Daft Punk's Random Access Memories

♫ i'm up all night to get lucky ♫

lol

When I start thinking about this song I basically can't get the hook out of my head at all

(Which is a good thing, really.) I quite like this.

Heard it on the radio earlier today here in the greater Austin area

Change pitch, add a few shamonas here and there and voila! Off the wall Michael Jackson feat. Daft Punk.

http://youtu.be/SkCn-iWLiSE

haven't heard the song but no idea why people always seem to be wanting game changers the whole time

― suare, Saturday, April 20, 2013 3:33 PM (2 days ago) Bookmark Flag Post Permalink

1. so listen to the song before weighing in 2. i didn't say i want game changers all the time. i think the song is dope & have no criticisms of it. was just advocating for evenhandedness/honesty about the fact that a lot of what is doing the heavy lifting w/r/t all the attention its getting is that daft punk have kinda become pop stars since their last album.

the song itself is dope & fun as a pop joint but isn't doing much new, which is not a criticism of its quality simply a statement of accuracy

and every year there are game changers

shocking that people are excited about pop stars

the song itself is dope & fun as a pop joint but isn't doing much new

apart from being daft punk with real instruments

that mjj treatment is sort of incredible btw

the song itself is dope & fun as a pop joint but isn't doing much new

apart from being daft punk with real instruments

― we're up all night to eat biscuits (Autumn Almanac), Monday, 22 April 2013 5:49 AM (29 minutes ago) Bookmark Flag Post Permalink

I dunno, that just make this the Daft Punk equiv. of the Neptunes' Spymob album.

It's neither a good nor bad thing in and of itself.

Still a great tune though!

It is sort of brilliant isnt it? Higher pitch Pharrell does sound a lot like MJ.

Xpost

Pharrell is great ("Frontin'" etc), but the MJ is *easily* the new preferred version!

I was just advocating for evenhandedness/honesty about the fact that a lot of what is doing the heavy lifting w/r/t all the attention its getting is that daft punk have kinda become pop stars since their last album.

How have Daft Punk become pop stars since HAF? Might be different in America but surely Discovery era was their pop star peak?

I dunno if even now I'd call DP pop stars in America, but their profile was considerably increased with the 2007 tour and Kanye West's "Stronger".

how many times has this thread been over the fact that their profile has soared in the U.S. in recent years? Discovery's Billboard album chart peak: #44. Human After All: #98. Tron Soundtrack: #4. this new one is a lock for #1. xp

in my (american) experience their fame is also greatest among people who were about 16 when discovery was released.

i love this song!

i think my favourite pharrell line is 'luh'

If MJ wasn't dead, and he wasn't a peado do you think it would have been a Niles Rodgers/MJ cross over? That could have been awesome. Right?

#3 in UK Singles chart after just 48 hours on sale

Anyone who thinks Pharrell is ridiculous/a gratuitous MJ knock off today needs to flash back to this NOW:

http://m.youtube.com/#/watch?v=mCAYStI0_EY&desktop_uri=%2Fwatch%3Fv%3DmCAYStI0_EY

(Yachts! Models! Kanye! Abject insincerity! I actually like the song but the video is so dumb.)

moreso than xeroxing mj pharrell is just as much a random access memory in himself; he doesnt have to be on top form because at this point he's not agent like that

the commingled artist/audience symbiosis of this whole dp event bears greater examination imo - the "mass psychosis" i was referring to rather than just putting it all at the feet of the marketing campaign

basically when i was talking about something rotten at the heart of this it was more about its unsettlingly rapturous reception, for what it is - to not be able to find elsewhere and all around in the world what this song offers seems like a fundamental act of rejection, a fear & loathing of the here & now

it's a fun tune though, don't get me wrong

SMH at anyone seriously repping for those Skream disco mixes over this though.

or kathy diamond:

Last year's KDMS album had a handful of Chic tributes that walk all over the rest of "Get Lucky".

i assume you're talking about kinky dramas and magic stories, which handful of tracks are you talking about? i love kathy diamond but this album kinda sucked, they get about as close to chic as jamiriquai

did someone already post the pitch-shifted pharrell version

ja

xxxp fair point perhaps in terms of quality but i'd still argue those skream mixes etc are more stimulating as art just cos like, why did these uk types inexplicably suddenly veer in that direction? and astutely so as it turns out? it all has a sense of life to it whereas with dp it's just hey remember this... remember us... again...

