I always try to do at least one post a weekend, and this is going to be a short one.
This week has been insanely busy and I can't see anything easing up until the end of next week. I'm not going to promise I'll have a new post up anytime soon, and I haven't had time to write or (somewhat more importantly) think of something to write about.
For now, I just wish to ask anyone who has viewed/purchased/experienced any of the three Paul Kelly related things released: The documentary, the new album, or the A-Z collection, is it worth it and what exactly is on the A-Z collection? I'm really curious.
I hope to be back on here next weekend.
Feedback welcome.
H. Rourke
Sunday, 28 October 2012
Saturday, 20 October 2012
Allsorts
Well, I like to have at least a post every weekend now that we're back on to regular scheduling. I normally have some idea for what I'm going to do during the week, sometimes a few. If I have a really good idea, it'll go up the same day. Well, when I have one. One day, I hope.
Anyway, I'm going to do something a little different here. I'm just going to talk. I don't know what about, we'll find out, and just see what comes up. If, during this post, I come up with a great idea for a post, I'll either delete this or draft this and put it up later, depending on how far I get. Well, here goes.
Well, election day in Canberra. Polls closed about two hours ago and so far my party (The Greens) is behind the god-damn independents in percentages. That's really sad, but far from unexpected. I hope there will be a swing at some point, but I'm a realist rather than a nutter, so I don't really expect it.
I'm going through a few different books at the moment. It feels like a bleeding age since I last wrote about books here. Anyway, I'm currently re-reading The Great Gatsby, which is one of the greatest books of all time, if you haven't read it.
I'm also reading "Into The Wild", about a kid called Chris McCandless. I can't say I'm much of a fan. McCandless was a real guy who died in Alaska, so I don't want to say anything disrespectful, but the book does not portray him in a positive light in my opinion. The book's chronology is choppy and confusing, the part of the book where the author talks about his own experiences in Alaska seem out of place and self-glorifying and just dull. I like the references to London and Kerouac, and I can clearly see how their work is relevant to McCandless' life, but I really don't think you should reference better books in your own. I'm going to stop here before I say something I'm going to regret.
Going back to Gatsby, I admire Fitzgerald's work for many reasons, and although some of the symbolism may be a touch overboard by modern standards, it's fun to just sink your teeth into. Just read a chapter twice, and you'll come up with something different the second time. Clearly, Fitzgerald has been a major inspiration for many people. Just look at Regina Spektor's "Poor Little Rich Boy" in which Fitzgerald is referenced or Paul Dempsey's "Fast Friends", which is about attempting to make a real friend at one of Gatsby's parties. Gatsby or Fitzgerald aren't directly referenced, as far as I'm aware, but the book is apparently the inspiration.
On the literary front, I've been reading several biographies of Fidel Castro for comparative purposes. The four I've chosen are very different. Each is by an author of a different nationality (American, English, German and French (with Castro himself, so Cuban). What surprised me the most was that none of the books are blatantly pro-Cuba/anti-Cuba. Sure, Castro's autobiography with Ramonet is far from critical of Cuban government, but I'll give that one a free pass, as if Castro says something critical of himself, he'll give a lot of critics free ammo. The other three, which are not autobiographies, are pretty even-handed. Even the American (which to be fair, is actually a collection of famous historical figures, but I just read the Castro entry), whilst more critical than the others, is at the very least relenting on several counts, although still calling him a tyrannical dictator, if memory serves. The one thing about Castro's autobiography is that he manages to make himself look somewhat evasive on several counts. Most questions related to dissidents and human rights abuses go along the lines of:
"What do you say about the case of [insert dissident here], who was [insert mistreatment here]?"
"Listen, have I mentioned how many doctors Cuba has? It's a lot!"
It just gets embarrassing by the end. One of my favourite sections is where Ramonet asks Castro about a debate he had with the Spanish leader Aznar, in which Ramonet claims many thought Castro was a little aggressive. Castro responds, as usual, with a drawn out speech denying being aggressive and attacking European policies against Cuba. Ramonet then responds "You called him 'a little Fuhrer'." This is by about chapter 20, around 500 pages in, and you know by now that is exactly what Castro wold call someone if they pissed him off.
Another of the Castro biographies I looked at was the creatively titled "Castro" by Reinhard Kleist (you have no idea how many times I typed Reinhold Messner. Damn you, BFF!). This is actually a graphic novel. I know many would call it a comic book, but considering this is about an actual historical figure and goes for over 200 pages, I think I can get away with graphic novel. I really like how the whole thing is put together. A large amount of Castro's life is really interesting when presented graphically, and a lot that you would think would be difficult, Kleist handles well. There are a few really small things that get me. Firstly, why make the protagonist a fictional character? This would be a great way to interest kids, or at least teenagers, in history (perhaps with less graphic execution scenes), but inserting fictional characters just casts the entire thing into doubt, especially for newcomers to Castro's life. The other thing I don't quite agree with is the portrayal of Castro as a tragic character who, although having high ideals, is eventually corrupted by power until he is basically Batista. I don't think Castro's ideals have ever changed a great deal, at least not since the 1960's. They just looked better new. You put any governmental system based around a single man's idea of right and wrong, and you get a lot of grey called white and a lot of grey called black. Nothing's really changed about Castro, just what he has to do. I'm not defending all of his actions for a second, but I just think many of the abuses of power aren't to be like Batista,but to ensure Castro's own beliefs. The book is still bloody marvellous, with a great use of silent scenes, a fair portrayal of Castro, I feel, and interesting characters, real or imagined. I've never been a big comic person, and I've never been an art person, but I really respect the lack of colour in the comic. Really, half the bloody book would have been various shades of green, considering the famous fatigues and the Sierra Maestra hideout.
The odd thing about these books is that none of them support the Americans. They don't all necessarily condemn the Americans in the Playa Giron / Bay of Pigs affair, or in their multiple assassination attempts, but none try to justify the actions. I suppose it's just the fact the world's moving forward. Bye bye, McCarthyism. You will not be missed in the slightest.
Anyway, poll results keep coming in from the ACT election. Greens look to be taking the balance of power. Mwa ha ha ha! It's just as we planned! I love it when the fact parties can't get their shit together actually gives a minority authority. It's going to be fun watching Liberals trying to kiss Green arse to get any of their policies approved. Make 'em cry, Hunter!
I haven't been doing anything new in regards to listening to music. In related news, I have an unusually large amount of money remaining this week (read: any money). I've just been listening to more Regina Spektor and Sia. I really think some of Spektor's best stuff was when it was just her with her piano, or without.
The musical highlight of my week was this morning, when I woke up to BFF's "Erase Me" on the radio. It's fantastic to know I helped put some of the money towards that sort of magic travel around the world.
What else? Well, I've been listening to Before Too Long, the Paul Kelly tribute album. I recommend it to any fan of Kelly's work. If you are unfamiliar with Kelly and like the artists listed, I don't really advise it as much. The thing is all of these artists are really trying to be faithful to Kelly, as they god damn should be, meaning their personal styles really take a back seat. Washington is pretty much the same, I think her and Kelly's styles are fundamentally similar, so there's that, but Ozi Batla hardly raps, Paul Dempsey isn't very soulful and most of the rest is just a Paul Kelly song with a different voice, with no significant changes. I can't see any real problem, but just a heads up if interested.
One artist on the album I detest is Adalita. I cannot stand her cover of "Everything's Turning to White". I have a long standing dislike of spoken word music, if that's the correct phrase. You can read out lyrics while music plays in the background? Good on you! I can do that too! I think it all started with William Shatner. I still have nightmares about his cover of "Bohemian Rhapsody" and the accompanying video (Willy in the sky with exploding zodiac signs. Beware). Now, I don't know anything about Adalita or her musical career, but I really hold her name against her. My Mp3 player picks the first song alphabetically by artist name, so I had to throw in the 8in8 album to stop hearing that song every time I turned my music on. I'm aware that Kelly's original version of ETTW (yeah, ETTW. I'm that lazy), he did do some spoken word. That does not mean you should do the whole first half of the song like that. It's only one track out of two fantastic CD's of covers, but I feel it's a significant dampener on the whole project.
Well, I've said enough for a post. If you enjoyed or detested or felt nothing towards this, please let me know for future posts. I had enough fun and things to say to justify doing it again if there is any demand, or if I'm that lazy again.
Feedback welcome
H. Rourke
Anyway, I'm going to do something a little different here. I'm just going to talk. I don't know what about, we'll find out, and just see what comes up. If, during this post, I come up with a great idea for a post, I'll either delete this or draft this and put it up later, depending on how far I get. Well, here goes.
Well, election day in Canberra. Polls closed about two hours ago and so far my party (The Greens) is behind the god-damn independents in percentages. That's really sad, but far from unexpected. I hope there will be a swing at some point, but I'm a realist rather than a nutter, so I don't really expect it.
I'm going through a few different books at the moment. It feels like a bleeding age since I last wrote about books here. Anyway, I'm currently re-reading The Great Gatsby, which is one of the greatest books of all time, if you haven't read it.
I'm also reading "Into The Wild", about a kid called Chris McCandless. I can't say I'm much of a fan. McCandless was a real guy who died in Alaska, so I don't want to say anything disrespectful, but the book does not portray him in a positive light in my opinion. The book's chronology is choppy and confusing, the part of the book where the author talks about his own experiences in Alaska seem out of place and self-glorifying and just dull. I like the references to London and Kerouac, and I can clearly see how their work is relevant to McCandless' life, but I really don't think you should reference better books in your own. I'm going to stop here before I say something I'm going to regret.
Going back to Gatsby, I admire Fitzgerald's work for many reasons, and although some of the symbolism may be a touch overboard by modern standards, it's fun to just sink your teeth into. Just read a chapter twice, and you'll come up with something different the second time. Clearly, Fitzgerald has been a major inspiration for many people. Just look at Regina Spektor's "Poor Little Rich Boy" in which Fitzgerald is referenced or Paul Dempsey's "Fast Friends", which is about attempting to make a real friend at one of Gatsby's parties. Gatsby or Fitzgerald aren't directly referenced, as far as I'm aware, but the book is apparently the inspiration.
On the literary front, I've been reading several biographies of Fidel Castro for comparative purposes. The four I've chosen are very different. Each is by an author of a different nationality (American, English, German and French (with Castro himself, so Cuban). What surprised me the most was that none of the books are blatantly pro-Cuba/anti-Cuba. Sure, Castro's autobiography with Ramonet is far from critical of Cuban government, but I'll give that one a free pass, as if Castro says something critical of himself, he'll give a lot of critics free ammo. The other three, which are not autobiographies, are pretty even-handed. Even the American (which to be fair, is actually a collection of famous historical figures, but I just read the Castro entry), whilst more critical than the others, is at the very least relenting on several counts, although still calling him a tyrannical dictator, if memory serves. The one thing about Castro's autobiography is that he manages to make himself look somewhat evasive on several counts. Most questions related to dissidents and human rights abuses go along the lines of:
"What do you say about the case of [insert dissident here], who was [insert mistreatment here]?"
"Listen, have I mentioned how many doctors Cuba has? It's a lot!"
It just gets embarrassing by the end. One of my favourite sections is where Ramonet asks Castro about a debate he had with the Spanish leader Aznar, in which Ramonet claims many thought Castro was a little aggressive. Castro responds, as usual, with a drawn out speech denying being aggressive and attacking European policies against Cuba. Ramonet then responds "You called him 'a little Fuhrer'." This is by about chapter 20, around 500 pages in, and you know by now that is exactly what Castro wold call someone if they pissed him off.
Another of the Castro biographies I looked at was the creatively titled "Castro" by Reinhard Kleist (you have no idea how many times I typed Reinhold Messner. Damn you, BFF!). This is actually a graphic novel. I know many would call it a comic book, but considering this is about an actual historical figure and goes for over 200 pages, I think I can get away with graphic novel. I really like how the whole thing is put together. A large amount of Castro's life is really interesting when presented graphically, and a lot that you would think would be difficult, Kleist handles well. There are a few really small things that get me. Firstly, why make the protagonist a fictional character? This would be a great way to interest kids, or at least teenagers, in history (perhaps with less graphic execution scenes), but inserting fictional characters just casts the entire thing into doubt, especially for newcomers to Castro's life. The other thing I don't quite agree with is the portrayal of Castro as a tragic character who, although having high ideals, is eventually corrupted by power until he is basically Batista. I don't think Castro's ideals have ever changed a great deal, at least not since the 1960's. They just looked better new. You put any governmental system based around a single man's idea of right and wrong, and you get a lot of grey called white and a lot of grey called black. Nothing's really changed about Castro, just what he has to do. I'm not defending all of his actions for a second, but I just think many of the abuses of power aren't to be like Batista,but to ensure Castro's own beliefs. The book is still bloody marvellous, with a great use of silent scenes, a fair portrayal of Castro, I feel, and interesting characters, real or imagined. I've never been a big comic person, and I've never been an art person, but I really respect the lack of colour in the comic. Really, half the bloody book would have been various shades of green, considering the famous fatigues and the Sierra Maestra hideout.
The odd thing about these books is that none of them support the Americans. They don't all necessarily condemn the Americans in the Playa Giron / Bay of Pigs affair, or in their multiple assassination attempts, but none try to justify the actions. I suppose it's just the fact the world's moving forward. Bye bye, McCarthyism. You will not be missed in the slightest.
Anyway, poll results keep coming in from the ACT election. Greens look to be taking the balance of power. Mwa ha ha ha! It's just as we planned! I love it when the fact parties can't get their shit together actually gives a minority authority. It's going to be fun watching Liberals trying to kiss Green arse to get any of their policies approved. Make 'em cry, Hunter!
I haven't been doing anything new in regards to listening to music. In related news, I have an unusually large amount of money remaining this week (read: any money). I've just been listening to more Regina Spektor and Sia. I really think some of Spektor's best stuff was when it was just her with her piano, or without.
The musical highlight of my week was this morning, when I woke up to BFF's "Erase Me" on the radio. It's fantastic to know I helped put some of the money towards that sort of magic travel around the world.
What else? Well, I've been listening to Before Too Long, the Paul Kelly tribute album. I recommend it to any fan of Kelly's work. If you are unfamiliar with Kelly and like the artists listed, I don't really advise it as much. The thing is all of these artists are really trying to be faithful to Kelly, as they god damn should be, meaning their personal styles really take a back seat. Washington is pretty much the same, I think her and Kelly's styles are fundamentally similar, so there's that, but Ozi Batla hardly raps, Paul Dempsey isn't very soulful and most of the rest is just a Paul Kelly song with a different voice, with no significant changes. I can't see any real problem, but just a heads up if interested.
One artist on the album I detest is Adalita. I cannot stand her cover of "Everything's Turning to White". I have a long standing dislike of spoken word music, if that's the correct phrase. You can read out lyrics while music plays in the background? Good on you! I can do that too! I think it all started with William Shatner. I still have nightmares about his cover of "Bohemian Rhapsody" and the accompanying video (Willy in the sky with exploding zodiac signs. Beware). Now, I don't know anything about Adalita or her musical career, but I really hold her name against her. My Mp3 player picks the first song alphabetically by artist name, so I had to throw in the 8in8 album to stop hearing that song every time I turned my music on. I'm aware that Kelly's original version of ETTW (yeah, ETTW. I'm that lazy), he did do some spoken word. That does not mean you should do the whole first half of the song like that. It's only one track out of two fantastic CD's of covers, but I feel it's a significant dampener on the whole project.
Well, I've said enough for a post. If you enjoyed or detested or felt nothing towards this, please let me know for future posts. I had enough fun and things to say to justify doing it again if there is any demand, or if I'm that lazy again.
Feedback welcome
H. Rourke
Tuesday, 16 October 2012
First Year Anniversary
Welcome, to the celebration of one year of Red Television!
Let me be honest about this blog. In the past year, it has not been successful. It has not become insanely popular and it's content has never been ground-breaking. This blog is and has always been merely an outlet for my interest, and often rage, regarding music, literature and little else.
Over the past 12 months, I've had 682 views, which is about 682 more than I expected. I hope those who have and hopefully will continue to browse this blog will enjoy what you read, whether or not you agree with what I have to say.
Now, I tossed around several ideas for the celebration of a year of blogging, and decided the best way of talking about the past year would be to take the five most viewed of my posts and talk about their creation. I doubt I'll have much to say about the majority, but let's see what comes out:
Post #5: Palookaville (Posted December 6th, 2011)
Now, this post, in brief, was an album review of Fatboy Slim's offering, "Palookaville". For a little bit of context, I like my sleep. I go to bed around 11 most nights, because after that time being on the internet becomes risky. This post was completed around 2 in the morning, so I really don't know what I was thinking by that stage. Alright, at about Track 10 I had ceased to care in any capacity, but by the end of the album I was at that stage where I cared way too much. I had a rant about fucking kittens. What was I thinking? Anyway, a lot of the strange content of this review stems from my own lack of familiarity with the music-making process. I don't know anything about music. My real interest is in how it makes me feel and what the lyrics say, so half of my discussion material is out the window just by choosing to review a Fatboy Slim album, which typically is very light on coherent lyrics. I had to write about something, so I really just wrote the first things that came out of my head. In all honesty, they really should have stayed in there. This review is honestly one of my absolute favourites, because it just makes so little sense, but is genuinely amusing. I don't drink, but I figure this is how I might sound if I were ever to get drunk. The other reason I like this post is the fact there is a comment on it. A genuine, unconditional comment. I've only ever had two comments on this blog, and I guarantee that ever comment like the one on this post is giving me a reason to write for at least another year. Thank you, Desertdew, sincerely. In another note, I still hold the deletion of one of the tracks against you blogger. That really pisses me off, although when I was actually typing, I was too tired to really care.
Post #4: Ten Great Songs of the 2000's: Part 1 (Posted April 15th, 2012)
The original idea for this post was just to talk about music I liked then and there, rather than music I would have to defend my enjoyment of years down the track. Just music I was enjoying the novelty of, right then. Of course, if something is too easy, I get bored, so I decided to make sure all of the songs on this list had not been released as singles. Which was surprisingly hard, especially when I didn't repeat groups and then tried to do a second part, which was a terrible idea. I notice I mention the "ratings" I gave music at the top of the post. I don't really know why I stopped doing that. It was frustrating, looking at two songs in completely different contexts, which I had given the same score to, and trying to work out if they both deserved it. Ultimately, I just forgot and I don't think anyone's really complaining. Or reading. But I'll see things how I wish to see them. In retrospect, six months later, all of the songs stand up, bar "Inspiration Island". Honestly, I just wanted to put Drapht in there, but realised all the songs I liked by him were singles, so just threw a random track in there. I'm not saying the tracks bad, but I think it doesn't quite deserve to stand amongst songs of such high a calibre. I called this post filler, but it really ended up being a hell of a lot more effort than a normal post, really. The tally at the bottom was way too optimistic, and I really shouldn't have bothered.
