Where the Wild Roses Glow: Kylie Minogue at Hyde Park Festival
As the headliner at the British Summer Time festival in London’s Hyde Park, pop royalty Kylie Minogue seemed to have a certain glow, as evidenced in the four-minute video below, which features compiled footage from the huge outdoor event, with a remix of “On a Night Like This” as the soundtrack. Donning a crown, accessorized by a base of red roses (maybe that was the reason for the luminous sparkle), she looked excited and energized. Perhaps the obvious joy was due to a revised, refreshed set list, instead of the one she recently used on her Kiss Me Once tour.
Back were the signature hits, as well as some ‘80s covers (Kim Carnes’ “Bette Davis Eyes,” complete with ‘80s photo-shoot-inspired video backdrop; Kool & the Gang’s “Celebration,” as she donned a Xanadu-tastic shiny gold jumpsuit to set the tone). She did keep one Kiss Me Once song, “Into the Blue,” which closes the show and finds Kylie sporting a black, beautifully tailored coat. If Kiss Me Once was winter, Kylie looked like she was ready for summer.
Better with Age: Kylie Minogue Reimagines “Hand On Your Heart”
In 2012, to commemorate her 25th anniversary in the music business, Kylie Minogue released The Abbey Road Sessions, a 16-track album of remixes, not the expected dance remixes of her pop songs, but rather ones that were reimagined and recorded with her Aphrodite touring band and a full orchestra at London’s legendary Abbey Road Studios. Let’s focus on one track in particular, “Hand On Your Heart,” originally appeared on her 1989 album, Enjoy Yourself. Written by Stock, Aitken & Waterman (S.A.W.), the Ford, Carnegie & Rockefeller of “hit factory” Brit-pop music of the ‘80s, the song initially sounded sunny and matter of fact, a carefree account of its main character asking her guy to “Put your hand on your heart and tell me/that we’re through.”
The Abbey Road Sessions’ version dons a mature feel. It embraces a soothing arrangement, complete with a delicate sweeping brush beat and mesmerizing acoustic-guitar sequence. It sounds as if the main character is retelling the same account, but from a different point of view and place in her life. The once nonchalant teenager is now a more serious, vulnerable woman, confident that even if this guy is not around, she’ll survive. Kylie’s delivery as a balladeer is sweet and sensitive with a somber lower register, especially at the resounding lyric: “that we’re through.”
By offering a quieter version of the originally upbeat, head-in-the-clouds track, it allows the S.A.W. lyrics to be honored, proving that although seemingly factory-like, pumping out shiny product off the line, their operation did in fact produce enduring gems. The Sessions also applies a similar treatment toward two other S.A.W. songs: the unrequited infatuation with a fantasy lover on “I Should Be So Lucky”; the devoted desperation on “Never Too Late.” The release is yet another example that disproves the many who thought Kylie was an Edsel of the ‘80s, confirming instead that after all these decades she’s always been a Bentley of pop.
Innocence Found: Tom Petty’s “American Girl” in the Movies
There’s nothing like the 1977 Tom Petty & The Heartbreakers’ song, “American Girl” to inspire a feeling of carefree, sing-along abandon in its fans. Appearing on their debut album, this popular track from the late ‘70s had enough staying power to go from radio to film, making appearances in the 1982 classic, Fast Times at Ridgemont High and the 1991 masterpiece, The Silence of the Lambs.
In Fast Times, “American Girl” plays over a montage of the first day of school. For some it’s a return to another year of popularity; for others, like Stacy (Jennifer Jason Leigh), it’s the start of a challenge. As soon as Stacy appears in this montage, the lyrics begin: “Well, she was an American girl/raised under promises/She couldn’t help thinking that there was a little more to life/somewhere else.”
She meets a handsome older guy named Ron (D.W. Brown), a stereo salesman in the mall. Stacy lies about her age and agrees to a date with him, 26. Stacy has abandoned her rule-following American girl. She sneaks out and runs to meet Ron on a street corner, who picks her up in his car. As Petty sang: “After all, it was a great big world/with lots of place to run to.”
