Thursday, November 4, 2010

Spice Girls "Forever": 10 Years Later



At the dawn of the last decade, the Spice Girls were the biggest female group in the world. Launching out of Britain in 1996, they used an irresistible brew of personality, music, and marketing savvy to pierce the global consciousness in a way few acts could or would.

Surviving the untimely exodus of member Geri "Ginger Spice" Halliwell in the late spring of 1998, the remaining four Spice Girls (Melanie's Brown & Chisholm, Victoria Beckham, Emma Bunton) blazed through the American leg of their Spice World tour. They'd also sew the grains of maturation that came to term on their third, final, and unsung long player Forever (2000).

The History
After Halliwell's departure, the Spice Girls began a visual, musical shift into an adult refinement. The closing of their first tour birthed "Goodbye," their eighth U.K. #1 hit. "Goodbye" had their talents in fine form as songwriters and singers. As 1999 began, each member branched into solo projects. Also during this hectic period, the Girls embarked on a U.K. only Christmas in Spice World tour. That tour showcased the material from their upcoming junior effort, due in first year of the millennium.


The Record
The initial sessions for Forever began in the summer of 1998 with producers Richard Stannard and Matt Rowe, whom they'd partnered with on Spice (1996) and Spiceworld (1997). While Forever's first single was "Goodbye," the actual album wouldn't materialize until the fall of 2000, totaling two years since an album of original work had been released.

Additional collaborators included Elliot Kennedy, the co-writer of "Say You'll Be There," Rodney "Darkchild" Jerkins and his cartel, plus Jimmy Jam and Terry Lewis. Songs like "W.O.M.A.N.," "Right Back At Ya," and "Holler Holler" (later to become "Holler") eyed a sleek, sexy, sophisticated edge that drew on both dance and R&B. Neither style was alien to the Girls, R&B had been the driving pulse on their debut recording Spice. One listen to Spice tracks "Last Time Lover," "Naked," and "If U Can't Dance" suggested the Girls had an ear for just a bit of grit to be cut with their shimmer.

"If U Can't Dance" in particular substantiated their taste for grooves in its usage of an iconic sample loop composite of Sly & the Family Stone ("Sing a Simple Song") and Parliament Funkadelic ("Theme From the Black Hole"). The sample became famous on the Digital Underground classic "The Humpty Dance." The fact that the Spice Girls rode that sample as superbly as the Digital Underground attested they weren't pop dollies.

As recording continued, Rowe and Stannard's work ("W.O.M.A.N") were cast aside as the Girls began exclusively working with Jerkins, Jam, and Lewis. Both productions units had a knack for bridging the gaps between the realms of pop and R&B. Jerkins résumé included soul ingenue Brandy and Jennifer Lopez, among others. He and his Darkchild imprint piloted eight of Forever's tracks.

Jam and Lewis had the best understanding of melding the melodies of pop with the larger beats of R&B music. Starting off in Minneapolis, Minnesota alongside Prince and The Time, they went on to produce some of the hottest black acts of the '80's. Jam and Lewis shaped a post-modern black dance phonic later known as "The Minneapolis Sound." Their work with Janet Jackson, at this time a fellow label mate with the Spice Girls, indicated their knowledge and credibility. They produced two sides on Forever.

The Spice Girls stayed true to their songwriting credentials amid the talented gentleman driving Forever's sound. The opener "Holler" was cool and crisp, done up in Britain's fashionable two-step R&B. Vocally dexterous after two years of touring, each member had a moment on a section of the verses before drawing together for the slippery chorus.

Beckham of the four had a noticeable improvement, setting the stage for her eponymous debut that followed a year later. Farther on, the keyboard boldness in "Get Down With Me," the swank showered "Wasting My Time," and the Girl Power kiss off "Weekend Love" saw the Girls working their musical muscles in their sassy dance and R&B motifs.

