Another year of the MTV Video Awards has passed. There was no shocking moment like ten years ago when Madonna kissed Britney Spears and Christina Aguilera (although Miley Cyrus' performance of "We Can't Stop" followed by "Blurred Lines" with Robin Thicke will probably be the most talked about performance at water coolers tomorrow).
Here are six things I learned from the awards show:
1) Justin Timberlake and Bruno Mars should sing at every awards show or go on a sing-off tour, because they know how to come in and show how it's done.
2) As cool as it was watching N*Sync again, the others looked rusty. I don't see a full-on reunion anytime soon.
3) The Smith children are everywhere; next they will be in your dreams (nightmares).
4) Rihanna and Mary J. Blige (who, sadly, was absent tonight) should be at every awards show. Their reactions are always entertaining and gif-ready. Case in point: Rihanna's reaction to Miley Cyrus shaking her butt.
5) Taylor Swift is officially the most annoying woman on the planet. Kanye, feel free to crash the stage anytime she's on it.
Sunday, August 25, 2013
Monday, March 11, 2013
"Let's go, eskimo": Girls Aloud's triumphant return to the stage
Based in the U.K., Girls Aloud shot to fame when they won the reality competition series Pop Stars. Teaming up with hitmakers Xenomania, Girls Aloud enjoyed an impressive run of hits since their television debut, including songs like "Sound of the Underground, "Love Machine", "Biology" and "No Good Advice". Their quirky lyrics (as referenced in the title of this post), mixed with their gorgeous harmonies, made them the premier girl group in pop music, perhaps the best girl group in pop since the Spice Girls, without chants of girl power, but just straight-up pop music. They never broke into North America, remaining one of the best kept secrets in pop.
In 2007, after releasing a greatest hits album, Girls Aloud released arguably their two best albums, "Tangled Up" and "Out of Control", presenting a more sophisticated image and even more pop classics with "Sexy... No, No, No", "Can't Speak French", "Call the Shots", the '60s throwback "The Promise", the electro-infused "Untouchable" and the Pet Shop Boys-penned "The Loving Kind". Just when things were getting good, Girls Aloud took a break. Cheryl Cole became perhaps the most famous solo member of Girls Aloud, releasing three hit albums and headlining her own tour (not to mention, getting some Stateside attention when she was hired - and then fired - as a judge for the American version of "X Factor").
Late last year, the girls regrouped to celebrate their tenth anniversary with yet another greatest hits album and a new tour.
Because the tour is not visiting Canada, I travelled across the ocean just to see Girls Aloud at London's O2 Arena. You're probably thinking I'm crazy for doing such a thing, but with rumours spreading that this may be their last tour, I HAD to see it. Were they worth the seven-hour flight?
Absolutely.
Not only have Girls Aloud created irresistible pop hits over the past ten years, they have also developed into one of the best live acts in pop music. Like Madonna and Kylie Minogue, Girls Aloud know how to put on a pop spectacle. Their shows may not be as technically elaborate as Madonna's or Kylie's, but they know how to give their fans a good time.
After taking off almost four years, the time off has not affected their performance skills. In fact, the time off has only helped them hone their skills. Cheryl, in particular, knows how to work the crowd, giving the crowd lots of eye contact and camera-ready poses. Having headlined her own tour, Cheryl is more than comfortable on the stage.
Nadine, perhaps the best vocalist in the group, is another favourite with the crowds. She laps up every moment she's on the stage. She is a true pop star. She believes in every lyric, every note, every dance move, every gesture, no matter how over-the-top it may be. Take, for example, the beginning of "Models/The Show", where the girls strut down the stage catwalk as if they are models strutting down a runway. Nadine struts down the catwalk as if she owns it. She is larger than life and she knows it. That's what we want from our pop stars.
Kimberley, Nicola and Sarah are perhaps overshadowed by Cheryl and Nadine, but they sing and dance competently, and the strong chemistry amongst all five women is a reminder that the best girl groups only work when each is on top of their game. After ten years as a group, and a long break in between, each member is on top of their game.
The show begins with the five girls descending from the ceiling on a platform with the letters of G-I-R-L-S A-L-O-U-D on full display. Later in the show, the girls will stand on the same platform as they fly over the audience.
