Music Monday: "ATLiens," at 30

If you read this blog, you know I love OutKast, AKA the greatest band/musical group of all time. Their sophomore LP, "ATLiens," turned 30 this late August. As many will say (and I agree), without OutKast you just don't (quite arguably) get much of a Southern rap movement. As Andre 3000 put it all those years ago when OutKast won Best New Artist (Group) at the Source Awards for their debut album, "The South's got something to say." For a number of years, OutKast did too. 

The group is most likely no more (my random dreams aside), with Big Boi still rapping and Andre pursuing a variety of interests. Neither of them owes us anything, but if they did want to make even one more song, I'd be down for it. The first LP, "Southernplayalisticadillacmuzik," is great, but the one-two punch of, "ATLiens," 30 years ago this month, and then, two years later, "Aquemini" helped to confirm just how amazing OutKast was--and still is to this day.

Music Mondays: Leo Waters' Song, "Smoke + Mirrors," is Quite Enjoyable

I'm always checking out new music and seeing what's trending. Sometimes I agree that an artist/song sounds good and am pleased when they start taking off and I hear their music on the radio (Dominic Fike has continued to grow on me). There are occasions I scratch my head and am amazed that something I think was awful goes on to be huge. I, clearly, prefer when something new surprises me with its quality, and Leo Waters is fresh-ish to the music scene with a great tune, "Smoke + Mirrors." It's got a nice melody, his voice floats over the beat with a relaxing smoothness, and its a bit of a love song, yet it hints at a faint annoyance that gives it a little bite. I somehow missed when it first dropped in 2023, and I really like it. I plan to listen to more of his music, as he's got newer stuff that dropped too, such as, "Stuck Like Chuck," which also has a great vibe.

Music Mondays: Some Bands Are Just Ahead of the Times

Some music sounds like a throwback to the past. Other jams sound eerily apt for the moment. Then, there is the stuff that sounds straight-up from the future in some fashion. Bands that are ahead of their time, experimenting sonically in some wild fashion. Perhaps it is a new technique with technology that nobody else has attempted--think of the KLF and how they were doing sample-heavy mash-ups before, "Mash-Ups," were even a trend. The Pet Shop Boys feel like they were beamed straight from the future to our eardrums with the epic and space-age sound. OutKast took Hip-Hop places few could have expected with their blending of genres from space funk ("ATLiens,") to sounding a bit like a live rock band ("Aquemini,") to essentially transcending rap as a form and just doing damn good music that refused to fit into an exact genre ("Speakerboxx/The Love Below"). Hell, some people argue that Blondie and their New Wave tunes invented techno as we know it today--which, okay, but give Kraftwerk some credit!

Sometimes a group that is ahead of its time isn't recognized properly until later on (The Velvet Underground) or dismissed at first as a gimmick, even though, if you dig a little, you'll find a surprising amount of substance (Devo). It is wild to think you can sometimes play someone's music from decades ago, and you recognize that other groups have finally caught up with what the OGs were doing all those years earlier. Some bands are just ahead of the times, and I thank them all for being forward-thinking and supplying us with a glimpse of just where music could possibly be going before it even knows it wants to metaphorically get there.

Music Mondays: Olivia Dean's Songs Sound Like a Hollow Imitation of the Past

The first time I heard of or saw Olivia Dean was on, "Saturday Night Live." Her song, "Man I Need," sounded like something straight out of the 1970's but weirdly soulless. It evoked the past while failing to give us anything particularly new. Her voice was good, but she sounded like a mediocre impression of music from the past without any unique spin. I figured I should give her a chance, but her other big hit, "So Easy," makes me think of Minnie Riperton without the vocal range or lyrical depth. I've listened to other tunes and find that there is no substance to Dean's music. Her songs ring more hollow than when someone signs, "Best wishes, we'll miss you," on the going-away card for a co-worker everyone actually finds (somehow) simultaneously dull and annoying. When I listen to an assortment of songs by Dean, I feel indifference and irritation.

