New York DJ

A common concern that clients have for us about their playlists are questions about a songs’ lyrics or overall meaning. Often these clients think that even though a song is loved by them and/or their guests, the lyrics spoil it somehow, in that they’re too dirty, too downbeat, or are appropriate and great, but they wonder if anyone will notice them if the song is rather unknown.

In having DJ-ed the variety of events we have over the years, we can say that sometimes these concerns are valid, sometimes they aren’t, and sometimes when planning an event’s playlist we run into concerns with lyrics and song meaning that clients haven’t even thought about and we need to at least make them aware that they think about. Here’s some basic – but often not obvious – guidelines to think about when considering the impact of lyrics and meaning of songs for your event.

As far as a song’s lyrics being too dirty, unless you as the event organizer know for sure that there will be all adults there and they will not be offended by coarse lyrics, there’s really no problem. Hearing the original version of, say, an explicit classic hip hop song when your party is in its heaviest groove is quite sexy and fun for crowds. The tough thing is, clients we talk to usually will have someone attending that they figure could object to dirty lyrics, so they’ll usually choose to have us spin the clean version. Don’t worry – guests will be able to use their imagination and fill in what the “real” lyrics are.

When it comes to songs that clients believe are too downbeat in their lyrics or meaning to include at their event, we’ve found that a few don’t “kill” the vibe. Unless the song is a “showcase” song and is meant to be listened to by a crowd to inspire liveliness – like first dances at a wedding, runway songs at fashion shows, or introductions of keynote speakers at corporate events – in public, songs go by quickly, and they’re not as noticed as it would if you were listening on headphones. (In this way, a few songs sprinkled throughout an event that are festive but in a foreign language can work, too – what the guests will notice is the mood, not the lyrics.)

So, unless you want to play say, three melancholy indie pop songs in a row, or a seven-minute bittersweet vintage samba number, putting a song on the playlist that is special to you but a bit downbeat during a cocktail hour or a dinner is not going to affect an overall upbeat vibe. Just keep these downbeat songs limited,and make sure they’re kept at a reasonable three- or four-minute length. Also, there are downbeat songs that are we’ve found work surprisingly well for dancing. Many know the song “Love Will Tear Us Apart” by the post-punk legendary group Joy Division as a poetically-written tune about an impossible relationship, yet because the song is a classic, and because it happens to have a driving beat, it can get crowds moving – even at a wedding, when it’s the antithesis of the mood. (Just make sure it’s played later, when the crowd has has loosened up and had a few drinks.)

Other songs that clients often want to choose are favorites which have lyrics that they think will go with an upbeat vibe, but the clients aren’t sure if guests will notice or appreciate the songs since they are more obscure. We especially find this with clients in the New York City area, as they have such a varied group of cultural and musical backgrounds and therefore often come to us with all kinds of great but rather unknown gems of all genres on their playlists. If an obscure song is played as strictly background music, these clients are often right – again, people at mixer-type events are often mingling, drinking or eating, and not paying attention to the song as single-mindedly as they would in private. So, if a client really wants the song to be appreciated, we suggest making the songs a showcase – for example, if the event is an a art opening, use a special song as the background to an artists’ retrospective slideshow, or if it’s a wedding, use it as a processional for a wedding ceremony, or as a first dance song.

And lastly, regarding a song’s lyrics and meaning, we find it’s great to spin songs whose lyrics go with that portion of the event, or that have a message appropriate to the event in general. This is something that clients don’t often consider much, but done here and there it can boost the lively feel of an event, and make it feel more festive. The important thing here though is the songs should by subtle or sly references to the moment, not ones too out in the forefront, or things will feel too forced. At a corporate cocktail party, it’s great to play a vintage jazz tune about having a good time like Ray Charles “Mess Around” but it’s just lame to play BTO’s “Takin’ Care of Business.” The same goes for a wedding, in that it’s great to throw in newer pop songs like “Say Hey (I Love You)” by Michael Franti & Spearhead that puts the vibe of festiveness and romance in the air, but it’s not advised to play Frank Sinatra’s “Love and Marriage” as it’s so obvious that it will simply appear unimaginative and lazy.

Coming next, Part 2: Melody & Mood

Chairlift are one of the more prominent bands often lumped in with the hipster-favorite genre "chillwave," characterized mainly by its heavy use of '80s-inspired new wave synthesizer washes coupled with bits of homemade electronica touches, from skittery dance beats to ambient nature sound loops. Because of this, chillwave often has a more messy, cobbled-together, and at times endearing feel that balance out its slick new wave influences and - at its best - make this emerging style sound new and fresh.

