Category: Music Box

Music Box: Literally, Total Eclipse Of The Heart

This is one of the funnier Literal Videos that have swamped YouTube.  Last year, I posted the ‘literal’ version of A-ha’s “Take On Me” by YouTuber DustoMcNeato.  Today’s is by YouTuber dascottjr and it takes us into the exhilarating world of Bonnie Tyler’s classic 1983 “T0tal Eclipse Of The Heart”.  The lyrics to this version don’t dwell on the original vid’s intense homo-eroticism, save for one or two lines (this was THE gayest music video I’ve seen up to that point in my life) but it’s still extremely funny in its absurd accuracy.

And, the original is still one of the greats of the 80s.  So there.

Music Box: Kurt Cobain – Act Of Abandonment

February 20 1967 - April ? 1994
February 20 1967 – April ? 1994

James Montgomery of MTV News remembers the loss of the idealism of youth.

Kurt Cobain: The Death Of The Scruffy Noble

Nirvana frontman represented the honor that came with never compromising, whether he liked it or not, in Bigger Than the Sound.

By James Montgomery

Fifteen years ago today, an electrician named Gary Smith was sent out to a gray clapboard home near Lake Washington in Seattle to install a security system. What he discovered, in the greenhouse above the garage, would change the face of rock and roll forever. It was the body of Kurt Cobain.

The Nirvana frontman had been missing for several days, after fleeing a rehab facility in Los Angeles. His mother, Wendy O’Connor, had filed a missing-persons report with Seattle police, advising them to look in Capitol Hill, where Cobain may have been attempting to score drugs. In actuality, he was already holed up in his Lake Washington home, in the greenhouse above the garage, where on the morning of April 5, he removed his hunting cap – which he wore when he didn’t want people to recognize him – tossed his wallet on the ground, wrote a one-page suicide note to an imaginary childhood friend named “Boddah” and ended his life with a 20-gauge shotgun blast to the temple.

Three days later, sometime around 9 a.m. PT, Smith discovered Cobain’s body. He called police (and a local radio station), and then there were the breaking-news bulletins and the vigils and the questions and the tears. And then it was all over.

Not the remembrances or the hand-wringing or even the speculation about Cobain’s death, mind you … that all continues to this day, in voluminous tomes and box sets and documentaries and the like. Rather, April 8 marked the end of an ideal, of a movement. That sounds hokey, but if I’ve learned anything in the 15 years since his exit, it’s this: When Cobain left, he took a lot more with him than just Nirvana.

This isn’t another piece meant to codify Cobain (or his band) or measure the length of their musical shadows. Suffice to say, Nirvana released three studio albums, and all of them rip. And Cobain possessed a growl that could crumble walls and a wail that could cut glass (to say nothing of his songwriting or his underappreciated sense of melody). Everyone knows this. Nirvana were probably our Beatles. Cobain was probably our John Lennon. Let’s move on.

What I want to talk about was everything that Cobain symbolized, whether he liked it (or most likely didn’t). He was hope, he was heft. He was the everyman, the end of the rock star, the punk dream realized. He had made it, and he was going to lift people up with him. He was cynicism and venom. He represented idealism and truth and the honor that came with never compromising. When he lived, rock music had importance, it had vitality. It was very possible that his songs could change the world. There was a scruffy nobility to him.

Of course, it is entirely possible that he was just the right man at the right time. Nobody represented the idealistic (and, at the same time, nihilistic) ’90s like Cobain did. But if you noticed, when he died, all that idealism, all that hope, all that import seemed to die with him. The very idea that a band (or a man) can change the world with music now feels beyond laughable. We have become scarred and jaded. A lot of us are no longer willing to believe in the power of a guitar or a lyric, because Cobain took that with him 15 years ago.

And that’s sad, because no matter what Cobain was, no matter what he symbolized or who he inspired, he was ultimately just a man. He had demons that proved too strong and too numerous, and they ganged up on him and dragged him away. And that taught us a lesson: Don’t deify, because you’ll just end up betrayed. We’ve spent 15 years doing the complete opposite – we no longer build up, we tear down. We don’t believe in things. We no longer strive for truth or subscribe to any particular ethos. Probably because we’re afraid to.

