The Cars tunes were catchy and fun but "Jimmy Jimmy" was a great, meaningful song that didn't get much attention.
http://www.ricocasek.com/
Showing posts with label new wave. Show all posts
Showing posts with label new wave. Show all posts
Monday, September 16, 2019
R.I.P. Ric Ocasek
R.I.P. Ric Ocasek.
The Cars tunes were catchy and fun but "Jimmy Jimmy" was a great, meaningful song that didn't get much attention.
http://www.ricocasek.com/
The Cars tunes were catchy and fun but "Jimmy Jimmy" was a great, meaningful song that didn't get much attention.
http://www.ricocasek.com/
Sunday, August 26, 2018
Currently listening to...
...a retro moment of "Pretty In Pink" and "Dumb Waiters" by The Psychedelic Furs. I had a flash of these songs in my mind and got out my old vinyl...
Formed in 1977 as an art rock/punk outfit by lead singer Richard Butler and his brother Tim on bass, The Psychedelic Furs became one of the staples of the 80s music scene. Their first album, the self titled "The Psychedelic Furs" was a marvel both sonically (the small group included a saxophone! I can only think of one other group from that time period to use a saxophone so effectively and that is Romeo Void) and lyrically, with a sharp spartan sound and strange dream-like narratives with recurring motifs of everyday objects.
It was their 1981 sophomore effort, "Talk Talk Talk" that brought them to wider attention with their song "Pretty In Pink" which inspired John Hughes to make a film of the same name. While the song was used in the film, lyricist Richard Butler later said that the film had nothing whatsoever to do with the original intent of the surreal, doom-y lyrics. For this kaleidoscopic portrait of an enigmatic woman and her suitors, the main character Caroline makes her second appearance here after appearing in a song called "India" from their first album. Even after all this time, the song holds up. It sounds like it could have been made today (albeit with some better recording equipment, although I actually really like the lo-fi sound). And the video...well, I watched it on MTV when such a thing existed. I just love the hallucinogenic, Alice-In-Wonderland feel of it.
Caroline laughs, and it's raining all day
She loves to be one of the girls
She lives in the place in the side of our lives
Where nothing is ever put straight
She turns herself 'round
And she smiles and she says
"This is it, that's the end of the joke"
And loses herself in her
Dreaming and sleep, and her
Lovers walk through in their coats
She's...
Pretty in pink, isn't she?
Pretty in pink, isn't she?
All of her lovers all
Talk of the notes and the
Flowers that they never sent
And wasn't she easy
Isn't she pretty in pink?
The one who insists he was the
First in the line is the
Last to remember her name
He's walking around in this
Dress that she wore
She is gone, but the
Joke's the same
Pretty in pink, isn't she?
Pretty in pink, isn't she?
Caroline talks to you
Softly sometimes, she says,
"I love you" and "Too much"
She doesn't have anything
You want to steal
Well, nothing you can touch
She waves
She buttons your shirt
The traffic is waiting outside
She hands you this coat
She give you her clothes
These cars collide
Pretty in pink, isn't she?
Pretty in pink, isn't she?
The fractured, disturbing "Dumb Waiters" is also from "Talk Talk Talk" and in fact, opened the album: side one, song one...a pretty splashy way to begin (a poppy, savage sax line plays against a background of dirge-like noise). It harkens back to the sound of the first album which was subversive, textured, and yes, psychedelic, with Butler's amazing, trademark voice, at once gravelly and reedy. And the video feels like an Andy Warhol/Velvet Underground reference.
