Pop Playlist: Madonna: “Vogue”
Arguably, Madonna’s 1990 hit, “Vogue” is her signature song, one that will always come up in conversation when discussing the icon’s contribution to pop (music) culture. With its theme of dance floor as place to escape life’s “heartache,” Madonna and co-writer Shep Pettibone paint a scene where fantasy, through imaginative (fashion-pose) voguing, serves as inspirational recharge for one’s own reality, a space that gives “new life.”
The documentarian, Jennie Livingston had already been exploring similar themes in the New York gay underground of competitive fashion-fantasy balls and voguing “battles” years earlier, with her groundbreaking film, Paris Is Burning. Yet Madonna was the one to bring elements from this world into mainstream visibility (“Life’s a ball”). While the powerful documentary delves into far grittier territory, “Vogue” focuses on the glitzier aspects of old-Hollywood glamour. It becomes more than just a catchy dance song or stylish video, it’s indicative of how a savvy Madonna took something subculture and crafted it into one of her most mainstream successes, in turn, also influencing the pop-culture lexicon, the word not just a noun anymore or the name of a magazine, but now a familiar action verb.
David Fincher’s masterpiece:
A clip from Paris Is Burning, with the legendary Willi Ninja. Take note at 1:15 - 1:25, which features a young Jose Gutierez, who a few years later would appear in the video for “Vogue” and be a part of Madonna’s “Blond Ambition World Tour.”
Psychedelic Zodiac: Donovan’s “Hurdy Gurdy Man”
Just re-watched David Fincher’s 2007 film, Zodiac, about the crimes committed in the San Francisco Bay Area in the 1960s and 1970s by a person who called himself, The Zodiac, via cryptic letters and creepy phone calls to news outlets. The film is incredibly well-done, in depth and, at times, spine-tingling. It also does a fantastic job of using songs to establish timeframe and tone, best exemplified by the use of “Hurdy Gurdy Man,” recorded in 1968 by the singer, Donovan. The track is classic psychedelic ‘60s, and plays over a disturbing scene near the beginning of the film, as well as during the closing credits. The film stars Jake Gyllenhaal, Mark Ruffalo, Anthony Edwards, and Robert Downey, Jr.; even the actors in smaller roles are equally memorable, including the (uncredited) actress, Ione Skye, whose father is… Donovan.
A chilling clip from Zodiac, featuring Ione Skye:
Allured into the Basement
“Are you sure there’s nobody else in the house?”
— Jake Gyllenhaal as cartoonist turned true-crime investigator, Robert Graysmith.
Paramount Pictures. Cinematographer: Harris Savides.
Pop Playlist: The Smiths: “Please, Please, Please…”
The Smiths’ “Please, Please, Please, Let Me Get What I Want” is just shy of two minutes long, but it efficiently goes straight to the heart of desperate longing. The lead singer, Morrissey sounds as if he’s in mid-prayer, a plea to experience “Good times for a change.” Acoustic guitar, and the defeated sadness in his voice, create a somber tone, yet not one of complaining, but contemplation. There’s disappointment, but he’s also hopeful; he’s the “good man” who doesn’t want to “turn bad.” The lyric, “Haven’t had a dream in a long time” may be the track’s most vulnerable, with the later “what” in “get what I want” open to interpretation, the “what” replaceable with “who.” (Morrissey has in fact applied this lyric change during live shows.)
The song works well in the heartwarming (and heartbreaking) film about the confusion of unrequited love, (500) Days of Summer, with Joseph Gordon-Levitt (Tom) and Zooey Deschanel (Summer). In the hopes of getting Summer’s attention, Tom plays the song out loud for co-worker and fellow Smiths admirer, Summer, only for Summer to walk right by his desk.
“Please, Please, Please…” has been covered by Deschanel (She & Him), and the Dream Academy, whose version appears in the film, Ferris Bueller’s Day Off.
Fallen So Hard for Kelly Clarkson’s “Love So Soft”
It was love at first listen, upon hearing Kelly Clarkson’s “Love So Soft” from her upcoming, Meaning of Life. With Clarkson, it’s about that voice: soulful; controlled, yet able to open up vocally without resorting to four minutes of shouting as singing; always reliable; simply remarkable. Some are singers, but Clarkson belongs in the category of impressive vocalist.
