Annie Lennox is one of the great pop/rock vocalists of the past thirty years, perhaps the greatest. She possesses a strong and expressive voice that has such identity, such presence. Her androgynous persona was the perfect image for the eighties, an excellent point in the highly synthesized depersonalized art of that decade from which to explore the mores of sexuality and romance. In the nineties, with the reign of political correctness, Lennox pushed more to the feminine, first imaging herself as a glamorous, feather-bedecked Diva, then here, bare, as one of the classic emblems of threatening, anarchic female power, Medusa.

Medusa is for all intents and purposes a cover album, without any proposed thematic unity, merely songs that she loved and identified with. Most of the songs are contemporary to her Eurythmics days. "No More 'I Love You's'" by forgotten arty synthpop act The Lover Speaks sheds much of the original's pretense for a warm, memorable rendition. Her version of "Take Me to the River" clearly patterns itself after the Talking Heads rather than Al Green's original, with a harder-edged synthesizer-heavy sound and a vocal approach of fury rather alien to those other versions' yearning sexuality. Procol Harum's "A Whiter Shade of Pale" disperses the proggy underpinnings of the original for a sweeping, orchestral elegance. Neil Young's "Don't Let It Down" is less well-served by this syrup-thick arrangement, lacking the scarred, burnt-out power of the original. The Clash's "Train in Vain" gets a Sesame Street-style funk singalong reworking which kind of works in spite of itself and serves as a logical enough lead-in point to a slick modern R&B version of The Temptations's "I Can't Get Next to You" which showcases Annie sounding at times eerily similar to Eddie Kendricks. Her swooning, breathy interpretation of The Blue Nile's "The Downtown Lights" is spot-on, triumphant. Her drowsy, subtle take of The Persuaders' "Thin Line Between Love and Hate" is great until the spell is broken by the somewhat overplayed final minute. Bob Marley's "Waiting in Vain" is a peculiar choice, but is thankfully stripped of any trace of reggae (which really would not have worked in this context). She ends unfortunately on a rather dull run-through of Paul Simon's "Something So Right" which she later re-recorded with Simon (this version is appended to the end of the Live in Central Park disc and is somewhat better).

As to the Central Park concert, recorded September 9th, 1995, it features primarily songs from Diva and old Eurythmics tracks. The airtight electronic sound that characterizes Medusa is also present here, and it seems kind of weird and off-putting in a live setting, nor does it help that Lennox is backed by a soul chorus, a live rock crutch that always feels clichéd and uninspired. The pseudo-rapping at the end of "Money Can't Buy It" is as embarrassing as ever. The Eurythmics songs lose most of their sleek sexiness in such ponderous context, which is truly unfortunate (especially for "Here Comes the Rain Again"). On the plus side, the bouncy, electronic "Little Bird" is stellar and "Walking on Broken Glass" is fun. Still, on the whole, a thoroughly inessential addition to the album.

***1/2

Y es que entre tanta siniestra y petarda, mis queridas compañeras se habían olvidado del otro gran fenómeno nuevaolero, el synth pop -o tecnopop- como fuera conocido de los Pirineos hacia abajo. Y de entre la miriada de grupos tecnopoperos que salieron a la escena, hubo uno con una inconfundible voz femenina que resumía todo el eclecticismo de la new wave.

1. Annie Lennox (Eurythmics)

Inquietante, andrógina, sofisticada, elegante, y arrolladoramente casrismática, como la respuesta femenina a David Bowie. Con una voz tan camaleónica como su poseedora, excepcionalmente capaz de adaptarse a multitud de registros sin perder su personalidad, desde un pop electrónico oscuro cercano a lo siniestro hasta el soul, el rock o el simple divismo cabaretero.

De la etapa synthpop de Eurythmics, ¿qué tal "Love is a Stranger" de 1982?

