This is the end... for now. I've come to the last of the 'Cs', and starting from tomorrow there won't be posts for a while. I enjoy typing these; I hope you like reading them. I may come across as a bit repetitive or just silly in general, telling you how I feel about songs and trying to 'review' them without having technical music knowledge is quite challenging, but it gives me something to do everyday... so it's all good.
"Cyclops Rock" is a tune from They Might Be Giants' album "Mink Car" from 2001. After John Linnell's track about a mesmerizing hair cut comes John Flansburgh's about..... I'm not so sure. I don't want to say the lyrics are nonsensical or random because there probably is a clear meaning behind them.... I can't tell. What does "cyclops rocking" entail? How is it different from plain rocking? I'm only joking.
It doesn't really matter when it comes TMBG. All of their songs have that sort of thing about them. Who cares what the song is trying to say when it rocks as hard as this. Starting with three chimes of tubular bells, "Cyclops" launches into life with Flansburgh shouting the chorus at you along with some great guitar playing and sliding saxophone notes by Linnell on the side. Full of energy, very quick, a cameo by Cerys Matthews in the bridge (which was actually meant for the late Joe Strummer at one point). Three things you can expect from this song.
Ah.... the first Pavement song I ever heard. It all started from this.
I was ten years old, probably getting to eleven, and I was downstairs nice and early whilst everyone else stayed in their beds to watch the music videos on MTV2. "Cut Your Hair" came on, played for the its three minute duration, and then was gone. But it got stuck in my head. The "ooh ooh ooh" chorus, the easy-to-remember 'riff' (don't know whether it's a riff or not)..... I am certain that that was the only time I saw the video on that channel before it got revamped, renamed and whatever else the company did to totally remove its credibility.
The music video is really simple and not at all serious. The band come into a barbershop, weird things happen when each member sits in the chair resulting in no one getting their hair cut and they leave when the song finishes. Does it have anything to do with the song? Not really. It's more of an obscure "Hey we're Pavement" type thing, seeing as this was the band's first proper music video to go with a song that did quite well commercially. Although, it did leave me wondering who played what instrument and who the person singing was.
Anyway, "Cut Your Hair" is a song about people in the music industry caring more about their appearances than they do about the actual music. It is sarcastic in tone, something supported by Malkmus' trademark loose and "off-key" vocal.
I liked it so much I put the video on my Piczo site; every kid who was in Year Six (2005/06) will know what I'm talking about. Too bad that company died, and my site is gone now.
The track actually comes right after that song. After a sample of what appears to be amusement park music, someone counts-in, a lone guitar plays with some backwards singing (which reversed is Bert yelping out "Happiness Is a Warm Gun" by The Beatles) before the rest of the band joins along.
The lyrics mostly concern the themes of love, sex and suicide. Lines such as "going out at the same time" and the loss to the brain "feeling like a gun" probably reinforce the last of those three a greater amount. They could also refer to a 'petit mort' (something my English teacher taught us when he went off at his daily tangents during his lessons) which is describes the state of unconsciousness one goes through after 'sexual experiences'. Maybe the double suicide that is hinted at is actually a thought of a couple having an orgasm at the same time. I don't know what "cleaning up the mess" would mean though. You know what, this is too weird. I'll stop there.
I do like this song though. Obviously, otherwise why would I type about it? It was one I added to my iPod straight away after listening to the album in full before I started Year 10. The last minute or so is glorious when Bert starts shrieking out the repeated choruses before the track mellows out, all except for a noise which repeats and segues into the next song.
I just completely messed up my dinner by leaving it on the cooker for too long. I am a bit depressed now. I had to throw it in the bin; there was no way it could be salvaged. I had the same thing to eat yesterday and it was so good...... :( ffs. I think that cooker is too OP, I didn't even have it on a high flame.... I'll just cook it tomorrow.
It almost the end of the C section on my iPod, and it is getting to the year anniversary of when I actually first started this thing. Expect the 'D' (hehe) next month sometime. Late Feb.
