The video I can understand (I still hold that it works well for the song) but if you sincerely think that she didn’t consciously make the choice to have a lo-fi, intimate sound then you must be oblivious to the thought that goes into making most art. If I’m just some average guy on a computer and I can extrapolate the intention from that production choice than I’m sure someone who’s been making music for as long as her considered it before releasing the album.
I think you guys are missing the significance of the “throwaway” aspect of these works. For Karen O’s album I thought it was pretty obvious that the intimacy of hearing these songs alone with her in her bedroom creates a feeling that could never be achieved through production. These are corny little love songs that come from the most sincere part of her heart, songs that wouldn’t make sense as flushed out, fully produced YYY songs. That’s why it’s called Crush Songs; they sound like they could have come from any teenager just singing to their significant other, singing about perhaps not real love, but a strong and immediate attraction.
The Jonze video tries to play off that idea. The eyes simply following the young girl, entranced by her acting aloof of yet attached to the camera. Nothing technically impressive, but emotionally relatable.
Plus, that shot with the empty theater in the background is just genius. He should have just cut the video after the song ended though; it takes away when he includes the other people on stage.
Fuck man, I forgot how great Twista was on that song too. What happened to him? Only thing I’ve heard from him lately was that great verse on Chance The Rapper’s track.
That new Jamie Foxx song does not belong in the same paragraph as Slow Jam.
Kanye and Foxx are 2 for 2 on colaborations between Slow Jam and Golddigger
I don’t know if I would call it the best rap album of all time (I pull for Illmatic every time), but I’ll be damned if this isn’t the greatest. I mean this album has some monster hits and it revels in the sound of ’94 so it’s easy to lose site of the work as a larger whole, but I would say that any hip hop fan should have to get in their car and bump this start to finish at least once in their life. As far as production, it’s classic 90′s perfection. The real genius is from Biggie though; how he managed to write some of these rhymes at just over 20 baffles me.
I’m glad you mentioned Rick Ross and his emulation of Biggie, but the thing Ross never has is the heart that Biggie put into his songs. It seems strange at first to hear this monstrously booming voice go from talking about slinging drugs to his family and suicide. It’s just so immediate but there’s so much to take in.
Another classic that I fell in love with through my friend’s brothers speakers and didn’t pick up until later.
They were past Neon Bible before I started really getting into music, so I wasn’t swept up in that initial zeitgeist, but this album feels less like a collection of music than a culmination of my youth. Any time I get asked what albums defined my teenage years it’s Is This It?, Who Will Cut Our Hair When We’re Gone, The Lonesome Crowded West, College Dropout, and this.
I honestly have to be careful where I play “Wake Up” and “Une Annee Sans Luminere” because I will get visibly emotional.
I’m always surprised that Walk The Moon haven’t had a more of a pop radio impact. I’m not a fan of them (though I do have to give them props for their song Quesadilla which is just ridiculously fun) but they seem like they would fit the Neon Trees or Imagine Dragons crowd great.
As far as this All About That Bass goes, I think it’s a genius pop song because the way it works in so many musical “moments.” Nothing is especially unique or original, but there are a lot of little one-off flourishes that are what really help the catchiness factor.
The pseudo rap verse intro, the magazines/photoshop line’s melody is a straight rip from another song that I can’t place at the moment, the occasional cuss to keep things edgy, the sexyback send up, the piano addition at the second(?) chorus, then some extra vocal showing off and guitar riffage.
That, combined with the relative to radio niche-ness of upright bass and doo-wop, makes this a perfect example of a pop song that will be huge for a moment, but doesn’t have the goods to make a long lasting impression.
I desperately hope that LMFAO are just an incredibly serious, long term performance art piece, testing the limits of mankind’s ability to digest terrible music put out by the dorkiest looking d-bags ever.
I still don’t buy that “Go” was written for Rihanna. Not her type of sound at all. I feel like that was just a made up rumor to help get Grimes some traction to push it as a single.
Dang, between his recent producer work and this I’m kinda feeling like the world could use a Carney solo album.