Harry Choates's "Jole Blon" (1946, French)
Harry Choates's "Jole Blon" (1946, French)
Much has been made of the mid-life crisis, but Colleen Green details the kind of quarter-life crisis that happens in your late 20s on her new album, I Want to Grow Up. Over fizzy power-pop chords and purring solos, Green’s girlish coo is so sweet you almost miss the hungover, self-flagellating lyrics that fill I Want to Grow Up—“I’m sick of being immature … I think I need a schedule,” she confesses on the title track. But I Want to Grow Up is also a lot of fun, as Green doesn’t take herself so seriously, writing odes to TV and her lack of an attention span that are as funny as they are self-critical. Even in the admonishing “Things That Are Bad For Me (Part 1),” Green admits in part two, “I wanna do drugs right now/I wanna get fucked up, I don’t care how.”
Green talked to us a bit about her new album before her show at Amoeba Hollywood Feb. 24 at 7 p.m.
The songs on I Want to Grow Up really hold together as an album because there’s an inward quality to them, for the most part. Did you write them kind of all at once in a certain frame of mind or were they written more slowly?
They were kind of written over the course of a few years. They started out primarily as ideas that I thought about for a long time before I tried to sit down and make music out of them. Once I got to that stage where I was like OK, I need to record this and get this done, it all kind of materialized as a set kind of well.
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On this day in music history: February 23, 1968 - The Dock Of The Bay, the sixth album by Otis Redding, is released. Produced by Steve Cropper, it is recorded at Stax Studios in Memphis from July 11, 1965 - December 8, 1967. The first posthumous release from the legendary R&B vocalist features tracks from his final recording sessions cut just two days before his death, combined with unreleased material that dates as far back as 1965. The album also includes the hugely successful title track "(Sittin' On) The Dock Of The Bay," which will become a posthumous number one single on the pop and R&B singles chart in March of 1968. The Dock Of The Bay will spend three weeks (non-consecutive) at number one on the Billboard R&B album chart, peaking at number four on the Top 200, and is certified Gold in the US by the RIAA.
On this day in music history: February 23, 1980 - "Crazy Little Thing Called Love" by Queen hits #1 on the Billboard Hot 100 for four weeks. Written by Freddie Mercury, it is the first US chart-topper for the British rock band. The song will come to Mercury while taking a bath in his room at the Munich Hilton. Quickly getting out of the bath, he'll run to the piano and begins playing the chords, writing them down before he forgets them. The song will be recorded at Musicland Studios in Munich, Germany during sessions for The Game. Initially, the band's US label Elektra Records, who do not think that the Elvis Presley-inspired rocker will be a hit and don't want to release a single with no album accompany it immediately, will refuse to release it. But they will be forced to when US radio stations begin playing imported copies of the 45 and listener demand for the record becomes too great to ignore. Issued as a single more than seven months ahead of the album, it will become an immediate smash. Entering the Hot 100 at #58 on December 22, 1979, it will climb to the top of the chart nine weeks later. "Crazy Little Thing Called Love" is certified Gold in the US by the RIAA.
Six short short stories of vegeance that evince a Coen brothers level of comedic tension (recall the classic bag drop off scene from The Big Lebowski, for example). Pure cinematic bliss.
Aside from getting to see apes double-fisting arms on horseback, I loved the atypically depressing political message of this film. No matter how much a few individual apes and humans might strive to get over interpersonal problems, that doesn't mean shit in the overall scheme of things. For once, a Hollywood film portrays the problem of structural difference (the unbridgeable otherness of ape culture to what's left of humanity) instead of pasting some subjectivized problem over the gap that allows for a pat narrative resolution (more often than not in the form of a loving relation or the superhero's coup de grâce to the face).
This film has the most agonized scream I've encountered since the beginning of Cries & Whispers. A parable for contemporary times that asks how much plastic surgery can a person have before she becomes someone else. Twin sons spend the duration of the film brutally experimenting on their mother to answer that question. Obviously, this one cuts too deep for the aging Academy. Skip the overhyped Babadook, Goodnight Mommy is the only dyadic familial horror film that matters.
1: Powerhouse - Raymond Scott Quintette
2: Dance Of The Octopus/In A Mist - Red Norvo Quartet
3: Dark Was The Night - Blind WIllie Johnson