Tag Archives: day

#680: Feeder – Just a Day

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‘Just a Day’ was released as a standalone single by Feeder in the last few weeks of 2001. I would have only been six at the time but from what I’ve gathered it was the cherry on top to cap off a successful year the band had, having released their third album Echo Park earlier which was supported by popular hits such as ‘Seven Days in the Sun’ and ‘Buck Rogers’.

This song was featured on Gran Turismo 3, a game I remember getting for Christmas in 2002 and not being too impressed by it. I don’t think I understood how to play it at all and I ended up getting very frustrated with it. Something that sounds awful as an excuse because it’s just a racing game. It had great music in there though. I’ll say that’s how I got to know this track in the first place.

Years down the line I would see its video (above) here and there on TV, and it’s just a compilation of fans of Feeder performing/miming/dancing/acting to the track in their rooms on amateur camera footage. It’s a simple idea, but it’s clear that everyone involved is having the time of their lives. It is widely agreed that the two Asian guys who appear at various points throughout are the main highlight of the video.

It’s about being young, having great times with friends, waking up with a hangover in the morning and having the existential crisis that usually comes along with them. It’s also about feeling useless and not wanting to let people down via your excessive behaviour when it comes to drinking and all of that. It’s quite a downer. But with its high-energy and general catchiness – the ‘do-do-do-do’ hook is memorable – you probably wouldn’t realise.

Unfortunately, it was their last single to be released with original drummer Jon Lee who took his own life in the first few days of 2002. The band kept out of the public eye for a while to grieve and come to an understanding of what happened. They came back nearing the end of the year with Comfort in Sound, a fine effort that addressed Lee’s death among other sad subjects in its lyrics. Below is the band’s last live performance with Lee on Later with Jools Holland.

#603: The Beach Boys – I’m Waiting for the Day

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You ever come across an album where you feel that every song could be a single? The Beach Boys’ Pet Sounds is the archetype of that kind of record. I’ve written about a few songs from the 1966 LP in the past, there will be more to come, and today’s post is about the album’s fifth track – ‘I’m Waiting for the Day’.

Brian Wilson had completed writing in the song in 1964 when The Beach Boys were still rooted in their ‘California, let’s go surfin” aesthetic. The track concerns a narrator who yearns to provide support for a girl who has had her heart broken by another person. It was clear that it did not fit The Beach Boys as they were in that year. However as the years went on the group turned toward more introspective and heartfelt lyricism which came to a head on Pet Sounds.

Placed right after the album’s slowest number, ‘I’m Waiting’ begins with booming timpanis and an overall uplifting introduction of flutes and a peeping organ before closing in on itself for the quieter verses where Wilson takes over with a beautiful lead vocal. The song’s quiet verse/loud chorus dynamic is a quality that was once noted by fellow band member Carl Wilson as a particular highlight and it’s hard to disagree with his sentiment. It’s very satisfying to hear that strike of the timpani after the first utterance of the song’s title followed by the addition of the Beach Boys’ glorious trademark harmonies take over the mix – and just as you think it could all burst at the seams the energy is sucked away and the focus is on Brian’s vocals again.

Talking about Brian Wilson’s vocals, he apparently wasn’t too happy with the way they turned out. He didn’t have a very strong feeling towards this song in general. The track doesn’t often get discussed to deeply. Perhaps Wilson’s attitude towards it is a reason. I still see it as a high point on a classic album.

My iPod #456: The Beatles – Good Day Sunshine

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Opening up the second side of The Beatles’ 1966 album Revolver is “Good Day Sunshine”, a bouncy Paul McCartney number about the happiness one seems to feel with everything (including the weather) whilst being in love. After the somewhat lyrical subject matter in “She Said, She Said”, the track comes to alleviate the mood and start the second half with positive vibes.

Set to a swinging rhythm established by the vibrant piano work and grounded drums, “Good Day Sunshine” is the song to go to on those days where you feel nothing could go wrong and everything’s going your way. The vocal work ain’t too bad. McCartney takes sole lead vocal during the verses, but it’s in the choruses where he is joined by George and John on the harmonies to produce to a simple, repetitive, but memorably catchy melody – one that also gets a sudden key change treatment right at the end of the song.

Only just over two minutes, “Good Day Sunshine” is of the happiest tracks you’ll hear today. I once made it the alarm song on my phone if that’s of any use to you. Made for a good way to start the day.

My iPod #372: The Futureheads – First Day

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“First Day” is a tune from The Futureheads’ first album. The version you hear above is not the same as the one that is on the album. The version on the album is a lot cleaner, production’s makes everything a bit clearer. It’s also a bit faster too. Unfortunately that version is nowhere to be seen on YouTube, so what you get above will have to do.*

Just over two minutes long, “First Day” is a punky number filled with quirky guitar lines and those trademark harmonising vocals that the group utilised throughout the debut. I read an interpretation somewhere saying that this song was actually about life, with the first verse welcoming the listener to their first day and the chorus congratulating you on joining the human race….

To be honest, I just think it’s just a song about someone experiencing their first day at their new job. ‘Cause that is what’s explicitly said. It doesn’t get much deeper than that. It seems that on this first day however, the worker is pressured into doing more work and going onto the next stage even though they’re nowhere near ready yet. “Faster, faster” the employees yell, and just as they do the song pace changes too. Not just once, but twice.

*18/8/20 – The album version is now up, has been for quite some time at this point, you can listen to it below.

My iPod #332: Supergrass – Evening of the Day

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While being a fantastic bass player, probably one of the most underrated during the Britpop era, Mick Quinn of Supergrass was also a decent singer. He did occasionally take on lead vocal duties on many Supergrass songs such as “You Can See Me” and “Sometimes I Make You Sad” from “In It for the Money“, “Beautiful People” and co-lead vocals on “Mary” from their self-titled album. But it is on the 2002 album “Life on Other Planets” where fans get to hear a lot more of his singing, as he takes on lead vocals on four of the twelve songs on there including today’s track “Evening of the Day”. I asked the man himself if he did take the lead on this one, thinking that he wouldn’t reply……. and to my surprise he did only a few hours later.

Positioned right in the middle of the album, “Evening” begins with some smooth bass and piano. Sounds really laidback, and cool. There’s a very lounge-y/jazzy tone about it all. Quinn enters with his lower register vocal (which is what got me confused about who was singing it in the first place) and goes on to sing about how, during the evening of the day, he waits somewhere (possibly a location of a high altitude) for a person who is very important to him. While he looks at the view, all he can think about is that person. The song’s chorus is a line from a Spinal Tap track “All the Way Home” which is as follows: “If she’s not on that 3:15, then I’m gonna know what sorrow means.”

It is at 3:15 of “Evening of the Day” when what I have described to you above finishes in a minor and rather messy fashion. I can’t tell whether it was supposed to be a different song altogether and the band decided combine it with the first three minutes or if it was all planned. But in this particular part, the band members sing about someone being stoned and not knowing what they’re talking about. Whether they’re referring to the ‘narrator’ of the first part of the song, I’m not sure, but it does bring a light and comedic end to a very good song.