These days, the commercial music industry is crowded to overflowing with predictably frothy pop music – the sociological equivalent to a really bad drug (or poison) that is implanted into the public's food and drinking water and is simply ingested without question. Indeed, it could be argued that the U.S. music market is only symptomatic of the American music buyer and his/her consumer mindset.

'It's popular, therefore it must be good.'

Not so. Seriously – what does it say about the average American musical consumer when a recording by someone as predictable an American Idol winner – whomever that may be –  is highly-anticipated?! By no means am I suggesting that the 'Idol program doesn't showcase decent talent (from time to time), but the show's popularity and (worse) legitimacy with music buyers is endemic of a rather submissive music-buying mindset – a consumer,  not so much a connoisseur – and one that settles for less!

My musical idol, Jody Watley, first coined the phrase "boutique-style" music several years ago – a rightful maxim denoting music that isn't so much made for mass-consumption, but geared toward the listener that is in search of a little something special. Watley has definitely been on the cutting-edge throughout her career, as have artists like King Britt, 4hero, Joi Cardwell, Ultra Naté and Amel Larrieux.... the list goes on. There also exists one such artist in the person of M.E. Grant!

I know what you're saying...

'But there are a LOT of independent electronic artists on MySpace. What makes M.E. Grant better (or different) from any of them?'

Well, for starters – M.E. Grant continues to evolve and make new music; he's not one of these posers creating a MySpace site for the sole purpose of playing around and never reaching some kind of audience – be it small or mainstream. Indeed, Grant regularly blogs on his influences and personal muses – his catharses, if you will. M.E. Grant's influences – Madonna, Tina Turner, Chic, Goldfrapp (among others) – are diverse, and he always manages to keep it fresh, creating various moods and experimenting with sonic textures. His [Grant's] sound is largely electro, but his command of instrumental pop song-structure – coupled with his unwillingness to conform to pop music trends – are admirable (to say the least) .

Grant has an EP available titled, The Love Times Ten. It's available through CD Baby – a veritable cornucopia of indie artists some good (and some not-so good) – as well as iTunes.

You can visit M.E. Grant on MySpace, and also at his official website, me-grant.blogspot.com.

Categories: M.E. Grant; pop music; electro; American Idol

As anyone who knows me, or –  at least reads this blog regularly can attest to – I'm a huge admirer of singer/songwriter Jody Watley. Today marks the 20-year anniversary of the release of  Watley's self-titled debut. That's right – Jody Watley was officially issued on this very day in 1987.

Jody Watley is a seminal dance-pop recording. Released during a time when the market was saturated with full-lengths by the likes of Madonna, Janet Jackson, Pebbles and Karyn White, Watley created a uniquely notable sound and image for herself. Jody Watley was the then-culmination of Watley's fusion of music, fashion and visual art. Indeed, whenever I reflect on this time period in my life (circa 1987-1988) Watley's album  – alongside Prince's Sign 'O' the Times and Bryan Ferry's Bête Noire – are remembered the most fondly from my collection. And the hits from Jody Watley – "Looking For a New Love"; "Don't You Want Me"; "Some Kind of Lover" – are timeless!

Though I can honestly say the aforementioned "Don't You Want Me" and its accompanying music video – which I like to refer to as 'urban film noir' – is my favorite COMMERCIAL hit single from Jody Watley, "Still a Thrill" would most definitely be my favorite "sleeper" hit. "'Thrill" is a synthesized masterpiece in the vein of mid-80s' Prince that calls to mind Donna Summer's "I Feel Love". Watley sings "'Thrill" in a deep and sultry low register. Interestingly, Donna Summer had a song out around this time – "Dinner With Gershwin" – that was penned by Brenda Russell on which she [Summer] sang in a similar deep register (some say "'Gershwin" was released after "Still a Thrill – some say before). "Still a Thrill" – while performing well on the dance and R&B charts at that time – went largely unnoticed next to Watley's other hits like "Looking For a New Love" and "Some Kind of Lover". Ironically, "Still a Thrill" may very well be among Watley's most iconic songs (in much the way "I Feel Love" is considered among Donna Summer's most edgy); it's been covered twice already – once by techno-pop singer, Matthew Duffy (not a good cover), and again by acoustic neo-soul funksters, Soulscream.

When all is said and done, I look back on Jody Watley with only the fondest of memories. The album didn't introduce me to Watley – I'd followed her since she was a dancer on Soul Train – what it did was set the precedent for an extremely impressive artistic career that continues to this day. She [Watley] has since recorded and released nine studio albums and continues to crack the Billboard charts – pop, R&B, dance, electronic – in some way form or fashion. It's essential to note that – when both Jody Watley's experience as a Soul Train dancer and her time as the female lead of the group Shalamar are accounted for – her full career spans some 30+ years. Her journey continues to this day!

Be on the lookout for Ms. Watley's forthcoming digital release of "I Want Your Love" due out April 17. A cover of the classic Chic tune of the same name, "I Want Your Love" has already become a favorite on dance radio internationally. A companion CD single will also be released around this time.