Why is it good?
The first time I played it, I remember thinking that Lucky Soul's "The Great Unwanted" is the 2000s equivalent of The Cardigans' "Life" album from the 90s (It remains to be seen if this London outfit would come up with their own "Love Fool" and likewise turn into a rockier Ace of Base for a couple of years before becoming completely irrelevant). Both were 60s throwbacks, both featured syrupy female vocals, and both albums I loved instantly (vocalist Ali Howard even looks like a more Anglo, less toothy version of Nina Persson).
But as I listened to it more, I noticed another thing: unlike the "Life"-era Cardigans, Lucky Soul doesn't sound kitschy at all. In fact, they sound more like Phil Spector meets late 60s Swinging London than The Cardigans circa 1995. In other words, they sound like the real deal. "The Great Unwanted" actually sounds as if it was recorded in 1967. Had the band gone the whole nine yards and recorded the album in mono, I think they may have even fooled some people.
The difference between a kitschy and an earnest homage goes beyond the musical approach. It actually has to do more with musical choice. The Cardigans were doing easy-listening. More recently, The Pipettes have been doing bubblegum-punk-cum-60s-girl-group (they claim to be disciples of Phil Spector, but they sound nothing like The Ronettes or The Crystals; they just sound like a more harmonized version of 80s twee-poppers Bad Dream Fancy Dress; the result is riveting, by the way). Lucky Soul, however, is doing straight-up Northern Soul, with an earnestness that Paul Weller would be proud of.
That's why I think that the songs in this album, freed from the limitations of novelty, have the potential to be more enduring than the ones in "Life". My minimum criteria for an album to reach "All-Time Favorite" status is this: it has to have at least three kick-ass songs, and then three to four really good ones, while the rest should at least be tolerable. "The Great Unwanted" fits this description to a T. Three kick ass songs: "Lips are Unhappy", "My Brittle Heart", and "Add Your Light to Mine, Baby". Four really good ones: "One Kiss Don't Make a Summer", "Get Outta Town!", the title track "The Great Unwanted", and "My Darling, Anything". The rest do their jobs in that none of them sucks.
What memories (fake or real) does it inspire?
Years from now, I'll remember this album along with two other vintage things that came around the same time: (1) my utter love and devotion for Mad Men, which I think is now the best TV show I've ever followed, and (2) the birth of the first Fred Perry store in the Philippines, which has eaten up a lot of my income lately, but who cares? I might end up buying a Vespa before all of this is said and done. Who knew my midlife crisis would come this early?
# 6 Movie: “Wendy and Lucy” (2008)
Why is it good?
Because it's a modern day neo-realist masterpiece. It achieves so much by doing so little: one main character, a couple of supporting roles, a short, uncomplicated script, a dog, and zero musical scoring. Yet it's so beautiful and powerful; I think this is the first time I've ever watched a non-romantic depressing movie more than twice.
Since I've already gushed over this movie on a previous blog post, I think I should use this opportunity to gush over Michelle Williams' performance. Holy crap, you have to see her in this movie. Promise me you'll watch it. Promise me!
I don't know much about acting, but I know what kind of acting I adore: the invisible kind. Critics have also refered to this as "acting without acting". If that phrase didn't make sense to you, watch "Wendy and Lucy" and you'll understand. It's the most unself-conscious performance I can remember seeing; it's the complete opposite of everything Tom Cruise has ever done. She was so amazing that I found myself forgetting that I was watching an actress midway through the movie. Michelle Williams doesn't even look like Michelle Williams. She literally lost herself in the role.
Did she get nominated for an Oscar for this? Of course not. I think The Academy Awards spotting greatness is one of the first signs of the Apocalypse. So we're still safe.
This sort of begs a question: does Michelle Williams' daughter with Heath Ledger have messianic-level acting DNA? Will she forbid her from ever working in the industry, after what happened to her father? What would her career be like? Would it blow Meryll Streep's career out of the water? Can she possibly be the greatest actor (not just actress, ACTOR) ever?
Of course, she may just turn into the next Lindsay Lohan, but it's more fun to overhype a kid you know nothing about.
What memories (fake or real) does it inspire?
I will always remember what I said to myself right after watching this movie: although I'm aware that Wendy is a fictional character, it's still good to know that my existence isn't the worst thing that ever happened in the universe.
What does this list say so far?
That the late 2000s are beginning to represent. We're also seeing the first signs of revivalism in the decade: MOD for music and Neo-Realism in film. The question is: will this list eventually reflect the more prevalent revivalism trends of the decade, like late 70s post-punk for music? No. Don't hold your breath. This isn't Rolling Stone or the NME. This is the most unread blog in the world, dammit!
album cover from http://www.uulyrics.com/music/lucky-soul/album-great-unwanted/; movie poster from http://fataculture.files.wordpress.com/2008/11/wendy-and-lucy-poster.jpg
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