{"id":9125,"date":"2015-10-12T04:47:19","date_gmt":"2015-10-12T07:47:19","guid":{"rendered":"http:\/\/culturedarm.com\/?p=9125"},"modified":"2016-01-05T02:42:03","modified_gmt":"2016-01-05T05:42:03","slug":"culturedarms-songs-of-the-month-september-2015","status":"publish","type":"post","link":"https:\/\/culturedarm.com\/staging\/5793\/culturedarms-songs-of-the-month-september-2015\/","title":{"rendered":"Culturedarm&#8217;s Songs of the Month (September 2015)"},"content":{"rendered":"<p><a href=\"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?ssl=1\"><img data-recalc-dims=\"1\" decoding=\"async\" loading=\"lazy\" class=\"alignnone size-full wp-image-9167\" src=\"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=696%2C466&#038;ssl=1\" alt=\"Peaches 3\" width=\"696\" height=\"466\" srcset=\"https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?w=1200&amp;ssl=1 1200w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=300%2C201&amp;ssl=1 300w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=768%2C515&amp;ssl=1 768w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=1024%2C686&amp;ssl=1 1024w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=370%2C248&amp;ssl=1 370w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=570%2C382&amp;ssl=1 570w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=770%2C516&amp;ssl=1 770w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=1170%2C784&amp;ssl=1 1170w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=866%2C580&amp;ssl=1 866w, https:\/\/i0.wp.com\/culturedarm.com\/staging\/5793\/wp-content\/uploads\/Peaches-3.jpg?resize=270%2C180&amp;ssl=1 270w\" sizes=\"auto, (max-width: 696px) 100vw, 696px\" \/><\/a><\/p>\n<p style=\"text-align: left;\">A belated &#8216;Songs of the Month&#8217; for September means that a slew of new music stakes its claim out of place: October has already seen excellent new records by Janet Jackson, Kelela, Autre Ne Veut, and Taeyeon, but I&#8217;ll save these for a few weeks.\u00a0September&#8217;s songs include selections from Towkio, Kyle and Chance The Rapper, Nicole Dollanganger, Peaches, Sun Araw, The Velvet Underground, Run The Jewels and Blood Diamonds, Julia Holter, Ruth Crawford Seeger, Spike Jones, and Ryan Adams.<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Towkio\u00a0&#8211; &#8216;Clean Up&#8217; (feat. Chance The Rapper) and &#8216;Reflection&#8217;<\/strong><\/p>\n<p>Towkio&#8217;s <em>.<a href=\"https:\/\/soundcloud.com\/towkio\/sets\/wav-theory-1\">Wav Theory<\/a><\/em> dropped back in April, and while it might\u00a0have made for especially fun listening over the late spring and early summer, it is only over the last month that I have been\u00a0delving\u00a0into\u00a0what stands as one of the year&#8217;s most entertaining mixtapes. Previously known as Preston San and Tokyo Shawn, Towkio is part of Chicago&#8217;s SaveMoney collective, whose most prominent members, <a href=\"https:\/\/culturedarm.com\/staging\/5793\/culturedarms-songs-of-the-month-august-2015\/\">Chance The Rapper<\/a> and Vic Mensa, both feature on <em>.Wav Theory<\/em>. The Social Experiment\u00a0also play their part, with Peter Cottontale the tape&#8217;s executive producer, while Donnie Trumpet guests on the lead single &#8216;Free Your Mind&#8217;.<\/p>\n<p>Towkio is half-Mexican, half-Japanese, and perhaps this within the context of his Chicago hometown goes some way towards explaining the unique vibe of <em>.Wav Theory<\/em>. The production &#8211;\u00a0handled mostly by Towkio, with a couple of tracks courtesy of Kaytranada, one from FKJ, and one credited to Cam O&#8217;bi and The Social Experiment &#8211; offers an exuberant and uplifting blend of a peculiar mix: funk, jazz, and soul, with loose keys and futuristic synths, high-pitched, breathy vocal samples, and persistent handclap percussion. While many of the individual sounds seem to call back to the 70s and 80s, the result is decidedly modern. And Towkio lingers over it all with an enthusiastic, lilting vocal presence, capable of moments of real tenderness.