My List!

Jan. 7th, 2010 10:16 pm
pantryslut: (music)
See previous post. I decided not to apply to the job, btw. The pay sucked.

The Naughts - Le Tigre, Jean Grae, Me'Shell N'degeocello, Blackalicious, Sharon
Jones and the Dap Kings

The 1990s - Hole, Nine Inch Nails, The Creatures, Robyn Hitchcock, Red Hot Chili Peppers

The 1980s - Adam Ant (OK, Adam and the Ants), Gang of Four, The Clash, Prince, The Smiths

The 1970s - Stevie Wonder, Marvin Gaye, The Spinners, The Temptations, Sly & The Family Stone
pantryslut: (music)
This stems from a job app question, but it turns out to be a fun parlor game too:

Name your favorite five musical acts from the last four decades - naughties, nineties, eighties, seventies. (You can go back further, too, if you want ;) ).

I'll post my answers tomorrow.
pantryslut: (Default)
(for [ profile] cindymonkey, edited slightly)

a) Turn on your MP3 player or music player on your computer.
b) Go to SHUFFLE songs mode.
c) Write down the first 25 songs that come up--song title and artist--NO editing/cheating, please.
d) Tag or don't tag, as you wish.

1. My Man Blues, Sara Martin
2. Cloud Nine, Me'shell Ndegeocello
3. I Can't Let Go, Evie Sands
4. I Used To Say I Love You, Robyn Hitchcock
5. It's Been A Long, Long Time, Peggy Lee
6. Green Light, The Detroit Cobras
7. Cloak of Frogs, Freakwater
8. Mademoiselle Kitt, Eartha Kitt
9. The Knowledge, Janet Jackson
10. Untouchable Part 1, Princess Superstar
11. Don't Mess With Bill, The Marvelettes
12. Tsunami, Res
13. Man-Size, PJ Harvey
14. Sing Me Back Home, Edith Frost
15. What's The Use of Wond'rin, Amanda Palmer
16. Lowlands Away, Rufus Wainwright and Kate McGarrigle
17. Duke of Earl, Gene Chandler
18. California Uber Alles, Disposable Heroes of Hiphopracy
19. Fried Chicken, The Marylanders
20. Jazz Lips, Louis Armstrong
21. The Snakes Crawl at Night, Janet Bean
22. Baby Don't Do It, The 5 Royales
23. Lovable, Sam Cooke
24. Baby I'm For Real, The Originals
25. Missing the Boat, Pink Nasty


Jun. 4th, 2009 04:32 pm
pantryslut: (twin2)
One of my daughters likes country music (old-school, plz, Johnny Cash, Hank Williams, Loretta Lynn, and cowboy songs mostly, so far). The other one appears to be partial to Latin jazz. (The better to shake a maraca to.) I'll let you guess which is which.
pantryslut: (Default)
Smokey Robinson and the letter U.

pantryslut: (twin)
Don't ask me why, but babies love Radiohead. Especially as a lullaby.
pantryslut: (Default)
Here is Bloodshot Records' Election '08 Mix. It's supposed to be full of protest songs, "biting social commentary and damn fine music."

I think it is cool and amusing that they put a Spanish-language track first.
pantryslut: (hefty)
Charming earworm of the day:

"Oooh la la, I like it hot
Fatback in the pot
Fatback mama, she's so fine
Fatback mama, she's all mine"

I think this is a win for Baby Dance Party.
pantryslut: (pussycat)
It's my new favorite song! Seriously, this is catchy as fuck. (Thanks, Poplicks!)

Lily Allen, "Guess Who Batman":

pantryslut: (pussycat)
This question is courtesy the morning show at KFOG:

What music would you be surprised to find on my iPod?

I have pretty eclectic tastes, see, after all that time as a music reviewer and all...
pantryslut: (Default)
I am so charmed. This is The Exciters, singing "Tell Him" at a zoo. (Courtesy Jessica.)