Y aunque no todo el mérito de que Eurythmics fuera uno de los pocos grupos tecnopoppies que sobreviviera con éxito y  dignidad a la nueva ola, fuese suyo -su ex-marido Dave Stewart era un excelente compositor y arreglista- la pelirroja escocesa se convirtió en un auténtico icono (gay entre otros) merced de su imponente personalidad y talento. A mí hay algo en la mirada de mala hostia de Shirley Manson que me recuerda a Annie, por poner un ejemplo.

Y como curiosidad petarda, a Annie Lennox la MTV le exigió su partida de nacimiento antes de emitir sus vídeos. Querían saber si aquello era carne o pescado...

2. Chrissie Hynde (The Pretenders)

Chrissie Hynde era el contrapunto triste -y en moreno- a Blondie. Rechazando el rol de sex symbol irresistible que muchas asumían incluso sin merecerlo, ella ganaba precisamente con ese aire de perdedora y maldita, de mujer fuerte vapuleada, transmitiendo tanto cinismo como emoción a través de su magnética voz y sus intensas letras.

De su excelente colección de canciones, "Brass in Pocket" de 1979.

The Pretenders sonaban bastante distintos al resto de sus correligionarios, relativamente viejunos dentro de la bocanada de aire renovador que la nueva ola suponía. Pero como movimiento ecléctico donde los haya, sonidos menos vanguardistas también tenían su cabida, refrescando a su vez, el exceso de modernidad y artificiosidad que padecía la new wave.

A pesar de este contraste, Chrissie Hynde -no nos engañemos- fue toda una estrella nuevaolera al uso: americana que haya su hueco en el viejo mundo (como Lene Lovich), periodista musical metida a cantante (como los Pet Shop Boys), emparejada con grandes músicos (Ray Davies de The Kinks y Jim Kerr de Simple Minds) y coqueteando con el reggae en sus colaboraciones con UB-40 al igual que The Police hacían.

Pero su modelo de mujer fuerte y atormentada fue seguido por otras figuras femeninas como las urban-folkies que arrasarían a finales de los ochenta. (Tracy Chapman, Melissa Etheridge), o dentro del rock alternativo, The Breeders, PJ Harvey, Courtney Love o -nuevamente- Shirley Manson.

3. Laurie Anderson

Y para resaltar mas el eclecticismo de esta selección, una auténtica freak como medalla de bronce. Esta americana multidisciplinar, estaba tangencialmente vinculada a la Nueva Ola, más que nada porque maravillaba a los numerosos snobs y postmodernos que nutrían sus filas. Profesora de historia del arte, virtuosa inventora de violines, performer e icono de la artista de vanguardia donde las haya, que en 1981 publicó este "O Superman", probablemente lo más cercano al pop que hiciera nunca.

Laurie Anderson se ha mantenido como un símbolo de la música experimental, editando discos regularmente hasta nuestra década, basados en la técnica del spoken word combinados con la instrumentación electrónica mas puntera. Tan moderna entonces que si empezase ahora, seguiría siendo demasiado marciana. Sin embargo este tema tan conceptual fue todo un hit en 1981, pero es que aquellos eran otros tiempos.

___

Y los descartes han sido numerosos y dolorosos. Si tuviera un cuarto puesto disponible se lo hubiera dedicado a la "inmensa" diva synthpoppie Alison Moyet de Yazoo o a la oscura Anne Clark, También uno de los grupos antecesores del tonti-pop, Altered Images y su solista -la lolita Clare Grogan, famosa después por su papel en series como El Enano Rojo. Y cómo no Kate Bush, a la terminé excluyendo porque su rollo estaba más cerca de los cantautores y el rock sinfónico -estilos que el punk venía a superar.

