“Popular Creeps” from the great Horseshoes and Hand Grenades album.
Category: Artists (Page 120 of 262)
My head tells me that I shouldn’t like Kerli. One listen to her voice tells me that she worships at the altar of Amy Lee – the song is smothered with Evanescence-style melodrama as well – and the lyric is straight from Alanis Morrisette’s notebook (“I know that you think of me when you’re beside her / Inside her”). But I find myself irresistibly drawn to the Estonian beauty. I feel like Oz in “Buffy the Vampire Slayer” when the band fronted by the female wolf comes to Sunnydale and plays the Bronze. He’s dating Alyson Hannigan, Alyson freaking Hannigan, but damned if he could resist the singer’s siren song. I’m Oz, Kerli’s the wolf.
The wolf also made an appropriately creepy video for her brooding lead single “Love is Dead.” It starts with her horribly aged, standing in front of a CGI background that shows, well, death. As the video goes on, she gets younger, and everything behind her does, too. We get stuff from 20-year-old girls pitched to us all the time. None of it sounds like this. She’s not reinventing the wheel or anything, but you have to love a young girl with some depth. She covers Bauhaus’ “She’s in Parties,” for crying out loud. Hopefully the full-length album, which drops April 22, will follow up on the promise of this single.
Embedding, sadly, is disabled, but I highly recommend checking her out. And in case you still need more convincing, here’s a picture of her.
See what I mean? You’re drawn to her too, aren’t you? Now, if you’ll excuse me, I’m going to lock myself up in my cage, so I don’t accidentally eat anyone when the full moon hits.
To view the video, click here.
Update: Video link switched from Island’s site to YouTube.
Hi again, dear readers. Yours trly here once again to announce yet another new feature debuting on ESDMusic this week. I call it the “Bullz-Eye Hi-Fi.” Here I will be bringing you all the latest links to our weekly music reviews. If you need a refresher course on where you can find the main vein for most everything music-related on Bullz-Eye.com, then head over this way, but in the meantime, here’s what the stylus is finding its groove in this week on B-E:
Bauhaus – Go Away White – I check out the new and final Bauhaus disc. Was it worth the wait? Can it possibly live up to expectations?
Jeff Giles serves up three reviews this week, covering Alex Nackman’s Still Life Moves, Richard Julian’s Sunday Morning in Saturday’s Shoes and Paul Thorn’s A Long Way from Tupelo.
Our in-house musical doctor Mojo Flucke is doubling up on the grooves this week , giving his critical opinions on both Marah’s Angels of Destruction and The Raveonettes’ Lust Lust Lust
Black 47’s Iraq is placed under the proverbial microscope by Jim Washington, while our good man Mike Farley weighs in on The Afters’ Never Going Back to OK.
Finally, Mr. Pop Goodness himself, Will Harris takes us on a retro trip for the new release of Michael Jackson’s Thriller: 25th Anniversary Edition.
We also have four new Quick Takes in the hopper, kicking things off with a look at Paddy Casey’s Addicted to Company.
After Eight
Ah, Taco. How you came and went with such a fey flourish! You dominated the singles charts briefly with your synthed-up remake of “Puttin’ on the Ritz” and dared to go the full LP route by also issuing After eight. Seriously, dude. WTF?! Not that I have any room to make too much fun. You see, I bought this album in a record shop at the time it was big (I had already bought the single). Got it and the Atari 2600 cartridge “E.T.” at the same store. Yeah. So maybe you could say I struck out twice that day, but I enjoyed both at the time.
But this album now? It’s just too corny for words. While Taco offers up other cover versions of classics like “Singin’ in the Rain” and “Cheek to Cheek,” the real stomach churners are the tracks he penned himself. “Livin’ in My Dream World,” the original b-side to “Ritz” is bad enough. Taco reminisces about doing the Charleston, enjoying sing-along songs, and dancing on the Milky Way. Yech. If that weren’t enough, then perhaps “Tribute to Tino” in which Taco throws up appallingly bad synths in the faces of his listeners to tell them a tale of silent movie star Rudolph Valentino is. “Fairbanks, Chapman, Barrymore had leading ladies by the score like Tino” croons Taco. “Marie Provost” this is not.
The title track is also pretty abysmal. “After eight, a rendezvous with Kate! / She works late / I’ve had a hard day watching color TV” sings the Tac, trying to inflect as much of a ’30s style mannerism into his voice as he can. Then he tops it even more terribly with “Kate works each day 9 to 5, serving with true dedication / She serves you sodas, and ice creams, and pizzas, and chilis / And burgers, all kinds…and tacos, too…dig it!”
So yeah, basically there was “Puttin’ on the Ritz” and that was pretty much it. After Eight remains one of those distinctly ’80s novelty curios, and prices for CD copies of it are ridiculously overpriced. Still, you can nab the album off of iTunes these days. Taco did continue his career after this, but no one cared by the time his second album came out. It seems like the public didn’t need new versions of “Winchester Cathedral” or other pap such as “Opera Rap.” Yeah…”Opera Rap.”
And just to remind you how deeply serious Taco was when it came to puttin’ on his ritz, I’ll leave you with with this image from the back cover of this album:
Or, specifically Little Washu from “Tenchi Muyo!” Here is a fan-made video for “She Blinded Me with Science” Good stuff.
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