Foster The People: The Indie Cross-over Curse

AUDIO AWESOMENESS

Foster The People "Torches"
Released: May 23rd, 2011

The Indie Cross-over Curse

Foster The People may seem like a rarity in today's mainstream music market, but the formula and trend they are following is tried, tested and true. Other indie-pop acts have used it for cross-over success with some notables examples being MGMT with their mega-hit "Kids", Peter Bjorn & John's "Young Folks" and M.I.A's "Paper Planes". I call this formula the indie cross-over curse and it looks something like this:

Indie band writes undeniably brilliant pop song, makes it catchy enough to whet the mainstream appetite but keeping it quirky enough for the 'cool kids' and 'hipsters'. Band gets some major plugging from all veritable sources of hype (commercial licensing, radio, YouTube, etc.) and gets signed to a multi-album deal. Band is then expected to re-write the winning formula a few more times to cash in on the initial success. Next thing you know, band becomes the current day version of MGMT in that they are still out there making music, but have not been able to generate enough buzz or success as that one cross-over song did and eventually fade into obscurity.

Foster The People are the current incarnation of this formula. Their brilliant indie-pop song is the heard-around-the-world anthem "Pumped Up Kicks" and don't even try saying you haven't heard the song, trust me you have. It was played in nearly every season finale on television last year and is probably being blasted on the radio, or on somebody's playlist or being hummed by someone at work as you are reading this. Basically, it has become that inescapable song.

Now to be fair, Foster The People have not faded back into indie-pop obscurity like their predecessors have. They are still riding the wave of "Pumped Up Kicks", at least for the next little while. The question with FTP, is whether they can maintain the hype and turn it into longevity, bringing us to the topic of their debut album "Torches".

There is no denying it, "Torches" is a brilliant pop record. The elements that the band have blended into the album make for an undeniable and exhilierating audio experience and FTP make sure they use every hand-clap and vocal enhancement for maximum effect.

What lends credence to the band is that while they are identified as an indie-pop band, the majority of their music is rhythmic, danceable and beat-driven with an under-lying groove allowing them to cross-over into different music genres. They are not loud and angry with noisy guitars. Instead, they have put together a hodge-podge of songs that boasts incredibly catchy hooks with effect-laden vocals that sounds like hundreds of play-ground kids singing in unison. This contributes to the band's whimsical, happy, quirky sound without compromising a single iota of melody. Putting aside "Pumped Up Kicks", the album contains a handful of other potentially massive singles in "Helena Beat", "Houdini" and "Call It What You Want".

The problem for FTP is that while they are the current "it" band, the impending indie cross-over curse is inevitable. Once the initial hype dies out for "Pumped Up Kicks" (and for many, it already has), it will be difficult to repeat the formula with another song. Just ask Peter Bjorn & John who enjoyed a massive, trans-atlantic hit with "Young Folks" in 2006. The song was featured on everything from "Grey's Anatomy" to achieving viral status on YouTube during that year. Fast forward to the current day and the only time their name is mentioned is at the end of the sentence "whatever happened to....".

So while "Torches" is a fantastic indie-pop album and the band are currently experiencing a taste of bona-fide success, it will be interesting to see how they will try to maeuver their way around the indie cross-over curse.

Naked & Famous Album Review/Salute to Scott

Since starting up this blog, many people have asked me about the title "Occupy French Class".

I can't take credit. That, rightfully, goes to my good friend Scott Allan Erdman; great guy, great friend and a fan of 80s music (how can you not love him?)

Therefore, this entry is dedicated to Scott Allan Erdman for letting me continue to use this title for my blog page.

So, in similar fashion, to the Wayne's World salute to Claudia Schiffer....

"Scott Allan Erdman, we salute you. Sha-wing!"
___________________________________________________________________




AUDIO AWESOMENESS
The Naked & Famous "Passive Me, Aggressive You"
Released: September 6th, 2010


The Naked & Famous have been criticized for not being fresh, sounding inconsistent and indulging in a retro sound.

All of this is irrelevant, because of one undeniable truth.

They do it right.

