There are only a handful of recording artists that can grab my undivided attention as easily as Ricky Martin. It’s not just because of his smoldering good looks, killer smile or they way he can work a Speedo on the beach either – although that does help a little. Truthfully, it’s because very few artists can say they’ve had the longevity and crossover appeal that he has enjoyed throughout his career. From his early years in Menudo to solo success on the Latin charts and to his Grammy-nominated English debut album, Ricky has faced and conquered every challenge that anyone in his shoes might face, and some challenges that others will never know. Now after nine solo albums, a new family and a newfound honesty with the world, the Puerto Rican daddy is done proving himself and is ready to just have fun on his new album A Quien Quiera Escuchar (To Whoever Wants To Listen).
"A Quien Quiera Escuchar is a very romantic, honest and transparent record," explains the multilingual songwriter who sings in French, English and Spanish on his new collection. "The songs are filled with cultural influences, and they reveal my emotions and the experiences I’ve had over the course of my life." No track is more evident of this than the International chart-topping lead single "Adiós (Goobye)." With versions in Spanish, English, English-French and English-Turkish, Ricky pulls musical inspirations from all over the globe to create an epic opener for his 10-track Latin celebration (P.S. Look for Miami’s favorite rock star, Robert Elias, featured on the song’s English version and the haunting ballad "Perdóname"). Without missing a beat, Ricky then goes from care-free party boy to wounded lover on the follow-up No.1 single "Disparo al Corazón (Shot to the Heart)" – a risky move that only solidifies his…um…versatility (as an artist, of course).
From there, the set flows steadily across the entire spectrum of Latin music including rumba, salsa, merengue, pop, tango and cumbia. Ricky credits the album’s eclectic soundscape to his musical collaborators including Colombian producer Julio Reyes Copello. Some of the other talents who brought their signature magic to the party include renowned songwriters Pedro Capó, Yotuel Romero, Yoel Henríquez, Rafael Esparza Ruiz, Beatriz Luengo, José Gómez, David and Johnny Julca and Jorge Ruiz Flores. "I’m very proud of what we’ve achieved," Ricky declared. "And all I can do is thank the talented group of composers and producers who worked with me and guided me to communicate everything I wanted to express."
Now that he’s crossed "10th solo album" off his to-do list, the bangin’ boriqua is making preparations for his One World Tour that’s set to launch this fall. Don’t forget to grab your tickets if you want to live la vida loca with him in Miami on October 24. With all the great new tracks on A Quien Quiera Escuchar plus classic hits in English and Spanish to pull from his arsenal, the tour is set to be the most epic of his career. And if there’s a god, it may even feature a Speedo malfunction.
If you’re a recording artist, producer or musician and would like your work featured in TOP TRAX, hit me up at [email protected].
This article was originally published in Wire Magazine Issue 11.2015
“Sticks and stones may break my bones, but chains and whips excite me." It’s a quote so provocative it even made its way into Rihanna’s appropriately-titled dance track "S&M." But no one takes the mantra to the next level like the central character of E. L. James’ erotic novel Fifty Shades of Grey. Using his arsenal of "special tools," wealthy entrepreneur Christian Grey introduces innocent little Anastasia Steele to a whole new world of bondage, domination and yes, a little S&M too. This Valentine’s Day, the (worldwide) No.1 best-seller hits the big screen, and with its…ahem…release, comes a soundtrack that’s equally orgasmic.
I have yet to flip through the book or watch the film, but unless you’ve been chained to a sling in a secret dungeon for the last couple of years, it’s pretty clear what the plot’s main draw is. So it only makes sense that the musical backdrop to the motion picture is as sensual as the storyline. As expected, the all-star soundtrack is packed with steamy new songs, sexy remakes and throwbacks made to lower your inhibitions and get you in the mood, starting with a revision of Screamin’ Jay Hawkins’ 1956 classic "I Put a Spell On You" performed by the incomparable Annie Lennox. It’s the perfect track to set the pace for the rest of the hour-long eargasm.
Some of my faves in this collection are the iconic Rolling Stones anthem "Beast of Burden," Frank Sinatra’s "Witchcraft" and Skylar Grey’s chilling new ballad, "I Know You." What I love most is how the new songs and the classics all drive the theme so flawlessly. Speaking of flawless, Beyoncé also makes a double appearance, with the Michael Diamond remix of "Haunted" plus a sultry new reboot of her seminal track "Crazy In Love," which you might have heard during the movie trailers. With so many great artists featured here, I was a little disappointed that Rita Ora wasn’t one of them, considering she plays Grey’s sister in the film. Perhaps she was a bit tied up?
