I have to admit, when Christina Aguilera debuted "Genie In A Bottle" in 1999, I liked it. Granted, I was 15, but even then I didn't exactly dig Britney Spears, and thought it was kind of ridiculous that Aguilera was lumped into the same category as her. I still like Aguilera, I will sing along to her songs without (much) shame and I respect some of the music she has made over the last 10 years. She is a not-so-guilty pleasure of mine. However, recently the the internets have been abuzz with chatter about who Aguilera is collaborating with on her next album, thusly granting me permission to exclaim how I've felt all along. Word is, Aguilera is bringing in Ladytron, Goldfrapp and the where-the-hell-have-they-been Le Tigre to work on what is being called an "electronic" album. Hmm. Win! Read more after the jump!
I try to think of a theme when I'm making mixes; for my friends, as a DJ and on these here BitchTapes. This week, however, the only theme tying these songs together is that I like them. Ergo, this week's BitchTapes is aptly titled the Heavy Rotation Edition. There's a random Led Zeppelin cover, new music from Peaches and Passion Pit and the best Pat Benatar song you may never have heard. Get the scoop after the jump!
The other day, a friend of mine challenged my claim that Peaches is brilliant. This launched us into a debate on her lyrical soundness in comparison to other artists who are characterized by sexual explicitness and why her raunchiness is different than theirs. We bounced around a few choice lyrics and ended upon "Azz and Tittiez" by Three Six Mafia, a song whose refrain slurs those three words along with the pejorative-packed "big booty bitches". Would I appreciate those lyrics more coming from Peaches? You're damn right. Lyrics, though, are just part of the Peaches puzzle, lending themselves to her progressiveness above and beyond their similarities to other hip-hop/electro/dance-pop groups. Her brilliance comes through in her live show.
Folk songwriter Fred Neil said Karen Dalton "sure could sing the shit out of the blues," and Bob Dylan said she sang like Billie Holiday and played guitar like Jimmy Reed. Dylan's description wouldn't be the last time this under-the-radar folk singer was likened to Lady Day. Like Holiday, Dalton's haunting croon completely transforms whatever folk, blues, or pop standard she sang.
Break ups can be a real bitch, can't they? Wouldn't it be nice if both parties could just go their separate ways, cordially, without rancor, and without, say, the desire to take a Louisville slugger to anyone's headlights, to make harassing phone calls at dinnertime, name-calling, jealousy, screaming, crying on the kitchen floor, all five stages of grief, begging, pity parties, ill-advised sex, or way-too-long Dear John messages left on answering machines?
Well, here's a li'l mixtape to get all of that out of your (or your ex's) system, for any future break ups you might experience. These artists do all the heavy emotional lifting--and tire-slashing--so you don't have to. Once played, this mix will enable the listener to make a crime-free, self-respecting, graceful exit. I guarantee it.
The Kills have not stopped moving since the March 2008 release of their latest album, Midnight Boom. They have bounced back and forth from the US to Europe to Australia on tour, had their bus stolen out from under their noses in Texas, played gigs with The Gossip and The Raconteurs and made music videos for half the tracks from Midnight Boom. Yet they are still accessible, even in this latest bout of explosion into rock royalty status. Alison "VV" Mosshart blogs every few days about the journey they've taken, going into smoky detail about venues, friends they've seen, meals they've eaten and sleep they haven't had, often signing off with a "we love you" or "cuts and kisses" to the fans she isn't even sure are reading. It is an intimate and special glance into Mosshart and Jamie "Hotel" Hince's road ragged existence, but just as their lyrics say, they continue to go steal ahead. Read more after the jump!