This is so exciting! Legendary disco diva Amanda Lear has just released a new single in France and it's one of the best things she's done in decades. Produced by Steve Campioni and Alain Mendiburu, "Chinese Walk" is a demented electro-pop anthem about the growing influence of Chinese culture - complete with marching sound effects and trippy synths not heard since 1983! It should be a hot mess of epic proportions but through some strange twist of fate, it works beautifully. I particularly love Amanda's kooky lyrics and the way the pretty beats showcase, rather than hide, her breathy vocals. Dali's muse really is in fine form at the moment. Her previous single "I'm Coming Up" would have been a top 10 hit for anyone under 65 and its parent album "Brand New Love Affair" was a late-career highlight. I'm so glad the pop icon is still riding that wave of momentum. She is one of music's last great originals and "Chinese Walk" is a sublime reminder of that. Happily, the video is just as amazing as the song. Amanda transforms from a Caucasian sex symbol of a certain age into a young Chinese girl in front of your eyes! It's very clever and surprisingly classy. The song is available to download from iTunes now. What are you waiting for? Source URL: https://popmusicrecords.blogspot.com/search/label/Gay%20icons Visit pop music records for Daily Updated Hairstyles Collection
A couple of years ago I saw Grace Jones perform live for the first time. It was a revelation and remains one of the best concerts I have ever seen. Check out my review for a full round up. Since then, the legendary 62-year-old pop culture icon has pretty much stayed on the road. Her latest Australian tour is basically the same one she presented in 2009 - only with new costumes from famed Japanese designer Eiko Ishioka. Few artists could get away with rehashing the same show so soon after their last visit but this is Grace fucking Jones. And I would pay to watch her stuff envelopes. She is a living, breathing piece of modern history and still one of the most influential singers on the planet. No wonder Grace described Lady Gaga as a bore. She went there, did that and bought the t-shirt. In 1982. As such, I'm giving the legend a pass for last night's hugely enjoyable trainwreck of a concert.
The show kicked off after a great DJ set by Alex Taylor and the audience, largely comprised of MAGs and fag hags, went into a frenzy when the pre-recorded intro blasted over the PA. But then nothing happened. For about 10 minutes. The technical difficulties were eventually fixed and the curtain raised to the arresting sight of Grace singing "This Is Life" from under a satin sheet. It was a bit disconcerting not to see the star for an entire song but it was worth it when she emerged in a zebra outfit and white wig. Unfortunately Grace appeared to be higher than Whitney Houston and rambled incoherently about her new album "Hurricane", which she promised would be released soon. Someone really needs to tell her it hit stores in 2008. She then belted out a couple of tracks from that underrated gem but looked disorientated and demanded someone plug in a fan because she was "sweating like a racehorse". The diva then walked off stage for a very long time. To the point where some uncouth people actually started to boo.
It turned out to be a costume change and the bondage-tastic ensemble she returned to the stage in was stunning. She also seemed a lot more coherent and settled. She really nailed "William's Blood" and there was something eerily beautiful about "Devil In My Life". During the next extended costume change Grace told us about her legal woes in India where she was apparently held up on the suspicion of possessing cocaine. No comment. Her anecdotes ("I told them to keep the fucking luggage - but can I have my jewellery and music back?") were hilarious and she seemed genuinely happy to be in Sydney saying she'd like to live here. I think the legend's next career move should be reality TV or a talk show. I could listen to her gossip all night! The next segment was my favourite part of the concert. Grace emerged dressed as a giant rose and sang "Love You To Life" before breaking into "La Vie En Rose". She looked amazing shimmying across the stage in the breathtaking outfit and won back the audience when she turned around, revealing her exposed buttocks. Not bad for a 62-year-old!
If you think that's raunchy, you should have seen Grace's performance of "My Jamaican Guy" in a tiny mini-skirt and barely-there straps covering her breasts. It was truly a sight to behold. She followed that showstopping moment with "Corporate Cannibal" before delivering a disco-tastic version of "Well, Well, Well" in gravity defying sequined culottes. She then brought the crowd to their feet with an energetic performance of "Love Is The Drug". After yet another costume change, she was back on stage to perform "Libertango". I love the scary mannequin Grace danced with and was happy to hear something new added to the setlist. Next was an exact replica of the cape blowing "Hurricane" performance she closed the show with last time. It's still extremely effective but perhaps it's time for a change.
The grand finale of "Pull Up To The Bumper" and "Slave To The Rhythm" was perfection with the ageless beauty rocking the stage in an outfit that made her look like a young and pretty Nicki Minaj. Grace passed around the microphone to members of the audience and even flashed her tits. It was an awesome way to end a show that suffers from a stale setlist and extended costume changes. I love her new outfits but it's incredibly boring to wait 5 minutes between every second song. As a result the show lost momentum and seemed disjointed. Having said all that, Grace's ramblings were comedy gold and I'll be the first in line for her next visit. Maybe she just needs to record a couple of new songs first.
Last night I got to tick another iconic diva off my "must see" list. I caught Cyndi Lauper at Mardi Gras a couple of years ago but two songs after twelve pills doesn't really count. And to be honest, I almost missed this show too. The idea of sitting through a blues set didn't fill me with excitement. There are two distinct phases of Cyndi's career that I connect with - "Bring Ya To The Brink" (my favourite album of 2008) and just about everything pre-1990. My mum was obsessed with her in the 80s and I grew up with "She's So Unusual" and "True Colors". I also vividly remember mum taking me to see Vibes in the city. Who else remembers that masterpiece? Ms Lauper played a psychic and I think it had a completely believable plot about an Incan tribe in Ecuador with supernatural powers. Please tell me it's on DVD! But back to the concert. It was a revelation. I expected the songs it to be a fairly sedate affair but from the moment Cyndi took the stage and started bouncing around like a teenager I knew I was very wrong.
The first thing that strikes you about the seemingly ageless 57-year-old (seriously, what's her secret?) is her adorable accent. The next thing is her voice, which has only become stronger with time. It is one of the most unique instruments in popular music and she put it to good use on "Just Your Fool" and "Shattered Dreams" - two of the highlights from "Memphis Blues". From then on it was a fairly even mix of old songs and blues covers. I don't know enough about the latter genre to pass judgement on their authenticity but they sounded pretty good to my uneducated ears. Particularly the uplifting "Down Don't Bother Me". More surprising was how effortlessly classics like "She Bop" and "Change Of Heart" fit into the set. The extended encore, which almost ended in drama when one of Cyndi's crazy fans started harassing the diva for asking people to sit down, included "Girls Just Wanna Have Fun", "True Colours" and the gorgeous "Rain On Me". I'd still love to catch her in pop mode one day but this was a great introduction to one of music's last originals.
One of the most popular pieces I've ever written for this blog was a tribute to the legendary Italian diva Raffaella Carrà. I still receive the occasional email about it. They range from helpful recommendations all the way through to outraged essays. Mentioning La Carrà's Argentine adventure haunts me to this very day! Since then my love for Italy's greatest export has continued to grow. She really was ahead of her time and I'm convinced La Gaga stole her look. Anyway, the original and the best has been very quiet lately but pop fans can breathe a sigh of relief because Raffaella is back with the song of the (European/American) summer! "A Far L'Amore" is the handiwork of French DJ Bob Sinclar, who is best known in Australia for his massive number one hit "Love Generation.
