Pop Playlist: Garbage: “Cherry Lips (Go Baby Go!)”
A blend of rock and synth, with touches of mid-century pop, the 2001 song, “Cherry Lips (Go Baby Go!)” by Garbage surely makes for an interesting listen. Although the band’s familiar, no-holds-barred rock-guitar riffs tear through, there are sweet-sounding production elements (handclaps; church bells) and Shirley Manson’s (girl-group) vocal delivery that allow the track to feel reminiscent of a bubble-gum song from the ‘60s… gone wild.
Candy Sample: Kylie Minogue: “Always Find The Time”
Kylie’s 1990 album, Rhythm of Love featured the now classics: “Better the Devil You Know”; “What Do I Have To Do”; “Step Back In Time”; “Shocked,” yet the track, “Always Find the Time” could’ve been a worthy addition to this list as well, if officially released as a single. This rarity has garnered fan-favorite status, as exemplified during one of Kylie’s dates on her 2012 Anti-Tour, when the singing crowd nearly drowned her out, leaving her to ask: “Do I need to sing this one?” With its ‘90s-era drum skips and predominant keys, the song, written by Stock, Aitken and Waterman, and the singer, Rick James (“Superfreak”), also features an instrumental sample from the 1983 track, “Candy Man” by James’ early-‘80s girl group, Mary Jane Girls. “Candy Man” also includes the lyric in the second verse: “You just call me up now, baby/And I’ll always find the time.”
Mary Jane Girls’ “Candy Man” on “American Bandstand”:
Erasure Thing: Heartfelt Electro-Techno After All These Years
It would’ve been easy for the Vince Clarke/Andy Bell duo known as Erasure to create a soulless sound, where keyboard-activated blips and beats took predominance over lyrical content and vocal contribution. Thankfully, the group saw equal importance in synth and substance. In 1992, on The Tank, the Swan and the Balloon tour, staging was an additional facet to which importance was paid.
In the show, the producer/programmer Clarke was often in a militaristic “tank” that served as his control booth to initiate the tracks. Bell—always the showman—arrived on stage in a cart designed like a swan, a contrast of peace versus war. The tour also featured the twin sisters/backing vocalists, Annick and Veronique Clarisse. Bell’s voice was nothing short of amazing, easily hitting the highs and dropping the lows, yet it’s the Clarisse sisters’ blended harmony that still remains some of the best and cleanest vocals heard in a live capacity. It’s not hard to imagine the angels on high sounding like these sisters.
In the clip below, “Chorus,” a commentary on environmental collapse, showed the Clarisse sisters in flowing white dresses, portraying a pair of peaceful doves, at times an oracle on the mount, while Bell bopped in his sparkly pants that evoked fish scales in sunlight. Fitting as the chorus of “Chorus” references birds: “And they covered up the sun/Until the birds had flown away,” as well as fish: “And the fishes in the sea/Had gone to sleep.” The bridge showcases the sisters’ heavenly talent: “The sunlight rising over the horizon…”
Another track off Chorus, “Turns the Love to Anger” displays Erasure’s knack for using synth-pop, computerized and seemingly removed, as framework for something more. At the bridge: “Love is where the dream should lie/It’s not for us to reason why/Or to ponder over strategy…” And again, the Clarisse sisters shine… and it’s not their whimsical headdresses that provide the brilliance. Bell takes to his balloon to “… take a ride/Somewhere in the big blue sky…” All these years later, Erasure’s reflections on the environment and “obsession” can still be seen and heard as heartfelt electro-techno.
“What Kind of Fool” a.k.a. Life After “Better The Devil You Know”
The catchy 1992 song by Kylie Minogue could be theorized as having its origins in 1990. Think “Better The Devil You Know” (“BTDYK”), a song whose lyrics reluctantly embrace blind forgiveness of a (devilish) partner. Yet “What Kind of Fool (Heard All That Before)” could be seen as a sequel. In “BTDYK”: “I’ll forgive and forget/If you say you’ll never go.” In “Fool”: “You can say you’ll be true/I can trust in you/But I heard all that before.” Kylie is done forgiving, and ready to forget, the devil she knows.
The video for “Fool” features scenes inspired by the film, And God Created Woman, starring Brigitte Bardot, a woman to which Kylie has long paid homage, most notably the artwork for her 2003 CD, Body Language and the styling for the subsequent one-off concert at the London Apollo. The And God references include: the silhouette of Kylie lounging behind a sheet hanging on the line; Kylie dancing in a red skirt on a kitchen table. And for another film reference: the heart-shaped glasses, unmistakably from the poster for the 1962 Stanley Kubrick film, Lolita. Kylie as Lolita-type girl at the beginning of “Fool” is not the same person at the end; in the dark no longer, she’s a stronger woman slamming the kitchen door, committing to the lyric: “Don’t wanna see your face no more.”
