is tomorrow, ‘sniff.
As a fan of the site, I think it’s only right that I point you at a number of their articles to encourage you to fall in love with the site just before they stop putting up new content.
Why White Town – Your Woman was a one-off moment of pop genius
The audacity, not to mention ludicrous improbability, of â€œYour Womanâ€ is astounding in retrospect
The non-stop nastiness of â€œGotta Get Thru Thisâ€: Dom Passantinoâ€™s Survey of the New Milleniumâ€™s UK #1 Singles – Article – Stylus Magazine:
Madonna- American Pie
[03/05/2000; 1 week]
It takes a bad, bad song to make a man feel sorry for Don McLean, but this is that song. Don’s version, for all its faults, was at least a cryptic crossword that gave dullards something to decode before their next CAMRA meeting. This, on the other hand, is more like The Sun’s coffee break crossword, with the official first appearance of â€œSHOCKING LESBIAN OVERTONESâ€ in a #1 song (more will follow) of the millennium. Whatever last vestiges of â€œnot-horridâ€ this song has are wiped out by the backing vocals, deep in the mix, sounding eerily like Terence Trent D’Arby speaking at you through a medium. In the chronology of Madge #1â€™s, this comes between â€œFrozenâ€ and â€œMusic.â€ It’s a trough between those two moderate peaks.
(which runs all the way from the start of 2000 right up to Gnarls Barkley’s Crazy and reminds you of the terror)
A very nasty dig at Jarvis Cocker, which I don’t agree with but still love, if only for comparing him to the singer from Baby D.
Where record collections go when their owners go where they cannot.
And the ultimate and scary triumph of the fanboy.
Also, naturally, they mainly reviewed albums so it seems only right to link to their right-headed review of Caribou’s Andorra, which unlike most annoying reviews managed to pay attention to the last two tracks, Irene and Niobe which I think are easily the most important and interesting on the album.
‘sniff, at least there’s still Popmatters.