Post #3: Triple J Hottest 100 of 2007 Part 1 (Posted December 23rd, 2011)
I still feel a little guilty about this post. I mean, I'm perfectly aware no-one bar myself gives a shit, and it's not like I wrote ten words and gave up, but I still would like to go back and finish it one day. Yay, retcons! Yeah, if I fix it, that phrase will be gone too. And that one. And that one. I'll stop. I did go on holiday, as described, and didn't have internet access. By the time I got home, the library was on my back to return the CD, and I didn't really want to risk fines. I sort of forgot about it afterwards. Of the six songs I didn't cover, I'm only familiar with "Hang Me Out To Dry" by the Cold war Kids, which I really like, but can't actually say that much about off the top of my head, so you really aren't missing much. I still own my discman, although it's getting a little old, but I use an MP3 player just because it's lighter, has more storage, doesn't skip when I walk and the batteries are a hell of a lot easier to recharge. The content of the post is pretty much what I think now. I have a higher opinion of Bloc Party, a lower opinion (if that's possible) of Soko and now wince when I see that I attributed Chemical Heart to Gyroscope (I now know that it's by Grinspoon. To be fair, the names are pretty similar and Chemical Heart doesn't sound like many other Grinspoon tracks.) It's not an unforgivable mistake, but still a little embarrassing. Why don't I retcon it? Morality, or as I like to call it, laziness. I still don't get that fucking Salmon song. Were they actually trying to start a dance craze, or am I missing something?
Post #2: 3 Songs: Frank Sinatra vs. Noise Addict vs. Sam Cooke (Posted October 3rd, 2012)
I don't get why people liked this particular post. I like my writing, and sort of get why people would like my 3 Songs as a whole, but why this one? It's not the only time I mention Cooke or Sinatra, and I really don't think Noise Addict have that big a fan base. Whoever it was, I think I pissed them off, because my blog has had as little traffic as usual after that surge. I don't really have much to say about the post, as I wrote it about two weeks ago. If it's still one of my most popular next year (hoping I'll keep this going another year), I'll give it a good going over, with a little time between it and me, to make me feel safer from past me. I still like the SUBTLE LINK line.
Post #1: Top 5 Albums: Part 4 (Posted 22nd of July, 2012)
I really don't know why this single part of my Top 5 Albums saga is more popular than all the other posts in it combined. I don't know if the comment was due to the popularity or visa versa, but it doesn't really matter. I stand by everything mentioned here, especially about Jane Tyrrell releasing a solo album. She has talent, a great voice, a foot in the industry, experience and shares a surname with a character from a Shakespearean play. There is no reason this shouldn't happen. Also, every song she touches is magic. Only time will tell us what happens, I suppose. I realise in retrospect that I really need to break some of my rants into paragraphs, but the post consisting of a solid rant is sort of diminished in effect by breaking up the post into smaller paragraphs. I, again, don't have much to say about this post considering the fact it was only written a few months ago. One thing that stands out is the fact that I was still planning on putting "Lonely Avenue" by Ben Folds & Nick Hornby as my favourite, but a good listen changed my mind. It's weird how that happens, but I still say the album is fantastic. Paul Kelly's "Deeper Water" is just a considerable bit better. Also, the answer to the question at the end of the post is Hole, the Courtney Love fronted band. I bought "Celebrity Skin" on special, but this fact has been rendered redundant by my very ill-advised purchase of a Hoobastank album, which I regret beyond words. The comment I had on this post is the second ever received in this blog, and I really don't get it. This blog is clearly default settings. I think that's pretty obvious. If I had done something specifically for this blog, there would be a little Red Television logo, no birds and just a different style. The fact that Blogger classified this as spam saddened me a bit. I don't know if it is or not, but feel free to spam what you like here. If I don't mind it, it can stay.
I don't know if this is how I'll celebrate next year, but it probably depends on whether or not the most viewed posts have changed significantly. I'll probably have new things to say, even if they haven't, but I'll see if I have any better ideas, or if any better ideas are volunteered. I hope everyone reading enjoyed this brief look back, and hope everyone has enjoyed the previous year. I've had a hell of a lot of fun, and don't plan on stopping my reviewing any time soon.
Feedback is very welcome, and I always love hearing from people, even if they have nothing to say.
H. Rourke: One year and counting, my friends.
Let me be honest about this blog. In the past year, it has not been successful. It has not become insanely popular and it's content has never been ground-breaking. This blog is and has always been merely an outlet for my interest, and often rage, regarding music, literature and little else.
Over the past 12 months, I've had 682 views, which is about 682 more than I expected. I hope those who have and hopefully will continue to browse this blog will enjoy what you read, whether or not you agree with what I have to say.
Now, I tossed around several ideas for the celebration of a year of blogging, and decided the best way of talking about the past year would be to take the five most viewed of my posts and talk about their creation. I doubt I'll have much to say about the majority, but let's see what comes out:
Post #5: Palookaville (Posted December 6th, 2011)
Now, this post, in brief, was an album review of Fatboy Slim's offering, "Palookaville". For a little bit of context, I like my sleep. I go to bed around 11 most nights, because after that time being on the internet becomes risky. This post was completed around 2 in the morning, so I really don't know what I was thinking by that stage. Alright, at about Track 10 I had ceased to care in any capacity, but by the end of the album I was at that stage where I cared way too much. I had a rant about fucking kittens. What was I thinking? Anyway, a lot of the strange content of this review stems from my own lack of familiarity with the music-making process. I don't know anything about music. My real interest is in how it makes me feel and what the lyrics say, so half of my discussion material is out the window just by choosing to review a Fatboy Slim album, which typically is very light on coherent lyrics. I had to write about something, so I really just wrote the first things that came out of my head. In all honesty, they really should have stayed in there. This review is honestly one of my absolute favourites, because it just makes so little sense, but is genuinely amusing. I don't drink, but I figure this is how I might sound if I were ever to get drunk. The other reason I like this post is the fact there is a comment on it. A genuine, unconditional comment. I've only ever had two comments on this blog, and I guarantee that ever comment like the one on this post is giving me a reason to write for at least another year. Thank you, Desertdew, sincerely. In another note, I still hold the deletion of one of the tracks against you blogger. That really pisses me off, although when I was actually typing, I was too tired to really care.
Post #4: Ten Great Songs of the 2000's: Part 1 (Posted April 15th, 2012)
The original idea for this post was just to talk about music I liked then and there, rather than music I would have to defend my enjoyment of years down the track. Just music I was enjoying the novelty of, right then. Of course, if something is too easy, I get bored, so I decided to make sure all of the songs on this list had not been released as singles. Which was surprisingly hard, especially when I didn't repeat groups and then tried to do a second part, which was a terrible idea. I notice I mention the "ratings" I gave music at the top of the post. I don't really know why I stopped doing that. It was frustrating, looking at two songs in completely different contexts, which I had given the same score to, and trying to work out if they both deserved it. Ultimately, I just forgot and I don't think anyone's really complaining. Or reading. But I'll see things how I wish to see them. In retrospect, six months later, all of the songs stand up, bar "Inspiration Island". Honestly, I just wanted to put Drapht in there, but realised all the songs I liked by him were singles, so just threw a random track in there. I'm not saying the tracks bad, but I think it doesn't quite deserve to stand amongst songs of such high a calibre. I called this post filler, but it really ended up being a hell of a lot more effort than a normal post, really. The tally at the bottom was way too optimistic, and I really shouldn't have bothered.
Post #3: Triple J Hottest 100 of 2007 Part 1 (Posted December 23rd, 2011)
I still feel a little guilty about this post. I mean, I'm perfectly aware no-one bar myself gives a shit, and it's not like I wrote ten words and gave up, but I still would like to go back and finish it one day. Yay, retcons! Yeah, if I fix it, that phrase will be gone too. And that one. And that one. I'll stop. I did go on holiday, as described, and didn't have internet access. By the time I got home, the library was on my back to return the CD, and I didn't really want to risk fines. I sort of forgot about it afterwards. Of the six songs I didn't cover, I'm only familiar with "Hang Me Out To Dry" by the Cold war Kids, which I really like, but can't actually say that much about off the top of my head, so you really aren't missing much. I still own my discman, although it's getting a little old, but I use an MP3 player just because it's lighter, has more storage, doesn't skip when I walk and the batteries are a hell of a lot easier to recharge. The content of the post is pretty much what I think now. I have a higher opinion of Bloc Party, a lower opinion (if that's possible) of Soko and now wince when I see that I attributed Chemical Heart to Gyroscope (I now know that it's by Grinspoon. To be fair, the names are pretty similar and Chemical Heart doesn't sound like many other Grinspoon tracks.) It's not an unforgivable mistake, but still a little embarrassing. Why don't I retcon it? Morality, or as I like to call it, laziness. I still don't get that fucking Salmon song. Were they actually trying to start a dance craze, or am I missing something?
Post #2: 3 Songs: Frank Sinatra vs. Noise Addict vs. Sam Cooke (Posted October 3rd, 2012)
I don't get why people liked this particular post. I like my writing, and sort of get why people would like my 3 Songs as a whole, but why this one? It's not the only time I mention Cooke or Sinatra, and I really don't think Noise Addict have that big a fan base. Whoever it was, I think I pissed them off, because my blog has had as little traffic as usual after that surge. I don't really have much to say about the post, as I wrote it about two weeks ago. If it's still one of my most popular next year (hoping I'll keep this going another year), I'll give it a good going over, with a little time between it and me, to make me feel safer from past me. I still like the SUBTLE LINK line.
Post #1: Top 5 Albums: Part 4 (Posted 22nd of July, 2012)
I really don't know why this single part of my Top 5 Albums saga is more popular than all the other posts in it combined. I don't know if the comment was due to the popularity or visa versa, but it doesn't really matter. I stand by everything mentioned here, especially about Jane Tyrrell releasing a solo album. She has talent, a great voice, a foot in the industry, experience and shares a surname with a character from a Shakespearean play. There is no reason this shouldn't happen. Also, every song she touches is magic. Only time will tell us what happens, I suppose. I realise in retrospect that I really need to break some of my rants into paragraphs, but the post consisting of a solid rant is sort of diminished in effect by breaking up the post into smaller paragraphs. I, again, don't have much to say about this post considering the fact it was only written a few months ago. One thing that stands out is the fact that I was still planning on putting "Lonely Avenue" by Ben Folds & Nick Hornby as my favourite, but a good listen changed my mind. It's weird how that happens, but I still say the album is fantastic. Paul Kelly's "Deeper Water" is just a considerable bit better. Also, the answer to the question at the end of the post is Hole, the Courtney Love fronted band. I bought "Celebrity Skin" on special, but this fact has been rendered redundant by my very ill-advised purchase of a Hoobastank album, which I regret beyond words. The comment I had on this post is the second ever received in this blog, and I really don't get it. This blog is clearly default settings. I think that's pretty obvious. If I had done something specifically for this blog, there would be a little Red Television logo, no birds and just a different style. The fact that Blogger classified this as spam saddened me a bit. I don't know if it is or not, but feel free to spam what you like here. If I don't mind it, it can stay.
I don't know if this is how I'll celebrate next year, but it probably depends on whether or not the most viewed posts have changed significantly. I'll probably have new things to say, even if they haven't, but I'll see if I have any better ideas, or if any better ideas are volunteered. I hope everyone reading enjoyed this brief look back, and hope everyone has enjoyed the previous year. I've had a hell of a lot of fun, and don't plan on stopping my reviewing any time soon.
Feedback is very welcome, and I always love hearing from people, even if they have nothing to say.
H. Rourke: One year and counting, my friends.
Sunday, 14 October 2012
Top 5 Songs
Well, I was trying to think of what would be a good first anniversary celebration post, and this was my second best idea, so I decided to commemorate the end of the post-a-day period with something special.
To start off with, these songs are probably not going to be my all time favourites. I'm certain that whatever I write here I will think otherwise within 24 hours, so this is my Top 5 Songs on October 14th, 2012, nothing more nothing less.
A clause I've given myself to prevent repetition is that none of these songs can be from albums in my Top 5, just for the sake of talking about new music. So what's on the list?
Song #5: Sunset by Powderfinger (Vulture Street, 2003, Track 6)
I'm not actually going to talk about what I like about each of these songs so much as how I found out about them. This track was on a hits CD someone gave me once, one of these "Now" or "Fresh" albums. Overall, I'm not a big fan of them, as just so much of them consist of lousy pop, but occasionally there are little gems like this. By 2003 or 04 or whenever it was, I had clearly heard some of Powderfinger's work but nothing had struck me as much as this track. I don't doubt that I've heard a lot of Powderfinger at least as good as this song, but this was the first, and that means a lot to me. The lyrics are pretty good, basically saying "pull your bloody head in, you idiot", which is a good moral for many songs.
Song #4: Sad Rude Future Dude by Ball Park Music (Happiness and Surrounding Suburbs, 2011, Track 3)
I originally became interested in Ball Park Music after hearing this song on Triple J one day. Although I'd heard iFly and wasn't overly impressed, this made me think again, and Rich People Are Stupid made me pick up the album, if only to say that I owned an album containing a song with that title. There isn't really a moral for this song, but it does basically discuss the increasing distance between people in the technological world we live in, and the lack of social skills people possess. This may or may not be the song which best describes me, although I'm sure there's something less sad that would do it. Maybe.
Song #3: The Angry Mob by The Kaiser Chiefs (Yours Truly, Angry Mob, 2007, Track 2)
Before I discuss this song, I need to point out that Wikipedia has a page called Angry Mob completely unrelated to this song. That is kind of awesome. Now, I first became familiar with Kaiser Chiefs with their to date most successful hit Ruby, which I liked the sound of, but the lyrics just sounded like rubbish, so I didn't really become fascinated by this group until this song came along. I just adore the imagery of this song, of a large group of people so easily controlled, yet unable to control itself. Kaiser Chiefs music has been called mindless pop, and I really disagree with that. Sure, every song might not be a mini-thesis, but they at least try to put a fair amount of thought into the majority of their songs.
Song #2: Now We Can See by The Thermals (Now We Can See, 2009, Track 4)
This song is just awesome. This has life, rage, frustration and fun all in one fantastic package. I know no-one who doesn't enjoy this song. I heard this song first, like so many others, on Triple J, and this is tragically the only Thermals song I've ever heard on the station. Anyway, this is the tune that eventually had me purchase two Thermals albums, and I haven't looked back for a second. If the group hadn't released this one, slightly different, song, I never would have been interested in their music. Thank God for odd choices.
Song #1: Army by Ben Folds Five (The Unauthorised Biography of Reinhold Messner, 1999, Track 6)
This song is the best track Ben Folds has ever made. This represents the best of his career. I'm not saying for a second that his career after 1999 was pointless, and he created many other excellent tracks, but this is my absolute favourite, due to the autobiographical content, sense of humour, fantastic use of instruments, wordplay and just the urge to learn the song off by heart that this song exudes. Now, I'd like to talk about Ben Folds albums. I love Reinhold Messner, but I'd have to put Ben Folds Five as the best Ben Folds album of all time. It just has a more cohesive, stronger sound. I first heard this song after beginning to research just who Folds was after hearing You Don't Know Me and Underground. Thank you, YouTube, for introducing me to BFF magic.
I apologise for a relatively brief post, but I have work to do. I promise a decent attempt to celebrate a year on Tuesday, and hope anyone reading had as much fun on the post-a-day as I did. Adios.
Feedback welcome.
H. Rourke
To start off with, these songs are probably not going to be my all time favourites. I'm certain that whatever I write here I will think otherwise within 24 hours, so this is my Top 5 Songs on October 14th, 2012, nothing more nothing less.
A clause I've given myself to prevent repetition is that none of these songs can be from albums in my Top 5, just for the sake of talking about new music. So what's on the list?
Song #5: Sunset by Powderfinger (Vulture Street, 2003, Track 6)
I'm not actually going to talk about what I like about each of these songs so much as how I found out about them. This track was on a hits CD someone gave me once, one of these "Now" or "Fresh" albums. Overall, I'm not a big fan of them, as just so much of them consist of lousy pop, but occasionally there are little gems like this. By 2003 or 04 or whenever it was, I had clearly heard some of Powderfinger's work but nothing had struck me as much as this track. I don't doubt that I've heard a lot of Powderfinger at least as good as this song, but this was the first, and that means a lot to me. The lyrics are pretty good, basically saying "pull your bloody head in, you idiot", which is a good moral for many songs.
Song #4: Sad Rude Future Dude by Ball Park Music (Happiness and Surrounding Suburbs, 2011, Track 3)
I originally became interested in Ball Park Music after hearing this song on Triple J one day. Although I'd heard iFly and wasn't overly impressed, this made me think again, and Rich People Are Stupid made me pick up the album, if only to say that I owned an album containing a song with that title. There isn't really a moral for this song, but it does basically discuss the increasing distance between people in the technological world we live in, and the lack of social skills people possess. This may or may not be the song which best describes me, although I'm sure there's something less sad that would do it. Maybe.
Song #3: The Angry Mob by The Kaiser Chiefs (Yours Truly, Angry Mob, 2007, Track 2)
Before I discuss this song, I need to point out that Wikipedia has a page called Angry Mob completely unrelated to this song. That is kind of awesome. Now, I first became familiar with Kaiser Chiefs with their to date most successful hit Ruby, which I liked the sound of, but the lyrics just sounded like rubbish, so I didn't really become fascinated by this group until this song came along. I just adore the imagery of this song, of a large group of people so easily controlled, yet unable to control itself. Kaiser Chiefs music has been called mindless pop, and I really disagree with that. Sure, every song might not be a mini-thesis, but they at least try to put a fair amount of thought into the majority of their songs.
Song #2: Now We Can See by The Thermals (Now We Can See, 2009, Track 4)
This song is just awesome. This has life, rage, frustration and fun all in one fantastic package. I know no-one who doesn't enjoy this song. I heard this song first, like so many others, on Triple J, and this is tragically the only Thermals song I've ever heard on the station. Anyway, this is the tune that eventually had me purchase two Thermals albums, and I haven't looked back for a second. If the group hadn't released this one, slightly different, song, I never would have been interested in their music. Thank God for odd choices.
Song #1: Army by Ben Folds Five (The Unauthorised Biography of Reinhold Messner, 1999, Track 6)
This song is the best track Ben Folds has ever made. This represents the best of his career. I'm not saying for a second that his career after 1999 was pointless, and he created many other excellent tracks, but this is my absolute favourite, due to the autobiographical content, sense of humour, fantastic use of instruments, wordplay and just the urge to learn the song off by heart that this song exudes. Now, I'd like to talk about Ben Folds albums. I love Reinhold Messner, but I'd have to put Ben Folds Five as the best Ben Folds album of all time. It just has a more cohesive, stronger sound. I first heard this song after beginning to research just who Folds was after hearing You Don't Know Me and Underground. Thank you, YouTube, for introducing me to BFF magic.
I apologise for a relatively brief post, but I have work to do. I promise a decent attempt to celebrate a year on Tuesday, and hope anyone reading had as much fun on the post-a-day as I did. Adios.
Feedback welcome.