I know Olivia Dean has many fans, and I am not setting out to, "Yuck," anyone's, "Yum." I debated even writing this article as I didn't want to come across as writing a mean-spirited, "Hit piece." That said, the fact that every time a song by Dean comes on the radio, I'll change the station to anything else as quickly as I can deserves discussion. I just wish she'd use her unquestionably great voice to make better music. Alex G. Frank once wrote for Medium, "There’s too much 'retro' pop in the world now — Olivia Dean could be an antidote." I'm afraid I only half-agree. Dean isn't an antidote; she's just another dose of auditory poison.

Music Mondays: "Flex," By Cupid Remains a Straightforward and Catchy Tune

The song, "Flex," by the music artist Cupid, is not a complex tune. It involves him telling an unnamed person to flex their body because they are sexy, whilst he also shouts out dance moves for listeners to do. That said, the beat, melody, and crooning combine to make a strangely addictive tune that admittedly goes a bit long for what it is (almost four minutes), but still  makes you want to get up and move about. It's been out for some time, but it remains a big hit at parties. Have a listen here:

Do you see what I mean? I'm not sure what it is, but that jam gets me all hyped up and ready to dance! The song came out back in 2020 and has become a popular piece for everyone to line up and groove to at parties. I feel that six-ish years ago isn't quite long enough to dedicate a Flashback Friday to this song, so I put it where I thought it'd fit better, here in Music Mondays. Just know that if you're at a party and this tune comes on, you're definitely at a location that knows how to have fun!

Music Monday: The, "Yukon," Covers, Remixes, and Mashups are Delightful

The song, "Yukon," by Justin Bieber, is solid. It's a weird little minimalist tune. I liked it, and others did too, taking advantage of that minimalism to do all kinds of wild things with it. There is one remix that has taken over the radio more than the original, along with other riffs on the song, adding in other artists. We have covers by artists such as Sekou and Jamie Ave, Tate McRae , and more. Oh, and some wild mash-ups and tweaks, such as mixing it with Usher's hit, "Nice & Slow," or another R&B classic, "Let Me Love You," by Mario. Being a fun song and easy to manipulate with its intentionally bare-bones design has resulted in a lot of cool stuff. Sometimes a song just arrives at the right time and strikes a creative nerve in a lot of folks. I like it when that happens.

Music Mondays: When the Remix is Bigger Than the Original Tune

Generally, a remix isn't bigger than the original song. It can become a huge hit as well, but bigger? That said, it can happen. This thought occurred to me when I heard the really catchy song, "Stateside + Zara Larsson," by the artist PinkPantheress. The original song was, "Stateside," and it has had a number of remixes made with different artists. That said, I heard the remix with Larsson joining on the tune first, and having listened to all versions--including the OG--I like the remix the most! It appears many agree with me as while, "Stateside," was good, this remix just sounds better!

This seems to happen a lot with songs that were maybe slower or quieter and with a remix getting louder/busier/wilder. You've got, "I Took a Pill in Ibiza," and its dance remix that blew up. The recent, "Yukon," song by Justin Bieber got a good degree more airplay when its minimalist singing and guitar had some trippy electronic beats added. Hell, the "Macarena," is best known by those in the United States for its version with English lyrics and a faster tempo.

PinkPantheress and Zara Larsson in the remix music video.

Changing a beat isn't the only aspect to make a remix gain even more traction than the original tune, of course. You often see in rap a remix bringing in another music artist, and that can play a major role. From the, "Touch It Remix," with Busta Rhymes and friends to Fabulous and the, "Throw it in the Bag Remix," which incorporated The Dream and Drake to immense success, those are just two examples that popped in my head right away of many. In the late 90's and early 2000's it felt like every rap song had a remix--sometimes to its benefit and other times to little note, but helped give everyone options for which version of a song had the rappers they liked listening to the most!

