The X-factor: A Eulogy for Pop?

For the past seven years The X Factor has been the bench mark of poor taste. Yet the debate which accompanies every series has become as tiresome as the show itself. The two tribes which emerge each year always regurgitate the same arguments: one side claiming that Simon Cowell is bringing about cultural oblivion, the other insisting it is good, clean, TV fun, which, on occasion, produces some truly great pop stars.

To read the rest go to:
http://www.culturewars.org.uk/index.php/site/article/a_eulogy_for_pop/

All Tomorrow's Parties

This review has been published by Spiked, for more go to:

http://www.spiked-online.com/index.php/site/article/7514/

Here's a taster:

The concert film is often mourned as a lost art form. Truth be told, it never was an art form in the first place. While many cast a nostalgic eye over Woodstock or The Concert for Bangladesh, the concert film remains a largely commercial and tediously predictable format.

Illmatic by Nas

Certain albums feel like both a pinnacle and a culmination of the environment which bore them, Illmatic is such an album. This, Nas’ first and best work, embodies all that is great about East Coast rap. His rhymes evoke the street realism of KRS-One, whilst the album’s beats continue the jazzy lineage of the Native Tongues Posse. By reinterpreting these influences through heartfelt stories of his formative years in the projects of Queens Bridge, New York, Nas produced ten of the most emotive yet hard edged Hip-Hop tracks of the golden age.

To say Nas’ lyrics are incisive is a damnable understatement, his words are intense, dark and laced with wisdom far beyond his years (he was a mere 19 at the time of its release). From ‘N.Y. State of Mind’ with its haunting refrain “Inhale deep/ Like the words of my breath/I never sleep/For sleep is the cousin of death”, to the nostalgic ‘Memory Lane’ which mourns the absence of his slain friends, Illmatic is occasionally shocking yet always profound. If any emcee deserves the accolade ‘poet’ it is Nas.

From the slick horns of ‘Life’s A Bitch’ to the rolling keys of ‘The World is Yours’ as each song ends it seems to knowingly fade into Hip-Hop history. Although it’s been 15 years since its release, Illmatic really hasn’t dated at all, and as long as it remains relevant, so will Nas.

The Ecstatic by Mos Def

Ever since the release of Black Star’s self titled debut, the two emcees that comprise the duo, Mos Def and Talib Kweli, have had to live with the burden of a classic. The critical success of this stark and insightful album meant the two relative unknowns were hoisted upon the shoulders of socially aware Hip-Hop and whilst they soon retreated to individual projects, Mos only made matters worse for himself when his solo debut Black on Both Sides was every bit a classic as Mos Def and Talib Kweli are Black Star.

Before he was even 25, Mos Def had two undeniably excellent albums under his belt and the inevitable disappointments of his last two releases have meant we have all been waiting for his ‘return to form’. However, whilst we all expected this to come in the form of a Black on Both Sides pt 2 or a Black Star reunion, his latest release The Ecstatic, succeeds through weaving the loose ends of his last two works into a cohesive and genuinely distinctive sound.

With opener ‘Supermagic’ the album begins in a blaze of electric guitar and feverishly delivered rhymes. The effortless synthesis between beat and lyric is hugely reassuring, as if to say ‘This time things will be different’, but as soon as the sheer impact of this track wears off, one has to wonder how different this is to his previous Rock ’n’ Roll failings. In fact, the album is littered with musical avenues Mos Def has ventured into before and failed to return from. The thudding timpani of ‘Quiet Dog Bite Hard’ sounds almost copy and pasted from the rhythmic experiments of his sophomore album The New Danger, and the ironically named ‘Life in Marvellous Times’ would’ve slotted neatly alongside the synth laden beats of 2006’s True Magic. However, where lack lustre production had left previous albums feeling muddled and directionless, attention to detail and a stellar cast of producers have seamlessly integrated a range of genres into one consistent work.

The Ecstatic seems designed to recover old ground, as Mos serves up everything which made his music great. As incisive as ever, his lyricism is politically charged yet never preachy. Whilst he will always be pigeon holed as the darling of political rap, he aspires to above all be poetic, meaning he has the freedom to drift between topic and mood, without the album losing focus. Furthermore, collaborations have been noticeably absent from The New Danger and True Magic, yet here they’re back in force. Highlights include a well overdue duet with Talib Kweli on the J Dilla produced ‘History’ and the wonderful ‘Auditorium’ which combines the forces of Mos Def, producer Madlib and legendary emcee Slick Rick to craft quite simply the most inspired Hip-Hop collaboration of the year.

With Mos Def’s attention increasingly shifting to acting in the past few years, The Ecstatic didn’t just need to be good it needed to be great. Needless to say, it is! However, it succeeds on its own terms. Admittedly it makes little attempt to expand into new areas, but it remains a unique concoction of his jazz, soul and rock influences; more a reassurance than a rehash. Intelligent Hip-Hoppers rejoice, your prodigal son has returned.

Back To The Old House: Will The Smiths Ever Reform?

