#1454: The Libertines – Up the Bracket

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So I’m sure I’ve mentioned in the past, I’m a Black man. It shouldn’t really matter all that much. But, you know, the type of music I share my thoughts on wouldn’t usually say “Black” to most people. Regardless, it’s the truth. Growing up and watching MTV2 UK in the mid-2000s, you’d wouldn’t see many, if any, Black faces on music videos. Kele Okereke of Bloc Party’s was probably the first one I saw via ‘Helicopter’. It was the only one for a while. But then the video for The Libertines’ ‘Up the Bracket’ showed up one day. It wasn’t the first of the band’s that I’d seen, but it was certainly the first I watched that featured all the members. Gary Powell was the first Black drummer I’d ever encountered. He didn’t look like he was playing the drums with much focus or precision in the video for ‘…Bracket’, and it got me wondering whether he was actually in the band or a stand-in for someone else. That’s quite messed up, I know, shows you how my 9- or 10-year old brain was conditioned. It wasn’t until I saw him again in the video for ‘Bang Bang You’re Dead’ by Dirty Pretty Things that I understood, this was an actual drummer who could actually play.

You can find that funny, you can find that truly insane. I’m somewhere in the middle thinking on it now. More towards ‘insane’, though. Despite the naive prejudice I gathered on the first viewing, it didn’t distract from the fact that the song itself sounded very nice. Doherty sings about meeting two dodgy men on Vallance Road, supposedly an allusion to the infamous Kray twins who used to live there, and telling them to fuck off by sticking two fingers up at them. Not the peace sign. And then the song focuses on two people for the choruses, a boy and a girl, who look like they’d be the perfect pair but are lost in their own little worlds. A slight change in theme, but it works somehow. The video added to the enjoyability. The band walk up an alleyway (Grove Passage in Bethnal Green, London – a mecca for Libertines fans), Pete Doherty and Carl Barât mime the words while doing so, and they all end up back at someone’s flat, performing the song in their iconic red jackets, in a party-like atmosphere while girls dance around them. Very easy watching. If there are two people who know how to mime lyrics and walk towards the camera, it’s Pete Doherty and Carl Barât. If you see videos by either of them, solo or with their other bands, that’s usually what happens.

‘Up the Bracket’ is the title track on the band’s debut album. It opens the second side, if you were to buy the record on vinyl. As much as I like ‘Up the Bracket’ as a whole, it’s the small, little details that make it an engaging listen. There’s the yell by Doherty right at the beginning, one of frustration, recorded during a moment of chaos in the studio. Barât joins in on the lower harmonies on the “See these two cold fingers” lines, those sound cool. He also plays the descending guitar line in the choruses, he for sure plays the lead guitarist role in the song. There’s that moment during the second chorus when a scratchier vocal track comes into frame, revealed to be inserted from another take of the song in the 2022 anniversary edition. The aforementioned yell is also in that same take. I didn’t know that before writing the sentence, but I’m keeping this all in. I think the oddity that puts the cap on everything is the audible ‘fuck off’ that’s said near the end of the guitar solo. That ‘fuck off’ went uncensored for years on TV. When it was about 2012 or something and I saw the video on what had turned into ‘MTV Rocks’, probably the last time I saw the video on the channel, it appeared that someone at the MTV offices had figured out there was a clear curse word in the song and censored it. I was falling out of love with MTV2/Rocks around that time, the music on rotation there just didn’t seem to as interesting as it used to be. Just that small censorship move showed me that things had really changed on that channel. Couldn’t tune into it the same way anymore.

#1453: Nine Black Alps – Unsatisfied

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I remember when the video for Nine Black Alps’ ‘Unsatisfied’ was the band’s new video playing regularly on MTV2. I didn’t want to watch it, because singer/guitarist Sam Forrest’s glum face would appear on the screen, the first thing you see, and I would be bummed out almost immediately. I would have been 10 years old, and I didn’t want to see someone looking so unhappy. So I would switch channels and see what other things were on. I think the track might have been the first one that made me aware of the band’s existence. But I wasn’t sticking around if a gap of silence and a sad mug was my introduction to their music. My opinion on Nine Black Alps as a whole changed when the advert for the band’s album Everything Is started showing in places. ‘Not Everyone’ sounded cool in it. My opinion on ‘Unsatisfied’ was officially made for the better, funnily enough, ’cause of its inclusion in a pivotal scene in One Tree Hill. Why was I watching that show? Two words: Older sister. The song sounded very cool in that scene, though. Made me think, “That’s what ‘Unsatisfied’ sounds like?” Clearly, not watching its music video meant I had missed out a little.

