For those of you who’ve read a few of these blogs, you’ll know that 1) HPL has a very diverse and exciting CD collection (blatant self-promotion), and 2) yours truly has similarly diverse tastes. This brings me to a recent CD that is very much on the charts, and one that I’ve listened to a dangerous number of times, and I have to say it’s one of the best pop albums I’ve heard in a long time. The album is All I’ve Ever Wanted by Kelly Clarkson. I’ve always liked Clarkson’s music, but none of her previous work was as vibrant or universal as this new collection, or spent anywhere near as much time in heavy rotation on my drives to and from work. But what’s most remarkable about this album is what it’s not.
Our star-obsessed culture has created an unfortunate style of songwriting that puts a painful twist on the much heralded “introspective” songwriters of the 1970’s such as Jackson Browne, Joni Mitchell, etc., leaving us with songs by major artists that are so personal and so clearly about their own unique life in the spotlight that the lyrics lose any sense of universality and, therefore, a deeper connection with their listeners. This has been a problem with artists as far ranging in styles as Jewel and Britney Spears (a long guilty practitioner of songs about herself – which she doesn’t even write – though with terrific beats and production), and it’s a testament to Clarkson’s goals that she follows a similar production style as many other artists while keeping the quality of her songs on the upper end of the spectrum and universally accessible.
With the domination of iTunes and the increasing importance of a strong selling “single,” the traditional format of one artist working with one producer (think the Beatles & George Martin or even Shania Twain & Mutt Lange) is on the downswing. While the solo-producer approach usually results in a more consistent style and quality of sound, the “single” approach – the desire to have a few big songs that will carry album sales – enlists multiple producers and songwriters to create a kind of jukebox effect where the only consistency may be the person singing the song. For those of us accustomed to enjoying all the tracks on an album, the single approach can create a problem. Far too often the first half of the record is loaded with up-tempo tracks hoping to be hits, while the second half is filled with ballads or, as it often sounds, just a few more songs to fill out the disc. Clarkson’s album, however, is sequenced perfectly, balancing not just the rockers and the ballads, but the lyrical content as well: the “sad” songs come after a couple “confident” songs, etc. Her album is also filled with musical quotes and references, ranging from Squeeze, Paul Simon, a nod to the retro-style of Amy Winehouse, and even a surprise appearance from The Sweet’s “Ballroom Blitz,” no less. I decided against listing my favorite songs once I realized I’d have to include them all.
I know everyone loves the music they do for very personal reasons, and I know that contemporary pop music is not everyone’s cup of proverbial tea, but I truly love this record, and for someone who spends a lot of time listening to Miles Davis, Loudon Wainwright III, and Miles Davis (did I mention him already?), that’s got to count for something. This is another one of those “roll the windows down and turn it up” kind of records, so take a chance while the air is still clear and the breezes are brisk.