Word: poppings
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...That came from Spillane. His influence is everywhere evident in the popular culture that followed him. I've written before that the 20th century can be neatly divided in halves: for the first 50 years, middle-class pop culture imitated the upper class; in the next 50, it aped the underclass. (Still does.) The first period tried for elegance, the second for outlawry. Astaire; Spillane. This change could be gauged seismographically in the movies, music and comic books of the 1950s. But Spillane was there first, as pioneer or prime corrupter...
...dance heavy, and the crowd just wasn't going to dance to stuff they didn't know intimately. The only time everyone got on their feet was for "Lucky Star," a song that predates the birth of Britney Spears, who's already long in the tooth by pop standards...
...edge and has an uncanny ability to recognize bits that, in a different context, could have mainstream appeal. Think about "Hung Up"; it's a 5:37 marathon of a song, the kind of thing that shouldn't work outside of a dance club. But keeping in mind that pop listeners are used to time-released thrills every 30 seconds or so - you know, hooks - she's thrown in about 20 of them. Some are immediately recongnizable, like "Gimme! Gimme! Gimme! (A Man After Midnight)", the Abba meringue in the middle of it all, but others are so weird...
It’s one of the slickest voices in pop, sliding like honey into each oh-so-deliberately placed consonant. But on Scritti Politti’s first album in seven years, Gartside’s voice is also used to great effect; “White Bread, Black Beer” may be the best record...
Gartside is the rare white pop musician who can use rap without exploiting it. When Ben Folds gets the Ivy Leaguers bumpin’ with “Bitches ain’t shit but hoes and tricks,” it’s funny only because a smiling guy with rectangular glasses is singing it. When Gartside croons “Gonna rock you honey / ready or not / gonna steal your money,” it’s actually funny...