P.S. I love how "Tell Him" defies conventional gender logic (i.e. that the man will be the potential wanderer and the woman, concerned with fidelity) and becomes a paean to good communication in a relationship instead. And yes, I do think about these things reflexively, thank you.
pantryslut: (Default)
There is a look in the eye of Amy Winehouse when she performs. It is unmistakable. Her hair, her wardrobe, her makeup, will all be perfect. Her body language, perhaps, will be a little wobbly. Her voice will be strong but she may well forget the words to the song she's singing, or slur them.

Her eyes, though. Her eyes are not only clear, they are wide open. Anyone who watches closely can see the truth behind those eyes.

Amy Winehouse is petrified.


Once upon a time, there was a British singer who was pretty, talented, and raised on jazz classics. She had a cockney accent and she liked to drink.

She recorded an album, Frank, that was a huge hit in her native UK. Its music was based in jazz, with elements of hip-hop and modern R&B added for extra flavor. It was in the aftermath of this success that the Winehouse reputation began to flower. She started showing up to shows too drunk to sing. She started a ruinous affair that would later be chronicled in excruciating lyrical detail. Her managers tried to get her to clean up. Instead, she wrote a catchy little song about it. It was called "Rehab" and would lead off her next album.

She paired up with a producer who added hand claps, piano, and other retro stylings to the mix. Winehouse was positioned as a throwback, a white girl who sings like a black girl.

In the early pressings of her follow-up album and US breakthrough, Back to Black, which leads off with "Rehab," Winehouse appears in her "old" guise, as a pretty, curvy girl with pretty brown curls and subtle make-up. She looks classy. She looks real.

Once "Rehab" became a hit, however, someone redesigned the cover of Back to Black to reflect Winehouse's newly revamped image: thinner, bigger hair, eyeliner for days. This is the iconic look that she sports today. She never appears in public otherwise -- even when she is wearing dirty ballet slippers, with bruises peppered along her arms, her eyeliner is on in perfect wings around her eyes. Her hairpiece may be ratty and crooked, but it's still in place.

Winehouse's look is meant to evoke an era, but also a specific artist: Ronnie Spector of the Ronettes. Amy Winehouse could have torn the huge signature beehive she now wears right off of Spector's head, or perhaps nicked it from her closet. Like Winehouse, Spector came from a lower class background. She had a reputation as a tough girl, a bad girl. She had attitude. The Ronettes' skirts were shorter, their hair was higher, and their eyeliner thicker than anyone who had come before. You could hear the accent in Spector's songs. Her voice was coarser, darker than her girl-pop peers.

Ronnie Spector (nee Bennett) also had one of the most closely stage-managed careers ever. It ended with her marrying her producer, the legendary (and legendarily insane) Phil Spector. Once they were wed, he kept her under nearly literal lock and key. He barely allowed her to leave the house, much less attend a recording session.

The two cover designs for Back to Black are similar enough -- black on black, same font, same layout. In fact, there's really only one difference. In the old printings, Winehouse's pictures appear only on the interior; in the new version, she's made the cover.

The difference between the two Winehouses is enough that people who aren't "in the know" often do not recognize the curvy jazz singer of Frank as the same person who sings on Back to Black She has remade herself completely.

It was the old Winehouse that recorded Back to Black, but it's her new face that is being used to sell it.


Amy Winehouse writes her own lyrics.

This is both a good thing and a bad thing. Listen to Back to Black carefully, and you will notice that certain images are recycled through the songs until they are not so much a motif as a cliche: "my tears dry on their own" is only the most obvious of these stock phrases; the mood "black" is another.

Nonetheless, she is not a prefab pop star. Her music has the richly produced sound of someone who's essentially a hired gun, a nightingale, a mockingbird. Her visual image is carefully crafted, cartoonish, flat. In live performances, her (black, male) backup singers shimmy through a series of highly choreographed Motown-esque moves. And then she opens her mouth to sing, and the audience holds their breath.


Amy Winehouse is petrified of performing live. You can see it in those wide doe eyes. The fear that alcohol (known), heroin and cocaine (rumored) -- none of these can conquer. She looks ready to bolt at any moment. Not just at the beginning of her songs, but all the way through the performance.

She's been quoted as saying, "the more insecure I feel, the bigger my hair has to be.”

