Deep cut here- no wiki page for Alice Gas...YET! But she's on the socials. Soundcloud anyone?
If people want to label Alice Gas's music as "hyper-pop" and put it in a category with bands like 100Gecs* then who am I to argue? Except....I was listening to this music 20+ years ago when it was called Happy Hardcore. And to prove that, I will now drop some happy hardcore names: 1.) those indispensable HAPPY2BEHARDCORE CDs; 2.) DJ Muppetfucker from the dirty South, who only existed for 6 years; and 3.) the original global house diva, DJ Irene. This stuff is exactly like that stuff was: ultra-fast beats, melodic synths, happy singing. As long as we are talking genre, some might call this EDM. Though I never use those three words as a descriptor, it is certainly apt. But it's not really dance music: there are as many breakdowns as beats, and I would need to see a chiropractor and possibly a cardiologist if I really tried to dance to this wild stuff (Can I just sit-down and pump my fist, please?). Therefore, I'm going to broadly declare this "post-dance electronica" of the happy hardcore variety, as opposed to post-EDM, which seems more about mixing DJs and bands.
Whatever we call it, Alice Gas music is enormously fun. It should be played VERY LOUDLY or not at all. Maybe use it to test out your speakers? In your car? Or, ideally, via a giant PA.
The first thing I listened to was a full album from 2019 called Sorry 4 Being Famous and it was awesome. "Ferrari" was a hit (her biggest to date), but "Slap on the Face" is a quintessential Alice Gas song that is my favorite and well worth two minutes of your life so here it is; turn it up!
Right? More like this, please. So it gets too loud and distorts a little. Does anybody hear me complaining? It's REAL, ok?! As guest Kid Trash sings on "Run It Up": "I run it up / I don't give a fuck." Exactly. Maybe I'm still just reacting to the last band I heard, Alice Donut, but music doesn't always have to to pretentions or self-important. It can just be FUN sometimes too. There may be a irony in me recently complaining that Alice Donut sucked because they were devoid of ideas, but this music is so fun IDGAF - so there.
There are a bunch of random singles from Alice Gas between 2019 and 2022, when her most recent stuff (that I could stream) came out. They are ALL good. Soundcloud has as couple more recent remixes. And she's still playing out, as we will see in the Drama*Alert in a moment. Her 2021 EP Hardcore Heaven is really the best, as it assembles a bit of a thematic mix tape that is relentlessly fun. There's the charm, for me: the combination of an absolutely brutal and punishing rhythm mixed with cheery sounds and vocals. LOVE IT. WANT MORE. NOW PLEASE
UH OH! *Drama Alert* Since I don't feel authorized to comment on what's going on here, I'm just going to deliver a post from last summer's Reddit that covers it better than I could.
To help fans of these bands Googling this topic understand what's going on, I'm making a masterpost of everything that's going on with the gas/glass/gec Drama.
Opinionated Take. Please do your own research. I could be wrong about things. This drama is niche and not very well known. Please make corrections/add details in the comments. Don’t be rude about it. If you disagree with my opinions, please state so respectfully. +TW: SA.
Gas said she would change her band name on her next release (I'm aware that at one point she said she'd change it in a month, but what would you do as a tiny artist when one of your favorite celebrities comes at you suddenly) which makes sense branding wise and helps her fans follow the change/not lose track of her, which she hasn't done yet because her new release isn't done yet.
Plus, using Alice ____ is not original at all. Glass based Alice off of something she shoplifted and Glass from a character.
In addition, when you start out as a transgender ultra niche genre SoundCloud artist with hardly any following, a play on another artists name you love doesn't seem to matter because you obviously feel insignificant compared to that celebrity, and you don't expect to get famous, and I'd argue that Glass is still more famous than Gas, like significantly. Most people don't even make the connection, like myself, even though I knew both artists. "Alice Gas" has an entirely different mood and vibe around it than "Alice Glass", and Gas' branding, music, album art, and aesthetic are completely different from Glass. Despite this, Glass sent them an angry message saying "Take my face too, take my body too" which is ridiculous to even say to someone who has no resemblance to you physically at all, and isn't reminiscent of you in any other way other than making their band name a TRIBUTE to you. Hyperpop uses references heavily, and I haven't heard a single Alice Gas song that sounds anything like Glass' solo work or her work when she was in Crystal Castles, nor any samples in Gas' work that are from anything Glass has made.