H. Rourke
Saturday, 13 October 2012
3 Songs: Jet vs. Little Red vs. Katy Steele
All going to plan, I'm afraid tomorrow will be the last post-a-day for a while. I'll still try to post something over the weekends, probably more substantial than a 3 Songs, perhaps even an entire album review again. Hell, it's been a while. I'll probably return to post-a-day schedule in November or December with any luck, and I'd love any feedback for any things readers would like to see. Also, Red Television celebrates one fantastic year on the 16th, and I'm trying to work out something special to celebrate with. Ideas, again, would be incredibly welcome. If nearly three weeks of 3 Songs isn't a big enough hint, I'm pretty low on ideas. Also, 3 Songs are really easy to write and I'm lazy. Speaking of which:
Song #1: Put Your Money Where Your Mouth Is by Jet (Shine On, 2006, Track 3)
Jet. Okay, I can talk about Jet. Good old Aussie rock, without too much tacked on. This is one of the few groups I feel absolutely confident in saying "This is rock". There are probably some sub-genre's but fuck it. This is rock. How was I introduced to Jet? Well, they were everywhere. When? Always. This song, Are You Gonna Be My Girl?, Shine On, I swear there has never been a time when ads weren't using Jet material. I came across Get Born in the discount section of Flipside, and found Shine On in probably the same place, I don't quite remember. They weren't bad, but I haven't come across any other albums of theirs since. To be fair, I haven't specifically looked. A little bit of enjoyable, not exactly thought provoking Aussie rock. Now, I just want to have quick rant (an oxymoron if I ever heard one). Upon the release of this album, Shine On, an internet music-review site called Pitchfork Media "reviewed" this album, by putting a video of a monkey urinating in it's own mouth and nothing else beneath the title. That pisses me off. Firstly, I really don't get where the reviewer is coming from. Sure, Jet may not be everyone's cup of tea, but they're hardly the kind of group to incite this kind of reaction. Secondly, that is fucking lazy. There was literally no discussion of why the reviewer felt this reaction was appropriate. I get the imagery, this album is recycled, self-congratulatory and pretentious. Fine. Have that opinion. But at least explain why you have that opinion. Sure, with a lot of music I have noting to say and writing even a few sentences is tricky, but if writing about music is that god-damned hard for you, maybe music criticism should not be your field of work. Finally, and this is what really pisses me off, is how rude that is. Sure, any musician who puts their work up for public consumption is expected to deal with criticism, constructive or otherwise, but this is just being a lazy jerk. What gives you the right to dismiss someone else's hard work with such a throwaway, unimaginative act? Think of how any human being would feel if this was someone's response to their art? Fuck off, Pitchfork. Three other things I must acknowledge: Firstly, I know that I review music, and I may say some harsh things, but I at least attempt to justify why I feel the way I do about what I hear, even if I may not succeed. Secondly, I'm not just saying this because I like Jet. There is no musician I would support such an act against. Sure, there are a few I think the sentiment of, but I'd never do that as a response to their work. What confuses me a little is using Jet as the focus here. In regards to professional reviewers, few had problems with this album. This hardly feels like the universally panned album such a review would seem to be in response to. Finally, I'm aware that this happened 8 years ago, but I feel that time hardly makes any of my points less valid. Erm, sorry for that. Let's move on to the song.
Musically, this song has a hell of a lot of life. A good beat, some great guitar and drum work, all showing exactly why this was the lead single. This song is just plain fun, and no matter what some reviewers think, there will always be room for basic, near-generic music that is just a hell of a lot of fun to listen to. There aren't many elements of this song I can actually take out to talk about. Just... pretty damn good.
Vocally, I'm not quite sure what's going on. Is the loud voice and the quiet voice the same person? I'm not sure, but I'm going to proceed as if they are both Cester. If so, that bloke clearly has a great vocal range. OK, now Cester is hardly the greatest singer of all time, but he does exactly what he needs to. The voice during the verses is a little irritating, but not unlistenably so, and is more than made up for in the chorus, when Cester's voice is absolutely ideal for the kind of music he's making, matching the guitar screaming away in the background perfectly. Also, I must say that the backing vocals are great, adding a lot to Cester's performance. I can't imagine the song without them.
Lyrically, I just don't get it. I've read and heard the lyrics to many times to contemplate and I don't know what the fuck Jet is saying. I imagine it's about a girl, because it's a rock song, and that the girl is hard to get, as the chorus seems to be a challenge. Beyond that... there is little. Okay, I think this was sort of meant to be full of clever word play and fun imagery about a woman and trying to pick her up but the whole thing just comes off as hard to follow. I could be completely wrong. It might have been written to be hard to follow, in which case Jet has succeeded. The lyrics probably aren't as incomprehensible as I'm making them out to be, but anything containing the lyric "ya" just turns my brains off.
Song #2: Going Wrong by Little Red (Midnight Remember, 2010, Track 12)
Well, Little Red. I wonder if every group here won't have been mentioned in previous posts. Anyway, I was introduced to Little Red with some of their 2008 hits like Witchdoctor and Coca-Cola, but really became interested with their song Rock It, although It's Alright is still my favourite track of theirs.
Now, this song is much slower than any Little Red songs I'm familiar with, and I had to check several times to make sure that the right artist was labelled, but I'm going to go with it. The music is slow and very, to be quite honest, uninteresting, but I really don't think that the music is really the draw of the song. The music just feels very sentimental and out-dated, which I think is what they were going for, but it doesn't really work.
The vocals. Who the hell is singing this? More importantly, why hasn't he been singing everything? Seriously, this guy's voice is magic, and as the almighty Wikipedia lists three vocalists, I have no idea who he is. But he should be everywhere. Deep, slow, smooth, in control and just fantastic. This guy's voice is legendary and I just adore it. The backing vocals are really good too, clearly trying to add to that older style.
Well, there are no written lyrics for this song, which is a pain in my arse, but I'll do my best. The song seems to be about a couple who has life made. Everything has been perfect, they have no reason to be unhappy, but for some reason they have problems, and the entire song is Mr. Magic-Voice trying to work out what the hell happened between the two of them. A simple story, but one which really reflects the older musical style.
Song #3; Most Wanted Man In The World by Katy Steele (Before Too Long CD 2, 2009, Track 7)
Okay, this is another cover, and I'm familiar with the original, so this is going to be interesting. Katy Steele is the lead vocalist of Little Birdy, who I enjoy but am not overly familiar with.
Musically, this song is very slow, although this cover feels slightly faster than the original, which I enjoy. I can quite remember if the piano is in the original, but it really gives this song a bit of life, which it really needs. When the trumpets kick in, this song really comes to life though, and I have to pick this song over the original.
In regards to vocalists, I've mentioned my preference for female vocalists before, but I can't really profess any real liking for Steele. She's a little bit too loud, a little melodramatic and really draws out every bloody note. However, that is pretty much exactly how this song should be performed, and she does a great job with it. In comparison with Kelly, though, it really comes down to understated or over the top. Which is you preference? Overall, I like Kelly's quieter approach to most of his songs, but this song is very slow and his slower approach really bogs it down for me. I've got to pick Steele here, but it really boils down to which end of the spectrum you prefer.
Lyrically, this song is the same except for the fact that the genders are changed (yes, I'm aware the song should be called Most Wanted Woman, but the CD remains the same as Kelly's version, and I figured if I changed it Kelly fans might not have realised it was a cover straight away). Clearly, gender reversal, like in most songs, has no impact on the plot of the song. The lyrics are pretty dull, and this is not one of Kelly's greatest in my opinion. Man is sad, dull and far too human. Pretty girl make sad man feel better. Yay! Yeah, it might have a lot of emotion behind it, but I always just found it sort of dull. Each to their own though, I suppose.
Overall:
Musically, I have to give this one to Jet, as they just sound like they're having fun making a fun sounding song. Fun! Steele gets runner up, as she gave a little bit of new life into a song which was pretty much completely stale to me from the start. Little Red just sounds so old, and really not in a good way.
Vocally, Little Red wins hands down. I love the sound of that guy's voice, and if anyone could shed some light on who that is, or what other groups he has done vocals for, I would really, really, really appreciate it. It's a tricky one for runner-up, but I've got to give it to Jet. Their vocals match the music ideally, and even though they sound a little strange in the verses, it's not a big thing. I have no real problem with Steele, and if I ever see a Little Birdy album at a good price I'll pick it up, but she isn't really my kind of singer. I have no negative things to say, and she sounds like she's giving the song a good burl, but her voice just isn't for me.
Lyrically, I can't really say much about any of these songs. Really, it's a tie between Kelly and Red. I'm going to have to go with Kelly... because he's Kelly. Although both songs are about relationships, and Kelly is actually being the more cliche, he manages to give the most life to the characters. Little Red is still pretty good, though. Jet? I don't know what the hell they were talking about, and I can't really judge on what I can't understand.
Winners:
On my scales, all of these songs are completely tied. Really, all have one win and one runner-up. I feel that all of these songs are bloody good on their own, and all represent the cream of the Australian crop. None of these artists (bar Kelly's lyrics) have appeared on my blog before, and they all deserve equal attention. I declare no winner.
Feedback welcome.
H. Rourke
Song #1: Put Your Money Where Your Mouth Is by Jet (Shine On, 2006, Track 3)
Jet. Okay, I can talk about Jet. Good old Aussie rock, without too much tacked on. This is one of the few groups I feel absolutely confident in saying "This is rock". There are probably some sub-genre's but fuck it. This is rock. How was I introduced to Jet? Well, they were everywhere. When? Always. This song, Are You Gonna Be My Girl?, Shine On, I swear there has never been a time when ads weren't using Jet material. I came across Get Born in the discount section of Flipside, and found Shine On in probably the same place, I don't quite remember. They weren't bad, but I haven't come across any other albums of theirs since. To be fair, I haven't specifically looked. A little bit of enjoyable, not exactly thought provoking Aussie rock. Now, I just want to have quick rant (an oxymoron if I ever heard one). Upon the release of this album, Shine On, an internet music-review site called Pitchfork Media "reviewed" this album, by putting a video of a monkey urinating in it's own mouth and nothing else beneath the title. That pisses me off. Firstly, I really don't get where the reviewer is coming from. Sure, Jet may not be everyone's cup of tea, but they're hardly the kind of group to incite this kind of reaction. Secondly, that is fucking lazy. There was literally no discussion of why the reviewer felt this reaction was appropriate. I get the imagery, this album is recycled, self-congratulatory and pretentious. Fine. Have that opinion. But at least explain why you have that opinion. Sure, with a lot of music I have noting to say and writing even a few sentences is tricky, but if writing about music is that god-damned hard for you, maybe music criticism should not be your field of work. Finally, and this is what really pisses me off, is how rude that is. Sure, any musician who puts their work up for public consumption is expected to deal with criticism, constructive or otherwise, but this is just being a lazy jerk. What gives you the right to dismiss someone else's hard work with such a throwaway, unimaginative act? Think of how any human being would feel if this was someone's response to their art? Fuck off, Pitchfork. Three other things I must acknowledge: Firstly, I know that I review music, and I may say some harsh things, but I at least attempt to justify why I feel the way I do about what I hear, even if I may not succeed. Secondly, I'm not just saying this because I like Jet. There is no musician I would support such an act against. Sure, there are a few I think the sentiment of, but I'd never do that as a response to their work. What confuses me a little is using Jet as the focus here. In regards to professional reviewers, few had problems with this album. This hardly feels like the universally panned album such a review would seem to be in response to. Finally, I'm aware that this happened 8 years ago, but I feel that time hardly makes any of my points less valid. Erm, sorry for that. Let's move on to the song.
Musically, this song has a hell of a lot of life. A good beat, some great guitar and drum work, all showing exactly why this was the lead single. This song is just plain fun, and no matter what some reviewers think, there will always be room for basic, near-generic music that is just a hell of a lot of fun to listen to. There aren't many elements of this song I can actually take out to talk about. Just... pretty damn good.
Vocally, I'm not quite sure what's going on. Is the loud voice and the quiet voice the same person? I'm not sure, but I'm going to proceed as if they are both Cester. If so, that bloke clearly has a great vocal range. OK, now Cester is hardly the greatest singer of all time, but he does exactly what he needs to. The voice during the verses is a little irritating, but not unlistenably so, and is more than made up for in the chorus, when Cester's voice is absolutely ideal for the kind of music he's making, matching the guitar screaming away in the background perfectly. Also, I must say that the backing vocals are great, adding a lot to Cester's performance. I can't imagine the song without them.
Lyrically, I just don't get it. I've read and heard the lyrics to many times to contemplate and I don't know what the fuck Jet is saying. I imagine it's about a girl, because it's a rock song, and that the girl is hard to get, as the chorus seems to be a challenge. Beyond that... there is little. Okay, I think this was sort of meant to be full of clever word play and fun imagery about a woman and trying to pick her up but the whole thing just comes off as hard to follow. I could be completely wrong. It might have been written to be hard to follow, in which case Jet has succeeded. The lyrics probably aren't as incomprehensible as I'm making them out to be, but anything containing the lyric "ya" just turns my brains off.
Song #2: Going Wrong by Little Red (Midnight Remember, 2010, Track 12)
Well, Little Red. I wonder if every group here won't have been mentioned in previous posts. Anyway, I was introduced to Little Red with some of their 2008 hits like Witchdoctor and Coca-Cola, but really became interested with their song Rock It, although It's Alright is still my favourite track of theirs.
Now, this song is much slower than any Little Red songs I'm familiar with, and I had to check several times to make sure that the right artist was labelled, but I'm going to go with it. The music is slow and very, to be quite honest, uninteresting, but I really don't think that the music is really the draw of the song. The music just feels very sentimental and out-dated, which I think is what they were going for, but it doesn't really work.
The vocals. Who the hell is singing this? More importantly, why hasn't he been singing everything? Seriously, this guy's voice is magic, and as the almighty Wikipedia lists three vocalists, I have no idea who he is. But he should be everywhere. Deep, slow, smooth, in control and just fantastic. This guy's voice is legendary and I just adore it. The backing vocals are really good too, clearly trying to add to that older style.
Well, there are no written lyrics for this song, which is a pain in my arse, but I'll do my best. The song seems to be about a couple who has life made. Everything has been perfect, they have no reason to be unhappy, but for some reason they have problems, and the entire song is Mr. Magic-Voice trying to work out what the hell happened between the two of them. A simple story, but one which really reflects the older musical style.
Song #3; Most Wanted Man In The World by Katy Steele (Before Too Long CD 2, 2009, Track 7)
Okay, this is another cover, and I'm familiar with the original, so this is going to be interesting. Katy Steele is the lead vocalist of Little Birdy, who I enjoy but am not overly familiar with.
Musically, this song is very slow, although this cover feels slightly faster than the original, which I enjoy. I can quite remember if the piano is in the original, but it really gives this song a bit of life, which it really needs. When the trumpets kick in, this song really comes to life though, and I have to pick this song over the original.
In regards to vocalists, I've mentioned my preference for female vocalists before, but I can't really profess any real liking for Steele. She's a little bit too loud, a little melodramatic and really draws out every bloody note. However, that is pretty much exactly how this song should be performed, and she does a great job with it. In comparison with Kelly, though, it really comes down to understated or over the top. Which is you preference? Overall, I like Kelly's quieter approach to most of his songs, but this song is very slow and his slower approach really bogs it down for me. I've got to pick Steele here, but it really boils down to which end of the spectrum you prefer.
Lyrically, this song is the same except for the fact that the genders are changed (yes, I'm aware the song should be called Most Wanted Woman, but the CD remains the same as Kelly's version, and I figured if I changed it Kelly fans might not have realised it was a cover straight away). Clearly, gender reversal, like in most songs, has no impact on the plot of the song. The lyrics are pretty dull, and this is not one of Kelly's greatest in my opinion. Man is sad, dull and far too human. Pretty girl make sad man feel better. Yay! Yeah, it might have a lot of emotion behind it, but I always just found it sort of dull. Each to their own though, I suppose.
Overall:
Musically, I have to give this one to Jet, as they just sound like they're having fun making a fun sounding song. Fun! Steele gets runner up, as she gave a little bit of new life into a song which was pretty much completely stale to me from the start. Little Red just sounds so old, and really not in a good way.
Vocally, Little Red wins hands down. I love the sound of that guy's voice, and if anyone could shed some light on who that is, or what other groups he has done vocals for, I would really, really, really appreciate it. It's a tricky one for runner-up, but I've got to give it to Jet. Their vocals match the music ideally, and even though they sound a little strange in the verses, it's not a big thing. I have no real problem with Steele, and if I ever see a Little Birdy album at a good price I'll pick it up, but she isn't really my kind of singer. I have no negative things to say, and she sounds like she's giving the song a good burl, but her voice just isn't for me.
Lyrically, I can't really say much about any of these songs. Really, it's a tie between Kelly and Red. I'm going to have to go with Kelly... because he's Kelly. Although both songs are about relationships, and Kelly is actually being the more cliche, he manages to give the most life to the characters. Little Red is still pretty good, though. Jet? I don't know what the hell they were talking about, and I can't really judge on what I can't understand.
Winners:
On my scales, all of these songs are completely tied. Really, all have one win and one runner-up. I feel that all of these songs are bloody good on their own, and all represent the cream of the Australian crop. None of these artists (bar Kelly's lyrics) have appeared on my blog before, and they all deserve equal attention. I declare no winner.
Feedback welcome.
H. Rourke
Friday, 12 October 2012
3 Songs: The Beatles vs. Green Day vs. Pomplamoose
Well, back to what I do best. Don't laugh.
Song #1: The Night Before by The Beatles (Help!, 1965, Track 2)
Well, I needed a group slightly older and slightly more famous than The Kinks to review. Why not The Beatles? This is going to be fun...
Musically, this song is nothing special for The Beatles. There's a reliable but simple drum beat, a guitar playing along. Really, nothing that impressive. The tune is pretty much Beatles classic, but nothing groundbreaking.
Vocally, what can I say? McCartney is neither particularly good or bad here. Honestly, this is one of the most bloody average songs I've ever had to review. Sure, it's decent, but not good enough to discuss in depth and it's not nearly bad enough to rant about. It's just freaking average.
Lyrically, this song is not good and not bad. The averageness is killing me. Well, this couple parted ways after a night together and upon meeting up, the woman is acting differently. Differently how? I don't know. This song is so bloody vague. I understand the sentiment, that the good times they had will be remembered even though they no longer really get along, but I just really come up with anything to say. OK, enough with the blandness. I really don't like comparing things to the Beatles because they are really the band that springs to mind when I think "beyond criticism". I don't mean that they're perfect, they aren't, but that people put them on a pedestal.
Song #2: Sweet 16 by Green Day (¡Uno!, 2012, Track 10)
Musically, this song seems a little bit slower than the majority of this album and I'd even go so far as to call it sentimental. Compared to the rock sound, "slower" doesn't mean a slow song, just one with less of a driving drum beat, a quieter guitar and strange place between relaxed and upbeat.
Vocally, the sentimentality is really obvious. If I didn't know what this song was, I wouldn't have thought Armstrong until the chorus, at least. It's a pleasant change, and I think Armstrong definitely has the range to pull this kind of song off occasionally. I mean, it's hardly "The Luckiest", but it shows a little more (non-rage) emotion out of a band that doesn't seem to do that very often.
I have a question about this song. What does "Jane Street" mean? Is it a well known location or just something Green Day invented? It probably means nothing to the lyrics but I'm curious. Anyway, the song is pretty basic. The narrator missed the past, will always remember his sweetheart when she was 16.. or he was 16... or both or something like that. I think there's also a mention of how kids will always have this kind of romance. To be perfectly honest, this song doesn't give a very cohesive story. There are only two verses, which just describe a character... or two different characters, I don't know, without actually saying much about them. To be perfectly honest, you don't really need a plot. The title says it all, although I was hoping Green Day would subvert it somehow. Meh. A little bit of sincerity never hurt anyone.
