VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

This week on VIDEO VAULT THURSDAYS I found myself in a bit of a quandary! You see there is a very good, nay! Spectacular video I wanted to share but, unfortunately the powers that be have decided to place very strict restrictions on its distribution so I can’t embed it as I would normally do.

FEAR NOT!

Instead, I happened upon a phenomenal performance of the song live! This is a really kick-ass live performance:


Still, VIDEO VAULT THURSDAYS! is all about videos so after watching that live performance you can compare it to the well-made video directed by filmmaker Paul Thomas Anderson and decide for yourself which version you like better!

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

This week’s entry into VIDEO VAULT THURSDAYS is again one of those stellar examples of a marriage between imagery and music that is rare for music videos but proves how the right approach can elevate a song to something more:



Of course, it should come as no surprise that the director is a man who consistently scores high marks for his work in the genre:

After a few years writing screenplays, Romanek decided to focus on music videos and signed on with Satellite Films, a boutique division of David Fincher’s Propaganda Films. His subsequent work has come to be regarded as among the best of the medium. He has worked with many top-selling recording artists from different genres of popular music, and his videos have been given credit for making stars out of some.

THE PERFECT DRUG COMMENTARY BY TRENT REZNOR

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

It’s baaacckkkkkk...

Mainly because I’m trying to clean out the draft’s cue and I’ve run through the Friday Photo Funnies for the moment. This week’s entry into VIDEO VAULT THURSDAYS is by a band whose former members have names like: Daddy Long Legs, M.S.G., Skip O’Pot2Mus, Tard-E-Tard, Spanky G, Willie the New Guy, Foof, Bubba K. Love.

In March 1996, the band, complete with a new line-up, recorded their second full-length album, One Fierce Beer Coaster, first released on Cheese Factory Records (now Republic Records), and re-released on Geffen Records in 1998. The original release, designed by Michael Calleia at Industrial Strength Design in New York City, contained an actual beer coaster as part of the packaging. They embarked on their first “real tour” of the United States and Europe (they are quoted as saying this was “the first tour where nobody’s parents had to drive out and pick up the band after the van broke down”). It was this album that broke them as a recognisable act in the rock/metal scene of the time, and many tracks from it became rock club staples that would be played for years to come.

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

Today we are taking a step into the WayBack machine and going way, way back to that ancient period almost three decades ago!

The year is 1979!

Nickelodeon launches, Jimmy Carter is president, the Ayatollah returns to Iran, Margaret Thatcher becomes prime minister, Morning Edition begins on NPR and the Soviets invade Afghanistan.

There isn’t even an MTV!

However, the nascent beginnings of the music video revolution are beginning to take root and early music videos are being broadcast. This week’s video is one of them!


This actually was a favorite of mine at the time and I still have the single (in the jacket pictured below)!

The single was bolstered by a promotional video that was well received in its day; the clip featured Scott as a DJ singing into a microphone from behind an exaggerated turntable setup, at times flanked by two women who sang and danced in a robotic manner. One of the sight gags in the video depicted a rather plain-looking woman actually recording the backup vocals, which are then mimed by the female models, something that seems to foreshadow a number of incidents that occurred much later in the music industry with groups such as Milli Vanilli, C&C Music Factory, and Black Box.

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

Whenever I think back to the 90’s, I think about all the great music that was created around that time. Over the course of my lifetime, the 60’s are well remembered even if I was a kid at the time, the 70’s were the era where I came of age but the 80’s were like a desert for the most part where music was concerned. Sure there was the occasional oasis, a bright spot of an album, band or song that I liked but for the most part it was a long, arid decade.

Right at the end of the decade though, grunge started to come to prominence and a flood of wonderful new music seemed to issue forth from all corners of the globe.

This week’s video is from 1992 and to me is emblematic of the period.


The video dovetails into the mood of the song and does a good job of speaking to the issue of alienation.

