In 1974 Rolling Stone magazine named “Rock Your Baby” by George McCrae the “#1 Song of the Year,” and in 1975, McCrae was nominated for a Grammy for “Best Male R&B Vocalist.”
“Rock Your Baby” was McCrae’s only big hit, but it was a monster. Everyone knows that song.
“Rock Your Baby,” which may have been the first disco song, isn’t deep or meaningful, but what it did superbly was to lull the listener into a smooth, feel good groove, with a memorable hook.
Oh, woman, take me in your arms
Rock your baby
Woman, take me in your arms
Rock your baby
There are familiar musical elements from “Rock Your Baby” in “Starboy,” the newest from Canadian rap star The Weeknd. There are similarities in the instrumentation, and both go in a soul powered pop direction, however, lyrically and vibe-wise, they have zero in common.
What “Starboy” is about, is hard to read. The song’s video opens with a violent, brutal murder which represents The Weeknds killing off his old image and style. The opening lyrics are:
I’m tryna put you in the worst mood, ah
P1 cleaner than your church shoes, ah
Milli point two just to hurt you, ah
All red Lamb’ just to tease you, ah
None of these toys on lease too, ah
Made your whole year in a week too, yah
Main bitch out your league too, ah
Side bitch out of your league too, ah
Some people say “Starboy” is a dazzling soulful effort, and it well may be, but when I listen to it, I’m acutely aware of the generational and cultural differences between today’s To 40 music and the Top 40 that I listened to.
“Starboy” features Daft Punk, an ultra modern/futuristic French electronic music duo that leans to disco, post-disco, and synthpop-inspired house, a genre that I don’t get.
I just don’t relate to “Starboy,” and not because it’s rap, which is a genre I appreciate and like, but just not this song– it’s too raw, rough, and abstract and I don’t get the cultural cues and references.