Oh, hang on a minute... Sorry, Raffa called and ordered me to stop polluting her post with inconsequential details about that boring Frenchman.
All you really need to know about this future smash is that it re-works the stunning 67 year old diva's 1977 disco classic "A Far L'amore Comincia Tu". That song is probably Raffaella's biggest international hit. It was translated into German ("Liebelei"), Spanish ("En El Amor Todo Es Empezar") and became her only UK hit when it was released as "Do It, Do It Again". It is so catchy, I can't believe it hasn't been revived until now. And Bob does a great job. He deserves credit for keeping the original vocal and I love the overhaul. "A Far L'Amore" now reminds me of club hits like "We Speak No Americano" and "Barbra Streisand". It's quite minimal and repetitive but after a couple of listens it gets stuck in your head and refuses to leave. La Carrà is even dusting off her sequins to appear in the video. It's exciting but they should just use the stunning fan-made effort (below). Raffaella's exquisite beauty and hypnotic dance moves are perfectly showcased. Brace yourself for the comeback hit of 2011! Source URL: https://popmusicrecords.blogspot.com/search/label/Gay%20icons Visit pop music records for Daily Updated Hairstyles Collection
How does she do it? Despite being 24 months pregnant and crazier than the person who gave Cassie Davis a record deal, Mariah still manages to churn out the most fabulous video of 2010 on a budget that would make Jessica Mauboy roll her eyes and say bitch, please. In case you haven't heard it yet, Mimi has released a dance remix of "Auld Lang Syne" just in time for New Year's Eve. I know what you're thinking - finally a worthy successor to J Lo's "Waiting For Tonight"! But the diva wasn't content at recording the soundtrack to a billion drunk party pashes, she also found the time to gay up the 31st of December even further by filming the amazingly cheap video extravaganza you find below. Seriously, this kills me. If I could marry a YouTube clip I would be happy to spend the rest of eternity with this. Leave it to Mimi to squeeze her extremely pregnant arse into a low cut baby doll mini-dress and preen her flowing locks like she's still on the set of "Dreamlover". Throw in the cheapest firework projection in film history, a bunch of tacky ad-libs ("Does anybody really know the words?" at 2:25 mins) and a remix sounds like it was put together by Eiffel 65 and you have an immediate trash classic. Bow down to her for she is holy!
I've been inundated with (at least two) requests to review this single and I'm more than happy to oblige. Mylène Farmer needs no introduction if you live in Europe but my Australian homegirls and gays might need some help. She is often described as the French Madonna due to both her phenomenal chart success in the 80s and inability to age gracefully. Personally, I think the comparison is unfair because unlike her American counterpart, Mylène still has hits and is not completely irrelevant. Although her latest smash does have more than a whiff of desperation about it. The completely natural, surgically untouched 49 year old has hooked up with RedOne for "Oui Mais Non" and some critics are accusing her of ripping off Lady Gaga. How ridiculous! Everyone knows that Gaga stole Kat Deluna's sound first - so, who cares? And everything sounds better in French anyway. You could probably read the obituaries to me en français and I'd think it was a love poem. But I digress. The production is slick, the chorus is catchy and RedOne thankfully forgot to bring his vocoder to the studio. I'm sold. The video, on the other hand, is a lazy "Bad Romance" rip off but you can't have everything. I've already ordered a physical copy of this from French Amazon. It's worth the 10 Euros just to stare at Mylène's natural beauty for hours on end!
After exposing you all to the filth that is Wendy Ho, I thought I should raise the bar by featuring someone cutting edge and alternative. But I decided to go with Céline Dion instead. Sorry. The thing is - I was contemplating what to choose for my Friday flashback and couldn't think of a better alternative than "Taking Chances". Which is strange because Céline and I have a strained relationship. Years of listening to my mum belt out "My Heart Will Go On" while doing the ironing have left deep psychological scars that are yet to heal. Furthermore, the diva's post-90s output leaves a lot to be desired. That is with one glorious exception. "Taking Chances" is the best song the Canadian legend has ever recorded. And I'm convinced it would have been a huge #1 hit - if it was recorded by anyone else. Instead, it only peaked at #60 in Australia and just scraped into the UK top 40. What a disgrace! Not only does Céline take to the pop/rock genre like a surgeon's knife to Heidi Montag's face, the lyrics ring true and the big, bold chorus is a thing of great beauty. I love rocking out to "Taking Chances" while I'm driving (yes, I really am that gay!) and the song has some great remixes. It should be noted that Céline's jam is actually a cover. Platinum Weird (ie. Kara Dioguardi and Dave Stewart) do a great job on the original but the song needed a big set of pipes. And the presence of an aging gay icon with a really, really bad wig. Speaking of which, Céline really ups the glamour stakes in the amazing video clip. Unfortunately, I can't embed that extravaganza on the blog - so you'll have to make do with this fabulous montage of live performances. My favourite bit is Céline's bizarre dance at 1:25 minutes. Stunning!
I know I'm a bit late with this one but I couldn't resist the urge to give my two cents on Kylie's new single cover and glorious "Get Outta My Way" remix sampler. And it's been at least 3 days since my last Minogue post, so I'm due for an update! The cover doesn't exactly blow me away - it looks a bit Photoshop-tastic and the cheap bitch really needs to consult her cutting edge fashionista sister about finding a new outfit - but she looks stunning and twice the Kylie can never be a bad thing. As for the remixes, so far so amazing. My favourite mix comes from Kris Menace, who transforms the song into the perfect soundtrack for an Ibiza sunset. I can almost smell the sweat and Sangria! A close second is Sidney Samson's crazy interpretation. Most of you will probably hate it but this might actually get played in Australian nightclubs (outside of Oxford St). There is, however, a glaring omission from the sampler - the trashtastic Bimbo Jones mix. I hope the track's absence doesn't mean that Parlophone decided to give it the flick. The remix is a hot mess of epic proportions but Kylie needs something low brow to keep the gays happy. "Get Outta My Way" is tentatively scheduled for release on the 27th of September. Fingers crossed it follows "All The Lovers" into the bottom reaches of the top 15. Jokes! I sense a smash. Now all we need is a fabulous video - preferably with more random white stallions and floating balloon animals. Check out MMB's remix sampler below. Well done, Mark!
