#JLS new album

[voxceleste]

four albums i'm listening to at the moment

anochi - gezan w/ million wish collective

radical romantics - fever ray

pull my hair back - jessy lanza

warm chris - aldous harding

tagging @corprus @torturelabyrinth @yaomei @widespindriftgaze @lovedeluxe :~)

[tmbgareok]

JF: What's the next song, John?

JL: We got--uh let's see, where we at in the set--we got a song from our brand-new, brand-new...thingie...album...thing...

JF: Are we gonna introduce it or are we just gonna like, do the, like, cold, emotionally unavailable rock thing? And just start playing?

JL: I think it's the celebratory, you don't know what's coming, it's like a birthday present, you open the box, the song comes out.

JF: See, that's the way *you* think, John.

JL: But if you wanna think of it as a cold-hearted, emotionally unavailable--

JF: I *know* you, Linnell.

JL: Tell the people!

- Stage banter from Bowery Ballroom 2007/07/25

[wingsoverlagos]

Lewisohn vs. Howard Smith, January 23, 1972

The Lewisohn-fact-checkification has heated up in other areas of the interent, and while I can't say the reception is unexpected, it's not the sort of thing for which I'm well-equipped. I'm leading with that because, honestly, I don't see the point in actively fighting Lewisohn's reputation anymore. I have several more comparison posts drafted, and I intend to step back after I churn those out. I want to put the evidence out there as clearly as I can - it may not matter now, but down the line, when more people are ready to put the actual history above a sham historian, it will be there. I can't forcefeed the truth to people who are still unreceptive to it.

This isn't a goodbye post (there are still quite a few drafts to go!), but I want to thank the community here for being so funny, openminded, and encouraging! I don't interact with you all as much as I'd like to--I'm an anxious little bird--but your thoughtful responses and feedback have meant the world to me :) Sincerely, thank you!

Anywho, enough whining - I've got an audio comparison today! I love audio comparisons - the immediacy of hearing John Lennon or Brian Epstein or Paul McCartney say words that are clearly different from what Mark Lewisohn wrote can't be beat. Today's comparison comes from Howard Smith's January 23, 1972 interview with John and Yoko. Let's all praise the estate of Howard Smith, as many of his interviews are available for purchase at a reasonable price! You can find this track for purchase here, and two other interviews at this link. There are three interviews available total, each chopped into two tracks, with each track costing ~$0.99-$1.50.

Lewisohn quotes this interview three times, and there are issues with all three quotes. One is a standard Lewisohn rephrasing (you'll find that under the cut), while the other two construct an equally standard but somewhat meatier John v. Paul narrative.

All three quotes fall in the same ~1:30 of the interview, running from 9:29-11:10 in the track linked above. I've included the clip here for your listening pleasure:

Tune In 24-5 vs. Interview by Howard Smith, January 23, 1972

HS: This tape, the Decca tape that we were talking about, that was for a Decca audition I’m informed, January 1, 1962 [crosstalk] JL: That was the famous one that they turned us down on. I listened to it, y’know, I wouldn’t have turned them down on that, not in those days, y’know. I think it sounds okay, especially the last half of it for the time-  the period it was, there wasn’t many people playing music like that. HS: Were you guys very disappointed? JL: Oh, it was terrible, yeah. I mean, See, we used to-Brian Epstein had come down to Liverpool- to London, and then he’d come back and say, ‘I’ve got you an audition.’ We’d all be excited, it was Decca and all that. We met this Mike Smith guy, and we were going to go down there. So we went down, we did all those numbers, [we were?] terrified, nervous- you can hear it on that album, start off terrified, and gradually settled down, and then we went back and waited, and waited and then we just found out they hadn’t accepted it. We really thought that was it then.

(Emphasis indicates quoted phrases. I've bracketed "we were?" because, while I don't hear it clearly in the audio, it's not clear enough for me to say with perfect certainty that John didn't say it)

Lewisohn gives this quote as John's assessment of the day of the Decca audition, but that's only partially correct. The first word, "terrible," is representative of John's feelings about Decca's rejection, which is clear from the context of the quote. The second part of the quote "we were terrified, nervous" does describe how John felt during the sessions, but only partially. He quickly goes on to say they "start off terrified, and gradually settled down."

The next citation continues on with this theme.

Tune In 25-12 vs. Interview by Howard Smith, January 23, 1972

JL: Oh, it was terrible, yeah. I mean, See, we used to-Brian Epstein had come down to Liverpool- to London, and then he’d come back and say, ‘I’ve got you an audition.’ We’d all be excited, it was Decca and all that. We met this Mike Smith guy, and we were going to go down there. So we went down, we did all those numbers, [we were?] terrified, nervous- you can hear it on that album, start off terrified, and gradually settled down, and then we went back and waited, and waited and then we just found out they hadn’t accepted it. We really thought that was it then. HS: What, that that was all? JL: That was the end, yeah, y’know, cause [crosstalk] YO: You think that the sound was too far out for them or something? JL: [crosstalk] Well, we’d been- they all said it’s too bluesy or too rocky, too much like rock ‘n’ roll, and that’s all over now, they used to keep telling us, y’know.

(Emphasis indicates quoted phrases. This segment overlaps with the transcript above)

Here, Lewisohn recounts Paul and John's reactions to Decca's rejection of the Beatles. The quote isn't too butchered, though there are some small changes (e.g. "they all said" to "they always said")

That's a quibble, though. The main issue here is Lewisohn's misrepresentation of John's feelings at the time. Lewisohn's assessment that "[John] also wondered if they'd shot their bolt" is correct, but the rest, which I've underlined in pink, isn't supported by the source. Lewisohn contrasts Paul’s reaction with John’s: Paul thought the rejection was “shortsighted” but, as Lewisohn writes, “John marked it differently. He knew the Beatles had underperformed on the day.”