"Cut the Curtains" is a track from Billy Talent's self-titled debut album. The ninth track on it to be exact. I first listened to the track many years ago, when I wanted to hear all the songs the band made after I'd seen them on the television when I was eight or so.
Even then it was only thirty second samples of it because I didn't know any downloading sites where you didn't have to pay. I did eventually get it as a present for my tenth/eleventh birthday, I am not too sure.
After all these years, I still enjoy this album just as much as when I first got it. "Cut the Curtains" isn't the sole reason why, it is one out of twelve songs that never diminishes on energy, volume, and overall awesomeness.
This track is quite different to the others. It uses a riff, one which I think Ian D'Sa referred to as a chicken, that is practically repeated throughout the song (intro, verses, choruses and all). It probably contains the only part on the album when a track goes quiet for a few seconds. It's not as quick and pacy as the others, but has a menacing tone and smoothness about it that you still have to move about to it. It's cool.
The subject matter.... Artifice in a relationship? Maybe? Just a guess.
"Cut My Hair" is the fourth track on The Who's sixth album and second 'rock opera' "Quadrophenia". It is sung by the main songwriter and guitarist Pete Townshend with lead vocalist Roger Daltrey providing melodies in the chorus.
"Quadrophenia" got me through some lonely times. Hearing it in Summer 2010 and being bored due to staying in my house all the time made me take pointless walks around the local area. Sometimes I would go to the shops or go to my aunt's house around the corner and just chill there until I felt like I wanted to get back home again.
Weather-wise, I distinctly remember that summer not being very great. Rain or slight overcast that turned into dark and gloomy clouds, and I would sing this song all the time when I went on my excursions. It got me through it.
Townshend decribed the song as: "A domestic interlude. The boy recalls a row with
his folks that culminated in his leaving home. We also hear a news broadcast mentioning riots in Brighton between
Mods and Rockers, events at which he was present the previous week."
I can say I cannot relate to any of that, I like my family a lot. The latter relates to the concept/context of the album which I won't go into. It's too much.
But yeah, the song's good. Have a listen. I'll be back tomorrow.
And that's not me being vulgar. That is the title of the track.
You've gotta love a bit of wordplay. The boys are from the country, but are also obsessed about the the female sex organ, you see.
What it's all about is basically all in the title name. Girls from the city goes to the country, boys see them and are attracted, girls find themselves 'strangely' attracted to them.... good times occur.
I honestly can't sing along to this because the lyrics aren't embedded in my head, even though I've had "Costello Music" for yeeeears so I have to come to the conclusion that I put it on my iPod because it sounded really good.
Americans probably don't know the song because it was removed from the US version of the album, probably to censor the rude word within the song title, so here it is! After seven years of it being released I am very sure that you've heard it anyway.
Uni work starts again from tomorrow until April. Can't wait. Early wake ups three times a week and sitting through two hour lectures on a Friday. What could be better.
Never mind. Life goes on.
"Cry Baby Cry" may be another track out of the many on "The Beatles" that some consider to be filler. On the contrary I think it has as much worth as "Dear Prudence" and "Glass Onion" on the track list, even if it is not as highly regarded as the former or as continuously questioned as the latter.
"Sing a Song of Sixpence" always comes to mind when I hear this song, seeing as many words in that nursery rhyme are found in the track. A king is there, a parlour is mentioned, a queen and so on and so forth. But this track does not have a cheerful melody like that rhyme. In fact, this is the total opposite of what a nursery rhyme should be.
The descending phrase from E Major to G Major within the verses mixed with some minor chords along the way, John Lennon's light and barely double tracked vocal and that harmonium in the introduction make this track very moody and quite saddening to listen to. It makes it even worse knowing that it's the last time you hear Lennon's voice on the album.
The actual track ends before it switches to Paul McCartney with a guitar singing "Can You Take Me Back", which makes it even weirder and creepy. Then the next track "Revolution 9" starts and it goes all over the place from there.
"Crosstown Traffic" is a track from The Jimi Hendrix Experience's third and last album, "Electric Ladyland" in 1968. I did listen to the album. That was a while ago. Like in late 2012. So I'll probably have to listen to it again, to see whether I like it or not.
