We’re Gonna Set Fire To The Whole Damn World

You’re getting another triple shot of the Saturday Night Safety Dance.

Marc Almond.

What can I say?

Another underrated vocalist and lyricist. He was always a smart lyricist, but “Tainted Love” did not show his prowess as a singer. Almond does these amazing things with his voice that I am unable to explain. He’s torchy, chantuese-y, but channels the soul, jazz, and a bit of country (in regards to his duet with Gene Pitney – “Something’s Got A Hold of My Heart”) music influence that is very apparent in his styling. You can dance and have intelligent thoughts running through your head with his tunes. That doesn’t happen much in today’s music anymore. ūüė¶

Bronski Beat – no no one can ever replace Jimmy Sommerville, his voice was also too damn distinctive and paired gorgeously with their music. But when Sommerville left to form The Communards, that left a perfectly fit space for the beast that is John Foster to step in and take reign.

Another one of my favorites:

Now, over the years, OMD (also known as Orchestral Manoeuvres in the Dark) has become increasingly one of my favorite New Wave acts of all time. Seriously. I was disappointed in myself that I was completely unaware of their contributions to music (except for the whole Atomic Kitten phase. Andy, I forgive you for that). I’ve been trying to figure out how I could feature them into a post for the longest, and now it seems like the right time. Everyone knows ‘The Pretty In Pink’ song, “If You Leave” — but they had a slew of other hits. Not as much stateside, but they’ve got a massive following. And their new album (yes, they’re still releasing music) “Metroland” is nothing but synth-pop goodness.

This isn’t from Metroland, though I encourage you to take a listen — one of my favorite cuts from them:

Before There Was Adele…

There was Alf.

No, not this Alf:

alf

How was I not afraid of Alf, but extremely terrified of Gizmo from “Gremlins”?

This one —

Alison+Moyet

Alison Moyet

better known as Alison Moyet.

And in my opinion, she does it better.

No disrespect to Adele, but I honestly believe there would be no Adele if there was no Alison Moyet.

I knew about Moyet’s group with Vince Clarke ¬†(member of the early incarnation of Depeche Mode), Yazoo (or Yaz, as they were known in the States), way before Adele was put on the map. They also existed before she was even considered a fetus. And the more I listened to their music, as well as her solo work (“Invisible” is the penultimate New Wave ballad <———– click ‘n listen) the more confused I was as to why she is not more well known. I’d be terribly surprised if Ms. Adkins did not cite her as an influence. Everything about them is too similar. I like to give credit where credit is due, and I don’t think Moyet gets the respect that she deserves.

She’s just released a new album this past month titled “the minutes” — and the single “When I Was Your Girl” is the first single she’s released in nearly six years. Do yourself a favor and check it out. She sounds just as good and is just as rich — evolving how a singer should.

Tonight’s Saturday Night Safety Dance selection features a double shot of Yazoo. “Don’t Go”, which is the very first song I heard by the duo:

And secondly, my favorite by them “State Farm”

Now I Think Quite A Lot As I Stare At My Shoes…

Triple shot.

I’m watching “Hot Tub Time Machine” — and I’m pretty sure I may be the only female on Earth that loves this film.

And Billy Zabka’s in it!

BILLY FRICKIN’ ZABKA — the cinematic pinnacle of 1980’s high school teenage terror in films like Just One of the Guys (favorite! – you will see that I use that term quite liberally — I’m a whore for favorites) and¬†The Karate Kid.

I was supposed to be a boy. I guess there are some left over bits of chromosomes? Loose DNA strands mucking about? (I assure you that everything else is normal. I just adopted a bit of the male psyche). The scene that just played featured one of my favorite bands, The English Beat, and the song “Save It For Later.”

There will be a future post dedicated to not only 2-Tone, but to “The (English) Beat”/”General Public”, and others like The Bodysnatchers and The Selecter, but right now I just want to bask in the moment with this band…but not that song. Don’t get me wrong, I love it, but I feel like dancing.

I saw them (sans Rankin Roger, so really, I only just saw Dave Wakeling and some others…) last year. Dave knows how to put on a show. And you can tell that he loves what he does.

“Too Nice To Talk To” The (English) Beat.

Enjoy!

#keepdancing

Off Yer Mong

Dead Or Alive “In Too Deep (Off Yer Mong Mix)”

Soon, you will come to learn how much I adore the ultimate diva that is Pete Burns.

Despite (I swear to God, I know how to spell and that wordpress keeps changing the text. There is some evil form of Autocorrect on here). ¬†how much he’s butchered his face and is complete crazy cakes, he does have an excellent pop voice and a larger than life personality. In regards to the voice, it’s not displayed much on this song, but on “Brand New Lover” and especially “You Spin Me Round (Like A Record).”

Happy Saturday Night Safety Dance, my friends.

#keepdancing

Everything is possible with promises…

Ready for your Saturday Night Safety Dance pick?

Too bad, you’re getting it anyway.

Simple Minds

“Promised You A Miracle”

It was only up until a few years ago that I discovered the depth of Simple Minds’ music. And when I heard this song, I was ashamed that I didn’t know this one, as I was only familiar with the obvious — “Don’t You (Forget About Me)”, “Alive and Kicking,” and lastly, “All The Things She Said.” Sadly, many people are barely familiar with the latter two.

If you’ve not grown familiar with more of their music, I encourage you to do such. I actually favor more of their earlier work, specifically “I Travel” (no link, too lazy).

