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- Readers recommend: songs about manual labour
Last week it was all about a coming together of hands. This week, it's hands again; but hands that are hard at work
Last week, eh? What a wonderful time it was. A thing of joy, wonder and colliding palms; truly what RR is all about. I would cry, if I hadn't had my tearducts sewn up.
Age and experience have taught me that, whatever I think of it, someone will declare the A list (oh yeah, here's the column about it a stinker but I reckon it's more of a corker than Korky the Kat corking bottles in a factory owned by the father of Jack Cork, the Chelsea midfielder. Anyway here it is: The Stooges – No Fun; Outkast – Hey Ya!; Steve Reich – Clapping music; Paco de Lucia – Cepa de Andaluza; Queen – We will rock you; Abyssinian Baptist Choir – Said I wasn't going to tell nobody; Nusrat Fatih Ali Khan – Allah Mohammed Char Yaar; The Marvelletes – Too Many Fish in the Sea; Miles Davis - Black Satin; The Ventures – Let's Go
For the record, I love love loved Black Satin. So wild and inventive, yet the groove still abides despite it all.
B time:
Toumast – Ammilana – This week's nominations hailed from all corners of the globe. Toumast are Touaregs from the Sahara, but ullulations aside, they sound like the distant cousins of the Velvet Underground. Clapping here forms a percussive backdrop to a mysterious ongoing drone...
The 5.6.7.8s – Bomb the twist – One for all the J-pop girl punk fans out there (Pairubu and, er, well, that's it). Taking the sixties girl group template and shouting all over the top of it, it's fun, fun, fun 'til your daddy takes the tofu away.
Slow Club – Let's fall back in love – A right old romper stomper this one with a chorus of voices, handclaps and acoustic guitar together sounding so big that you'd swear it was recorded at a gathering of the Brobdingnag Woodcraft Folk.
Husker Du – Turn on the news - Hasn't Bob Mould aged well? I saw him at ATP last year and he looked twice the guy he did 20 years before. Anyway... this is a scuzzy, frenzied takedown of media sensationalism. The claps, it has to be said, are rather functional, a backdrop to a Mould solo. But the solo is sensational, so there.
The Meters – Clap your hands – Having pretty much worn out the vinyl on my Meters greatest hits as a kid I may have underplayed this song's value when it came to selecting the A list. Great clapping, funky song and even a bit of chicken impersonation.
Nina Simone – Sinnerman – I have been overexposed to this track too, but not by choice, rather the fault of Sinnerman being synced to some godawful car ad or other. It has a tremendous flamenco-esque clapping breakdown, but in a case of Too Good for the A List (TGAL?) this song by the nine-times selected Ms Simone remains free for picking on another day.
The Fall – New Big Prinz – Haven't had any Mark E on here for a while. The clapping is kinda sixties, the guitar line sounds like the Mission, but the vocal style is all his own...
Martin Solveig – Edony (clapapella mix) – Not quite sure where on the spectrum of electronic music this falls, but I certainly like it. By turns trippy and frenetic, and with a lyric read in the neutered American tones of an automated phone line, it's certainly intriguing.
Ketama – No se si vivo or sueno – How fast do you like your clapping? Fast, huh? Well howsabout taking your fastest clap and timesing it by !0! Then you'll get somewhere close to the Mach 1 velocity of this flamenco number.
Doll by Doll – The Street I Loved – Smart, stylish post-punk with a quick-fire burst of clapping to frame every other bar. Some good falsetto too. A very pleasant discovery.
Here's a Spotify playlist with a good number of this week's top 20 on it.
This week it's manual labour. So that means it's done by the hands, but also that it's physical (ie working in a call centre doesn't count, nor does journalism for that matter). I suspect Bruce might get a nomination or two, but I'd certainly be keen to hear suggestions that hail from somewhere other than New Jersey too. See you on the blog.
The toolbox: Archive, the Marconium, the Spill, the Collabo
DO post your nominations before midday on Monday if you wish them to be considered.
DO post justifications of your choices wherever possible.
DO NOT post more than one-third of the lyrics of any song.
DO NOT dump lists of nominations – if you must post more than two or three at once, please attempt to justify your choices.
DO be nice to each other!
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Переслать - Robbie Williams rejoins Take That: you wanted him back for bad
Thirtysomething women, your day of joy has arrived. Take That have their danger back. How happy are you?
Pop hasn't seen a moment this exciting since the glorious period in 2006 after Tony Mortimer rejoined East 17 but before he allegedly punched Brian Harvey in the face and then left East 17 again. Yes, after years of bitter animosity – and a few months of slightly cloying chumminess – it's been announced that Robbie Williams has officially rejoined Take That. There will be an album. There will be a tour. There will probably be an awkward moment between Robbie and Mark Owen where they both have to decide which one gets to be Take That's bad boy now. But the details hardly matter at this point. This is a time for joyous celebration. Or is it?
