Tag: All is Full of Love

A very happy Valentines Day to you and yours. To keep tradition going for its sixth year here at GitM — ’05, ’06, ’07, ’08, ’09 — time for the yearly musical valentines from yours truly.

First off, in keeping with the usual once-a-year romantic status-update, you’ll be happy to know that this 2010 post actually comes with 44% less whining than usual. (Yay, and there was much rejoicing.) I am still single on this end, as per the norm, which means my trusty sheltie sidekick is once again holding down the official valentine spot. (Aw, he got me Bioshock 2. How did he know I wanted it?) But, having at last escaped the egregious emotional, financial, and general personal sandtrap that is late-term gradual school, it’s safe to say I’m in a much happier place these days. And, since returning to DC, a town that’s been swell to me so far, I’ve at least been taking a few swings at the plate lately. So, no wallowing this V-day. I’m in a pretty good place, all in all, and hope springs eternal. In any event, on to the music:

But can she kite the adds? First off, as always, I offer some quality cheese: Singlehandedly raising unrealistic expectations for gamergrrls the world (of Warcraft) over, The Guild‘s fetching Felicia Day scored a massive (multiplayer) online hit last summer with the supremely catchy “Do You Wanna Date (My Avatar)?” In some ways a peppy, poppy update to Kraftwerk’s “Computer Love” (which led off the order in ’06) this was one of two songs I heard in the past year that I knew — immediately — would make it into this post.

Now, having spent more than my fair share of time MMO’ing over the past few years — everybody say hi to Jacklowry — it’s safe to say that the bubbly, infectious enthusiasm that drives this track isn’t really a huge part of games like Warcraft. (In fact, everyone usually seems vaguely depressed — There’s a reason why some of the biggest facets of WoW-life are “grinding” levels and “farming” mats. If you take it seriously, it sorta becomes a day job.) But, all that being said, Day and The Guild crew know their WoW — how ’bout a little tank-and-spank? — and they’ve delivered a ditty that works as both a fun and knowing riff on the MMO life and a silky, effervescent pop song all on its own. Great job, y’all…Lvl 80 rogue lf healbot pst?

Don’t it make you sad about it? This song probably needs no introduction — most everybody knows it, and I’m sure a lot of people are totally sick of the durned thing. Still, since the last song, however cheesy, is already a gamer standard and perhaps not nearly as embarrassing a guilty pleasure as I’ve tended to offer in years past, I give you JT’s “Cry Me a River.”

It’s easy to playa-hate Justin Timberlake, and to be honest, I think I can only name three or four songs of his anyway. Still, I’d argue this well-crafted track and “SexyBack” put JT as the truly deserving 21st century pop heir to, say, Stevie Wonder or Michael Jackson. He’s got the pipes, he’s got the beats, he’s got the production values, the dance moves, and the marketing savvy, and to my mind “Cry Me a River” just holds it own as a classically catchy pop ditty. And when the scorned lasses of this world roll out Gloria Gaynor’s “I Will Survive” as their peppy post-break-up standard on the dance floor, I in turn will call forth this track, Pokemon-style. Game on.

While I threw up some Dylan in both ’06 and ’07, I try not to repeat artists just yet for these V-Day posts. Still, while the sublime “I’m Your Man” — which quite possibly can’t be topped as a V-Day song — was part of the 2007 mix, I’m going with Leonard Cohen’s “That’s No Way to Say Goodbye” this year from Live in London. Not only because it is beautiful, but because, frankly, I played the hell out of this record over the past year.

When he’s at his best, as he is throughout Live in London, Cohen’ sheer rawness — his naked, direct emotion — cuts like a knife. He’s not one to dabble in misdirection, or to try to obscure his feelings with extended metaphors. He just goes right to the heart of it, every time.

With that in mind, I much prefer this version of “That’s No Way to Say Goodbye” to the original 1967 version. At times, the young Cohen sounds too callow to me. It took years, even decades, for his voice to catch up to the power of his poetry. And the slight change in lyrics here — Now it’s “I know when to say goodbye” — helps push this ballad from petulance to poignance. It’s one of many transcendant moments on this superlative album.

And, really, who doesn’t love sleep? As a love-song sorbet of sorts, here’s The Dandy Warhols’ “Sleep.” Like Brian Eno’s “By this River” and Hot Chip’s “Crap Kraft Dinner” (written up in ’09), this is one of those songs I find endlessly soothing. It could just play on and on like this for twenty minutes and I’d be blissfully content…perhaps eventually nodding off, fading away into the wilderness of dream…

As I said back when hyping Third in 2008, Portishead’s Dummy was one of those ubiquitous albums for a few years there in the mid-nineties, with the most memorable track therein possibly being “the second single, “Glory Box.” I include the late guitarist John Martyn’s cover of “Glory Box” here not because it’s an improvement on the original — they’re both amazing — but because it captures so well that song’s hothouse sultriness, while managing to sound quite different in the end (and switching the gender dynamic.)

