Well, no response to the first attempt, so my logic states that the obvious next step is to do it all over again.
Song #1: Electricity by Something For Kate (Beautiful Sharks, 1999, Track 4)
Now, this track (for context) is taken off the Triple J Hottest 100 CD from 1999. Sadly, I've never listened to a full Something For Kate album, let alone owned one. I have, however, listened repeatedly to the solo release by the lead singer, Paul Dempsey, who I still regard as one of the best male vocalists in Australia at the moment. Now, the song.
To be perfectly honest, this is not my kind of music. If this had not been on a compilation CD, I probably never would have listened to it. The actual music is a little to loud and repetitive for my usual tastes, but this might just be the oddly mournful tone. I'm not completely sure whether this is the vocals of Dempsey or the music itself, but it just seems such a sad song.
The vocals are definitely the pulling point of the song, although this really isn't Dempsey's forte in my opinion. He does a good job of what he's given, managing to put strength and emotion into a song which could easily lack it.
The lyrics here are interesting. The title and only lyric in the chorus is a strange concept, especially in a sad song. Electricity can have many connotations, and I've read some interesting interpretations of the meaning of this song. The concept of this song being about a "greener" world is one which stuck out. I understand the train of thought, but I don't agree with the end conclusion. Another good one was the theory that SFK is complaining about the speed at which society operates, and I think this is getting closer. My theory is that SFK is discussing the world being distant from them, attempting to put into word the way in which the world operates, eventually using the metaphor of electricity, a modern cornerstone, something that can be found all over modern society. But I'm pretty sure any theory can be made from it.
Song #2: Zero! Zero! by Operator Please (Yes Yes Vindictive, 2007, Track 1)
Well, the previous three songs I looked at were from Las Vegas, Chapel Hill and New York City, so it seems fitting that so far both artists on this list are Aussies, SFK originating in Melbourne and Operator Please originating in the Gold Coast. Now, I don't know much about Operator Please, besides the fact they produced an annoying little ear-worm named "Just A Song About Ping-Pong", which received a lot of hatred, most of which I feel is undeserved. Yes, its rather silly, but the song is harmless enough. I have a serious problem with Operator Please: I keep confusing them with Architecture In Helsinki. And that, in short, is how I ended up possessing an album of theirs. It was only $2, so I feel like I came out on top, as the album is not nearly as bad as I feared. But a review of the entire album can wait for another day. "Zero! Zero!" was not released as a single, and outside of the fan-base of Operator Please, I doubt anyone would be familiar with it.
Music first. The one thing I must note is the inclusion of violin. It's good to know that the group is at the very least attempting to make themselves stand out from the pop masses. The song has a feeling of tension and suspense, as if it's leading up to a much larger event. This makes it a great choice for the first track on the album, as it makes the rest of the album seem like it is important, and the band is trying to stress the importance of hearing it. The violin, again, is possibly the most obvious cause of this.
The vocal. One thing that I enjoy about Operator Please is the fact that they have a female vocalist, which is unfortunately a minority in my music. I certainly have music by a large group of solo female artists (Washington, Sia, Bertie Blackman, etc.) but not many female artists front the groups I listen to (with the only exception that leaps to mind being Killing Heidi. Or possibly The Herd, as Ozi Batla and Urthboy aren't exactly vocalists. That really might be it. Shame). What threw me at first upon hearing this group is the style of the vocalist. Her actual voice is much more typical of pop-divas rather than members of bands. This is far from an insult, rather an observation of how the group is avoiding compartmentalisation, which I respect. The vocals suit the music is the best way I can summarise this. The harsh, confident vocals of Amandah Wilkinson contrast with the jumpy and skittish violin, again giving this impression of suspense, leading up to something.
Most importantly, the lyrics. What can I say? This is a tricky one to translate, and I may be completely off in my logic. Upon a cursory google, I couldn't find much about it other than repetition of the lyrics. My Internet is kind of shite in my new apartment, so I can't really look at any interviews or the like unfortunately. Anyway, my translation is that this song is about the end of a "honeymoon" period in a relationship, in which one member is finding too much out about their partner, with their opinion of them sinking lower and lower, eventually making them a "zero" in the eyes of the narrator. Interesting, but probably open to a fair deal of interpretation. The one thing I must note, once more, is the tension and build up in this tune, shown in the lyrics by phrases often being repeated, shouted the second time, as if to stress the point the singer is making.