Song #3: Makin' Out by Pomplamoose (Tribute to Famous People, 2010(?), Track 8)
First things first, this song is a cover (as the album title may suggest). The original song was by a man named Mark Owen. Never heard of him, or the original version of my song, so his version will not be mentioned here. If anyone has gone to the trouble of hearing both versions and one is clearly superior, please tell me why in the comments. Now, I don't think I've mentioned Pomplamoose before, and they deserve a look at. My introduction to the group came from their involvement with Ben Folds in the YouTube videosong Things You Think. A quick tally of all the artists I've been introduced to by being a fan of Ben Folds:
Regina Spektor (Collaboration)
The Clash (Cover)
Pomplamoose (Collaboration)
Nick Hornby (Collaboration. Yeah, he isn't a singer, but so what?)
William Shatner (Collaboration with Fear of Pop)
Fear of Pop (Side-Project)
8in8 (Side-Project)
Elliott Smith (Inspiration for "Late")
Among others. Is still hold my experiences with Shatner's "music" career against him. Anyway, I became much more interested in Pomplamoose after Nash from TGWTG.com devoted an episode of "The Music Chair" to Pomplamoose (Nash is the same guy who introduced me to Jonathan Coulton). Honestly, they had me at the gratuitous faux-French name. I do like French, especially gratuitously.
Musically, this song is very stripped back. Although I know Pomplamoose can do much more elaborate songs musically, it is clear the vocals are the main draw here. At times the music quietly bumbling along in the background just sounds unnecessary. Seriously, Dawn's vocals can hold up a song on their own. Why the music?
Vocally, as previously stated, Dawn's vocals are good. In this song she seems to be rather wavering, but I feel this is to stay more in touch with the lyrics of the song and the overall tone rather than a reflection on Dawn's style. At points there is a strange echo effect (actually, it might always be there, but it is more prominent here and there), which normally would be used to emphasise a strong vocal delivery, and just feels misused in this song. This is one of those situations where I feel I need to re-emphasise that I am not a musician and judge these things with no authority, just the textbook definition of an uninformed opinion. Although, to be fair to reader's intelligence, you probably realise that by this point in the post.
The lyrics to this song compared to the vocal delivery confuses me a little, and I think a knowledge of the original would assist that, but I'm not going to bother. My internet is a little bit shit, and I don't want to watch any YouTube I don't have to for the next 2 years or so. God-damn TPG. Anyway, the song is about a woman in a relationship with an absolute arsehole, at least by the lyrics. Sure, the couple seems happy enough, but the partner just keeps telling the woman to shut up. Add to this a vocal delivery much more relevant for a soppy love song, and I really start to wonder what the dynamic between the two is. To bring this wondering to a head, consider the lyric "You'll be the one that knocks the man out I was beating up" and I really would like to know what the two are doing in their free time. Anyway, the lyrics are quirky enough, if not a little strange, and certainly leave a lot of questions, many of which I feel are deliberate. Hear that, majority of music I whine about? Deliberately leaving me confused. Remember that line for the next interview, It'll shut someone up.
Overall:
Musically, this s too easy. Green Day, without a doubt. I like The Beatles and Pomplamoose, but Green Day is closer to my preferred genres. On top of that this particular Beatles song was so bloody dull, and the Pomplamoose song was pretty much music-free. I've got to give runner-up to The Beatles.
Vocally, another easy pick. Dawn of Pomplamoose is the clear winner, and this may have something to do with my natural preference for female vocalists, but I stand by the choice anyway. The runner-up is McCartney again, as whenever Armstrong slows down his accent picks up, and I'm not a big fan of it.
Lyrically, Makin' Out is the clear winner, as it held my attention for an entire song, which is an entire song longer than either of the others. The problem with both of the other songs is that they leave so much up to guesswork. Who? What? Why? When? Not so much how, but all the W's. I guess I'm going to have to go for Sweet 16, as the word count for my discussion of it is slightly longer than Song #1. Both redefined the concept of blandness. Congratulations.
Winners:
1. Makin' Out by Pomplamoose (originally by Mark Owen)
2. Sweet 16 by Green Day
3. The Night Before by The Beatles
There are no more words but for: Meh. Also: NO KINKS!
Feedback welcome.
H. Rourke
Song #1: The Night Before by The Beatles (Help!, 1965, Track 2)
Well, I needed a group slightly older and slightly more famous than The Kinks to review. Why not The Beatles? This is going to be fun...
Musically, this song is nothing special for The Beatles. There's a reliable but simple drum beat, a guitar playing along. Really, nothing that impressive. The tune is pretty much Beatles classic, but nothing groundbreaking.
Vocally, what can I say? McCartney is neither particularly good or bad here. Honestly, this is one of the most bloody average songs I've ever had to review. Sure, it's decent, but not good enough to discuss in depth and it's not nearly bad enough to rant about. It's just freaking average.
Lyrically, this song is not good and not bad. The averageness is killing me. Well, this couple parted ways after a night together and upon meeting up, the woman is acting differently. Differently how? I don't know. This song is so bloody vague. I understand the sentiment, that the good times they had will be remembered even though they no longer really get along, but I just really come up with anything to say. OK, enough with the blandness. I really don't like comparing things to the Beatles because they are really the band that springs to mind when I think "beyond criticism". I don't mean that they're perfect, they aren't, but that people put them on a pedestal.
Song #2: Sweet 16 by Green Day (¡Uno!, 2012, Track 10)
Musically, this song seems a little bit slower than the majority of this album and I'd even go so far as to call it sentimental. Compared to the rock sound, "slower" doesn't mean a slow song, just one with less of a driving drum beat, a quieter guitar and strange place between relaxed and upbeat.
Vocally, the sentimentality is really obvious. If I didn't know what this song was, I wouldn't have thought Armstrong until the chorus, at least. It's a pleasant change, and I think Armstrong definitely has the range to pull this kind of song off occasionally. I mean, it's hardly "The Luckiest", but it shows a little more (non-rage) emotion out of a band that doesn't seem to do that very often.
I have a question about this song. What does "Jane Street" mean? Is it a well known location or just something Green Day invented? It probably means nothing to the lyrics but I'm curious. Anyway, the song is pretty basic. The narrator missed the past, will always remember his sweetheart when she was 16.. or he was 16... or both or something like that. I think there's also a mention of how kids will always have this kind of romance. To be perfectly honest, this song doesn't give a very cohesive story. There are only two verses, which just describe a character... or two different characters, I don't know, without actually saying much about them. To be perfectly honest, you don't really need a plot. The title says it all, although I was hoping Green Day would subvert it somehow. Meh. A little bit of sincerity never hurt anyone.
Song #3: Makin' Out by Pomplamoose (Tribute to Famous People, 2010(?), Track 8)
First things first, this song is a cover (as the album title may suggest). The original song was by a man named Mark Owen. Never heard of him, or the original version of my song, so his version will not be mentioned here. If anyone has gone to the trouble of hearing both versions and one is clearly superior, please tell me why in the comments. Now, I don't think I've mentioned Pomplamoose before, and they deserve a look at. My introduction to the group came from their involvement with Ben Folds in the YouTube videosong Things You Think. A quick tally of all the artists I've been introduced to by being a fan of Ben Folds:
Regina Spektor (Collaboration)
The Clash (Cover)
Pomplamoose (Collaboration)
Nick Hornby (Collaboration. Yeah, he isn't a singer, but so what?)
William Shatner (Collaboration with Fear of Pop)
Fear of Pop (Side-Project)
8in8 (Side-Project)
Elliott Smith (Inspiration for "Late")
Among others. Is still hold my experiences with Shatner's "music" career against him. Anyway, I became much more interested in Pomplamoose after Nash from TGWTG.com devoted an episode of "The Music Chair" to Pomplamoose (Nash is the same guy who introduced me to Jonathan Coulton). Honestly, they had me at the gratuitous faux-French name. I do like French, especially gratuitously.
Musically, this song is very stripped back. Although I know Pomplamoose can do much more elaborate songs musically, it is clear the vocals are the main draw here. At times the music quietly bumbling along in the background just sounds unnecessary. Seriously, Dawn's vocals can hold up a song on their own. Why the music?
Vocally, as previously stated, Dawn's vocals are good. In this song she seems to be rather wavering, but I feel this is to stay more in touch with the lyrics of the song and the overall tone rather than a reflection on Dawn's style. At points there is a strange echo effect (actually, it might always be there, but it is more prominent here and there), which normally would be used to emphasise a strong vocal delivery, and just feels misused in this song. This is one of those situations where I feel I need to re-emphasise that I am not a musician and judge these things with no authority, just the textbook definition of an uninformed opinion. Although, to be fair to reader's intelligence, you probably realise that by this point in the post.
The lyrics to this song compared to the vocal delivery confuses me a little, and I think a knowledge of the original would assist that, but I'm not going to bother. My internet is a little bit shit, and I don't want to watch any YouTube I don't have to for the next 2 years or so. God-damn TPG. Anyway, the song is about a woman in a relationship with an absolute arsehole, at least by the lyrics. Sure, the couple seems happy enough, but the partner just keeps telling the woman to shut up. Add to this a vocal delivery much more relevant for a soppy love song, and I really start to wonder what the dynamic between the two is. To bring this wondering to a head, consider the lyric "You'll be the one that knocks the man out I was beating up" and I really would like to know what the two are doing in their free time. Anyway, the lyrics are quirky enough, if not a little strange, and certainly leave a lot of questions, many of which I feel are deliberate. Hear that, majority of music I whine about? Deliberately leaving me confused. Remember that line for the next interview, It'll shut someone up.
Overall:
Musically, this s too easy. Green Day, without a doubt. I like The Beatles and Pomplamoose, but Green Day is closer to my preferred genres. On top of that this particular Beatles song was so bloody dull, and the Pomplamoose song was pretty much music-free. I've got to give runner-up to The Beatles.
Vocally, another easy pick. Dawn of Pomplamoose is the clear winner, and this may have something to do with my natural preference for female vocalists, but I stand by the choice anyway. The runner-up is McCartney again, as whenever Armstrong slows down his accent picks up, and I'm not a big fan of it.
Lyrically, Makin' Out is the clear winner, as it held my attention for an entire song, which is an entire song longer than either of the others. The problem with both of the other songs is that they leave so much up to guesswork. Who? What? Why? When? Not so much how, but all the W's. I guess I'm going to have to go for Sweet 16, as the word count for my discussion of it is slightly longer than Song #1. Both redefined the concept of blandness. Congratulations.
Winners:
1. Makin' Out by Pomplamoose (originally by Mark Owen)
2. Sweet 16 by Green Day
3. The Night Before by The Beatles
There are no more words but for: Meh. Also: NO KINKS!
Feedback welcome.
H. Rourke
Thursday, 11 October 2012
Politics
Okay, the title of this post will give everything away. I'm going to talk about the upcoming local elections, and I'd like to talk about how I'm going to vote.
Now, this is in direct reference to the Canberra elections on the 20th of October, but also applies to the larger scale elections, whenever the hell those are. I'll try and keep this reasonably understandable for people from overseas.
There are three parties who have any kind of say in Australian politics: The Labor Party (centre-left), the Liberal Party (centre-right, in a coalition with the National Party) and the Greens (centre-left, but further left than Labor). The Greens are much smaller than the other two, but they are offering an increasingly appealing option.
I vote Greens. There. If you strongly disagree with that, fine. Feel free to tell me why, I don't mind. Hell, I'm the only person I know who votes Green and I can put up with a lot of criticism. The Greens do have shortcomings, sure, but politics in Australia revolves around the concept of voting for the people you hate the least, and I like many policies of the Greens. Now, let's talk a little about two of the criticisms I've heard about the Greens:
1. "They're a single-issue party."
They really aren't. Sure, as the name suggests, the Greens came into existence with the sole purpose of being an environmental movement, and a lot of that thought has been retained in modern policy. But just look at this page. Sure, there are a lot of environmentally focused policies, but the Greens also have some pretty simple ideas that should be passed. Gay marriage is a biggie, as well as the abolition of indefinite detention for asylum seekers. Sure, the Canberra election is not going to bring these things around, but it's a hell of a big step forward.
2. "They aren't doing anything different to the Labor Party."
Bullshit. This is just plain bullshit. OK, sure the Greens and Labor parties are the closest two parties in the political spectrum in Australia, but I swear, if Labor or Liberal parties get any more centrist, they're just going to sit around all day waiting for something to react to, or arguing that the other party is wrong merely because the other party thought of it first. Labor and the Greens have worked together, but the two are incredibly different, and the Greens have never been worried about pissing them off, so I have no hesitation in saying a vote for Labor is not a vote for the Greens under a different name.
Now, let me talk about why I like the Greens, without focusing on criticism:
1. They're something different.
The Liberals and Labor have been having a two-party pissing contest since 1946, and I'm getting bloody sick of it. I'm not saying that The Greens should have the balance of power, but more voices need to be heard than the two that keep shouting "Yes, we agree on this policy, but you guys suggested it, so it must be wrong." I think the need for a third ( a second voice, really) is what prompted the One Nation Party. Not familiar with it? Look it up. It's one of the top three most disgusting things that Australians have done, as long as I can cover a lot of incidents under the "racial discrimination" category. The Greens have fair policies, common sense for the most part, that is just simply not there. What more can I say?
2. The people.
The people in the Greens represent me. Sure, that sounds like something out of a brochure, but it's true. Unlike other parties, Greens politicians are generally young, passionate, caring, interesting and diverse. I really doubt there are many wealthy old white straight male former lawyers in The Greens, and I like the change of pace. It's only a small thing, but it says a lot.
3. Their approach.
Do you know what really makes me want to vote for someone? Childish name calling! That's right, Labor and Liberals, TV ads and pamphlets telling me how wrong everyone else is really makes me want to vote for you. Neither of the L parties are exactly excluded from this. but the Liberals are a hell of a lot worse. The reason I'm doing this post is because I honestly received a pamphlet from the Liberals which was 6 pages of telling me "Those other parties are all wrong, but we'll do it right. They're doing this, this and this wrong. Vote Seselja." without actually putting forward the smallest piece of Liberal policy for changing it. Actually, I lie. One of the pages was just a big picture of Sesilja and a happy family smiling. Much better. The Greens, as far as I can tell, have a complete aversion to attack ads, which is the reason I will vote for them until the day I die, as long as that policy continues. Because the people running my city or my country should NOT think calling people names will get the elected. Actually, that would explain quite a lot about our foreign policy under the Liberals: Call everyone names, then lie back and think of America. Cheers, Howard.
Anyway, Canberra, vote Rattenbury, Le Couteur, Kerlin and Siddle on October 20th. Cheers for reading.
Now, this is in direct reference to the Canberra elections on the 20th of October, but also applies to the larger scale elections, whenever the hell those are. I'll try and keep this reasonably understandable for people from overseas.
There are three parties who have any kind of say in Australian politics: The Labor Party (centre-left), the Liberal Party (centre-right, in a coalition with the National Party) and the Greens (centre-left, but further left than Labor). The Greens are much smaller than the other two, but they are offering an increasingly appealing option.
I vote Greens. There. If you strongly disagree with that, fine. Feel free to tell me why, I don't mind. Hell, I'm the only person I know who votes Green and I can put up with a lot of criticism. The Greens do have shortcomings, sure, but politics in Australia revolves around the concept of voting for the people you hate the least, and I like many policies of the Greens. Now, let's talk a little about two of the criticisms I've heard about the Greens:
1. "They're a single-issue party."
They really aren't. Sure, as the name suggests, the Greens came into existence with the sole purpose of being an environmental movement, and a lot of that thought has been retained in modern policy. But just look at this page. Sure, there are a lot of environmentally focused policies, but the Greens also have some pretty simple ideas that should be passed. Gay marriage is a biggie, as well as the abolition of indefinite detention for asylum seekers. Sure, the Canberra election is not going to bring these things around, but it's a hell of a big step forward.
2. "They aren't doing anything different to the Labor Party."
Bullshit. This is just plain bullshit. OK, sure the Greens and Labor parties are the closest two parties in the political spectrum in Australia, but I swear, if Labor or Liberal parties get any more centrist, they're just going to sit around all day waiting for something to react to, or arguing that the other party is wrong merely because the other party thought of it first. Labor and the Greens have worked together, but the two are incredibly different, and the Greens have never been worried about pissing them off, so I have no hesitation in saying a vote for Labor is not a vote for the Greens under a different name.
Now, let me talk about why I like the Greens, without focusing on criticism:
1. They're something different.
The Liberals and Labor have been having a two-party pissing contest since 1946, and I'm getting bloody sick of it. I'm not saying that The Greens should have the balance of power, but more voices need to be heard than the two that keep shouting "Yes, we agree on this policy, but you guys suggested it, so it must be wrong." I think the need for a third ( a second voice, really) is what prompted the One Nation Party. Not familiar with it? Look it up. It's one of the top three most disgusting things that Australians have done, as long as I can cover a lot of incidents under the "racial discrimination" category. The Greens have fair policies, common sense for the most part, that is just simply not there. What more can I say?
2. The people.
The people in the Greens represent me. Sure, that sounds like something out of a brochure, but it's true. Unlike other parties, Greens politicians are generally young, passionate, caring, interesting and diverse. I really doubt there are many wealthy old white straight male former lawyers in The Greens, and I like the change of pace. It's only a small thing, but it says a lot.
3. Their approach.
Do you know what really makes me want to vote for someone? Childish name calling! That's right, Labor and Liberals, TV ads and pamphlets telling me how wrong everyone else is really makes me want to vote for you. Neither of the L parties are exactly excluded from this. but the Liberals are a hell of a lot worse. The reason I'm doing this post is because I honestly received a pamphlet from the Liberals which was 6 pages of telling me "Those other parties are all wrong, but we'll do it right. They're doing this, this and this wrong. Vote Seselja." without actually putting forward the smallest piece of Liberal policy for changing it. Actually, I lie. One of the pages was just a big picture of Sesilja and a happy family smiling. Much better. The Greens, as far as I can tell, have a complete aversion to attack ads, which is the reason I will vote for them until the day I die, as long as that policy continues. Because the people running my city or my country should NOT think calling people names will get the elected. Actually, that would explain quite a lot about our foreign policy under the Liberals: Call everyone names, then lie back and think of America. Cheers, Howard.
Anyway, Canberra, vote Rattenbury, Le Couteur, Kerlin and Siddle on October 20th. Cheers for reading.
Wednesday, 10 October 2012
3 Songs: The Kinks vs. Green Day vs. Monk Turner + Fascinoma
Kinks, anyone?
Song #1: One Of The Survivors by The Kinks (Preservation Act 1, 1973, Track 6)
Yeah. More Kinks. Sorta getting sick of talking about them by this stage.
Musically, this song is pretty good. In the early 70's, the Kinks entered their awesome melodramatic, camp song era, but this song still has a lot of the rock 'n' roll The Kinks had started out with layered through it. Lively enough, but nothing that special.
Vocally, this song is fine, but I absolutely swear that Davies puts on an American accent at one stage, which is hilarious, horrible, awesome and sad all at the same time. The vocals are fun, alive, not too serious (as that has been a serious problem in the past) and just rock. I really like how Davies sung this song exactly as I feel it should be heard; fun, but not zany, a good song but not pretentious. A bit of fun, and well sung.
