Category: Musical Snobbery

Hottest and Warmest 100 Round Up

Well, I didn’t do a complete, song-by-song analysis of the Hottest 100 this year, but I did tally up the results, compare them to the Warmest 100 and worked out some numbers – mostly because I’m a terrible nerd and can’t help myself.

OK, so there were 15 songs that the Warmest 100 predicted to get into the countdown, but didn’t. The highest numbered failed prediction was Red Light Green Light by Dune Rats, which was predicted for number 70, but actually turned up at 133, 63 places lower.

This was the second worst prediction of the Warmest 100. The worst was No Waves by Fidlar, which was predicted for 81 and actually came in at 113 places lower at 194. Wow. Now that’s what you call a statistical anomaly!

The worst performance of a song that ended up in the countdown was Without You by Dillon Francis which was predicted for 37 and came in at 99, 62 places lower.

Of the 15 songs that weren’t predicted to come in, but did, the highest rated was Lanterns by Birds of Tokyo which ended up at position 22.

The average difference between predicted position and actual position was 18.32 places. If the songs that fell outside of the top 100 are excluded, this falls to 14.59. For the top twenty the average was 8.4 places, for the top ten 4.8 places, and the top five 4.4 places.

The song that most exceeded its prediction was Southern Son by Boy and Bear. Predicted for 92 it came in at 41, a full 51 places ahead.

Four songs came in exactly where predicted. White Noise by Disclosure (69), Arabella by the Arctic Monkeys (18), Strong by London Grammar (10) and Riptide by Vance Joy – taking out the countdown at number 1.

The songs I voted for came in as follows…

* Hey Geronimo – Lazer Gun Show – Failed to Show
* Major Lazer – Jessica – 74
* Touch Sensitive – Pizza Guy – 38
* Chvrches – Gun – 37
* The Wombats – Your Body is a Weapon – 25
* Birds of Tokyo – Lanterns – 22
* Lorde – Tennis Court – 12
* Haim – The Wire – 11
* Lana Del Rey – Young and Beautiful – 7
* Daft Punk – Get Lucky – 3

Overall pretty good, and the Arctic Monkeys didn’t take out the top spot, so even better! 😀

Warmest 100 – 2013

Tomorrow is of course Hottest 100 day. As happened last year some clever souls have – despite the best efforts of Triple J to stop their fun – scraped the net for vote data and compiled a list of predictions, which can be viewed here.

Last year’s predictions were pretty accurate, as shown by my overly obsessive analysis. I have stuff to do this weekend, so I doubt I’ll be live blogging/live calculating as I did last year, but I’ll certainly be keeping an ear out for how well they do. I am mildly surprised that they have Royals by Lorde at number 8, I thought it was a good contender for number 1, but statistics don’t lie. Riptide by Vance Joy (whatever the hell that is) is the predicted number 1, so we’ll just have to see.

Concerning my own votes, three songs don’t make it into the prediction. I’m particularly surprised about Birds of Tokyo, but then it did come out early in the year and people have short memories these days…

Lanterns – Birds of Tokyo
Jessica – Major Lazer
Lazer Gun Show – Hey Geronimo

As for the rest of my choices they’re clustered around the 20’s, which is pretty damn good!

31: Your Body is a Weapon – The Wombats
29: Tennis Courts – Lorde
25: Gun – Chvrches
24: Young and Beautiful – Lana Del Rey
22: The Wire – Haim
19: Pizza Guy – Touch Sensitive
15: Get Lucky – Daft Punk

Roll on the countdown!

PS: Oh, so this is Riptide. Yeah, that’s not bad.

Musical Tuesdays – The Inner Life of the Gay Computer, circa 1987

Well, it’s been a while, what with the Christmas Season and interstate holidays and server problems, but Musical Tuesdays is back!

To make up for the break, I’m presenting not two, not three, but four videos this week! Amazing! And the theme? The Pet Shop Boys.

The Pet Shop Boys formed in London in the early 1980s after a chance meeting in an electronics store. They developed a distinctive style of electropop and went on to become the most successful duo in British music history, selling over 50 million albums. In 1987 they also made a rather strange movie, which was really just an extended series of video clips, including the one I’m featuring for their version of Always on My Mind.

