Monday, 19 September 2011

What's the difference?

Hmm.  Having wondered about the legality of Grooveshark, and found (thanks Norm!) that it's interpretation of legality is somewhat "interesting", I am now wondering something else.

In what way does this differ from allowing people to upload all sorts of music to Youtube?  Does that material get taken down, and if so, does it get replaced immediately?  Or, is it just that no-one wants to get into a legal wrangle with Google, with all their not-insubstantial resources at their disposal?  Hmm again.

Tuesday, 6 September 2011

Songs About Sex

So, there I was, cheerfully listening to a bit of Ian Dury on the wonder-how's-it-even-legal Grooveshark.  The song "Wake Up and Make Love With Me" hit me with it's sublime blend of funky rhythms twinned with a very British sense of humour.  I'd heard it before, but I'd forgotten how good it was. "Is this the best song ever about sex?" I wondered.

Most songs about sex, you basically don't want to know about.  An exception may be Marvin Gaye's "Sexual Healing", and possibly a few others that I can't think of right now.  I seem to recall reading somewhere that The Jesus & Mary Chain wrote songs about sex, but to me they all seem to be about drugs, or at a push, possibly drugs and motorbikes.

Have there been any songs written by the musical elite of Edinburgh that may fit the bill?  Not that I can recall right at this moment.

There's a challenge, along with "Write a happy song".  Write a song about sex that doesn't revolt all and sundry, and you'll be doing well.

Thursday, 1 September 2011


I'm afraid that the Edinburgh Festival appears to have largely passed me by.  Which is quite a feat, given that it's the largest arts festival in the world, and I live pretty centrally.  I didn't shun it on purpose in a curmudgeonly manner, I just didn't get round to doing much about it.  And now, it's gone.  Arg.

Still, one thing I went to see was somehow officially part of it, and that was the excellent gig for The National at the Corn Exchange, along with my sister, Mr Cakes, and L.  I'd enjoyed them very much at The Astoria in London about 3 years ago, but I was taken aback by how much they'd grown in confidence since then, and, if I may use that Spinal Tap-esque phrase "Stagecraft".  They just looked a whole lot more comfortable being there.

The National

The puzzle remains though.  A band with introspective, melancholic songs with no immediately obvious hook-laden choruses, and whose members are older and less good-looking than a lot of other bands.  Despite this, they filled the Corn Exchange, and seem to have only grown in popularity.  My straw-poll of gazing around the audience seemed to show an extremely varied bunch, so it's not just your thin and pale indy kids either.

One wonders what the secret is.  Persistence counts for a lot, and possibly, not "giving in" and making an obviously commercial record.  I think people respect that, to a certain extent.  I think they're great, long may they continue.