There are a lot of admirable things about Meghan Trainor’s number one single, “All About That Bass.” It fits snugly into a new pop which has won out in recent times—its retro production hammering more nails in the coffin of the out-of-control, EDM-flecked, four-on-the-floor style of yesteryear.
I’m all for evolution on the pop charts, and while this tune’s arrangement doesn’t represent a total departure into unfamiliar territory (it’s basically Amy Winehouse’s aesthetic by way of Iggy Azalea’s self aggrandizing), it’s part of a trend that pushes pop in a different direction.
Also admirable about the song is the validation it provides to various smart-alecky people: anyone working within the pro-audio industry, anyone fostering a love of wordplay, or both.
A song that dominates the pop charts while successfully making metaphors of bass (i.e., bottom end) and treble (i.e., top end—and I’ll let you figure out for yourself what the metaphors mean) demonstrates two things about the American populace:
1) The common person tends to comprehend musical terminology enough to actually understand the metaphor (satisfying musicians who know the terms—“hey, we’re not alone in the dark here!”).
2) The common American is smart enough to understand why this musical lingo constitutes a metaphor (satisfying a rhetorician’s desire see the subtleties of the English language prosper, even in the era of the “txt msg”).Read more