As this young girl in Fast Times wanted to quickly become a young woman, the placement of the song in The Silence of the Lambs, shows how a young woman can quickly revert to being a young girl. Catherine (Brooke Smith) is driving by herself, singing along to “American Girl” on her stereo, her familiar nature bonding the viewer to her. Catherine pounds along on the steering wheel and not only sings the lyric, “Make it last all night,” but also tries to sing the backup at the same time, which only makes her all the more endearing. She stops singing, and the camera remains focused on her face, allowing for a final look, warning the invested observer that this carefree American girl, safe in her protective environment, will soon be anything but. She helps a man (Ted Levine) outside her apartment, her heart in the right place, yet her naivety gets her in serious trouble.
Although both films are different—Fast Times, a sharp, slightly unnerving comedy, Silence, a chilling, totally disturbing thriller—the choice to include “American Girl” is a testament to how well the song works in capturing wide-eyed innocence. Thankfully, both characters come out the other side as stronger American women.
Not For Everyone: Madonna: “Paradise (Not for Me)”
In 2000, Madonna collaborated with the French producer, Mirwais Ahmadzaï to create her synth-country endeavor known as Music. Ahmadzaï’s contributions were admirable, yet more experimental than approachable, which could explain why there were only three singles off the album (the title track, “Music”; “Don’t Tell Me”; a non-Ahmadzaï track, “What It Feels Like For a Girl). Yet it’s “Paradise (Not For Me)” that serves as an example of the Ahmadzaï aura: ethereal, yet eerie; synthesized, yet orchestral. “Paradise” finds Madonna’s vocals intentionally drowsy, as she sluggishly labors over lyrics, as if on her (Evita) deathbed: “I can’t remember/when I was young/I can’t explain/if it was wrong/My life goes on/but not the same…” At just over 6 ½ minutes, this song of hindsight amid life’s finality unfortunately lingers, almost not knowing when to exit. Considering its haunting feel, that may be its intended goal.
Madonna did feature the song in her 2001 Drowned World Tour as the introduction to the Japanese-themed section, appearing in a short film as a geisha drawn toward a large celestial radiance: “There is a light/above my head/Into your eyes/my face remains.” Madonna, an Italian-American pop star, dressed in Japanese-geisha regalia, singing in French makes for a striking sight and sound. Above the stage, four semi-nude male dancers in powdery body makeup, their look inspired by Japanese Butoh performance artists, hang upside down in midair, wrapped in sheets like cocoons (gestation). They’re soon released from the cocoons (birth) and lowered down, free to walk upright (life). As this lead-in concludes, they open their mouths, and in a stunning effect, appear to glow or burn from within (death; cremation). Madonna’s geisha also experiences the same fate, emitting a red ray of light (sorry) from her mouth toward the audience, practically burning the macabre images into their (our) minds.
Madonna almost knew that “Paradise (Not for Me)” was not for everyone, yet she realized its artistic potential in a live capacity, aware that showcasing startling imagery could only make this eccentric track all the more powerful. The song was also featured on her Confessions tour, but as a breath-catching ballad with the vocalist, Isaac Sinwani. This adoption of a more traditional acoustic arrangement still allowed her to perform the Ahmadzaï experiment, yet via softer, friendlier means.
Hook, Line and Singer: The Knack: “My Sharona”
Its thunderous drumbeat; deep bass chords; that stuttering guitar riff: It was clear that 1979’s “My Sharona” was going to be a hit. Especially in pop, it’s all about selling that repetitive hook that connects with the public; the aptly named band, The Knack knew about that and didn’t just rely on this holy trinity of instruments to do the hook work. They pushed further, allowing the vocal delivery, even the lyrics themselves, to stand out as well. The group didn’t throw together a pop song, but, in turn, crafted a definitive, engaging pop experience that still resonates. This one-hit wonder was chock full of so many smart, memorable hooks, it just couldn’t be shelved at the start of the new decade. Although its sound became synonymous with the ‘80s decade, it’s gone on to live several lives, most notably, as endearing pastiche, in the 1994 film, Reality Bites.