But then I got Everything Is as a present, and I could listen to the song whenever I wanted. ‘Unsatisfied’ is the fourth song on there. The intro builds, layer-by-layer. Guitarist David Jones opens with the higher guitar riff, Sam Forrest joins in with the lower one, and then Martin Cohen and James Galley come in together on bass and drums. The classic brick-by-brick opening technique. Then Sam Forrest sings about trying to get something out of the world as much as possible, but always ending up empty-handed. He’s unsatisfied. Sick and tired of all he’s tried. And that’s really all the song comes down to. Being disappointed with what this world has on offer and having a feeling that things would be better in another lifetime. A downer in the subject theme, yes. But it’s still all so melodic despite what may be going on in the words. And the riffage and power behind the performance? Very emphatic. That rundown during the “Sick and tired…” part of the chorus, one of my favourite parts of the entire song. And then there’s that sudden key change for the “Should look where you’re going” bridge. A bit unexpected. But it’s the surprise that makes it that much better.

The song got to number 30 in the UK Singles chart in its time. Makes me think what happened. The charts used to have such a variety. I don’t know what goes on in them anymore. And if you may or may not have noticed, me writing about ‘Unsatisfied’ means that I’ve written about every song from Everything Is on here. A clean sweep, royal flush. I think this may be the first time that’s ever happened on the blog, writing about all the songs on one album. I think Everything Is is great, it hasn’t aged a bit. A ten outta ten in my book. The band always got compared to Nirvana back in the day, which I think critics always used to bring them down a little. This was in the middle of the whole post-punk revival era. Franz Ferdinand, Bloc Party, Maximo Park, they were the bands that got people talking. I never got the Nirvana comparison, but I guess an American-sounding band from the UK wasn’t what was the masses wanted, even if they were doing what they did very well. But it Nine Black Alps apart, for sure. ‘Cause of that, I don’t think “This is England in the mid-2000s” when I’m listening to Everything Is. I just hear some good, fast and heavy melodic rock, with a couple acoustic numbers in there for mellowing’s sake. So it’s my recommendation that anyone reading this, if you’re into that sort of stuff, go and hear it. I’ve written about it on 12 different occasions, for goodness sake, it’s worth it.

#1452: They Might Be Giants – Unpronounceable

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In 2015, They Might Be Giants revived their Dial-A-Song service. Now, instead of calling the number on your phone and hearing a TMBG song on the other end, they were releasing a new song every week of the year and uploading it to their YouTube channel. It was an exciting time to be a They fan. I can sort of remember ‘Erase’ arriving in the first week of ’15. I tried to keep up with the releases as they came around, but I think I stopped about three weeks in when ‘Music Jail, Pt. 1 & 2’ popped up. Not because I didn’t like the song. I just had university stuff going on, and I didn’t have the mental room to take in new TMBG material. By the time that uni year finished, my second, there was so much music that I guess I thought it was too late to properly get into the schedule. ‘Unpronounceable’ was one of the tracks released during this time. I missed it. But I’d see that it was ranked highly on the This Might Be a Wiki Song Ratings list when I’d visit the website. It was considered to be a top-ten Giants song of all time for a brief moment. So I had to check what all the fuss was about.