The video, directed by Samuel Bayer, stars Heather DeLoach as the “Bee Girl” — a young tap dancer wearing a homemade bee costume and large glasses, modeled after the Blind Melon album’s cover: a family picture of Georgia Graham, younger sister of drummer Glen Graham. The Bee Girl’s story is interspersed with footage of Blind Melon performing in a field against a clear blue sky.
It opens on the girl’s tap routine; the audience responds with laughter, and the girl runs off stage in tears. As the song plays, she wanders through a city, stopping to perform her dance for whoever will watch. Ultimately — at the point in the song where the word “escape” is repeated — she peeks through a gate, astonished, then runs through it to join a group of “bee people” of all shapes and sizes dancing joyfully in a green field.
As a result of the video, DeLoach appeared on the 1993 MTV Video Music Awards, and reprised her Bee Girl dance (in full costume) in the video for “Weird Al” Yankovic’s song “Bedrock Anthem.”
VH1 ranked the “No Rain” video 83nd on its “100 Greatest Videos of All Time” list; the song was also No. 99 on the channel’s “100 Greatest One-Hit Wonders” list.

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

Funny thing, I started to compose the entry into VIDEO VAULT THURSDAY for this week using a video I found awhile back and have long wanted to spotlight. In the process of doing some of the background research, I came across another song by the same band that I decided to use instead.

The reason I changed my mind (and while I will still use the original song slotted for today at some future date), was because this week’s song is something special.

Sometimes, in music without a composer’s intent, a song can become more than just a song.

It can become an anthem.

Something magical happens in the combination of music and lyrics that stirs deep emotion in people. This week’s entry is like that.

I liken it to tunes like Alice Cooper’s School’s Out or Public Enemy’s Fight The Power. It may be of a very specific period but, when I came across it today I found it still had the same power as when I heard it over a decade ago.

Also, it is one of the more visually interesting videos of its time in large part because of its use of elderly folk. The casting was a creative choice that gave the song another slant:


I hate my generation
Now that I've said it I feel liberated
I hate my generation now

Cracker is an American alternative rock band featuring Johnny Hickman and Camper Van Beethoven singer and guitarist David Lowery. They are best known for the hit songs “Low,” “Eurotrash Girl,” “Get Off This” and “Teen Angst (What the World Needs Now).” In 1993, Cracker contributed the song “Good Times Bad Times” to the Encomium tribute album to Led Zeppelin (which was recorded after their rendition of “When the Levee Breaks” was deemed “too weird”). Cracker mixes influences and sounds ranging from classic country music, psychedelia, punk and folk into their brand of “Americana” style rock.

Cracker is still around. They’ve taken a similar tack as TMBG in that they promote and produce their music and sell it through an online outlet. They have both a MySpace page and a band site that are well worth checking out!

*BONUS *BONUS *BONUS *BONUS *BONUS *BONUS *BONUS *BONUS *BONUS *BONUS

How good is Cracker? Give a listen, their recent performance at Milwaukee’s Summerfest (July 5, 2008) can be found here!

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

This week’s entry into VIDEO VAULT THURSDAY is a relatively recent tune (within the last two years) so, pulling it out of the vault means there is nary a speck of dust to be removed!

The song received widespread critical acclaim and enjoyed commercial success in Winehouse’s native England and abroad. The tune won the 2007 Ivor Novello award for Best Contemporary Song. “Rehab” won three Grammy Awards in 2008, including the “Record of the Year,” “Song of the Year” and “Best Female Pop Vocal Performance.”

Winehouse has received media attention apart from her singing. Her distinctive style, most notably her signature beehive hairstyle, has spawned imitators and been the muse for fashion designers, most notably Karl Lagerfeld. The singer’s problems with drug and alcohol addiction, as well as self-destructive behaviour, have become regular tabloid news since 2007. She and her husband have been plagued by legal troubles that have led to the cancellation of several tour dates.

The big selling point to Amy Winehouse is that she manages to really capture a hint of the Motown sound in her music. It’s good stuff but, for all the press she is getting people seem to forget she’s still very much a kid (not even 25). I’m not as familiar with her music as I should be but, I am going to check it out because what I’ve heard I like quite a bit!

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

This week’s entry into VIDEO VAULT THURSDAY is, in my humble opinion, one of the best videos of all time!

Certainly the song itself is a great one - it’s got a driving beat and hit number one on the charts when it was first released.

The main riff was propulsive, instantiating itself in a battle of acoustic guitar against snare drum with fuzz guitar laced underneath and with vocal “ooh-ooohs” keeping that sense in full mind throughout.

