A late edition this month, owing to the UK general election 2015 occupying the last couple of weeks; but here are plenty of words and some excellent songs and videos to ā more than, I think ā make up for it.
Prince ā āUptownā & āI Would Die 4 Uā
Iāve been listening to these two songs by Prince on repeat for much of the past month-and-a-bit, courtesy of my two preferred Prince albums: āUptownā, the fifth track overall and the first on the second side of Dirty Mind, was released in September 1980 a month ahead of the album as its lead single, and became a hit on the Hot Soul and Hot Dance Club charts; while āI Would Die 4 Uā proved the fourth single from Purple Rain, reaching number 8 on the Billboard Hot 100 following its release in November 1984.
āUptownā is built upon a simple and relatively sober looping bass line, with propulsive percussion, funk guitar, and keyboard flourishes around the chorus. The sound is upbeat, just tethered by the bass, as Prince recounts, briefly perturbed, being asked āAre you gay?ā by a lady he finds attractive. Deeming her āa crazy, crazy, crazy little mixed-up dameā, Prince declares āSheās just a victim of society and all its gamesā and quickly decamps to āUptownā: apparently drawing upon the commercial district of his Minneapolis home, but here equally a realm of the imagination, where there is freedom of persuasion and expression, sex and dancing, and good times rolling all night long.Ā The funk guitar and Princeās high-pitched, tenacious vocal make this really sensual; and thereās a nice astral interlude before the song slowly fades out.
There is nothing else like the relentless, skittering percussion of āI Would Die 4 Uā; and as keys dissolve and the percussion claps and synthesizers emerge momentarily, Prince offers at once a profession of faith and an entreaty, uttering urgently āIām not your woman / Iām not your man / I am something that youāllĀ never understand / Iāll never beat you / Iāll never lie / And if youāre evil Iāll forgive you by and byā. The lyrics are vaguely spiritual, shuffling between a skewed Old Testament religiosity and New Age suggestiveness, and there are some of these overtones to the music too, with the songās great power coming from the intensity of Princeās performance.
Prince is notoriously averse to his music appearing on YouTube and via other social and digital media outlets. The video below contains a fantastic excerpt of Prince playing āUptownā live at the old Capitol Theatre in Passaic, New Jersey, in early 1982; but thereās nothing like this available for āI Would Die 4 Uā, and some of the prominent covers and remixes of the song which are about are atrocious.
https://www.youtube.com/watch?v=6ISW7zEy4WQ
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Johnny Cash ā āThe Mercy Seatā
On the theme of religion, and especially the Old Testament, hereās Johnny Cashās cover of Nick Caveās āThe Mercy Seatā, from American III: Solitary Man. A profoundly well-written song, it is full of overt allusions to the Bible, and philosophical investigations too as the protagonist, going about the course of his life on death row, begins āto warm and chill / To objects and their fieldsā. But the language remains colloquial and replete with keen observations. The rhetorical twisting as the condemned manĀ weighs his fate and his guilt prefigures the physical twisting he will endure in the electric chair; and Cashās coverĀ crashes to a climax amid the clanging keys of piano and organ. The experimental video below is by Bill Totolo.
https://www.youtube.com/watch?v=ZGGSTiDOjKU
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The Kingsmen ā āLouie Louieā
At the end of the month, 28 April, Jack Ely, the former lead singer of The Kingsmen, died after a period of illness. He was 71. The Kingsmenās cover of āLouie Louieā remains the most well-known version of the song: it persisted at number 2 on the Billboard Hot 100 for six weeks from the end of 1963, and became notorious, and endures to this day, owing largely to the difficulty interpreting Elyās energetic rendering of the lyrics.
āLouie Louieā was written by Richard Berry in 1955, with his original take on the song released in April 1957. Drawing most clearly upon Chuck Berryās āHavana Moonā, but also from the first-person perspective of Frank Sinatraās āOne for My Baby (and One More for the Road)ā and from the sound and speech patterns of local Latin American music, Richard Berryās composition depicts a young man sailing the sea and hoping ardently for some alone time with his love. The relative incomprehensibility of Elyās vocal, however ā buffeted by the noisy garage rock of the band ā led listeners in 1963 to begin attributing to the songĀ a set of varying dirty lyrics.
The FBI got involved, but their lengthy investigation into The Kingsmenās recording proved inconclusive. Dirty renditions of āLouie Louieā routinely incorporated sexual intercourse, oral sex, infidelity, masturbation, and menstruation: all aspects of my favourite version of the song, performedĀ by Iggy and The Stooges and preserved on the live album Metallic K.O.. Elyās vocal, delivered in the truest spirit of rock and roll, made this and other related highlights possible; punctuated by his climactic cry, āOkay, letās give it to āem right now!ā.
https://www.youtube.com/watch?v=4V1p1dM3snQ
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Prurient ā āDragonflies To Sew YouĀ Upā
Prurientās new album, the 90-minute longĀ Frozen Niagara Falls, was released this week on Profound Lore Records. At the tail end of March he offered his first look at the work through the densely constructed āDragonflies to Sew You Upā. Fissured tribal drums compete with steady and sleek late-night synths, equally resolute as Prurient anxiously menaces the immediate space with an overwhelming black metal cry. The margins of the song are traced via bar-room chatter and wandering piano.
