Robert Christgau's Music Criticism Blog - Expert Witness - MSN Music

Nicki Minaj/Macy Gray

Both Badder Than Donna Summer, and in Such Different Ways

By Xgau Apr 24, 2012 4:33AM

Nicki Minaj: Pink Friday: Roman Reloaded: Deluxe Edition (Cash Money/Universal Republic)

Since the positive and negative reviews say pretty much the same thing, we can agree that this is an overstuffed, musically manipulative, thematically directionless bid to put the pink-haired alien on the singles charts until Katy Perry absconds to rehab. She isn't "the female Weezy" or some ill-defined male alter ego. She's an aspiring and most likely inevitable pop queen who raps exceptionally well, sings quite well, rhymes inconsistently but sometimes superbly, and will do anything to be rich and famous. This obviously doesn't make her a heroine. But if you enjoy contemporary pop whose market-tested blare offends both rockist philistines and IDM aesthetes, her second album is a worthwhile investment. It begins strong and, counting the three bonus tracks, ends strong. In between it tends mawkish and loud, neither of which precludes fun, especially with the right cameos. There is, however, a Chris Brown track. (Hey‑-I said anything.) A MINUS

 

Macy Gray: Covered (429)

Ten non-Gray songs, three comedy skits, and three brief cameos for her kids and their high school pals. The songs are all post-1980, meaning post-song‑-from the era when bands began distinguishing themselves by sound. Credit producer Hal Wilner with isolating the melodically verbal in Metallica, Radiohead, the Yeah Yeah Yeahs, Sublime, My Chemical Romance, and lesser lights. But 1) the high point is the opening "Here Comes the Rain Again," an anthem on the face of it that Gray wrests from Annie Lennox forever; 2) a low point is the closer from the anthemic-on-the-face-of-it Arcade Fire, a major structural mishap; and 3) an even lower point is the Metallica centerpiece, which could be my problem but I bet isn't. Casting directors should note that the comedy skits are genuinely funny; Gray should note that I'm omitting the cameos when I put this in iTunes. But both are distractions. Fun as it is to hear her do "Creep," "Teenagers," and "Smoke Two Joints," this is a bigger mess than it had to be. B PLUS

 

117Comments
Apr 25, 2012 10:26PM
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Good stuff, xgau. You're the man. 
Apr 25, 2012 9:46PM
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Nicky: Nobody tells me what art to like, and nobody should tell you what art to like either. You're responsible first and foremost to your own pleasure center and value system. Betray those things and you're done as a lover of and learner from not just music but any kind of art and on your way to becoming a mere ideologue. If your friends don't accept that in you then they don't respect you and aren't your friends. It's not that simple, of course--for one thing, values change in relation to experiences that include your interactions with others. But that's sure as hell where it starts.



Apr 25, 2012 9:45PM
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Yet an hour after seeing and hearing this spot I’m still nauseous. Someone make sense out of this please.
Major issue that I don't think we've grappled with here. The idea that is often floated about musicians using their music for commercial purposes is that they are "selling out". And the counter to this, obviously, is that musicians get screwed so many ways that why shouldn't they capitalize on their art? Yeah, selling out might taint Bruce Springsteen. But when I hear an Iggy Pop force-beat or a Buzzcocks spindizzy or an obscure Kinks song on a commercial, I say "Right on!" It's awful hard to accuse Buzzcocks of selling out, and sometimes this sort of exposure makes your cult fave tune become the #1 Record you always wanted it to be. So that's a good thing.

The downside to this is when commercial utilization undercuts the foundations of the music. Moby did this with his licensing of just about everything on Play, and I hardly ever put that record on any more as a result. Trying to abstract a piece of art as intense and subtle as "O Superman" in a commercial setting is almost certainly going to exploit it or undercut its message. I think the HTC ad does the latter. They are going for hipster cred, but they aren't smart enough to understand the if you listen to the whole song, it negates the concept they are trying to develop. So, nauseous, yeah.


Apr 25, 2012 9:29PM
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Speaking of gangsta rap, Todd Snider's new Jerry Jeff Walker tribute album is available on Spotify. Listen here:

http://goo.gl/jbSDP
Apr 25, 2012 9:23PM
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I need help Witnesses: I just saw a new HTC mobile phone ad featuring Laurie Anderson’s “O Superman”. As a copywriter at a NY ad agency, I have nothing but envy for the creatives who pulled off this coup.  Believe me, over the years I’ve tried to get plenty of artists to sell out for various packaged goods and toiletries. And I’m happy that LA will get the payday she most certainly deserves. Yet an hour after seeing and hearing this spot I’m still nauseous. Someone make sense out of this please.

Apr 25, 2012 8:59PM
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PS:  Dr. Patterson has been trying and failing to post this zinger --

Shirley Manson blames label bosses for Garbage hiatus

I really wish this said "Shirley Manson blames some goddamn Marilyn Manson song for Garbage hiatus".

