The Psychedelic Furs’ Richard Butler was born on this date in 1956. A few of the group’s songs are on today’s playlist.
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Your (Almost) Daily Playlist: 4-21-24
It really rankles and roils, riling me relentlessly, gets my goat and grinds my gears that a ghastly ghost greedily grabbed some of my greatest grooves, several superb sounds from my marvelous music menagerie, including The Cure’s Disintegration on vinyl, vanishing without a visible vestige. It’s a haunting hijacking that has me howling hauntingly, harboring hopes that horrific hoodlum returns my rightful recordings. Relievingly, I’ve retained Robert Smith’s resonant refrains on compact disc, considerably consoling my celestial lamentations.
The Cure’s Robert Smith was born on this date in 1959. Even if you don’t have the disease, we have The Cure on today’s playlist.
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Your (Almost) Daily Playlist: 6-5-23
“Pretty In Pink,” The Psychedelic Furs’ 1981 song about a woman named Caroline who sleeps with different men who mock her for being so “loose,” became the title song to a 1986 movie scripted by John Hughes about a teenager named Andie who “must choose between the affections of dating her childhood sweetheart or a rich but sensitive playboy.” I pulled that from IMDB, as I’ve never seen the movie. At the time of this movie’s release I had already seen two other movies based on Hughes scripts, Sixteen Candles and The Breakfast Club, both of which he also directed, and didn’t care much for either, the performances of Molly Ringwald and Anthony Michael Hall notwithstanding. (Make that three previous Hughes scripts. Looking at IMDB, I notice that he wrote Class Reunion, a movie I saw only because my dad was an investor in it. It wasn’t good.) I’ll give Hughes this – the music used in his films was, for the most part, winning. So while the song “Pretty In Pink” resembles the storyline of the movie Pretty In Pink as much as I resemble Janelle Monae, it is a good one.
The Psychedelic Furs’ Richard Butler turns 67 today. A couple of his bands songs are included on today’s playlist, including the original mix of “Pretty In Pink.”
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Your (Almost) Daily Playlist: 11-2-22
Today’s playlist celebrates the November 2 birthdays of Nelly, k.d. lang, Emerson Lake and Palmer’s Keith Emerson, Mobb Deep’s Prodigy, The Cadillacs’ Earl Carroll, Maxine Nightingale, and J.D. Souther; and the November 3 birthdays of Courtney Barnett, Adam Ant, Best Coast’s Bethany Cosentino, John Barry, Onyx’s Sticky Fingaz, Lulu, Robert Miles, Icicle Works’ Ian McNabb, Mable John, The Subways’ Billy Lunn, and Lucas.
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Your (Almost) Daily Playlist (11-3-20)
Inspired by the November 3 birthdays of Courtney Barnett, Adam Ant, Best Coast’s Bethany Cosentino, Lulu, John Barry, Lucas, Mable John, Onyx’s Sticky Fingaz, Icicle Works’ Ian McNabb and The Subways’ Billy Lunn.
It’s Black Friday And I Need To Dance!
What do people want more than anything else? Love, perhaps. When songwriter/Motown founder Berry Gordy, Jr. asked “What do people want most?,” his writing partner Janie Bradford answered “Money. That’s what I want.”
A song was born, a classic that became the first hit for Gordy’s Motown Records, with singer Barrett Strong taking “Money (That’s What I Want)” to #23 in 1960.
Twenty years after Strong hit with it, UK band The Flying Lizards took a cover of “Money” to #50 on the US pop chart. Their version also made the dance chart. It kicks off Tunes du Jour’s weekly dance party.
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The Supreme Court Ruled And I Need To Dance!
– Justice Anthony Kennedy
Friday is dance day at Tunes du Jour. We kick off today’s party with birthday boy Mick Jones of The Clash and Big Audio Dynamite, who turns 60.
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It’s Pete Shelley’s Birthday And I Need To Dance!
In 1981, Pete Shelley reached #14 on the US Dance chart with “Homosapien,” a keyboard-centric single that sounded much different than his work as the lead singer of punk band The Buzzcocks.
“Homosapien” did not get much airplay in Shelley’s native England, as the BBC took exception to the lyric “Homo superior in my interior.” Shelley said the song was not intended as a “gay song;” rather, it’s about homosapiens falling in love with other homosapiens. That may be so, but the opening line is “I’m the shy boy, you’re the coy boy / And you know we’re homosapien, too,” so there is more than a little homo in this sapien.
Shelley lives as the homosapien of his song, eschewing labels because “there doesn’t seem to be a word for ‘having relationships with people,’” regardless of gender, which is where Shelley sees himself.
It’s Friday and I need to dance! It’s also Pete Shelley’s birthday (he’s 60), so we’ll kick off our dance party with “Homosapien.”
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It’s Friday And I Need To Dance!
“I go through stages of intense dislike for ‘Blue Monday,’ which I’m sure every group does when they get one song they’re synonymous with, but the way it keeps getting reinvented is wonderful. It seems to be one of those tracks that’s timeless, which is amazing. We were using technology which could have dated like other ’80s stuff, but somehow we managed to swerve it. Was that deliberate? No, everything we do is by accident. The fact that for two years no one spotted that the sleeves cost more to make than the records confirms this. I honestly thought ‘Thieves Like Us,’ the single after ‘Blue Monday,’ was far superior. ‘Blue Monday’’s not a song, it’s a feeling, but once people hear that drum riff they’re off. People used to go mad when we didn’t play it. We had a fight onstage with a DJ in Nottingham once because we wouldn’t play it – which was a very New Order thing to do. As you get older and mellower you appreciate what got you where you are. We play it now because people love it.” – Peter Hook of New Order, 2003, in Q magazine, which named “Blue Monday” one of the best songs ever
Peter Hook turns 59 today. Tunes du Jour kicks off our weekly dance party with “Blue Monday.”
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