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I talked Ashton Shepherd's "Whiskey Won The Battle" out of obscurity and into Tom Ewing's World Cup Of 2008 competition coming up in March, and have already prepared my spontaneous retort for when the song gets eliminated early on:

"Tonight the ballot let me down!"





I'd pretty much forgotten Ashton till yesterday when I looked up my Nashville Scene country critics ballot for 2008:

Ashton Shepherd sounds like a caricature of country music, a twang as wide as rivers are deep, no heart left unwrenched, no string untugged, the result being uncannily gleeful and exuberant; then at the end, "Whiskey Won The Battle" — as clichéd as the rest — is a gutkick of total conviction. Country song of the year, except maybe for Willie Nelson's "The Bob Song," a cover of some old Big & Rich fanpack folderol about a guy sitting in his tree taking the piss out of everything he sees, or something, Willie turning it into utter beauty.

I've actually already used the ballot-let-me-down gag, not regarding 2008 but 2011: is a play on words on Merle Haggard's "The Bottle Let Me Down," from 1966, which Ashton Shepherd is referencing and riffing on in "Whiskey Won The Battle." "The Bottle Let Me Down" was covered by LeAnn Rimes in 2011, so when I included her in my nonsingles list I used the headline "Tonight The Ballot Let Me Down." Here we are:

Tonight The Ballot Let Me Down (February 11, 2012)

Anyhow, if you read down the commentary for that list, you'll see that the ballot's fine but that my memory let me down. Recall this from last month's philosophical disquisition:

And my favorite of Hyuna's live TV versions of "Just Follow" featuring Zico (as opposed to the EP track which featured Dok2 who wrote it) made my singles list for 2011 (iirc) but is on my Top 5 Nonsingles Of The 2010s 'cause that's where there was room for it (I've not gotten around to posting here about that list but here's the playlist).

As it happens, not only did I not recall correctly, but I'd also forgotten my lengthy spiel on the very subject of why I was putting Hyuna's live-on-television "Just Follow" on my nonsingles list rather than my singles list:

"So, why does your webrip of a live Dia Frampton performance get classified as a single, but your webrip of a live HyunA performance get classified as a nonsingle?" 'Cause Dia Frampton's "Heartless" was on The Voice, which is an American Idol–type talent show, and for those shows the live performances are what everyone cares about. The popular ones tend to have a singles-like impact. Whereas the HyunA performance was just a live TV clip designed to promote her and her album. If that clip had gotten massive YouTube views I'd probably have counted it as a single. (I chose that performance rather than the album version, 'cause (obviously) I think it's better; also, it was significantly different, having Zico rather than DOK2 in the "featuring" spot.) The real question might be why didn't I discount the live "Heartless" in favor of the quickie studio version that was available for download and actually charted in the Hot 100 and made it to something like 27 on iTunes (Wikip and Google aren't giving me a consistent number for the latter)? The answer here again is that it's the live version that everyone cares about, and the live version is significantly better. Over the years I've put six talent-show clips on my singles list, the other five being Jordin Sparks' "I Who Have Nothing,"* Brooke White's "Love Is A Battlefield,"* Adam Lambert's "Mad World," Didi Benami's "Rhiannon," and Didi Benami's "Play With Fire," all from American Idol. I chose the live version for four of those five, "Mad World" being the only exception. I don't draw any conclusion from that about live talent show performances being generally better than the corresponding studio quickies, since I don't even bother with the studio version unless the live version is extraordinary. So if a live version is extraordinary I'll listen to the studio version, but if the studio version is extraordinary I won't even hear it unless the live version is extraordinary too.

*Hmmm. Apparently I didn't list "I Who Have Nothing" at all in 2007, and, though in 2008 I did list "Love Is A Battlefield," I put it on my songs list but not on my singles list, deciding I suppose that it was not a single.

