New site.

Hi everybody. Just a note for anyone who is saddened by my departure from Blogger. The fun continues on WordPress at themusicinmyears.wordpress.com which, I think we can all agree, is a much better address name than this one. Thanks for following my stuff on here. If you followed the new site, it would be gladly appreciated. All the videos have disappeared which is a bit annoying, but they will all be back on in due time. See you there.

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.

My iPod #277: The Maccabees - Dinosaurs

Being a great fan of "Colour It In", I was a bit disappointed with "Wall of Arms". "Love You Better" was the album's first single. I thought it was.... alright. But it wasn't as fun as "About Your Dress" or "First Love" for example. Then I bought the album from HMV, listened and realised..... The Maccabees were trying to achieve a larger sound with more of an atmospheric production and an expansive sound scape with their second album. The album's producer Markus Dravs worked on other albums which set out to do the same thing. But, unlike The Horrors did at about the same time, it didn't leave that much of an impact on me..... except for "Dinosaurs". If I haven't listened to the album enough, then "Dinosaurs" is a reason why I should "Wall of Arms" another go.

Beginning with quiet guitars with a steady drum roll, "Dinosaurs" kicks into gear when the horns (yes, horns) start blaring out the melody simultaneously with the lead guitar. The brass instruments really make this song shine, making it sound very bright and triumphant. Things quieten down for the verses where Orlando Week's signature whimpering vocals come in, and then slowly build in volume until the main line "Restore this cracked soul" is yelled and the melody from the intro is played again. The song has no real chorus and only a small reference to the song title is made, but that's pretty irrelevant. "Dinosaurs" is very nice. It comes to a climax with the guitar solo in the last 20 seconds, which apparently contains the first string bend in a Maccabees song, bringing the track to an exciting finish.

Still not sure about "Wall of Arms".... I'll see how it goes.

My iPod #276: They Might Be Giants - Dinner Bell

If it wasn't for this track.... I would not be listening to They Might Be Giants today. "Dinner Bell" was the first song of theirs I heard, and I was instantly hooked. Maybe that's why I hold such a fondness for "Apollo 18". The thought that without hearing "Dinner Bell" I probably wouldn't have bothered to find more TMBG songs is quite mind-blowing, and I am very grateful that I did play when I was listening to Internet radio.

Written and sung mostly by John Linnell, with John Flansburgh providing the unusual backward vocal of the bridge, "Dinner Bell" 'indirectly refers to Pavlov's famous experiment involving a dog's reaction to the ringing of a bell after associating the sound with food.' Thank you TMBW. But I had no idea that it was about that when it came on about ten years ago. I just thought it was someone waiting for dinner. Anyway, the topic of the song wasn't what attracted me. It was the likable melody which changes against the major and minor key changes during the verses. The multi-tracked vocals panning from one ear to the other, one syllable falls right into the next becoming something of a tongue-twister. Its 2/4 signature, which keeps the track on a steady pace with every chord change occurring at the beat. And obviously the lyrics that seem to mean nothing at all, but sound right because they fit in with the song's music so well.

This welcomed me to the world of They, and I embraced it with open arms.

My iPod #275: Wolfmother - Dimension

Yeah. This was the Wolfmother I liked. The one that showed up on 'New Music' for about thirty seconds in 2006. That seemed to be the year of the Australian bands; The Vines released a new album, Jet did a few months later. But it was Wolfmother that got us all excited. They were bringing back the rock of the 70s... and "Dimension" was our first glimpse of this new band. (Well, it was mine - Australia had known about them since late 2005, and they'd released two other songs there too).

"Dimension" opens with a scream (which may make a few laugh just because it doesn't sound like a lot of effort is put into it) before launching into a groovy riff that plays throughout the song. If the guitar isn't playing it, then the bass is whilst lead singer Andrew Stockdale (who was somewhat of a cross-up of Marc Bolan and Robert Plant) sings about getting lost in a desert and then ending up in another dimension. How he ends up there, we don't know. But he makes a reference to 'purple haze' and 'all these things we must try'.... so I may have to assume that it's about drugs.

