For a record producer, underappreciation comes with the territory. Yet even by these standards, the recognition of Patrick Cowley, the producer who pioneered disco through the early 1980s, has been long overdue.
It’s been a busy six years for Ezra Koenig. The one thing missing? Another Vampire Weekend album.
In his lone season in a Duke uniform, Marvin Bagley III had some of the best single-season statistics in Duke history, scoring the most points ever by a freshman at the time and posting the first-ever 30-point, 20-rebound game in the Coach K era. But it turns out those aren’t the only records he’s dropping.
Nearly 16 years ago, OutKast released “Hey Ya!,” a single that stands as one of the biggest hits of the new millennium. For all its ubiquity today, though, “Hey Ya!” was deceptively revolutionary: Blending an acoustic guitar-driven hook with a funk bassline, rapped breakdowns and an atypical time signature, the song seemed to signal a new dawn for genre — or, rather, the lack thereof.
My first introduction to the album format came through three records that, to many people, don’t even qualify as “albums,” in the strictest sense of the word: The Beach Boys’ “The Greatest Hits – Volume 1: 20 Good Vibrations,” The Monkees’ “The Essentials” and Squeeze’s “Singles – 45’s and Under.”
If you use a music streaming service like Spotify, then chances are you have come across mixes tailored to your listening habits — whether it’s “New Music Friday,” “Discover Weekly” or “Tastebreakers.” For many listeners, these algorithmically-generated playlists are one of the only options for discovering new music.
Much discussion has erupted in recent weeks regarding the (purportedly) fading necessity of reviews. In an age of discontinued Netflix-star-ratings, Amazon top customer reviewers and enraged YouTubers, the long-form reviews of movies, books or music that once dominated newspapers are increasingly seen as antiquated or downright ignorant
When it comes time to assemble Valentine’s Day-themed playlists every year, I’m often struck at just how easy it is to ascribe “love song” status to nearly any piece of pop music: Love, heartbreak and all their variations probably account for a good 50 percent of pop — from “Be My Baby” all the way down to “thank u, next” — and for the rest, it isn’t too difficult to draw the line.