John does not express that sentiment in this interview. Within the same brief span that John gives the “too bluesy” quote, he also says of the Decca tape, “I listened to it, I wouldn’t have turned them down on that, not in those days. I think it sounds okay, especially the last half of it for the period it was, there wasn’t many people playing music like that.” John says that their nerves were apparent for part of the session, but he clearly didn’t view it as a dud overall, and underperformance isn’t the reason he states for the rejection. When Yoko asks for clarification (“You think that the sound was too far out for them or something?”), John gives the answer that Lewisohn quotes here: “They all said it’s too bluesy or too rocky, too much like rock ‘n’ roll, and that’s all over now, they used to keep telling us.”

Lewisohn intentionally misrepresents the above quotes to set John up as more knowing, more aware than Paul, who, per Lewisohn's version, even with hindsight couldn't see the flaws John spotted the day of the audition. In reality, John and Paul were of one mind—they didn’t think the audition was that bad. Paul’s assessment that Decca’s rejection was “shortsighted” goes hand in hand with John’s true thoughts on the matter, which I’ll quote here a third time, in case I’ve failed to get the point across: “I wouldn’t have turned them down on that, not in those days. I think it sounds okay”

Tune In 5-17 vs. Interview by Howard Smith, January 23, 1972

JL: The first day I got interested in rock, the first six months, y’know, when Presley’s heartbreak hotel came out in England, they were saying rock was gonna die already, which- “Is calypso gonna take over?” That was what they were talking about then. So whenever- Even in Hamburg, when we auditioned for those German companies, they would tell us to stop playing the rock and the blues and concentrate on the other stuff, y’know. Cause they all thought rock was dead, y’know. But they’re wrong. They’re still saying rocks dead, right?

Minor changes. John starts this quote by discussing one time frame ("The first day I got interested in rock") and then changes to another ("the first six months") - Lewisohn swaps the order of "I got interested in rock" and "the first six months." John also clearly says "gonna" instead of "going to" - this is exceptionally minor on its own, but I do think there may be some interesting patterns on when Lewisohn preserves vs. erases vs. introduces certain colloquialisms and dialect-specific spellings. That would take a more in-depth analysis to tease out, and I shall resist the urge - I'm clearing my drafts & touching grass!

Sources:

Lewisohn M. 2013. The Beatles: All These Years Vol. 1: Tune In. New York (NY): Crown Archetype. [ebook]

Smith H. 1972 Jan 23. Interview with John Lennon and Yoko Ono. Purchased 2024 May 28. Available from: https://www.amazon.com/music/player/albums/B00JMTMOTU

[harrisonstories]

So here's something interesting...

The Beatles Derek Taylor Never-Before-Heard Collection of Lost Beatles Recordings: Including the 1967 Kenwood Sessions and John Lennon Private Recordings

This is the track listing from the description:

Tape 1: Unheard Beatles Sgt Pepper Rehearsals from Kenwood late 66 early 67

Run time is 56 minutes, songs include:

Revolution #9, mainly John in many accents, George can be heard, Paul too, Ringo one time, Terry Doran is also heard being interviewed by John, Terry Doran was ‘The Man From The Motor Trade’ on Sgt Pepper, every identical animal sound effect from Good Morning Good Morning is featured throughout, probably pre-dates Pepper and John has the sound effects saved, cockerel, hens, sheep, horse, pigs, cat, dogs etc, the very ones used on Pepper. Sitar drones almost all the way through by George, Piano backdrop also

Track Listing:

That much Control

Monte Carlo rally sound effects Terry Doran is Jack Brabham Formula 1 racer

Cat Feeding Services (Monty Python esque sketch)

A million miles away, John Indian accent Beatles far east tours in 66

Crazy banjo song, JL bellows

I’m aware of the situation monologue

Swing your partners

Lennon.McCartney complaining about the heat

John and George shouting over a very loud backing track

John/Paul counting in 123 testing, JL turns it into a poem.

Dear Prudence very early demo John wrote it way before 1968

British Police are pigs, in an Indian accent

Tape 2: George Harrison With the Bonzo Dog Doo-Dah Band and Jimmy Page.

15 tracks, 59 minutes George with his Thames Valley muso friends, Jimmy Page, Jon Lord, Joe Brown, Sam Brown, Bonzo Dog Doo-Dah band (Neil Innes, Legs Larry Smith, Vivian Stanshall) Alvin Lee, all songs written by the Bonzos and George, all recorded at FP.

Track Listing:

George into talk while playing guitar, introducing a new song

Brazil take 1 written for the Handmade films project Brazil (never went to production)

Brazil take 2

Brazil Take 3

Sooty Goes to Hawaii

Mandalay monologue for handmade films production of the same name

Sooty Goes to Hawaii #2

Sooty Goes to Hawaii #3

Operatic Aria sung by Georges father-in-law and Olivia Harrisons dad Zeke Harrison, I doubt that Olivia has heard this

Bullshot theme song for Handmade films completed production.

