First Courtney Love accuses Olivia Rodrigo of plagiarising the cover of Hole's "Live Through This." Then, some five year old on Twitter named Billy Edwards points out that Rodrigo's "Brutal" is a rip of Elvis Costello's "Pump It Up," which it is, to some extent.
But what I found to be refreshing was Costello's response to this Billy kid.
"This is fine by me, Billy. It’s how rock and roll works. You take the broken pieces of another thrill and make a brand new toy. That’s what I did."
Costello hashtagged the reply-
#subterraneanhomesickblues
#toomuchmonkeybusiness
That statement from Costello is something that most lovers of music understand, but usually pick and choose when to abide by it. I am certainly guilty of this, as I love Dylan ripping Chuck and Elvis ripping Dylan. But I don't particularly like Rodrigo's "Brutal."
On the other hand, a friend sent me Rodrigo's song "Happier" a few weeks ago, saying how he had no business liking the song, but loved the lyrics. I listened to the song and thought it was an okay piece of pop. And yes, the lyrics were terrific. But my first reaction was, "This is just Fiona Apple, the way Andra Day is Amy Winehouse." Somehow that bothers me more than sampling or a direct rip. It's as if there is a tree growing Fiona Apples and Rodrigo was ready for picking.
I guess this is no different than Beatlemania, and all of those bands, popular and not so popular, who followed the Fabs with haircuts, suits and harmonies. That didn't bother me, but yet this does.
There is also the issue with lyrics. Olivia Rodrigo, Taylor Swift, and Adele are a new generation's songwriters, though it seems to me that just pulling out the nasty letters you almost sent to your boyfriend and adding some simple melodies to them, is not quite the same as "For No One," "Help" or all of "Blood On The Tracks." Of course, I am not of the damaged mind to compare Adele and Swift to Lennon, McCartney and Dylan. But it is what it is. You might as well play C, F & G and just sing "You're breaking my heart, you're tearing it apart, so fuck you" like Harry Nilsson.
(And by the way, is it possible that absolutely no one enjoyed those Spring tracks from yesterday?)
22 comments:
I recall Peter Gabriel describing much of art as creative theft. Elvis Costello's commentary follows the same thinking. It's no surprise the new kid in town is borrowing from others. She's not as bad as I expected, just doesn't have much to offer to me. I'll continue to pay no attention to the hype.
An ad popped up when playing the Nilsson video, begging me to "Play Billie Eilish's video!" I didn't bother. The Nilsson song made me want to listed to Mott The Hoople's Golden Age of Rock and Roll which I'm doing now, and that has put a smile on my face.
- Paul in DK
(The Spring tracks -- were just there for me -- came and went.)
The Rodrigo album -- while excellently produced -- was *exhausting* to listen to in full.
Each and every song is about breaking up with her boyfriend (I'm probably exaggerating here...but not really). And, honestly, "Brutal" reminded me of "Connection" by Elastica more than Pump It Up, but that's neither here nor there.)
"good 4 u" is -- as the kids say -- a banger though. It's the one angry rock song that isn't full of sad, whispered, anguished melodies.
But this album is better in smaller doses for sure.
I want to listen to it in full again (because I liked it even if it's not coming across that way), but it was draining, for sure. It's sitting there on my phone just staring at me daring to take another emotional ride into the mind of a teenager losing her boyfriend (and her mind) 11 different times. In that sense, it's *worse* than Taylor Swift/Adele.
But I think there's actually something here and it may be something the masses got right.
I did my Spring home work:) turns out I have it twice on my Disk once called America's Spring. Like you I have seen it in bind (my Hard drive) but never listened till your prompt. agree not bad but I think if push came to shove we both would of realized it had to be @ least listenable given the pedigree.
I appreciated the Spring post but I own that album, so I figured I was already among the persuaded. But thank you.
Elvis C is spot on. Miranda Lambert's first single (Gunpowder and Lead?) was excoriated as a Steve Earle ripoff (which it was. Earle's reply was, have it, you sang great! Certainly not what a Don Henley would have said! (Maybe that kind of creative generosity is cash-dependent!) And Cheap Trick have been nothing if not proud of their ability to synthesize their influences, AKA ripping off their predecessors!
And I remember (American) Spring having a modest radio presence when I was a kid, sounded fine blended with the hits of the day.
