At the video game forum where I hang out, someone linked to a rather stupid article from 2001 called “Where did all the catchy tunes go?”, in which Steve Sailer claims that – well – things ain’t what they used to be. I could have ignored it, could have walked away, but I thought there was a defence to be made for modern pop. I know this because I’ve been there: saying that there aren’t great songs out there only proves that you haven’t been paying attention. Continue reading →
Listening to MGMT yesterday, I began to wonder if people had forgotten how to write great songs. “How can you say that?” I hear you cry. “Electric Feel is a great song”, to which I’d counter, “Electric Feel has a great hook; it is not a great song.”
Great songs have rules – surprisingly rigid ones at that. It’s not that the songs that obey those rules are automatically good, but that the ones that break those rules are almost universally bad. Continue reading →
It’s been a day for celebration as the Chilean miners have begun their ascent. My mate Kenny reckons he liked them when they were still underground – but now everyone’s talking about them …
Kenny’s weird. He doesn’t like pop. I mean, granted, most pop’s rubbish, but every now and then a pop song makes the charts that’s as weird and wonderful, complex and exciting as any other style of music. Here, to remind us, are some of the best.
Gwen Stefani – What You Waiting For? (Love. Angel. Music. Baby., 2004)
The story behind this New Wave treat goes that Stefani’s first day in the studio with the legendary Linda Perry was disastrous, with Gwen breaking down in tears of self-doubt. Perry played her a tune the next day, which Gwen really loved, and Perry said, “Well, what are you waiting for?” The pair then documented Gwen’s emotional state to form the lyrics. It is unknown whether white rabbits were involved in the proceedings.
Sugababes – Stronger (Angels With Dirty Faces, 2002)
Back when the Sugababes made truly excellent records, this ripped off Massive Attack’s Unfinished Sympathy to devastating effect. Lush strings complement the fine three-part harmony against a languid trip-hop beat. This song is a great reminder of how they used to sound before they lapsed into bland, shallow elevator muzak. Continue reading →