I saw Michael Buble perform on some soccer mom early show (probably "The Early Show") a few years ago and they touted him as some "authentic" jazz singer, singing Billie Holiday and such. Stupid me, I didn't appreciate jazz at the time and promptly changed channels. Flash forward N years later and I'm in love with Buble's summer 2009 single, "Haven't Met You Yet." This jaunty little pop song has managed to cling to the pop charts a year later. On second thought, "cling" is not the appropriate word here; he's living inside the hit radio palace with this one.
It's a rare case where I'm willing to look past the "Love Actually"-worthy lyrics and bounce along to the song's superbly-crafted melodies. Buble is like the Sandra Bollock of pop song lyrics. The lyrics are like a bad romantic comedy, but I have to keep listening cause in actuality I'm a hopeless romantic/melodic. Plus the guy can SING, styling the melody with crooner inflections here and there, taking this song places a lesser singer couldn't have.
"Haven't Met You Yet" is half Stevie Wonder's "Isn't She Lovely" and half Sara Bareilles' "Love Song." In this case that's a great thing, as I love both of those songs. And the song's bugle call reminds me a bit of "Penny Lane," too. Keep on piling on those pop song nods Mr. Buble, whether intentional or not.
This song really stands out on modern radio, sort of sounding like some lost 90s hit. But, I'm curious as to what Buble's next single may be. I'm worried he may be a one trick Canuck, but heck, "I just haven't heard it yet..."
Tuesday, August 17, 2010
Sunday, August 15, 2010
Katy Perry "California Gurls"
Every summer seems to have its "song," be it The Police's "Every Breath You Take" in 1983 or (gulp) Sugar Ray's "I Just Wanna Fly" in 1997. Unfortunately for Nickelback, this year it's not "This Afternoon" (though I, surprisingly, sort of like that song from everyone's favorite feather-haired grunge-lite gods). Katy Perry's "California Gurls" turned out to be the unofficial anthem of summer 2010 thanks to its no-holds-barred summertime subject matter and the production of (big surprise) Dr. Luke and Max Martin who, like the California gurl in the song, are "undeniable," at mining pop music's bag of hooks, that is.
"California Gurls" might have been a hit in 1977 or 1997. This song's got early Prince written all over it, from the slap-bassline to the slinky guitar riff in the chorus more-than-reminiscent of the Artist's "I Wanna Be Your Lover." Perry's trimmed Daft Punk's electropop sound down to fit into a "bikini on top," as she puts it. Snoop Dogg's presence seems extraneous - former G-funk rapper turned pop-starlet hype man? - but I suppose it makes sense due to Snoop's career trajectory and the purpose of this song: to kick off parties from New York to "the Golden Coast." He's more laid-back than ever; sippin' on grandma's sweet tea is more like it.
Lyrically, the song's a pastiche of ghettofab catchphrases ("Westcoast represent," really?) and palm tree cliches, meaning it's exactly what record label ordered, lyrics your average tween-to-20something party girl could relate to. The song's chorus is so catchy it's all that anyone really needs to know. A staccato melody meets goofy fun lyrics like "Sun-kissed skin so hot, we'll met your popsicle. We're supposed to assume she meant an actual popsicle, right? The Cyndi Lauper-esque "oh ohs" at the tail end complete the song' descent into mindless summertime fun and pop gold.
All in all, this song scores points in my book for being no-nonsense fun. It doesn't feign Bible Belt scandal ("I Kissed a Girl"), nor trip over itself in cliche ("Waking Up In Vegas,"). Score, Katy! What's next, "Rhode Island Hos?"
"California Gurls" might have been a hit in 1977 or 1997. This song's got early Prince written all over it, from the slap-bassline to the slinky guitar riff in the chorus more-than-reminiscent of the Artist's "I Wanna Be Your Lover." Perry's trimmed Daft Punk's electropop sound down to fit into a "bikini on top," as she puts it. Snoop Dogg's presence seems extraneous - former G-funk rapper turned pop-starlet hype man? - but I suppose it makes sense due to Snoop's career trajectory and the purpose of this song: to kick off parties from New York to "the Golden Coast." He's more laid-back than ever; sippin' on grandma's sweet tea is more like it.