LeAnn Rimes "The Bottle Let Me Down"


Dia Frampton "Heartless"


koganbot: (Default)
I must say that the South Korean Singles Chart is kinda sucking at the moment. Good songs by SHINee and Sistar will soon be winding up their runs, and Girl's Day's pleasingly perky "Expectation" could only manage one week in the Top Ten. Meanwhile, the music that's been exciting people here and on Rolling K-pop (Gaeko, GLAM, D-Unit, Ladies' Code, MYNAME) are down in the lower reaches, when they're there at all. That this week the chart is topped by over-precious talent-show indie and unremarkable balladry isn't the particular problem — this often happens. I'm disappointed by the idol ballads too (Davichi and Taeyeon), but that's not a giant surprise either. I only ever like a small percentage of ballads. I guess what I'm bummed about is that, after Rainbow came out with a dull non-SweeTune track and a boring concept, the SweeTune comeback track for Infinite is also something of a drag: murky and meh. SweeTune tend to pile sounds into their tracks, and this time the boys' voices couldn't lift the weight. Teen Top's holding on with an okay bit of cod-Latin, but they've been catchier too.

Not that I think the Korean popular genres are in trouble. That there's plenty of good stuff hitting small or flopping means that the wellspring is still gushing, even if the dice are landing wrong. And actually, onstage, with the excellent dancing and the thrilled fans, Infinite and Teen Top are coming through, K-pop as a never-ending stream of event upon event upon event. The spark's there, crisp movement, sharp with the kneebend, just needs better notes and the voices need to be used better:

Infinite "Man In Love"


Teen Top )

By the way, down in the OST ballad pit, Baek Ji Young is excellently overdramatic on "Acacia," and was even more excellently extreme three months ago giving way to hate.
koganbot: (Default)
[For some reason, when I was adding tags, livejournal deleted this entire entry, along with its comments [EDIT: Likely I hit a wrong button]. So I'm reposting this list. It originally went up January 1st, 2012, 23:54.]



1. T-ara "Lovey-Dovey"
2. Orange Caramel "Lipstick"
3. Trouble Maker "Trouble Maker"


Shinsadong Tiger w/ bodyguard. Co-producer and co-writer of #1, #3, #13, #37

4. ChoColat "I Like It"
5. Dev "Take Her From You"
6. Dev "In My Trunk"
7. Cassie "King Of Hearts"
8. Wonder Girls "Like This"
9. Sistar "Alone"
10. T-ara "Day By Day"
11. Davichi & T-ara "We Were In Love"
12. 2NE1 "Scream." Over at the Singles Jukebox, commenter My cheap on accurately pegs this as "let’s sing about screaming but not scream." But then, 2NE1 aren't the ones to take terror and act afraid of it, are they (as opposed to using it to add frisson to their party)?



13. 4minute "Volume Up"
14. Flashe "Drop It"
15. After School "Rambling Girls"
16. Taylor Swift "Red"
17. ChoColat ft. Sung Hyo Ram "One More Day" (also called "Same Thing To Her")
18. Orange Caramel "My Sweet Devil"
19. Miss A "Touch"
20. Yoon Jong Shin ft. Kim Wan Sun "I Love You All Days"
Ana Victoria through Nicki Minaj )
Paulina Rubio through Charles Esten & Hayden Panettiere )
Los Mesoneros through After School )
Clazzi through A-Jax )
Jhene Aiko through Ciara )
Knife Party through Cloud Nothings )
Gangkiz through Dawn Richard )
Tony & Smash through Bae Geon-seok )

To reemphasize the demographic points I've been hammering at you during all of my quarter-year writeups: There's only one male singer in my Top 10, the male half of Trouble Maker — the half that moves half-paralyzed in terror as a warm, endearingly emotionally sweet and massively sexy fun girl wraps her arms around him. This is fitting for a time in which male vocalists don't seem to know WTF they should do. The next XY chromosome doesn't show up till a negligible guest shot on ChoColat's "One More Day" down at 17. First vocalist over forty is Kim Wan Sun, the guest singer on "I Love You All Days," number 20. First male voice over forty is Jay-Z's in "Clique," track 27.