In an effort to build up the film’s buzz, a handful of teasers from the soundtrack were unleashed leading up to the premiere. "Earned It" by The Weeknd, Ellie Goulding’s "Love Me Like You Do" and Sia’s "Salted Wound" all got the single treatment. Although none of them managed to get near the top 10 mark yet, that’s not to say they won’t get a little nudge after this weekend. In addition to the orgy of pop artists leaving their mark all over this compilation, legendary composer Danny Elfman also makes a contribution, closing the session with two instrumentals – "Ana and Christian" and "Did That Hurt." Man, if I had a dime...
Traditionally, Valentine’s Day is meant for the lovers of the world, but as we all know, sometimes love hurts. So if you decide to skip the tired old "dinner and a movie" cliché and stay in for something a little more "spicy," don’t forget to download this raunchy roster before you dominate your dearest. Oh and the safe word is "marshmallow."
This article was originally published in Wire Magazine Issue 07.2015
TOP TRAX: TAYLOR SWIFT IS GONNA PARTY LIKE IT'S 1989
By DJ FR8-O
It's a well-documented fact that there are two kinds of people in this world: those who believe that Taylor Swift is the second coming of Jesus in high heels and red lipstick, and those who would rather have their genitals slammed by a car door than be forced to listen to a single note from the alleged spawn of Satan. Until recently, I was a proud card-carrying member of the latter. Then I started hearing rumors that the princess of the underworld's new album 1989 was sinfully delicious. Not to be taken in by such devious propaganda, I held my ground (and my family jewels) and resisted the temptation to take a bite of the proverbial apple. But it was only a matter of time before my journalistic curiosity got the best of me, so I decided to dig up a little intel of my own and find out first-hand if rumors of Swift's latest were true or just a slightly exaggerated fairy tale. As my finger reluctantly pressed the right-hand pointing arrow on my iPod, I braced myself for the aural assault that I was about to put myself through. What I got instead was – dare I say it – one of the best pop albums I've heard all year. There I said it. Let the judgment begin!
It's no secret that Taylor's success grew from her roots in country and folk-style anthems of love and heartbreak. However, when she started prepping for her fifth album last year, the 24-year-old singer/songwriter wanted to switch things up from her usual country-flavored crossover. And since this album marks the birth of her new direction, it seemed only natural to pull some inspiration from her own birth year (hence the not-so-subtle title). She opened up about her unexpected musical detour by saying "I have a few artists in the late eighties who I think made the most incredible, bold, risky decisions as far as pop music goes. They were really ahead of their time, like Annie Lennox and what Madonna was doing in the late eighties. 'Like a Prayer' is legitimately one of the greatest pop songs of all time."
Well, anyone who praises a classic from the queen of pop and the incomparable Annie Lennox in the same breath definitely earns some cred in my book. To help her bring 1989 to the present though, Swift enlisted the ultimate songwriting and production dream team, Max Martin, Shellback, Ryan Tedder and a few well-seasoned others. So long, sappy acoustic guitar ballads! Hello synth-heavy rhythms and basslines! Those are the signature marks of the songwriting/production team who have collectively invoked blockbuster hits for literally every pop star over the last few years. And it sounds like the team is about to add a few more trophies to their already-crowded trophy case.
By now, we've all heard the annoyingly unshakable lead single "Shake It Off" that brings to mind that iconic Tony Basil cheerleader chant "Mickey." However, that's not the only track with a touch of nostalgia. Although the audible '80s references are subtle, they're what keep the album moving from start to finish and give you that "why does this song sound so familiar" feeling. Combine that with Taylor's gift for painting a hook-heavy love story with every lyrical brushstroke, and you've got a musical diary you just can't put down. Despite the fact that the producers could probably take most of the credit for 1989's sound, it really is Swift's relatable and catchy songwriting that makes these collaborations complete (which is more than I can say for some of Martin's previous cohorts). While 1989 may have signaled a sad farewell to our generation's most iconic decade, for Taylor Swift, it looks like it's going to be a great year!