Lyrically, the song's a pastiche of ghettofab catchphrases ("Westcoast represent," really?) and palm tree cliches, meaning it's exactly what record label ordered, lyrics your average tween-to-20something party girl could relate to. The song's chorus is so catchy it's all that anyone really needs to know. A staccato melody meets goofy fun lyrics like "Sun-kissed skin so hot, we'll met your popsicle. We're supposed to assume she meant an actual popsicle, right? The Cyndi Lauper-esque "oh ohs" at the tail end complete the song' descent into mindless summertime fun and pop gold.
All in all, this song scores points in my book for being no-nonsense fun. It doesn't feign Bible Belt scandal ("I Kissed a Girl"), nor trip over itself in cliche ("Waking Up In Vegas,"). Score, Katy! What's next, "Rhode Island Hos?"
Wednesday, August 11, 2010
Uncle Kracker "Smile"
I figured "Smile," a song by 90's somehow-survivor Uncle Kracker, would be a good start for my reviews as it's representative of what I love in a pop song: simple, sing-along melodies and easily-digestible, universal lyrics that, while they may border on banality and cliche, offer a clear-cut message with enough cool metaphor as to still be considered acceptable by anyone with a brain and willing to suspend disbelief for three minutes and change.
Lyrically, "Smile" is a grab-bag of grade-school metaphors that works thanks to the its playful, breezy production. It's really just a modern-day update of Randy Newman's "I Love To See You Smile," itself a throwback to the simple, tiptoe-through-the-tulips songwriting of Tin Pan Alley. In "Smile," Uncle Kracker's love interest makes him "shine like gold, buzz like a bee," whereas Newman's "like a sink without a faucet, like a watch without a dial," without his love's smile. The lyrics are pretty much relatable to anyone with the 17 muscles it takes to smile, so EVERYONE (mostly.)
Melodically, "Smile," is simple enough as to sound instantly familiar, but I can't quite pinpoint the origin, so it's money in the bank for him. Curiously, for all the sing-alonginess of the chorus, the song's verse melody sounds a bit half-done and unsure of itself, and were it not for the piano/drumbeat hook going on (and Kracker's higher-up connections), it might have been the death-knell for this song. Kracker and the other songwriters involved hit gold with the chorus hook, placing the highest note right at the word "smile," repeating its peak/valley melody, beating it into our heads. The bridge is great, a minor descending thing that twists the song and gives it a tiny tinge of darkness before coming back to the classic "quiet" chorus and topping it off with some pleasant female backing vocals.
This song's a good example of the randomness of pop hits. "Smile" hit radio in summer 2009 and tanked. In an odd stroke of luck (or payola), it returned in summer 2010 and blanketed the airwaves, probably confusing a few people along the way ( "Is that the same dude that sang "Follow Me"? Is this 2001? Are skinny ties back?") It's nothing groundbreaking lyrically or melodically, but "Smile"'s got enough character and innocence to make it something worth remembering, at least til the end of the summer.
Lyrically, "Smile" is a grab-bag of grade-school metaphors that works thanks to the its playful, breezy production. It's really just a modern-day update of Randy Newman's "I Love To See You Smile," itself a throwback to the simple, tiptoe-through-the-tulips songwriting of Tin Pan Alley. In "Smile," Uncle Kracker's love interest makes him "shine like gold, buzz like a bee," whereas Newman's "like a sink without a faucet, like a watch without a dial," without his love's smile. The lyrics are pretty much relatable to anyone with the 17 muscles it takes to smile, so EVERYONE (mostly.)
