s not considered unique enough to copyright. It’s interesting to note, then, that over the past 30 years popular music has become more and more dominated by rap, with hooks that are gradually becoming more rhythmic…we actually value melody less than we used to.

It’s also interesting to see that the unstoppable appropriation of audio and video in our new digital world has given rise to new fair-use philosophies such as that of Creative Commons licensing. Some people believe that a degree of freedom with intellectual property creates a healthy creative climate.

Still, in recent years the American Federation Of Musicians has developed something called ‘Neighbouring Rights’ in a bid to channel royalties to the individual players on recordings. Had this system existed at the time the Funky Drummer was laid down on tape, Clyde Stubblefield might have been up there on the Forbes list.

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