So here's the first sneak peek at Kylie's outrageous "All The Lovers" video clip, which finds Dannii's increasingly immoral sibling partaking in what appears to be a massive gang bang. What about the children? Jokes aside, I fucking love it! The Queen of Pop should promote indecent exposure and public fornication more often. This could be Kylie's first truly iconic video since "Slow" and should provide the buzz she needs to snag a lofty chart position. More importantly, the bitch looks HOT. That costume is so much more flattering on film and I haven't seen airbrushing this thorough since Mariah's last album cover. I'm so glad Kylie has decided to bring sexy back and push the envelope again. No doubt the video will be torn apart by the usual critics - who seem to think every woman over 40 should be covered from head to toe in a burka -but this is still very tasteful. It reminds me of a big budget perfume commercial or Vogue fashion shoot. Sexy but still artistic and glamorous. I get goosebumps when the chorus kicks in and they lift her from the crowd. Only three more days before the finished product is unveiled!Source URL: https://popmusicrecords.blogspot.com/search/label/Gay%20icons Visit pop music records for Daily Updated Hairstyles Collection
Despite only having two flop albums to her credit, Choice changed the face of music forever. Her foul mouthed fabulousness broke barriers for female artists by tackling subjects that were previously considered taboo - like big dicks, dildos and hungry pussies. This pioneer should be the toast of the hip hop world. Without her there would be no Lil' Kim, Khia or Nicky Minaj. It's something of a tragedy then that Choice's stunning legacy is all but forgotten outside of the gay community. A talent of this calibre should be living the high life instead of working at McDonalds or turning tricks (my money's on the latter). With any luck this post will win Choice a couple of new fans. I live in hope that she will emerge like a phoenix from the ashes and reclaim her crown as rap's baddest bitch.
Born Kim Davis, the soon to be legendary diva changed her name to Choice and quickly made waves on Houston's hip hop scene. Her big break came in 1989 when she featured on Willie D's charmingly titled "I Need Some Pussy". Choice was quickly snapped up by Rap-A-Lot records and her debut album was released in 1990. I usually find rap about as appealing as death metal but "The Big Payback" remains one of my favourite albums of all time. When not dissing her male contemporaries (Ice Cube and NWA both get a serve), Choice raps about her sexcapades in graphic detail. The shrinking violet explores cunnilingus on "Cat Got Your Tongue":
Just like a dope fiend getting a hit You happy as fuck when you're licking my clit
Before moving on to dick size on "Mr Big Stuff":
Leaving my cunt unsatisfied, Whoever told you you had a big dick lied!
My favourite track is "Pipe Dreams" (listen to it in all its filthy glory below), which finds Choice ruminating on her favourite sexual experiences. I could quote the entire song but this is one of the more demure examples:
I couldn't take it without lubrication It had to be the biggest damn dick in the nation
They say lightning doesn't strike twice but "Stick-N-Move" (released in 1992) is only slightly less amazing than "The Big Payback". Choice still had her mind in the gutter but this time around at she at least discovered safe sex. "HIV Positive" has to be one of the most politically incorrect songs of all time ("HIV positive, you know the AIDS?") but I'm ashamed to admit how many times I've played it over the years. Other highlights from the diva's brilliant sophomore album are "Choice Is Choosie", "Tales From The Sexside" (which includes the immortal line "stuck my dildo in his ass until his asshole bled") and "Humpin'". The album was actually quite successful by Choice's standards - it reached #83 on the R&B Chart! - but sadly it proved to be her last hurrah and she has literally never been heard from again. Wherever Choice is, I hope she's still having pipe dreams and knows how sorely she's missed by her small army of gay fans. STOP PRESS!
Sometimes my mind works in mysterious ways. Last night I was lying in bed listening to a Freestyle playlist on my Ipod, which got me thinking about Brenda K. Starr. When I think of that legendary Freestyle icon, my mind always wanders to Mariah. As any Lamb worth their Hello Kitty screensaver and Jennifer Lopez voodoo doll will tell you, Brenda played a huge role in launching Mimi's career by slipping her demo tape to Tommy Mottola at a party in the late 80s. That put me in the mood for some vintage Mariah and I spent the rest of night re-visiting favourites from her self-titled debut all the way through to 1999's trashfest "Rainbow". I then had the brainwave of putting together a list of her ten best singles from the 90s, which would be an easy task for most fans but I'm a relatively late convert. In fact, I genuinely disliked Mariah at the peak of her popularity. Probably due to the fact that overblown ballads generally make me want to vomit and because my mum, like every other Australian housewife in the mid-90s, played "Music Box" on repeat for at least a year. I'm still haunted by visions of her driving me to school singing along to "Without You" at the top of her lungs! Anyway, I know everyone will have their own opinions on this but here are my 10 favourite Mimi anthems from the 90s.
10. I Still Believe (Video) (1999 - US #4, UK #16, AUS #54)
Speaking of Brenda K. Starr, Mariah paid tribute to her mentor by covering the diva's biggest hit on her "#1s" compilation album. I'm not a huge fan of Mimi's power ballads but this is definitely one of her best. "I Still Believe" is less overwrought than most of her earlier efforts, turning in one of the best vocal performances of her career. That said, Brenda's version is still better.
Not only is this the best song ever recorded about the sweet taste of cum, it also represented a turning point in Mariah's career - when she ditched the granny ballads, squeezed into the shortest skirt she could find and decided she was black. Basically, it was the moment I realised I loved her. The video was also a work of genius. Mimi camping it up on a jet ski before rolling around with that hunk on the beach was truly a sight to behold. A camp classic.
8. All I Want For Christmas Is You (Video) (1994 - US #86, UK #2, AUS #2)
Releasing a Christmas cash-in is a fairly stale marketing technique for desperate (and usually washed up) pop stars. Sure, they usually sell a few copies but how many stand the test of time? I can think of The Weather Girls' "Dear Santa" and Wham's "Last Christmas" from the 80s and "All I Want For Christmas Is You" from the 90s. That's all. It speaks volumes for the song's catchy chorus and camp appeal that Mariah's anthem still charts every December. Check out the trashtastic 2009 dance remix to celebrate the song's 15 year anniversary!
7. Heartbreaker (Feat. Jay Z) (Video) (1999 - US #1, UK #5, AUS #10)
"Rainbow" is generally accepted by fans as the era when Mimi musically jumped the shark but it has more than its fair share of guilty pleasures. I loved the album's lead single then and I still do. Mariah had dabbled in urban beats before but this was the beginning of her rent-a-rapper period and "Heartbreaker" worked surprisingly well. I love the bouncy production and the chorus is pretty irresistible. Furthermore, anything tragic enough to sample Stacy Lattisaw's ode to aliens "Attack Of The Name Game" and feature Jay Z's worst rap ("she wanna answer the phone, tattoo her arm, that's when I gotta send her back to her mom") is OK by me. By the way, was this the #1 hit that Columbia Records bought by selling the single for 50 cents or was that "Loverboy"? I get confused...
As much as I hated Mariah's mid-90s power balladry, it was impossible to refute the poptastic brilliance of "Fantasy". This was Mimi at her most upbeat and fabulous. Sure, the track shamelessly rips off Tom Tom Club's "Genius Of Love" but it's a killer beat that was begging to be sampled. I thought the diva had finally ditched the granny ballads and staked her claim as Paula Abdul's natural successor but "Daydream" turned out to be even more boring than "Music Box". At least this stunning disco throwback made the album a little more bearable.
5. Emotions (Video) (1991 - US #1, UK #17, AUS #11)
1991's "Emotions" is easily my favourite early Mariah album. It was much more fun than her debut and infinitely less formulaic than mega-sellers "Music Box" and "Daydream". A lot of the credit has to go to David Cole and Robert Clivillés, better known to 90s pop fans as C&C Music Factory. They produced most of the album's highlights ("You're So Cold" and "To Be Around You" come to mind) as well as the title track and another little gem that I'll come to later. I love the unexpected disco influence on this anthem and Mariah's dog whistle never sounded more fabulous. A 90s pop classic.