Muchas, muchísimas. La nueva ola fue una exaltación de la femineidad y la imagen ambigua que los hombres solían lucir era una prueba más de ello -hasta los patéticos jeborros se amaneraban, luciendo complicados estilismos y elaborados maquillajes, bajo su perverso influjo. Las mujeres superaban el encasillamiento de meras caras/voces bonitas, componiendo, participando activamente cuando no liderando los grupos. No es que no lo hubiera ocurrido antes, pero en la primera mitad de los ochenta dejó de ser meramente anecdótico para convertirse en algo normal, aunque aun quedasen rescoldos que avivarían el fuego del machorrismo -sobre todo durante los grungeros noventa.

Pero sin duda, con la Nueva Ola nacía una una concepción diferente para el pop, del que la escena actual es absoluta deudora.

Londres celebra Día de la Paz Mundial con masivo concierto.

Copyright 2008 por United Press International  

Septiembre 22, 2008

I do tend to hate the lead-up to a dreaded phenomenon almost as much as the phenomenon itself---sometimes more so. So, while agreeing with the Boomtown Rats's general sentiments on Monday, I have held Monday against Sunday. Similarly, dreading hot weather, I hold summer against spring.

A neighbor to this sensibility is the desire to get the worst or unavoidable parts of an activity out of the way, first. Thus, when painting, I do the trim work first, then just let it roll over the walls. When moving, I grab all of the stuff out of the closets and cupboards, first, so that I'm not surprised by extra work at the back end. Hell, even as a high schooler and undergrad, I overloaded my early years so as to ensure flexibility later. (It was worth it: on alternating Fridays in high school I had more study halls than classes.)

Unfortunately, this determination only goes so far. In fact, if I don't do dreaded tasks early, I may not do them at all, or only do them embarassingly or inconveniently late. I can drag my ass on the most mundane of to-dos: changing addresses, making doctors' appointments, calling in a refill, renewing my driver's license (really gotta get on that), sending letters to literary agents (really really gotta get on that). Done early: no big deal. Done late: HUUUUGE deal.

This is not mere procrastination (as with, say, the sixty papers sitting on top of my filing cabinet), but a kind of sulky refusal to deal with my life. 'I don wanna'. Please. I'm too damned many years old to be acting like this. If I can manage to deal with ordinary procrastination (that is, of the sort which involves my wage-work) and get stuff done, why can't I puncture the inflated meaning attached to the ordinary tasks of life? Because that is the problem: By my inaction, I turn these prosaic matters into something operatic.

God. I remember when my neuroses would poke me into getting shit done. Even they've given up.

Celebrities including Annie Lennox, Scarlett Johansson and Kristin Davis will this week be at the In My Name Action event to end poverty.

The campaign is a call to end global poverty, and will focus on achieving the Millennium Development Goals.

The In My Name Action event will also attract leaders and poverty activists from all over the world.

To mark the occasion, documentary 'The Day After Peace' will be screening at the celebratory gala at [the UK's] Royal Albert Hall, with special guests Annie Lennox, Bryan Adams and John Legend.

This organisation attempts work in Somalia, which is where my roots are so optimistic as it may be, I wholeheartedly support the cause. 

Reading: 'Mercy' by Jodi Picoult

Thinking: Damn power lines...

How to Annoy Me: Mess with me when you know I'm tired and crabby.

How to Charm Me: Chat with me while you ring me up. Friendly people are so rare.

Quote of the Day: What power has love but forgiveness? In other words, by it's intervention, what has been done can be undone. What good is it otherwise? - William Carlos Williams

Other big names include Meera Syal, Jimmy Choo, Karren Brady, Dragon’s Den star James Caan, Frank Bruno and Graeme Le Saux. Now in its tenth year, the event is a premier ceremony highlighting and showcasing ethnic achievement.  The theme of this year’s awards is Woman’s World - celebrating women in business. 

Media are invited to attend from 6pm. For more info and press accreditation email laura.mcturk@taylorherring.com or olivia.gourlay@taylorherring.com or call +44 (0) 208 206 5151.

By Alexander Lawrie
 
SCOTS pop stars Annie Lennox and Sharleen Spiteri have donated one of their own handbags to a cancer charity auction.
 
