Author Archives: The Music in My Ears (by Jamie Kyei)

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About The Music in My Ears (by Jamie Kyei)

Just one man who's making his way through life one day at a time writing about the songs he has on his phone. And other things at some points.

#1177: Dananananaykroyd – Seven Days Late

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After having known Dananananaykroyd’s second and final album There Is a Way for 13 years, listening to it since near the day it was released in 2011 and becoming very familiar to every song on there in the process, I made the decision to buy it outright and get a physical copy back in January. It wasn’t cheap. Almost £20, it was. But I knew the music was good, so it was worth it. A lot of things became clear once the copy came in the mail and I opened those liner notes up. For one, I’d been singing along to the majority of the tracks on there, completely differently to how they were originally written. And two, almost all of the music was written by guitarist David Roy and, bar three songs, the lyrics were covered by John Baillie Jnr, who’d been more of the backing vocalist on the band’s previous album while mainly acting as the second drummer. I guess that’s why those two stuck together in a new band when the ‘Kroyd split up a few months after the album’s initial release.

I’ve gone on a bit of a tangent there. Let’s take it back to the point about singing the wrong words. Yeah, that’s what I’d been doing all this time. ‘Seven Days Late’ is a track on the album where there’s a lot of shouting involved. And being the people of Glasgow they are, they were unapologetically Scottish in the way they enunciated their lyrics. It’s an endearing quality. I could only mimic what I could understand, apart from those phrases where it was very clear what was being said. ‘Seven Days…’ is the most intense song on the album. I remember being sort of blown away by Bailie Jnr’s scream at about 2:20 when I first heard it. Bear in mind, I was 16. But there was nothing from Hey Everyone! that made me think they had that kind of scream in them. Really from the chest, sounded truly pissed off. And I’m sure the whole song is simply about someone deciding to stay in a room somewhere and do nothing until their mum and sister comes to take them away.

Thinking about it, there should be no reason why a simple subject like that should be matched with such ferocity and urgency in the music. And if it does, you’d think it probably wouldn’t work out too well. But that’s exactly what goes on here and, in contrast to what I stated in the last sentence, it works out very well indeed. This track makes me damn-near want to punch a wall. Multiple times or something. That’s sometimes what it has to come down to. There’s a frustration and tension that builds and builds throughout, and when the track leaves you hanging when things pause for a brief second near the end, those anxious feelings are beautifully alleviated by the final chord where the band members breathe an almighty sigh of relief – like sitting in a nice, warm bath after a tiring day. It’s such a good moment, I get goosebumps every time.

#1176: Nirvana – Serve the Servants

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While thinking about what I was gonna write for this song, its chorus just kept on repeating itself in my head. It’s a funny thing about ‘Serve the Servants’. This was the opener to Nirvana’s In Utero, the album consciously made, at the behest of main man Kurt Cobain, to sound a lot more unpolished and possess a rawer feel to counter the “overproduction” of Nevermind. And sure, it gets that theme going from the first second with the sound of a drumstick count-in and that blast of an opening chord. But once its rhythm and near-groove properly sets in with melody in tow, it’s just as catchy and much of a tune as anything that came on the album before. It’s not the most massive of changes. That shock really comes in on the song after.

I first listened to In Utero just over 11 years ago. It might have even been during this month in 2013. That was a special year for the album, ’cause it marked 20 years since it was originally released and there was a whole special 20th anniversary release that was coming around the corner at the time. My take on it? I like it a bunch. It’s probably my favourite Nirvana LP. Nevermind will always been seen as the outright classic, but I just prefer a lot of the songs on Utero. The majority of the first half of the former has been overplayed over the years to the point where I can go long points without having to listen to it. Plus, might be a little silly, but there’s something about Nevermind that’s a little too perfect to me. It’s the little oddities and things left in on In Utero that I’ve always felt have made it the more rewarding listen.

‘Serve the Servants’ is a tune that I’ve never really been able to figure out. It appears to be about a lot of different things all brought together. Cobain touches upon his own boredom with the music business, getting older and the pain that comes with it, relationship issues with his dad and references the Salem witch trials. So, maybe it’s fair to say it’s a bit of an autobiographical thing going on with a totally different subject put in to throw the listener off. Maybe it’s all just words Cobain put together to sound good. Too bad he can’t tell us now. But it’s always been an engaging tune to hear. In comparison to the power chords of ‘Smells Like Teen Spirit’, ‘Servants’ rolls along with this odd riff which usually shouldn’t work but very much does. Cobain sings louder in the verses compared to the choruses where he’s nearly mumbling. The solo’s a trip and doesn’t just follow the vocal melody of the verse, and at 2:42, something I’ve just noticed, someone flat-out coughs in the middle of it. You gotta dig that sort of stuff.

#1175: Stephen Malkmus and the Jicks – Senator

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I became acquainted with Stephen Malkmus and the Jicks’ Mirror Traffic properly during my first year of university. How could I be so sure? Well, the year was 2013. I’d been into Pavement for years up to that point, and the Jicks’ material was the logical step to hear more stuff by the guy who usually wrote the Pavement songs. It was announced that the new album by Stephen Malkmus and the band, which turned out to be Wig Out at Jagbags, was to be released in the first month of 2014. Might have even been the first or second week of January. So it made sense to listen to the most recent album at that point, just for preparation.