basically when i was talking about something rotten at the heart of this it was more about its unsettlingly rapturous reception, for what it is - to not be able to find elsewhere and all around in the world what this song offers seems like a fundamental act of rejection, a fear & loathing of the here & now

those terms feel excessive but i get what you're saying here. i suppose there's a good bit of disconnect tho between DP's audience and the audience for dance music as genre. and the conversation pointlessly circles between DP fans going "but this is great!" and dance fans going "but there's other stuff like this that's better!" where both sets are really approaching this song from different perspectives

DP are popularizers with good ears and good presence, in short

god bloss em

or kathy diamond:

/Last year's KDMS album had a handful of Chic tributes that walk all over the rest of "Get Lucky"./

i assume you're talking about kinky dramas and magic stories, which handful of tracks are you talking about? i love kathy diamond but this album kinda sucked, they get about as close to chic as jamiriquai

Good keyboard textures, nice vocals and pretty much no tunes < Chic.

DP are popularizers with good ears and good presence, in short

Maybe true of "Face to Face" -- but how is that true of "Get Lucky"?

Agree the KDMS album wasn't all that, but "High Wire" was one track I kept coming back to.

went to a disco put on by 'deep disco heads' this weekend and had a few drunken conversations with random people about this song, and this is typical of what these people had to say (nicked from a facebook post):

"Loving how Daft Punk have captured the spirit of 70s disco with their lyric "we're up all night to get lucky". Clearly they've "come to far to give up" who they've become - disposable sold out pop stars. Rant over, now lets get on with playing some proper music :-)

still love you nile
"

people all like oh no my sacred disco music is getting popular with the kids

hearing way more stevie wonder than MJ in the vocal on this especially the way he wrestles with the low notes

fair point perhaps in terms of quality but i'd still argue those skream mixes etc are more stimulating as art just cos like, why did these uk types inexplicably suddenly veer in that direction? and astutely so as it turns out? it all has a sense of life to it whereas with dp it's just hey remember this... remember us... again...

Skream's spent more than enough time on the international circuit to know which way the wind is blowing (ie away from dubstep) and there's a pretty strong element of any port in a storm going on here.

nah, it's alright not to really care either way but you're handwaving it away there. international/not-dubstep/any port leads you to a hundred other possibilities before you end up at ersatz 80s disco boogie

But that sound that Skream's now adopting has been all over Europe for years, especially in the sunnier climbs that make up a lot of his touring schedule now - he's probably been immersed in it. Making the straight jump to jacking Hot Creations is probably the only thing that would have been more obvious.

not really 'ersatz 80s disco boogie' has been typical of what you'll hear if you go out in east london for a good 5-6 years now

xpost

It's not even that different from DP, it's all part of the same embarrassed sidling away from the American scene they helped to spawn.

Yo Amanda Palmer, I heard you like fans, so I gave fans to your fans so you can brag while you blog.

afaik he has played old disco sets a few times in the mid/late 2000s, could be just a thing that he was always into.

he = Skream

wait, list me up a couple of specific euroshoreditch jams you two think corroborate this skream super obviousness

rtc, how is your point different from the standard genre fan beef with popular artists? ie "People think x represents dance/R&B/hip hop at its best but they haven't heard all this much better, less well-known stuff in that genre". I've heard that countless times (mostly from Lex tbh). And this is the most breezy, straightforward track on a varied, ambitious record so discussing the innovation/relevance of Daft Punk 2013 in the light of Get Lucky alone is pointless. To make this record work they need a hit straight off the bat so they've chosen the song that sounds most like a hit. It's not all like this.

I'll happily do so this evening. It's a sound I have a lot of time for and the Skream disco remixes I've heard are corrections of fairly well worn tropes. They're not bad, but the idea there's any inherent artistic worthiness above and beyond the Daft Punk single is kinda nonsense given they're all part of the same drift.

rtc, how is your point different from the standard genre fan beef with popular artists? ie "People think x represents dance/R&B/hip hop at its best but they haven't heard all this much better, less well-known stuff in that genre".

I don't think that's really the point he's making? The line of attack is more "this represents flight from modernity" rather than yr standard Lexian "why is no one listening to all the better stuff in this genre?"

Ah, OK, that's not how I read it but I don't buy the "flight from modernity" line either.

I don't think it's even "flight from modernity"? More like "flight from presentism".