A BIT ON DATED MUSIC, HOW TO AVOID IT, AND THE 2012 HIT I PREDICT WILL SOUND DATED BY 2023

A song's potential to become dated is an interesting conversation to have.  To be clear, "datedness" doesn't reflect, in any way, how good or bad a song is.  After all, the skeleton of a song lies in its melody and lyrics— attributes which have nothing to do with whether a song becomes dated or not.  How could they?  Those things have been in music forever!

So what determines a song's datedness?

Datedness is determined by either the song's instrumentation or how the instrumentation is placed within the song's overall mix.  Here's an example of a great song which sounds totally dated because the use and tone of its synthesizers doesn't hold up today. 

"I'm On Fire" by Bruce Springsteen

Here's an example of a good song that sounds dated because the drums are so loud in the mix.

"Behind The Sun" by Red Hot Chili Peppers

And here's an example of a good song that sounds dated because of a chorus effect on the rhythm guitar—an effect that really isn't used on guitars in mainstream music anymore.

"Paradise City" by Guns N' Roses

Some of the above songs have dated elements which I wish weren't considered dated today.  Others have dated elements which make me glad they are never coming back.  So the logical question becomes this: why did these dated elements make it into the song in the first place?  The simple answer is because it seemed like a "fresh idea" at the time.

But a funny thing happens over time.  It keeps on moving.  And moving.  And moving.  And something happens to the "fresh idea" in the process. Like all things fresh, it  spoils until it eventually rots!   So, shit.  How do you avoid sounding dated then? 

Your last song became dated because the sound was fresh like bubblegum.  

The bubblegum that this girl is chewing won't be good in 10 years. Just like her bubblegum, the "cool" within your dated song's production also has an expiration date.  

What a production actually needs is something that stays fresh like honey.

It's sweet like bubblegum—that's good.  But the difference is that honey has no expiration date.  HONEY IS TIMELESS!  It will be just as good good 30 years from now as it will be today.

So let's look at a song whose production is timeless like honey.  

"Kodachrome" by Paul Simon

The drums sit nicely in the mix.  The bass isn't filled with fuzz.  The vocals have a little compression and not too much reverb.  There's acoustic pianos and the electric pianos that are there aren't effected with phasers or other artificial-sounding sounds.  There's little to no delay on the guitars.  Everything is just sort of straight.  In other words, this 1973 song could be released today.  It's fresh like honey, baby!!

This means the key to making a song fresh is to not get overly fancy with your production.  A great song will sell itself with the wonderful music and inspiring lyrics you've created.  

It's my opinion that in the last 15 years or so, we've done a good job of making mainstream music that has a low risk of sounding dated in the future.  

I just don't hear anything in these songs that could make them sound dated in another 10 years.  We'll see if my opinion changes in 2023.

However, I have heard one hit song this year that just SCREAMS "dated potential"  whenever I hear it.

"Too Close" By Alex Clare

It really is a shame, because Alex Clare's international smash "Too Close" really isn't a bad song.  It has an instantly singable hook  and Clare has a strong and soulful voice which is needed to really sell a song like this.  Without a doubt, there is something good here.  There's also something which I think will make it sound incredibly dated 10 years from now  You probably know what I'm talking about.  It's the wobble-wobble of that dubstep which is holding the rhythm in the chorus.  Granted, I'm not a huge fan of dubstep.  But even if you love the genre, you have to recognize that, like disco, it's not going to be popular forever.  It's fresh like bubblegum, not like honey.  

Even Deadmau5 agrees with me.

"It's a conduit now for previously mainstream pop acts to use. I've only made one dubstep track and I will admit I only did it because it was cool at the time." 

Thank you, Mr. Mau5.  Now, what do you think? 

TOOTS THIELEMANS - THE KING OF HARMONICA

Elvis Presley was the "King of Rock and Roll."  Michael Jackson was the "King of Pop."  For all intents and purposes, Jimi Hendrix was the "King of Guitar."  But who is the "King of Harmonica?"  Without a doubt, in my book, the King of Harmonica is Jean "Toots" Thielemans.

Toots Thielemans (1922—)

Born in Brussels, Belgium in 1922, Jean "Toots" Thielemans' standing as the "King of the Harmonica" is almost beyond question.  No other player has elevated the harmonica from something used to simply augment a song to a  lead instrument of such indescribable beauty.  Thielemans is also a virtuoso whistler, if there ever was one.  