The other thing that it has going for it is that it pays homage to Windsor McKay who happens to be another favorite of mine.

The music video for “Runnin’”, directed by Jim Lenahan, featured animation, based on several episodes of the classic comic strip Little Nemo in Slumberland by Winsor McCay, featuring a drawing style reminiscent of McCay’s and showing Petty and a character who resembles Flip traveling through Slumberland.

I love Tom Petty. He has become a favorite of mine through the years, which I find somewhat ironic because I never thought much of him back in the late 70s and early 80s. There is just something about his body of work, so much great music! Awhile back I picked up a boxed set and I’ve never regretted because it is often blaring through my speakers.

This past December, Tom Petty was chosen as the artist to entertain at the Superbowl. He came out, did four songs and just wowed the crowd. As a bonus, here’s the same song performed live at the Superbowl:

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

This week’s entry into VIDEO VAULT THURSDAY is what could best be described as an oldie but a goodie.

There’s quite the story that built up around this song:

In the US, the song was believed to euphemistically refer to masturbation, specifically referencing certain facial distortions that may resemble the stereotypical image of a Japanese person. In fact, some US media outlets claimed that the phrase “turning Japanese” was a popular euphemism in the UK for masturbation; in reality, however, it has only become such a euphemism subsequent to the release of the song.

As a bit of a treat I was able to find two versions of the song!


Undoubtedly it’s the catchy guitar riffs in the song that make it so listenable. Funny thing though is that for all its popularity at the time as a bit of an underground hit, the Vapors really wound up being one-hit wonders and were never able to cash in on the success of the song:

The band released two albums: New Clear Days (the pun on “nuclear” being intentional) and Magnets. The first was more clearly in the “traditional” New Wave style of music, while touching on social issues such as the nuclear threat as well as love themes. The second album dealt more extensively with themes of alienation, with many dark lyrics about apparently psychotic characters, including the opening track, “Jimmie Jones,” about cult leader Jim Jones. Sales of the second album were poor and the band broke up soon after its release in 1981.

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

This week’s entry into VIDEO VAULT THURSDAY is something I came across by accident.

Some people believe the song is about a serial killer and some of the lyrics seem to agree with this claim. “The man in the dark will bring another attack” and “I close my eyes and wait to hear the sound of someone screaming” certainly seem to refer to a murderer. However, a number of the lyrics point to the song being about prostitution. The mention of things like “red lights” is just one possible indication. Further evidence to support this claim is at the end of the song where “A hand in the bush” is repeated over and over. This could be a reference to fisting. Some people prefer to take a hybrid view and believe the song is about a killer with a modus operandi similar to that of Jack the Ripper.

I can’t profess to ever being a big fan of Ozzy Osbourne but, I did have to admit to having heard the song and it sounding familiar when I was watching the video. Also, if you think about the time it was released (1991/92), it’s a pretty good video and holds up exceptionally well.

As a bit of a bonus, here are some very funny spoof videos featuring Ozzy from Ozzfest:

VIDEO VAULT THURSDAY!
(because exclamation points make all the difference)

So, I’m trying to get into the habit of doing things regularly but, it requires discipline. The same principles that need to be applied to my quest to exercise and lose a little weight.

Anyway... so, I have a couple of videos I’ve already squirreled away for future VIDEO VAULT THURSDAYS and this one in particular is an interesting marriage.

The band whose video it is, is The Art of Noise.

I’m not really quite sure what about the Art of Noise exactly it was that clicked with me. The cover of the Peter Gunn theme resonated at a time when I spent much of my day behind the wheel of a car – coincidentally the Peter Gunn theme was the background music for another favorite of mine, Spy Hunter.

Anyway, were not talking about the Peter Gunn theme this week, instead we’re talking about another Art of Noise tune, Paranomia:


What makes this video so special isn’t so much the video itself – rather it’s the combination of the song and who they sampled for the song.

Max Headroom, I guess looking back is very much a trite fixture of the eighties but, if you were around back then you can understand how radical the whole concept of Max Headroom was.

Max Headroom is the name of a fictional British artificial intelligence, known for his surreal wit and stuttering, distorted, electronically sampled voice. The character was created by George Stone, Annabel Jankel and Rocky Morton and performed by Matt Frewer. Max Headroom was featured in a music video program, a feature film, a dramatic television series and television commercials.

