koganbot: (Default)
2009-07-31 08:47 am
Entry tags:

Erika, where are you?

Oh, the Jukebox is going on again about Lily in a way that once again makes me very grumpy. I mean jeez, the song isn't about the only possible choices that any young woman may have but about the choices some women feel they have, with popstar Lily the songwriter who will never be in her protagonist's exact situation nevertheless having equivalent feelings burnt into her, not the protagonist's potential shutdown but her own. (How many women pop singers are skipping merrily into their thirties with their careers intact?)

I thought Lily's phrase "in this day and age" was a deliberate distancing device, an obvious archaism that lets us know that the diction isn't a hundred percent Lily's. Maybe I'm not right about that, but obv obv obv Lily knows that the protagonist doesn't represent all women.

I do like Xhuxk's and Lex's takes even though they're contrary to one another and somewhat contrary to what I just said, but some of the other guys just don't want to give Lily a break. They're looking to feel superior. I wonder that they don't wonder why they want to beat Lily down so much. (Of course, I write plenty of reviews where I'm coming off as superior, but I'm usually right.)

I generally do like the Jukebox crew, though 'cause of old ilX shit it doesn't feel like a safe place to me, which isn't its fault and probably those few Jukeboxers who were anywhere near the ilX creepy stuff have outgrown it (and were only a wee bit involved in the first place) so these fears are just holdovers, but there are also just too many other things in my queue today... but if Erika had shown up for the convo you can bet I'd been in it, and I don't know why she didn't. She was excellent on this song here. Erika, where are you? If I'd known you weren't going to show I'd have cribbed your ideas.

I remember Martin Kavka saying about Brooks & Dunn's "Cowgirls Don't Cry": "Dolly Parton wouldn't stand for this, would she?" And my thought was, yeah, but the song isn't about Dolly Parton, and why can't this other woman also be a subject for a song? (I do think I got Martin to come around a bit on that song.)

[To anticipate Will's request: yeah I might add the Lily part of this post - but not the stuff about the Jukeboxers - to the Jukebox comment thread, but I really want to set my mind elsewhere today. Wish I were more involved in the day-to-day Jukebox convo but it's been coming too fast for me over the last couple of months.]
koganbot: (Default)
2009-04-01 09:52 am
Entry tags:

It's really not OK

I made this post in this lj conversation, which was, among other things, about this jukebox conversation. But I think I add some interesting thoughts about what's going on in country itself, its own uneasy relationship with its musical vocabulary:

There was a lot of projection amongst Bradley and friends, obv., buying into their own pretense of self-righteousness, but for what it's worth, I don't think Lily completely pulls the music together. The tune is strong [by which I mean warmly beautiful, which the off-hand delivery downplays], the singing is strong [by which I mean authoritative, even while being off-hand, so the beauty sticks], it's a definite TICK, but the rhythm never settles into a groove and the steel guitar feels like an added touch, not integral to the music. Of course, that latter point (steel guitar, banjo, etc. not feeling integral to the music) is something I could say about a lot of actual country from the '00s, "country" signifiers thrown in to pledge allegiance to styles that the rest of the particular song is busily superseding. (And at this point I could go ten years without hearing another Johnny Cash shoutout or tribute, but now I'm running off-topic.)

And "music not settling into a groove" - to steal John Piccarella's phrase, it's a sort of "forced rhythm" - can sometimes be a virtue; I haven't decided yet if it suits "Not Fair." In country, throwing countryisms in as touches is occasionally liberating - as on the first Big & Rich album, where one point of all those touches is that they're somewhat arbitrary, that they're choices, not requirements, and so Big & Rich are signaling that they can and possibly will choose to do anything. But on many country records the touches aren't choices* so much as signifiers that are trying to run cover for the other musical choices that a song is making. The touches can be distracting, innocuous, poignant, pretty, etc., which varies from song to song, obviously.

*Well, the performers/producers are certainly choosing to use the signifiers, in that they could decide not to, but this doesn't feel like a happy choice.
koganbot: (Default)
2009-04-01 09:33 am
Entry tags:

Satisfaction Not Guaranteed (Jamie O'Neal and Lily Allen)

Two songs about the s3Xor. In the first, the narrator hopes for a lot, doesn't discuss the possibility of not getting it, but that possibility is the premise of the song. In the second, the singer wants more but wonders if she's right to expect it, though obviously she is.

Jamie O'Neal "Like A Woman"


Lily Allen "Not Fair"