Apr 25, 2012 8:58PM
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Self-promotion is as painful to me as going under the knife minus general anesthetic, so let me just note that one of the two records I'm most enjoying this week - Dawn Richard's Armor On "EP" (36 minutes, you call that an EP?) - was brought to my attention by our own Brad Luen. Spooky r&b except when it's ebullient pop except when it's pulsing house, etc etc. She's not the visionary or talent Ms. Minaj is, but she manages to slide into Katy Perry territory with less obviousness. The other record I'm enjoying this week came as a surprise - Quantic and Alice Russell's Look Around The Corner, which pays tribute to 60s soul while paying tribute to bossa nova and cumbia at the same time. Not quite sure how they pulled it off, but I'm sold.

I have no trouble advertising the works of others, so I'll note that our own Ryan Maffei has a new post up that might be simplified as trad. rock releases with a heavy dose of politics. Good reading.  

http://tinyurl.com/7rn646t
Apr 25, 2012 8:05PM
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This all reminds me of the ENORMOUS hip hop gulf that separates my black friends and my white friends. For those who grew up with the game, there are very specific godfathers who must be respected and just a few today who pay dues as they should--it's a pretty unilateral chain of command that all but excludes the early-80s funk cross-over and jumps right ahead to Eric B & Rakim, Rakim alone (who is probably the best and never got the respect he deserved--but who sucks it awful now), to NWA, 2pac and Snoop and the west coast gangs, earliest Nas before all the stagey martyr shȋt, Biggie, AZ, ALL of Wu-Tang's splinted parts, early coke money Jay-Z, etc. Stuff we're maybe a little hesitant about morally if not sonically. 

...but those are just the names you're familiar with, mind. Everyone else has either been shunned from The Canon or choose/chose to remain underground because that's where hip hop lives. Almost nothing today suffices for the young black community I know--at least nothing you'll hear anywhere near even the outer limits of the Top 200. Honestly, a lot of my black friends laugh at my taste in hip hop. For instance, "After Kanye stopped making soul music he turned into a white man." What do I do with that? 

Sometimes I wonder about this. Hip hop like any genre is the product of the cultural conditions that produced the artists who make it. And when the critical community's opinion is utterly at odds with that culture's own opinion... isn't the critic getting it wrong?
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I would say that keeping hip hop real is the new rockism, except there's nothing new about it.

Boom! Right on the money.

Apr 25, 2012 4:53PM
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I would rather the Weather Report have made jazz tracks and rock tracks than jazz-rock tracks.

An interesting thought all by itself, though criticizing fusion is like hitting the side of the barn with a dirt clod from 10 feet.


Another best case melting pot that makes the opposite point though is Elvis' Sun Sessions.


Or said another way, "And they called the baby rock and roll" is 100% melting pot to me.

Apr 25, 2012 4:42PM
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(also, I really wish Nicki hadn't re-used the title of her 1st album in the title of her 2nd one)

If the words "a trois" don't show up in the title of her third album, I'll be shocked. No word though if she's planning to record David Crosby's "Triad" so as to move into the folk-hop world.

Apr 25, 2012 4:29PM
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I suspect I'm redefining things for my own convenience, but something like:

Cut-up: Best case DJ Shadow, more typically mash-ups
Melting pot: Best case Jack Johnson, more typically Transglobal Underground

I'm conflating the re-use of existing pieces of music, and the re-use of existing musical ideas and conventions. It's the latter that I really want to talk about. I would rather the Weather Report have made jazz tracks and rock tracks than jazz-rock tracks. The latter approach lets the band showcase their unique Weather Reportiness, but I'd argue the former approach would have let them showcase a uniqueness more ecumenical and less self-serving.
Apr 25, 2012 4:12PM
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(also, I really wish Nicki hadn't re-used the title of her 1st album in the title of her 2nd one)

Do you think she got the idea from Robert Ashley?  Maybe not.



Apr 25, 2012 4:06PM
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Thanks to sharpsm for the correction, as well as the plug. The Uri Caine record slipped my mind, as did Jimmy Owens' Monk Project (IPO) -- a very nice rehash for all you Monk fans (give or take "'Round Midnight"). Uri Caine is one of the very top pianists of his generation, so I try to keep up with when I can. But I haven't gotten any Winter & Winter releases in the last 3-4 years, so that means occasionally grabbing something on Rhapsody. I still have a pretty severe gag reflex when it comes to classical music, and Caine tests that about every third release. So my graded list is pretty mixed, but when he's on he's really dazzling.


Apr 25, 2012 3:54PM
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Me, I'm happy with Roman's grab-bag: I think that in art, the cut-up beats the melting pot almost every time - perhaps because the cut-up is inherently multivocal. 
While I appreciate her mix of styles on the album, I don't really enjoy the second half very much (I just find it too scattered and inconsistent). I would have preferred it with the exact same songs on it, but in a more mixed sequencing instead of her "hip/hop, pop" sequence. It would make it easier (at least for me) to listen to all the way through, since I wouldn't feel compelled to stop listening after the first half is done. Maybe I'm being too much of hip-hop purist for not liking the pop tracks as much in the first place, but I just don't see what's wrong with this kind of sequencing.
Apr 25, 2012 3:42PM
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Nate: Are we sure Raul didn't write that?

