In this week's Top 40: Martin Solveig and Dragonette (Top Canadian act at #10), Fefe Dobson, Alyssa Reid, JRDN, Shawn Desman, Avril Lavigne, Neverest, Marianas Trench, Finger Eleven, Dean Brody (10/40= 25%, still below the mandatory Cancon level of 35%)
Chart bits: Grammy fallout is still on the American charts, with Lady Gaga's "Born this Way" at #1 and Cee Lo at #2, Justin Bieber at #8 and the first top 40 American single for Mumford and Sons at #27 with "The Cave". Adele also cracks the Top 40 at #26 with "Rolling in the Deep", which I'm happy to see, since she's got an amazing voice. Still no sign of Arcade Fire on either chart.
Thursday, February 24, 2011
Wednesday, February 23, 2011
What does Arcade Fire's Grammy win mean?
About 10 days ago, the Grammy Awards issued a shocker, giving the Album of the Year award to The Arcade Fire, a band that's had very little in the way of commercial success, but lots of praise and critical success from music fans. What's happened since has been an interesting mix of praise and outrage over this decision.
First off, The Album of the Year award is a bit of an oddball for the Grammy's. While most of the other big awards usually go to the big commercial acts, Album of the Year sometimes goes to a left-field candidate. Among all the safer choices like Taylor Swift last year, or the Dixie Chicks a few years ago, the award has also recently been awarded to Allison Kraus, Herbie Hancock and Steely Dan, along with the "career achievement" style awards they do occasionally, such as Ray Charles and Santana. But, it seems particularly egregious and shocking that Arcade Fire won this year.
First, Arcade Fire are an independent act, signed to Merge Records, who are unaffiliated with a major label. Bands not on major labels don't win Grammys, and, if they do, they do so rarely. Album of the Year is pretty much the biggest award that can be given to an artist, and giving it to an artist on a small label is a major coup. The award wasn't telegraphed either, which was quite strange. Normally, the winner of Album of the Year has already won another category, in the Arcade Fire's case, Alternative Album of the Year, which went to the Black Keys. There was no indication that the Arcade Fire would win. But win they did. But is this a good thing?
By now, a lot of you have seen the tumblr site Who is Arcade Fire? The backlash from the Beiberites and the Lady Gaga fans are predictable. The main outrage seems to come from people who hadn't heard of the band before the Grammys. Why should a small band from Montreal steal thunder away from established artists? Well, why shouldn't they? One thing I love to say about the music industry is that 97% of the artists recording aren't played on mainstream radio. Why pick the best album of the year from the 3% of music played in mainstream media? Isn't that unnecessarily limiting? Shouldn't we be choosing the best album, not the most popular album?
Of course, there will be the inevitable backlash against the band from the hipster contingent. Sites like Pitchfork are awash with gushing praise for Arcade Fire's win, but that praise will be cold comfort when they do make a jump to a major label or being heard on mainstream media, then the hipsters will turn on them promptly, claiming they sold out. But, isn't good music good music? Does it matter if Tom Petty's album was put out independently or if it was on a major label? Mojo is a damned good record regardless of Tom Petty's history.
Whether The Suburbs was the best album of the year is irrelevant to me, at least. I'm happy the recording academy took a chance and named a winner not expected. Perhaps this opens a few people's eyes that music isn't just what's fed to you by commercial radio. There's a vast range of music out there other than Justin Bieber (thank goodness) that can stand up with any band on a major label. It's worthwhile to explore even if you don't like the music. Exploration is fun to boot!
First off, The Album of the Year award is a bit of an oddball for the Grammy's. While most of the other big awards usually go to the big commercial acts, Album of the Year sometimes goes to a left-field candidate. Among all the safer choices like Taylor Swift last year, or the Dixie Chicks a few years ago, the award has also recently been awarded to Allison Kraus, Herbie Hancock and Steely Dan, along with the "career achievement" style awards they do occasionally, such as Ray Charles and Santana. But, it seems particularly egregious and shocking that Arcade Fire won this year.
First, Arcade Fire are an independent act, signed to Merge Records, who are unaffiliated with a major label. Bands not on major labels don't win Grammys, and, if they do, they do so rarely. Album of the Year is pretty much the biggest award that can be given to an artist, and giving it to an artist on a small label is a major coup. The award wasn't telegraphed either, which was quite strange. Normally, the winner of Album of the Year has already won another category, in the Arcade Fire's case, Alternative Album of the Year, which went to the Black Keys. There was no indication that the Arcade Fire would win. But win they did. But is this a good thing?
By now, a lot of you have seen the tumblr site Who is Arcade Fire? The backlash from the Beiberites and the Lady Gaga fans are predictable. The main outrage seems to come from people who hadn't heard of the band before the Grammys. Why should a small band from Montreal steal thunder away from established artists? Well, why shouldn't they? One thing I love to say about the music industry is that 97% of the artists recording aren't played on mainstream radio. Why pick the best album of the year from the 3% of music played in mainstream media? Isn't that unnecessarily limiting? Shouldn't we be choosing the best album, not the most popular album?
