Singer-songwriter Wes Cunningham, born in the Philipines and raised in Texas, makes music that is simultaneously left-of-center and accessible, straddling the border of “alternative” (whatever that is) and power pop. His kitchen sink approach keeps it interesting: he raps in Spanish in one song, goes on a cheesy elevator muzak bossa nova detour on another. “Not Enough”, typically, includes a pseudo-salsa piano break and mariachi horns. It should be a mess, but somehow it works–the song’s unconventional arrangement only lends it greater immediacy.
“Not Enough” is from Wes’ first album, 12 Ways to Win People to Your Way of Thinking. With 2001’s Pollyanna, the angst of the first record was replaced by a newfound blissed-out romantic vibe–clearly the album was inspired by a blossoming love affair. The pop songwriting instincts, though, remained.
I’d love to hear more from Wes, who no longer seems to have major label distribution.
Roger Pagoda surprised his bride Olga (a Carnegie Mellon University graduate) with this song during their wedding ceremony. It has gone viral, thanks to promotion through Justin Bieber’s YouTube channel.
(4/29/2012)
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My two cents? I think as a general rule anything you do at your wedding ceremony that reduces the officiant to an awkward spectator and unwitting YouTube co-star is a bad idea.
Swedish dance-pop queen Robyn Miriam Carlsson released her Body Talk album in the form of three separate EPs over the course of 2010. Finally the complete album was released, combining most of the material from the three EPs.
The most attractive elements of Robyn’s music are precisely those not normally found in Eurodance pop: strong melodic hooks and a powerful emotional connection. This music evokes classic disco songs like “Don’t Leave Me This Way”, which packed an emotional punch. Thus it isn’t just great for dancing, but makes great listening too, as much as any other pop. Robyn is on a very short list of dance music artists I actually listen to for pleasure.
As for the artist, there’s a free-spirited freakiness about Robyn that, in terms of comparison to her stateside counterparts, is more Pink than Madonna. Her dancing isn’t the smoothly choreographed stuff typical of American dance-pop divas. In fact, it’s choreography that might make you wonder if there is any choreography, which I think fits the from-the-heart vibe of the songwriting.
In this interview snippet Robyn discusses her fellow Swedes ABBA and specifically that element that I’ve always felt was the magic formula of their music. Her words, in English:
…I like to work with contrasts. It can show in many ways, but i.e. the contrast between something that gives you energy to wanna dance to it and something that at the same time is also sad. That is exciting for me…
I think Abba is great. They may not belong to a genre oft associated with realness, but I really believe so in the highest sense. When you take their songs out of their productions, you’ll get an eye for what it was that made it all so big.
Both ABBA and Robyn’s music contain both sadness and an ebullient energy. ABBA’s gift for creating melodic pop earworms is undisputed, but somewhat overlooked at times are the autobiographical lyrics which chronicled the demise of two marriages within the group. Lyrical angst was always counterpoint to joyful melody, which is why their songs have a timeless appeal and aren’t considered today to be mere 70’s bubblegum. Robyn deals in the same type of sad “realness”, counterpointed similarly by melody and irresistible beats. Robyn wants you to take your angst to the dance floor. But her quieter readings of the same songs in alternate versions bring the sadness into stark relief, just in case you didn’t get that she isn’t some superficial Ke$ha. It’s as if she wants to show that her songs can be “taken out of their productions” just as she suggests we do with ABBA’s songs, to reveal the song’s soft center.
Not a fan of dance pop? You might want to give Body Talk a chance despite. Because under those dance beats you’ll hear a heart beating too.
he Beatles’ first show in the United States took place at the Washington Coliseum in Washington, D.C. on Feb. 11, 1964. Beatlemania unveiled its fresh face on the packed crowd of 8,092 fans in attendance over the course of a 12-song set that included “She Loves You” and “Twist and Shout.”
Over 40 years the footage of the historical event was lost, found and has yet to be seen by audiences—until now.
On May 17, Screenvision, in partnership with Ace Arts and Iambic Media will present a 92-minute documentary which features The Beatles’ first-ever U.S. concert, titled The Beatles: The Lost Concert. The documentary will be shown in theaters across America between May 17-22.
Every Moment Has A Song 