Two years ago, on the eve of his 40th birthday, I interviewed a host of people who knew Cobain well and asked them what he’d be doing if he were still alive. They said he would’ve retreated from public view (perhaps to a desert, as Butch Vig surmised); made deeply personal, decidedly anti-commercial music; and despised the way our society had turned out. I tend to agree with all that. It’s difficult (if not impossible) to imagine Cobain alive today … at least not the way we all remember him. He just wouldn’t fit. He couldn’t.

I was in 10th grade when the news broke. I remember watching Kurt Loder read the emerging details of Cobain’s death on TV, and I remember watching the vigils in the Seattle Center park, and I remember being very sad. At the time, I think it was because of the loss of our great and noble leader and the shuddering of an entire generation. Now, I realize it was because a little piece of me died that day too.

I lost the idealism of youth. And the idealism that comes with plugging in a guitar and playing it very loudly (and very badly). That’s never going to come back, either. Probably for any of us.

Music Box: The 100 Greatest, Gayest Albums (of All Time)?

****

The headline of Out Magazine’s recent list of the The 100 Greatest, Gayest Albums (of All Time) is a bit misleading. One can argue “Greatest”, for it’s opinion over fact, a selective, personal observance that molds the cornerstone in the life of the listener. For example, I might think “Indigo Girls” (#4) is pretentious high school poetry while you think “I Am A Bird Now” (#10) is pretentious art school prose.

But ‘Gayest’? Well, not so easily defined (#4 and #10 notwithstanding). But, the article itself negates its own headline, as it reads:

…we polled more than 100 actors, comedians, musicians, writers, critics, performance artists, label reps, and DJs, asking each to list the 10 albums that left the most indelible impressions on their lives.

Well, “gay indelibility” doesn’t automatically equate “gayness”. While the gay/straight ratio is almost 50/50 (nearly half the titles on the list are by artists that have defined themselves at one point or another as gay/bisexual) the headline should have read “The 100 Greatest Albums as Chosen By 100+ Gay People”. But, that wouldn’t cause much water-cooler talk, now would it? Most folks probably skipped the opening paragraphs of the article and started browsing the list, no doubt screaming, “How is [insert title here] GAY?!?” And I’m sure Out wouldn’t have wanted it any other way.

Impressive – or psychotic, depending on how you view it – is that I own 93 out of the 100 titles on the list (for those who care, I do not possess #s 22, 23, 45, 48, 56, 89 and 98).

Well, maybe not so “impressive” after all (I mean, I do own 5000+ CDs so chance would have it I would have owned many/most of these titles ), but yeah, a little “psychotic” (just exactly why do I own many CDs I don’ t like?).

I’m just thrilled that there isn’t a Mariah or Whitney in the whole damned bunch.

****

(Text written by various Out music critics, not me)

1. David Bowie, The Rise and Fall of Ziggy Stardust and the Spiders From Mars, 1972
It’s ironic that an album with an opener forecasting Earth’s expiration and a closer tackling celebrity excess and self-destruction remains one of the most liberating, uplifting records of all time — about as ironic as a straight man topping this list. Robust, swaggering anthems “Ziggy Stardust” and “Suffragette City” prove this space odyssey is far from morbid or apocalyptic, yet it is on standouts like the languid, gender-flirting “Lady Stardust” and brash come-on “Moonage Daydream” — in which the singer asks for a raygun to be placed to his head with almost masochistic sexual glee — that Ziggy and his Spiders really shine. When in the grand finale, “Rock ‘n’ Roll Suicide,” Bowie wails “Oh no love! You’re not alone!” over a sea of theatrical strings, you know he was singing for every exiled, dejected, sexually confused young kid who longed for a world of greater possibilities.

