Pop and Rock Music

Subterms

    More stories

    • 125 Shares149 Views

      in Movies

      ‘Lil Nas X: Long Live Montero’ Review: A Hip-Hop Trailblazer

      by

      The documentary, streaming on Max, follows the queer singer-rapper on the road and at home, but the best scenes by far are when he is onstage.To watch the singer-rapper Lil Nas X in the documentary “Lil Nas X: Long Live Montero” is to witness a Black queer man embody a power that still feels very new.Directed by Carlos López Estrada (“Raya and the Last Dragon”) and Zac Manuel, this film, streaming on Max, is historically important given its subject’s place in hip-hop, a genre dominated by heterosexuality and hypermasculinity. New interview footage with Montero Lamar Hill, a.k.a. Lil Nas X, from both on the road and in his home, is juxtaposed with performances from the artist’s recent “Long Live Montero Tour,” a celebration of queer eroticism and joy.But the scenes are assembled like the wall collage of pop stars that we see in his otherwise empty bedroom, resulting in frustrating interview segments that are both broad and cursory. Lil Nas X is forthcoming in the documentary about his preshow bowel movements, for example, but is less open about more meaningful thoughts, such as how his religious journey is connected to his work.When the musician Little Richard, known for his flashy attire and complicated past, comes up in a 1972 interview clip that Lil Nas X briefly comments on, the film makes a quick point about Black queer artists who have struggled to be out. It then falters by generalizing a history that, with some added details, could have better emphasized Lil Nas X’s current impact on culture.“Saying actual words — it’s really hard to do,” Lil Nas X eventually admits. Still, the best parts of this documentary are onstage, where his freedom to be himself tells its own thrilling story.Lil Nas X: Long Live MonteroNot rated. Running time: 1 hour 35 minutes. Watch on Max. More

    • 113 Shares129 Views

      in Music

      How Did Melanie’s ’Brand New Key” Hit No. 1?

      by

      Melanie’s “Brand New Key” is just one of many weird songs that somehow topped the Billboard charts.When Melanie’s “Brand New Key” debuted in 1971, some people were confused. What did the singer, who died on Tuesday at 76, mean when she sang about having a brand-new pair of roller skates and someone else having a brand-new key?Melanie told interviewers that she wrote the song in 15 minutes, after ending a 27-day fast, and that it was intended to be cute. The folk singer said that it did not have a deeper meaning, though many thought its playful lyrics about biking and roller skating were really about sex (“Don’t go too fast but I go pretty far”). It sounded strange, like a song out of time — Melanie said she intended it to hearken to the 1930s — sung with what could now be called a warbling “indie girl voice.” And it somehow hit No. 1 on the Billboard Hot 100.The song has lingered in pop culture, from a lip sync battle between Jimmy Fallon and Melissa McCarthy to a post-apocalyptic DJ playing it endlessly on “Kids in the Hall.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

    • 150 Shares199 Views

      in Music

      Melanie, Singer Who Made a Solo Splash at Woodstock, Dies at 76

      by

      Just 22 when she charmed the festival crowd, she went on to enjoy success with songs like “Lay Down (Candles in the Rain)” and “Brand New Key.”Melanie, the husky-voiced singer and songwriter who was one of the surprise stars of the Woodstock music festival in 1969 and two years later had a No. 1 single with the disarmingly childlike “Brand New Key,” died on Tuesday. She was 76.Her death was announced on social media by her children, Leilah, Jeordie and Beau Jarred. Neither the cause nor the location were cited.Melanie, born Melanie Satka in 1947, was only 22 but already a presence on the New York folk scene when she appeared at Woodstock. She was one of only three women who performed unaccompanied at the festival — and, as she later recalled, she was petrified at the thought of performing in front of a crowd vastly bigger than the coffeehouse audiences she was used to.It started to rain before she took the stage, and she would later say that the sight of people in the crowd lighting candles inspired her to write “Lay Down (Candles in the Rain),” which she recorded with gospel-style backing from the Edwin Hawkins Singers. Released in 1970, it became her first hit, reaching No. 6 on the Billboard Hot 100.Her biggest hit, “Brand New Key,” charmed listeners with its simplicity but generated controversy — and was said to have been banned by some radio stations — because some people heard sexual innuendo in lyrics like “I’ve got a brand-new pair of roller skates/You’ve got a brand-new key.” She acknowledged that the words could be interpreted that way, but insisted that this was not her intention.“‘Brand New Key’ I wrote in about 15 minutes one night,” she told one interviewer. “I thought it was cute; a kind of old ’30s tune.“I guess a key and a lock have always been Freudian symbols,” she continued, “and pretty obvious ones at that. There was no deep serious expression behind the song, but people read things into it.”Among her other compositions was “What Have They Done to My Song, Ma,” which, as “Look What They’ve Done to My Song, Ma,” was a Top 20 hit for the New Seekers in 1970.A complete obituary will follow. More

