Friday, February 22, 2008

February 22, 2008 Earworm



Songs about infidelity should not sound as upbeat as George Harrison's "What Is Life" and the one being screwed over should not sound as happy as he does on this fuzz filled acquiescence. Sure, taking the high road is supposed to be liberating but this is ridiculous. Especially when Eric Clapton gets to play guitar on the damn thing.

1971 must have been a very exciting year for Patti Boyd as "What Is Life" was followed a month later by "Layla" and rock gods were singing her praises to us, mere mortals invited to worship but not yet sure to whom we were praying.

Have a great weekend.

Thursday, February 21, 2008

February 21, 2008 Earworm



With its flagelette intro, it is easy to imagine that The Bluebells' "H.O.L.L.A.N.D" is an ode to their native Scotland because it instantly transports you to fields of green as the hills begin to hum. But it's tacked onto the flipside of "I'm Falling" - a record so beautiful that I could kiss it - so it's all about the truer side of romance, hence the title: H(ope) O(ur) L(ove) L(asts) A(nd) N(ever) D(ies).

Gorgeous.

Keep the Valentine's spirit going and go kiss somebody.

"H.O.L.L.A.N.D" is available on "The Singles Collection" and if you have already purchased it with a different cover, Bluebell Ken McCluskey himself warns that this latest incarnation is not re-mastered

Wednesday, February 20, 2008

February 20, 2008 Earworm



"There You Go" and "Most Girls" were two great records that could have been made by any girl if they, too, were produced by Babyface. Pink recognized this fact and was determined that she would be the star of her second album, not the producer. Taking more control in the songwriting and production she stepped out of the LaFace shadow - with much resistance from that production team/label - and created a distinct personality that was as vibrant as the no longer necessary fuschia hair color she had once worn in an attempt to stand out.

For once, individuality paid off in the weird world of popular music and the album and accompanying singles sold buckets full and the press that had previously derided her began to sing her praises for daring not to be Britney/Jessica/Christina/Beyonce/Avril/etc and for stretching the boundaries of what girls in pop could be in the new millennium.

Embolden by her success, she pushed up the edge for the follow-up album, "Try This", bringing in Tim "Rancid" Armstrong as co-writer along with the returning Linda Perry, and recording one of the horniest duets ever recorded with Peaches. The result, "Oh My God", guaranteed a parental warning sticker and probably made Tipper Gore look back fondly on any lesbian experimentation she may have had in college.

"Oh My God" may be explicit but it's never gratuitous. Filthy in its frankness yet not pornographic - not to my ears, at least - it's like stumbling upon a bedroom window while stepping into an alley for a quick whiz. You know you shouldn't be a part of this experience but everyone is having so much fun and... well, you have to pee anyway.

Okay, maybe it is pornographic. But you can dance to it and how often can you say that about "that"

"Try This" only sold a million and the label guys said, "We told you so", and probably began constructing an imaginary video for "Oh My God".

And that is why Pink is my favorite young(er) pop star.

Try This

Tuesday, February 19, 2008

February 19, 2008 Earworm



Today seems designed for interference: my computer is being spiteful, my printer is spewing gibberish, the cell phone won't shut up, etc. Thankfully, the song I've got running through my head is "Can't Trust The Waves" by Kitchens of Distinction, the sadly under-appreciated foot soldiers of the shoegazing movement.

The Kitchens fought plenty of their own battles: the outcry over "Margaret's Injection", a fun little fantasy on the outcome of Thatcher that makes Morrissey's "Margaret On The Guillotine" sound like an invitation to lunch; the homophobia of the indie sector toward lead singer/lyricist Patrick Wilson, who was matter of fact about "it" without any coy winks, discussions of tea, or sloganeering; label interference.

Ultimately, it would be the latter that would bring an end to the band and, sadly, their name is seldom mentioned when discussing the era they helped to define even though they managed to get more US airplay than any of the bands that are usually touted as the definition of shoegaze.

So, if the day continues with this technologically challenged theme, I'll keep singing, "I can't trust the waves to float me, I can't trust the moon that shines on you. But when I'm with you, I am the ocean. And when I'm with you, I've come home.", until I make it safely back to my bed.

"Can't Trust The Waves" can be found on the recently re-issued "Death of Cool" and there's a nifty little compilation as well: "Capsule: The best of KOD 1988-1996"