Hare Krishna chant by everyone

Chant 2

While my Guitar Gently weeps with Jimmy Page on guitar

Same with Alvin Lee on guitar

if I Needed Someone

Tape 3: George with Bonzo Dog Doo-Dah Band band, all co-written 25.30 mins, 16 tracks

Track Listing:

Intro Legs Larry Smith

Do You Remember

Nothing Ever Changes

Urban Spaceman

Isle of Money (I Love Money)

Can you Groove (George)

There’s a Bright Golden Boil on my Penis

I Like Cesar

Misery Farm

Julie

Danda

When You Gotta Poop

Now You’re Asleep

Telling me The End

Viv Has Gone to Heaven

Mandalay Monologue #2

Tape 4: John Interviews Yoko 1969

Recorded by John in 1969, 45 minutes, John questions Yoko’s motives for being with him, discusses very personal matters, very revealing.

Tape 5: Yoko with Dr. Artur Janov

Yoko’s Primal Scream therapy 1 hr 40 mins, of very personal therapy, Yoko discusses John, music and very personal issues including John’s friendship with George.

Tape 6: “One From The Nursery” Unreleased John Ono Lennon Album

John and Kyoko Cox Tittenhurst Park

Run time is 47 minutes

4 tracks

Lots of John talking and playing acoustic guitar (sounds like his J60E) recorded at Christmas time, Various songs stand out, all written by John & Kyoko

John, I Love You

I Wish You Were my Father.

[vimbry]

we had a question from someone just wondering what you can tell us about the album ["I Like Fun"] that's coming out? the new album that's coming out.

JL: well, I can tell you one thing, that we've already- we've already gone over this ground, which is there's a lot of death [hosts laughing] in the lyrics.

yes, yes!

JL: yaaaay! [hosts laughing more] everyone's Rejoicing!

[shoesandsocks]

reading the bit where Mitchell Froom describes Neil's obsession over songwriting and compares him to Randy Newman, and I'm reminded instead of John Linnell. I've read interviews that suggest JL is also on this grail-quest for perfection. I wonder what a TMBCH mash-up would sound like.

(We're going to Germany for a week in September (a real vacation for the first time in... ?) but I think I'm more excited about this mild-dad-rock Crowdies concert in August.)

[deadcactuswalking]

REVIEWING THE CHARTS: 20/04/2024 (Sabrina Carpenter, Dua Lipa, Perrie Edwards)

Hozier sticks to a second week at #1 on the UK Singles Chart with “Too Sweet” and welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with our notable dropouts, songs exiting the UK Top 75 - which is what I cover - after five weeks in the region or a peak in the top 40. This week, we actually have a bit of a massacre so we must bid adieu to: “7 Minute Drill” by J. Cole (that one we literally say farewell to, it’s been deleted), “Cinderella” by Future and Metro Boomin featuring Travis Scott, “Make You Mine” by Madison Beer, “CARNIVAL” by Hitler and Goebbels featuring Rich the Kid and Playboi Carti, “Made for Me” by Muni Long, “bye” and “yes, and?” by Ariana Grande, “Would You (go to bed with me?)” by Campbell and Alcemist, assisted by a remix with Caity Baser, “Baby Shark” by Pinkfong, yes, really, “Anti-Hero” by Taylor Swift and finally, even though we all know it’ll be back, “Mr. Brightside” by The Killers.

It actually turns out that the most interesting stories here outside of the top 10 and new tracks… are the returning entries, because there are quite a few, they’re quite high and also quite - at least tangentially - related to a cultural event. Firstly, we have the release of a biopic revolving around the late singer Amy Winehouse who has captivated audiences long after death and the recent release of Back to Black, as well as its soundtrack, mostly a compilation of Winehouse’s songs and her influences, has propelled the studio album of the same name to #22 on the album chart whilst giving some of her legacy catalogue a solid boost. The song of the same name, “Back to Black”, had several initial runs from 2007 to 2008, peaking at “only” #25, but returned with stride after her passing to find a new peak of #8 in 2011. At #1 that week was “She Makes Me Wanna” by JLS featuring Dev. The charts don’t always reflect what music actually stands the test of time, let’s just say that. Today, it’s at #51. An even more storied chart run comes in at #44 with “Valerie” by Mark Ronson featuring Amy Winehouse. Ronson’s version largely eclipsed the original Zutons version released the year before. The Liverpool indie rock outfit peaked at #9 with their version, whilst Nelly Furtado’s “Maneater” topped the charts, but by the time Ronson and Winehouse came along, the chart was instead reigned by Sugababes with “About You Now”, which halted “Valerie” from hitting #1. Similarly to “Back to Black”, it did return to the chart after her passing though not very high, so I assume that it must have some degree of prominence in the biopic, I’ve yet to see it.

As for our two other re-entries, they somehow have even more chart history dragged into them, so bear with me. Paul Simon wrote “The Sound of Silence” and recorded the track as a member of Simon & Garfunkel in 1964, and despite this being the most prominent and successful version, hitting #1 Stateside, it somehow never once appeared on the UK Singles Chart in any form until long after, specifically in 1966 when an Irish pop group The Bachelors covered it, basically taking any steam off of the original by peaking at #3. The Spencer Davis Group’s “Somebody Help Me” was #1 at the time. It wouldn’t appear on the charts again until damn near half a century later in 2012, when viral acoustic singer Kina Grannis took it to #93. However, and I really wish I couldn’t say this, the most successful cover may be from nu metal band Disturbed, who reached mainstream success worldwide by covering the track in 2016, by then it had been thoroughly memed to death as well as being a long-term pop staple, yet it still worked. Their mediocre version peaked at #29 and now it’s back at #47 because of an inexplicable, practically unlistenable house remix by Australian DJ CYRIL that Paul Simon could probably sue for murder. I didn’t like the Disturbed version, but this is a new level of groanworthy.

