90’s music

Ninety 90’s Songs: Canadian K.D.’s Constant Craving

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Oh, the nineties. After the fun, excessive decade of the 80’s which featured innovation stacked on top the also over the top decade of the seventies, things became more subdued. Men sang about their grungy emotions, stopped wearing make up, and women starting to take center stage as moody gravitas-bearing muses. Even some of them stopped wearing make up, too. It wasn’t all Cyndi Lauper and her party anthems anymore. No, this was the decade of serious women. And more black and white videos.

#52 “Constant Craving” by K.D. Lang. Released in 1992, and then again in 1993, this song became a major hit. Unexpectedly, K.D. won Best Female Pop Vocal and Best Female Video awards (Female Video? Videos have a gender? Don’t they mean Video by a Female?).

Whether you identify with it’s lyrics due to feelings you have towards someone you like, or perhaps a vice you can’t shake, and those may very well be the same thing, it’s not difficult to imagine why this song was so popular. We tend to crave the things that are bad for us, don’t we? Knowing we shouldn’t indulge only makes those cravings worse. And more constant.

The video features a stage production of “Waiting for Godot.” The themes (pick one, many have studied it and there are several) were meant to complement the themes of the song. Is K.D. craving the return of a currently absent yet soon to return Godot-esque figure? Maybe she is just craving a chance to play a role in a production that famously features only men. Regardless, having her sing backstage while we see the play performed mirrors how our deep longings continuously rack our minds behind the scenes, while we put on a mask to the world that we are just fine.

While I usually rag on the choice of so many 90’s videos to go black and white, the choice here provides a bleak and stark effect that magnifies the light and dark shades of emotion depicted in the song and video. The song deserved its acclaim, which makes it sad that we still don’t hear this song as often anymore, despite being featured on music-recycling powerhouse Glee.

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Ninety 90’s Songs: It Still Ain’t Over, Lenny.

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Kids today have this image of Lenny Kravitz being this glamorous figure, a make up artist who makes Jennifer Lawrence look pretty in The Hunger Games. His role as Cinna is pretty good, but for me I still remember a different Lenny. This was a neo-funk be-dreadlocked Lenny who crooned and rocked his way through the 90’s.

#53 “It Ain’t Over ’til It’s Over” by Lenny Kravitz. Released in 1991 on his second album “Mama Said”, this track is Lenny’s highest charting hit, reaching the #2 spot on the U.S. Billboard Hot 100. While another famous 90’s crooner blocked his way to the top spot, I find this track to be more memorable.

Featuring the horn line from Earth, Wind & Fire (no Oxford comma?), the Phenix Horns, this song hearkens back to the classic sounds of the Soul genre. After much New Wave and electronic music from the 80’s, and with Hair Metal and House Music still dominating the music scene, “It Ain’t Over ’til It’s Over” is a striking change to the prevailing tastes of the day, and obviously a satisfying one.

The video reminds me of those vintage live performances on Soul Train. Lenny is decked out in his Motown-esque attire. Seeing the section of strings whipping away with their bows really brings the song’s string arrangement alive in its sweeping, nostalgic glory. It’s a simple video, no cuts to black and white, just straight forward lipsynching and faux instrument-playing.

Lenny Kravitz continued to have several other hits, including “Are You Gonna Go My Way” from 1993, a hard-rocking electric guitar experience that has few rivals in its time. Even in decades beyond he’s remained a consistent figure in the music scene, even if he isn’t an overpowering superstar. Instead, he burns his creative flame steadily and consistently.

Like a Prince of the 90’s, Lenny ventured down many musical genres in his career, but unlike Prince, he’s never seemed to get too full of himself and burn out like a flash in the pan. Whatever else he may credit to his success, his eclecticism is also what makes him consistent, and this song is a hallmark of the timelessness his music embodies.

Ninety 90’s Songs: Someday, That Sugar Ray…

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There’s something weirdly “meta” about music that occurs sometimes. Listening to something, you can’t help but feel a premonition of the nostalgia that a song will trigger many years down the line. It’s like you’re listening to a glimpse of the future, which, when listening to that song in that future, becomes a link to the past. It’s like that moment you know will be a memory, or that instance when the most mundane thing becomes memorable, remains forever like a two-way mirror. You always remember that there’s another side, even though you can only look through one direction at a time.

#54 “Someday” by Sugar Ray. Sugar Ray began as an Alternative band with a couple of albums devoted to a harder sound. ’97’s “Floored” was the pinnacle of that sound, but ironically their unique-sounding (on that record), reggae-inspired “Fly” was their biggest hit. It became popular across several formats aside from Alternative and Modern Rock, and many claimed that Sugar Ray could never do such a thing again. Their next album “14:59” (which hints at their “15 minutes of fame”) came along 1999 with more hits, including “Someday” among others like “Every Morning”.