“At a time when social and sexual taboos were just starting to break down, Bowie as Ziggy created a world where the possibilities were limitless. You could be whatever you wanted to be.” — Boy George

2. The Smiths, The Smiths, 1984
After glam rock faded in the mid ’70s, the gay sensibility so integral to British culture was redirected to its pop and dance music. But the Smiths proved the exception to that rule, particularly on the band’s 1984 debut, with a front cover featuring Warhol hunk Joe Dallesandro. As the chiming guitars of Johnny Marr suggest both despair and its transcendence, singer Morrissey articulates alienated longings that gain extra poignancy if one understands them as queer. “You can pin and mount me like a butterfly,” he croons on “Reel Around the Fountain.” Many have dreamed variations on that theme.

3. Tracy Chapman, Tracy Chapman, 1988
Announcing the arrival of an acoustic singer-songwriter defined by quiet alto anguish and lyrics that speak of social injustices from an insider’s viewpoint, Tracy Chapman’s 1988 debut is a revolution that sounds like a whisper. An eerily memorable chronicle of frustrated dreams, “Fast Car” still seems to slow life down every time it’s played, but the album’s plainspoken love songs — particularly “Baby Can I Hold You” — remain just as eloquent.

4. Indigo Girls, Indigo Girls, 1989

5. Judy Garland, Judy at Carnegie Hall, 1961
“She is a legend for a reason. That performance, at that time, by that woman was clearly once in a lifetime. When I first heard it, I wasn’t sure who needed whom more. Was it the gay men in the audience needing her, or was it her needing them?” — Wilson Cruz, actor

6. The Smiths, The Queen is Dead, 1986

7. Elton John, Goodbye Yellow Brick Road, 1973

8. Madonna, The Immaculate Collection, 1990

9. Cyndi Lauper, She’s So Unusual, 1983

10. Antony and the Johnsons, I Am A Bird Now, 2005
With unflinching passion, a desperate desire for human connection, and a tremulous voice redolent of Nina Simone, cherubic Antony Hegarty — with help from Lou Reed, Rufus Wainwright, and Boy George — delivered a sparse set of some of the saddest, rawest songs ever recorded. In I Am a Bird Now’s 10 tracks, the singer meditates on the lonesome “middle place” between life and nothingness (“Hope There’s Someone”); gender mutability (“For Today I Am a Boy”); sadomasochism (“Fistful of Love”); and, on the album’s breathtaking climax, “Bird Gerhl,” the sublime freedom of flying alone.

11. Various artists, Hedwig and the Angry Inch soundtrack, 2001

12. The Velvet Underground & Nico, The Velvet Underground & Nico, 1967

13. Ani DiFranco, Dilate, 1996
“The record took me two years to digest; it overwhelmed me. Ani put words to experiences from my generation with poise and generosity I had never and still haven’t heard.” — Melissa Ferrick, folk musician

14. Erasure, The Innocents, 1988

15. George Michael, Faith, 1987

16. Queen, A Night at the Opera, 1975

17. Lou Reed, Transformer, 1972
“The gender-bending ‘Walk on the Wild Side’ is (as far as we know) the only song about transsexuals, male prostitution, and blowjobs to hit the Top 40. Bonus points for the leather hunk with a giant hard-on on the back cover.” — queer psych-prog band Mirror Mirror

18. George Michael, Listen Without Prejudice, Vol. I, 1990
The 6 1/2-minute “Freedom ’90” was not only the first great pop song of that decade, it was George Michael’s condensed autobiography — the true story of a boy who had painted himself into a corner but was dying to come out. So he recast himself with lip-syncing supermodels, stopped touring, and began to quietly make good on his promise to “take these lies and make them true somehow.” There are other excellent songs on Listen Without Prejudice (most notably the viciously political “Praying for Time”), but it is the gospel choir-worthy “Freedom” that will remain a queer anthem.