The call-to-arms riot of "Right Back At Ya," co-written with the mentioned Elliot Kennedy was more explicit and harder than his slight urban flirtation the Girls showcased during their Christmas in Spice World shows. Kennedy reportedly felt that Darkchild's productions had turned the cut into a "boring, plodding R&B song." A sour comment considering the song had that sonic stance before Darkchild pumped it up. Either way, this song would have shined during the Girls 2007/2008 reunion if it had been reworked.

"If You Wanna Have Some Fun," one of the two Jam-Lewis sides, sizzled. The track rode along a similar pathway that previous Spice stepping favorites "Who Do You Think You Are" and "Saturday Night Divas" had without sounding like a retread.The remaining Jam and Lewis side "Oxygen," was one of the four ballads that softened the uptempo flavors of Forever. Jam praised Bunton's voice as one of the best "instinctual" presences he'd worked with and she shone on "Oxygen." Forever was grounded in a way that their genre diverse opus Spiceworld wasn't, a risk for any pop group known for their chameleon tendencies.

The Impact
The climate in the United Kingdom, the Girls largest market, was still frenzied with Spice Girls electricity in 2000. Beaming from their BRIT Awards "Outstanding Achievement in Music" win months earlier, Forever seemed ready for commercial victory. On October 23rd, 2000 "Holler/Let Love Lead the Way," Forever's first single, scored the Spice Girls their ninth British number one. Now the Spice Girls sat in a pantheon of acts like The Beatles, ABBA, George Michael, etc. who had a large collection of number one singles in the British charts. Quickly moving silver units in England, it landed in the Top 10 reaches of the international charts (Canada, Asia, Australia, Spain, etc.). "Let Love Lead the Way" only had single status in Canada (#5) and England, elsewhere it remained the flipside to "Holler."

America had no commercial single released for either song and on airplay and import sales "Holler" reached #7 on the Bubbling Under Hot 100 Singles chart. The video for "Holler" was popular in the U.S., and thanks to MTV TRL (Total Request Live) it landed within the Top 5 of their video chart.

Forever was released on November 6th, 2000 in England and the remaining global sectors, America followed on November 7th. The record had immediate competition from British boy group Westlife and their Coast to Coast album. In a heated promotional battle, Coast to Coast stole the vaunted number one slot on the U.K. Album Chart, while Forever came in second. America saw Forever as the Spice Girls' first failure there, it lurched into #39 on the U.S. Billboard 200 Album Chart. There was little to no promotion Stateside for Forever. In England and Spain the record hit platinum, double platinum in Canada, and gold in Brazil, Germany, and several other countries. In total, the sales for Forever currently sit at five million copies worldwide.

"Holler" (Masters at Work Club Edit)
Directed by: Jake Nava


Forever was a soft seller, especially within their biggest arena the United Kingdom. America was easier to understand as the Girls really hadn't been a presence there since their single "Goodbye" in 1998. England had begun to hint at a Spice Girls burnout, they'd actively reigned in group or solo form since 1996. Critically, the Spice Girls split pundits.

The crew at Billboard Magazine wrote:
The set oozes with timely funk beats and the kind of well-crafted songs that No. 1 hits are made of.
Others were not so kind, like Rolling Stone's James Hunter, and stated as such:
It's been almost five years since England's Spice Girls had people smiling or sneering. Their third album, Forever, will probably provoke a reaction somewhere in the middle -- with one exception, it's just OK.
Despite its commercial lapse Forever had much life left to it. Virgin Records had promotional singles planned and pressed for "Weekend Love," "If You Wanna Have Some Fun," and "Tell Me Why." "Tell Me Why" received excellent remixing from the leading dance floor heavyweight of the day, Thunderpuss. Internal friction began tearing at the group, bringing an abrupt halt to the promotion of the record. The remaining singles never saw a mass release and are now regarded as collector items.

