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aruanI remember not so long ago melodramatically bemoaning having been born in the wrong time/place/dimension, but JC's soul seems to live and breathe by the grace of the rarefied air of 1980s pop rock. Listening to this album has been a bit like a Best of the 80s compilation CD, with updated production and JC's special way with lyrics. I don't mean that in any kind of derogatory way or as a dig at his creativity - I'm quite singularly infatuated with the era myself, and feel some of the best stuff in all musical history came out of it despite the generally bad, bad packaging. As ![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
fucking_jc and I conversed the other night:
Leia: I loved how he took inspiration from all these different places and found ways to integrate them into his own kind of sound
Jules: yes! it's like, the inspiration is there, but the style is all JC
In fact, some would say his material is original close to a fault. Not myself, but then, I see nothing wrong in a world of alien lovers and their space cowboys having cybersex all night long. I just love his brain. *g*
Extended ruminations, pseudo-analysis, and a whole lot of fun with Schizophrenic:
Some Girls (Dance With Women)
- I have to admit, it took the live performance to make me fall in love with this song. It's kicky and fun, and one of the most original-sounding tracks on the album. And he sure seems proud that he jumped on that neglected bit of club culture, eh?
She Got Me
- Falling in love with a space alien. No, really. Come on, they "could be hot!" *g* What's not to love here? The falsetto intro, the rockin' chorus, the bridge - it might be sexy that he's got the science thang going on with that stratosphere bit. To be honest, I generally love or am really generous about creative license as far as JC's lyrics because they go so.well. with his melodies - this song sounds all Jetsons-y, with the bridge being like stepping into a gravity-less room on that wily she-alien's starship. And now, all I can see is JC being beamed up after he goes to investigate mysterious noises in his backyard, still barefoot and wearing only his flannel sleep pants, then following the gorgeous alien he only ever glimpses around corners, in flashes of silver and blue at the ends of corridors and closing doors. Somewhere along the way, he, too, acquires some silver facepaint, something along the lines of the Rolling Stone shoot but less garish, some tight one-piece thing (what else, right?), and of course, she'd eventually let him catch her once they were far enough away from Earth and they live happily ever after in kinky interspecies loveslavedom.
Mmm. Yes.
100 Ways
- As I said, totally She's A Lady, sleazed up and produced by Prince. Also, I've said that Love Don't Love Me is about Lance since coming across the lyrics, and now this. Hm. Maybe there is something to that alleged love triangle blind item from a few months back after all. Or you know, I just really like this incarnation of the Bassez sexcapades. ;) But yes, I enjoy this one in all its slinky, hot, seductive glory. I adore JC's lower register and melt just a little every time he asks me to speak my mind and do my thing. Rawr.
Mercy
- Yep, still Love Don't Love Me. The chorus is pure sex. What would amuse me is if this song was the counterpart of sorts to that. Except that would make me a troublestarter, and I've got a sweet reputation to uphold here.
Oh well. ;-)
Build My World
- As also previously mentioned, I like the fuller sound of the live recording, the way his voice is just a shade lower and there being nothing like the desperation in his tone on just say it, just say it, just say it in the live version that's been, for lack of a better word, sanitized on the recording.
Something Special
- I am madly in love with this song and want to have its perfect little babies. It's very American Girl by Tom Petty, except heedlessly happy in every way which makes it a joy to listen to. The whistling (that ends in a catcall, naturally) is darling, and the na-na-nas at the end are a pleasant surprise, given that JC's not the riffing kind. It's so playful and minimal, like he was giving a small performance in a park with just a guitar and the audience clapping along. This song is sunny afternoons and driving with the top down to me, and I'll make good on doing just that as soon as possible. Someone called it George Michael's Faith-ish in structure, which is indeed evident. This song can be seen as a happy conclusion, like JC found what George was looking for.