    • 125 Shares139 Views

      in Music

      Popcast (Deluxe): Playboi Carti, Waxahatchee and 12 More to Watch

      by

      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Will-they-or-won’t-they releases from Playboi Carti, Rihanna and Cardi BNew music from WaxahatcheeThe Atlanta rapper 2Sdxrt3allThe post-rage rappers Nettspend and XaviersobasedThe teenage SoundCloud rap elder Matt OxThe ambitious punk band Sheer MagThe sibling harmony group Infinity SongThe Mexican American singer-songwriter XaviThe Brooklyn drill trio 41The rustic roots-folk singers Sam Barber and Dylan GossettSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

    • 63 Shares189 Views

      in Music

      Sarah Jarosz Tests the Mainstream

      by

      With her new album, “Polaroid Lovers,” a luminary of Americana broadens her sound.In modern Nashville, songwriting is often a matter of professionalized co-writing: planned, mix-and-match collaborations by appointment, musicians sharing a room to come up with sturdy material.It’s a method that Sarah Jarosz had largely shied away from until she made her seventh studio album, “Polaroid Lovers.” The LP, arriving Friday, includes songs she wrote with behind-the-scenes Nashville stalwarts including Jon Randall, Natalie Hemby and the album’s producer, Daniel Tashian, who worked on the country-psychedelia fusion of Kacey Musgraves’s “Golden Hour.”On “Polaroid Lovers,” Jarosz reaches toward a broader audience while still maintaining her individuality. The songs are more plugged in, muscular and reverberant than her past albums, which were intimate and largely acoustic. But her particular perspective — at once clearheaded, thoughtful, vulnerable and open to desire — comes through.The first song Jarosz wrote with Tashian was “Take the High Road,” with a chiming chorus that declares, “It won’t be the easy way/Saying what you want to say.” In a video interview from her home in Nashville, with string instruments hanging on the wall behind her, Jarosz said that the song’s lyrics “are almost a thesis for the whole album. You know, ‘I’m tired of being quiet — time to face up to the fear.’”Jarosz, 32, is a luminary in acoustic Americana, where bluegrass, folk, jazz and chamber music mingle with pop and rock. Born in Austin, Texas, and raised in Wimberley, a small town nearby, Jarosz emerged as a teenage bluegrass prodigy, playing mandolin, guitar, banjo and the instrument she considers her “soul mate”: the octave mandolin, pitched an octave below the standard mandolin, which she often uses for solos or countermelodies. The instrument sounds a little darker and twangier than acoustic guitar in the same range — a hand-played lower voice that answers Jarosz’s own hovering mezzo-soprano.She made her first four albums in Nashville, and she was urged to write songs with more seasoned musicians; she chose not to release any of them. “The quote-unquote ‘Nashville co-writing’ thing had been pushed on me when I was like 18, 17, making my first record,” she said. “I was really closed off to it back in that time, because I felt like I was still finding my voice. And I was worried that if I went into those co-writing rooms prematurely, that I would get lost at sea.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

