I don't even like Oasis that much. I am, however, looking forward to the "(What's the Story) Morning Glory?" reissue that should be coming out later this year. "Definitely Maybe" isn't my thing. I've never listened to "Morning Glory" before; I've never been a great a fan of Oasis to actually buy it or even download it without paying, but I know that it contains some of Oasis' best songs and the reissue will probably include the great B-Sides that were recorded during the making of the album. I'm sure it will be worth the wait.
"Don't Look Back in Anger" is a song from "Morning Glory". It was released as the album's fifth single, the band's first to have Noel Gallagher on lead vocals, and got to number one in the charts.
Nothing much else I can say. Well, there's nothing much I can be bothered to say. Whatever I would say has most likely been said before. The song's good. You've all heard it before. It's only like.... one of the biggest anthems out of Britain from the nineties.
The opening track to Billy Talent's second album was built upon an 'evil guitar riff' that guitarist Ian D'Sa started playing one day. Lead singer Benjamin Kowalewicz wondered what kind of evil would suit that riff, and found it one day when he read an article about a Catholic priest who was molested 150 children in the 90s and was then stabbed to death during his time in prison. As a result, one of Billy Talent's darkest songs was created. A song which gets the blood racing and sends shivers down my spine each time it plays.
The thing is - I wasn't so enthused by it when I first heard the song via its video all those years ago in 2006. Thinking about it now I am not so sure why. It was very quick, and was finished before I could absorb anything that was happening. The first time I really understood it was when I actually listened to it through my headphones - that's when it hit me.
Starting with Ian's lone menacing riff - the song explodes when the drums kick in along with an almighty "YEEEAAAAHH" from Ben. The verses describe the priest - the 'devil in a midnight mass' - whilst the pre-chorus and choruses depict the scene when the priest is killed in jail who will now sing 'silent night for the rest of [his] life.'
That is all well and... good, but the most threatening part is the last forty-five seconds of the song when the riff repeats on and on as Ben says what could possibly be the priest's last words before he dies, "Whisper, whisper, don't make a sound/Your bed is made, it's in the ground". That comes to a halt for a split second before those two phrases are ceaselessly screamed at you by Ben, Ian and the bassist Jon before climaxing with an astonishing shriek which echoes right into the next track.
This song is scary. This song is awesome. The best Billy Talent album opener. Hands down. I look at another one tomorrow though.
"A Day in the Life" is the grand finale of The Beatles influential 1967 album "Sgt. Pepper's Lonely Hearts Club Band". Many consider this to be the greatest song the group did, and see it as the pinnacle of the experimentation the four guys had been undertaking during the mid 60s.
2007 was its 40th anniversary, and it was of an immense deal that the cast of Eastenders did a cringeworthy tribute of it for Comic Relief (take some time to think before you go to this) and a whole bunch of other bands (from Stereophonics to The Fray) got together to do a cover album as a tribute too. But it was two years later in 2009, when I first listened to the album and therefore the song. I did not think that it was worth all that fuss. I found out that it was. It's still not my favourite of theirs though.
In terms of the track... I think I was looked at its article on Wikipedia one time (God knows why) and the overwhelming detail it listed about "A Day" - its background, the dates it was recorded on, the crescendos of the brass, the combination of Lennon and McCartney's separate song ideas, the almighty piano chord at the end - it made me think I was missing out on a song of epic proportions. I had to listen to it.
Funnily enough, I didn't care for it so much the first time. I was thirteen. This opinion has changed. It is one of the greatest album closers ever.
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.
A very recent addition to my iPod. Maybe one or a couple weeks ago, I took on the experience of listening to "Person Pitch", the third album by Panda Bear. Panda Bear is a cool guy, who performs with a cool band called Animal Collective. He also made an appearance on Daft Punk's new album. Do check out Animal Collective in your spare time though.