The song has no introduction. John Linnell’s voice starts it all off with the band alongside him. With a spacey echo/delay effect applied to the vocal, he sets a scene where a narrator is speaking to someone that leaves them awestruck. So much so that time seemingly stands still in their presence. This enigmatic figure leaves, the narrator snaps back into reality. But they go on to realise that they’ve completely forgotten the name of the person they were talking to. Or at least heard it, but can’t seem to recall how to say it. A very universal situation. The person the narrator was fascinated by appears to be someone they liked or wanted to know a little better, and they’re left in a state of depression due to their inability to remember the person’s name. The narrator wishes they were able to relive and analyse the conversation via watching it through videotape, but know this is impossible. Even if they were able to, they’d be hypnotized by the figure’s face all over again. Someone out there had to write a song about forgetting a person’s name as soon as you’ve finished speaking to them. If anyone was going to do it, it had to be They Might Be Giants, especially John Linnell. He seems to be able to make a song out of the most commonplace circumstances, adding a little absurd twist in the process.

It may have been recency bias that the song was ranked so highly among TMBG fans near the time of its release. But it’s 11 years old now, and it still sounds just as great as it did in 2015. Think it has everything you want in a They song, which is a great melody and relatable subject matter with an unusual spin. I think the hidden genius behind ‘Unpronounceable’ is in its rhythm. It’s quite stop-starty, and the impact comes in the brief silences that occur throughout. They let the delay in Linnell’s vocals really fill the room in the verses. The rhythm’s also exhibited most prominently in the opening-closing gated track in the instrumental section, which was apparently a real focal area during production. John Flansburgh has a brief lead vocal moment too, which is nice. It’s always cool to hear both Johns on a track, even if it’s a case where it’s predominantly written by one of them. Yeah, not sure what else I could add here. Just another power-pop gem by the band, a genre that the band tend to lean into nowadays. I’m all for it. If you want to find ‘Unpronounceable’, it was released on Glean, the first of three albums released through 2015-16, made up of tracks that were released during the first four months of that Dial-A-Song revival. Not my favourite of the band’s, but good listening all the same.

#1451: Soundgarden – An Unkind

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I think it’s okay to get a little personal with you guys, lay down some serious stuff. I’m slowly coming out of a period in my life where I think I might have been going slowly insane. That period just happened to last for the majority of my 20s. My anxiety was through the roof. I felt unhealthy, very ugly too. I think it’s called, uh, depression. I’m still a little fragile, but I’m feeling a lot better these days. I listened to Soundgarden’s Down on the Upside right about when that period was in its early stages. 2018, out of university, working in my first job. It wasn’t the first time that I’d gone through the album. I think I initially downloaded it after Chris Cornell’s passing the previous year. But listening to it in the old office, over the speakers, the ideal setting was staged to focus my attention to the music and, to a lesser extent, the words. That’s just how I am, I’m sorry. Down on the Upside sort of became my album of the summer that year, which probably goes to show how I was feeling at the time. Dedicated a whole post about it, I was into it that much.

‘An Unkind’ is the penultimate track on the album. You think of Soundgarden, you’ll usually turn to vocalist, guitarist and usual songwriter Cornell for the goods. But people will know that the band’s secret weapon comes in the form of bass guitarist Ben Shepherd. On Down on the Upside, there are five songs that he wrote the music for to which Chris Cornell wrote the words. ‘An Unkind’ is a 100% Shepherd composition. Like ‘Half’ on Superunknown, another song solely written by Shepherd, ‘An Unkind’ takes proceedings into a stranger detour before everything comes to an end with the final-statement Cornell song. It also… rips really hard. I remember hearing the song through the speakers in my office that time. The guitars were alternating between those two notes in the verses, what felt like for an endless period of time. They were rather repetitive, maybe even a little annoying. But then the chorus came in, “Ooon the stooorm, it’s tiiime to gooo”. Hell yes. It fell into the verses again, and my mind was made up, I really liked this song. I played it 36 times on Spotify in 2018. I don’t think that counts the private plays I may have done too. It’s only two minutes long, but it scratches that itch for me, don’t know what to tell you.