“Someday” is a slower track, featuring some then-common synth organ accompaniment. It’s a sad sounding song, remorseful, and hints at some kind of regret or nostalgia. It was this sense, as well as a line in the lyrics, “I hear a song from another time and fade away”, that stuck with me. Even back in ’99 I knew that I would hear this in the future and that it would become the self-same song from another time. The video features a bar in some kind of Key West-ish retirement community or something. The whole thing is in black and white (oh, 90’s…) as if to evoke that effect of time passing. Overall, it’s a pretty good tune, and the kind of softer ditty that Sugar Ray would continue to put out.

You see, at the time of “14:59″s release, Sugar Ray was accused of selling out. They had already established themselves as a pretty decent Alternative act throughout the early and mid 90’s, but this attempt to garner more top-of-the-charts kind of acclaim led them to begin producing a more pop-oriented sound. Whether or not you agree with their apparent selling out and throwing their alternative sound under the bus, it was a successful move for them. Throughout the next decade they had become a pop staple, and left behind nary a trace of their alternative roots.

Every now and then, this song still plays on Adult Contemporary stations and I take a moment to reminisce. I remember musing that this song would stick around on the radio while sitting in the bathtub, my broken wrist hanging dryly off the side in a cast, and that I would always think about that someday in the past when I took the chance to deeply listen to the song, and that someday in the unknown future when I’d hear it again.

Ninety 90’s Songs: Please Don’t Go… On and on and on.

Some things die. Well all things, really, but that’s a bit darker than I’d like to explore today. What I really mean is that time passes and leaves things in history. Sometimes those things are found and brought back. When it’s a treasure that’s found, we call it an archaeological discovery. When it’s trash, we call it recycling. When it’s someone that comes back from the dead, we call it a zombie. In music, there are plenty of zombies. In the music biz, it’s called a cover, and it’s not always a good thing.
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#55 “Please Don’t Go” by Double You. Originally “Please Don’t Go” was a late Disco ballad by KC and the Sunshine Band, and a really decent song for the time. It was released in 1979 and wound up becoming the first number one hit of the 1980’s. Then disco died, and KC got stuck doing renditions of his disco hits for the rest of his life. Flash forward to 1992, when Italian duo Double You rediscovered this hit (or maybe it just took that long for the Italian music scene to get around to disco) and made it their own as a Eurodance track.

Like other Eurodance tracks, this one features repetitive, repetitive, repetitive beats and lyrics. It’s quite repetitive. If you listen you’ll notice the repetitive repetition. Repeatedly.  Several times and over and over again.

Obviously, this translates well to the dance floor when it doesn’t matter what the song is as long as you can continue convulsing to the bass line while trying pick up hook ups, but for casual listening this song can be… repetitive.  Okay, I’m done. But seriously, the song was originally a slower ballad, and you didn’t need as many lyrics to fill up a three-minute time slot. But when you speed up the rhythm, you’ll need an awful lot of “please don’t go”s because by the sixth time you sing it, people will be ready to go.

Still, the song did quite well and was just one single among many that featured Double You’s cover versions of songs. To this day, Double You still chugs along, releasing and re-releasing their own hits and this hits of others that they have likely rearranged in the creative way that only they can do (i.e. enough to sell records). I was surprised to find that there actually exists a video which features all the standard tropes of early 90’s dance music. Pretty girls who aren’t doing anything other than flipping around their hair and lithe limbs, frenetic camera work that could induce seizures, and of course the infamous transition to monotone colors and black and white film. Oh, you 90’s…

Sadly, the video features the extended version of the song. This is sad because it means there’s an awful lot of… repetition. Please don’t go and play it, unless you can handle it.

Ninety 90’s Songs: Retro Brit Spice Girls Go Wild

Girl Groups are one of the easiest things to market in the music business, even moreso than Boy Bands. Guys get to look at attractive girls while they secretly enjoy the tunes, while women young and old have role models or icons in pop culture to help give them senses of identity. The legendary Spice Girls were no different. The biggest British invasion of the US since the War of 1812 and The Beatles, the Spice Girls swept America up in a tide of pop-feminism and S&M influenced male disempowerment.

#56 “Say You’ll Be There” by The Spice Girls. Coming off of their debut single “Wannabe” from album “Spice” in 1996, this track proved the Spice Girls were no one hit wonder. While they were often compared to compatriots The Beatles, their legacy came up short in the end. At the time of this song’s release, you wouldn’t have been able to predict that. American teenage girls were ravaging the nation with a sense of power that they could be who they wanted, wear their hair in funny shapes, and in the spirit of the song, tell boys they just wanted to be friends.
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The video for “Say You’ll Be There” was much lauded, won some awards, but the track itself acquired some tepid reviews amongst the throngs of hyped up praise.  Each Spice Gal performs this song under a pseudonym, which allows them to commit crimes of S&M violence against hapless males in the desert using their Sci-Fi-influenced weaponry and martial arts skills. It’s good fun (if you’re into that sort of thing, no judgement…) and you even get a bit of Stevie Wonder-esque harmonica and R&B groove.