As for our final re-entry, we should look towards the album charts, wherein Oasis’ 1994 debut Definitely Maybe is actually down a full positions, lower than other Oasis albums. The irony in that is that it’s the iconic Britpop band’s 20th anniversary this past week, with them releasing special physical editions of their debut single “Supersonic” to mark the occasion. It never really peaked that high to begin with, only at #31, but it did stick around and return for several runs for basically most of the 1990s, only to return once again this week as our highest re-entry at #42.

The gains are a lot less interesting but there are still a handful of notable boosts, namely “Jump” by Tyla, Gunna and Skillibeng up to #38, “Good Luck, Babe!” by Chappell Roan at #33, “I Don’t Wanna Wait” by David Guetta and OneRepublic at #25 (Jesus Christ), and finally, “Hell n Back” by Bakar nearing its old peak at #21.

This week, our top five on the UK Singles Chart consists of: “TEXAS HOLD ‘EM” by Beyoncé holding at #5, “Lose Control” by Teddy Swims floating at #4, “i like the way you kiss me” by Artemas smooching its way up to #3, Benjamin of Boontown is at #2 with “Beautiful Things” and of course, Hozier still at #1. Now, there’s actually quite a lot to discuss in our new entries, despite the fact that Taylor is still a week away yet, in fact this might end up the more interesting week because no-one is dropping the same day as her. So let’s review them, shall we?

New Entries

#49 - “We Still Don’t Trust You” - Future and Metro Boomin featuring The Weeknd

Produced by Metro Boomin, Peter Lee Johnson and MIKE DEAN

Yup, all of our new entries are within the top 50 this week, and most of them well into the highest reaches of the chart. Given Taylor only has three songs coming next week, I’m pretty excited for a from-the-top shake-up that won’t be immediately torn down… at least until the temporary Eurovision blockade, but we’ll deal with that when it comes to it. For now, I had only heard one of the songs debuting this week before today, and it was this one, the intro and title track to the second of the Future-Metro collaboration tapes, which debuted at #11 on the albums chart this week. Not every track hits on this second album, but if you remember what I thought about the first album, you’d recall I preferred the hazier, more melodically-focused pop-trap that was prevalent through the middle section, and this new record is essentially an extended version of just that with a triumphant victory lap full of bangers on the back-half bonus disc to balance things out. Future is a lot more emotive, Metro is delivering beautiful cloudy soundscapes, and the hooks are catchier than ever, though it’s not nearly as immediate so I understand that it performed less successfully even if it is a damn shame. It also means we only have the first track here, which is barely even a song ultimately, more so an extended, hallucinatory introduction blending punchy synthpop drums with garbled psuedo-hooks about freaky girls from Future, a looming falsetto from The Weeknd over a borderline nu-disco groove and semi-verses that don’t really form into a complete song. In the album context, this is a brilliant introduction to where the album will take you: a late-night drive taking your mind off “the hoes” so to speak. As a charting single by itself, it’s honestly just weird. Other than being the intro to an album most people I imagine didn’t finish all the way through, I don’t understand why “All to Myself” didn’t take this one’s place. I guess it didn’t have the video treatment but regardless, weird single to push, even if it’s a great moment.

#46 - “KiKi (What Would Drizzy Say?)” - D-Block Europe

Produced by Eight8, Harry Beech and Ari Beats

Well, Drake’s in the news thanks to all the dissing back and forth so being the young brilliant entrepreneurs they are, DBE pushed out a song with him in the title, in a vague reference to Drake’s own “What Would Pluto Do” but a much less vague, openly cheap interpolation of Drake’s “In My Feelings”, and the chart history did not stop with our re-entries as if there’s a coherent theme with some of these new tracks, it’s egregious referencing. “In My Feelings” samples a plethora of tracks in the first place, but none as explicitly as DBE have riffed from it here. The original spent four weeks at #1, but I don’t see Young Adz’s nasal auto-croon rendition getting any higher than #46. I actually feel kind of relieved with this because this is back to the stupid, barely functioning DBE of old (and by old, I mean the late 2010s), with a terrible bass mastering job, overly loud flutes that nearly drown out Adz himself attempting to sing his way out of his lack of content, in the same melody as Drake’s chorus until he just starts talking instead midway through. Some of the 2020s improvements are actually present here though; Youthful Advertisements has much tighter rhyme schemes once he actually starts rapping, and they aren’t as audibly out of tune or beat with everything else as they probably would be if they tried this out when the original was big. He also puts a shell in his back like he’s a turtle, tells the girl to close her mouth and leads into Dirtbike Lb’s small contribution, a brief, half-dead and wordy verse that still washes Adz: this is what I’ve come to expect from the duo. There’s not much of an attempt at wordplay but cool turns of phrase that kind of imply he thinks Hermés is the name of the crocodile they killed to make the bag and not just the brand name… they’re good enough. This is good fun.

