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'I'll Tumble 4 Ya' has to be one of the most ridiculous hit singles that any international superstars have given the world.

Rob Sheffield

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Rob Sheffield
Age: 58
Born: 1966
Born: February 2
Journalist
Music Critic
Writer
the United States of America
Robert James Sheffield
Given
World
Superstars
Tumble
Singles
Superstar
Ridiculous
International

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I realize that I will never fully understand the millions of bizarre ways that music brings people together.
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Thanks to the greatest invention of recent years, the MP3-playing alarm clock, I can now choose the song that wakes me up in the morning.
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When Ke$ha tries to rap like L'Trimm, she sounds like any ordinary lonely teenage girl stuck in a nowhere town, singing along to her radio and dreaming of a party where she's the star. Ke$ha's greatness is that in her voice, you can hear both the loser girl and the star. All hail the Queen of Noi$e!
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Rebecca Black might sing like a robot, but that's just proof she has evolved beyond us. Her vocal is just a slightly exaggerated version of the robot glitch-twitch stutter that's been mainstream pop vocalese for the past 10 years or so.
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Donna Summer would be remembered as a ground-breaking artist today even if she'd retired the day after she recorded 'I Feel Love' in 1977.
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But the answer is simple. Love is a mix tape.
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Tonight, I feel like my whole body is made out of memories. I'm a mix-tape, a cassette that's been rewound so many times you can hear the fingerprints smudged on the tape.
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On 'Idol,' Steven Tyler will be sitting at a table with two other judges, and part of his job will be keeping his yap zipped while they talk. This makes no sense at all, since Tyler has zero yap-zipping skills.
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The sax solo as we know it today would not exist without Gerry Rafferty. His 1978 soft-rock classic 'Baker Street' has to be the 'Ulysses' of rock & roll saxophone, giving the entire chorus over to Raphael Ravenscroft's sax solo, creating one of the Seventies' most enduringly creepy sounds.
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One nice thing about growing up Catholic is it makes you open-minded about other people's religions, since ours is nuttier than yours.
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Like many other touchstones of twenty-first-century pop culture, 'The Sopranos' was hatched in the late Nineties, predicting a future that never arrived. It was designed for a decade that would be just like the Nineties, except more so, in an America that enjoyed seeing itself as smarter and braver and freer than ever before.
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I didn't know what I was. I didn't have a noun.
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Every mix tape tells a story. Put them together, and they add up to the story of life.
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I was totally clueless about social interaction, and completely scared of girls. All I knew was that music was going to make girls fall in love with me.
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Davy Jones was the grooviest of the Monkees, which makes him one of the grooviest pop stars who ever existed. He was the best dancer in the Monkees, the Cute One, the one with the coy English accent, the bowl-cut boy-child who shook those cherry-red maracas and always got the girl. He was also the guy who stole David Bowie's original name.
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I was the only kid at Camp Don Bosco who would admit he was an alter boy back home, so I served two masses a day all summer. But I loved the cassock and surplice, ringing the bells, lighting the candles - it was like being a glamrock roadie for God.
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A song nobody likes is a sad thing. But a love song nobody likes is hardly a thing at all.
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Nothing connects to the moment like music. I count the music to bring me back, or more precisely, to bring her forward.
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You can hear the Celtic heartbeat all over Europe and America, from Bing Crosby to Jack White, from the Smiths to My Bloody Valentine, from House of Pain to Marky Mark and the Funky Bunch.
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When you stick a song on a tape, you set it free.
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