In 1989 Paul McCartney released Flowers in the Dirt, a record I played to death due to the inclusion of songs co-written by Elvis Costello. In my book, these are two of the best living songwriters, period, end of sentence, cap on the pen, close the book, burn the book, but save the pen. You may need it later, maybe in 2017, 28 goddamn years later when the remastered record has been re-released including nine original demos recorded by Paul and Elvis all those years ago.
Paul has spoken a lot about how Costello/McCartney had some eerie similarities to Lennon/McCartney. Two brilliant songwriters facing each other writing on acoustic guitar, Paul left handed, John and Elvis right handed – a mirror image. And Costello, who learned about harmonizing from Beatles records, was the perfect sonic foil to McCartney. So much so, that these demos are downright Beatlesque – something McCartney avoided like the plague throughout his post-Fab Four output. Kudos to Elvis for coaxing that genius from Paul, whose previous record (Press to Play) has its moments, but doesn’t stand up to the best records of the era like Graceland by Paul Simon or So by Peter Gabriel.
These demos are downright Beatlesque.
These demos are downright Beatlesque.
Paul sums it up by saying he ultimately didn’t want to make “an Elvis Costello record,” although he agrees the demos are likely better than the released versions. They are. Raw and fresh, recorded hastily after multiple three hour writing sessions, warts and all. Demos for So Like Candy and That Day is Done stand beside some of the Beatles best work. I shit you not.
So, how is disc one?
Uhm… it’s still great, but there’s a noticeable lack of a cohesion, let’s be honest. It’s several albums kinda smushed together. Beatleseque tracks like My Brave Face are side by side with the plaintive yet bombastic We Got Married (with David Gilmour soloing), which is a few tracks ahead of the dancey experiment Où Est le Soleil. In between you have some solid tracks like the earnest Put it There and the cheese-fest How Many People. But hey, it’s Paul McCartney, even his worst songs outshine most artist’s best work.
It’s not too late for these guys to make a great record together. Put your ego aside, Paul. The clock is ticking, mate. Kanye can wait.
New Music: Jay Som
Calexico & Iron & Wine
Calexico and Iron & Wine haven’t made a record together since the In the Reins EP in 2005. This month, Sam Beam, Joey Burns, and John Convertino have released their long overdue follow up, Years to Burn – eight beautiful tracks pleasantly far-removed from what passes for folk/country these days. I caught them at Celebrate Brooklyn a few weeks ago and dug them despite being surrounded by chatty Brooklynites.
What are other folks saying?
Social Media Forces the Youth to Push Bubble Gum Music
Like the setting of the sun, older generations have routinely criticized music of the now. However, something feels different in 2019 with this, “conversion to criticism,” happening at a more rapid pace than ever before. In theory, as a 27-year-old, I really shouldn’t be writing this article, right? I should be totally ingrained into the nucleus of the music being popularized today by America’s youth, and to be honest, until recently, I have been. In the ether of facebook comments, during the last year or so, I’ve defended new school artists, the likes of Lil Pump. But I’m sorry, I’m waving my own metaphoric white flag. I can’t take it anymore.
The breaking point for me has catalyzed from the viral smash hit songs that have speeded into popular culture like comets within the last few years. The song “Mo Bamba,” for example, where did that even come from? I’ve literally never in my life heard of the artist behind the song, Sheck Wes, but damn, that song somehow took over my entire existence in the summer of 2017… And I have no idea how!
OK, before this becomes another guy rambling on about how bad the youth’s taste in music is, I want to tap on the brakes. I’m not actually blaming the kids… Na, not at all. It’s not their fault. It’s the fault of social media. I’m pointing the finger at the likes of Instagram, Snapchat, Tik Tok, Facebook, etc. The universe these platforms create force these kids to gravitate towards bubble gum music.
Let me clarify what I mean by bubble gum music. You probably are picturing some pop star with bleached blonde hair and dark blue eye-shadow, but this term transcends genre and the likes of Britney Spears. To me, bubble gum music is music that reflects the exact experience of chomping down on a big wad of Dubble Bubble; extremely tasty, almost too tasty, like instant cavity tasty, but after maybe 35 seconds you’re ready to spit it out. This Dubble Bubble experience mirrors the exact formula that launches a song into the viral stratosphere; uber-catchiness, mindless easy to remember and repeat chorus’ that you’ll grow sick of in a matter of days.
Social media has altered the very nature of how kids interact. We can all see this happening. There is already scholarly research delving into how social media affects young people. We observe how it shapes their social lives, their mental state, but I haven’t noticed anyone talking about is how it’s affecting their music.