If you're a thirtysomething woman then, yes, it probably is. When you were younger, Take That were the king of boybands: worth five Boyzones, 15 Westlifes and upwards of 911 911s. You were one of the wailing teenagers who flooded the helplines, clutching your tear-stained collection of Smash Hits for support, when Take That announced their split in 1996. Then, when the group began touring as a four-piece again you made sure you were down the front, screaming and singing along and pretending that Howard still had his dreadlocks. But, although you refused to acknowledge it, deep down you knew that something was missing.
Without Robbie, Take That simply weren't Take That. As much as Gary tried to replicate it with his mountain climbing, and as much as Mark tried to replicate it with his drunken promiscuity, the danger just wasn't there. The showmanship wasn't there, either. Nor was Everything Changes, which everyone knows is the best Take That song. But now the missing part of the puzzle has been nudged back into place. Take That – the real Take That, the Take That of It Only Takes A Minute and Pray and that video where they got their bums out and rolled around in some jelly – are finally complete again, and you're probably thrilled.
If you're not a thirtysomething woman, though, then you're probably wondering what all the fuss is about. Tell a teenager today that Robbie Williams has rejoined Take That, and they may well wonder why everyone is making such a fuss about the big-eyed weirdo from X Factor getting back together with the people who do the Richard Hammond supermarket jingle.
But if that's you then, sadly, you don't count today. This is a day purely for the legions of Take That fans who can't wait to bring the entire phone system crashing down a nanosecond after the boys announce their new tour dates. And after that, we just have to wait and see what Robbie can bring to the table. Will he sing No Regrets, or that one from Rudebox where he calls Gary Barlow a "cock", or will he perform Back For Good on a motorised toilet like he did on his first solo tour? Fingers crossed.
What are your reactions to this? Are Take That better or worse off with Robbie back on board? Is this doomed to end in disaster again? Your opinions below, please.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать - Adam Buxton: how I got the music video BUG
The comedian and presenter discusses the thinking behind his stage show about pop videos – and reveals his favourites
I was first approached to do BUG: The Evolution of the Music Video after I hosted the final two Antenna nights at the BFI Southbank. Antenna was a showcase where fans could watch music videos in a massive cinema with really good sound. I'd never seen anything like it before and was delighted that they'd asked me to host it. With BUG, I thought we'd change the format a bit, show fewer videos, and break it up with more stupidity – which is, of course, what I do.
Three years later and we're on our 20th show. I'm not a big anniversary person so can rule out a huge Glastonbury-style celebration. Plus, Stevie Wonder's pulled out, Gorillaz refuse to do it because I'm regularly rude about Damon, and Bowie's just not answering my texts.
Still, as usual, we will have an excellent selection of videos and, hopefully, Cyriak will be our special guest. He's not really a music video guy but he does amazing, trippy Flash animations. He often marries them to his own soundtracks, so he sort of fits into the music and video remit for us. We don't have to be too prescriptive about who's in the show as long as there's some vague connection.
Over the 20 shows, one part of my silliness that has really taken off is the YouTube comments section. YouTube has become a gathering place for the addled and insane to vent to their extremely disrespectful opinions about other people's hard work. Naturally, I gravitate towards this and read out some of the more unhinged comments left under our featured videos. I'm so desperate to find the stupidest and least insightful diatribes that in the past I've actually spent more than six hours sifting through comments for just one video.
We'd really like to do a BUG Radiohead special. Garth Jennings [Son of Rambow director and a previous guest] and I put together some videos and webcasts for their last album, so it would be great to work with them again.
Right now, I'm preparing a pilot for a television version. We've got interest from a number of broadcasters and I think it would make a great online show. I'd love BUG to carry on in another form even if it were just a digest of the live shows.
Adam's favourite music videos:
Let Forever Be: the Chemical Brothers (directed by Michel Gondry)
It's not been shown at BUG because it's too old. I love the way he transforms video effects into real situations. I think it's about the best video I've ever seen. It continues to astound me with how clever and visually successful it is.70 Million: Hold Your Horses (directed by L'Ogre)
We showed this film in which the French band recreate classical paintings. I felt that it was a quintessential BUG video. Made for not much money but with real attention to detail. Beautifully lit, with a sense of humour and a great song as well. As good as it gets.
Hibi No Neiro: Sour (directed by Who-Fu)
It's a so-called crowdsourcing video by a Japanese act. They choreographed 80 fans who perform on webcams. Then they lined up the pictures to create these startling images. I showed this to Radiohead and although they're super-critical they all agreed this video was amazing.
guardian.co.uk © Guardian News & Media Limited 2010 | Use of this content is subject to our Terms & Conditions | More FeedsПереслать
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