Tag Archives: day

#1088: Coldplay – Rainy Day

Leave a reply

Carrying on this theme of rain on here, and ending it too, comes Coldplay’s song ‘Rainy Day’. I’d assume it’s one that a lot of people don’t know about except those who are really into the group. I’ve got to admit that I was around the time of Viva la Vida‘s release. I’m sure that every time I’ve written about a song from that era of the band, I’ve gone on to mention that it’s my favourite out of everything the band’s ever done. That album actually got me excited for what they would do next. Excited for a new Coldplay album, never thought it would happen to me. Then ‘Every Teardrop Is a Waterfall’ arrived with Mylo Xyloto and they lost me. They dove headfirst into pop territory with that album and have dropped deeper into it ever since. Not the direction I was hoping for, I tell you.

Anyway, I’m digressing, sorry, sorry. ‘Rainy Day’ didn’t actually appear on Viva la Vida, but was released on the Prospekt’s March EP that was released a few months after. This EP was a collection of some tracks that were recorded during the sessions for Viva and were close to being included, but either weren’t finished or just didn’t fit. Even with the status of being a collection of leftovers, Prospekt reinforces this experimental route that Coldplay seemed to be taking during the making of the LP. ‘Rainy Day’ is based on a loop that establishes itself in its opening moments and plays throughout the track. The band play over the top with a notable bass line from Guy Berryman and a delicate guitar lick by Jonny Buckland. I want to say there’s more emphasis on the lyrical imagery rather than the meaning of the words. Chris Martin sings about the scenery and strange things happening when it suddenly begins to rain one day. At a couple of points during the track, these short little breaks of plucked strings and piano runs appear, each of them preceding the most glorious choruses in all of Coldplay’s discography, lifted to the heavens by a backdrop of sensational violins.

Before being included as a section within the song, those breaks and violin instrumentation behind the choruses were originally intended to act as the ending to an instrumental named ‘School’. The composition plays a key part in the making of the album it appears, because its opening was taken to form the first section of ‘Death and All His Friends’, the song, that closes out Viva la Vida. Makes me wonder if they had the two songs first and made the instrumental after, after seeing how well the two pieces fit together, or if the two songs came from that one instrumental. Whichever way you look at it, everything seemed to work out very well. It’s all good music in the end.

#1028: Lou Reed – Perfect Day

1 Reply

So before I knew that ‘Perfect Day’ was a Lou Reed song, I had only heard of it through one of those count down TV programs where celebrities were talking about a certain types of singles from the 1990s. ‘Perfect Day’ was chosen to be the single to represent the BBC Children in Need charity in 1997. It was a cover, and almost each line was sung by a different artist, from Elton John to Dr. John to Boyzone and countless others. I can’t remember what the exact category for that count down program was. But I only remember there was one guy who got a kick out of how Shane MacGowan sang the “It’s such fun” lyric with the most miserable look on his face. I’ll embed the video for it below. You’ll either think it’s all right or straight-up terrible.

Years later I’d find the original through listening to Lou Reed’s 1972 album Transformer, and hell yes this track is one of the best on there. Reed’s all quiet and up close to the microphone during the verses before the track opens up immensely into a grandiose chorus, backed by a glorious string arrangement courtesy of glam rock legend Mick Ronson. The track itself is about thoroughly appreciating the time spent with a loved one, doing things that relationship-people do like going to the movies and drinking in the park. Other activities are mentioned. And overall having a huge boost in mental health, feeling like a good person, rather than the sad, unstable person they would be when left alone for too long.

You see, I like that interpretation of the song. I think Lou Reed means just what he sings here. But a lot of people think it’s about really liking heroin. Then Trainspotting came out in the ’90s and everyone started to agree more that that’s what the song is really about. There’s no reason there couldn’t be a double meaning there. Plus, it wasn’t as if Lou Reed hadn’t covered that topic in another very, very popular song of his. But I truly think it’s as sincere as it gets here. The overall sentiment alongside the almost dramatic nature of the music, well, it’s almost enough to bring anyone to tears.

#984: John Lennon – One Day (At a Time)

Leave a reply

Just a note to take into account before you read this. This track isn’t actually six minutes and 36 seconds long. There are two versions of this song in it, but I’m really only talking about the first 3 minutes in there or so. If you want to carry on listening after, that’s up to you. Cool. That’s out of the way.*

When I was really getting into the Beatles at the beginning of the tail-end of the 00s, I came across this project online called Everyday Chemistry. The website where you could download it provided the backstory. This was an album created in a parallel universe where the Beatles never broke up in 1970 that somehow made its way to our planet. Quite the way to get people interested. Really, it’s just a mashup album created by a fan using solo Beatles work. In the vein of the official Beatles LOVE record. And it wasn’t actually bad. In fact, it was this project that got me thinking about listening to the Beatles solo projects and songs. One track on there that struck my ear immediately was ‘Anybody Else’, which was a mashup of McCartney’s track ‘Somedays’, Ringo Starr’s ‘Monkey See – Monkey Do’, and an alternate take of John Lennon’s ‘One Day (At a Time)’ taken from the 1998 Anthology compilation. The latter was the anchor of this song, providing the bassline and what is essentially the main riff. So it only made sense to seek out the original and see what was going on.