The only reason I know "Crosstown Traffic" more than any of the other songs on the album is because it is the only one that has a music video, a video that I've seen at least four times on the television.
The song is a huge metaphor. Jimi travelled a lot, and was probably hit on by lot of women along the way. Probably be with one and then it would be on to the next one. So he basically compares them to traffic, because he needed to be somewhere else. To entertain the masses of fans he had.
The track is groovy, but pumping too. It sounds like a theme tune to a seventies, undercover police show. I get that feel from it, I don't know why. Someone did go a bit crazy with the panning though, instruments move from one channel to the other multiples times. I don't know if that's really needed. But it's a minor thing. The song is still good.
Good times were had last night. Moving from one place to another, plenty of loud music and dancing was involved. I can remember it all too which is a bonus. So as I sit here on my desk, reminiscing and waiting for the second half of the Arsenal game to start, I bring you the first post of two for today.
"Dead Silence" is Billy Talent's fourth album, released in September 2012. It brought to an end their "Billy Talent (enter roman numeral here)" naming system that the band had used for their first three albums, but it also brought forward some new ideas and sounds too. Ian D'Sa - the guitarist with the Paul-from-Tekken-like haircut - handled the album's production, there is the of a piano in one of their songs, it also includes two of the most 'poppiest' (don't like that word) tracks I think the band have done. I listened to it when it became available on Spotify, and it was "Crooked Minds" that really grabbed my attention.
With a message similar to "Red Flag's", something along the lines of how 'the kids' of today will rise up, cast off the shackles and fight to right the wrongs of the government, "Crooked Minds" reminded me of the material from "Billy Talent II". That album, for me, is my second favourite.... but only marginally. By the skin of my teeth. But "Crooked Minds" just had the energy that that album had, and what was missing, I feel, on "Billy Talent III".
Actually, that's a bit unfair. "Billy Talent II" is great as well..... I'll save that for another day.
I think it is that "Yeah" that Ben screams/yells at the start that certified it for me. "Devil in a Midnight Mass".....-esque, you could say.
"Crippled Inside" from "Imagine" is a "corny Country-Westerner" as described by Lennon himself (about 1:05 minute in) when discussing the tracks he had ready to be placed in the tracklisting, before proceeding to sing it briefly.
I listened to "Imagine" (the album, not the song) for the first time when it was (what would have been) his 70th birthday in 2010. If there was a time to start listening to his solo material, it was definitely then. And after the calming, piano driven 'anthem' comes this bouncy track.
It's about putting on a false appearance and pretending to be happy when in fact you actually feel worthless. Some take it to be an insult song to Paul McCartney; they weren't getting along so well at this time. Figure it out for yourselves.
"After the Gold Rush" is the third album by Neil Young. I listened to it last year after beginning my quest to hear the best ever albums to have been released. Although he does have a voice that did take me a few minutes to get around, I realised that it perfectly complimented all of the songs anyway. So it ended up being no big deal.
"Cripple Creek Ferry" is the little ditty that closes of the album. Some may think it's a bit short, maybe a waste of time but I really like it. It is only a minute and a bit long, but the melody's really sweet and you will be singing along to it after a few repeats.
For more insight, click on these three words. I am very sure that it will give you better lyrical analysis than I ever could.
Here is all you need to know. "Criminal" is the last song on "The Marshall Mathers LP", Eminem's third album. Or second if you're a person who negates the existence of "Infinite". "The Marshall Mathers LP" is arguably Eminem's best album. Eminem is regarded to be one of the best rappers of all time. Have you pressed play on the video above yet?
It is a great closer to the album. It basically sums up all of the messages conveyed in the prior seventeen songs, and is spat out to you in a humorous and clever fashion. Eminem was the centre of controversy after the release of "The Slim Shady LP". Many women, homosexuals, parents, the government..... They were all very offended by what this man said. But does he care? No. Because he doesn't mean it. It is all very funny to him.
Really though, I like Eminem but not as much as I might have sounded two paragraphs above. When his lyrics and beats are on point, he is siiiiick. "Criminal" is another of the numerous instances when he is, indeed, sick.