A Brief Stint with Synth: Tom Petty & The Heartbreakers: “You Got Lucky”
Similar to disco in the ‘70s, which had just about everyone, including a brief stint by The Rolling Stones (“Miss You”), “disco-fying” their sound, this new-wave MTV era now had a rock group synthesizing their sound to fit into the musical landscape. Florida rockers Tom Petty & The Heartbreakers, known for ‘70s FM-radio hits embraced adaptability with 1982’s “You Got Lucky.”
Whether you were already a fan of their car-radio favorites or discovered the band via the Mad Max-inspired music video for “You Got Lucky,” it was this openness to explore that introduced the group to an even bigger audience. However, the band’s visit to this alien land of synth was (intentionally?) ephemeral. In the apocalyptic video, the Heartbreakers play rough, yet wary space cowboys, stumbling upon a lost desert station, presumably on Earth, filled with technological artifacts and fads. Note at the end that the only item they take with them is the electric guitar, which Mike Campbell loads into his shuttle. They leave behind the jackpot of coins, the arcade games, TV sets and the cassette-tape player; the guitar the only real thing of value, interest and relevance, symbolic of the band’s loyalty to their traditional rock lineage and the only necessary instrument for where the band was headed… back home.
It’s also noteworthy that Petty’s futuristic character, ironically wearing old-west attire, almost takes the tape player, yet decides to leave it behind, not only foreshadowing its obsolescence, but perhaps serving as another indication of Petty’s affinity for the traditional, i.e., the vinyl record. The band did manage to welcome one important innovation: the music video. They continued to embrace the marketing tool, becoming one of the most creative bands to push the concept forward, so much so, their videos became short four-minute films. Three years later “Don’t Come Around Here No More” became one of the best, albeit surreal and disturbing, videos of the MTV ‘80s. Just as the Stones followed up “Miss You” with their return to form, “Beast of Burden,” Tom and the gang soon issued the familiar-sounding “Change of Heart,” an aptly titled release, considering from where they just came.
Next Stop, The ‘80s: Lipps Inc.: “Funkytown”
The 1980 robo-soul hit, “Funkytown” represents that transitional period after the height of disco in the late ‘70s and before the commercial-new-wave MTV of the early ‘80s. Disco had unfortunately worn out its welcome; once Ethel Merman and many rock stars released disco-inspired records, there were many who wanted disco to hustle out of dodge. To where would music be heading and what would it sound like? According to the group, Lipps Inc. (Lip Sync), it was a, “Town to keep me movin’/Keep me groovin’ with some energy.” That place was known as Funkytown. Its writer and producer, Steven Greenberg sure had insight (“Talk about movin’/Gotta move on”).
“Funkytown” nursed those intoxicating sounds of the ‘70s: a percolating percussion cowbell; soulful vocals by the lead singer, Cynthia Johnson; Chic-inspired guitar riffs; violins; sax. The song even managed to draw inspiration from the sounds of the sci-fi-heavy late ‘70s/early ‘80s (think “Buck Rogers in the 25th Century” and “Battlestar Galactica” on the tube), incorporating computerized vocal modulations, even at one point sounding as if Cylons were laying down vocals. Laser-blaster effects and bouncy electro-keyboard blips seemed to reflect the earnest urge to usher in a “futuristic” sound for the new decade.
To their credit, the group’s heart was in the right place; the track wasn’t “The Hustle,” instead inspiring disco-deprived dancers to embrace “The Robot,” which was later combined with Poppin’ in the mid-‘80s. Even the computerized modulations could be seen as precursors to Auto-Tune of the late ‘90s and beyond. Maybe Lipps Inc. was on to something in 1980, solidifying their foresight as to what music would sound like way in the future. Unfortunately for the group, it would actually be another one-hit wonder, Gary Numan, to take the wheel, steering away from Funkytown and driving straight into Synth City. His “Cars” became somewhat representative of what the first part of the MTV ‘80s would really sound like, with Devo (“Whip It”), Duran Duran (“Planet Earth”) and The Human League (“Don’t You Want Me”), to name a few, contributing accordingly. Thankfully, you’re never too far from “Funkytown.”
