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An Alternative History of "Pop" Music: Part 2, 1982 -

Started by jamiefairlie, January 20, 2021, 05:43:47 AM

Previous topic - Next topic

daf

Pizzicato Five – Tout va bien



Opening track from the album 'Sweet Pizzicato Five' released in September 1992

QuoteSweet Pizzicato Five was the sixth studio album by Japanese pop band Pizzicato Five. The album marks a turn toward a more house music-influenced sound for the band.

"Tout Va Bien" was named after a 1972 Jean-Luc Godard film which starred Jane Fonda and Yves Montand.

   

Konishi : "I don't like dark, brooding music – I don't understand the purpose of it. I don't think music should reflect reality. I think music should be more of a magical entity, something that lets you escape from reality."

Brundle-Fly

Wrapped In Grey - XTC Released on Virgin in 1992





That'll be the last we'll hear from XTC in this thread for some years (unless daf posts one before the end of today), as Swindon's sons are about to begin their infamous strike. Wrapped In Grey is probably, the most expensive CD in my collection (it can sell for anything up to £350) and also the cheapest. 50p from Camden Town Record & Tape Exchange in '92. It was tentatively going to be a single so Virgin pressed a very limited amount of promos but got cold feet and it was never to be. By his own admission, this was Partridge's stab at doing a big old Burt Bacharach number and I think he more than succeeds. It certainly showed the orchestral direction Mr P was aiming for which came to fruition with the album, Apple Venus in 1999.

https://www.youtube.com/watch?v=rjLD2048-TQ

EXTRA:
This choral version made Partridge sob apparently. Hand me a tissue.

https://www.youtube.com/watch?v=gw5e1hyc2Z0

daf

Oh, go on then . . .

XTC ‎– Down A Peg



Released on the Japanese CD EP 'Demo Tracks' in July 1992

QuoteColin Moulding : "Andy's a real ideas man, and I love good ideas. It's not hard contributing bass parts when you have such good songs to contribute to. We never collaborate. Each person puts his little prints on them, but we don't write together. There's a lot of freedom to do what each of us likes with the other's songs, however. We like to lay it all down first just to keep the essence of the performance. The composition is important, but equally important is the feeling. I can get turned on by a slide or even a single note, if it's played with a lot of emotion. I think the bassist has to bow down to a good song -- to do whatever is needed for the betterment of the song. In fact I'd tell bass players to play only one note, if they can get away with it!"

gilbertharding

Hair and Skin Trading Company - Ground Zero



After the split of drone goths Loop, Neil Mackay (vocals/bass) and John Wills (drums) were joined by Nigel Webb (Guitars) as the Hair and Skin Trading Company. Apparently their influences were "...My Bloody Valentine and The Skids, while the vocal delivery has been compared to The Fall's Mark E Smith".

Their first release was the Ground Zero 12"



https://www.youtube.com/watch?v=nk-wOmMpPqU&list=PLBNrrRf9nFgKd0B-RXJJ76p1B4mkK1JR6&index=6



jobotic

Should i mention when I saw them? Need to think of my own!

daf

The Shamen – Make It Mine (Club Vocal)



Featured on the US 7-track remix 12" of 'Make it Mine' - released in 1992.

gilbertharding

Quote from: jobotic on May 11, 2021, 11:51:29 AM
Should i mention when I saw them? Need to think of my own!

Ha ha!

We seem to like a lot of the same stuff from around this time.

Don't worry - if I look back, it seems I pretty much stopped loving new music around 1996. I definitely stopped going to gigs in 1994 (when I left Cambridge to move to Canterbury) so I won't be posting much in this thread after June.

daf

Sub Sub – Inside Out & Inside Of This



Featured on side 'AA' of the 'Coast EP' - released in June 1992.

QuoteSub Sub were an English dance act from Handforth, Cheshire composed of Jimi Goodwin and twin brothers Andy and Jez Williams who met at Wilmslow Comprehensive in 1986.

As a young guitarist, Goodwin's first band were called The Risk. In 1985, during Live Aid, having failed to get an invite from Bob Geldof to appear at Wembley Stadium, they played the Wilmslow Methodist Church instead. The Risk used to practice at Handforth Youth Club and met with some moderate success, mainly playing in Manchester pubs. A 5-song demo entitled Take Five was recorded at Spirit studios in Manchester.