4. Always Be My Baby (Video) (1996 - US #1, UK #3, AUS #17)
I'm always surprised when fans pinpoint this as Mimi's first taste of hip hop because it strikes me as pure pop. Is it because the fat dwarf that married Janet Jackson produced it or because the song was nominated for a Best Female R&B Vocal Performance at the Grammys? Regardless of its genre, "Always Be My Baby" stood out as the shining gem on "Daydream" from the very first listen. I love the catchy vocal hooks ("do do do do dum") and cute chorus. Just don't pay too much attention to the delusional lyrics. He won't always be your baby. More likely he's moved on and can't even remember your name. Stop lying to us, Mariah!
3. Butterfly (Video) (1997 - US Did Not Chart, UK #22, Aus #27)
This is just beautiful. Well, apart from the horse porn video which puts Britney's "Radar" to shame and finds Mariah running around a field looking like Nell in bad lingerie. "Butterfly" wasn't a big hit for Mimi - it didn't even chart in America (although I think that was due to stupid chart rules as opposed to actual popularity) - but to this day it remains one of my favourite ballads. The pretty lyrics are perfectly balanced against her delicate vocal delivery and the song packs a genuine emotional punch. Probably because it was written during the breakdown of her first marriage. I know some people find this saccharine but I just think it's gorgeous.
2. Someday (Video) (1991 - US #1, UK #38, AUS #44)
Someone needs to build a time machine and bring back new jackswing Mariah. Bitch was fierce! "Someday" was apparently one of the five songs on the demo tape Brenda K. Starr slipped Tommy Mottola. He must have seen dollar signs flash in front of his eyes because this is one hell of a pop tune. I love the bad boyfriend lyrics and the jackswing beats are a nice touch. If only Mimi had followed this route instead of wasting all those years having massive hits with cures for insomnia like "Hero", "Without You" and "Open Arms". Sure, she'd probably be back singing back-up for Brenda but I have no doubt she'd be an even bigger Pop Trash Addicts icon than she is already!
1. Make It Happen (Video) (1992 - US #5, UK #17, AUS #35)
Dance beats and gospel music don't usually make the best bedfellows but C&C Music Factory and Mariah concocted the perfect formula on 1992's "Make It Happen". Rolling Stone dismissed it as an "obnoxious self-help dance track" but does all inspirational music have to be deathly boring? You could never accuse the song of being subtle but I love the message and Mimi's earthy vocal delivery. For pure comedy value, check out a very drunk looking Mariah destroy "Make It Happen" on American TV last year and compare it with this blissful performance (below) from the inaugural 1998 Divas concert. They are both fabulous... just for very different reasons.
I used to think there were two kinds of live albums. A select few give you a whole new insight into the artist, while the vast majority are best thought of as souvenirs for hardcore fans. In the past Kylie has delivered one of each. As far as I'm concerned 1998's "Intimate & Live" is an essential milestone in the pop icon's career. It's a vibrant snapshot of the diva at her most brave and creative. When friends question Min's artistic credentials I play them "Take Me With You" or "Free" and watch their jaws drop. The same can't really be said for "Showgirl Homecoming Live" - regardless of how much I love it. Sure, there are some gems (the original and BEST version of "White Diamond" and the truly epic mash of "Light Years" and "Turn It Into Love") but most of the time I just watch the DVD. After all, the concert was created as a visual extravaganza and it definitely loses something in translation. So to which category does the recently released "Live In New York" belong? Well, neither. It doesn't really offer anything new but it's bursting with such a sense of joy and occasion that it's impossible to resist. Think of this as a celebration for the singer and her fans alike - and as a perfect end to the (in my opinion) highly underrated and intriguing "X" era.
"For You, For Me" is only the second Kylie tour I've missed in the past 20 years (the other being 1991's UK only "Let's Get To It" extravaganza), so I can't comment on the dancers, costumes or special effects but the setlist is a pleasing hybrid of "Showgirl Homecoming" and "X2008". The highlights of "X" are carefully sprinkled between the legend's greatest hits - with a medley and a couple of mash-ups thrown in for good measure. You've basically heard it all before if you attended either of Kylie's previous tours but it must have been a heady mix for the Minogue starved American gays! The quality is uniformly excellent, so it's hard to pick favourites but I particularly love the new arrangement of "Confide In Me", while joyous renditions of "The One" (the lo-fi guitar intro is a great touch), "In My Arms" and "Wow" are a testament to enduring appeal of "X". However, if I had to choose the highlight of "Live In New York" it would be the "Everything Taboo" medley. This is a wet dream for old school fans. Time has not wearied the brilliance of "Shocked" and "What Do I Have To Do?" one iota, while "Spinning Around" always sounds remarkably better live (it's one of the very few Kylie songs that I absolutely hate).
Criticisms? Well, it's a scandal they didn't drag Jazzi P out of retirement to rap on the aforementioned rendition of "Shocked" but apart from that there's not a lot wrong with the album. I am slightly annoyed that Kylie's stunning US smash hit "All I See" missed the cut and I feel the urge to point out that the "Red Blooded Woman/Where The Wild Roses Grow" mash didn't work that well to begin with (and still sounds shit). If I was going to be an extremely picky bitch I'd complain about the increasingly tired jazz interpretations of "I Should Be So Lucky" and "The Locomotion" and express my annoyance at the omission of the amazing new track "Better Than Today". I assume that means it will be appearing on the diva's next studio album but I'll be writing a strongly worded letter to KDB Pty Ltd if it's discarded like "Flower", "Ruffle My Feathers" and the original "White Diamond"! However, all this nitpicking seems incredibly petty, particularly when you consider the album's greatest achievement - documenting the sense of celebration that permeates every second of the concert. Kylie is clearly having the time of her life and it's almost impossible not to go along for the ride. "Live In New York" is available to download from iTunes now.
An edit of Kylie's fabulous retro "Everything Taboo" Medley
I feel like a bad Kylie fan. I didn't even know Parlophone was running a competition to find the best fan made "Speakerphone" video until I came across this brilliant animation on Trip The Switch. Seriously, who needs a professional clip when people can whip up shit like this on their home computer? Rudolph Pap (the animator) effortlessly captures the essence of "Speakerphone" and amusingly portrays Kylie as an evil mythological figure who (literally) draws hot men to their death with her beauty and sexual wiles. Andres Velencoso - run while you still can! All jokes aside, I honestly think this is a work of art. I love that animated Kylie spends most of the clip floating around naked and the big finale is wonderfully dark and twisted. Unfortunately, some of the more humourless members of Al Kylieda are up in arms over Rudolph's video but I hope common sense prevails. This is in a different league to the other entries and it deserves to be played before Kylie's Hollywood Bowl concert (which is the grand prize). If only the artist would turn his attention to Dannii!Source URL: https://popmusicrecords.blogspot.com/search/label/Gay%20icons Visit pop music records for Daily Updated Hairstyles Collection
I've been feeling so miserable today, dealing with various dramas but someone up above has obviously taken pity on me and decided to bring a little sunshine back into my life in the form of new music from Kylie and the first preview of Goddess Toy's stunning comeback "Home". I can't believe I'm being treated to new stuff from my two favourite divas in the one day. It feels like Christmas!
