Talkie Walkie is the fourth full-length album by French music duo Air, released on 27 January 2004. The album was possibly named after the song “Le Talkie Walkie” by Serge Gainsbourg, a known influence of the duo. “Alone in Kyoto” was included on the soundtrack to the 2003 film Lost in Translation.
Taken from Madonna’s upcoming album ‘Rebel Heart’.
The introduction is a quiet monologue regarding the idea that Atlantis was a highly advanced antediluvian civilization, and that Atlantean colonists were the basis of the mythological gods of ancient times. Aware of their fate, the Atlanteans sent out ships to carry their masters to safety, and these people were responsible for bringing civilization and culture to primitive humans. When the song begins in earnest, it conveys the message that the singer’s true love may be in Atlantis. The overall theme is common for the 1960s: fanciful mythology as the symbol of the counterculture movement, with the hope that true love will be found if ever Atlantis can be reached.
Atlantis was used in a memorable scene in Martin Scorsese’s 1990 film Goodfellas, where mobster Billy Batts, played by Frank Vincent, was beaten by Joe Pesci and Robert De Niro’s characters.
[via Lars K. Andersen]
“Baby Baby” is a love song originally recorded by U.K. punk rock band, The Vibrators. Baby Baby was written by Ian ‘Knox’ Carnochan, the primary song writer in UK punk band, The Vibrators. The song was recorded by The Vibrators and released as a single in May 1977. It was their first single released on Epic Records with their previous singles having been released on RAK. The song on the ‘B’ side was “Into The Future”. One month later, in June 1977, the song was included in the release of their debut album, Pure Mania. The song was included in a session for John Peel at Radio 1. The song has since featured on numerous ‘best of punk’ compilation albums such as Punk: The Early Years and Punk’s Not Dead – 30 Years Of Punk as well as compilation albums containing only Vibrators tracks. When Knox was interviewed for Punk77 in 1999 he said, “My favourite Vibrators’ song has to be “Baby Baby”. I always think when I play it is like being on holiday.” The song has been covered by R.E.M. and by the German punk band Die Toten Hosen in 1991 for their cover album Learning English, Lesson One and released as a single in 1991. It features Knox from The Vibrators as a guest star.
[via Jan Poulsen]
It takes a unique kind of confidence for a bunch of Englishmen to walk into Muscle Shoals Sound Studios in Sheffield, Alabama, in the winter of 1969 and record a song about slavery, interracial sex and cunnilingus, with a title known as slang for a type of heroin. Originally called “Black Pussy” until Jagger thought better of it, the song was pulled together in just a couple of takes – “It should sound fucking dirty,” the singer famously instructed the rest of the band. And dirty it was, thanks to Jagger’s juicy lyrics, Richards’ signature open-chord attack (cooked up with help from blues prodigy Ry Cooder) and – in the longtime sideman’s defining moment – the raunchy sax of Bobby Keys. The band debuted it live at Altamont just a few days after it was recorded, and it went on to become the nastiest hit in the classic-rock canon. Around the same time, Jagger became the proud father of a daughter with African-American singer-actress Marsha Hunt.
The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the twin albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here. The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog in recent years. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record that fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too.
Another classic from Rado / France. Live in concert , this song was like “Fool To Cry” era Stones strung out on a Delfonics / Stylistics Philly soul trip. Pure pop gospel / Bubblegum soul. The three ladies on backing vocals took it to church and Sam France sang the shit out of it with soul to burn and a lovelorn fragility that really hit me deep. My favourite live moment of 2014. – Bobby Gillespie, Primal Scream
My favourite, most played single / record / song this year. No contest. Saw these guys and girls live at The Village Underground in London at Halloween and they blew my mind wide open with an all out high energy garage soul power assault which made me think that this is what Mitch Ryder & The Detroit Wheels must’ve sounded & looked like live. The show was TOTAL ACTION from start to finish. They smashed the place apart. Pure mania. The songs and musicianship are great and Sam France is the best frontman i’ve seen in years. He has the whole Iggy / Mick Jagger shamanic androgynous thing down, down, deeper and down. If they come to your town miss them at your peril. You have been warned. – Bobby Gillespie, Primal Scream