But the song really impressed me when it showed up on MTV2. The three members had a good chemistry, even though it's not really a live performance it looked like the group were on time with one another - like they never missed a beat. They followed it up with some other top bangers too, that I ended getting a physical copy of their debut for my birthday/Christmas. I don't get physical CDs so much nowadays (scratch that.... I don't get physical CDs at all) so that's saying something.

Too bad the drummer and bassist left. Then Wolfmother changed, and released the new album..... "Cosmic Egg". Nooooooo. The first album will do, thanks.

My iPod #274: Daft Punk - Digital Love

"Digital Love" was a single from Daft Punk's second album "Discovery" which came out in 2001.

I'm very sure that the video (the one you see above) aired on Cartoon Network once. Just one time. That was the first time I saw it too, but I always have doubts about whether it is because I was so young. I do remember a seeing a spaceship crashing into a forest, and a blue person coming out of it. That does happen in the video, right? Even if I did see it then, I must have heard the opening introduction in a lot of adverts or promotions for sitcoms or something.

Enough about me. You wanna know more about the track and what is in it. Well.....

1) The main chord progression that repeats throughout the whole song is actually a four second sample of an older track.
2) It's about being so far away from someone that the only way that physical contact is possible is in one's dreams.... which is sad. But that's okay because...
3) It's really funky. Got a proper four-on-the-floor disco beat.
4) Contains a shredding solo which starts near the end, lasts for about 40-50 seconds (off the top of my head) before fading out to a close.

The track is goooood. My favourite single from the album. Not song.... but single.

My iPod #273: They Might Be Giants - Dig My Grave

This video is weird (bear in mind it isn't the official one), but it's the music we're here for.

Opening They Might Be Giants' fourth album "Apollo 18" is "Dig My Grave", another typical rocker by John Flansburgh that lasts only for a minute and few seconds. Only They will know why it took four albums for Flansburgh to get an opening track, the first two were penned by Linnell and the previous one didn't feature the Johns at all. This was Flansburgh's time to shine. That time was used well. Even if it was very quick.

There is not a lot to say just because it is so short. Not even its page on the band's dedicated fan Wikipedia site states a vast amount of information. Nevertheless, it is the perfect way to get things started. It's a track that one doesn't have to think about. The lyrics are from the perspective of a person who wants their grave to be dug when they see someone and when that same someone calls the person's name. Whether it's because the person hates that someone so much that they would rather die than be in contact with them or they're simply too shy is the real question I have about 'the meaning of the lyrics'. But I'm not so deep about that stuff.

I just like the song's simplicity. The four chords accompanied with Flansburgh's double tracked vocals and shrieks of the song title, the messed up 'guitar solo' which consists of the high guitar strings being plucked at a fast rate way up the fretboard and especially the last few seconds when the song speeds up and the cello and violin rise in volume before the song comes to a stop. Just a short and sweet way to start it all off.

I hold "Apollo 18" with very high regards; I feel as if it is a TMBG album that doesn't get much love as it should do..... I love you "Apollo 18". I think you're better than "Flood". I am not ashamed.

My iPod #272: The Beatles - Dig a Pony

Time for a post methinks. I arrived back home for the Easter holidays, but as soon as I did I was out again to meet up with friends at Stratford. It was getting to eleven at night when eventually set foot in my house, and therefore there was no song to talk about yesterday.

Here is one now. It's "Dig a Pony" by The Beatles, on their last album "Let It Be", a weird love song written and sung by John Lennon.

The "Let It Be" film is a miserable one. That was the first one I watched when I began to avidly research The Beatles and listen to their songs, which is weird because it's the last one they did. It used to be available in parts on YouTube, but apparently isn't anymore. The majority of it focuses on the four guys improvising some tracks in studios at a time when relations between all of them weren't so friendly anymore. This was a real day in the life of The Beatles - not the one that was dramatised and played up for "A Hard Day's Night". It is a much harder watch in comparison.

