18. Jun. 2011, 9:17
26. Nov. 2010, 0:39There's some cool KLF stuff knocking around on You Tube. Its especially welcome to find stuff such as the clip below since The KLF were never a proper 'live-act'. There are some terrific Top of the Pops performances out there too, of these It's Grim Up North is probably the best. So here is a half-an-hour making of doc of Justified and Ancient and America: What Time Is Love?, that looks like it saw official release in some form at the time. All credit to klfcommunicationsnet. Enjoy.
4) and if you're not yet sick of the songs...
12. Sep. 2010, 11:15According to the excellent New Order Discography at http://www.niagara.edu/neworder/singles/bm.html, Blue Monday was influenced by four songs. You may have read this all before, but why not hear these again
Q: Where does the inspiration to Blue Monday come from?
A: In his book, "Manchester, England: The Story of the Pop Cult City", Dave Haslam says:
"Blue Monday was really influenced by four songs, he [Bernard Sumner] once told me. 'The arrangement came from 'Dirty talk', by Klein & MBO, the beat came from a track off a Donna Summer LP, there was a sample from 'Radioactivity' by Kraftwerk, and the general influence on the style of the song was Sylvester's '(You make me feel) Mighty real'"
Thanks to the magic of you tube lets lay out the four tracks and hear for ourselves
"Dirty Talk" by Klein & MBO (1982)
"Our Love" by Donna Summer (1979)
"Uranium" by Kraftwerk (1975)
"You Make Me Feel (Mighty Real)" by Sylvester
This one reminds me of "The Perfect Kiss" more than anything
24. Aug. 2010, 11:35This is the promised follow up to an earlier Journal entry. That entry from two years ago compiled all six of the opening musical themes of the popular 1980s Japanese TV Series Urusei Yatsura.
Like B-sides, the Urusei Yatsura ending themes are recorded by the same musicians/singers who recorded the opening themes. These credit sequences aren't much too look at, generally they are blank and simple, leaving space for the end titles. Its fair to say that the music diminishes in quality over the course of the run, albeit with a rally with "Koi no Mobius", before things get a little weak. That said, "Every Day" is much better than its 'A-Side' "Rock the Planet". The power ballad convinces much more than the tinny stadium rock title theme.
As a bonus I have included one of the OVA series opening themes which has terrific synth-horns and a sleekness in its electronic sequenced beats and bass line.
#1 "Uchuu wa Taihen Da" by Yuko Matsutani (1981)
This has a nice echo on the vocals that isn't on the finalised full length version.
#2 "Kokorobosoi Na" by Helen Sasano (1982)
This might actually be spelt "Kokoro Bosoi Na" or "Kokorobosoina". I'm not sure which is correct
#3 "Hoshizora Cycling" by Virgin VS (1982)
Ataru and Lum are completely out of bodily proportion to one another, it is difficult to tell if that was a purposeful choice.
#4 "I, I, You and Ai" by Izumi Kobayashi (1983)
Probably the best song here. this was the opening theme for the first UY movie. This version has been cranked up a few BPM.
#5 "Yume wa Love Me More" - Izumi Kobayashi (1983)
Stuttering rhythms are always good in commercial music
#6 "Koi no Möbius" by Rittsu (1984)
The guitars, the Yellow Magic Orchestra keyboards, the Donna Summer-Michael Omartian sounding drums. It shouldn't work but does.
#7 "Open Invitation" by Cindy (1984)
The last three are a lot less quirky, and bear little of the musical mash up approach followed on earlier themes.
#8 "Every Day" by Steffanie (1985)
Good verses, mediocre chorus
#9 "Good Luck ~ Towa Yori Ai o Komete" by Shoko Minami (1985)
Dull, frankly its very dull
#10 "Monotone no Natsu" by Kayoko Matsunaga
10. Jul. 2010, 0:54This journal entry was compiled for me so I could find the videos.
Sparks don't have the best reputation when it comes to promo videos, they merely transfer their stage act and persona's over, although Russell appears to tone down his act while Ron exaggerates. In my opinion the best videos are When I'm With You, When Do I Get to Sing My Way and (When I Kiss You) I Hear Charlie Parker Playing. I suppose I like these three (Aside from beginning with the word 'When') because they play on the bruthas image, as bit of fluff manipulated by a sinister Svengali in When I'm With You, or a plain rivalry in the two 1990s videos
Beat the Clock (1979)
Music videos didn't really take off as a promotional tool until the late seventies, therefore its hard to find anything by the group that isn't a tv performance from before 1979. The Number One Song In Heaven vid isn't on you tube, it doesn't matter much since the Beat the Clock video is much better.
