Posts from November 2002

Nov 02

Chris deBurgh

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Chris deBurgh Spanish Train

The battle between the Lord and Satan is rarely depicted as friendly and even more rarely discussed is the Lord losing. From Job to Charlie McDaniel the Lord and His servants win- which is why Chris deBurgh is such a novelty. An almost traditional ballad, it describes a poker game between Satan and God, Satan cheats rather effectively and the earnest efforts of the Divine are limited- He loses souls from Gods cheating, which makes the purpose of the song strange- have a bunch of Satanists hired an obscure Anglo folk singer; is it proof that the axiom that the devil has all the good stories accurate or is it just a grand old high romantic tale ?

Nov 02

Freaky Trigger has a new logo!

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Freaky Trigger has a new logo! for the first time in eleven months! And there’s more Al Action with the return of TARKUS! Look for a more article-based update very soon…


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Why is:
“Don’t be fooled by the rocks that I’ve got
I’m still, I’m still Jenny from the block”
the catchiest pop couplet for the last six months? Especially as it is autobiographical. I caught myself singing it on the way out the door this morning and it hit me. The reason I like it so much is that I’m as much Jenny From the Block as Jennifer Lopez is now. The more she stresses how real she is, that she is still that lard-arsed girl from the Bronx the more it points up that she isn’t. She is Jennifer Lopez, pop star, actress, paramour of the biggest chinned actor working in Hollywood.

We live in a world where a lot of our popstars have lost the air of ludicrousness. Lopez hits it on the nose almost every time. I really didn’t like her early singles, now I realise that I have loved the last four in increasing levels. And of course there is the secondary factor that Jenny (which is middle-class horsey girls name if ever I heard it) returning with this flute heavy single finally reminds me that way back at the beginning of the year I predicted 2002 would be all about flutes. Way to go Lopez.

Nov 02

Tom’s Top Ten!

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Tom’s Top Ten!
TRINA – “Hustling”
ORBITAL – “Impact (The Earth Is Burning)”
CHROMEO – “Needy Girl”
THE LIBERTINES – “Tell The King”
THE FATIMA MANSIONS – “Blues For Ceaucescu”
NAS – “Made You Look”

It’s That Time Again…

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It’s That Time Again…: if you’ve ever fancied writing for NYLPM, we’re looking for a few new contributors. Give us an email, go on! Oh, and if you think your blog or site should be on the links page, can you put a link to it in the comments to this post, thanks!

“I’ll tax your feet”

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“I’ll tax your feet”: “Der Steuersong, the “tax song”, a satirical protest anthem by Schröder impersonator Elmar Brandt, reached No 1 in the German charts this week. The song ridicules the chancellor for breaking election promises not to raise taxes.” Very very difficult to imagine this happening here.

Nov 02


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Controversy over the REAL MUSIC MARTYRS, undoubtedly sewn by industry insiders who hate NYLPM’s fearless expose of the true damage Gareth, Will et al. are doing to your Top 40 charts. This week it’s the turn of Soda Club ft Hannah Alathea, whose children are going shoeless as they are denied an extra week in the charts for their bouncy “Take My Breath Away”, all so that Wiz and Gaz can stick their snouts in the Beatley trough for seven more long days.

THE LIBERTINES – “Time For Heroes”

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THE LIBERTINES – “Time For Heroes”

If The Smiths flew in today, the NME might send a limousine anyway – but would you? G-V-B-D rock band, four boys, definite article/plural noun – pretty unpromising, no? Another week, another cover, another attitude, another rubber stamp: Next! They-shall-not-pass is the obvious attitude I take to the new garage rockers – ’cause there does seem to be that dread alliance of competence and homogeny I find in styles I don’t care about. They all know their stuff (though maybe the problem’s that I know mine too) – none of it’s entirely dire but where’s the itch, the shock, the kick?

I like writing about records I’m not completely sure of – where I’m ambivalent, doubting my own reactions. There’s something immediately, deep-down appealing to me about The Libertines, and something slightly worrying, midly repellent about them too. I mentioned the Smiths because a closed-door policy means you might never know when something good comes along, but also because theirs is the territory this band are stumbling through. Some of it’s obvious – when I hear a man singing with desperate camp about English boy rioters and STDs, I’m going to think of Morrissey. When he ends his chorus warbling “I cherish you my love” I’m going to want a DNA test. Some of it’s more subtle: a bounce here, a tumble here, a mix of jauntiness and gawkiness, a faint scent of gladioli.

And they don’t exactly sound like The Smiths – it’s a territory thing, like I said, and the Smiths were hardly the first to prowl it. They’re rickety and in a hurry, so they remind me sometimes of Subway Sect. They care more about spiking up their guitars, about rocking, so they remind me slightly of Gallon Drunk. They’re gauche like Orange Juice and louche like the Flaming Stars – patchwork pop to be sure but it explains why they flick my appreciation like a switch. I walked the territory myself for a long time, and it still feels like home.

But what do they bring that’s new? Here’s where the repulsion comes in – The Libertines aren’t entirely museum-keepers like Interpol, they’re very much a product of their own time and place, and their time and place is London in the middle of a quick-buck new-rock boom. They take everything from the past except its vulnerability, and instead fill up on attitude. Their album is brimful of attitude, the same brittle swagger all the bands have now, but here it’s infecting the things I find precious. I like the past the way it is – it’s still nourishing – but I like playing this record too, letting it disturb me, letting it tempt me.

Culture Club to celebrate anniversary with 73 track CD set

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Culture Club to celebrate anniversary with 73 track CD set:: g-g-g-gUMPH?!

That don’t impress me much

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That don’t impress me much: Shania Twain was wearing a Bullet Boys T-shirt on TOTP2 last night. I had to watch the whole show to make sure it wasn’t The Quireboys. I have finally seen the point of her new single (ie it *does* have a tune), but other newbies “Nah!” and some other song with an exclamation mark at the end of it were less convincing…