Andy & Jez were in the band called Static Mist (originally called Open View) with schoolmate and bass player Tim Whiteley, and made an appearance on the Kids TV show Saturday Superstore in 1986. In 1988, Jez Williams and Whiteley became members of Metro Trinity, and released the track 'Stupid Friends' on a flexi-disc for the fanzine Debris, and an EP called Die Young on Cafeteria Records.

   

Meanwhile, Jimi had been playing in The Joe Roberts Band alongside Tim Whiteley. After meeting again at The Haçienda in 1989, the Williams brothers and Goodwin formed Sub Sub.

Early 1991, saw the independent release of their first single "Spaceface" which the Williams brothers had written in 1988, backed up with the b-side "EktoJam-Sub", the first track to be co-written with Jimi. The intial press of 500 sold quickly, leading to another pressing of 2000 copies. With the record being played in the nightclubs drumming up attention, they were soon signed up by Virgin's Ten Records, who released "Spaceface" in January 1992, to moderate success.

 

Virgin did not sign up Sub Sub for any further releases, leaving the band to look elsewhere for a record deal. The band were introduced to Rob Gretton through Jimi's mate Dave Rofe at the Dry Bar on Oldham Street, Manchester. Rob agreed to release Sub Sub records if he liked them with a 50/50 financial split. The Coast EP would be the debut release on Rob's records. Released in June 1992. "Inside Of This" features vocal samples from the movie Fatal Attraction, with Glenn Close as Alex Forester.

Brundle-Fly

Famous And Dandy (Like Amos 'N' Andy) - The Disposable Heroes Of Hiphoprisy. Released on 4th & Broadway in 1992.





Probably, most well known for their superb single, Television: The Drug Of The Nation, but I've already nominated the original industrial version by The Beatnigs back in 1988. This follow-up single tackled America's racist history and where they were by the early nineties. Extremely resonant in these BLM times.

The Disposable Heroes Of Hiphoprisy were an American industrial hip-hop band founded in 1990 in San Francisco and disbanded in 1993. Members were Michael Franti and Rono Tse, both previously in The Beatnigs.

https://www.youtube.com/watch?v=HgoTSuBZPGI

daf

Sugar – Hoover Dam



Featured on the album "Copper Blue' - released in September 1992

QuoteAfter frontman Bob Mould departed from Hüsker Dü, he released two solo ventures, Workbook and Black Sheets of Rain; neither album was well received and Mould was released from his contract with Virgin Records America in 1991 as a result.



Mould spent much of 1991 on punishing but lucrative solo tours, building up his savings and stockpiling new songs. His songwriting took a more melodic turn, drawing on childhood heroes such as the Beach Boys and The Byrds. Mould recorded a demo tape of over thirty songs and formed Sugar with David Barbe and Malcolm Travis. The band was named in an Athens, GA Waffle House Restaurant.

Bob Mould : "We needed a band name. We were having breakfast and there was a pack of sugar on the table, so we chose that. Up until that point it would have been a Bob Mould record."



Later in 1992, the band released the album Copper Blue on Rykodisc in the US and Creation Records in the UK, and was named Album Of The Year 1992 by the NME.

Bob Mould : "Sugar was really the third solo record. It wasn't a reaction to anything, it was more me just digging in, writing songs all the time, lightening up after Black Sheets Of Rain, looking more at the pop side. Cheap Trick's In Color was definitely a big touchstone for that record."



One of the highlight's of the album, "Hoover Dam", begins as reportage and quickly becomes metaphor. 

Bob Mould : "It was this dream song that just turned up as I was waking up one morning. It came to me fully formed, and then it's just all the baubles that make it that crazy baroque band thing. All that was pretty much in my head too, but you have to sit down and make these baubles shine. That's the production stuff."

The opening line, 'Standing on the edge of the Hoover Dam', evokes a sense of instant vertigo and imminent risk. As the lyric unfolds, Mould expands on the widescreen imagery to suggest a narrator caught 'between two states of mind', just as the dam straddles the line between Nevada and Arizona.

