

Challenge Post: This Not That
A disturbing number of Tumblrs I follow have suddenly become fan pages for One Direction, the English-Irish boy band that I fear is becoming the new Justin Bieber, if it hasn’t already. But I don’t know why anyone would settle for schlocky pop from the United Kingdom when they could have Irish rocker Imelda May instead. May can sing a misty-eyed waltz with the same dexterity and ease she brings to her jaunty cover of “Tainted Love,” but it’s the titular song from her 2010 album “Mayhem”that really shows what she can do (i.e., wipe the floor with those One Direction brats).
Bonus: it’s not a bad way to begin the weekend, either.

Kelly Willis. She really has suffered from a case of bad timing. She’s been a well-respected singer-songwriter in Austin circles for decades, but she never has seemed to be able to break into the Nashville scene, try as she might. Kelly’s soft-sung, sweet and small voice was in direct contrast to those other powerhouse women who dominated the Country Charts throughout the 90’s (think Reba and Martina) when Ms. Willis was trying to breakout. Also, her songs are less anthemy – a little more subtle.
Then, as she sort of disappeared to have babies and such, the blonde little starlets took over Nashville. I feel like it should have been her!
Several years ago, I saw Kelly performing to a sparse crowd who had little interest in her. When she began to play this song (which I’ve loved dearly for years,) the whole place erupted into cheers and shouts, and everyone sang along to the lyrics. I was so confused! It turns out Clint Black had covered the tune that year, and it, of course, went straight to number one. She said that she didn’t mind: it still felt like they were all cheering for her. What she deserves…


Today, at this moment, right now: I think this is the most beautiful song ever. Also?
My mind is racing
As it always will
My hand is tired, my heart aches
I’m half a world away here
GOPY every day.

I think enough time has passed since Whitney’s untimely passing that we can be more clear-eyed about her output than we were immediately afterward. I mean, now that most of America has re-purchased “The Bodyguard” on DVD, we can agree it’s atrocious, right? For starters, how can a studio film get its Oscar scene so bloody wrong (who has ever won an Oscar and then come down the aisle shaking everyone’s hands?!)?
Still, “The Bodyguard” gave us “The Bodyguard” soundtrack, which gave us Whitney’s take on “I’m Every Woman,” which, cheesy synths and processed beat and all, is just goddamn perfect.
As Rich Juzwiak wrote on Twitter shortly after Whitney died, “‘Chaka Khan. Chaka Khan!!’ is eternal.”



Or, the funkiest song ever written about a woman who’s despondent over a break-up.
This song, perhaps understandably, is overshadowed by a little single from the same album called “Midnight Train to Georgia” (perhaps you’ve heard of it?). I like to think of this track as that classic’s flip side. Instead of in love with a man she follows back to Ga., Ms. Knight is here an emotional wreck after finding out he’s left her without warning. And whereas before the music was slow and steady, rising to an easy crescendo as Gladys pledges she’ll go where he leads her, here the beat is thudding and insistent, almost tribal, as she racks her brain trying to think of reasons to keep on keepin’ on now that the bastard’s fled.
Little does she know the song itself is what fills the emptiness. It makes the best of a bad situation.