Friday, August 18, 2006

Streaming, flaxen, waxen

Have we discussed soundtracks yet? I bet we have, and clearly I can't be bothered searching the archives.

Like the time I wrote a fantastic post about heavy metal, and the genres within, but of course, ELPs had that covered that here, didn't they? But I'm not bitter.

Anyhoo, soundtracks, what's the deal?

Are there any no-no's or yes-yes'? Does possessing more than one Gilbert and Sullivan mean that there'll be no sleeping over tonight, what about Rodgers and Hammerstein?

Is the Sound of Music just okay for girls, what does it say about the boys? Brave and in touch with their inner Maria, or get away from me you big nancy-boy?

Is having the 1969 Broadway cast recording of Hair any good? Or help yourself to your hippie revival Mr/Ms Wannabe, I've got to get up early for a meeting?

Is a crap film which has a cool soundtrack admissable? Example in question Ali G in Da House (yes, I have this one).

Personally, I've been scoffed at for possessing and loving the O Brother Where Art Thou soundtrack (which actually, can totally stand on its own as a tremendous collection of lovely tunes thankyou very much) but that was from someone who thought Dodgeball was a really funny film.

Can the line between liking films and the subsequent music they produce or encourage further listening ever be crossed or is that another blog entirely - do we need to start Embarrassing DVDs?

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Saturday, August 12, 2006

Beat Biters

In 1997 nearly every music magazine around was raving about an album which was changing the hip-hop terrain. It came from neither the East or West. This was from RnB's home turf, the South. That album was Supa Dupa Fly by Missy 'Misdemeanor' Elliot.

The question is, what the fuck happened? Why did the talents of Missy and co-producer Timbaland, whose trademark scatterbeats are now the backing of choice for Justin Timberlake, end up gracing the pop scene so often with pieces of crap?

While researching this (yes, sometimes I do research blog entries) I found out that Missy and Timbaland were responsible for some of RnB/New Jack Swings greatest atrocities/hits in the early-to-mid 1990s (Jodeci, SWV, Nicole Wray). This clearly says a lot. It's not so much a question, as I previously thought, of why they sold out, but why they stopped selling out at the end of the 1990s.

So despite them helping to sell A Shark's Tale and Moulin Rouge and furthering the careers of Justin Timberlake and Nelly Furtado, they have quite a few albums worth owning. I say that there should be no more than three Missy Elliott albums, the last Aaliyah album and maybe a Ginuwine album. But under no circumstances does anyone need the Moulin Rouge soundtrack, even if it has got Beck on it, nor do we need Justin Timberlake, even if he says on 'SexyBack' that he's gonna show us "mu'fuckaz where it's at". Because we know it's the pube-wigged one out of N'Sync that held hands with Britney Spears for five years, so it's unlikely he's going to show anyone where it's at.

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