‘One Day (At a Time)’ was written and recorded during a period when John Lennon and Yoko Ono’s marriage was on the rocks, just before they properly separated and Lennon went on an 18-month bender in Los Angeles. I feel the track is meant to act as something of a statement from Lennon to Ono as to why they should stay together. With he being the fish to her sea, the bee to her honey and so on and so forth, he feels they’re two people who complete each other. Any trouble arises then taking things day by day should be the way to right any wrongs. As mentioned before, that route didn’t work out. But man, this track makes for some truly comfortable listening. Probably the coziest recording Lennon ever made. This is bare bones, made up of Lennon’s cool vocal, a keyboard, bass guitar and drums played with brushes rather than sticks, and a twinkling guitar that provides a backdrop during the verses. It’s like the the musicians are playing right in front of you in this dark lounge, smoke in the room, people wearing shades. It’s magic stuff. So relaxing, so warm. You listen to those first three minutes up there. You’d think that take could have been on an official album, right?

Well, wrong. With some advice on Ono’s part to sing the vocal in a falsetto range, and the addition of backing vocalists and maybe a steel pedal guitar, the track was released in its ‘final form’ on Lennon’s Mind Games album in 1973. I don’t like this version as much. Not a lot, to be honest. With the alternate Anthology take, Lennon singing in his natural range provided so much more sincerity, in my opinion. The decision to go falsetto on the album doesn’t sit right with me. I guess by doing so he’s meant to sound like some innocent child or something. Maybe meant so sound more vulnerable? I don’t know. To me it comes off as if he’s making fun of the entire thing. Considering it was Ono’s idea, he probably didn’t want to do it that way. Think the backing singers and the added instrumentation is a bit extra too. But hey, that’s just me. I’ll stick to the Anthology. Listen to the album version for yourself and decide.

*06/10/24 – This was written at a point where the original video was completely different. Now, with the Mind Games reissue, the actual version I prefer is up.

#919: 747s – Night & Day

Leave a reply

I know. You’ve seen the title and you’re probably thinking “What?” and “By who?” I couldn’t blame you. 747s are one of those bands left in that huge pile of those who arrived during that big UK indie-rock movement of the mid-2000s and either disappeared or were forgotten about not too soon afterwards. This is one of two songs that I know by the band, and I only know those two because those were the ones that were shown on TV. Otherwise, there’s a great chance I wouldn’t have an idea this band existed. Luckily I caught this one sometime during a morning, and it’s stuck with me ever since. I’ll guess it would have been 2006 or so, because that’s when Wikipedia says the track was released as a single.

‘Night & Day’ is the opening track on the band’s only album Zampano. Was the band’s first ever single too. And to be fair, I would say it has everything you want in a piece of music that you would want to introduce yourself to the masses to. Great opening guitar line to set the mood, it comes back here and there throughout, and the bass guitar mirrors it to emphasise its melody. Those guitars have some fantastic tones to ’em too. The rhythm’s kind of buried in the left channel, which opens up the space to the lead guitar in the right that really carries the song’s momentum. Gotta give a shout-out to the chorus to, where the chord progression rises and builds some intensity alongside these backing ‘aah-aah’ vocals. There’s something about this track that also makes me think of those showtime tunes. A lot of jazz hand thrown about. I think there are a lot of seventh chords being used, maybe that’s why. Then again, I’m not even sure about that, so someone’d have to tell me. But around 2006, it was much different to a lot of the bands who were pretty much Arctic Monkey wannabes.

The track is about a seemingly fleeting relationship in which the narrator wants to make their partner happy and follow their own free will, while coming to the point that at some point they’ll split and go their separate ways. Doesn’t sound like there’s any ill will that’s meant or anything. You know you can get those songs that are a bit off-putting that way. But it’s one where the message is along the lines of “Well, these things happen and it’ll be okay,” which I’m all for. Of course I didn’t know this when I was 11, but 15 and a bit years gives you time to think about this stuff. But that’s as far as it goes with me and 747s. That other song by them that I know, I’m very sure played just the once on MTV2, and they were never heard from again. Didn’t have much of an effect as this one.

#715: Supergrass – Late in the Day

Leave a reply

‘Late in the Day’ can be found on Supergrass’ second album In It for the Money. That specific album by the band is my favourite of theirs, though I wouldn’t say ‘Late in the Day’ is a song that I’ve wanted to put on repeat. It is always a nice feeling when it pops up on shuffle though. Someone at the band’s record label saw it as commercially viable and it was released as the last single from the album in late 1997.

The song itself is about having a special someone on your mind and constantly thinking about them. It happens that ‘late in the day’ is the time when this seems to happen for singer Gaz Coombes. In comparison to the other singles from Money, ‘Late in the Day’ is mainly led by the keyboard work of Rob Coombes. His playing provides the chord progression of the track, while also adding atmospheric touches like the organ during the verses and the whistling tones during the instrumental bridge. Danny Goffey’s drumming provides a hop/skipping rhythm to the composition, which I’m thinking inspired the pogo-stick heavy plot of the music video. I don’t know what else in the song could have influenced the video directors behind it. It’s a great watch though, captivating in its own way.

Can’t feel bad after listening to this one. Good for a lazy summer day or two.