Just because Chairlift are often considered "hipster cool" though, don't think you haven't heard of them. This Brooklyn-based band got some short but heavy exposure that gave them a bump to near-mainstream pop notice a few years ago because of their fun synthpop tune "Bruises." You probably know it not by the title, but by the lyrical riff "I tried to do handstands for you, I tried to do handstands for you" sung to a bright, catchy melody.

When it comes to not only chillwave acts, but most artists inspired by the new wave or new romantic sound of the '80s - from really popular groups like The Killers, to moderately-known bands like La Roux (read about them in a post from this blog here) to more obscure ones like The Mary Onettes (read about them in a post from this blog here) - their songs usually either feel "influenced by" or "derivative of" their inspirations. The former often means a song takes a cue from the genre but makes it into something original and alive, while the latter just sounds dated and flat.

"I Belong in Your Arms", from the group's new album Something, has so much of an '80s feel that it shouldn't sound so alive and fresh, but it does, and therefore impressively makes wondering whether it's the most original sound or not unimportant. Like "Bruises", it's great because it simply sticks in your head with bouncy verses and a uplifting chorus that resides in that sweet spot of being catchy and fun but not too cutesy or cloying. This new song, though, is not a simple re-hash of "Bruises" - there's a bit less quirkiness, and a bit more sexiness. Plus, you'll no doubt be into this song right away if you're a fan of New Order of the Cure  - the chorus here has a soaring beauty reminiscent of the best New Order songs, and singer Caroline Polachek even does a yelp and that Robert Smith "happy growl" thing with her voice that seems straight out of the Cure's "Lovecats." But ultimately, even if you don't know the styles that may have inspired the song's sound, this tune will win anyone over with its giddy joy. It's a song that simply but completely captures the feeling of being in Big Fun Love; it's like a little kid who's dancing and goofing around for you so much that after a few moments you can't help but smile.

Because this song goes down so easy and never "gets in the way" by being too bass-heavy, but also always feels lively and fun, it's perfect to include almost anywhere - from events where cool and interesting background music is important to setting a mood, like cocktail parties and slient auctions, to places where music is much more on display, like clubs, fashion show runways, and dance floors at indie weddings.

Have a listen, and whether you call this song new wave, chillwave, indie electro-pop, or ditch the labels and simply call it just catchy and fun, I think most anyone will agree that "I Belong in Your Arms" is quite easy to embrace.

Chairlift - I Belong in Your Arms

The Velvet Underground are considered one of biggest godfathers of today's indie pop and rock music. This is largely because in the late 1960s the group introduced an often dissonant, experimental, unpolished style to rock, as well as treated dark themes like drug use and the hedonism of the New York City party scene they were associated with in a gritty, straightforward way.

Of course, not all bands and performers that were to be called "alternative" and then later "indie" in years to come incorporated these exact elements, but so many underground pop and rock groups from the past 40 years – from Joy Division to The Pixies to Radiohead – have, like the Velvet Underground, introduced what at first were strange new sounds and often unlikely and edgy themes into the world of pop music.

But due to the Velvet Underground's often bleak lyrics and dissonant, droning guitar riffs, sometimes forgotten is that many of their songs had a languorous, shimmering beauty – and along with this, a few songs even had tender and affirmative lyrics. One of the best examples of this is a tune from their first album (produced by Andy Warhol), The Velvet Underground and Nico, called "I'll Be Your Mirror." It was released also as a single, as the b-side to another track off the album, "All Tomorrow's Parties."

"I'll Be Your Mirror" is a brief, sweet song in which the singer desires to show a person how great he or she is at the times when that person can't see it. Because it's the Velvet Underground working with Andy Warhol, this pleasant but rather generic sentiment is given a memorable quirkiness due to the vocals of Nico, a tall German model-turned- vocalist who handled lead vocals on this song and a couple others on the album.

Nico's performance shouldn't really have worked. She's pretty, but her voice isn't very good – it's sometimes off-key, and her English fights through a deep German accent. And while the vocal comes across as odd and icy, it's a credit of the band (and likely Warhol, too), that the oddness sounds endearing – there's a vulnerability to Nico's voice that deepens the sentiment of the song’s lyrics.