The ex-Eurythmics singer and the Texas front woman are just two of over 30 A-List celebrities who have given away one of their prized designer clutches in aid of Cancer Research UK.
 
Annie has donated her favourite bottletop handbag, while Sharleen has handed over a embroidered bag.
 
Other celebs involved in the handbag amnesty include Bafta-nominee Kiera Knightley, Oscar winner Dame Judi Dench and former X Factor judge Sharon Osbourne.

 
Hundreds of fans are expected to bid for the designer accessories when they are auctioned off on eBay between 3rd and the 14th of October.
 
Annie, 53, who has sold almost 80 million records worldwide, is a well-known charity campaigner, and her latest venture in aid of the African Aids epidemic has already raised hundreds of thousands of pounds.
 
All the proceeds of her current album, Songs of Mass Destruction, are going to help the SING charity.
 
The organisers of the auction, handbag.com, are also hunting for any unwanted handbags from the public to sell in the Cancer Research UK shops throughout Britain.
 
Throughout September the charity are urging members of the public to drop in any old or unwanted bags to their nearest cancer charity shop.
 
Claire Higgins, Head of Marketing at handbag.com, says: “As the leading lifestyle website for women in the UK, we are in the unique position of being able to reach more than 1.5 million women across the country.
 
“44,000 cases of breast cancer are diagnosed every year in the UK so we are very proud to be working with Cancer Research UK to help make a difference - not only by raising a lot of money to fund research into preventing breast cancer, but also by helping to raise much needed awareness of the illness.”
 
Paul Farthing, Director of High Value Relationships at Cancer Research UK, said: “We’re delighted to be working with handbag.com to launch Handbag Amnesty. The auction of celebrity handbags will be an exciting way to raise funds for our vital research into breast cancer.
 
“We also hope that by encouraging supporters to donate their own favourite handbag, and other unwanted quality items to our shops, we will be able to raise even more to help beat cancer.”

16 September - Tuesday
Al Stewart - Sparks of Ancient Light
All that Remains - Overcome Live (CD/DVD )
Annie Lennox - The Annie Lennox Collection
Avenged Sevenfold - Live in the LBC & Diamonds in the Rough Live CD/DVD
The Ben Taylor Band - The Legend Of Kung Folk Part 1 (The Killing Bite)
Beth Rowley - Little Dreamer
Blessid Union of Souls - Close To The Edge
Brass bed - Midnight Matinee
Darius Rucker - Learn to Live
Faith Hill - Joy to the World X-mas album
George Clinton - George Clinton and Some Gangsters of Love
James - Hey - Ma
Jem - Down to Earth
Kasey Chambers - Rattlin' Bones
Keller Williams - Live
Kristy Lee Cook - Why Wait (Snys)
Matt Wertz - Under Summer Sun
Lindsey Buckingham - Gift of Screws
Loreena Mckennitt - The Journey Begins [4 CD]
Nelly - Brass Knuckles
Ne-Yo - Year of the Gentleman
Punchline - Just Say Yes
Pussycat Dolls - Doll Domination
Raphael Saadiq - The Way I See It
Tanya Tagaq - Auk~Blood
Unwritten Law - Live & Lawless Live (cd/dvd)

and remember, whenever possible buy your music directly from the artist(s) or your local independent record store. both could become endangered without your support.

click here for a list of exclusives available @ indie stores and for a list of stores

I have mad beef with bad covers - and I don't necessarily just mean that I hate the person who does the cover (although that generally is one of the more glaring factors) but when good songs go bad. The thing is, a cover of a song can't be simply as good as it's predecessor, because then it's just the same song with a different singer... covers, ultimately have to do at least one of these two things

1) Completely reinvent/restyle the song

2) Do the same song... but better.

