80s music

Pandora's Box

tina — Wed, 15 Dec 2010 12:00:00 +0000

Conventional wisdom says that every young popster or rocker, no matter how devoted, will one day grow into a consumer of smooth jazz. How else to explain Rod Stewart's resurgence as a tuxedo-clad, Bing-style crooner (aside from a mid-seventies deal with Beelzebub himself)? John Smith and Valerie Day, the duo behind '80s group Nu Shooz, are hardly stars of Stewart's caliber, but they did craft one of the finest American pop singles of all time: “I Can't Wait.” Over two decades later they've resurrected the song and themselves in predictable jazz fashion.

Pandora's Box is a new self-released album by Smith & Day's new project, Nu Shooz Orchestra. The album includes “I Can't Wait: 20th Anniversary Edition” and ten more tracks of over-baked coffeehouse pap that smears John Coltrane by association.

Let’s back up a couple of decades to a great song from a band with a silly name. “I Can't Wait” was a single so phenomenal that I have yet to tire of it. In fact, I'm listening to an MP3 of it right now, though it lacks the warm crackle of old 12” vinyl. The track's bassline is addictively slinky and powerful enough to support countless layers of snappy percussion, synths, twinkly guitars, a stealth horn section, and Day's coolly vibrato-free voice. The idea of a jazzy “I Can't Wait” has no appeal—in fact, it's antithetical to what makes the song work so well. Funk-influenced dance pop is propelled by deep grooves, the kind that power “I Can't Wait” and that depth can only be created on a vintage Roland synthesizer. Individual notes will transpose to the stand-up bass, of course, but if I wanted to hear stand-up bass, I'd listen to Jimmy Garrison on A Love Supreme. I wouldn't listen to Nu Shooz, with or without its orchestra.

Therein lies the artist's curse of doing one thing extraordinarily well. Musicians are vulnerable to fans' fickleness. If I want to hear a pop song that sounds like “I Can't Wait,” I can quite easily listen to “I Can't Wait” (and I did, three more times). The name Nu Shooz, however ridiculous, means classic '80s dance pop. The last thing this world needs is mediocrity, no matter what the genre.

Everyone needs to earn a living, so I don't fault Smith or Day for dipping into the seemingly bottomless wallets of our nation's latte-sippers. The harsh reality is that if these tracks were released under a completely different name (Old Sneakers?), this album wouldn't even be reviewed, much less panned for not sounding like one snotty critic wanted it to. But all is not lost! In my research for this review, I discovered that 50 Cent remixed the original “I Can't Wait” into his song “Buzzin',” and it's really good. I hope the residuals afford Smith and Day the chance to tune up the old Roland. The world—and its shoes—are waiting.

Written by: Shannon Drury, December 15th 2010

The Deluxe Anniversary Edition

admin — Sat, 10 Apr 2010 16:01:00 +0000

By Whitney Houston

Legacy Recordings

I came of age in the days of AM radio. I can still remember listening to Casey Kasem counting down the Top 40 hits on Sunday nights before FM radio, the Internet, blog radio, and terms like market segmentation became part of our lexicon. In the space of twenty or so minutes, you could hear a song by Barbara Streisand, Journey, The Bee Gees, and maybe something by Johnny Cash as well.

I like to think growing up in the '70s made me more open minded as a person because we had to listen to everything that was played on the radio. We didn’t have the choice to opt out or create our own digital world of favorites the way teenagers do today. My theory is not born out of reality, however, because my twenty-one-year-old niece is much more culturally aware and sophisticated about the world than I was at her age.

As I was listening to this deluxe anniversary edition of Whitney Houston’s greatest hits, I felt some nostalgia for those seemingly less complicated days of my youth. Nostalgia is a powerful emotion because you find yourself remembering an idealized time of your life that is lost forever. I couldn’t help but remember how Houston ruled the airways for most of the '80s and part of the '90s with her powerful renditions of songs like “The Greatest Love of All,” “You Give Good Love,” “Saving All My Love for You,” “Hold Me,” and “How Will I Know.”

Houston was a child prodigy. She began singing at a very young age (she’s the daughter of soul singer Cissy Houston and the cousin of singer Dionne Warwick, so I guess the singing genes run in the family) and her career took off when she was barely out of her teens. She was discovered by the legendary Clive Davis while performing in a New York nightclub.

Houston is a groundbreaking crossover artist who appeals to all demographics with her gospel influenced, pop-soul musical style. She is the only artist with seven consecutive multi-platinum albums. Her cover of Dolly Parton’s “I Will Always Love You” is the highest-selling single of all time. She was also the first African American woman to receive regular play on MTV; her “How Will I Know” video paving the way for such artists as Janet Jackson and Anita Baker.