Also, Glass didn't seem to mind when she greenlighted a remix of one of her songs that Gas helped make. So the sudden change of heart seems really disingenuous to people on the outside watching this all go down. Like, it would have been way easier for Gas to change their name earlier in her career if Glass said something then, or make the collab a way to signal boost Gas' new band name, but instead she seemed happy to do a collab with Gas. This is why people disagree that Glass is sensitive about her name because of the history of her breaking off and making her own band to escape SA, because if it was something to do with that people expected for her to have a problem with Gas' name when she was reached out to in order to greenlight the remix- in which their names are right next to eachother.
That being said I'm curious to see what happens when Gas releases her new album. I truly believe that people can make the connection (and tell the difference) between Glass and Gas since its revelant to the subculture and knowing that Hyperpop, in and of itself is a mix, parody, contradiction, exaggeration of 2000's-2010s EDM, pop, emo, punk, ska, weeb, goth, meme, dubstep, lgbtq, YouTube, Tumblr, culture and the like- it makes sense for Gas to have the name she has. Again, wasn't an issue when Glass collabed earlier- I think since Gas is becoming more popular, Glass is now being petty about it. Plus, Alice Gas brings a younger crowd that would typically never listen to Glass to her music, which is cool. But I guess Glass didn't think about that.
Side note:
People are confused why Gas being transgender has anything to do with this, and I'd just say this: Alice Gas, legal name Alice, is a transgender woman. Alice Glass said, "take my face too, take my body too."Alice Glass is a very conventionally attractive ciswoman.Alice Gaslooks nothing like herand their styles are not comparable at all. I don’t think that it being construed as hurtful has anything to do with Glass asking her to change her name specifically, more just that comment didn't make sense if she was just mad about Alice Gas having a tribute name. Its obvious that Gas is not copying Glass in any way, artistically. So that comment about her face and body kinda rubs people the wrong way, because transwomen struggle with dysphoria because of society's perceived pinnacle of a beautiful woman: thin, pale, very conventional cisheteronormative facial features, all things that Glass has naturally, while Gas has to go through hormone therapy and surgery to obtain feminine features. It's just insensitive. I could understand her saying that if Alice Gas was copying her style, but she isn't. It comes off as very pretty girl privileged.
Well there you have it, clearly if not necessarily objectively. Can confirm that Alice Gas is not seen or mentioned in the popular 100Gecs Live from the Boiler-room video. I know whose side I think I'm on, but either way - it is time to listen to Alice Glass.
For now then, massive props to Alice Gas: hope you get to keep your name and pump us all full of more music soon.
*OMG do I need to go BACK and listen to 100Gecs. Yes, yes I do.
Sometimes I wish Frank Zappa had gone into abstract painting rather than have one bit of influence on modern rock music. Just because your "art" pushes people's buttons doesn't mean it's automatically good. If the music isn't remotely enjoyably then you are definitely in the wrong genre. And this music by Alice Donut pushes buttons, but it is rarely if ever enjoyable. It left me feeling sad and angry, disappointed, grossed-out, and repulsed. It was painful having to listening to it all. And perhaps the biggest sin is not that it is awful; it would be easier if it were. The music is not bad, nor is it good, but it is almost always obnoxious. I suppose they are trying deliberately to be, but that doesn't mean I have (or want to) hear it.
The band was formed in NYC (Columbia University) in 1986. If they played a bunch at CBGB does that make them punk? Everything tells me that I should like this band...but I do not. Not at all. I am sorry. I tried, but the more I listened the less I liked.
Alice Donut (Art by Ron Hart)
One of my main questions is, How did such a supremely mediocre band get signed to Jello Biafra's Alternative Tentacles record label? There's a few songs that get slightly fast on the first couple albums, but mostly they are awkward start-stop kind of songs and the rest are mid-tempo if not slow chuggers. Maybe the politics align? Who knows though because I can't understand much of what the guy is saying. I might agree with the sentiments of "Tipper Gore" if I could understand any of the words. Rather than insightful social commentary, I have come to expect juvenile potty humor. And it's all sung in an obnoxious shriek somewhere between Biafra and The Dead Milkmen. But whereas The Dead Kennedys had brilliant, ironic satire and the Milkmen had comedy, these guys offer neither. Just sneering obnoxiousness and "jokes" that might be funny the first time but do not stand up well to repeated listening. Not at all. The crudeness gets old fast. The dirty noises at the start of "Death Shield (live)" are some of nastiest stuff I've ever heard on a record and "I Want Your Mother" isn't much better; fuck these guys for making me listen to this shit with my kid in the car! Their album, from 1988, is called Donut Comes Alive, which would be half-funny if it was a live album. I kinda liked the punkish cover of Donovan's "Sunshine Superman," despite the piercing vocals. But the album as a whole is disappointingly devoid of original concepts: "American Lips" is such a hodgepodge of almost-ideas that it literally sounds like they are mocking a Dead Kennedy's song, or like Weird Al covering "We Didn't Start the Fire" but without anything funny to say. The lackluster music cannot carry the dead weight of empty ideas.
