Greg Clow wrote:
quoted 4 lines (snip) a lot of people on the list have commented on the> (snip) a lot of people on the list have commented on the
> IDMish qualities of "Genie in a Bottle" by Christina Agulera (or however
> the hell you spell it), but I gotta say that I just don't hear it. It's a
> good pop song, but that's about it.
Greg: I was getting my haircut the other day, and the hair place's radio was
switched for its usual top 40 pop station (chum's c100 here in halifax, i know
you have an equivalent in TO) to some opera. My hairdresser and I are not
opera fans (me: straight white guy, she: straight black woman), and she and
I have great rapport (we're friends outside the hairdressing place, so it's
not
like i'm just a client who walks in once a month) and, as per usual, got loud
and obnoxious. she, being very vocal about how opera in a hairdressing shop
didn't work, that even bad pop music would be better, me agreeing and getting
into my usual rant about how brittney spears, backstreet boys, and others are
literally produced (and written for) by the same people, so the songs are all
so interchangeable. we did agreee that that "genie in a bottle" song, while
trying
to sound like timbaland, at least *didn't* sound exactly like brittney,
backstreet
and other "white trash" pop (my phrase) that is dominating the charts. it's
interesting,
to me at least, that brittney and backstreet, white floridians, are working
with
white swedish producers, plus with shania twain's husband john "mutt" lange,
whereas
n sync (white floridians) are working with some black producers like
shekespeare (who
did tlc's "no scrubs" and others; n sync's "bye bye bye" is freestyle straight
outta
1989, at least that's floridian in a way! :)) and aguilierra has more of "the
funk" sound with her
timbaland style production (which i'd rather hear on the radio than the cookie
cutter
brittney/backstreet/robyn/shania sound). i checked the credits on chrisitina
a's cd at
the store and didn't recognize the names of her producers. madonna, other than
her
shep pettibone stuff, was best on her bedtime stories album (with babyface?
girlfriend
has the cd around here somewhere), but now she's got that irritating
"electronica" of
william orbit's twiddling. like, didn't anyone notice that that song on austin
powers and
the american pie cover have the same damn twiddling?
anyway, rodney jherkins (sp?) (who did brandy's best stuff and
jennifer lopez's "iff...." most notable for it's four on the floor kick as
opposed to the
der rigeur sound) is producing spice girls and michael jackson's new stuff.
nope,
won't make me buy it, but, when i hear it over and over and over on the radio
(at work),
i'd rather hear jherkin's produced funk than that swedish scholck that max
martin and
the late denniz pop (or is it the other way around?) were and are churning
out. again,
it's a scary thought that def leppard's pour some sugar on me and shania
twain's any
man of mine are essentially the same song (both written/produced by mutt
lange) and,
for inspiration, def leppard listened to *brittney* (no joke, read this in an
interview
with them in a metal mag that a coworker reads at work: brave words and bloody
knuckles)
for inspiration when def were recording
]the new album; which was produced a bit by lange; lange is working
with brittney on her new album! it's like this incestous six degrees of
separation stuff.
scary too that shania twain is the best selling female and country (is that
*realy* country?)
artist of all time now with 26 million copies of "come on over" sold now (122
weeks
on billboard; shit am i ever full of useless information!). the album just got
released in
a "pop mixes" version, but, er, wasn't it already pop in the first place?
enoguh rant
on sclock, er, "pop" music. btw, nope, i don't sit around and listen to pop
music or
radio (other than talk radio) at home, just am inundated with it at work and
elsewhere.
my mind is like this sponge that seems to soak up useless info. andrew duke :)
np
stargard's "wear it out" (1979; warner bros); provided the "i've been savin'
my lovin'"
and synth hook for pete heller's "big love" filter track of last year.
starguard was a female
trio who wrote for themselves and did a fine job of it; also worked with
norman whitfield.
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