More Disco than Dominatrix: Madonna: “Erotica” (Confessions Tour)
In support of the 2006 Stuart Price-produced masterpiece, “Confessions On A Dance Floor,” Madonna launched The Confessions Tour, and subsequently released a DVD of the Wembley Arena concert, along with a CD sampling of live tracks from that London show. The remix of 1992’s “Erotica” occurred after the roller-disco extravaganza that was “Music Inferno.” Madonna had just peeled off the Travolta-inspired white leisure suit to reveal a white-and-purple full-body leotard. The only thing left to the imagination was in trying to figure out the lead-in to the next song. Just as the ears began to recognize the disembodied, heavily automated voice repeat, “All over me,” the next all-too-familiar lyrics solved the mystery: “Erotic/Erotic/Put your hands all over my body.”
This welcome revamp of “Erotica” was actually a return to lyrics featured in the original demo entitled, “You Thrill Me.” This Confessions arrangement, with its ticking synth-keyboard line, a smoother disco-funk bass line and a skipping drum beat, was more innocuous than the final album version of “Erotica,” with its ominous bass line, clanking dungeon sounds, and creepy piano notes.
The dominatrix-driven final album version also relied on the seductive, spoken-word approach, recited by Madonna’s alter-ego mistress, Dita (“Give it up/Do as I say…”), while Confessions had Madonna and the backing vocalists, Donna DeLory and Nicki Richards providing a more melodic, soulful delivery. Also worth noting is the flipping of the direct, “I’d like to put you in a trance” to a more submissive, “You put me in a trance,” as if the relationship featured in the song was now being told from a different point of view, focusing instead on “… all the pain that love can bring.”
Lay The Medley Down: Cher: “Gypsies, Tramps & Thieves” (The Farewell Tour)
You know you’ve been around a long time as a singer when you have to add a medley into your concerts. The back catalog so large, attendees would need to spend the night in their $200+ seat to hear you sing all the songs they’re really there to hear. The current stuff may be good, but it’s the promise of retro rewind somewhere in the set list that inspires fans to slap that $200+ onto a credit card. On either side of the mic, many would agree: A minute and half of a hit is better than no hit at all.
Cher is one of those singers with a staggering amount of material. In 2002, she launched The Farewell Tour. (And as we all know, the irony here is as big as one of her glittery headdresses.) She divided the entertaining show into sections, which highlighted, via montages, as well as wig and costume changes, her many impressive incarnations over the past “40 frickin’ years,” as she put it.
For the section devoted to the post-Sonny Bono ’60s and ‘70s, she sang snippets of “Gypsies, Tramps & Thieves,” the epic retelling of a woman’s challenging life, once traveling from town to town with her mama and papa as they both tried to earn money doing odd, slightly dubious jobs. The title, a reference to the labels given to them by the various townspeople who loathe them, some of whom “temporarily” love them: “But every night all the men would come around/And lay their money down.”
Normally, the story of a girl “born in the wagon,” only to grow up to be “a gal in trouble” would be kind of a downer. However, with Cher’s guttural, unmistakably distinct vocal, it becomes a hoot of a sing along, another minute-and-a-half opportunity, in this accommodating thing known as the medley, to test your best Cher impression… You know you have one.
Holy Synth: Listen to Chvrches Cover “Cry Me a River”
The electro-pop trio, Chvrches visited the BBC 1 Radio Live Lounge, where they performed their re-imagining of Justin Timberlake pop/hip-hop hit, “Cry Me a River.” To say it’s a cover seems inaccurate, as Iain Cook and Martin Doherty (enthusiastically) add their signature preprogrammed blips, bits and synth-infused accompaniment to Lauren Mayberry’s vocals.
Kudos to Timberlake and his production team for creating such an enduring story about infidelity and the karmic consequences about to experienced by a cheater in a relationship (Your bridges were burned/And now it’s your turn/to cry…”). Yet an equal amount of recognition goes to Chvrches: They remain authentic to their haunting electro sound, while staying true to the spirit of the lyrics (note that Mayberry, thankfully, doesn’t change the point of view: “Girl, I refuse/You must have me confused/with some other guy.” And don’t it make you “glad” about it?
Blond Transition: Madonna: “Papa Don’t Preach”
In 1986, Madonna was about to risk everything. She didn’t record Still Like A Virgin or Still a Material Girl; gone were the rosary beads, the “Boy Toy” belt buckle, a tangled nest of brown hair in a bow, and the lacy, underwear-bearing wedding dress. Instead, True Blue became the more mature sound and, like a song on the album, the physical manifestation became “White Heat.” For Madonna, and as the decades would later confirm, she believed: If it ain’t broke, fix it anyway.