From the version of, "Summertime Sadness," most recognize to the, "Ignition (Remix)," there are occasions where the remix overshadows the first iteration of a song. That isn't a bad thing, by any means, as sometimes the second/third/whatever time is a charm! I just find it interesting when such a thing happens, and I thank PinkPanteress and Zara Larsson for their tune making me think about all this.

Music Mondays: Chappell Roan and When the Headlines Threaten to Overshadow Your Music

Sometimes a music artist will make good stuff, but their personal life becomes so interesting to their fans/haters/the media that it ends up overshadowing their output. Britney Spears is a big example of this. Chris Brown had this happen, Justin Timberlake, and his recent legal troubles, also come ot mind. When people talk about you more than your music, it is arguably an issue. Kanye West and his very public mental health struggles, Ted Nugent and his very public political opinions,  P. Diddy and...well, everything that went on with his life. These are drastic examples, but even a bunch of small things can snowball and create a narrative, hence Chappell Roan and the concept of how she hates being famous, and as of this week, apparently had to clarify she does not, "Hate children."

Chappell Roan wants to make music and not be harassed by the paparazzi. She doesn't owe you a selfie or hug. It is apparently controversial that she wants to be left (relatively) alone. This recently came to a head when former Chelsea and Arsenal soccer/football player Jorginho claimed that his family suffered, "A deeply upsetting situation," involving Roan's security guard in São Paulo. Apparently Jorginho's wife, Catherine Harding, and step-daughter, Ada, were at a hotel, saw Roan, walked past her and smiled, which resulted in a security guard yelling at them and otherwise bringing an 11-year-old girl to tears. Roan posted that the man was not her own security and must have been with the hotel and overreacted as she never even complained, adding, "I do not hate people who are fans of my music. I do not hate children. Like, that is crazy. However, with a narrative that Roan is somehow, "Difficult," already existing, damage has been done.

The mayor of Rio de Janeiro declared that Roan was no longer welcome at a music festival. Various memes have been springing up, and people are demanding Jude Law comment too (he is the biological father of Ada) while Harding has been claiming, "100% this security guard was not a security guard of the hotel--that is what I can say. He looks after artists, so I don’t know if it was her personal security guard, but he was with her." So either this is a huge misunderstanding, or someone is lying. Regardless, lots of folks are cracking jokes at Roan's expense, and I feel bad for her. I'm not even that big a fan of Roan, either!

Seriously, I don't dislike Roan's music and find some tunes catchy. That said, I also don't actively seek out her jams to listen to. They just kind of pop up on the radio, I let them play in my car, and then I listen to whatever comes on next. That said, I feel bad for her as she is suffering from the headlines about her (supposed) actions and (so-called) attitude) overshadowing the thing she wants to be known for, making music--and nothing else! Unlike many of the examples I listed above, Roan isn't seeking fame. She wants to make some music and live her life, but due to a perception that she, "Hates," her fans, whether they are young or old, she's embroiled in a weird scandal. I guess this all could have been avoided if, instead of eating at the hotel restaurant where the issues occurred, she had gotten her food hot to go, eh? I'm sorry, that's an awful joke.

Music Mondays: "Choosin' Texas," is a Country Song...and I Really Like it!

I can generally count on one hand the number of (modern) country music artists I enjoy. You've got Garth Brooks, the Chicks (formerly Dixie), Trace Adkins, Kacey Musgraves, and I guess my pinky finger can now be used to signify an affinity for Ella Langley's jams. I was listening to a radio station that plays various genres of popular music, and I heard, "Choosin' Texas." I was about to change the dial due to not being big on country, but...I liked it! Give it a listen:

Yes, "Choosin' Texas," is the first single off of Langley's second LP, and it is really catchy. The tune basically is about how Langley has a man who seems to like her, but now he's apparently finding himself attracted to a woman from Texas. There are lots of metaphors about cowboys, and it is peppy in its sound, but it has a clear tinge of sadness about everything going on. I really dig it and will be exploring Langley's discography further now!

