Weirdus Interruptus

Today's standard post will be replaced by the new "Weird Al" video, because... well. He kind of says it all.

The Fox Says: I WILL STEAL YOUR SANITY

Welcome to a Friday afternoon in this office, courtesy of this video and Twitter:

·    Coworker 1: So, I've been thinking a lot about this Syrian crisis and...crap...hold on... WHAT THE FOX SAY!!!! RING-DING-DING-DINGERINGEDING!!! #ylvis

·  Coworker 1: "COW GOES 'MOO'...FISH GO 'BLUB'...SEAL GOES 'OW OW OW OW'... Kill me!!! Fuckin' kill me!!! #ylvis

·   Coworker 1: WA-PA-PA-PA-PA-PA-POW!!!! I...still have strength....to grab this letter opener....stick it in my....fucking jugular.... #ylvis

·  Coworker 1: HATEE-HATEE-HATEE-HO.......letter opener....too dull....will.....throw body onto..... letter opener....to pierce sternum...must kill myself

·  Coworker 2: WHAT DOES THE FOX SAY?! Thank you, #Ylvis, thank you. #myjam #wapapapapapapow

·   ‏Coworker 1 to Coworker 2: ........must.....get hammer.....smash it....into skull....Please......kill me.....

·  Coworker 2 to Coworker 1: shhh shh shh shh, no tears, just sleep.

Inspire Me

The previous post made a to-do of my summer playlist, or at least a sampling of it. However, it focused on the music I listen to while driving, working, jamming… my writing music tends to central around only a handful of styles.
Sure, I’ll listen to a little stylistic music to get the emotional tone for some writings, but typically my genres for writing ‘seriously’* are limited. And since a not small number of posts here relate to writing and creating, I thought it about time to provide some of my most inspirational writing tunes. And by ‘some’ I mean enough to make a full length album.
It’s pretty soundtrack heavy due to my being a very visual writer and since music, good music, can drive a show or film with expert precision into a certain mood or emotional state it works very well for someone who sees pictures in their head as they write. Sometimes those pictures need coaxing from the right music to transform into words.
I have an extensive mix (actually several) of music to listen to while writing, as a good sprint can go on for hours and the more fuel provided for that sprint, the better. This list represents not necessarily the most outstanding or emotionally driving pieces, but ones I do turn to time and time again to get the creative juices flowing and the fingers working in time with the brain to transfigure mind pictures into fleshed out scenes.

The Kiss – Trevor Jones (The Last of the Mohicans): A great film score overall, yet despite the cheesy dialogue that accompanies this music in the film as a standalone musical work, this selection engages my synapses to fire in rhythm with my pulse every time.

A Game of Cricket - Adrian Johnston (Becoming Jane): Another score which stands out as a captivating work on its own. Anything that requires romance, a period feel, and/or a bit of cheek mixed with splendour is served by listening to this song and the score as a whole. Honourable mentions for: Selbourne Wood and Rose Garden

Marco Polo – Loreena McKennitt (The Book of Secrets): Instrumental with vocals is tricky because if the vocals don’t fit with the tune, or overpower it, it becomes too distracting. However, McKennitt has an extraordinary gift in blending her voice with the music she composes so when a song is instrumentally based and lacks lyrics her voice always compliments what the rest of the song already carries. While the album version is solid, I have a deep, visceral reaction and connection to the live version from Live in Paris & Toronto.

Loneliness of Six – Christophe Beck (Buffy the Vampire Slayer): One of the most overlooked series compositions ever. The music in Buffy (at least during Christophe’s main run in seasons 1-5) is some of the best television composing ever done. I listen to this cut most often because of the sweet melancholia it brings out, especially when the solo guitar comes in 2/3 through. Honourable mentions for: Remembering Jenny (with a haunting vocal by Anthony Head), Close Your Eyes, and Waking Willow

Madame De Pompadour – Murray Gold (Doctor Who, series 2): All right, let me be frank, there will be an entire post at some point dedicated to the incredible music composed for Doctor Who and Torchwood, and how each piece affects my writing. I truly cannot express how deeply invested I am in this music. However, if I have to choose one piece that succinctly captures all the sweetness, majesty, heartbreak, and hope that Gold’s music inspires, it is this one selection. Some days it gives me hope. Some days it inspires romance. Some days it causes me to break down into uncontrollable sobs. Yet I value each of those experiences equally and they always fuel some good writing. Honorable mentions: too many to name. Seriously. I’ll be doing a post just on Whoniverse music.

