Monthly Archives: September 2020

#775: The Darkness – Love Is Only a Feeling

1 Reply

The Darkness was probably the first rock band I ever got into. I believe this is a statement I’ve said a few times before along this long road I’ve chosen to go down, but I haven’t looked back to see exactly where. As an eight-year-old going on nine, I can still remember the group being one of the most popular in the UK during 2003-04. ‘I Believe in a Thing Called Love’ was massive. Initially, I thought it was a joke song because… just watch the damn music video. But I actually sat down and fully took it in one day and it suddenly clicked. And I still don’t think the tag of a band you shouldn’t take seriously had gone even when they released ‘Christmas Time (Don’t Let the Bells End)’ later that year, a song that I wanted to be number 1 in the charts but was beaten by the ‘Mad World’ cover by Gary Jules.

‘Love Is Only a Feeling’ was released as the final single from Permission to Land in March 2004, and I think it was this song and its great video that convinced me to ask my older cousin to get the album for me as a birthday gift. The track is an emotional power ballad. Not so much the chugging rocker of ‘Thing Called Love’, ‘Feeling’ is led by these emphatic guitar downstrokes and dueling/harmonising guitar solos that appear throughout. The track’s meaning is very much clear in the title. Singer Justin Hawkins says it’s about how wonderful love can make you feel, but how it can also be a danger too. It’s a song that’s really from the heart, and I think that’s what really attracted me to it all that time ago. Any reservations I had about the band not being very serious about their stuff was gone. This song was really good. Still is almost 20 years later.

#774: The Who – Love Ain’t for Keeping

Leave a reply

The Who’s 1971 album Who’s Next opens with two intense rockers. ‘Baba O’Riley’, one of the band’s most iconic songs, and then ‘Bargain’, a five and a half minute powerhouse of hard rock. So to slow the momentum down just a bit, ‘Love Ain’t for Keeping’ arrives as a bit of a country-folk acoustic number, steady to the ear and much easier to take in in comparison to its predecessors.

I’ve always been fond of this one. It’s only two minutes and ten seconds, probably gets a bit shafted because of all the other songs on the album too. But it shows that The Who were as great in their softer approach to their music rather than the usual balls to the wall performances. Keith Moon on the drums plays with just enough restraint and keeps control of the song’s rhythm alongside bassist John Entwistle, and Pete Townshend plays the acoustic guitar in both channels, covering the rhythmic role in the left and lead guitar lines on the right. I think the overall highlight of the song are its vocals. They’re a highlight on many a Who song but it’s a glorious feeling when Roger Daltrey comes in with the first ‘Layin’ on my back…’ line that opens this one, especially with the natural reverb that occurs when he drags out the long note. The three-part harmonies during the instrumental nearing the end are amazing too.

So what it’s about? Judging from the lyrics, I say it’s about a person living in the countryside feeling fine and wants to make use of the good times they have by making love. It’s not meant to be kept, after all. If you think this track is boring, there was another version of the song made with guitarist Leslie West during the sessions for Who’s Next. It’s a lot more like the Who performances you may know and prefer. Townshend also takes the lead vocal here. I think it’s okay. I’ll stick with the one that appeared on the album.

#773: Stephen Malkmus and the Jicks – Loud Cloud Crowd

Leave a reply

The past two years have been a busy time for Stephen Malkmus. Since 2018, he’s released an album every year. That one saw the release of Sparkle Hard with the Jicks, which was then followed by his proper solo debut album Groove Denied, a record that was bit more electronic and definitely stranger in its sound. Then came Traditional Techniques earlier this year, but definitely feels as if it was released in another lifetime the way this year’s been. To cut things short, these releases made me go back and listen to his older albums in the Jicks catalogue.

I came across Face the Truth – which I’ll say is probably my second favourite of his after the 2001 self-titled album – and ‘Loud Cloud Crowd’ got to me on that first listen. It sounds like the soundtrack to the beginning ceremony of an event. Like the Olympics of something. Gives me the same feeling I get with Vangelis’ ‘Chariots of Fire’. Big things are on the horizon. I don’t know. I just get good feelings from this track. I think it’s generally about being optimistic about the future, and how it’s up to you to make your own path to make things happen. Though in the standard Malkmus way, he makes his lyrics just a bit surreal and jokingly cryptic that it’s truly understand what the subject matter is. I’m not sure what a ‘loud cloud crowd’ is; it’s probably nothing to dwell on. What I know is, that type of crowd sound quite important the way Malkmus sings it.

In terms of the music, it plays upon the quiet verse/loud chorus dynamic. It’s a bit more subtle here than how you would usually here it in a Pixies or standard grunge song though. Malkmus sings in the verses alongside a subdued guitar line and synth-bass. Some rolling tom-toms enter the frame to build some layers, and then the chorus comes in with some added synth-strings that add to the sort of regal tone the track is going for. I feel the whole arrangement’s done very well. An unrelated note but this song was also on the soundtrack for Major League Baseball 2K6. That’s a game I don’t have and probably won’t own anytime soon. But that fact is usually a common topic in the YouTube videos for this song.

#772: They Might Be Giants – Lost My Mind

Leave a reply

They Might Be Giants’ ‘Lost My Mind’ was initially released on a teaser EP leading up to the band’s then upcoming Nanobots album in 2013. Alongside it came ‘Call You Mom’, a rocker about a narrator with mummy issues, and ‘Black Ops’, a stranger number that was a bit more experimental. ‘Lost My Mind’ was my favourite on that collection and stayed as one of my highlights when the album eventually came out.

In this song, John Linnell takes the phrase of ‘losing someone’s mind’ and puts it in a very literal sense. The narrator’s mind has gone missing, they think they might have misplaced it somewhere, and if it’s buried underground they’re not going to go digging for it because they don’t have the time. Some fans of TMBG really wish to understand the meaning behind a lot of the band’s songs. Sometimes they’re so surreal that it makes a lot of listeners wonder what Linnell and Flansburgh are on about. I’m not sure there’s much in ‘Lost My Mind’ to deeply understand though. It’s one of the few where you just have to take it as it is. I think that’s an aspect that makes it stand out to me.

Also there’s bags of melodies in here that I can’t help but sing along to. The track has a bit of a wandering feel to it. In contrast to ‘Call You Mom’, the track that preceded it on the Nanobots EP, ‘Lost’ is a slow burner and the guitars in your face as much. It’s midtempo, carried by a blaring keyboard played by usual guitarist Dan Miller and a steady rhythm section. John Linnell sings the lead and does so very well. I like the final chorus in which John Flansburgh sings the backing while Linnell holds out a longer note and sing together to create a good countermelody. That’s something to look out for.

#771: Kanye West ft. Bon Iver – Lost in the World

Leave a reply

So pretty much two months from now, My Beautiful Dark Twisted Fantasy – Kanye West’s magnum opus, arguable to some – will have been out for 10 years. I wonder how West will commemorate it. Probably with a Twitter rant of some kind. He probably won’t. He has admittedly said that he doesn’t care for the album that much and considers it a backhanded apology for that VMA incident in 2009 that made him one of the most hated people in America. I was 15 years old when the album came out, but somehow completely missed the GOOD Fridays campaign that led up to it. For all I knew, ‘POWER’ was the only song he’d released before it. I want to say that I remember the exact first time I listened to it in full… I can’t. I do remember listening to it a lot in those first few days though. I was just glad he was rapping again. A decade has passed and it’s a bit of a bummer, a bit scary too.

‘Lost in the World’ is the final track on the album in which Kanye is present. Very much the climactic point of the whole record. It’s largely based on the song ‘Woods’ by Bon Iver, and I think West bought that band’s leader Justin Vernon into the studio to re-record some lines as well as just add some vocal embellishes on there too. The whole message of the track? Basically, being a rapper in this crazy world and dealing with the struggles that come along with it. And it’s done amidst this massive musical backdrop of pummeling percussion, synthesizers, vocal samples, live choir-vocals…. the lot. The track is essentially its chorus repeated with elements built on top with each iteration, apart from one sole verse from West full of contradictions that was later confirmed to be inspired by Kim Kardashian.

The only thing that bugs me about this song is that following outro, and the album closer, ‘Who Will Survive in America’ is its own separate track. ‘Lost’ feels horribly incomplete without it. If the birthday skit with Chris Rock was appended onto the end of ‘Blame Game’, why couldn’t the same be done with ‘Lost’ and ‘Who Will Survive’? Whatever. That’s just a minor thing for me. I’m there are a lot of people who appreciate the separation. Despite this minuscule issue I hold, there’s no denying that both tracks are worthy of their place in closing out one of the greatest hip-hop albums of this century.