This article was originally published in Wire Magazine Issue 47, 2014
With a smile as wide as her open arms and a warm “hey baby,” DJ Zehno always makes me feel at home in what we affectionately call “The Panda Den.” The dimly lit, jam-packed loft at Glitter Box is where local DJs (myself included) have held court every week for the last four years, attracting and entertaining Miami’s most discerning LGBT crowd in search of something to satisfy their Monday night club cravings. Zehno took over the reins as the Resident DJ just last year, but she is anything but the new girl.
For years, I’ve watched DJ Zehno serve up beats at top-notch events like Aqua Girl, Gay Days in Orlando, Women's White Party, Miami Gay Pride and residencies all over Miami. Her biggest OMG moment was during the 2010 Miami Beach Pride Festival when she shared the main stage with Crystal Waters, Robin S., Estelle and the legendary DJ Danny Tenaglia in front of thousands of fans and LGBT supporters. Since then, her unparalleled knack for mixing hip-hop, house, electro and the occasional “surprise” track has kept her in high demand in the Miami club scene. Zehno also likes to give her fans a little something to enjoy at home, the gym, the beach or any other place in need of some sick beats – a mix tape series aptly named Pandamonium. Fresh from the launch of her latest installment, Pandamonium: Vol. III, I was able to chat with DJ Zehno and give my own verdict on the former law student’s latest project.
FR8-O: How does it feel to be releasing your third mix tape already?
Zehno: It feels nice to be able to see the growth from my first mix tape to this one. I definitely feel very accomplished and matured in my music career. The sound quality and choices are a lot more thought-out and more developed than ever before.
F: Is there a theme or inspiration for Pandamonium: Vol. III?
Z: The theme of Pandamonium III emphasizes unity played in different styles of music with a Miami EDM flair.
F: You’ve DJ'd all over Miami and most recently at Aqua Girl. What was that like?
Z: This was my sixth time spinning at Aqua Girl and I couldn't be more proud to perform for such an amazing organization that gives back and empowers women. The energy at their parties is just indescribable. I look forward to it every year.
F: Are there any other organizations you like to support with your music?
Z: Eventually I would like to work with and support the World Wildlife Foundation to help save giant pandas from endangerment. I personally donate every year, but would definitely like to help more, and hopefully with my music someday soon.
F: Where can we get a copy of Pandamonium: Vol. III?
Z: You can pick up a copy anywhere I play. I currently hold residency at Kill Your Idol's Glitter Box Mondays, located at 222 Española Way, Miami Beach.
This article was originally published in Wire Magazine, Issue 22, 2014
Everything changed in 2013. I started it in Chicago, learning about the federal criminal system, and ended it in Jamestown, New York, working to help veterans solve legal issues. In between, of course, I finished law school in Champaign and passed the New York Bar exam in Buffalo. I visited Rochester, spent a week in the Pocono Mountains, and revisited Philadelphia and New York City. What a year!
(Courtesy of GFK)
For music, 2013 was the redemption of the failed promise of 2012. Or something like that.
The best, as always in no particular order (links will open in a new window):
· The National, “Trouble Will Find Me”: 2013 was a big year for The National, for better and worse. On the one hand were somewhat vexatious side projects—from appearing on a handful of Fox shows, to playing “Sorrow” at MoMA for six f***ing hours, to “Mistaken For Strangers”, the documentary about The National filmed by a family member of The National, just to name a few. But we are, and always will be, here for the music—and while it’s hardly their most standout album (IMHO), “Trouble Will Find Me” delivers a new mix of angst, existential uncertainty, and momentary dissociation from modern society that one expects from The National. “Don’t Swallow the Cap” would be a contender for top song of the year, if I made that list. Other standouts include “Graceless”, “Fireproof”, and for the swaggering, anthemic finales that have become de rigeur on The National’s albums, “Pink Rabbits.”
