Like Pink, featured a week ago, Robyn is an unlikely occupant of my music collection. Or maybe I have a previously unrealized penchant for R&B/pop singers with super-short white-blonde hair.
The artist Robyn most reminds me of, based on the one album and one EP of hers I own, is Prince. She has a similar vocal style (evident on this track) and employs a similar fusion of funk and pop balladry. And as with Prince, I find a little of Robyn goes a long way.
The Random iTunes Fairy is stealing a bit of my thunder.
I had planned to feature Elvis Costello next week as part of my musical genome project, and perhaps I still might. But today’s song would have been a perfect selection to demonstrate Costello’s ‘Country Plus’ credentials. I’ll table that discussion until the appropriate time.
This is an appropriate random selection for the middle of my musical genome project.
I like Pink. I like her songs, I like her voice, I like her attitude. And I really like the one album of hers I own, 2008’s Funhouse, from which this SOTD is pulled.
And yet, I have never considered buying Pink’s earlier albums, nor would I rush out to buy whatever she puts out next.
Volume 7 of Bob Dylan’s Bootleg Series is the companion soundtrack to Martin Scorsese’s excellent Dylan documentary No Direction Home.
The album, like the film, traces Dylan’s development as an artist from his earliest days through his electric phase, culminating with the famous “Royal Albert Hall” concert where an angry fan yelled out “Judas!”
How do you follow Rumours?
Fleetwood Mac released that 1977 classic to universal critical and popular acclaim, and did so on the heels of their self-titled album, which though overshadowed by Rumours, is just as jam-packed with essential material.
In 1979, at the peak of their popularity, and also the peak of the personal turmoil that had become part of their daily existence, Fleetwood Mac released Tusk.
Meet Me In Montauk 