Give me all your paper ma
Gimme all your jazz
Give me something that I need
Something I can have
Mrs. London's coming round
She's coming with her son
Gimme all your paper ah
So I can get a gun
She has got it in for me
Yeah I mean it honestly
She's so mean
Give me all your paper ma
So I can buy a train
They just wanna suck you in
To being one of them
Tell her that I'm not in here
Tell her I'm a freak
Tell her that I fall about
Every time I speak
She has got in for me
Yeah I mean it honestly
I just scream
Give me all your paper ma
So I can buy a train
I don't know how I got in here
It's making me insane
Have another cigarette
And have another cigarette
In a room where lovers go
Talking on the telephone
They have go it in for me
Yeah I mean it honestly
They all dream
http://www.thepsychedelicfurs.com/
Formed in 1977 as an art rock/punk outfit by lead singer Richard Butler and his brother Tim on bass, The Psychedelic Furs became one of the staples of the 80s music scene. Their first album, the self titled "The Psychedelic Furs" was a marvel both sonically (the small group included a saxophone! I can only think of one other group from that time period to use a saxophone so effectively and that is Romeo Void) and lyrically, with a sharp spartan sound and strange dream-like narratives with recurring motifs of everyday objects.
It was their 1981 sophomore effort, "Talk Talk Talk" that brought them to wider attention with their song "Pretty In Pink" which inspired John Hughes to make a film of the same name. While the song was used in the film, lyricist Richard Butler later said that the film had nothing whatsoever to do with the original intent of the surreal, doom-y lyrics. For this kaleidoscopic portrait of an enigmatic woman and her suitors, the main character Caroline makes her second appearance here after appearing in a song called "India" from their first album. Even after all this time, the song holds up. It sounds like it could have been made today (albeit with some better recording equipment, although I actually really like the lo-fi sound). And the video...well, I watched it on MTV when such a thing existed. I just love the hallucinogenic, Alice-In-Wonderland feel of it.
Caroline laughs, and it's raining all day
She loves to be one of the girls
She lives in the place in the side of our lives
Where nothing is ever put straight
She turns herself 'round
And she smiles and she says
"This is it, that's the end of the joke"
And loses herself in her
Dreaming and sleep, and her
Lovers walk through in their coats
She's...
Pretty in pink, isn't she?
Pretty in pink, isn't she?
All of her lovers all
Talk of the notes and the
Flowers that they never sent
And wasn't she easy
Isn't she pretty in pink?
The one who insists he was the
First in the line is the
Last to remember her name
He's walking around in this
Dress that she wore
She is gone, but the
Joke's the same
Pretty in pink, isn't she?
Pretty in pink, isn't she?
Caroline talks to you
Softly sometimes, she says,
"I love you" and "Too much"
She doesn't have anything
You want to steal
Well, nothing you can touch
She waves
She buttons your shirt
The traffic is waiting outside
She hands you this coat
She give you her clothes
These cars collide
Pretty in pink, isn't she?
Pretty in pink, isn't she?
The fractured, disturbing "Dumb Waiters" is also from "Talk Talk Talk" and in fact, opened the album: side one, song one...a pretty splashy way to begin (a poppy, savage sax line plays against a background of dirge-like noise). It harkens back to the sound of the first album which was subversive, textured, and yes, psychedelic, with Butler's amazing, trademark voice, at once gravelly and reedy. And the video feels like an Andy Warhol/Velvet Underground reference.
Give me all your paper ma
Gimme all your jazz
Give me something that I need
Something I can have
Mrs. London's coming round
She's coming with her son
Gimme all your paper ah
So I can get a gun
She has got it in for me
Yeah I mean it honestly
She's so mean
Give me all your paper ma
So I can buy a train
They just wanna suck you in
To being one of them
Tell her that I'm not in here
Tell her I'm a freak
Tell her that I fall about
Every time I speak
She has got in for me
Yeah I mean it honestly
I just scream
Give me all your paper ma
So I can buy a train
I don't know how I got in here
It's making me insane
Have another cigarette
And have another cigarette
In a room where lovers go
Talking on the telephone
They have go it in for me
Yeah I mean it honestly
They all dream
http://www.thepsychedelicfurs.com/
Tuesday, December 4, 2012
Currently listening to...
...a flashback to 1980: "Subway" by Urban Verbs.
In many ways, this song from a Washington D.C.-area group really exemplifies the zeitgeist of underground music at that time. It features a vocalist who sing-speaks in a tone that suggests he might lose it at any moment, the drums and bass are a kind of kick-ass/ garage-band/ Manhattan New Wave rhythm section, and the lyrics express a sense of isolation from society, and an embracing of an urban landscape and faceless technology as a replacement for human interaction. It's all so very 1980.
