person:kelly clarkson

  • The New American Songbook: The oldies of the future.
    https://slate.com/culture/2018/10/the-new-american-songbook-the-oldies-of-the-future.html

    Oct 18, 2018 - Here are the hits of the past 25 years that we’ll be listening to for the next 100.

    What makes a song last? The history of popular music tells us that many masterpieces of songcraft—and even the most world-conquering smashes—are quickly forgotten.

    Meanwhile, many earworms burrow deep into the collective consciousness, where they take root, whether we like it or not.

    Which of today’s hits will be tomorrow’s classics?

    Who could have predicted that “Don’t Stop Believin’ ”—which was, upon its release in 1981, a commercial disappointment from a critically derided band—would become the 20th century’s best-selling digital download?* Or that it would be a “novelty” dance single, of all song varieties, that would become Billboard’s pick for the greatest single of all time?

    Separating the most durable tunes from the millions of other would-be classics is no easy task. So we asked critics, musicians, and industry professionals to predict which tracks from the past 25 years we’ll still be dancing and singing along to for the next 100 years. Some of these songs our children will belt in sports arenas. Others our grandchildren will dance to at their weddings.

    The New American Songbook is emphatically not a list of the best songs of the past quarter-century, although many of these tracks would make that list, too. As predicted by our panel, tomorrow’s oldies, like tomorrow’s America, will be a lot less male-dominated, and a lot more diverse. Less than a third of the songs on our list are fronted by white men, and no artists are featured more frequently than pop music’s first couple Beyoncé and Jay-Z. Classic rock will soon be rivaled by classic rap, and the Cole Porter of the next American songbook may be Max Martin.

    Below, find the Top 30 songs, in order, all of which were nominated by at least two of our panelists. You can also read the individual ballots of everyone from Chuck Klosterman to NPR’s Ann Powers to Drive-By Truckers’ Patterson Hood. Which of today’s hits will endure as tomorrow’s golden oldies? Here’s our best guess.

    30. Idina Menzel – “Let It Go”

    Producers: Kristen Anderson-Lopez, Robert Lopez
    Songwriters: Kristen Anderson-Lopez, Robert Lopez
    Year: 2013

    29. Liz Phair – “Fuck and Run”

    Producers: Liz Phair, Brad Wood
    Songwriter: Liz Phair
    Year: 1993

    28. Daft Punk ft. Pharrell Williams and Nile Rodgers – “Get Lucky”

    Producers: Thomas Bangalter, Guy-Manuel de Homem-Christo
    Songwriters: Thomas Bangalter, Guy-Manuel de Homem-Christo, Nile Rodgers, Pharrell Williams
    Year: 2013

    27. Alanis Morissette – “You Oughta Know”

    Producer: Glen Ballard
    Songwriters: Alanis Morissette, Glen Ballard
    Year: 1995

    26. Old Crow Medicine Show – “Wagon Wheel”

    Producer: David Rawlings
    Songwriters: Bob Dylan, Ketch Secor
    Year: 2004

    25. Destiny’s Child – “Say My Name”

    Producer: Darkchild
    Songwriters: LaShawn Daniels, Rodney Jerkins, Fred Jerkins III, Beyoncé, LeToya Luckett, LaTavia Roberson, Kelly Rowland
    Year: 1999

    24. Israel Kamakawiwoʻole – “Somewhere Over the Rainbow/What a Wonderful World”

    Producers: Israel Kamakawiwoʻole, Jon de Mello
    Songwriters: Edgar Yipsel Harburg, Bob Thiele, George David Weiss
    Year: 1993

    23. Beyoncé ft. Jay-Z – “Crazy in Love”

    Producers: Rich Harrison, Beyoncé
    Songwriters: Beyoncé, Rich Harrison, Eugene Record, Shawn Carter
    Year: 2003

