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Friday, January 21, 2005

When you start to fancy yourself as "above" doing memes, then you KNOW you've jumped the shark.

Before we get into the Top Twenty (because, you know, it would be a shame to hurry things), a brief intermission, in the form of the hot new musical meme that's sweeping all of Blogland etc etc. This comes via Mr.D. of Aprosexic.

1. What is the total amount of music files on your computer?

At home, it's just under 40gb. Which is bothersome, as I have a 40gb iPod and am going to have to start making tough decisions. (That's just under 8000 tracks, mostly encoded at 160, and NO, of COURSE it's not enough.)

At work, I had a massive purge; just 117 songs remain. The rest all found their way onto the iPod.

2. The cd you last bought is:

Tekitoi by Rachid Taha, an Algerian rai-rocker who I'll be seeing in Leicester next month, as part of the African Soul Rebels package tour (also featuring Tinariwen from Mali and Daara-J from Senegal). Most (if not all) of the tracks are musical collaborations with Steve Hillage (formerly of Gong and System 7), although you'd never guess it, and there's a great, spirited cover of Rock The Casbah, recorded as a tribute to the late Joe Strummer (who credited Rachid Taha as an inspirational figure).

3. What is the song you last listened to before reading this message?

Remember To Forget by Dani Siciliano, from the Likes album. It's on my Best Of 2004 triple mix CD, which (handy cross-promotional tie-in coming up) YOU COULD WIN, by correctly predicting my favourite single of last year. Hurry, while there's still time!

4. Write down 5 songs you often listen to or that mean a lot to you.

A Song From Under The Floorboards by Magazine, which I wrote about on Uborka.

The Only Way Is Up by Otis Clay, for sheer euphoria; it always feels as if the credits should be rolling during this one.

Goodbye To Love by The Carpenters (particularly for the guitar solos, the second one being my favourite of all-time).

Weak Become Heroes by The Streets - this was my Nineties.

Waterloo Sunset by The Kinks - the very essence of poignant, this always provokes a certain ocular pricking.

5. Who are you going to pass this stick to? (3 persons) and why?

Ben of Silent Words Speak Loudest, because he's a good sport and should enjoy playing along.

Eric of evijhserf, because I don't think he's done a blog meme before, and I think they're a kind of rite of passage. And also because I'm still in awe of his I Touched Madonna's Bum story.

Jamie of Jamie4U, because she'll be fierce, girl.

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Singles of the year: #21

21. 1980 - Estelle
1999: She's In Fashion - Suede
1994: Sour Times - Portishead
1989: Can't Be Sure - The Sundays
File alongside Jamelia, in the box marked "Superior UK urban music which could show those damned Yanks a thing or two if only they'd care to listen".

(Forgive me, my American chums. I'm still reeling from the double whammy of George Bush's hideously chilling inauguration address and being passed over for Best British Poof at the Queeries. Tant pis, as they say in Freedom Land.)

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Singles of the year: #22

22. All Day Long I Dream About Sex - JC Chasez
1999: Beautiful Stranger - Madonna
1994: Love Is All Around - Wet Wet Wet (yeah yeah, get over it)
1989: Losing My Mind - Liza Minelli
This was first brought to my attention by Zbornak last April, when I was assembling my reader-compiled "Songs You Have To Hear" CD. It was then used as part of the backing track for my "Squint" performance piece (still available for download, and possibly my favourite piece of work on the blog last year), where its combination of full-on chorus and unexpectedly reflective middle section suited one particular part of the narrative to a tee.

To my great surprise, this then turned out to be a complete flop as a single, despite being the follow-up to a #13 hit, Some Girls (Dance With Women). I'm not even sure it even made the Top 75, and in these depressed-market days you have to make quite a serious effort of will to avoid making the Top 75. I was therefore pleased to see that at least Stuart Hydragenic hadn't forgotten about it, singling it out for a mention in his long-awaited Best Albums Of 2004 round-up.

The Smash Hit That Never Was, then. You've always got to have at least one of those in your list.

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Singles of the year: #23

23. It Hurts - Lena Philipsson.
1999: Comedy - Shack
1994: Supersonic - Oasis
1989: Me Myself & I - De La Soul
Following Pay TV, The Concretes and Alcazar, Lena Philipsson becomes the fourth (*) Swedish act (**) to make my Hot Ninety, with a cheeky ode to taking it up the jacksie that stormed last year's Eurovision in Istanbul. (OK, it actually came sixth. But for anyone who saw just how suggestively Lena worked that giant microphone stand, it was a moment to treasure.)