After listening to their first album I was left irritated and angry, and that's not right. It's not just that these half-baked ideas get sent into the world as though they have great value, while more interesting bands wallow in obscurity. I swear this music would be more interesting if it was worse, but it is the fact that it is neither good nor bad that really irks me. It's just basic rock music, masquerading as something more. There's something shady about that.
The second album, the absurdly yet somehow appropriately titled Bucketbulls of Sickness and Horror in an Otherwise Meaningless Life (1989), offers simply more of the same. It's also on Alternative Tentacles and weirdly every song is marked "explicit." Why bother? Few if any of the lyrics are decipherable, and I listened repeatedly and carefully. "Sinead O'Connor on TV" may have had something to say, but I could only make-out every other word. I wish I couldn't hear the lyrics to "Dorothy" or the unacceptably cruel and vulgar "Lisa's Father", which probably isn't even really recorded live at the CBGB's, but it doesn't even matter if it was. Clearly, when making a song about incest/rape, they are trying to write offensively bad music; unfortunately, they are just awful it. You, sir, are no 45 Grave. Awful screeching and tuneless guitars pollute every song here. Examples include, "Egg," which is just shrieking nonsense, and "Consumer Decency," which again sounds like it could almost be a Dead Kennedy's song but is really just about bagging groceries and "I beat him to death with a boneless chicken" or some shit. I am starting to get it: none of this happened, none of this is real, nothing matters. The lyrics are just straight up gibberish. These guy are wasting my time with endless drivel masquerading as important ideas. There are no ideas here- at least none communicated with any clarity. Sometimes I wonder if they are doing that DK thing wherein they are playing the type of music they are making fun of: some of theses sounds like mocking pop-rock or exaggerated hair metal. But if that's the case, as in the quasi-epic of ""Bucket, Forks, Pock," then the joke is funny exactly one time: the song is a pretty good parody or novelty song, but it's not a good actual song. I will give them this- it doesn't sound too much like 1989: it sounds like whenever. There is a certainly timelessness about it when they aren't even trying to capture the zeitgeist.
The next album, Mule, is their most successful and yes- that warbling, high-pitched screech will be present on every single song. I don't care what the fuck he's saying or what the music underneath is: after a certain point it just becomes intolerable; I want to cover my ears and run away. The most brutal death metal is better listening than this nightmare. The supposed highlight is snotty, trashy cover of "My Boyfriend's Back" with altered lyrics: "my boyfriend's back and he's gonna kick your ass in" and there's a line about chopping him up and feeding him to goldfish. JESUS H CHRIST - this is exactly what it would sound like if a bunch of 6th grade boys decided to form a band. And then these asshole think I want to hear them sing a regular style song ("Tiny Ugly World") and strum the acoustic guitar? What a bunch of dicks. Ridiculous and embarrassing to everyone except those obliviously involved themselves. Revenge Fantasies of the Impotent is up next and guess what? More of the same: half-baked, unformed, unimportant songs, this time marred further by muddled production. A rare high point is the entertaining instrumental cover of Sabbath's "War Pigs," which is loose and delightfully playful; the trombone, played by the drummer, is a welcome change. Maybe it's just the voice I find intolerable?
I'll allow it; here's what it sounds like live:
The trombone is back again for another near-instrumental on the next album, "She Loves You She Wants You It's Amazing How much Head Wounds Bleed," which is also tolerable, but goodness these people must find themselves hilarious. Speaking of live hilarity, their fake live album actually made me laugh hard - a lot - but not after repeated listening. I wasn't thrilled to hear these forgettable songs again in live renditions, but their feigned stage banter is hilarious. And the crowd is obviously fake, but that's OK - that many people wouldn't even fit in CBGBs! It was all really funny - that first time through - but not something I would listen to on purpose a second time.
There's another album Pure Acid Park, which has a promising title but does not follow through with anything new or different. That live album is actually released after this one, so in 1994.
