They're only paying her 2 grams for a one-woman abstract show

In a further attempt to destabilize alexmacpherson's moral center, I went YouTubing for Grace Slick over on the first Peel thread. I'm reposting my results here. A crucial player is Jefferson Airplane's bass player, Jack Casady: truly unique, would play improvisatory licks from a basis of funk and soul, but since the licks didn't come with the label "FUNK and SOUL," no one quite noticed this aspect, though it explains why the Airplane were danceable. (But nonetheless evidence on YouTube is Jefferson Airplane were sometimes the soundtrack for the worst dancing in the history of the universe.)

Here's my favorite Airplane song (the YouTube guy did a weak rip unfortunately, so turn it up), Marty rather than Grace singing lead. Listen to what happens after a couple of stanzas when the bass comes in:

Jefferson Airplane "If You Feel"

( And here's Grace )

( Comparison to Fleetwood Mac )

Lyriks Answerisks

Reveals and ratings, the ratings for the lyrics as opening lines, not for the songs. Asterisks when line isn't the first, but rather is the first not to contain the title.

1. "Ya shoulda loved me baby when I was nothin', nothin' at all" - Courtney Love, "Life Despite God," starts angry, gets desperate, woman taking sandpaper to the universe just to get attention. I think the singing is masterful, though I know at least one person here disagrees. The line's anger grabs you, though barely foreshadows the destruction to come. (So not up there with Ashlee's "What's she got that I don't have?" as an opening, though I'll admit that Courtney's singing on this shreds Ashlee's on "I Am Me," which is quite a compliment from me, since Ashlee tears the temple down on that one.) 8
( Reveals 2 through 25 )

The Night Of The Previous Couplet

OK, for my record third post in one day, here's a stream of the new Ashlee Simpson single, "Little Miss Obsessive."

I love it, love the singing (very warm, reminds me of "Fall In Love With Me"), a slow lead melody but a lot of movement and crosscurrents from the percussion, so an r&b feel on a pop-rock song, and I also love the way the words follow around her variously divided feelings, she being the one who shuns long goodbyes but who doesn't want to close out this affair. And the chorus going "I guess we're really over, so come over, I'm not over it" - I like the three "overs" saying successively different things. That's very skillful. And she's going for a specificity that was missing from "Outta My Head," the guy tossing in bed, her arguing with herself the next morning, and so on.

( but... )