Girly Sound.
Those of you who are Liz Phair fan know approximately what Girly Sound is. For those who don't, or only know about it casually, the Girly Sound tapes were early releases self-produced by Phair in the early 1990's - Girly Sound being her stage name at the time - that led directly to her record deal. There were actually three of them - Yo Yo Buddy Yup Word To Ya Mutha, GIRLSGIRLSGIRLS, and Sooty.
I know what you're thinking (and no - it has nothing to do with how many shots I took). "Why is he mentioning these lo-fi recordings when today's entry is clearly well produced?" It's an excellent question, as this song was the opening single from Phair's third studio album whitechocolatespaceegg. However, it was a rewrite/rerecording of a song from GIRLSGIRLSGIRLS. So, all those years later, she was still using her Girly Sound stuff as a library.
whitechocolatespaceeg, unlike her previous work, came after she got married and had a kid - it wasn't just about sex, which Exile in Guyville and Whip-Smart clearly were. So, this song, written in her overtly sexual era, was reimagined as a more introspective and less sexual piece.
Compare this version to the GIRLSGIRLSGIRLS version. First of all, it's a lot longer - so budget some time. It's also a slower, sparser and I think sadder song - and more self-deprecating. And Henry, her bar-tending friend seems to be more of a dick.
Phair still tours, and was supposed to be opening for Alanis Morrisette and Garbage this year on their tour. I hope that still happens, but until then, here's a live performance from 2018.
17 April 2020
16 April 2020
16 April 2020 - Madonna - Ray of Light
I usually start this posts with the official video - because, you know, that's how most people know the song.
I'm not doing that this time. That's Madonna with a guitar, people. We need to appreciate this. And, although this in its original form was electronic-driven (albeit with a significant guitar piece), I kind of dig this version.
So, before I get into some random facts about this song, I wanted you to rock out to Madonna.
I mean, we're of COURSE going to have the official video here, too. It's really good, too. It's not just good because it's a great electronic dance tune (that, by the way, I just made you rock out to). It's good because Madonna's energetic performance - not only vocal, but visual - is mesmerizing.
The song itself, largely written by Ms. Ciccone, was written in the aftermath of the birth of her daughter and her career-changing turn in the movie Evita. It remains to this day one of my favorite Madonna songs. Interestingly, it was purposely produced, musically, just outside of Madonna's vocal range. When you hear her straining to reach the notes, that's real. And it's spectacular.
I'm not doing that this time. That's Madonna with a guitar, people. We need to appreciate this. And, although this in its original form was electronic-driven (albeit with a significant guitar piece), I kind of dig this version.
So, before I get into some random facts about this song, I wanted you to rock out to Madonna.
I mean, we're of COURSE going to have the official video here, too. It's really good, too. It's not just good because it's a great electronic dance tune (that, by the way, I just made you rock out to). It's good because Madonna's energetic performance - not only vocal, but visual - is mesmerizing.
The song itself, largely written by Ms. Ciccone, was written in the aftermath of the birth of her daughter and her career-changing turn in the movie Evita. It remains to this day one of my favorite Madonna songs. Interestingly, it was purposely produced, musically, just outside of Madonna's vocal range. When you hear her straining to reach the notes, that's real. And it's spectacular.
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