Valeria’s tribute filled with moans, meows and moos
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The album turned out to be generous in terms of names, but predictable in terms of music.
In the midst of a meager holiday season, Valeria’s tribute hit both the news and the charts. The album came out very colorful in terms of names, not that generous in openings and rather predictable in music.
Pop hits, with rare exceptions, are hardly good source material for tributes. There is no rock and roll sacredness in them, and the meaning is also not rich. And now, when pop stars are in the habit of making statements that are not at all musical, being involved in some names means hopelessly spoiling one’s own karma. But there are daredevils, and sixteen tracks from Valeria’s repertoire were recorded by an impressive team of stars from different generations. Here are Instasamka, and HammAli & Navai, and Zivert, and Marie Kraymbreri, as well as Anet Sai, Xolidayboy, NLO, Limba, Mot, L’One, Amirchik, and the whole Sergey Zhukov in the role of Valeria’s contemporary.
During her impressive career, Valeria has collected more than a diverse repertoire. She was the singer everyone was waiting for with songs that were good news for the pop of the nineties. And then she switched to the medium-sized stage, offering her audience concerts rich in emotions, but not very intriguing novelties. With such a spread, the tribute to Valeria could turn into a musical adventure, but this did not happen.
The new generation of pop stars is an terribly pragmatic audience, they don’t know how to dissolve in another artist and, having received a track at their disposal, they begin to make a song out of it exclusively for their own audience. This is where the real trouble begins, because the tracks from the youth are now collected like a carbon copy. They start with a chorus and are packed with roughly the same bells and whistles. And that specific vocal. Against the background of groans, meows and lowings, the once mercilessly criticized vocal style of the nineties now seems downright perfection.
On the other hand, the decision to play by their own rules for some project participants was a good choice. ILO and Marie Crimebrery, who got, respectively, “You’re Somewhere There” and “My Tenderness”, took only the choruses from the originals, supplementing them with their own verses. And Marie Crimebrery ended up with a very sentimental song.
Zivert turned “Riga-Moscow” into a club track and did not overdo it at all. Sergey Zhukov conjured over the “Airplane”, which, to be honest, is quite difficult to spoil. Having dispersed the song to a dance one, of course, he deprived it of many pleasant nuances, but many people might like the arrangement in the spirit of Robert Miles’ hits. HammAli & Navai made “To the Limit” a typical hookah hit for them, and it would be strange to hear something else.
Instasamka has recast “Little Airplane” into something parody-comedy, which is not surprising, since it is itself a parody (very successful, as it turns out) of a pop star. L’One in “Moscow Doesn’t Believe in Tears” famously mixed up the original lines with his own, leaving, however, doubts about the expediency of such an undertaking. However, the rapper is supposed to improvise.
You can probably hear some zeal in each of the sixteen covers, but the overall picture is rather bleak. For most of the project participants, recording Valeria’s song means getting a chorus that they themselves have not thought of yet. And the choruses of these hits are worth trying to master the notes they contain.
Newspaper headline:
Our young funny voices
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