Sarabande Suite (Aeternae) – Globus (Epicon): One of very few tracks included on my epic writing playlist with actual words. However, at nearly eight minutes the lyrics make up a very small portion of the tune. I have a (no longer) secret goal to one day raise enough funds to make a trailer (to raise more funds) for my #1 pet film project. The trailer will be set to this song. And it will.be.epic.

The Funeral – Greg Edmonson (Firefly): Whedon shows take very specific stances with their music, and I love that about them. This piece came out of the composer after hearing the show had been cancelled. It’s the requiem for the series and never ceases to give me chills.

A Window to the Past – John Williams (Harry Potter and The Prisoner of Azkaban): While Williams’ composition for the first film stands as one of his best works, the second offered little in terms of new material to expand that standout effort. Yet when the tone of films changed with PoA and its new director, so did Williams’ music and the transformation took what was great about the first film’s score and amplified it (which is more than any subsequent HP score managed). This track is beautiful, haunting, bittersweet and emotionally complex as anything Williams has written since "Binary Sunset" for the first Star Wars film.

Maestro – Hans Zimmer (The Holiday): I’m a sucker for Zimmer (and his band of acolytes), I’ll just get that out there now. His compositions have a way of smacking me in the chest with powerful emotion and not letting go. If ever a romantic comedy deserved critical recognition for its score, my vote would be for The Holiday (appropriate as well as Jack Black’s character is a film composer). This selection opens the film, and when coupled with Kate Winslet’s incredibly opening VO sets the tone for what is a magical little movie with an amazing score. Honourable mentions for: Cry and Gumption

Jugglers – Javier Navarrete (Inkheart): Never underestimate the score of a ‘kids’ movie. A surprising number have incredible scores to accompany them. Inkheart is a strong example of this. The music overall is well done, but it’s obvious that (as with readers) the composer’s favorite character to write for is Dustfinger. Whenever I need a little boost in magic, I listen to this. Honourable mentions for: Dustfinger Disappointment and Meadows (also Dustfinger tracks)

My Name is Lincoln – Steve Jablonsky (The Island): Crap movie. Not outstanding score overall. This one piece? Incredible. (And it fits into the score of Elizabeth: The Golden Age almost better than that film’s real score)

Letter That Never Came – Thomas Newman (A Series of Unfortunate Events): See above re: scores to kid-oriented films. The music for this hits the tone of the film (and really, the books) directly on target. Newman knows how to pull at the heartstrings while still keeping a touch of hope and magic alive.

Samwise the Brave – Howard Shore (The Lord of the Rings: The Two Towers): Choosing a single track from these scores made my heart ache. The music of these films is intrinsically tied to the emotion and journey of the films. When they use bits of the score during the production diaries for The Hobbit, I get choked up. Yes, really. The epic efforts used in creating these films is felt in every piece of music and no matter what track I listen to, I can feel the fueling emotion of the entire trilogy within it. Honourable mentions for: The Council of Elrond, The Breaking of the Fellowship and The Grey Havens

PMs Love Theme – Craig Armstrong (Love Actually): I love this movie. Suck it. All the major score themes resonate with the tone of the film, making me feel equally hopeful and bittersweet with every track. When I need to press on to some great moment in my writing, this track always pushes me to the light as I picture little Sam tearing his way through Heathrow to have an epic tribute to The Graduate -- except The Graduate didn’t include Bill Nighy stripping on telly in the background.

Injection – Hans Zimmer (Missions Impossible: II): Yes, another Zimmer track. Yes, from the Notorious rip-off that is MI:II. Yet fresh off his epic achievement in scoring for Gladiator (with Zimmerite Lisa Gerrard), this soundtrack soars far above the provided film material.

The Moon Beckons – Nick Glennie-Smith (The Man in the Iron Mask): This score pretty much began my obsession with soundtrack music (well, this and The Lion King). An instance where the music fuels the film when it could have destroyed it, but the quality of the score helps me overlook the UN Committee style accents scattered through the film.

