FANTASY COMEBACKS
Nothing can be as it was, which is why nostalgia is so palpable and potent. There's something impossibly unique about events in the past but we still try too hard to replicate how we felt, or rather how it made us feel.
Our attempt to recreate magic is definitely a huge motivational factor in pop culture. This explains Hollywood's fixation on sequels, or our ever-present reboot efforts. The music industry, too, is guilty of this strategy but it's not as blatant. Take Weezer's recent re-teaming with producer Ric Ocasek--this was bandleader River Cuomo's effort to placate the old school fans.
This morning, I got wondering about comebacks, recreating the magic that once was, but still finding room to innovate and progress. In my mind, I paired up some of my favorite musicians with producers who could probably inspire greatness after years of inconsistency. It's a geeky mental exercise, granted, but I'll share my results regardless.
Peter Gabriel produced by Nigel Godrich
Imagine pairing up one of the most soulful and artful songwriters of the last few decades, and a producer known for engendering celestial beauty. Gabriel's work has been weirdly spotty full of non-committal electro-misfires ever since he released 1992's US. A producer like Godrich could pull Gabriel back into the zone of evocative warmth and potentially encourage him to try incorporating more woundedness into his quirkiness.
Beck produced by Ariel Rechtshaid
Beck hasn't been much fun since, say, Midnite Vultures. Sure, there was The Information and Guerro, but both albums sounded less like where it's at, and more like where it's been. Retreads of Beck's presumed idea outtakes. Nothing special, nothing offensive.
But a few sessions with do-no-wrong'r Ariel Rechtshaid could result in wondrous funtimes. Look what Rechtshaid did for Haim and Vampire Weekend--he made them both sound sophisticated and accessible, but also limber and bold. Sure, he's played the trendy producer card before with Danger Mouse on Modern Guilt, Brian Burton doesn't necessarily produce--he makes a Danger Mouse record which features the same guest vocalist on all songs. Rechtshaid is more reverent. He has a signature (wet, shiny, smooth) but doesn't impose too much of himself. Make this pairing happen.
David Bowie produced by James Murphy
This one is a no-brainer--nearly a year back, Murphy produced Bowie's best song in two decades. "Love Is Lost" was a one-off, but was also a fair indicator of how magical this collaboration could be. Besides anything Bowie has done of very recent has been both weird and depressing. I know he's getting old and he's feeling introspective, but seriously..."Sue?" That track is a mess.
Bowie needs to go out with a bang, a real party reminiscent of "Let's Dance" and "Dream Genie." And the only person who could bring that out of him is definitely Murph.
U2 produced by Rick Rubin
The last U2 album is flaccid and limp. This is because Bono and crew worked with the young'uns, and the young'uns like Paul Epworth, Danger Mouse (guilty again) and Ryan Tedder are all too reverent to tell this legendary band what to do. Instead they probably patronized bad decisions and sat outside the recording booth giving the thumb's up when the only exposed digit should have been a very strong thumb's down.
Rubin and U2 have worked together beforehand during the recording session of 2008's No Line On The Horizon. None of those tracks have made to the light of day. Yet if the band is sincere and true about its desire to sound like it did back in the day, only one man can accomplish that. It's the proverbial time traveler Rick Rubin. Set those old tracks free so we can properly gauge whether this union was meant to be.
Lady Gaga produced by Roy Thomas Baker w/ Jack Antonoff
Gaga needs help. If she's going to come back and be reclaim her throne as the reigning queen of P-O-P, she better bring it. Which is why I give you Roy Thomas Baker, the man responsible for the first half of Queen's catalog, the Cars, and the Darkness should be able to GLAM IT UP THE ARSE. But admittedly, Baker is old and potentially out of touch which is why I'm suggesting that maybe we have Antonoff on deck for support and rejuvenation. Antonoff is a great songwriter and supplier of hooks. He can also bring heart to a project and perhaps with all of Gaga's thick shtick, she's in some need of sincerity. It's a bizarre team up, but it could result in capital "f" fun.