I guess I should start with Kylie because unlike Toy, her song hasn't been around since 2006. Most of you will probably remember that Kylie was recently hired to record music for the most expensive Bollywood movie in history and the fruits of her fabulous labour have finally hit Youtube. I can't believe how trashtastic "Chiggy Wiggy" is! The song is so much fun. I love it when Kylie gets a bit kooky on us (see her Wiggles duet for starters) and this Indian flavoured toe tapper is about as weird as it gets. The production is beautiful and I love the trashy chorus - I wanna chiggy wiggy wit choo boy! That's not even mentioning the brilliant video clip. My girl looks amazing and probably dances more in these one and a half minutes than she has in the past ten years. The outfit and dance moves are very Beyoncé but Kylie pulls it off. I love the look on her face when Akshay arrives on the big chandelier. It's the best acting she's done since "Biodome"! I can't wait to see this in full and really hope it gets a worldwide release. I honestly believe it's catchy enough to become a novelty hit.
Moving on now to the Dutchess of Dance. Toy Toy has just unveiled a preview of her "Home" video clip and it looks suitably classy. I'm slightly disappointed that she's not at least holding a framed photo of Michael but the layers of vaseline on the camera lens more than make up for it. La Toya looks absolutely phenomenal. I can't believe she's older than Madonna - Toy could honestly pass for one of her adopted Malawi babies! My favourite part of the preview is when our queen walks along holding the candle. She looks like a supermodel and her diva strut puts Miss J to shame. I just wish she didn't look so damn happy. This is supposed to be a dedication to her dead brother not "Sexual Feeling - The Sequel"! Toy works in mysterious ways, so I guess all will be revealed when the clip debuts on the 1st of September. I can hardly wait.
Jonah is all over the blogs at the moment - and with good reason. The openly gay Swede is a much needed breath of fresh air. Unlike the other cookie cutter pop stars being churned out of Scandinavia, Jonah hasn't had a personality bypass. He's often loud, sometimes bitchy and always staggeringly honest. Oh and did I mention that he can sing? Jonah has big plans for the second half of 2009. There's a highly anticipated man-on-man duet on the way as well as new solo material and a tour. Unfortunately, the duet is still tightly under wraps, so I couldn't really get the dirt on that. To make matters worse, Rob and Peibols had already asked all there is to know about his career and new music in fabulous interviews on Don't Stop The Pop and Ambiente G respectively. So what's a self-respecting gay to do when he has an international sex symbol all to himself and nothing new and interesting to ask? Talk dirty, of course! This interview won't win me any journalism awards but it's definitely one of my favourites. Keep an eye out for Jonah. I'm sure you'll be seeing a lot more of him on these pages before the year is out.
Hi Jonah, welcome to Pop Trash! I'm told your latest single is a duet with another man. Can you tell us who your singing partner is? Are you guys singing to each other or is it a non-sexual man on man duet? It's still a secret who will join me on the duet. The song is an up-lifting dance anthem that makes you want to dance, party and get high on love. And of course it's about fear, which makes it a gay anthem as well since all gay men including my self, constantly walk around with some kind of emotional disorder making us fear everything that could be good in life. Hahaha!
When and where is your stunning anthem going to be released? Is there a nude video to accompany it? In the beginning of this autumn. There will not be an nude video for this one but beware - my other new release"Welcome To My World"we have got very dirty plans considering the visuals! As one of the few openly gay pop stars, do you feel it's harder to break through into the mainstream? Has it adversely affected your career? Sure, probably it has "behind the scenes", but not so much that I know of... But there have been contracts - and we're talking big ones here - that I refused to sign because it includes paragraphs that don't let me "be gay". I'm sorry but that totally doesn't work for me. If I'm gonna go out and bang a girl, I would rather it be because I'm desperate and out of sexy guys to fuck than because it's in my contract!
What do you think about gay pop stars like Will Young who sing about girls? Is it a necessary evil or a cop out? Well, everybody can do exactly what they want to.. but.. ahhh.. I dunno.. It just sounds weird to me. I mean I'm a great actor and an extraordinaire performer. Give me a role and I act it. Give me a scene and I'll play it. But when it comes to being myself, giving my audience a part of my heart I want it to be pure.
I'm going to get in trouble for saying this but Swedish pop music generally turns me off because the singers come across as soulless robots. What's your opinion of the Swedish pop scene? Who are you favourite artists? I totally agree on one point. So much sounds the same and the productions are so good that it becomes totally soulless and empty. We have great voices in Sweden and fabulous producers. But not so many great performers. I mean, where's our Robbie? Our Kylie?! I'm so happy for Agnes right now, starting to make it big. I think she'll grow with that. She has the voice and the looks and the right people around her. Now it's only time for her to get the rest. Hmm otherwise... Swedish artists that have gone international... I'm getting bored with Robyn at the moment but at the same time I think she's probably our most talented pop export. I love Adrian Lux right now. Have you seen hislatest video?
That clip is AMAZING! Now let's get controversial. Is Carola Häggkvist a homophobic cunt? Hahahha Why?! Because she finds homosexuals weird!? Well then I'm an even bigger homophobic cunt! No, to be honest. She's absolutely not homophobic but - let me put it this way - she's not so smart either. I could talk about Carola for hours so don't get me started!
Now this shit is GAY!
I loved your cover of "I Am What I Am" (above). It's closely associated with a number of big gay icons. Which tragic gay divas do you admire? Oh that oldie was my first single in Sweden. It was the official song of Stockholm Pride that year and I still love the song in a strange way. It's so ubergay. I mean not even BRUNO would have done it today! Anyhow, divas I admire: I cannot think of any right now, maybe... and even if I don't wanna let it out. Madonna is one of my big role models. Not always because of her music and definitely not when it comes to her shows anymore... but businesswise she's no 1. She's totally ruthless when it comes to getting fame and she has her mind on PR and Media like nobody else. From her first daring steps on the club scene in NYC until now...
Speaking of Bruno, have you seen the movie? If so, did you find it funny or offensive? I found it strangely romantic... OMG. That move really stirred up emotions, huh? I'm totally fed up with all those political arrogant stupid activists trying to ruin every moment of fun in our lives. I mean if they want to make a difference please focus on something else then a stupid movie. I love it and I'm proud of it!
Oh let's play "Would You Hit It?" I'll name a celebrity and you have to say if you'd fuck him/her/it!
- Erik Hassle Hmmm NO!
- RuPaul Maybe. I have a weird hetero perspective on trannies and I think they are hot in a strange kinda way. When I go out I love being surrounded by drag queens.
- Seth Rogen BORING!
- La Toya No way! (rude!)
- Jose Galisteo Yes, please. I already have plans for him!
This was fun!!! Give me more names!
I'll send you over some more names later! By the way, my Swedish friendTommiehas been high and dry for months. He's a bit unbalanced but he puts out for Vodka. Can I hook you guys up? Hmmm if he is Swedish his chances are minimal. I probably already done everyone worth doing in Sweden. Those 5 or six guys and a tranny, I mean! Hahaha.