<\/p>\n<p><iframe loading=\"lazy\" title=\"Clean Up Ft. Chance The Rapper by Towkio\" width=\"696\" height=\"400\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F202871320&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=696\"><\/iframe><\/p>\n<div class=\"youtube-embed\" data-video_id=\"RPE5Ruj67Sg\"><iframe loading=\"lazy\" title=\"Towkio - Reflection (prod. Kaytranada)\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/RPE5Ruj67Sg?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Kyle &#8211; &#8216;Remember Me?&#8217; (feat. Chance The Rapper)<\/strong><\/p>\n<p>Kyle appeared alongside Chance The Rapper on the Donnie Trumpet &amp; The Social Experiment album Surf earlier this year, featuring on the standout track &#8216;Wanna Be Cool&#8217;. Here he laments the reemergence of an absent friend, recognising bitterly\u00a0&#8216;Your heart is so much bigger ever since I made it big&#8217;, as Chance &#8211; who has done so much to promote fledgling musicians this year &#8211;\u00a0and the doleful piano dwell gently on the hook.\u00a0&#8216;Remember Me?&#8217;, which appeared on\u00a029 September, is from Kyle&#8217;s\u00a0just-released album <em>Smyle<\/em>.<\/p>\n<p><iframe loading=\"lazy\" title=\"KYLE - Remember Me? (w\/ Chance The Rapper) by KYLE.\" width=\"696\" height=\"400\" scrolling=\"no\" frameborder=\"no\" src=\"https:\/\/w.soundcloud.com\/player\/?visual=true&#038;url=https%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F226020424&#038;show_artwork=true&#038;maxheight=1000&#038;maxwidth=696\"><\/iframe><\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Nicole Dollanganger &#8211; &#8216;Mean&#8217; and &#8216;White Trashing&#8217;<\/strong><\/p>\n<p><em><a href=\"http:\/\/nicoledollanganger.bandcamp.com\/album\/natural-born-losers\">Natural Born Losers<\/a><\/em> received its official coming out just a couple of days ago, on 9 October.\u00a0Nicole Dollanganger&#8217;s first full-length since the haunting and pensive, sharp-witted and richly evocative <em><a href=\"https:\/\/culturedarm.com\/staging\/5793\/culturedallroundmans-songs-of-the-month-march-2015\/\">Observatory Mansions<\/a><\/em>\u00a0back in January 2014 &#8211; in March of this year she issued a gathering\u00a0of three demos as <em>Greta Gibson Forever<\/em>, while she has also offered single tracks\u00a0from her related work\u00a0on <em>Embarrasing Love Songs II<\/em> &#8211; the album is the first release from <a href=\"http:\/\/eerie.org\/\">Eerie Organization<\/a>, a collaborative effort headed by Grimes, which appears to have been founded largely\u00a0to bring well-deserved attention to Dollanganger&#8217;s art.<\/p>\n<p>Some of these pieces, like &#8216;Mean&#8217; and &#8216;White Trashing&#8217;, have been kicking about and lulling listeners since the beginning of the year, with early versions put up on <a href=\"http:\/\/nicoledollanganger.tumblr.com\/\">Dollanganger&#8217;s Tumblr<\/a>. The finished sound is\u00a0a little crisper, the instrumentation more full: electric guitar often replaces acoustic, in songs that swell and build to fleeting climaxes, and Dollanganger&#8217;s voice, less wispy, reverberates more in the mix. But the aesthetic remains the same: songs of scarcely veiled, blankly-faced violence, conjuring a dilapidated North American locale, with sorry guitar lines and wary droning synths, as Dollanganger achieves subtle and graceful shifts of pace and modulations of pitch with her voice between lines.<\/p>\n<p>And despite all of the self-harm and sexual transgression, satan, and the sense of a confined past, there is something beautiful and dignified about this music. Dollanganger&#8217;s finely wrought lyrics seem to\u00a0dwell in the glowing embers of a dying flame.