Farewell. (My iPod #297: Weezer - Dope Nose)

I've given up. I can't do this anymore. A year and a bit of spouting endless rubbish about the songs I have on my iPod. How could I keep that going? This is the last post I'll be doing. On here anyway. I'm moving to WordPress.

Even before I started this blog I always questioned myself on which blogging platform was the best to start it on. I chose Blogger 'cause it looked simple and easy to control. It is. But it's for those reasons that I feel it's time to move. Blogger looks too simple. I also think that I would get a bit more views if I were to go on WordPress. It looks so fancy and professional.

Blogger's cool, but from either tomorrow or Saturday - it's WordPress from here on out.

Let's not end on a downer.

Here's "Dope Nose" by Weezer, the first single from their fourth album "Maladroit" and believed to be written on the same night as another popular song by the band. The video is quite confusing; I wasn't expecting Japanese motorcyclists either, but the track sounds like it should be played with motorcycles being revved up in the background.

Musically, the track is probably one of Weezer's best post-Pinkerton. It has an edgy 70s hard rock roughness to it, complete with an awesome solo in the middle. However, it is backed up with some rather odd lyrics about cheese smelling good on a burnt piece of lamb and a fag of the year who could beat up your man. You will have a brief  'what did he just say' moment when hearing that for the first time, but the music is so good that it overshadows it. You'll be singing along to those weird lyrics in no time.

It is a celebratory song. I think the term 'dope nose' is a pun on the word 'dope knows', so Rivers is calling out to the haters and telling 'em he knows what he's doing. Who those haters are, I don't know. I should hope they weren't hating when they heard this song for the first time.

That'll do, Blogger. That'll do.

I'll be back soon. Hopefully all the posts you find on this site will be on the new one. I will provide you with a link as soon as I make it.

See you real soon.

My iPod #296: Stevie Wonder - Don't You Worry 'Bout a Thing

Time for a bit o' sooooul. Weren't expecting that were you? The D section has been very rock-oriented so far it has to be said, but it is not as if I just added this song yesterday to try and add some 'variety'. Admittedly I have known "Don't You Worry 'Bout a Thing" for less time than the majority of the other tracks on here. I listened to its album some time last year when I was on a 'quest' to listen to the best albums ever. This is a very fine song though, so I had to add it. And it deserves to have a post.

"Don't You Worry 'Bout a Thing" is the penultimate track on Stevie Wonder's 1973 album "Innversions". It has a Latin vibe to it, started off by the stomping piano and exotic percussion which occur throughout, and comically referenced by Wonder's mock-Spanish dialogue for the first forty seconds. After those forty seconds though, it's serious business. Wonder delivers an outstanding vocal performance becoming more passionate with each chorus and key change, rising octaves until he eventually starts belting the song title from the top of his lungs.

Essentially it's a song about being positive. If you didn't get that from the title. It is a classic.

My iPod #295: Coldplay - Don't Panic

It's always odd to listen to old Coldplay material, but there's also something very warming about it too. I've seen how now the band are going to hide lyrics from their forthcoming album in library books all over the world or something. Sounds a bit pretentious to me. I think fans would be more likely to hear the songs and then type them up. Even then, some might not want to do that. But "Parachutes", their debut album released in the first summer of the 21st century, reminds us all of the time when Coldplay wouldn't even think of such an idea. It reminds us of a time when they didn't try so hard to be this 'biggest band in the world' type thing. That was a good time.

"Don't Panic" is the opening track on "Parachutes". It takes a few seconds to get itself together, beginning with a few strums of a lone electric guitar followed by an acoustic. Then suddenly Chris Martin starts softly singing, telling us that we live in a beautiful world. Yeah, we do, yeah we do.

The track is one about hope and reassurance, but its short length and quick pace also make it seem like one about urgency. Almost like time is running out. It's a strange one to make out sometimes. Honestly though, it's probably my favourite Coldplay song. Martin's light falsetto in the chorus, the gurgly, swirling lead guitar present throughout and the solo near the end... the song's poignant last line before ending and fading out into silence. Everything about it sounds close and personal. Not something I can say about any recent Coldplay stuff.


