traxxlisting #4 :: top 11 of 2008

I've been putting off this post in the interest of debating which songs earned these chart positions. I'm now happy with my list, and proud to share it with you!

11. "Euphoria" by Hydra Productions



This album hasn't yet earned the recognition it deserves, which is a shame, because it's very cool for a couple of reasons. First, it includes vocals from numerous '80s pop tarts: Tiffany, Gioia Bruno (Exposé), Jade Starling (Pretty Poison), and the queen herself, Stacey Q. Canadian pop singer Kim Esty also appears. (A few of them even collaborate on the last track!)

The seriously cool thing about this record though, is that the two musicians who put it together have never been in the same room with one another. In fact, they did it from different continents Shane Condo is a musician who lives in Australia. Shawn Winstian is a songwriter who lives in Pennsylvania. They met on a website. Then they released an album together.

"Euphoria" is my favorite cut on the album not just because Stacey Q does vocals in the chorus. It reminds me of roller rinks from the early '90s and the skating parties that I went to as a kid. When I hear it, I feel like I'm in a dark roller rink, lit only by a rotating disco ball, and I can hear the faint clicking of joysticks on the arcade machines that are positioned near the rink. In fact, if this song had been released in 1993, it probably would have been Top 40 material. For now, it can live in obscurity and make the people who are smart enough to notice it smile.




10. "Can't Shake It" by Kate Miller-Heidke



I have super high hopes for this lady. This song should be a total floor filler at clubs and college parties alike, and sadly it hasn't gotten much US attention at all.

Perhaps it will live in obscurity as a college radio classic, but it's definitely one of the best pop songs I've heard in a long while, and I look forward to the US release of her album so I can snag a copy.

She kind of reminds me of a young, Aussie version of Kate Bush. Maybe that's why I like her so much.






9. "Eh Eh (Nothing Else I Can Say)" by Lady Gaga



Lady Gaga exploded this fall, and not without reason. She's a pop music guru. A listen through her album is proof enough that she's studied pop trends very carefully, and she certainly knows what makes a quality pop song. It's no wonder her album is so successful; she's brilliantly blended elements that equal success into a smorgasbord of cheerful yet dirty pop.

This is my favorite song on the record, because it's pure pop. Every single element of this song, from the hear-it-once-sing-it-the-second-time hook, to the spry melody, to the opening "cherry cherry boom boom," is deliberately placed, and the result is a song that's sweeter than vanilla frosting. This is ironic, too, because the lyrics to the song are quite biting, but masked behind a playful beat, much in the manner that they would be delivered in a real-life situation.

I wish Ms. Gaga the best on her way.






8. "Makeup Artist" by Marching Band



Ah, glorious college pop. Everyone has songs that take them back to a specific moment and place in their lives, and I can say that this will, without a doubt, be one of those songs for me. I'll think of being a college radio deejay in the fall of 2008 every time I hear this song, for the rest of my life.

Personal meaning aside, it really is a great song. Who can't relate to a tune about a lying bitch? The play on words is just icing on the cake. (I'm really into the whipped topping references tonight, huh?)






7. "I Know UR Girlfriend Hates Me" by Annie



The wait for Annie's new material was worth it. I fell in love with this track as soon as I heard it, and if you love pop music, how couldn't you? It's great stuff!

Annie has a knack for singing bitchy pop songs in such a cute voice that you don't even realize that they're bitchy. Her 2005 single "Chewing Gum" was a knock at someone who "thinks they're chocolate when [they're] chewing gum." I mean, it's an insult, but would you really be hurt if a cute girl said that to you?

"Girlfriend" is more of the same stuff. It's a direct shot at someone for having a shitty girlfriend. Annie manages to demean the chick and give the guy reason enough to ditch the dead weight and be with her, all in under three minutes. That's impressive.






6. "Dino Damage" by Miniature Tigers



Not since Steve Miller's "The Joker" has the world heard such a cool instance of a talking guitar. In the former, Miller used his guitar to wolf whistle. Charlie of Miniature Tigers uses his to emulate a baby dinosaur. Cute, right?

Well...sort of. The song is actually about how you should release your pet dino before he gets big enough to mutilate you in various grotesque ways, all of which are spelled out in graphic detail. It was probably written as a profound allegory for releasing something that you love and letting it off into the world to grow and be itself, but to me it's a precious song about not getting your fingers chomped the fuck off.





