In the latest installment of the AV Club’s “Under Cover” project, the very indie Fruit Bats cover the very mainstream pop ‘70s and ‘80s hitmakers Hall & Oates. It’s a pretty faithful take and mostly great fun, except for a few off-key moments from Eric D. Johnson.
Though it doesn’t seem likely, or fair, the world has changed a lot in ten years. A decade ago, I stood in line at the local Best Buy to buy one of the most anticipated albums of the year: ‘N Sync’s No Strings Attached. The place was more crowded than usual, and many people in line were buying it, but hardly anyone suspected that it would not only break a sales record, but also become the highest selling album of the decade. Since this was years before I had internet access, I learned the news of how well it sold a week later, when ‘N Sync appeared via satellite on Early Today. I was shocked then, but looking back on it now, I’m not.
Experts will tell us that it was the high point of a “teen pop” trend, when the combination of a high number of teenagers and a good economy equaled success. Truth is, I was that optimum age at the time, but I can tell you that many more factors were a part of it.
No Strings Attached was originally planned to come out in late 1999, but legal problems between the group and their former manager, who is currently doing jail time for fraud and tax evasion, led to postponements. This led to a slow simmer of promotion and hype that drove their fans wild. I remember sitting through the painfully stupid 1999 Radio Music Awards just because of the rumor that they would perform the first single off their new album. After that, a promotional blitz went on for months. Every TV talk show you could think of at the time had ‘N Sync on as guests, at some point it seemed like they were on TV at least once a day. “Bye Bye Bye” just seemed so different from everything else that was on the radio at the time. It was pop, but it had a slightly harder edge to it. It was insanely catchy, and it didn’t just appeal to teen girls. It spawned a still-cool music video featuring marionettes, attack dogs, a train, a revolving room, and a car chase, which in turn inspired toys, parodies, and even an animated “C” watch. All of this built up a crazed anticipation. When my mother went Christmas shopping that year, someone at the mall tried to sell her a supposed bootleg CD of it. Predictably, years later the recording industry blamed future low sales of other albums on illegal disc copying and MP3 file sharing websites.
In March of 2000, however, the compact disc was king. Stores still even had a section for cassettes, but records were only something you seen at garage sales. I paid $15.99 for my CD of No Strings Attached, though I thought the price was only high because it came with a free CD visor. A year later, a lawsuit was filed against record labels and retailers for conspiring to raise prices. The prices didn’t discourage the buying public, though. No Strings Attached broke a record by selling 2.4 million copies in its first week. It went on to sell over 10 million copies and stay on the Billboard charts for eight weeks straight, making it the best selling album of the last decade.
Critics either bashed it or felt indifferent to it at the time, but it was influential to my generation. The albums included the No.1 hit “It’s Gonna Be Me” and No.5 single “This I Promise You”. Nevertheless, the real talk was about the strong R&B influence on non-singles such as “It Makes Me Ill”, “Digital Get Down” and “Space Cowboy (Yippie-Yi-Yay)”, which featured a guest rap by TLC’s Lisa “Left Eye” Lopes, who tragically died two years later. There was even a cover of Johnny Kemp’s “Just Got Paid”, which some people still think to this very day was an original. It was startling to me, and my parents, who wondered why I bought a “rap album”.
Though No Strings Attached will go down in history as a time capsule of its time, it’ll always hold special memories for me. I can remember listening to it as I did pre-algebra homework. I wrote my first review of anything when I entered a “Popstar!” magazine contest for the best reader review. I didn’t win that autographed pillow, but I never guessed that it would lead me to what I do today for PopMatters. I don’t think N’Sync will ever reform as a group and release another album someday, but if they do, I would like to review it for PopMatters, for old times’ sake.
In the midst of SXSW madness, Air played Jimmy Fallon’s stage to showcase “Love” off the similarly titled album Love 2 from last year. It’s a trippy mellow track, not surprising for the French band and they simplify matters on this live take, keeping the gentle groove front and center.
There’s no other way to put it: Donovan Leitch is cool. With a cool dad (‘60s folkie Donovan), a cool sister (actress Ione Skye), a cool brother-in-law (singer Ben Lee), and even a cool ex-brother-in-law (Beastie Boy Adam Horovitz). Leitch is an actor who plays quirky characters in wonderfully offbeat movies, like the Xanadu-obssessed Darius in Allison Anders’ Gas, Food, Lodging, and Gerard Malanga in I Shot Andy Warhol. Hell, he was in Breakin’ 2: Electric Boogaloo. His wife is supermodel Kirsty Hume, and they have been married for over 12 years, which is ridiculously cool, and practically unheard of by Hollywood standards.
Leitch is the longtime lead singer for Camp Freddy, a loose amalgamation of L.A. musicians that has hosted every cool artist under the sun, from Chrissie Hynde to Ozzy. In the mid-1990s, Leitch fronted a band called Nancy Boy that recorded one brilliant self-titled record and was never heard from again, but what a record it is. Almost 15 years later I still listen to it all the time, and marvel at how fresh and contemporary it is, how visionary, how ahead of its time.
A cheeky mish-mash of Britpop, power pop, glam, and new wave, all served up with a load of lipstick and Leitch’s way-over-the-top English accent, it’s full of hooks and fabulously wonky lyrics like “I’m disappointed / The wolf was good to Riding Hood / It’s co-dependency / He’s more human than Gary Numan.” One can just imagine a pimply Brandon Flowers conjuring such a band in his daydreams years before he went on to form the Killers. If Nancy Boy emerged today, they could play Coachella tomorrow and the hipsters would run there as fast as their ironic white jazz shoes could carry them.
The video for “Deep Sleep Motel” was directed by Roman Coppola, of course. Because for Nancy Boy, only a future elder statesmen of cool video directors would do.