Getting back to the subject, "Comfy in Nautica" starts "Person Pitch" off with a sample of some sort of tribal chant which repeats throughout. While this is all happening, Mr. Bear sings a mantra on how to live your life. He doesn't really sing, he changes the pitch of his voice on a new syllable. Which is further accentuated by a large amount of echo. That echo doesn't go away for the rest of the album. It is still very effective, and a very simple melody that you'll never forget.
The only bad thing I about the track is the really long and out of tone note at the end. But that's about it really.
The title track from Feeder's fourth album is one that has an ambiguous effect on me. Sometimes, it fails to raise a positive emotion in me. Sometimes I hear the song and I feel sad for no reason and quite dispirited. Other times it's a song I would play when I'm with my friends or family and think "I wouldn't want to be anywhere else than where I am right now, at this point in time."
I told you the context of the album already with "Come Back Around". Whilst that song (although having somewhat of a similar message to this) excites me with its pace and forceful instrumentation, "Comfort in Sound" stops me where I am and makes me think about life... about what I'm doing presently, about making most of the time I have.
I do love the song. Lazily looking upon the lyrics now, it has a positive and heartwarming aura. It is about finding solace in the things that surround you. Mostly in the things you hear. Its mid-tempo pace and the key(which was altered for the single release, and is the version I have) make me feel at home... and really warm inside.
I thought that preparing for university would be more of a strenuous task, but it appears that already I have most of the stuff I need. I have bought a few things here and there, just now I've chosen two pairs of new shoes and new socks, but it hasn't been as tiresome as I thought it would be. Life is good.
That was an unrelated introduction. I just wanted to tell you how things are going.
... I've never had an account on last.fm but without one four years ago, somehow, I was able to listen to "The Spine" by They Might Be Giants in full without any adverts. I'm very sure that I can't do that now, so it was surprising that I was able to pull it off. "Broke in Two" is the third from last track about a relationship which comes to an end. You have that situation in so many other songs; the list is endless, I know. The narrator also wants to make things better, but is very forgetful and a bit dim too. "I'm gonna run you down" does not sound like "I'm an orangutan" does it? The narrator takes this into account and admits that even though he would try to fix everything, the breakup would still happen just because of his behaviour. It's quite tragic. But it's so upbeat.
The instrumentation in the music is really good too. The opening riff was a bit of an ear-piercer, that really high note sounds like it's played wrong. But it's fine. It works. I don't know whether it's a keyboard or a guitar or both played simultaneously during the break, but how it ascends from low notes and finishes at the top is mesmerising. The song also glitches and disintegrates into silence at the end, which is intentional. It is one of my favourite songs on "The Spine", I hope you listen and like it too.
Violent Femmes are a band from Wisconsin that formed back in 1980. They've split up twice but have got back together this year.
I'm not a fan of them; this is the only song by the band that I have. Not because I've listened to their songs and thought that they were crap, but because I haven't listened to anything else they've put out. Well, apart from "Gone Daddy Gone" (not a Gnarls Barkley song), and "Add It Up" (which I can barely remember). But even those are on the same album as "Blister".
"Blister in the Sun" came on when I was on the LAUNCHcast internet radio in the mid-noughties. It immediately caught my attention when the catchy riff started, and it's hard to forget it seeing as the riff melody is the same as the lead vocal too. The song was first released on the band's debut album in 1983, but sounds like it could have been released in the sixties. I don't know what it is, when I think of the eighties I think of long hair, Footloose, keyboards and drum machines. "Blister in the Sun" sounds like the complete opposite with it's minimal instrumentation. It makes for good listening when you're walking in a park, on a nice summer's day.
Here it is, They Might Be Giant's biggest song. Commercially anyway. This, "Istanbul" and "Boss of Me" were their only songs to chart in the UK. Shows how much we know about music. I'm only joking, we know quite a bit about music. It's a shame we just never appreciated this band as much.
I've just woken up from a nap so please excuse any spelling mistakes, or anything that clearly doesn't make any sense.