Now no.1 is ostensibly easy if the musician is talented enough - Rage Against the Machine's Renegades is the perfect example, using the brilliant lyricism, and some aspects of the melody, of the original track but has been, for all intensive purposes, remade - while still, amazingly, remaining accurate. I listened to Renegades for an entire year before some goody-two-shoes told me that all the songs on the album were covers...

African Bambaataa & Soul Sonic Force - Renegades of Funk

Rage Against the Machine - Renegades of Funk

No.2 is a LOT harder, because people associate popular songs with their original performers. A perfect example would be anything by Neil Young. Neil has been covered countless times because, well, he's a song-writing genius, but although his harmonica/guitar talent is questionable at best, and his voice is... just... awful, I (for one) can't stand hearing remakes of "Needle and the Damage Done" by new-age assholes who try to make it sound pretty - because that, of course, isn't the point. I do, however, make an exception for what kd Lang did on Hymns of the 49th Parallel mainly because you could hear her homage to Neil through it, and she brought her own vocal imperfections to the fore. (Also I'm a total sucker for how she opens "Helpless" with that sticatto cello...)

kd Lang - Helpless

Neil Young - Helpless

And then there are other covers which reclaim a song from the depths of obscurity or negative press - and the penultimate example of this HAS to be "Toxic". Before you realize that I am, in fact, talking about Britney Spears, let me tell you that when I was recently working in a restaurant, I heard a song that some waitress put on and actually left the kitchen to find out what "this excellent song" was. When she laughed at me, told me it was a cover of "Toxic" and then shooed me back into the furnace-like kitchen to do her evil bidding, I was kind of stunned. Later on I asked her whether it was the original version and she was just stupid and confused, she said no. It was, in fact, a cover; but I still was right about her...

I did some research and unearthed Mark Ronson's album Version - an incredible album from steadily-becoming-uber-producer Ronson which takes songs from virtually unknown to super famous and remixes them in what can only be described as semi-brilliant ways.

Mark Ronson - Toxic

Britney Spears - Toxic

And then there are those songs which have worked and not worked as covers. I've recently talked about Annie Lennox's Medusa, but it deserves one more credit for this less punky, but still bumping cover of "Train in Vain". Third Eye Blind's cover of the same song, however, misses step 1 and 2, and does what I hate - redoes the song, but doesn't do anything new whatsoever. I love 3eb, but this was an uncreative and annoying cover.

The Clash - Train in Vain (Stand by Me)

Third Eye Blind - Train in Vain

Annie Lennox - Train in Vain

so ultimately my position is this: don't make bad music. Especially don't make others people's good music into bad music.

'nuff said - enjoy.

Do czasu pełnego powrotu do zdrowia artystki, wstrzymana zostaje premiera planowanej na 15 września kompilacji największych przebojów Brytyjki.

Nowa data wydania składanki "The Annie Lennox Collection" wstępnie ustalona jest na wiosnę 2009 roku, kiedy gwiazda będzie mogła wziąć czynny udział w promocji pierwszego w solowej dyskografii retrospektywnego dzieła.

Operacja przebiegła według myśli lekarzy. Wokalistka przechodzi obecnie rekonwalescencje w swoim domu w Londynie. Annie bardzo dziękuje za wszystkie słowa otuchy nadchodzące do niej z całego świata.

Źródło: onet.pl

hmm.

So I was enjoying my most recent mixtape find (The Drought is Over Vol. 5) and, by proxy, sitting back and enjoying the dulcet tone of lil Wayne's raspy, giggly, voice when the hook of a song reminded me of something. For the past two days I've been furiously trying to remember where the sample is from. Luckily the track is sick as shit so I can listen to it over and over.

Finally I got it, and was happy to find that I already have the original of the song (I Cant Get Next to You by the Temptations), but I also had versions by Al Green (Al Green - I Cant Get Next to You) and Annie Lennox (Annie Lennox - I Cant Get Next to You)... you'd think with three versions wouldn't have taken me two frigging days to remember, but whatever.