Music Mondays: Flowers on the Grave for the Mashup--Or Not Yet?

We are here today to lay flowers upon the grave of the mashup. It existed quietly for decades, was insanely popular for a bit, then found itself mostly forgotten and ignored. Is it too early to truly declare the mashup, "Dead," however? Hell, what even truly is a mashup? Let's discuss.

A mashup is hard to define. You can make a song by sampling something else, but it isn't necessarily a mashup. They aren't illegal or truly covered by fair use as something new made from other items (like how some parody artwork combining two different IPs is protected). They aren't gone, exactly. Mashups still get made, but they are not nearly as big in popular culture. A mashup is just something you know when you hear it. It could be the epic hour-long mixes full of songs Girl Talk made, those ones that looked at the hottest songs in a year and condense them down by folks such as DJEarworm and Daniel Kim with his Danthology, or--Hell--how Glee would take two songs and combine them in a clever way the faux-teens sang. Danger Mouse with his combination of Jay-Z and the Beatles to make, "The Gray Album," is a cornerstone of the legacy of the Mash-Up. Hell, The KLF was making mash-ups in the 1980's by splicing tape together. As a new and quite large article by Casey Epstein-Gross for the AV Club covers, the mashup is a bit of a lost art.

"Feed the Animals," by Girl Talk cover art.

As someone who was a teenager in the 2000's, I am quite familiar with mashups. They were just a big thing. With the rise of various technology programs/websites/etc. it became easier for regular folks to fiddle with the tech to make a mash-up. I had fun using an old version of a program that still exists called ACID Pro to alter songs and make my own mashup of, "Ms. Jackson," by OutKast with, "I Just Don't Give a Fuck," by Eminem. I worked on it long enough that it was decent, and the .wav file for it is buried somewhere in my folks' computer back home. Mashups were ubiqutious with the early 2000s, and then by the time we hit 2020, they had mostly vanished as a big part of culture, at least.

As the above article discusses, a mix of lawsuits, computers identifying things as copyright violations that technically weren't, and how music just changed all impacted the mashup and made it fade away. We don't have as many songs everyone agrees are a hit to feature, we have many mini-hits, after all. Mashups still get created, but society at large cares very little about them now compared to how they were everywhere a good decade and change ago. Plus, there is an elephant in the room, AI.

DJ Earworm still makes mixes but gets less press than in years past.

AI makes, "Art," but it is soulless junk. This applies to music as well because you can have an AI mash-up songs for you, but it puts aside any artistry, skill, or, "Flavor," and is just cold and calculated slop. When the DJ isn't even mixing songs anymore or putting forth any effort into their mashup...they aren't a DJ, they're just a shoddy programmer telling a PC to make them a, "Good," mashup of hit songs. I want technology to make it easier for people to create things, and if an AI can assist you in your goal that is great, but when a person just prompts an AI to take some songs and mash them together however the computer sees fit...yeesh.

The mashup may not be truly dead and in need of flowers on its grave. People still make them and share them on a smaller-scale to avoid copyright/legal issues or such. There aren't the big-name mashup makers anymore, but the format persists. That said, if it becomes only something fiddled with by AI, then that will be a fate worse than death. Time will tell.

Music Mondays: It's Been Awhile Since We've Had a New Super-Popular Christmas Tune

You know how, usually every chunk of years there is a new Christmas tune that comes along and which absolutely dominates the radio? It's been some time since that has happened, wouldn't you agree? We've had some solid Christmas jams, but they haven't been totally nuclear-hot in terms of being a hit. "Santa Doesn't Know You Like I Do," by Sabrina Carpenter, is great, but more of a cult-hit from 2023. The last big tune that comes to mind might be, "Santa Tell Me," by Ariana Grande from 2014. 