La Dolce Vita (1979)
Tryouts For The Human Race (1979)
When I'm With You (1980)
Nice and creepy video, Russell looks hot, the girl looks hot, Ron looks barmy, and for some reason looks very boyish.
Tips For Teens (1981)
Funny Face (1981)
The guitar solo acting has to be ironic, surely?
I Predict (1982)
Directed by David Lynch, and looks it.
Cool Places (1983)
Jane looks absolutely adorable, love the hat too.
All You Ever Think About Is Sex (1983)
With All My Might (1984)
Music That You Can Dance To (1986)
So Important (1988)
Russell has had a lot of different haircuts, some good, some silly, but his style here is my candidate for worst.
Singing In The Shower (1989)
Les Rita Mitsouko's much better videos are on previous journal entries here:
When Do I get to Sing "My Way" (1994)
When I Kiss You (I Hear Charlie Parker Playing (1995)
Now That I Own the BBC (1995)
The Rhythm Thief (2003)
I have decided to leave off the newest videos since they don't show much of the band, and quite frankly they are annoying to watch.
12. Mai. 2010, 13:28My favourite kind of music video is a fun one. I particularly like them if they include lighthearted dancing, and direct address to the camera. It's probably no-coincidence that this style and presentation of music video was big in the eighties and I like eighties music of all kinds. I don't like a lot of serious or cinematic videos, since, at heart, music videos are just commercials. Now, some of my favourite videos are also very stylised. I don't only like one type. I love "Bachelorette" by Bjork and "Da Funk" by Daft Punk, and neither fits with what I have written above.
I think a music video should grab you, show you something novel and different and give you a good enough idea about the music and musicians behind it. So, with that In mind I wanted to put up a few of Tim Pope's music videos. Some of these songs are very famous, and I am being a bit obvious, but I didn't know he did "The Safety Dance". On seeing "Why Can't I Be You?" by The Cure I quickly realised that this guy and his production team understand funny dance, and that to me is about as good as you can expect from a novel three minute commercial.
The Cure with Why Can't I Be You? (1987)
Strawberry Switchblade with Since Yesterday (1984)
Men Without Hats with The Safety Dance (1982)
Vegas with She (1992), which i've included because it seems very perverse, and for me, it proves that Terry Hall is up there with Leonard Cohen and Scott Walker. And because of Tim Pope's description of making it from his website - Tim Pope.tv:
"i'd worked with coventry boy terry hall in one of his previous incarnations the colourfield and also had filmed the specials on stage when skinheads invaded. i remembered the original of this song 'she' when frenchman sharlz aznavour had written/crooned it. so i invited seventy-eight-year-old sharlz to come and be in the video but when i asked sharlz to stretch his arms around himself to give the effect of sharlz kissing someone else when viewed from behind – something he was pretty famous for – he told me he was in a car crash and his arms did not go that far round, le pauvre bugger. merde, i thought, and gave him a hotwater bottle as the drone of dawn's parisian dustbin carts grew around us. bet truffaut didn't get these problems with 'shoot the piano player' that sharlz starred in."
27. Nov. 2009, 0:44
I'd wiped by lastfm profile in October, it had also been a while since i'd listened to The Flaming Lips. I'm not obsessive about buying their back catalogue, but I do have all of their LPs (sans the Xmas on Mars soundtrack), and I did buy Embryonic on the day it was released. I haven't listened to it though.
Anyway, It seemed that with a clear profile and no recorded history of my adoration for the group on this site, that it would be fun to listen to a song from each of their albums. It also occurred to me during this process (process sounds like it isn't fun, it is!) that this would provide an opportunity to give myself a taste of the new LP.
So here's what I came up with:
The Last Drop of Morning Dew
Chewin the Apple of Your Eye
Christmas at the Zoo
Riding to Work in the Year 2025 (Your Invisible Now) (Stereo Remix) [to be pedantic!]