This whole period doesn’t seem that long ago even though it’s two decades past now! Thing is, we are talking about a time when home computers were the exception rather than the rule and this ‘lo-tech’ simulation of ‘hi-tech’ reallly was cutting edge.
This is the extended mix, apparently made using effects from Video Toaster. Again, it’s not overwhelming now but, at the time it was playing around and seeing what these new tools could do.

VIDEO VAULT THURSDAY!

You know before Flavor Flav had women competing for his attention on reality TV, he actually was a part of one of the more important bands to come down the pike in the last few decades. If you’re not familiar with the band I’m talking about, Public Enemy, you really need to go back and check out some of their stuff.

I know I’m just an old white boy nowadays but, I grew up in and around the neighborhoods that spawned rap. Consequently, there’s some rap I really, really like. Not because I’m a whigga, as much as someone who grew up in the same kind of environment and recognizes the truths inherent in some rap lyrics.

And... This week‘s video uses claymation!

I love claymation! And who doesn’t love claymation, I ask you! Even more so, who doesn’t love a claymation version of Flavor Flav!?

Anyway, though rap sometimes gets short shrift in our society, there are rap songs conveying important messages about what is going on in around us. I’m not talking about the misogynistic stuff or the glorification of gangstaism, the video for this week‘s entry if anything, goes entirely against the grain of that.

And I like it! It takes what is normally presented as a lifestyle to be emulated and turns it on its head exposing it is means to disenfranchise people and keep them down. Well, I’m probably overcomplicating it, so just click and enjoy because it’s a great video and a great song:

GIVE IT UP - PUBLIC ENEMY

VIDEO VAULT THURSDAY!

This week’s video is from the music video equivalent of the Stone Age! Predating MTV by many years, I came across this while looking around for something to do with another post. What’s interesting is how the video itself is an example of the first baby steps marketing executives, records companies and artists themselves were taking towards the form of marrying music to pictures.

One of the treats about the thing (aside from being shot on film) is looking at the hairstyles and clothing that were current at the time the video was shot (around 1972)



The song is often mistakenly attributed to Bob Dylan, likely because Rafferty’s distinctive voice is similar to Dylan’s, as well as the acoustic folk/rock style the song employs.

“Stuck in the Middle with You” (also, in early references, “Stuck in the Middle”) is a song written and performed by Stealers Wheel which was composed of Joe Egan and Gerry Rafferty, and an ever-changing cast of other musicians. The song was released on their 1972 self-titled debut album Stealers Wheel. The single sold over one million copies, climbing up to eventually the top 10 on both the US (in 1973) and UK pop charts.

Video Vault Thursday!
(Because the exclamation point makes all the difference)

So, last week I obsessed over Shirley Manson. Not only is she incredible but, some of those Garbage tunes are just awesome. This week we’re going in a different direction.

This week’s video is fairly recent as videos go. Although it looks deceptively simple, it does have quite a bit going on if you look closely. Once again, it’s a great song that softens any problems a person might have with the video itself but it is an interesting marriage of music and image.



The track “E-Pro” was remixed by Paza Rahm and released on the Hell Yes EP as “Bad Cartridge.” The EP was released on vinyl, as an iTunes Music Store download, and in CD format for college radio. “E-Pro” was Beck’s first number 1 since his debut single “Loser.”

---

“E-Pro” is the opening track on Beck’s 2005 album Guero. It was released as the lead single from the album in March 2005. The underlying drum beat throughout most of the song is a sample from the Beastie Boys' 1992 smash hit “So What’cha Want.” The song was Beck’s second #1 on the Modern Rock chart and his first in eleven years.

The video for the song was created by Shynola. It is set in a computer-animated environment, where Beck rises from a grave, digs up a dog, and climbs buildings, among other things. It was nominated for “Best Music Video” in the 2005 Arias Awards.

VIDEO VAULT THURSDAY RETURNS!

Okay, so I’ve been incredibly lax.

It’s been a long time since Video Vault Thursdays has made an appearance around these parts. However, the advent of really, really nice weather has me listening to music again. The great thing is that I am having terrific fun doing it! I always enjoy getting back to that point where I listen to music more frequently because it always is a voyage of rediscovery.