Then they break up in 1995, but don't worry - they still play out sporadically and return in 2001 and release another album in 2003. The two or three reunion albums sounds like they are really just for themselves. I suppose I can understand that. Sadly, they have lost their timelessness. Even though it is the early-2000s by now, Three Sisters sounds very much like a product of the 90s: the production on the drums is weird; on some tracks the snare pop sounds exactly like Helmet, that is to say - overproduced hardcore. This now sounds like a third-rate grunge or alternative rock, while the supposedly clever lyrics remain indecipherable. I mean, what's the point?! There's a long, jammy, angular song on 2006's Fuzz called "Madonna is Bombing Sarajevo," that I kinda liked, but it was an anomaly. Everything on Ten Glorious Animals is completely forgettable, excepting the relatively faithful cover of The Pixie's "Where is My Mind"...and even that would be pointless if not for the trombone replacing the lyrics: it's another welcome reprieve from the usual vocals.
I've only now, upon review, realized that their latest album Freaks In Love is actually a collection. It explains why all those songs are "remixed and remastered" - and also why some of the songs got played for me so frequently (they are in the mix twice or more). Great. The collection commemorates their 25th year as a band, and there was a DVD movie to go with it. I supposed I'm happy that these folks never needed to get day jobs, but I am not eager to hear more. Not at all.
Someone at The New Yorker once called this band a "dadist punk ensemble." LOL- as if. That sounds awesome. Critics have also likened them to Frank Zappa, and that I agree with. When you're more interested in being different than being good, don't be surprised that the resulting music is bad.
The girl who joined the band on bass at some point, Sissi, married the vocalist, which explains how they are still able to have occasional reunions. (The other guy in the band briefly joined Rasputina, which no offense--and I don't even love that band--is a big step up.) How in Hades is their last/most recent show at the Ottobar in Baltimore in 2017?! Their lame-ass website confirms this; though it hasn't been updated since then; sorry, folks, the message board seems to be down.
And for the record, every single one of their album covers is as ugly and dumb as their music. I guess that's on purpose.
Amusical nonsense from obnoxious jerks: it's still not the worst music I ever heard, but I do hate it. Sorry, punks.
These aren't the songs that Alice Bag is famous for. As such, they vary from "pretty good" to "just OK." None of it is bad, but it's not really moving the dial much. At least, not anymore. They sound like what they are: the product of a late-stage solo career from a living legend who was in a really important punk band in the 70s, The Bags. But Bag's solo stuff didn't come out in the 70s or even the 80s. Weirdly, her first solo album comes out in 2016, after the publication of her second biography, some 30+ years after her start in the scene. As it was the 70s, The Bags were really at the forefront of something new and different in LA, especially having a female front-person, and a Chicano-punker at that (both her parents are from Mexico). Not exactly typical white-suburban punk. Maybe some day we will track down and listen to all of The Bags, but that day is not today. They are in The Decline of Western Civilization (the first one!), but broke up pretty quickly; Bag formed other bands thereafter.
Clearly, Bag had it going on in the 70s and 80s. So why not let punk rock grandma record a few solo albums? I'm not opposed. These albums don't seem to be her main creative output. Other than the previous musical projects, she seems more focused on writing, art, political activism, and raising a family. Sounds like a winning combination! If you really want to know why it took her almost 40 years to record an album, she speaks to it in this Billboard article. TL;DR: "I've been in bands you never heard of!"
We're really only talking about three albums between the first in 2016 and most recent in 2020. The first is her self titled debut. Martin Sorrondeguy is responsible for the unremarkable cover, and we are supposed to know him as a prominent figure in both the straight edge and queercore scenes. Here's a typical offering from the album
Most of the songs are similarly political: tackling body issues and rape culture in songs she calls "sangry." That's fine, and of course I agree with her, but the later songs are actually more fun. The problem is wondering who still needs to hear this: even if you buy a girl dinner "no means no." It's like, who disagrees? We have seen this after-school special a million times already. And "Reign of Fear" sums of 2017 pretty well, but not using fresh language or ideas. Her album Blueprint comes out in 2018 and it is all political too. All Music said, "Alice Bag is one of the most exciting and compelling new artists currently making music." Yes, but is this the music that is exciting and compelling? She's a great screamer, but the most compelling thing here is the guest vocals by Kathleen Hanna. The (bitter) track in Spanish rocks awesomely. For whatever reason, the songs in Spanish work the best, including this recent number (with excellent video):
"No Gifts for Nazis" is great and really captures the zeitgeist for a holiday number.
During the pandemic she started uploading her workout videos: get fit for the apocalypse! In an earlier life she taught English in inner-city LA schools! I like the relevance and the punk energy of these songs even if the music isn't doing anything special. Bag has said, "We don't live in a post-racism, post-feminism, post anything: punk allows us to speak our minds." Yes. Way to carve out relevancy for punk rock music. Still. I'm here for it.