19. The B-52s, The B-52’s, 1979
“I remember auditioning for the character of Duckie in Pretty in Pink and bringing in ‘Planet Claire’ to dance to in front of the director. I still hate Jon Cryer.” — John Cameron Mitchell

20. Queen, A Day at the Races, 1976

21. David Bowie, Hunky Dory, 1971

22. The Gossip, Standing in the Way of Control, 2006

23. Deee-Lite, World Clique, 1990

24. Sylvester, Living Proof, 1979

25. k.d. lang, Ingénue, 1992
With its silky textures and subtle, slinky rhythms, 1992’s Ingénue shifted k.d. lang’s musical focus from the prairie to a cabaret of her own design. “Miss Chatelaine,” her dreamy Lawrence Welk tribute (as its video bears out), birthed a butch-goes-femme lesbian variation on camp that narrowed the aesthetic divide between lang’s sapphic sisters and her gay brothers, while “Constant Craving” wooed adult pop radio and scored lang her well-deserved third Grammy, transforming this Canadian country crooner into an unconventional mainstream icon. In live performance lang remained a wild thing, but on her fifth and most popular album, she’s deliciously smooth — nearly regal with poise.

26. Scissor Sisters, Scissor Sisters, 2004

27. Eurythmics, Sweet Dreams (Are Made of This), 1983
Annie Lennox and Dave Stewart’s romantic partnership had ceased by the time of its release, but that troubled relationship is at the core of Sweet Dreams. On the title track the yin/yang of Stewart’s driving synths with Lennox’s ethereal vocals is as electrifying today as it was 25 years ago, but while the single scored their first (and only) U.S. number 1, it’s the spectral “Love Is a Stranger” and “This City Never Sleeps” that evoke the mood of foreboding and loneliness that came to dominate Lennox’s solo career.

28. Queen, The Game, 1980

29. Pet Shop Boys, Actually, 1987

30. Diana Ross, Diana, 1980

31. Sarah McLachlan, Fumbling Towards Ecstacy, 1993
“Lesbians all across the world have had sex to this record. A lot of sex.” — Jen Foster, folk musician

32. The Smiths, Meat Is Murder, 1985

33. The Smiths, Hatful of Hollow, 1984

34. Donna Summer, Bad Girls, 1979

35. Yaz, Upstairs at Eric’s, 1982
When this synth-pop duo first appeared, many thought its singer was a black gay man. In fact, Yaz (or Yazoo, outside the United States) was deep-voiced English chanteuse Alison Moyet and fellow Brit Vince Clarke (formerly of Depeche Mode). Together they merged hot soul and icy arpeggios not only for “Situation,” one of the first new wave crossovers from gay clubs, but also for the album’s equally explosive ballads. After one more album Moyet went solo, while Clarke created another pioneering synth-pop duo: Erasure.

36. Madonna, Erotica, 1992
“Madonna was fully exploring her sexuality with the simultaneous release of Erotica and the Sex book, and as a budding young queer teen, I had never heard a mainstream artist tell me it was OK to love who I love and have sex with who I want.” — Ari Gold, pop singer

37. Blondie, Parallel Lines, 1978

38. Dusty Springfield, Dusty in Memphis, 1969
Despite its many songwriters, this exquisitely sequenced album by British songbird Dusty Springfield presents a unified statement on the tumultuous nature of love. It didn’t sell spectacularly, even while yielding the instant classic “Son of a Preacher Man,” but it has long been considered a pinnacle of white soul. When Springfield follows the philosophic “No Easy Way Down” with the pleading “I Can’t Make It Alone,” the effect is softly devastating. A year later she spoke openly of her same-sex attractions.

39. Laura Nyro and Labelle, Gonna Take A Miracle, 1971
“Nyro brought in Patti LaBelle, Nona Hendryx, and Sarah Dash (well before ‘Lady Marmalade’), and the four voices are staggering, heartbreaking, and roof-shaking. It’s simple music that was never written to be this complex, but these girls looked at it from another angle, which is the hallmark of the gay approach to life — and which so often results in great art.” — Bruce Vilanch, comedian

40. Pet Shop Boys, Behavior, 1990

41. Melissa Etheridge, Yes I Am, 1993

42. ABBA, Gold, 1992

43. Prince, Purple Rain, 1984

44. Pet Shop Boys, Very, 1993
The foppish synth-pop duo’s coming-out album, released at such a politically charged era in queer history, unspools like an unabashed crash course in gay. Self-deception (“Can You Forgive Her?”), the AIDS crisis (“Dreaming of the Queen”), and feigned barroom indifference (“To Speak Is a Sin”) all show up to the party, before Neil Tennant’s tenor throws open the doors and summons us to a campy utopia in the bittersweet Village People remake “Go West.”

