Here’s one that’s surprisingly good twice. The Monkees were a TV creation that produced a few classic songs, one of which the seemingly one hit wonder Smash Mouth turned into a second hit for themselves in the early huge success for Shrek.
Gosh, I guess I’m not really a fan of Madonna, but I still found it interesting for her to do a cover of “American Pie,” of all things, in one of her periodic drastic reinventions to find acceptance once the last thing was no longer working. Kind of a shame that eventually she just gave up, which is weird because there was about a quarter century where the act was endlessly successful. And now you never hear about her. Unlike Elvis, she did disappear into Europe.
Here’s yet another that I hesitated to include in the Lineage because it’s essentially a mash-up and I used to think it was just lazy nostalgia for an artist trying to extend a legacy that was over at that point. But the radio loved the result. And it keeps great music in the mix. In recent times, that’s kind of how this works.
Here’s one I always thought was ridiculous; ridiculous in how classic rock fans tried so hard to reject the Kravitz take, which is kind of how classic rock fans in general (the journalists especially), downplayed the achievements of the last several generations of rockstars and bands, which was probably the leading factor in rock’s current status as close to invisible in pop culture, which for years seemed utterly impossible. History doesn’t end just because you wish your favorites always maintain the status you assigned them when you were young. Music, as with everything, keeps moving forward. If your favorites remain good in new context, great! But don’t sit there denying good new things because you’re scared the good old things somehow can’t compete, because that’s the actual message you’re sending posterity.
This is kind of funny timing (I obviously didn’t do so well with a certain national anthem that’ll show up well past, say, Independence Day). (Here I should remind readers out there I generally compose these things well in advance as far as selecting songs and compiling videos.) I just saw Superman last night, in opening weekend. It’s pretty great, though certainly a very different cinematic vision of the character than we’ve ever seen, a huge contrast with its immediate predecessor, last officially depicted in JusticeLeague (though he cameos in BlackAdam, very very ironically similar to the new film). The complicated production of JusticeLeague famously led to different cuts. The theatrical version, which this song opens, was completed by Joss Whedon, though the song and moment feels very much like Zack Snyder’s work. In Snyder’s version the song has been omitted.