The show is a non-stop run of Girls Aloud hits - literally, all killer and no filler. With most Girls Aloud shows, they do a cover of a recent hit, and this time it's Carly Rae Jepsen's monster hit from last summer, "Call Me Maybe". The girls do a good job, but mostly it's a sing-along moment for the audience.
One of the strongest parts of the show is the third act, where the girls perform some of their best songs, including "Untouchable" and "Call the Shots" from a B-stage. These electronic-infused pop numbers are the cream of the crop in the Girls Aloud discography. "Call the Shots", in particular, proved to be the biggest crowd pleaser of the night.
The show ends with an encore of the ballad "I'll Stand By You" and their last number-one hit,"The Promise", with the girls dressed in glittery red evening gowns, a throwback to the classic '60s girl groups.
Which is fitting because, like the Supremes, the Ronettes, and the Crystals, Girls Aloud have now become a classic girl group themselves.
Even if most of the world has no idea what "let's go, eskimo" or "And tonight, is just another kink in your steel" means.
Sunday, January 6, 2013
Parachute Club a "one-hit wonder"? I think not
I don't watch MuchMusic or MuchMoreMusic "much" (like that pun?) anymore, but the other night, I was flipping channels and happened to come by MMM's "100 One Hit Wonders". As with most of these countdowns, the usual suspects popped up - Marky Mark and the Funky Bunch, Deee-Lite, et cetera. But my eyes bugged out when I saw number 19... Parachute Club!
Now, I may be showing my age, but I remember Parachute Club from the '80s, during their peak. Granted, they did not last long - about four years, to be exact. But they were NOT a one-hit wonder. They had three major hits, "Rise Up", "At the Feet of the Moon" and their duet with John Oates from Hall & Oates called "Love is Fire", plus popular songs such as "Alienation" and "Sexual Intelligence".
Frankly, I am offended by MMM's assertion that Parachute Club is a one hit wonder. They were one of Canadian music's most prominent bands in the '80s, and both "At the Feet of the Moon" and "Love is Fire" got regular rotation on... Much Music.
Labeling Parachute Club as a one hit wonder is a discredit to the band and their success in the '80s. Shame on MuchMoreMusic for reducing them to such a label and placing them amongst acts who never shared the same kind of success - or influence - that Parachute Club did.
Now, I may be showing my age, but I remember Parachute Club from the '80s, during their peak. Granted, they did not last long - about four years, to be exact. But they were NOT a one-hit wonder. They had three major hits, "Rise Up", "At the Feet of the Moon" and their duet with John Oates from Hall & Oates called "Love is Fire", plus popular songs such as "Alienation" and "Sexual Intelligence".
Frankly, I am offended by MMM's assertion that Parachute Club is a one hit wonder. They were one of Canadian music's most prominent bands in the '80s, and both "At the Feet of the Moon" and "Love is Fire" got regular rotation on... Much Music.
Labeling Parachute Club as a one hit wonder is a discredit to the band and their success in the '80s. Shame on MuchMoreMusic for reducing them to such a label and placing them amongst acts who never shared the same kind of success - or influence - that Parachute Club did.
Tuesday, October 16, 2012
"Touch Me" remains a pop pleasure
"Touch Me" by Samantha Fox was one of my favourite pop albums from the '80s and it remains an enduring pop classic thanks to the 2009 Wounded Bird reissue, and now Cherry Pop's comprehensive two-disc reissue.
On this reissue, you get the original album plus B-sides (please note, I am Canadian, and the track listing was different in North America; both "Want You To Want Me" and "Rockin' In the City" were featured album tracks, while "It's Only Love" and "Drop Me a Line" were not), remixes and even a few tracks (plus extended versions) from Samantha Fox's early days with the band, SFX. It's great to have the extended version of "Touch Me" on CD and the single mix of "I'm All You Need" (as well as the extended version of this song since it was not on the 2009 reissue).
The sound is excellent and the accompanying booklet is colourful, with extensive liner notes and many photos from the "Touch Me" era. My only complaint about this reissue is the inclusion of the earlier tracks feel unnecessary; first of all, the sound quality of these tracks is not very good and stand out from the otherwise excellent mastering; secondly, they break up the flow of this release because they do not come from the "Touch Me" era and sound a bit out of place. But, this is just a personal preference because I'm sure there are a lot of Foxy fans who want these tracks on CD.