If You Were My Girl
- My first thought on hearing/seeing this song was an image of JC headbanging in his living room to Van Halen. The unchoreographed performance, the Robert Plant-esque simulated orgasm, it was like we were getting to see him do something very much like we've all done wearing socks on hardwood/tile floors with the music turned up loud enough to violate the noise ordinance while the parents were out. I'm also happy to hear that the intensity has been preserved on the official recording - it's nice to hear everything instead of having it drowned out by the bass. It also reminds me, in its own way, a bit of The Romantics' What I Like About You, and there's no bad there.
Shake It (ft. the Basement Jaxx)
- While I've still yet to make heads or tails of this song, that minor detail diminishes my love for it not at all. This is what they call a kickin' tune. To no one's surprise, I adore the bridge, especially with the visual of the girls in their goofy schoolgirl outfits, arms akimbo, dancing across the stage, then miming the see/hear/speak no evil shtick. Heh. It's surreal and a little crazy, and JC's all smirky and coy and the dancers are these plaid skirt/stocking-clad automatons, and it feels a bit like I'm inside JC's head instead of any construct that exists in the real world. It's probably the most fun track in his show, just wacky and odd and I feel like I'm missing something vital but it's so much damn fun to watch him enjoy his little inside joke, I don't mind at all.
All Day Long I Dream About Sex
- I get no points for not recognizing The Bad Touch undertones here. It's almost like JC wrote remixes of songs for this album. Which is just such a fantastic idea that smacks of exactly the kind of narcissism I love about JC, I might just snuggle up and keep it.
One Night Stand
- Love the pimptastic outfit. Love that JC doesn't take himself seriously for one second of it. His storytelling tracks are always a good time. That boy and his roleplaying - "Aaw, come on, baby, it's cool." *snerk* It's darling that he doesn't even try to be taken seriously because he knows just how not pimp he is, and I might find that endearing to no end at all. He may have elaborate fantasies, but nothing that makes him into anything he's not, just changes the way the world around him looks or operates. It's either very narcissistic or oddly vulnerable.
Come To Me
- Downtown Disney freaked me out by playing Sweet Dreams just as we were walking out of the Anaheim House of Blues show and I'm all, "Are they playing Come To Me?" Yeah, this song owes more than a little of its genetic material to the Eurythmics. But instead of traveling the world and the seven seas, he beckons the beautiful people like a Siren out of ancient Greek mythology, prowling through a dimly-lit club, all tight black leather pants (hm, I sense a theme) and film-thin shirt, letting his gaze trail across girls and boys alike and it's only the people who see him who can hear the song, who watch him move with purpose, with intent, knowing that it's not for them, will never be theirs but wanting him anyway. Mmm. Fucking tease.
Dear Goodbye
- The beginning riff and lyric structure both play close to Duran Duran's Ordinary World, more thematically than in actual mechanics though the first few lines do sync up eerily well, but both tracks are hopeful in tone, the words of someone still mired in the mess and sadness of a failed relationship, but with the foresight to gain strength from knowing that things will get better. However, I loved his ending it at the shows with The Game Is Over - it's an angry, spiteful, 'I'm only putting on a good front of being the bigger person and moving on, but fuck you, you heartless bitch for putting me through this' ending that really, really worked.
Everything You Want
- In my heinously uncultured swinehood, I have no knowledge of the early work of Sting and the Police which others have pointed out as heavily influencing this track. So when I first heard it, I was floored by its perceived originality, the reggae-rock fusion that managed to meld each genre's vibe as well. This might be the track that worked as well on the album as it did live. Every time he hits that "have" in the chorus is just very satisfying.
Lose Myself
- I have so much to say about this track. First of all, I need more of it as soon as possible. The opening notes immediately made me think of Mariah Carey's Can't Let Go, to which it also plays very close in theme.ficwalker pointed out the chorus' uncanny resemblance to Seal's Kiss From a Rose, which, absolutely, while fucking_jc mentioned another Mariah track, Petals, again uncannily reminiscent. I might be a little in love with the image of JC wailing to diva tracks. And no, that flash of him in drag, sneaking off to do lounge numbers without any of the guys knowing whenever he had the chance will not go further.