<\/p>\n<p><iframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"http:\/\/bandcamp.com\/EmbeddedPlayer\/album=4269781602\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=1078448128\/transparent=true\/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http:\/\/nicoledollanganger.bandcamp.com\/album\/natural-born-losers\">Natural Born Losers by Nicole Dollanganger<\/a><\/iframe><br \/>\n<iframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"http:\/\/bandcamp.com\/EmbeddedPlayer\/album=4269781602\/size=large\/bgcol=ffffff\/linkcol=0687f5\/tracklist=false\/artwork=small\/track=969272307\/transparent=true\/\" width=\"300\" height=\"150\" seamless=\"\"><a href=\"http:\/\/nicoledollanganger.bandcamp.com\/album\/natural-born-losers\">Natural Born Losers by Nicole Dollanganger<\/a><\/iframe><\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Peaches &#8211; &#8216;Close Up&#8217; (feat. Kim Gordon)<\/strong><\/p>\n<p style=\"text-align: left;\">Remarkably for an artist still so\u00a0much a part of the modern\u00a0musical landscape, <em>Rub<\/em> &#8211; released 25 September &#8211; is Peaches&#8217; first album in six years, the successor to 2009&#8217;s <em>I Feel Cream<\/em>. Co-produced by Vice Cooler, it boasts\u00a0some of Peaches&#8217;\u00a0brashest electroclash variations,\u00a0and it starts with\u00a0&#8216;Close Up&#8217; featuring Kim Gordon.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"JrJGhFTyXng\"><iframe loading=\"lazy\" title=\"Peaches - Close Up (Live, NYC)\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/JrJGhFTyXng?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Sun Araw &#8211; &#8216;Horse Steppin&#8217;<\/strong><\/p>\n<p>After briefly attempting the game several years ago on my laptop, I have recently played and completed Hotline Miami on the PlayStation 4. A bloody 2D top-down shooter, whose mechanics rely on a high-energy mix of strategy and trial and error, the game draws its best intentions from the worlds of music and cinema,\u00a0clearly inspired by Nicolas Winding Refn&#8217;s 2011 film <em>Drive<\/em>. With the main playable character attired in a jacket which closely resembles Ryan Gosling&#8217;s ivory satin number, with its golden scorpion on the back, Hotline Miami possesses a fantastic atmosphere which dwindles rapidly upon the intrusion of a banal political plot.<\/p>\n<p>Whatever, the title screen is a work of art in its own right, showcasing\u00a0this gorgeously heady piece by the experimental psychedelic artist Sun Araw.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"wa3qqfgp1Ns\"><iframe loading=\"lazy\" title=\"Sun Araw - Horse Steppin&#039;\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/wa3qqfgp1Ns?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>The Velvet Underground &#8211; &#8216;Sweet Bonnie Brown\/It&#8217;s Just Too Much&#8217;<\/strong><\/p>\n<p>At the end of September, the impending release of a new four-disc Velvet Underground box set was announced. <em>The Velvet Underground: The Complete Matrix Tapes<\/em> will feature forty-two live recordings from a series of performances the band gave in San Francisco in November and December 1969. This was between <em>The Velvet Underground<\/em>, which had been released in March, the first of the group&#8217;s albums with Doug Yule in place of John Cale; and <em><a href=\"https:\/\/culturedarm.com\/staging\/5793\/cultureteca-30-08-15\/\">Loaded<\/a><\/em>, which came out in November 1970.<\/p>\n<p>While Lou Reed, Sterling Morrison, Yule, and Moe Tucker managed eighteen performance in San Francisco in total, <em>The Complete Matrix Tapes<\/em> is set to focus on the nights of 26 and 27 November, the time of Thanksgiving. The box set will include nine previously unreleased tracks, with the majority already\u00a0made available across <em>1969: The Velvet Underground Live<\/em>, <em>Bootleg Series, Vol. 1: The Quine Tapes<\/em>, and deluxe editions of <em>The Velvet Underground<\/em>.<\/p>\n<p>When <em>1969: The Velvet Underground Live<\/em> emerged in 1974, three of its tracks had never been accessible before in any form: &#8216;We&#8217;re Gonna Have a Real Good Time Together&#8217;, &#8216;Over You&#8217;, and &#8216;Sweet Bonnie Brown\/It&#8217;s Just Too Much&#8217;.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"-aGLaplfVN0\"><iframe loading=\"lazy\" title=\"Velvet Underground - Sweet Bonnie Brown and It&#039;s Just Too Much\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/-aGLaplfVN0?