Otherwise, you gotta look pretty far back for the huge bangers like, "All I Want For Christmas Is You," by Mariah Carey, back in 1994. I mean, if you're huge on the Jonas Brothers, they did release, "Like It's Christmas," in 2019, and Cher attempted to give us a hot new Christmas tune with, "DJ Play a Christmas Song," when it was 2023, but that pales in comparison to a lot of her discography. So yeah, maybe Grande in 2014 with the last really big song. That is over a decade ago!

I know you can't just magically create a Christmas hit, although there is a slight science to it as discussed in a recent, "Sunday Morning," segment on CBS. That bit even featured a new song crafted by David Pogue with some assistance from others--it honestly is pretty terrible, but points to him for trying. Watch it right above this paragraph. It isn't even a big deal if we don't get any new Christmas jams, as there are so many good ones. Hell, maybe we should focus on making more Hanukkah tunes, those are in especially short supply, and Adam Sandler can only do so much, after all! In the end, I suppose you can't force a hot Christmas (or Hanukkah) track. They just sort of magically appear and find themselves part of the regular holiday rotation. There could very well be something that came out this year to little notice that will slowly gain buzz and become a beloved classic in the next handful of years.

Music Mondays: The Phone is Ringing

It is funny how fun songs about phones and phone calls can be. From New Edition telling the telephone man something must be wrong with your line because your baby keeps hanging up on you, to Young Thug and Travis Scott knowing you should pick up the phone because you're home, and Drake's Hotline Bling or Nokia...that's just a little bit of ditties with phones. A new song, "Ring Ring Ring," by Tyler, the Creator puts phones front and center, with Tyler seeming to call and ex and discuss how much he misses her physically and emotionally. 

The lyrics in, "Ring Ring Ring," aren't wildly creative, but they're fun and go with the incredibly catchy tune, beat, and reptition of, "Ring ring ring," in the chorus, simulating a phone going off with Tyler insisting, "Operator, can you pick that phone?" among other comments about how it can't be a dead line, she's just not picking up (presumably tired of Tyler calling). The whole song is fun, peppy, and continues the longtime trend of enjoyable songs about phones.

Whether Lady Gaga is talking about her, "Telephone," Blondie is requesting you, "Call Me," or there is that famous phone number, "867-5309/Jenny" by Tommy Tutone, there are a lot of songs with phones. We don't always talk on our phones these days, often texting. That said, a song about texting someone your feelings of love, anger, or so forth just doesn't hit as hard compared to that phone ringing and someone saying, "Hello?" Bruno Mars is, "Calling All My Lovelies," Soulja Boy needs you to, "Kiss Me Through the Phone," and Ed Sheeran isn't even making a call, he's just looking through his, "Old Phone," because this list goes on. Songs about phones are just fun, whether its a new hit like with Tyler, the Creator, something older, or even just straightforwardly being told, "Shut Up, My Mom's Calling," as with Hotel Ugly. So yes, let's celebrate phones in songs and instead of always texting, call me, maybe (as Carly Rae Jepsen would request)?

Music Mondays: KPop Demon Hunting With Catchy Tunes

My family watched, “KPop Demon Hunters “ this weekend. Clarkson listens to videos with the music on YouTube sometimes, and all the children where my wife teaches had been telling her about it, so we wanted to give it a shot. Considering how immensely popular it is, we thought it had to be decent—and boy, is it popular! After growing interest once it dropped on Netflix as word-of-mouth spread about this new animated flick, it found the music charting, and a limited national theatrical release just took the #1 spot for the weekend. What is the movie about, though? Well, a trio of KPop stars (Huntr/X) who fight demons with the power of song and cool weapons, obviously!

In all seriousness, the movie has the trio serving as part of a long line of warriors who protect the souls of Earth from demons and face a new challenge when a demonic boy band appears to beat the girls at their own game. There are some obvious twists with characters hiding secrets and not being as good/evil as they seem, with some stellar animation accompanying everything. The real draw here, however, would be the stellar tunes. You’ve probably heard, “Golden,” a ton now on the radio/internet, but for my money the best song is a tie between, “Soda Pop,” which is sung by the secretly-demonic Saja Boys and, “Free,” which is a bit of a romantic duet tune. All the songs get you bopping and dancing around, though, because they are so darn catchy. 

