Three examples come to mind: “Tom’s Diner” by Suzanne Vega, “Only Time” by Enya, and “Clocks” by Coldplay. That’s what’s on the radio right now, but with the stupid backbeat.
All three of these songs can quite easily stand on their own. How often do you hear good a capella, anyway? There was no need to bastardize “Tom’s Diner”. The mood of “Only Time” was utterly subverted by the change. And “Clocks” (without the backbeat) was a perfect choice for the Peter Pan trailer, because the piano riff really does feel like flying.
Is this part of the ClearChanneling of America? Making every song sound as much alike as possible? If people can’t appreciate a unique song without a drum machine guiding them, that’s their problem.
I’m certainly no fan of drum machines, dance music, or extended remixes. But I hated Vega’s original album version of Tom’s Diner and thought that what DNA did to make the song into a song to be brilliant. Can’t speak to the other two.
If you’re talking about the Royksopp remix of Coldplay’s Clocks, then I completely disagree with you. The original is boring Brit-pop by numbers. Royksopp beefed up the beat, put a synth line in and turned bland Radiohead-aping into a new wave classic.
Anything that beefs up Clocks, or changes it in any way, is fine with me. Whenever it comes on the radio, I feel like I’ve tuned into the end of Loveline.
Yep, I agree that DNA’s version of Tom’s Diner is purely brilliant. The original was fairly boring, IMO. To the best of my recollection, I think Ms.Vega herself officially heralded the DNA version as very good.
Considering that DNA’s remix was done in '90, I don’t see what this has to do with clear channel.
And back beat was a substantial part of Beatles early succes, so I don’t know why you’re ranting about that…
—While not as dominant as today, Clear Channel was indeed around then, as was the phenomenon of demographics and research, etc.
—The backbeat you cite as successful included human expression in the way of fills and rhythmic subtleties. If I’m correct in assuming, Rilchiam refers to the mechanical “boom-chick-boom-chick” unfailing drum machine-type beat that is ever increasing in prominence, thus homogenizing what used to be an avenue for unique expression.
Some twonks decided to cover The first time ever I saw your face with a $*#%ing dance beat. Can someone name them so we can have them crucified - upside down - twice.
Didn’t REM add a vocal ‘back-beat’ when they mock-covered Tom’s Diner (adding such cool touches as singing “Unbelievable” ala EMF in the middle).
OK, so not the same, but a funny parody.
And the ‘dance-version’ “Clocks” is actually better than the original, I think…
Well, Joe K, I hear what you’re saying, but I don’t see a problem. It certainly seemed like a problem 13 years ago, when the airways and records all contained the distinctive sound of a Yamaha DX7 or a Roland D50. Today, I hear a lot of music which is made from real instruments and musicians.
But let’s not kid ourselves. You can buy cd’s with drumloops by bob clearmountain, and put ionto your music editing software, so you won’t have to hire a drummer. There is software which creates those imperfections you speak of, making it sound more alive. I would even venture to say hat any producer who uses that kind of drum machine today is consiously going for that type of sound. You might not like that sound, but it’s not from lack of artistic talent or lack of real musicians.
And even if Clear Channel was around in 1990, consolidation of radio stations hadn’t started. I don’t recall what year the FCC changed the laws about how many stations on comapny could own, but I remember a big debate about it at the NAB fair in Orlando in '99 (since I was there). To say that the English DJ/producer team of DNA was inspired by CC is just, well ignorant.