The lyrics of this song tell the story of Johnny Thunder (apparently of no connection with the singer) who, although ageing, is still trying to live like a teenager in the 50's, listening to that era's music and riding his motorbike. To be perfectly honest, he's not that out of fashion, at least not as much as the music portrays him. Sure, 20 years out of date. It's not like he's living in the 2010's and is...talking about....music..from...1973... I think we're done here. The lyrics are fun, paint a picture of an interesting character and just don't take themselves too seriously.
Song #2: Let Yourself Go by Green Day (¡Uno!, 2012, Track 4)
Now, I'm pretty sure this is the first real mention of Green Day on this blog outside of comparison to Good Charlotte, so I'll take a moment to talk about what I think of them. Like most of the world who weren't familiar with Good Riddance (The Time of Your Life), I was introduced to Green Day with the song American Idiot, which was enjoyably angry and anti-American during a period (i.e. the reign of Bush Jr. and his irritating imitator, John Howard) when many people weren't very happy with America. I honestly don't know if that song would have been as popular during Obama's leadership but that's another story, isn't it? I bought a few of their albums, and currently own Warning, Nimrod, American Idiot and 21st Century Breakdown, of which the unpopular "Warning" is the absolute stand-out. Now, I've heard a lot of criticism of Green Day, a large amount stemming from people's whose opinions I respect, centring around a lack of originality. This really doesn't bother me, possibly due to absolute love of cover versions of songs. If a band can do it well, it doesn't really matter to me if they were the first. I know that's a pretty self-centred view of the matter, but as long as their not breaking the law or being boring, I don't mind.
Musically, this song is just fun. In fact, that would summarise this entire album, pretty much (don't expect me to use the name of this album. That upside down ! is a pain in the arse). A pounding guitar and drum combo, assisted by the vocals of (a 40 year old?!) Billie Joe Armstrong. I like the fact this album is a return to the one-off tracks, no large story, allowing each track to be much simpler, and having a much more individual style. Fast paced and fun. That sums this song up perfectly.
Vocally, Armstrong is a great singer, and is the most heavily accented singer I have ever heard who is not from Europe. He sounds young, passionate and somewhere between Plan B and Zack de la Rocha on the sounding pissed off scale, so enjoyably so. He's honestly had better songs that suit his voice, but he seems to be having some fun here, and that's worth something. I do like the "shut the fuck up" heard faintly in the background at some stage.
Lyrically, this song is pretty damn basic. The individual described in the song tells lies, complains and insults people and should just shut the hell up. I don't get the title. The only context for "Let Yourself Go" I've heard is in context to physical appearance, rather than in reference to noisy and irritating people. Meh. In comparison to all those songs which have tried to weave stories and only left me with questions and/or disappointment, this is an enjoyable change of pace.
Song #3: Trust (Is Just A Word) by Monk Turner + Fascinoma (Emergency Songs, 2011, Track 3)
If this review interests you, grab this song here... or near here. It's the right site, I just can't find a plainly labelled download button. Play around a bit, you'll get it, I'm sure.
Musically, this song is awesome. I can't say much about Mr Turner or his Fascinoma, as I really just got bored one night and downloaded some free music. That is exactly the reason I now have more Serbian jazz on my computer than I knew existed. I like the previously linked site way too much, but it doesn't provide much information, mainly as the majority of the artists are pretty small-time. I know Turner is from L.A. and... that's it really. Never mind. Anyway, the music for this song is strange from a commentary standpoint. I wouldn't call it up-beat, but it stops short of laid-back, so somewhere in between, good for relaxing without being tempted to fall asleep. A good tune. The saxophone is put to great use, as is the piano. Pretty damn good.
The vocals for this song are by a woman named Alanna Lin, the vocalist for Fascinoma. She has a really pleasant voice, and I can easily draw a link between this and some of Sia's poppier tunes, but the voice lacks some of the strength or that ridiculous accent Sia puts on whilst singing sometimes. As for the actual performance, I'm not well-versed in Lin's discography, so I can't say much in comparison, but the vocals match the music pretty well. They aren't too serious or invested in what sounds like a pretty chilled track, so everything's pretty good here.
The lyrics for this song present a small problem for me. The artists behind this song are not very well known (as the whole "free download" may suggest) so the lyrics aren't online anywhere, meaning I have to actually listen to them. If I misinterpret anything, at least there are no rabid fans waiting to rip me to shreds, but still... Anyway, I think the whole point of the song is basically the narrator saying that someone else's words mean nothing, as they are either manipulative or unreliable, or possibly just both. All three elements of this song are really inoffensive, which does a little damage to the lyrics, but makes the music and vocals very listenable.
Overall:
Musically, I really enjoyed the first and third songs the most, and I'm going to have to give this one to Turner + Fascinoma, as they haven't been in every post for nearly a bloody week. The Kinks are a close second though, as I'm a sucker for old rock 'n' roll. Green Day's piece just doesn't cut it.
Vocally, I'm going to have to give this one to Lin. I do enjoy female vocalists very much, especially in more relaxed songs, and this track is still novel to me. After Lin, I'm going to have to give the runner-up to Armstrong, because his ridiculous American accent is legitimate.
Lyrically, I really couldn't call any of these three songs very good. The Kinks win, as they actually manage to describe an interesting character...and bring several realities to light. Honestly, I think the character in the last two songs may have been the same, especially considering both groups are from California. That's one of the small states, right? Anyway, I'm going to go with Lin again, as I know for a fact from Green Day's two god-damn rock operas that they can do much better.
Winners:
1. Truth (Is Just A Word) by Monk Turner +Fascinoma
2. One Of The Survivors by The Kinks
3. Let Yourself Go by Green Day
I do hope I have more of those small-time artists come up in this review format. They're normally really fun to talk about, as long as you can find information about them.
Feedback welcome.
H. Rourke.
Song #1: One Of The Survivors by The Kinks (Preservation Act 1, 1973, Track 6)
Yeah. More Kinks. Sorta getting sick of talking about them by this stage.
Musically, this song is pretty good. In the early 70's, the Kinks entered their awesome melodramatic, camp song era, but this song still has a lot of the rock 'n' roll The Kinks had started out with layered through it. Lively enough, but nothing that special.
Vocally, this song is fine, but I absolutely swear that Davies puts on an American accent at one stage, which is hilarious, horrible, awesome and sad all at the same time. The vocals are fun, alive, not too serious (as that has been a serious problem in the past) and just rock. I really like how Davies sung this song exactly as I feel it should be heard; fun, but not zany, a good song but not pretentious. A bit of fun, and well sung.
The lyrics of this song tell the story of Johnny Thunder (apparently of no connection with the singer) who, although ageing, is still trying to live like a teenager in the 50's, listening to that era's music and riding his motorbike. To be perfectly honest, he's not that out of fashion, at least not as much as the music portrays him. Sure, 20 years out of date. It's not like he's living in the 2010's and is...talking about....music..from...1973... I think we're done here. The lyrics are fun, paint a picture of an interesting character and just don't take themselves too seriously.
Song #2: Let Yourself Go by Green Day (¡Uno!, 2012, Track 4)
Now, I'm pretty sure this is the first real mention of Green Day on this blog outside of comparison to Good Charlotte, so I'll take a moment to talk about what I think of them. Like most of the world who weren't familiar with Good Riddance (The Time of Your Life), I was introduced to Green Day with the song American Idiot, which was enjoyably angry and anti-American during a period (i.e. the reign of Bush Jr. and his irritating imitator, John Howard) when many people weren't very happy with America. I honestly don't know if that song would have been as popular during Obama's leadership but that's another story, isn't it? I bought a few of their albums, and currently own Warning, Nimrod, American Idiot and 21st Century Breakdown, of which the unpopular "Warning" is the absolute stand-out. Now, I've heard a lot of criticism of Green Day, a large amount stemming from people's whose opinions I respect, centring around a lack of originality. This really doesn't bother me, possibly due to absolute love of cover versions of songs. If a band can do it well, it doesn't really matter to me if they were the first. I know that's a pretty self-centred view of the matter, but as long as their not breaking the law or being boring, I don't mind.
Musically, this song is just fun. In fact, that would summarise this entire album, pretty much (don't expect me to use the name of this album. That upside down ! is a pain in the arse). A pounding guitar and drum combo, assisted by the vocals of (a 40 year old?!) Billie Joe Armstrong. I like the fact this album is a return to the one-off tracks, no large story, allowing each track to be much simpler, and having a much more individual style. Fast paced and fun. That sums this song up perfectly.
Vocally, Armstrong is a great singer, and is the most heavily accented singer I have ever heard who is not from Europe. He sounds young, passionate and somewhere between Plan B and Zack de la Rocha on the sounding pissed off scale, so enjoyably so. He's honestly had better songs that suit his voice, but he seems to be having some fun here, and that's worth something. I do like the "shut the fuck up" heard faintly in the background at some stage.
Lyrically, this song is pretty damn basic. The individual described in the song tells lies, complains and insults people and should just shut the hell up. I don't get the title. The only context for "Let Yourself Go" I've heard is in context to physical appearance, rather than in reference to noisy and irritating people. Meh. In comparison to all those songs which have tried to weave stories and only left me with questions and/or disappointment, this is an enjoyable change of pace.
Song #3: Trust (Is Just A Word) by Monk Turner + Fascinoma (Emergency Songs, 2011, Track 3)
If this review interests you, grab this song here... or near here. It's the right site, I just can't find a plainly labelled download button. Play around a bit, you'll get it, I'm sure.
Musically, this song is awesome. I can't say much about Mr Turner or his Fascinoma, as I really just got bored one night and downloaded some free music. That is exactly the reason I now have more Serbian jazz on my computer than I knew existed. I like the previously linked site way too much, but it doesn't provide much information, mainly as the majority of the artists are pretty small-time. I know Turner is from L.A. and... that's it really. Never mind. Anyway, the music for this song is strange from a commentary standpoint. I wouldn't call it up-beat, but it stops short of laid-back, so somewhere in between, good for relaxing without being tempted to fall asleep. A good tune. The saxophone is put to great use, as is the piano. Pretty damn good.
The vocals for this song are by a woman named Alanna Lin, the vocalist for Fascinoma. She has a really pleasant voice, and I can easily draw a link between this and some of Sia's poppier tunes, but the voice lacks some of the strength or that ridiculous accent Sia puts on whilst singing sometimes. As for the actual performance, I'm not well-versed in Lin's discography, so I can't say much in comparison, but the vocals match the music pretty well. They aren't too serious or invested in what sounds like a pretty chilled track, so everything's pretty good here.
The lyrics for this song present a small problem for me. The artists behind this song are not very well known (as the whole "free download" may suggest) so the lyrics aren't online anywhere, meaning I have to actually listen to them. If I misinterpret anything, at least there are no rabid fans waiting to rip me to shreds, but still... Anyway, I think the whole point of the song is basically the narrator saying that someone else's words mean nothing, as they are either manipulative or unreliable, or possibly just both. All three elements of this song are really inoffensive, which does a little damage to the lyrics, but makes the music and vocals very listenable.
Overall:
Musically, I really enjoyed the first and third songs the most, and I'm going to have to give this one to Turner + Fascinoma, as they haven't been in every post for nearly a bloody week. The Kinks are a close second though, as I'm a sucker for old rock 'n' roll. Green Day's piece just doesn't cut it.
Vocally, I'm going to have to give this one to Lin. I do enjoy female vocalists very much, especially in more relaxed songs, and this track is still novel to me. After Lin, I'm going to have to give the runner-up to Armstrong, because his ridiculous American accent is legitimate.
Lyrically, I really couldn't call any of these three songs very good. The Kinks win, as they actually manage to describe an interesting character...and bring several realities to light. Honestly, I think the character in the last two songs may have been the same, especially considering both groups are from California. That's one of the small states, right? Anyway, I'm going to go with Lin again, as I know for a fact from Green Day's two god-damn rock operas that they can do much better.
Winners:
1. Truth (Is Just A Word) by Monk Turner +Fascinoma
2. One Of The Survivors by The Kinks
3. Let Yourself Go by Green Day
I do hope I have more of those small-time artists come up in this review format. They're normally really fun to talk about, as long as you can find information about them.
Feedback welcome.
H. Rourke.
Tuesday, 9 October 2012
3 Songs: Maroon 5 vs. The Kinks vs. The Kinks Again
Hoping for a shorter title this time, and if possible, a Kinks-less one. I imagine that means that all three songs are going to be Kinks.
Song #1: Until You're Over Me by Maroon 5 (It Won't be Soon Before Long, Track 13, 2007)
Let me take you through a few albums I own. I own all 5 Coldplay albums. I can't say I really proud of that. I own 2 Good Charlotte albums. I'm not proud of that. I own a Hoobastank album. I own an Everclear album. I own a Spin Doctors album. I own a 1200 Techniques album. Fucking hell, I own the single "Tubthumping" by Chumbawumba. But none of these are as shameful as possession of a Maroon 5 album. This is not because of the album itself. The album is pretty good. I am ashamed of this album because of what Maroon 5 are today. I mean, seriously. Moves Like Jagger and Payphone? What the fuck where they thinking? I liked Maroon 5 because they had class. Their songs were good, all their music videos were well made, even the cover off of this album was cool. The second I saw Adam Levine dancing shirtless in front of the American flag I knew I could never take these people seriously again. I own one Maroon 5 album, and with the possible exception of their debut, I have no intentions of owning another one.
Musically, this song is really fun. That is one thing I can give Maroon 5. Their songs can vary from brilliant to shit, but they seem to enjoy making them. This song is upbeat, lively and has a great build from the slower opening to the great conclusion. I'm not quite sure why this was a bonus track, as I think it would fit in perfectly on the normal album.
Vocally, a lot has been said about Levine's voice. Personally, I think it works perfectly for the kind of music he makes. If he tried to be taken more seriously, to pull some Nick Cave-esque material out, he'd be sorely disappointed with the result, but for relationship-based pop it works perfectly, and is perfectly demonstrated here. Seriously, Wiz Khalifa on Payphone? What were they bloody thinking? Sorry, back on track.
Lyrically, this song is about the same thing everything on this album is about. Relationships. Specifically, sex. This album is an anti-breakup album. This is a sex album. Meh. This song is about Levine refusing to have sex with a woman because he's too in love with her. Yeah, makes perfect sense. He's scared of regretting sex with this woman because he's too in love with her. I.. sort of get it, but I think this is a rather vague concept. Is he scared she's just using him? Is he scared of just using her? Are either of them already in a relationship? What's stopping them being together, especially if they want to be together, and at least one of them is in love with the other? This song raises a lot of questions, and not in a good way. The Maroon 5 usual.
Song #2: Misfits by The Kinks (Misfits, Track 1, 1978)
Well, good to know that The Kinks will haunt me to the day I die. At least they're not a bad group.
Musically, this song is a little sad. The music is slow, emotional and nostalgic, and I imagine there is a lot of emotion behind it, but just reading the lyrics I really imagine this song as either a really fast, fun rock 'n' roll tune, or else a really camp, over the top Bowie-like number, as in Soap Opera. Instead we get neither. The Kinks take themselves way to seriously with the music to this song, putting a little too much emotion into it. The music for this song really doesn't grab me, but that may just be me.
Vocally, this is Davies. What the hell else can I say? Again, he plays this song way too straight when I either want to hear an old rock number or a campy Soap Opera tune. In the end, I just really don't like how he does this song.
The story of this song is really weird. This strikes me as one of those songs where the group had a moral taken from a really specific, personal experience and instead of writing about that experience they try to make the moral vaguer to appeal to a wider audience. Before I try to talk about said moral, I really like the line : "You set out to outrage, but you can't get arrested." which I really hope is a reference to an old O. Henry story, although it may not be. The problem I have with these lyrics is the meaning of the word "misfit". I think "misfit" means that kid in school who sits on his own and reads Karl Marx rather than, as this song is attempting to say, someone who has given up on life. Yeah, there are some common elements, like "You go your own way" and "Why don't you join the crowd?" but overall, The Kinks are clearly talking about a different kind of personality that really isn't covered in my mind by the word "misfit". I can't give a word for it, but it seems the character described in Ben Folds' "Bastard" seems to be more what The Kinks are talking about. Two things could explain this. Firstly, it could be a British thing, although I sort of doubt that, as the word "misfit" pretty much is exactly what it says on the tin - someone who doesn't fit in. Secondly, this song is from the 70's and perhaps it meant something different then, although I think it boils down to The Kinks going "What's a word for this? Misfit? No, not quite... I suppose It'll do until we think of it." and writing their song anyway. The story goes that your life is not yet over, live the day, carpe diem and fuck off. Not my kind of song, to say the least. They could have made this campy and fun, but noooo, they had to make it dead serious. Bloody hell.
Song #3: Yo-Yo by The Kinks (Give The People what They Want, 1981, Track 7)
Well, I can't say I wasn't exactly prepared for this, but it's a Kinks vs. Kinks post after all... with a side of Maroon 5. Never mind
Musically, this song really has a lot more personality then Misfits. Although the song starts off a little slow, by the end of the second verse, it's in full pop-rock mode, which is all I god-damn wanted from the previous song. This song has a beat, life, volume, pace and just personality. Have fun making sense of that. I know I can't.
Vocally, Davies clearly gives a shit here. The louder the man gets, the weaker his voice is, but it's a fair trade-out. Davies varies from verse to verse to chorus, giving emotion and passion to the song. I have no idea, based on music and vocals alone, how this was not a single from this album. This song bloody rocks.
Lyrically, I was sort of nervous what aspects of a yo-yo would be explored. Knowing the Kinks, I was thinking it would either be "She treats me like a toy" or "I just keep coming back". The first aspect gets a mention in a verse near the end, and the first one is subverted, with the line "You don't know which way I'll go" which, honestly, makes a hell of a lot more sense to me than most yo-yo based metaphors or similes, but I sucked at yo-yoing. The majority of the song, however, is in discussing people getting stuck in routine, doing the same thing over and over again. I sort of get it, but when you realise the fact that yo-yo's are very easy to stop using, the metaphor is not the strongest one, but it makes reasonable sense. I must say, by the end of the song, the word yo-yo had no meaning to me. By the third listen, Davies was just making strange noises with his mouth for half the song. This song, as I've already mentioned, has personality. It may not be the most thought provoking, but fuck that. This song makes bloody sense, and what more can I ask? Well, a lot. And I have. But I'm comparing three songs here, and this is the first to be even slightly thought out lyrically.
Overall:
Musically, Misfits can just piss off. I hate that song now, especially because I really like The Kinks (no shit, they've only been in about a weeks worth of posts) and like it when they make good music. So Misfits is out. First place is going to Maroon 5. It was really close, but Maroon 5 excel at their music... on that album while The Kinks manage to make their songs enjoyable through other methods. Yo-Yo, of course, comes second.
Vocally, I've got to give this one to Levine. Not the greatest voice in the world, but pretty good. So... Davies vs. Davies. I'm going to go with Yo-Yo as although Davies has a better sounding voice in Misfits, he sounds as though he doesn't give a shit, and the song is supposed to be emotional and all that stuff. If it can't make the singer care, why should I?