Bob Mould : "The Mississippi divides the country. It's using metaphor to create this back-and-forth thing, where you are on one side of the line or another. The biggest supposition I've heard from music critics is: Is this a suicide song? With the Hoover Dam, if you slide down you're dead. Or with the Mississippi, if you go in you're going to end up at the bottom. It just tied those images together. But it's a songwriter song, not a confessional."

daf

Betty Boo - Skin Tight



Featured on the album 'GRRR! It's Betty Boo' - released in October 1992

QuoteAlison Moira Clarkson studied sound engineering at the Holloway School of Audio Engineering. Originally nicknamed "Betty Boop" for her similarity to the cartoon character, she changed it to avoid trademark disputes. She began her musical career, while still at school, by signing to the British record label Music of Life with the hip-hop group the She Rockers, whose success led her to New York and work with Public Enemy, who encouraged her to pursue a solo career.

Betty Boo : "They were producing our single and I thought it would sound like their stuff, but it didn't at all. And some of the crowds were hostile to us. They didn't throw anything, no, but they wanted to see Public Enemy and they just weren't interested in us."

 

Her big break came when she appeared as a guest vocalist on the 1989 number 7 UK hit single, "Hey DJ – I Can't Dance (To That Music You're Playing)" by The Beatmasters. Boo's first solo single, "Doin' The Do", followed and was also a UK number 7 success for her in 1990, selling 200,000 copies. 'Boomania', her platinum-selling debut album, was largely self-written and self-produced in her bedroom. Her second solo single, "Where Are You Baby?", which reached number 3 in August 1990, is her biggest solo hit to date. "24 Hours" was the third and final single to be issued from Boomania, peaking at number 25 in December 1990.



Boo returned with a new record deal in 1992 having signed to WEA. Her follow-up album, 'GRRR! It's Betty Boo', suffered very disappointing sales in the UK, peaking at number 62. It did, nevertheless, spawn another UK hit single titled "Let Me Take You There", which reached number 12 in August 1992. A further single, "I'm on My Way", featured a musical quote from The Beatles' "Lady Madonna" which, unusually, was not a sample -- the song's brass riff was re-created using all the original players, including Ronnie Scott. However, the single did not sell well and entered the chart at number 44 in October 1992. Her next single, "Hangover", fared even worse, barely scraping the Top 50 upon release in April 1993.



Following the release of the album, She was offered a chance to sign to Madonna's Maverick Records.

Betty Boo : "Madonna and I had a drink in her amazing apartment and then we jumped in her limo to her favourite eatery. Madonna talked endlessly about music; she said she wanted to sign me to her new Maverick label. This was so exciting and the idea of the two of us working together was a dream come true. At the end of the evening she dropped me back off at my hotel and I gave her my leopard print jacket. Shortly after this, sadly, my mum became very ill and I stopped recording to look after her. When she died, I withdrew from the music industry for many years. Madonna knew what it was like to lose a mother and was very kind to me."


jamiefairlie

Tindersticks - Patchwork

https://youtu.be/V-7mhL9w_08



Formed in Nottingham in 1991 as a continuation of previous band Asphalt Ribbons. This is their debut single and, to date, they have released 14 albums, the latest in 2021.

Brundle-Fly

Dubaddisababba - Dub Syndicate  Released on On-U-Sound in 1993.





Something to ease you into Wednesday morning. This album was a fave of mine in '93 to keep the dub fires burning.

Dub Syndicate were On-U Sound's premier dub outfit and a name synonymous with the label from its inception. Emerging from the early Creation Rebel and centered around drummer Style Scott. Scott was also the rhythm force of The Roots Radics, the number one Jamaican session & live band for deep roots music, and members of that band frequently join Dub Syndicate as did other On-U Sound players & singers. Usually working together with Adrian Sherwood, occasionally Scott broadened his view working with others like Bill Laswell and Dub Syndicate made two albums featuring Lee Scratch Perry. Scott also ran his own record label: Lion & Roots. Exploring ambient and electro dub from the Pounding System album in 1982, the band in various forms kept going, touring & making records up until Scott's death in 2014.

https://www.youtube.com/watch?v=a9zUG1qblPc

Brundle-Fly

Quote from: jamiefairlie on May 12, 2021, 04:26:51 AM
Tindersticks - Patchwork

https://youtu.be/V-7mhL9w_08



Formed in Nottingham in 1991 as a continuation of previous band Asphalt Ribbons. This is their debut single and, to date, they have released 14 albums, the latest in 2021.

When did they lose the definite article?

Ballad of Ballard Berkley

Bikini Kill - Rebel Girl



PLAY LOUD.

https://www.youtube.com/watch?v=jfCqCKY5nUc

QuoteBikini Kill are an American punk rock band consisting of singer/songwriter Kathleen Hanna, guitarist Billy Karren, bassist Kathi Wilcox and drummer Tobi Vail. The band pioneered the riot grrrl movement with radical feminist lyrics and fiery performances. Their music is characteristically abrasive and hardcore-influenced. After two albums, several EPs and two compilations, they disbanded in 1997. The band reunited for tours in 2019 and 2020.

Rebel Girl is one of Bikini Kill's earliest original compositions. The lyrics are attributed to Hanna, and were reportedly inspired by the influential feminist artist Juliana Luecking.

The song's theme and lyrics overturn the traditional heterosexual tropes of pop music. Giving voice to an unconcealed lesbian perspective, it is a frank and explicit "tribute to, and love song for, another woman". In a larger sense, it is viewed as an ode to feminist solidarity. It is considered to be Bikini Kill's signature song, but its equally enduring affiliation is with the feminist movement known as riot grrrl. From their start, Bikini Kill was inextricably linked to riot grrrl and, more than any other song, Rebel Girl was that movement's most widely recognized musical expression, its "one definitive anthem".

Former Runaway and solo artist Joan Jett – an ardent early fan of the band – produced the single version (there are three recorded versions in total) and provided additional guitar and background vocals. Jett toured with the band in 1994.

Norton Canes

Quote from: jamiefairlie on May 12, 2021, 04:23:57 AM
Alright, welcome all to 1993!

Not so fast


Nitzer Ebb - Ascend

Released March 1992




Alternative pop history: Highest chart position 7 | Weeks on chart 5 | Top of the Pops appearance 19th March 1992 (live OB from a window cleaner's gondola on Canary Wharf's One Canada Square)

The Boo Radleys- The White Noise Revisited
https://www.youtube.com/watch?v=6UrnFuKnu6Y





The closing track on the Wirral group's 1993 LP Giant Steps. A 60's Hey Jude singalong sits alongside painful and conflicted emotions. The sounds of the past evoke memories of better times, the singers pain is broken by thoughts of possibilities he knew of in childhood. It's an honest way to talk about old music and its effect on us. Shout out to all on the thread working through autobiographical stuff while talking about old records.

Brundle-Fly

1nce Upon A Time - © Released on Transglobal in 1993





BBC 6Music would cream themselves today if she was a current artist.

© AKA Leslie Winer is a bit of a mystery. Before working as a well-known model in New York, where she got a reputation for being "difficult to work with" (therefore heightening her appeal to fashionistas), she met William Burroughs and Jean-Michel Basquiat, dropped out of the scene, and produced "Witch", prescient album (called the grandmother of trip-hop by NME). Then she seemingly disappeared off the face of the earth, only to occasionally resurface doing vocals for artists like Bomb The Bass and Mekon.  Currently, she is living in France & is co-editor & co-executor for the Estate of Beat writer Herbert Huncke.

https://www.youtube.com/watch?v=s0dl0ZtnO04&t=8s

Hector Zazou - I'll Strangle You
Single released on Crammed Discs, taken from the album 'Sahara Blue'



Quote from: WikipediaProlific French composer, musician and producer who worked, produced and collaborated with an international array of recording artists from 1976.

Recorded to celebrate the 100th anniversary of the death of Arthur Rimbaud, this album featured his poetry and a collaborative musical cast of thousands (well, thirty) including, on this track, Gerard Depardieu, Tim Simenon, Norwegian singer Anneli Drecker and Bill Laswell. Some might suggest it sounds like Massive Attack for the S&M crowd but Rimbaud himself declared the original work a 'long, prodigious and reasoned disordering of all the senses' so I'm not really sure what to think. I like it, anyway, even though it belongs in 1992.

https://www.youtube.com/watch?v=_s8pPJf5nVA

jamiefairlie

Dead Can Dance - How Fortunate The Man With None

https://youtu.be/5vtIs6_To24



Taken from their sixth album "Into the Labyrinth". an album that marks the band's move into more rhythmic world music territory, not really to my taste. Still some good songs to come, just not great albums.

jamiefairlie

For Against - Nightmare Life

https://youtu.be/Erl-VkJRY3s



It's been five years since their last album, "December", so a welcome return to the trio from Nebraska. This is from their third album, "Aperture", and it marks a shift towards a more melodic sound.