It’s reflected in “Love So Soft,” a ’60s R & B-inspired track that blends a (bass) sax with an already bass-tastic beat in the chorus. Clarkson delivers raspy, attitude-filled vocals, transitioning into different melody lines from verse to refrain to chorus to bridge, seemingly four songs in one that connect beautifully. The video weaves in ‘60s elements, in the form of cars, fashion (headscarf and sunglasses) and midcentury-modern architecture (the “cliff house” with rose-blossom exterior; clean-line decor; copper chandelier). "Love So Soft” is so good.
Pop Playlist: Depeche Mode: “Enjoy the Silence”
English synth-pop icons, Depeche Mode had one of their biggest successes with 1990’s Violator. It featured strong singles, such as “Personal Jesus,” “Policy of Truth,” “World in My Eyes” and this song, “Enjoy the Silence.” From the start, “Silence” bounces with a deep synth-bass line, while a tender guitar riff softens the sound. But not too soft, for when Dave Gahan adds his vocals to the first verse, the mood intensifies once again. “Silence” is essentially a (dark) ballad: “Words are very unnecessary/They can only do harm.” Yet drum-machine beats and brilliant transitions, particularly the one between the chorus and second verse, give the song a surprising sense of catchy vitality, allowing it to become an alternative-pop and dance hit in several countries.
Below is a clip from 2014’s Live in Berlin filmed concert, directed by Anton Corbijn, who also directed the music video for the song. The deep synth-bass line, as referenced earlier, comes in at 0:46 and is definitive Depeche. “Silence” never sounded so good.
Pop Playlist: Christina Aguilera: “Come On Over Baby”
Along with Britney Spears, Christina Aguilera became one of the biggest pop stars in the late ‘90s, thanks to “Genie in a Bottle” and “What a Girl Wants.” In 2000, Aguilera’s “Come On Over Baby” became the fourth single off her debut, self-titled album. Strong, soulful vocals and a driving dance-pop beat were customary for the first two singles, and for this track too, with “I Turn to You” the necessary power ballad. “Come On Over” served as provocative invitation, not just lyrically toward the song’s object of affection (“You better cross the line”), but as if toward the audience as well. With the world in a new millennium, Aguilera began to take steps toward (perceived image) change too, with “Come on Over” becoming her first “not that innocent” moment, only to pale in comparison to the later “Dirrty” chapter of her career.
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.
Pop Playlist: The Beatles: “In My Life”
Reflection on the past is a prevalent theme in The Beatles’ “In My Life.” With lyrics by John Lennon, (life) change and its inevitability, in relation to places and people, give the song a melancholic, matter-of-fact sense. Superbly simple songwriting that captures aspects of the human condition (past loss; present love), along with a sweet melody and an unexpected (classical) bridge make “In My Life” a timeless track, a case where one could say that some things don’t change.
Pop Playlist: She & Him: “Sing”
Leave it to She & Him lead singer, Zooey Deschanel to write an eccentric lyric referencing the MTV show, “Cribs,” which is evident in the first line of the track, “Sing” from their album entitled, Volume Two. “Sing” is another offering that showcases the group’s love of traditional-pop-song brevity. At just over three minutes, Deschanel’s vocals are once again soothing to the ear, and features a harmonious delivery of jazzy “ba-da-da-dums” as a carefree conclusion.
Zoot Suits: Kylie Minogue Fits Well on Zoot Woman Track
“Still Feels Like the First Time” from the band, Zoot Woman is another prime example of meditative pop. The band, consisting of Johnny Blake, Adam Blake, and Stuart Price (mega-producer of Madonna’s near-perfect Confessions on a Dance Floor and Kylie Minogue’s fierce and mighty Aphrodite), has been known to embrace a synthpop sound, and “Still Feels Like…” is a three-minute escape to the sci-fi future. With Kylie on guest vocals, with some affected intentionally to create a robotic distortion, the duet is gorgeous and gentle; lovely, light and airy, full of heavenly harmonies.