Melodically, "Smile," is simple enough as to sound instantly familiar, but I can't quite pinpoint the origin, so it's money in the bank for him. Curiously, for all the sing-alonginess of the chorus, the song's verse melody sounds a bit half-done and unsure of itself, and were it not for the piano/drumbeat hook going on (and Kracker's higher-up connections), it might have been the death-knell for this song. Kracker and the other songwriters involved hit gold with the chorus hook, placing the highest note right at the word "smile," repeating its peak/valley melody, beating it into our heads. The bridge is great, a minor descending thing that twists the song and gives it a tiny tinge of darkness before coming back to the classic "quiet" chorus and topping it off with some pleasant female backing vocals.
This song's a good example of the randomness of pop hits. "Smile" hit radio in summer 2009 and tanked. In an odd stroke of luck (or payola), it returned in summer 2010 and blanketed the airwaves, probably confusing a few people along the way ( "Is that the same dude that sang "Follow Me"? Is this 2001? Are skinny ties back?") It's nothing groundbreaking lyrically or melodically, but "Smile"'s got enough character and innocence to make it something worth remembering, at least til the end of the summer.
Monday, August 9, 2010
"It's 3 a.m., I must be...songwriting?"
I'm glad this blog is starting off as more organic and spontaneous than me actually storyboarding topics and doing stuff like planning retrospectives on 1980's New Romantic pop. I say this because I'm up at 3 a.m. working on a verse for a song and I didn't plan on writing anything for this blog until "tomorrow" (actually today, but much later). So, what better concept to write about than "Songwriting as a 24/7 Job"?
Most songwriters are not staff songwriters at major music publishers. (I'm sure if you're reading this you're not. If you are, however, can you shoot me an email and help a brother out?). Most of us have to go to work for 8 or more hours a day, 4 or 5 days out of the week.
Most of us don't have all day to lock ourselves in a room and think about whether or not a song should resolve or fade out. That doesn't mean we can't work on songs at any point in the day. Write a hook in the shower. Revise your bridge lyrics while waiting for a light to turn green. Decide whether or not you want a song to have a third verse or not while you're standing in line at the bank.
There's never a better time to write a song than NOW. Wow, that sounded super motivational speaker-sounding, but it's true! You could write the next "Time After Time" whilst eating a ham sandwich. This concept goes hand-in-hand with the idea that there's not one way to approach songwriting. You don't need "songwriting time" or have to sit with your guitar and hammer out chords to write a great song. Write whenever you feel inspired, be it while jamming with your band or lying down in bed.
Writing when you're sleepy and half-there can actually lead to some great stuff, as you're not overthinking or conscious enough to fall back on cliches. At least it works for me. Keep a notebook by your bed at night. Leave a word processor open at work. Make sure you keep your cell phone on you all the time so you can call your voice mail and hum a melody to keep it safe in your melody filing cabinet.
Write, write write all the time. You'll only write better and churn out more songs. Seriously, you're up against Diane Warren, who's been writing everyday for decades. Work harder than her. I dare you.
Now I must be back to bed. That is unless a melody strikes me....
Most songwriters are not staff songwriters at major music publishers. (I'm sure if you're reading this you're not. If you are, however, can you shoot me an email and help a brother out?). Most of us have to go to work for 8 or more hours a day, 4 or 5 days out of the week.
Most of us don't have all day to lock ourselves in a room and think about whether or not a song should resolve or fade out. That doesn't mean we can't work on songs at any point in the day. Write a hook in the shower. Revise your bridge lyrics while waiting for a light to turn green. Decide whether or not you want a song to have a third verse or not while you're standing in line at the bank.
There's never a better time to write a song than NOW. Wow, that sounded super motivational speaker-sounding, but it's true! You could write the next "Time After Time" whilst eating a ham sandwich. This concept goes hand-in-hand with the idea that there's not one way to approach songwriting. You don't need "songwriting time" or have to sit with your guitar and hammer out chords to write a great song. Write whenever you feel inspired, be it while jamming with your band or lying down in bed.
Writing when you're sleepy and half-there can actually lead to some great stuff, as you're not overthinking or conscious enough to fall back on cliches. At least it works for me. Keep a notebook by your bed at night. Leave a word processor open at work. Make sure you keep your cell phone on you all the time so you can call your voice mail and hum a melody to keep it safe in your melody filing cabinet.