5. "Shake It (Lenny B.'s Radio Edit)" by Metro Station



I love love love love love love love love love this remix. It's a kickass floor filler, equally suited to nights driving around town, shaking it in clubs, or kicking it in cramped apartments with friends.

The original was an okay song, but it's targeted toward Hot Topic sceney-boppers. No thanks.

Lenny B.'s reworking of this song steals the show. Good remixes don't lay vocals over a completely different beat; they amplify the good elements of a song and expand upon them. That's exactly what Lenny B. did, and the result was one of this decade's best dance songs.

Listen




4. "Funplex" by The B-52's



They're back!

Gosh, it makes me so happy that The B-52's can still write songs like this. They've grown so much as a band in the last 30 years, but they have always been true to their signature sound, and this latest record is absolutely no different.

The members of the group have always been caricatures of themselves, which lends itself to a sense of self-parody. This track is about being old and cranky while trying to shop (or work in) the mall. It's a perfectly logical next step in their career: Noting their age, but not backing down a single step.

The only other thing I can think to say is that I hope I'm still that cool when I'm angrily pushing my way through the mall one day.






3. "Sounds So Good" by Ashton Shepherd



Until I took a job at a country radio station in June, I didn't know a thing about country music, except that Garth Brooks was like Michael Jackson to fans of the genre. Artists like Toby Keith and Trace Adkins had always repulsed me from bothering to give any country music a fair shot.

After forced exposure to country for a few months, I figured out that there is true artistic merit to be found in the genre, and it lies within the songwriting. Some of the greatest storytellers can be found in country music lyricists. (Jamey Johnson's "In Color" and Reba McEntire's "Fancy" are both great examples, if you're interested.)

You don't necessarily have to tell a story to write a great country song, though, and thus is the case here. Shepherd is 22 years old, and her songwriting ability is at an amazingly seasoned level.

There is something infectious about this song. I can't tell you what it is. I can tell you, however, that it was good enough to make me purchase the first and only country music CD in my music library, and that all my friends, to whom country music is a complete joke, love it just as much as I do and will sing along to it in the car.

Okay, okay, it sounds like she says "cooter" in the chorus. Hardy har. It's still a great song.

Listen




2. "Crimewave" by Crystal Castles



There's simply no denying the originality of Crystal Castles. They've created a unique sounds that hipsters, geeks, and sorority chicks alike simply can't get enough of.

"Crimewave" is without a doubt their masterpiece thus far, and it'll remain an underground dance classic forever. It's another classic example of a song that you'd have missed unless you 1.) paid attention to college radio, or 2.) hung out with people who pay attention to college radio. I'm honestly kind of surprised that the hipster garbage scene latched onto this group. I think the draw to that crowd is probably the band's noise-oriented tracks like "Alice Practice," whereas dance music nerds like myself latched onto the cuts like "Untrust Us" and "1991." "Crimewave" is a perfect blend of both the bands sounds, guaranteed to make anyone dance.

It's totally hilarious to me that even though nobody can get enough of this song, no one can sing along with it, either.



I would like to note that lots of cool music came out of Canada this year, and even though this was the only Canadian act that made my list, I was very impressed with many other Canadian bands. So you, up there, keep up the good work.





And the #1 song of 2008 is...




1. "Boyfriend" by Alphabeat



It's a perfect pop song, off of a very impressive, solid album. The lyrics are perfectly simple, and the beat is undeniably danceable. It's cutesy enough to get played on TV screens in trendy clothing stores, but indie enough to be called "college pop" by me. It's simply a perfect song.

Most people I've played the song for assume that it's from the '80s, which I don't really understand. The song definitely has a retro feel, but I'd never have mistaken it for an older tune. (Perhaps that's due to my own knowledge of music from that era, though.) I suppose the song just has a timeless sound.

This album is a super fun journey through various areas of pop, much like Lady Gaga's record, but without overlap. These Danes explore europop and indie pop, all without being cliché or unoriginal.

This band has an amazingly bright future in pop music if they keep up releases like this one.

That's the list! Here's to lots more great music in 2009!

"tom's diner" || suzanne vega || 1987

A song that is incredibly fascinating in it's simple beauty, "Tom's Diner" is one of those songs that everyone on Earth has surely heard once in his or her life.

The track was originally recorded in 1981 and released in the January 1984 edition of Fast Folk Magazine. It was completely a cappella (only vocals and no music, for you n00bs). This single charted only in the UK and Ireland. She did, however, perform as the musical guest in a May 1987 episode of Saturday Night Live.