Even if the plot is a bit predictable, there is a good message at the heart of the movie about being true to yourself and not being scared to share everything about who you are with others—this has resulted in everything from readings of the movie being about dealing with trauma, how we handle mental health or self-harm to LGBTQ/closet allegories. I can see multiple takes being possible, but at the end of the day, even if it’s just a wildly fun movie with singing and demon fights, “KPop Demon Hunters,” is a good time. It’s worth a stream on Netflix the next time you want something that should entertain the whole family and you can always play the soundtrack while out driving too!

5 out of 5 Stars.

Music Mondays: "Taste," by Coco Jones Samples, "Toxic," in a Clever Manner

I often talk about the concept of weaponized nostalgia. We have something new that purposely takes something old and tweaks it just a bit so it is something new-ish but evokes our fond memories for the past item (be it a song, show, or so forth). The latest tune, "Taste," by Coco Jones has a bit of that vibe, but is a solid song on its own.

For, "Taste," the song, "Toxic," by Britney Spears is a heavy inspiration, with pieces taken wholesale from the original tune for the chorus. It seamlessly blends in, however, somehow. It tickles that part of the brain that goes, "Oh yeah, I liked the, 'Toxic,' tune back in the day," but is different enough that we aren't talking a cover/remix by any means. I may even like this more than the mash-up of, "Toxic," with, "Pony," and that was quite a hoot. Give it a listen here with the official music video (which I will warn you is vaguely NSFW):

See what I mean? "Toxic," doesn't overpower, "Taste," and it all works together wonderfully. I offer my compliments to Coco Jones and her production team for taking a fast-paced pop song and making it a slow-groove R&B bop.

Music Monday: "Let God Sort Em Out," Shows Clipse is Still at the Top of Their Game All These Years Later

Clipse has not had an album come out with the brotherly duo of Pusha-T and No Malice since 2009. They've both done some solo projects (and No Malice outright quit rapping for a while) but outside of a featured track here and there, nothing. Hence, I was extremely excited when I heard that Clipse was reuniting for a new LP with production by Pharrell and some guest appearances. On Friday, July 11th, "Let God Sort Em Out," dropped, and I have listened to it now multiple times. It is great, to put it simply.

Outside of those who love the LP like myself and many others, I have seen a review here and there observing that Pharrell's production sounds almost a little too finished and glossy for the at-times grimy style of Clipse. I think enough tracks still hit just right and hard enough that I wasn't thinking Pharrell hindered the album at all. Oh, and this album starts hard. "The Birds Don't Sing," kicks things off forcefully but balances it all out with John Legend adding some vocals too. Then, "Chains & Whips," is straight fire with Kendrick Lamar's verse already a, "Lyrics of the Year," contender. It is funny to think Lamar having a guest spot was so controversial for the original record label Clipse was signed to (Def Jam) for Jay-Z’s Roc Nation label. Jumping ship and keeping the song intact was a good choice, clearly. "P.O.V." with its beat-shifs and Tyler the Creator joining in on the fun is a hoot as well, and as the album continues with such bangers as, "Ace Trumpets," and, "M.T.B.T.T.F." it all flows so well from track to track. The final two tunes, "Let God Sort Em Out / Chandeliers," and "By the Grace of God," close everything out wonderfully as well, with Nas and Pharrell appearing on each track, respectively, and helping bring it all home.

"Let God Sort Em Out," shows that Clipse ages like fine wine, and despite it being over 15 years since their last LP they haven't lost a step. We're all a bit older and wiser, and that makes this album all the better. Everyone had to wait quite some time for Clipse to return, but if we get an album like this, that's perfectly okay with me!

5 out of 5 Stars.