Write, write write all the time. You'll only write better and churn out more songs. Seriously, you're up against Diane Warren, who's been writing everyday for decades. Work harder than her. I dare you.
Now I must be back to bed. That is unless a melody strikes me....
Saturday, August 7, 2010
As Phil Collins would say, "Take A Look At Me Now"
Hello and welcome to Melody Junkie, THE source for information on songwriting, top 40 analyses... and random musings on Meatloaf. I've decided to start this blog to offer my advice on writing pop songs, as well as to critique modern day pop songs for their failure/success at planting ear worms.
A bit about me: Put on some Motown and I'll be your best friend. I spend nearly every waking minute (hey, we all need time to eat and watch WB dramadies) thinking about the craft of songwriting. Over the years, through my many missteps as an artist/songwriter (neo-grunge, neo-pop-punk, depressing singer/songwriter dreck), I've learned a few things about the intangible creative process of songwriting. An ever-shifting balance of inspiration and nose-to-the-grindstone revision, songwriting is an art that no two people approach the same way. For some, a song starts with the lyrics. For others, it's a catchy little melody heard in a dream (See Paul McCartney's "Scrambled Eggs.") Writing off any approach to songwriting is a surefire way to end up staring at a blank page whilst listening to a song on the radio that a more open-minded songwriter wrote. My advice for writing great songs is to yes, study the structures of hit songs, but keep an open mind and allow yourself to approach songwriting from new perspectives.
This blog is for the songwriter and pop music devotee. I intend on offering my songwriting advice, including tips on everything from inspiration and arrangement. A fan of nearly every period of popular music (yes, even mid-90s slow-ham R&B, I love that stuff!), I also plan on showcasing songwriters from different eras, everything from the punch-the-clock songwriting of the Tin Pan Alley era on up to top 40 maestros like Dr. Luke and Max Martin.
I hope this blog is enjoyable to everyone who appreciates a good melody and the simple joy of a catchy song. I also hope that I can offer some advice to songwriters. Heck, I hope I learn something or two from this thing. At least it will be something to turn to when I've got songwriter's block. Oh........I'll be here often.
Drop me a line and let me know how I'm doing. Leave a comment and give your suggestions on writing pre-choruses. Tease me about my love for bloated mainstream music (I'll still eat it up).
-John
A bit about me: Put on some Motown and I'll be your best friend. I spend nearly every waking minute (hey, we all need time to eat and watch WB dramadies) thinking about the craft of songwriting. Over the years, through my many missteps as an artist/songwriter (neo-grunge, neo-pop-punk, depressing singer/songwriter dreck), I've learned a few things about the intangible creative process of songwriting. An ever-shifting balance of inspiration and nose-to-the-grindstone revision, songwriting is an art that no two people approach the same way. For some, a song starts with the lyrics. For others, it's a catchy little melody heard in a dream (See Paul McCartney's "Scrambled Eggs.") Writing off any approach to songwriting is a surefire way to end up staring at a blank page whilst listening to a song on the radio that a more open-minded songwriter wrote. My advice for writing great songs is to yes, study the structures of hit songs, but keep an open mind and allow yourself to approach songwriting from new perspectives.
This blog is for the songwriter and pop music devotee. I intend on offering my songwriting advice, including tips on everything from inspiration and arrangement. A fan of nearly every period of popular music (yes, even mid-90s slow-ham R&B, I love that stuff!), I also plan on showcasing songwriters from different eras, everything from the punch-the-clock songwriting of the Tin Pan Alley era on up to top 40 maestros like Dr. Luke and Max Martin.
I hope this blog is enjoyable to everyone who appreciates a good melody and the simple joy of a catchy song. I also hope that I can offer some advice to songwriters. Heck, I hope I learn something or two from this thing. At least it will be something to turn to when I've got songwriter's block. Oh........I'll be here often.
Drop me a line and let me know how I'm doing. Leave a comment and give your suggestions on writing pre-choruses. Tease me about my love for bloated mainstream music (I'll still eat it up).
-John
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