A cappella tracks are very ballsy moves by artists. They obviously require a vocal precision that is above that of the average singer. Vega's performance is most definitely solid, though. She delivers a memorable melody, a flawless vocal performance, and a narrative that non-native-New-Yorkers will find intriguing, and that natives will find familiar, but not banal.

Incidently, Tom's Diner is a real place, called Tom's Restaurant, at 112th Street and Broadway in New York City. Tom's is also famous for acting as the facade for Monk's Diner, the restaurant of choice of the main characters on Seinfeld.



This track scored its highest success in 1990, when it was remixed by the group DNA. Now a club-friendly downtempo house song, it took the charts of several countries by storm, including landing at #5 on the Billboard Hot 100. This is the version that most will recognize.

Vega's voice is just so perfect for this song. It's flawlessly written and flawlessly executed. The DNA remix just took something that was perfect and made it perfect in a different world.

Here's an interesting bit of trivia that I found during my research for this post: The original track helped perfect the MP3! A computer scientist named Karlheinz Brandenburg was working on the compression techniques used in the MP3 file format to keep the file size small, without losing the quality of the music. According to this article, he heard a radio playing the song when he was working one night and decided that if his compression algorithm could work on her voice without making her sound bad, then he'd have a quality algorithm. The article notes, "When an MP3 player compresses music by anyone from Courtney Love to Kenny G, it is replicating the way that Brandenburg heard Suzanne Vega."

"amarillo sky" || jason aldean || 2006

I honestly still can't figure out why I'm so moved by this song. It doesn't have anything to do with Aldean's voice, or really even much to do with the music, although the guitar buildup at the end of each chorus is nice. No, this is definitely a lyrical love.

This song is so striking to me because it offers the perspective of a struggling farmer, which is never offered in the kind of music that I normally listen to. The farmer is doing everything he can to raise his crops and achieve a profit, but he can't seem to do it. He's in desperation because he fears for his financial future.

And really, in a situation like that, who can you blame? Mother nature? Should you abandon the farm and find more lucrative work? Shutting down the farm seems like it would be more work than actually watering each acre of your farm by hand.

Clearly, I know nothing about this lifestyle. However, I most certainly appreciate a well-written song about pain, and that's what this is. Aldean does a fitting vocal delivery, and even though I'm not a fan of his voice, it does work well for this song. The guitar buildup that I mentioned earlier also adds to the desperate feelings that one gets when listening. It really makes you feel the poor farmer's struggle.

Plus, it's nice to hear a modern country song that isn't about religion, America, or lists of things that give the artist country cred.

Listen to this track in our new playlist, located in the right sidebar!

the roxanne wars

I've contemplated making a post about this mid-'80s hip-hop anomaly for quite some time, and this recent post in my affiliate Kyleigh's Rare And Obscure Music blog made me decide that the time is right.

In 1984, hip-hop group UTFO released a single called "Hanging Out." The B-side was a track called "Roxanne, Roxanne," and the comical and very true-to-life nature of the song made it more popular than the single that it was intended to carry. A music video was shot for the song, and a young woman named Adelaida Martinez was cast in the role of "Roxanne."

The song is about the vocalist's failed attempts to catch the attention of "Roxanne," whom he dismisses as "stuck up" and "a crab." The single wasn't a shot at any actual person named Roxanne; it's just a silly mid-'80s hip-hop record.

Here's the story of the first Roxanne response record, as legend has it: One day, 14-year-old Lolita Shanté Gooden was walking down the street and overheard producer Marley Marl talking to radio deejay Mr. Magic. The two were discussing UTFO and how they'd recently cancelled a performance that Magic's radio station was promoting. (As a radio deejay myself, I completely understand why Magic would have been frustrated by such a maneuver.) Gooden told them that she'd make a record to get back at UTFO, and they accepted her offer. The result was a single called "Roxanne's Revenge," produced by Marley Marl and recorded by Gooden under the name Roxanne Shanté, released in late 1984:

Strong words for such a young girl, but the record was instantly noticed, because controversy always begets popularity. Notice that the beat is lifted directly from UTFO's song. That's because Shanté recorded the song in Marley Marl's bedroom, right over the instrumental cut of UTFO's song on their record. (Due to copyright infringement, the song was re-recorded with a different beat and cleaner lyrics and re-released in early 1985.)

