Pop Playlist: Kylie Minogue: In Your Eyes (Live in New York)
As some of you may already know, Kylie Minogue brings a smile to my face, and if my ears could smile, they'd beam too. One of the best songs from the iconic Fever album is “In Your Eyes.” She’s performed this signature track on many tours, but the one recorded in 2009 at the Hammerstein Ballroom during her For You, For Me tour, and for the subsequent audio release, Kylie: Live in New York, is a fave. Let’s take a look (and listen) back to this live track:
Pop royalty in most other parts of the globe, the legendary Australian performer never before launched a tour specifically through North America. After her Kylie X 2008 tour, she felt it was (finally) time to alleviate the longing that filled millions of fans (including her devoted gay following) who, up until that point, were only able to see the dynamic dynamo on DVD.
In a thoughtful gesture, Kylie and her team, led by her creative director William Baker, launched For You, For Me with the “mashup” in mind—part X tour (complete with X-tour musicians, backing vocalists and most of the dancers), part Showgirl 2005 and 2006 tours. This provided the chance to see a version, albeit a smaller-scale version, of the large concert spectacle, for which she is known. I had the pleasure of seeing Kylie for the first time on this tour, during a stop at the Fox Theater in Oakland, CA in Sept. 2009.*
This X-tour arrangement of “In Your Eyes” is heavy on bass-synth and bass guitar, and it sounds amazing. The New-York recording captures the crowd’s command of the lyrics (which was also displayed opening night in Oakland and probably every stop thereafter), proving her visit to the U.S. was not a waste, and that for the previous 8 years, copies of Fever were definitely being played in America. Kylie finishes big by confidently holding a high note at the end of the lyric, “I don’t feel like coming down.” As you can hear in the clip below, everyone in the audience seems to concur.
*Both photos courtesy of Rob Miller.
Pop Playlist: Madonna: “Nothing Really Matters”
For 1998’s Ray of Light, Madonna wondered what dance/electronica would sound like if it was infused with a spiritual sensibility. It sounded like the singer’s most mature album to date since Like a Prayer. One of the songs on Ray of Light, “Nothing Really Matters,” with co-writer, Patrick Leonard, and co-producers, William Orbit and Marius De Vries, reveals the singer’s reawakening to what is of real significance, compared to the life she was living “so selfishly.” Her career-changing experience playing Eva Peron in the film, Evita, and the life-changing experience of becoming a mother, both of which occurred in 1996, served as eye-opening catalysts. (Her daughter, Lourdes is also the source of inspiration for the tender, electro-lullaby, “Little Star.”) “Nothing Really Matters” keeps to Madonna’s dance roots, but sprouts introspective lyrics and, as demonstrated throughout the album, some of Madonna’s best recorded vocals, thanks in part to the vocal training she received for Evita.
Pop Playlist: Kylie Minogue: “Aphrodite”
The title track to Kylie Minogue’s 2010 album, Aphrodite finds Kylie confidently stating her case to another as a goddess incarnate. The track could be considered the stronger, more-direct sister to the sweeter “The One” from X, for the chorus in “Aphrodite” features a fabulous list of powerful statements: “I’m fierce and I’m feeling mighty/I’m a golden girl/I’m an Aphrodite, alright.” And by the bridge: “You know that I’m magical/I am the original/I am the only one…”
Even musically, the song embraces harder-sounding beats as if pounded out by a marching band. If one listens to her KylieX2008 show, Act Two’s cheerleading theme starts with a drumbeat that sounds remarkably similar to the one in “Aphrodite.” Perhaps at that time a preview of things to come.
The Aphrodite period holds major significance in Kylie’s career, as it created another moniker still associated with her, one that catapulted her from “the Princess of Pop” to “the Goddess of Pop.” Simply put: from royalty to deity.
Pop Playlist: Deee-Lite: “Deep Ending”
Shuffle through and land on just about any track on Deee-Lite’s World Clique album and it’ll be a good one. Such is the case with “Deep Ending,” which features a plethora of piano, plus an in-your-ears hi-hat, and other groovy, funky features for which the trio was renowned. A clever play on lyrics also runs through the track, as Lady Miss Kier goes from “I’m depending on you…” to “I’m deep-ending” to “I’m at the deep end,” as she sings of a relationship about to… end.