I honestly think the song’s about the Last Judgment/Judgment Day, and how if the saints were to come down from the heavens and determine whether we go to heaven or hell, we wouldn’t be able to look them in the eye because of the shame in the atrocities we’ve committed on this earth. And the “On the storm…” bit is basically signifying the end of the world. Is that a reach? Maybe. But it’s my interpretation. In any case, “The human race sucks” is the general message Shepherd provides in his lyrics. Cornell delivers them brilliantly, as he always did. You can hear him take a huge gasp of breath before he belts out that first chorus. Ben Shepherd plays the guitar on the track alongside lead guitarist Kim Thayil, apparently because there’s a need for the pinky finger to execute the verse riff, which Cornell couldn’t get down. Matt Cameron’s drumming is a thrill. You guys ever noticed how his pattern sort of reverses on itself during the verses after he strikes the open hi-hat? That’s some good musicality. Sometimes I think this might be my favourite Soundgarden song. It won’t be for many other people, and that’s fine. But like the band say in the link before, it’s driving, it’s fast, the lyrics are strange and cool at the same time, and it does everything it needs to in the length it lasts for. Any more than two minutes, it’d just be wrong. And it leaves you wanting more, which probably explains why I listen to it so much.

#1450: Red Hot Chili Peppers – Universally Speaking

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Not so long ago, I was writing about another Red Hot Chili Peppers song on here. That too also happened to be a single. The Peppers are a really good singles band. I don’t think people would disagree with me on that. Every song of the band’s that I’ve covered on here just happen to be one. ‘Under the Bridge’, that was a big single, I told you all about it already. ‘Universally Speaking’, not so much. It was the fourth and final single released from By the Way, in June 2003. That album had been out for almost a year by that point. But it was another successful one, and the record label were gonna take whatever monetary gain they could get. The song’s music video usually played on Kerrang! more than anywhere else from what I remember. It’s the sequel to the ‘By the Way’ video, seeing the crazed cab driver from that – played by Dave Sheridan (Doofy from Scary Movie) – attempting to return the magazine he took from Kiedis, by sneaking into Coachella 2003. He gets up to all sorts of nonsense and eventually succeeds in his mission. Nothing to do with the song, but it’s funny nonetheless.

The story you hear about the making of By the Way mainly revolves around how Flea was quite close to leaving the band because John Frusciante seemed to be rejecting every musical idea he had. But one idea brought in by Flea that was deemed worthy by Lord Frusciante was ‘Universally Speaking’. I’m being facetious. But it’s no joke, the song was something he brought to the group. And it’s placed in the second spot on the album, which I think kind of indicates some strong feelings for it in part of the bandmembers. So imagine, you’re going through By the Way the first time. The opener, the title track, gives that mix of exhilarating funk and melody that the Chilis are known for, loved for, adored for. Then ‘Universally…’ comes along. Slows things down a little, but still really impactful with the stomping rhythm established by drummer Chad Smith. Frusciante plays some steady guitar chords over the top. Flea rounds it off with a warming bass line that rings out underneath it all. It’s a solid introduction. The instrumentalists doing their thing to build anticipation. And then Anthony Kiedis starts singing. He sounds fine. He’s sort of singing in the lower part of his register, which I don’t think he did all that often up to that point. I think he’s got that recognisable tone in his singing voice he, displayed in places like ‘Otherside’, ‘Californication’, or even ‘By the Way’. It makes for a nice change up in this situation.

The meme goes that Kiedis’s lyrics are only about women, or the state of California, or women in California, and then he’ll put some nonsensical words for good measure. ‘Universally Speaking’ is very clearly about a woman of Anthony Kiedis’s desires. He sees her, he’s entranced, he’s got to get her and judging by the words in the chorus and those sections where the song’s title is said, he does. But there’s no nonsense here. He does have a style of putting words together so they can sound good to the music, I think even he’s said before. Like, “Silveretta, the chance of a lifetime”, doesn’t make much sense, but with the music alongside it, it somehow means a lot. ‘Specially the way it’s sung. And especially, especially when John Frusciante joins in with the harmony in the final chorus. That outro with Frusciante’s solo is quite special too, really puts the cherry on. I’d also like to shout out that key change that happens when Kiedis sings “Come on, baby, ’cause there’s no name for…” etc., again with Frusciantes harmonising “Ooh” alongside. Don’t think that sort of practice was ever put into place in an album of theirs before, which really puts into perspective that focus on melody that was the lynchpin behind the sessions for that album.