Eventually released as the album's last single almost a year its release, "Don't Panic" didn't even make it into the top 100. But it marked the start of a small group from London who would become the greatest band to ever exist. Or whatever.

My iPod #294: Oasis - Don't Look Back in Anger

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.

Check out this page for more information.

My iPod #293: They Might Be Giants - Don't Let's Start

Wonderful news, I am now back in university after a three week break with the family. Will my style of writing change because of it? Probably not. And why would it?

That seems a strange way to begin this post. To be honest, I am just writing down whatever comes to my head because I didn't plan what to write about "Don't Let's Start", one of They Might Be Giants' most popular songs which can be found on their debut album from 1986. I have never taken the time out to really think about what I would type for all the songs that have preceded this, but for some reason I have no clue where I could 'start' with this track.

It is definitely one of the group's best. And one of Linnell's, seeing as he wrote it. The thing is I couldn't tell you what its subject matter is. Linnell vaguely stated that it is about 'not let's starting' and also admitted that he wrote the music first, and the syllables in the lyrics were able to fit in with the melody. Maybe it's not about anything important. Maybe it's about nothing at all. But that doesn't matter. What matters is how it's all delivered to the listener, right?

Well, it's pretty quick. But a lot happens in just under three minutes. This track contains one of Linnell's most eccentric vocal takes, singing softly one second before passionately yelling the next and then throwing out a random tongue twister. It also contains the band's most dramatic yet most memorable lyrics: "Everybody dies frustrated and sad, and that is beautiful" and "I don't want to live in this world anymore". A bit morbid, true. But the happy, stop-starting music makes them all sound hilarious and nonsensical.

The track got They Might Be Giants 'noticed' for obvious reasons, and they went on to dominate the world with their drum machine, and eventually their actual backing band. Still going strong today, too.

* Here is the interesting demo for "Don't Let's Start". I don't know why, but I get an image of a boombox and kids playing hopscotch in the street in time to the music when I hear it. It sounds real old school.

** Plus, the version in the video at the beginning of the post is the single version. The album version is only slightly different, but they're both the same track. I do prefer the album version though.

My iPod #292: The Beatles - Don't Let Me Down

Let me make it clear that this is the "Naked" version of "Don't Let Me Down" that I'll be talking about. Why is this? Because I much prefer it to the original released back in 1969.

Both recordings were made during a period when the four members barely wanted to be in a room together. The thing is you can really tell this when listening to the original. The performance is slow, lethargic and so loose that it sounds like it could collapse at any moment. Paul's a bit full on with his harmony, and it's not John's greatest vocal either. Maybe that's why Phil Spector dropped it from "Let It Be", although it would have been a better option than "Dig It" and "Maggie Mae" for sure. I can't get into it - it lacks that tight-knit delivery and closeness that we all associate The Beatles with.

But the "Naked" version........ Ah. It's beautiful. If only the technology of 2003 existed back in the 70s. "Let It Be.... Naked" was Paul McCartney's vision of what the album should have been had Phil Spector not put on his choirs and various orchestras into some of the tracks. "Maggie Mae" and "Dig It" were taken off and replaced with this wonderful version of "Don't Let Me Down", made up of two performances of the song the band did during the infamous rooftop concert.

The track is given a lift by a subtle change in tempo and a higher key, but what makes it so much better than its 1969 counterpart is how brighter it sounds. You can sense that the atmosphere whilst performing this version was a lot less tense. George's lower harmony vocal in the chorus is a nice little addition, the instrumentation is tighter, the singing is terrific...... Everything sounds better.

Oh, and that bass playing by Paul after the final iteration of the title until the end of the song. Absolutely glorious. I'm very sure John looks at him as if to say "Damn....." in appreciation, but he can't because he's still singing. Oh well.

Watch them perform it, by clicking on thiiiiiiiiiis.

My iPod #291: Razorlight - Don't Go Back to Dalston

Anyone hear any fuss being made about "Up All Night"? Nah, me neither. I ask because it's ten years old this year. "Up All Night" being Razorlight's first album released in 2004. I like "Up All Night", it's a pleasant listen. Most tracks play into one another, I like it when an album does that. Too bad Johnny Borrell became quite unbearable in the following years. It is the best Razorlight album, no doubt about that.

