Three Bulls!

As we await the Canadian P-Fork Hammer I’ll add some amuse bouche. The following appears [before you click for the source, please read the redacted version below so you can bathe in it, guesses in comments please]to be serious.

When ___-_____ appeared as a solo artist in late 2007, he mined a very specific and perhaps underrated part of ______’s approach: songwriting that suggests both total, truthful generosity, and a level of sensuous intimacy, combining these approaches in a way that feels wholly natural and unconstructed. It’s a style so believable that rejecting the song’s methods isn’t as much about rejecting authenticity of feeling but rejecting your own humanity and sexuality. In other words, it gets to the heart. “_____” is a perfect example of this style, from the tension of its redemptive bridge to ______’s prurient vocal performance.

__________ is the first ______ project opened up to other, non-_____ producers. In “_____”’s case, ______ & ___ “DJ” _____ get co-production credit, and the track’s atmosphere is a gorgeous blanket of appropriately airy beauty that works solely towards creating space for _____ to explain his devotion to carnality as if it were the most transcendent thing in the world. Of course, the most talking-point worthy aspect of the track is its chorus– its conceit daring you to disregard its Ri-co-la absurdity– but instead, any condescension one could possibly express is steamrolled by _____’s total commitment to sexuality as spiritual redemption.

These words are like a golden liquid pouring forth it’s essence, to bathe all of us in the warmth that is _____’s love. Chris Brown should be so lucky to have this kind of press.

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In other news, for some reason Supertramp gets big love on the classic rock and robot radio here, but I’ve only just collected my “Goodbye Stranger” card- they’ve been partial to “The Logical Song”, “Girlfriend”, “Give a Little Bit” and “Take the Long Way Home”.

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I always rip on the irritating Philip Sherburne at the Pitch, but emusic has tons of Forkers writing reviews, especially on back catalog stuff with in their giant new pile of catalog titles, but he kind of nails Echo and the Bunnymen’s Ocean Rain. I hope he’s not just cribbing from the release notes, but my dark heart has turned cynical courtesy of the dreck at the top of this post. Shudder. Save us, Philip, save us from David Drake.

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You will never guess what song I heard playing at the entrance of the Korean market. Find out at Song of the Day!