The first single, “Papa Don’t Preach,” marks this transition. The track starts with a brief overture, yet the popping bass chords, hard drum line, and percussion take over, reminding us that although she’s more serious, she’s not a fuddy-duddy. Madonna being the brilliant visual artist she was (and still is), it’s the accompanying music video that best illustrated this determined new direction. When the bass chords begin, the camera starts low as well, capturing a pair of black slip-ons, feet walking at a purposeful pace to the beat. And as the camera pulls up, it’s like a countdown to a liftoff: “Four”: fitted jeans (no lace); “Three”: the mid-drift (nothing bared, no provocative buckle); “Two”: a tucked-in, long-sleeve shirt, and a black leather jacket draped over the shoulder (no rosaries in sight); “One”: Madonna’s face, stern and pensive, sitting below shockingly cropped blond hair (no bows). “Blastoff!” She, the captain of her own career, off to embark on that mission “to rule the world.”
At the start of the first verse, Madonna—now shown with styled, white-hot blond hair, powdery skin, and red lipstick—turns to the camera and states her defense, not just to the patriarch in the lyrics, but almost symbolically to her followers, more specifically the “Madonna Wannabes,” that she’s no longer a (like a) virgin: “Papa, I know you’re going to be upset/’Cause I was always your little girl/But you should know by now/I’m not a baby.” By the chorus, another example of this newfound streamlined appearance: all-black, retro-inspired, pencil-thin leggings, and a bustier (a slight foreshadowing to the cone bra in four years).
Near the finale, she once again sings lyrics directly to the same side camera, pleading poignantly, yet confidently: “Don’t you stop loving me, Daddy/I know I’m/Keeping my baby.” If there’s one thing a Madonna fan knows, not unlike what a papa knows of his child: Just trust her; she knows what she’s doing and most of the time she’ll make the right decision.
Other video highlights: Madonna’s character in her famous, “Italians Do It Better” T-shirt does a double-take (rightly so) when she’s hit by the piercing blue-eyed stare from “the one you warned me all about,” played by the actor, Alex McArthur; Madonna’s longtime friend, the actress and passionate Tuscan cook, Debi Mazar stands next to her, rocking an orange off-the-shoulder and her signature, ‘50s-inspired ponytail.
A New Voyage for Jenny Lewis
Indie-rock/alt-country singer/songwriter, Jenny Lewis recently appeared on Austin City Limits, where she performed tracks from The Voyager, such as its first single, “Just One of the Guys.” She sported shall we say, a colorful suit, as if it galloped out of a “My Little Pony” cartoon, yet Lewis—and her lyrics—are anything but juvenile or imaginary. The melody line in the verses takes on a smooth Sheryl Crow aura (think “If It Makes You Happy”), and as those verses transition to the choruses, the melody changes to an even sunnier sound.
Yet behind that bright rainbow lies darker lyrics of the struggle to stay true to self, as well as the emotional—and physical—ramifications of wanting to treat relationships like “one of the guys” and the results that come from not doing so, because “that’s not what ladies do.” As listener, the head might be bopping along with a smile on the face, but by the end of the bridge, the smile retracts, as the song conveys the sense of lack that can oddly come from doing what one feels and knows is right… for you (“There’s only one difference between you and me/When I look at myself/all I can see/I’m just another lady without…”). “Just One of the Guys” captures the 39-year-old commenting on gender roles, as she reflects back over a voyage that has found her “…locked in this bathroom/full of tears.” Yet Lewis knows that one’s inner voice, or as she puts it, her “cop,” can always serve as a trustworthy guide.
Makes Everything Right: Kylie Minogue: “Love at First Sight”
Full disclosure, this blogger’s favorite single of Kylie Minogue’s is “Love at First Sight. Although she’s been creating pop perfection for decades, it’s this track that has always made my heart aflutter. It captured what pop/dance music sounded like in the late ‘90s/early ‘00s. There are elements in “First Sight” that are similar to Ultra Naté’s 1998 anthem, “Free (the Mood II Swing Radio Mix),” especially the introductory guitar lines, and the deep bass lines that are pushed to the front—right where they belong.