Any suggestions of your own?
Our attempt to recreate magic is definitely a huge motivational factor in pop culture. This explains Hollywood's fixation on sequels, or our ever-present reboot efforts. The music industry, too, is guilty of this strategy but it's not as blatant. Take Weezer's recent re-teaming with producer Ric Ocasek--this was bandleader River Cuomo's effort to placate the old school fans.
This morning, I got wondering about comebacks, recreating the magic that once was, but still finding room to innovate and progress. In my mind, I paired up some of my favorite musicians with producers who could probably inspire greatness after years of inconsistency. It's a geeky mental exercise, granted, but I'll share my results regardless.
Peter Gabriel produced by Nigel Godrich
Imagine pairing up one of the most soulful and artful songwriters of the last few decades, and a producer known for engendering celestial beauty. Gabriel's work has been weirdly spotty full of non-committal electro-misfires ever since he released 1992's US. A producer like Godrich could pull Gabriel back into the zone of evocative warmth and potentially encourage him to try incorporating more woundedness into his quirkiness.
Beck produced by Ariel Rechtshaid
Beck hasn't been much fun since, say, Midnite Vultures. Sure, there was The Information and Guerro, but both albums sounded less like where it's at, and more like where it's been. Retreads of Beck's presumed idea outtakes. Nothing special, nothing offensive.
But a few sessions with do-no-wrong'r Ariel Rechtshaid could result in wondrous funtimes. Look what Rechtshaid did for Haim and Vampire Weekend--he made them both sound sophisticated and accessible, but also limber and bold. Sure, he's played the trendy producer card before with Danger Mouse on Modern Guilt, Brian Burton doesn't necessarily produce--he makes a Danger Mouse record which features the same guest vocalist on all songs. Rechtshaid is more reverent. He has a signature (wet, shiny, smooth) but doesn't impose too much of himself. Make this pairing happen.
David Bowie produced by James Murphy
This one is a no-brainer--nearly a year back, Murphy produced Bowie's best song in two decades. "Love Is Lost" was a one-off, but was also a fair indicator of how magical this collaboration could be. Besides anything Bowie has done of very recent has been both weird and depressing. I know he's getting old and he's feeling introspective, but seriously..."Sue?" That track is a mess.
Bowie needs to go out with a bang, a real party reminiscent of "Let's Dance" and "Dream Genie." And the only person who could bring that out of him is definitely Murph.
U2 produced by Rick Rubin
The last U2 album is flaccid and limp. This is because Bono and crew worked with the young'uns, and the young'uns like Paul Epworth, Danger Mouse (guilty again) and Ryan Tedder are all too reverent to tell this legendary band what to do. Instead they probably patronized bad decisions and sat outside the recording booth giving the thumb's up when the only exposed digit should have been a very strong thumb's down.
Rubin and U2 have worked together beforehand during the recording session of 2008's No Line On The Horizon. None of those tracks have made to the light of day. Yet if the band is sincere and true about its desire to sound like it did back in the day, only one man can accomplish that. It's the proverbial time traveler Rick Rubin. Set those old tracks free so we can properly gauge whether this union was meant to be.
Lady Gaga produced by Roy Thomas Baker w/ Jack Antonoff
Gaga needs help. If she's going to come back and be reclaim her throne as the reigning queen of P-O-P, she better bring it. Which is why I give you Roy Thomas Baker, the man responsible for the first half of Queen's catalog, the Cars, and the Darkness should be able to GLAM IT UP THE ARSE. But admittedly, Baker is old and potentially out of touch which is why I'm suggesting that maybe we have Antonoff on deck for support and rejuvenation. Antonoff is a great songwriter and supplier of hooks. He can also bring heart to a project and perhaps with all of Gaga's thick shtick, she's in some need of sincerity. It's a bizarre team up, but it could result in capital "f" fun.
Any suggestions of your own?
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