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But as Chris suggests, we’re moving in the opposite direction, too. Perhaps old ways are dying, as Ann notes. And it’s the very necessary debate we’re having over the questionable lyrics to the holiday standard “Baby, It’s Cold Outside” and whether it needs to remain a standard at all. It’s Cécile McLorin Salvant allowing us to freshly re-evaluate dog-eared jazz and musical theater standards on the aptly named The Window. It informs how Angélique Kidjo made us rehear the Talking Heads’ 1980 Remain in Light. It informed Cher giving us a revisionist vocal master class of ABBA tunes on her return to form, Dancing Queen. It informed Amazing Grace, the “lost” Aretha Franklin documentary film of her historic 1972 gospel concert and album. Looking back to look forward also informed Beyoncé and Jay-Z’s Ricky Saiz–directed “Apeshit” video event in which the couple storms the Louvre and remixes the art world past to comment on the pluralistic future. Recorded in single takes, and speckled by minor errors, audible sniffles, and plenty of blue notes, Piano and a Microphone 1983 offers rare fly-on-the-wall insight that lets us rehear Prince’s eccentric voicings, revisit his profound instrumental chops, and reaffirm his singular approach to musical creativity.Ĭarl already mentioned Meshell Ndegeocello’s Ventriloquism, a staggeringly brilliant reconstruction/revisiting of classic 1980s and 1990s Gen X tunes like TLC’s “Waterfalls”-the album’s deeply considered activism is signaled by its urgent ACT UP pink-triangle cover. Atop my list is Prince’s previously unreleased cassette demos compilation Piano and a Microphone 1983, a plucked-from-the-vaults project that features the Purple One rehearsing original songs and covers on the piano. I’m more interested in releases that force us to rethink what we already think we know of the pop music past. I’m not just talking about this year’s fascination with ironic revisionism, from the predictable obsession with Toto’s ho-hum 1982 single “Africa” to Mariah Carey stans launching a campaign to catapult her leaden 2001 soundtrack Glitter to top of the iTunes albums chart. The power of pop music in 2018 is its insistence on going backward to go forward, on excavating the past to fetch and reclaim values we’ve forgotten (and, when necessary, to surrender our sentimental attachments to historical figures who no longer serve us).
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That gift of re-evaluating the past connects to late writer Amiri Baraka’s concept of “ digging,” the groovy act of excavating history to produce a better present and future. A dispatch sent from the distant past, it forces you to consider the context of its 1963 making, and to re-evaluate/rehear his genius from a uniquely 2018 perspective. Still, the project’s imperfection, its furious attempt to settle on a coherent musical identity, is precisely the source of my admiration. Both Directions at Once occasionally veers into the superlative-it provides a glimpse into the tension between rehearsal process and commercial artifact that informed Coltrane’s music in the aftermath of his 1961 juggernaut My Favorite Things-but it’s hardly the jazz musician’s most transcendent work. This year, the 55-year-old project was unearthed from his family’s surviving reference copy. Recorded in 1963 by sublime saxophonist John Coltrane during his “classic quartet” period, the original master tapes were lost or destroyed by the Impulse! label. One of the albums I can’t stop listening to this year is Both Directions at Once: The Lost Album. Being with all of you, if only virtually, is always a happy place to be. Pop Stars’ “Narratives” Are Drowning Out Their Actual Music The Women of Country Are Done With Playing by Nashville’s Rules The Boundaries Between Fame and Music Have Never Been More Porous