    22. Nine Inch Nails – “Hurt”

    Producer: Trent Reznor
    Songwriter: Trent Reznor
    Year: 1994

    Producers: Dr. Dre, Mike Elizondo
    Songwriters: Curtis Jackson, Andre Young, Mike Elizondo
    Year: 2003

    20. Adele – “Rolling in the Deep”

    Producer: Paul Epworth
    Songwriters: Adele Adkins, Paul Epworth
    Year: 2010

    19. Oasis – “Wonderwall”

    Producers: Owen Morris, Noel Gallagher
    Songwriter: Noel Gallagher
    Year: 1995

    18. Backstreet Boys – “I Want It That Way”

    Producers: Kristian Lundin, Max Martin
    Songwriters: Andreas Carlsson, Max Martin
    Year: 1999

    17. Rihanna ft. Calvin Harris – “We Found Love”

    Producer: Calvin Harris
    Songwriter: Calvin Harris
    Year: 2011

    16. The Killers – “Mr. Brightside”

    Producer: The Killers
    Songwriters: Brandon Flowers, Dave Keuning, Mark Stoermer, Ronnie Vannucci Jr.
    Year: 2003

    15. Céline Dion – “My Heart Will Go On”

    Producers: Walter Afanasieff, James Horner, Simon Franglen
    Songwriters: Will Jennings, James Horner
    Year: 1997

    14. Santana ft. Rob Thomas – “Smooth”

    Producer: Matt Serletic
    Songwriters: Itaal Shur, Rob Thomas
    Year: 1999

    13. Lauryn Hill – “Doo Wop (That Thing)”

    Producer: Lauryn Hill
    Songwriter: Lauryn Hill
    Year: 1998

    12. Drake – “Hotline Bling”

    Producer: Nineteen85
    Songwriters: Aubrey Graham, Paul Jefferies, Timmy Thomas
    Year: 2015

    11. Eminem – “Lose Yourself”

    Producers: Eminem, Jeff Bass, Luis Resto
    Songwriter: Marshall Mathers
    Year: 2002

    10. Carly Rae Jepsen – “Call Me Maybe”

    Producer: Josh Ramsay
    Songwriters: Carly Rae Jepsen, Josh Ramsay, Tavish Crowe
    Year: 2012

    9. TLC – “Waterfalls”

    Producer: Organized Noize
    Songwriters: Marqueze Etheridge, Lisa Lopes, Organized Noize
    Year: 1994

    8. The White Stripes – “Seven Nation Army”

    Producer: Jack White
    Songwriter: Jack White
    Year: 2003

    7. Mariah Carey – “All I Want for Christmas Is You”

    Producers: Mariah Carey, Walter Afanasieff
    Songwriters: Mariah Carey, Walter Afanasieff
    Year: 1994

    6. Mark Ronson ft. Bruno Mars – “Uptown Funk”

    Producers: Mark Ronson, Jeff Bhasker, Bruno Mars
    Songwriters: Jeff Bhasker, Philip Lawrence, Peter Hernandez, Mark Ronson, Nicholas Williams, Devon Gallaspy, Lonnie Simmons, Charles Wilson, Ronnie Wilson, Robert Wilson, Rudolph Taylor
    Year: 2014

    5. The Notorious B.I.G. – “Juicy”

    Producers: Poke of Trackmasters, Pete Rock
    Songwriters: Christopher Wallace, Hunter McIntosh, Sean Combs, Pete Rock, Jean-Claude Olivier, Samuel Barnes
    Year: 1994

    4. Kelly Clarkson – “Since U Been Gone”

    Producers: Max Martin, Dr. Luke
    Songwriters: Max Martin, Lukasz Gottwald
    Year: 2004

    3. Beyoncé – “Single Ladies (Put a Ring on It)”

    Producers: Christopher Stewart, Terius Nash, Beyoncé
    Songwriters: Christopher Stewart, Terius Nash, Thaddis Harrell, Beyoncé
    Year: 2008