Music Mondays: Countless Folks Took the Bait Sabrina Carpenter Left With Her New Album Cover

Sabrina Carpenter is a music artist who makes energetic and often silly pop songs. As I am an old, cynical whiner, I shouldn't like her music and regard her in the same way as many new and younger singers I despise. That said, so much of her stuff is just plain good that I am a fan. Plus, she's crafty with her marketing--a recent controversy illustrates this. You see, Carpenter announced she has a new LP coming this August titled, "Man's Best Friend," with the cover art featuring her on her knees with an unseen man grabbing her hair, somewhat roughly. Clearly, between the imagery and title, it is a bit of a joke about BDSM, and considering she's fully clothed on the cover, not especially racy or extreme. Still, it was just enough over the edge for many folks to ignite some controversy. Obviously, this was Carpenter's plan all along and folks have merely played into her hands. Observe the cover:

Countless times, those who create art have done something controversial to get attention. It helps if the controversial art itself is good, because empty controversy/pushing the envelope simply to upset people just comes across as lazy. Carpenter is a great musician, and I would imagine, "Man's Best Friend," will have multiple bangers on it. She's managed to get a ton of press for her LP simply through the cover art and has outright goaded critics to comment--such as with an Instagram post sharing alternative cover artwork she sarcastically added was, "Approved by God." Some people have complained they are tired of the controversy...but Carpenter just put the artwork out there and let the hubbub happen. As I already said, Carpenter makes solid jams, so I'm quite sure there will be substance to back up her playful prodding of the public (say that three times fast). For now, however, she already has many people's attention!

Music Mondays: A Parody of Kidz Bop That Actually Hits Pretty Hard, Who Would Have Thought?

Kidz Bop is a long-running franchise that takes popular songs and gets permission/pays money to do unique covers. Kidz Bop versions of songs feature children singing the tunes and on occasions where it is called for, changing lyrics. This can be vaguely hilarious as some songs have to be heavily altered to be more G-rated lest the kiddos listening be exposed to sex, drugs, violence, or other, "Adult," subjects. I don't know about you, but witnessing, "Hot to Go!" on the mega-television at Chuck E. Cheese when I take Clarkson there cracks me up--"Dancing here with me," instead of, "Doing it with me," indeed. That said, what happens if a song were so clearly not meant for children that to make it Kidz Bop-workable, you had to just change the whole song? That results in a Kidz Bop parody that slaps more than it has any right to.

JonFlëtch took, "Not Like Us," by Kendrick Lamar and made his own Kidz Bop-esque ditty, "We Ride the Bus." It alters the entirety of Lamar's song to make a young ears-friendly jam that is both intentionally funny and still quite catchy. Instead of pointing out Drake's questionable romantic interests with, "A-Minor!" the lyrics now discuss getting a good grade in school, "A-Minus!" and otherwise sound like what would happen if Kidz Bop actually tried to do ,"Not Like Us," for the youth--the deadpan near-authenticity of how it could work makes it even funnier. Much respect to JonFlëtch, he probably made the Godfather of parody songs, Weird Al Yankovic, proud!

Music Monday: Sad Songs to Make You Happy

Sometimes a sad song weirdly just makes you feel happy. Something about the soulful and sorrowful tune has a paradoxical result of the listener feeling better. I thought I would highlight some songs that always make me happy (even if the songs themselves are the opposite) and might do the same for you.

Anthony Hamilton is one of those music artists who has been around for decades, putting out lots of great songs. "Coming From Where I'm From," is a longtime favorite of mine, with, "Charlene," being another older tune that still is a treat to hear that you can bop your head to, despite how sad both pieces are.

John Waite's 1984 hit, "Missing You," is clever as the song breaks down all the ways he misses a love, but then insists that he isn't missing them at all. It gives the whole song a bit of a vibe of a clever little twisted and depressed joke.

