get2sammyb.co.uk

Now Redundant.

These are my shoes. The Clik Clik made me buy them by writing a song about them and because I’m super-shallow I caved and exchanged my worldly money for these unearthly contraptions. Now The Clik Click have broken up. So I don’t want my shoes anymore*.

Here’s that memorable track in uber-gay “lolz heer arez the lyrics” fashion:

Bye bye The Clik Clik.

* 99% not true.

Listening To Culture Club Means You're Struggling With Your Sexuality. Oh Wai-?!

According to an article written by Australian publication The Age doctors should “ask their teenage patients what type of music they prefer to determine if they are at risk of developing a mental illness or committing suicide”. Well according to a bunch of lousy researchers who probably get paid £50-an-hour to come up with this utter bollocks.

I quote:

A study, published in today’s Australasian Psychiatry journal, found that teens who listened to pop music were more likely to be struggling with their sexuality, those tuning in to rap or heavy metal could be having unprotected sex and drink-driving, and those who favoured jazz were usually misfits and loners.

I’m sorry - what? Talk about a broad generalisation of teenage culture as a whole. While I totally understand where this “research” could derive from I thought we’d gotten past the stage of putting people in boxes. Sure there is always going to be cliques and groups but from a medical standpoint this sounds wrong? How on Earth can you make a sweeping statement that says anyone who is enjoying the new Natasha Bedingfield album is struggling with their sexuality? The same applies to the metal heads having unprotected sex.

I probably agree with the jazz comment though. (Just kidding).

The study goes on to clarify itself by saying that said behaviour only links to those teenagers who may have a mental disorder.

“It’s more a case of teenagers who may have a mental illness or are involved in these antisocial behaviours being drawn to certain types of music.”

Here’s what your music tastes say about you:

POP: Conformists, overly responsible, role-conscious, struggling with sexuality or peer acceptance.

HEAVY METAL: Higher levels of suicidal ideation, depression, drug use, self-harm, shoplifting, vandalism, unprotected sex.

DANCE: Higher levels of drug use regardless of socio-economic background.

JAZZ/RHYTHM & BLUES: Introverted misfits, loners.

RAP: Higher levels of theft, violence, anger, street gang membership, drug use and misogyny.

Whoever did this “research” did a shit job because most of the stuff listed in “pop” should have been put in a “rock” section.

With Katy Perry’s “I Kissed A Girl” lingering at the top of the US billboard for the billionth week (I love the album by the way) the jury is still out as to whether Katy is just a “chick with a good single” or “a hot chick with a good single”. The debate ensues:

The “Hot” Argument

The “Not” Argument

Hmmm - the jury is still out. What do you reckon? Just ‘cos I like the song let’s post it again.

I guess it’s up to you guys to decide then eh?

We’re all Texas fans here aren’t we? Good, because I’m going to have to ask you to leave my website if you say so much as a bad word against Texas or their amazingly amazing lead singer Sharleen Spiteri.

Anyway - Sharleen has since gone solo and written and recorded a “very personal” album called Melody. It’s good times for classic pop lately and Melody fits the bill being touted as “1950’s doo-wop“.

Lead single “All The Times I Cried” was basically amazing and so is the album. Buy it.

Also, for anyone interested Annie’s “I Know UR Girlfriend Hates Me” is also out tomorrow.

I’m so grateful for the recommendation of this album because it’s simply one of the best things I’ve listened to in a long while. Originally billed to me as being a Scarlett Johansson “Anywhere I Lay My Head” beater, I shook my head, swallowed my love for Miss. Johansson’s record and checked it out. I don’t intend to look back.

Essentially Volume One by She & Him is (presumably) side project of actress Zooey Deschanel (hot), who recently appeared in the critically-average flick The Happening, and musician M. Ward. Volume One is filled with retro-flavoured, country-inspired pop songs.

Kicking off with “Sentimental Heart” Zooey’s off-key vocals cut through a piano and Eleanor Rigby-esque string backing. The obvious lack of post production in tuning Zooey’s vocals really stands out instantly - this is miles apart from over-produced radio pop. This is a raw pop fix sometimes stepping into jazz territories.

“Why Do You Let Me Stay Here?” is a more upbeat ditty where the vocals are carried with a lavish helping of reverb and slapback delay. The song is backed out with an acoustic guitar riff and some great lead guitar playing very reminiscent of the surf-rock era.

“This Is Not A Question” is another pop track in which Zooey addresses the song as being for “those of you who tried and didn’t make it”. The lyrics are surprisingly solid given the nature of the record but obviously the album is all about the tones, range of instrumentation and melodic content.

“Change Is Hard” is my personal favourite track on the record as a swing beat carries Zooey’s vocals as she sings “i was never no, never no, never enough // but I can try, I can try to toughen up”. The vocals are powerful and they compliment the slide guitar and lush synth strings forming the backing track. “I Thought I Saw Your Face” continues the formula with big piano chords and synth strings building into the best chorus on the album.

“Take It Back” feels almost like it should accompany a film like Breakfast At Tiffany’s. A slow moving ballad with lots of personality that has a very classic pop feel to it. “I Was Made For You” brings the album back up to speed with a big drum beat intro and quick hitting piano chords.

Smokey Robinson’s “You Really Got A Hold On Me” brings the speed back down with a laid back feel that might drag on for some, but I find particularly relaxing. “Black Hole” is a big acoustic guitar track with fast strumming and some nice percussion rhythm. The track builds into “Got Me” which is a very country-flavoured Dixie Chicks style track.