(*) But will she be the last? Eh? Eh?

(**) And there have also been two entries by Annie, from Norway, which is sort of Sweden isn't it?

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Singles of the year: #24

24. Rude Bwoy Thug Life - Ce'cile
1999: Let Forever Be - Chemical Brothers
1994: Son Of A Gun - JX
1989: Your Love - Frankie Knuckles
Not strictly speaking a 2004 release, but an MP3 of an Jamaican dancehall track from a year or so earlier, which seemed to get everywhere last year following an appearance on Fluxblog. The rhythm track (I think we're actually supposed to say "riddim", but I can't quite bring myself to) is of particular interest, as it's a direct re-working of The Cure's 1985 hit Close To Me, and you don't generally find much of a Goth-pop influence in Jamaican dancehall, so you know, fascinating innit?

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Thursday, January 20, 2005

Singles of the year: #25

25. Dragostea Din Tei - O-Zone
1999: Walk Like A Panther - The All Seeing I featuring Tony Christie
1994: Superstar - Sonic Youth
1989: Whatcha Gonna Do With My Lovin' - Inner City
Basically, I'm with Nigella Lawson on this.

When describing her tastes, the Domestic Goddess explained (and I wish I could find the precise quote, because she explained it so well) that she tended to favour music with an intense, surging, ecstatic quality to it; music whch floods the senses with an overwhelming feeling of elemental joy.

As it is with Nigella, whose Desert Island Discs choices included Sugar Sugar, Ye Ke Ye Ke, Hey Boy Hey Girl and the Hardfloor remix of Blue Monday, so it is with me and daft little Eurodisco nuggets such as Dragostea Din Tei (which even moved me to start a weblog conga line over the summer).

Because when all is said and done and dusted and dissected, and considered and compared and contrasted, and appreciated and accomodated and alphabetically filed by artist: the musical aesthetic which perhaps chimes closest to my singular little soul is precisely this aesthetic of ecstatically joyful abandon. It's an instant hit, which frequently (if by no means always) wears off quite quickly, forcing me to trawl with a wide net.

(Which helps to explain all the accumulated yardage of DJ mix CDs from the 1990s, unplayed for years, mutely festering in the spare room.)

Yes, it's formulaic, and thus best not picked apart too closely. And OK, its best examples may often be achieved as much by accident as design. And sure, I can see why this stuff pisses so many people off - including my long-suffering Life Partner, to whom it is an anathema. Apart from anything else, it's just so damned intrusive; drafting you into its slipstream, robbing you of free will, insisting that you surrender to its relentless collectivism and - worst of all! - join in.

To finely tuned sensibilities, this must all be distressingly jarring. However, it's precisely this intrusive, communal quality to which I respond. Indeed, I positively embrace it. For when tunes such as these are playing, some measure of happiness cannot help but leak in through the cracks, no matter how glum my overall state of mind might be at the time.

Even during some of the worst episodes of my Uniquely Troubled And Tortured Adolescence (oh yes) - right in the middle of some unendurable family screaming match, for example - the chance intrusion of a jolly tune on the radio would allow me, on some scarcely conscious level, to detach from my immediate reality, granting me some small but vital measure of sanctuary. Even in the eye of the storm, I could tune out the blind rage and tune into the good cheer, tapping my toes even as the tears rolled down my face.

- Why not go and give the little pansy a touch-up?

- F***ing p***ing s***ing BITCH. I want a DIVORCE.

- Oo-wah oo-wah, cool cool Kitty, tell us 'bout the boy from New York City...



With that characteristic contrariness which I hold so dear, K often asserts that while happy music makes him miserable, miserable music makes him happy. Consequently, I try to keep him shielded from tunes such as Dragostea Din Tei as much as possible. (When Eurovision is on, I have even been known to flee the country.) However, for me the equation is much simpler: happy music - even the dumb stuff, and sometimes especially the dumb stuff - makes me happy. Generally speaking, I like to think that this is evidence of a healthy, straightforward attitude to life's pleasures.