That is until the band go up onto the rooftop for a spur-of-the-moment performance, the one which would turn out to be their last live one as a group. They deliver the songs to almost perfection, one after the other with great enthusiasm and finish with a witty remark by Lennon, providing a heartwarming close to the film. One of the songs they did on the roof was "Dig a Pony", and that live performance is the same thing you hear on the album itself.

I dug "Dig a Pony" (hehehe) as soon as I heard the chorus for the first time. I thought it was the best song in that film. The leaping guitar work of the riff is one that is hard to forget, and the licks that George Harrison throws in at various points are wonderful too. But that moment when Lennon belts out the poignant lyric "All I want is you" with all his might - you can see just how much power he gets into the phrase. And with the wind blowing in his hair..... Man.... what a guy.

Here it is if you wanna see it.

My iPod #271: The Hives - Die, All Right!

It's my birthday.... yaaaaaaaaaaaaay. Nineteen years old, by the way. You wanna know how I've spent it so far? Sleeping, eating and listening to music in my room. I really should have just slept until the evening and then gone to the shops to get the drinks in preparation for tonight's antics. I was in a club in the very early hours of the morning cutting shapes to DJ Luck and MC Neat which was fun. But apart from that this birthday's turned out to be the same as every other one - staying inside with the knowledge that I have existed for another year.

That wasn't depressing at all, let's move onto the song shall we?

So "Die, All Right!" is a track by The Hives on their second album "Veni Vidi Vicious". I saw the video years ago on Kerrang! I think I was in Year 7 because I didn't have a YouTube account then and I remember looking up the video because I thought it was quite cool. I wasn't sure if it was a new song or not, because I had never seen the video before. Turned out it was on the same album as "Hate to Say I Told You So", meaning that the song was, in fact, an old track. Apart from the weird point that the band were a bit orange, the song was still very good. It's a bit of underrated one. I do like this a lot more than "Hate to Say" which can be argued to be the band's signature track. Not that that track is a bad one, I've heard it so many times that it doesn't do much for me anymore. Enough of that, I'm going off topic.

The song rocks many socks. Very quick and relentless, it doesn't stop and allow you to catch your breath. It has the characteristics of all the good Hives songs. A memorable riff (one which I'm certain has been used in an advert in the past) which repeats and repeats until it embeds itself in your brain, lots of energy and the familiar exclamatives, yelps and howling vocals by charismatic front-man Pelle Almqvist. Good tune.

Happy birthday to me.

My iPod #270: Beck - Devils Haircut

If only this song played every time I was just casually walking down the street. Wearing some nice clothes with the track blaring out from an unknown source, people staring at me while I just walk on by ignoring them. It can obviously never happen. But if it did I would feel like the coolest mother around.

That's basically the plot to the video for "Devils Haircut", the first trackon Beck's album "Odelay". That is until we find out that spies have been watching him the whole time. It's a brilliant music video directed by Mark Romanek, one that only makes listening to the song even better.

Not a lot of people know what the song is about, including myself. To me it seems like a bunch of random words that link together really well and sound good to the ear, very much like every other They Might Be Giants song or "Peacebone" by Animal Collective, which all sum up to being a metaphor for a devil's haircut. Whatever it's about doesn't really matter. Once that three note riff comes in, I'm instantly hooked. The cool beats and terrific sampling by The Dust Brothers are what give the track its edge.

My iPod #269: Billy Talent - Devil on My Shoulder

So yesterday I wrote about another Billy Talent track. One that starts off another of their albums. This one is about another devil but instead of it being in a midnight mass, it is now on a shoulder. The song's narrator's shoulder. It is the first song on Billy Talent's third/fourth album, and was released as its second single.

This was the one that really got me pumped up for the release of "Billy Talent III". "Turn Your Back" was the first new song that showed that the group had a new album in the works when a live performance of it at the Hurricane Festival in 2008 was uploaded onto YouTube. That was all well and good, but it would be almost a year until anticipation for the upcoming album really started rolling. "Rusted from the Rain" was released as the first official single, which I thought was okay upon first listen. It grew on me over time, but there wasn't anything particularly striking about it initially.