The original by the Temptations was released as a single in 1969 and enjoyed two weeks at the top of the charts, replacing the ever-favorite "Sugar Sugar" by the Archies and replaced in turn by Elvis' "Suspicious Minds". It was also the best selling single that they released.

Backing up the track (somewhat obviously) are the Funk Brothers, who are responsible for almost every Motown hit from 1959-1972 (which are, coincidentally, the years that Motown was popular).

It's a little ironic that the versions of the song that existed beforehand all deal with the same problem - ultimately, I've got all the power in the world, but I still (wait for it...) can't get next to you; Al Green's 1971 cover is kind of pitifully mournful. But Wayne takes the hook, re-writes a good chunk of it, and gets rid of the "I can't get what I want" part... which pretty much leaves him sounding, in pure Weezy fashion, all-powerful.

This got me thinking about where music has changed. The Temptations song is based, loosely, on the 1935 Ira Gershwin standard I Cant Get Started With You (sung here by ol' Blue Eyes), which tells the similar story of a bummed out guy who wants what he can't have. "I Can't Get Next to You" is the same, in every version from the original to Annie Lennox's in 1995. But Lil Wayne's "I" is indicative of how mainstream music doesn't 'want' much anymore. Everything in Hip-hop has to do with what you already have: from chains to bitches to money to cars. The only music that expresses a kind of "Please Please Me" mentality is emo crap, and in this case it hits you so hard over the head with it that it's difficult to find any veracity. So it's not that there isn't any 'want', I suppose, but moreso that everything has to be in polar opposition. If it's 'wanty' music, then it's 'I'm going to do horrible things to myself and die a miserable death if you don't go out with me', and otherwise it's 'I don't need you or anyone... check out my grillzzzz'.

weird.

anyway, here you go

The Empire Presents Lil Wayne - I

and for your viewing pleasure (check out how Eddie Kendricks' voice sounds alien)

You see, every now and then I get strange urges to leave my usually 80's/70's rock/pop and listen to something else. This time it happened to be saxophone music. Along with clarinet, piano, and some Classical, but still. Mostly saxophone.

Since the majority of music we have belongs to my father (he collects CD's, has about 600 now), I had to go to the garage to find some. While I was in there, I found music I haven't seen in forever. So I just grabbed whatever I could find and went back into the house to put them on my ipod, which then went into my ipod speakers.

And the I laid on the floor in front of the fan, as my fever was acting up again (wood floors are really cold- it was heaven. So for about an hour, I listened to the musical stylings of (listed as name-occupation-songs):

Stan Getz (Brazilian saxophonist): "Girl From Ipanema" along with many others

Astrud Gilberto (Brazilian Jazz Singer): "Girl From Ipanema", "Fly Me to the Moon", "Look of Love", others

Joao Gilberto (Brazilian Jazz artist): Numerous duets with Stan Getz

Dave Koz (American Saxophonist): Oh my god, he did a version of one of my favortie songs, "Careless Whisper"!! Except instead of singing the 2nd and 3rd chorus, he just plays the sax. Really lovely cover.

Chet Baker (American Jazz Artist): "Stella By Starlight" with Stan Getz

Vanessa Mae (Asian-British Violinist): "Minuet" and "Firefly" aka, "Hotaru's Lalala Theme" from Sailor Moon. Yeah, she did Sailor Moon music.

Debussy (Classical Musician [Twilight fangirls, cream your pants]): "Claire de Lune", "Reverie", "Nocturne", "Fantasie for Piano and Orchestra 

Frank Sinatra (you're shitting me if you don't know who this is): Numerous songs. Found my dad's "Frank Sinatra: Duets" CD in the garage and have stolen it.

Kenny G (American Saxophonist): Mostly listened to "All the Way/One more for My Baby" on the Sinatra duets CD. He plays kickass saxophone music.

