Daily Archives: March 30, 2014

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

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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

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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.