The Weeknd: “Secrets”: Lies, Eyes and ‘80s Samples
To anyone who remembers the ‘80s, the latest from The Weeknd, entitled “Secrets,” is a trip down memory lane. Lyrics in its chorus are pulled from The Romantics’ 1983 hit, “Talking in Your Sleep”; the transition from chorus to verse includes a direct pickup from Tears for Fears’ 1983 song, “Pale Shelter,” more specifically Curt Smith’s high-vocal climb of the lyric, “completely in command.”
The video, filmed in part at the Toronto Reference Library, sets a cold, barren tone to match the lyrical content that tells of a relationship full of lies, revealed “every time you close your eyes.” Ominous male figures in capes, which the female lead later runs away from, are perhaps indicative of her past catching up to her. Low-angle camera shots of these suitors, peering over balconies are reminiscent, in part, of the masquerade-ball scene in Stanley Kubrick’s 1999 film, Eyes Wide Shut. Use of deep red and the blossoming white bed that creates various geometric shapes also evoke other Kubrickian imagery.
Talking about Bassline
One of the elements that makes Selena Gomez’s “Bad Liar” a good pop song is the bass-guitar sample featured at the very beginning. Taken from the Talking Heads’ 1977 song, “Psycho Killer,” its smooth, cool sound is just like its creator, the Heads’ legendary bassist, Tina Weymouth. While the group’s lead singer, David Byrne was also part performance artist, with his unique vocals and delightfully intriguing stage presence, it was Weymouth, normally off to his back left, who usually played it chill… and played it well.
Weymouth’s other noteworthy musical contribution came in the form of the band, Tom Tom Club, with its early-‘80s “psychedelic and funkadelic” hit, and well-sampled in its own right, “Genius of Love.” Footage below was part of (the late) Jonathan Demme’s 1984 Talking Heads concert film, Stop Making Sense. Here, Weymouth is on lead, showcasing her signature bass playing, and her own whimsical presence, alongside the backing vocalists, Ednah Holt and Lynn Mabry, and the Heads’ drummer, and fellow Tom Tom Club member, Chris Frantz, who Weymouth has also been married to since 1977.
Pop Playlist: Fleetwood Mac: “Over My Head”
“But it sure feels nice” is not just a lyric from Fleetwood Mac’s 1975 single, “Over My Head,” but essentially the subsequent end result after every listening session. The distinct, soothing lead-vocal style of the band’s keyboardist, Christine McVie is always a comfort to the ears, even as she sings of the lows of love, and the realization of being in a relationship with someone who’s not reciprocating what’s deserved: “Your mood is like a circus wheel/You’re changing all time.” McVie’s lyrics capture that struggle between head and heart in a simple, yet creative manner.
Pop Playlist: Garbage: “Cherry Lips (Go Baby Go!)”
A blend of rock and synth, with touches of mid-century pop, the 2001 song, “Cherry Lips (Go Baby Go!)” by Garbage surely makes for an interesting listen. Although the band’s familiar, no-holds-barred rock-guitar riffs tear through, there are sweet-sounding production elements (handclaps; church bells) and Shirley Manson’s (girl-group) vocal delivery that allow the track to feel reminiscent of a bubble-gum song from the ‘60s… gone wild.
Lana Del Rey Delivers the “Love”
Most songs by the singer, Lana Del Rey can certainly be described as melancholic. Her ‘60s/‘70s-retro look and torch-style vocal delivery of airy highs and seductive lows surround material that’s often heavy and haunting, yet with a light, dreamy sound. With previous album titles such as Born to Die and Ultraviolence, Del Rey has never shied away from brutally honest lyrics dealing with the sadder, darker side of love and belonging, a young woman navigating as best through life, despite, as sung in her emotionally raw 2012 single, “Ride,” “… a war in my mind.”
Yet it’s the release of “Love” that presents Del Rey seemingly in a whole new light—smiley and hopeful. Its sound is still reminiscent of her previous work, with that David Lynch “Twin Peaks”-inspired lounge vibe, as best exemplified by the bass intro.; its lyrics optimistic: “Doesn’t matter ‘cause it’s enough/to be young and in love.”
