^ Pues o no he entendido nada o me parece que la letra de The Book of Love va de un escéptico ante el ceremonial de los enamoramientos (músicas, palabras, regalos...) que se da cuenta que se ha enamorado del destinatario/a de la canción (el "deberías darme anillos de boda" del final no puede ser más elocuente). Vamos...es mi opinión.
muy de acuerdo con @dwaki y matizaría con respecto a nothing matters... que nada importa cuando estamos bailando, cuando nosotros estamos bailando, creo que el plural es quid de la frase, no sólo nada importa cuando se baila, nada importa cuando bailamos juntos...
"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 — 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 that’s the version you hear on 69 Love Songs. There’s a funny moment where I cue myself with a quiet “mmmmmm…” 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
Ésta 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… "
que bonitos los dibujos de come back y nothing matters... acabo de darme cuenta que independientemente de quien cante que, todas las canciones de MF las veo protagonizadas por tíos... si la voz es femenina actúa como narradora...
Pues debo ser la única que al final le está gustando como está quedando este top, de hecho hice un simulacro de lo que puede quedar y mola. Muy heterogeneo y que da buena síntesis de lo que es este álbum.
Hombre, yo creo que Come back from San Francisco debería haberse quedado, objetivamente me parece cojonuda, otras que me hubiera gustado que se quedaran es ya más por motivos personales.
1.06 I Don't Want to Get Over You 2.17 Papa Was a Rodeo
A mí me está gustando lo que puede quedar. Salvo las dos que voto ahora, el resto me parece un top 5 bastante apañado. En él estarían dos de las tres canciones favoritas del 69LS que yo tenía antes de empezar con este survivor, así que no me quejo.
Pero que quieres que haga? Es de las que menos me gusta, y desde luego no entra en mi Top 10, ni en mi Top 30. Al final ganará, tú estarás contento y yo maldeciré haber participado )
^jajajajaja No ganará, que ya veo que hay gente que la ha votado antes... De momento estoy más o menos satisfecho con cómo van (ca)yendo las canciones. Lo de insistir con The Book of love es namás que por chincharte, como mi buen bro que eres...
Dudley Klute at his finest — and a song he actually picked from a cassette of demos that Stephin Merritt was listening to, trying to fill some holes left in the album when a few tracks no longer made the grade. "
1.6 I DON'T WANT TO GET OVER YOU
"Stephin Merritt apparently regrets not getting another singer to sing this song on the album: "My voice always says, I Don't Want to Get Over You," he grumbles. "I could sing Zip-A-Dee-Doo-Dah and you'd remember it as I Don't Want to Get Over You".
Stephin performed I Don't Want to Get Over You solo, at the piano, on the BBC's (Later... with Jools Holland) and at some live shows during the same period (e.g. De Balie, Amsterdam, 2000-11-04)."
Comentarios
i think i need a new heart fue de las primeras canciones que me enganchó, para mi es una de las clásicas
1.15 The one you really love
1.21 Nothing matters when we're dancing
2.15 Long-Forgotten Fairytale
Qué trabajito me ha costado.
1.12 The book of love
1.21 Nothing matters when we're dancing
2.15 Long-Forgotten Fairytale
y matizaría con respecto a nothing matters... que nada importa cuando estamos bailando, cuando nosotros estamos bailando, creo que el plural es quid de la frase, no sólo nada importa cuando se baila, nada importa cuando bailamos juntos...
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 — 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 that’s the version you hear on 69 Love Songs. There’s a funny moment where I cue myself with a quiet “mmmmmm…” 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
Ésta 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… "
Disco 1:
3 All My Little Words
6 I Don't Want to Get Over You
8 The Luckiest Guy on the Lower East Side
11 I Think I Need A New Heart
12 The Book of Love
Disco 2
15 Long-Forgotten Fairytale
17 Papa Was a Rodeo
Eliminamos dos hasta mañana a las 14:00h.
Esta letra me encanta:
"You need me like the wind needs the trees to blow in.
Like the moon needs poetry, you need me."
2.17 Papa Was a Rodeo
acabo de darme cuenta que independientemente de quien cante que, todas las canciones de MF las veo protagonizadas por tíos... si la voz es femenina actúa como narradora...
2.17 Papa was a rodeo
Pues debo ser la única que al final le está gustando como está quedando este top, de hecho hice un simulacro de lo que puede quedar y mola. Muy heterogeneo y que da buena síntesis de lo que es este álbum.
Me alegra que me lo hayáis descubierto.
2.15 Long-Forgotten Fairytale
2.17 Papa Was a Rodeo
A mí me está gustando lo que puede quedar. Salvo las dos que voto ahora, el resto me parece un top 5 bastante apañado. En él estarían dos de las tres canciones favoritas del 69LS que yo tenía antes de empezar con este survivor, así que no me quejo.
2.15 Long-Forgotten Fairytale
Con hamor te lo digo, @cao. Que rima con @pesao.
1.6 I Don't Want to Get Over You
1.15 15 Long-Forgotten Fairytale (me arrepiento ya)
1 11 I Think I Need A New Heart
2.17 Papa Was a Rodeo
2.17 Papa Was a Rodeo
a partir de esta ronda ya no se voy a hacer...
6 I Don't Want to Get Over You
Disco 2
15 Long-Forgotten Fairytale
2.15 Long-Forgotten Fairytale
Gracias por avisar, tesoro.
1.6 I Don't Want to Get Over You (no sé si aquí la estoy cagando pero quiero salvar otra)
2.15 Long-Forgotten Fairytale
Con 9 votos:
2.15 LONG-FORGOTTEN FAIRYTALE
"LD Beghtol writes:
Dudley Klute at his finest — and a song he actually picked from a cassette of demos that Stephin Merritt was listening to, trying to fill some holes left in the album when a few tracks no longer made the grade. "
1.6 I DON'T WANT TO GET OVER YOU
"Stephin Merritt apparently regrets not getting another singer to sing this song on the album: "My voice always says, I Don't Want to Get Over You," he grumbles. "I could sing Zip-A-Dee-Doo-Dah and you'd remember it as I Don't Want to Get Over You".
Stephin performed I Don't Want to Get Over You solo, at the piano, on the BBC's (Later... with Jools Holland) and at some live shows during the same period (e.g. De Balie, Amsterdam, 2000-11-04)."
Disco 1:
3 All My Little Words
8 The Luckiest Guy on the Lower East Side
11 I Think I Need A New Heart
12 The Book of Love
Disco 2
17 Papa Was a Rodeo
Eliminamos dos hasta mañana a las 14:00h.
2.17 Papa Was a Rodeo