    2. Jay-Z ft. Alicia Keys – “Empire State of Mind”

    Producer: Al Shux
    Songwriters: Angela Hunte, Alicia Keys, Alexander Shuckburgh, Bert Keyes, Janet Sewell-Ulepic, Shawn Carter, Sylvia Robinson
    Year: 2009

    1. Outkast – “Hey Ya”

    Producer: André 3000
    Songwriter: André 3000
    Year: 2003

    This future standard has the “best hook in history,” writes Powers. And it’s perhaps the strongest testament to Outkast’s world-conquering, genre-bending hit that you can’t help but mentally scroll through this perennial list-topper’s many catchy bits and respond, “Wait—which one?” Of course there’s the titular chorus, at once triumphant and melancholy. (While some panelists referred to it as “an expression of pure pop joy,” the lyrics find the singer worrying that all love is transient.) But there are also the hand claps putting three exclamation points on each couplet, the call-and-response section that lets the audience deliver the cooler-than-cool punchline, the “shake it like a Polaroid picture” bridge that people will be singing long after they’ve forgotten the purpose of shaking Polaroids, even the repetition of 14 straight “all rights” that embodies this song’s perfect combination of pop universality and André 3000 weirdness. (See also the time signature, which is either a standard 4/4 or a downright bizarre 11/4, depending on whom you ask.)

    And these hooks have already sunk themselves into subsequent generations. As Kois writes, “The first time I played this song for my kids it was as if they’d already heard it 1,000 times.” If what they say is “Nothing is forever,” “Hey Ya” might be the exception.

    #musique

  • The song machine

    “The top-liner is usually a singer, too, and often provides the vocal for the demo, a working draft of the song. If the song is for a particular artist, the top-liner may sing the demo in that artist’s style. Sometimes producers send out tracks to more than one top-line writer, which can cause problems. In 2009, both Beyoncé and Kelly Clarkson had hits (Beyoncé’s “Halo,” which charted in April, and Clarkson’s “Already Gone,” which charted in August) that were created from the same track, by Ryan Tedder. Clarkson wrote her own top line, while Beyoncé shared a credit with Evan Bogart. Tedder had neglected to tell the artists that he was double-dipping, and when Clarkson heard “Halo” and realized what had happened she tried to stop “Already Gone” from being released as a single, because she feared the public would think she had copied Beyoncé’s hit. But nobody cared, or perhaps even noticed; “Already Gone” became just as big a hit.
    A relatively small number of producers and top-liners create a disproportionately large share of contemporary hits, which may explain why so many of them sound similar. The producers are almost always male: Max Martin, Dr. Luke, David Guetta, Tricky Stewart, the Matrix, Timbaland, the Neptunes, Stargate. The top-liners are often, although not always, women: Makeba Riddick, Bonnie McKee, and Skylar Grey are among Dean’s peers. The producer runs the session and serves as creative director of the song, but the top-liner supplies the crucial spark that will determine whether the song is a smash. (When I asked Tricky Stewart to define “smash,” he said, “A hit is just a hit; a smash is a life changer.”) As Eric Beall, an A. & R. executive with Shapiro, Bernstein & Co., a music publisher, puts it, “The top-line writer is the one who has to face a blank page.” Stargate works with about twenty top-liners a year, and creates some eighty demos. These are sent out to A. & R. departments at record labels, to artists’ managers, and, finally, to the artists, for approval. Around twenty-five of Stargate’s songs end up on records each year.”

    Paradoxically, in an age when an unprecedented range of musical genres is easily available via the Internet, the public’s appetite for hits has never been greater. (The best-selling-singles chart on iTunes, which is calculated from digital sales, and YouTube’s most popular songs, based on online views, match up closely with Billboard ’s Hot 100, which is mainly derived from radio play and sales.) In New York City, contemporary hit radio now dominates FM stations, a remarkable turn of events for anyone old enough to remember when FM radio was the antithesis of Top Forty.

    http://www.newyorker.com/reporting/2012/03/26/120326fa_fact_seabrook

    #musique #industrie_musicale