I understand you've been single for years. What do you look for in guys? What turns you off? This is probably the trickiest question so far. Years? I think it's decades. I don't think I'm able too FEEL at all anymore. But hey... let's not give up hope totally! I've changed my "type" in the last two years after spending so much of my time in Miami and Paris. Before I wanted the "Ken doll" type, like Ricky Martin and well polished dudes. Now I'm really into tattoos and muscles these days.
If I look at the guys that left me heartbroken they're all dark haired, really goodlooking ones, fit but not with too much muscles (I'll send you some pics Mike to see what you think *lol*). If I looked at the ones I left heartbroken they all look different, tough hahaha. And I'm not gonna say like Lady GaGa, even if that what everyone is expecting me to say, big cocks! I look for charisma. He's got to be down to earth, have a sense of humour, looks and most important: passionate guys with goals in life always turn me on. If he's a party guy or a home boy doesn't matter.
What turns me off? I need independent guys but with a huge heart. Guys without any ambitions and bad taste in clothes - GET OUT OF MY WAY!
Can you recommend any good porn? You now what?! I never looked at porn until recently. Before January this year I wasn't interested at all but then I foundDamien Crosse. Jesus! Porn has never been so great. I wanna marry him. Until then I'll keep myself happy with watching his movies!
You've spent most of last year travelling. What's your favourite city, who has the best gay scene and where are the best hookers? NYC is my favorite city. And Paris. Bangkok has the funniest gay clubs. Miami is my second home so everything there is so familiar to me which makes it easy and to chill out there. There's not many things better than spending new year until end of February in Miami. I totally love it! Barcelona has the best gay scene tough... over all. Best shopping is probably Milan and New York. For relaxing and meditation I'd go to Sicily or some of the islands outside Thailand. I've never been to Australia. Hmm, maybe we could arrange that?!
Well my door is always open! So, what's next for Jonah? Are we ever going to get an album? Sure! Just be patient! First you'll get brand new singles. One will be the theme song for the album and the upcoming tour ("Welcome To My World") and the other one will be the duet. The plan is to follow this with an EP during mid autumn. Album release in the end of 2009... kinda!
Thanks for the chat, can't wait to hear your new stuff! Bye!
I still remember the first time I heard "Body Language". My blood ran cold and I'm pretty sure a part of me died inside. In all my years as a Kylie fan, I don't think I've ever been so disappointed - and that includes the time I fell into a boredom induced coma listening to her first Deconstruction album. In retrospect, my expectations were ridiculously high. At the time I honestly thought Kylie could do no wrong. After a decade of hard knocks, she had somehow kicked and scratched her way to the top of the pop pile with "Fever" - even Jesus was jealous of her career resurrection! Kylie had seemingly found the winning formula and I naively hoped "Body Language" would deliver more of the same. It didn't. I was ready for just about anything apart from the eclectic mix of mid-tempo electronic jams, 80s funk and bizarre American-centric pop tunes. "Body Language" was the anti-"Fever" in just about every respect and it took me a long time to get into. Strangely, it now holds a special place in my heart. It's not the masterpiece that some deluded fans proclaim it to be but Kylie's 9th studio album is a daring and complex pop opus that houses some highly underrated gems.
A large part of my initial negative reaction to "Body Language" stemmed from the fact that it seemed to be a nasty case of false advertising. The lead single put off a lot of fans but I've always thought that "Slow" was the natural progression from "Fever". That track is so sleek, sophisticated and cool - while still being quintessentially Kylie. I love the minimalism. It's unbelievably low key, yet deceptively insistent and catchy. Team that up with the gay porn video clip and you have one of Kylie's finest singles and an exciting new musical direction. However, someone at Kylie HQ had other ideas. The Alexis Strum penned "Still Standing" is more reflective of the album's tone. Many fans consider this something of a diamond in the rough but I feel like there's something missing - like a chorus! The lyrics are great and suit Kylie perfectly but this should have been a hands in the air dance anthem, not a quirky mid-tempo electro number that goes nowhere faster than Dannii's career. "Secret (Take You Home)" is more like it. Often dismissed as a cringeworthy attempt to break America, I prefer to think of this catchy trash as one of Kylie's most fabulous guilty pleasures. I love the Lisa Lisa & The Cult Jam sample, while the rap is sheer camp genius - buckle up baby feel my speed, take you from zero to sixty!
So much was made of Kurtis Mantronik's involvement in the album that I was expecting something seriously brilliant. Instead, we got the stillborn "Promises" - a track that bores me as much today as it did 6 years ago. I will never understand why the gays on Say Hey were campaigning to get this released as a single, hell even "Nu-Di-Ty" has more commercial appeal! Speaking of hit potential, I think "Sweet Music" had plenty. It's perhaps the most straightforward pop tune on the album. I love the 80s references in the lyrics and the chorus is very catchy. Much like the sublime "Red Blooded Woman". I could write a thesis on the way this song divided fans but I loved it from the first listen. Bitches lamented the blatantly American sound - a criticism that seems ridiculous today when everyone with a recording contract is busily trying to jump on Rihanna's urban pop bandwagon. Then there were claims that Kylie was too old (at an ancient 35, mind you!) to sing lyrics about "freakin' around". Strangely many of the same people had no problem with 49 year old Madonna singing about her "sticky and sweet" candy shop. As far as I'm concerned, the song is a high camp triumph. I don't think anyone was buying the American makeover but I can't imagine my Kylie collection without this rubbish. The Whitey remix, in particular, is a trip to gay heaven. Happily, Kylie had the last laugh with this one. "Red Blooded Woman" is the only Kylie song apart from "Can't Get You Out Of My Head" that still gets played on Australian radio with any frequency (and that includes all the singles from "X") and the song has entered the national consciousness thanks to Kath & Kim. Who will ever forget Kim belting it out at Epponnee's wedding? Check it out below. The song starts at 1:20 mins. AMAZING!
The selection of "Chocolate" as the album's third and ultimately final single was a big mistake. I love the song - although I prefer the hilarious ghetto version with Ludacris that leaked a while ago - but fans were crying out for an upbeat dance track not a ballad, however dreamy and delicate it might be. The remixes were god awful and the promotion was non-existent, making the whole thing feel like some kind of contractual obligation. The only saving grace in my book is the kooky and extremely classy video that still pushes all my buttons. I was pretty harsh about "Promises" but Kurtis Mantronik redeems himself with "Obsession". This is 80s tinged electronica that actually works. The staccato beats are catchy, the lyrics are cute and I love the chorus. With a slightly beefier remix this could have been amazing. I feel exactly the same way about "I Feel For You". This track is so frustratingly close to being spectacular. The 90s piano is a surprising delight and the chorus is sublime but the verses don't quite work and that vocal sample annoys the hell out of me. It's almost like they tried a little too hard to make it cool and cutting edge. That being said, I always look forward to the pretentious thunder and rain in the last 30 seconds.
