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Quincy Jones almost nabbed this slice of loved-up electrofunk for Michael Jackson, but it ended up becoming a signature tune for R&B diva Khan when she sang it with her old band Rufus in 1983. When Frankie Knuckles gave it a piano house remix in 1989, a new generation went crazy for the song: now artists ranging from Mary J. Blige to KT Tunstall have recorded versions, but none of them reach the thrilling heights of Chaka as she hits the final chorus.

A group show conceived as a mixtape of songs gifted to a lover, Love Songs features photographic projects about love and intimacy from 16 contemporary photographers, including Nobuyoshi Araki, Ergin avuolu, Motoyuki Daifu, Fouad Elkoury, Aikaterini Gegisian, Nan Goldin, Ren Groebli, Herv Guibert, Sheree Hovsepian, Clifford Prince King, Leigh Ledare, Lin Zhipeng (No. 223), Sally Mann, RongRong&inri, Collier Schorr, and Karla Hiraldo Voleau.

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Through the myriad lens of intimate relationships, Love Songs brings together series dating from 1952 to 2022 by some of the leading photographers of our time that explore love, desire and intimacy in all their most complex and contradictory ways. The exhibition is the U.S. museum debut for work by Aikaterini Gegisian and Lin Zhipeng (aka no. 223), the first New York City museum presentation of the work of Sheree Hovsepian and Motoyuki Daifu, and the U.S. debut of the work of Karla Hiraldo Voleau.

Love Songs is the Bee Gees' third compilation album in four years, though the first to cover a specific musical style. A proposed album of love songs was in the works around 1995 when the Bee Gees recorded their own versions of "Heartbreaker" and "Emotion", but that project was soon shelved and those recordings remained unavailable until the release of Their Greatest Hits: The Record in 2001.

There's only one question that really needs to be asked of 69 Love Songs: is it a brilliant masterpiece or merely very, very good? The title alone is enough to send music geeks the world over into a foamy-mouthed, epileptic frenzy. 69 songs equals 3 CDs equals nearly three solid hours of new Magnetic Fields material-- think of it! That's more than some notable bands released in their entire existence. Add that to the fact that the Magnetic Fields actually followed through with their concept without turning it into the indie-pop equivalent of Lou Reed's Metal Machine Music.

Regardless, Stephin Merritt has proven himself as an exceptional songwriter, making quantum leaps in quality as well as quantity on 69 Love Songs. This incarnation of the band doesn't feature much of the densely layered, burbling electro-pop that they're best known for; in its stead are sparser, more acoustic songs that sound as if they're being played on actual instruments by a group of actual musicians (as opposed to Merritt himself playing mad scientist with effects racks and overdubs). It may initially seem like this stylistic decision came due to budget restrictions-- if you're recording that many songs, you can't blow too much money on any one track. But it's probably more likely that Merritt finally realized the limits of tinny synths and drum machines.

And the songs themselves? Well, I could write a thesis dissecting each and every song on this album, but that would take months. As a prism refracts light into a spectrum of colors, 69 Love Songs not only refracts love into a spectrum of emotions, but also refracts the love song itself into a spectrum of musical forms. There's a duet between a dysfunctional Sonny and Cher ("Yeah! Oh Yeah!"), a country-gospel tune confusing religious and secular love ("Kiss Me Like You Mean It"), and an amusingly light-hearted tale of a soldier's drunken tryst ("The Night You Can't Remember").

There's giddy lust ("Let's Pretend We're Bunny Rabbits"), romantic longing ("Come Back from San Francisco"), sleazy leering ("Underwear"), and resignation and despair ("No One Will Ever Love You"). There are genre exercises such as faux-beatnik jazz ("Love is Like Jazz"), Paul Simon-ish world music ("World Love"), Gilbert and Sullivan-style mincing harpsichord ("For We are the King of the Boudoir"), Merritt's cartoony, day-glo interpretation of punk rock ("Punk Love"), Scottish folk ("Wi' Nae Wee Bairn Ye'll Me Beget"), and a brief Philip Glass tribute ("Experimental Music Love"). There are also plenty of archetypal Magnetic Fields songs, with those trademark deadpan drama-queen vocals, casually depressive lyrics, and clever rhymes. But Merritt also shows he can pen some surprisingly sincere, moving ballads ("Busby Berkeley Dreams," "The Book of Love"), too.

