Tom Ewing

20
Apr 16

AFROMAN – “Because I Got High”

Popular35 comments • 2,436 views

#911, 27th October 2001

Afroman If rock criticism was a stoner, one of its endlessly repeated good-vibes stories would be Paul McCartney waking up and ‘discovering’ the melody to “Yesterday” in his head as “Scrambled Eggs”. McCartney, no enemy of the herb at this point, became convinced he’d heard it before, only gradually accepting that he’d stumbled upon the tune via luck or talent or sheer morphic resonance – the theory popularised by Dr Rupert Sheldrake in the 80s that blue tits learn to open milk bottles because they’re all connected by a kind of blue tit superconsciousness, mind blown, except it wasn’t true. Though it was true enough for a physics teacher I had to suspend lessons so he could give us all crosswords to fill in, staggered batch by batch to see if morphic learning was happening.

6
Apr 16

KYLIE MINOGUE – “Can’t Get You Out Of My Head”

Popular59 comments • 5,161 views

#910, 29th September 2001

kylie head Between its two writers and its performer, “Can’t Get You Out Of My Head” is the sound of over seven decades’ pop experience. It’s better heard as distillation than prediction. Maybe its bright, brisk pop-dance sensibility comes from Cathy Denis. Maybe its moreish chunkiness, the crunchy stomp of its beats, comes from Mud’s Rob Davis. Its obvious comparison point, as a mantric, obsessive disco song, is Donna Summer’s “I Feel Love”. But “I Feel Love” risks goofiness in placing a wager on the future – I bet this isn’t a novelty record – while there is no risk of “Can’t Get You Out Of My Head” being anything other than a classic. As Kylie Minogue knew, the second she heard the demo.

“Can’t Get You Out Of My Head” is still sleek and clean, impeccably designed, full of beautiful textures. If “I Feel Love” was a kiss blown to an imagined future, “Can’t Get You Out Of My Head” is an engineer’s fond response now that the imaginary has come true, more pragmatic but just as heartfelt. Moroder and Summer’s song was a jet pack. Dennis, Davis and Minogue’s is a map of flight plans. It’s a crystal of a record, an omnihedron revolving gently at the centre of pop, refracting and reflecting the 20th century’s music. In a context of Atomic Kitten, DJ Otzi and Blue, you might weep for joy on hearing it. It’s so well-arranged, so uncluttered, so satisfying. But the joy is partly one of familiarity. Ever since “Telstar”, people imagined 21st century pop would sound a bit like this. “Can’t Get You Out Of My Head” isn’t futuristic, it’s the fulfillment of a promised future.

24
Mar 16

Of Was And When

New York London Paris Munich6 comments • 886 views

rebel rebel Rebel Rebel, by Chris O’Leary (Zero Books)

One of the many remarkable things about David Bowie’s career is that it came so close to not happening. Bowie seems like an archetype of individual genius – even his most misguided detours have something interesting about them, as Chris O’Leary’s blog (collected in part in this book) patiently shows. But his career had a multiplicity of false starts – even once he’d scored a big hit, five years in, there was no particular sense he’d become a constant presence in pop. Let alone rewrite or dominate it.

8
Mar 16

DJ OTZI – “Hey Baby (Uhh, Ahh)”

Popular97 comments • 5,401 views

#909, 22nd September 2001

otzi So the cruddiest number one of 2001 lands at the top in a week when a lot of people were not caring about music. And certainly, spending £1.99 on “Hey Baby” is one of the more aggressive ways you could find to not care about music. The song is a mugging of a rather sweet #2 hit from 1962 by Bruce Channel: his “Hey Baby” was hayseed bubblegum, a bag of folksy candyfloss with a harmonica hook hot enough that people assumed the Beatles swiped his idea.

5
Mar 16

BOB THE BUILDER – “Mambo No. 5”

Popular32 comments • 2,378 views

#908, 15th September 2001

Mambo Bob The last time we met Bob, I made a tantalising suggestion that his “Mambo No.5” was the superior version. This theory does not survive contact with reality. Whatever the merits of this hymn to the tools of Bob’s trade, ultimately it’s still Neil Morrissey trying to swing over a Woolworths backing, and nobody really needs to hear that.