    • 138 Shares99 Views

      in Music

      Frank Farian, the Man Behind Milli Vanilli, Is Dead at 82

      by

      He had worldwide success with the disco group Boney M. He was better known for a duo that had hit records but, it turned out, only pretended to sing.Frank Farian, the hit-making German record producer who masterminded the model-handsome dance-pop duo Milli Vanilli and propelled them to Grammy-winning heights — until it was revealed that they were little more than lip-syncing marionettes — died on Tuesday at his home in Miami. He was 82.His death was announced by Philip Kallrath of Allendorf Media, a spokesman for Mr. Farian’s family.Mr. Farian was no stranger to the pop charts in the late 1980s, when he brought together Rob Pilatus, the son of an American serviceman and a German dancer, and Fab Morvan, a French singer and dancer, to create one of pop music’s most sugary bonbons.He was born Franz Reuther on July 18, 1941, in Kirn, Germany. His father, a furrier turned soldier, was killed during the Nazi invasion of the Soviet Union, leaving Franz and his older siblings, Hertha and Heinz, to be raised by their mother, a schoolteacher.Coming of age on a steady diet of American rock ’n’ roll records, Mr. Farian eventually became a performer himself. He rose to the top of the West German charts in 1976 with “Rocky,” a bouncy, German-language interpretation of a hit by the American country artist Dickey Lee.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More

    • 88 Shares129 Views

      in Music

      In Praise of Whistling in Pop Music

      by

      Billy Joel has a new song coming next week. Before it arrives, revisit “The Stranger” and tracks by Juelz Santana, Dick Hyman and more.Billy Joel’s “The Stranger” is a classic whistle song. Next week, he’ll release a new track titled “Turn the Lights Back On.”Ethan Miller/Getty ImagesDear listeners,When Billy Joel was working on what would become his breakout 1977 album, “The Stranger,” he played the opening chords of the title track for his producer Phil Ramone, whistling a melody that he imagined another instrument would play in the final recording. “I whistle the whole thing and I finish,” he wrote in 2013, “I look at him and I say, ‘So what instrument should that be?’” Ramone responded, “You just did it.” The rest is music history.On Monday, Joel announced he’ll be releasing his first new pop single in nearly two decades next week. Fortuitous timing! While listening to “The Stranger” over the weekend, I found myself considering the pop musical whistle.It’s such a simple expression, but in a song it can convey a wide range of feelings and tones. A whistle can be childlike and playful (see: the whistle solo on Paul Simon’s “Me and Julio Down by the Schoolyard”) or it can be an adult expression of vulnerability (like the broken whistle that John Lennon musters on the wrenching “Jealous Guy”). Some whistles are innocent as lambs, and others — particularly those of the “wolf” variety — are unmistakably lascivious. Best of all, though, it’s a free instrument that almost all of us carry all the time. You don’t even need to take lessons to play it passably.While we await Joel’s latest, “Turn the Lights Back On” (which may or may not feature a whistle break), today’s playlist is a homage to the pop musical whistle, in all its glory and multitudes. I hope these 10 songs will wet your … well, never mind. And if you don’t know how to whistle along, you can always consult Lauren Bacall.Listen along on Spotify while you read.1. Billy Joel: “The Stranger”The aforementioned whistle acts as a kind of theme for the album “The Stranger,” setting its tone and recurring later, at the tail end of the closing track. Joel said the feeling he was going for was the “sound of a man walking down a Parisian street at night, and the streets are all glistening from rain.” (Listen on YouTube)2. Caroline Polachek: “Bunny Is a Rider”A repeated, beckoning whistle urges on Caroline Polachek’s restless heroine in this 2021 single, which plays out like a kind of pop travelogue. (Listen on YouTube)3. Peter Gabriel: “Games Without Frontiers”Peter Gabriel, hauntingly, depicts war as a kind of children’s game on this lilting hit from 1980, which features backing vocals from Kate Bush, invoking the French name of the European game show “Jeux sans frontières.” The whistled motif that echoes throughout is at once playful and eerie. (Listen on YouTube)4. Peter Bjorn and John: “Young Folks”I almost included this 2006 tune on my “Summer of Saltburn” playlist a few weeks ago, but it’s an even better fit here. “Young Folks,” the best-known track from the Swedish indie-pop group Peter Bjorn and John, has a happy-go-lucky whistled refrain that immediately recalls a particular sense of mid-2000s whimsy. (Listen on YouTube)5. Paul Simon: “Me and Julio Down by the Schoolyard”Speaking of whimsy, here’s a Paul Simon classic that also made an appearance on my Wes Anderson playlist last year. The song’s arrangement is so light and childlike that a midsong guitar solo would be too intense — so, Simon wisely reasoned, how about a whistle solo? (Listen on YouTube)6. Dick Hyman: “The Moog and Me”You may recognize this one thanks to Beck, who memorably sampled it in the intro of his “Odelay” track “Sissyneck.” A whistled melody snakes through a 1969 song from the jazz pianist and electronic music pioneer Dick Hyman, who contrasts familiar human-generated sounds with the synthetic ones made with the a Moog synthesizer, then a novel instrument. (Listen on YouTube)7. Juelz Santana: “There It Go (the Whistle Song)”A minimalist, melodically descending whistle provides the infectious hook for this 2005 hit by the New York rapper and Cam’ron collaborator Juelz Santana, and provides the main reason this song still gets stuck in my head all the time. “I decided to simplify,” Santana once said of the song’s composition. “I knew that the whistle would be something that people would come back to — and be distinctive. People don’t want to hear too much.” (Listen on YouTube)8. John Lennon featuring the Plastic Ono Band: “Jealous Guy”I appreciate the wobbly imperfection in the whistling solo in the middle of this one because it heightens the vulnerability that Lennon channels throughout a deeply personal song. (Listen on YouTube)9. Guns N’ Roses: “Patience”A karaoke standard — even more so if you can match Axl Rose note for note in his extended whistle intro. (Listen on YouTube)10. Otis Redding: “(Sittin’ on) The Dock of the Bay”Finally, I’ll play you out with this all-timer from Otis Redding, who perfectly captures the laid-back feeling of “sittin’ on the dock of the bay, wasting time” by idly whistling a tune as the song fades out. (Listen on YouTube)Whistling tunes we hide in the dunes by the seaside,LindsayThe Amplifier PlaylistListen on Spotify. We update this playlist with each new newsletter.“In Praise of Pop Music Whistling” track listTrack 1: Billy Joel, “The Stranger”Track 2: Caroline Polachek, “Bunny Is a Rider”Track 3: Peter Gabriel, “Games Without Frontiers”Track 4: Peter Bjorn and John, “Young Folks”Track 5: Paul Simon, “Me and Julio Down by the Schoolyard”Track 6: Dick Hyman, “The Moog and Me”Track 7: Juelz Santana, “There It Go (The Whistle Song)”Track 8: John Lennon featuring the Plastic Ono Band, “Jealous Guy”Track 9: Guns N’ Roses, “Patience”Track 10: Otis Redding, “(Sittin’ on) The Dock of the Bay” More