The next player in this game was none other than Adelaida Martinez, who played "Roxanne" in UTFO's original music video. Donning the monkier The Real Roxanne, Martinez worked with UTFO to release a single also called "The Real Roxanne." Rather than directly lashing out at Shanté, The Real Roxanne's single was more of a response to UTFO's original single, told from the fictional Roxanne's perspective:


These three records seemed to open the floodgates for countless other emcees to take shots at either of the Roxannes. Here's one of my favorites, a track by an emcee who called herself Sparky D, entitled "Sparky's Turn (Roxanne You're Through)":

Totally fearless attack on the Roxannes. This is the stuff that emcee battles are made of.

Both Roxannes issued a second battle single (sort of). Here is Roxanne Shanté's, which was called "Queen Of Rox (Shanté Rocks On)":

The Real Roxanne's second single didn't really come from her, but from UTFO. It was called "Roxanne, Roxanne Part 2: Calling Her A Crab," and I can't find a copy of it to post here.

The Roxannes then turned focus to their respective careers. You can read about The Real Roxanne's career in this post in Kayleigh's blog. Roxanne Shanté released a couple of hardcore gangsta rap albums, but nothing too impressive. The Real Roxanne doesn't do music anymore, but the respect that she earned herself lives on in the rap community. Roxanne Shanté is still at it, releasing her latest album just two years ago.

One final note: Check out this very hilarious entry to the Roxanne series by rapper Ralph Rolle, which gives us a whole new spin on the Roxanne story:

"breakaway" || big pig || 1988

Just a classic Aussie track post to prove that they've had it going on for quite some time.

I'm sad that "new beat" music didn't stay new for very long and subsequently tuckered out, because it was really neato stuff. It sounds like it was concocted by the Germans, but really, who the hell knows? It was acidic yet mellow music, which is most definitely an odd amalgamation, but it worked.

This song is one of the few gems of that era and that sound. Big Pig was a sizable band at six or seven members, but they certainly have a "big" sound, so the high member count makes sense. The remixed version that appears in the music video is exceptionally cool, and the 12" mixes of this song will blow your mind. If you dig bassy dance music with lots and lots of drums, this is right up your alley.

Although new beat music is few and far between, its better-known cousin big beat is very much alive and well. Groups like The Chemical Brothers, Fatboy Slim, The Prodigy, and even Crystal Castles (on some of their songs) are very much a part of that style. In fact, "Breakaway" almost sounds more like a big beat song than a new beat song.

You decide.

NOTE: If you think you've heard this song before, you're probably remembering it from the opening credits of Bill & Ted's Excellent Adventure.

Listen

"paris is burning" || ladyhawke || 2008

Another Aussie that excites me!

Ladyhawke's sound is a perfect blend of '80s new wave and modern chick-indie rock. Her vocals and the drum rhythms are all modern, but the synth in her songs gives them a perfect retro tinge without being obnoxious. It's no wonder that she's captured the heart of every thirtysomething gay guy who listened to The Motels and 'Til Tuesday in middle school.

Again, my hat is off to you Australia. Please keep this great music coming our way!

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"can't shake it" || kate miller heidke || 2008

Here's a lovely lady from Aussieland who's showing a lot of promise.

Whatever has inspired Australia to make such awesome music as of late, please, keep it up. I think the government must be adding something to the water that's giving them the ability to make fabulous danceable music, which is always something that the world needs.

I stumbled across Ms. Heidke online and fell in love with her gorgeous voice immediately. She is very obviously inspired by Cyndi Lauper in both voice and style (check out the clock in her hair!), but Lauper is an inspiring soul, so that's certainly not a criticism. Her latest single, "Can't Shake It," is a total college party song. It's about being self-conscious about one's own dancing ability; a spiritual successor to Genesis's famous 1992 hit, if you will. I heard it at about 9 a.m. one morning a few weeks ago, and it was in my station's rotation by lunchtime. Yes, it's that good.

According to anchor commentary before her live performance on the Aussie morning-TV show Sunrise, Heidke abandoned a folkier sound for this record. I've yet to hear her previous material, but I'm gonna take a leap of faith and say that this is a step in the right direction. Let's just hope she doesn't pull a Goldfrapp and improve her sound drastically for one album, only to return to completely inaccessible music on her next record.

I look forward to hearing lots more from her. And hey, check out her Sunrise performance to hear her do some super cool live vocals. This girl can sing!

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