Lancelot Theme – Rohan Stevenson (Merlin: Series 1): Merlin’s score themes are limited, but the ones that are used time and again never grow stale. The music for the show covers playful and epic, romantic and dramatic, with its own stylish flare. It’s more subdued and grounded than a lot of fantasy TV series’ scores. The Lancelot theme is the main romantic theme in the show, and it’s haunting beauty is both inspiring and swoon-worthy. Honourable mentions for: The First Code, Merlin Rides Out and Lancelot Leaves

The Caravan – Jerry Goldsmith(The Mummy): Take the score of The Omen and do a mash-up with the score of The Wind and The Lion, and you have the score for The Mummy. The score perfectly captures the feel and tone of one of my favorite flicks. Equal parts epic adventure-comedy-romance and old-fashioned-horror. This piece always makes me want to go ride camels through the desert – and I hate sand. And heat. Honourable mentions for: Camel Race and Giza Port

Wolsey Commits Suicide / Finale – Trevor Morris (The Tudors: Series 1): Period-style scores in TV dramas are tricky to get right, and Morris not only got it right, he excelled at it. Any montage done in this series set to his music wields as much power as any of the best written scenes in the show. This piece in particular. Honourable Mentions for: Henry Meets Anne Boleyn, More’s Love of a King, and the title theme

Gabriel’s Oboe – Ennio Moricone (The Mission): I may have my own preferences and leanings when it comes to film scores, but that doesn’t mean I shy away from greatness even when it doesn’t fit my usual style. The score for The Mission is one of the most haunting, beautiful, accomplished works of film music ever created. This oboe-driven piece never ceases to inspire depth in my writing. (And how often do you get to use the phrase ‘oboe-driven’ in scores? It’s rare.)

Barbossa is Hungry – Klaus Badelt (Pirates of the Caribbean: The Curse of The Black Pearl): Again, Zimmerphile here, but the scores to the first and third Pirates films are, like The Mummy score, perfect matches with the film material. While I love all the music, this track holds special significance for me. When I want power and speed, I use this. Also, play this track through your best sound system at about ¾ full volume – you’ll shake walls. Promise.
Honourable mentions for: Will and Elizabeth, One Last Shot, and One Day (by Zimmer, from At World’s End)

So there you have it. Twenty-one tracks (off a playlist of about 650) that inspire me to write more, better, and often.
What music inspires you to create?

*'seriously' equates to writing with intent of creating something that may someday be viewed by others for critical and/or commercial use… or anything I write that I want to pour myself into fully.

Summertime Tunes

It’s once again time to shortlist some songs that currently have me keeping a grasp on sanity, and keep me from pushing people off Mullholland Drive who have no idea how to navigate a winding road and therefore have no business driving on it. These songs also keep my brain from dribbling out my ears due to the mind-numbing day job which takes away pieces of my soul everyday. (It’s like I’m creating horcruxes out of coffee mugs, envelopes, staplers and sticky notes, without the cool street cred of having killed people for them.)


Annabelle Lee & Come On Up to the House – Sarah Jarosz: Incredibly talented, sickeningly young bluegrass doll (yeah, I said bluegrass) creates haunting song with one of Poe’s most famous poems and mellows out a Tom Waits tune with some Appalachian soul.

Make It Out Alive – Hanson: More than a year after the release of Shout It Out, and I’m still finding gems on this album. Right now the horn and piano driven bounces of this song, coupled with Taylor’s always melt-worthy vocals make a song about how we’re all going to die eventually one of the most fun compositions to bop along with in the car.

Smotherin’ Me – Imelda May: One of several cute, pixie-like, Brit chicks I’ve come to adore after appearing on The Graham Norton Show. Rockabilly swings with the voice of a long-time smoking jazz musician who’s done one too many wails.

Summerboy – Lady Gaga: Sorry, Born This Way, but you’re really not up to par with The Fame (or The Fame Monster). I can actually hear GaGa’s real voice in this song, not the auto-tuned, over processed product in, say, “Judas.”

Vigilante – Lucas Grabeel: This is one of those tunes I am so addicted to yet have no idea why. It was stuck in my head for three days this week. Not complaining as I love Lucas’ sweet tenor voice, especially when it dips into the lower register, but this is just one piece of ear candy that inexplicably makes me really happy.

Latest Mistake – Mandy Moore: Much as I like Amanda Leigh, I still stand by Wild Hope as the most accomplished of her albums, and whenever I go back to it, I come away with a new (temporary) favorite tune from the album. The emotional push behind the lyrics adds true depth to this folk-pop-rock gem.