45. Bikini Kill, Pussy Whipped, 1993

46. Madonna, Ray of Light, 1998

47. The Magnetic Fields, 69 Love Songs, 1999

48. Cris Williamson, The Changer and the Changed, 1975

49. Patti Smith, Horses, 1975

50. Rufus Wainwright, Poses, 2001

51. Frankie Goes to Hollywood, Welcome to the Pleasuredome, 1984

52. Kate Bush, Hounds of Love, 1985
“What I love about this album is essentially what I love about being gay. It’s eccentric, wildly imaginative, and has a completely naive view of the world in which it exists. In Kate Bush’s conceptual world the clouds make magical shapes in the sky, God can change the place of a man and a woman, and innocence is lost only to give way to the beauty of romance. I paint the memory of my coming out in similarly vibrant and violent colors.” — Darren Hayes, pop singer, formerly of Savage Garden

53. Culture Club, Colour by Numbers, 1983

54. Tori Amos, Little Earthquakes, 1992
“A song has the ability to convey so many emotions, and that’s exactly what this exquisite album does. It takes you on a very powerful journey.” — Perez Hilton, blogger

55. David Bowie, Diamond Dogs, 1974

56. Team Dresch, Personal Best, 1994

57. Prince, Dirty Mind, 1980

58. Liz Phair, Exile in Guyville, 1993

59. Bronski Beat, The Age of Consent, 1984
“It was the first overtly political queer album. It saved lives and broke hearts.” — Kiki and Herb’s Justin Bond

60. R.E.M., Automatic for the People, 1992

61. Sleater-Kinney, Dig Me Out, 1997

62. Jeff Buckley, Grace, 1994
“My first boyfriend lived in New York City when we met, and he insisted I buy this cassette. Jeff’s angelic voice and soul-wrenching lyrics touched my heart immediately. During my first trip to New York to visit said boyfriend, he and I got into a huge fight. While I was wandering alone around the East Village, I ran into Jeff outside a music venue. I told him I loved his music. He told me he loved my shirt. I immediately tracked down the boyfriend for make-up sex.” — Darryl Stephens, Noah’s Arc

63. Björk, Debut, 1993

64. Patti Smith, Easter, 1978

65. Le Tigre, Le Tigre, 1999
“It was the soundtrack to the queer cultural landscape of the late ’90s. It inspired countless girls to pick up instruments and give a shit about what was going on. It was riot grrrl with a bit more technology and dance appeal.” — Scream Club

66. Soft Cell, Non-Stop Erotic Cabaret, 1981
Of all the new wave albums to have conquered the charts, Soft Cell’s debut is the most deliciously sleazy: It sounds as though it was recorded in a Times Square peep-show booth. Known primarily for the album’s massive synth-pop reworking of Gloria Jones’s cult soul classic “Tainted Love,” the British duo of queer singer Marc Almond and keyboardist Dave Ball also documents the last gay gasp of pre-AIDS abandon in tracks like “Seedy Films” and “Sex Dwarf” as well as the sobering mornings after in “Bedsitter.” Almond misses notes but, more important, nails the tenderness at the heart of the hedonism.

67. Hüsker Dü, Candy Apple Grey, 1986

68. Nirvana, Nevermind, 1991

69. Frances Faye, Caught in the Act, 1959
Perhaps the most unjustly forgotten nightclub singer in queer history, Frances Faye was a brassy bisexual broad whose act was equal parts cabaret and comedy, a mischievous love child of Mae West and Cole Porter. Caught in the Act — a live recording from 1958 featuring her wild versions of “Night and Day” and “The Man I Love” — is rare, undeniable evidence that her fans, including Rock Hudson, Barbara Stanwyck, and even Paul McCartney, were in on all the dirty jokes. In “Frances and Her Friends” anything goes: “I know a guy named Willie / Willie goes with Tilly / Tilly goes with Millie / What a ball!” And the crowd goes wild.