And bradluen, "in art, the cut-up beats the melting pot almost every time - perhaps because the cut-up is inherently multivocal", can you give some examples for us unidimensionalists? Partly because I don't get how the melting pot couldn't be as multivocal, partly because melting pot is (or at least can be) more subtle in integrating multiple influences into itself and therefore quite a creative trick on its own.

Examples would help.

Apr 25, 2012 2:50PM
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contemporary pop whose market-tested blare offends both rockist philistines and IDM aesthetes
These are more than straw men (I don't know who still says IDM these days, but it's still worth making fun of anyone who ever did). But firstly, the critics who have shown the most anti-pop sentiment are the rap specialists. I would say that keeping hip hop real is the new rockism, except there's nothing new about it. Secondly, there are plenty of pro-pop critics who have found plenty to complain about regarding Roman. The body of the album is very much in tune with prevailing pop trends, only more so, and while I think "only more so" is an effective all-purpose Nicki defence, you have to feel for the Now People for whom the squared synth is as played out as the grunge growl.

Whereas many hip hop writers long for Nicki to squish her pop side, the pop specialists seem to long for a genuine fusion of her hip hop and pop sides, instead of compartmentalisation. "Beez in the Trap" hints at this, but really it's less forward-looking and more of a throwback reminding us that Dirty South producers didn't always want to be little Wagners. Me, I'm happy with Roman's grab-bag: I think that in art, the cut-up beats the melting pot almost every time - perhaps because the cut-up is inherently multivocal.
Apr 25, 2012 12:47PM
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And speaking of jazz (well, I was), is anyone here familiar with a phenomenon called Mrs. Columbo? Three super-foxy ladies from Budapest, piano bass and vocals, doing sophisticated international jazz versions of such well-worn classics as "Light My Fire", "Black Hole Sun", and "La Isla Bonita" (album's called (re) Make Up--clever!). Sounds like a total dog, I know, but I ran across this comment someone posted on their MySpace page (they have a MySpace page!): 

Hi Mrs.Columbo, May you always have stables of horses to service your needs. The stickers hugging the fruit smell better than the perfume of ambergris. Your essence is equal to the beauty of a galaxy. Blinking reveals the true visage of beauty hidden within your eyes. Your eyes show as many deep and full shades of fire as a thousand supernovas. May you be as vivid as your hallucinations. The expanse of your beauty is a void no universe could ever fill. Entranced by the sweet harmony of your lips, I gaze beyond reason to find the oasis of your brilliant soul. You are dressed with filaments and people take pains to make you fully incandescent this evening. Your reflections bring happiness that rends naked glass. You turn the atmosphere ablaze with currents of sweet ethylene when you smile. Your sweet voice is like the application of aloe vera upon a sunburnt back. Please let me hear more of that wonderful sound. Panoramic aromavision is the future. In your presence even my shadow acquires the sensation of touch.


I don't even know if this is a recommendation, but I'm downloading the album. I can't resist anyone who's dressed with filaments and whose reflections rend naked glass, and the weather's changed up here so I could use the application of aloe vera upon my sunburnt back. I'll let you know how it is. Panoramic aromavision is the future!





Apr 25, 2012 11:38AM
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Tom Hull has posted his annotated Downbeat critics' poll ballot on his site, and anyone who's remotely interested in jazz should take a look. One thing though: Tom lists Uri Caine's 12 Caprices among nominated albums he hasn't heard, and even says he'd like to hear it. But, but, this, from Jazz Prospecting:

Uri Caine/Arditti String Quartet: Twelve Caprices (2010 [2011], Winter & Winter): Jazz pianist who has taken quite a bit of classical music as his starting point, some of which I've begrudgingly found interesting (e.g., Plays Mozart) and some appalling (e.g., Robert Schumann: Love Fugue), faces off for a set of improvs with Irvine Arditti's well established classical string quartet. The strings are abstractly modernistic, the piano cutting against the grain. B+(*) [Rhapsody]

Only stuck in my head because I kind of liked that album--kind of liked the Schumann thing too (and really liked the Mozart). Anyway, carry on.

Apr 25, 2012 10:40AM
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May I just say that Cam Patterson is my all-time favorite cardiologist? (That cheap bastard Dr. Oz never gives me any freebies.)
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about the blogger

Robert Christgau

Starting in 1967, Robert Christgau has covered popular music for The Village Voice, Esquire, Blender, Playboy, Rolling Stone, and many other publications. He teaches in New York University's Clive Davis Department of Recorded Music, maintains a comprehensive website at robertchristgau.com, and has published five books based on his journalism. He has written for MSN Music since 2006.

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