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Meow The Jewels &#8211; &#8216;Paw Due Respect&#8217; (Blood Diamonds Remix)<\/strong><\/p>\n<p>My favourite remix from <em><a href=\"https:\/\/culturedarm.com\/staging\/5793\/cultureteca-27-09-15\/\">Meow the Jewels<\/a><\/em> sees Blood Diamonds turn Killer Mike and El-P&#8217;s &#8216;All Due Respect&#8217; into &#8216;Paw Due Respect&#8217;, a fine reworking which displays the ebullient aesthetic of one of our best producers.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"wqSqwWoOBhc\"><iframe loading=\"lazy\" title=\"Run The Jewels - Paw Due Respect (Blood Diamonds Remix) | from the Meow The Jewels album\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/wqSqwWoOBhc?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Julia Holter &#8211; &#8216;Sea Calls Me Home&#8217;<\/strong><\/p>\n<p style=\"text-align: left;\"><em>Have You In My Wilderness<\/em> came out a couple of weeks ago, and I have <a href=\"https:\/\/culturedarm.com\/staging\/5793\/julia-holter-have-you-in-my-wilderness\/\">discussed the album at length<\/a>, while <a href=\"https:\/\/culturedarm.com\/staging\/5793\/culturedarms-songs-of-the-month-august-2015\/\">last month&#8217;s collection of songs<\/a> already featured &#8216;Sea Calls Me Home&#8217;. Yet at the time of writing that piece, only the audio of the song had been made available; and since, an official video has emerged, directed by Claire Marie Vogel.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"OERixQR-hxY\"><iframe loading=\"lazy\" title=\"Julia Holter - Sea Calls Me Home (Official Video)\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/OERixQR-hxY?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Ruth Crawford Seeger &#8211; String Quartet (1931)<\/strong><\/p>\n<p>Awaiting <a href=\"https:\/\/culturedarm.com\/staging\/5793\/daily-visual-10-08-15-joanna-newsom-announces-divers\/\">Joanna Newsom&#8217;s <em>Divers<\/em><\/a>, due out 23 October &#8211; over the past month, following on from\u00a0<a href=\"https:\/\/culturedarm.com\/staging\/5793\/themes-and-references-in-joanna-newsoms-sapokanikan\/\">&#8216;Sapokanikan&#8217;<\/a>, she released the audio for a second album track, entitled <a href=\"https:\/\/www.youtube.com\/watch?v=keke7BGzJPI\">&#8216;Leaving The City&#8217;<\/a> &#8211; I returned\u00a0to an artist to whom she\u00a0switched\u00a0me on, the modernist composer Ruth Crawford Seeger. Seeger &#8211; born Ruth Porter Crawford, and after her marriage to Charles Seeger the <a href=\"https:\/\/culturedarm.com\/staging\/5793\/the-birds-1963-risseldy-rosseldy\/\">mother to Peggy and stepmother to Pete<\/a>\u00a0&#8211;\u00a0is one of Joanna Newsom&#8217;s most cited inspirations.<\/p>\n<p>A piece in <em><a href=\"http:\/\/www.irishtimes.com\/culture\/who-the-hell-is-1.1163162\">The Irish Times<\/a><\/em><a href=\"http:\/\/www.irishtimes.com\/culture\/who-the-hell-is-1.1163162\"> from back in 2004<\/a>\u00a0refers to Newsom&#8217;s &#8216;love for folk and bluegrass music, particularly the Appalachian children&#8217;s songs collected down the years by Ruth Crawford Seeger and the Lomax brothers&#8217;. Seeger is mentioned again among influences in <a href=\"http:\/\/www.tinymixtapes.com\/features\/joanna-newsom\">an interview with Tiny Mix Tapes from 2006<\/a>. And in the same year, <a href=\"http:\/\/www.anothermag.com\/design-living\/7675\/joanna-newsoms-ode-to-the-harp\">republished just a couple of months ago by\u00a0<em>AnOther Magazine<\/em><\/a>, Newsom said:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;My real heroine is the American dissonant composer Ruth Crawford Seeger. She was this pioneer of American modernism. She worked with the Lomax brothers, transcribing all their folk songs, so she&#8217;s really a seminal figure in the folk revival. When she married the composer Charles Seeger, she became the matriarch of one of the most important families in American folk music. She&#8217;s such an inspiration. She &#8216;s why I&#8217;m sitting here playing for eight hours a day with all these blood blisters on my fingers.