Most reviews for their debut "Passive Me, Aggressive You" take an un-impressed, condescending tone. They are young, un-tried and very new to the world of indie-rock. But, all these reviews forget the most important point.

They do it right.

Originating from Auckland, New Zealand, N&F was created in 2008 by Thom Powers and Alisa Xayalith when they recording some EPs that got the attention of independent labels. The duo started performing live and added Aaron Short, Jesse Wood and David Beadle. After finding success on the NZ charts with the single "Young Blood", the band released their debut "Passive Me, Aggressive You" in September 2010. By the end of 2011, N&F garnered six nominations at the New Zealand Music Awards.

Commercially, the band has been well received in their native country, however the hipster, music crowd haven't been as receptive. I chalk it up to hipsters being too jaded for their own good (but we won't get into that).

Sonically, "Passive Me...." whets the audio appetite and hits many different palettes. The album opener "All Of This", blatantly borrows the intro from A-Ha's "Take On Me" and follows through with an undeniable beat that bridges the group into dance culture. Breakthrough single "Young Blood" is a synth-heavy, fist-pounding track ready-made for festivals, while follow-up single "Punching In A Dream" beautifully crosses into dream pop territory.

Admittedly, N&F slathers a synth-heavy, retro sound on tracks like "Eyes". This one could easily come off Bruce Springsteen's "Born In The USA" album and the hook sounds like Coldplay's "Fix You". But combine these elements with the musicianship and chemistry displayed and it works. The track explodes with retro energy and churns a glorious tidal wave of bright, melody.

"Passive Me..." also showcases a dark, moody side with the sinister, beat-driven vocal interplay of "The Sun" that builds to a dramatic crescendo and "No Way"; one of the best 90s post-grunge tracks never written in the 90s.

It would take a very jaded, angsty critic to ignore the musicality and energy that "Passive Me, Aggressive You" snaps and sizzles with. It would be like writing off U2's debut "Boy" as sounding too much like Siouxsie & The Banshees, or scoffing at Pearl Jam's "Ten" because it is reminiscent of "Nevermind".

Naked & Famous are a band that deserve to be recognized on their own merit and should be celebrated for drawing influences from the past and bridging it to update the current indie music climate.

Like most things in popular culture, the winning formula is taking from the past and combining it with the present. In the music arena, no other band succeeds, especially on a debut, as convincingly as The Naked & Famous with "Passive Me, Aggressive You".

In other words, the band does it right and we should do them (and our playslists) right by checking out the album.

Countdown: The 14 Worst Cover Songs

Last week, we counted down the twelve best cover songs and this week, it is time to flip the script and take a look at some of the horrid and laughable covers that have been recorded in music. To be honest, compiling this list was tougher that I thought mainly because there are LOTS of bad covers out there. It also explains why this list is a bit longer than last week's. I'm sure, judging from the above picture, that you can already guess some of the singers that will be making an appearance on this list.

After writing this blog, it made me realize that genuinely, good music is pretty hard to find these days. The market is so saturated with generic, factory-made singles and pop-stars that it is getting increasingly difficult to hear a song that actually connects.

If I had it my way, I would make so that a singer needs to earn an artistic licence prior to covering a classic song. I'm sorry, but if you are planning on covering someone like John Lennon, please make sure you have earned the right to do so and if you have not, then get out there, pay your dues and earn your right to re-imagine a classic (ahem, Madonna!)

Anyways, without further ado, here is the crème of the crappiest covers in music:

THE 14 WORST COVER SONGS

14- Rihanna - Hero (2003)

(originally performed by Mariah Carey)

Ok to be fair, she was fifteen years old when she did this and was far from becoming the mega-star she is known as today. In most cases, it is cool to see a singer before his/her fame and watch them hone talent. Unfortunately, in Rihanna's case, nothing has changed. She still sings just as nasaly and pitchy as she demonstrates in this performance of Mariah Carey's 1994 ballad. Sorry Rihanna, but you don't have the vocal cops to back up all the hype that surrounds you nowadays, hence why you've earned a place on this list.

