I write about culture from a pro-Black perspective

RichGirl: What Exactly Do We Need from a Girl Group?

 

I can’t decide what angers me more: that this song is written and produced by Dre and Vidal, who are capable of way better (like this, for instance), or that so much of this song is devoted to perennial rap cameo artist Fabolous and the completely devoid of talent Rick Ross.

It’s not clear to me what it is that RichGirl offers to the marketplace as a vocal group. Or rather, nothing that they have released so far requires four singers singing in harmony, or even bothers to take advantage of the fact that RichGirl is actually made up of four singers who, presumably, can sing in harmony.

It isn’t that they should do this*:

 

 

or this:

 

 

But there doesn’t seem to be even the pretense that we’re getting music that uses multiple voices in harmony to convey some emotion or idea that can’t be conveyed in the same way with one voice (or even one voice with background singers).  I think the artist, producer, or label that figures out how to do that in this historical moment when there’s an entire generation that venerates artists whose whole appeal is the absence of any musical ability whatsoever will be wildly wildly successful.

So I guess it is the former that bothers me more. I get that the marketplace is producer-driven, dance-floor focused, and completely uninterested in vocal ability. But then – why a girl group?  RichGirl exists solely to sell the idea of a girl group, without actually being a girl group.

I mean, I can’t even enjoy RichGirl as shamelessly derivative and unoriginal – Destiny’s Child taken to its most extreme end – anymore.

 

 

*Another post for another day: how Tiny was the best vocalist in Xscape, got the best leads on all the songs, and also how Tamika Scott’s greatness was unjustifiably overshadowed by her sister Latocha.  Both of which are on display on this, their single best work.

(H/T Soulbounce)



Posted on October 12th, 2010 - Filed under Hot Videos,Music
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Tigger’s 25 Best Albums of the Aughts (00s), Part 1

The thing that is interesting to me about all the lists I’ve read about music in the Aughts is how little the lists reflect the impact of the internet.  Reading most lists, you wouldn’t think that the industry changed as much as it did.  You’d also think that, reading other lists, that the industry figured out the internet immediately and it became just another promotional tool for them to give you whatever it is they’ve decided is hot music.

Napster started in June 1999, just six months before the new millennium and the music industry has never been the same.  Illegal downloading meant that people could hear an artist’s work before it was done.  They could hear songs that artists never intended for them to hear.  And they could hear multiple versions of a song that ultimately went to another artist (how many people downloaded Posh Spice’s version of Beyonce’s Resentment?).

What this meant is that the single had even less meaning than it did in the past, though the industry and your favorite artist will never tell you that.  Indeed, the minute that iTunes and other online music services offered you the ability to pick which song you want to own, singles just became different animals.  Oh sure, we still had huge singles in the decade that everyone bought and then couldn’t escape for years – Yeah!, Crazy In Love, and Hey Ya come to mind – but the point is, how the consumer interacts with an artist shifted completely.  Many artists began to release as singles album tracks that were buzzworthy on the internet in hopes of increasing sales (Mariah Carey seems to live and die by her message boards, which explains the yo-yoing of her career of late).

It also meant that the industry’s devaluation of the album was complete.  Oh sure, people still buy albums, but with the ability to pick and choose what you want, there was even less incentive for the biggest artists to make albums a complete experience.  More then ever, what we got from corporate artists were three or four “radio singles” and a bunch of lamentable album tracks (you know, the ones that artists like Britney, Rihanna and nem point to as evidence of their “growth” because the songs might have an actual bridge or something).

For me, as a music lover, it was a wonderful time to discover music online I might not otherwise have heard.  I was able to follow the rise of homo hop, get copies of shelved albums by artists like Joi Gilliam and Nicole Wray, get obscure albums by Ricky Bell, LaTocha Scott, and Mark Middleton, and find artists who had been discarded by the industry but were making music on their own terms (Shanice, Smoke E. Digglera and Digital Black from Playa).  And let’s not forget how R&B artists have embraced the “mixtape” concept as a way to put out music that perhaps the label didn’t want you to hear or just to keep their names in your mind (Teedra Moses, Trey Songz, Amerie).

What this meant was that I had something else to compare to whatever it was the industry was throwing at me.  It meant that I didn’t have to fall for the othering of British “phenoms” who were ripping off American Black music unconvincingly.  It meant that I didn’t have to be mired in the industry’s mistaken belief that artists were only as good as the song Rich Harrison, Timbaland, Pharrell, Rodney Jerkins, or whoever gave them.  It meant that what I listened to was more driven by me than the industry.  Great as the 90s were, I was largely at the mercy of the industry.  That is simply not the case anymore – even for consumers (and artists) who live and die by the Billboard charts.

I say all this to say that my list reflects very much my experience with black music in the Aughts.  It is not a list that is designed to rank the biggest commercial albums of the decade and then find creative ways of equating art and commerce.  Which is not to say that there aren’t some obvious choices on here.  But this is my list, not a list that necessarily reflects the perspective of the average music consumer.

You been warned.

NOTE – The list is long, so its broken into two parts.  This post has the first 13 albums.

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Posted on January 5th, 2010 - Filed under Music
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Tigger’s Best Songs of 2009

This list represents what I consider to be the 20 best recorded songs in black music this year. You should know before reading that I don’t just consider singles, as singles are such a small sample of what is recorded and released in any given year.

Enjoy!

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Posted on December 30th, 2009 - Filed under Music
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RichGirl fills a void…sorta

The New Destiny’s Child, ladies and gentleman.

Nah seriously.  I’m sorta feelin this and not just because Rich Harrison has transplanted Dangerously in Love Beyonce vocals to 4 bangin ass chicks who can actually warble a bit , because I see all the elements that are being recycled rather plainly and still feel genuinely like this is a group that is exciting to watch.

Though I sorta dig this, let’s just be clear about some things so there’s no confusion:

 

  • The walking around each other posing thing from Bills Bills Bills is a nice touch (and just different enough for Beyonce stans to be cool wit it), but damn nostalgia for 1999 makes me feel old as hell.
    • To that point, there was always something charming about the original DC image and styling, so resurrecting that is sort of a repudiation of the DC3 Beyonce focused incarnation.  I’m wit that.
  • The Madonna Human Nature boxes are an inspired touch.  That video was dope!
  • I’m likin that all four girls can sing — and that they are sharing lead vocals (YAY!) — but was there any particular reason to choose 4 bangin ass women who have identical (in phrasing, tone and texture) voices.
    • Yes, I did notice that the light-skinneded one with the curly hair has a mite more heft to her voice, but that really don’t count.
    • The one with the ponytail shall henceforth be sentenced to a room with a vocal coach and other pop singers records to unlearn that blatant rip-off of Beyonce’s voice, phrasing, style, and vacant video persona.
      • Since she probably won’t, the kids will either love her or hate her.  This love/hate will be directly related to how much of a stan for Beyonce a person is.
  • Rich – you worked hard to find 4 bangin ass women who can sing but perhaps you could have spent some more time on making the music sound less like a Beyonce 2003/Amerie retread.  Retire the hi-hat and learn to read music, homie.  Thanks.

 

Via Soulbounce

UPDATE – The dark-skinneded one is mesmerizingly beautiful.  Do it mami!



Posted on May 28th, 2009 - Filed under Music
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