Right Here (By Your Side)
- I don't really have much to say about this song, as has been the case since first hearing it live. It didn't really stick with me in any real way. It's a sweet track, especially lyrically, and a good wrap-up for his show, but the musical arrangement left me unimpressed upon. It feels a bit like Sting's If I Ever Lose My Faith In You. What I do like about it a lot is the idea that it's a song dedicated to the other four guys, that he's there for them in every way, now and always.
fucking_jc and I conversed the other night:Leia: I loved how he took inspiration from all these different places and found ways to integrate them into his own kind of sound
Jules: yes! it's like, the inspiration is there, but the style is all JC
In fact, some would say his material is original close to a fault. Not myself, but then, I see nothing wrong in a world of alien lovers and their space cowboys having cybersex all night long. I just love his brain. *g*
Extended ruminations, pseudo-analysis, and a whole lot of fun with Schizophrenic:
Some Girls (Dance With Women)
- I have to admit, it took the live performance to make me fall in love with this song. It's kicky and fun, and one of the most original-sounding tracks on the album. And he sure seems proud that he jumped on that neglected bit of club culture, eh?
She Got Me
- Falling in love with a space alien. No, really. Come on, they "could be hot!" *g* What's not to love here? The falsetto intro, the rockin' chorus, the bridge - it might be sexy that he's got the science thang going on with that stratosphere bit. To be honest, I generally love or am really generous about creative license as far as JC's lyrics because they go so.well. with his melodies - this song sounds all Jetsons-y, with the bridge being like stepping into a gravity-less room on that wily she-alien's starship. And now, all I can see is JC being beamed up after he goes to investigate mysterious noises in his backyard, still barefoot and wearing only his flannel sleep pants, then following the gorgeous alien he only ever glimpses around corners, in flashes of silver and blue at the ends of corridors and closing doors. Somewhere along the way, he, too, acquires some silver facepaint, something along the lines of the Rolling Stone shoot but less garish, some tight one-piece thing (what else, right?), and of course, she'd eventually let him catch her once they were far enough away from Earth and they live happily ever after in kinky interspecies loveslavedom.
Mmm. Yes.
100 Ways
- As I said, totally She's A Lady, sleazed up and produced by Prince. Also, I've said that Love Don't Love Me is about Lance since coming across the lyrics, and now this. Hm. Maybe there is something to that alleged love triangle blind item from a few months back after all. Or you know, I just really like this incarnation of the Bassez sexcapades. ;) But yes, I enjoy this one in all its slinky, hot, seductive glory. I adore JC's lower register and melt just a little every time he asks me to speak my mind and do my thing. Rawr.
Mercy
- Yep, still Love Don't Love Me. The chorus is pure sex. What would amuse me is if this song was the counterpart of sorts to that. Except that would make me a troublestarter, and I've got a sweet reputation to uphold here.
Oh well. ;-)
Build My World
- As also previously mentioned, I like the fuller sound of the live recording, the way his voice is just a shade lower and there being nothing like the desperation in his tone on just say it, just say it, just say it in the live version that's been, for lack of a better word, sanitized on the recording.
Something Special
- I am madly in love with this song and want to have its perfect little babies. It's very American Girl by Tom Petty, except heedlessly happy in every way which makes it a joy to listen to. The whistling (that ends in a catcall, naturally) is darling, and the na-na-nas at the end are a pleasant surprise, given that JC's not the riffing kind. It's so playful and minimal, like he was giving a small performance in a park with just a guitar and the audience clapping along. This song is sunny afternoons and driving with the top down to me, and I'll make good on doing just that as soon as possible. Someone called it George Michael's Faith-ish in structure, which is indeed evident. This song can be seen as a happy conclusion, like JC found what George was looking for.