Overall, "Zero! Zero!" is interesting, using unusual instruments and vocals to convey, if noting else, how different the are.
Song #3: Waterloo Sunset by The Kinks (Something Else by The Kinks, 1967, Track 13)
OK, this could be a tricky song to navigate. If I had any readers, I'd be scared of backlash. Ah, the joys of writing to myself. Now, I obtained this track fro a "Best Of" CD, as the complete discography of The Kinks was going over 3GB. Something about this song reminded me of a book I finished the other day, "31 Songs" by Nick Hornby, in which Hornby looks at 31 songs and 14 albums. Incredibly entertaining. I can't recommend it enough. The song reminded me of a comment made in the book, which is basically Hornby claiming there are very few truly British songs.I honestly have no idea if this can be considered true or not, as I am neither British nor have I ever travelled there, but this song is about as British as I can imagine music safely getting.
Now, the music first. To be perfectly honest, this music doesn't do that much for me. From what I've read, it was new and fascinating upon its release, but the novelty hasn't aged well. Many people have even gone so far to state this as their favourite song, and I just don't get it. Out of The Kinks discography, "Sunny Afternoon" and "Apeman" are miles ahead musically. Lyrically, though, I do understand it a bit more, but I'll get to the lyrics soon.There's guitar, as much of a surprise that is. The opening of this song keeps reminding me of "Asshole" by Dennis Leary, and that is one subliminal connection I do NOT want to be making. Gentle, soothing, quiet... I can't imagine anyone on earth being offended by this sort of music. Again, I have nothing against it, and I certainly understand the role of slower, calmer music in every play-list, but I have difficulty understanding why people adore this song. Good? Certainly. Great? Yeah, I'd go that far. Fantastic? Not quite.
Vocals. Slow, gentle, confident: 1950-1970 British band starting with "The" kind of singing. The singer clearly does understand what this song is about, and manages to drag out every note that needs emphasis. It fits perfectly.
Lyrics. Certainly the highpoint of this song. I can't recall if I've discussed this before in my bloggings, but I divide music into two types: Narrative and Poetic. Although there are mentions of a couple meeting up a few times, there is hardly a story there. This song is certainly poetic, describing London as seen from the narrator's window. Clearly he is a very honest individual, who loves the view. The opening line describes a "Dirty old river" as if it is an old friend, both in lyrics and in vocal tone. I can clearly see the love and passion expressed through this song, and there is no reason to write it off as "old" or "dull". There is plenty to be viewed if you just give the song a good listen or two.
Winners:
Commentary: To be perfectly honest, the calibre of these songs is completely dwarfed by the previous 3 songs. There is just no way on earth Something For Kate and Operator Please can compete with The Killers and Ben Folds (I honestly don't know who would win between The Kinks and Jonathan Coulton. It would all depend on which songs were being compared. Perhaps another time). But that is not what is being discussed here. The three songs also manage to cover a span of 40 years. That's really crazy, in regards to the kind of music I listen to. Anyway, the winners.
First Category: Music
I'm going to go with "Electricity" for this one. I think my mood is the most reflected here, as I'm not angry enough for "Zero! Zero!" or sentimental enough for "Waterloo Sunset". I'm not depressed enough for "Electricity" either, but it seems the easiest to get into of the three. "Zero! Zero!" is the runner-up.
Second Category: Vocals
Without a doubt, Dempsey is the winner. Although "Electricity" is completely the wrong sort of song for a voice like his, his talent still shines through. The understanding of the subject is clear in "Waterloo Sunset", so it's the runner-up.
Third Category: Lyrics
Dear God, this is a tough one to choose between. Abstract lyrics or clearly descriptive lyrics? Really, this is down to my personal choice, but really either could win. "Zero! Zero!" is just too vague, so is an obvious last, but I also find "Electricity" a touch too vague as well, so I'm giving the victory in this one to "Waterloo Sunset", with "Electricity" as the runner-up
Overall:
1. "Electricity" by Something For Kate
2. "Waterloo Sunset" by The Kinks
3. "Zero! Zero!" by Operator Please
This was much harder than the previous comparison. Really, with the exception of "Waterloo Sunset" in the first category, an argument could be made for any song in any position. Again, commentary is welcomed.
H. Rourke
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