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.

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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.

The Red Face Report: Mos Def

When talking of modern emcees, it’s hard to think of anyone more talented or prolific than Mos Def. Not only has he cultivated an innovative and unrivalled Hip-Hop style, but he’s starred in Hollywood films, acted on Broadway and hosted a hit TV show. Whilst his career has now spanned 15 years, in 2009 he remains a Hip-Hop artist in the purest sense of the word, and in the midst of mediocrity his work is a stark reminder of what the genre once was.

Born Dante Terrel Smith, Mos Def came of age in the days of A Tribe Called Quest and De La Soul. This combined with his life in the projects of Brooklyn, instilled Mos Def with the political awareness that would later appear in his rhymes, and make him one of the most powerful rappers of his generation.

Whilst Def was a prominent artist for much of the latter half of the 90’s, working with some of the great Hip-Hop acts of the day, it was his collaboration with fellow Brooklyn emcee Talib Kweli that brought him commercial and critical success.

Under the name Black Star, the duo released their powerful self-titled debut in 1998, and established themselves as two powerful voices in the fading Native Tongues movement. With hit single ‘Definition’, Def and Kweli commented on the state of Hip-Hop post Biggie and Tupac, reminding a generation that whilst their chosen two were gone, the genre was far from dead.

Whilst Black Star were a tour de force, Mos’ decision to go solo resulted in his seminal work. Black on Both Sides was released only a year after Black Star’s debut, and became an instant success, earning Def new fans and accolades.

This solo debut saw him in full political force, with tracks addressing everything from Y2K to the true origin of Rock ‘n’ Roll. However, it was also an album of tremendous range stylistically. Of course the glorious Hip-Hop tunes were present and correct, but with this release, Def set himself apart by choosing to sing exclusively on tracks like ‘Umi Says’, adding balance and beauty to the album.

Whilst it’s wealth of vibe made his solo debut a success, its extension of the East Coast form made Black on Both Sides a classic. It was Native Tongues, it was jazz enthused, yet it was Hip-Hop for the new millennium.

As Mos’ career continued, his style became more experimental and his rhymes more politically and spiritually charged. With his second solo album, The New Danger he provided a Muslim’s perspective on post 9/11 America, whilst the contribution of backing band Black Jack Johnson, continued Def’s crusade to reassert black identity on Rock ‘n’ Roll.

Indicative of his ever stronger political resolve, Mos made his entrance at the 2005 MTV Video Music Awards, on a stage mounted on the back of a flat top truck. He was then abruptly arrested, despite the fact he had a performance permit, as he began to perform ‘Katrina Clap’ a track that, as the title suggests, heavily criticises the Bush administration for its response to Hurricane Katrina.

However, whilst The New Danger was by far more successful in the charts, its inability to compare to Black on Both Sides caused decreased interest in his further output. His 2006 album, True Magic was released with very little promotion from his record label, leading to sales falling short of 100,000. As a result his contract with Geffen was not renewed.

For the past few years, Mos Def’s music career has been in a state of flux. However, this hasn’t made him any less productive. His appearances in such films as ‘Be Kind Rewind’ and ‘Cadillac Records’, have seemingly provided another outlet for the emcee’s creativity. Furthermore, though he may not have been releasing albums, Def continued to make musical and political statements.

But whilst he certainly didn’t let us forget about him, when it was announced a new Mos Def album was in the works, fans were sure to breathe a sigh of relief. To be named The Ecstatic, the fourth addition to his canon looks to be a fitting comeback, with billed collaborations with the likes of Slick Rick and Madlib.

Having stated in interviews that The Ecstatic may well be his last full length album (at least for a while), one can only feel this is a great waste. Mos Def’s adventurousness and pure lyrical skill have set him apart in a sea of commercial rappers. Whilst he may not have pioneered the styles he incorporated into his music, he did reinvent and weave them into something the younger generation could connect with. Even if this next album will be his last, his work will continue to influence those who appreciate soulful, expressive Hip-Hop.

Red Face's Albums of '08

This article has been published by Spiked Magazine.

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Here's a taster:

Across musical genres – from hip-hop to nu-folk, from rock to soul – this year was never short of tuneful delights. From the innovative soul of Gnarls Barkley to the mature lyrics of Beck, 2008 was the year that some of today’s greatest musicians reinvented their genres – and themselves.

The Albums I talk about are:

- Low Culture by Jim Moray
- Modern Guilt by Beck
- Dig Out Your Soul by Oasis
- The Odd Couple by Gnarls Barkley
- The Renaissance by Q-Tip
- Narrow Stairs by Death Cab for Cutie