· Daft Punk, “Random Access Memories”: Anyone who knows me knows this was on the list. I threw a party, in fact, to celebrate its release. Coming many years after their last studio release (not counting the passable “Tron” OST), “Random Access Memories” takes a more subtle approach to electronic music, and the robot-people brought in some extremely accomplished musicians—Nile Rodgers, Panda Bear, Giorgio Moroder, to name a few—to collaborate and accomplish some serious grooves. From the celebratory opening track, “Give Life Back to Music” to the slightly-more-challenging and noisy, but still ebullient closer “Contact”, the robot-people and their session musicians come together for music that feels good, music that makes you want to dance and throw a party, with a handful of selections that have more smoky, sultry, and even sullen grooves. A handful of the songs drag on too long—“Lose Yourself to Dance”, for example, stretches Pharrell to the breaking point, at six minutes, two of which could easily enough have been lopped off. The weighty “Touch”, featuring Paul Williams on piano and singing, clocks in at 8:19—and it isn’t even the longest song on the album. (That one goes to “Giorgio By Moroder”, featuring the eponymous electronic music pioneer, in a lengthy if somewhat interesting monologue). But if this album’s biggest fault is that some songs are Too Long—and that is its biggest fault—then that’s a good problem to have.
· Vampire Weekend, “Modern Vampires of the City”: Aside from having some of the best cover art of the year, VW’s new album is their most compelling. At first listen, Vampire Weekend expanded their sonic repertoire only modestly, but after a few listens curious influences and inspirations appear, from Irish music to “noise pop.” Their growth—as a band and as individuals (insofar as one can chart such through music)—is unmistakable. The album, as a whole, is phenomenal; the lyrics are smart, the rhythms and hooks catchy and still sophisticated, and the results are exquisite. “Hannah Hunt”, “Finger Back” and “Worship You” are standouts, though the whole record is solid; the brash “Diane Young” was divisive among my friends, but remains an excellent tune with two entertaining videos (the first of which, featuring two burning Saabs, apparently produced a fiery response—pun intended—among Saab aficionados). The only questionable track is “Ya Hey”, which is a good enough song but for the inclusion of cartoony high-pitched voices in the chorus—but after originally hating the track, even I’ve come around to grudging appreciation. If Wikipedia is any reliable source (let’s not get into that, here) then the production of the album was serious and involved a lot of work and engineers—but the excellence is undeniable.
· Bombino, “Nomad”: Mali, in the past year, has been in the news for all the wrong reasons—not its immense treasure of antiquities, nor its rich culture, but for the short-lived fundamentalist Islamic regime which took over following a failed coup which was ousted by aggressive action by Francois Hollande, the Socialist President of France. (Sadly, France’s laudable efforts in its former colony came too late to save some of its famed shrines, much like America’s efforts in Afghanistan came too late to save the Bamiyan Buddhas. C’est la vie, I suppose.)
But I digress. Omara Moctar, who records as Bombino, released this exquisite album of music from the heart of Tuareg culture, but with the expert guidance of Dan Auerbach, of The Black Keys, this album, produced in Nashville, opens Bombino’s sound up to a greater audience and a greater range of sounds.
· Local Natives, “Hummingbird”: Produced by Aaron Dessner of The National (prolific, isn’t he?), “Hummingbird” expands on the solid debut album “Gorilla Manor” and exhibits a lyrical maturity that can be hard to find in modern music, with an indie rock sound that is expansive and airy in a good way. Their sound evokes Sigur Ros and maybe Wilco (and maybe even at times The National), but is all of their own. It makes an excellent album for driving places.
· Arcade Fire, “Reflektor”: I’ll admit, I have a long history of loving Arcade Fire, stretching back indeed to a time when I drove to a Borders (!) to buy The Arcade Fire’s (!) debut album on CD. (!) I’m pretty sure that was high school. Arcade Fire, obviously, has never shied away from confronting dark and weighty topics; from their debut, titled “Funeral”, to its follow-up, “Neon Bible”, matters of life, death, and afterlife are fair game for the Canadian rockers. This issues, and the alienation of modernity and technology that featured prominently on “The Suburbs”, their previous, Grammy-winning album, come to the very forefront on “Reflektor”, along with references to Kirkegaard and vodou culture. Indeed, the Haitian influence is strongly felt in the music, which at times seems constrained by its studio origins; their live music surpasses what one hears on the album. Regardless of the weight of the topics—framed, musically and literally enough (see cover) through the Greek tragedy of Orpheus and Eurydice—the grooves never stop. It’s hard not to be effusive about how unique a sound Arcade Fire has accomplished, but the music and the songs sound better than my honeyed words can convey. It’s catchy, danceable, and challenging, in a way that puts Arcade Fire in a league that a select few bands—like Radiohead—ever achieve.
