An Add-Shot of Pop: Sabrina Carpenter’s “Espresso”
Breathy and a bit bratty, in the best possible way, Sabrina Carpenter’s breakout hit, “Espresso” is easily a song-of-the-summer contender. As the track awakens, it’s cool and quiet, just the sound of shimmery synth keys, handclaps, and a deep bass line in the background can be heard. But it’s quick to rise and shine into a caffeinated eight-line chorus (repeated four times in less than three minutes) that proudly boasts the effect one can have on a partner, specifically the prowess of delivering a shot of love so strong, it’s enough to instill a bout of insomnia (“Say you can’t sleep, baby, I know/That’s that me, espresso”).
And while this hook and most of the lyrical content, for that matter, are far from grammatically correct (“Walked in and dream came trued it for ya”; “One touch and I brand newed it for ya”), certain liberties are allowed when crafting a smart, sugary pop song, the kind of sonic addiction that gets into a listener’s veins and brain, and won’t let go. Is it that sweet? I know so.
“Flowers” Power: Miley’s Message of Self-Sufficiency
The new year is blossoming beautifully for Miley Cyrus, as the debut single, “Flowers,” from her upcoming album, Endless Summer Vacation, reached the number 1 spot on the Billboard Hot 100 in late January. The track, co-written by Cyrus, Gregory Aldae Hein and Michael Pollack features references to Cyrus’ former marriage to the actor, Liam Hemsworth. In the first verse, “Built a home, and watched it burn” relates to the couple losing their Malibu house in the 2018 Woolsey Fire. But most notably, “Flowers” serves as a response to Hemsworth allegedly dedicating the Bruno Mars regret-filled ballad, “When I Was Your Man” to Cyrus. She offers a form of lyrical rebuttal in the following ways:
Mars’ chorus: “That I should have bought you flowers.”
Cyrus’ chorus: “I can buy myself flowers.”
Mars: “And held your hand.”
Cyrus: “And I can hold my own hand.”
Mars: “Should have gave you all my hours.”
Cyrus: “Talk to myself for hours.”
Mars: “Take you to every party ‘cause all you wanted to do was dance.”
Cyrus: “I can take myself dancing.”
From a production standpoint, Kid Harpoon and Tyler Johnson keep the verses quiet, gloomy, almost wilted, all constructed to make the cloud-free chorus flourish with confidence. Harpoon’s prominent disco-funk bass line lends smooth, soulful sass, the kind that inspires strutting down a hallway before erupting in euphoric abandon, as displayed by Cyrus in the accompanying Jacob Bixenman-directed music video. (The video is reminiscent of Francis Lawrence’s “Cry Me a River” for Justin Timberlake, who, like Cyrus, is shown breaking into the home of a former, and allegedly unfaithful, lover.)
With the New Year a little over a month in, and Valentine’s Day ahead, Cyrus’ “Flowers” could not have been released at a better time. (Likely its January 13 launch date was to coincide with Hemsworth’s birthday.) Two of the possible reasons the track has resonated with so many: Resolutions for better self-care are (hopefully) still in practice, with the song serving as an extra push to stay resilient; singles get an added reminder to tend to—and cultivate—self-sufficiency. “Flowers” is the musical equivalent of a dozen red roses.
Columbia Records. Album-Cover Photography by Brianna Capozzi.
The Pop Zeal Project (Track 84): Gwen Stefani: “The Real Thing”
When Gwen Stefani of No Doubt ventured out to make her first solo album, 2004’s Love. Angel. Music. Baby., the singer used it as a creative outlet to pursue other forms of music besides the ska/post-punk sound, for which the band was already famous. While on The Harajuku Lovers Tour to support the solo effort, Stefani, during an interaction with the crowd after “Crash,” offered insight as to the intention behind L. A. M. B.:
Stefani’s creative direction for L. A. M. B. pointed towards psychedelic pop-punk.
“I was on tour with No Doubt… and I said to Tony… wouldn’t it be fun to make a dance record? Very, very clean, easy, simple idea… I was never gonna tour the record, but then you guys keep buying the record, you keep bringing me out, you keep tempting me. And I’m on this big ol’ wave and I just wanna crash right down on top of you, and I just wanna hear you guys sing the songs back to me.”