Some background – our heroes have just been warned via the radio of a murderous hitchiker who has already slaughtered three people who gave him lifts. They pull over to pick up a young woman, but end up with a very strange man instead…

With the massive success of the Pet Shop Boys it’s inevitable that they’d attract imitators. For example, the KLF who attempted to follow up the ridiculously massive success of their novelty hit Doctorin’ the Tardis with 1989’s Kylie Said to Jason.

It sank without a trace. Probably just as well.

Imitation of course is the close relative of parody, and we close today with two comparatively recent pastiches, one from New Zealand and one American.

So that’s it. Maybe next week I’ll have enough energy to actually write something interesting…

Oh, and credit to John Allison for the title.

Hottest 100 – 2013

It’s that time of the year again when I vainly try and hold on to both any kind of musical relevance and my rapidly vanishing youth by voting in Triple J’s Hottest 100.

I went into assembling my shortlist without any great enthusiasm. Looking back, 2013 seemed like a rather flat year for music – I couldn’t think of any real standout songs. But once I trawled through the lists I discovered a surprising number of sleepers that – while not mind-blowingly awesome – were good, solid tracks. There were enough of these that I had some real trouble winnowing them down to only 10. Nonetheless after much girding of loins and grinding of teeth I produced the following list which has been duly submitted as of this morning…

Tennis Courts – Lorde

There’s an excellent chance that Royals by New Zealand’s own Lorde is going to take the number one spot, which is annoying as I can’t stand it. Tennis Courts though is a great song, and popular enough that may well come in at around the 20-30 mark (shame the video clip is so rubbish).

Young & Beautiful – Lana Del Rey

Does anyone actually like Lana Del Rey anymore? I’m certainly not a fan, apart from this song, and I can’t even explain why I like it so much. It’s certainly nothing to do with it’s association with The Great Gatsby, a movie that I haven’t bothered to see.

Lanterns – Birds of Tokyo

Lanterns is kind of embarrassing because its sounds like something written to capture the “Class of 2013” demographic. You know, like Friends Forever or Good Riddance. Sadly I’m a sucker for that kind of rubbish.

Jessica – Major Lazer

This song is a real sleeper. It didn’t do anything for me the first time I heard it, but then couldn’t get it out of my head. Smoothly insidious.

The Wire – HAIM

Oh Lord, how to pick just one HAIM track? They’re all so good! After much torment I narrowed it down to either The Wire or Don’t Save Me and The Wire got through by a hair’s breadth. Go and listen to HAIM everyone! Now!

Your Body Is A Weapon – The Wombats

The Wombats just keep on delivering – presumably via their backwards facing pouches. Who’d have ever thought that a bunch of cubic-poo producers would make such great music?

Lazer Gun Show – Hey Geronimo

This makes me think of good old Bill Shakespeare and his full of sound and fury, signifying nothing. But it’s really good sound and fury!

Pizza Guy – Touch Sensitive

A laid back electronic track that sounds like it escaped from the set of Miami Vice. The TV series that is, not the movie.

Get Lucky – Daft Punk

I really didn’t want to vote for Daft Punk, because everyone will be voting for them. But Get Lucky is fun and catchy, and as such I had no choice.

Gun – Chvrches

Chvrches were another group where I had problems choosing a track. Gun won my vote for no apparent reason – If I’d put my votes together tomorrow I may well have voted for Recover instead. Lots of twinkly electronic sounds to tickle the ears.

So there we are. Artists that just missed out on a place include Bliss N Eso, Horrorshow, Owl Eyes and Tiger Town. Better luck next year guys!

Musical Tuesday – Christmas Eve

It was Christmas Eve babe, in the drunk tank…

Yes, it’s Christmas Eve, and while I am not currently incarcerated in a drunk tank it’s an essential part of my festive season to make sure I dust off my copy of the Pogues’ (featuring Kirsty MacColl) Fairytale of New York (1987) and give it a spin (virtually speaking – clicking on it in iTunes doesn’t have quite the same ring).

Exactly why an Irish ballad about drunks, failed relationships and broken dreams should feel so quintessentially Christmasy has always puzzled me. But there’s no denying that it does. And a lot of people seem to agree. It’s been voted the best Christmas song of all time on numerous occasions, and re-enters the charts every December, over 25 years since it’s release.