· Q-Tip and Busta Rhymes, “The Abstract and The Dragon”: Coming in just under the wire, this free release from two of the most excellent MCs of their era show that their era hasn't quite ended. Excellent, throw-back jam production abounds, as do rhymes unchained by convention or even, occasionally, good taste (WARNING: NSFW, for sexual themes, rampant use of the B-word, and the usual threats to would-be haters). But the good cheer evident is hard to ignore, and Raekwon drops by to kick it as does Lil’ Wayne, sounding as weeded out as ever. FREE MIXTAPE! (click title link.)
· Sky Ferreira, “Night Time, My Time”: This was a tough choice, because there are a few dud tracks, and anyone who signs on to open for Miley Cyrus defaults to “don’t bother.” But the tracks that stand out are at the top of the field. Sky Ferreira apparently has a history of some sort—a failed pop career with a major label, I guess—and this kind of thing rarely interests me, but it provides grist for the album. I have little time for songs in which popular entertainers complain about how hard they have it, but the sheer emotion of “I Blame Myself”—a half-hearted mea culpa, if ever there was one—excels at its object and was quickly put on repeat listens. “Love in Stereo” is an interesting song, confronting love, loss and abuse while sonically finding a comfortable pop-y niche. "24 Hours" is another great track, as is “Nobody Asked Me (If I Was Okay)”—but it sounds strikingly familiar to fans of The Strokes…
· DJ Rashad, “Double Cup”: This guy is like the Gold Panda of hip-hop. For those hard-core electronic music fans who were disappointed in Daft Punk’s new album (note: you suck) and those who miss DJ Screw and J Dilla, “Double Cup” may be some consolation. DJ Rashad takes the rap/hip-hop production MO and runs it through a bunch of circuit boards, coming up with solid samples and beats. Probably NSFW.
· DJ Koze, “Amygdala”: DJ Koze, coming out of Germany, gathered a most curious collection of sounds on this album. German, Hebrew, and English are all heard, as are appearances from artists known and unknown (to me, anyway) including Caribou. The result is an unexpectedly compelling listen, one that is harder to describe than other albums on this list, but no less easy to find your head nodding to.
· Lauren Mvula, “Sing To the Moon”: This album is one of the hardest to describe. It is an album of lushly constructed ballads, points and counterpoints and dramatic pauses, and a haunting voice. They come together to construct an unforgettable and dreamy soundscape that vacillates between light and dark.
Janelle Monae, “The Electric Lady”: This album pulls no punches in its quest to create a sound all of its own, blending hip-hop, rock, electronic, and elements from the lesser regions of the American music scene--elements that might be at home on a Quentin Tarentino movie or an Ennio Morricone soundtrack--into an eminently listenable and enjoyable experience. “Primetime” is one of the most excellent slow jams of the year, and certainly among the top songs of the year. “Q.U.E.E.N.” (featuring Erykah Badu) is a statement of defiance on another level from the mediocre and bland statements issued by Top 40 songstresses like Taylor Swift, Kelly Clarkson and the like, and is capitalized upon by its succeeding track “Electric Lady” (featuring Solange Knowles). The album manages having three interludes, some of which are actually amusing, and has only one real dud, “Dance Apocalytic” which was inexplicably released as a single.
Mayer Hawthorne, “Where Does This Door Go”: This is a little bit of a guilty pleasure. Its inclusion as an album of the year is despite the fact that it doesn’t really have the depth or ambition of the rest of the albums. What it does have is excellent jams, that expand on the talent shown in the first two albums for songs about seduction. The production team is much larger on this album--Andrew Mayer Cohen, AKA Mayer Hawthorne, having done much of the music-making himself in the past--and the effect is a more scattershot output, but one with more than its share of hits. “Back Seat Lover”, the first proper track on the album, is standard MH fare, but from there the jams grow to a greater breadth than in his prior albums. Check out “The Innocent”, “Wine Glass Woman”--arguably song of the year--”Her Favorite Song” and “Crime”, featuring Kendrick Lamar.