The album includes "Don't Go Back to Dalston", a minor key track apparently addressed to Pete Doherty, then a member of The Libertines, to go a bit easy on the drugs. There are two halves to this song. The first half being distinctive verses and choruses, and the other being a long coda with the refrain "Come back, come back, come back" repeated numerous times. That half is longer than the first.

Borrell said the song was barely written, he just envisaged it in his mind after waking up from a hangover. It kinda shows. Still good though.

My iPod #290: The Who - Dogs

Behold. A song that sounds like nothing The Who would ever do, made by The Who.

This is "Dogs". A single released in 1968, and recorded during a period when the group went 'slightly mad' according to Pete Townshend.

There's nothing much I can say to you that would be any different from its entry on Wikipedia. It's a very English-sounding song. That "beer" chorus reminds me of a sing-along down at a pub or something, and overall it sounds like a very dramatic theme track for two characters in a soap opera.

In comparison to everything else The Who did, "Dogs" is definitely an odd one.....

My iPod #289: They Might Be Giants - Dog Walker

On This Might Be a Wiki - 'the premier TMBG knowledge base' - "Dog Walker" is the lowest rated track from "Join Us". Out of the known 764 They Might Be Giants songs, "Dog Walker" is positioned right near the bottom at 731. I can kind of understand why. With its strange vocal manipulation and laid-back instrumentation, it is one that is hard to get your head around when listening to it for the first time. "Dog Walker" is weird.

Buuuuut there's something oddly infectious about it. John Flansburgh sounds like he breathed in helium before doing the take but the vocals don't sound as annoying or grating as they probably should. I think that is helped by the aforementioned instrumentation. Everything's played at a cool rate. The keyboard, guitar and the rhythm section with extra percussion are all there, but are not overplayed to the extent of ruining the track's groove.

"Dog Walker" is smooth, man. It took me a few listens to get into in. More so than any other track from "Join Us". It has now been a favourite for a while, and is a very underrated song in a vast catalogue of material.

My iPod #288: They Might Be Giants - Doctor Worm

Whilst browsing through game websites and looking for anything good to pass the time; I came across this "Worm" game. It is essentially "Snake", the popular game that everyone had on their Nokia phones. But instead of circling around in a square trying to eat the object as a snake... you're a worm.

A thirty second or so sample of music played before coming to an abrupt end and then started all over again as I played. The opening lyrics were from the perspective of a worm who is called "Doctor Worm" by people but isn't an actual doctor, though it insists that it is an actual worm. I loved this short sample. To me it was jolly music that made playing the 'Worm' game more fun.

However, with every listen came a suspicion that the voice who was singing these lyrics sounded familiar........ The silly, nonsensical but funny subject matter with the upbeat music and blaring horns. There was no way. It couldn't be.

I searched up the lyrics in Google, and sure enough..... the song was indeed by They Might Be Giants. A song about a fictional worm who plays the drums in a band? What else couldn't these people write about?

It was first released as a new studio song on the band's live album "Severe Tire Damage", released back in 1998.

My iPod #287: The Beatles - Doctor Robert

Near the end of the album "Revolver" is "Doctor Robert", one of the more normal sounding songs on it. What I mean is, it's just the four guys playing their respective instruments. No violins, sitars, tambouras, backward guitar solos. It's a standard rock song. Now I know there's "Tomorrow Never Knows" or "Eleanor Rigby"...... "Here, There and Everywhere", those are usually the ones that people would say are their favourite tracks from "Revolver". "Doctor Robert" is mine... say what you wanna say.

Carried along by a durable rhythm section and a crackly, rough guitar by Lennon for the verses, "Doctor Robert" is the perfect advertisement for.... a doctor. Day or night, Doctor Robert will be there anytime. He does everything he can. The song's based on a real doctor. Actually, there are contradicting ideas on who Doctor Robert actually was. It is 'most likely' about a doctor who dosed some of the members with amphetamines in his Vitamin B injections. You didn't think this song was about the hard-working doctors who save most lives on a daily basis. Ohh no. What would be the fun in that.