13- Sweet Child O' Mine- Fergie (2011)

(originally performed by Guns' N' Roses)

I was originally going to place Sheryl Crow's rendition of this GnR classic on this list, but then I remembered that Fergie had the audacity to perform this at last year's SuperBowl half-time show. What made it worse was that Slash agreed to appear alongside her for this castrated version of "Sweet Child O' Mine". The sight of Fergie gyrating her hips in a mangled, shoulder-padded costume with Slash trying to ignore her as he dutifully performed his guitar duties made it an awkward and off-kilter performance. Oh and her voice was awful and seemed to sing everywhere except on-key.

12- Behind Blue Eyes - Limp Bizkit (2003)

(originally performed by The Who)

At the height of the nu-rap-metal era in the late nineties/early 2000s, Fred Durst famously stated that Limp Bizkit was strictly a band of its time. With that said, I'm confused as to why they decided to reach back in time to record some hideously bad covers. It was bad enough when they re-made George Michael's "Faith", but whatever compelled them to re-imagine the Who's "Behind Blue Eyes" is beyond me. Having to watch Fred Durst strut shirtless while making out with Halle Berry in the video doesn't quite connect with the lyrics of the song and only served to make our collective gag reflex kick in.

11- Sweet Dream (Are Made Of This) - Marilyn Manson (1995)

(originally performed by The Eurythmics)

The success and popularity of this track reflects the gaping void in the rock music scene during the mid-nineties when grunge music died out and a number of jaded, angst-ridden, Gen-Xers were looking for another icon to carry the torch. Enter Marilyn Manson and his spooky, gothic brand of shock-rock music. I'm not sure what he thought he added to this track, aside from reciting the lines in hushed/shrieked tones, but it feels completely useless. His interpretation along with the music video brought nothing new and only served as a continuation of the gothic image he was cultivating during the time. It may have worked, but it doesn't change that this is one bad cover of a classic Eurythmics hit.

10- Don't Stop Believing - The Glee Cast (2009)

(originally performed by Journey)

I know all the Gleeks out there are going to kill me for this one, but when you compare this version to the original, there is no contest. Journey's frontman, Steve "The Voice" Perry is considered one of the greatest rock singers of all time whereas the Glee singers required some auto-tuning to ensure their pitch was correct. Automatic Fail! And by the way, Amber Riley (Mercedes) can out-sing Lea Michele (Rachel) anyday.

9- Dancing In The Street - Mick Jagger & David Bowie (1985)
(originally performed by Martha & The Vandellas)
Picture yourself back in high school at your locker, hanging out with your friends. All of a sudden, your dad shows up with his buddy, both drunk, and start dancing in the hallways leaving you mortifyingly embarassed. That is what watching Mick Jagger and David Bowie swivelling their hips and getting their old, white-boy freak on in this video feels like. The only way one can enjoy this video is for the sheer novelty of the bad 80s fashion and the hilarious sight of Jagger and Bowie trying to sing this Martha & The Vandellas hit with sincerity and conviction. The actual song sounds like an awful karaoke rendition between two guys clearly blasted over one too many pints of Guiness. Funny enough in 2011, this version was voted the top song the British public would play at street parties celebrating Prince Williams and Kate Middleton's wedding.

8- My Prerogative - Britney Spears (2004)
(originally performed by Bobby Brown)
Britney decided to record this Bobby Brown hit to emphasize the 'fuck you' sentiment she was feeling towards the media and the general public's attitude regarding her then-marriage to Kevin Federline. Too bad that her interpretation of "My Prerogative" was completely useless and shows her exploiting her usual sex-kitten image. This was the last track she released before she went completely off her rocker and suffered a public meltdown. Clearly, this was the beginning of her downward spiral.

7- Angels - Jessica Simpson (2004)
(originally performed by Robbie Williams)
There are so many things I can say about Jessica Simpson. Fortunately, she will be making another appearance later in this list (is anyone surprised?), so I'll save it for then. In the meantime, she covered Robbie Williams' song "Angels" and it sucks. I'll explain why later.