&#8217;<\/em><\/p>\n<p style=\"text-align: left;\">In Alex Ross&#8217;s <em>The Rest is Noise<\/em>, he writes of Ruth Crawford Seeger:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;This earnest, self-deprecating woman went on to write some of the most fabulously byzantine music of her time. In String Quartet 1931, orderings of pitch, rhythm, durations, and dynamics anticipate avant-garde music of the post-World War II era; in Chant 3, a woman&#8217;s chorus is divided into twelve parts, each assigned a separate chromatic note and shifting through a variety of polyrhythms. Even as she indulged in these experiments, Crawford gave strong narrative shape to her material. The slow movement of the Quartet unfurls as a continuous wave of sound, its complexities concealed behind a softly shimmering exterior.&#8217;<\/em><\/p>\n<div class=\"youtube-embed\" data-video_id=\"qemDvtQXLYA\"><iframe loading=\"lazy\" title=\"String Quartet - Movements I and II (Ruth Crawford Seeger) - The Playground Ensemble\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/qemDvtQXLYA?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<div class=\"youtube-embed\" data-video_id=\"Hqz9Ch14Mpw\"><iframe loading=\"lazy\" title=\"String Quartet - Movements III and IV (Ruth Crawford Seeger) - The Playground Ensemble\" width=\"696\" height=\"392\" src=\"https:\/\/www.youtube.com\/embed\/Hqz9Ch14Mpw?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Spike Jones &#8211; &#8216;You Always Hurt the One You Love&#8217;<\/strong><\/p>\n<p>With words by Allan Roberts and music by Doris Fisher, &#8216;You Always Hurt the One You Love&#8217; attained its highest chart position in\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=mS9U75YC-jA\">a recording by The Mills Brothers<\/a> in October 1944. The song reached number 1 on the <em>Billboard<\/em> Best Sellers in Stores chart, a precursor of the <em>Billboard<\/em> Hot 100. More recently, the piece was popularised by Ryan Gosling, who appeals to Michelle Williams with ukulele\u00a0and falsetto\u00a0<a href=\"https:\/\/www.youtube.com\/watch?v=SN1vLnYEDZg\">in the 2010 film <em>Blue Valentine<\/em><\/a>.\u00a0Here Spike Jones renders the song in the manner of The Ink Spots, with an abundant spoken-word interlude.<\/p>\n<div class=\"youtube-embed\" data-video_id=\"HRqWWRCT5Cs\"><iframe loading=\"lazy\" title=\"Spike Jones You always Hurt the One You Love\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/HRqWWRCT5Cs?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n<p style=\"text-align: center;\">* * *<\/p>\n<p style=\"text-align: center;\"><strong>Ryan Adams &#8211; &#8216;Pretenders (Pretending&#8217;s Fun)&#8217;<\/strong><\/p>\n<p>Linking with the above is this forlorn piece by Ryan Adams, whose opening lines express a shared theme,\u00a0&#8216;The ones you love to hurt \/ Always the ones you love&#8217;. &#8216;Pretenders (Pretending&#8217;s Fun)&#8217; is a song from <em>The Suicide Handbook<\/em>, which circled in bootleg form around 2001-2002. It was ostensibly Adams&#8217; intended follow-up to <em>Heartbreaker<\/em>, and would therefore have been his first album on Lost Highway Records, instead of <em>Gold<\/em> &#8211; which came out in September 2001, and remains his best-selling record to date.<\/p>\n<p><em>The Suicide Handbook<\/em> was allegedly rejected by the record label for being too\u00a0sad. In an interview with <em>Q<\/em> in 2007, Adams said:<\/p>\n<p style=\"text-align: center;\"><em>&#8216;It was supposed to be on Lost Highway. It would have been the follow-up to Heartbreaker. It was about some really heavy stuff, and it&#8217;s amazing [&#8230;] If anything, it&#8217;s my most majestic piece ever.&#8217;<\/em><\/p>\n<div class=\"youtube-embed\" data-video_id=\"nOPV9LqYs2k\"><iframe loading=\"lazy\" title=\"Pretenders (Pretending&#039;s Fun) - Ryan Adams\" width=\"696\" height=\"522\" src=\"https:\/\/www.youtube.com\/embed\/nOPV9LqYs2k?feature=oembed&#038;enablejsapi=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>A belated &#8216;Songs of the Month&#8217; for September means that a slew of new music stakes its claim out of place: October has already seen excellent new records by Janet Jackson, Kelela, Autre Ne Veut, and Taeyeon, but I&#8217;ll save these for a few weeks.\u00a0September&#8217;s songs include selections from Towkio, Kyle and Chance The Rapper, 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