Yeah, the track's a whole big nod to drugs and stuff. A really nice track, though. When the lead guitar rings in at the last moments in the second verse, the chorus begins with on-point, choir-like vocal melodies between John, Paul and George and a heavenly B chord provided by a harmonium, you feel like everything's going to be okay.

Surrounded by the other tracks, "Doctor Robert" seems like the least interesting one on "Revolver" but it is moments like that one which remind us that at the most unusual times the group could pull the rabbit out of the hat and amaze us with their magic.

My iPod #286: The Who - Doctor Jimmy

Happy Easter everybody.

The first post today marks the start of the "Doctor" trilogy. This particular song is not about someone who is in that line of work. The second post coming later on today, and tomorrow's are. Maybe tomorrow, 'cause I'll be at my friend's place. The next three songs all have the word 'Doctor' in them, basically.

"Doctor Jimmy" is the longest track on The Who's album "Quadrophenia", coming in at a hefty 8 and a half minutes. It only contains three verses and the "Is It Me?" segment that is meant to represent John Entwistle's personality. Apart from that are some rather long instrumental passages where the band jam and play off one another.

In terms of the album's concept, Jimmy - the main character - is pissed off with everything. The Mod life he believed in was all a lie. He starts drinking gin to see if it can 'hold [him] down', but instead the alcohol brings out the absolute worst. A bit like that story by Robert Louis Stevenson.

In the midst of it, he is still able to think about which one of the four personalities he possesses is actually his - hence the "Is It Me?" part. Overall, it's all too much to take so he steals a boat, heavily intoxicated and sails off into the sea.

Dramatic stuff.  Very tense.

Instrumentally, so much happens in the track that I don't think I could even describe it to you. It's The Who really, what more do you need.

My iPod #285: Franz Ferdinand - Do You Want To

After a year and a bit of waiting, "Do You Want To" was Franz Ferdinand's 'we're back' single in 2005, their first one from their then upcoming second album "You Could Have It So Much Better" with Franz Ferdinand. The band went on to shorten the name.

I remember the first time I watched the "Do You Want To" video well. And the second time.... and the third. And so on. That's because (after, again, premiering the day before on Channel 4) it was repeated every hour on MTV2. The band pretend to be drunk, or just act really stupidly, at a casual gathering. It seemed that they were pleased that everybody's favourite Scottish band had returned, after what seemed like a long, long... long year and a bit. It was very hard to hear the same thing over and over without getting a bit sick of it; fortunately it isn't an annoying track.

The anticipation towards a night out is the subject of many songs. Take this one, for example. That is what "Do You Want To" is about too. But in this case, Alex has his eyes on someone that he wants to take out for a night in the town. That someone is the listener... and we are very lucky to be chosen. With the infectious "doo doo doos" and the memorable chorus, it's very hard to refuse Alex's offer.

My iPod #284: The Kinks - Do You Remember Walter?

This is the second track from The Kinks' 1968 album "The Kinks Are the Village Green Preservation Society", a collection of fifteen songs about living in the country, nostalgia, and general English culture. Without listening to the albums that came before it, I have come to the conclusion that the album was the group's last best one. I've heard "Arthur" and "Muswell Hillbillies" but they were such a drag to listen to. The only song on "Village Green" that I can't really listen to casually is "Last of the Steam-Powered Trains", but the rest are light-hearted, carefree, sometimes tragic but still upbeat. "Walter" fits in with those last two adjectives.

Did you have a friend in primary school who you felt was like a brother to you? Were you inseparable? You thought you could take on the world together when you were grown ups? (Or at least keep in touch with each other every day at the start of Year Seven?) That's nice. I had one of those friends.... We haven't kept in touch so much. I actually haven't spoken to him in about three years. He's got new friends; I have mine. But the memories of our times in school stay strong.

That's essentially what "Walter" is all about. I'm sure a lot of you will be able to relate to it.

There are more songs to talk about from this album. Their time will come. Have fun with this one for the time being.

My iPod #283: OK Go - Do What You Want

This song has three official videos for it. Why, you might ask? I'm not particularly sure myself. But the one above isn't the one I wanted up. This is the version I saw on the TV first so it has that extra sentimental value or whatever. The 'tour' version will have to do.

