10. the treasures, "hold me tight" why here? "heart of rome fades very fast and the concussive opening of "hold me tight" shoots the gap. why this song? in terms of production technique, this is my favorite phil spector song -- i could only imagine how brilliant it sounded on am radio. the echo is such that the song doesn't seem to be coming from an external source; rather, it seems to be playing directly inside your head, the perfect place for such an exquisite, swoonsome song to be heard.
9. elvis presley, "heart of rome" why here? "starman" ends on a fading singalong and then segues right into another one. why this song? "heart of rome" was june '70 single for the king, a modern remake of styne/cahn's "three coins in the fountain." again, released in june 1970 and one can already hear the differences between his 60s work and that which was to follow: the arrangements stopped being polite and e's voice had increased in density, an instrument that would become a little more country and a lot less rock 'n' roll with the passing years. if one accepts "suspicious minds" as his demarcation line (and, perhaps, as his apex), elvis began easing into the 70s in august '69 and "heart of rome", for what it's worth, is one of his finer overcooked numbers of the 70s, though not a jumping-off point by any means.
8. david bowie, "starman" why here? "la cienega" ends with a lengthy fade, drifting away with a lazy acoustic guitar solo. "starman" reaffirms the theme with its admittedly less lazy acoustic opening. why this song? the 'overture' to the ziggy stardust film at the film forum was the album itself (not, that is, the film's soundtrack). i'd always had it in for "starman" because of the whole "over the rainbow" thing. but having little except to listen to it, i realize that "over the rainbow" is hardly the point, and the song doesn't really begin until the string flourish and bowie singing "let the children..." and ronson wringing the neck of his guitar, a soundtrack to a film all its own.
so, if anyone wants to claim that the fix is in on american idol,now's your chance. unless you want to wait & see if nikki can knock off justin next week.
personally, i'm not terribly surprised. i thought that, based on perfomance, justin and tamyra had given the weakest the previous night. out of what had been considered at the time the top three, i thought she was the most assailable: kelly has 'the voice' and justin is the mop-top, even if his dancing makes him look like he has rickets. even nikki has her whole single-mother thing going on, rarely something, though, that is supported, let alone endorsed, by the heartland. but she's attractive and, oh yes, white, like the majority of voters, i'd reckon. voters who are probably more familiar with melissa etheridge than stephanie mills, and nikki is a straight melissa etheridge, the best of both worlds!
until the last two weeks, i wasn't convinced of tamyra's abilities. the only thing she seemed to communicate was a smug satisfaction with the sound of her own voice, cooing her way through songs by tina turner and gladys knight, originals that were marked with youthful impatience and unbearable longing respectively. and then came "a house is not a home," followed by last night's "feel the fire."
oh, but between those two songs came a feeble attempt at patti labelle's "new attitude." no one sings patti labelle for emotional nuance or to demonstrate subtlety. when you take up one of her songs, you're trying to go as far over the top as possible (ask randy: he apparently worked with her!). maybe tamyra didn't understand this or her maybe throat problems left her incapable of even trying. it was bad and may have left an impression on voters who didn't stick around for the second round. simon said last night in his post-mortem, "you're judged on your last song," which wasn't the case because then it would've been nikki voted off or, in a perfect world, justin and his bumbling "p.y.t." no, i think tamyra knew that patti labelle would be exactly the kind of vocalist who would fare well on american idol and she went for it. whereas the other three don't need to project themselves into singers beyond their capabilities, tamyra, like an uber-christina christian, knew what she had to do and, in the back of her mind, may have suspected that even that wouldn't be enough, that talent would only carry her so far.
someone said last night that the contestants were being judged by different criteria.yes, patti labelle would kill in this type of competition, especially, if she were cute and white. step right up, kelly...
7. ryan adams, "la cienega just smiled" why here? "i threw it all away" is a mix nightmare: it doesn't end properly as it segues into the following track, and the ending is far too abrupt to even attempt a fade. i tried to patch things up by throwing in this track with its sudden, though not jarring, piano opening. why this song? there are few artists who are as eminently hateable based on image and influences alone as ryan adams. this is one of two adams-penned songs i can claim affection for, the other is whiskeytown's "jacksonville skyline." like that number, "la cienega" is a quiet, atmospheric effort, mercifully lacking his trademark swagger and 'tude. instead, it's a burnished piano and strings ballad redolent of his number one fan elton john's early 70s work.
6. scott walker, "i threw it all away" why here?: ferry's urbanity and, oh yeah, his vocal style sit comfortably next to scott, while acknowledging his (i.e. scott's) influence on both. why this song? scott only gets better with each passing year. on this dylan cover, he sounds like the ghost of heartaches past, imploring the listener to change his foolish ways before he ends up like scott, recording albums solely for the enjoyment of wire magazine's editorial staff and producing pulp's least successful venture, all of this while in chains, no less.
