Posts from 5th February 2001

5
Feb 01

Rare to find a thinkpiece I agree with so unequivocally

New York London Paris MunichPost a comment • 238 views

Rare to find a thinkpiece I agree with so unequivocally as this one from an Atlanta paper about the joy of Now – as in, the moment in pop, not the compilation album, although that would fit the rubric. (via scrubbles.

And it’s also rare to find a thinkpiece I disagree with as much as its companion, this. It’s rare to read an article so absolutely, poisonously disdainful of everything which might be called modern in pop music. The funniest and saddest bit: “At its best, technology provides Internet forums in which fans can bid on rare Link Wray promos or compare notes about which amplifiers Roky Erickson used with the 13th Floor Elevators.” (The worst thing about modern technology is, predictably, sampling).

Glass Music

New York London Paris MunichPost a comment • 234 views

Glass Music: this is the most interesting-sounding thing I’ve read about in Pitchfork for a while.

We Put The A In Accordian

I Hate MusicPost a comment • 2,447 views

By far and away the pinacle in imaginary They Might Be Giants awfulness – We Put The A In Accordian – is an almost prog-rock type number which explains almost their entire career away as some sort of sad, sorry joke. It is only a matter of time before Ben Folds Five do a similar tune about a piano – this is a brief history of the accordion in rock music. Or should I say accordian? Well, according (nice wording – cheers) to the ones named after the “first half good, second half rubbish George C.Scott film” the equivalent to the electric guitar in the sqeezebox world should be spelt with an a at the end. this is partially – the song explains – due to it natural key, but mainly due to the fact that with that final A it sounds like a much more whiney instrument. We Put The A In Accordian is supposedly played in that key – though frankly it is unlikely that key changes mean anything to TMBG. They also slide in other “clever” jokes such as the idea that in some sort of musical grading ceremony their career may be given an A. Only if preceeding “bismal” I would argue. In an attempt to make me write the word ironically, this is the only tune in their four thousand tune repetoire which does not employ a squeezebox. Ho fucking ho fucking ho.

(I would like to thank all that have made this gargantuan item possible – a parting shot before Tom makes me – the most popular thing on this site – go weekly. Most of all I would like to thank Christopher Virchow for his help on this particular item.)

Not to turn this into an argument or owt

New York London Paris MunichPost a comment • 208 views

Not to turn this into an argument or owt – but my point was somewhat different. I suggested that if we had not seen that particular edition of Top Of The Pops then it is highly unlikely that Kernkraft 400 would have made it on to the list in the first place. The voting went the way it did partially due to its position in the list (late), the reasons Tom gives below and the fact that it is actually a bloody good record. That last fact I hold true on that fact.

And everyone knows the focus group is a serious market research exercise and not an excuse for a bunch of us to get hideously pissed whilst telling “Music Is My Radar” gags. And the next one is only five months away….

I beg to differ.

New York London Paris MunichPost a comment • 275 views

I beg to differ. As I recall Kernkraft 400 did so well in the focus group because relations between the Robbie Williams faction and the Baha Men faction had severely deteriorated and a compromise candidate was required. Apologies if this shatters any reader illusions about the conduct of the f.group but the truth must out.

Top Of The Pops relaunch.

New York London Paris MunichPost a comment • 640 views

Top Of The Pops relaunch. Of course ver Pops (I refuse to call it TOTP as the fashion has had it since five years ago) has had more relaunches than the Ark Royal – and this news is merely news by its lack of newsworthiness. The important factor is moving its time slot. Its current Friday 7:30pm slot was a strong slot from a “flagship televsion” point of view (Friday is the best night of TV in Britain) but completely missed its target audience. Your pop-centric youth – and I am basing this mythological creature on myself here – is never in on a Friday night.

Thursday at seven o’clock was the heydey of the show, and any return to this slot can only be seen as a good thing. A stronger slot for its late night repeat as well (BBC1 would be missing a trick if they did not put it on for the post pub Friday audience). But what does it all mean? Top Of The Pops is now marketed as primarily a kids show which is perhaps as it should be, this is pop after all, and in relation to their other flagging output in this area it is about the only successful brand they have. And with the advent of TOTP 2 (a hangover from another heyday eight years ago) and TOTP Plus it certainly is a brand.

For a measure of how important Top Of The Pops is, the focus group would almost definately not have had Kernkraft 400 as its number 3 if it were not for their stupendous performance on the show. And before those of you who cannot watch it squeal at this assertation, there is no way it would have been on the focus group at all if a beered up Top Of The Pops session (one of the few I have had in the last five years) had not had Zombie Nation as a drop jaw classic performance.

On a personal note though I will be sad to see the Pops leave Elstree (home of Star Wars, Indiana Jones and the Spice Girls), Borehamwood – my home town. Wednesday night trips home would always be enlivened by tarted up – and I mean the strict derivation of that word – fourteen year olds who had saved a weeks worth of piss to wet themselves to Boyzone. And there is nothing more frightening to a 22 year-old bloke on his way home from his first ever job than a carriage full of said pubescent whores enquiring whether you are a virgin or not and which – ahem – door you prefer. Joseph Mengele had nothing on these girls.

The Riverside Studios: doesn’t the ghost of TFI Friday – and hence Ocean Colour Scene – still haunt that place?

Am I Cool Or Not?

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Am I Cool Or Not?: a tenth victim – plus! updated archives!

Undynamic Speculation

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Undynamic Speculation
Nicole, it would not surprise me at all if Marx were Justin’s primary collaborator on a solo album. The elder statesman of schlocky swoonpop wrote *NSYNC’s latest single, the insidiously listenable “This I Promise You,” and if Noodlehead (tm April) wants to go the smoothie balladeer route, as sort of a R&B-loving, Britney-consorting, Good Ole Boy nouveau Julio Iglesias, Marx is the songwriter to have backing him up.