“First Sight” speaks to how music, more specifically a DJ spinning the right record, can serve as clarity for the confused, a sense of connection, even a lifeline, for the temporarily disconnected. Its restorative power so immediately transformative, that not unlike being hit right between the eyes when it’s love at first sight, sound can hit you right between the ears.
Its superb construction sounds like a subway line in the underground. You can barely hear it coming, so you think it’s far away, but when you least expect it, it comes racing into a station. It arrives right on time, stops at the platform for a brief pause, then off it goes again, whisking passengers away on a journey, this musical journey unfortunately only lasting a total of four minutes.
Kylie has steered “First Sight” in different directions over the years, in the form of alternate studio versions (2002’s perky “Ruff & Jam Vocal 7””; 2012’s country-campfire acoustic ballad on The Abbey Road Sessions), as well as how the musical producer, Steve Anderson has arranged it for her concerts. It’s become a reliable crowd favorite and has been on every set list for her last eight major tours (KylieFever 2002; Showgirl 2005 and 2006; X2008; For You, For Me North America 2009; 2014’s Kiss Me Once; a “mashup” with “Can’t Beat the Feeling” for Aphrodite 2011; Golden - Live in Concert 2018), even appearing as one of just 13 tracks for the one-off show in 2003 to launch Body Language.
It’s no wonder that “First Sight” has mostly been reserved for the encore section or literally as the jovial finale; its message and construction inspire fans to bathe in its escapist, rejuvenating power, reminding all who are about to leave the venue that pop has the potential to turn everything wrong to right.
What Lies Beneath: The Police: “Synchronicity II”
The yell expelled by Sting at the top of The Police’s 1983 “Synchronicity II” evokes memories of early MTV. The band, along with a a core group of artists, were creating new material and offering it to the public in an innovative form—the music video.
The post-apocalyptic vision of “Synchronicity II” featured a windblown Sting with his spiky Dune-era hair and colorful shredded jacket, standing atop a mountain of wreckage. Loose sheets of paper and other debris blew around haphazardly, as he sang the opening lyric: “Another suburban family morning/Grandmother screaming at the wall.” Andy Summers’ distinctly mysterious guitar riffs and Stewart Copeland’s forceful drums and cymbals were ever present, as Sting shared the story of a family’s descent into madness. Even on Daddy’s way to work, destruction is evident in the environment: “Another industrial ugly morning/The factory belches filth into the sky.” And don’t think Daddy’s commute home is any better, as he deals with “Contestants in a suicidal race/Daddy grips the wheel/and stares alone into the distance/He knows that something somewhere has to break.”
But wait… “Many miles away/Something crawls from the slime/At the bottom of a dark/Scottish lake,” serving to foreshadow and solidify the end of peace and innocence, and an ominous transition toward something dark and mythical (the rising ness from the loch).
Suspicious Minds: No Doubt: “In My Head”
A sneaky-sounding guitar opens No Doubt’s “In My Head,” off their must-have 2001 release, Rock Steady. The lead singer, Gwen Stefani invites the listener inside her uncertain state of mind, ironic considering the name of the band.
Her “head is wicked jealous,” as she obsessively ponders her long-distance relationship and what’s happening on the other end. She attempts to calm her paranoid mindset by thinking about rainbows and big, fat roses. Not wanting—at all—to talk about ex-girlfriends, abandonment or the past, she warns her boyfriend to “use the right words when you talk to me.” The distrustful thoughts keep spinning, and by the bridge, she stands up and states: “I really think I have a problem/I really can’t control myself/Why do I get so suspicious?/Do you want someone else?/’Cause everybody wants everybody else… only in my head.”
As the song concludes, she’s still manipulating, wanting now to talk about the future, the wedding and “how much you like me/And all that.” There’s nothing like controlling the conversation so we can hopefully hear what we want to hear, to feel all’s right with the world, and more importantly, safe.
