Jessy Lanza's dedication to contact info

Blake Gillespie

Jessy Lanza

Jessy Lanza's single, <a href=”https://soundcloud.com/hyperdub/jessylanza-5785021-forthcoming”>”5785021″, came with some unexpected reactions as to why she'd be so brazen to advertise her digits. Lanza could have done the Hollywood thing, name the song with a 555 number, but then she'd be disingenuous. Her encouragement to “call me” would be similar to the fake phone number diversion or worse, the phone number of the friend that was there when you made the move for the digits, but wasn't the target. Ever get that trick play?

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According to Lanza on “578021”, we already know the address, it's just a matter of calling ahead. Her debut on Hyperdub, operates in a style that's often described as minimalist r&b, which further lends to the source of her naming of the single. Lanza's curated mix for our series addresses the looming question of why she'd give out her number. She's not lonely, but in fact placing herself among a decorated group of r&b peers who wanted to make it easy to get in touch. From Ginuwine giving out his address on “550-What” to Mike Jones turning his celly number into a hook, these are songs that aim to connect.

Jessy explains:

People keep asking me why I wrote a song with a phone number in the title so I made a mix of my favourite tracks with phone numbers, addresses and area codes.

Are these numbers functional? Maybe not. We surmise that Missy no longer has a beeper and The Time's contact info from 1982 won't get you a date with Dez Dickerson. If you feel tempted to see if Mike Jones' number is still fuctional, please write to us with the results.

Jessy Lanza's Numbers Mix:
01 550-what – Ginuwine
02 If you leave – Destiny's Child feat. Next
03 Beep Me 911 – Missy Elliot fest. 702 + Magoo
04 Mr Telephone Man – New Edition
05 Regulate – Warren G feat Nate Dogg
06 773 Love – Jeremih
07 Back Then – Mike Jones
08 Posse on Broadway – Sir Mix- a -lot
09 777- 9311 – The Time

Jessy Lanza's Pull My Hair Back is out now on Hyperdub.

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