Also of note on this subject: Portishead’s “Scorn,” the ice-cold B-side version of this same song. I love how it completely inverts the sensation of the original tune, just by switching the beats involved. Now, the whole song plays out atop that sensual, brooding oil-tanker rhythm only heard when everything goes wobbly in the original version. And, conversely, only in the climax of this mix are the original lyrical strings heard, like a moment of clear-thinking grace before the hammers descend anew. (The Youtube of “Scorn” below cuts out the end, unfortunately, although you can hear the whole mix here.)

You and me, babe, how ’bout it? Now, if forced, with a gun to my head, to pick the Dire Straits’ absolute finest hour, I’d have to go with “Sultans of Swing”, that testament to resolute keep-on-keepin’-on long after the crowd’s gone home and all the midnight oil is burned. Still, their brief retelling of “Romeo & Juliet” is an unabashedly lovely song indeed. (Full disclosure: This was, in fact, the favorite tune of one of my former ex’s, a long, long time ago. But, no plagiarism here. I ended up earning this streetlight serenade’s stripes myself…the hard way. Anyway, let’s move on.)

There are a lot of covers of “Romeo & Juliet” floating around — Indigo Girls, The Killers, Edwin McCain — but none of ’em really do the simple beauty of this song justice. Also, the original Dire Straits video is also online, but frankly it’s so bad and ridiculously Eighties-ish that it detracts from the timelessness of the tune. No wonder they later plunked down big dollars for “Money for Nothing“…

As I’ve said ’round here many times, I’m a big Depeche Mode fan from way back. (Their “Here is the House” went up here in ’06.) And I think they became a better, darker, richer band in 1982 with Vince Clarke’s departure after Speak & Spell, when Martin Gore took over the songwriting full-time.

Still, with all due respect to melancholy Marty, Vince Clarke always had a way with a happy three-chord love song that the minor-key-obsessed DM never ever really got back to. Case in point: Yaz’s “Only You” (as well as almost all of Erasure’s many hits over the years.) There are no regrets or guilt or religious allusions or teenage scared-stiff-of-sex angst or black cars driving around in the distance. It’s just a simple, very pretty ode to that one special person.

There are a lot of very good tracks on the better of Yaz’s two albums, Upstairs at Eric — “Don’t Go,” “Situation,” and “Winter Kills,” for example. Still, I’d put “Only You” as the pick of the litter: It’s the perfect blend of Vince Clarke synth-pop and Alison Moyet soul.

The first time you get dumped, it feels like a tragedy. It just plain sucks. The second time, it…well, actually it’s even worse. And by the third or fourth time, you start to really wonder what’s wrong with you. But, after enough iterations of the dismal cycle, as the Conchords’ “Carol Brown” points out, it does become farce. And a really funny one, for that matter.

Along with Felicia Day at the top, this is the other song I knew I was going to post here this year as soon as I heard it. The Flight of the Conchords’ second season included a lot of really hilarious tunes: “Hurt Feelings” (and its reprise), “Too Many Dicks on the Dance Floor,” “Fashion is Danger.” But “Carol Brown” is, imho, their magnum opus. It’s funny on its own terms (as well as a great riposte to Paul Simon’s smarmy “50 Ways to Leave Your Lover.”) But, more importantly, it’s just a funky-sweet song with truthiness to spare. (The Michel Gondry video is great too.)

I’m sure most of y’all out there know the old Annie Hall joke: “This guy goes to a psychiatrist and says, ‘Doc, uh, my brother’s crazy; he thinks he’s a chicken.’ And, uh, the doctor says, ‘Well, why don’t you turn him in?’ The guy says, ‘I would, but I need the eggs.’ Well, I guess that’s pretty much now how I feel about relationships; y’know, they’re totally irrational, and crazy, and absurd, and…but, uh, I guess we keep goin’ through it because, uh, most of us…need the eggs.“

That’s the gag that “Carol Brown” gets so well. The whole song is a litany of ugly dumpings for most of its run. But every time that peal chimes (at 1:15) and the angelic chorus kicks in for the first time (“He doesn’t cook or clean…“), you can hear exactly why Jemaine — and so many others of us, for that matter — keep leading chin first regardless. Carol Brown took a bus out of town…but I’m hoping the next gal sticks around.

That’ll do for ’10, I think. Have a safe and happy Valentines Day, everybody. I’ll see y’all on the flip side. And, until next year…