I made a post back in 2021 about greatly enjoying the piece, "Like I Want You," by Giveon. The man's voice is amazing, and this song shows how wild his vocals are; he sounds like the reverb has been turned all the way up, but it is just him! Despite the longing and sorrow in the song, it always makes me smile just hearing his amazing voice.

Joshua Malilay's song, "Warm Body (Demo)," is incredibly minimalistic with just a guitar and him singing about a relationship that fell apart. It just works and makes me feel chill, however.

I randomly stumbled upon the song "Drugs You Should Try It," by Jordan Bratton, some time ago. It is, wildly enough, a cover of a trippy Travis Scott song, but I adore his version. This lush and orchestral take gives everything a deep and introspective feeling.

Kacey Musgraves makes amazing songs, and one quite sad one is, "Justified." It was my song of the year in 2021, and I still adore it. She's just such great singer and lyricist.

To touch upon another cover, Tony Bennett's version of, "Fly Me to the Moon," takes a song that can actually come across as quite peppy, but by slowing the song down and giving his voice a sense of forlorn longing this happy little ditty suddenly becomes a bit sad, and my favorite version of this piece.

Mary J. Blige has a massive discography, but one of my favorite songs by her is the downtrodden, "Rainy Dayz," featuring Ja Rule. It's about how much those literal and metaphorical rainy days just suck. Sometimes you just have to get through a storm to enjoy better times!

Let's end on a big one. Should you read my blog regularly, you'll know I am a huge fan of Kendrick Lamar. One of my favorite songs by him is also incredibly depressing when you listen to the lyrical content--"Bitch Don't Kill My Vibe." It's all about fighting your inner doubts, negative self-talk, and how hard that can be. The kernel of hope in the song makes it extra special, however.

Music Monday: "Nokia," Shows Drake Can Still Make Good Music When He's Not Busy Losing Feuds

Kendrick Lamar and Drake had a big rap feud. Unless you live under a rock that is under another rock you probably heard about it. Kendrick beat Drake, handily, to the point Drake literally sued due to disliking being called pedophilic in some of Kendrick's verses on, "Not Like Us." I have commented on multiple occasions about Drake's problematic behavior toward minor girls so my opinion on that is known. Still, when Drake isn't making questionable choices about who he texts or losing a rap beef so badly he tries suing...he does still make music that bumps suitably well. This is shown by a recent release, "Nokia," done in partnership with PARTYNEXTDOOR.

The song, "Give Me a Hug," has gotten a lot of attention with its wild jumping between beats, melodies, and samples, but for my money, "Nokia," is a much more focused and tighter song. It does switch up its sound and tempo a bit halfway through but is a lot less over-the-top than, "Give Me Hug," and so darn catchy. Give it a listen:

It makes you want to dance around a bit, doesn't it? If Drake focused on making good hits like this he wouldn't even need to acknowledge how badly Kendrick spanked him in their rap battles, he could just live with the fact he lost and go on to make some hot tunes. Instead, everyone keeps dunking on him for being a sore loser even though he's got some heat with this track, among others--just let it go, Drake! If you'd focus on making fun tracks and not a finished feud we'd all be happier that way.

Music Mondays: "BMF," by SZA Has a Fun Callback to an Old Tune

I am a fan of SZA. You hear about her a lot in Saint Louis as she is a native of the city and it makes me happy we've got some great artists to emerge from here...and Sexyy Red is from here too so I guess you can't win them all. Anyway, I quite like a new song SZA has on her album, "Lana," which is a reissue of, "SOS," with some fresh ditties. The song is, "BMF," but was also known as, "Boy from South Detroit," at one point. I quite like how it incorporates, "The Girl from Ipanema," in its lyricism and sound. "The Girl from Ipanema," is a lovely bossa nova song that has had multiple covers and samplings, and it is always a treat to, "See," it involved in another tune. It isn't my favorite new song on, "Lana," as that would be, "30 for 30," with Kendrick Lamar, but it is a close second! Give it a listen here if you would like--I know I've been playing it a lot.