This week, I was so jazzed about listening to this one particular band, I started to write a post about them, when I decided I might as well fold the entry into a Video Vault Thursday post. I don’t know if these videos really rank up there to warrant a Video Vault Thursday but, the thing is that the songs themselves are just so kick-ass I can’t resist.

This entry provides an overview of the band’s videos - you’ll see they get markedly better with each video:

I’m Only Happy When I Rains
(early video and it shows)


Stupid Girl
(looks like a thousand other videos you’ve seen but it’s saved by the song)


The World Is Not Enough.
(and now things start getting interesting)


Cherry Lips.
(look closely at the video, it’s actually pretty good)


Push It.
(shades of Grant Morrison and the Doom Patrol)


Finally, this is a life performance. It doesn’t really qualify as a Video Bault entry but I couldn’t resist including it because it is such a great song! Also, anyone who says life ends at 40, take a look at Shirley Manson because she’s 41 and hot as hell!

Temptation Waits


Since Garbage hasn’t done anything in recent years and is supposedly getting ready to release another album in the near future (or a Shirley Manson solo album). I throw this video in as an indication of what the beautiful SM has been up to in the ensuing period:

These Things.

VIDEO VAULT THURSDAYS!

Today’s video vault entry is a rarity and has a bit of a story behind it!

Costello wanted to play “Radio Radio” on SNL. Columbia Records (Costello’s US label) on the other hand, was interested in having an already-established song performed on SNL to stoke the fires of interest prior to the American release of My Aim Is True and This Year’s Model. Costello began the SNL performance playing “Less than Zero.” After a few bars however, he turned to the Attractions waving his hand yelling, “Stop! Stop!” Then, he said to the audience, “I’m sorry, ladies and gentlemen, there’s no reason to do this song here.” This was perhaps a reference to the obscure story behind “Less than Zero,” written as a reply to British fascist Oswald Mosley. The band then broke into a rousing live version of “Radio Radio.” As a result, Costello was banned from Saturday Night Live for twelve years. This version of “Radio Radio” (fading into the “false start”) can be found (in monaural) on Saturday Night Live: 25 Years of Musical Performances, Vol. 1 (track time - 3:08).

I’m a big Elvis Costello fan - I saw him perform an open-air concert in Manchester New Hampshire back in ’89 (f*ck that’s closing in on 20 years ago!) So, any piece of obscure Costello trivia is welcome indeed and now that YouTube is around it‘s a helluva a lot easier to find things like this:


Also, I’ve included the clip of Costello’s performance when he returned during a special celebration many years later:

VIDEO VAULT THURSDAYS!

Today’s video vault entry is over 20 YEARS OLD! Simply astounding how quickly time passes.

Thing is, it stands the test of time and has made those lists for best music video ever. If they ever make some kind of msuic video hall of fame there is no question that today’s video should definitely be included.

Funny thing though, today MTV - Music Television rarely shows music videos anymore! What is doubly ironic about that is how much more accessible the tools to make video and edit it have become! Now, it‘s not as if there weren’t sucky music videos back then because there were more than a few but, something happened along the way and the people who did videos became less creative? Does that make sense?

This video has a tremendous song behind it, no question but, what makes it a great video is how it was approached, the imagery in it. It’s accessible to young and old alike and I think that had a lot to do with its popularity and persistance. Then again, judge for yourself:

Video Vault Thursdays!

This week, the video that comes out of the vault is actually a bit of an anti-video:

A music video, filmed by local students, to promote the single shows the band playing their instruments through a distorted fish-eye lens, the camera variously panning horizontally across the performance space and vertically over the individual band members. Keeping in the spirit of the mimed performance, Francis and Deal open and shut their mouths in time with their prerecorded vocals, yet make no attempt to articulate their lips in synch with the words that they are supposed to be singing. Instead, they simply keep their mouths wide open with blank expressions for the duration of each verse.

Even though it’s an anti-video, it’s an anti-video of one of my all-time favorite songs. Of course helped along by the fact that it features one of my big crushes Kim Deal.

VIDEO VAULT THURSDAYS!