#41 - “A Bar Song (Tipsy)” - Shaboozey

Produced by Nevin and Sean Cook

Okay, if we’re going to sample egregiously, this is how we do it: not trying to play it off as a completely new song but not serving in the exact same lane and purpose as the original. Instead, let’s make unabashed re-recordings and reimaginings that don’t necessarily modernise or improve the song, and don’t set out to, instead crafting a different experience from the same fundamentals. Now I don’t like the original 2004 track “Tipsy” by J-Kwon mostly because of, well, J-Kwon being useless, but there’s a great hook to it, especially the radio edit, and the beat making up nearly entirely of weird sound effects over a distorted clap sample is pretty clever. The original “Tipsy” peaked at #4 for two weeks, whilst “Lola’s Theme” by the Shapeshifters was #1, and later The Streets’ “Dry Your Eyes”. Shaboozey, a singer featured on Beyoncé’s latest pivot, has taken advantage of that extra traction to completely reimagine the chorus of “Tipsy” and its general conceit of having fun at a gathering to take your mind off problems, especially with girls… but there’s a lot of depth added through the extra populist twist thanks to the financial troubles referenced in the verses, and some particularly really smart intricacies like turning the counting gimmick into counting the rounds of drinks at the bar. He recontextualises a basically meaningless gimmick into something that is a lot more resonant, and that’s really special. Sonically, it feels like a bit more organic stomp-clap soarer, and isn’t really all that special, but the inspired interpolation of “Tipsy”, alongside some great strings in the post-chorus, makes this what it is, and it doesn’t run out of tricks. The shift to a rap flow in the second verse to continue the momentum is brilliant, the spoken backing vocals amidst the multi-tracked crowd hook, which I almost wish was even louder, is a fun idea… and that’s before that final chorus where it breaks down and becomes a true drink-a-long. Sure, this may be a reimagined version of a song I don’t like really at all, but it goes far beyond just that and creates a new experience not just as a cover but as a separate entity entirely that embraces and benefits from its referencing. This is how you do sampling in pop, it’s excellent. I hope this is a smash.

#35 - “These Words” - Badger and Natasha Bedingfield

Produced by Badger

Alright, once again, we have a sample, this time with Natasha Bedingfield’s “These Words”, that other song you might remember from the album that parents “Unwritten”. What you may not remember is that whilst this hasn’t had nearly as much longevity as the title track, it actually peaked much higher, debuting at #1 and topping the charts for two weeks in 2004. This is in spite of it being complete garbage. I like meta narratives in pop music when done well and outside of its camp, it can be genuinely difficult to get through the jerky, dated production and somewhat embarrassing performance, especially lyrically, from Bedingfield. I understand the appeal, and the writing isn’t really a deal-breaker usually, but it’s especially striking to me when the actual music behind her quest to find the best words for her love song… just plainly sucks. Come 2024 and enter UK garage producer Badger, who remixes the track, crediting Bedingfield on streaming but for whatever reason not on the Official Charts page, and I have to say, completely stripping this catchy hook outside of its tedious context is another inspired reimagining, mostly because it turns the “I love you, I love you” refrain into a muffled, glitchy funfest over some of the most detailed, hyperactive 2-step drums I’ve heard on the charts in a while, alongside a hazier synthscape that really shines against the rawer vocal from Bedingfield. Once again, modern artists turn a song from the 2000s I never really liked into a completely different experience, in this case completely removing you from Bedingfield’s narrative to fully envelop you in the euphoric end goal she hints towards in the original. Hope this takes off too.

#31 - “Tell Ur Girlfriend” - Lay Bankz

Produced by Johnny Goldstein

Speaking of taking off, it seems we finally have the inevitable breakout single for Lay Bankz. I’ve been paying attention to her casual flexing and dismissal of pretty much anything else over firy, fast-paced Philly club bangers for a while now, probably since I discovered “Na Na Na”, and it did seem like TikTok would grant her an easy hit any moment now. She finally got it with “Tell Ur Girlfriend” and here, if you don’t remember the specific production elements of its original material, you might not recognise this has yet another interpolation. I wasn’t a fan of Ginuwine’s 1996 track “Pony” for a long time because I felt its dissonance harmed its ability to be a sex jam but… let’s be real, rarely do sex jams actually succeed without being in some way disruptive due to awkward lyrics or stagnant beats. Once I learned to shut up and appreciate Timbaland’s vocoder burping that calls itself a bassline, all was right in my world. It peaked at #16 over here in 1997 and did have a shelf life extending to an EDM remix peaking at #39 in 2015. Bankz and Goldstein don’t really make much use of “Pony”’s fundamentals rhythm or melody-wise, outside of that out of place vocoder burp that is repurposed as a measure-demarcating stab over a comically jerky, sing-songy synth that slows down the pace enough for a 2-step-influenced 2000s throwback, Destiny’s Child-esque, not to rap but closer to R&B. Bankz surprises me to a degree with just how effortlessly she swaps between faster jabs to the smooth choruses, and it almost makes me forget that this is a song about mutual cheating. Does it justify that? No. And who cares? They’re having toxic fun over the Ginuwine “Pony” vocal burp and some of the ugliest synths to hit the top 40 in years, this is not morally righteous in any regard. It’s just pure, sweaty, regretful fun and does not waste any of its two-minute runtime trying to justify itself, and given this whole song is a sarcastic power move about how they should probably tell their partners they’re sleeping with each other, I don’t think she cares in the slightest.

#10 - “Forget About Us” - Perrie

Produced by Steve Solomon and Andrew Goldstein

Okay, the samplefest ended up going pretty fantastically, so I have some hopes for the trio of pop girlies we have lined up all debuting in the top 10, starting with the solo debut from Perrie Edwards of the former girl group Little Mix. She’s always been one of the most prominent vocal talents in the group, so regardless of if the song actually works, there’s going to be power here, and that’s guaranteed, even with an Ed Sheeran writing credit and a compressed to Hell and back mix. In this soarer, Perrie’s ex has become a successful singer after the breakup and Perrie is begging for them to never forget about what they lost in the relationship, especially given how neither seem all that over this relationship and its fallout. There’s a propelling pop rock drive to this, even if the lack of electric grit may harm it a tad, not letting it get into truly bitter territory… which might actually be for the best. Ms. Edwards sounds great belting here but there is a level of restraint in all the acoustic swell that might sing closer to the desperate content, acknowledging the flaws in the relationship and that it is over, but that it should, please, stick to them as a memory. A less kind approach may have flattened its overall sincerity, so even if sonically, I’m not over the Moon about this, I can recognise that this is a tightly-written, excellently performed little pop rock jam that will serve as a good introduction to the solo career. I just want to hear where it goes next.