And yet...I can agree 100% with what someone is saying and still find the delivery tedious. In fact, maybe it is the total agreement that contributes to the eye-rolling: she's not telling me anything I don't already know well. Maybe it has just aged poorly in a today's even more politically polarized world. Or maybe the music is just a little boring at that makes the message seem more basic than it actually is.
Alessia Cara's staying power should not be underestimated. When I listen to these artist's discography their tracks stay on my phone - often for months - and are subject to many repeat listenings. Some of us will never forget the two years of listening to Al Hirt and Al Green - because I stopped commuting during the pandemic. It doesn't matter how great Al Green is, or even how listenable Albert Hammond is for that matter, because at some point we all want to hear something new after getting tired of the same things being played over and over again.
Not so for Alessia Cara! Look, this isn't my favorite type of music in the world. Kiddie pop/R&B? But the fact that I found it extremely tolerable for a great length of time is really saying something. I've leaned on this expression before, courtesy of Crowded House, but maybe this is "pop music that matters." Perhaps the more substantial pop sounds are the results of a more substantial performer, as opposed to say some sort of prepacked, glossy product from committee thinking. This girl has got all her clothes on in all her pictures. I guess she started when she was just a kid, posting covers on YouTube. Yet even today, she's not out there shaking her ass and showing off. She's got some RealShit to talk about. It's mostly young people, emotional stuff. Actually, it is almost all relationship stuff. Some good, some less-so, but mostly really healthy notions of personal relationships are upheld here. Often it felt like reading a schoolgirl's diary. Someone said that the aces (asexual) even like her in particular because of her favored lyrical contents; I could see it afterwards but didn't really pick-up on that. True. it's never very sexual. The raciest thing she sings is, "You should see me in a sundress" and that's just delightfully adorable. The point is, this kid has got a head on her shoulder, and the results are smart and highly appropriate, if not always earth-shatteringly new musical sounds. Her first album is called Know It All. Perhaps it goes without saying, but she writes all her own songs. I'll say this: my 12-year old daughter and I shared an appreciation for this discography over many months of commuting to school/work. We skipped very few songs, very rarely! In other words, by my logic, even though I'm a band guy, this is WAY better than Aerosmith. Way, way better. (Sorry, I can't let that one go, but that terrible band is still around and only getting worse.)
Many of us will have encountered Alessia Cara for the first time ever on the Moana soundtrack; I think maybe I did. For context, recall that Demi Lovato similarly sang Frozen's theme song over the end-credits ...and then she promptly went on to a sex- and drug- fueled career. Cara is sweet and innocent at this point too, but the difference is she basically stays rather wholesome the entire time. That's not going to land her on the top of the HOT100 chart or crashing Ticketmaster to sell-out stadiums in our modern America, but like I said - this music stands up for repeated listenings. With apologies to today's flash-in-the-pan, top-charting pop sex kittens, I find this music far less vapid than most of that stuff. Admittedly, it's not always what I'm looking for, but I'm glad it's around for sure. And all of this is super-great music for young people to be listening to. It's incredibly positive throughout. I might also add that we still know almost nothing about her personal life, and that's OK. She's Canadian, alright. What else do you need to know to listen to her music?!
But the song from Moana, written by the extremely overrated Lin-Manual Miranda (I'm sorry but Hamilton sounds like a Simpsons parody of Broadway's desperate attempt to be cool),was actually released after her debut album, and it's first two hit singles. The third single, however, remains her biggest hit to this day. "Scars to Your Beautiful" is a great song with an important message that made a big misimpression, also with the video:
I mean, it's Grammy-bait, but, in addition to the essential messaging, it works really well to highlight her voice; it's so good, a little scratchy, and with a broad range that sounds super when low. If I am being really generous with myself I might have said something like, "Oh, this girl singing 'How Far I'll Go' is the same one that sang 'Scars to Beautiful'" - but I'm not sure I ever said that in 2016.
"Here" is also a relatively big hit, and technically it comes out before the previous two songs. It's so simple: an anti-party song, but it needed to be said. And what a uniquely unexpected way to explode onto the music scene! I saw it repeatedly referred to as an "introvert anthem," which fits better than asexual anthem. More positive vibes, nonetheless. Her debut single and subsequent album come out right after she got signed at the age of 18. (Apparently some random girl showed her record-producer dad a performance video that Cara had uploaded). Both "Here" and "Scars" make significant impacts, ranking high on year end lists and what not. However, she hadn't quite come into her own by this point, but the potential was there and shortly realized.