Anchored – Tony Lucca: A bit out of place seasonally with lyrics that begin Smells like Los Angeles, middle of winter, but the emotion which carries this ballad transforms even the hottest day into a cool, romantic, bittersweet evening.

When I Stop Running (Album) – TFDI: The grouping of Jay Nash, Matt Duke and (the incomparable) Tony Lucca is inspired. The album plays off their strengths as artists, yet even when singing their own solo tunes the depth added from backing vocals by the other two outshines individual performance. And the group efforts combine the trio’s folk-rock aspects in harmonious unity.
Best tracks: When I Stop Running, If I Was a Ghost, Sweet Talking Liar, Hurtin’ Kind (And it's only $1.99 for the whole mp3 album on Amazon...)


Honorable Mention:
Anything Darren Criss sings. No, Really. Seriously. Anything.

This is Britney, Bitch?

Yes, I still listen to Britney Spears. The girl usually has some great producers and good tunes (especially to workout/dance to), if you ignore the fact that she can’t sing (anymore – she could when she was a little tike on MMC). Thus I couldn’t resist getting the Euro release of Femme Fatale in advance of the US date. And, well… let’s just say that it doesn’t surprise me this album is out in Europe before the US. It’s an album comprised of derivative Euro club pop, which is fine for grooving to, but is in no way an attempt at evolution for the lady B.
Even though I’ve been amused at what the ‘critics’ have seen as an evolution with her last couple albums (Circus and Blackout to be precise) which were also little more than Euro club pop, they at least explored some new territory for Britney and some of the tunes had decent lyrics -- and weren't overproduced to the point where you wonder who's actually singing. Femme Fatale already has two singles released, and where a third might be found on this album confounds me. (I might choose “Trouble For Me,” because not even Will.i.Am can save “Big Fat Bass.”)
I’m already a little concerned that GaGa is hitting the sophomore slump, and now it looks as though whatever creative team helped Britney power back through countless meltdowns and craziness finally just stopped caring. The beats are decent, the vocals are autotuned with a Cher mic to a scary degree, and the lyrics are even more ridiculous than some of the cheesiest tunes on …Baby One More Time.
There’s a nostalgic part of me that hopes someone will take pity on Britney and slap her back into being a good performer who has decent, obsessively catchy tunes, and maybe even a ballad or two on her next album. Then there’s a realist in me that thinks those people are now backing GaGa, Katy Perry, “Key Dollar-sign Ha,” and some new young thing we haven’t even heard of yet… and I’m actually going to miss Britney when she fades away. I just wish she could fade with a decent album first…


EDIT: As craptastic as this album is, I can't. stop. listening. This, ladies and gents, is the true Crackpower of Ms. Spears.

Spring Into Eclecticism

Mid-march always seems a bizarre period to me. Ignoring the “March is Hell” mantra which I’ve carried for over a decade, when I lived back in the frozen tundra of Michigan, March represented a time when you knew spring approached, but winter still gripped you in its icy clutches. It just taunted you by releasing its grasp a little from time to time, only to yank you back into the below-freezing, ice-laden hell you’d lived in since November-ish. Now I live in a much more temperate climate with basically three seasons: cool(ish), rainy, and HOT… and rainy and cool don’t last long. Yesterday morning the classical station DJ commented that we’re now in the period where we likely won’t see below seventy degrees during the day until November or December. Yet I find that emotionally this time of year still holds some residual effects of near-Springs past, especially in regards to my musical leanings. I find it difficult to give into peppy pop tunes without balancing them with the more morose, slow dirge-like tunes of the winter. Just as the flowers, even here, aren’t all ready to bloom, I’m not ready to emerge from my emotional cocoon and embrace the warmer weather with happier music… and yet I can’t quite resist the siren call of approaching spring.
Thus I give you a sampling of the tunes which have thus far occupied my March:

Jason Walker – Down
Sara Bareilles – Breathe Again
Tony Lucca – Always
Loreena McKennitt – Brian Boru’s March
Michael Bublé – Hollywood
Tony Lucca – Like Love
Darren Criss & Lea Michele – Don’t You Want Me (yes, Darren… yes I do…)
Eliza Doolittle – Missing (kitschy name aside, any spunky little Brit who samples “Come Softly to Me” gets major bonus points)
Plumb – Cut
Imelda May – Love Tattoo
Sky Ferreira – Obsession
Hanson - Give a Little
Digital Daggers – Head Over Heels
Ernie Halter – Black Coffee in Bed

Give Up the Snob and ‘Give a Little’

Without getting on a giant soapbox of anti-snobbery, I think it’s about time we buried this hatchet.