#9 - “Illusion” - Dua Lipa

Produced by Kevin Parker and Danny L Harle

Okay, Dua, let’s be straightforward. Mixing PC Music’s wildcard Danny L Harle with Tame Impala should lead to much more interesting music than what we’ve heard from Radical Optimism - a disgraceful album title - so far, and I won’t lie and say what has been put out post-”Houdini” hasn’t been somewhat disappointing. I was hoping that “Illusion” could take a bit of a different step, tap into some less recognisable territory for Dua, and whilst it may not have done that exactly, it’s definitely much more interesting. Harle and Parker go for a much tighter house groove here, with elevated pianos, chips of percussion that end up much more minimal under the looming vocal loops and progressive electronic synth beeping, maybe much less impactful than you’d expect. So where’s that in the content? Well, Dua sings about disappointment, playing off a façade placed up by this guy who’s just not impressing her at all, as she’s growing up from just being reckless with her lovers. It’s in the same vein as “Training Season” but with a more unique and honestly more fitting soundscape for that kind of romantic disillusionment, especially given a major conceit of the bridge is that she’s still going to dance all night with that illusion, she still gives in despite her best interests. It also has a ridiculous synth solo slabbed right in for no reason. Genius. Inspiring.

#6 - “Espresso” - Sabrina Carpenter

Produced by Julian Bunetta

I really have not been going into Sabrina Carpenter singles that chart with high expectations or really any expectation that I’ll enjoy it, and she keeps proving me wrong, but not in the way that say Dua just did. No, Ms. Carpenter shares more in common with D-Block Europe in that the appeal, at least for me, comes in the lack of subtlety and disregard for functioning outside of existing pop tropes, whilst still thoroughly embarrassing her public image, cycling around enough for me to be unironically on board. Like “Nonsense” was a plain rip-off that ended up surviving beyond the genuine article on comedy alone, and “Feather” is as light as possible, no pun intended, yet still pinches at you with its infestation of hooks, “Espresso” is emphatically stupid. “Switch it up like Nintendo”? “My give-a-fucks are on vacation”? “I know I Mountain Dew it for ya”? “MOUNTAIN DEW IT FOR YA”? It reminds me all too much of Selena Gomez’s nu-disco embarrassment “Love On”, but instead of selling the cringe with sheer forcefulness, which did surprisingly work for the incredibly limited vocalist Selena is, Sabrina plays the guitar licks and downright invasive pre-chorus synths off with utter, robotic dismissal. Sure, there’s vocal riffing and harmonising, but the main vocal line in the chorus is a multi-tracked, reverb-drenched, Melodyne-controlled nursery rhyme, and it doesn’t escape that lane for nearly all of its three minutes. There are spoken word interludes where she acknowledges the stupidity of the song and its content, but it’s always breezy and lacking in the cringe that would come with it if she cared much at all. The deadpan “Yes” ad-libs in the pre-chorus, and the detail put into the production, are what really sell this to me though. It’s orchestrated to make it seem like she doesn’t care, but there is an entire team twisting the knobs to turn that faux carelessness to a seamless radio edit… and well, they need a raise. She’s done it again. This is ridiculous.

Conclusion

She doesn’t get the Best of the Week though because that, far and above, goes to Shaboozey for “A Bar Song (Tipsy)”, and the Honourable Mention… well, I can’t give out a Worst of the Week at all here. Or even a Dishonourable Mention. Sure, Perrie’s song is a bit generic and maybe my enjoyment of the DBE track is purely for the comedy factor, but I still thoroughly enjoyed my time with them, so I’m just going to tie the Honourable Mention between “These Words” by Badger and well, “Espresso” by Sabrina Carpenter, which is shaping up to thankfully be huge. As for what’s on the horizon… Taylor Swift and Drake. It’s back to the big leagues in the next episode but for now, thank you for reading, long live Cola Boyy, and I’ll see you next week!

[thislovintime]

Peter Tork and James Lee Stanley, August 2001. Photo courtesy of Lewisville Area Arts Council.