I am going to say something that will irk a lot of Pavement fans. But "Terror Twilight" is my favourite Pavement album. I said it, what.
The record gets a lot of scepticism by the majority of Pavement fans for many reasons. Reasons that I would try to list here, but would end up typing them very vaguely so you probably won't understand. Basically this is the band's last album, made at a time when relationships within the band were deteriorating. I think a lot of people sense that from the album's sound. Stephen Malkmus' vocals sound quite lacklustre and lack conviction, there wasn't an "Unfair" or a "Two States" type song on there. In fact the writer of the latter, Scott Kannberg the guitarist and other songwriter in the band, didn't get one song on this album. He had at least one song on the previous four albums. Thing's weren't looking good. Would Pavement split up? Their split later in 1999 answered that question.
Despite all that, I simply adore this album. It has such an airy, dream-like atmosphere about it. No doubt that is due to the production of one Nigel Godrich, who you may or may not know as the producer of most of Radiohead's albums. Nothing sounds rough; all the songs are very soothing and pleasing to the ear. Yes Malkmus wrote all the songs, the songs sound too polished, Malkmus sounds bored but you know.... GET OUT OF HERE. I DON'T CARE. "Terror Twilight" forever.
That's my album review. Now for the song.
So, "Cream of Gold" is the fourth song on "Terror Twilight". It did take a while for me to eventually like this song enough to put it on my iPod. I didn't just put it on there because "You Are the Light" segues into it when you listen to the album. I did grow to appreciate the song for its coolness.
I have no clue what the song is about. The lyrics are very abstract. Even the song title is just a longer way of saying "Beige", which I only figured out a few weeks ago. I think it's about some sort of bad relationship of a couple, and the narrator knew from the start but he still suffers through it.
Musically, it's very gloomy. It rocks, don't get me wrong. This isn't some emo, goth type song or whatever. The songs starts to play when you're outside, it's really dark and you beginning to worry about your own safety. That happened to me some time ago when I was walking back to my house..... But the track just suits that type of atmosphere. It has quite a threatening tone to it.
The guitar tuning is not the 'standard', which Pavement were known to do for many songs from their albums. After two verses, two choruses and a few repeats of the last line of the chorus, Malkmus busts out a solo and repeats a phrase about six times before the track falls apart with some feedback. Not in a bad way to end. Good stuff.
Quoted from songfacts: "Lead singer and guitarist Deryck Whibley wrote this about one of his old girlfriends." From the title, you can already tell that this is not a track about the good times the couple had in that relationship.
No, it seems that "Bunkface" was asking too much of Deryck. Always going on about being together forever even when they're only in their late teens, and generally talking about things that, although he appears to care, freak him out when they come into conversation. He tries to put on a smile, but wants out.So this song are basically all the thoughts going through his head while that's going on.
Can't say much about it, but I have it on the iPod so I must like it.
Um.... Okay, I know this looks bad.... let me explain.
"Cram It Up Your Ass....... really? What the fuck." That may be one of the thoughts that may have come to mind when you first saw the title. If you have come to this from my Twitter page, you may be even more confused and surprised. I couldn't put a song title like that on my feed; people wouldn't even want to click on the link otherwise.
Enough about that. "Cram It Up Your Ass" is the closer to Guttermouth's first major release "Covered with Ants" and is one of the funniest songs I have ever listened to. And one of the creepiest.
The only reason I know of this song is because all I wanted to do, when I was ten and playing Tony Hawk on the PS2, was find and listen to "I'm Destroying the World" on the computer for minutes on end. However I could never do that; I always had to listen to thirty second samples instead on random music sites. Whenever it said 'download', the link would take me to a place where I had to pay... I'm not about that life.
"Cram It Up Your Ass" is on the same album as "Destroying the World", and the title looked interesting so I decided to hear it's sample. Nothing much happened, as you can tell. Just the lead singer singing the title over a bass that was playing the vocal melody. No big deal.
