Category Archives: Music

#997: They Might Be Giants – Operators Are Standing By

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This one’s for the phone operators out there. Written and sung by John Flansburgh of They Might Be Giants, ‘Operators Are Standing By’ is the seventh track on the band’s 1999 album Long Tall Weekend. Like ‘Minumum Wage’ nine years earlier, ‘Operators…’ is an upbeat track dedicated to those who work in crappy office jobs on a low income and loathe each day that comes. It’s much more specific than ‘Wage’ however, just because there are actual employees of a specific role involved in the lyrics, rather than the grand statement that ‘Wage’ presents in its bluntness.

The track paints a picture of these phone operators, all assumed to be women if we’re to also go by what the lyrics say, who are doing almost everything except the job they’re supposed to be doing. In order of mention, they smoke cigarettes, drink coffee, bounce their shoes off the end of their feet, wish they could go home, poke holes in the ceiling tiles, make jokes about their old boyfriends and days gone by, talk about their portrayal on the TV, and pass round a picture of a Möbius strip. This is all brought to a halt when the boss comes in with a “That’s enough talking, ladies” warning. Only for a moment though as they resume not working and wishing to be anywhere else.

The song’s a short one, only about a minute and 20 seconds in length, but there’s a lot on here to latch onto. I particularly enjoy Flansburgh’s vocal take. The tone of it and the sort of tape-echo effect on there. The low end throughout sounds massive. Whoever’s decision that was to make it so should get some props. Whenever the kick drum and bass guitar come into, there’s a very booming tone that occurs. Maybe there’s some extra percussion hidden in the mix somewhere that adds to that. And it’s all delivered with this swinging tempo. Can’t help but sway and click my fingers to the beat with this one. Won’t be the first song TMBG fans would recommend to you. But I’m here saying right now that it’s worth a shot.

#996: Jamie T – Operation

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Jamie T’s Panic Prevention was released in 2007. At the time, I was already accustomed to ‘Salvador’, ‘If You Got the Money’, ‘Sheila’ and ‘Calm Down Dearest’. Those were the singles that were released in advance. I didn’t buy the album. But I think a friend of my sister’s did and allowed her to borrow it for a bit, so she could rip the songs onto the computer and return it. She turned into a bit of fan of his. I think she went to see him play in an HMV somewhere, and I recall her singing deeper cuts like ‘Back in the Game’ around the house. I think ‘Operation’ was a favourite of hers as well. One time, she definitely said the “Filler, no thriller” lyric just out of the blue for no particular reason. This is all a haze and not very fun to read, but this was my sister’s life and whatever she did was her business. She would have been 15, and I – 11, so didn’t want to get involved too much.

At some point, I came to really like ‘Operation’ though. Coming in at almost six minutes in length, it’s the second longest song on Panic Prevention. What it’s about is anyone’s guess. There’s a lot of words put together, and they sound good, but they’re not meant to make any logical sense going from one line to the next. Except for maybe in the choruses where Jamie T throws a shout-out to ‘all the dead people’, especially ‘Diego’. He sings and delivers his words in a thick British accent. It’s very English. Wouldn’t be surprised if people from the UK were confused as to what exactly he’s saying and be left even more dumbfounded once coming across the lyrics online. Going for a more sound than sense approach with lyrics can always work out well, especially if there’s some good music behind it. The track is one of those where it’s almost two separate songs blended together, fluidly switching from one movement to another about three minutes in via an instrumental break.

Despite the lyrical verbosity, the vocal delivery, and the length that might put some hesitant new listeners off, there are hooks abound throughout the whole thing. I’m very sure there are vocal passages that have been cut and paste, they sound exactly the same when comparing the initial point they’re sung and once they’re repeated again. And in that way, they seem to lodge themselves into your head just that bit more. Maybe, it’s in its own way, it’s meant to be some deep critique of artists regurgitating the same stuff over and over again to get their stuff on the radio in some very hidden, subtle way. But it’s almost a 100% that that’s a massive reach on my part.

#995: Big Thief – Open Desert

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Big Thief’s U.F.O.F. got its fair share of critical acclaim upon its release in 2019. But looking around on various threads and websites I witnessed something more of a mixed reception. Some really liked the album, others found it to be more middling. It didn’t go anywhere. The record didn’t possess the more dynamic performances that were abound on Capacity or Masterpiece. It came across as an Adrienne Lenker solo album more than anything. I’m paraphrasing, though these were just some of the things I saw. Reminds me of the whole perception behind Pavement’s Terror Twilight. And just like that album is my favourite of that band’s, U.F.O.F. is number one on my Big Thief ranking list. Sleek-sounding laidback albums to vibe to always get two thumbs up from me.

‘Open Desert’ is one track from the album that I like quite a bit, but I’m not sure I’ve ever seen anyone comment on it anywhere. YouTube doesn’t allow comments on official music uploads, so there’s no way to tell. If there’s a song on the record that highlights the production sheen that’s threaded throughout, it might just be this one. The track goes along at something of a midtempo, light twinkling guitars and ambient synthesizers take up the soundscape joined by chimes of a xylophone here and there. And there’s a great intensity of warmth during the choruses where Adrienne Lenker’s harmonies come in on both channels. Production begins to feel very full in a subtle way, before releasing and returning to a more relaxing vibe to the verses.