Tabloids follow her every move offstage. She is a fixture in celebrity gossip columns and photoblogs. She responds with an incousiant "fuck-you" attitude to this sort of attention. But put her up in front of a cheering crowd, and watch her eyes. Amy Winehouse has a massive case of stage fright. Every time she steps on-stage, she is trapped -- and terrified.
pantryslut: (music)
For the record? I like neither Led Zeppelin or the Beatles very much, thank you. Of course, I do not like "Love is the Drug," either, and one of those alt-weeklies once told me that if I didn't like that song, I didn't like pop music, period. So, OK, we have established I like neither pop nor rock. I am a musical curmudgeon, Now what? (Have you seen the size of my CD collection lately?) Oh right, I am a critic, I hate everything from the depths of my pinched black heart. Never mind.
pantryslut: (music)
So, I have mixed feelings about M.I.A., mostly surrounding the ultimately simplistic "revolutionary chic" thing she seemed to be pushing with her first record, Arular. But I heard the first single off her new record, and I was kinda hooked. Then I read this interview, and I am maybe just a little bit in love.

As Idolater asks, "How similar would these writers' perceptions be if M.I.A. collaborated on her music with, say, Ellen Allien?...[W]ould there be as much of a rush to give equal--or in some cases the bulk of--the producing credit?...[T]he level of frustration that M.I.A. has on this subject is palpable in the interview, and I think it speaks to something very real about how women--particularly women who are surrounded by males, and who serve as the "face" for their artist imprint--are (still, after all these years) perceived by the rock world at large."
pantryslut: (Default)
"Walk It Out" vs. Gwen Verdon = Odd Magic, in that I suddenly like Fosse *and* the song itself much better than I do each separately. (My dislike of Fosse being semi-legendary and all.)

pantryslut: (Default)
Nah, I ain't actually guilty.

Eve's new single, "Tambourine":

Stark Trek = Nine Inch Nails = Closer:

pantryslut: (Default)
Monday morning script flipping.

I like the fact that Salt and Pepa's hairstyles are mirror images of each other, especially after running into three girls on BART with the exact same ponytail-to-the-left on Friday night. Mirror images are cooler than pure symmetry. Just sayin'.

It's also interesting to note how natural and casual the ladies look. But what the heck is hanging off of the back of that dress in the opening?
pantryslut: (Default)
Just for fun. You all remember I have an unhealthy fixation on Motown, right?

pantryslut: (Default)
From [ profile] black_pearl_10:

"So I think black artists especially in hip-hop and rap, get unfairly targeted with the need for "social responsibility" tag. So I'd like y'all to put down your favorite (non hip-hop and non-rap) song(s) about killing and objectification of women written and performed by a white person or group.

Copy this post, add your own entry (or entries) to this list, and post in your own journal. My guess is we'll have a huge list by the end of the day.

"Murder by Numbers" - The Police"

(my contributions start here, I will be adding throughout the day):

Violence, including but not limited to that inflicted on bitches'n'hos:

* Practically the entire ouvre of Nick Cave, but let's go for "The Kindness of Strangers," since that's the one that really fucking bothers me the most.
* A whole lot of Johnny Cash, including the obvious "Folsom Prison Blues," but also "Banks of the Ohio" (that song creeps me out) and many others.
* Many, many, many bluegrass songs. Let's pick "The Snakes Crawl at Night" by Charley Pride and "Poor Ellen Smith" by a cast of thousands.
* "Miss Otis Regrets," as written by the very gangsta Cole Porter and performed by many folks.
* "Bang Bang," Nancy Sinatra.
* "Maxwell's Silver Hammer" and "Norwegian Wood" by the Beatles. Plenty more here, too.

Not So Violent Bitches'n'Hos:

* "Special Secret Song Inside," Red Hot Chili Peppers (and, you know, many more)
* So much Bob Dylan I'm not sure where to start. (Although more than occasionally violent, too.) Oh, heck, how about "Like a Rolling Stone." Speaking of which...
* "Brown Sugar," the Rolling Stones (and, again, many more)
pantryslut: (Default)

via Queerty.

P.S. I want those boots. (Doesn't everybody?)


pantryslut: (Default)

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