So, back to the original debate. You know that old saying about the whole being more than the sum of its parts? The sum of the parts of 69 Love Songs adds up exactly to its whole. No more, no less. Each song contains its own small epiphany, but they never quite add up to the one big sweeping epiphany that you'd hope for. That's because it's impossible to reconcile the concept of 69 Love Songs with its execution; it's simply too big. That might sound like a cop-out, but this is truly an album you can get lost in. The individual songs will inevitably distract you from a big-picture interpretation of the album. Of course, the Magnetic Fields don't concern themselves with such matters; they promised us 69 love songs, and that's what they delivered. That it's actually worth the exorbitant $35 price tag is a bonus.

The singer and guitarist of LA-based punk quintet SPANISH LOVE SONGS is referencing his band, but he could just as easily be talking about himself. Since forming in 2014, Spanish Love Songs certainly have been heard, from legions of underground audiences at The Fest and South By Southwest to outlets like NPR, who hailed the group's 2018 album, Schmaltz, as a "wellspring of big ideas, bigger riffs and the biggest possible feelings about love, war, fear and existential crisis."

Schmaltz was an album colored by guilt and self-doubt, an insular collection of soul- searching songs that found the singer amplifying his grief while kicking back at a world that seemed to be doing its best to keep knocking him down. It was a cathartic album, one that admittedly took a lot of Slocum's soul to create. ("I don't want to be the band where each album is me complaining about myself for 40 minutes," he says.)

Following up on the success of their two previous projects (The Song Project and Songs for Petra) composer John Zorn and lyricist Jesse Harris have created sixteen new songs fashioned in the form of an Off-Broadway musical. Love Songs tells the story of a young woman, her friends, their relationships both past and ongoing, and struggles with identity and trauma.

The comic shows an xy-chart of various love songs, graphed according to how the subjects of the song feel. The x-axis represents the narrator/singer's feelings for whomever they are singing to or about, from "No!!" to "Yes!!", while the y-axis represents the other person's feelings for the one singing the song.

A sweet show, ... But yet another round of heterosexual-normative tales of falling in love, the challenges of 'baby's vrs work and depression... Urghh!!! Please can we have more diversity in our story telling from the Traverse... Urgh !!

I don't need drag dads with rainbow shows and 10 adopted, mixed sperm test tubes surrogacy babies but for goodness sake, please scrape the barrel clear of same old same old safe tales. 3/10

No Love Songs (***)

Two musicians fall in love, and then deal with the events of family life with the added pressure of his touring. My hearing really hindered my understanding of the lyrics of the many songs. The play does a really good job of describing the effects of post partum depression, but others agreed that the scene where he returns leaves the audience with an inaccurate impression that really disrupts the story when it is corrected later. I should note that many others that I polled gave it five stars, but two women gave it only three stars.

This is the 14th most enjoyable of the 28 shows I have seen so far at the Fringe this year. I hope to see almost 200. You may see my other three-sentence reviews, in order from most enjoyable to worst, at my non-commercial website:

For the new study, published Sept. 7 in the journal Proceedings of the National Academy of Sciences, Yale researchers played 14-second snippets of vocals from a bank of songs that originated from a host of cultures to more than 5,000 people from 49 countries. The research team included subjects not only from the industrialized world, but more than 100 individuals who live in three small, relatively isolated groups of no more than 100.

Unlike most psychology experiments, which are conducted in one language, this experiment was performed in 31 languages. Yet regardless of the language used in the survey, people from all cultures could easily identify dance music, lullabies, and, to a lesser extent, even music created to heal. Recognition of what the researchers identified as love songs, however, lagged these other categories.

For instance, when they analyzed responses based on language groupings, they found that 27 of the 28 groups correctly rated dance songs as more appropriate for dancing than other songs. All 28 of the groups were able to identify lullabies. But only 12 of the 28 groups were able to identify love songs.

This essential emo/alt-rock love song was Dashboard Confessional's first Billboard Top 10 hit, and rightfully so. "Hands Down" captures the youthful crush stage of love and lust with lyrics perfectly suited for an AIM away message. 17dc91bb1f