2
Mar 16

BLUE – “Too Close”

Popular74 comments • 3,042 views

#907, 8th September 2001

blue close The differences between Blue’s “Too Close” and Next’s “Too Close” don’t seem profound – four years, a few production gewgaws, a mild shift in context between male US R&B group and UK boyband – so why does the original make me smile and the cover make me wince? Might it just be that I don’t like Blue? Simon Cowell, who managed Five, had his fingers all over a pre-incarnation of Blue. But every boyband is pitched a little differently, however similar the origin stories. If Five were a cartoon attempt at the Spice Boys, Blue were All Saints’ younger brothers. A little cooler than the average boyband; a lot more knowing. They owed something to East 17 – the first British boyband to drop the niceties and sing about fucking – but they were a hell of a lot smoother and less awkwardly intriguing than Tony Mortimer’s mob.

22
Feb 16

Together! We Will Learn And Teach

New York London Paris Munich + Popular9 comments • 1,028 views

I am delighted to share the news that Popular (or rather me) is GOING WEST, with a speaking slot at this year’s EMP Pop Conference in Seattle. You can find full details here. Come along if you happen to be in Seattle and otherwise stay tuned for publication of my paper right here.

What is it about? I’M GLAD YOU ASKED. Here is the, if you will, poposal that got the nod.

VOX POPULAR: The Charts As Soapbox In A Digital Era

18
Feb 16

FIVE – “Let’s Dance”

Popular33 comments • 2,368 views

#906, 25th August 2001

five lets dance Five were a band out of time. In the late 90s they’d made sense as a boyband who could appeal to the post-Spice audience, their Duplo version of hip-hop fitting nicely alongside Billie and B*Witched as pop aimed for youth. I had plenty of time for them – they were pushing a bright, colourful, hooky product that never pretended to be anything else, and in the early days they had a run of entertaining singles. It’s a redeeming feature of Simon Cowell projects – good or crap, and they’re largely crap, they rarely try to dupe you.

10
Feb 16

SO SOLID CREW – “21 Seconds”

Popular47 comments • 4,943 views

#905, 18th August 2001

sosolid WHAT YOU LAUGHIN AT?

Eight people rap or sing on “21 Seconds”. One more – producer G-Man – provides the music. But So Solid Crew as a concept contained multitudes, and became famous for it. A few other producers and MCs, for sure, but also backing singers, friends and family, local kids. They presented themselves as a clan, a Battersea estate moving en masse into the business of garage, into the charts. The size of So Solid, 20 or 30 strong, was a talking point, and an easy angle for mockery: it’s rare to find an old piece or profile that doesn’t boggle at it.

A group so large would be prone to split, you’d think. But the trouble with So Solid wasn’t division. The idea of the group, as formed by public leader Megaman and a couple of the other, older men in the Crew, proved entirely workable – if members fought over the spotlight, it didn’t show on record: there’s no animosity between the MCs on “21 Seconds”. If anything, the problem was loyalty. The wider any group gets, the more likely it is that one or two will be liabilities – whether in terms of talent, or looks, or behaviour. Successful acts played the industry game, cutting out problems. So Solid closed ranks, presented themselves as an all or nothing proposition even as the press smacked its lips over a growing reputation for trouble.

“21 Seconds” is an excellent record. But it’s more than that – it may be the last real shock of a Number One. It does two things, unusual in themselves, outstanding together. It’s the sound of a subculture in full cry – getting to Number One with one of its crucial tracks, not with some dribbled-out consolation record or opportunist rip-off. And it’s a Number One that, to use a rubbed-smooth phrase, ‘sounds like the future’. It seems to open doors, demonstrate new routes British pop could take. If British pop wanted to take them. But that was the question: did it?

4
Feb 16

The Machine Stops

FT16 comments • 1,220 views

tin machine wogan The odd thing about Tin Machine, having finally listened to Tin Machine, is that Bowie’s instincts were dead on. It’s not a mistake at all. He’s listening to the Pixies so he’s in tune with what’s happening in American indie rock; he’s thinking it’s time to strip back the production and make rock music, he wants to make something a bit more confrontational and instinctive… these are all exactly the right ideas for the moment. And yet when he comes to act on those instincts and form his band he ends up with a record of skronky blues rock and some of his worst ever lyrics. Of course you can say he picked the wrong collaborators, but it’s not just that. It really underlines the horrible gulf between knowing what the right move is and actually pulling off that move.