If You Were My Girl
- My first thought on hearing/seeing this song was an image of JC headbanging in his living room to Van Halen. The unchoreographed performance, the Robert Plant-esque simulated orgasm, it was like we were getting to see him do something very much like we've all done wearing socks on hardwood/tile floors with the music turned up loud enough to violate the noise ordinance while the parents were out. I'm also happy to hear that the intensity has been preserved on the official recording - it's nice to hear everything instead of having it drowned out by the bass. It also reminds me, in its own way, a bit of The Romantics' What I Like About You, and there's no bad there.
Shake It (ft. the Basement Jaxx)
- While I've still yet to make heads or tails of this song, that minor detail diminishes my love for it not at all. This is what they call a kickin' tune. To no one's surprise, I adore the bridge, especially with the visual of the girls in their goofy schoolgirl outfits, arms akimbo, dancing across the stage, then miming the see/hear/speak no evil shtick. Heh. It's surreal and a little crazy, and JC's all smirky and coy and the dancers are these plaid skirt/stocking-clad automatons, and it feels a bit like I'm inside JC's head instead of any construct that exists in the real world. It's probably the most fun track in his show, just wacky and odd and I feel like I'm missing something vital but it's so much damn fun to watch him enjoy his little inside joke, I don't mind at all.
All Day Long I Dream About Sex
- I get no points for not recognizing The Bad Touch undertones here. It's almost like JC wrote remixes of songs for this album. Which is just such a fantastic idea that smacks of exactly the kind of narcissism I love about JC, I might just snuggle up and keep it.
One Night Stand
- Love the pimptastic outfit. Love that JC doesn't take himself seriously for one second of it. His storytelling tracks are always a good time. That boy and his roleplaying - "Aaw, come on, baby, it's cool." *snerk* It's darling that he doesn't even try to be taken seriously because he knows just how not pimp he is, and I might find that endearing to no end at all. He may have elaborate fantasies, but nothing that makes him into anything he's not, just changes the way the world around him looks or operates. It's either very narcissistic or oddly vulnerable.
Come To Me
- Downtown Disney freaked me out by playing Sweet Dreams just as we were walking out of the Anaheim House of Blues show and I'm all, "Are they playing Come To Me?" Yeah, this song owes more than a little of its genetic material to the Eurythmics. But instead of traveling the world and the seven seas, he beckons the beautiful people like a Siren out of ancient Greek mythology, prowling through a dimly-lit club, all tight black leather pants (hm, I sense a theme) and film-thin shirt, letting his gaze trail across girls and boys alike and it's only the people who see him who can hear the song, who watch him move with purpose, with intent, knowing that it's not for them, will never be theirs but wanting him anyway. Mmm. Fucking tease.
Dear Goodbye
- The beginning riff and lyric structure both play close to Duran Duran's Ordinary World, more thematically than in actual mechanics though the first few lines do sync up eerily well, but both tracks are hopeful in tone, the words of someone still mired in the mess and sadness of a failed relationship, but with the foresight to gain strength from knowing that things will get better. However, I loved his ending it at the shows with The Game Is Over - it's an angry, spiteful, 'I'm only putting on a good front of being the bigger person and moving on, but fuck you, you heartless bitch for putting me through this' ending that really, really worked.
Everything You Want
- In my heinously uncultured swinehood, I have no knowledge of the early work of Sting and the Police which others have pointed out as heavily influencing this track. So when I first heard it, I was floored by its perceived originality, the reggae-rock fusion that managed to meld each genre's vibe as well. This might be the track that worked as well on the album as it did live. Every time he hits that "have" in the chorus is just very satisfying.