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Nicole Dollanganger ā āSleepy Towns and Cemeteriesā
Following her headlining role atop last monthās list, another song from Nicole Dollangangerās Observatory Mansions. This one features gently rumbling guitar and synth sounds diffusing light over Dollangangerās voice as, plaintive and wonderful, she repeats, āHe casts the kind of glow only a city knows / Heās so alive in the places everyone here has a holeā.
https://www.youtube.com/watch?v=NsKWC1kT0y0
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Townes Van Zandt ā āNothinā
Townes is approaching his bleakest here, closing on the lines āSorrow and solitude / These are the precious things / And the only words / That are worth rememberingā. The tenth and final song on 1971ās Delta Momma Blues, the footage in the video below is from James Szalapskiās documentary film Heartworn Highways, where Townes performs āWaiting āRound to Dieā.
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Grimes ā āDream Fortressā
āDream Fortressā is gracefully poised as the middle of the three songs at the heart of Halfaxa. The unofficial video belowĀ was expertly and beautifully made byĀ Anastasia Shulepova.
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Van Morrison ā āBrand New Dayā
I could have selected any or all of the songs from Moondance, Van Morrisonās second solo album and the record of his that Iāve been listening to most lately: āCrazy Loveā, the tender soul song sung in falsetto which I wrote about at the beginning of last week; āGlad Tidingsā, the albumās sprightly R&B closer; the cascading āCaravanā; or the centrepiece āInto the Mysticā. Instead Iāve opted for āBrand New Dayā. Discussing the song with Ritchie Yorke ahead of Yorkeās 1975 biography Van Morrison: Into the Music, Van explained:
āBrand New Dayā expressed a lot of hope. It was really weird when I wrote the song. I was in Boston and having a hard job getting myself up spiritually. I couldnāt relate to anything I Ā heard on the radio. Iād listen to FM. And get the same thing every day and every night. Then one day this song came on the FM station and it had this particular feeling and this particular groove and it was totally fresh. It seemed to me like things were making sense. You know what I mean, things were starting to make sense as far as the music was concerned. The drums were playing really laid back and I didnāt know who the hell the artist was. It turned out that it was The Band.
Iād been sitting on the grass across the street from where I lived before the record came on. I was just sitting over there and I looked up at the skyĀ and the sun started to shine and all of a sudden, the song just came through my head. So I went into the house and I started to write it down, right from āWhen all the dark clouds roll away.ā Iād turned on the radio and Iād heard that song and I just thought that something was happening. The song was either āThe Weightā or āI Shall Be Releasedā; I think it was the latter.ā
Later, in November 1973, Morrison told Yorke thatĀ āBrand New Dayā was the song he was happiest with fromĀ Moondance:Ā āItās the one that says it for me because itās still saying it right now. In fact itās saying it more now than it did when I recorded it [ā¦] I really feel in touch with that song.ā
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AraabMuzik ā āElectronic Dreamā
Itās not easy to separate out the songs on AraabMuzikās Electronic Dream: as much as theyāre defined by their prominent use of samples, the tracks segue without break into one another and the album is unified by a dark aesthetic and passages of near-repetition.Ā Still, Iāve never been a fan, for instance, of the utilisation of Jam & Spoonās āRight in the Nightā on āGolden Touchā, the second or third track on Electronic Dream depending on how you procured your copy. But while the album more than recovers ground from there on, its best song still may be the title track, which opens the collection.
https://www.youtube.com/watch?v=sbJDbahs0c4
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Waxahatchee ā āAirā
Ivy Tripp was released on 7 April, but āAirā emerged as the first single from the upcoming album back in January. Of the work, Katie Crutchfield has stated,Ā āThe title Ivy Tripp is really just a term I made up for directionless-ness, specifically of the 20-something, 30-something, 40-something of today, lacking regard for the complaisant life path of our parents and grandparentsā.
As she continues to refine the engaging roughness that outlined her debut, 2012ās American Weekend, Crutchfieldās voice is becoming increasingly emboldened and the sound palette of Waxahatchee is extending to take in new forms. āAirā is decidedly reminiscent of 90ās alternative rock, featuring pulsating drums, a lagging guitar, and sustaining keys, complemented by decade-and-genre-crossing āooh-oohā vocalising. Yet it is also distinctly a Waxahatchee song, characterised by its openness, with imagery which can be oblique yet directly meaningful, and lines of piercing emotion, as Crutchfield soaringly sings āWhen we are moving, we just pretend / To be strangers lamenting a means to an endā and āYou were patiently giving me / Every answer as I roamed freeā.
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Young Thug ā āConstantly Hatingā
Young Thugās latest album, Barter 6, came outĀ in the middle of April ā its name changed just days before the release from āCarter 6ā, Thugās tongue-in-cheek intervention into the ongoing dispute between Lil Wayne and Birdman, and his own curious way of paying homage to his idol. This has spurred a war of words between Wayne and Thug; but musically Thug remains apart from other rappers owing to the way he can push and pull, build up or break apart a song through the qualities and the temperament of his infinitely mutable voice. The video for āConstantly Hatingā was released at the same time as the album. The song incorporates a soft and spacious, wetly reverberating beat, accompanying Thugās lithe and relaxed flow.