“[I] worked in a nightclub called The Shadow. And I think it was late June [1964] that the Phoenix Singers came through, and Peter was in the band, he was the banjo player in — behind the group… And he and I hit it off, and that Monday night, we did an impromptu show together, we just played a couple of tunes, you know, and had a good time, and stayed friends. And then when I opened a club in 1965, there was no place to play in the winter in that area — Virginia Beach, Norfolk… So I opened a club on my own with two friends, we called it The Folk Ghetto, and I contacted Peter in New York City and said, ‘I wanna hire you to come down here for a week and be the headlining act.’ Which he did. [...] He was, he was fantastic. He was so good. [...] Anyhow, we became friends, and we were friends ever since. As I was a Chinese linguist in the Air Force, I was overseas while The Monkees thing happened, so I didn’t really, I didn’t really experience him as a celebrity, you know, I just experienced him as my pal Peter. And I can tell you that he’s been one of my best friends for my entire life. And one of the more generous people I’ve ever known. And just to give you a window into the kind of guy he was, he would come off a Monkees tour where everything was handled, you know, they would take care of his tickets, they’d take care of his room, they’d carry his instruments, they’d carry his bags, he just had to show up at the airport and they gave him the, you know, the ace treatment. And then he comes off a tour like that and he gets in a rented Dodge with me and we drive around the country playing little rooms, which we filled to the max because it’s Peter Tork, and then he demands that, because I booked all the dates, I take a booking fee off the top. And then he demands that we split the door. He, I mean, you know, he didn’t have to do that.” Q: “Just the fact that when things went south for him and he was working as a busboy at Great American, that just speaks volumes to the mettle of the man to me.” Q: “Yeah. He was, he was just my best friend, you know. And a great spirit. And I just got a wonderful post from his brother Nick, who said that… you know, Peter was in L.A. and he wasn’t really doing anything, and I — we would hang out, and I said, ‘Peter, I noticed that all the other Monkees have solo albums. Why don’t you have a solo album?’ And he said, ‘Well, I just never got around to it.’ I said, ‘Well, you know, I have a label, I have national distribution, and I have a studio.’ I said, ‘Why don’t we make a record and we’ll try, you know, we’ll shop it to the majors and if nobody picks it up, we can still put it out on my label. So there’s no doubt about it, we’re making a record that’s coming out.’ And he said, ‘Okay.’ So we worked on it about four months, and at the end of the four months, he said, ‘You know what, James? I don’t want to shop it. I want it on your label.’ So I got to put Peter Tork on my label without, you know, paying a huge upfront thing to have a world-famous celebrity on my label. You know, he just said, ‘No, let’s do it with you, man.’ He was, he was great, he was just a great guy, you know, Loved the blues, loved the blues, he just would hang out at those blues clubs on his off-nights.” Q: “I just watched you and him at the Tin Angel on YouTube.” JLS: “Oh, right, yeah, there’s a lot of those up there, I think, of Peter and I playing around the States. I looked at a piece of it and what struck me was how much genuine affection there was between us. You know what I mean? I forgot what a joy it was to go out there and play with somebody you love, you know, that you’ve known all your life.” Q: “You can see, it came through, as old and choppy as that video is, it comes through.” JLS: “Yeah, it really does, it really does. And I also was surprised how — I didn’t remember that we were so tight. My recollection is it was pretty loose and casual, but evidently we worked out a lot of little things.” Q: “To be honest, I wasn’t even going to bother you, but that actually compelled me to call, I think... you know, the two of them look so happy together.” JLS: “Yeah. Yeah. And, and I knew since last fall that, you know, he’d ceased the treatment and was just, you know, riding it.” Q: “Was it from that same cancer that had plagued him previously?” JLS: “Yes, yes, it… it came back. It came back and he, they did some kind of experimental stuff and it didn’t work, and so he just, he said, ‘Enough.’ And he just, you know, bit the bullet. And then he called me at Christmastime, we talked a long time. And, and it was the first time he said, you know, ‘I wanted to mention the elephant in the room.’ I said, ‘Well, I’ve been tiptoeing around it for the past year.’ And then we talked about it, you know, we talked about our friendship and our lives together, and apart. And I talked to him not many times after that because he was, he was very tired, he was, you know, he was failing, man.” - Tales of the Road Warriors, March 7, 2019

“Tork later confided in his brother Nick that Stanley had given him his life back. ‘I wept when I heard that,’ Stanley says.” - Stranger Things Have Happened 2020 reissue liner notes

[kmp78]

"Pack it in and retire" 😭

A review from a Finnish music magazine:

(Translated by 🙋🏼‍♀️, with best (?) bits highlighted.)

"21 years has passed from American 30StM's debut album, and they've traveled far from those days. Popular mainstream styles have changed, and 30StM has updated themselves to keep up with the trends. In their early days the band got inspiration from prog and alt rock. Their current day music could be called electro pop, and some sort of "sunflower peacocking" that is completely void of any touch of life to a basic rocker like me."

"Currently the Leto brothers run the band as sole members. Listening to these newest offerings, one might assume that former members Matt W and Tomo M aren't exactly regretting leaving.

Even tho the latest songs have been terrible, of course one must check out what actor-musician JL's group's newest concoction sounds like. It is after all the same band that once put out songs like The Kill, From Yesterday and This is War."

"The 1st single Stuck which was put out in May, was nearly insufferable to listen to. No need to be particularly surprised, but the end result is that perhaps with the exception of NNLY, every song on the album follows the same patterns as the single.

And the lyrics don't offer anything better. To quote Stuck: "Ram dam da da da..." all the way.

The entire album hasn't got a single line that I haven't already heard elsewhere a million times. Or what do you think, when the songs are called "World on Fire", Love These Days", Lost These Days", "Life is Beautiful" and "Avalanche".

"If I was a saint, the newest entertainment splat from the Leto brothers and half an army of producers wouldn't illicit any kind of emotions from me.

However, ITEOTWBIABD tests the boundaries of tolerance and manages to tear mine to pieces right off the bat. I can't help it, my blood pressure rises and I can feel like one song after the other is eating away what's left of my days to live.

Everything is like mushy marshmallow, soulless mass-produced porridge without even the most basic nutrients.

I can not listen to this! I'm losing it! Away! Meds!

At last the album is finished, and I am shocked but at the same time relieved that at least I managed to avoid a stroke.

I can not recommend this experience."

"Of course it's not a sin to change styles, but mediocre mainstream pop that's been stripped from all personality, originality and sense of humanity just begs the question: how much have the duo even cared about making an album anymore.

All in all, this new album from 30StM is so atrocious that if you plan on playing it at a houseparty, it might be polite to warn people about it in the invitation."