This is "Do What You Want", a song by OK Go released as a single from their second album "Oh No" released in 2005. What a track this one is too. After seeing "A Million Ways" and being captivated by the band's creative dance routine, I didn't see anything from the band for a few months until this unexpectedly popped up in a random music chart on MTV2. It may have been in a "New Music" segment thing, but the memory's a bit fuzzy.

I've never cared to think about what the song's about. Not in a bad way; I've always liked the way it sounded. Really bright, with a clunky guitar riff and a smooth and deep bass line. Along with a nice positive message of doing what you want. It's something to play at those parties where all you play is indie tunes. It's bound to get some people on their feet. I've never been to any of those kinds of parties, so I wouldn't know. Then the song was part of the soundtrack of Burnout Revenge, and it buried itself into my head that much more. Something about racing down the street and taking out cars at high speeds caused a proper adrenaline rush. This song, as well as the many others, made the experience so worthwhile. I should play that game again, I haven't even completed it.

Enjoy the song.

My iPod #282: Super Furry Animals - Do or Die

After coming downstairs in the early hours of the morning, switching on the television and changing it to MTV2, the video for "Do or Die" - the last single from "Guerrilla", the third album by Welsh band Super Furry Animals - came on. It was over quickly because the song's only two minutes long, but even afterwards I could slightly remember the melody of the chorus, even though I had no idea what Gruff Rhys was singing apart from the title phrase. That was in 2005 or so. I didn't hear it again until roughly seven years later.

"Do or Die" wasn't even supposed to be a single. Originally the band had chosen the album track "Wherever I Lay My Phone (That's My Home)" for release, but the label meddled around and promoted "Die" instead. The band weren't very pleased. I am though, "That's My Home" annoys me a bit; it's very repetitive and doesn't really go anywhere. It one of those tracks that I think I would have liked when I was four, and then listened to it later on in life thinking "What was so good about this again?".

The track's cool, man. It's got funny lyrics about riding camels and eating tomatoes and a simple, catchy riff that alternates between two chords. The track becomes louder and louder from the instrumental part onwards before coming to a complete stop whilst synthesizer noises carry on and eventually fade out.  Plus it has a really bubbly intro, helped along with those keyboards, that sounds like background music to the start of a Saturday morning children's television show.

My iPod #281: Arctic Monkeys - Do Me a Favour

"Do Me a Favour" is a song from Arctic Monkeys' second album "Favourite Worst Nightmare". Have I mentioned that this my favourite album of theirs? I may have done before. I'll assume that I've stated why that is my opinion, so I won't go into that again.

Placed after the mellowest track on the album, "Do Me a Favour" starts off the second half of "Nightmare" with a minor-key track about the end of a relationship from the point of view of a man who has cheated on his girlfriend and feeling so guilty about it eventually tells her.

The track begins with ominous rolls on the tom-toms, followed by ascending bass line and Alex Turner's vocals. It continues to slowly build brick by brick (hehe), as the guitars are introduced later on. The majority of "Favour" is calmly delivered, before launching into the explosion near the end where Turner sings the last verse and everything comes to a close.

As it is only an album track, there is not much extra information I am able to provide. Sorry. The point is, it's a decent one. If you haven't heard it, spare a few minutes.

My iPod #280: Fall Out Boy - Disloyal Order of Water Buffaloes

Fall Out Boy time. I listened to "Save Rock and Roll". Wasn't too great. And it was their first one after a four year hiatus. Disappointing. Everything sounded so manufactured and poppy, ironically. For me, "Folie à Deux" is the band's best album. It's their worst-selling one, which I don't understand. If you haven't listened to it, I suggest you should.

The album opens with this track "Disloyal Order of Water Buffaloes", a song about imperfection with a title that is a reference to The Flintstones. I don't get it either, but a lot of Fall Out Boy song titles are weird in that way. I'm not liking the way I'm sounding, I'll get serious from now on.