The combination of Morrissey’s intense, literary lyricism and guitarist Johnny Marr’s out and out virtuosity, meant 80’s indie forebears The Smiths were never short of critical acclaim, yet the fact they are not held in the same regard as The Beatles make them the most underrated band of the past 30 years. Like The Beatles they were an unprecedented sensation, they revolutionised the pop scene and their legacy was cemented by a short-lived career and an acrimonious split. Tragedy ensured The Beatles would never reform, but as all four Smiths are alive and sober, the fans’ desire for a reunion has grown increasingly passionate over the years.

The Smiths’ story began in 1982, where Marr knocked on the reclusive Stephen Morrissey’s door and demanded the two collaborate. Five years, four albums and a thousand fights later, The Smiths’ were on the verge of a major record deal, but increasing tension between Morrissey and Marr meant a rift had appeared in the band, and everyone involved was forced to choose sides. In an effort to quell tension, Marr decided to take two-week break, however misinterpreting this, the NME published an article claiming the guitarist had officially left. This proved to be the last straw, as an emotionally exhausted Johnny Marr decided to prove the NME right and leave the band.

In 1987, few felt the split would last. Morrissey, drummer Mike Joyce and bass player Andy Rourke all begged Marr to continue, and in their later, ill-fated attempts to replace him, they made it clear they wanted The Smiths to live on. Even in the midst of his increasingly successful solo career, Morrissey continued to state in interviews that he longed for his old band. However, a reunion hinged on the irreplaceable Marr, and he held no regrets in leaving it all behind.

With Rourke and Joyce continuing to work with Morrissey on his solo records in the late 80’s, fans could still be hopeful as The Smiths needed only their prodigal guitarist to be complete, but further proving their fans are as unlucky as they are loyal, a mouldering legal conflict would soon complicate matters.

In 1996, Joyce and Rourke sued Morrissey and Marr for an equal share of The Smiths’ royalties, as up to then the rhythm section had only been receiving ten percent each. Whilst Rourke settled out of court and continued to receive ten percent, the judge ruled in favour of Joyce resulting in an equal 25% share, and £1 million in back pay.

A full four member reunion was now impossible, but even though Morrissey seemed to bear no grudges towards Johnny Marr the court case seemed to leave a foul taste in the singer’s mouth, making even a Marr/Morrissey reunion unlikely. Lawyers had now picked the legacy of The Smiths apart, the magic was gone and for Morrissey this had essentially driven the final nail in the coffin. The ever-quotable front man summarised his position perfectly when he stated, “The Smiths were a beautiful thing. Johnny left it, and Mike destroyed it.”

In the thirteen years since the royalties ruling, Marr and Morrissey have grown stronger in their resolve to leave The Smiths be. Whilst it would be easy to see this as a matter of pride; neither one wishing to concede that they’ve never lived up to the precedent of The Smiths, it’s ridiculous to suggest that their egos alone are preventing a reunion. The sad truth behind many band reunions is that a string of shows or even a new album provide an instant pension for a group’s down and out members, but Mozzer and Marr are both secure and fairly prominent on the music scene and appear to feel a Smiths re-hash would be an artistically bereft endeavour. Perhaps they’re right, but where this band is concerned you truly never know, and if it ever does happen, I wouldn’t miss it for the world.

One Foot in the Grave by Beck

When alternative icon Beck signed his first major record deal in 1994, he retained the freedom to release his previous recordings on independent labels. The result was two albums released alongside his Geffen debut Mellow Gold. The first, Stereopathetic Soulmanure was a psychedelic work almost as bizarre as its title and the second, One Foot in the Grave was a folksy yet delightfully weird summation of Beck’s acoustic beginnings. Whilst the former was at best a patchy listen, One Foot in the Grave remains to this day a scintillating insight into the Beck that was and might have been.

Of course, any self respecting Beck fan will be quick to point out that he soon returned to his acoustic roots on the Nigel Godrich produced albums Mutations and Sea Change. Yet the rugged beauty of this release has never been recaptured amongst the studio gloss of subsequent acoustic albums. The charm of One Foot in the Grave is in essence its simplicity, the spacey bleakness of ‘See Water’ or the warmth of ‘Hollow Log’ is captured perfectly in the lo-fi production, as mumbled vocals and musical mistakes contribute wonderfully to the pervading sense of authenticity and earthiness which is associated with the blues and folk artists he emulates.

Lyrically it’s often bemusing, musically it’s often discordant, yet almost by accident, the confused and ambiguous nature of the songs creates a solitary, otherworldly tone unlike anything on any other Beck record. Whilst it’s largely dismissed as a mere compilation of Beck’s experiments before he found his true sound, One Foot in the Grave is in fact a fleeting glance at a Beck who could be lonely and thoughtful without sacrificing his peculiarity. A diamond in the rough.

A musical review of my progress

Whilst this may not be a review, or even vaguely music related, it is a piece i wrote which is now on a microsite on The Times' site. Thanks a lot to Nathalie Rothschild from the Young Journalists' Academy for letting me do this:

http://www.timesonline.co.uk/tol/global/article6618385.ece