Choon of the Day

There's a lot of conspiracy websites out there but this one really stands out for being intelligent and creative and brilliant. A lot of them are pretty dumb and before you know it they're talking about the Jews again

craner said:

Yeah, I hate this song as well. It must be a generational thing, same with Bryan Adams, Wet Wet Wet, all those mega-chart toppers from the early 90s that deformed our summers.

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All those three have the exact same enervating quality. Anti-life. Vampiric blood suckers. Grey vampires even!

Tim Burton
8 months ago
This song makes me nostalgic for a teenage life I never had

Mi Mm Ma
8 months ago
I love this comment more than the song. The good old days are an illusion. We have had the torture memories removed so we can't stop the actual bad guys.

No, we aren't talking about those ones. The other one. The one that was number one for a whole year straight.

The one with Mel C?

The one from Robin Hood: Prince of Thieves

version said:

The one with Mel C?

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i love that one

it's like a cheap, tacky toy town rendition of 'speckled frogs' that a teacher would whack on for nursery kids.

same arrangement sensibility as this

Droid, what is your opinion on this latest provocation?

that wasn't supposed to be a provocation...

i went to pitchfork's top 50 dancehall tracks and saw a lady saw one, which then reminded me of that. i wasn't being naughty

silliness and larkery


sounds like pierre henry

bernard and niles are the greatest duo of all time. better than batman and robin. better even than luke and craner.

luke talks about the mournful quality of all this. that detuned bit's really sand. c

first time i hear this song and it made me realize this is where the vocal samples from one of my favorite footwork tracks comes from

please don't
please don't
please don't
please don't
please please please please
please don't follow
please don't follow
please don't follow
please don't follow me along

The crisp and breezy conclusion to Control. The best song on the album that’s not one of the great ones (‘Nasty’, ‘What Have You Done for Me Lately’, ‘The Pleasure Principle’, ‘When I Think of You’) or one of the shit ones (‘Control’, ‘You Can be Mine’, ‘He Doesn’t Know I’m Alive’, ‘Let’s Wait Awhile’). It is a perfectly poised confection that redeems the end of the record.

Jam & Lewis & Janet: this is supposed to be the combination that sent them all into the stratosphere, but I often prefer the things J&L did with Change, Cherelle, SOS Band and Cheryl Lynn, and I also like the 1982 non-J&L Janet Jackson album a lot. Rhythm Nation was launched on a well-drilled dance routine and severe pyrotechnics but now sounds static and self-regarding. janet. is just a mess.

JJ’s main flaw as a performer is that she can’t act, but she also can’t stop acting. Her records are a bit like Made in Chelsea or something: an artificial re-enactment of her actual life that leaves both reality and fiction suspended, but she’s not even any good at doing it. In this song the act is more charming than anything else, because her attempt to sound seductive in French is hysterical. By their account, J&L loved this theatrical aspect, all the little giggles and sighs and improvisations, but it actually undermines the pristine surface of their productions: the blank canvas of Cherelle works better.

At its best (see Para. 1) the combination of J&L&JJ is the perfect marriage of Paisley Park and the Jackson Estate, so maybe it's time for padraig and Patty to resolve their bitter feud on the sweet uplands of Control.

P.S.

It also pricked my ears because I loved the way it was sampled on this otherwise ropey track that I used to own and mainly liked for the JJ hook:


And this by Camp Lo, which I loved completely: