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Tainted Love

June 22nd 2006 04:17
Tainted Love must surely be one of the most influential songs of the 1980s. Known most widely as a song performed by the band Soft Cell, this song was actually originally a 1964 Northern Soul song written by Ed Cobb and performed by Gloria Jones. However, Soft Cell's completely reworked cover version was propelled to number one on the U.S. Billboard Hot 100, where it stayed for 43 weeks.

Today, there are many cover versions of the song, some very similar and others radically different. These include covers by 29 Died, Alterno Daze, Coil, Deathline International, Dishwalla, Marilyn Manson, Shades Apart, The Living End, The Pussycat Dolls, The Ramones.


Tainted Love has also influenced many songs, having been sampled in songs such as the 2004 German techno single Tainted Schall by producer Thomas Schumacher. Most recently, Rihanna’s S.O.S. made use of the hit, and her song is now the current Australian number one on the singles chart.

In itself, Tainted Love is a remarkably likeable song. The fact that it has been covered and sampled so extensively proves its ability to transcend both genre and context. Yet, perhaps the most interesting thing about it is that it is the lyrics are so fiercely debated over, and there are so many different interpretations floating around. For me, the significance of this ambiguity is that I can interpret the lyrics any way I want, and transform them so that they are relevant to me, or any situation. I think that is probably the reason this song has been covered so often. The song has so much character that it can be bent and twisted to fit many different bands without losing its individuality.
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Maybe Hips Never Lie?

June 19th 2006 05:35
There is something mesmerising about the latest offering from Colombian pop singer Shakira, “Hips Don’t Lie”. Latino influences have a huge presence, as expected. High pitched horn sounds introduce the theme for the chorus. An acoustic guitar plays simple major chords. Percussion is vital, and various sounds from bongos to cabassa push along the tempo of this hip-shaking tune. The song sounds busy, it feels intricate. Yet musically “Hips Don’t Lie” is not complex. The same phrases are repeated in the melody, and the beat is constant throughout the piece. So why does it sound so rich? The layering is masterful - each percussion instrument has its own repetitive line upon which another beat is layered, resulting in almost every semi-quaver beat having at least one single instrument begin a note on it. In other words, each bar of four notes is broken down even further into sixteen. In a song with a tempo as quick as this one has, complex rhythmic patterns add a great deal of depth and interest to the song.


Oral Fixation Vol. 2 (image courtesy of www.lightmedia.hu)


Shakira’s voice is much like a breath of fresh air. Her accent is unusual (when compared to the vocal sounds of the majority of Top 40 female singers). She does not seem to feel the need to deafen her listeners with great, high-pitched screaming either. The Spanish lyrics also add a touch of foreign intrigue. Perhaps due to her upbringing and cultural background, Shakira has an innate sense of rhythm, which fuels this song. When the song breaks down, Wyclef Jean takes over. He lays down a very neat rap over a simplified beat, and one can imagine a break-dancing interval. And when the song finally comes to an end... I at least want it to play just one more time. Shakira melds innocence and sexiness somehow so that she doesn’t come across as cheap. This achievement must truly define brilliance.
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I Want You Back

This funky pop tune of 1969 opens with a glissando followed by a catch syncopated bass riff and twanging guitar chords. Michael Jackson’s clear, soulful voice enters. His knowing tone belies this eleven year-old’s innocence. His masterful delivery is already present. Michael convinces the listener that he is heartbroken, remorseful, desperate to win back his girl. “... Oh baby give me one more chance (to show you that I love you)... I want you back!” Jermaine’s more mature voice provides backing vocals. A question and answer technique is used, and by the second chorus it’s almost impossible not to become emotionally involved.


Insert Title Here
Mj singing "I Want You Back



The bridge contains a very funky rising-in-pitch call and response of shouts and “baby” between Michael and Jermaine, which exhibits Michael’s powerful and emotive voice. Imitation is also used, as the bassist complements Michael’s adlib both tonally and rhythmically. The guitarist also mimics Jermaine’s improvisation - both his phrasing and pitch pattern. Improvisation continues to the end of this fantastic song. I Want You Back is fresh and energetic. It succeeds in captivating the listener and rewards them with a great track for singing, dancing or just appreciating music.
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