Pop Playlist: Sheena Easton: “For Your Eyes Only”
This theme song to the 1981 James Bond film, featured Sheena Easton on vocals and in the opening credits, the only singer to appear as part of these signature, silhouette-heavy sequences. Easton’s vocals are crisp; the song’s verses are soft and seductive, using the classic espionage phrase as a parallel to convey the love, devotion and “fantasy you freed in me/only for you.” By the chorus, Easton lets this classified secret out, only to hide in the shadows of those intentionally softer verses once again, confirming “For Your Eyes Only” as a smartly constructed track. (Other Poptimum picks from this sensational singer: “Morning Train” as sweet pop vocalist, but by mid-’80s steered toward “bad-girl” singer [“Strut”; “Sugar Walls,” written by Prince; “U Got the Look” with Prince].)
Pop Playlist: Kylie Minogue: “The One”
The final single from Kylie’s 10th album, the aptly titled, X, “The One” is unique in that it’s part ballad, part dance. There have been various versions: The album appearance leans toward hypnotic ballad, while the Freemasons Vocal Club Mix picks up the pace and turns up the bass. The latter was adopted on her X2008 tour and in part on her 2009 North-American For You, For Me tour; Kylie Live in New York audio release. In 2011, she opted for a blend for the Aphrodite live performances. A video for the song was also released, with old Hollywood glamour (Kylie’s long-haired Veronica Lake look; kaleidoscopic visuals as homage to movie musicals) and bright art-deco arch references, serving as inspiration. The video also features one of Kylie’s dancers at the time, Jason Beitel. Ten years later, “The One” still resonates with Kylie, as it now resides on her 2018 Golden Tour set list.
Pop Playlist: Queen: “Under Pressure”
David Bowie’s appearance on the 1981 Queen classic, “Under Pressure” was a match made in heaven. The pairing created a song with lasting resonance, thanks in part to its mesmerizing bass line, arguably one of the most recognizable in music. (The riff heavily inspired Vanilla Ice’s 1990 hit, “Ice Ice Baby.”) Freddie Mercury’s improvisational vocal runs and classical piano give it a slight operatic feel, with quieter moments leading to an explosive release of crescendo highs for an all-out rock sound. There’s never a dull moment in “Under Pressure”; how could there be with two of the most charismatic artists on one track.
Kylie Minogue: “Raining Glitter”: Delightfully Familiar Track
On Kylie Minogue’s Golden, the song, “Raining Glitter” is an immediate standout, thanks in part to the bass line that comes in after the first 10 seconds. It’s classic Kylie, with several elements reminiscent of previous Kylie material: Acoustic guitar (country meets flamenco) evokes “Please Stay”; in the chorus a “Whoop” takes you back to “Timebomb”; lyrics such as “put your hands up to the sky” (“Put Your Hands Up” from Aphrodite); and she’s even referenced glitter before as in “…glitter drop fall and I’m on my knees” in “No More Rain” from X. “Raining Glitter” embraces quiet verses, an inspiring, celebratory chorus and gorgeous harmonies, with lyrics that are true and tender: “We all want the same, yeah, we’re looking for that hand to hold.” This sparkles from start to finish.
Pop Playlist: The Cars: “Shake It Up”
Listen to The Cars’ 1981 hit, “Shake It Up,” in comparison to their late-70s material, and one can hear how the band did just that. With a sound that at first was more rock-oriented with tracks like “Just What I Needed,” “Good Times Roll,” You’re All I’ve Got Tonight” and “Moving In Stereo” (yes, the song that played over that Phoebe Cates scene from Fast Times at Ridgemont High), “Shake It Up” is pure pop-new-wave. With the birth of the MTV/music-video generation beginning in 1981, Ric Ocasek and the band embraced this sound through the new decade, with pop-ballad, “Since You’re Gone,” and later with 1984’s Heartbeat City (“You Might Think”; “Hello Again”; “Magic”; “Drive”).
Pop Playlist: Kylie Minogue: “I Should Be So Lucky” (Live in New York)
In 2009, Kylie Minogue launched her For You, For Me tour, exclusively visiting parts of North America as a labor of love and appreciation for loyal fans. An audio recording of the Hammerstein Ballroom stop in New York was released, and featured the torch-inspired version of 1987’s “I Should Be So Lucky.” This ballad incarnation first appeared during her Intimate and Live tour in 1998, and allows the Stock, Aitken and Waterman-penned hit to showcase the heartbreak of unrequited love, and the versatility of Minogue as pop star and jazz chanteuse.