70. Rent original Broadway cast, Rent, 1996

71. Elton John, Captain Fantastic and the Brown Dirt Cowboy, 1975

72. Donna Summer, Once Upon a Time, 1977

73. various artists, Fame soundtrack, 1980

74. Michael Jackson, Off the Wall, 1979

75. Carole King, Tapestry, 1971

76. Ani DiFranco, Imperfectly, 1992

77. New Order, Substance, 1987

78. various artists, The Rocky Horror Picture Show soundtrack, 1975
“I was a regular Rocky midnight attendee by the time I was 11 (courtesy of my best friend’s hippie Mom). Now I’m a singin’ dancin’ tranny with a penchant for tranny girls in fishnets. You do the math.” — Sean Dorsey (trans choreographer, dancer, and Artistic Director Fresh Meat Productions) and Shawna Virago (trans rock star, activist, Director Tranny Fest)

79. T. Rex, Electric Warrior, 1971

80. Rufus Wainwright, Want One, 2003

81. Scissor Sisters, Ta-Dah, 2006

82. Cher, Believe, 1998

83. Bette Midler, The Divine Miss M, 1972

84. Cyndi Lauper, True Colors, 1986

85. Nina Simone, Anthology, 2003

86. Madonna, Madonna, 1983
“I was in love with her. I never wanted to be her but I definitely wanted to hold hands. I still have my Like A Virgin tour t-shirt. I can tell you what I wore to the concert but that might be really saying too much. One word… AWKWARD!” — Melissa York, drummer for the Butchies and Team Dresch

87. Madonna , Confessions on a Dance Floor, 2005

88. Hüsker Dü, Zen Arcade, 1984

89. Fifth Column, To Sir With Hate, 1986

90. Kate Bush, The Kick Inside, 1978
“This is frilly and gorgeous and even new agey but for some reason also ‘hip’ so i was able to drench myself in it without worrying about getting beaten up.” — Nils Berstein, Matador Records

91. Grace Jones, Nightclubbing, 1981

92. Morrissey, Viva Hate, 1988

93. Sade, Lovers Rock, 2000

94. Hair original Broadway cast, Hair, 1968

95. Culture Club, Kissing to Be Clever, 1982

96. Nick Drake, Bryter Layter, 1970

97. Janis Ian, Between the Lines, 1975

98. Ferron, Testimony, 1980

99. Joni Mitchell, For the Roses, 1972
“An album to play alone in your bedroom when the phone doesn’t ring after your virginity is gone.” — Tom Kalin, director Savage Grace

100. The Beatles, Sgt. Pepper’s Lonely Hearts Club Band, 1967
“I couldn’t help being influenced by this truly trailblazing album by the ultimate pop group who was managed by a gay man, Brian Epstein. The world would have missed this cultural watershed without his influence.” — Holly Johnson, Frankie Goes to Hollywood

Music Box: Best And Worst of 2008

It’s another year for the self-involved, pretentious, wannabe critics to compile their Best & Worst lists across the blogosphere, the tabloids, the social networks, the TV screens and the mirrors.  So, why shouldn’t I partake?  I mean, I’ve been doing it for too many years to recall an exact time frame, but I’m sure longer than many of you were even alive

As it is, my listening experiences in 2008 haven’t been so prodigious as norm.  Usually devouring hundreds per year, I’m lucky if I’ve spelunked dozens; living without an iPod (R.I.P. 2004-2007) severely limited myself to sonic pleasures I’ve yet to behold.  While I’m “old-school” enough to adore the physical CD and all that it entails (reading the liner notes, the lyrics, the credits, etc…), it was more efficient to swallow everything I could while living in the solitude of MP4s swirling inside my head via Apple’s global power sword.  I make my living in the music industry by way of music television, having to view dozens of music videos a week, most of which I can barely stomach.  You’d surmise correctly if you thought that I’d have any CD at my fingertips (for the most part I do – I do love my label contacts!).  But you’d be mistaken if you think I’ve listened to most.