The song is another great album opener out of all the ones I have on my iPod. It does use the same chord progression as "Baba O'Riley" albeit in a different key - that's a random point I chose to throw in there. What I like about the track is how it never slows down or takes a breather for a bit. The track mostly revolves around the drums, played by Andy Hurley, changing in dynamics at various points like in the second pre-chorus where Patrick Stump continues to sing with sporadic multi-tracked vocals along with a noodling electric guitar, or near the ending when the "detox just to retox" refrain is chanted continuously. Plus, Patrick Stump absolutely kills it on the vocals. It seems like all the singing on the previous ones were all leading up to this particular one because here he is at his peak on every track.

"Water Buffaloes" is hard to describe if you couldn't tell from my convoluted 'summary'. It's one of those that I knew was good on first listen. You can't listen to it by itself though, it doesn't have a proper ending. Listen to it along with the twelve other tracks that follow. That's the best way to hear it.

My iPod #279: The Who - The Dirty Jobs

Maybe I should have tweeted that there wasn't going to be a post yesterday. It would save time in having to explain why. I was out, and for anyone that was desperately waiting for that usual update in their Twitter feed.... I am sorry. Dreadfully sorry. But it's here now, and will be followed by another one soon.

Here's one random question I want to ask..... Is it wrong to be young and really like The Who? This randomly came up as a thought when I was listening to The Who on shuffle, when I was on the train back to university from Liverpool. I think The Who are amazing (or were); "My Generation" through to "Who Are You" speak for themselves. But I've never met in person or seen on the internet anyone my age who feels the same way. I feel as if The Who's the kind of band who are only listened to by middle-aged men trying to make their name in the rock music business or something. You see, hear or research about new bands who say that they are influenced by The Beatles.... or material that the members went on to produce in their solo careers. But you never really see any new and talented vocalist say they are inspired by Roger Daltrey, or a bass player inspired by John Entwistle. I stress that this is new bands that I'm talking about here. There are loads of bands I listen to who admire each and every member. But.... I don't know. Maybe it's a generation thing..... That pun wasn't intentional.

That's something you guys can think upon.

But enough of that. Today's track is "The Dirty Jobs", a song from the band's second 'rock opera' "Quadrophenia". At this point in the album's 'plot', the narrator has left home and meets these workers who do 'the dirty jobs', such as looking after pigs and driving the miner bus. The narrator criticises them for not sticking the middle finger up to 'the man'. That sums the song up lyrically.

It's astonishing how though in this song - hell, through the whole album - it is the four members of The Who who play every instrument you hear. Except for the piano part that's played a session musician. I brick-walled the track using Audacity (something I still have polarizing feelings about now). It's very loud, mostly thanks to the constant cymbal thrashing and drum pounding from Keith Moon, but I can't listen to it any other way. Just everything about the song is brilliant. Awesome. Great. Fantastic. Can't think of superlatives to emphasise how good the track is.

Actually, just listen to "Quadrophenia". You must. You won't forgive yourself if you don't. Arguably The Who's creative peak as a group.

My iPod #278: Gorillaz - Dirty Harry

Woop woop, hi everyone. Can you tell I am in a good mood? Only because the football team I've supported for about twelve years has made it to the final of a tournament, and actually have a chance of winning their first piece of silverware in nine years. It has been a long wait, but it has never stopped me dreaming.

Still, I have a song to write about. It's "Dirty Harry", another reference to Clint Eastwood, the song and third single from "Demon Days" by the cartoon group Gorillaz. The video for the track was another that premiered in the very early hours of a morning in 2005; I watched it, but I had a very hard time remembering the melody because I was almost half asleep whilst viewing it. It got its airtime on every music channel but failed to reach number one in the charts like "Feel Good Inc." or "DARE", and peaked at number six. That's not that bad either, considering interest for "Demon Days" had not diminished in any way at the time.

"Dirty Harry" was actually released a few years earlier albeit in a more minimal, and unfinished manner. This time, the song was risen to a higher pedestal thanks to the addition of a children's choir and a rap by Bootie Brown, rapper from hip-hop group The Pharcyde.

Simply it is a funky and upbeat song about a very serious matter, which ends with maniacal laughter and segues into the next track.... you all know that one.

Yeah, give it a listen why don't you.