Somewhere there's a photograph -- I've seen it -- of Noel Gallagher wearing a sweatshirt that says PLAGIARIST. I actually don't think he swiped all that much (except for Shakermaker).
Loved Elvis' response.
And the Rodrigo album is fine. Not my favorite of the year, but it's fine. I agree with your assessment somewhat, but Taylor is head and shoulders above those other writers. When you have a minute listen to "All Too Well". The level of detail in that song is heartbreaking. The last two albums were killer. I think Taylor is a giant talent.
This stuff makes me cringe, a waste of listening time I can't get
back. But your point is very well taken.
I like that Brutal cut. Seeing her name everywhere, I thought she was just another Taylor Swift type. She must have a better writer/ producer behind her than the lame-o Jack Antonoff.
In my dotage, I've lost an interest and ability in keeping up, so had no idea who Olivia Rodrigo was; but seeing that she was attracting big names (judging from your post), I figured I should give a listen. Neither of the songs you posted were bad, but neither was my cup of meat, either. Musically and lyrically I had no problem, but I am absolutely burned out on the vocal techniques of modern pop. In looking her up, I saw reference to a song that apparently was The Thing this year (Drivers License), so gave that one the same 30 or so seconds I gave the two you posted, but really didn't care for it since it was even more formulaic than the two you posted. I can't judge Taylor Swift because I've not listened, but my guess is that it's more of the same; on the other hand, I've seen respect paid to her (see above), so it may be my loss to presume.
I think Elvis is being a bit disingenuous in saying he borrowed from Chuck and Bob for Pump It Up. Just because a song is verbose and the verses rush headlong into the choruses doesn't make them similar; I o'course take his word that he was inspired by the two songs namechecked, but that's not the same as copping a riff like OR did for Brutal. But it's just a riff, so, yeah, Twitter boy Billy is probably overreaching, and kudos to EC for calling it like it is. And poor old Courtney Love, the most nakedly transactional "celebrity" until TrumpleThinSkin prevailed in the 2016 election. Like Dumpster, still desperately seeking attention long after their expiration dates.
C in California
@hpunch
I had no love for Jack Antonoff until I heard "Stop Making It Hurt," which is up there for my favorite song of the year. If the new Bleachers album is half as good as that single, he may have redeemed himself for previous sins.
It has to be listened to in different contexts. People our age listen with the experience of music from the last 60 years. The audience for Olivia Rodrigo probably have no idea of who Elvis Costello is. The way we first listened to "Rock & Roll" or "Come Together" and then went back and experience the joy of discovering the Little Richard and Chuck Berry elements on which those songs were built. Kids listening to "Brutal" may go back and discover Elvis. I listen to a lot of new stuff which doesn't necessarily float my boat because maybe I've heard it before and heard it done better, but for young kids, this is their music and their experience. I'll keep listening though because every once in a while I can hear people trying. Yeah, Olivia may be a bit derivative of people that came before but so many of the bands we admire started out by wanting to be like their heroes at the time. Manu eventually evolved into something magical. Maybe Olivia may surprise us down the road. It's all good even though we may not like it all the time. That's what music is.
Sal, you might be amused by the confluence of music you and Richard Thompson share a liking of: https://www.express.co.uk/entertainment/music/862868/richard-thompson-my-six-best-albums
C in California
C in California,
I've seen that RT list. I remember one the first times I saw a RT all request show, he played "She May Call You Up" by the Left Banke, and after the song he said, "I can play that whole album." I shouted "PLAY IT!" And in that voice he replied, "Easy there fella."
@Chris Collins,
I listened to "All Too Well." My problem is, it all feels too personal. It's like an agenda set to a pop music template. There is nothing exciting about the record making aspect of it. Musically it could be anyone from Miranda Lambert to Carrie Underwood to Adele. Musically.
I can appreciate the heartbreak, but as a song, it's very basic to my ears.
Talent borrows, genius steals. No?
Sal wrote:
"I remember one the first times I saw a RT all request show, he played "She May Call You Up" by the Left Banke, and after the song he said, "I can play that whole album." I shouted "PLAY IT!" And in that voice he replied, "Easy there fella.""
The last RT all request show I saw, he played Pretty Ballerina, so people know he's a big fan.