Lyrically, let's face it, none of these songs are Shakespeare. Poor lyricism doesn't prevent songs being good (although it seems a necessary part of being popular, as The Hit List demonstrates 99.9% of the time). As for lyrics, Yo-Yo wins straight out. The metaphors, although in places seem weak, at least make sense. I think if your talking about a couple becoming distant with age (as the first two verses are), perhaps a yo-yo isn't the best comparison available, but I get what they were trying to say. Second is a tough pick, but Maroon 5 wins, just. Although the lyrics raised some questions, and didn't quite demonstrate the relationship between the characters, it made some kind of sense, which is always nice. Misfits... that word does not mean what you either think it means or are trying to convince me it means. Misfits is... not good.
Winners:
1. Yo-Yo by The Kinks
2. Until You're Over Me by Maroon 5
3. Misfits by The Kinks
I think artists should be here once or three times. This shit just makes the title look awkward, more so than usual.
Feedback welcome.
H. Rourke
Song #1: Until You're Over Me by Maroon 5 (It Won't be Soon Before Long, Track 13, 2007)
Let me take you through a few albums I own. I own all 5 Coldplay albums. I can't say I really proud of that. I own 2 Good Charlotte albums. I'm not proud of that. I own a Hoobastank album. I own an Everclear album. I own a Spin Doctors album. I own a 1200 Techniques album. Fucking hell, I own the single "Tubthumping" by Chumbawumba. But none of these are as shameful as possession of a Maroon 5 album. This is not because of the album itself. The album is pretty good. I am ashamed of this album because of what Maroon 5 are today. I mean, seriously. Moves Like Jagger and Payphone? What the fuck where they thinking? I liked Maroon 5 because they had class. Their songs were good, all their music videos were well made, even the cover off of this album was cool. The second I saw Adam Levine dancing shirtless in front of the American flag I knew I could never take these people seriously again. I own one Maroon 5 album, and with the possible exception of their debut, I have no intentions of owning another one.
Musically, this song is really fun. That is one thing I can give Maroon 5. Their songs can vary from brilliant to shit, but they seem to enjoy making them. This song is upbeat, lively and has a great build from the slower opening to the great conclusion. I'm not quite sure why this was a bonus track, as I think it would fit in perfectly on the normal album.
Vocally, a lot has been said about Levine's voice. Personally, I think it works perfectly for the kind of music he makes. If he tried to be taken more seriously, to pull some Nick Cave-esque material out, he'd be sorely disappointed with the result, but for relationship-based pop it works perfectly, and is perfectly demonstrated here. Seriously, Wiz Khalifa on Payphone? What were they bloody thinking? Sorry, back on track.
Lyrically, this song is about the same thing everything on this album is about. Relationships. Specifically, sex. This album is an anti-breakup album. This is a sex album. Meh. This song is about Levine refusing to have sex with a woman because he's too in love with her. Yeah, makes perfect sense. He's scared of regretting sex with this woman because he's too in love with her. I.. sort of get it, but I think this is a rather vague concept. Is he scared she's just using him? Is he scared of just using her? Are either of them already in a relationship? What's stopping them being together, especially if they want to be together, and at least one of them is in love with the other? This song raises a lot of questions, and not in a good way. The Maroon 5 usual.
Song #2: Misfits by The Kinks (Misfits, Track 1, 1978)
Well, good to know that The Kinks will haunt me to the day I die. At least they're not a bad group.
Musically, this song is a little sad. The music is slow, emotional and nostalgic, and I imagine there is a lot of emotion behind it, but just reading the lyrics I really imagine this song as either a really fast, fun rock 'n' roll tune, or else a really camp, over the top Bowie-like number, as in Soap Opera. Instead we get neither. The Kinks take themselves way to seriously with the music to this song, putting a little too much emotion into it. The music for this song really doesn't grab me, but that may just be me.
Vocally, this is Davies. What the hell else can I say? Again, he plays this song way too straight when I either want to hear an old rock number or a campy Soap Opera tune. In the end, I just really don't like how he does this song.
The story of this song is really weird. This strikes me as one of those songs where the group had a moral taken from a really specific, personal experience and instead of writing about that experience they try to make the moral vaguer to appeal to a wider audience. Before I try to talk about said moral, I really like the line : "You set out to outrage, but you can't get arrested." which I really hope is a reference to an old O. Henry story, although it may not be. The problem I have with these lyrics is the meaning of the word "misfit". I think "misfit" means that kid in school who sits on his own and reads Karl Marx rather than, as this song is attempting to say, someone who has given up on life. Yeah, there are some common elements, like "You go your own way" and "Why don't you join the crowd?" but overall, The Kinks are clearly talking about a different kind of personality that really isn't covered in my mind by the word "misfit". I can't give a word for it, but it seems the character described in Ben Folds' "Bastard" seems to be more what The Kinks are talking about. Two things could explain this. Firstly, it could be a British thing, although I sort of doubt that, as the word "misfit" pretty much is exactly what it says on the tin - someone who doesn't fit in. Secondly, this song is from the 70's and perhaps it meant something different then, although I think it boils down to The Kinks going "What's a word for this? Misfit? No, not quite... I suppose It'll do until we think of it." and writing their song anyway. The story goes that your life is not yet over, live the day, carpe diem and fuck off. Not my kind of song, to say the least. They could have made this campy and fun, but noooo, they had to make it dead serious. Bloody hell.
Song #3: Yo-Yo by The Kinks (Give The People what They Want, 1981, Track 7)
Well, I can't say I wasn't exactly prepared for this, but it's a Kinks vs. Kinks post after all... with a side of Maroon 5. Never mind
Musically, this song really has a lot more personality then Misfits. Although the song starts off a little slow, by the end of the second verse, it's in full pop-rock mode, which is all I god-damn wanted from the previous song. This song has a beat, life, volume, pace and just personality. Have fun making sense of that. I know I can't.
Vocally, Davies clearly gives a shit here. The louder the man gets, the weaker his voice is, but it's a fair trade-out. Davies varies from verse to verse to chorus, giving emotion and passion to the song. I have no idea, based on music and vocals alone, how this was not a single from this album. This song bloody rocks.
Lyrically, I was sort of nervous what aspects of a yo-yo would be explored. Knowing the Kinks, I was thinking it would either be "She treats me like a toy" or "I just keep coming back". The first aspect gets a mention in a verse near the end, and the first one is subverted, with the line "You don't know which way I'll go" which, honestly, makes a hell of a lot more sense to me than most yo-yo based metaphors or similes, but I sucked at yo-yoing. The majority of the song, however, is in discussing people getting stuck in routine, doing the same thing over and over again. I sort of get it, but when you realise the fact that yo-yo's are very easy to stop using, the metaphor is not the strongest one, but it makes reasonable sense. I must say, by the end of the song, the word yo-yo had no meaning to me. By the third listen, Davies was just making strange noises with his mouth for half the song. This song, as I've already mentioned, has personality. It may not be the most thought provoking, but fuck that. This song makes bloody sense, and what more can I ask? Well, a lot. And I have. But I'm comparing three songs here, and this is the first to be even slightly thought out lyrically.
Overall:
Musically, Misfits can just piss off. I hate that song now, especially because I really like The Kinks (no shit, they've only been in about a weeks worth of posts) and like it when they make good music. So Misfits is out. First place is going to Maroon 5. It was really close, but Maroon 5 excel at their music... on that album while The Kinks manage to make their songs enjoyable through other methods. Yo-Yo, of course, comes second.
Vocally, I've got to give this one to Levine. Not the greatest voice in the world, but pretty good. So... Davies vs. Davies. I'm going to go with Yo-Yo as although Davies has a better sounding voice in Misfits, he sounds as though he doesn't give a shit, and the song is supposed to be emotional and all that stuff. If it can't make the singer care, why should I?
Lyrically, let's face it, none of these songs are Shakespeare. Poor lyricism doesn't prevent songs being good (although it seems a necessary part of being popular, as The Hit List demonstrates 99.9% of the time). As for lyrics, Yo-Yo wins straight out. The metaphors, although in places seem weak, at least make sense. I think if your talking about a couple becoming distant with age (as the first two verses are), perhaps a yo-yo isn't the best comparison available, but I get what they were trying to say. Second is a tough pick, but Maroon 5 wins, just. Although the lyrics raised some questions, and didn't quite demonstrate the relationship between the characters, it made some kind of sense, which is always nice. Misfits... that word does not mean what you either think it means or are trying to convince me it means. Misfits is... not good.
Winners:
1. Yo-Yo by The Kinks
2. Until You're Over Me by Maroon 5
3. Misfits by The Kinks
I think artists should be here once or three times. This shit just makes the title look awkward, more so than usual.
Feedback welcome.
H. Rourke
Monday, 8 October 2012
3 Songs: Sia vs. John Butler, Dan Sultan and Missy Higgins vs. The Kinks
Let's see how much Kinks we have today. I tried to swap a few of their albums out, but there's still a ton on my MP3 player. You all like The Kinks, right?
Song #1: Day Too Soon by Sia (Some People Have Real Problems, 2008, Track 3)
Ah, Sia. It's about damned time she turned up here. Let's start with the music. Now, honestly, the music for this track is rather bland in comparison to a lot of Sia's work. The beat is slow, and the tune almost mournful, but the music really doesn't do anything for me. I adore Sia, but I can't say much positive for the music of this song, other than that it's slow and sad. With all of Sia's albums (bar perhaps We Are Born) every song is stronger in it's album's context, as the previous and following tracks really bring out the best in it. Not terrible, but Sia's done a lot better.
Vocally, Sia is wonderful. Sia has appeared on some dreadful songs with some rubbish musicians (I am NOT talking about Zero 7, who are magic) but her voice has made even those tunes bearable. Although in most songs Sia puts on some strange accent it's absent on this track, which is an interesting change. Sia has a nice, strong voice, which is significantly stronger than many female vocalists. With some female vocalists, if the wind changed directions you'd think you'd be unable to hear them, but Sia can belt it out like nothing else, even on quieter songs. That ability isn't exactly showcased on this track, but you can hear it here and there.
Lyrically, this song doesn't have a narrative (or at least not a narrative as I read it) but it does tell a kind of story. The lyrics describe a relationship between two people, with one being strong and protective and the other keeping the first one going, being their motivation and keeping them going. It's a sweet song, and has some interesting imagery, but I really can't understand for the life of me why this was the lead single from this album. I love Sia, and I like this song, but it's album filler, pure and simple.
Song #2: From Little Things Big Things Grow by John Butler, Dan Sultan and Missy Higgins (Before Too Long: Triple J's Tribute to Paul Kelly CD 2, 2009, Track 13)
Well. Shit. Shitshitshit. This song is awesome. Just...awesome. Any questions? On to song three? Please? Fine, let's unpack this magical, magical bastard.
Musically, this song represents the most famous achievement of Paul Kelly, and I understand why instantly. This song covers one of the more inspiring events in the history of Aboriginal Australians since the first fleet, and (as my Special Treatment article demonstrates) Paul Kelly clearly has great feelings for this issue, but manages to package this tune in an easily digestible way that is much less confronting than tracks like Special Treatment, which are on the same topic. Now, to compare the original and this version musically, I'm torn. I don't like live music albums, as a rule. If I want to hear irritating people screaming strange things throughout a song, I'll listen to more bloody metal. The fact this is a live recording doesn't phase me for a moment though, as this song is always going to be superior to tipsy attendees. Really, this cover ups the awesome of this song, making it a much grander spectacle, and I respect that, and there is more talent than imaginable here, but I think Kelly's understated, folksy-rock original gets the message across in a way that had much more longevity.
Vocally. Kelly vs. Butler, Sultan and Higgins. He could take them one on one, no contest, but against all three? Of the three challengers, Butler is my favourite, as Sultan is a little bit smokers-voice for this sort of song and Higgins... well, Higgins is a strong female vocalist, but in this song it's like the audience offended her and she's determined to shout them down. But the fact that these three voices alternate, allowing each to show their strengths more than their weaknesses makes them a powerful force. Overall... a tie, indeed, as I cannot choose which is superior.
Lyrically, I don't have to make a choice as the two are the same. Now, the song tells the story of the Gurindji Strike. This song is big, for those of you outside Australia. This song is used in primary schools to teach children about land rights. When I talk to people about Kelly it goes "He did 'Deeper Water'". "What?" "O.K, 'Special Treatment'?" "Nope." "'From Little Thing Big Things Grow'." "Oh, THAT Paul Kelly! Why didn't you say that?". This song is currently being used in an add for some insurance company. Fuck, this song is covered by John Butler, Dan Sultan and Missy Higgins simultaneously, and that is all you need to know about this song.
Song #3: Nine To Five by The Kinks (Soap Opera, 1975, Track 4)
Of course they have to be in here. I'd be surprised if I made a 3 Songs without them at this stage.
Musically, I really love Nine To Five. Although the song starts out rather slow, with backing vocals kicking in, the beat speeds up slightly, but keeps the slow pace of the song. The misery and drudgery described in the lyrics is matched well musically. I approve.
Vocally, Davies is far from bad, but the backing vocals are what really brings this song alive to me. Having another voice to compare to Davies makes the character sound sad and desperate, which is exactly what the character is supposed to be. I love that even the vocals contribute to telling the story.
Now, to explain the lyrics, I should probably discuss what the album "Soap Opera" is like. The album basically tells the story of a musical legend called "Starmaker" who decides he will make a star out of an everyman as a challenge, choosing "Norman", taking Norman's place in his life. This song tells the story of Starmaker's first day at Norman's job, slowly being driven insane with the monotony. The whole album is over the top, melodramatic and zany. It's bloody fantastic. This individual song is very nice musically, but the whole point of the song in the larger story is practically told in the title of the song. The song does a good job providing imagery to describe exactly how dull the work is, but there's nothing spectacular in this particular song.
Overall:
Musically, the Kelly tribute stands out easily, and I think I've got to give the Kinks second place. Although Sia is a fantastic and talented artist, this song is far from her best.
Vocally, Sia wins, as although this song isn't her best, it still comes with her wonderful voice. The Kelly tribute group comes second, as although Davies is better than his usual, he's not as good as Australia's best.
Lyrically, Kelly will always win. It's a tough pick between the Kinks and Sia here. Both songs have some great imagery, but overall both just say one very simple thing. I'm going to have to go Kinks here, due to the part that song has in the larger narrative they're trying to tell.
Winners:
1. From Little Things Big Things Grow by John Butler, Dan Sultan and Missy Higgins
2. Day Too Soon by Sia
3. Nine to Five by The Kinks.
Not much to say beyond that, is there?
Feedback welcome.
H. Rourke
Song #1: Day Too Soon by Sia (Some People Have Real Problems, 2008, Track 3)
Ah, Sia. It's about damned time she turned up here. Let's start with the music. Now, honestly, the music for this track is rather bland in comparison to a lot of Sia's work. The beat is slow, and the tune almost mournful, but the music really doesn't do anything for me. I adore Sia, but I can't say much positive for the music of this song, other than that it's slow and sad. With all of Sia's albums (bar perhaps We Are Born) every song is stronger in it's album's context, as the previous and following tracks really bring out the best in it. Not terrible, but Sia's done a lot better.
Vocally, Sia is wonderful. Sia has appeared on some dreadful songs with some rubbish musicians (I am NOT talking about Zero 7, who are magic) but her voice has made even those tunes bearable. Although in most songs Sia puts on some strange accent it's absent on this track, which is an interesting change. Sia has a nice, strong voice, which is significantly stronger than many female vocalists. With some female vocalists, if the wind changed directions you'd think you'd be unable to hear them, but Sia can belt it out like nothing else, even on quieter songs. That ability isn't exactly showcased on this track, but you can hear it here and there.
Lyrically, this song doesn't have a narrative (or at least not a narrative as I read it) but it does tell a kind of story. The lyrics describe a relationship between two people, with one being strong and protective and the other keeping the first one going, being their motivation and keeping them going. It's a sweet song, and has some interesting imagery, but I really can't understand for the life of me why this was the lead single from this album. I love Sia, and I like this song, but it's album filler, pure and simple.
Song #2: From Little Things Big Things Grow by John Butler, Dan Sultan and Missy Higgins (Before Too Long: Triple J's Tribute to Paul Kelly CD 2, 2009, Track 13)
Well. Shit. Shitshitshit. This song is awesome. Just...awesome. Any questions? On to song three? Please? Fine, let's unpack this magical, magical bastard.
Musically, this song represents the most famous achievement of Paul Kelly, and I understand why instantly. This song covers one of the more inspiring events in the history of Aboriginal Australians since the first fleet, and (as my Special Treatment article demonstrates) Paul Kelly clearly has great feelings for this issue, but manages to package this tune in an easily digestible way that is much less confronting than tracks like Special Treatment, which are on the same topic. Now, to compare the original and this version musically, I'm torn. I don't like live music albums, as a rule. If I want to hear irritating people screaming strange things throughout a song, I'll listen to more bloody metal. The fact this is a live recording doesn't phase me for a moment though, as this song is always going to be superior to tipsy attendees. Really, this cover ups the awesome of this song, making it a much grander spectacle, and I respect that, and there is more talent than imaginable here, but I think Kelly's understated, folksy-rock original gets the message across in a way that had much more longevity.
Vocally. Kelly vs. Butler, Sultan and Higgins. He could take them one on one, no contest, but against all three? Of the three challengers, Butler is my favourite, as Sultan is a little bit smokers-voice for this sort of song and Higgins... well, Higgins is a strong female vocalist, but in this song it's like the audience offended her and she's determined to shout them down. But the fact that these three voices alternate, allowing each to show their strengths more than their weaknesses makes them a powerful force. Overall... a tie, indeed, as I cannot choose which is superior.
Lyrically, I don't have to make a choice as the two are the same. Now, the song tells the story of the Gurindji Strike. This song is big, for those of you outside Australia. This song is used in primary schools to teach children about land rights. When I talk to people about Kelly it goes "He did 'Deeper Water'". "What?" "O.K, 'Special Treatment'?" "Nope." "'From Little Thing Big Things Grow'." "Oh, THAT Paul Kelly! Why didn't you say that?". This song is currently being used in an add for some insurance company. Fuck, this song is covered by John Butler, Dan Sultan and Missy Higgins simultaneously, and that is all you need to know about this song.
Song #3: Nine To Five by The Kinks (Soap Opera, 1975, Track 4)
Of course they have to be in here. I'd be surprised if I made a 3 Songs without them at this stage.
Musically, I really love Nine To Five. Although the song starts out rather slow, with backing vocals kicking in, the beat speeds up slightly, but keeps the slow pace of the song. The misery and drudgery described in the lyrics is matched well musically. I approve.
Vocally, Davies is far from bad, but the backing vocals are what really brings this song alive to me. Having another voice to compare to Davies makes the character sound sad and desperate, which is exactly what the character is supposed to be. I love that even the vocals contribute to telling the story.
Now, to explain the lyrics, I should probably discuss what the album "Soap Opera" is like. The album basically tells the story of a musical legend called "Starmaker" who decides he will make a star out of an everyman as a challenge, choosing "Norman", taking Norman's place in his life. This song tells the story of Starmaker's first day at Norman's job, slowly being driven insane with the monotony. The whole album is over the top, melodramatic and zany. It's bloody fantastic. This individual song is very nice musically, but the whole point of the song in the larger story is practically told in the title of the song. The song does a good job providing imagery to describe exactly how dull the work is, but there's nothing spectacular in this particular song.
Overall:
Musically, the Kelly tribute stands out easily, and I think I've got to give the Kinks second place. Although Sia is a fantastic and talented artist, this song is far from her best.