They Might Be Giants released "Birdhouse in Your Soul" as the first single from their major label debut, "Flood". The song, from the perspective a 'blue canary' night-light who 'watches over you' in your sleep. Not in any strange kind of way, but to guard you from the demons and monsters of the night. Like a guardian angel, it's always near.
Now I don't know what affect the song had on people when it was initially released in 1990. I still had another five years to go until I was born, but judging from the stats I see on Wikipedia and TMBW it helped the band gain a bigger following of fans after reaching top ten positions in the UK and in the US Modern Rock chart in the US.
When I was younger and started listening to They Might Be Giants, I knew that I'd heard the song from somewhere. Perhaps in an advert, or it played in the background of a TV show or something. But I didn't know it was the band who sung it. I watched the video on Yahoo's LAUNCHcast website, and it made me like the song even more. The weird zombie children, the random bike riding around the band, the choreography, it's nice to see the band in one of their music videos too.
If you want to listen to the demo from Dial-a-Song, here it is.
"Bird in the Basement" is the title of this song by Billy Talent when they were in their Pezz phase, but the phrase doesn't appear at all. It's not sung by anyone, no one in the studio says it or anything. It's the same for the rest of the songs on the album. Maybe it's a phrase that only the members of the band are able to get. They probably won't play any of "Watoosh!" any time soon though, so we'll never know.
I mentioned how I came to own "Watoosh!" in my post for "Absorbed", the last track of the album. However, I knew about the album since I was about ten years old. A Billy Talent fan uploaded the songs on their fan site but they were in terrible quality, and were eitther in wma or wav files. I just didn't listen to this song until my sister bought the album for me in 2009. I think the link for it was broken.
As for the meaning of the song, it's quite hard to say. I'm thinking it's about a relationship where the couple feel that 'everything is fake' around them even though to other people, they are the problem. They are oblivious to the whole situation though, and look forward to sticking with one another when everything turns to crap.
This is my one hundredth post. Hooray! To anyone who reads this, thank you. You are the reason why I feel like I haven't been wasting my time since February, when I started this thing.
Today's song is another one by those four guys from Liverpool. I don't have access to my computer at the moment so I hastily type this up using my iPod Touch.
"Back in the U.S.S.R" is the opening track to the band's double album "The Beatles" - also known as "The White Album" due to the album's front cover. I prefer to call it "The Beatles" though because... that's the name of the album.
1968 is known as the year when the members of the band started to get a bit annoyed with one another. You probably wouldn't think that listening to this classic though. Upon first listen you might think, "Yeah, I can dig this! Paul sounds like he's having a good time, they are all whooping and stuff in the middle. Ah, those guys."
IT'S ALL LIES. Tension was building amongst the group, and for a number of different reasons. George felt under appreciated, as did Ringo and John had brought along a force that would totally break the harmony between the four for the rest of their years together.
For anyone who didn't know, Ringo doesn't play on this track. It is actually Paul on the drums. I'm sorry to break it to you if he's your favourite or whatever.
In regards to "The Beatles", it was a matter of 'back to basics' for the band. Their last full release was "Sgt. Pepper" which is known for its wide variety instrumentation and the colourful front cover and whatnot, and so after travelling to India for 'spiritual enlightenment' the band were ready to keep things simple.
"Back in the U.S.S.R." is a great opener, I can't imagine it anywhere else on an album. It's got that sense of urgency and pace and gets you hyped up for what is to come.
I made another post about The Who a few days ago, so have a look at it if you want.
In that post I mentioned that Summer 2010 was when I began to listen to The Who, and recognised them for the ball of talent that they were back in the day.
However, I had only listened to a few songs by them. In order to get a sense of what their music was about, I would have to listen to one of their albums.
But which one? Where do I start?
Now, I knew that their 'magnum opus' was considered to be their album 'Who's Next'. It contains two of their most well known songs, and it is the one where each member had reached their peak at their positions. Together, there was no stopping them.