I remember reading an interview with Elvis, probably around the time of Brutal Youth, where he was talking about his influences and just starting out writing songs. He said that you might try playing a song in the style of the Kinks, but you're not the Kinks, so you end up using that as springboard to finding your own way. But the influences remain. He may have been talking about it in the context of London's Brilliant Parade, which has Kinks influences but is definitely an Elvis song.
I didn't think the Brutal song was that bad, but it's not something I'll search out again. Like C in California, me and current popular music are on entirely different trains, heading in entirely different directions.
Bill
Something else that came to mind, re: Taylor Swift and really many current pop singers and songwriters--
Having the ability to recount in detail, personal experiences doesn't necessarily make you a good songwriter. It makes you a good storyteller. I want to hear what others hear in Taylor Swift and admittedly, she has a fine voice. As Chris Collins said, she is head and shoulders above many others in her field. But the reality of it is, being head and shoulders above others in a field of pretty weak talent is a bit dubious.
Musically, all of the pop/country/alt country stars feels very samey to me. I was knocked out by Morgan Wade, especially the song "Wilder Days." I bought the record. But by the second pass, I was over it and her. It's not the confessional lyrics that put me off. It wasn't her voice, which is powerful and emotional. It was that it just sounded like everything else, that cookie cutter sound of pop/country, the up and down, sing/song melodies that started with KT Tunstall, Kelly Clarkson and continues still.
It's what I touched upon in the post itself. Fiona Apple felt like an original, and then she begat more Fiona Apples. Same with Amy Winehouse, though from her first song, it all felt like Billie Holiday, just like Madeleine Peyroux and Andra Day and Melody Gardot. The only difference is that Amy Winehouse really was something special to my ears.
The bar hasn't been lowered. It's been buried.
I gave "SOUR" another full listen yesterday. Because I was expecting the emotional bashing this time around, I didn't feel I was beaten over the head by waves of sadness this time.
"Teen confessional music" is not the genre I spend a lot of time in, and maybe it's not something brand new, but it worked better on the second pass, for sure.
What spurred me finding RT's list o' faves was a bootleg of acoustic live performances he and Linda did in 1972-1973, wherein they cover "He May Call You Up Tonight" (Linda checks with Richard to make sure she had the gender right when she announced the song, and went into a little spiel about the Left Banke). They also cover Dark End Of The Street and Break My Mind, so were clearly fans of southern soul, too.
For those fans of muscular pop, it's worth finding the albums 12 Jealous Roses and Hallelujah Anyway by the Dancing Hoods. The former (which never made it to CD) has their shimmering take on "He May Call You Up Tonight", which is how I was introduced to the song 30-some years ago.
C in California
This discussion about borrowed influences reminded me of the clip of Paul Simon discussing what he borrowed from Bach for Bridge Over Troubled Water. It starts around 6:00.
https://www.youtube.com/watch?v=qFt0cP-klQI
Bill
"Dark End Of The Street." Some day I'll use that song to soundtrack a gay hookup back in 1950s London. It'll work a charm.
Re: Olivia Rodrigo -- I love her tv show just for the hilarious meta title alone
High School Musical -- The Musical: The Series
When you're 18 years old, the line "I can't even parallel park" is pretty hilarious and good. (If I sang it, it would just be...sad.)
She's no Lorde or even Billie Eilish. Felt rather samey, but you know, I'm not thrilled with BTS's "Butter" either. It happens!
Sal, have I missed a "Hey, the year is half over and this is what I'm digging so far" post?
For me:
THE BEST ALBUMS OF 2021 (work-in-progress)
THE CORAL -- Coral Island
ST. VINCENT -- Daddy's Home
C. TANGANA -- El Madrileño
FLOATING POINTS AND PHAROAH SANDERS -- Promises
LORD HURON -- Long Lost
MIRANDA LAMBERT, JACK INGRAM, JON RANDALL -- The Marfa Tapes
CHEAP TRICK -- In Another World
ALLISON RUSSELL -- Outside Child
JEREMIAH FRAITES -- Piano Piano
THE LICKERISH QUARTET -- Threesome
SAULT -- Nine
EMILE MOSSERI -- Minari soundtrack
NICK CAVE AND WARREN ELLIS -- Carnage
WILLIAM TYLER -- First Cow soundtrack
MANDY BARNETT -- Every Star Above
ASHE -- Ashlyn
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