OK, are we ready to genre-hop? Today’s selection takes us from blues to disco, and thence to new jack swing, commercial rap and… well, I don’t quite know what you’d call that last effort, but I’m sure you’ll be quick to tell me. So open your minds! It’s the Number Sixes!.
1969: Albatross – Fleetwood Mac. (video)
1979: Contact – Edwin Starr. (video)
1989: My Prerogative – Bobby Brown. (video)
1999: Enjoy Yourself – A+ (video)
2009: Broken Strings – James Morrison featuring Nelly Furtado. (video)
Listen to a short medley of all five songs.
It’s difficult, nay impossible, to write objectively about this atmospheric instrumental from Fleetwood Mac, as it’s one of those pieces of music that is so deeply embedded within my childhood memories that I almost experience it synaesthetically. Indeed, its 1973 re-appearance inside the Top Ten must have occasioned one of my earliest experiences of nostalgia. Was this ever used on the BBC test card, I wonder? Because that’s one of the images which springs to mind: of still weekday afternoons in the school holidays, waiting for the children’s programmes to begin.
Consequently, I can’t place “Albatross” within a genre; to me, it sounds like nothing other than itself. I’d struggle even to quantify the feelings it expresses, “contemplative” and “brooding” being the best I can come up with.
It therefore came as quite a shock when K declared his irritation with it after the first twenty seconds (“Will this thing never end?”), as I’d have put money on his being similarly transported. He’s full of surprises. (See also his awarding five points to The Prodigy, who operate in a genre for which he has historically felt little but disdain.)
In the absence of a good short-length video, I’ve linked to the extended 12-inch version of Edwin Starr‘s “Contact”. And it gives me great pleasure to do so, as this was the first disco 12″ single that I ever bought – largely on the strength of James Hamilton’s column in the back of Record Mirror, which I began following in earnest at the start of 1979. It may not have been a landmark release of its genre – indeed, there’s a whiff of corniness about it which I didn’t have the faculties to spot at the time – but on a personal level, this was a landmark piece of vinyl, which hastened the widening of my public school punk rocker’s tunnel vision.
The lengthy DJ-friendly percussion break was of particular fascination, as this was the first time that I became aware of dance music’s functional aspect; you weren’t necessarily supposed to listen to the whole thing from beginning to end, and I found this a radical new concept. And with its blend of mechanistic electronics and uncomplicated euphoria, perhaps this was also a pointer towards the hi-energy music of the early-to-mid 1980s which was to thrill me so much.
Speaking of pointers towards the future, late Eighties “swingbeat” – soon to be re-christened New Jack Swing – helped form a bridge between the stark urban funk of Prince/Cameo/Janet Jackson and contemporary R&B.
Bobby Brown, Keith Sweat, Alyson Williams and their ilk didn’t play at all well on my dancefloor, but this didn’t stop me eagerly embracing the new sound, which struck me as a logical extension of the soul/funk tradition.
And so “My Prerogative” still has a touch of the Shock Of The New about it – even though I always preferred “Don’t Be Cruel” and the fabulous “Every Little Step”. Pity he turned out to be such a Whitney-wasting plonker, eh readers?
But of course, the trajectory of urban music in the 1990s wasn’t always an upwards one, which brings us to this long-forgotten piece of drivel from some chancer called A+. (Sheesh, the lengths to which some people will go in order to be optimally alphabetised…)
Much as I enjoyed Walter Murphy’s “A Fifth Of Beethoven” (from the Saturday Night Fever soundtrack), the track has been shoddily appropriated, its only saving grace lying in imagining the appalled outrage that it must have caused amongst upper middle-class parents of wannabe b-boy sprogs. Oh, the travesty!
There was an awful lot of lazy, sample-heavy pop-rap around in the late 1990s – Will Smith, I’m looking at you – and this is a prime example. Eww to the power of Eww!
I was going to award bottom marks to James Morrison and Nelly Furtado‘s dismal, life-sapping dirge – for if there’s one 2000s genre that I hate, it’s this kind of MOR/AOR mope-pop (Chris Martin and James Blunt, I’m holding you personally responsible) – but I’ve pulled back for two reasons.
Firstly, I have an abiding horror of scoring the decades in exact reverse-chronological order, as this suggests a conclusion about the declining state of pop which I refuse to countenance. Secondly, there is at least some degree of crafted workmanship about “Broken Strings”, even if its effect causes my brain to blank the song out entirely, every time I try to listen to it. And that, my fellow voters, is as much rational critique as you’re going to draw out of me on this one.
My votes: Fleetwood Mac – 5 points. Edwin Starr – 4 points. Bobby Brown – 3 points. James Morrison featuring Nelly Furtado – 2 points. A+ – 1 point.
It’s neck and neck on our cumulative scoreboard, with only one point separating four of the decades. However, the 1990s are already sinking way behind the pack, with a yawning seven point gap that A+ is unlikely to close. OR IS HE? As ever, it’s over to you.
Continue reading “Which Decade Is Tops For Pops? – Year 7 – the Number 6s.”