Documentaries that chronicle the rise, triumph, and inevitable fall from grace – and redemptive coda, if one is available – of an influential artist are often tricky propositions: VH1’s “Behind the Music” series pretty much cornered the market on this plotline early on, and subsequent efforts to subvert the formula either need to be either particularly innovative in style or to boast an interesting enough story to distinguish themselves. Take last year’s Pearl Jam Twenty, for example: an exemplary documentary, […]
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Spin Cycle: The Ting Tings’ “Sounds From Nowheresville”
Regardless of one’s feelings about The Ting Tings – day-glo pop masterminds or mere dancefloor diversions – they’d doubtlessly be a surprising addition to the canon of 2000s artists granted pop longevity. Their debut record, We Started Nothing, was a dance-rock jackpot, spilling out a startling amount of durable singles like a generous Atlantic City slot machine; but it, as a record, never offered anything below the heavily stylized surface. Not that all music needs to, mind you – it’s just […]
Ranking the Boss: Bruce Springsteen’s Studio Albums, Part 2
Part two of our ranking of Bruce Springsteen’s studio albums.
Ranking the Boss: Bruce Springsteen’s Studio Albums, Part 1
In light of Bruce Chester Alan Arthur Springsteen’s (note: not real middle name) 17th studio album, Wrecking Ball, hitting stores this week, Popblerd has turned to one of its resident Springsteen enthusiasts, native New Jerseyan Andrew “Drew” Ratliff, to provide a definitive (read: entirely subjective) ranked retrospective of The Boss’ studio ouvre. Naturally, sacrifices had to be made. First of all, no compilations: this weeds out the exhaustive bonus disc on The Essential Bruce Springsteen, the four-disc-strong unreleased material compilation […]
Spin Cycle: Bruce Springsteen’s “Wrecking Ball”
The Boss is back with his first new album in three years. How does it hold up to his lengthy list of classics?
Spin Cycle: The Magnetic Fields’ “Love at the Bottom of the Sea”
Digestible and lean, The Magnetic Fields’ latest record, Love at the Bottom of the Sea, attempts to have it both ways: while each Fields album after their massive, masterful magnum opus 69 Love Songs has been more laser-focused than that thrillingly kitchen-sink record, Love at the Bottom packs 15 swift tracks into its sinewy 34-minute runtime. For this we can thank Stephin Merritt, Magnetic Fields maestro and patron saint of indie kids who scrawl their lyrical sketches on cocktail napkins and dog-eared […]
Spin Cycle: Ja Rule’s “Pain Is Love 2”
Remember this dude? He has a new album. And we were brave enough to review it!
Spin Cycle: The Cranberries’ “Roses”
Chugging bass notes and rhythmically-scrubbed acoustic guitars scamper across a vaguely martial 4/4 drumbeat; Dolores O’Riordan’s distinctive Irish lilt, alternately forceful and airy, flits over the whole enterprise, dreamy harmonies and counter-melodies rising from the ether to join O’Riordan in a chanting, cyclical chorale of Dolores O’Riordans, all cooing in one accord the wistful dissolution of a relationship that simply wasn’t meant to be. Worried that you accidentally gunned the Delorean up to 88mph last night and have found yourself […]
Spin Cycle: Estelle’s “All Of Me”
Sometimes simply being refreshing is enough. Take Estelle: she’s a good singer, but not a vocal powerhouse. She’s a fine emcee, but not a magnetic one. And yet, 2008’s Kanye duet “American Boy” was such a shot in the arm; the London vocalist’s flirtatious interplay with Ye was engaging, the hook burrowed deep into the brain, and the splashy electro-funk production sounded like both a fresh diversion and a remarkably spot-on prediction of the direction pop music would take in […]
Spin Cycle: Sinead O’Connor’s “How About I Be Me (And You Be You)?”
There’s a quip that’s been fluttering around music circles for the past year. The wording varies, but it boils down to this: “So, when Adele’s happy, does she just stop writing songs, or what’s the deal with that?” The witticism is a bit played-out in the wake of the singer’s Grammy sweep, but it poses an interesting question: can a singer known for spinning their depressive notions into musical gold excel when they’ve arrived at a place of relative contentment? […]
