Las eliminadas son:
Con 7 votos:
1.15 THE ONE YOU REALLY LOVE
"In the 69 Love Songs booklet, Stephin Merritt refers to the arrangement, including his and LD Beghtol's vocal and the autoharp, being an attempt to emulate the Carter Family, who recorded between 1927 and 1942. LD and Stephin share an admiration for the Carter Family, and their influence could account in part for The Magnetic Fields adoption of drum-less arrangements in recent years.
LD Beghtol writes:
Stephin and me being the Carter Family, out on the front porch in Maces Springs, Tennessee (okay, really in his East Village studio!) Another one take song, hence my mistake of "feet/foot" and kinda of bad harmonies. He wanted it very live and off-the-cuff, so we rehearsed it one, and recorded it, with me singing from a lyric sheet.
'Though he is dead he haunts your dreams'
In 1999 a short article appeared on the web about someone grieving an ex-lover, who had in turn had his heart broken by a previous boyfriend killed by AIDS. The article evokes The One You Really Love and also Busby Berkeley Dreams in the sentence, "My dreams of John (the ex-lover) are Busby Berkeley dance numbers in which John and I waltz in midair among thousands of exploding crystal chandeliers." The article was attributed to Stephin Merritt but its original source, authenticity and fictional status are unclear."
Con 6 votos:
1.7 COME BACK FROM SAN FRANCISCO
"On the album Shirley Simms sings Come Back from San Francisco, which implies her lover is bisexual ('Should pretty boys in discos / distract you from your novel'). Which means it can still be consistent for Stephin Merritt to sing the song in live performance, as he does when Shirley is not there (rather than asking Claudia Gonson to sing it). This lover could be anyone's ('all of New York City misses you'). Does the wind need trees?
The closing line of the song ("Damn you, I've never stayed up as late as this") initially strikes many listeners as a non sequitur, although, on reflection, it seems to refer to the difficulties inherent in having a telephone conversation over a three-hour difference in time zones.
LD Beghtol writes:
One of many versions of this song⦠The first version I sang on also featured Bertie Marshall (legendary punk rocker and novelist, which may have been for the 6ths album then in the works â this was in summer 1997 I think.
Then Stephin started again with me singing the backing vocals against some Broadway singer belting it out, which was just awful and he erased.
Then it got recorded with Shirley singing lead, and thatâs the version you hear on 69 Love Songs. Thereâs a funny moment where I cue myself with a quiet âmmmmmmâ¦â just before the first chorus, which inadvertently got left in the final mix, much to my joy!"
1.21 NOTHING MATTERS WHEN WE'RE DANCING
Ãsta tiene dos dibujos:
"The title has ambiguous intent, because it could mean "nothing else matters when we're dancing" or "nothing matters at all when we're dancing".
LD Beghtol writes:
Stephin Merritt and I sang about twelve tracks of the three backing vocal parts in various registers one afternoon for the chorale parts. I had to read my parts from a score he'd written, which was a little tricky, but so much fun. Live, Claudia Gonson sang one of the parts, and it kept getting slower and quieter and more heartbreaking every time we did it⦠"
