ONE THING I HEARD: The origin of the Mad Men theme.
Ever heard of Enoch Light? Me, neither. I was sent to this by an entertaining piece on the LA Times blog, Pop & Hiss, by Gustavo Turner, about the origin of the Sinatra songs that feature on Bob’s new album. “Jerry Lee Lewis, strangely enough given his manic persona, has had a moving version of “Autumn Leaves” as part of his extensive repertoire for decades (there’s a YouTube video of Lewis performing the song in 1971). The song has subliminally reentered popular culture in the last few years: as noted Dylan expert Scott Warmuth pointed out, the intro to Enoch Light’s easy listening arrangement of “Autumn Leaves” provides the core sample for the popular loungey theme for the TV show Mad Men.” [nb. Jerry Lee Lewis’s performance is restrained and Willie-like, but the most unusual part is his posture. I’ve never seen anyone sing a song with arms folded across his chest, the only movement the occasional raising of his chin. The repeated last line, “start to fall… oh woah oh hoo”, goes to a ghostly falsetto and fades out. Fabulous.]
ONE THING I SAW: This lovely photo of the Copper Family, which reminded me of Saturday afternoons in Dobell’s, when the delivery of new records on the Topic label would lead to an hour of English traditional music being played on the store’s sound system, edging out the more usual fare of BB King and Bert Jansch.
ONE THING I READ: The wondrous Bjork interviewed by Pitchfork.
Who are confessional singer/songwriters that you like?
Funnily enough, with my favorite music like that, I don’t understand the words. I really like fado singers like Amália Rodrigues, but I don’t speak Portuguese. [laughs] I really like Abida Parveen from Pakistan, but I don’t understand a word she sings either. As for American singers, you know who I’ve loved almost since my childhood? Chaka Khan. I love Chaka Khan. I’ve totally fallen in love with a remix album of hers from ’80s. I don’t know if it’s a guilty pleasure. It’s just pleasure. Obviously, I really love Joni Mitchell. I think it was that accidental thing in Iceland, where the wrong albums arrive to shore, because I was obsessed with Don Juan’s Reckless Daughter and Hejira as a teenager. I hear much more of her in those albums. She almost made her own type of music style with those, it’s more a woman’s world.
Hejira is one the most feminist albums ever.
Right? The lyrics! And The Hissing of Summer Lawns as well. I love “The Jungle Line”, it sounds like something somebody would make now, it’s crazy. Maybe it’s because it’s not my generation, but when I hear the folk stuff that she did before that, I hear it as a lot of people and not just her…
When it was originally misreported that Vulnicura was produced by Arca, instead of co-produced by you and Arca, it reminded me of the Joni Mitchell quote from the height of her fame about how whichever man was in the room with her got credit for her genius.
Yeah, I didn’t want to talk about that kind of thing for 10 years, but then I thought, “You’re a coward if you don’t stand up. Not for you, but for women. Say something.” I’ve done music for, what, 30 years? I’ve been in the studio since I was 11; Alejandro had never done an album when I worked with him. He wanted to putting something on his own Twitter, just to say it’s co-produced. I said, “No, we’re never going to win this battle. Let’s just leave it.” But he insisted.
The world has a difficult time with the female auteur.
I have nothing against Kanye West. Help me with this – I’m not dissing him – this is about how people talk about him. With the last album he did, he got all the best beatmakers on the planet at the time to make beats for him. A lot of the time, he wasn’t even there. Yet no one would question his authorship for a second. For example, I did 80% of the beats on Vespertine and it took me three years to work on that album, because it was all microbeats – it was like doing a huge embroidery piece. Matmos came in the last two weeks and added percussion on top of the songs, but they didn’t do any of the main parts, and they are credited everywhere as having done the whole album. [Matmos’] Drew [Daniel] is a close friend of mine, and in every single interview he did, he corrected it. And they don’t even listen to him. It really is strange.
ONE THING THAT MADE ME LAUGH: Time Out’s review of Mark Ronson’s new album by Oliver Keens: “Like “Get Lucky” a couple of years back, “Uptown Funk” smartly tapped into a nostalgia the public didn’t realise it had. Where Daft Punk used disco, Ronson (and guest Bruno Mars) used the synthed-up sounds of ’80s electric funk. Yes, it’s generic to the point of parody, and sounds like hundreds of perfectly ace records by black American artists that already exist. Yes, Ronson admitted that it took six whole months to record and that he even passed out trying to come up with the relatively simple two-chord guitar part. None of that matters. This is pop working as it should: being totally shameless, ubiquitous and providing that sacred bridge between the club and ‘The X Factor’. If you plan on going to a wedding in 2015, you will hear “Uptown Funk”. Deal with it. Last year, Ronson gave a TED talk about sampling. In its studied and laboured way, “Uptown Special” sounds like an album made by someone who’s given a TED talk on sampling. You can’t fault the ambition here, but as an album, it’s hard to give an uptown fuck.”
ONE THING THAT MADE ME CRY: Fashion Gibberish
For a while I’ve been thinking of starting a blog called Property Developer Gibberish, as hoardings fill up around London with an almost Orwell level of doublespeak, with talk about creating “communities” and “legacies” and “respecting the tradition” of areas they are redeveloping and ripping the heart out of. The fashion world is equally guilty of misusing language in a bid to make their particular cut of cloth stand out from the crowd. The Dutch clothing store, The Sting (founded 1982), is responsible for this corker: harnessing sixties pop and a code of honour, but – best of all – Nonsenese!