I had their album on cassette.
Every morning I go under the city
Handful of change takes me away from it all
I leave my problems up on the street
And ride the subway where it’s always warm
Subways
We’re all going the same direction
Subways
We’re all going the same speed
Subways
It all gets obscured
Then it begins to make sense
See that man read his morning paper
See that woman fiddle in her purse
Even though I never ever met them
I can assure you, they’re my best friends
On this subway
‘Cause we share an emotion
Subway
You know it’s vaguely enticing
Subway
I’m under confusion
Now I…I can’t relax
Down here I don’t have to say anything
I just sit and look out my window
Miles flashing gray and white past my face
It’s good to get way from these pressures
Down here I have never felt guilty
There’s no sun streaming at my eyes
On this train I’m never ever lonely
People smile from pictures on the wall
Subways
We’re all going the same direction
Subways
We’re all going the same speed
Subways
It all gets obscured
Then it begins to make sense
Subways
The driver's voice is on
Subways
Now I’m back at my stop
Subways
I can’t face what out there
So I’m…I’m not getting off
In many ways, this song from a Washington D.C.-area group really exemplifies the zeitgeist of underground music at that time. It features a vocalist who sing-speaks in a tone that suggests he might lose it at any moment, the drums and bass are a kind of kick-ass/ garage-band/ Manhattan New Wave rhythm section, and the lyrics express a sense of isolation from society, and an embracing of an urban landscape and faceless technology as a replacement for human interaction. It's all so very 1980.
I had their album on cassette.
Every morning I go under the city
Handful of change takes me away from it all
I leave my problems up on the street
And ride the subway where it’s always warm
Subways
We’re all going the same direction
Subways
We’re all going the same speed
Subways
It all gets obscured
Then it begins to make sense
See that man read his morning paper
See that woman fiddle in her purse
Even though I never ever met them
I can assure you, they’re my best friends
On this subway
‘Cause we share an emotion
Subway
You know it’s vaguely enticing
Subway
I’m under confusion
Now I…I can’t relax
Down here I don’t have to say anything
I just sit and look out my window
Miles flashing gray and white past my face
It’s good to get way from these pressures
Down here I have never felt guilty
There’s no sun streaming at my eyes
On this train I’m never ever lonely
People smile from pictures on the wall
Subways
We’re all going the same direction
Subways
We’re all going the same speed
Subways
It all gets obscured
Then it begins to make sense
Subways
The driver's voice is on
Subways
Now I’m back at my stop
Subways
I can’t face what out there
So I’m…I’m not getting off
Sunday, September 18, 2011
Masterpieces of Pop: "Dance This Mess Around"
As we have discovered in past installments of “Masterpieces of Pop,” there was a revolution going on in music in the late 70s and early 80s. The new genres of Punk and “New Wave” (a term invented to describe musical acts that defied being pigeon-holed into a specific niche) were confusing, scaring, inspiring, and provoking young and old alike.
One of the more fun and odd groups to break out of this scene were The B-52s, from Athens, GA. There was a burgeoning alternative music scene in Athens at that time that also gave birth to the band R.E.M.
Formed in 1976, Cindy Wilson and her brother Ricky joined with Kate Pierson, Keith Strickland, and Fred Schneider. They shared a love of surf music, lounge lizard kitsch, and general late 50s/ early 60s pop culture. They named themselves after a popular early 1960s beehive hair style whose bouffant shape resembles the nose cone of a B-52 Stratofortress bomber. And of course this hair style has been sported at various times by Wilson and Pierson.
The B-52s released their eponymously titled debut album in 1979. With its bright yellow cover, period catchpenny font, and tongue-in-cheek “High Fidelity” logo in the upper left hand corner (in imitation of “Hi-Fi” vinyl records from the late 50s/ early 60s) the record was a stunning and fresh homage to the twangy lo-fi guitars of surf music, teen dance culture, go-go boots, teased hair, the Space Age, Flaming Volcano cocktails, and cheap B-movies of that period (this pop culture milieu was simultaneously being explored on film by John Waters). Their dedication to the period even led them to record an impromptu-sounding version of a classic from the era, Petula Clark’s “Downtown,” which closes the record.