Think about it, you’re 17, you and all your friends spend all day sending each other funny videos and pictures on Snapchat. You chat all day on Instagram, tagging each other in videos and memes you think will make everyone in your friend group laugh. Oh, and there’s this catchy song soaring around the internet too, so of course you tag all your friends in it. Then you send them all a video of you dancing and singing along to it. They all send response snaps with the catchy, viral song bumping in the background. Pure Dubble Bubble. The angsty teen sitting in their room, alone, listening to CDs, cassettes, records, hell, even an iTunes library circa 2007 isn’t really a thing anymore. That angsty teen used to be a cliche, but soon we’ll be taking our kids to the Guggenheim to see a live action “Untitled” exhibit of a teenage girl, alone in a room, placing CDs into a boombox.
Let’s just go ahead and open the Pandora’s box that is the viral dance challenge. The internet dance challenge phenomenon is the definition of a bubble gum music factory. For those who aren’t familiar with a dance challenge, an easy to do dance becomes associated with a certain song. People film themselves doing said dance with said catchy song playing in the background. Then millions of people do the exact same thing, post it on their respective social media, and boom you’ve got yourself a viral dance challenge. Two examples of recent big time dance challenges were, The Mannequin Challenge and The Harlem Shake. Now do not get me wrong, I love a good dance challenge. I really don’t know of anyone who enjoys doing goofy dances to catchy music more than me, but not for a song every other week! We used to get some space between dance crazes. Even in the 2000s, we had a four year gap between the two biggest hip-hop dance videos “Crank That” by Soulja Boy, released in 2007, and “Teach Me How to Dougie” by Cali Swag District (2011).
The other big issue with viral dance challenges is they often take songs that are actually good, and scar them on your auditory cortex. Take Drake’s 2018 summer smash, “In My Feelings.” It’s a quality song that features a succulent piano intro on the music video version of the song, fire interlude vocals by the Miami female rap duo City Girls, and thoughtful samples from New Orleans rappers Magnolia Shorty and Lil Wayne. The song bumps, there is no denying it. But the song became a viral dance challenge and we all began to shut it off immediately whenever it came on the radio or our Spotify playlist. “In My Feelings” should have been a song with legs. A song we jammed to for a long time to come, a potential hip-hop banger classic. But social media killed it.
Migos’ 2016 song “Bad and Boujee” is another example of social media hurting a good thing. The song became an internet sensation after viral memes and videos accompanied it’s release. We began to hear the song everywhere, over and over again. Because people were so over-saturated by “Bad and Boujee” the masses didn’t take time to really listen to and appreciate the album that hosted the song “Culture” which was actually a fine piece of work. That’s sad. Social media is pushing repetitiveness to unhealthy levels.
The scary thing is that musicians and music executives have caught onto the massive impact social media is having on music. Music lives and dies on streaming in 2019, and social media often drives those streams. Making an album, which is usually a fuller and more nuanced piece of art, is becoming obsolete because one song can now make you more money than an entire album. Consider, for example, Sheck Wes’ debut album Mudboy which had on it his smash hit discussed above, “Mo Bamba.” The entire album minus “Mo Bamba” (13 songs combined) currently have 365,404,069 less plays than “Mo Bamba” (one song). “Mo Bamba” has 441,869,712 plays while all 13 other songs combined only have 76,465,643. CNBC estimates that Spotify pays out about $.006 per stream. That means Sheck Wes/his record company made about $450,000 from the 13 other songs on the album and about $2.6 million for just one song, “Mo Bamba.” This single ruling music culture wasn’t even the norm 10 years ago when record companies wanted you to buy full albums on iTunes because the .99 cent singles didn’t match the profit from people purchasing full albums. And obviously, during the vinyl and CD era, albums were king. Record companies are beginning to structure their entire business model off of viral songs. So by the looks of it, we can only expect these trends to intensify and the music to become subjugated even more by the bubble gum model.
Let me make clear that I’m as conflicted as anyone. I’m not saying I don’t like these viral songs or artists. The songs are catchy. Is there talent in creating a catchy song, of course. I think a lot of these artists are really talented. I’m just saying, overall, the releases aren’t great pieces of music. And that’s fine. There is a space for that type of entertainment and I consume it and enjoy it. The problem arises when, everywhere you look, every piece of music is an attempt to mimic the viral song structure. The songs are being forced and modeled by a the social media market, and the songs that are sticking, more often than not, are the songs that mean nothing.
Now… please excuse me as I go listen to “Old Town Road” and make a dance video to it on my Instagram.
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