Which hatchet would that be? The Hanson one.

Yes, that Hanson. The Hanson that MMM-Bopped their way to the top of the charts multiple times circa 1997, then eased and seemingly dropped off the face of the music world. Well, they didn’t. They got royally screwed by the industry and their handlers, gave the whole studio system the middle finger, and started producing their own material (and made a revealing and educational documentary about it). They grew up, got married, had kids (yes, plural) all well before any of them turned thirty. As they evolved into adults, so did their music. They released an independent album, and another, and another, and slowly crept back into the ears of DJs and some mainstream marketers without ever breaking back into the limelight. Yet the general public still can’t shake the image of the golden-haired teens who (with a big helping hand from the Spice Girls) helped re-usher pop music into our lives.

Now, I could list the myriad of reasons why people resist listening to evolving and evolved Hanson, but it basically breaks down to this: those who secretly enjoyed ‘MMM-Bop’ back in the day are afraid they’ll like Hanson again and be ridiculed, and those who loathed ‘MMM-Bop’ and all it stood for cannot wrap their minds around the concept that musicians evolve. So let’s clear the air: anyone who makes fun of you for liking Hanson doesn’t understand the band and should be educated, and anyone who resists listening to Hanson because of pre-existing prejudice should pull their head out of their ass for a few minutes and give a listen to the evolution.

This brings us to the present state of Hanson and their new video which premiered on VH1 yesterday. It’s the second single off their new album (the first single/video kicks as much ass as any mainstream video out right now), and possibly my favorite track off the current album, Shout It Out. While the new CD isn’t my favorite of their work and I think could have used a bit more polishing (mostly in the lyric department), the tunes that work rank up there with the band’s best. The single ‘Give a Little’ is a peppy, catchy little number about losing one’s inhibitions and dancing with your girl because guess what fellas – she wants you to shake it with her because that’s hot. Truth. The mere fact that these young men understand a concept like this that continues to elude men the world over should be evidence enough that you should take a break from the new Radiohead album, ignore that product-placement-laden piece of garble Britney just released, stop comparing GaGa’s “Born This Way” to “Express Yourself,” remove your head from your sphincter for four minutes, give up your snobbish barriers and opinions and give a little open-eared (and open-minded) listen/viewing to this pop-rock gem

I am The Doctor

This week, in the midst of work hell, a cold that will not die, and life just doing its best to kick my ass down in despair, I thank the maker for bestowing upon me musical goodness in the form of the two most recent Doctor Who soundtracks.
For those who think television scores do not equal their filmic counterparts, I urge you to listen to Christophe Beck's music from Buffy the Vampire Slayer (series 1-5) (and pretty much any composer who worked on a Joss Whedon series), or the music for Merlin the series, or Trevor Morris' first season music for The Tudors, or the compositions for Torchwood, but most of all I would refer you to Murray Gold's scores for all five(presently) series of Doctor Who. Each series has its own feel and tone to fit the season, and yet each one builds upon the last. The two most recent soundtracks reflect the final specials with David Tennant's tenth Doctor and the recent series with Matt Smith as Doctor the eleventh.

The two-disc specials soundtrack covers less episodic territory than previous albums, but more of the scope of each episode. The music follows each special in theme and style: the first two being mostly light and adventurous with a touch of sadness, the third much darker and chaotic, and the final two specials (on their own disc) culminating four years of this Doctor's life in an epic, exciting, painful, heartbreaking ride.
Also, anyone who has seen the end of "The End of Time" and does not need to fight the urge to sob at hearing Vale Decem has cobwebs where their soul should be.
Yet the Doctor moves on, as he always must, and following the regeneration the album concludes with starting music for the eleventh Doctor and the journey begins again.

As a new Doctor, with a new companion, the entire thematic composition of the music has changed and yet is still completely relatable to the show overall and fits magically and uniquely with this new series and its Doctor. The new Doctor is more excitable, quirkier, spastic and madder than his predecessor and the music reflects this; yet he still holds perhaps the greatest mind, the fearlessness and the might of a timelord. There's also a new sense of whimsy and mystery which he projects for his new companion, and his themes reflect this. Amy Pond's theme and style capture not only her alpha female attitude and youthful energy but the magic we see in here eyes as she discovers the universe in terms of traveling with the mad man with a box.