The Rest:
· Kanye West, “Yeezus”: Talk about a divisive album. I’m sorry though, Sasha Frere-Jones, once again we disagree—and I think in ten years, this album will inspire less passionate defense. Like an “808s and Heartbreaks” on steroids, “Yeezus” takes the emotional Kanye West we all love/hate, and adds loudness to it. Unfortunately, for someone who grew up appreciating the brilliance of soul-sample Kanye and his breezy, uncomplicated honesty, this is anathema. I could handle Kanye’s anger to an extent on his last release “My Beautiful Dark Twisted Fantasy”—which I ranked as a best pick—but here, it just sounds tired, and boring, and with its glitchy, noisy samples and raw, unrefined drums, it sounded more unfinished than anything else. I applaud ambition, but its hard to take Kanye seriously as he decries luxury-oriented desires when he’s as steeped in conspicuous consumption as anyone. (More, really.) And his critiques of, for example, private prisons—a critique well worth making—just sound incoherent amidst the wilderness. Taking “Strange Fruit”, sung by Billie Holiday and written by Abel Meeropol, and using it for a sample can be transgressive—in a good way—and provocative, but Kanye merely uses it to rant about women he has had issues with. (To be sure, it is the best song on the album.) And women issues he certainly has, for a married guy. I won’t get into the rest of the album; suffice it to quote “MacBeth”—an album “full of sound and fury, / signifying nothing.”
· Jay Z, “Magna Carta Holy Grail”: Unlike Kanye, Jay Z apparently knows how to relax. Though complaints about how he’s treated pop up on the album, you’re more likely to hear him discuss his art collection. And discuss his art collection he does at length, so get ready. Basquiats, Picassos, references to the Louve and Andy Warhol abound. But at least he sounds like there’s some fun in it. Big ups to track “Picasso, Baby” (NSFW).
Drake, “Nothing Was the Same”: As usual, Drake can be relied on to deliver 3-4 good songs, and to his credit, they show signs of personal growth and maturity. “Started From the Bottom” (Not really SFW) is a contender for song of the year; “Hold On, We’re Going Home”, “Connect”, and “The Motion” also are solid. The only way I can make sense of “Wu Tang Forever”, though--at least with regard to its title and content--is to be a finger in the eye of Ghostface Killah, who assuredly has no love for Drake.
Atoms For Peace, “Amok”: Thom Yorke’s new solo album furthers what he started with his last one, “The Eraser”, and the results are enjoyable and moody.
Toro Y Moi, “Anything in Return”: Another album of good jams--good cross-country driving music, or for your low-key party/hangout.
Blood Orange, "Cupid Deluxe": Bringing smooth, respectable R&B back to the indiesphere, and occasionally bringing silky saxphophone solos to smooth, (otherwise) respectable R&B.
Settle, “Disclosure”: This album has some of the best tracks of the year--”Latch” and “White Noise”. I wasn’t crazy about the rest of the album, but the number of times those two tracks at least were on repeat is crazy big.
Best songs
· Juicy J, “Smokin’ Rollin’” (NSFW)
· Big Sean feat. Kendrick Lamar and Jay Electronica, “Control” (NSFW)
· Son Lux, “Lost it to Trying”
· Chance the Rapper, “Good Ass Intro” and “Life Round Here”
Every generation has its great diva; the voice we turn to for strength, acceptance or just one big gay dance anthem. The millennium had Britney (it was a slow decade), the ‘80s and ‘90s had Madonna and the ‘70s had the legendary Cher. Cher has had a musical legacy spanning 60 years with a No.1 song in every decade. She keeps her catalog of 25 albums stacked neatly next to her Oscar, her Grammy, her Emmy, three Golden Globes and her Cannes Film Festival Best Actress Award. She used to be unstoppable, but when her never-ending farewell tour finally came to a close in 2003, it seemed like her music career was about to do the same. That was until she starred in Burlesque in 2010 and made a vow to her boys all over the world when she sang “You Haven’t Seen the Last of Me.” Now, Cher is finally making good on that promise with her 26th album, Closer to the Truth.
Before you get too excited about this “comeback” album, just sit back and let me share with you a little truth of my own. Let’s start with the cover artwork. That cover photo has had more work done than the diva herself. Seriously! I realize she’s a 67-year-old woman in a blonde wig photographed in bed wearing practically nothing and needs all the help she can get, but who is she kidding? Well, she may not be able to turn back time for real, but some of these trax sound less like fresh material and more like cast-offs from her last album. It’s no surprise considering this “new” project reunites her with her Living Proof songwriter Diane Warren and producers Timbaland and Mark Taylor, the same team she worked with 12 years ago. There are a couple of surprise cameos in the form of Paul Oakenfold and Scissor Sisters frontman Jake Shears. But neither of them could do much to salvage their trax, especially Jake’s “Take It Like a Man,” which has more auto-tune than a recording session with Nicki Minaj, Jason Derulo and Ke$ha.