If I had to select a track from "Body Language" that deserves to be re-visited and re-evaluated by pop fans, it would have to be the big lump of sultry gorgeousness that is "Someday". I sometimes feel like the only card carrying Al Kylieda member that loves this but it's probably my favourite song on the whole album. Emiliana Torrini brings out a side of Kylie that I didn't know existed. The lyrics are so mature, the production is complex and eccentric (in a good way) and the cameo from Scritti Politti frontman Green Garside is a great touch. Whenever I find myself wishing "Body Language" had turned out differently, I just listen to "Someday" and get over it. That little gem is followed by the equally brilliant "Loving Days", which has to be in the running for Kylie's greatest ever ballad. Richard Stannard and Julian Gallagher create such a lush and dreamy canvas for one of Kylie's best vocal performances. Everything about this sublime gem just works. I wish I could say the same for the stinking turd that closes the album. "After Dark" is one of the worst songs of Kylie's entire career. Cathy Dennis should have been forced to sit on her Ivor Novello award as punishment for unloading this dire shit on poor, unsuspecting Kylie. What a disappointing way to end an uneven but extremely enjoyable album. At least the Australian edition finished with the lovely "Slo Motion", which is a favourite of mine despite sounding a little too similar to "Loving Days".
Half the problem with "Body Language" is knowing how different it could have been. Pascal Gabriel's "I'm Sorry" was an unexpected return to the introspectiveness of the Deconstruction era, while "Trippin' Me Up" is the dance anthem that "Body Language" was crying out for. When you throw "I'm Just Here For The Music" (recently raped by Paula Abdul), the trashtastic "My Image Unlimited" and the super catchy "On The Up" into the mix - you have the ingredients for one hell of a pop album. That's not even mentioning "BPM" and "Boombox", which were both originally recorded for "Body Language". However, even if I could wave my magic wand and completely overhaul the album, I don't think I would. Perhaps I'd ditch some of the tracks that needlessly pander to the American market (those decisions were clearly more corporate than artistic) but on the whole I'd leave it alone. Kylie has recorded enough killer dance-pop tunes for ten divas. Another dozen would have been nice but I'd miss the kooky shit on "Body Language". I respect that Kylie tried something different. A few of the risks came off and a lot of them didn't but that's what makes the album so frustrating and so fascinating.
Last week's post covered Barbra's early 70s transformation into a contemporary pop artist with albums like "Stoney End" and "Barbra Joan Streisand". While those gems certainly got the ball rolling, Babs' evolution into a modern pop diva was in full swing by the mid-70s. This is one of my favourite periods in Streisand's long and fabulous career. She started taking bigger creative risks (some paid off, others didn't) and explored a plethora of different musical genres. The results were mixed but never boring. This is definitely an era that newcomers should consider checking out - if only for her stunning Bob Marley cover! Reggae Barbra, anyone?
I finished off the last installment by examining 1974's "The Way We Were" (not to be confused with the film soundtrack). Barbra reverted to a more traditional mix of standards and power ballads on that album and scored herself a massive #1 hit. It would have been easy to repeat herself on the follow up but Babs was determined to be down with the kids. Encouraged by her then boyfriend (and producer) Jon Peters, the great diva embarked on what would be her most eclectic album yet. "Butterfly" is a gorgeous little oddity. I love everything about it from the witty cover art to the downright bizarre song selection. After four years of writing this blog, I'm ecstatic to finally have a reason to write about this underrated trash classic.
"Butterfly" probably qualifies as a covers album given that 9 of the 10 tracks have previously been released by other artists but I don't think that term even existed in the mid-70s. A fascinating part of researching this post has been discovering the extent to which songs were recycled back then. Barbra had thrown in a couple of unusual choices on previous albums but "Butterfly" is a veritable treasure trove of bizarre covers. The most infamous cut is probably her fabulous destruction of Bob Marley's "Guava Jelly" but my favourite has to be Babsi's haunting version of David Bowie's "Life On Mars". I love the simple production and think it holds up well against the original. Unfortunately, David wasn't as enthusiastic, describing it as "atrocious" and "awful". I'm surprised Babs didn't have him whacked! Other highlights incude the three R'n'B numbers (Bill Withers' "Grandma's Hands", Paul Anka's "Jubilation" and Ray Charles' "Crying Time") and Barbra's lovely interpretation of "I Won't Last A Day Without You" - made famous, of course, by The Carpenters. "Butterfly" doesn't get a lot of love from the Streisand faithful but I can't recommend it highly enough.
Her next project couldn't be more different to "Butterfly". Barbra packed away her flares to star in "Funny Lady", the tragically titled sequel to "Funny Girl". It's no secret that Babs was contractually obliged to make the film and you can tell that her heart wasn't really in it. In fact, I'm surprised "Funny Lady" turned out as well as it did given the strange cast (who really wants to hear James Caan sing?) and the uninspiring tunes. There's no doubting the genius of Kander & Ebb (Cabaret, Chicago etc) but this has to be the most underwhelming score of their illustrious career. As far as I'm concerned, there's only one brilliant song and that's the bittersweet "How Lucky Can You Get". Having said all that, "Funny Lady" was a box office hit and scored 5 Academy Award nominations. So what the hell do I know?
It's funny how time can change your opinion of an album. I always thought 1975's "Lazy Afternoon" was only good for two things - the hilarious cover photo and Barbra's first foray into disco. However, earlier this week I listened to the album (in full) for the first time in years and was really surprised by how much I enjoyed it. I still think "Lazy Afternoon" is wildly uneven and lacks direction but it contains some real gems. "Widescreen" is totally epic, while "My Father's Song" makes me teary every time I hear it. However, my favourite track is still Barbra's disco debut. "Shake Me, Wake Me" is glorious cover of an earlier hit by The Four Tops but it seems to have been largely forgotten by disco fans. A 12" single was released but I've never heard the extended version. I imagine it's pure disco heaven! "Lazy Afternoon" is also notable for the self-penned "By The Way" and the gorgeous "I Never Had It So Good". Unfortunately, the rest of the album is languid to the point of being stillborn.
Does anyone actually like "Classical Barbra"? I seriously hate to think how many gays are using the album to prop up uneven furniture. Just take my word for it and avoid this opera-lite debacle at all costs! As unfortunate as Barbra's classical detour was, I still admire her for trying something different. Happily, her next musical project was a completely different affair. I'm referring to her multi-platinum selling "A Star Is Born" soundtrack. While the film has its merits, Judy Garland's version is better and I usually find myself fast forwarding between the musical numbers - which are uniformly excellent. I love that they set out to make a rock musical and somewhat surprisingly, Barbra thrives in the genre.
There really isn't a bad song to be heard on "A Star Is Born", perhaps with the exception of Kris Kristofferson's "Hellacious Acres". However, I can forgive that because he was so fucking hot. The soundtrack will always be best remembered for "Evergreen" (below), which earned Babs a Grammy and an Academy Award for Best Song. I worship that gem as much as the next Streisand diehard but I actually prefer the tracks she performs with The Oreos (her backing singers in the film). "Queen Bee" is a funktastic jam of epic proportions, while "Everything" has to be heard to be believed. This camp ballad has some of the classiest lyrics ever committed to record. My favourite line is "I'd cure the cold and the traffic jam. If there were floods, I'd give a dam"! For a completely different side to Barbra check out the rockin' medley "With One More Look At You/Watch Closely Now". Phew! That's all for now. Check in for more Babs next week.