While this is all one giant love letter to Murray Gold, I do have to conclude by saying that of the two compilations, it's the series 5 soundtrack which makes my heart swell, the tears well and imagination thrive. Still, you can't really go wrong with any collection of tunes from the new Whoniverse.

Crazy Drivin'

"Is there a specific song or band that makes you yearn for the past?"








Interesting this should arise as a writing prompt after I finally caught myself up on Glee for this season. The "Britney/Brittany" episode brought back oh-so-many memories and has driven me to a pop music bender... this also coincides with the impending arrival of one of my oldest and dearest friends who's coming for a visit, and is my long-standing partner in loving pop music.
In high school the two of us got about twenty people in our choir to do shoulder and head rolls NSync style for warm-ups. Every day. For over a year -- and that is only the tip of our Popberg. Any other divulgences might land both of us in societal exile until well into our thirties. Still, I would not have us any other way. I mean, she may be more socially acceptable and even crazier, but there's not a big gap between Lady GaGa and Britney. Just because Justin Timberlake has finally been accepted by the darker-toned musicians he always adored doesn't erase nearly six years of stardom he experienced with four exceptionally talented white boys. Even Mandy Moore whose music has evolved exponentially and transformed almost completely from her popstar days is voicing the main character in a Disney animated film. Just because you 'grow up' doesn't mean you have to grow out of love with the music and culture of your youth.
So yeah, the Freaky Dracula Girl with a penchant for singer-songwriters and Celtic music is a Pop fiend. Pick a decade of the 20th century, and I'll tell you all about my favorite pop songs from that era. For hours if you let me.
It's another reason I adore the British -- they don't shy away from pop music and its cultural effects, they embrace it.
Thus, in honor of this well-timed prompt, my friend's approaching visit, and my Gleekiness, the following is a list of my favorite songs from the Sugar Pop heyday of 1996-2002:

Britney Spears - Anticipating
It's hard to choose just one Britney song from this period, and really anything from her third album, Britney, is poptastic funness. Though this is what triggered the beginning of crazy, scary, weird, bonkers Brit the music is fun and catchy. 'Anticipating' is one of the best jams to get your butt off whatever it's parked on and doing some serious dancing/cardio.

Spice Girls - Stop
A single in the UK but never in the US, this Motown-inspired tune has a dance which I am convinced the choreographer stole from my friend and I. It's eerie how close it is to what we just made up one afternoon jamming to Spiceworld (something I am known to occasionally still do...).

5ive - When the Lights Go Out
British boyband? Yes, please. 'When the Lights Go Out' took all the innuendo in other pop songs of the time and kicked it up a notch. Leave it to the Brits.

Hanson - Where's the Love
Talk about evolution... Hanson's first album contained a few truly Pop gems, but also even then expressed their Rock and Roll meets Motown roots. Their most recent album is a more full-circle endeavor, returning to those roots with a more polished, older sound. Still, Middle of Nowhere remains one of my favorite albums (even if they do sound like chipmunks compared to how they sound now) and 'Where's the Love' stands as my favorite song on that album.

Christina Aguilera - Somebody's Somebody
I picked a slow song! While Christina's first album doesn't contain the gravity of later works (or the dirrt), it's still a great Pop album by a powerhouse vocalist. 'Somebody's Somebody' is one of the most understated tunes on the record and while overshadowed by the dancey tunes like 'Come On Over Baby' (another favorite of mine and a scary earworm), it really showcases Christina's ability to hold steady with that instrument of hers.

Savage Garden - I Don't Know You Anymore
Australian hottie duo best known for 'I Want You.' Their Euro-pop sound hit at the right time and though the first album is pretty solid for that genre, it's the second album that elevated their musical chops. The only other ballad on this list, 'I Don't Know You Anymore' is a beautiful piano-driven stripped-down song that shows all the producing and electronica in the world can't really compete with good lyrics, a haunting melody and a steamy voice.

Mandy Moore - Turn the Clock Around
While I still adore 'Candy' as the pop gem it is, and the almost unheard-of 'Your Face' is hauntingly beautiful, Mandy really started to show her deviation from pop towards more folky, deeper music with her self-titled third album. While still very poppy, there's a lot of evolution evident in only two years from her debut. 'Turn the Clock Around' is bittersweet yet upbeat and showcases her ability to blend Pop with strong lyrics at a young age.

NSync - I Drive Myself Crazy (Thinking of You)
Honestly, forcing myself to choose one NSync song is like pulling emotional teeth. There's about four cover songs, several major hits, the entirety of No Strings Attached and a slew of other tunes which I adore more that any of the other songs on this list (except for maybe 'Where's the Love'). Still, when it comes to it, the song I have more versions of than any other and still listen to on a weekly basis is this one. And apologies to Chris, but the European version with JC on leads for the first verse trumps the US recording. However, the video is probably also my favorite from this time period. More than Britney's 'Baby One More Time' or Mandy Moore's 'Walk Me Home' or Hanson's 'Weird' (yes, it was directed by THAT Gus Van Sant). There's so much personality and entertainment value to be had in this video -- proof that the boys never took themselves too seriously which you need in that kind of position. Plus, JC gives a whole new hotness dimension to strapped-down psychos.

Honourable Mentions:
Daniel Bedingfield, Backstreet Boys, Jessica Simpson, Madonna, BBMak, J Lo, 98 Degrees, SoulDecision

Now I'm thinking soon there will be an accompanying list on the evolution of some of these artists (and solo careers in some cases) since their days of ruling Popdom.

Fighting Fire with Music

In an effort to expose a more personal side of myself (no, not like that), and since my intellectual and creative mind seem to have dissipated in the face of SoCal’s current heat wave, I thought it time to indulge readers (and myself) in something not related to writing -- well, not entirely related.
Like many writers I require a musical feed when writing... it’s another layer to inspire creativity. At least that’s how it is for some people. For me, while it is that, it’s also a lifeline to the world and to myself. In my intro coaching session while having to (*groan*) talk about myself, I revealed that I am a human playlist maker, which was sort of an off-the-cuff remark at the time. However, the more I contemplated it, the more I found it really is a major part of what makes me ‘me.’
Stronger than all other obsessions in my life, music causes more of an intuitive, visceral response, and more than any other medium I feel the need to spread those feelings to other people. Embracing music and books/reading for me are basic human needs. I pretty much put both of them before useless things like socializing, paying bills, eating and putting gas in my car.
My natural knack for figuring people out in a very short span of time (usually), also bestows me with the ability to conjure music playlists for people that not only appeal to what they know they like, but bring out aspects of themselves and their musical tastes they didn’t know existed. Granted a bit of my selections tilt toward my favorite musical artists and styles (which is true of everyone who makes playlists for others), but I always try to choose songs and artists I feel will reach into the emotional guts of the other person and stir up a new cocktail they’ve never tried and make them crave that cocktail, because that’s what discovering new music does to me. Yeah, I’m a musical crack dealer (and no, I did not come up with that term for myself; it was bestowed on me years ago).
So as the weeks and months go by, expect a sprinkling of playlists to invade the rants, reviews and randomness. They’ll very in size, scope and reasoning and I’ll try to keep explanation length for each track manageable. And if you ever need a playlist for an event, a friend, yourself, or something your writing, consider me a musical consultant. There are a few musical styles I’m not into (hardcore rap & hip-hop, metal, and grunge to name a few), and my knowledge of folk, country, and world music in all-encompassing terms is limited. However, I’m keen to learn when it comes to music and the taste I do possess (which aides in the whole human playlist thing) is EXTREMELY eclectic. I’m a child of the 80s who grew up on music of the 50s & 60s, who embraced both the R&B and pop revolutions of the 90s while becoming involved in classical, choral and musical theatre, who eventually succumbed to her parents’ love of folk and Celtic music, who finds power, beauty, and value in rock, country, big band, film scores, euro-pop, and who is, admittedly one of the biggest advocates of ‘popular music’ from the 1920s through today you are likely to find.

Oh, and like with literature, movies, tv and pop culture, my musical passions exist in a Snob-Free Zone.


Playlist for this blog (a subsection of my Summer 2010 playlist):
Scissor Sisters - Fire with Fire
Ernie Halter - Gone
Pixie Lott - Gravity
Muse - Undisclosed Desires
Glee Cast - Over the Rainbow
The Beautiful South - Les Yeux Ouverts (Dream a Little Dream of Me)
Rosemary Clooney - Sway
John Farnham - You’re the Voice
Christian Kane - Let Me Go
The Turtles - Elenore
Otis Redding - These Arms of Mine