You know it’s always good to start of the New Year on a high note so, this week’s entry into VIDEO VAULT THURSDAYS! needs to be something special and it is.

The music video was directed by Mark Romanek and first aired on May 12, 1994. It was cut down from its original length to 4:36. The video was popular and helped bolster the success of the band. The video shows events that deal with religion, animal cruelity, politics, and even terror. It was also somewhat controversial due to its imagery which included a nude woman with a crucifix mask, a monkey tied to a cross, diagrams of vulvas, and even Reznor wearing a mask while swinging in shackles. These images seem to be inspired by the art of Joel-Peter Witkin. Certain removed scenes were replaced with a title card that said “Scene Missing,” and the instances of the word “fuck” being edited out were accompanied by a stop in the video motion, to make it appear as if the stop was a result of defective film (this was done to make sure the flow of the song was not affected). The video also has a stylized, old-film look. The video is one of two directed by Romanek that the Museum of Modern Art has added to its permanent collection. The other video is Madonna’s “Bedtime Story.”

The unfortunate thing about a video like this is that it spawns a host of imitators who don’t understand why the video was a success in the first place. It does prove the point of how a music video can actually make a song more than a piece of music by marrying images to it. While this video is now almost 14 years old (in itself hard to imagine), it stands the test of time exceptionally well:

by the way, it probably is NSFW although if you do you probably want to listen to it with headphones or with the sound down

The unedited version of this video was shown on Playboy TV’s uncensored music video show Hot Rocks in 1994. In mid-2002, the unedited version of this video was aired on MTV2 as part of a special countdown showcasing the most controversial videos ever to air on MTV.

The keyboard Reznor is seen playing toward the end of the video is a piece of Reznor’s own Mellotron, which was once owned by John Lennon and may have been used on The Beatles’ song “Strawberry Fields Forever.”

After you’ve watched the video, it’s even more interesting to watch it with commentary by the artist:

In 2006, “Closer” was number one in a poll held by VH1 Classic for the twenty greatest videos of all time.

It’s not hard to see why it made the number one spot.

Video Vault Thursdays!

“Bah, humbug!” No, that’s too strong
’Cause it is my favorite holiday
But all this year's been a busy blur
Don’t think I have the energy

So, I tried really, really hard this week to find a holiday themed entry into Video Vault Thursdays, unfortunately the two tunes I wanted to put up for this week don’t have videos!!!

The song is as much about a harried lifestyle and trying to make connections as it is about Christmas. And that’s a lifestyle Butler knew well as a musician and songwriter trying to break big in New York in the early 80s - a lifestyle that has mellowed in middle age. He may never have cracked the Top 40. But so what? He’s made it to age 56, continues to make music, is a husband and the father of a 6-year-old son.

One of those tunes was by The Waitresses, it was their very special holiday hit Christmas Wrapping. However, they never did get around to making a video for the song!

"Christmas Wrapping" (sometimes misspelled as "Christmas Wrappings") is a Christmas song recorded in 1981 by The Waitresses. It was first released on the 1981 various artists holiday compilation album A Christmas Record on ZE Records. The group then included the track on their 1982 EP I Could Rule the World if I Could Only Get the Parts. It has since been included on numerous holiday compilation albums, including Now That's What I Call Christmas!: The Signature Collection.
The song is narrated from the point of view of a busy single woman who is adamant that she will try to sit-out the exhausting Christmas period, not participating in the traditional Christmas activities (except for making dinner, see below).
She reveals that, during the course of the year, she has attempted to meet up with a man she encountered in a ski shop the previous year. Despite the couple’s attempts to meet, a succession of mishaps conspires to keep them apart.
Finally on Christmas Eve, while the protagonist (after stating that A&P provided her with “the world’s smallest turkey”) is doing last-minute shopping for cranberries at a local convenience store, ends up running into the man after discovering that he, too, forgot to buy cranberries.
This coincidence seems to hint that the narrator, and therefore the listener, shouldn’t completely abandon their faith in the magic of Christmas.

Like I said though, The Waitresses never did make a video of the tune and somehow I think if they had it would have been a hit. In the meantime, this week we’ll go back to The Waitresses other big tune, the one that bought them to fame - “I Know What Boys Like.” Not Christmas Wrapping but it will have to do: