Monthly Archives: March 2015

My iPod #469: Fall Out Boy – Grand Theft Autumn/Where Is Your Boy

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I haven’t listened to this song in a long time. Doesn’t feel the same as it did when I was younger. Maybe because I’ve heard it too many times. The bite it used to have isn’t as sharp anymore. I can still write about it though, even if my heart won’t be into it so much.

So “Grand Theft Autumn/Where Is Your Boy” was Fall Out Boy’s second ever single, released in 2003 on the group’s first album Take This to Your Grave. It may as well just be called “Where Is Your Boy” because that’s the main line of the chorus. Not sure what the “Grand Theft Autumn” part means. Possibly the song was recorded during the season, or it’s inspired by the rapid guitar introduction. Whatever it is….. it just sounds good for some reason, even if it doesn’t relate to anything in the song.

A lot of people will know the track. For those of you who don’t, it’s about wanting to be in a relationship where you feel you would treat the girl better than the guy she’s already with. It is also possibly the poppiest-punk track the band have done to this day. Not that that’s bad. Its relatable subject matter in the lyrics matched with its upbeat tempo and nice melodies make it very accessible. Probably why it’s one of the band’s most popular songs. Just sounds a bit dated to me, I’m just saying.

My iPod #468: Maxïmo Park – Graffiti

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Even though the video for “Going Missing” showed that Paul Smith is quite the passionate lead singer, it wasn’t until I saw the video for “Graffiti” where he truly exhibits his performance behind the microphone. The guy pulls off some impressive leaps into the air, does the splits, and executes some jerky arm movements all whilst looking quite mad and frustrated at the camera as he and the other band members thrown around the room.

From the band’s debut album A Certain Trigger, “Grafitti” gets off to a roaring start courtesy of Duncan Lloyd on the guitar and Tom English on the drums before emphatic keyboards and bass enter the frame. The hectic playing by the group is maintained throughout the three minutes this song lasts for and Paul Smith on the vocals, singing about being fed up of everyday life and wishing to find something that can excite him, makes it all the more thrilling to listen to. Never thought about its meaning that much, I’ve liked it too much to really think about it. Another good Maxïmo Park single, wouldn’t expect anything less.

My iPod #467: Supergrass – Grace

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“Grace” was the second single released from Supergrass’ fourth album “Life on Other Planets”. “Never Done Nothing Like That Before” was the first though was only available on 7″ vinyl, whereas “Grace” was the first to be utilised on all major formats two weeks before the album’s official release.

The track came about due to some drunken playing on a piano by drummer Danny Goffey and the preachy “Save your money for the chiiiiildreeeen” lyric was taken from a message on a small money box that was carried around by kids that would usually visit the studio the band were recording in. Initially thought as nothing more than a B-Side, the four members worked over and over on the song resulting in one of their most playful and enjoyable tunes to date, just missing out in the top ten in the UK charts.

The song itself is about a girl named Grace who seemed like quite a fun person to be around if you listen to the lyrics in the verses. Musically, the positive vibes are reinforced by the light piano, upbeat tempo and swirling synthesizers that appear here and there giving the song a perky and spirited atmosphere. I also believe that the band sampled some vocals from “Caught by the Fuzz” in the instrumental break before the final chorus. That might just be me, but you may be able to understand when you hear it carefully. Just saying.

This song is fun. Liked it ever since I saw the video in 2008 or so. Was the first time that I’d heard a song of those after their prime in the 90s. Wasn’t disappointed. Still feel that way today.

My iPod #466: The Offspring – Gotta Get Away

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Think it’s fair to say that “Gotta Get Away” is one of The Offspring’s most tracks in the band’s discography.* Found on what is considered to be their finest album Smash from 1994, the song was chosen to be released as the third and final single almost a year after Smash had been out. It wasn’t as commercially successful as the two preceding it, but it remains a popular song amongst many an Offspring fan. It’s just got this very intimidating and tough sound that you don’t find very often in other Offspring singles. The music video further emphasises this.

The introduction brings in each member one by one, firstly with Ron Welty’s hard-hitting tom-tom drum pattern followed by Greg K’s cool bassline and finally with Noodle’s high-end scratching guitar phrases. With a strike of the crash cymbals, all three members come together as one to really get things going and eventually lead into Dexter Holland’s trademark double-tracked vocals, singing about wanting to be anyone else but himself due to symptoms of strong paranoia.

Song’s mad. Despite its pessimistic subject matter there is something brutally confident about the music’s delivery…. It’s strange. But it does its job.

*26/08/20 – Clearly there’s an adjective missing from that sentence… I’ll let you fill that in.

My iPod #465: The Beatles – Got to Get You into My Life

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“Got to Get You into My Life” is the jubilant, horn-heavy, Motown influenced ode to marijuana written by Paul McCartney, appearing as the penultimate track on the Revolver album. Why do I say it’s an ‘ode to marijuana’, you may be thinking. Well because that’s what it is. McCartney said it himself; the statement can be read in this authorised biography. Sorry to all those who’ve thought it was a typical song about yearning for love. But the real influence behind it makes the track all the more clever, slick and a bit humourous.

But when the first note plays and the blaring horns play the memorable introductory phrase it doesn’t matter what it’s about, you just know that the song is gonna be a good one. It doesn’t disappoint. Paul pulls off yet another stunningly smooth vocal take amongst the aforementioned brass instruments, leaping from the tamest of notes to the other end of the spectrum in a matter of milliseconds. It’s may be a bit worthy to note that Paul is the sole Beatle to sing on here with no harmonies from John and George, something that’s eventually mirrored by the former’s sole vocal presence on the next track. Still the two are make their presence known in the music, particularly George who from out of nowhere brings out a stellar lead guitar solo at the song’s climax, cueing the celebratory coda.

A brilliant track. It’s the last song on the album that you can get up and sing your heart out to before things get a bit philosophical and spaced out for “Tomorrow Never Knows”. Really dig it.