Note to attentive readers: I do seem to have mixed up the ads for Dior and Chanel, although I think both MM and Charlize appear in both? Anyway, to be sorted later …
All a bit random, here, but for future reference and/or development …
Who’s that girl whose sashay trumps Marilyn Monroe’s teasing on tape in the new ad for Chanel No. 5? Charlize Theron, of course. And what’s that song playing in the background? It’s Heavy Cross, by Gossip, formerly The Gossip – the band fronted by big Beth Ditto.
She apparently wrote the words, which the ad picks up at the following intriguing verse:
‘It’s a funny way, to make ends meet,
when the lights are out on every street,
It feels alright, but never complete,
without joy …’
Hear it in full at http://tinyurl.com/yl6lw8h/
And is it really about prostitution, or – in the context of the ad – selling your body? That is the consensus at a useful site at http://songmeanings.com/
X-Factor discovery Rebecca Ferguson was disappointing, again, on Graham Norton Show, 13.12.13.
She was gorgeous and brilliant when she sang Why Don’t You Do Right, the Peggy Lee classic, during the competition. Hear it again at
I bought her first album hoping for more like that but it was full of her own compositions, given X-factor-style production. More on that later. I am still trying to pin down what it is I dislike so much about the musical style propagated by those talent shows. Meanwhile, Lord save us from singers who have barely lived before they start recording their own songs.
The rot set in, somebody once said, with The Beatles. They wrote good songs which suited them and made a lot of money for everybody involved. Then, as it happened, the Stones proved they could do the same – at least for a while. And suddenly the artist-composer or singer-songwriter was what the business wanted and what all the wannabes aspired to be. Up to then, everybody had been perfectly happy with the arrangement that writers wrote and musicians and singers interpreted.
On the other hand, of course, sometimes it takes the writer to sing the song as it was originally meant. Peggy Lee did a great job with Fever and I’d like to hear Rebecca Ferguson on that. But it sounds even better sung by the man who wrote it, Otis Blackwell – composer, also, of Great Balls Of Fire, Don’t Be Cruel, All Shook Up and Handy Man.
He is dead now, so I think I can get away with offering you his Fever, along with a recommendation to pursue some more of his own recordings …
Maddy Costa, Guardian, reviewing Goat at the Koko, London, wrote “Run To Your Mama is terrific. Apparently it is based on a nursery rhyme but they intone it with a fervent menace that would give even grown-ups nightmares, were it not so entertaining.”
Here is my chance to try a neat bit of x-reffing which should take you to exactly the right point in a Goat concert, filed onto YouTube as one take.. …
I don’t find it quite as thrilling as Maddy did but I can see how it could be, played loud or live. Must try it loud, at least. I would put it in the category of New Age Funk and my own favourite example of that genre would be a track it took ages to pin down but which turned out to be Thunder, by Lights In A Fat City …
Lights In A Fat City was a London-based band put together in the late 1980s by Stephen Kent, master of the didgeridoo and ace arranger.
Finally, I plan to file to my Quotes collection
on being RIGHT ON …
Charles Moore, Teleg 14.12.13, quoting from Tom Lehrer’s Folk Song Army: “We all hate poverty, war and injustice – unlike the rest of you squares.”
Quite funny. Hear the whole song at
In Times of 14.12.13, Dolly Party defended her god-daughter, Miley Cyrus, and recommended hearing her sing Jolene. Dolly said she hoped Miley would do more covers in future – and we agree.