Then..... this happened. A trailer previewing another new song from the album. A sneaky bassline joined by Ben growling the title of the song, then followed by an assault from the guitar and drums. This was what I wanted to hear. It sounded so cool. That was "Devil on My Shoulder".

It probably should have been released as the first single. I wouldn't have had the same amount of doubts about the album if it had been. The song itself is from the perspective of someone who has very bad luck, feeling nothing but self-loathing and self-pity. In terms of its sound, it was very different to anything else that Billy Talent had released. Brendan O'Brien - who has produced albums for artists such as Rage Against the Machine, The Offspring and Pearl Jam - brings a real studio atmosphere into the album, something that was not so obvious on the albums prior to it. This was a proper hard rock song. This was no longer a band who needed to scream, or were as angry as they used to be in previous songs. Billy Talent had.... matured (eerrrr).

It had to happen one day. But "Devil on My Shoulder" was the sign that showed me that the fire was still roared in the belly of Billy Talent.

My iPod #268: Billy Talent - Devil in a Midnight Mass

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.

This is the band's impression of it when they heard the album mix for the first time.

My iPod #267: Nine Black Alps - Destination Nowhere

Not on YouTube. Available here, though.

"Destination Nowhere" is another song from Nine Black Alps' "Love/Hate" era. It was recorded and eventually released as another B-Side for "Bitter End", the second and final single to be released from that album.

I went into this phase during Year 10 or so, when new music was being released on streaming websites and I would listen to the songs and try and type up the lyrics simultaneously on this website "letssingit.com". I did that when "Locked Out from the Inside", the band's third album came out and I'm probably the reason you see the song's lyrics on the Internet when you search for them on Google. Go to letssingit, if it says 'Lyrics submitted by Jammerz.' Don't be surprised because 'Jammerz' is me. It's a silly username, I know.

Then I saw the B-Side player on the band's official website and saw that barely any of their lyrics were anywhere online. So I got busy with those, doing "Get Even" and "Idiot Riff #9" amongst others until eventually coming to "Destination Nowhere". The lyrics to that song were relatively easy to type because none of the phrases fall into one another, especially during the verses where one lyric is sung, followed by a pause, and then another lyric and so on. I had to repeat a few seconds of it many times in order to make sure that the words I deciphered were right and made sense. But it was no bother, because I ended up digging the song anyway.

I think the song's about being in an ambiguous state of mind (just because of the use of opposites: 'too scared to fight', 'too young and too old' etc etc) and finding oneself at a dead end. I could be very wrong. I probably am.

My iPod #266: They Might Be Giants - Destination Moon

Here today is the album track "Destination Moon", the thirteenth track on They Might Be Giants' fifth album "John Henry".

John Linnell sings this one, and it's from the perspective of a patient in hospital who is very, very sick but continues to believe that he/she is fine and dreams of escaping in order to go to the moon via rocket.

If you've read my previous post on "AKA Driver", another song from this album, you don't really have to read on anymore because it will contain the same information. For those of you who haven't, don't stop reading this - but do listen to "Driver" if you have the chance.

I heard "Moon" around the same time as "Driver" and that was when I was listening my own customised radio station on Yahoo. That was a good site. I thought I liked it back then because I added it to this huge list of songs that I had seen on MTV and others that I generally enjoyed on my MSN Space. Remember MSN Spaces? It died years ago along with MSN itself which is a shame.

The problem that came out of that was I didn't listen to the song for years and ended up forgetting the melody of the song altogether. That changed when I downloaded "John Henry" in 2010, then it all started coming back to me.

My iPod #265: Manic Street Preachers - A Design for Life

Noted for being the first track the band worked on after guitarist Richey Edwards' unexpected disappearance, "A Design for Life" was the first single released from Manic Street Preachers' fourth album "Everything Must Go".

I watched its video a long time ago having no idea who the band was and still left in wonder of the thing. That James Dean Bradfield is an astonishing singer. The vocals on this track are delivered with pure passion and power, and both the pre-chorus and chorus themselves are nothing short of shiver-inducing with those dramatic string arrangements. I will go on to say that it's not my favourite MSP song. But my god you can't say that it isn't epic. Finding out that it was the first song the band released after a time when the band members weren't sure if they were even going to continue makes it that bit more special too.