The entire album seems to be chock full of memorable moments yet clocks in at a shockingly short thirty-nine minutes. “Rock Lobster” was the breakout hit, but that was the easy choice for frat parties. “Planet Claire” with its sci-fi B-movie take on the “Peter Gunn” theme, or “52 Girls” with its phenomenal pairing of Kate and Cindy’s vocal harmonies both come close to being the standout songs from the collection, but it is “Dance This Mess Around” that captures the essence of what The B-52s were all about. Playing like some demented episode of the television show “Shin Dig,” the song is an angst-ridden rant about rejection and popularity. Cindy Wilson wonders why a certain someone will not dance with her, prompting her to cry out that she is “not no Limburger.” Her astonishing vocals, breaking and shrieking, make her sound as if she might lose it any moment, while she and Fred Schneider roll call obscure dances that one assumes the “popular kids” who are in-the-know do at the “popular dance parties” of the time. Among the tooting and bipping Farfisa organ, the ominous bass, and the deranged-asylum-sound of the toy piano, there are references to “Stop! In the Name of Love” by The Supremes and “The Hippy Hippy Shake” by Chan Romero. But the innocence of the source music is wonderfully tinged with the ferocity and viciousness of punk. It was a groundbreaking and startling combination. Like so much music happening at that time, the B-52s were vital, immediate, and intriguingly off-kilter.
“Remember when you held my hand
Say, remember when you were my man
Walk, talk in the name of love
Before you break my heart
Dance on over, yeah,
Roll it over in your mind
Why don't you dance with me
I'm not no Limburger
Just a Limburger
Dance this mess around
Dance this mess around, 'round, 'round
Everybody goes to parties
They dance this mess around
They do all 16 dances
They do the Shu-ga-loo
Do the Shy Tuna
Do the Camel Walk
Do the Hip-o-crit
Ah-Hippy Hippy forward Hippy Hippy
Hippy Hippy Hippy Shake
Oh-it's time to do 'em right
Hey, said doesn't that make you feel a lot better, huh?
Huh?
I said, doesn't that make you feel a lot better?
What you say?
I'm just askin'
Come on!
Shake!
Bake!
Shake!
Bake!
Everybody goes to parties
They dance this mess around
They do all 16 dances
Do the Coo-ca-choo
Do the Aqua-velva
Do the Dirty Dog
Do the Escalator
Ah-Hippy Hippy forward Hippy Hippy
Hippy Hippy Hippy Shake
It's time to do 'em right
Hey! So Fred, doesn't that make you feel a lot better?
Huh?
Said, doesn't that make you feel a lot better?
What you say?
I'm just askin'
Yeah, yeah, yeah...
Stop!
Dance on over
Yeah, yeah
Dance this mess around
Shake, shake-a-bake shake
Shake, shake, shake, shake, shake, shake, shake, shake
Dance this mess around
Yeah, yeah, yeah........”
http://www.theb52s.com/
This is the eighth installment of my original, ongoing "Masterpieces of Pop" series. You can read the other essays here:
Masterpieces of Pop: "Ode To Billie Joe"
Masterpieces of Pop: "Rikki Don't Lose That Number"
Masterpieces of Pop: "I Only Have Eyes For You"
Masterpieces of Pop: "I'm Not In Love"
Masterpieces of Pop: "Warm Leatherette" and "Cars"
Masterpieces of Pop: “Family Affair”
Masterpieces of Pop: "Dreams"
One of the more fun and odd groups to break out of this scene were The B-52s, from Athens, GA. There was a burgeoning alternative music scene in Athens at that time that also gave birth to the band R.E.M.
Formed in 1976, Cindy Wilson and her brother Ricky joined with Kate Pierson, Keith Strickland, and Fred Schneider. They shared a love of surf music, lounge lizard kitsch, and general late 50s/ early 60s pop culture. They named themselves after a popular early 1960s beehive hair style whose bouffant shape resembles the nose cone of a B-52 Stratofortress bomber. And of course this hair style has been sported at various times by Wilson and Pierson.