Just this might be enough for the couples that often hire us to DJ at their weddings, since they're often looking for a first dance that's sentimental, but also has some sort of eccentric charm. But for those who might like the melody of the song and not be a fan of Nico's vocals, also posted here are two cover versions of the song. The first is from 1989, the second is from 2003 – showing not only the continued affection that the Velvets have had in other artists’ minds over the years, but that the band created a song over 40 years ago that's been sturdy enough to work well when covered in two very different styles.

The Primitives, an English guitar fuzz-pop band best known for their bubbly single "Crash," covered "I'll Be Your Mirror" on a b-side to their single "Sick of It." Their version takes the song in a dreamier, more polished direction, though a bit of ragged guitar jangle shows the Velvet Undergound influence. Singer Tracy Tracy's sweet, lullaby-esque vocals that slighly recall the sound of early '60s girl groups are the star here. I heard this version first, so it's The Primitives’ more full-sounding treatment of the song that I have memories with – though of course those familiar with the original version may accept no substitute for Nico.

Clem Snide, an American alt-country group, recorded their version of the song on a 2003 release called A Beautiful EP. This version is the most stripped-down of the three, featuring only acoustic guitar, a bit of strings, and the fragile vocal – this time a male vocal – of lead singer Eef Barzelay. The effect of this "alt-countrification" of the song is makes it very inimate and warm – listening to it makes you feel like you’re hearing it sung to you while sitting around a campfire.

Whether you prefer vintage offbeat charm, dreamy pop, or mellow alt-country, give a listen to "I'll Be Your Mirror" and consider it for your first dance – however it’s recorded, its tender foundation reflects clearly through.

The Velvet Underground – I'll Be Your Mirror

The Primitives – I'll Be Your Mirror

Clem Snide – I'll Be Your Mirror

Hold on – this is not a new version of the classic doo-wop oldie by The Monotones, the one that has been way over-played in commercials for so many years.

While the indie band The Magnetic Fields' "The Book of Love" uses the same concept that the vintage song of the same title does – imagining the existence of an actual "how-to" book of love – this newer version manages, through a spare arrangement, a lovely melody, and lyrics that deftly alternate between humor and poignancy, to wring more complex moods out of the concept than just malt-shop sweetness.

We featured this song on one of our many indie pop playlists (go here for the link to that post) a bit ago. But, given that recently the song received a large dose of visibility due to Peter Gabriel covering it and that version being used in the finale of the TV show Scrubs, we figured the song deserved more attention as to why it's such a great first dance song for couples looking for an indie song that delivers a more original, eclectic take on romance – a take which we find so many couples in New York City often prefer that a DJ uses at their weddings.

"The Book of Love" was originally released in 1999, on the first volume (pictured at left) of The Magnetic Fields' triple album 69 Love Songs, and the tune has some of the album's most playful and touching lyrics. (Many indie pop fans are probably aware of The Magnetic Fields' singer Stephin Merritt, who also fronts several other indie bands and sometimes works solo, as one of the indie pop world's most respected songwriters.)

In the three verses to "The Book of Love," Merritt wryly paints a picture of an actual, physical book of love as mostly undesirable – it's heavy, long, boring, and contains a lot of outdated material. But yet in each chorus, he affirms that, since he’s so enamored of his significant other, anything – even reading or singing from such a largely unappealing book – can be pleasurable. And while the lyrics are funny and poignant, the music delivers as well. A seemingly distorted but still delicate ukelele under Merritt's warm baritone, and how the melody of the chorus gently soars hopefully upward perfectly establishes a mood of sweetness – not a sugary, doo-wop sweetness like the golden oldie, but a stripped-down, ramshackle sweetness that's quite moving.

The Peter Gabriel version, from his recent album of cover songs called Scratch My Back, (pictured at right) keeps much the same melody and lyrics, but violin and cello accompaniment add a more orchestral, lush mood. Also, because Gabriel doesn't linger on the humor of the verses as much as Merritt, the song comes across as more romantic, but less playful. However, this more polished-sounding version may have a slightly wider appeal to couples, and Gabriel's voice paired with a romantic song is almost always quite affecting and intimate, and this cover is no exception.

As a final pitch to you for using this song as a first dance, listen to the last chorus, and you'll likely think it's even more perfect to use.

The Magnetic Fields – The Book of Love

Peter Gabriel – The Book of Love