Cuteness more authoritative than strength is? )

koganbot: (Default)


Woo Hye Mi, on The Voice, well-trained blues, soul, and jazz singer (etc.), sartorially restless, not just putting on different styles on different days (which it seems almost all Korean singers do), but seemingly inhabiting genuinely different cultural categories with each, from post-punk shape-shifter to tough pop waif to after-dinner elegance to god knows what. Paradoxically, in her singing, it's when she goes for playfulness and experiment (like the yelp here in "Maria" at 1:13, and the final 30 seconds) that her music gets in trouble; whereas when she settles into conventional power and passion she knocks us dead. I hope that as I hear her more this turns out not to be a tradeoff she'll have to make, that the adventure and passion will feed each other to the benefit of each.

Yu Seong Eun )

Lee Ha Yi on Kpopstar )

Meanwhile, back in the States )
koganbot: (Default)
Over on Tumblr, Trevor posted nice things about me, which I therefore urge you to read. Appropriately enough, the passage of mine he cites as "perfect" is one that I myself find very problematic. Maybe "perfect" can mean, "desperately needs a lot of elaboration" — which is certainly more stimulating than "wraps it up so that we don't have to say anything more on the matter."

In that paragraph, I claim that the rock 'n' soul singers on the U.S. version of The Voice are looking backwards rather than into adventure, whereas the quirk girls who've heard Adele and who draw on the last two decades of quasi-eccentric singer-songwriters are hearing a world of permutation and possibility. And I perceive similarly open ears in the South Korean take on almost any music.

Now, I wouldn't say such things if I didn't believe them, but if confronted by a skeptic I'd have a lot of trouble even explaining what I mean much less supporting it. For instance, why does the re-working of disco and freestyle by Korean producers like Shinsadong Tiger and SweeTune go into my category adventure, whereas the 57 or so varieties of mewlers, bawlers, gruff baritones, AC smoothies, etc. that I'm calling "soul" all get consigned to the retro bin? Why can't the fact of so many varieties be evidence of permutation and possibility in soul, too? South Korea feels fresh to me while the American soul bores feel barely reheated, but this feeling hardly explains anything, and I lean heavily on the explanatory power of the actually quite opaque word "adventure."



Further responses owed to Askbask and Arbitrary_greay )
koganbot: (Default)
So far The Voice in 2012 has produced no moments of genius to match Dia Frampton's "Heartless," though "Cinderella" is audacious enough to make me think there's a chance we'll get one. And I've found six standouts that are better than good (and I'm doing this all by YouTube, so my listening hasn't been all-inclusive). Here they are in no particular order:


[Lindsey Pavao "Say Ahh"]

Wobbly quirks with pebbles and glass thrown in. Lindsey's not yet got the command that a Taylor Swift or a Xenia has to turn her uncertainties into aesthetic bull's eyes, but the wavers and swallowed words fit this performance fine.


[Son Seung-yeon vs. Oh Seul-gi "It's Raining Men"]

Impressed by how both of them have smoldering depths and high fires.

I know what I am and I'm glad I'm a man and so is Lola )

Revenge of the Idol reject )

Quirk Rising )

The Quirk Strikes Back )

Now I wanna be your daub )

h/t [livejournal.com profile] just_keep_on
koganbot: (Default)
Near unanimous opinion online that Dia Frampton had a Cher Lloyd a-star-is-born moment several days ago on NBC's The Voice with her twisting and half wispy, half guttural version of Kanye West's "Heartless." It continues to grow for me the more I listen, her voice scooping into the soil and rising up to what I'll describe incongruously as a dark alto trill, throat-grabbing, breathtaking. Much richer than Kanye's Autotuned original. Kanye's voice seemed aligned with the lyrics' analytical puzzlement - the song circling around among Yes, she really is cold and heartless, No, they say she's cold and heartless but they'll never understand our love, I don't understand our love, as you ditch me and then play me, and voices say "heartless." Dia lets the lyrics take care of all this while she goes for earth-flow and splatter and high-pitched reflection.

NBC runs online a little too soft, so I recommend you push the volume a little:



But what's bugging me is the narrative that Dia and NBC have concocted )

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