A Spoonful Weighs a Ton
Ego Tripping at the Gates of Hell
Haven't Got a Clue
Not bad eh!? I suppose I did avoid singles, but between 00:00 and 01:00 i'm not sure a direct attack of a shiny single was what I needed.
As for the new album, I played it safe and stuck to track one. Haven't listened to it at the time of writing, so who knows if i'll even like it!
20. Okt. 2009, 19:30Just wiped my profile. so i'm sticking this here for now
Best song at the moment (09/02/09): Has to be 'Mamma Mia' or'The Day Before You Came' by ABBA
Best song at the moment (12/10/08): 'SEE THE LIGHTS (ALBUM VERSION)' by Simple Minds.
'I HATE U' by Prince
Best song at the moment (01/08/08): 'KAZE NO TANI NO NAUSICAÄ (THE VALLEY OF THE WIND)' by Joe Hisaishi and Yasuda Narumi.
'I, I, YOU AND AI' by Izumi Kobayashi.
A J-Pop special you might say. Its the synth and orchestra swells on each that really hit me. The sort of build that makes you need to sit down and take it in.
19. Okt. 2009, 19:20
The Bad Lieutenant album is surprisingly good. I didn't conceive that a Bernard Sumner album that focused on songwriting over rhythms could be so accomplished and satisfying.
A point in case is to compare Sink Or Swim to New Order's Krafty. The two songs are very similar, both skimming along the surface and replicating Regret to some extent. Krafty works best when Bernard isn't singing, the middle section comprising of keyboard riffs, Peter Hook's bass and the guitars sounds effortless and combines a groove with the injection rock riffs brilliantly. Sink or Swim, plays down instrumental passages setting them aside for the outro and even then overlaying them with backing vocals and refrains. The refrains work well because the melody and vocal parts are strong enough to have them. Its simply a better song, and a lot more memorable.
The album has a number of songs that work because the 'song' part of the song is good, workman like perhaps but decent. Songs like Running Out of Luck and Runaway wouldn't have worked on New Order albums and didn't work on the Electronic albums. Both recall Electronic particularly the softer numbers on Raise The Pressure, but a greater amount of subtly and greater prominence for vocals lifts them.
Twist Of Fate and Poisonous Intent could have been on Get Ready, the former a cousin of Primitive Notion and the latter like Someone Like You. They are both very-New Order and likely couldn't have been recorded by any one else.
Beyond these songs we have what could be called the Bad Lieutenant songs proper. The contributions of Evans and Cunningham sound more prominent on Summer Days, This Is Home (both shared vocals), Dynamo, and Walk On Silver Water. These are all successful songs, and the idea of drafting in another songwriter (Evans) proves a good one on the duets, together they compliment each other well, with the younger man funnily having the lower voice! (BTW Walk on Silver Water sure sounds like Get the Message at first)
However, and I admit bias, it's on the songs where Evans performs solo vocals that the album wanes and seems to wither. I've read descriptions that compare him to a range of 'northern' vocalists. To my mind when his melodies are taken into account with his singing he sounds like Noel Gallagher. This derogatory comparison is not aided by a great number of Oasis-esque riffs and solos that pop up from time to time (Cunningham's contribution I imagine). His singing on Shine Like The Sun and Head Into Tomorrow is really flat, the lyrics hackneyed and are not lifted in the manner that Sumner's sweet or disaffected delivery often lifts his. Bernard's rhymes may clunk along but at least doesn't deliver such earnest and bald faced banal lines like:
"We'll leave this town in the morning, we'll build our love on the run, we'll reach the sea by the sunset, we'll chase the stars 'til the dawn".
"Hey bad man where you gonna go"
over that any day! But seriously, a lot of Bernard's lyrics are good and a step up from the last New Order album.
I don't want to berate Evans too much as he's contributed and he is impart responsible for a good album. Never Cry Another Tear is a good album but it is one that can be overshadowed by New Order (and Joy Division I suppose), but you shouldn't let it. Taken on its own it is a melodic and generally concise set of songs, that presents Sumner's best work in the indie genre since the 1980s.
10. Okt. 2009, 1:26Fri 9 Oct – Bat for Lashes, Yeasayer
...although I couldn't help but laugh when someone shouted for 'Babooshka'