6 - American Pie - Madonna (2000)
(originally performed by Don McLean)
When Don McLean released this song, he remained ambiguous about the meaning behind some of the cryptic lines. To this day, it has remained the subject of much debate and scrutiny. Many people have theorized that the line "the day the music died" is a tribute to Buddy Holly or the assassination of JFK or Martin Luther King, Jr. Another plausible theory could be that, somehow, McLean was able to peer twenty-eight years into the future when Madonna got her gnarly hands on this track and recognized that day as when the music truly died. It is bad enough that Madonna's sorry-ass version was used to promote her lame movie "The Next Best Thing, but what makes it worse is that it became a huge worldwide hit. I guess it is further proof that we live in a world where a solid marketing campaign easily trumps quality and artistry in music.

5- Lady Marmalade - Christina Aguilera, Mya, Pink, L'il Kim (2001)
(oringally performed by Labelle)
I'm not sure what is more annoying about this version of Labelle's unabashed celebration of Creole prostitutes; listening to all four singers painfully shrieking over each other trying to harmonize or Christina Aguilera looking like Dee Snyder from Twisted Sister in the music video. Oh wait, L'il Kim's constant yeh-yeh's and uh-uh-uh-uh's takes the cake. How this song became so popular in 2001 and went on to win a Grammy is beyond me.

4 - Imagine - Madonna (2004)
(originally performed by John Lennon)
Oh no, she didn't! That sums up my reaction when I heard Madonna was going to mutilate this much-beloved anthem from one of my heroes, the late John Lennon. This woman has made a career out of appropriating things that have already been done and taking credit for it in her music. But her audacity hit new heights when she decided to cover this one of the greatest song-writers in popular music. Where Lennon's version has been named one of the greatest songs of all time, Madonna sounds like a robot completely devoid of any conviction or emotion as she painfully warbles her way through this song, stripping it of the sentiment and quality that Lennon used to make it a classic.

3- These Boots Are Made For Walking - Jessica Simpson (2005)

(originally performed by Nancy Sinatra)

At last, my chance to rant about Jessica Simpson...stand back and give me some room, I've been waiting for the right moment to give my thoughts on her and this seems like the perfect spot. Firstly there is the music video showing her tacky attempt to display sex appeal and swagger along with some blatant titillation in a bikini-clad, car-wash scene. Any other pop star could pull it off, but Jessica Simpson's biggest problem has always been that she tries too hard. The same can be said for her interpretation of the song. While Nancy Sinatra sang it with assuredness and sass, Simpson sounds like she is running out of air as she tries her best to sing in a sexy, breathy voice. Unfortunately, Simpson has always been an example of someone who does not know how to work with what she has got. Sure, she is good looking and has the potential to be a good singer, but she has never been able to successfully utilize her own qualities into something unique. Instead, she has built a lack-lustre career out of copying what others have already pioneered. That is probably why the only success she's ever found is playing an air-headed housewife (herself) during the "Newlyweds" reality series with then-husband Nick Lachey.

2- You Shook Me All Night Long - Celine Dion (2002)

(originally performed by ACDC)

Oh Celine (sigh). You have a fantastic voice and are, rightfully, regarded as one of the best technical singers in the world. Sadly, none of this qualifies you as an artist and you showed that when you decided to cover ACDC at the Divas Las Vegas concert in 2002. Oh mon dieu woman, air-guitaring on-stage? What would René think?! This is another example of Celine's laugable stage presence. As much as her voice is amazing, her showmanship on-stage, mannerisms and facial experessions come off as wooden, robotic and, in this case, just plain wierd. Stick to the ballads Celine, thats what we know and love ya' for.

1- Smells Like Teen Spirit - Miley Cyrus (2011)

(originally performed by Nirvana)

Do I really need to explain why this one tops the list? Its Miley Cyrus covering Kurt Cobain for crying out loud! Putting aside the fact that she wasn't even born when Nirvana released this track, I wonder what Hannah Montana could possilby know about the grunge era and what it stood for? Similar to Madonna covering John Lennon's "Imagine", this is manufactured, cooke-cutter, pop music at its worst when it shows the audacity to take something from a musical genius and strip it of its authenticity and artistry. Maybe this will prompt Dave Grohl and Courteney Love to stop battling each other in court and unite to stop Miley from further sabotaging Cobain's legacy.