After playing SNL but before she released another album, she was featured on the song "Stay" by Zedd. It's gotta be the most innocent song that Zedd ever made (off the top of my head, I recall his collaboration with Selena Gomez, whom he may have been dating at the time), yet it is significantly more hard-hitting EDM than anything else in her catalog. I dig it. I liked this song from knowing it even before listening too all her stuff on purpose. There's some acting in the video! (I'm guessing the dude is Zedd?!) While most still call her a singer/songwriter, not "singer, actress, etc.", she's done some voice-over work, more recently: I didn't watch The Willoughbys, but Blade Runner: Block Lotus seems cool; she did songs for both too.
She opens 2018 with a win at the Grammys for Best New Artist. This can be a kiss of death: while there are plenty of counter-examples, when was the last time you heard anything from Shelby Lynn, Arrested Development, or Paula Cole (who beat out Fiona Apple, Erykah Badu, Hanson, and Puffy Daddy with the freakin' song from Dawson's Creek)?Among those who Cara beat for her award: immediate future collaborator Khalid and 2023's list-topper, SZA. Does it matter that Cara was the first Canadian to win the Best New Artist award? Take that Alanis!
Before her second album, she also appeared on another famously impactful song: she and Khalid are featured in the song (and video for) "1-800-273-8255," the anti-suicide anthem from Logic's album. Who's gonna complain about that?! Nobody. It was also nominated for a Grammy, as was "Stay," but neither won.
She releases The Pains of Growing in 2018. The growth is emotional and lyrical, not necessarily musical. There's actually a bit more variety to this album, but the sonic options didn't all work for me. It's good enough, but I liked the previous and next one better. It's a bit more sparse with plenty of acoustic numbers. Like coffee shop music. Just as much stuff from the internal-dialogue of an emotionally sensitize young person, but that's OK. "Growing Pains" was the first single, and set the theme for the coming-of-age album. However, the next one "Trust My Lonely" is more in-line with the self-respect and anti-party focus of the first album: she doesn't NEED anybody. (I think this is the song the aces really like). "Nintendo Game" offers a extended metaphor for relationships that is cute AF: "All the trashtalk is getting reload / I'd rather try my hand at Rainbow Road....This is taking longer than Zelda." The album got solid reviews. It debuted at #1 on the US iTunes Pop Charts, whatever that means, but did less well on the Billboard charts. It did well in her native Canada. She went on tour opening for Shawn Mendes; I would have left after she played TBH. While touring she released a new EP in the summer of 2019, This Summer, and it's some of my favorite stuff from her. "Rooting for You" is more unrelenting positivity, but "OKAY OKAY" is glitchy and fun. I like "October" too: maybe just because it makes the Season Fall playlist and gets played a lot or maybe because it's a great song. The following summer she released a live version of the EP...and donated all the proceeds to Save the Children! She also added more colorations around this time, appearing on songs from the bands Bastillle and Lauv(?), pop bands I don't know much about, probably because they are all boys! But...you know that all-girl, Mexican Metallica cover band, The Warning? She covered "Enter Sandman" with them. I don't ever say this about thrash, but slowing it down just a hair makes it somehow groovier and deep. Pretty bad song, of course, but I'll give them a pass.
Also, in 2019 she was nominated for multiple Latin Grammy awards. Can we please talk about this for a second? Not that it matters, but did anyone else think Alessia Cara was Latin? You could be forgiven for thinking she is after she was nominated for Song and Record of the year for her collaboration with well-established Columbian artist, Juanes, on a song called "Querer Mejor," in which she sings in Spanish. She's not. She's Italian! She lives in Canada, but both her parents were immigrants from Italy. Very Italian! Another hint: her real name, listed for the song writing credits, is Alessia Caraccioli; that would have given it away! It is absolutely not just me: it came up when she was playing that game with Wiredwherein celebs answer the mostly commonly Googled questions about themselves: What is Alessia Cara's nationality? To which she replied, "This is a funny one because if you go online, every day, a few times a day actually, every single day, there's a person that discovers that I am Italian and basically white. It makes me laugh 'cause they're in like in shock that I'm like not Latina or something. I am pretty racially ambiguous. I think that's because my family's from the South of Italy and everyone from the South is like a little bit darker and more olive skinned. I got the curls, but I'm Italian through and through." Yep, that was me; I'm the person online. I'm glad she doesn't seem upset by it and I appreciate the explanation.
Then the pandemic hit and she went back to making little YouTube videos in her bedroom, like pre-fame. It works! The innocent adorableness is off the charts: "Is this thing working?" "Hi, I'm Alessia." Um, you're pretty famous at this point! She was on a world tour and played on the late night talk shows and MTV Awards and all sorts of things.