Golden Girl: Kylie Wants to Go Out “Dancing”
Kylie Minogue just released “Dancing,” the first single from Golden. It’s easy-breezy pop that quickly triggers the feel-good goosebumps. It’s a smart, mature sound for the 49-year-old, blending country-inspired acoustic (think the gentle work of Sheryl Crow on Detours) with a thread of friendly hand-clap dance-pop. In a BBC 2 Radio interview, Kylie talked about how working in Nashville allowed her to approach the creative process in a different manner: “[Nashville is] so focused on the song and then you can take the song and produce that any way you want. But it’s just about the nuts and bolts of the song… at the alter of the song.”
And it shows in “Dancing,” as its layered meaning in the chorus resonates beautifully: “When I go out/I wanna go out dancing.” A literal reference to a joyful nighttime outing, yet there’s a deeper sentiment, in a non-morose manner, toward fearless freedom, mortality, and eternity: “Everybody’s got a story/Let it be a blaze of glory/Burning bright/Never fade away/When the final curtain falls/We can say we did it all/A never-ending of a perfect day.”
Pop Playlist: ABBA: “Mamma Mia”
One is reminded of how powerful the brain can be when a song is featured in a film, and even 20-something years later whenever the song plays, the film and the scene, are immediately conjured. So is the case with ABBA’s “Mamma Mia.” However, the film is not Mamma Mia, based on the stage play, and starring Meryl Streep, but 1992’s The Adventures of Priscilla, Queen of the Desert.
With Felicia (Guy Pearce) a big fan of the Swedish pop group, it was only natural that a song (“Mamma Mia”) would find its way into the film, and it does during the finale. The scene is a celebratory one that has the drag-queen heroes, Felicia and Mitzi (Hugo Weaving) returning home from a long journey into the Australian desert. Geographically, they’re happy to be home, but the bouncy, cheerful-sounding tone of “Mamma Mia” also reinforces how much the duo are also at home in their hearts, doing what they do best, surrounded by the people who love them. The song-scene pairing is also a testament as to how ABBA’s masterful creations can still instill a warmhearted sense of comfort and at times (euphoric) joy.
Pop Playlist: Madonna: “Vogue”
Arguably, Madonna’s 1990 hit, “Vogue” is her signature song, one that will always come up in conversation when discussing the icon’s contribution to pop (music) culture. With its theme of dance floor as place to escape life’s “heartache,” Madonna and co-writer Shep Pettibone paint a scene where fantasy, through imaginative (fashion-pose) voguing, serves as inspirational recharge for one’s own reality, a space that gives “new life.”
The documentarian, Jennie Livingston had already been exploring similar themes in the New York gay underground of competitive fashion-fantasy balls and voguing “battles” years earlier, with her groundbreaking film, Paris Is Burning. Yet Madonna was the one to bring elements from this world into mainstream visibility (“Life’s a ball”). While the powerful documentary delves into far grittier territory, “Vogue” focuses on the glitzier aspects of old-Hollywood glamour. It becomes more than just a catchy dance song or stylish video, it’s indicative of how a savvy Madonna took something subculture and crafted it into one of her most mainstream successes, in turn, also influencing the pop-culture lexicon, the word not just a noun anymore or the name of a magazine, but now a familiar action verb.
David Fincher’s masterpiece:
A clip from Paris Is Burning, with the legendary Willi Ninja. Take note at 1:15 - 1:25, which features a young Jose Gutierez, who a few years later would appear in the video for “Vogue” and be a part of Madonna’s “Blond Ambition World Tour.”
Pop Playlist: The Smiths: “Please, Please, Please…”
The Smiths’ “Please, Please, Please, Let Me Get What I Want” is just shy of two minutes long, but it efficiently goes straight to the heart of desperate longing. The lead singer, Morrissey sounds as if he’s in mid-prayer, a plea to experience “Good times for a change.” Acoustic guitar, and the defeated sadness in his voice, create a somber tone, yet not one of complaining, but contemplation. There’s disappointment, but he’s also hopeful; he’s the “good man” who doesn’t want to “turn bad.” The lyric, “Haven’t had a dream in a long time” may be the track’s most vulnerable, with the later “what” in “get what I want” open to interpretation, the “what” replaceable with “who.” (Morrissey has in fact applied this lyric change during live shows.)
The song works well in the heartwarming (and heartbreaking) film about the confusion of unrequited love, (500) Days of Summer, with Joseph Gordon-Levitt (Tom) and Zooey Deschanel (Summer). In the hopes of getting Summer’s attention, Tom plays the song out loud for co-worker and fellow Smiths admirer, Summer, only for Summer to walk right by his desk.
