With summer moving towards fall, and the greatest and creepiest holiday of the year now less than two months away, I thought I’d take a break from flogging the careers of bastards, and move onto another subject near and dear to my heart: Songs that unintentionally give one the creeps.
I’m sure if you’re like me, you have at least one childhood memory of sitting in a dark room listening to the radio. Suddenly, a song comes on that’s so weird, so dark, so strange, that you rush to turn the lights on and the radio off at the same time, for fear of losing your mind — or to ward off the beasts of hell that surely lurk within the song.
Of course, the song in question might be something by Gordon Lightfoot — but dammit, back then it was freakin’ scary, so lay off, man!
Anyway, these next few weeks, leading up to Halloween, I’m going to be giving you some of the most unintentionally creepy compositions that have burned themselves into my brain. I’d love you to use the comments sections to tell me about some of your own that you think I should cover.
So, let’s start things off with a bang — or a crash, if you’re talking about this group’s most popular song. The Shangri-Las might pack the most per-capita creepiness into their career than any other pop group (or at least girl group). Riding the early-’60s wave of both girl groups and teenager tragedy songs, the Shangri-Las’ first hit, “Remember (Walking in the Sand)”, provided a template for the rest of their career, using all the elements that would make them memorable: spoken lyrics, sound effects, and melodrama so rich it bordered on camp. These were mixed together with echo-drenched vocals that varied between emotive belts one second and almost zombie-like monotones the next, and all of it was produced via a dime-store recreation of Phil Spector’s Wall of Sound courtesy of Brill Building oddball George “Shadow” Morton (so nicknamed because he had the habit of often disappearing for days without telling anyone where he was going). (more…)
Normally, this series takes on an artist who’s a bad person and whose “badness” has tempered his or her ability to make quality albums with consistency — in other words, those who have more or less stumbled onto a good album or two in their careers. If someone is too busy getting arrested, treating people like crap, letting his ego get in the way of other people having creative input, and spending his time punching gift horses in the mouth, it follows that his musical career will suffer. With this as my starting point, there shouldn’t be any write-up about Prince, namely because he’s remained generally successful for more than 25 years and was a superstar for most of the ’80s and the first half of the ’90s. On top of that, he put out a number of very good to excellent albums during that time, from 
Many artists put on emotional masks, and there are a multiplicity of reasons they do so. Some simply wish to distance the “real them” from the audience, in order to allow some semblance of their “true” nature to remain private. Others enjoy putting on an act, and feel that the creation of multiple personalities, fully controlled by them, is either an extension of their work, or perhaps just a way to mess with other people, or “give them what they want.” Others don’t start out with masks but grow to wear them, as the boundaries between what is internal and external blur, finally leaving an individual whose psyche is little different from what the gossip columnist or their own press agent claims them to be.
At least in the mind of the man himself, 
Robbie Robertson’s recorded output with his legendary band — that is, The Band — and his solo career would seem like different beasts on the surface. While The Band was known for its exploration of the various forms of American roots music — folk, country, and rhythm and blues — his solo recordings have aimed for a more expansive sound, incorporating electronic instrumentation, prog-rock arrangements, and even dance remixes. But beyond that, Robertson’s solo career actually follows a similar level of output as The Band: two good albums (or in the case of The Band’s first two, great albums), followed by a few more middling works, and then absolutely nothing for at least a decade. Eleven years passed between 
You probably won’t be surprised when I tell you that this has been the hardest post for me to write since Popdose started. I mean, it’s been a damn month: what’s the holdup? Well, the truth is I discovered it is a lot easier to write about straight-up criminals like the members of Mötley Crüe, or hardcore divas like Diana Ross, than smug, pretentious assholes like today’s subject, Roger Waters. Simply put, it’s rather entertaining to write about individuals in the former categories. To write about Waters, however, is as trying a task as actually listening to his solo work in an attempt to find if any of them are worth talking about in this column. But I was able to find a good one, or a “good” one, depending on one’s ability to stomach conceptual prog joints. First though, a refresher on Herr Waters’ crimes of pomposity.
When thinking about Rick James nowadays, it seems easy to slip into one of two moods: One is the enjoyment of the way Dave Chappelle satirized his life so humorously, making the phrases “I’m Rick James, bitch!” and “Cocaine’s a hell of a drug” part of the pop culture vernacular for umpteen months. The other is a sense of pity and sadness at a man who was cut down before his time, first by a stroke in 1998, then by death itself in 2004 at age 56.
[Note: Tom Werman, the producer discussed in this post, has disputed several elements of the story. To read his response, 
It seems almost mind-blowing to think this now, but at the end of the 1980s there was no bigger star in the pop sky than Bobby Brown: 
Berry Gordy is a powerful man. Not only did he found Motown Records, building a musical empire that allowed blacks to crossover into what had pretty much been a white-controlled music industry, but almost as amazing, he was able to convince a young Diana Ross that her crap doesn’t stink, and she has not deviated from that belief one iota over the past 45 or so years. In an industry of big egos, the one belonging to Miss Ross (remember, she must be addressed as such or you will be thrown out — and don’t you dare look her in the eyes!) is likely the biggest, and she has wielded it to not only obtain her huge success, but to build herself into a prick so immense that it would make porn stars gasp. Here are but a few examples of Miss Ross in action: