Happy Gay Pride!

I mean, really. This just may be the gayest post ever on Popdose, and that’s coming from the guy who does a feature called Phagz on 45 each week. You’ve probably heard of this legendarily awful album that combines the gayest of the gay — show tunes, Ethel Merman’s distinctively campy delivery, and, of course, disco. All that was missing was a complimentary bottle of poppers.

So, who was responsible for this mess? We can probably excuse Merman, who was 70 years old at the time of recording and who, rumor has it, recorded her vocals with nothing but a piano accompaniment, the disco-fied backing tracks added later. Can we blame A&M Records, the label that actually unleashed this upon the world, thinking it might move a few copies? Perhaps we should place the blame on producer/arranger Peter Matz, who in the liner notes thanks executive producer Kip Cohen “for having such a good idea.” Aha! Kip! Oh, Kip, so much to answer for.

So, what’s the album like? Um, pretty much Ethel Merman singing her standards with a generic disco beat and strings tacked on. Take a listen to the beginning of “There’s No Business Like Show Business” (download) then “Everything’s Coming Up Roses” (download) and tell me they don’t start off exactly the same. The entire album sounds like this … at least what I’ve been able to get through before whipping the needle off in an act of self-preservation. This makes Paul Lynde look like John Wayne in Rooster Cogburn.

Just to prove the Merm was still lucid when she recorded this, here she is promoting the album on The Tonight Show with Johnny Carson. Money quote by Johnny: “I hope it’s not too much of a hit for you!” No worries there, Johnny. And hey, check out Albert Brooks next to Ethel on the panel! (more…)

The writer’s strike sucks.

You know it, I know it, and all but the most diehard aficionados of reality TV know it. We don’t watch TV for reality, we watch it for fantasy. Still, when you’re pop culture obsessives like we are, we can sometimes be swayed to get involved in one of these God-forsaken programs when they involve a cast of celebrities, and in the case of CMT’s new show, “Gone Country,” the premise is eye-catching as well: take six musicians from decidedly different genres and watch as they attempt to reinvent themselves as country music artists. After watching the first episode and finding it disconcertingly enjoyable, we found ourselves thinking about others in music history who’ve taken a stab at career re-creation, only to have it go horribly, horribly wrong.

Yes, while putting together our list, we snickered. A lot. And now it’s your turn.

(more…)