The song in the setlist before “Crash,” entitled “The Real Thing” was cowritten by Stefani, Linda Perry, and Stefani’s then-husband, Gavin Rossdale, and co-produced by Nellee Hooper (No Doubt’s “Hella Good”; “Running”; their cover of Talk Talk’s “It’s My Life”). Lyrically, the love song expresses how much one, after being with another for some time, still wants, and needs, the other around. Presumably, Stefani and Rossdale, each with their own rock-star careers and busy schedules, were writing about each other at the time, with the following lyrics a reflection of their relationship: “And we’re together most days/But I still love to have you around”. However, in 2016, after 14 years of marriage, Stefani and Rossdale divorced, making one of the track’s later verses a bit prophetic: “Heaven knows what will come next/So emotional, you’re so complex/A rollercoaster, built to crash/But I still love to have you around.” (Note another reference to the word, crash.)
Musically, “The Real Thing” was heavily (and intentionally) inspired by New Order’s 1986 track, “Bizarre Love Triangle.” Stefani would have been 17 years old when the synth-pop song was first released, and indicates another musical style that Stefani was interested in besides the ska/post-punk sound that a budding No Doubt was embracing. (One can almost imagine Stefani staying up late on a Sunday night to watch MTV’s “!20 Minutes” to catch the video for “Bizarre,” or sliding a cassette tape into a boombox during lunch at Anaheim’s Loara High School.) Into adulthood, Stefani remained a fan of the English alternative-pop band, and reached out to collaborate with them. After initially declining, the band’s singer, Bernard Sumner ended up contributing backing vocals, while Peter Hook played bass on Stefani’s musical homage.
Listening to “The Real Thing,” one may not necessarily hear the direct influence of “Bizarre.” But in listening to “Bizarre,” and then returning back to “The Real Thing,” the similarities become more evident. For example:
The guitar riff in the outro of “Bizarre”; the intro to “The Real Thing.”
Melody: In “Bizarre” at the lyrics: “There’s no sense in telling me/The wisdom of the fool won’t set you free.” In “The Real Thing” at the aforementioned: “Heaven knows what will come next/So emotional, you’re so complex.”
Gwen Stefani’s “The Real Thing,” and essentially the Love. Angel. Music. Baby. period as a whole, marks one of the most important moments in Stefani’s career: Sonically, it’s a purposeful step from ska to synth pop and other sounds; visually, as seen on The Harajuku Lovers Tour, it’s a shift from rugged rock star to polished platinum-Marilyn pop star, complete with what would become Stefani’s signature: the retro red lip. “The Real Thing” serves as another way Stefani solidified herself as the real deal.
Red Lip Photo by John Shearer.
Dancing With Myself: Aquaria Heads Out Alone in The Knocks’ Video for “Slow Song”
The electronic-music duo, The Knocks, consisting of Ben “B-Roc” Ruttner and James “JPatt” Patterson, released the sound of summer, in spring 2022. “Slow Song,” featuring Martina “Dragonette” Sorbara on vocals, is shimmery, “bassy” synthpop with a melody line in the chorus that’s so sunny it ironically brings the chills (the good kind).
If the song itself isn’t shimmery enough, the Austin Peters-directed music video delivers the (lip) glossy glam, thanks to “Rupaul’s Drag Race” season 10 winner, Aquaria. Stuck in a dead-end job in the dead of night, Aquaria’s character closes up shop at the farmacia, and retreats to a nearly deserted dancehall to spiritually recharge, with music and movement the metaphorical sources of energy.
After sitting solo at a table, the stunning performer stands up, and sashays out to the dance floor, for what could be considered a Flashdance-finale moment.*
During the song’s bridge, the video cuts to footage of a strobe-light-bathed Aquaria suddenly surrounded by other dancing patrons. It seems unlikely the empty club had an influx of nightclubbers, leading to the theory that this could all be in Aquaria’s head, perhaps a dream of life before COVID closed the clubs, before socializing was replaced by social distancing. The video then quickly cuts to Aquaria adamantly exiting the dancehall, a few patrons can be seen off to the sides, but it becomes more about Aquaria’s ownership of a night out alone, reminding us that sometimes you just have to break free, even if it’s—especially nowadays—by yourself.
*Flashdance, directed by Adrian Lyne. Paramount Pictures, 1983.