Stereolab-Mountain

https://www.youtube.com/watch?v=t-66TiJ1pY4
One of many primo Stereolab tunes only available (at the time) on a single sold at their gigs, with a song by Unrest on the other side.
The intentionally-low-key beauty of this song, so wilfully at odds with rock monumentalism, sits too at odds with gigantic subject of Laetitia Sadier's lyric:

Supreme and celestial
Elevated vertical
Grandiose proportions
Inspire greatness generosity
Mountain of health mountain salvation
Inaccessible, difficult to be found
Tending by the peak towards oneness
Where contradictions don't exist
The all embracing image of totality

jamiefairlie

May as well through this one in here then...

Stereolab - John Cage Bubblegum

https://youtu.be/iUmIusAZJAo



In 1990, after three albums, McCarthy broke up and Tim Gane immediately formed Stereolab with Lætitia Sadier (who had also contributed vocals to McCarthy's final album), ex-Chills bassist Martin Kean and Gina Morris on backing vocals. This is their fourth single.

I always think of those two songs as a pair,  John Cage Bubblegum's repeated lyric (C'est le plus beau / et c'est le plus triste / c'est le plus beau / paysage du monde- it's the most beautiful and it's the saddest/it's the most beautiful landscape in the world) seems like another attempt at the "Mountain" lyric, or a description of "Mountain"'s opposite, a desert or something.

jobotic

Two crackers. My JCB 7" still has the bubblegum in it. Hope it hasn't fucked the record.

Ballad of Ballard Berkley

The Auteurs - Lenny Valentino



https://www.youtube.com/watch?v=aoixhtu87FM

Chris Morris once raved about this single on his Radio 1 show. Quite right too, it's blummen marvellous. And it almost scraped into the top 40.

QuoteFormed by singer/songwriter Luke Haines in 1991, The Auteurs released their first album, New Wave, in 1993. It was nominated for a Mercury Music Prize. The band later became associated with the Britpop movement. However, this association was not liked by Haines, who frequently made derogatory remarks about his peers. After New Wave, the band remained on the fringes of the music scene. In interviews at the time, Haines claimed he found contemporary techno and house music more interesting than most Britpop bands.

In 1996, The Auteurs released After Murder Park, produced by Steve Albini. The album was recorded at Abbey Road Studios following a year during which Haines had spent most of his time in a wheelchair after jumping off a wall.

Haines later went on to form Black Box Recorder and continues to record as a solo artist.

Oz Oz Alice

PJ Harvey - Rid of Me

https://www.youtube.com/watch?v=8PlaNe3mXl8

QuotePJ: I remember starting to write in a flat I was living in, a horrible, horrible little flat that I was sharing in Tottenham. Tottenham is quite a rough area in London. We were living in a very damp flat with gas heaters, and I had a poky little room at the front of the house. In order to access any of the rest of the house you had to walk through my room. We were on the lower floor, so the people up above us would make noise. I remember starting to write the song "Rid of Me," sitting on my bed in my damp front room by the gas heater. When I'm writing towards a record, there's often one song that emerges as the lynchpin. At that time, I very much wanted to write songs that shocked. When I was at art college, all I wanted to do was shock with my artwork. When I wrote "Rid of Me," I shocked myself. I thought, 'Well, if I'm shocked, other people might be shocked." The sound of the words was powerful, and the rhythm felt clean and simple to roll off the tongue. I knew that this was the type of song I was trying to write.

Rid of Me was released on 4 May 1993. It immediately started to draw praise from music critics in the U.S. and Great Britain. Melody Maker raved that "No other British artist is so aggressively exploring the dark side of human nature, or its illogically black humour; no other British artist possesses the nerve, let alone the talent, to conjure up its soundtrack". Veteran UK broadcaster John Peel, a supporter of Harvey since the beginning of her career, added "You're initially so taken aback by what you're hearing. But you go back again and again and it implants itself on your consciousness." The San Francisco Chronicle called Harvey "A talent and a singular voice that demands to be heard." Evelyn McDonnell of Spin wrote that Harvey made it a point to "confound expectations and stereotypes".[29] The album also drew attention from more established musicians. Blind Ignorant Costello, for example, commented that a lot of Harvey's songs "seem to be about blood and fucking", a statement Harvey disagreed with.