Lose Myself
- I have so much to say about this track. First of all, I need more of it as soon as possible. The opening notes immediately made me think of Mariah Carey's Can't Let Go, to which it also plays very close in theme.
ficwalker pointed out the chorus' uncanny resemblance to Seal's Kiss From a Rose, which, absolutely, while fucking_jc mentioned another Mariah track, Petals, again uncannily reminiscent. I might be a little in love with the image of JC wailing to diva tracks. And no, that flash of him in drag, sneaking off to do lounge numbers without any of the guys knowing whenever he had the chance will not go further.Right Here (By Your Side)
- I don't really have much to say about this song, as has been the case since first hearing it live. It didn't really stick with me in any real way. It's a sweet track, especially lyrically, and a good wrap-up for his show, but the musical arrangement left me unimpressed upon. It feels a bit like Sting's If I Ever Lose My Faith In You. What I do like about it a lot is the idea that it's a song dedicated to the other four guys, that he's there for them in every way, now and always.
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no subject
Date: January 30th, 2004 07:13 am (UTC)Exactly!! The inspiration is everywhere, and you can't really avoid it, but it's what you make of it that counts. For some reason it really bugs me to keep reading 'oh, this songs is just like *blank*' and 'this song sounds exactly like *blank*'. No they're not. They sound like JC.
Re:
Date: January 30th, 2004 10:51 am (UTC)That's exactly what I meant by bringing up stuff that I, in my infinite subjectivity, projected onto JC as his inspiration. Likening them was somewhat of an exercise in glee for me, because while I know the names Justin spouts off when he talks inspiration, I don't really know their music the way I know Duran Duran and Prince and 80s rock, and it's so.cool. that the shape of the music was influenced by people I love (because nothing is without influence) but the soul of it is all JC.
no subject
Date: January 30th, 2004 12:59 pm (UTC)Ooh, that's a great way to put it! The best I could articulate it was that there's a unifying JC-ness to the songs, but your explanation is much better. :)
no subject
Date: January 30th, 2004 07:21 am (UTC)Re:
Date: January 30th, 2004 10:53 am (UTC)Re:
Date: January 30th, 2004 10:54 am (UTC)Re:
Date: January 30th, 2004 11:16 am (UTC)And yes! Liner notes rock, yo. Apparently, Adam Ritholz, the guy who spoke to us after the Spreckles show, is exclusively responsible for JC's management, if the credits on the Some Girls single are to be believed. *squee* We talked to his manager! Such a cool cat, too.
Re:
Date: January 30th, 2004 12:42 pm (UTC)no subject
Date: January 30th, 2004 07:23 am (UTC)I think I'm driving my roommate crazy with my
obsessionenthusiasm.Re:
Date: January 30th, 2004 10:55 am (UTC)Heh. Same here with me and the boy. He doesn't understand, and it's so little use to try to explain to someone who isn't a fan what being one feels like, you know?
no subject
Date: January 30th, 2004 08:53 am (UTC)And "Everything You Want" is freaking amazing! I totally adore that song, its beat, and yeah. Its very hard to pick a favorite with this album!
Re:
Date: January 30th, 2004 11:19 am (UTC)Heh. Let's pretend that wasn't me wishing for another album before we've even had the first, shall we?
no subject
Date: January 30th, 2004 09:20 pm (UTC)Re:
Date: January 30th, 2004 11:46 pm (UTC)Re:
Date: February 7th, 2004 09:10 am (UTC)no subject
Date: January 31st, 2004 04:23 am (UTC)Nice flashback to the club shows:
However, I loved his ending it at the shows with The Game Is Over - it's an angry, spiteful, 'I'm only putting on a good front of being the bigger person and moving on, but fuck you, you heartless bitch for putting me through this' ending that really, really worked.
SO true. Bah haha.
Re:
Date: January 31st, 2004 07:28 am (UTC)I love him so much. I love that he willingly showed that anger about himself with The Game Is Over. I went into these shows expecting to see many things, but the level of honesty I got was just breathtaking at times. It's probably why I kept going back.