Pop Playlist: The Beatles: “Let It Be”
When the subject of The Beatles comes up in conversation, the discussion has the potential to turn futile when its participants theorize as to what song could be considered the group’s best. Why? Because there are just so damn many. “In My Life,” “Yesterday,” “Something” and this track, “Let It Be” are strong contenders, yet to continue adding to this easy-to-compile list would only reiterate the earlier point. “Let It Be,” the 1970 Lennon-McCartney classic, features a comforting piano, Paul McCartney’s heartfelt vocals, and spiritually centered lyrics of acceptance and faith.
The first verse and chorus have a downhearted feel, made evident by the aforementioned piano and vocals, plus these introductory lyrics: “When I find myself in times of trouble…”; “And in my hour of darkness…” Yet it’s the addition of the cymbal in the second verse, and soon a fuller drumbeat, choral backing, distant horns, Billy Preston’s church-inspired keys, and later the guitar breakdown, that serve to communicate a more promising feel, indicative of the effectiveness of the three-word advice and subsequent emotional comfort provided by “Mother Mary.” This caring character is represented as McCartney’s own departed mother who came to him in a dream, or in the traditional religious context of the Virgin Mary, or perhaps the listener’s own mother or guardian.
As the post-bridge chorus and final verse play out, McCartney begins to add optimistic vocal runs, plus he sings: “And when the night is cloudy/There is still a light that shines on me/Shine until tomorrow,” which evokes that image of a guardian angel keeping a watchful eye. He also speaks about the clarity that can result upon facing another day (“I wake up to the sound of music…”), leaving those “times of trouble” and “hour of darkness” in the past. In the outro, the forlorn piano prominent at the beginning of the song is eclipsed by Preston’s soulful organ and electric piano.
It’s also to be noted that at this time—1969, 70—The Beatles album, Let It Be was to be the band’s final venture. The song works as an encouraging sentiment for the listener thinking about his or her day-to-day challenges, and the acceptance and faith that hopefully comes along, but the track more so documents McCartney’s statement to the rest of the members of the band.
“Let It Be” is an indelible, universal reminder of how music can be a source of easily accessible inspiration; a secret confidant, whispering “words of wisdom” through a pair of earbuds. Take ease in knowing that if The Beatles comes up in that eventually futile conversation, there is “an answer” or at least a solid, credible argument in the selection of this profoundly poetic track.
Makes Everything Right: Kylie Minogue: “Love at First Sight”
Full disclosure, this blogger’s favorite single of Kylie Minogue’s is “Love at First Sight. Although she’s been creating pop perfection for decades, it’s this track that has always made my heart aflutter. It captured what pop/dance music sounded like in the late ‘90s/early ‘00s. There are elements in “First Sight” that are similar to Ultra Naté’s 1998 anthem, “Free (the Mood II Swing Radio Mix),” especially the introductory guitar lines, and the deep bass lines that are pushed to the front—right where they belong.
“First Sight” speaks to how music, more specifically a DJ spinning the right record, can serve as clarity for the confused, a sense of connection, even a lifeline, for the temporarily disconnected. Its restorative power so immediately transformative, that not unlike being hit right between the eyes when it’s love at first sight, sound can hit you right between the ears.
Its superb construction sounds like a subway line in the underground. You can barely hear it coming, so you think it’s far away, but when you least expect it, it comes racing into a station. It arrives right on time, stops at the platform for a brief pause, then off it goes again, whisking passengers away on a journey, this musical journey unfortunately only lasting a total of four minutes.
Kylie has steered “First Sight” in different directions over the years, in the form of alternate studio versions (2002’s perky “Ruff & Jam Vocal 7””; 2012’s country-campfire acoustic ballad on The Abbey Road Sessions), as well as how the musical producer, Steve Anderson has arranged it for her concerts. It’s become a reliable crowd favorite and has been on every set list for her last eight major tours (KylieFever 2002; Showgirl 2005 and 2006; X2008; For You, For Me North America 2009; 2014’s Kiss Me Once; a “mashup” with “Can’t Beat the Feeling” for Aphrodite 2011; Golden - Live in Concert 2018), even appearing as one of just 13 tracks for the one-off show in 2003 to launch Body Language.
It’s no wonder that “First Sight” has mostly been reserved for the encore section or literally as the jovial finale; its message and construction inspire fans to bathe in its escapist, rejuvenating power, reminding all who are about to leave the venue that pop has the potential to turn everything wrong to right.