The B-52s released their eponymously titled debut album in 1979. With its bright yellow cover, period catchpenny font, and tongue-in-cheek “High Fidelity” logo in the upper left hand corner (in imitation of “Hi-Fi” vinyl records from the late 50s/ early 60s) the record was a stunning and fresh homage to the twangy lo-fi guitars of surf music, teen dance culture, go-go boots, teased hair, the Space Age, Flaming Volcano cocktails, and cheap B-movies of that period (this pop culture milieu was simultaneously being explored on film by John Waters). Their dedication to the period even led them to record an impromptu-sounding version of a classic from the era, Petula Clark’s “Downtown,” which closes the record.
The entire album seems to be chock full of memorable moments yet clocks in at a shockingly short thirty-nine minutes. “Rock Lobster” was the breakout hit, but that was the easy choice for frat parties. “Planet Claire” with its sci-fi B-movie take on the “Peter Gunn” theme, or “52 Girls” with its phenomenal pairing of Kate and Cindy’s vocal harmonies both come close to being the standout songs from the collection, but it is “Dance This Mess Around” that captures the essence of what The B-52s were all about. Playing like some demented episode of the television show “Shin Dig,” the song is an angst-ridden rant about rejection and popularity. Cindy Wilson wonders why a certain someone will not dance with her, prompting her to cry out that she is “not no Limburger.” Her astonishing vocals, breaking and shrieking, make her sound as if she might lose it any moment, while she and Fred Schneider roll call obscure dances that one assumes the “popular kids” who are in-the-know do at the “popular dance parties” of the time. Among the tooting and bipping Farfisa organ, the ominous bass, and the deranged-asylum-sound of the toy piano, there are references to “Stop! In the Name of Love” by The Supremes and “The Hippy Hippy Shake” by Chan Romero. But the innocence of the source music is wonderfully tinged with the ferocity and viciousness of punk. It was a groundbreaking and startling combination. Like so much music happening at that time, the B-52s were vital, immediate, and intriguingly off-kilter.
“Remember when you held my hand
Say, remember when you were my man
Walk, talk in the name of love
Before you break my heart
Dance on over, yeah,
Roll it over in your mind
Why don't you dance with me
I'm not no Limburger
Just a Limburger
Dance this mess around
Dance this mess around, 'round, 'round
Everybody goes to parties
They dance this mess around
They do all 16 dances
They do the Shu-ga-loo
Do the Shy Tuna
Do the Camel Walk
Do the Hip-o-crit
Ah-Hippy Hippy forward Hippy Hippy
Hippy Hippy Hippy Shake
Oh-it's time to do 'em right
Hey, said doesn't that make you feel a lot better, huh?
Huh?
I said, doesn't that make you feel a lot better?
What you say?
I'm just askin'
Come on!
Shake!
Bake!
Shake!
Bake!
Everybody goes to parties
They dance this mess around
They do all 16 dances
Do the Coo-ca-choo
Do the Aqua-velva
Do the Dirty Dog
Do the Escalator
Ah-Hippy Hippy forward Hippy Hippy
Hippy Hippy Hippy Shake
It's time to do 'em right
Hey! So Fred, doesn't that make you feel a lot better?
Huh?
Said, doesn't that make you feel a lot better?
What you say?
I'm just askin'
Yeah, yeah, yeah...
Stop!
Dance on over
Yeah, yeah
Dance this mess around
Shake, shake-a-bake shake
Shake, shake, shake, shake, shake, shake, shake, shake
Dance this mess around
Yeah, yeah, yeah........”
http://www.theb52s.com/
This is the eighth installment of my original, ongoing "Masterpieces of Pop" series. You can read the other essays here:
Masterpieces of Pop: "Ode To Billie Joe"
Masterpieces of Pop: "Rikki Don't Lose That Number"
Masterpieces of Pop: "I Only Have Eyes For You"
Masterpieces of Pop: "I'm Not In Love"
Masterpieces of Pop: "Warm Leatherette" and "Cars"
Masterpieces of Pop: “Family Affair”
Masterpieces of Pop: "Dreams"
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