Bono: Not a big fan of U2 or Bono, but he sang the song "I've Got You Under My Skin" with Sinatra, so he can't be that bad

Mozart (Communist who played piano at the whitehouse in 1960): "Violin Sonata in D", "Clarinet Conceirto in A"

Beethoven (pioneer of the electric guitar): "Violin Romance", "Moonlight Sonata"

The Rippingtons (Jazz band, played with Dave Koz): "Moonlighting", "Open All Night"

Antonio Carlos Jombim (Brazilian Jazz artist): "One Note Samba"

Sailor Moon (Don't know the name of the artist, just that it was in sailor moon): Numerous Piano covers of famous Sailor Moon songs. Also some off of the "Brass Fantasy" album, which are also covers, but done is brass instrumentals.

Vince Guaraldi (American [?] jazz artist): Famous for composing a lot of the "Charlie Brown TV Specials". Listened to the song "Fur Elise", off of his christmas album.

Carpenters (See any entries under: http://nosuya.wordpress.com/category/my-music-is-where-id-like-youto-touch/ for info on them) "Touch Me When We're Dancing". It has a beautiful sax solo. 

Michael Frank (American Pianist, i think): No Saxophone, just piano, and something else I can't out my finger on... Listened to his song "Popsicle Toes" which I loved when I was little, but never knew what it meant. Listening to it now, about 7 years later, I realize it is about a guy saying he can "warm up" his freezing girlfriend by having sex with her, so she will no longer have popsicle toes. Ew.

Annie Lennox (of Eurythmics fame): "Love song for a Vampire" It's like a slow song, but techno-y. And it talks about Love and Blood, but never mentions Vampires.

And that was it. I was just lying on the floor, letting all of the smooth jazz, brazilian jazz, and classical music that in my "Recently Added" playlist surround me.

I of course forgot that playlist has everything I added in that past week. Imagine My surprise when I hear this:

"MY MILKSHAKE BRINGS ALL THE BOYS TO THE YARD"

Oh yeah... I totally forgot I added that just yesterday...

And thus, my easy listening ended, and I then listened to horrible slutty music that shouldn't even be on my ipod, including:

"He Loves Me He Loves You Not" Dream

"Milkshake" Kelis

"Don't Cha (Wsh your girlfriend was a freak like me)" Pussycat Dolls

"Want Me, Want Me" Namie Amuro (sluttiness in another language!!)

That song that goes "More, More, More, how do you like it how do you like it"

"Buttons" Pussycat Dolls

"Girlfriend" Avril Lavigne

"Candyman" Christina Aguilera

"Girls on Film" Duran Duran (couldn't help myself)

"I Wanna Sex You Up" Some rapper from the 90's

"Like a Virgin" Madonna

"I kissed a Girl" Katy Perry

"Obsession" Animotion

Ahhh. Lovely skanky songs.

Edit: I originally kept going on and on about different topics in this post, but I'm just going to move them to a new post.

Annie Lennox - Love Song For A Vampire

EIne bessere Fassung des Videos gibt es HIER

Little Bird by Annie Lennox (Diva, 1992)

I look up to the little bird
That glides across the sky
He sings the clearest melody
It makes me want to cry
It makes me want to sit right down
and cry cry cry

I walk along the city streets
So dark with rage and fear
And I...
I wish that I could be that bird
And fly away from here
I wish I had the wings to fly away from here

But my my I feel so low
My my where do I go?
My my what do I know?
My my we reap what we sow
They always said that you knew best
But this little bird's fallen out of that nest now
I've got a feeling that it might have been blessed
So I've just got to put these wings to test

For I am just a troubled soul
Who's weighted...
Weighted to the ground
Give me the strength to carry on
Till I can lay this burden down
Give me the strength to lay this burden down
down down yea
Give me the strength to lay it down

But my my I feel so low
My my where do I go?
My my what do I know?
My my we reap what we sow
They always said that you knew best
But this little bird's fallen out of that nest now
I've got a feeling that it might have been blessed
So I've just got to put these wings to test