    • 113 Shares119 Views

      in Music

      The Soft Moon and Silent Servant Die in L.A.

      by

      Jose (Luis) Vasquez, John (Juan) Mendez and a third person, Simone Ling, were found unresponsive last week. Authorities had not determined a cause but said “possible narcotics” were at the scene.The musician Jose (Luis) Vasquez of the post-punk band the Soft Moon, John (Juan) Mendez, the D.J. known as Silent Servant, and a third person were found unresponsive at a loft apartment in downtown Los Angeles last week and were pronounced dead, according to their representatives and the authorities in Los Angeles.Vasquez’s death was announced in a post on the band’s Facebook page on Friday. Records kept by the Los Angeles County Coroner show that Jose Vasquez, 44, died at a residence the day before, Jan. 18.Triangle Agency, which represents Mendez, confirmed his death to the electronic music platform Resident Advisor. The Los Angeles County Coroner’s office lists John Mendez, 46, as also having died on Jan. 18 at a residence.The coroner’s office said a third person, Simone Ling, 43, was also found the afternoon of Jan. 18 at the private residence in the 600 block of South Main Street in Los Angeles. A spokeswoman said the Department of Medical Examiner has deferred the cause of death in all three cases, and that it could take between three and six months to make a final determination about the cause.Lt. Letisia Ruiz, a spokeswoman for the Los Angeles Police Department, said officers had responded to a call about a missing person, and upon arriving at Pacific Electric Lofts downtown, they entered a unit to find three adults who were unresponsive. “The officers also observed possible narcotics and narcotics paraphernalia,” she said. All three people were pronounced dead at the scene, she added.Homicide investigators were deployed to the scene and found no evidence of foul play or forced entry into the location, Lieutenant Ruiz said. The coroner’s office will handle the case and perform toxicology tests, she said.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber?  More