Her third and most recent full album from 2021, In the Meantime (ideally not confused with the [best] Helmet album of the same title), offers more "introspection and vulnerable lyricism" that played well with critics and audiences. I liked it the most, which bodes well for the future. The little electronica and even reggae flourishes really keep it interesting. The actual singles didn't particularly resonate with me, but plenty of these songs were good. The song "Bluebird" deftly incorporates "I Wish You Love," made famous by the likes of Frank Sinatra, Sam Cooke, and Dusty Springfield. The breezy "Find My Boy" is another favorite.
While doing this blog entry I heard a Christmas song on the radio in a public place and could easily identify Cara's voice. I went looking for it and found several Christmas covers and originals. Holiday Bonus!
There's been a spattering of singles from movie soundtracks and maybe some EPs since the last album; they have been consistently good too. As of this writing, just a couple weeks ago she posted "haven't put out music in two years (that will soon change)." Get ready, everybody! I'm here for it.
that voice, tho
Alessia Cara with her Best New Artist Grammy (2018); I would not be opposed to possibility of additional accolades in the future.
I was listening to an NPR newscast recently and the host said, "An old song claims that it never rains in California, it pours...and well [awkward transition to news about catastrophic flooding]". I had a mixed reaction. Part of me was glad that "It Never Rains in Southern California" had achieved the status of a well-known, old song - common knowledge, if you will. However, part of me wanted to say, "Hey! That's not just some old song; that's by Albert Hammond, and I've just listened to every song he ever recorded - good stuff." Perhaps the newscaster's vague assessment is not unfair though. He's known most for this song - or for being the father of the guitarist from The Stokes. I found a lot worth listening to though. It turns out that he's a great songwriter.
Knowing nothing about Hammond before listening to all his music raised some interesting mysteries. Like: why so many well-known covers? And: why is this white guy singing so often in Spanish - and just as often not?
First, though born in London, he's actually from Gibraltar and got his start playing in Spain, where he remained popular. He must have done something right because he's OBE in merry ol' England. He moved to LA at 26 and that's where his career really took off.
Secondly, he wrote ALL those songs. Despite some cringeworthy lyrics and the occasional silly song, this man is a legendary song writer. He was inducted into the Songwriter's Hall of Fame in 2008. Even if you don't know him or his name, surely you have heard of some of the classic songs he has written, including:
"Nothing's Gonna Stop Us Now" by Starship [Stop complaining; you love it. It's the second- best Starship song!]
"One Moment in Time" by Whitney Houston. Oh yeah, and it was the theme song of the 1988 Summer Olympics in Seoul. Thus it won an Emmy. NBD!
"The Air That I Breathe" a big hit for the Hollies, and one I couldn't understand why he kept covering in different versions. Radiohead owes him a little something.
"To All The Girls I've Loved Before" which became a duet between Julio Iglesias and Willie Nelson. When I saw Willie Nelson at NO Jazz Fest he did the duet with Orleans Parish Sherriff Harry Lee; it was really something. Damn if I can't find footage of it, but nola.com confirms: "The late Jefferson Parish sheriff Harry Lee was often a special guest for Nelson’s local appearances."
"When I Needed You," which I didn't recognize on paper as a hit, charted for both Leo Sayer(?) and Leap Lee(?). Ok, when I hear it I know it. Leo played it on The Muppet Show; maybe I saw it there.
Besides all that, and a bunch of other songs and artists I don't really know, he wrote songs for Celine Dione, Aretha Franklin, Diana Ross, Tina Turner, Chicago, Heart, and the Carpenters. Wow- he even wrote an Ace of Base song! (Well, they covered a song that he wrote with the ubiquitous Diane Warren.)
Hammond co-founded the British vocal group The Family Dog and they had a minor hit in 1969 with "A Way of Life," from the album of the same name. It hasn't aged too well. However, he's mostly known as a singer-songwriter on his own, and that really begins in the 1970s with a classic 70s sound on his first album, which contains several of his best-known songs and his only real hit for himself. It Never Rains in Southern California is an excellent debut in 1972, and it certainly sounds like it comes from the 70s. The title tracks hit No 2. on the charts, and there are other good songs. "From Great Britain to LA" is a jaunty rocking number that belies the "soft rock" moniker he gets saddled with later. Not to be confused with Neil Young's far more intense song, "Down by the River" is a little silly ("there will be a tear in the otter's eye..."), but it's good early environmentalism made simple and fun. While some of this rhyming couplets are a little grating, there are actually some good zingers, including this innocently sexy line: "You put your jeans on top of mine / Said, come in the water's fine." And on "Anyone Here in the Audience" the speaker pitifully begs for musician's mercy. The album ends with "The Air the I Breathe," which is a nearly perfect song that Radiohead stole the progression from and The Hollies had a big hit with. All these themes will be re-mined on subsequent albums, but are present here in this initial solid set of songs.