Countdown: The Twelve Best Cover Songs

Ah the inevitable cover. At some point in every artist's career, the lure to record something that has already been sung is irresistible. Whether it is done successfully is a whole other matter and while the list of bad covers of the classics is endless, I thought it would be nice to pay homage to the ones that actually do it right.

The following list counts down the twelve best covers. The following picks were selected based on this criteria:

1- How successfully the artist was able to interpret the original recording

2- Did the covering artist put an interesting spin on presenting/performing the original

3- The level of commercial and critical success of the cover version compared to the original

Counting them down from twelve to one, here we go:

12- My Humps - Alanis Morisette (2007)

(originally performed by the Black Eyed Peas)

Ok, so this is, technically not a cover, but a parody of the Black Eyed Peas song "My Humps". Nevertheless, it is a great example of taking a really bad song and turning it into something interesting and unique. Also, it nicely demonstrates Alanis' humorous side and, just like one of her hit songs, she truly understands the importance of irony by turning this club song into a somber and mournful ballad.

11- The Power of Love - Celine Dion (1993)

(originally performed by Jennifer Rush)

I would not classify myself as a fan, but there is no arguing her vocal gift. Sure, she has made a career out of overly-sappy, middle-of-the-road songs, but you can't ignore her version of "The Power of Love". Originally recorded by Jennifer Rush in 1985, "The Power of Love" has been re-done by many singers over the years. But Dion's emotive version is a masterpiece that showcases her stunning voice in a captivatingly, emotive performance. It became one of her earliest signature hits and despite becoming an international star in the following years with many cheesy hits, she has yet to replicate the elegance and beauty that she exhibited on this track.

10- Turn The Page - Metallica (1998)

(originally performed by Bob Seger)

The video for Metallica's version of this Bob Seger classic is what made the song. A dark portrayal of a prostitute trying to support herself and her daughter provides a chilling visual narrative with the song playing in the background. As far as Metallica's rendition is concerned, it sticks to the Seger classic only diverting by substituting the saxophone part of the original with a high guitar slide from Kirk Hammett. Nevertheless, Hetfield and co. provide a heavier sound than gives their version a substantial edge lacking from the original.

9 - The Man Who Sold The World - Nirvana (1993)

(originally performed by David Bowie)

When Nirvana frontman Kurt Cobain performed this David Bowie song at their MTV Unplugged session, it cemented his already-defined status as an icon of the short-lived grunge era. Thrust into super-stardom after the phenomenal success of the band's "Nevermind" album, Cobain struggled with his new, celebrity status. The image of him, sitting on a stool, singing Bowie's song from 1971 became one of the most enduring images of the grunge era from the early nineties. After Nirvana's version gained popularity, Bowie, himself, bemoaned when he performed the song he would encounter kids that would thank him for playing a Nirvana song.

8- Nothing Compares 2 U - Sinead O Connor (1990)

(originally written by Prince)

Prince had originally wrote this song for his side-project "The Family", however it wasn't until Irish-born singer Sinéad O Connor recorded her version on the album "I Don't Want What I Haven't Got" that it became a worldwide hit, topping the charts in fifteen countries. The music video was equally praised for its minimalist approach of using a close-up of O'Connor's face as she sings the words and two tears roll down her cheek. The video was awarded Best Video of The Year at the 1990 MTV Video Music Awards.

7- Hallelujah - Jeff Buckley (1994)

(originally performed by Leonard Cohen)

This track went through a bit of a metamorphosis before Jeff Buckley finally got around to recording it. Originally penned and recorded by Leonard Cohen in 1984, it found greater popular acclaim when covered by John Cale in 1991. Buckley's 1994 version did not become an instant hit and sadly, he would never live to see the acclaim his version would enjoy. It wasn't until 2002, when his rendition started gaining attention that he started receiving praise and the song became a post-humous hit for him. Since then, the song has been widely featured in many television shows and films and one magazine claimed that it was so liberally used in television because "neither the writers nor actors could convey their characters' emotion as well as Buckley".