I’m a man with a more mainstream musical mindset than most blogs I read (I mean, have you even heard of half the CDs on Pitchfork’s list?  Didn’t think so…), so, for better or worse, here’re 20 of my favorite CDs of the year (affectionately listed as “la Belle”) followed by 10 abominations (“la Bête”).  They’re in no particular order of importance of love or loathing.  If ya wanted to, you could list any of my favorites in varying degrees of hierarchy.  I guess I could have listed them alphabetically, but I much prefer stream of consciousness…

(Oh, yeah – I’m always up for suggestions, so shoot me an e-mail or a comment to let me know what I’m missing.  I just might review it on my upcoming music review blog!)~

La Belle…

K’NAAN – THE DUSTY FOOT PHILOSOPHER Maybe I’m just an aging ol’ coot, but while I was scratching my head at the heralded Lil’ Wayne, I reveled in this lyrical, fluent, and exuberant Somalian-cum-Canadian poet~

RANDY NEWMAN – HARPS & ANGELS Still a persnickety lil’ curmudgeon.  Oh, yeah, and the legend (and genius) thrives~

GIRL TALK – FEED THE ANIMALS Fucking brilliant~

RAPHAEL SAADIQ – THE WAY I SEE IT You can have Ne-Yo and his multiple Grammy nods.  By spelunking the fragments of the past, Saadiq creates soul for the here and now. And maybe tomorrow~

MAGNETIC FIELDS – DISTORTION Even when Stephen Merritt ain’t singing them, he’s living them – and so are we/am I~

MAVIS STAPLES – LIVE: HOPE AT THE HIDEOUT A live companion piece of sorts to 2007s masterful “We’ll Never Turn Back”, adding a depth and guttural fortitude that shakes you to the core~

CONOR OBERST – CONOR OBERST Finally deserving the ‘New Dylan’ moniker hipsters have been pinning on him for more than a decade.  Not that there was anything wrong with that~

PRETENDERS – BREAK UP THE CONCRETE As imperfectly perfect as their canon suggests, this time with a hillbilly slant~

SHELBY LYNNE – JUST A LITTLE LOVIN’ Magnificent Dusty tribute by the most criminally underrated and unappreciated vocalist of the past 20 years~

AMADOU & MARIAM – WELCOME TO MALI Thrilling follow-up to their wonderful “Dimanche a Bamako”~ as import only, for now, but own it when it arrives domestically in March 2009~

TV ON THE RADIO – DEAR SCIENCE One-upping “…Cookie Mountain” in songcraft and sonics?  That’s gotta be a miracle~

DUFFY – ROCKFERRY Dusty Springfield? Give me a break. She’s Lulu by fiat, and that’s the next best thing~

DRIVE BY TRUCKERS – BRIGHTER THAN CREATION’S DARK Overkill might not be their usual métier (“Southern Rock Opera” notwithstanding) but who cares?  These 19-tracks prove to be their most melodious and fluid~

AL GREEN – LAY IT DOWN The sexiest mothereffin’ voice of all time’s still inspiring (and perspiring and panting and loving) at 62, this time sans Jesus (woot!), with loving support from John Legend, Corinne Bailey Rae and Anthony Hamilton (Green’s closest heir apparent).  And praise be to whatever for stealing the Dap Kings’ horns back from the evil clutches of Amy Winehouse~

ARTHUR RUSSELL – LOVE IS OVERTAKING ME Taken by AIDS in 1992, this is a lovingly harvested gift from Audika, chronicling his early 70s Country/Pop/Folk tone poems right up until near-death~

VAMPIRE WEEKEND – VAMPIRE WEEKEND Actual truth in hype. Go figure~

SANTOGOLD – SANTOGOLD Usually avoiding the hipster-blog syndicate, I was struck by the songcraft over the visual (and the voice)~

LINDSEY BUCKINGHAM – GIFT OF SCREWS Replacing the acoustic splendour of “Under The Skin” for his avant garde innateness.  And still one of the greatest guitarists.  Ever.

