Before I begin another fruitless attempt to hide my near-complete ignorance of all things music, I'd like to say two things. Firstly, this post-a-day thing is working pretty well, with only one missed post. Admittedly, they aren't 3000 word album reviews like I've been known to do, but they're a little bit of content a day, and what more could anyone ask for. I mean, quantity over quality any day, although I'm not going to try and argue that any part of this blog should be called "quality". Secondly, I mentioned Ball Park Music yesterday, and I'd like to mention that their new album, Museum, is being released on Friday. If you feel up to giving it a go, please do so. If not, I probably won't do an album review, but I will at least give a quick going over of the goods, the bads and anything in-between. I honestly haven't heard a single track off of it so far, and this is probably my second most anticipated release this year, higher than Drinking From The Sun and Pacifica (both of which are awesome), but lower than The Sound of the Life of the Mind (which is awesome, but I still haven't received a physical copy of, Ben Folds or PledgeMusic, whoever is to blame for this). Now, 3 new songs for me to discuss in vague and unprofessional terms!
Song #1: Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart by Manic Street Preachers (The Holy Bible, 1994, Track 2)
Musically, this song is really enjoyable. Although it's clear from the very title that this song is all about the lyrics, the music is never lacking, with this being a great example of being able to deliver a message (I think. I'll get to that soon) without sacrificing a good tune. The variations throughout the song, with sampling and other voices, really just gives this song some depth, rather than delivering an argument with an acoustic guitar accompanying it, like many groups seem to want to. One minor complaint is that the song just seems to stop, not really finishing anything.
Vocally, Bradfield doesn't really do much for me. Although the emotions behind all of MSP's lyrics (i.e: anger) are well expressed through his vocals, he has a very curious way of pronouncing words, more than just an accent, that leaves whole sections of this song completely incomprehensible without reading the lyrics. Not bad, but I'm always going to listen to this group for music and lyrics over vocals.
Lyrics. Shit. Erm... read the name of this song. Then... one or two more times. OK? Well, this song starts with a sample from an add for a gala dinner for Reagan supported by Thatcher (which I'm perfectly willing to admit I thought was fake until researching this song for this post). Still reading? Anyone's politics offended yet? No? This is the final stop for anyone right wing, or overly patriotic about the U.K. or the US. Just... you've been warned. Now, honestly, this song is more about making statements than arguing a particular point. Honestly, if this was any other band, I'd think they were just making a list of controversial pop-culture references. Let's see what we've got. River Phoenix, Tipper Gore, Cuba and the Kennedy Assassination. Well, looks like they've covered America from 1950-1995. We done here? No? Well, there are more timeless references, such as racism, patriotic nutters claiming the flag of their country defends their racial beliefs (which sounds about as stable a logical thought pattern as most discrimination) or, now I'm curious about this reference and I'm sure as shit not googling it, but "a pimp fucked a priest". Is this a reference to a particular event in America or the U.K. in the 90's or does that just...happen there? I mean, sure, there are sexual controversies regarding priests in Australia too, but normally the circumstances are a little different. Then, at the end, the group claims "fuck the Brady Bill", which apparently requires background checks for purchasing guns, but are the group legitimately anti this or are they just making fun of the conservative POV? I mean, that would make the "Tipper Gore was a friend of mine" line make more sense, but why would a conservative claim (to no-one in particular) "Your morals only run as deep as the surface"? Honestly, I'm probably making this song more confusing than it should be. This song makes a reasonable amount of sense, but only if you know MSP's politics, and the amount of said politics in their music, going in, which is pretty much covered just by reading the title. This song is... confusing... but is actually trying to say something without spelling it out to the listener, which I respect. Wow. That's a long paragraph. Sorry... I think. Also. MSP? USE FUCKING SPACES.
Song #2: Good Intent by Kimbra (Vows, 2011, Track 6)
Musically, this song is magic. This song is smooth, sexy, charming, fun and generally enjoyable. The really interesting thing about this song is the real blurring between vocals and the music. Not to say I can't tell the difference, but what affect is brought about by instruments or vocals is really unclear, and it is fantastic. Seriously, the music is wonderful, but I would love to hear Kimbra singing this with nothing else just to find out how much of this song is thanks to her vocals.
Continuing with vocals, Kimbra is smooth and seductive in this tune, Now, I own Kimbra's first and so far only album, Vows, but I can already tell that she's going to be in the league of those female vocalists like Sia, Bertie Blackman, Washington and Regina Spektor who I'm going to have a hard time not checking wikipedia every few weeks waiting for a new release from. The fact that this song is a little different from the rest of Vows really brings out Kimbra's skill, as the rest of Vows seems to be going down a particular path, this track almost purposefully goes out of it's way to say "That's good and everything but listen to this" just to show Kimbra's vocal range. This, I must say, is a brilliant decision, as a debut album which type-casts a singer is never a good move. This song? Fucking brilliant.