Although Houston is one of the greatest female singers of her generation, I never followed her career that closely, but I am aware of the personal and professional highs and lows she has experienced over the years. As I listened to her effortlessly belting out some of her trademark hits on this album, I found myself revisiting memories of where I was when I first heard a particular song. Houston's music, like her life, has become indelibly linked with our triumphs and tribulations. When I think of Whitney Houston and how she continues to endure despite her setbacks, I can’t help but root for her all over again.

Written by: Gita Tewari, April 10th 2010

At Home We Are Tourists

admin — Mon, 05 Oct 2009 21:07:00 +0000

By Settle

Epitaph

At Home We Are Tourists is the first full length album from this eastern Pennsylvania band. These four guys have been together for a while though and have a fair amount of experience, including winning MTVU’s “Best Band on Campus” competition in 2006. From the opening track of this album Settle establishes themselves as a band with a knack for creating fun, danceable pop tunes.

A quick look at Settle’s MySpace page reveals a die hard fan base, which isn’t too surprising as their music has that “my favorite little garage band” feel. Pop-punk influences like Alkaline Trio or Jimmy Eat World are clear in their music, but Settle’s sound manages to set them apart from the other dozens of bands that fall into this genre. Indeed, the combination of clear musical talent on their strings and percussion with solid vocals (yes layered, but layered well) creates a tight sound normally earned by more seasoned musicians who have been playing together for years. Some songs even boast their willingness to play with more electronic sounds, most obviously in “ISO: 49yr old M W/ Kids seeks 26 yr old F W/O Kids.”

Settle also escapes the often trite adolescent tones that one might expect from the first album from a band with such obvious pop punk sounds. The lyrics and themes are curiously insightful. In one of two slower songs on the album, “Sunday, Morning After,” lead singer Dave Goletz’s deep, full voice appropriately croaks “I used to think I’d have to stay a while, but I don’t think you know who I am.” A nice whistling accompaniment follows and completes the nonchalant sentiments of the morning after a one night stand: emotions relatable and not often discussed in music without heavy brokenheartedness.

One can also catch glimpses of softer, echoed vocals more associated with good '80s pop in “On the Prowl,” and they dabble with noise rock chaos in the track “Dance Rock is the New Pasture” just to shake off, or beat off, any accusations of easy pop melodies. Check out their MySpace page to get a better sample of the songs from their current album, which establishes them as a band whose ability to write good pop songs matches their clear musical talent.

Written by: Sara Custer, October 5th 2009

Troubled, Shaken Etc.

admin — Sun, 27 Sep 2009 17:12:00 +0000

By Sian Alice Group

The Social Registry

British rock band Sian Alice Group’s latest effort can be categorized somewhere between prog rock, ambient folk, and experimental. Clocking in anywhere between two and eight minutes, their songs wind around and bump up against one another, creating a cohesive sophomore album. Troubled, Shaken Etc., in all its bewildering glory, is the followup to their critically acclaimed 59:59.

On "First Song - Angelina" and "Close to the Ground"—one of the album's most memorable tracks—Sian Ahern's haunting vocals carry the tune over lilting piano melodies and fading percussion. While never an imposing front woman, it’s clear—not just from the band’s chosen name—that Ahern is a force with which to be reckoned. What can I say? I like tough gals with delicate voices.

Even at only 1:55, “Longstrakt” is a memorable track, reminiscent of label mates Gang Gang Dance with its hypnotic, repetitive percussion. Want to be instantly transported into a psychedelic horror film? This is the song for you.

While the entire album shifts moods and structure repeatedly, it retains a cohesive quality. It fades as forgettable background music if you stop paying attention, but take it to a listening party with your super hip composer friends and impress them all with your ability to listen to the album tracks out of order.

Bands on The Social Registry label are often uninhibited by confusing rhythms, comfortable with unconventional songwriting and vocal abilities. Sian Alice Group is no exception, though it should be noted that their ethereal sounds may be more listenable than other musicians who keep the same professional ties. This is more fact than strength or weakness.

On tour in the U.S. starting in September, their casual post-rock shows ought to be worth entrance fees, if not the token t-shirt.

