Posts from 6th March 2001

6
Mar 01

The International Pop War

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The International Pop War (a belated mention): while obviously rigged (how come we got the dodgy version of “Stutter”, eh?), Ian’s piece is still a very fun read. The UK charts wouldn’t be any fun, though, if they were all good. To quote Paul Morley’s magnificent article on the subject: “The Charts are something to take a wicked delight in….There is so much to love, so much to hate, so much to pick at, so much to pick: so much for those cool folks who say there’s nothing going on.”.

That was written in 1982 – Morley was enchanted by the way the chart mixed up the cool New Pop groups with the uncool Old Pop ones and everything in between and on either side. Watching hip-hop curiously, cockily colonise the British Charts now you get the same kind of thrill. I want a chart with room for Outkast, Wheatus, Bob The Builder, Atomic Kitten et al. Currently, we’ve got one. Which makes me happy.

Speculation is hitting frostbite pitch

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Speculation is hitting frostbite pitch about the NYLPM redesign. I can’t say too much mostly because it’ll be like all other redesigns i.e. a spot of orange and some in-jokes in the source code. However I can tell you that we’ve been very very influenced by the people at Teen-UK.Com.

(That was a gratuitous entry. Sorry.)

More Indie

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More Indie Detente. Some of you may well be coming here hoping to find stuff by our newest team member Nanette. Well, there isn’t any. Yet. But a massive welcome to Nanette anyway, whose well-known weblog I’ve been reading a while now. It’s an honour.

Now get contributing.

A gentle reminder

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A gentle reminder to those people taking part in the NYLPM birthday celebrations. The deadline is March 15th. Cheers. And to the people who have got stuff to me, a very big thankyou.

THE SMITHS – “Hand in Glove”

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THE SMITHS – “Hand in Glove”

It was argued around these parts at another time that while Robert Plant was an awful singer, he was integral to Led Zeppelin because of the way his squawk floated over the bass-heavy sound. It is notable how similar the Smiths were in the early, superior, phase of their career: a ridiculous singer who couldn’t sing bleating beautifully over a bass-heavy rocking sound led by a virtuosic guitarist. Morrissey seems to serve the same function as the introductory harmonica in this song. And while wit and lyricism and crooning are all fine things, I’m not about to start buying Cole Porter records if you catch my drift and so I’ll take this over all the sweetly sung Wildeisms he’s offered since. The lurching beat and giant jangle provide the force that drives the cockily fearful howls.