Things get a little better on Closer’s second half once Cher drops the dance beats (and the wailing) and slips into some more serious trax like “Favorite Scars,” the bittersweet ballads “Sirens” and “I Hope You Find It,” and the P!nk-scripted “I Walk Alone” and “Lie To Me.” Sadly I can’t give my ears a Silkwood scrub-down and un-hear some of these toxic trax, but if I can save just one set of ears from suffering the same fate, it’s worth it. As open minded as I am about music, Cher is just one of those voices you either love or you hate. Hardcore half-breeds, gypsies, tramps and thieves will probably love this album. They might even think its Cher’s best one yet. Everyone else, not so much. There’s no denying she is an incredibly talented actress, director and role model. She should just stick to those things and say a final farewell to the music biz. I’m all for a diva making a comeback and continuing to make great albums, but if you’re expecting Cher’s Closer to the Truth to be one of them, snap out of it!
This article was originally published in Wire Magazine Issue #40, 2013
Music to Occupy By, or, 2011 We Hardly Knew Ye (+ Top Trax!)
2011 was a turbulent first year of the millenium. Occupy Wall Street spread like wildfire, despite obscure demands, becoming both a symbol of discontent over rising inequality and the corrupting, corrosive effect of money in politics, and a sometimes funny, oft-tedious internet meme. 2011 was the year the European Union faced its greatest challenges, as rising costs of borrowing squeezed profligate peripheral parliaments and their concerned citizens. In America, President Obama had Bin Laden's ass murdered--that was an awesome day--but it failed to invigorate the economy; a do-nothing Congress did nothing (thanks, largely, to the petulant Republican party, which, as P.J. O'Rouke quipped, got elected to power claiming that government doesn't work, and subsequently proved it.)
On the home front, I finished my first year of law school! Then I interned for a federal judge in Vermont! I bought a Turn Table! I learned how to properly say Bon [h]Iver, and and learned to put two spaces after every period (in Britain, they call them "full stops," a point which will be relevant later in the post). I reacquainted myself with some classic albums; two sixteen+hour drives--and perhaps, for that reason, I didn't get a chance to fully evaluate all the year's new releases. For example, I haven't heard the Beastie Boys' "Hot Sauce Committee Part II" enough to fully evaluate it. Nor have I come to a decision about the new TV on the Radio Album.
Best Musick:
1. Bon Iver, "Bon Iver": It was a good year for Justin Vernon. Probably a pretty good year for all the other people who play on this album, too, but nobody ever remembers who they are (despite the fact that the band makes this album shine). Bon Iver's second, eponymous album was on heavy rotation for me for literally months.
I have received flak for this theory, but I think in a sense Bon Iver is sort of an adult/avant-garde/hipster Dashboard Confessional. That is, the songs are acoustic guitar-heavy forlorn-but-undeniably-earnest-sounding ballads of unrequited love and the like. Maybe they're not, though: the Achilles' heel of the album is its impossibly vague--that is, vexingly abstract to the point of meaninglessness--lyrics. Other bands, no doubt, would be zinged on this essentially undeniable flaw, but the music rises above.
The album itself is ethereal in the best way possible: effortlessly blending genres, the band crafts songs unforgettably haunting, songs that transcend their seemingly humble origins. Almost every track is a hit, and the album finishes with what may be the most controversial song of the year, 80's throwback ballad "Beth/Rest" (Somebody explain that song to me, please--or better yet: Don't). At first listen cheesy, "Best/Rest" becomes a seat-rouser the more often one hears it.
2. Fleet Foxes, "Helplessness Blues": Helplessness Blues was the first album I bought on vinyl, and it could not have been a better pick. Perhaps more notably, it inspired the only comment (as far as I know) the Economist has made on modern music (well worth the read). Taking a step back from the "baroque pop" of yore, Fleet Foxes crafted an incredible melange of melodies and harmonies that harken to the better angels of indie rock. The album is cohesive musically (while remaining creative) and intriguingly narrative lyrically.