As 2001 dawned the Spice Girls quietly disbanded without issuing a formal statement, simply calling it a hiatus. The diminutive success of Forever stretched into the new year with three Spice Girls related solo projects marking their last year of assured U.K. dominance. The ensuing decade saw more solo recordings met with acclaim, creative wins, or indifference. The Spice Girls reunion in 2007 heralded their full circle with Forever's singles "Holler," "Let Love Lead the Way," and "Goodbye" sounding relevant. Fans remain divided passionately over Forever. It wasn't a patch on Spiceworld, the colossus of their discography, but it wasn't recycled leftovers either. Forever is the kind of pop record that can confuse if not heard properly. The Spice Girls were never strictly a British or European bound recording act. Their name itself implied a smattering mixture of influences and each album reflected that. Forever remains a bittersweet snapshot of a group still full of musical integrity and fire. Four and a half stars out of five.-QH

[Editor's Note: Forever, like the rest of the Spice Girls work, is readily in print.-QH]

Wednesday, October 20, 2010

Donna Summer's "The Wanderer" 30 Years Later



The QH Blend has widely discussed the year of 1980 in terms of its connection to the dissolution of disco. Some acts survived, many more struggled. Donna Summer symbolized a phoenix from the ashes of a musical movement in which she was its figurehead. The Wanderer, her eighth album, was a bigger gambit for Summer. The creative freedom earned on this long player allowed Donna Summer to become the pop presario she always hinted at.

History
After the triumphs of Lady of the Night (1974) and Love to Love You Baby (1975), Summer climbed through the rest of '70's on the back of several conceptualized works that synthesized black dance and European pop into an art called "disco." By 1979, Summer had achieved dominance commercially and exemplified that her transition from the underground to the mainstream hadn't soiled her artistic flow.

On the horizon was a looming anti-disco sentiment that sat next to Summer's discontent with her image. Summer was ready for a cleanse. Gracefully sealing off her glory days with On the Radio: Greatest Hits in '79, Summer left Casablanca Records and jumped aboard Geffen Records. The label swap marked a experimentally rewarding period that encompassed her second decade.

The Record
Never a slave to the conventional
"9 to 5" black female vocal prototype, Summer always explored wider options with her voice. Longtime partners in production Giorgio Moroder and Pete Bellotte had planted the seeds for Summer's rock revolution with cuts like "My Baby Understands" and others on Bad Girls.

The Wanderer, another concept record, dealt with a woman attempting to flee from the mundane. She gets swallowed by the big city and love, but emerges spiritually reborn. The journey mirrored Summer herself who had just become a "born again Christian" at this time.

Lean, but filling, The Wanderer downplayed any  beats and swirling orchestras for clean, keen guitars, enthralling programming and snappy brass. The title song, with its spazzy character driven vocal, was wacky, weird, and wonderful. Said character singing stayed in effect on each song, making the narrative of the record richer. Summer siren sang along the roiling tidal wave of ambience that was "Grand Illusion." On "Cold Love" and "Stop Me" her voice burned with passion and defiance. She was as soulful as any drab belter and tackled tracks like the gospel shaded "I Believe in Jesus." Summer was taking no prisoners with what her voice could achieve on this album.

The musical map of the LP was strewn with rock externally, but the pop ("Looking Up") and soul lines ("Breakdown") didn't hide. Prose wise, Summer maintained her tale telling with "Running For Cover" and "Who Do You Think Your Foolin'," both identity searching anthems.

The Impact
The Wanderer was an immediate critical hit when released on October 20th, 1980. Rolling Stone  ranked the record in second place in a year-end tally behind Bruce Springsteen's The River. Stone's final assessment gifted The Wanderer with a total of four stars.

Pop culture site Pop Matters Christian John Wikane wrote of The Wanderer in April of 2007 stating:


By 1980, Donna Summer had amassed enough currency in her career to take chances. In October, Summer astounded audiences with The Wanderer, a decidedly rock-oriented album that marked Summer’s liberation from the image-making machinations of her previous record company, Casablanca, and from the grueling celebrity lifestyle that sent her to the brink of suicide. (The album also inaugurated David Geffen’s eponymous record label.)