It’s not my favourite Malkmus and Jicks album, I must admit. But there are a select number of songs on it that go up there as some of Malkmus’s best work, in my eyes. A couple more from the album are to come in this series. But today, the focus goes to the third song on Mirror Traffic, ‘Senator’, which was also released as a single, alongside a neat video featuring Jack Black and other recognisable faces. Something’s telling me I may have been aware of the song before properly listening to it in the context of the album. I want to say there was an article I read making light of the fact that the “What the Senator wants is a blow job” lyric had to be changed to “What the Senator wants is a snow job” for the radio edit.

‘Senator’ appears to be a track concerning the USA’s attitudes concerning the environment. And he sort of implies that the USA, particularly the people in power, aren’t really focusing enough attention on taking care of it. Instead, what the office representative wants put into action is a blow job. And in the middle, there’s a little bit where Malkmus reminisces about smoking weed with a friend of his back in the day, narrowly being avoided by the cops. How it all ties together, I don’t know, but it somehow works and is all good stuff to listen to. It’s marked by this start and stop motion, alternating between Malkmus’s sole vocal and the whole band coming together. Some nice little descending guitar scales pop in, and a solo at the end brings everything home. A very complete track, I think.

#1174: Reel Big Fish – Sell Out

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Well, looks like this here’s another song that I have to thank the good people at EA Sports for. A long, long time ago I came into the possession of FIFA 2000 for the PC. As to how I did, I’m not so sure. But I want to say it was through my cousin. This happened such a long time ago that I can’t remember what age I was when I was usually playing it. Judging by the year, I’d assume I was four or five. But I also remember redownloading the game again some years later. What matters is, it had some decent tunes on there. One of them I’ve written about in the past. But then there were other bangers like Apollo 440’s ‘Stop the Rock’ and Robbie Williams’s ‘It’s Only Us’, which was specifically made for the game. They were good. But ‘Sell Out’ by Reel Big Fish was one of the couple that really left made its mark on me as the youngster I was.

First of all, I think it was all about that horn section. You would be navigating the game’s menus, choosing what team you wanted to play with, what weather you wanted to play in, what mode you wanted etc. etc. And amongst all that came those horns playing the catchy melody, which also acts as the song’s whole chorus pretty much. So I was always humming along to that. And I want to say that after a while I was singing along to the words too. There would have been a few mumbles on my part to account for the lyrics I hadn’t quite got. But if it had me even doing that, then it would most likely be a song that I wouldn’t forget for a while. So what’s the song about? The song’s narrator gets the offer of a lifetime. A chance to sign for a record label that gets them of their dead-end fast-food job. The narrator’s girlfriend warns them to think about it. The narrator signs it with no hesitation. He’s under the record company’s control. He could end up not being paid at all. If things go wrong, he can’t go back to his old job as he’s already quit. But the narrator has the utmost faith that things will be all right because the label said so.

This song’s considered to be the band’s signature tune, but it acts as a both a blessing and a curse in some ways for them. It was the only single of Reel Big Fish’s to make it in the charts, and there was a bit of a one-hit wonder situation that came along with it for a while. I’ve never gone out of my way to listen to a full Reel Big Fish album. Not because I think they don’t have better songs than ‘Sell Out’, but more because I like ska music in small amounts. But anyone can tell me an album that’s worth a go and I’ll be right on it. Maybe the only ever Reel Big Fish tune I’ve heard was their cover of the Toot & the Maytals song, ‘Monkey Man’. Think that showed up on Kerrang! or something one day. That is a bunch of fun, I gotta say, though it’s no something I’d probably seek out to listen to. ‘Sell Out’, though. That’s one for the ages.

#1173: Supergrass – Seen the Light

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My old TV, provided by Virgin Media, had this feature where you could go into its guide and select a variety of music videos if ever you wanted to watch them. It was pretty cool. Television hadn’t yet got to the point where you could easily hook up your laptop right up to the big CRT screen. And if it had, I couldn’t anyway because I didn’t have a laptop. But it was neat to be able to watch whatever music video that tickled your fancy, in very, good quality, and in full screen without a problem of adverts or buffering and all the like. And it was through that that I came to know ‘Seen the Light’, a track from Supergrass’s 2002 album Life on Other Planets, which was also released as a single in early 2003.

As you’ll see above, the video doesn’t feature a physical presence of the band in any way. They must have been out on tour promoting the album or something. But is instead a clip consisting of followers going crazy over their apparent leaders, whether it be the congregation in a church or rabid fans at what appears to be a Fabian show. The video’s also made so it looks like various characters within it are miming the lyrics to the song. It’s a weird one, but also quite funny. And I guess it all ties in with the song’s lyrical matter too, which concerns the moment of joy and rapture that has been felt among the people now that their eyes have ‘seen the light’. What that light is isn’t really specified. But what matters is that there’s a sense of happiness and freedom, now that it’s been found.

I’m sure I’ve made some statement in the past referring to how this specific album by Supergrass is where they really wore their glam-rock influences on their sleeves. It’s apparent throughout the whole record, and ‘Seen the Light’ is one prime example. The way Gaz Coombes enunciates his lyrics (“Now that our eyyyyes have seeeeen the liiight, uuuuuuh”) the general tone behind the music. It’s a clear Marc Bolan/T.Rex tribute. Not that I’m complaining though. The whole track is a feel-good affair filled with very humorous moments, like the freaky/weirded out guitar(?) solo, a ‘baa’ from a sheep that makes a random appearance and an Elvis Presley impersonation, again by Coombes, that caps the whole track off. Fair to say, I think the group were in very high spirits when they were recording this.