Surprisingly, Toots Thielemans began his professional career as a guitar player—and what a guitar player he is.  We're not talking about somebody who noodled around in local clubs.  We're talking about an accomplished guitarist who graced the stages with Charlie Parker and the Bennie Goodman Sextet and worked with such legends as Miles Davis!

In 1961, Toots added whistling to the guitar playing and scored a big worldwide hit with his own composition called "Bluesette."   Very impressive!

"Bluesette" by Toots Thielemans

Try doing that in the shower! But we were supposed to talk about harmonica, weren't we? Oh yeah, briliant harmonica player—If not the King, then the Don.  If not the Don, then the Chief.  If not the Chief, then the number one main man.  Whichever way you want to put it, Toots Thielemans is amazing.   Here's one of my favorite records of his.  I think you will love this.  It has the power to instantly put you in a good mood.

"Man Bites Harmonica" by Jean Thielemans

But Thielmans doesn't just appear on jazz records.  He's played with pop artists like Paul Simon and Billy Joel, but chances are many of you will know him from this:

SINGLES GOING STEADY: "SUITE FOR 20 G" BY JAMES TAYLO

James Taylor

It was December 1969 and James Taylor had to have been feeling blue.  It had been a rough couple of years for him, to say the least. Though he was signed to Warner Bros. Records, Taylor had been in a mental institution, lost his girlfriend to a plane crash and was a drug addict—heroin was his poision.  That, and he watched as his debut record went nowhere.  Dammit, it wasn't just a debut record.  Released in 1968, the album James Taylor was the only non Beatles record to ever be released on Apple Records.  That the album didn't do "jack shit" probably really haunted him.  Taylor could sing, he could play guitar and he could write songs! He knew he was a talent.  Paul McCartney knew it, too.  Would he have to spend the rest of his life wondering "what if?"

Furthermore, James Taylor was broke—"essentially homeless," actually.  Night after night, he slept on friend's couches while he recorded his follow up to James Taylor, an album later known as Sweet Baby James.  He had actually finished the record.  The problem was Warner Bros. Records didn't think so.  Even for those days, the album was too short—under 28 minutes! He needed at least one more song.

James Taylor had an incentive to finish the album as soon as possible—a cash incentive, an advance amounting to $20,000.  So the homeless Taylor combined a few unfinished songs into a complete song.  The result was appropriately titled "Suite for 20 G."  It's perhaps the most autobiographical song title ever penned.  For the record, it's actually one of my favorite James Taylor songs and, to this day, remains totally overrated.

Simultaneously, the young people of the USA were also feeling blue.  All that optimism of the 1960s was dead.  The ideals of the "summer of love"  couldn't penetrate through an unforgiving reality.  The public fell in love with James Taylor andSweet Baby James, which became a HUGE hit.  In 1971, it was nominated for a Grammy for "Album of The Year" .  If 1971 wasn't one of the best years in music, he absolutely would have won the award.  One more thing—the success of Sweet Baby James made his debut record a hit, as well.  You could say 'the times were-a-changin' for James Taylor.  He was still a heroin addict though—I guess you can't win 'em all. 

Though "Fire And Rain" was the hit, "Suite for 20 G" is probably an even stronger example of Taylor's gift.  He sang  every harmony, which were nearly as good as Crosby Stills & Nash's.  Perhaps the most moving section of the suite is the third section.  When Taylor sings "You can say I want to be free/ I can say someday I will be," it's almost impossible not to picture the heros of the 60s: the late John F. Kennedy, Bobby Kennedy and Dr. Martin Luther King, Jr, etc.  Taylor gave listeners a hint of optimism, a possibility that the dreams of the decade were still alive.  Whether he liked it or not, JT was becoming a voice of a generation.

"Suite For 20 G" by James Taylor (That's Carole King on piano, by the way!)

When it came to his career, Taylor never had to say "What if?" ever again.  However, after listening to his later songs—songs which were arguably suited for elevators— fans were probably saying "what if?" quite often. Sadly, James Taylor never recorded an album as good as Sweet Baby James ever again.  Fact is, Taylor never really became the voice of a generation he was projected to be.  But you should still listen to this album.  It's one of the best ever.

Sweet Baby James by James Taylor