Posts Tagged ‘Nick Cave’

Turn Me On, Dead Man: Nick Cave’s “The Death of Bunny Munro”

Nick Cave has spent the better part of the past decade reasserting himself in his role as true rennaisance man. After the subdued and stately The Boatman’s Call (1997) and No More Shall We Part (2001), many thought Nick Cave was settling into family life and maturity with grace. Instead, he rallied together his Bad Seeds and launched a salvo of albums culminating in 2008’s joyously raucous Dig, Lazarus, Dig. If that wasn’t enough he started Grinderman, a side band of vitrolic rock of near Birthday Party intensity. He wrote the screenplay and (with Warren Ellis) provided the soundtrack for John Hillcoat’s acclaimed film The Proposition. Why not a novel as well? (more…)

Versionality: “Stagger Lee”

About a month ago, while I was working on my Soundtrack Saturday post about Shag: The Movie, I tweeted that I never got sick of hearing Lloyd Price’s version of the blues folk song “Stagger Lee,” which is what Annabeth Gish and Scott Coffey’s characters dance to during the shag dancing contest at the end of the movie. In fact, I think I listened to it about 20 times just in the few hours it took me to write that post. The first time I’d ever heard any version of “Stagger Lee” was while watching Shag, and every time I hear Price sing it, I think of that scene and just want to put on my shaggin’ shoes and go to town. (Okay, so I don’t really know how to shag, but whatever.)

Seeing my tweet about my love for Mr. Price’s “Stagger Lee,” the lovely Jeff Giles asked if I’d ever heard the version by Chris Whitley & Jeff Lang. I replied that I hadn’t, and within the hour an MP3 was waiting in my in-box. After listening to it and telling Jeff how much I liked it, a discussion about some of the other versions of the song began, ultimately leading to the idea of this feature, which I hope continues with the thoughts of members of the talented Popdose staff on other oft-covered songs.

Now, much has been written about the Stagger Lee story and even about the many versions of the song; I’m certainly not going to try and rehash everything for you here. Instead I’d encourage you to read this and this, and if that’s not enough Stagger Lee history for you, there’s always Wikipedia. Rather, what I wanted to talk about here is what I love about the song and its many renditions.

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Hooks ‘N’ You: Kylie Minogue, “Light Years”

hooksnyou.jpgStop laughing, you bastards!

A few weeks ago, I was having a conversation with David Medsker – my comrade in arms both here and over at Bullz-Eye.com – about Kylie Minogue. He’d just heard “Wow,” the first single from her new album, X, and in the process of researching a post he was writing about the song, he learned that Kylie had gone to Number One in every major country in the world…except, of course, for the US.“Here,” he informed me, “she has two Top Ten singles, which are also her only two Top 20 singles. In England, she has seven Number One singles, 30 Top Tens, and 40 Top 20 singles. Forty. Here? Two. Jesus.”

I totally get his frustration, but I also understand why Kylie ended up being shunned by American audiences.

In 1987, Kylie was already a proven entity in both the UK and her native Australia, courtesy of her years spent as a cast member of “Neighbours,” so it was easy enough for her to score attention with her first single, the dangerously catchy “I Should Be So Lucky,” and take it to the top of the British charts. Stateside, however, it only crawled to #28, so Geffen played the cover-song card and giggled gleefully as Kylie’s take on the Little Eva classic, “The Locomotion,” soared to #3. Unfortunately, instead of making her into a household name, it merely served to transform her into an instant novelty; the follow-up single, “It’s No Secret,” struggled its way into the lower reaches of the Top 40 before dying a quick death soon after, and if Geffen bothered to release any singles from her second album, 1989’s Enjoy Yourself, they didn’t manage to chart. It took the U.S. twelve years to renew their membership in the Kylie Minogue Appreciation Society, and they only did it then because it was painfully evident that no-one…no, not even slope-browed American radio listeners…could deny the brilliance of “Can’t Get You Out Of My Head.”

Well, that and the fact that she looked like this:

It was more than half a decade prior to that, however, when I first began to realize that there was very possibly more to Ms. Minogue that I’d originally been led to believe. I’m sure we’ve all found ourselves prone to appreciating someone’s work simply because of the company they keep, and that’s what started me on the road to rediscovering Kylie.

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