Many critics credit this tune to bolstering Simple Minds into the mainstream, particularly to UK audiences, observing that “Promised…” was an accurate representation of their true sound. Then after this, it was believed that they became too commercial, blaming the more radio friendly pop anthems to loss of their post-punk edge. I understand their observation. I don’t agree, but I understand. From the opening chords alone, and the progression into the track, the song sells itself. It is an odd mix of simplicity and complication. Danceable, yet introspective – both rhythmically and lyrically. And the latter releases were audibly safe. No mistake, the compositions were amazing, and they still punched out great cuts. It is my opinion that they naturally progressed with the changing landscape of music at the time, and managed to adapt successfully, evolving as artists while exploring another way to produce good music. Those tracks are still classics in my heart. However, “Promised You A Miracle” ¬†reverberates with the time of its release, and how willing Kerr & Co. were ready to get down and dirty for the love of music.

This song will always be in a class of its own.

Enjoy!

 

 

Get It On/Let Me Go

So, I’m guessing since I work in the lieburry (Library is no longer the actual, or correct, pronunciation¬†and spelling of the institution. Ask anyone one the street. I’m not kidding.), I should probably write posts about books and such.

The sad truth is that I honestly don’t read that much. You would think that I would because I work there, and I’m there for 8 hours, that I would, no?

Sippin’ on lattes and reading the latest trend in cheap vampire and werewolves novellas or the crapfest James Patterson novels.

No.

I do not.

Instead, I’m dealing with other people’s bullshit, trying to teach them how to print a Word document or program their smartphone. But these people also have Twitter and Facebook accounts.

*****Sidenote: If you know how to use any form of social media, as well as mobile phones, there is no excuse for you not to know how to use Google, start an email account, or understand the concept of printing.***** Now back to your regularly scheduled programming.

Hello, my name is ______________, and I’m a narcissist.

Okay, not really, but when I’ve other things on my mind, they tend to take over and I don’t give myself the leisurely time that I deserve to partake in the well-deserved mental staycation that is the joy of reading.

It’s not that I don’t care to read. I don’t know if you remember me mentioning that I’m a writer, so a majority of the time, I ‘m developing ideas or characters to place into narrative, that I don’t (want to) think about any one else’s work but my own.

To quote Sade, “Tell me, is it a CRIIIIIIIIIIIIIIIIIIIIIIIIIMMMMMMMEEEEEEEEEE?” (You’re welcome, sis).

I know. It’s a horrible excuse for not being well-read. I try, but I get so sidetracked¬†by a backed up DVR and Netflix and looking for a job before I lose my everloving mind ¬†¬†my writing that I don’t want anything else influencing, or rather, manipulating, my work.

However, when I go on vacation, I often try to bring a few books with me to read.

The last two vacations I took, one most recently to New York, where I tried to start reading¬† Stuart Nadler’s “Wise Men”, as well as Aristotle’s “Politics” — I know. Very odd combination. I’m still reading them now, but before that, the book that has stuck with me the most for 2012 into 2013 was John Taylor’s autobiography “In The Pleasure Groove: Love, Death, and Duran Duran”.

John Taylor

Now, from the title, John Taylor is obviously a member of Duran Duran, the 1980’s pop band that spawned hits such as “Rio”, “Hungry Like The Wolf”, and “Girls On Film”. They had many more hits, but I’m not going to bore you with those notations. Anyway, it was a great, engaging, humorous, heartbreaking, and earnest read. I’ve always been a fan of Duran Duran, especially when they had a massive comeback in the early 90’s. But I never truly appreciated their contributions to music, particularly Mr. Taylor¬†(<<<<<<<<—-you’re supposed to click on that link, btw). Growing up, he and Nick Rhodes were always my favorites. I never understood why — but they were. And as I’ve grown older, especially after reading his book, I understood why. And that will be discussed for another time.

Why?

Because I know that I’m boring you right now. And this is segueing into a post about music. Not artists. Music.

As I mentioned earlier, after reading his book, I came to develop a deeper appreciation for his music, and New Wave music in general. Specifically, the art of the 12″ remix in this genre.. I’ve always loved New Wave music — but my fixation of it is mostly my sister’s fault.

She purchased a three cd box set World of Dance: 80’s, and she didn’t care (gasp!) for the one that featured the New Wave artists. So she gave it to me. You know, doing me a favor because she knew I was thirsty to build my CD collection at the ripe age of 12.

That’s when record shops actually existed, kids. And you had to go to a store and actually purchase a compact disc with cash. Using a debit card was frowned upon. Unless it was a credit card. Which is not the same thing, I know…but I don’t feel like going back and thinking of ways to transition that sentence.

It wasn’t until recently that I started to truly appreciate the art, the depth, and overall genius of New Wave music. It was truly a mashup of many musical genres and sub-genres. Jazz, Rock, Funk, R&B, Soul, Punk, Disco, Rockabilly, Hip-Hop, Reggae. ¬†And all of these genres are considered it. And you can dance to it! It’s all a girl like me could ask for, because I love all of those genres. And I love dancing.

With that, I have satellite radio. And every Saturday night, the 1st Wave channel has a program called the Saturday Night Safety Dance. It’s six¬†(whoops, it’s not, actually…) eight hours of non-stop dance remixes of new wave and alternative music by brilliant and talented spin master named DJ Bueller.

Every Saturday night, I will have my Saturday Night Safety Dance Song of the Day — where I encourage you to have your own mini-Saturday Night Safety Dance — wherever you are. I know I will be.

Obviously, I should have started this post with a Duran Duran song. However, the first song off of that New Wave album that I absolutely fell in love with was this cut by Heaven 17, “Let Me Go” — their biggest hit stateside.

And to start:

Thanks, sis. You’ve created a monster. Albeit, a beautiful one.