If you're an '80s music collector, this reissue should be in your collection.
"Touch Me" is available at all Amazon sites.
On this reissue, you get the original album plus B-sides (please note, I am Canadian, and the track listing was different in North America; both "Want You To Want Me" and "Rockin' In the City" were featured album tracks, while "It's Only Love" and "Drop Me a Line" were not), remixes and even a few tracks (plus extended versions) from Samantha Fox's early days with the band, SFX. It's great to have the extended version of "Touch Me" on CD and the single mix of "I'm All You Need" (as well as the extended version of this song since it was not on the 2009 reissue).
The sound is excellent and the accompanying booklet is colourful, with extensive liner notes and many photos from the "Touch Me" era. My only complaint about this reissue is the inclusion of the earlier tracks feel unnecessary; first of all, the sound quality of these tracks is not very good and stand out from the otherwise excellent mastering; secondly, they break up the flow of this release because they do not come from the "Touch Me" era and sound a bit out of place. But, this is just a personal preference because I'm sure there are a lot of Foxy fans who want these tracks on CD.
If you're an '80s music collector, this reissue should be in your collection.
"Touch Me" is available at all Amazon sites.
Thursday, May 31, 2012
More than just "The Queen of Disco"
As you probably know, multi-talented singer Donna Summer passed away on May 17th at the age of 63. In recent years, we have lost Michael Jackson and Whitney Houston. Their deaths were tragic - but not shocking. But the death of Donna Summer has both shocked and surprised me. It was only a few years ago I saw Summer in concert at Casino Rama. She had put on some weight, but she looked healthy, and her voice sounded better than ever.
Summer fought her battle with lung cancer in private, and that is quite a feat in this tabloid, TMZ-obsessed society. The announcement of her death had many on Facebook and Twitter messaging tributes such as, "Thank you for being the last voice we heard at so many dances". Or, "You were the voice of a generation." Yet, despite her success, Donna Summer remained an extremely underrated artist.
Most knew Donna Summer as "The Queen of Disco". Indeed, it was a double-edged sword for her. While she peaked during the disco era, Summer was much more than just a disco singer. This was a woman who could sing anything - and I mean anything. She sang country, dance, electronica ("I Feel Love", anyone?) gospel, jazz, opera, pop, psychedelic rock, R&B, you name it. She was also an accomplished songwriter. She co-wrote Dolly Parton's number-one country hit "Starting Over Again" with her husband, Bruce Sudano. She also wrote the lovely but underrated "Sometimes Like Butterflies", which was eventually recorded by Dusty Springfield in the mid-'80s. Summer was also an accomplished and successful painter.
I didn't get the chance to grow up in the disco era, so my introduction to Donna Summer was through her post-disco, '80s hits "She Works Hard for the Money" and "This Time I Know It's For Real". While she did have some hits following her disco heyday, Summer struggled to find the same level of success throughout the '80s and '90s. By this time, she had become a Born Again Christian, and an ugly - but unsubstantiated - rumour haunted Summer for the rest of her career. There were allegations that Summer had made remarks following a 1983 concert that AIDS was God's way of punishing gay men for an immoral lifestyle. Summer would deny the rumour for the rest of her career, but it never seemed to go away despite her denials.
Following her death, I was surprised - but also pleased - to learn that many record stores and online retailers were selling out of Donna Summer CDs. No doubt, music lovers wanted to remember late nights dancing to Summer's endless string of disco classics such as "Spring Affair", "Heaven Knows", "Hot Stuff" and, of course, "Last Dance". It's a shame it has taken her death to bring a re-evaluation and a new appreciation of Donna Summer's music. Perhaps now some of Summer's lesser known material will receive more attention.
One of my favourite Donna Summer albums is one of her least known, and perhaps an odd choice. It's her 1994 Christmas album, "Christmas Spirit". It was released in conjunction with her 1994 best-of collection, "Endless Summer". It's one of her best albums - superb orchestrations, some new songs mixed with classic Christmas songs (including a powerful version of Amy Grant's "Breath of Heaven"). And then, of course, there is the singing. Summer's gospel vocals soar throughout the album. If you like Christmas music and do not own this album, give "Christmas Spirit" a chance this Christmas.