Vocally, Sia wins, as although this song isn't her best, it still comes with her wonderful voice. The Kelly tribute group comes second, as although Davies is better than his usual, he's not as good as Australia's best.
Lyrically, Kelly will always win. It's a tough pick between the Kinks and Sia here. Both songs have some great imagery, but overall both just say one very simple thing. I'm going to have to go Kinks here, due to the part that song has in the larger narrative they're trying to tell.
Winners:
1. From Little Things Big Things Grow by John Butler, Dan Sultan and Missy Higgins
2. Day Too Soon by Sia
3. Nine to Five by The Kinks.
Not much to say beyond that, is there?
Feedback welcome.
H. Rourke
Sunday, 7 October 2012
3 Songs: Fun vs. The Kinks vs. Ben Folds Five
Well, I've cut back on The Kinks albums, but I can't guarantee that they won't turn up, or that this might be another Kinks Special Edition. I'm always nervous dealing with older, popular music because the older it is, the more people are aware of it and the more respected it is. I swear, if Katy Perry of Justin Beiber had been around in the 60's, they would be held up as gods of music for some people. Anyway, let's begin.
Song 1: Some Nights by Fun (I'm not going to call them "fun." Bloody hell)(Some Nights, 2012, Track 2)
Okay. This is going to take a moment. Now, I was first introduced to Fun (seriously, I am not calling them "fun.") by Todd in the Shadows (if you like music criticism, check him out now. I mean, seriously, my blog is bullshit compared to his work. Just open a new tab, close this one, and archive binge on his videos) in his discussion of Fun's We Are Young and Gotye's Somebody That I Used To Know, both of which are good songs by any standard, although neither really are the group's best. Todd gave Fun a decent review, so I kept an ear out. Then, yesterday I was listening to "The Hit List" (so I can be grateful that the music I listen to is the voice of angels in comparison to the shit normally on this show. My stand out stinker is "R.I.P" by... I dunno, but whoever the woman who "sang" this song is, I will try to avoid her work... if I remember the name, that is) and I heard "Some Nights". Fuck me. I'm very critical of modern pop music, because most of it scares me, as a large portion of the population enjoys it, but this song blew me away. I absolutely adore it and gave the album a shot straight away. A smart move, I must say.
Musically, this song is absolutely breathtaking. The vocals coming in before the music, the driving drums contrasted with the gentle piano, the generally grand sound of the entire song. The first thing I thought when I heard this song was "Coldplay wishes they could sound like this", and I stand by it. Everywhere Coldplay is relaxed and passive, Fun is strong and alive. I think Coldplay would stand by their style, as it certainly sets them apart, but if they had the option to sound like this song, I doubt they'd pass it over easily. Any long-time readers should know I love Coldplay, but this song is extraordinary. I can't fault this song musically at any point.
The vocals of Ruess is the driving force behind this song. No matter what the music is doing, the vocals and lyrics are where attention is drawn. I have only one real complaint with the vocals, and that is on the word "lie" near the end of the song. I'm not sure if it would be called auto-tune or what, but it sounds horrid. Ruess has a fantastic voice overall, and I will have to check out his other projects to see if this magic carries over. I doubt it, but if so it's certainly worth checking out.
The lyrics of this song are very interesting, not really telling a story, but offering snippets into the mind of the narrator, who discusses life, luck and his thoughts on the concept on love, all of which are interesting. The line "When I hear songs, they sound like a swan, so come on." draws my attention as it references the sound a swan makes... I'm not sure if I'd compare that to any music I listen to, but whatever floats your boat. There's a lot of really interesting and colourful imagery and interesting ideas discussed in this song, so maybe give the lyrics a read if you're so inclined. Interesting, if not really coherent at points.
Song #2: It's All Right by The Kinks (Kinda Kinks, 1965, Track 15)
Musically, this song stands up pretty well. The music is busy, developed and contains a harmonica. I must say, I'm a fan of a well played harmonica. The drums really stand out here as well, being the introducing part of the song. Not too bad, suits the lyrics well enough and is just fun. No complains here.
This is honestly the strongest I've heard Davies voice so far. I think the main reason for this is his voice is much more matched for this basic, 60's rock kind of tune rather than his more musically and lyrically complex tracks. Definitely a stand-out in the Kinks discography for Davies vocals.
The narrator has wings. He's gotta fly. You may be asking yourself why he's gotta fly, but he knows why. To see his baby. After repeating this he then, despite his apparent flight capabilities, gets a ride on a car. I really don't quite get why h needs his baby to take-a him home when he can fly, but I suppose I just don't understand the dynamics of their relationship. The narrator, however, reassures me repeatedly that it's alright, so I suppose I shouldn't worry. I think I've covered everything here.
Song #3: (Theme From) Dr. Pyser by Ben Folds Five (The Unauthorised Biography of Reinhold Messner, 1999, Track 12)
So. Y'know all the talking about how magnificent Folds' song-writing is? Or how about his voice? Well, fuck that! This is an instrumental! Yup, Dr. Pyser is, as I understand it, meant to be the theme to a non-existent American Cold War-era spy movie. Now, I have only one real complaint about this song, and that's the fact that on the Australian release of Reinhold Messner (a.k.a. the copy I own), this song is the last song. So, after the slow and beautiful "Lullabye", which ends the album on a gentle, quiet note, BFF basically goes "That was nice, wasn't it? What do you think of this?" and completely ruins the atmosphere. Not a complaint about the song I suppose, but certainly about it's usage. The track itself manages to contain a lot of Folds' style despite for the most part completely lacking his voice or lyrics. The track is fun, lively and clearly the work of a group like BFF, but at the same time is clearly a well thought out song, with many elements and effort has gone into the thing. I recommend giving this a listen if you can track it down somewhere, as I really don't feel all that capable of conveying what the tune actually is, although it is true I can't do that for any song, it is most obvious here. Finally, the name of this has always interested me. Who is Dr. Pyser (or, as my lyric book claims, Dr. Psyser)? I somewhat doubt he's a hero, as few spies seem to have Dr. before their names, but is he a goodie or a baddie? Is the hero killing him, protecting him, working for him, kidnapping him, hunting him, pretending to be him? I enjoy the concept, and like the name, as well as the song.
Overall:
All three songs were very strong musically, and splitting hairs is difficult. I think The Kinks probably come in third. It's really tricky to compare the two remaining artists as their genres are quite distant, or at least their styles are, but overall I've got to give this one to Fun. mainly because I haven't heard their song enough for it to lose the novelty.
Vocally, Fun wins instantly, as although Davies was stronger than usual, he just couldn't compete.
Lyrically, Fun are instantly winners. The Kinks and BFF are tricky to differentiate here. Although the BFF piece had no lyrics, that is possibly better than the Kinks lyrics here, but I suppose The Kinks should get runner up.
Winners:
1. Some Nights by Fun
2. It's All Right by The Kinks
3. (Theme From) Dr. Pyser by Ben Folds Five
If Pyser had lyrics, it would have come second easily.
Feedback welcome.
H. Rourke
Song 1: Some Nights by Fun (I'm not going to call them "fun." Bloody hell)(Some Nights, 2012, Track 2)
Okay. This is going to take a moment. Now, I was first introduced to Fun (seriously, I am not calling them "fun.") by Todd in the Shadows (if you like music criticism, check him out now. I mean, seriously, my blog is bullshit compared to his work. Just open a new tab, close this one, and archive binge on his videos) in his discussion of Fun's We Are Young and Gotye's Somebody That I Used To Know, both of which are good songs by any standard, although neither really are the group's best. Todd gave Fun a decent review, so I kept an ear out. Then, yesterday I was listening to "The Hit List" (so I can be grateful that the music I listen to is the voice of angels in comparison to the shit normally on this show. My stand out stinker is "R.I.P" by... I dunno, but whoever the woman who "sang" this song is, I will try to avoid her work... if I remember the name, that is) and I heard "Some Nights". Fuck me. I'm very critical of modern pop music, because most of it scares me, as a large portion of the population enjoys it, but this song blew me away. I absolutely adore it and gave the album a shot straight away. A smart move, I must say.
Musically, this song is absolutely breathtaking. The vocals coming in before the music, the driving drums contrasted with the gentle piano, the generally grand sound of the entire song. The first thing I thought when I heard this song was "Coldplay wishes they could sound like this", and I stand by it. Everywhere Coldplay is relaxed and passive, Fun is strong and alive. I think Coldplay would stand by their style, as it certainly sets them apart, but if they had the option to sound like this song, I doubt they'd pass it over easily. Any long-time readers should know I love Coldplay, but this song is extraordinary. I can't fault this song musically at any point.
The vocals of Ruess is the driving force behind this song. No matter what the music is doing, the vocals and lyrics are where attention is drawn. I have only one real complaint with the vocals, and that is on the word "lie" near the end of the song. I'm not sure if it would be called auto-tune or what, but it sounds horrid. Ruess has a fantastic voice overall, and I will have to check out his other projects to see if this magic carries over. I doubt it, but if so it's certainly worth checking out.
The lyrics of this song are very interesting, not really telling a story, but offering snippets into the mind of the narrator, who discusses life, luck and his thoughts on the concept on love, all of which are interesting. The line "When I hear songs, they sound like a swan, so come on." draws my attention as it references the sound a swan makes... I'm not sure if I'd compare that to any music I listen to, but whatever floats your boat. There's a lot of really interesting and colourful imagery and interesting ideas discussed in this song, so maybe give the lyrics a read if you're so inclined. Interesting, if not really coherent at points.
Song #2: It's All Right by The Kinks (Kinda Kinks, 1965, Track 15)
Musically, this song stands up pretty well. The music is busy, developed and contains a harmonica. I must say, I'm a fan of a well played harmonica. The drums really stand out here as well, being the introducing part of the song. Not too bad, suits the lyrics well enough and is just fun. No complains here.
This is honestly the strongest I've heard Davies voice so far. I think the main reason for this is his voice is much more matched for this basic, 60's rock kind of tune rather than his more musically and lyrically complex tracks. Definitely a stand-out in the Kinks discography for Davies vocals.
The narrator has wings. He's gotta fly. You may be asking yourself why he's gotta fly, but he knows why. To see his baby. After repeating this he then, despite his apparent flight capabilities, gets a ride on a car. I really don't quite get why h needs his baby to take-a him home when he can fly, but I suppose I just don't understand the dynamics of their relationship. The narrator, however, reassures me repeatedly that it's alright, so I suppose I shouldn't worry. I think I've covered everything here.
Song #3: (Theme From) Dr. Pyser by Ben Folds Five (The Unauthorised Biography of Reinhold Messner, 1999, Track 12)
So. Y'know all the talking about how magnificent Folds' song-writing is? Or how about his voice? Well, fuck that! This is an instrumental! Yup, Dr. Pyser is, as I understand it, meant to be the theme to a non-existent American Cold War-era spy movie. Now, I have only one real complaint about this song, and that's the fact that on the Australian release of Reinhold Messner (a.k.a. the copy I own), this song is the last song. So, after the slow and beautiful "Lullabye", which ends the album on a gentle, quiet note, BFF basically goes "That was nice, wasn't it? What do you think of this?" and completely ruins the atmosphere. Not a complaint about the song I suppose, but certainly about it's usage. The track itself manages to contain a lot of Folds' style despite for the most part completely lacking his voice or lyrics. The track is fun, lively and clearly the work of a group like BFF, but at the same time is clearly a well thought out song, with many elements and effort has gone into the thing. I recommend giving this a listen if you can track it down somewhere, as I really don't feel all that capable of conveying what the tune actually is, although it is true I can't do that for any song, it is most obvious here. Finally, the name of this has always interested me. Who is Dr. Pyser (or, as my lyric book claims, Dr. Psyser)? I somewhat doubt he's a hero, as few spies seem to have Dr. before their names, but is he a goodie or a baddie? Is the hero killing him, protecting him, working for him, kidnapping him, hunting him, pretending to be him? I enjoy the concept, and like the name, as well as the song.
Overall:
All three songs were very strong musically, and splitting hairs is difficult. I think The Kinks probably come in third. It's really tricky to compare the two remaining artists as their genres are quite distant, or at least their styles are, but overall I've got to give this one to Fun. mainly because I haven't heard their song enough for it to lose the novelty.
Vocally, Fun wins instantly, as although Davies was stronger than usual, he just couldn't compete.
Lyrically, Fun are instantly winners. The Kinks and BFF are tricky to differentiate here. Although the BFF piece had no lyrics, that is possibly better than the Kinks lyrics here, but I suppose The Kinks should get runner up.
Winners:
1. Some Nights by Fun
2. It's All Right by The Kinks
3. (Theme From) Dr. Pyser by Ben Folds Five
If Pyser had lyrics, it would have come second easily.
Feedback welcome.
H. Rourke
Saturday, 6 October 2012
3 Songs: The Kinks Special Edition
A brief warning before I begin this post: I have gone a little Kinks-crazy. My MP3 player consists mainly of Kinks albums presently, so my apologies if this ends up with me just comparing Kinks songs to other Kinks songs.
Song #1: Alcohol by The Kinks (Muswell Hillbillies, 1971, Track 5)
Exactly as predicted.
Musically, this song is bloody fantastic. The brass section gives this song a life I really doubt it would have had with the regular Kinks sound. The sound (along with elements of the lyrics) remind me a lot of "Misery" by Green Day. I will be amazed if lines have ever been drawn between the two groups before. This song just has the most magnificent beat, and it certainly can't be faulted on the music front.
Vocally, Davies is always a good, reliable voice, but he has one real problem and that is I never actually focus on his singing. With someone like Cave of Dempsey, I'm always thinking how great a voice they have, or the opposite with people like Madden, but with Davies, I don't focus on it until I reach this point in a review. I suppose it shows that he's letting the music and the lyrics speak for him, but it gets in the way. Here, he is pretty good, actually paying attention, matching the mood of the lyrics pretty damn well, and being a little melodramatic when the song called for it. Not bad.
Lyrically, this song tells the story of a man who is reasonably successful, but becomes involved with alcohol and a "floosie" (their words, not mine), eventually penniless. I'll talk about the characters first. I love that none of them are portrayed in a positive light. The main character is initially seen as good enough, if not a little impressionable, until it's revealed be beat his wife in a drunken stupor. The wife is called selfish and ambitious, and the floosie... well, she's called a floosie. That should answer all questions. The concept of this being a continual cycle is also really interesting. Many elements of this song deserve to be looked at closer, but I'll try and stop myself doing so here. The story reminds me a lot of (as previously mentioned) Misery, but also some of Ben Folds' music. I don't believe he has told this particular story, but many of his characters seem to be very easily transplanted into this song. I really do adore the lyrics to this song, which are delivered perfectly to tell the story I think they're trying to tell.
Song #2: Do You Remember Walter? by The Kinks (The Kinks Are The Village Green Preservation Society, 1968, Track 2)
Yeah, this is looking like a three-for-three. Sorry, unless you like The Kinks as much as me, in which case you are very welcome.
Musically, I must say that it is clearly not the focus of the song. Despite the importance of the vocals and the lyrics over the tune, I think the music does quite a role in demonstrating the emotion. The music seems to be in near complete contrast to the lyrics, the music being upbeat and pop-ish, while the lyrics are mournful and reminiscent. I think this is meant to represent how Davies is hiding his emotions on the lyric subject. There is also a, and this might just be me, really creepy element in the music, as if the music is way too clean cut for the lyrics, as if there is something we really don't know. Something that would completely change the meaning of the song, like Walter being imaginary or dead. Yeah, I think that says more about how my mind works than what the song is like. Sorry. Good music, though.
Vocally, Davies does a lot more here for me than in other songs. His vocals are much more emotive than in previous songs, and I think this is due to the very personal subject of the song. Even if Walter was not based off of a real individual, Davies must know that he's supposed to make people think he is. Although, as previously stated, the music and vocals don't quite match the lyrics, I think the fact that Davies comes off as a much more developed singer shows what subject matter can do for a song.
Lyrically, I can't say this song is treading new ground (although it may have at the time), but it does it well. The basic focus of the song is Davies being nostalgic about an old friend, the athletic and popular "Walter", a school friend who had lost touch with Davies. This is fantastically done, with the first verse describing what they were like as kids, the second describing what they thought the future would be like and the final verse outlining where they are now, covering past, future and present, telling a lot about the narrator talking about Walter. Now, the concept of thinking about old friends is a well-trod one. Look at Disco 2000 by Pulp (or if you respect your ears, Nick Cave's cover) for a variant of the story (I'm hesitant to use the phrase "genre") in which the old friend was a crush, or Ben Folds Five's Michael Praytor, 5 Years Later for an instance in which the old friend never quite went away. I try not to talk about myself too much here, as this blog is not for me to talk about myself, rather talking about the music I love, but this song is one that really rings true. It may be nearly half a century, and the world is more connected than ever, but people will always think these thoughts, myself very much included, and that makes for the best thing I can say about the sentiments behind this song.
Song #3: Lola by The Kinks (Lola Versus Powerman and the Moneygoround, Part 1, 1970, Track 5)
Musically, this song is clearly intended to be a single, which instantly sets it apart from the previous two songs. Everything sounds that little bit more polished, as it is clear that The Kinks knew this would be a big one, and they were pretty correct at that, I suppose. The music for this song has never appealed to me, but it does interest me. I love songs that either express emotion or tell a story (or ideally both) but the music on this song does nothing. It's not happy or sad, lively or subdued.It's just there, for some reason. Not bad, per say, but I have definite problems with it.
The vocals here are fine, and Davies is a pretty good fit for the character portrayed. The vocals are more noticeable here than in the other songs, but not in a really good way, with several moments where you think "you could have done that differently" or just "don't.. do that" at some points. Not bad, but sub-par to other Kinks songs.
Lyrically, the story told isn't too bad. Lola tells the story of a sheltered bloke who ends up falling for a.. well, let's just call her a "masculine woman", ultimately growing as a human, despite his conflicted emotions regarding Lola. This is, if nothing else, a hell of a new story. Both of the previous songs have been pretty well-trod themes, but this is very new. I can greatly tell just how this was planned to be a single, with only a little of The Kinks usual language. One phrase that really struck me was "electric candlelight", which actually gave me more to think about than the entire rest of the song. So... there's that. Not bad, not good, but something different.
Overall:
Musically, I have to go with Alcohol, just for that fantastic brass section blaring the whole way through. Although I do like the music from Walter, I've got to give the runner up position to Lola.
Vocals. Well, this is going to be splitting hairs like nothing else. First place, again, is going to have to go to Alcohol, just because Davies really seemed to be having fun with that song. I think I have to give runner-up to Walter, as Lola didn't appeal to me much.
Lyrically, Walter is by far the superior song. It just appeals to me more than a hell of a lot of music, being personal without over-sharing and also telling a story. Just fantastic. Runner-up is Alcohol. It was actually a tight run between Lola and Alcohol, but I feel the characters in Alcohol are more interesting and fleshed out than in Lola.
