Perhaps Lady Ga Ga is some sort of conceptual messiah. I know people don’t want to admit that, and I think I’ve got the answer as to why: Lady Ga Ga used—nay, exploited technology to get where she is today. She rode trends and packaged herself. But who else did that right along with Ga Ga? Who else propped up their career on technology and media buzz, riding them in tandem all the way to the hearts of audiences, not to mention the bank? Lilly Allen is the answer.
Those who would damn Lady Ga Ga as a fad are heaping promises upon Allen’s self-made career. Being god-daughter to Mick Jones of the Clash…excuse me, Carbon Silicon doesn’t hurt either, but the girl is an example of the brave new frontier the internet has opened up for artists from every walk of life.
Lady Ga Ga is apparently a classically trained pianist, which lends more credibility to her compositional skills – every cut of hers really is hers. Here is a point that comes up a lot in response to such musicality – ‘Who gives a shit if the girl can play, her songwriting skills still suck.’ This point I can agree with. I think it’s awesome that Ga Ga is pushing the envelopes and introducing more concepts to the stark pallet modern music has become (which is in itself a tragedy – why the hell would we need someone to make us uncomfortable in the 21st century? We’ve already had John Cage, Iggy Pop, G.G. Allin, and Salvador Dali – what else could we ask for? But I’m getting off track…), but her songs just aren’t any good.
She, like the rogue’s gallery of lady musicians that have come before her in the last ten or twelve years, doesn’t lack the means to create evocative pop songs; she simply lacks the talent. Alicia Keys, Norah Jones, Michelle Branch, Regina Spectra – these gals suffer from the same affliction as Ga Ga: they are accomplished musician with no real talent for composition. I would rather see Lady Ga Ga perform a fugue or something—perhaps some light Mozart or Brahms—while suspended from a burning piano covered in racist graffiti than suffer the confusion of a lackluster attempt at being edgy within the realm of rock-and-roll. That would really blow some minds. If she gave us a new look at classical, baroque or romantic music then she would really begin kicking ass.
I would recommend a similar strategy for the after mentioned lady artists as well. Ms. Alicia Keys – stop making boring adult R&B albums and start rummaging through some old Odetta and Big Mama Thornton records; pick some of your favorites and release them as free downloads with the sponsorship of the Library of Congress. The results will be very interesting, mark my words.
Michelle Branch isn’t doing herself any favors and should stop while she’s ahead—perhaps she could marry a football player or a doctor. Just as long as she stops; because if I have to hear another car-full of sorority girls sing that goddamned song…thank you.
Norah Jones, you have some potential. Your strategy should parallel Linda Ronstadt’s. Get someone on your pay-roll who will dig up old jazz and blues songs, maybe some contemporary folk songs for good measure, and record them “your own way”. Two or three albums of this and you may finally find that elusive muse, Ms. Jones.
No doubt the fame and money are keeping these ladies’ eyes focused on their present method, but sooner or later an artist wants to be recognized as an artist, not just an aural sugar factory. Come on sisters – give yourself a little more credit. In the words of Richard Nixon, “There’s hope for everyone.”
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