Tagged: saul williams
Last Drags on the Decade’s Dog-end #2
Saul Williams, ‘Black Stacey’ (2004)
In a just and rational world, the stunning and eminently quotable work of Saul Williams would have seen him hailed as the Messiah by now. ‘Black Stacey’ is part confessional memoir, part consciousness-raising rallying-cry, all righteous, fluid articulacy over flowing, portentous beats. Willliams’ cool, composed and self-possessed narration, refreshing as a slug of cold water, argues down braggadocio in favour of a clear-eyed self-respect. The song’s apotheosis is its languidly swaying chorus laid down over the steady piano-led pulse of an artist who knows where he’s from, where it’s at and where we should be heading. Someone get the man a pulpit and a personality cult.
Lupen Crook, ‘Junk n Jubilee’ (2006)
Reportedly recorded in Mr Crook’s hallway, presumably during one of his rare fixed-abode phases, ‘Junk n Jubilee’ is scene-savaging par excellence, flecked with spit and sarcasm. Its tune is built around a steely scrape and skitter that sounds like the malfunctioning of a music-box, and a spray of squealing laughter that makes you tense with the urge to put your fist through the window of the Hawley Arms. Lupen’s pinched-tight vocal squeezes itself through the gaps between, with all the disgusted Cassandrine despair of the only sober passenger on a nightbus home from Dalston.
Amanda Palmer, ‘Oasis’ (2008)
It’s the fag-end of the future’s first decade and, in the land of the free, darkness is spreading under the shadow of a right-wing fundamentalist ascendancy that threatens reproductive rights and freedom of information. Who you gonna call, if not Boston’s finest punk-cabaret force of nature? On ‘Oasis’, Amanda hammers out a relentlessly breezy Beach Boys clap-along, face set in a rictus grin as her teenage protagonist recounts My Rape and Consequent Abortion: the Panto Version. This satire on received expectations of feminine behaviour sees life’s little misadventures pale into dismissible insignificance before our heroine’s life-affirming receipt of a signed photograph from Oasis. And why not? Described by Palmer as ‘pro-choice but anti-stupid’, the song’s strength lies not in trivialising real and immediate horrors, but in rendering them absurd enough to laugh at, and by extension pointing up the equal absurdity of their treatment in the social and political sphere. In a predictable if appropriately head-desking twist, the song’s subject matter meant that both the single and its Palin-baiting video were subject to an airplay ban in the UK. God knows what the Gallaghers made of it, but ‘Oasis’ remains a jaw-dropping counterpunch for times when laughter is the most powerful weapon to hand.
[written for Sweeping the Nation‘s best of the 00s.]