😭😳😣😨🥴🫨😶🫣😭😳😣😨🥴🫨😶🫣

[mybeingthere]

The artist who created some of the most memorable images of the 20th century was never fully embraced by the art world. There was just one work by Maurits Cornelis Escher in all of Britain’s galleries and museums (as of 2015), and it was not until his 70th birthday that the first full retrospective exhibition took place in his native Netherlands. Escher was admired mainly by mathematicians and scientists, and found global fame only when he came to be considered a pioneer of psychedelic art by the hippy counterculture of the 1960s. His prints adorn albums by Mott the Hoople and the Scaffold, and he was courted unsuccessfully by Mick Jagger for an album cover and by Stanley Kubrick for help transforming what became 2001: A Space Odyssey into a “fourth-dimensional film”.

But Escher did not belong to any movement. In a 1969 letter to a friend, he observed testily that “the hippies of San Francisco continue to print my work illegally”. (Many of his letters are reproduced in the standard reference book, Escher: The Complete Graphic Work, edited by JL Locher, which includes a full biography and analytical essays by Escher and others.) He had been sent a catalogue for a California “Free University” that contains “three reproductions of my prints alternating with photographs of seductive naked girls”. This would have seemed distasteful to the rather formal Escher, who bridled when Jagger addressed him by his first name in a fan letter. According to Patrick Elliott’s catalogue essay, “Escher and Britain”, for the new exhibition at the Scottish National Gallery of Modern Art, The Amazing World of MC Escher, the artist replied to the musician’s assistant: “Please tell Mr Jagger I am not Maurits to him.”

https://www.theguardian.com/.../the-impossible-world-of...

[tmbgareok]

hi! is there perhaps any influence from new wave legend Klaus Nomi's album track "ICUROK" on your ABCs track "ICU?" or is this just a case of the english alphabet only having so many letters that sound like words?

JF: I'm going to include this clip of Klaus Nomi for folks who are unfamiliar with his singular talent. While I have heard a fair bit of his work (and TMBG producer Bill Krauss worked with him on some studio dates in the early 80s) I think it's fairly certain John L. was riffing of the general idea of grammagrams and not referencing the Klaus Nomi song (which is unknown to me and I'm guessing JL) but "great minds" as they say. I also cannot resisting sharing my Klaus Nomi salt and pepper shakers that were made by a Japanese artist named YokaiJohn about ten years ago... https://www.figurerealm.com/customfigure?action=view&id=54256

[localizee]

Our Shared Purpose highlights Allstate's values: integrity, Inclusive Diversity & Equity and collective success.

[krispyweiss]

Song Review(s): John Leventhal - “JL’s Hymn No. 2” and “That’s all I Know about Arkansas” (feat. Rosanne Cash)

After a long career as producer, session musician and sideman, Mr. Roseanne Cash, aka John Leventhal, finally got around to making a solo record. And if “JL’s Hymn No. 2” and “That’s all I Know about Arkansas,” the latter featuring Cash on co-lead vocals, are any indication, Rumble Strip promises to be varied and, potentially, fantastic.

“Hymn” is a lovely, introspective solo-acoustic instrumental that finds Leventhal playing at the intersection of John Fahey and James Taylor.

“Arkansas” is a low-fi country blues on which the couple sings together about a couple splitting apart. The musical setting is not unlike that which Leventhal cooked up on Sarah Jarosz’s 2020 LP World on the Ground.

She’s heading to/another life/god only knows/where she will land/the frozen north/with all its strife/the muddy south/she plowed by hand, Leventhal and Cash sing over a gloomy rhythm; acoustic and electric guitar; and mandolin.

Rumble Strip is out Jan. 26, 2024, on Cash and Leventhal’s new RumbleStrip Records imprint.

“The best thing to come out of the pandemic is that he sequestered himself in the studio and created what can reasonably be called a master work, and my favorite album for a very, very long time,” Cash says of her husband’s forthcoming debut.

“I was fortunate to be asked to sing on a couple of tracks, although he didn’t need me. This is an eclectic, beautiful, surprising, refined album that showcases a truly great musician and songwriter.”

Sure, Cash is biased. But judging from “JL’s Hymn No. 2” and “That’s all I Know about Arkansas,” she’s also correct.

Grade card: John Leventhal - “JL’s Hymn No. 2” and “That’s all I Know about Arkansas” (feat. Rosanne Cash) - A/A

11/14/23

[vimbry]

transcript below:

JL: (loudly) from her debut album, "Exile in Guyville," that's Chicago's Liz Phair, with.. "Never Said," here on 120Minutes! I'm JohnLinnell from They Might Be Giants, and We'r'e your special guest hosts t'night. Next Up! Itsa San Diego band called Rocket From The Crypt. This video is off their Second album, "Circa: Now!" which originally wasa released almost a year ago, on the independent Cargo Records. Now Interscope Records, home of Nine Inch Nails, Primus and Helmet, has re-Released the album! and they've sent us a videoo for the song, "Sturdy Wrists," here it is: Rocket From the Crypt, on M T V's, one Hundred and Twenty Minutes!

JF: howdy! I'm John Flansburgh.

JL: I'm John Linneeell.

JF: and we're They Might Be Giants - we're your special hosts for 120 Minutes tonight coming up later, a live performance from us They Might Be Giants, And world premiere videos from Matthew Sweet, The Cure, and, right here, it's a world premiere, from Mr. James Osterberg, better known as Iggy Pop!

JL: This is a closeaswecountto the, w- Ig Man's Twelfth Solo Album, and fifteenth Overall if you count the three he made with The Stooges can you tell I'm reading back in the late '60s/early '70s it's called, "American Caesar," and it's due to hit stores tomorrow - Tuesday - the 7th. The first single features guest vocals from none other than, Henry Rollins! and right here... it's the world premiere of the video.

JF: it's called "Wild America," and it's new from Iggy Pop on 120 Minutes, on M - T - V!