Love ‘Em and “Leo” Fast: Holiday Sidewinder’s Ode to the One-Night Stand
In the summer of 2018, Australian pop singer, Holiday Sidewinder released her catchy single, “Leo,” with its refrain including a synthesized rhyming roll call of lovers, everyone from Leo to Rodrigo, Marco to Diego, and a few others. The track could be seen as one woman’s reinterpretation of Prince’s “Little Red Corvette,” the tale now told listing the names of “the jockeys that were there before me,” as His Royal Badness once sang.
“Leo” is certainly intriguing, for it manages to sound like one thing, but say something completely different. Sidewinder’s vocal style suggests coy innocence, while the lyrics point to a woman who doesn’t mince words (“I’ll give you tonight, but I won’t call you tomorrow”), even brazenly forewarning: “Lock up your husbands, and lock up your sons.”
Provocative content aside, and there’s lots of it, “Leo” works on its own as a smartly constructed pop song. The first verse features a bass-synthesizer as the hero instrument, giving it all kinds of ‘80s feels, with Sidewinder’s aforementioned vocal delivery adding a dreamy effect; her character mojito-intoxicated in the nightlife. After the roll-call refrain, the rapid-fire drums give way to the carefree-sounding chorus, the morning walk of (no) shame has never sounded sunnier, thanks, in part, to more melodic vocals, reminiscent of Gwen Stefani’s. And with the start of the second verse, the bass-synthesizer gets replaced by a deep bass-guitar riff, only solidifying its ‘80s new-wave nostalgia. Take a listen, and you too might quickly love it; if not, just move on.
Disco Playlist: Thelma Houston: “Don’t Leave Me This Way”
Thelma Houston’s “Don’t Leave Me This Way” starts seductively slow through its intro and first verse, only to be offset by a powerhouse chorus. These slow and fast moments create a beautiful balance, all while showcasing Houston’s passionate vocals to convey that necessary tone of desperation. Musically, the disco era embraced violin and bass as prominent instruments, and this track features both, providing another merge of classical meets club. Yet it’s when the tambourine comes in at the outro that the song is at its fullest, a perfect companion to the drums, poppin’ bass and Houston’s commanding vocal run.
Pop Playlist: Kylie Minogue: “The One”
The final single from Kylie’s 10th album, the aptly titled, X, “The One” is unique in that it’s part ballad, part dance. There have been various versions: The album appearance leans toward hypnotic ballad, while the Freemasons Vocal Club Mix picks up the pace and turns up the bass. The latter was adopted on her X2008 tour and in part on her 2009 North-American For You, For Me tour; Kylie Live in New York audio release. In 2011, she opted for a blend for the Aphrodite live performances. A video for the song was also released, with old Hollywood glamour (Kylie’s long-haired Veronica Lake look; kaleidoscopic visuals as homage to movie musicals) and bright art-deco arch references, serving as inspiration. The video also features one of Kylie’s dancers at the time, Jason Beitel. Ten years later, “The One” still resonates with Kylie, as it now resides on her 2018 Golden Tour set list.
Pop Playlist: Queen: “Under Pressure”
David Bowie’s appearance on the 1981 Queen classic, “Under Pressure” was a match made in heaven. The pairing created a song with lasting resonance, thanks in part to its mesmerizing bass line, arguably one of the most recognizable in music. (The riff heavily inspired Vanilla Ice’s 1990 hit, “Ice Ice Baby.”) Freddie Mercury’s improvisational vocal runs and classical piano give it a slight operatic feel, with quieter moments leading to an explosive release of crescendo highs for an all-out rock sound. There’s never a dull moment in “Under Pressure”; how could there be with two of the most charismatic artists on one track.
The Enveloping Sound of Engelwood’s “Puerto Rico”
Credit once again goes to YouTube vlogger, MarkE Miller, and fellow channel, Majestic Casual, for this discovery. Miller recently posted a vlog featuring a song entitled, “Puerto Rico” by the producer, Engelwood. The mostly instrumental track evokes a little bit of Marvin Gaye smooth, part Capitol Cities’ “Safe and Sound.” At just over 2:30, it starts very quietly but ramps up to its full, funky level, so don’t adjust the volume when the song starts; its presence will be made, slowly but surely. It’ll eventually wash over you, filling the ears and surrounding the head with the deepest, most interesting, satisfying bass-drum (heart) beat.