My iPod #264: Green Day - Desensitized

The hours have rushed by, haven't they?

I am now back from my venture to Liverpool for the weekend, and it is time for the first of two posts.

First up is "Desensitized", a song by Green Day which was recorded whilst the band were working on "Nimrod". Apparently, they didn't feel as if it was the best to come out of those sessions. It wasn't released on the album, but as a B-side on the "Good Riddance (Time of Your Life)" single. However, Australians and the Japanese are fortunate to have it on their versions of the album. It later got released on the bands B-side compilation "Shenanigans" which came out in 2002.

I'd never listened to "Shenanigans" before and one day decided..... that I should. Out of the fourteen tracks on there, I only really like four of them including this one. It isn't amazing. You can tell why they didn't make it onto their albums they were recorded for. "Desensitized" had the potential more than most of the others.

Mike Dirnt, the band's bassist, completely beats the crap out of a lot of things with a baseball bat for the first twenty seconds or so. I don't really understand why, but the sounds of various items breaking upon the bat's impact segues into the song's main riff - one that alternates between G and C (I believe) starting and stopping to allow Billie Joe to fill the silences with the vocals. That's just the verses though. Listen to the song, if you like it then you're welcome.

My iPod #263: Animal Collective - Derek

A very early post today. I will soon be off to visit my friend at his uni for his birthday so in order to prevent myself from having to do three entries when I come back on Sunday, here is the "Derek" - the last track from Animal Collective's 2007 album "Strawberry Jam".

I recently listened to "Strawberry Jam", about a week ago or so. The only other album I had listened to in full was, what is probably considered to be their best, "Merriweather Post Pavilion". That album sounded like it was recorded in another universe, and considering 'Best Ever Albums' had "Jam" rated as their second best I thought I might as well give it a listen. First to see how it sounded, and to figure out whether it was as good.

I can conclude that I do like "Strawberry Jam". I'll have to listen to it again because it normally takes me more than one to really get into any album. But "Peacebone" and "Derek" were ones that left a mark.

"Derek" did because of its time signature changes and innocent melody further accentuated with Panda Bear's lyric where he 'talks' to his child about Derek, the old dog he used to own. He realises that he didn't take care of him that well, and is not prepared to make the same mistake again now that he was a parent. He is ready to take on this great responsibility. A sudden clap begins the triumphant ending where Panda lets his child know that he/she can always count on him when the time comes along with a rampant stomping beat a bit similar to "We Will Rock You".

A very heartwarming way to finish an album.

My iPod #262: Babyshambles - Delivery

"Delivery" was the first single from "Shotter's Nation", the second album by Pete Doherty's post-Libertines band Babyshambles.

The song was important enough that its music video premiered on Channel 4 at a ridiculous time when a lot of people were bound to be asleep including myself. So I didn't see it until the next day, when it was repeated many times on MTV2.

Being the first new piece of material the band had released since "The Blinding EP", and their first new song I'd heard since the slow and pretty tame track "Love You But You're Green", "Delivery" did not disappoint.

Alongside a riff that sounds like an early Kinks track is an earnest lyric from Doherty. He's not feeling great - forlorn and frozen beneath the summer, in his words - and so to relieve the strain he writes this song - the delivery - that comes from the bottom of his heart. I guess this was his way of stating what he was really going through while everyone was going on about his drug abuse and legal problems. All very sad. I like it.

My iPod #261: The Offspring - Defy You

"Defy You" is a track The Offspring recorded for the movie "Orange County"* in 2001. The song was released after the band had released their most album "Conspiracy of One" the previous year, and so it was only available on its single release until 2005 when it appeared as the twelfth track on the band's greatest hits compilation. It is also their last single featuring original drummer Ron Welty, who coincidentally is focused on a lot in the song's video.