That was until, years later, I found out that it turns into a proper headbanger where all the guitars play the vocal melody in unison with frenetic drums rolling around all over the place. The dynamics are a very key part of this song. The last lines "Do you still like me?" are sung when the instruments come to a sudden stop, leaving the singer all alone. That part freaks me out a bit.
It doesn't end there. After a few seconds of silence, a bloody grand piano comes in and plays the vocal melody over and over again for five minutes or so! I don't know. I cut that bit out though, that part is unnecessary.
The reason I talk about that is that there were these clips of Harrison, not during his days with The Beatles but what looked like in a time way after, joking around and goofing off with a lot of people in the gardens of his mansion.
What I thought were clips from a never-seen before film of George at his home, turned out to be clips taken from the music video for "Crackerbox Palace", a song from his fifth solo album "Thirty-Three & 1/3".
It took me a long time to find out where those video clips were from. Originally I saw the documentary in 2011, but didn't see the "Palace" video until the summer of last year. I don't know.
With a thunderous drum intro, the song suddenly starts with a Calypso-Carribean groove accompanied with a joyful slide guitar and fitful drums. Most of what you hear in the lyrics are based on actual events too, which may or may not be interesting to you.
Only feelings of happiness and loving life arise when I hear this song, and those are further increased when I see the video for it featuring cameos from Eric Idle, Neil Innes, and his wife who he had not yet married at that point.
"Cowtown" is the second song from They Might Be Giants' second album "Lincoln". I first heard the track on the old LaunchCast radio/website that Yahoo used to own. I won't go on about that; I've talked about it before in many posts that I can't be bothered to link into this sentence.
I was probably about nine/ten and what instantly struck me, apart from the galloping clarinet introduction, was the overall tone and mood of the song when John Flansburgh starts singing the chorus and the rest of the instruments come in. There is something very warm, inviting, and full of pride about it. Almost got me thinking Cowtown was an actual place that existed somewhere, and if it didn't could someone think of a plan to construct it right away.
Although primarily written by Linnell, both Johns sing the track which is great because their voices work of each other so well. And with so many rhymes in the lines and lyrical wordplay, it is a shoe in with the many They Might Be Giants tunes that rely on those kinds of things on... well, almost all of their albums. But the firstfourespecially.
Ah, Billy Talent II. Almost eight years old now, my god. I know Billy Talent's debut album turned ten in September last year, but I actually remember the lead up towards this album. I was eleven, the "Red Flag" demo was on the band's MySpace as well as Burnout Revenge, the band's website design had changed from the glowing red and yellow design to the simple yet powerful white . I can see it all. Where does the time go?
For a while, before it was actually released, the band uploaded the album onto their official website. Now I don't know whether it was my computer, but for some reason the track lengths that appeared were much longer than the actual duration of the song. I would be waiting there for a minute and a half through silence until it changed to the next. Sometimes it wouldn't play at all.
Nevertheless it was on the band's site, their MySpace profile or some other website that I was able to listen to the album in full. "Covered in Cowardice" was a track that I really liked when I first owned the physical copy. Ian's guitar playing is as flawless as ever, and it still baffles me how he can do the work of two separate guitarists on one lone guitar. He'll be playing a lick on the three high strings before pulling off a riff on the lower three, it's very difficult to tell where you'll end up next. There is plenty of that on this song. That's one reason why I like it so much.
Essentially, it's a song about Internet trolls/cyber-bullying. Ben doesn't stand for that shit, calling them 'bitter pricks' and... cowards, obviously. There's also screaming in the track, which is a thing the lead singer seems to have left in the past for now. I miss screaming in Billy Talent songs.
The three weeks back at home were good, well they were okay. It was nice being with the family but it did get very dull within a few days. Home just doesn't compare to university. I am sorry, sis.
"Country Sad Ballad Man" is the third track from Blur's self-titled album from 1997. Blur decided that they were done with the whole 'Britpop' scene by this time, and instead wanted to make some standard indie rock, Pavement influenced material instead of the character narratives that Damon Albarn had written for the last three albums.