Neverthless, I have my doubts. What if all this stuff is merely acting as an SSRI, crudely boosting my diminished stock of happy-juice? Is it dysfunctional to rely so heavily on so much transient froth and nonsense?

Well, f*** it. There are many worse ways to self-medicate. So come on everybody: on the count of three, and let's see those hands in the air!

Ma-i-a hi, Ma-i-a hu, Ma-i-a ho, Ma-i-a ha-ha...

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Monday, January 17, 2005

Singles of the year: #26

26. Making Music - Chungking
1999: New York City Boy - Pet Shop Boys
1994: Confide In Me - Kylie Minogue
1989: The Real Life - Corporation Of One
So come on, Mike: tell me honestly. Ninety posts on ninety singles is one hell of a tall order. Haven't there been times when you wish you hadn't embarked on such an ambitious project?

Actually, I think this might just be the first of them. But plough on we must.(Endurance blogging: it's a fine and noble tradition.)

I first became aware of this track - and of Chungking - on the 2003 compilation from Radio One's Blue Room, where it stood out from the crowd straight away. It was therefore good to see both the single and its parent album re-released in 2004, with somewhat better (*) promotion and distribution - although this still proved insufficient to bring Chungking the mainstream commercial success which should by rights be theirs.

(*) Although when searching out a copy of the album (re-released less than three months ago) for a friend's birthday present last week, I was dismayed to find that it had already vanished from the racks in Selectadisc and Fopp, with only a couple of full-priced copies left in Virgin's "dance" section. Which is daft, as they're not a "dance" act by any stretch of the imagination.

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Singles of the year: #27

27. Mary - The Scissor Sisters
1999: Superfreaky Memories - Luna
1994: Let The Music Lift You Up - Loveland featuring Rachel McFarlane
1989: Looking For A Love - Joyce Sims
Following a song bearing my name at #87, here's a song which bears my sister's name. (Incidentally, if you know of a song which features K's name other than The Undertones' My Perfect Cousin, then please let me know.)

I know you're not a travelling girl, croons Jake Shears: monumentally inappropriately, given that in the last few years, my sister has lived and worked in Sudan, Iran, Jordan, Pakistan, Ethiopia, Sierra Leone... and those are just the places I can remember. On the other hand, if the lyric had been I know you are a travelling girl, then this might have placed inside the Top Twenty. Pop music, she works like that.

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Singles of the year: #28

28. Somewhere Only We Know - Keane
1999: Straight From The Heart - Doolally
1994: 977 - The Pretenders
1989: The Beat(en) Generation - The The
You know: I sense I might just have lost a regular reader with this one.

The first time I realised that I might have been wrong about this dreary whiney droopy gloopy faceless spineless gutless sub-Coldplay corporate-indie-lite dirge: when it was used as the backing track for the really rather poignant and effective end-of-season montage of highlights from Big Brother Five. I'm just digging a bigger and bigger hole for myself here, aren't I?

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Singles of the year: #29

29. Girls (rex the dog mix) - The Prodigy
1999: Re-Rewind The Crowd Say Bo Selecta - Artful Dodger
1994: Sweetness - Michelle Gayle
1989: Lullaby - The Cure
Of the astonishingly few straight-up utilitarian dance tracks which came my way in 2004, this is the only one which made me wish that I still went clubbing, just so that I could experience it "in context" (shall we say). I particularly like the fractured staccato cut-up nature of the first couple of minutes, which conjure up certain experiences which I may or may not have had on a fairly regular basis in the mid-to-late 1990s particularly vividly.

As for The Prodigy's original version, of which this is a "mere" remix: I've only heard it twice. To be honest, it sounded like a pointless breakbeaty remix of the Rex The Dog version. I fully realise that this viewpoint wouldn't stand up in court, but there you go.

(Oh, and that early 1980s soul/funk sample which crops up a few times on both versions: it's D-Train's "You're The One For Me", isn't it? Anybody?)

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The 1000 UK Number Ones Poll.

If you've come here from NYLPM in search of the 1000 UK Number Ones Poll: then search no further.

If you're a regular reader: in a blatant, blatant rip-off of Chig's poll from Autumn 2002 (the results of which start here), I'm hosting a poll on the I Love Music message board, in order to discover the most popular UK Number One singles. Do feel free to join in.

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