Here’s the part where the guy twitching in the hungry crosshairs of 40 tells you how the music topping the charts these days won’t inspire so much as a quiver of his trigger finger. But really, who cares? The purveyors of popular song have no interest in capturing my iTunes money. Just as my parents wondered desperately who on earth would want anyone to Rock Them Amadeus, I can’t fathom why Iggy Azalea’s “Fancy”, a piece of simplistic monotony with a Clueless rip-off video, spent a month this summer at #1.
Ever since the end of the halcyon days of 80’s pop, the soundtrack that flipped the pages of my childhood, I have paid scant attention to the Billboard Hot 100 chart. While MC Hammer’s parachute pants flapped in the raucous wind of his success, my high school friends and I were discovering the mystical quests within the grooves of Led Zeppelin and Pink Floyd records. So I guess I haven’t been hip in about twenty-five years. I’m okay with that.
I’d always been a trifle suspicious of this chart anyway. What is it counting? Sales? Radio airplay? Likelihood of ending up as a parody on Weird Al’s next album? There is actually some math to this madness, and it’s far too complex for my mid-week brain to tabulate without a nap under its belt. But I’ll do my best.
For almost two decades prior to the Hot 100’s debut in the pages of Billboard (yes kids, Billboard was and is an actual magazine. A magazine is kind of like Buzzfeed.com made out of trees), the chart tabulators kept track of three separate stats: the best-sellers, the songs most played by disc jockeys and the songs most played in jukeboxes. That last one was key, as a disgraceful clump of radio stations were refusing to play rock ‘n roll in the mid-1950’s. Billboard had to track what was big with the kids. Read more…
The day after writing about someone’s horribly-botched circumcision and subsequent medical torture, I really need to punch that gearshift into a new socket and spend this gloriously overcast day in a happier, more uplifting place.
It is for this reason that we order up a shake, pull out that roll of quarters from our pocket that proves we’re not happy to see anybody, and saunter back over to the Big ol’ Box O’ Juke for another mini-binge on some of the great songs in history. Having jumped through the 70’s, the 80’s and the 90’s, I’m going to point my Flux Capacitor at the decade which produced the greatest classics-to-pap ratio in modern music history: the 1960’s.
We may as well start at the beginning, with this attractive group who were known for deeply admiring mysterious things to their immediate left. That is, of course, Smokey Robinson & The Miracles, and the single that smashed its bubbly Dom over the hull of Motown, christening the label and launching it into the Billboard stratosphere was called “Shop Around.”
Smokey wrote the song with Motown honcho Barry Gordy, recording a slower, bluesier version that found itself dispatched through Detroit airwaves, receiving a fairly solid response from the locals. But Gordy had his sights set on conquering the world, so one night at 3:00AM he brought the Miracles in to record the more upbeat pop number we all know. Presumably members of the Funk Brothers, the Motown house band that never received any credit from the Motown PR corps, despite their performances having truly defined the label’s signature sound, were also called in to the session. Read more…
Once again it’s time to twist that volume knob all the way to the right, wrap yourself in your favorite flannel shirt, bring your old Tamagotchi back to life, and ease into the latest batch of vintage tuneage from the Big Box ‘O Juke. Today we’re dipping into the music of the 1990’s, a decade that brought us mainstream music we called “alternative”, the death of so many record stores who sold actual records, and the birth of the mighty mp3.
The 90’s was the end of populist popular music. Where once a band like the Scorpions could share the same top-ten audience as Cyndi Lauper, now listeners were becoming more fragmented. Rock music hit a wall it still has yet to climb over – apart from a handful of trends (like the forgettable rap-rock phase), guitar-based rock, or at least the stuff that hit the radio, simply stopped growing.
Pop music became computer-based, and the best stuff was wading through an increasingly deeper pool of pap and fluff. But it was still out there. Depending on your tastes, this may or may not be a sampling of some of it.
I don’t think it’s a shameful confession, but I was never really a fan of Meat Loaf. Nothing against the guy, but his sense of musical-theatre-rock drama just never hit me in my groovocampus, the part of the brain that stores memories of the funky licks that get one’s boogie on. His song “I’ll Do Anything For Love (But I Won’t Do That)” was a monster hit for him in ’93, the first single off that Bat Out Of Hell II album I had to play ad nauseum when I worked at MusicWorld. Read more…
As a young aspiring music snob, I was taught to shun the Greatest Hits album. I was told to aspire to find the brilliant album tracks, to let the unwashed masses scramble over each other to merely settle for hearing the radio hits. I might have dismissed such blatant snootery, but the Beatles ruined it for me. Once I learned that they had album tracks like “And Your Bird Can Sing” or “I Want You (She’s So Heavy)” that put hits like “Yellow Submarine” and “Eight Days A Week” to shame, I tossed my Red & Blue compilation double-records into the fire and went hunting for the proper albums.
So when Ms. Wiki dropped the idea of Compilation Albums by Artist onto today’s playlist, I was skeptical. I’d spent so many years wanting nothing to do with compilation albums. There were some I needed to buy of course – when jerk-ass Tom Petty released his Greatest Hits album in 1994, it was the only way to own the song “Mary Jane’s Last Dance”, and I’d developed an unhealthy addiction to that tune through its radio airplay and cleverly necrophilic video. So that meant I owned two copies of “Free Fallin’”, “Refugee” and all those other songs. Thanks a lot, Petty.
Oh, I could never stay mad at you.
There are 398 artists listed as having compilation albums. Seems like a great way to do some quick investigating into the phenomenon.
The beautiful thing about Greatest Hits albums is that you can release entirely new ones every few years, and no one will notice. Some will become monster hits – the Eagles’ Greatest Hits (1971-1975) is certified at 29x multi-platinum, and was the greatest selling album of all time for a while. But most of the time people will fail to notice if the collections get replaced by new ones. Some 70s artist released an album of new material in 1996? Okay, let’s put out a new greatest hits album with the one single (that no one liked) from the new album. People will still buy it, even if they just want the old hits that were actually good. Read more…