I listened to "Blur" the whole way through during the late summer last year. I was lying in bed and was starting to fall asleep but I do remember hearing this tune. Coming after "Beetlebum" and "Song 2", the first and second singles which I knew inside and out, "Country Sad" was the first that left me in the place where I had no idea what was going to come next.
It takes quite some time to start. A steady, ticking drum beat along with an mouth harp start things off sluggishly, and then the deep bass and almost mono-aural guitar comes in. It all sounds very enclosed and compact. Damon alternates his pitch going from high to sounding weary and tired, whilst singing about self-pity and isolating himself from society. Entertaining stuff.
Weary and tired is very much the atmosphere that "Country Sad" achieves; that is until Graham suddenly brings in the guitars for the last minute or so which raises spirits for a bit but in the end, this song is not one to listen to if you want to make yourself feel better about something.
If you're disappointed with my 'thesis' on the song, here are some funny arrangements that you can change title too:
"Country House" by Blur was the first single from the band's fourth album "The Great Escape". Released at the height of 'Britpop' in 1995, the single went head-to-head with Oasis' song "Roll with It" for the number one spot. "Country House" won, and stayed number one for two weeks before Michael Jackson knocked it off.
The song is about a man who buys a house in the country (no..... really?) to get away from the city but still isn't very happy with his life. You wouldn't be able to tell though. It reminds me of one of those songs that, when you're really drunk, you grab your mate and put your arm around their shoulder and start yelling the words along to it. Then the brass coda kicks in near the end and you start doing the can-can and stuff.
It never fails to cheer me up, even though it can become a bit grating if you were to repeat it over and over again. Just because of the over emphasised English accent and the cheery music. It just shouts out, "Hey! We're soooo British, look at us!" and that could annoy some people.
I am late, I know, forgive me. I did have a good day today. I went to Romford with mates, had some Nandos and watched American Hustle (which is a good film that I recommend, unlike 47 Ronin). It is probably the last time I'll go out before I go back to university on Tuesday, which I am very much looking forward to.
"Country Dreamer" is a track that Wings recorded in 1972 for their album "Red Rose Speedway". It didn't make it on there, and was released as a B-Side to "Helen Wheels", a single they released the year after.
After starting to like The Beatles in 2009, 2010 was the year that I began to listen to each member's solo material. I knew Paul McCartney was in Wings, and what is generally considered to be the band's best album? "Band on the Run", duh. So I downloaded that, and this song was the last one. Apparently the version I downloaded was a re-release of the album from 1993.
This song's very frilly and a bit sappy. It is too happy. Paul sings about wanting to different things with 'you' and asks if you would like to do it too. The things he wants to do take place in the country (he was into thattype of scenery a bit) because he dreams of doing that stuff there, and with 'you' he knows that it can all come true. That's basically it. If you like it, that's cool.
"Cosmopolitan" is the second track from Nine Black Alps' first album "Everything Is". It was one of the first tracks to be recorded for it too. It was the first single by the band, and was released a year earlier in 2004.
Now I had known of Nine Black Alps when their videos for "Unsatisfied" and "Just Friends" started appearing on MTV2. I never really gave "Unsatisfied" a chance because every time the video started and Sam Forrest had such a glum look on his face, I was never sitting on the edge of my seat waiting for what would come next. "Just Friends", I liked but it was a little too short. YouTube didn't exist and I wanted to hear more of their material. How could I? When would the next opportunity arrive when I would another one of their tunes?
Christmas 2005 when I got FIFA 06, that's when. "Cosmopolitan" was one of the tracks that EA had selected to be in their yearly football release. Something that's quite strange looking at the tracks they have for FIFA 14. They would never choose something as hard-hitting as this again.
I love FIFA. Been getting it since 2002. So if an artist's song is in there, if it is good, I will be able to decipher the lyrics and sing along to it all the time. "Cosmopolitan" was no exception.
With a lone guitar playing the riff for the first few seconds, the track then explodes into life. Brilliant guitar playing in the left and right channels while Sam Forrest really sings from the stomach - it's almost like melodic shouting. It's cool.