Just as much as the album chronicles the downs in a relationship: the skepticism of second chances (“Detective”; “Don’t Let Me Down”) and the questions surrounding realistic longevity (“Running”; “Rock Steady”), there’s the ups too: anticipating a reunion on “Making Out”; make-up lovin’ in the morning on “Start the Fire”; the bass-thumping masterpiece, “Hella Good.” Yet as the chorus in “Underneath It All” goes: “I’m really lucky underneath it all/You’re really lovely.” This is the lucid epiphany that he may, in fact, be worth all those temporary lapses in sanity.
Although Stefani may be a glamour goddess of pop and a confident front woman of rock, it’s her role as a writer where she gets to showcase yet another incarnation: an ordinary woman who’s not afraid to admit that sometimes, yes, she too has doubts… and lots of them.
Be sure to check out No Doubt’s 2002 Rock Steady Live DVD, filmed in Long Beach, CA.
A Track Can Take You Back: Gina G: “Ooh Ahh… Just a Little Bit”
Gina G’s “Ooh Ahh… Just a Little Bit” starts with those familiar synth-keyboard sounds heard often in ‘90s dance music. (To get nostalgic briefly, this song evokes memories of living in San Francisco, visiting the Virgin Megastore, and dancing in clubs south of market [SoMa]). What make this track a standout are the recognizable drums and that relentless galloping synth-bass line. Gina G’s vocal was credible, especially in the bridge: “What can you do for me?/Oh, what can you do?/’Cause I feel/So alive/I feel your love inside.” However, it’s the backing vocal after the bridge that adds a memorable soulful quality: “Just a little bit/Little bit more.” And all these years later, there’s nothing like this song to take me back to the Megastore… for just a little bit, and SoMa… a little bit more.
Performance Art: Dali Meets Kylie on “Kiss Me Once” Tour
Kylie Minogue’s whimsically surreal Kiss Me Once tour featured “Les Sex” as the opening number, with Kylie ascending on a lift, draped over a softly glowing lip-shaped couch—an homage to the artist, Salvador Dali and his piece, “Mae West Lips Sofa.” Other noteworthy Dali references include the male dancers donning the signature Dali moustache; the female dancers sporting a pair of lobsters on their bustiers—a nod to the Dali piece, “Lobster Telephone.”
The original video-screen footage playing over the second song in the set, “In My Arms,” continues to honor the work of the legendary Spanish surrealist: Kylie sitting on a pedestal (“Leda Atomica”); creatures with exaggerated limbs walking across a deserted plain, while on stage, the male dancers (similarly) continue to hold onto their tall support-crutches (“The Elephants”).
The third song in the set, Kylie’s 2012 “Timebomb” shows the presence of (melting) clocks in the video-screen footage, a theme prevalent in Dali’s work, for example in “The Persistence of Memory.” Also on stage during “Timebomb,” the female dancers don skintight outfits with spikes running down the spines, similar to an element featured in Dali’s “The Burning Giraffe.”
Although surrounded by surreal imagery, leave it to Kylie to be the light amid the dark:
Feeling Solo: Destiny’s Child: “Independent Women Part 1”
What kismet—an apt word—that Destiny’s Child got their lineup finalized down to a trio and soon ended up contributing a song to the Charlie’s Angels soundtrack. Whether it’s a group of singers or private detectives, there’s nothing like the power of three, once you get the three members locked down. For the group, it was Beyoncé Knowles, Kelly Rowland and newest member Michelle Williams; for the film revamp of the classic TV series, it was “Lucy Liu, with my girl Drew, Cameron D…” That’s Drew as in Barrymore, D as in Diaz. Another example of this kismet collaboration: Just as the singing group seemed to struggle with who was in and who was out, the late ‘70s/early ‘80s TV series seemed to struggle as well with who was staying and who wasn’t. The show saw Farrah Fawcett leave after one season, and eventually Kate Jackson. Cheryl Ladd, Shelley Hack and Tanya Roberts all graced the couches of the Townsend Agency, with Jaclyn Smith—let’s be honest, the “Beyoncé” of the group—staying for the entire run.