3. Big K.R.I.T., "Return of 4Eva": Hat tip to my friend Jason S. for this find, K.R.I.T. is back with a triumphant, self-produced album that covers all the (arguably) necessary hip-hop bases: tracks to think about, tracks to roll to, tracks to party to, etc. K.R.I.T. is not content to lay down some expert flows over soulful samples; like Kanye West in his prime, he's ready to tell it like it ought to be told, and look deep inside of the heart of a modern man struggling to succeed.
4. The Roots, "Undun": When I heard the concept of Undun--the story of the life of a man, starting with his death and proceeding backward--I was somewhat hesitant. Kind of a downer, right? When I heard it would end with an orchestral suite based on Sufjan Stevens' "Michigan", I was bemused. Suffice it to say, "Undun" is a concept album a world where concept albums are rare gems. And indeed, Undun itself is a rare gem. What other rap album gives you good advice, like "If you can't learn to swizzim, then you're bound to drizzown," and probably the only time the words "maritime museum" will ever be uttered in a hip-hop context (and perhaps in music, generally). I cannot help but applaud ambition in music, and again the Roots come through.
Good albums:
1. The Black Keys, "El Camino": The Black Keys are back, with another classic record. Despite its deceptive title (that's a minivan on the cover, not an El Camino!) the record contains for of what makes the Black Keys great: rock, heavily influenced by blues. Blues rock. This record doesn't depart much--if at all--from the formula, and it may not rock quite as much as "Attack and Release"--but songs like "Sister" still kick much ass.
2. Coldplay, "Mylo Xyloto": This might strike some (i.e. almost all) of my friends as an enigmatic, or even scandalous choice, but Coldplay has come a long way from their "X&Y" days. "Viva La Vida" was awesome--thanks to the intervention of producer/visionary Brian Eno, who, on "Mylo Xyloto" is credited with "enoxification", whatever the hell that means. MX falls a little short of that, lacking the experimentality and wide diversity of influence, but it succeeds, if marginally as a concept album (about some sort of 1984ish dystopian future, but with a happy ending). Coldplay, at least in my opinion, has managed to make a Top-40 alternative rock album that is musically compelling. (N.b. when listening to the song--which, for the record, samples Peter Allen's "I Go To Rio"--again, to the British, a period is a "full stop.")
3. ARAABMUZIK, "Electronic Dream": I had never heard of AM until this year, but apparently he's been producing records for the Diplomats for a while. This that is not. "Electronic Dream" is an enigmatic record in a few respects; you could play it at the club and not get too many weird looks; play it while you're running and that's good too. P4K calls its mood "dystopian", which I find eminently confusing; it sounds slightly dark, but I can't really even figure out what that even means. So there you go.
4. Chris Isaak, "Beyond the Sun": I recall well when I heard about this album for the first time--I was about a half-hour from home on my way back from Vermont, in August. The stock market had been riled, and times were seriously serious. And then NPR discussed the album, and its creation. This is, in fact, a cover album. A cover album with a mission, however: To pay tribute to Sam Phillips, the famous producer of Sun Records' greatest talents, from Elvis to Johnny Cash to Roy Orbison, among others.
5. Naminé, "Neon": Ambient, but eminent. I'm not sure how best to describe it but a solid, moody electronic album is what it is, right?
6. The Weeknd, "House of Balloons": Electro-R&B has had a good run; where the XX started, the Weeknd picked it up with a free album, "House of Balloons," which covers content that may not be safe for work, or perhaps anywhere where drinks (and perhaps sundry substances) are not being served. Where the party is, however, this album will be right at home.
7. Toro Y Moi, "Under the Pine": This album grooves, and it grooves well. Man, if I were driving down (California) Highway 1, this is what I'd be listening to. In my convertible. Because it'd be summer, and I'm rich. Then I'd probably wake up from that wonderful dream--but at least "Under the Pine" would still be here.
8. Foster the People, "Torches": An interesting album. If Top-40/big label stuff is like fast food (and I largely think it is), then this album might be likened to Chipotle: Processed, a product of big money production, but still thoroughly enjoyable. Foster the People were given the torch (no pun intended) by MGMT, and they crafted catchy rock music (are they alternative? Pop rock? Indie, or maybe "indie"? You decide).
Awesome albums I (re)discovered:
Arcade Fire, "Neon Bible"
Gorillaz, "Plastic Beach"
J Dilla, "Donuts"
Gold Panda, "Lucky Shiner"
TOP TRAX: There are 40 of them (in no order). I own the rights to none of them; if you like what you hear, buy the albums!