Written by: Brittany Shoot, September 27th 2009

Like It Or Not

admin — Thu, 26 Feb 2009 01:01:00 +0000

By Architecture In Helsinki

Polyvinyl Records

If the latest slate of indie bands are to be believed, feigned disinterest and irony worship are so not cool anymore. It seems as though the hipsters think they've totally moved beyond all that. This season's must-have emotional response to your surroundings? Cutesy glee, couched within a three-word (preferably multi-syllabic) band name. Problem is, it still feels like an affectation, a pose that comes off just as hollow as those other two. Therein lies my biggest issue with Australian group Architecture in Helsinki.

They're fun and funky. They're danceable enough. They have crammed more instruments than I care to count into each song. Their videos are appropriately colorful and clever, and they seem to me about as genuine as those store-bought smiles Donny and Marie Osmond trot out whenever a camera is aimed at them.

Pretension, another unfortunate characteristic this "musical collective" seems to have in spades, does not sit well with me. I have listened to both "versions" of the song "Like It Or Not." Back to back, over and over and over again. I put the word versions in quotes just now because I listened to the song from their 2007 release Places Like This, and also to the song billed as "Version 2" on the Like It Or Not EP released last summer. Either my ears are broken, or there is absolutely no difference between the two "versions" of this same song. This leaves me to wonder why the band would go through the effort of tacking on that "Version 2" addendum to the song on the EP.

"One Heavy February (2008)" is an updated version of a song originally released by AiH in 2004 as the first cut on their debut album Fingers Crossed. The original track was a charming instrumental piece that went on for a little under a minute. It's a pleasant enough way to start a record, and it should have been left the hell alone. The original serves as a core around which the group has built this overblown cocoon. It clocks in at two minutes and thirty seconds, a full ninety seconds longer than the original tune. This "2008" incarnation seems like they were fooling around with a Casio keyboard one afternoon and decided to tinker with something they already had until they turned it into something new. Now it's become... filler.

Based on his inflated vocal delivery and comfortable co-opting of "world music," I think it's safe to assume that Beirut's Zach Condon thinks Talking Heads founder David Byrne is the bee's knees. The same goes for AiH front man Cameron Bird who, along with his fellow band members, also seems to adore Talking Heads side project Tom Tom Club. Nowhere is this more apparent than on their cover of "Beef In Box," a song originally performed by British neo-prog band I.Q. From the twittering synths and the random tweaks to the ever-so-slightly off-kilter rhythm and the repetition of "You don't stop/You don't stop/You don't stop/Till the beef's in the box," it is painfully clear that Architecture in Helsinki have made it their mission to dredge up the sounds of the early-to-mid-1980s. You know, again. Goody.

Written by: M. Brianna Stallings, February 25th 2009

No Need to Be Downhearted

admin — Thu, 24 May 2007 19:43:00 +0000

By Electric Soft Parade

Better Looking Records

The latest album from Electric Soft Parade, entitled No need to be Downhearted, is fantastic. The album has a mix of easy listening pieces that are perfect for a relaxed evening and fun light hearted songs that can put a smile on just about anyone’s face. As the band’s name suggests the music has a soft, electronic accompaniment that rounds out the music, along with catchy beats, enjoyable guitar and meaningful lyrics. My favorite track on the album is “Have you ever felt like it’s too late.” The lyrics are great and the rhythm is fun and catchy. Electric Soft Parade avoids the pitfalls that some bands fall into, where every song sounds the same. Each piece on the album is different, yet has the distinct sound that allows the listener to be able to immediately recognize what band it is. I highly recommend this album to anyone who is a fan of the 80s music genre, brit pop and intelligent pop music in general.

Written by: Diana Tierney, May 24th 2007

Women at Work

admin — Wed, 02 May 2007 00:01:00 +0000

By Various Artists

MVD Entertainment Group

Women at Work did not, thank God, spin me back to 1982, the year in which I had to stop wearing my favorite wide-necked cotton t-shirt with the rainbow of teal, red and forest green behind a cartoon unicorn in repose because a certain biology class substitute teacher complimented me on it repeatedly in front of everyone and made me feel ‘ooky.’ And I was 12! Gross!

Although an acoustic flavor pervades this tribute to those vegemite eaters of the early eighties, it’s okay to remember a band that was mostly about having fun, particularly if one considers the continuing pink-collar ghettoization and pay disparities of _actual _women at work. And these are the afflictions of the privileged in developed nations, never mind global working conditions and human trafficking, all things that would make any reasonable individual chunder.

Sigh. Get this CD if you want to remember a perhaps pleasantly nostalgia-inducing act through the vocal stylings of some lovely, Australian nightingales. You could listen to it as you soak in a tub with a little eucalyptus oil after a tough day, yes, at work.

Written by: Erika Mikkalo, May 1st 2007