The track differs a lot in attitude compared to the band's other singles. I had heard "Original Prankster", "Hit That", "Job" and obviously "Pretty Fly" which, when you look at the lyrics for those particular examples, are quite funny songs which aren't really meant to be thought upon that much. But "Defy You's" message of never giving up and standing up for what you believe was something that I did not expect and struck me when I first saw it on the TV. This was a serious Offspring single I was listening to.

I like their 'jokey' singles, but "Defy You" is one that does not pull any punches. There are no "uh-huh, uh-huhs" or references to popular culture - only a heavy performance and a great vocal by Dexter Holland. It is possibly the coolest track the band have ever done.

My iPod #260: Billy Talent - Definition of Destiny

You know what I just figured out? Literally a few minutes before typing this, every last song on Billy Talent's albums from "Voices of Violence" to "Dead Silence" went through my mind. Despite differences in tempo, structure and everything - all of them are in D major... I wonder why that is. Do you think that they even realised this? Has anyone else pointed this out before? What the hell, Billy Talent, what the hell. They are all solid tracks, I have all of them on my iPod, but they have to use another key sooner or later, right?

On with today's song.

"Definition of Destiny" is the final track on Billy Talent's third album "Billy Talent III", the last of their usual Roman numerical naming order, released in 2009. Normally the last songs on Billy Talent albums are worth the wait, and the same applied to "Definition" too. It is quite similar to "Burn the Evidence" in that the instrumentation during the verses mirrors the reflective and observational lyrics, staying at a steady beat and keeping a cool rhythm with guitar arpeggios, before turning the levels up and continuing into a stomping and chord heavy chorus which puts emphasis on the intense message of living life to the full your own way before ending up in the casket. Good way to end an album all in all.

I won't say too much about listening to the album for the first time or how I felt waiting for its release; I'll probably save that for "Devil on My Shoulder". However, I will simply state my opinion which is that 'III' is not their best work. Some may agree, others may not. The album is okay, but not as good as their first two. The production is different (which is understandable as they used the same producer for the two before) but the tracks lack in something as a result. Less of a bite in guitar tone, perhaps. But most importantly.... there is barely any screaming. That was a disappointment on first listen.

My iPod #259: The Futureheads - Decent Days and Nights

When I was standing on a chair in the living room and being an idiot like every other child, the original video for "Decent Days and Nights", the song from The Futureheads' debut album came on MTV2. In the video, the band were in a huge warehouse, standing on podiums whilst playing their instruments. That video seems to have disappeared, as it's not even on YouTube. Does anyone else remember the version I am talking about? It is cool if you do.

No, the video above is one they produced when they re-released the single in 2005. That was the radio mix, which included a new introduction and overall cleaner production. The version I listen to is the original album version, which is the opposite. The guitars sound a bit rough and messier, I swear I always hear this hissing sound during the 'chorus' but apart from that the punchy drums, those sweet harmonic vocals the band are known for and the song structure is the same.

I also didn't recognise until recently why I thought this song was a bit disorienting. The time signature changes throughout the bloody thing. It is 4/4 for the majority, but it switches to 3/4 and 2/4 too. It's very strange, but does it makes the track a lot more fluid. The verse just rolls right into the 'chorus' (which it doesn't really have hence the apostrophes) which then segues into the bridge and so on and so forth. Not one section drags on for too long and so it maintains your attention.

Another one to remember from the good times that were the mid-2000s.

My iPod #258: Pixies - Debaser

"Debaser" is the crazy, loud and energetic opener to Pixies' 1989 album "Doolittle". Lead singer Black Francis wrote it after seeing a movie where the first scene shows an eyeball being slit by a razor.

I wish I had more to say about this song. But it's just one of those that hasn't had that much impact on my life than it probably has for many other people. I simply like it.

It's not the first one of the band's I listened to, that goes to "Velouria" or "Here Comes Your Man"..... maybe even "Build High" - my memory's fading. But I do think I saw the official video (above) on TV and thought "What the hell, is this even a song?" or something along those lines. Francis' yelling definitely threw me off the first time as it may do for any listener who hasn't heard "Debaser" before. But listening to it along with the other fourteen tracks that accompany it on the album, it all made sense.