Albini: Minor music-business functionaries having an opinion about how a singer should sing or how her band should sound — all those people can go fuck themselves. I reject the notion that I have very much responsibility for the ultimate success or failure of a record. I've worked on a lot of great records and I've worked on a lot of shitty records, and from my perspective, the work is equally demanding and equally satisfying on a terrible record as it is on a great record. The difference is the people making the music had a great record in them when they were doing the great record. And PJ Harvey had a great record in them when they did Rid of Me. I haven't done any sort of Pepsi Challenge with other records of the era, but it's hard for me to think of a better record that came out during that period.

Steve Albini's production of the record proved controversial. Critics were divided over whether his recording complemented Harvey's voice or buried it. On the positive side, it was written that "Albini deftly balances heavy feedback and distortion with unexpected quiet breaks, making this release more musically diverse- and ultimately more satisfying- than PJ Harvey's debut." Other considered the recording too harsh, saying "Steve Albini's deliberately crude production leaves everything minimal and rough, as if the whole album were recorded in somebody's basement, with the drums set up in a bathroom to clatter as chaotically as possible."  Stephen Thomas Erlewine tried to reconcile Albini's production with Harvey's songs. He admitted the album has a "bloodless, abrasive edge" that leaves "absolutely no subtleties in the music," but theorizes that Albini's recordings "may be the aural embodiment of the tortured lyrics, and therefore a supremely effective piece of performance art, but it also makes Rid of Me a difficult record to meet halfway."

Rob Ellis - Steve's an incredible engineer. The sounds are remarkable. I could really bring out my inner Bonham with that drum sound. Polly's playing is incredible but the sound is amazing. Jimmy Page would be jealous. I believe it was the case that he played some of the mixes that we did on that session to Nirvana actually in the weeks after our session, before recording In Utero.

Harvey herself was pleased with the end result. "I do everything for myself primarily," she said, "and I was happy with it. I don't really listen when people say good things about my work because I tend to not give myself praise about anything. But I was really pleased with Rid of Me. For that period of my life, it was perfect. Well, it wasn't perfect but as near to as I could get at that time". She remained friends with Albini afterward, finding in him a kindred spirit. "People read things in and make him what they want him to be," Harvey said. "He's the only other person I know that that happens to besides myself. People have a very specific idea of what I am- some kind of ax-wielding, man-eating Vampira- and I'm not that at all. I'm almost the complete opposite."

The next album, To Bring You My Love was a lot more lush but she would semi-return to this song for Uh Huh Her: apart from that everything she's done subsequently has been a lot more heavily produced. Listening to a lot of her recently released demo versions of albums, it is clear that the song and many of the musical elements are already there before she goes into the studio and if anything some releases (I'm looking at you Stories From The City) would have been better if she'd just released the demos. At the time of the album's release PJ Harvey was pretty much a trio fronted by PJ with drummer Rob Ellis (who'd appear on a lot of her future work) and bassist Steve Vaughan: following this record she was unambiguously a solo act.

Ellis: We had Radiohead support us on a gig in New York and we were really, really unhappy about that. Because the support band that we had chosen to come on tour with us had been knocked off the bill in favor of these young blond boys. Screaming girl fans would fill the venue and then as soon as they finished playing, all the screaming girl fans left. After that tour, the trio split up. We were three pretty uncommunicative individuals and got more so after Rid of Me. It was very fragile. Tensions rose gradually and the business side of things just got really intense. Polly and I drifted back into working together again, but the last time I saw Steve Vaughan was over ten years ago. No one hears from him at all or knows what he's doing. I think he lives a sort of hermetic existence these days.


Oz Oz Alice

Quote from: Greg Torso on May 13, 2021, 11:42:33 AM
^ Great track, and my favourite PJH album.

My second favourite, my favourite being To Bring You My Love and I'll post why now in case I don't get the chance as someone beats me to it in '95: I heard To Bring You My Love at a very important time as a teenager sort of trawling through my dad's record collection. I was just coming to understand my sexuality and there's something about the presentation lyrically and visually and sonically about that record that conjures up, I dunno, this sort of feral androgyny. She's got the blood of her suitors dripping from her teeth but moving her head away so it doesn't stain the wedding gown she's sewn into her skin. It's John Waters conception of glam, its capital G Southern Gothic and goth as in Diamanda Galas (who I hadn't heard at 15) and its the record I've most often danced around to before I need to go meet someone and pretend to have any kind of shred of self-confidence in my sex appeal.