I never heard of Postmodern Jukebox until yesterday. My son sent me a link on Facebook to this awesome cover of Girls Just Wanna Have Fun, arranged in the style of the popular music of 1912. Give it a listen. I thought it was terrific fun, and I got curious. There’s a YouTube station called Scott Bradlee Loves Ya, and I just started watching videos. Before long, I’d tuned out the ballgame I’d been watching, and the next thing I knew, three hours had passed.
One of the awesome things about YouTube is that oddball acts can find an audience and launch a career just by posting there. I saw an interview recently with Lindsay Stirling where she said that record companies kept telling her that what she did just wasn’t commercially viable; that a cute violinist/dancer chick with a love of fantasy just wasn’t something anyone wanted. So she posted amazing videos of herself on Youtube, and now she’s launched, a big star. Likewise The Piano Guys; likewise Pentatonix. And dozens of others. And now Post-modern Jukebox.
Basically, Postmodern Jukebox is the brainchild of a very bright, exceptionally talented jazz pianist and arranger named Scott Bradlee. On the Postmodern Jukebox website, he declares his intentions:
My goal with Postmodern Jukebox is to get my audience to think of songs not as rigid, ephemeral objects, but like malleable blobs of silly putty. Songs can be twisted, shaped and altered without losing their identities–just as we grow, age and expire without losing ours–and it is through this exploration that the gap between ‘high’ and ‘low’ art can be bridged most readily. I want to contribute to the pop music lexicon in the best way that I can. I want to encourage others to push the boundaries of genres, and give them the tools to do so. Together I want to create an alternate universe of popular music.
High minded goals, though, of course, not really all that new. From Paul Anka’s cover of Nirvana’s Smells Like Teen Spirit to the stylings of Richard Cheese, this kind of project is not unknown. Aren’t mind-altering covers of pop songs essentially what Pentatonix does?
Still, what Postmodern Jukebox does is reinvent popular songs of today based on a thorough immersion in the popular music of the last century or so, done with consummate musicianship, wit and thoughtful attention to detail. And, at times, including vocals by a seven-foot tall weeping clown. As with their cover of Lorde’s hit, Royals. Ah, Pagliacci. Or, in the same spirit: Smokey.
So Bradlee isn’t really doing anything quite that unique. Pop music is always a pastiche, echoing over periods and styles. But he’s also terrific. Say a swing version of Madonna’s Like a Prayer. Or a smokin’ New Orleans Jazz cover of Sweet Child ‘O Mine. Or a bluegrass barn dance version of Blurred Lines. Or a terrific country cover of Kesha’s Die Young. Or this torch song created from the unpromising material of Radiohead’s Creep. Or maybe this: Peggy Lee’s Fever, sung in twelve different styles. Or a mashup of Queen’s Bohemian Rhapsody and Gershwin’s Rhapsody in Blue.
The singers he uses are tremendous: Robyn Adele Anderson, Miche Braden, Karen Marie. Not to mention, of course, Puddles the Clown. In fact all the Postmodern Jukebox musicians are terrific.
For an ensemble with ‘postmodern’ in the title, their videos are remarkably pedestrian. A lot of them look like they were recorded in the same corner of the same living room. The emphasis seems to be on musicianship, on musical originality. Basically, the singers wear period-specific costuming–that’s the only real visual element. I don’t know if they’re deliberately going for some kind of minimalist statement, or if they just didn’t have a lot of money when they were starting off. They have gotten more visually daring lately, including this video shot in the Cosmopolitan office.
Anyway, they’re terrific. Love their work, love what they’re doing, and am desperately hoping they tour out west sometime soon–their tours have all been back East. Buy their songs, watch their videos. Love Postmodern Jukebox.