It's very dark. But that's no surprise. I say 'dark' all the time when I talk about this band but I can't help it. They write dark stuff. "Everything Is", lyrically, is especially dark. That album's great.
P.S. Um... hello Hatch Records. If you see this, thank you for following me on Twitter. If you like this post could you comment below.... or favourite my tweet. It's really awesome to know that one of my most liked band's label has noticed me.
Today's track is brought to you by They Might Be Giants, a band I have written about many times in the past. This time, it is "Contrecoup" from their 2007 album "The Else" that I will be typing about for today's entry.
They Might Be Giants seem to be able to come up with songs about just about anything. Shoehorns with teeth, spiraling shapes, stomp boxes, you name it. Even though those things all sound silly to the ear, those are tunes that you better believe have a lot of thought put into them. You wouldn't be able to create with a song that is from the perspective of a nightlight in a child's bedroom. That idea would never occur.
This song however was made really easily, and was created way before its proper release in 2007. Two years prior, John Linnell was on a radio show. The show said, make a song using the words 'contrecoup', 'craniosophic' and 'limerent'. The track was made then and there. It was changed up a bit for "The Else", but that is the story of how "Contrecoup" was born.
Musically, the song is quite calm. It chugs along at a sturdy pace driven by an acoustic riff with light guitar and keyboard vamps. The song does troll you nearing the end when it suddenly starts to build pace.... it fades out to silence, but I'm still left satisfied.
Finally! After almost three years from its release, I have seen the last Harry Potter film. The feels! I kid you not, just two minutes ago I finished watching it. Thank you MegaShare. I never thought I could get an actual working link as the top result on Google, but there you go.
Today's track is one that would not be acclaimed by a lot of Beatle fans. It was one of my most played tracks in iTunes, which would either impress some people or gain some curious looks by others.
Well I don't care! I like it. The song's quite funny. And one based on real events. An American man went to visit his mother in India, where John Lennon and the rest of the band were staying at the time, and set out on elephants to hunt a tiger. A tiger was killed, John didn't like it, the rest is history.
The song is also noted for the one and only appearance of a female lead vocal on a Beatles track. This pisses off some people, as it was provided by Yoko Ono. For me.... meh. I am indifferent. It is over before you know it.
Sorry for the late post, I had started writing at around seven and then some events occurred which prevented me from finishing it... But here it is.
First day of the new year but the posting doesn't stop. You think I would take a day off for this momentous occasion? You is stupid. I would never do that. Even though I am at my friend's place and easily could have missed today. But I feel as if it would have been a waste to let this day go without making a mark on it, so here we go.
I bought "Consolers of the Lonely" in 2008 just because I really liked "Salute Your Solution" and wanted to listen to it on repeat without waiting for it to appear on MTV2. That resulted in me a skipping the almost title track when I first got the album. That was a silly mistake.
I did have a reason as to why I did. The slow guitar introduction did not impress me so I skipped the whole song altogether, not knowing that the song actually changed into a full-on hard rock tune.
Something that I really liked about the first single from the album was the change of the band's sound. I know that's said for a lot of artists, but compared to "Broken Boy Soldiers" which sounded like a band writing their tracks and then recording them in a small studio, "Consolers of the Lonely" was the sound of a band ready to take on the biggest festivals and fill the largest stadiums.
With the track beginning on a quiet note, a bunch of studio chatter and aforementioned guitar I wasn't expecting much. That was until the count-in from the drumsticks appeared and the real song began. The first chord accompanied with the pounding rhythm section hit me like a ton of bricks. It sounded so good. Brendan Benson's vocals sound as rich as ever, and work ever so well as the 'lonely' character as detailed in the album name.
Then the middle begins. The song slows down, and the guitar from the introduction is the backbone of it. Very clever! So it wasn't some sort of random lick that they just threw in, it actually has purpose. Jack White strides in as the 'consoler' as he offers the loner 'something good to eat' and slap-bang we're back to the pumping verses again.
It's all done really smoothly. This song is one containing a lot of changes. The best one is saved for the last minute when the song suddenly gains pace and the band execute one of the best breakdowns I have out of all the songs I have on my Apple product.