I know I'll be playing it this Christmas. Not just because it's a fine Christmas album, but to remember one of music's finest voices.
Summer's music lives on, remaining the soundtrack to our Saturday nights.
R.I.P. Donna Summer.
Summer fought her battle with lung cancer in private, and that is quite a feat in this tabloid, TMZ-obsessed society. The announcement of her death had many on Facebook and Twitter messaging tributes such as, "Thank you for being the last voice we heard at so many dances". Or, "You were the voice of a generation." Yet, despite her success, Donna Summer remained an extremely underrated artist.
Most knew Donna Summer as "The Queen of Disco". Indeed, it was a double-edged sword for her. While she peaked during the disco era, Summer was much more than just a disco singer. This was a woman who could sing anything - and I mean anything. She sang country, dance, electronica ("I Feel Love", anyone?) gospel, jazz, opera, pop, psychedelic rock, R&B, you name it. She was also an accomplished songwriter. She co-wrote Dolly Parton's number-one country hit "Starting Over Again" with her husband, Bruce Sudano. She also wrote the lovely but underrated "Sometimes Like Butterflies", which was eventually recorded by Dusty Springfield in the mid-'80s. Summer was also an accomplished and successful painter.
I didn't get the chance to grow up in the disco era, so my introduction to Donna Summer was through her post-disco, '80s hits "She Works Hard for the Money" and "This Time I Know It's For Real". While she did have some hits following her disco heyday, Summer struggled to find the same level of success throughout the '80s and '90s. By this time, she had become a Born Again Christian, and an ugly - but unsubstantiated - rumour haunted Summer for the rest of her career. There were allegations that Summer had made remarks following a 1983 concert that AIDS was God's way of punishing gay men for an immoral lifestyle. Summer would deny the rumour for the rest of her career, but it never seemed to go away despite her denials.
Following her death, I was surprised - but also pleased - to learn that many record stores and online retailers were selling out of Donna Summer CDs. No doubt, music lovers wanted to remember late nights dancing to Summer's endless string of disco classics such as "Spring Affair", "Heaven Knows", "Hot Stuff" and, of course, "Last Dance". It's a shame it has taken her death to bring a re-evaluation and a new appreciation of Donna Summer's music. Perhaps now some of Summer's lesser known material will receive more attention.
One of my favourite Donna Summer albums is one of her least known, and perhaps an odd choice. It's her 1994 Christmas album, "Christmas Spirit". It was released in conjunction with her 1994 best-of collection, "Endless Summer". It's one of her best albums - superb orchestrations, some new songs mixed with classic Christmas songs (including a powerful version of Amy Grant's "Breath of Heaven"). And then, of course, there is the singing. Summer's gospel vocals soar throughout the album. If you like Christmas music and do not own this album, give "Christmas Spirit" a chance this Christmas.
I know I'll be playing it this Christmas. Not just because it's a fine Christmas album, but to remember one of music's finest voices.
Summer's music lives on, remaining the soundtrack to our Saturday nights.
R.I.P. Donna Summer.
Monday, September 26, 2011
New Miles Davis Box Set coming...
Rhino France has produced some excellent box sets in the past few years, most notably box sets on Donny Hathaway and Chic. This fall, Rhino will be covering the last era of jazz great Miles Davis' career with 1986 - 1991: The Warner Years, featuring his last few albums including "Tutu", produced by Marcus Miller, who produced many of Luther Vandross' classic albums. More interesting will be extracts from Davis' film scores for obscure films like Mary Lambert's "Siesta" and Dennis Hopper's "The Hot Spot", as well as a sampling of Davis' collaborations with other artists including the Prince-penned "Sticky Wicked".
Even if you're not a big fan of Davis' late '80s work, I have no doubt Rhino France will do an excellent job with this set. Pre-orders can be made at Amazon France.
Even if you're not a big fan of Davis' late '80s work, I have no doubt Rhino France will do an excellent job with this set. Pre-orders can be made at Amazon France.
Thursday, August 4, 2011
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