Madonna Singin’ in the Ring & “Causing a Commotion”
Check out this “fight to the finish.” Filmed in Yokohama, Japan on Madonna’s “Blond Ambition Tour” (1990), the pop star and her two backing vocalists, Donna De Lory and Niki Haris, duke it out during “Causing a Commotion.” It’s the third song in the set list and one of the best in the show, for it captures some of the elements that make this such an iconic tour:
Style with sociological substance: Jean-Paul Gaultier’s versatile designs have Madonna going from corset to athletic (hoodie) wear, specifically a colorful jacket that smartly stretches to accommodate the famous cone bra. And then the gloves go on. Gaultier and Madonna play with traditional gender roles and iconography: doll-like ponytail; a pants-suit with lingerie (as outerwear); exaggerated (bullet) bra; unhinged garters; her character almost an engineered construct of masculine prowess and Metropolis-inspired (robo) femininity, with Madonna stating, “Let’s show these people how ladies can act.”
“The moves, baby”: Choreographed punches and uppercuts, and by the end Madonna is full of “below the belt” bragging rights, after the intentionally tongue-in-cheek “grudge match” of cartoon (“Three Stooges”) proportion.
Band: The bass intro with percussion congas; Jonathan Moffett on drums (2:10 captures his impressive speed to keep the beat). With Madonna on the main card, it’s important to remember that there’s actually a solid live band (3:09).
This is just one of the many performances that confirms the Blond Ambition Tour is still a clear winner… T.K.O.
Stop and Listen to “Stop for Nothing”
“Just get in and close the door” is what the driver encourages in “Stop for Nothing,” by the indie-pop duo, courtship. (lowercase and with a period). Dreamy vocals, airy electric guitar (one riff evoking ‘60s surf-music reverb) and deep bass lines (particularly the one after the above lyric) capture that carefree feeling of a beautiful day near the water or a sunny drive along the (California) coast.
Band Together: Sly & The Family Stone: “Dance to the Music”
More than just a ‘60s/’70s funk group, Sly & The Family Stone were a musical army. Instead of guns, there were guitars; rather than a single bugle, a serious horn section. In 1968, they issued an official order to their “souldiers,” and really anyone who wanted to enlist, to simply dance to the music. Sly Stone (Sylvester Stewart), the grinning general and deep-voiced patriarch of this revolutionary group, entrusted one of his officers, the trumpeter Cynthia Robinson, to shout this decree. It’s Robinson’s exclamation at the dawn of “Dance to the Music” that became a soulful reveille heard loud and clear across this great land via vinyl and 8-track; an impassioned cry that also has Robinson later shouting, “All the squares go home!”
Sly meticulously breaks down the rich, full sound that is “Dance to the Music,” creating a compelling brass-clad argument for why one and all should follow this new order. The track celebrates the unique and necessary role each instrument has in constructing and layering a song. Whether you were moved by ‘50s-inspired doo-wop harmonies, Wilson Pickett’s “Mustang Sally,” or maybe you “only need a beat,” there’s no excuse not joining this “dance, dance revolution”; whatever you like, it’s got you covered. Just as diverse individuals would ideally come together to make up a harmonious society based on integration, not segregation, every instrument is an important contribution, “everybody is a star.”
It was some 25 years after its release when Madonna, on The Girlie Show World Tour, incorporated a version of this treatment into the finale song, “Everybody,” as the way to introduce her band members. (Skip to 4:44 of the footage embedded below; also her introduction of the bass player, Victor Baley is one of my favorite moments on DVD.) She also mashes up the second verse from Sly & The Family Stone’s “Everybody is a Star” into the beginning of this live performance.
“Dance to the Music” is Sly’s vision of music as the way to unify, allowing all of its listeners a period of détente, where the focus is less on enemy lines and more on bass lines.
Madonna also sung part of Sly & The Family Stone’s “Family Affair” as the intro to “Keep It Together” on her 1990 Blond Ambition World Tour. Both tracks speak about the complicated relationships, yet unconditional love, that can exist within the family structure. Madonna co-wrote hers about her own upbringing, and later found it translated to her role as “mother figure” to her corps of dancers.
Miramax Films. Director: Alek Keshishian.