I don’t know what the track is about. The title doesn’t appear in the lyrics, though they appear to be poetic and vivid descriptions of actions, motions, various thoughts and feelings, and observations Lenker made at some point in time in an inspirational setting. Some allusions to death in there too, possibly. By the “Through the mirror, mountain view” line, I’m going to guess that at least some of the words were thought of during a long drive. Maybe that’s where the title comes from. This is all speculation. In the end, what matters is how I feel about it all. My blog, after all. Despite what you might read on forums and threads – might take a while, this album’s been out for more than three years now – this album isn’t boring. It’s not gonna rock your socks off, no. But it’s solid, well-produced and memorable material. You can find that in this three-and-a-half minute number.

#994: The Kooks – Ooh La

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Anyone who wants to know how the British indie rock music scene was doing in 2006 can come to me for some sort of insight. I’ve done it before a few times on here. I was a young’un then, as I’ve also said frequently in the past, but I was aware of what was going on. Generally, it was a good time to be in a band. That was the year that ultimately Arctic Monkeys grabbed by the balls and ran away with. But under their shadow were other groups that weren’t doing too badly themselves. The Kooks released their debut album the same day Arctic Monkeys released theirs. Each single they released up to that point and after came in higher and higher in the UK charts. The first, ‘Eddie’s Gun’, was released in July 2005. I had just finished year 5 of primary school. The final single and today’s track, ‘Ooh La’, was released in October 2006. I had been at secondary school for a month and a bit. So clearly the want for more singles from Inside In/Inside Out was at a high.

I witnessed it all. I wasn’t into The Kooks as much as Arctic Monkeys, but MTV2 was always showing their music videos whenever a new single arose. ‘Ooh La’, I got to know because of this. Almost everyone morning getting ready for school in those darker mornings you get with daylight savings time, the video for ‘Ooh La’ was on. Although I thought they were trying to be artsy by having a black-and-white video filmed in Paris, there was certainly a vibe to ‘Ooh La’ that made it stand out from the singles that came before. The track’s all minor-key like, but really brisk in its energy. It’s like the soundtrack to a bike ride in the park, but on a those darker overcast days. Not one of those overdramatic slow ballads that songs in that key tend to be.

Seems that this tracks looking in on a relationship where the lady involved wants to be famous, but the dude wants nothing to do with it. He gives her the advice he can while she’s out in the big world, telling her that he’ll always be a true friend. But in the end, things don’t turn out too well for her, and she’s taken advantage of and thrown to the wayside just like the many other unlucky people who look for the bright lights of Hollywood. Really I’ve never thought that much about the lyrics and had to go to songmeanings.com to see what other people’s perspectives were. This one seems logical enough to me. You can either love or hate frontperson Luke Pritchard’s vocals in general. I think they work the best on here. Plus, the guitar solo that closes this out is cool too. After being acoustic for the majority of its duration, that electric guitar comes in like a razor. Very sharp.

#993: My Bloody Valentine – Only Shallow

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Welcoming you into the world of My Bloody Valentine’s 1991 opus Loveless are four strikes of a snare drum and an incomprehensible noise of what I could only describe as elephant/vacuum-like sounding sirens over an ascending chord progression. When I was going through what were considered to be the best albums ever, according to besteveralbums.com, around 2012/13, I came across this album. This track, ‘Only Shallow’, starts it off. By the end of the LP, I still hadn’t really understood what I had just heard. It was certainly different then. It’s still in a league of its own more than 30 years later.

10 years on from that first listen, I’ve come to understand it a lot more. Particularly this track. It eventually occurred to me that paying close attention to the track’s bassline was the key to realising what was going on, ’cause amidst those guitar strings are continuously warping and bending due to Kevin Shields’ signature use of the whammy bar, the aforementioned elephant noises and Bilinda Butcher’s dreamy but hushed vocals, it can be difficult to find that element that makes sense through all the commotion. That’s just my personal experience though. And I’m not saying that the bassline is the best part of the whole track, I just find it to be the melodic centre that anchors everything together. It plays these higher notes during the dreamy verses, sort of following the same progression as Butcher’s vocal, so when it reverts to the track’s main riff where all the noises come into the mix again, the whole track regains such a heavy momentum.

There are lyrics within this song. No one really knows what they are. Any lyrics site that has them up there probably have words that sound close to what’s being said. Looking through each album track on those places, you can kind of gauge that the lyrics are going more for a approach of sound more than sense. But officially, no one knows for sure. Just adds to the mystery of it all. This what this track is, mysterious. It’s well-documented how Kevin Shields got the sounds he required to make the entire record and how he almost bankrupted the record label in doing so. But even then you’re still left wondering how this track sounds the way it does. If I haven’t said so already, I like this track a lot. But man, is it hard to describe.