6- Hurt - Johnny Cash (2002)

(originally performed by Nine Inch Nails)

Let this be an example of the genius of Johnny Cash; a man considered a legend from a completely different era who was able to take a Trent Reznor recording and turn it into a recording of heart-breaking beauty. So enthusiastic was the reception to Cash's version that even Reznor, who originally penned the song, commented that he felt like the track was no longer his anymore and made him reflect on the beauty and power of music. In 2011, Time magazine named the accompanying music video as one of "The 30 All-TIME Best Music Videos".

5 - I Will Alway Love You - Whitney Houston (1992)

(originally performed by Dolly Parton)

She may be drugged up nowadays, but if ever there was a track that showed Whitney Houston at the height of her success, this Dolly Parton original would be it. Taking Parton's twangy, heartfelt track about love-lost, Houston gave it a dramatic intensity that echoed in every element of the song from her quivering voice at the opening, to the breath-taking climax where her voice holds each prolonged note with beauty and discipline right to the flourishing falsetto at the end of the song. The track became a staple on adult contemporary radio throughout the nineties and a favourite for amateur singers on various reality television shows such as American Idol and X-Factor. It also broke a then-record of spending fourteen, consecutive weeks at number one on the Billboard Hot 100.

4- With A Little Help From My Friends - Joe Cocker (1968)

(originally performed by The Beatles)

Joe Cocker's slower and lengthier version of Ringo Starr's "With A Little Help...." proved to be such a hit that it was used as the theme song to the late 1980s sitcom "The Wonder Years". Where The Beatles version was whimsical and up-beat, Cocker brought a bruised tenderness and turned it into an emotive performance packed with soul. The version heard in the 2008 film "Across The Universe" segues from the original to Cocker's version towards the end of the song.

3 - Twist & Shout - The Beatles (1964)

(originally performed by The Top Notes)

This was the Beatles at their most raw, disheveled and fun. "Twist & Shout" was already covered by the Isley Brothers, but it was the Fab Four that morphed it into a rockin' sing-a-long. It became an instantly recognizable hit in the Beatles' long-line of classics. As the performance comes to an end, you can hear Lennon rip his vocals to shreds trying to stay in tune with the track and the live recording showed off his dry humour before the performance as he sarcastically requested the wealthier members of the audience to "rattle your jewelry".

2- All Along The Watchtower - Jimi Hendrix Experience (1968)

(originally performed by Bob Dylan)

This original track from Bob Dylan has been recorded and performed by numerous artists and guitar vituoso, but no other artist has been so prominently identified with it as the late Jimi Hendrix. While recording the Dylan track, Hendrix insisted on re-recording and doing overdubs until he was satisfied. After weeks of over-dubbing, he finally said "I think I hear it a bit differently" and the final version became a revered masterpiece. Even Dylan himself was quoted as saying that Hendrix's version "overwhelmed me" and noted Hendrix's ability to find things in music that other's wouldn't think of finding. Later in his career, Dylan admitted to playing Jimi Hendrix's version and felt that he was paying a tribute to the late guitarist with each performance.

1 - Respect - Aretha Franklin (1967)

(originally performed by Otis Redding)

Otis may have been the first to sing it, but Aretha Franklin owned it with her gospel-infused rendition. Not only "Respect" become Aretha's biggest hit and heralded her arrival as the Queen of Soul, it became an anthem for the 1960s Civil Rights movement and a landmark for the feminist movement. It placed at number five on Rolling Stone's list of "The 500 Greatest Songs of All Time". No other cover has ever made such an iconic impact and had such social and cultural relevance as this fiery call-to-arms for women. The line "R-E-S-P-E-C-T, find out what it means to me..." has become a universally recognized symbol for empowerment and was eventually added to the U.S National Recording Registry in 2002 as a Culturally Relevant Recording.