With the TV series and the film version stressing the importance of female capability and independence (and at the same time, the benefits of camaraderie, regardless of what form the trio takes), it was a no-brainer that the title of the Destiny’s Child contribution would be “Independent Women Part I.” Full of catchy, sing-along hooks, it’s a confident ode to self-sufficiency, which has Beyoncé in the verses asking one rhetorical “Question:” after another to her male counterpart, reminding him that “I buy my own diamonds and I buy my own rings/Only ring your celly when I’m feelin’ lonely/When it’s all over, please get up and leave.”
And while there’s nothing wrong with pride, the ladies walk a fine line, yet are careful never to lapse into arrogance. Beyoncé, being the competent writer that she is, knows to never alienate the listener, but inspire, ensuring “I depend on me” is uttered frequently. In the second verse, she further clarifies: “If you’re gonna brag/Just make sure it’s your money that you front/Depend on no one else to give you what you want.”
After this second verse and chorus, note the familiar melody line in the bridge. Think of the verses on Blondie’s “Rapture,” for example: “Toe to toe/Dancing very close/Body breathing/Almost comatose.” “Independent Women Part I”: “Child of destiny/Independent beauty…” And finally, Question: Tell me that this infectious track shouldn’t be applauded for adding the line, “All the mamas who profit dollas”?
Heaven Sent: Whitney Houston: “I Believe In You and Me”
There are certain pop ballads that will forever be synonymous with their vocalists. To name a few: Patsy Cline’s “Crazy,” Stevie Nicks on “Landslide,” Mariah Carey’s “Vision of Love”; Celine Dion’s “My Heart Will Go On”— those songs that came around at the right time for the right person with the right range and because of that connected with millions. Whitney Houston’s “I Believe In You and Me,” certainly gets tacked on to that list.
Performed by Whitney’s character in 1996’s The Preacher’s Wife, it’s the similar, yet bigger-sounding studio version featured on the film’s soundtrack and on Whitney’s 2000 Greatest Hits collection that will be highlighted. The song starts out sweet and Whitney’s vocal is as such. The stomping piano serves as the precursor to the middle section, and this is where Whitney really starts to open up. As she starts out on the climb, she’s ascends up and up, slowly letting go of the controlled, pleasantly safe pop vocal: “Maybe I’m a fool/To feel the way I do/But I would play the fool forever/Just to be with you forever.”
By the time she reaches the summit of this section, her vocal transitions into gospel: “I believe in miracles/And love’s a miracle/And yes, baby, you’re my dream come true/I was lost/Now I’m free…” Whitney was blessed with a voice that could make people in the ‘80s and ‘90s shake their heads in disbelief, and would often be accompanied by the word, Wow. Devoted listeners marveled at how she could just open her mouth and out came that voice… the voice. Her vocals hit ears and headed directly to the limbic parts of brains, triggering chill bumps to travel down and back up through countless numbers of bodies and out in the form of watery eyes.
To this day, those countless listeners probably still shake their heads in disbelief, yet for a different reason. The astonished Wow now followed by a sad sigh. Nonetheless, the positive things she did with the gift are to be remembered. Easily, Whitney’s cover of Dolly Parton’s “I Will Always Love You” belongs on the above-mentioned list, and although some would argue that “I Believe In You & Me” would only garner an honorable mention, it still sits as one of the best studio recordings of the female vocal… ever.
Rumour Has It: Fleetwood Mac: “Don’t Stop” is About…
Written by Fleetwood Mac keyboardist, Christine McVie, 1977’s “Don’t Stop” was featured on the band’s legendary album, Rumours. The track could possibly be one of the most positive and encouraging songs ever penned… about divorce. (In particular, Christine from her husband, Fleetwood Mac bassist, John McVie… personally, not professionally.) When she takes the lead on the second verse, it’s all about the magic of her signature husky voice: “Why not think about times to come/And not about the things that you’ve done/If your life was bad to you/Just think what tomorrow will do.”
Dripping with optimism, Christine simply says that if your life (personal relationships and then some) has been bad, that’s all in the past. Just think what tomorrow can do; there’s always the potential for something positive. The duo and the rest of the band members ended up working and touring together for decades, with the song notably becoming a political anthem for Bill Clinton in the ‘90s.
Other Pop Zeal picks, featuring Christine on lead: “You Make Lovin’ Fun”; “Say You Love Me”; “Everywhere”; the tender “Songbird.”