Its enduring popularity however is not without controversy – chiefly over it’s use of the word “faggot”. It has been claimed that in Ireland the word traditionally means someone who’s lazy, but this hasn’t stopped numerous attempts at censorship, including by BBC Radio 1 who blanked the word (along with ‘slut’) for several hours in 2007 before public outrage forced them to change their minds.

Our second selection this week is Twisted Sister with We’re Not Gonna Take It (1984). It’s particularly well known for it’s video clip featuring Mark Metcalf more or less reprising his role of Neidermeyer from the movie National Lampoon’s Animal House.

By now you’re no doubt saying “Denys, that’s a great song and all, but what in the name of all that’s sane and holy has it got to do with Christmas?”. Well, let’s try a little experiment shall we? Sing with me mi amigos! We’re not gonna take it! No! We ain’t gonna take it! Did you sing along? Be honest, you didn’t did you? C’mon it’s not going to work unless you do!

Let’s try again. We’re not gonna take it! No! We ain’t gonna take it! Well, I have no way to tell if you did or not, but I’ll give you the benefit of the doubt. So, now sing it again, but with some different lyrics. Come all ye faithful! Joyful and triumphant! See!? See!? It’s exactly the same tune!!

This is not some great revelation. Dee Snider has never made any attempt to conceal the fact that he borrowed the tune. It’s just an interesting little musical factoid that many people have never noticed, despite it being hidden in plain sight.

So that’s it for this festive edition of Musical Tuesday. A merry culturally appropriate festive celebration to all, and to all a good applicable time of day!

Musical Tuesdays – Filth

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Warning – This week’s Musical Tuesday contains language unsuitable for British Schoolchildren and other folk of delicate sensibilities. You have been advised!

So, this week I thought we’d explore some music in that is – to say the least – in very poor taste. In fact, it’s sheer filth. But both songs – as I hope to demonstrate – have their latent merits.

The first song is not actually the one I wanted to feature. My ideal choice was Dicktatorship by Australia’s own TISM, a song that explores the relationship between sex and politics by way of “cunt” vs “country” puns. It’s a catchy, bluesy track with perhaps the most memorable opening line in musical history – “The New South Wales Right have cocks like Mastodons“. But it doesn’t appear to be available anywhere online, so I was forced to sub in the same band’s Never Mind the Bollocks, Here’s the House of Representatives from 1993’s Australia the Lucky Cunt.

This doesn’t really say an awful lot, but is possibly the only song in history to include a refrain of “Gimme Bicameral Legislature!” My original choice had slightly more to say, but we have to work with what we have.

(On the subject of TISM, here’s them being interviewed by Shaun Micallef back in his Full Frontal days. Champagne comedy!)

My second selection is a track from fairly indescribable grindcore group Anal Cunt (yes, you read that correctly). In their many years of recording, AC (as they are – thankfully – usually know) perfected the art of taking 10 seconds of cacophonous screaming and drumkit abuse, titling it something cryptic, then shoving it onto a CD with forty or so similar tracks. I don’t know if you could honestly describe the results as music, but they’re certainly interesting.

Perhaps their definitive album is 1997’s I like it When You Die which packs 52 separate ‘songs’ into 41 minutes 44 seconds. The naming conventions of these tracks are what make the compilation notable, breaking down into three distinct types…

You Something: You Live in a Houseboat, You are a Food Critic, You Have Goals.

Something is Gay: Recycling is Gay, Rich Goyette Is Gay, Technology is Gay, Windchimes are Gay.

Completely Randomness: René Auberjonois, Hootie and the Blowfish, Hungry, Hungry, Hippos.

Despite this, every track sounds exactly the same – like a hallucinating cannibal falling down the stairs accompanied by the contents of a kitchen cupboard.

Anyway, the track I’m featuring is from 1999’s It Just Gets Worse, and is titled I Ate Your Horse. It’s unusual in that you can actually – sort of – understand the chorus.

So, that’s it for this week. I promise next week will be less disturbing (it would be hard for it to be more…).

Musical Tuesday – Epics

Well, better late than never!