KINGS OF LEON – ONLY BY THE LIGHT Sure we knew the Kings of Leon had a great sound. But who would’ve though that Caleb Fallowill would morph into a great singer?

BLITZEN TRAPPER – FURR And The Band played on~

******************************************************

…et La Bete

LEONA LEWIS – SPIRIT A voice so emotionless and sterile she makes Sade sound like the Queen Of Soul, it will be an injustice if Lewis’ rise were anything more than a laconic lapse of the public’s judgment~

BON IVER – FOR EMMA, FOREVER AGO Justin Vernon whines mumbles whines. Shut the fuck up, bitch!

T-PAIN – THR33 RINGZ Minstrelsy is alive and well.  And as my friend Jim so eloquently intoned, innately irrelevant~

JANET JACKSON – DISCIPLINE As sexy as skid marks on an ivory velvet rope~

FLO RIDA – MAIL ON SUNDAY Section 8 Hip Hop for white boys who love dem some ring tones~

DAVID COOK – DAVID COOK Endearingly refreshing in an Idol realm, sure, but diluted Daughtry (which is diluted Nickelback, which is execrated grunge)?  I demand an Idol recount~

SCARLETT JOHANSSON – ANYWHERE I LAY MY HEAD Mrs. Ryan Reynolds. Quasi actress. Earwig.

 

 plies PLIES – DEFINITION OF REAL Rarely has the moniker ‘goon’ been so clearly defined, which we’d let pass if there were an iota of talent, which there isn’t ~

DANITY KANE – WELCOME TO THE DOLLHOUSE Ring! Ring! Hello? Is this Ashton Kutcher?  What?  You DIDN’T? It was DIDDY?!?!

DAY 26 – DAY 26 Danity Kane wasn’t enough. Pimp Diddy punk’d us again.

Happy 2009!!!!! (I hope…)


Music Box: Sistah Is Doing It For Herself!

My friend Jim sent this to me with the subject line ‘GASP’.  Indeed.  Not sure if this is fascinatingly scary, as I replied to him, or scarily fascinating (there is a difference, after all).  In any case, ya gotta admire his, er, flexibility, mimicry and talent.  Yeah, talent.

And Beyonce got nothin’ on her.  Sistas are doing it for themselves!!

Music Box: Presidential Debate (Nashville Edition)

I know it appears that, seemingly, My New Boyfriend is morphing from a momentary place for hilarity and levity to a political ranting pit stop.  My apologies, but I can’t deter my passions sometimes.  So, to even things out, here’s a juxtaposition of both.

Here, in 3 minutes, is last night’s Nashville Presidential debate/song and dance.  Usually, when asked “So, who won the debate?” my answer is “Whoever you’re voting for”.  Last nights victor was this brilliant young man from New York named Michael.  You need to spelunk his YouTube page for other strokes of genius.  Check it out here ~  SCHMOYOHO

Enjoy.  And one last thing ~ I dare you to just try to STOP humming “Who’s gonna work it out, baby, who’s gonna work it out…” It won’t work.   Oh, and if you wanna to sing along (and you will), he has the lyrics on his YouTube page~

Politico: Les Misbarack

“Les Miserables” – one of my 5 or so favorite musicals – ended with pretty much every Revolutionist perishing, so I hope that this video ~ as hilarious and clever as it is ~ is not indicative of what’s to come.  Let’s hope Act 2 of the upcoming presidential election ends on a sunnier note than the fates of 99% of the characters in the play. 

It’s a stirring, depressing, monumental musical (the 1987 original, not the recently closed revival) and “One Day More” ends Act 1. 

(It was a stroke of genius to have Putin…I mean Palin…as Madame Thenardier and McCain as Javert. How apropos!) 

Picture it, November 3rd 2008…