The surf sounds returns for a cover of The Beatles “I Should Have Known Better” which has some great guitar work. “Sweet Darlin’” is probably the most “radio friendly” of the tracks on the album as it chugs along with a big clap chorus as Zooey calls “Sweet darlin’ // come hold me”. The track get’s a bit repetitive but would be a good single choice if they want to put She & Him into more homes.

The album closes on a rousing performance of “Swing Low, Sweet Chariot” which reminds you of the raw sound this album is aiming for. Zooey’s vocals are carried by the crackle and hum of a tape recorder and the harmonies of others.

Volume One by She & Him is an absolute gem for anyone with even the passing interest in retro pop and classic production. If you took Scarlett Johansson’s “Anywhere I Lay My Head”, stripped down the production to a bare minimum, got a better vocalist and added in homage to the best 60’s pop records - you’d probably come close to creating an album on the same level of Volume One.

9/10.

• She & Him MySpace
• She & Him Official Website

The Aussie pop-masters Sparkadia (read: Keane-sound-alikes) are releasing their debut album “Postcards” in the UK next week (even though it’s already on iTunes and has been out down-under since March).

A lavish mix of classic-pop tracks (read: Keane) if you decide to pick up the album next week. “Too Much To Do” is catchy as hell, the guitarist is a weeny bit fit and the bass playing’s quite tight. What more could you want?

Newsflash: Katy Perry is going to be insanely huge. I said it in May when I heard second single “I Kissed A Girl” and since playing through debut album “One Of The Boys” there is no doubt in my mind that this album is going to blow up big time worldwide. She’s set to invade the UK in September — so if you want bragging rights or need to be aware of avoiding mainstream radio in September, here it is.

Katy Perry’s album has a unique yet mainstream sound at the same time: similarly to Lily Allen, Perry’s album is unique while still having a commercially accessible sound. This is manufactured pop at it’s best, so if you’re too cool for that - better skip the review.

The album track starts with title track “One Of The Boys” and it only takes 40 seconds of the song for you to know that this album is going to be both awesome and massive. Kicking of with chugging power chords and synths Katy opens with “I saw a spider I didn’t scream, ‘cos I can belch the alphabet just double dare me”. Essentially a song about not doing typical girlie things the song builds into a massive chorus where several harmonies support the main melody. The tune is hummable and likeable which culminates in a clapping breakdown before the final note rings out leading into the beat of second single (in the US), “I Kissed A Girl”.

“I Kissed A Girl” secures Katy’s tongue in cheek lyrical style as a fuzz bass-line chugs on top of the beat. She sings “it’s not what good girls do, not how they should behave” before culminating in the line “I kissed a girl and I liked it, // the taste of her cherry chapstick”. The chorus goes into a fit of saw bass and subby kicks which totally changes up the dynamic of the song and is going to set clubs alight this summer.

“Waking Up In Vegas” slows the pace of the album down where Katy shows off her vocal range. Her singing style is not over-the-top but has enough expression to it. The song builds into a track reminiscent of Avril Lavigne and Paramore — the commercial pop-rock sound. “Waking Up In Vegas” isn’t the strongest song on the album but is still perfectly hummable, like everything else on this album.

Moving on with the slower sound “Thinking Of You” kicks off with picked acoustic and Katy whining “comparisons are easily done // once you’ve had a taste of perfection”. Another of the more serious tracks on the album her voice almost reminds me of Dixie Chicks country rock.

“Mannequin” starts very delicately with a nice delayed piano riff and a subtle sawtooth synth riff before building into a chugging rock track, “you’re not a man, you’re just a mannequin”. The song is very progressive as it switches between nice and delicate and then constant building.

The first single in the US was “UR So Gay” which superstar Madonna touted live on radio, starting the snowball effect of Katy Perry fans in America. Definitely with Lily Allen in mind the song chugs along with a reggae/ska beat and bassline as Katy’s tongue-in-cheek lyrics return:

“I hope you hang yourself with your H&M scarf
While jacking off listening to Mozart
You bitch and moan about LA
Wishing you were in the rain reading Hemingway

You don’t eat meat
And drive electrical cars
You’re so indie rock it’s almost an art
You need SPF 45 just to stay alive

You’re so gay and you don’t even like boys”

The song is held together with a brilliant brass riff and some nice use of synthesizers and whistling. Definitely one of the stand out tracks of the album.

“Hot n Cold” starts off slowly with an arpeggiated synth and “house” drum beat before turning into another Kelly Clarkson-esque rock chick. Again it’s another super-catchy track but maybe not as original as the other songs.

“If You Can Afford Me” has a very stylised guitar strumming riff in the verse before building into another Avril Lavigne style chorus. However, like I’ve said about earlier tracks - Katy’s voice has little country flickers in it so these rock tracks sound more Dixie Chicks or Michelle Branch than Paramore or Lavigne. “Lost” continues the trend of acoustic guitars as Katy once again shows off her vocal range on top of a dreamy backing of xylophone and toms.

“Self Inflicted” is the punkiest song on the track: chugging power chords, distorted bass and Cure-esque dreamy delay pedals. This is the song that will make it ok for the “punk-kids” to listen to Katy Perry and still get away with wearing black even though tracks like “I’m Still Breathing” which is almost like a classical pop-song in influence contradict that.

“Fingerprints” closes the album with more Avril Lavigne-stylised guitar riffs and vocals. It’s a disappointing end to the album as it chooses to follow it’s pop-punk routes as opposed to it’s pop roots - but again it will appeal to the “goth-kids”. Note the tongue in cheek.

“One Of The Boys” may head too far in the direction of manufactured pop-punk for my liking but there is enough manufactured electro-pop in the record to keep me listening. Catchiest record I’ve heard for a while.

9/10.

• Katy Perry Official Website
• Katy Perry MySpace