I’ve been really busy this week – I reinstalled Civilization III and have been conquering the world as the glorious Persians. So much more important than blogging commitments I’m sure you’ll agree.

In any case, this week I’ve decided to focus on two songs that can only be described as epic. Or possibly far too long. Long, epic songs that almost approach prog-rock in their sheer lengthy indulgence.

We’ll start with another from Sheffield movers and shakers of the 90’s, Pulp. Wickerman (from their last album, 2001’s We Love Life) is a phantasmagorical tour of the Steel City and its surrounds with Jarvis Cocker as your guide. Let him show you the hidden rivers that run below the streets, the viaduct that drunks used to jump off and the pressed in plastic letters at the cafe at Forge Dam. Feel the regret and try to track down the sample taken from the soundtrack of classic British horror movie The Wicker Man – I’m assured it’s in there somewhere.

If you’re thinking that the whole thing sounds like poetry, you can hear it as such too.

If eight minutes of Jarvis Cocker isn’t enough music for you, please carry on to our second song, Dire Straits’ Telegraph Road. Taken from 1982’s Love Over Gold it clocks in at an almost unbelievable 14 minutes 18 seconds. It’s not in bad company either, the entire album only has five songs on it, the shortest of which goes for over five minutes.

The interior album art shows a snuffed out cigarette in front of an Amstrad PCW 8256 – which is what a lot of the album sounds like – a dim, smoke filled room at 3:00 in the morning with grit in your eyes and only a monotone cathode-ray tube for company. The recording process got so grim in fact that the band had to cut loose and compose Twisting by the Pool just to stop themselves going mental. But the end result is regarded as one of their best, and Telegraph Road is the crowning glory of the album.

It’s a winding story that starts with the history and development of a town, then meanders off into bleak 1980s post-industrial collapse, which merges into relationship collapse, then wanders into a rocking five minute guitar playout. If this wasn’t enough to make it an epic song, it was also first performed live in my home city of Perth. So there!

Here it is, see you in a quarter hour…

Tune in next week when I may actually be on time for once! 😀

Musical Tuesday – I remember Every. Single. Thing.

Yes, it’s that time of the week again when I pick two songs for your aural delectation and try to justify some vague link between them – Musical Tuesday!

We start today with a classic late-disco track from 1982, Laura Branigan’s Gloria

It may surprise people to learn the the track was originally by Italian singer Umberto Tozzi. A hit in Italy in 1979 it was similarly successful in various translations around Europe, but it only came to the attention of English speakers with the massive success of Branigan’s version three years later. Take a listen to it, from the perspective of 30 years on the production is a bit dated, but that girl could sing! Sadly she passed away from a brain aneurism in 2004.

My second selection this week is Disco 2000 by those thoughtful pre-emos of the 90’s Brit-Pop scene Pulp. Released in 1995 it was one of the band’s biggest hits and tells the tale of a young man in love with a childhood friend who seemingly can’t see him for all the popular people she now hangs out with (not that you’d realise that from the video clip…). The story is apparently autobiographical, with Jarvis Cocker (Pulp’s almost supernaturally tall and thin frontman who was a hipster back when a hipster was someone cool and interesting rather than a dickhead with a beard and stupid hat) claiming that the only made up part is the woodchip wallpaper.

So, what’s the connection? Well did you actually listen to them? The main riff of Disco 2000 is taken direct from Gloria, with Jarvis even driving home the point by singing “Deborah – Deborah” in exactly the same way as Laura Branigan. This should not be any great revelation – it’s been known about for 17 years – it’s just an interesting way to link two very fine songs, that’s all.

(Good lord, I just realised that gap between now and Disco 2000 is longer than the gap between Disco 2000 and Gloria. Damn I’m getting old…)

Note that I’ve embedded the full version of the song, that includes the Cocker trademark of a slightly strange monologue which is cut from the radio version. They always cut Pulp songs for the radio, Common People is never quite as good without the vicious third verse about dogs and chip stains. Sad.

Finally, some years back I had four concluding notes (something like C B A B) from a song stuck in my head for months. After almost going mad I eventually tracked it down to Disco 2000, the very last place I would have expected. Neat.

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