Here he is, in all his early glory, playing his biggest hit at the time.
His second album, entitled The Free Electric Band comes out only a year later, with him producing and arranging himself. "The Day the British Army Lost the War" is a stand-out tracks that borders on hilarious (in a good way). Clearly building on the semi-autobiographical elements teased on the first album, the British Army loses the war because the daughter of the major ends up dating a working-class guy from America. He also retells the story of giving away his family's privilege and fortune for the rock-and-roll lifestyle. Both the title track and the "The Peacemaker" are singles, but they don't go too far. As a full studio album though, even the non-singles are solid songs.
His third album is sadly self-titled. It starts to settle into the "soft rock" genre, with most of these being mid-tempo numbers. "I'm a Train" is a weirdly simple song, almost a traditional, that was first recorded in French in 1967. Somehow it's the single here. I'd like to think that "Dime Queen of Nevada" is about weed, but it's not - it's about slot machines. "Mary Hot Lips Arizona" tells another compelling story about another interesting lady. Hammond meets lots of ladies in his songs. There's the working-class sentimentality again, such as on "Everything I Want to Do" ("don't want to go to work / Unless you're there when I get back home) and also on the relatively self-explanatory "I Don't Want to Die in an Air Disaster."
99 Miles from LA is not an album the sells much at all, but the title track ends up being Hammond's only number One on the Easy Listening charts and probably his most successful track overall. That's especially true considering it's a cover for Art Garfunkel and Johnny Mathis in the 70s, then Julio Iglesias, Dionne Warwick, and Nancy Sinatra later. He covers it himself on the next album, When I Need You, which was his poorest pop-chart showing so far, though it contained "To All The Girls I've Loved Before."
Then he starts singing in Spanish! Like, all in Spanish. The whole album. Having released at least an album a year since 1972, in 1976 he releases the again self-explanatory My Spanish Album. This helps him tour Latin America successfully, and leads to him producing other acts, like in Mexico. He later he also produced Duffy. (Remember Duffy? She was like an Adele/Amy Winehouse predecessor but did not stick around after her first hit, "Mercy," which is still a great song. If we are still allowed to call things "blue-eyed soul" than that was it.) In 1977, '78, and '79 he releases fully-Spanish albums - and they are great. Al Otro Lado del Sol was good enough to get the "Remasterizado" treatment, and it sounds fantastic. Very tastefully produced with acoustic and rhythmic flourishes. All his Spanish stuff is consistently, moderately great.
I'm still not sure why 1981's English-language Your World and My World, which didn't chart anywhere except Japan (#18), contains his top streaming song "When I'm Gone." It inexplicably bests "It Never Rains" and "Ansiedad," which somehow tops his big hit by appearing on some Spanish-language compilations. The single itself only charts in Germany, Switzerland, and South Africa- which I suppose is nothing to scoff at, but it wasn't a big hit there or anywhere else. It might be why Wikipedia calls him an "English soft-rocker." Fair. It does sound like Air Supply - as does "When I Need You." Actually, yea- he wrote an Air Supply song too: "Lonely is the Night" again with Diane Warren. This album in particular leans pretty heavily into the soft-rock. Here he is in the moment:
I was a little disappointed in the others extremeley-1980s sounding soft-rock album, Somewhere in America, but this guy is still around today and definitely not leaning into the 80s synth-pop sound anymore. There have been a series of collections and repackagings. The most recent was 2016's In Symphony, which--as the title indicates--offered symphonic versions of some of his best songs; some worked better than others. I'm happy to report though that his voice is still in excellent condition, and Hammond seems to be enjoying his ride as a respected elder-statesman of rock. Or at least Music. While he may not enjoy the widespread and ongoing popularity that he might deserve, his undeniable prowess as a successful songwriter makes him a true legend. And a good one at that! Unlike Alanis, his songs held up very well to extended repeated listenings. It's not all great, but very little of it is bad. I dig it!
In 2024, he dropped a new album, which I'll generously call "grizzled." And this article came out, which dismissed him as "the father of a Stroke," and reminds us again that he co-wrote Starship's "Nothing's Gonna Stop Us" from Mannequin.
Before listening to Hammond's discography I had knowingly heard him at least once before. His hit song memorably soundtracks the bittersweet/ambiguous original ending to the Veronica Mars series. Like this,