“Please, Please, Please…” has been covered by Deschanel (She & Him), and the Dream Academy, whose version appears in the film, Ferris Bueller’s Day Off.
Pop Playlist: Depeche Mode: “Enjoy the Silence”
English synth-pop icons, Depeche Mode had one of their biggest successes with 1990’s Violator. It featured strong singles, such as “Personal Jesus,” “Policy of Truth,” “World in My Eyes” and this song, “Enjoy the Silence.” From the start, “Silence” bounces with a deep synth-bass line, while a tender guitar riff softens the sound. But not too soft, for when Dave Gahan adds his vocals to the first verse, the mood intensifies once again. “Silence” is essentially a (dark) ballad: “Words are very unnecessary/They can only do harm.” Yet drum-machine beats and brilliant transitions, particularly the one between the chorus and second verse, give the song a surprising sense of catchy vitality, allowing it to become an alternative-pop and dance hit in several countries.
Below is a clip from 2014’s Live in Berlin filmed concert, directed by Anton Corbijn, who also directed the music video for the song. The deep synth-bass line, as referenced earlier, comes in at 0:46 and is definitive Depeche. “Silence” never sounded so good.
Pop Playlist: Christina Aguilera: “Come On Over Baby”
Along with Britney Spears, Christina Aguilera became one of the biggest pop stars in the late ‘90s, thanks to “Genie in a Bottle” and “What a Girl Wants.” In 2000, Aguilera’s “Come On Over Baby” became the fourth single off her debut, self-titled album. Strong, soulful vocals and a driving dance-pop beat were customary for the first two singles, and for this track too, with “I Turn to You” the necessary power ballad. “Come On Over” served as provocative invitation, not just lyrically toward the song’s object of affection (“You better cross the line”), but as if toward the audience as well. With the world in a new millennium, Aguilera began to take steps toward (perceived image) change too, with “Come on Over” becoming her first “not that innocent” moment, only to pale in comparison to the later “Dirrty” chapter of her career.
Pop Playlist: The Beatles: “In My Life”
Reflection on the past is a prevalent theme in The Beatles’ “In My Life.” With lyrics by John Lennon, (life) change and its inevitability, in relation to places and people, give the song a melancholic, matter-of-fact sense. Superbly simple songwriting that captures aspects of the human condition (past loss; present love), along with a sweet melody and an unexpected (classical) bridge make “In My Life” a timeless track, a case where one could say that some things don’t change.
Pop Playlist: She & Him: “Sing”
Leave it to She & Him lead singer, Zooey Deschanel to write an eccentric lyric referencing the MTV show, “Cribs,” which is evident in the first line of the track, “Sing” from their album entitled, Volume Two. “Sing” is another offering that showcases the group’s love of traditional-pop-song brevity. At just over three minutes, Deschanel’s vocals are once again soothing to the ear, and features a harmonious delivery of jazzy “ba-da-da-dums” as a carefree conclusion.
The Weeknd: “Secrets”: Lies, Eyes and ‘80s Samples
To anyone who remembers the ‘80s, the latest from The Weeknd, entitled “Secrets,” is a trip down memory lane. Lyrics in its chorus are pulled from The Romantics’ 1983 hit, “Talking in Your Sleep”; the transition from chorus to verse includes a direct pickup from Tears for Fears’ 1983 song, “Pale Shelter,” more specifically Curt Smith’s high-vocal climb of the lyric, “completely in command.”
The video, filmed in part at the Toronto Reference Library, sets a cold, barren tone to match the lyrical content that tells of a relationship full of lies, revealed “every time you close your eyes.” Ominous male figures in capes, which the female lead later runs away from, are perhaps indicative of her past catching up to her. Low-angle camera shots of these suitors, peering over balconies are reminiscent, in part, of the masquerade-ball scene in Stanley Kubrick’s 1999 film, Eyes Wide Shut. Use of deep red and the blossoming white bed that creates various geometric shapes also evoke other Kubrickian imagery.
Pop Playlist: Fleetwood Mac: “Over My Head”
“But it sure feels nice” is not just a lyric from Fleetwood Mac’s 1975 single, “Over My Head,” but essentially the subsequent end result after every listening session. The distinct, soothing lead-vocal style of the band’s keyboardist, Christine McVie is always a comfort to the ears, even as she sings of the lows of love, and the realization of being in a relationship with someone who’s not reciprocating what’s deserved: “Your mood is like a circus wheel/You’re changing all time.” McVie’s lyrics capture that struggle between head and heart in a simple, yet creative manner.