It’s this last bit that garnered criticism. While I personally love a bit of British Motown and Blue Eyed Soul-inspired groove from the UK, the Spice Girls washed ashore the States against a prevailing trend of R&B and growing Hip Hop influences. Their attempt at funk in this song was seen as a cop out and a street-cred grab to hitch onto that genre’s momentum.

The Spice Girls’ flame burned out, only to be rekindled here and their later on in film with “Spice World” and later reunitings. For better or worse, they are seen as a treasure by some in the UK (mostly in the music biz, I’d guess). Their legendary beginnings, including an alleged clandestine operation to steal their own materials and tapes before being enslaved by greedy managers and a draconian contract create a mythic background for a band that couldn’t wind up standing the test of time. Their unique personas stay with us, even if their pop beats remain in the 90’s, but is that really the worst way for their story to end?

Ninety 90’s Songs: Jump Around, Hump Around, Rump Around

I went to an *ahem* urban middle school. I was a minority within a majority of minorities. I feel I’m better for the experience. I learned to mind my own business, stay out of fights, avoid gang association, and I learned some life-saving fashion advice: never wear a red and blue shirt in territory where Crips and Bloods are having a turf war. What I didn’t learn, however, is that Hip Hop has some white people involved, too. So like me, House of Pain is a minority within a majority of minorities.

#58 “Jump Around” by House of Pain. Not to be confused with “Jump” by Kriss Kross (like I’ve done), “Jump Around” became a hit in the US in ’92 before being re-released in the UK where it is still a club anthem. As famous as this single became, it is more infamous for it’s heavy use of sampling from a few different songs, and that terrible saxophone squeal at the beginning of every bar that could be used effectively to start a riot or to induce labor.

Squeeeeeeal. Squeeeeeeal. Squeeeeeeal. Squeeeeal. Jump. Jump. Jump. Jump. Jump. Jump.

Ugh.

And that basically what the songs is about.

And guess what people do when they hear this. Go on. Guess. And now pat yourself on the back because, if you guessed anything else besides “jump”, you are probably like me and tried to stab your ears with the nearest anything just to stop the madness. Still, this song proves the decade’s uncanny ability to produce unforgettable tracks that live forever.

Aside from releasing such an annoying single, House of Pain is also well know for giving Everlast to the world. Later in the 90’s he went solo sans the rest of his household of pain, and did quite well, and you might not even believe he was a member of this group due to the musical range he explores.

Now that I have a headache, I leave you with the video that includes lyrics in case you forget the words. And if you don’t stir the slightest bit to even tap your foot or bounce your knee when the song begins, even despite yourself, then I’d advise you to check with your doctor.

Ninety 90’s Songs: Sheryl Crow Tells It To You Straight

Imagine if some of the 90’s top female musicians were in the same room. Of course Madonna would be their shooting dour glares and trying to convince everyone that she’s relevant. Mariah Carey would be showing off by conversing in octaves only audible to canines. Alanis Morissette would be hanging around too, but she’d probably be spaced out on jagged little pills. Then there would be Sheryl Crow, sipping beer right from the bottle and offering to pass around a “cigarette” (It’s cool, she promises). She’d be the life of the party, because she’d make it a party.

#59 “All I Wanna Do” by Sheryl Crow.  This hit from the 93-94 era debut album “Tuesday Night Music Club” put Sheryl on the map. Her easy-going, laid back style is her trademark that propelled her musical career into all directions and many genres. If you don’t like country, honky tonk, blues, jazz, then you will after hearing this song. It’s infectious to the point that you’ll need to be vaccinated against day drinking because you’ll want that early morning beer buzz whenever you see a bar, and empty floor space will become potential arenas for beer bottle spinning.

And you won’t bat an eyelash at all.

Seriously, it’s Crow’s smooth delivery that suggests that all these things are okay, and that she’s not an enabler, she just wants you to stay cool.

But seriously, over the years Sheryl Crow has proved to be a consistently top-notch musician. For the rest of the nineties she put out hot single after hot single until she herself wasn’t a hot single anymore and started shacking up with Lance Armstrong. She eventually ditched him and moved on to other heroic things like battling breast cancer.

And winning.

This ain’t no Charlie Sheen winning. This ain’t no joke either. This is winning for real. She, thankfully, fought back from her cancer and still makes music to this day among other things, like television, and activism, and being all kinds of MILFy. Forever more when you hear those opening chords and that groovy guitar riff, it doesn’t matter where you are, even if you actually are at a disco in downtown L.A., you’re in Sheryl Crow’s house and you’re going to have some fun.