Winners:
1. Alcohol by The Kinks
2. Do You Remember Walter? by The Kinks
3. Lola by The Kinks
Overall, I really don't actually like Lola, and it ranks up there with Plastic Man for my least favourite Kinks songs, but I do understand the majority of the appeal. I didn't plan on just Kinks material, but I'll just brand this a "Special Edition" or something. Now, on an unrelated topic, last night at 3am by Canberra time 17 Americans stopped by and read my Sinatra vs. Lee vs. Cooke post and nothing else. Considering my usual readership a day is less than 3, this event has slightly surprised me, and there is no traffic source for the views. If any of those 17 drop by again, feel free to cure my curiosity and tell me how you ended up here and what you're after. I'm more than happy to talk about Sinatra, Noise Addict, Cooke or anyone else if you're interested. That goes for anyone dropping by here. Anyway, maybe more Kinks tomorrow. We'll see.
Feedback, as above, is welcomed.
H. Rourke
Song #1: Alcohol by The Kinks (Muswell Hillbillies, 1971, Track 5)
Exactly as predicted.
Musically, this song is bloody fantastic. The brass section gives this song a life I really doubt it would have had with the regular Kinks sound. The sound (along with elements of the lyrics) remind me a lot of "Misery" by Green Day. I will be amazed if lines have ever been drawn between the two groups before. This song just has the most magnificent beat, and it certainly can't be faulted on the music front.
Vocally, Davies is always a good, reliable voice, but he has one real problem and that is I never actually focus on his singing. With someone like Cave of Dempsey, I'm always thinking how great a voice they have, or the opposite with people like Madden, but with Davies, I don't focus on it until I reach this point in a review. I suppose it shows that he's letting the music and the lyrics speak for him, but it gets in the way. Here, he is pretty good, actually paying attention, matching the mood of the lyrics pretty damn well, and being a little melodramatic when the song called for it. Not bad.
Lyrically, this song tells the story of a man who is reasonably successful, but becomes involved with alcohol and a "floosie" (their words, not mine), eventually penniless. I'll talk about the characters first. I love that none of them are portrayed in a positive light. The main character is initially seen as good enough, if not a little impressionable, until it's revealed be beat his wife in a drunken stupor. The wife is called selfish and ambitious, and the floosie... well, she's called a floosie. That should answer all questions. The concept of this being a continual cycle is also really interesting. Many elements of this song deserve to be looked at closer, but I'll try and stop myself doing so here. The story reminds me a lot of (as previously mentioned) Misery, but also some of Ben Folds' music. I don't believe he has told this particular story, but many of his characters seem to be very easily transplanted into this song. I really do adore the lyrics to this song, which are delivered perfectly to tell the story I think they're trying to tell.
Song #2: Do You Remember Walter? by The Kinks (The Kinks Are The Village Green Preservation Society, 1968, Track 2)
Yeah, this is looking like a three-for-three. Sorry, unless you like The Kinks as much as me, in which case you are very welcome.
Musically, I must say that it is clearly not the focus of the song. Despite the importance of the vocals and the lyrics over the tune, I think the music does quite a role in demonstrating the emotion. The music seems to be in near complete contrast to the lyrics, the music being upbeat and pop-ish, while the lyrics are mournful and reminiscent. I think this is meant to represent how Davies is hiding his emotions on the lyric subject. There is also a, and this might just be me, really creepy element in the music, as if the music is way too clean cut for the lyrics, as if there is something we really don't know. Something that would completely change the meaning of the song, like Walter being imaginary or dead. Yeah, I think that says more about how my mind works than what the song is like. Sorry. Good music, though.
Vocally, Davies does a lot more here for me than in other songs. His vocals are much more emotive than in previous songs, and I think this is due to the very personal subject of the song. Even if Walter was not based off of a real individual, Davies must know that he's supposed to make people think he is. Although, as previously stated, the music and vocals don't quite match the lyrics, I think the fact that Davies comes off as a much more developed singer shows what subject matter can do for a song.
Lyrically, I can't say this song is treading new ground (although it may have at the time), but it does it well. The basic focus of the song is Davies being nostalgic about an old friend, the athletic and popular "Walter", a school friend who had lost touch with Davies. This is fantastically done, with the first verse describing what they were like as kids, the second describing what they thought the future would be like and the final verse outlining where they are now, covering past, future and present, telling a lot about the narrator talking about Walter. Now, the concept of thinking about old friends is a well-trod one. Look at Disco 2000 by Pulp (or if you respect your ears, Nick Cave's cover) for a variant of the story (I'm hesitant to use the phrase "genre") in which the old friend was a crush, or Ben Folds Five's Michael Praytor, 5 Years Later for an instance in which the old friend never quite went away. I try not to talk about myself too much here, as this blog is not for me to talk about myself, rather talking about the music I love, but this song is one that really rings true. It may be nearly half a century, and the world is more connected than ever, but people will always think these thoughts, myself very much included, and that makes for the best thing I can say about the sentiments behind this song.
Song #3: Lola by The Kinks (Lola Versus Powerman and the Moneygoround, Part 1, 1970, Track 5)
Musically, this song is clearly intended to be a single, which instantly sets it apart from the previous two songs. Everything sounds that little bit more polished, as it is clear that The Kinks knew this would be a big one, and they were pretty correct at that, I suppose. The music for this song has never appealed to me, but it does interest me. I love songs that either express emotion or tell a story (or ideally both) but the music on this song does nothing. It's not happy or sad, lively or subdued.It's just there, for some reason. Not bad, per say, but I have definite problems with it.
The vocals here are fine, and Davies is a pretty good fit for the character portrayed. The vocals are more noticeable here than in the other songs, but not in a really good way, with several moments where you think "you could have done that differently" or just "don't.. do that" at some points. Not bad, but sub-par to other Kinks songs.
Lyrically, the story told isn't too bad. Lola tells the story of a sheltered bloke who ends up falling for a.. well, let's just call her a "masculine woman", ultimately growing as a human, despite his conflicted emotions regarding Lola. This is, if nothing else, a hell of a new story. Both of the previous songs have been pretty well-trod themes, but this is very new. I can greatly tell just how this was planned to be a single, with only a little of The Kinks usual language. One phrase that really struck me was "electric candlelight", which actually gave me more to think about than the entire rest of the song. So... there's that. Not bad, not good, but something different.
Overall:
Musically, I have to go with Alcohol, just for that fantastic brass section blaring the whole way through. Although I do like the music from Walter, I've got to give the runner up position to Lola.
Vocals. Well, this is going to be splitting hairs like nothing else. First place, again, is going to have to go to Alcohol, just because Davies really seemed to be having fun with that song. I think I have to give runner-up to Walter, as Lola didn't appeal to me much.
Lyrically, Walter is by far the superior song. It just appeals to me more than a hell of a lot of music, being personal without over-sharing and also telling a story. Just fantastic. Runner-up is Alcohol. It was actually a tight run between Lola and Alcohol, but I feel the characters in Alcohol are more interesting and fleshed out than in Lola.
Winners:
1. Alcohol by The Kinks
2. Do You Remember Walter? by The Kinks
3. Lola by The Kinks
Overall, I really don't actually like Lola, and it ranks up there with Plastic Man for my least favourite Kinks songs, but I do understand the majority of the appeal. I didn't plan on just Kinks material, but I'll just brand this a "Special Edition" or something. Now, on an unrelated topic, last night at 3am by Canberra time 17 Americans stopped by and read my Sinatra vs. Lee vs. Cooke post and nothing else. Considering my usual readership a day is less than 3, this event has slightly surprised me, and there is no traffic source for the views. If any of those 17 drop by again, feel free to cure my curiosity and tell me how you ended up here and what you're after. I'm more than happy to talk about Sinatra, Noise Addict, Cooke or anyone else if you're interested. That goes for anyone dropping by here. Anyway, maybe more Kinks tomorrow. We'll see.
Feedback, as above, is welcomed.
H. Rourke
Thursday, 4 October 2012
3 Songs: The Presets vs. The Killers vs. Fatboy Slim
Let the songing begin!
Song #1: This Boy's In Love by The Presets (Apocalypso, 2008, Track 4)
Before I start talking about this song, let me talk about The Presets a little, as I don't think I've discussed them before. Now, in 2008, I was listening to Triple J and heard a wonderful song, a song I've never forgotten. That song was called "My People". Sadly, I misheard the artist, so after spending a fruitless week trying to find out a little about "The Preludes" (I do want to see a band by that name one day), I finally caught a break and heard about the Presets. I received Apocalypso as a birthday present a couple of weeks later, and it was my favourite album of all time for a while. Now, "This Boy's In Love" is not my favourite track from the album. Nothing off the album is bad by any means (a feat not repeated in their new album, Pacifica), but "This Boy's In Love" was just as popular (or at least as played on the radio) as the far superior "My People" and I really never got over that over-saturation. Anyway...
Musically, this song is fantastic. Everything is making a sound. That is the only thing that comes to mind. Everything is making a sound, but every sound sort of blends together into a single beat. I have to say that this song borders so closely on being obnoxiously dance music, but there is enough there to appeal to people like myself who really don't dance to music. Just my view on it, anyway. It really just sounds like a regular song put through some kind of process to speed it up, dancify it, electronify it and present it to the public. I t does work really well, I must say, although I would absolutely love to see this song reproduced by a group with a drum-set, a guitar, a keyboard and a vocalist or two. It would make a really interesting tune.
Vocally, I don't think either Preset's voice would work outside of their genre. The angry tones of this song really emphasise the harsh sounds occurring at the same time. The vocals work for this song, and I suppose that's the important thing. I would honestly just pass over this song so easily if it didn't have vocals, but that's a comment probably true of a lot of the music I listen to.
Lyrically, the Presets have a habit of really beating around the bush, using over-dramatic phrases, elaborate metaphors and just generally making the song hard to follow, and in the end they're just walking around in circles, and you never work out if there is a bush or not. I think the song is about a young couple leaving home to take their chances in the "big city". The music really gives a "driving through the city" vibe, and if that is the story, the entire song makes a lot more sense to me.
Song #2: Why Do I Keep Counting? by The Killers (Sam's Town, 2006, Track 11)
Musically, this song is spectacular. I'm aware that as an album , Sam's Town was much more stripped back than Hot Fuss, and when I hard this I figured it meant that the songs would be less over-the-top, less dramatic and generally less epic (in a more literal sense, as a long and elaborate story, rather than my usual use of the term). Thankfully, this song is a single example of how very wrong I was. Mattafact, Sam's town is more lively and dramatic than Hot Fuss with songs like these. This song starts out very quietly, with what I call almost a fairytale element, which is slowly introduced into the rest of the song with a steady drum beat and by the end of the first chorus, the song is in full swing. The music definitely is the main force creating the drama of this song, but I'll get to that soon. Musically, this song is brilliant as the rest of The Killers discography.
Vocally, Flowers is the perfect front man for this group. If Flowers ever left, I doubt I would recognise the group. Although the music is dramatic, elaborate and over the top, it would be nothing without Flowers confident, controlling vocals which add all of the emotion to the song, without which it would very easily be seen as pretentious.
Lyrically, this song is not easy to interpret. Overall, I can't draw out any specific narrative, but I think this song focuses on the theme of the inevitability of death, or perhaps merely change. The song's title is referenced only once in the song, in the line "I all our days are numbered, why do I keep counting?", to give some idea of where this song is coming from. The problem with songs about death in any form is that they either become way too whiny or way too sentimental. This song is anything but whiny, as assured by the fantastic beat and charismatic vocals, and any sentimentality is only there for those who seek it, for the most part being a pretty awesome piece of American Brit-rock.
Song #3: Give The Po' Man A Break by Fatboy Slim (Better Living Through Chemistry, 1996, Track 6)
Musically, Fatboy Slim has been discussed before. My first experience with attempting to explain what Fatboy Slim's music was like is documented in my surprisingly popular "Palookaville" review. I also tried to talk about one of his other songs in a 3 Songs post, but I don't remember which one. Now, I own 4 Fatboy Slim albums. 2 I absolutely adore. 1 I really like (Palookaville). The other album, however, I can survive without. Can you guess which album that is? That's right, the one this song is off. To be fair, this was Fatboy Slim's (his real name is Norman Cook, and he will be referred to as such for brevity's sake from here on in) debut album, and that requires a fair deal of acceptance, as he wasn't quite sure what he was doing. It really does not mean I have to like it. The album consists of two kinds of songs: The enjoyable, such as "The Weekend Starts Here" and the unenjoyable, such as "Punk to Funk". This song lies square in the middle. There is better, and there is much worse. Now, the actual song consists of a single line of lyrics, so this is sure as hell not getting a vocals or lyrics paragraph. The track relies mainly on that single line, with the music enjoyably varied in the background. The music is a little dull at times, but it changes often enough that you don't feel to bogged down. There really isn't anything else to say. Sorry.
Overall:
Musically, I have to go with The Killers, as they represent genres I enjoy much more than the other two. It's pretty easy to compare Cook and The Presets, as they (narrowly) inhabit the same genre, or at least the same audience, and for this track The Presets are clearly superior.
Vocally, The Killers. The Presets aren't too bad, but Flowers is one of my favourite vocalists, especially of musicians still active. As there really weren't any vocals or lyrics in Cook's piece, he isn't going to be mentioned anymore.
Lyrically, both of these songs really aren't so much about direct narrative, but more sort of letting people come up with their own ideas of what the songs are about. Or I'm just really thick. Although The Presets present a rather interesting concept, I have to give The Killers the prize here, for their subtle mentions of a subject which has drawn many a whiny bastard to preach to his audience for a good four-five minutes. Restraint acknowledged and greatly appreciated.
Winners:
1. Why Do I Keep Counting? by The Killers
2. This Boy's In Love by The Presets
3. Give The Po' Man A Break by Fatboy Slim
Feedback welcomed
H. Rourke
Song #1: This Boy's In Love by The Presets (Apocalypso, 2008, Track 4)
Before I start talking about this song, let me talk about The Presets a little, as I don't think I've discussed them before. Now, in 2008, I was listening to Triple J and heard a wonderful song, a song I've never forgotten. That song was called "My People". Sadly, I misheard the artist, so after spending a fruitless week trying to find out a little about "The Preludes" (I do want to see a band by that name one day), I finally caught a break and heard about the Presets. I received Apocalypso as a birthday present a couple of weeks later, and it was my favourite album of all time for a while. Now, "This Boy's In Love" is not my favourite track from the album. Nothing off the album is bad by any means (a feat not repeated in their new album, Pacifica), but "This Boy's In Love" was just as popular (or at least as played on the radio) as the far superior "My People" and I really never got over that over-saturation. Anyway...
Musically, this song is fantastic. Everything is making a sound. That is the only thing that comes to mind. Everything is making a sound, but every sound sort of blends together into a single beat. I have to say that this song borders so closely on being obnoxiously dance music, but there is enough there to appeal to people like myself who really don't dance to music. Just my view on it, anyway. It really just sounds like a regular song put through some kind of process to speed it up, dancify it, electronify it and present it to the public. I t does work really well, I must say, although I would absolutely love to see this song reproduced by a group with a drum-set, a guitar, a keyboard and a vocalist or two. It would make a really interesting tune.
Vocally, I don't think either Preset's voice would work outside of their genre. The angry tones of this song really emphasise the harsh sounds occurring at the same time. The vocals work for this song, and I suppose that's the important thing. I would honestly just pass over this song so easily if it didn't have vocals, but that's a comment probably true of a lot of the music I listen to.
Lyrically, the Presets have a habit of really beating around the bush, using over-dramatic phrases, elaborate metaphors and just generally making the song hard to follow, and in the end they're just walking around in circles, and you never work out if there is a bush or not. I think the song is about a young couple leaving home to take their chances in the "big city". The music really gives a "driving through the city" vibe, and if that is the story, the entire song makes a lot more sense to me.
Song #2: Why Do I Keep Counting? by The Killers (Sam's Town, 2006, Track 11)
Musically, this song is spectacular. I'm aware that as an album , Sam's Town was much more stripped back than Hot Fuss, and when I hard this I figured it meant that the songs would be less over-the-top, less dramatic and generally less epic (in a more literal sense, as a long and elaborate story, rather than my usual use of the term). Thankfully, this song is a single example of how very wrong I was. Mattafact, Sam's town is more lively and dramatic than Hot Fuss with songs like these. This song starts out very quietly, with what I call almost a fairytale element, which is slowly introduced into the rest of the song with a steady drum beat and by the end of the first chorus, the song is in full swing. The music definitely is the main force creating the drama of this song, but I'll get to that soon. Musically, this song is brilliant as the rest of The Killers discography.
Vocally, Flowers is the perfect front man for this group. If Flowers ever left, I doubt I would recognise the group. Although the music is dramatic, elaborate and over the top, it would be nothing without Flowers confident, controlling vocals which add all of the emotion to the song, without which it would very easily be seen as pretentious.
Lyrically, this song is not easy to interpret. Overall, I can't draw out any specific narrative, but I think this song focuses on the theme of the inevitability of death, or perhaps merely change. The song's title is referenced only once in the song, in the line "I all our days are numbered, why do I keep counting?", to give some idea of where this song is coming from. The problem with songs about death in any form is that they either become way too whiny or way too sentimental. This song is anything but whiny, as assured by the fantastic beat and charismatic vocals, and any sentimentality is only there for those who seek it, for the most part being a pretty awesome piece of American Brit-rock.
Song #3: Give The Po' Man A Break by Fatboy Slim (Better Living Through Chemistry, 1996, Track 6)
Musically, Fatboy Slim has been discussed before. My first experience with attempting to explain what Fatboy Slim's music was like is documented in my surprisingly popular "Palookaville" review. I also tried to talk about one of his other songs in a 3 Songs post, but I don't remember which one. Now, I own 4 Fatboy Slim albums. 2 I absolutely adore. 1 I really like (Palookaville). The other album, however, I can survive without. Can you guess which album that is? That's right, the one this song is off. To be fair, this was Fatboy Slim's (his real name is Norman Cook, and he will be referred to as such for brevity's sake from here on in) debut album, and that requires a fair deal of acceptance, as he wasn't quite sure what he was doing. It really does not mean I have to like it. The album consists of two kinds of songs: The enjoyable, such as "The Weekend Starts Here" and the unenjoyable, such as "Punk to Funk". This song lies square in the middle. There is better, and there is much worse. Now, the actual song consists of a single line of lyrics, so this is sure as hell not getting a vocals or lyrics paragraph. The track relies mainly on that single line, with the music enjoyably varied in the background. The music is a little dull at times, but it changes often enough that you don't feel to bogged down. There really isn't anything else to say. Sorry.
Overall:
Musically, I have to go with The Killers, as they represent genres I enjoy much more than the other two. It's pretty easy to compare Cook and The Presets, as they (narrowly) inhabit the same genre, or at least the same audience, and for this track The Presets are clearly superior.
Vocally, The Killers. The Presets aren't too bad, but Flowers is one of my favourite vocalists, especially of musicians still active. As there really weren't any vocals or lyrics in Cook's piece, he isn't going to be mentioned anymore.
Lyrically, both of these songs really aren't so much about direct narrative, but more sort of letting people come up with their own ideas of what the songs are about. Or I'm just really thick. Although The Presets present a rather interesting concept, I have to give The Killers the prize here, for their subtle mentions of a subject which has drawn many a whiny bastard to preach to his audience for a good four-five minutes. Restraint acknowledged and greatly appreciated.
Winners:
1. Why Do I Keep Counting? by The Killers
2. This Boy's In Love by The Presets
3. Give The Po' Man A Break by Fatboy Slim
Feedback welcomed
H. Rourke
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