Last week I kicked off my Streisand guide for the uninitiated by summarising her fabulous achievements in the 1960s. The goal was to show the fun side of Barbra, a side that younger gays could relate to. While I love the early years of Babsi's career, I don't think it's a great starting point for new fans. If (like me) old standards, musical theatre and showtunes float your boat - you'll be in 7th heaven. I'd advise everyone else, however, to start with 70s Streisand. This is the decade in which the great diva started to pursue a more contemporary sound. I originally intended to wrap up the whole decade in one post but that wouldn't do any justice to the most fruitful and fabulous period of Streisand's career. So today I'm just going to focus on the early 70s when Babs got her hippy on, delivered three of her best albums, starred in one of the greatest love stories ever told and made what could well be the most heinously awful television special of all time.
Barbra had already tried to experiment with a more contemporary sound on her last (non soundtrack) album of the 60s, the underrated "What About Today?" That endeavour turned out to be something of a disaster, becoming her first studio album to peak outside the US top 30. Happily, Babs wasn't deterred from trying again. In 1970 Clive Davis (yes, he really has been around since the dawn of time) suggested she hook up with Richard Perry to have another crack at modernising her sound. The result was "Stoney End" - a sleepy little guitar pop gem with tinges of folk and alt country. In other words, it was a complete reinvention and an unexpected success. There's a lot to love about "Stoney End". I think the gorgeous title track (penned by the great Laura Nyro) is one of the best singles of Barbra's career and definitely one of her most atypical. Other highlights include her cover of Gordon Lightfoot's "If You Could Read My Mind" (which Amber, Ultra Nate and Jocelyn Enriquez later record as the Stars on 54) and the sweet gospel of "No Easy Way Down". A lot of amazing people wrote songs for this album including Joni Mitchell, Carole King and Randy Newman and their influence is felt throughout.
While "Stoney End" is a justifiable favourite among fans, I actually prefer the slightly less successful follow up. In many ways 1971's "Barbra Joan Streisand" could be considered a sequel of sorts. Richard Perry was called back for production duties, a lot of the same songwriters re-appear and the album even features tracks that were originally recorded for "Stoney End". However, instead of simply covering familiar ground, "Barbra Joan Streisand" actually improves on its predecessor. It's more consistent, involving and experimental. In fact, there's not a single dud on this gem. If I had to choose a favourite it would probably be the 70s-tastic "Space Captain", which has more than a touch of David Bowie about it. Other highlights are the two John Lennon covers ("Love" and "Mother"), Carole King's gorgeous "Where You Lead", the Burt Bacharach/Hal David medley and the uplifting "I Mean To Shine". Everything about "Barbra Joan Streisand" is understated and beautiful, from the artwork to the song choices. This would definitely feature in my top 10 Streisand albums.
The experimental spirit of Barbra's music eventually crossed over into her film career. The early 70s produced the irresistibly cute screwball comedy "What's Up Doc?" and the surreal "Up The Sandbox". The former was a hit and even produced a camp duet with Barbra's co-star Ryan O'Neal (a fun cover of Cole Porter's "You're The Top"). The latter, however, crashed at the box office and really has to be seen to be believed. This is proof, if nothing else, that Barbra can laugh at herself. I love "Up The Sandbox" and consider it a trash classic but I don't think I've ever seen a more bizarre mainstream movie. Basically, Babs plays a bored stay at home mum who loses the plot when she discovers she's up the duff again. Her character escapes into an imaginary world where she hooks up with Fidel Castro and tries to blow up the Statue of Liberty. They sure don't make 'em like this anymore!
While "What's Up Doc?" and "Up The Sandbox" have their fans, Barbra will always be best remembered for 1973's glorious "The Way We Were". I think everyone over the age of 20 has seen this film at least once. It used to be repeated on television a couple of times a year when I was growing up and I'm sure I watched Katie and Hubbell's ill fated romance each and every time. This has to be one of the greatest weepies in movie history. The final scene with Barbra and Robert Redford gets me every single time. I hate to think how many chocolate biscuits and tissues I've gone through watching this tearfest! Despite the film's lofty place in pop culture, I was surprised to read that the original reviews were pretty brutal. It just goes to show that critics don't know shit. The famous theme song was a #1 hit and won an Academy Award. Strangely, it's never really been a favourite of mine.
Moving from the sublime to the ridiculous, I guess I should say something about "Barbra Streisand And Other Musical Instruments". Don't be deceived by the fabulous title, this television special is seriously dire. I have a pretty high tolerance for Barbra's artistic indulgences (including recording duets with herself and the general fiasco that is "Classical Barbra") but I draw the line at this hideous world music extravaganza. The Turkish-Armenian version of "People" is a glimpse into the depths of hell, while the flamenco interpretation of "Second Hand Rose" should be a crime against humanity. The soundtrack to the special is the only Streisand album I consider to be completely without merit and that includes the cure for insomnia otherwise known as "Higher Ground".
I can't end this post on such a dud note, so I'm going to include "The Way We Were" despite the fact that it was released in the early days of 1974. This album should not be mistaken for the film soundtrack. In fact, "The Way We Were" was originally released with the rather clunky title "Barbra Streisand featuring The Way We Were and All In Love Is Fair" after legal proceedings were initiated by the film's producers. While the album takes a step back from the more contemporary sound of "Stoney End" and "Barbra Joan Streisand", this is still an absolute classic. I've always thought of "The Way We Were" as a concept album of sorts. Each song deals with relationships from a different angle, from breaking up to making up. This is an incredibly consistent effort but one track stands out for me. "The Best Thing You've Ever Done" is my favourite Streisand ballad. This is the ultimate break up anthem with its passive aggressive lyrics and astonishing vocal performance. I get goose bumps every time I hear it. Other highlights include the breezy cover of Paul Simon's "Something So Right", Barbra's classy version of Stevie Wonder's "All In Love Is Fair" and the drag queen anthem "I've Never Been A Woman Before".
This is so exciting! Legendary disco diva Amanda Lear has just released a new single in France and it's one of the best things she's done in decades. Produced by Steve Campioni and Alain Mendiburu, "Chinese Walk" is a demented electro-pop anthem about the growing influence of Chinese culture - complete with marching sound effects and trippy synths not heard since 1983! It should be a hot mess of epic proportions but through some strange twist of fate, it works beautifully. I particularly love Amanda's kooky lyrics and the way the pretty beats showcase, rather than hide, her breathy vocals. Dali's muse really is in fine form at the moment. Her previous single "I'm Coming Up" would have been a top 10 hit for anyone under 65 and its parent album "Brand New Love Affair" was a late-career highlight. I'm so glad the pop icon is still riding that wave of momentum. She is one of music's last great originals and "Chinese Walk" is a sublime reminder of that. Happily, the video is just as amazing as the song. Amanda transforms from a Caucasian sex symbol of a certain age into a young Chinese girl in front of your eyes! It's very clever and surprisingly classy. The song is available to download from iTunes now. What are you waiting for?