5. bryan ferry, "one way love" why here? "wonderful summer" stops on a dime with some seagull noises; i wanted to shift tempos a bit, so i inserted this track with its echoing sampled beats opening. why this song? chris spedding's guitar shines brighter than the lights on broadway, and is far more glamorous to boot. it's splendid, incandescent pop, one of the many highlights of ferry's frantic, and the only cover -- of a drifters tune -- to stand toe-to-toe with the originals. for a vastly different version, see dexy's cover, the b-side to "keep it part 2."
4. robin ward, "wonderful summer" why here? "summer, highland falls" ends with a fading, lovely piano run, and it almost seems to segue right into the seaside sounds and swelling backing vocals of "wonderful summer." why this song? i heard this on cbs-fm the other day and i became assimilated to the oldies hive mind: "why don't they write songs like this anymore?" so ephemeral, it's like sea mist: soothing as it strikes you and forgotten shortly after. contrary to christian doctrine, no one quite glows like a young girl who's been deflowered. robin fails to make the same mistake as britney: she doesn't equate sex with love and she's therefore left with only gratitude in her heart.
3. billy joel, "summer, highland falls" why here? "autumn goodbye" has a slow fade and, since it was an uptempo song, i usually like to have it followed by something with an abrupt opening, like the piano chords here. why this song? good fucking question. it's one of three billy joel songs i can tolerate: when used as a bonding exercise, i can sing along with "piano man"; if it were performed with sincerity, i could listen to "tell her about it." "summer, highland falls" is the only one i active like, though -- it plays to my weakness for wistful summer songs and for melancholic, winding piano lines. still, he's his own bernie taupin with lines about "either sadness or euphoria," and it features yet another of the cheesiest horn solos in the history of recorded music (cf. "just the way you are"). but, damn, that piano is pretty (and it also proves the causative link between joel and vanessa carlton that maura has proffered.)
2. britney spears, "autumn goodbye" why here? for all of its greatness, "the love i lost" has a pretty lousy and, not to mention, quick fade, with pendergass ad-libbing and being cut off in mid-sentence. i wanted a song that snapped back quickly, preferably with a spoken or sung intro. why this song? my current frame of mind dictates a need for melodrama. besides being her second best song, britney's "autumn goodbye" is also her most emotional performance, a howl of pain especially when compared to number four's gentle magnanimity. it also opens up a three-song salute to summer -- back to school commercials always trigger this impulse. but it's not over until i trot out "all summer long."
ashanti -- ten times more hated than iraq: an internet petition has garnered 20,000 signatures denouncing the selection of ashanti as soul train's lady soul entertainer of the year. while one can't deny her ubiquity, some of the signees are saying "she's just not talented enough" to receive the award named in honor of aretha franklin.
i made a mixtape today, a compilation disc if you prefer. inspired in equal parts by matos' mix project and freaky trigger's c90 series, i'm going to discuss it here.
usually when i make a disc, it contains new things that i'm feeling and old songs that are either chosen subconsciously because they convey my mood or because i was reminded of their existence (and greatness) by the radio. (all of this is to say that i rarely make 'theme' discs unless they're being assembled for someone else.) this one is like all of the rest, then, and it begins with: 1. harold melvin & the blue notes, "the love i lost" why here? there were only three tracks on this entire disc that i thought suitable for the leadoff spot; the other two ended up being used to change mood or tempo. and, besides, i think the "love i lost" makes for one of the best openers in the history of pop. like most great gamble & huff productions, it starts slow and builds, instrument by instrument, establishing the mood before the singer opens his mouth. why this song? unlike most gamble & huff productions, however, a mood isn't created so much as a palette. the mfsb orchestra embellishes and expands it, creating a canvas the size of philadelphia for teddy p. to bark out his grief in the most upbeat of fashions. and by the time he's removed the dagger from his heart, the nation's fifth-largest city proved just large enough to contain it all.
i just wanted to take a moment to proclaim the brilliance of dj lance lockarm, one of the more consistently genius masher-uppers out there. from what i understand, his mix of public enemy's "bring the noise" and m's "pop muzik" is getting airplay, quite deservedly. his latest concoction is a mix of the rap from the beastie's "so whatcha want" and the track from my bloody valentine's "i only said," with additional percussion from schoolly d's "saturday night." utterly fantastic.
vain, selfish
& lazy is true to its name and its creator, fred solinger, aged 24. thin but wiry, he is an off-and-on ultimate fighter. he maintains his residence in new jersey. contact me.