28 December 2021 - of Montreal - it's different for girls

Today's post is a milestone.  

You see, it is post #289 in 2021.   We previously reached 289 posts in a single year in 2012, the year we started this blog.  Back there, two of us were doing the writing.  While Scott has come back to contribute this year, most of the writing belongs to Tony now.  

There are three days left in the year.  Spoiler alert - Friday's writing is already done at this point.  This is going to be the biggest year we have had on Wicked Guilty Pleasures.  

I wanted to make #289 a bit of a blooper.  You see, in March, I did a thing where literally every song was by a Canadian artist.  So, I wanted to represent as many provinces as possible.  So, early on, I was looking for a Quebec artist.

So when I found out that of Montreal were from Athens, GA, I was temporarily disapponted.  Now, I happened to find another artist, thankfully, but I was bummed, because this song was so dark and witty and different.  Clearly, I saved the draft, and I'm posting it today, but, well, now you know my process.  

27 December 2021 - Charli XCX - Good Ones

I have been dragging my heels posting this song.  I really overdid the Charli XCX back in the day.  I mean, seriously, how much could I post?

OK, Scott posted that last one, but do you see my point?  Luckily I don't do that anymore.  

I'm sure I have learned my lesson. Also not getting beaten to the punch anymore.

OK, enough schtick.    

I really REALLY like this song.  I wasn't dragging my heels because I didn't like the song. (I probably had a Cœur de Pirate song to post or something.) (OK, NOW enough schtick) Post #288 of 2021 is the new Charli XCX single, and it's a banger that reminds me of the Sucker album.  The core of the song is a throwback synth that sounds like it is suited more for 1987 keytar and less like 2021 pop charts. This song is great musically, and great lyrically.  Give it a go.  

25 December 2021 - Lights - Deck The Halls

Why exactly are you reading my blog on Christmas morning?!

Well, since you're here, Merry Christmas!  Here's Lights, one of our #MapleLeafMarch highlights, with her take on a Christmas classic.

24 December 2021 - Cœur de Pirate and Adam Cohen - Silent Night

I have this œ on my clipboard from when I wrote another post you haven't seen yet, so I didn't want to waste that.  

And I decided this should be a Christmas post, because this beautiful bilingual version by two bilingual Canadians is perfect for this very holy night.  

23 December 2021 - Cyndi Lauper - I Drove All Night

This song was originally intended for Roy Orbison.  And he recorded it - first!!!!!!!!   So, I guess this should be on Totally Covered?

I didn't put it there.  I put it here.  I did that for two reasons.  

First, this version was released first, by several years.  It was a big hit for Cyndi Lauper in 1989, and it was written by frequent songwriting partners Tom Kelly and Billy Steinberg.  

Second, it's so lyrically brilliant that it warrants the higher visibilty that this blog brings.  I know people are going to read this here.  And, it's lyrically brilliant, if I wasn't clear.  Because it illustrates the desperation of love - what someone in love might actually do.  We've all been there.  

22 December 2021 - The Church - Under The Milky Way

A lot of people think that this song contains a bagpipe solo.  It does not.  A combination of two guitars - one played with an EBow - and its recording on a Synclavier generated that bagpipe-like sound.  

Co-written by Steve Kilbey - yep, two days of him in a row - and Karin Jansson, the song gets its title not from a group of stars, but from an Amsterdam music club.  It was well recevied at the time of its release, and remains their signature song today.

In the absence of the Synclavier, you can hear in this 2011 live recording that those bagpipes are really guitars.  

21 December 2021 - Hex - Ethereal Message

Steve Kilbey - of The Church - and Donnette Thayer - of Game Theory and an absolutely lovely human being - were Hex, an atmopheric duo.  This song, from their 1989 eponymous self-titled debut, is likely their best known.  

The song, co-written by the duo and produced by Kilbey, featured a sparse keyboard and guitar arrangement with electronic percussion that didn't overpower Thayer's dreamy voice.  It is a work of underappreciated art, and I hope my short description of it gives it just a little more attention.