Of course, there will be the inevitable backlash against the band from the hipster contingent. Sites like Pitchfork are awash with gushing praise for Arcade Fire's win, but that praise will be cold comfort when they do make a jump to a major label or being heard on mainstream media, then the hipsters will turn on them promptly, claiming they sold out. But, isn't good music good music? Does it matter if Tom Petty's album was put out independently or if it was on a major label? Mojo is a damned good record regardless of Tom Petty's history.
Whether The Suburbs was the best album of the year is irrelevant to me, at least. I'm happy the recording academy took a chance and named a winner not expected. Perhaps this opens a few people's eyes that music isn't just what's fed to you by commercial radio. There's a vast range of music out there other than Justin Bieber (thank goodness) that can stand up with any band on a major label. It's worthwhile to explore even if you don't like the music. Exploration is fun to boot!
Thursday, February 17, 2011
Canadian Top 40 Cancon Roundup for February 17, 2011
This week's Top 40 Cancon: Fefe Dobson (top Canadian at #6), Neverest, Martin Solveig and Dragonette, Avril Lavigne, Shawn Desman, JRDN, Marianas Trench, Alyssa Reid, Johnny Reid, Finger Eleven, Dean Brody (11/40, or about 28%, well below Cancon legal requirements yet again).
Note: Lady Gaga's "Born This Way" debuted at the #1 spot on the American Top 40 charts, no doubt bouyed by her Grammys performance. The song is not even in the Top 100 charts on Canadian radio, which tends to be slow to react to things. This can be a good thing and a bad thing. Often, the US charts will jump on fads and play the crap out of something til listeners are sick of it (see Glee and various American Idol "stars"), where as Canadian charts will play the same variety again and again, til it just gets stale.
I'll have a recap of the Grammys up soon...
Note: Lady Gaga's "Born This Way" debuted at the #1 spot on the American Top 40 charts, no doubt bouyed by her Grammys performance. The song is not even in the Top 100 charts on Canadian radio, which tends to be slow to react to things. This can be a good thing and a bad thing. Often, the US charts will jump on fads and play the crap out of something til listeners are sick of it (see Glee and various American Idol "stars"), where as Canadian charts will play the same variety again and again, til it just gets stale.
I'll have a recap of the Grammys up soon...
Tuesday, February 15, 2011
Best of 2010 #3: Caribou - Swim (Merge)
Canada's Dan Snaith, aka Caribou, has successfully reinvented himself at least four times so far. His last three albums have shifted deliberately from one form of electronic music to another. Swim is awash with psychedelic pop vibes and rave style electronica. "Sun" is a perfect example of what Snaith has produced for his latest project:
Thursday, February 10, 2011
Canadian Top 40 Cancon Roundup for February 10, 2011
It's been a while since I've looked at the Canadian Top 40, but not much has changed. Let's recap, shall we?
Canadian artists in the Top 40: Fefe Dobson (peak artist at #6), Neverest, Marianas Trench, Martin Solveig and Dragonette, Avril Lavigne, Johnny Reid, Shawn Desman, JRDN, Finger Eleven, Alyssa Reid, Michael Buble, Nelly Furtado (12/40 = 30%, still below National Cancon levels).
Amusing thing: Does anyone else see Enrique Iglesias' "Tonight (I'm Loving You)" and want to add another "Tonight" behind it? Tonight I'm Loving You Tonight? Like Tonight I'm Gonna Rock You Tonight?
Canadian artists in the Top 40: Fefe Dobson (peak artist at #6), Neverest, Marianas Trench, Martin Solveig and Dragonette, Avril Lavigne, Johnny Reid, Shawn Desman, JRDN, Finger Eleven, Alyssa Reid, Michael Buble, Nelly Furtado (12/40 = 30%, still below National Cancon levels).
Amusing thing: Does anyone else see Enrique Iglesias' "Tonight (I'm Loving You)" and want to add another "Tonight" behind it? Tonight I'm Loving You Tonight? Like Tonight I'm Gonna Rock You Tonight?
Tuesday, February 8, 2011
RIP Gary Moore
2011 is getting rather sad as we lose another legend in music. Gary Moore died while vacatioing in Spain on Sunday. Moore is best known as a member of Thin Lizzy, but is also well known for his solo career as a blues guitarist and singer. He was 58.
Tuesday, February 1, 2011
Best of 2010 #4: Women - Public Strain (Flemish Eye)
Calgary's Women did a nice job of reinventing themselves in 2010. Their first self-titled album was a nice, noisy affair. Their follow up was washed in shoe-gazing guitar and whispered vocals. I liked their first album, but I loved their second
Read my review of this album here.
Read my review of this album here.
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