Harry Langdon’s album cover photograph for The Wanderer depicts Summer clothed in layers of scarves and leggings, sitting atop a black bench with suitcase nearby, looking very much "the wanderer.” With one hand casually nested in her perfectly coiffed hair, Summer’s gaze is direct and provocative. “I dare you to listen” is the implied message.
Audience reception was understandably split. Summer's primary audience, a white, dance-pop crowd were still stepping to remaining throes of disco's last stomp. Summer's colleague, Diana Ross' "Upside Down" and its parent album diana (1980), represented that mentioned, accessible end of days abandon. Those that did respond saw the greatness Summer's broader pop. Being a black woman in a predominantly non-R&B sound on The Wanderer was confusing for the few black fans Summer did have.


"The Wanderer," Circa 1980



All of these conditions reflected in the commercial outcome, a gold seller with a U.S. Top 10 hit for the title track and two U.S. Top 40 hits ("Cold Love," "Who Do You Think You're Foolin'"). Summer, the first black woman to win a rock Grammy the year before with "Hot Stuff" was nominated for a rock Grammy in 1980 ("The Wanderer") and 1981 ("Cold Love").

Summer continued to maintain her muse throughout the remainder of the 1980's up through her recent release, 2008's CrayonsCrayons patterned itself close to The Wanderer in tone, evidence that pop at its best is an energetic, evolving force. The Wanderer stands resilient in the face of labels, influential and vital. Five out of five stars.-QH

[Editor's Note: Like majority of Donna Summer's 1980's work, The Wanderer is out of print and expensive to obtain. I luckily snatched up a mint copy for $38 in 2007, the prices tend to ebb and flow ranging anywhere from $50-$70 for a CD copy at online music retailers.-QH]

Thursday, September 23, 2010

Diana Ross: One Night Only in Dayton

The Boss. The Lady Who Sung the Blues. A Supreme. Motown puppet or an artist in the truest sense of the word? Titles abound with one truth apparent: Diana Ross is, and always will be, a star. Marking her 40th year as a solo performer, Ross kicked of 2010 with a concert show to commemorate her successes. Her performance stop here at Dayton's Schuster Center however, was for a charitable cause. Ross' booking was courtesy of the Kettering Medical Center to celebrate the opening of the Benjamin and Marian Schuster Heart Hospital in Dayton.

On the last official night of the summer, a sea of fans poured into the center as Ross' band assumed position on the stage. Punching onto that stage with the uproarious "I'm Coming Out," Ross immediately took the audience back 30 years when that single and its parent album diana (1980) held the world in its sway. Ross' voice has only gotten better through the decades. She handled the vintage bop of the Spiral Staircase gem "More Today Than Yesterday" from her last offering I Love You (2007) with elegance. A juicy take on "Love Child," a latter Ross period Supremes hit was the highlight of a welcome, if overstayed Supremes hits medley.

She graciously made up for that with a fantastic dance section that included the unsung jam "The Boss," her eternal summer banger "Upside Down," the '95 house hit "Take Me Higher," and her Michael Jackson duet from The Wiz, "Ease On Down the Road."

The Lady Sings the Blues portion of the show saw Ross a vision in sequins, she changed a total of five times during the concert. Once a diva. Ross enjoyed this area of the show most, offering her smooth Billie Holiday cover of "Don't Explain." Only one RCA era hit was performed, the Frankie Lymon and The Teenagers doo-wopper "Why Do Fools Fall In Love?"

Several others lesser known, but beloved, Motown diamonds would have sparkled if performed that night: "Surrender," "Remember Me," "I Thought It Took a Little Time (But Today I Fell In Love)," "Confide in Me," "Sparkle," "It's My House," the list cascades onward. Strangely, "Reach Out and Touch (Somebody's Hand)," her enduring live anthem was not sung. Fans weren't left wanting as the crowd gave standing ovations to "Theme From Mahogany (Do You Know Where You're Going To?)" and "Ain't No Mountain High Enough."

Ross' black and gay fans responded audibly all night. Her white fans moved, albeit in their seats, seemingly afraid to party possibly due to the slight formal nature of the show being benefit sponsored.  The evening substantiated Ross' endurance as an interpretative singer, spanning black pop music throughout the decades into today.-QH

[Editor's Note: For more information and current concert dates, visit www.facebook.com/DianaRoss -QH]