The video for “Love” features Del Rey and band performing for an audience of young men and women in an interplanetary venue. An eclipse viewed by the “young and in love”; a tranquil kiss between a couple all make for stunning highlights. “Love” is peaceful meditative pop; four minutes of positive escapism that even has the normally introspective Del Rey singing, “Don’t worry, baby.”
George Michael: Pop-Music Idol. Lasting Legend.
As lead singer of Wham! in the early ‘80s, George Michael, along with Andrew Ridgeley, initially delivered pop songs that incorporated an (early) rap-sound sensibility. Certainly more Wham!-glam than gangsta, songs and corresponding videos for “Wham Rap! (Enjoy What You Do),” “Bad Boys” and “Young Guns (Go For It)” embraced (late-teen) rebellion and counter-culture independence. They featured George as the rebellious protagonist, hell (or heck) bent on breaking free from the expected 9 - 5 job and (the “Young Guns” lyric) “death by matrimony,” with Andrew’s character often portrayed as the one George’s needed to save from a life of cookie-cutter boredom. This trio of songs/videos walked a fine line, creating a (not-so) underlying homoerotic subtext, with George’s character seemingly enamored with Andrew’s. Besides this (latent) longing, gay iconography played heavily in these videos too, such as black leather jackets, tight jeans, and aviator glasses—a look that George would don again through his 1987 Faith period.
George later commented on the preoccupation with image over musical chops in “Freedom! ’90”; the video purposely didn’t feature the singer, unheard of at that time, especially considering his popularity, good looks, and sex appeal to both men and women. The video used supermodels instead to lip-sync the lyrics, and also showed his leather jacket ablaze, signifying the death of what was seen as a distraction to George’s wanting to be considered an artist with substance: “Sometimes the clothes do not make the man.”
Although George had his own model good looks, his absence from some of his videos helped refocus listeners to how great of a vocalist he was. George’s cover of Queen’s “Somebody to Love” at Freddie Mercury’s tribute concert at London’s Wembley Stadium is one of George’s finest vocal offerings, hitting remarkable notes, with an energy that turns heartbreaking lyrics into something hopeful. In the mid- to late-‘90s, George released “Fastlove” and for his greatest-hits collection released “Outside,” an ode to “love” in the outdoors, written in response to his arrest at a public bathroom. In 2008, he was on a worldwide retrospective tour, and this clip of “Everything She Wants” from Earl’s Court in London captures George’s calm command of the stage, with the ecstatic audience participation confirming his impact on a generation. This past Christmas saw the passing of the singer. He was only 53.
“Outside”: George took (life) lemons and made (musical) lemonade. He had the moves, and this clip showcases the genius of George:
An Australian in Paris: “…That Sweet City Woman”
Kylie Minogue’s cover of the Bee Gee’s classic, “Night Fever” (from Saturday Night Fever) utilizes her upper upper-register, in order to capture Barry Gibb’s distinctive vocal style. In the live performances below, Kylie showcases her authentic, live-vocal capacity, even amid a backing track for (background-vocal) effect. When Kylie sings, “Makin’ it mine,” she’s makin’ it hers.
The staging, styling and choreography is nothing short of chic, paying homage to Parisian glam-pop-disco in the ‘70s, while the two female dancers sport voluminous hair and seductive moves of the period. Kylie joins the dance party at “I got fire in my mind/I get higher in my walking,” and can’t help near the end to do a funky four-step.
More About Beginnings: Semisonic: “Closing Time”
The 1998 song, “Closing Time” from the band, Semisonic serves as a lyrical homage to that all-too-familiar moment that occurs around 2:00 a.m. at most drinking establishments—closing time. There’s even a classic bar-culture phrase that makes it way into the song that sums it all up: “You don’t have to go home but you can’t stay here.” Reportedly the song is not just about leaving a bar at the end of the night, but about moving from one life chapter to another. The lead singer and songwriter, Dan Wilson penned the song while his girlfriend was pregnant, and it ended up being about pending fatherhood, childbirth and new life (for all involved): “Every new beginning comes from some other beginning’s end.”
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.