For me, there was something that prevented me from listening to it. I don't why. I think it's just because I had only heard of those two songs, and if people only liked the album for them then what was the point?
So what better way to start my Who experience.... than with their 1967 release, 'The Who Sell Out'? Seeing its article on Wikipedia, I saw the praise that it received (full marks by the ones listed), the whole radio concept thing amused me, so I thought it wouldn't hurt to listen to it.
It's probably their most under-appreciated album. It is their only release where a majority of songs are not written by Pete Townshend and not only sung by Roger Daltrey. Everybody gets to sing, I have the 1995 remastered version which features 'Jaguar' with lead vocals by Keith, and 'Girl's Eyes' which is written by him and sung with John Entwistle. It's really one of my favourite albums.
"DUUUUUH-DUH Monday........" is the first thing you hear when listening to 'Armenia City in the Sky', the first song of the album. The Who Sell Out incorporates radio adverts that were transmitted on a rogue radio station, 'Radio London', which would normally be broadcast from a boat in the middle of an ocean. This 'Days of the Week' interlude carries on until Sunday, which is when a weird backwards guitar fades in, and boom. The actual song begins.
Another unusual thing about the song is that it's not actually written by any members of the band. In fact Pete's chauffeur, Mr John Keen, wrote the song and is also singing it along with Roger Daltrey. Although it's hard to make it out, seeing as there is this weird pitch shifting effect that is used on the vocals. Maybe they didn't want people to know that someone who wasn't in the band was singing.
Listening to it with headphones is another weird experience. You basically have Keith and John playing the rhythm section in the left channel, whilst there are these backwards trumpets and hazey backwards guitars playing in the other. That along with the lyrics, for example:
'The sky is glass, the sea is brown, and everyone is upside down,'
makes this song one of the trippiest from the album.
I guess as it was 1967, this was supposed to a spoof of the psychedelicmaterial that was coming out, only because this is the only song on the album that uses that sort of drugged-up-on-LSD sound. The others are solid songs that don't try to sound like it at all.
The solo is backwards too, so that screeching bird-call in the middle is still a guitar. After two repetitions of the title, the band maintain the pace and rhythm, a weird insect-sounding voices says 'Freak out, freak out' and the song ends with an explosion that echoes into the next radio transmission.
All in all, it's a perfect start to a perfect album.
Mate."Never Mind the Bollocks, Here's the Sex Pistols" is one of the best punk albums of all time.
Made up of Johnny Rotten, Steve Jones, Paul Cook and Glen Matlock (who then left and was replaced by Sid Vicious) were the voice of a generation who didn't give a shit. About anything. They only released one official album of original material, but the legacy they left on the punk genre and Britain overall still goes on to this day.
The first time I heard the song was around 9 or 8 years ago. I was watching this football show, something along the lines of the top ten controversial moments in the Premier League, and the incident where Eric Cantona kung-fu kicked a fan in the stands was shown. Of course it was one of those countdown things where the producers recruited these random celebrities to talk about these 'controversial moments' even if they didn't give a shit about football.
Cantona got in a lot of trouble for that in '95. The whole 'I AM AN ANTICHRIST, I AM AN ANARCHIST' seemed to fit the clip exactly, and seeing Cantona go crazy and hearing the song for the first time freaked me out a bit. I was eight years old at that time so... you know. It was scary.
Again, I would thank Yahoo's Launch for helping me find the song. I was listening to my specific radio station when 'L'Anarchie Pour Le UK' from 'The Great Rock 'n' Roll Swindle' played. I thought that the song sounded familiar, even if it was sung in French, and one thing led to another and I found 'Anarchy in the UK.'
I thought it was the best song I'd ever heard. It was just so punchy and raw, that trademark whiney vocal by Rotten and just the whole 'don't give a fuck' attitude that the song gave off.