Now, lyrically, I want to talk about the album this song is taken off of, Vows. Now, Vows has a recurring theme of relationships. Not necessarily breakup songs or love songs, but something in between. The best comparison lyrically (I stress lyrically, far superior in ever other way) is Soko's monstrous "I'll Kill Her" with the whiny woman-child element completely removed. Yes, there is still something if you take out the whiny woman-child. Not much, mind you. Anyway, the album seems to have a focus on the hypothetical and the vague, such as my personal favourite song from the album, "Cameo Lover". Really, the name should tell you almost exactly what that's about. Now, staying off-topic, the name Kimbra might mean something to a lot of you. Not just Australians, like most of my discussion of The Herd, Ball Park Music and my cleverly encoded references to our weaponised koala progra- never mind that, but Kimbra featured of Gotye's hit "Somebody That You Used To Know". This is another example of a relationship song. This song, "Good Intent", is about someone basically fucking up and expecting the fact that they were doing whatever it was for the right reasons will make it all OK. It doesn't, and this song is all about how it doesn't, why it doesn't and exactly how bad you fucked up. Hint: big time. I love everything Kimbra's done, but I really am worried she might end up as a one-trick pony. The saving grace is that her songs vary in style and aren't explicitly labelled "relationship songs", as the majority of the music-buying public seems to go out of their way to not listen to the lyrics of songs, so she'll be fine, especially with that kind of talent. Why am I talking about lyrics so much today? Anyway, so far we have a Welsh group and a New Zealand singer. What non- Australian, English or American nationalities are still available?
Song #3:Wonderful World by Sam Cooke (The Wonderful World of Sam Cooke, 1960, Track 1)
Well, this song is far from what I expected, but not because it's from a foreign country. If Cooke doesn't win this 3 Songs, nobody kill me. I adore Cooke, and comparing him to modern music, and genres far from his own is unfair. I'm doing it anyway.
Musically, this song is by far the simplest of the three, but it suits the lyrics and style perfectly. The main draw of this song, like the majority of the work of Cooke, is to show off the man's wonderful voice. The music is lovely, exactly what is necessary for this song.
Vocally, Cooke is utterly fantastic. Although I don't feel this is the greatest of his songs, though not far off, it does show off his amazing voice in a song designed to do so. It's really hard for me to explain how good Cooke's voice is. He is so very confident with everything he sings in this song and it sounds as if he is just playing with the sounds for his own entertainment, putting what he wants to sing before what people want to hear. I can honestly hear the man singing this to himself, not giving a shit what people think of it.
Lyrically, this song is nothing worth writing home about. Cooke isn't the smartest man in the world, but he's head over heels for Insert Woman Here and will do anything for her love, also everything will be great if they're together. These are not the greatest lyrics of all time, and you're deluding yourself if you sincerely think so, but there is a great deal of emotion behind them which really prevents the lyrics holding this song back. Simplicity is the key here. The music is simple, the lyrics are simple, the moral of the lyrics is simplicity. Done.
Overall:
Musically, I've just got to hand it to Kimbra. Perhaps it's just the mood I'm in, or just the fact that I'd never really paid that much attention to that song, but it really stood out for me. For runner-up, MSP. They really made sure they weren't lacking in the music department despite the fact their lyrics were the draw of the song, and I truly admire that kind of dedication.
Vocally, Cooke. I did consider Kimbra for this position, but her song is reasonably divided amongst my three categories. Cooke's voice is at least 90% of the reason anyone listens to Wonderful World (the other 10% is made up of people who thought the song was Louis Armstrong's). Kimbra is easily second, and there are few other people beside Cooke and perhaps Dempsey who I can imagine beating her to top position. I did not consider MSP for a moment in this category. Listen to anything they have ever done if this decision confuses you.
Lyrically, MSP. I don't quite understand the point they were trying to make in their song, but I read this as my failing and not theirs. The reason I think they deserve to win in this category is due to the fact the way they presented their lyrics interested me enough to do some research. Although not really relevant, I now have knowledge of the Brady Bill and I know who Zapruder is (outside of Andrew Denton's film company). Kimbra is an easy second for this, as she details a relationship conflict in a way which does not bore me, does not feel like she is clearly talking about two specific people and is something I can enjoy listening to. Cooke is somewhat lacking here... please don't hurt me. Who am I kidding? The second I mentioned a "pimp fucking a priest" most people reading this for Cooke left. Hello, remaining MSP fans! Any Kimbra fans?
Winners:
1. "Good Intent" by Kimbra
2. "Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart" by Manic Street Preachers
3. "Wonderful World" by Sam Cooke
Well, I was not expecting any of those songs, but I enjoyed something other than talking about three obscure-ish Aussie indie-rock songs in a row, broken up only by Ben Folds. Fun.
Feedback welcome, as always.
H. Rourke
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