Tag Archives: franz ferdinand

#1330: Franz Ferdinand – Take Me Out

It’s tea time. That’s right. Back at it again for the ‘T’ section on a random Saturday evening (where I am, it could be morning for you somewhere or late night somewhere else). And it starts off strongly, I’d say. ‘Take Me Out’, I think, was the first song I ever heard by Franz Ferdinand. I think that might be the same for a lot of people. I have a memory of being slumped in a chair, guess I must have been either eight or nine, watching MTV2, and the “I know I won’t be leaving here’ section of the song was playing alongside the repeating visuals of the music video near its end. It left an impression. The band name showed up, ‘Franz Ferdinand’. Thought it sounded pretty cool. ‘Matinée’, the next single, was where I really became interested in them. ‘Darts of Pleasure’ was the band’s first single officially. But with ‘Take Me Out’, the band became a household name in that British post-punk revival scene in the ’00s and the track became one of the biggest indie dancefloor anthems.

And, I think again like many others, when I heard the song in full for the first time, I was wondering how its beginning worked its way into sounding like it did at the end. Because the track begins in a totally different direction. Well, according to singer Alex Kapranos, he and fellow guitarist/bandmember/songwriter Nick McCarthy, who isn’t in the band anymore, were working on the song for sometime. They were trying to work out the structure and found that the verse/chorus/verse type structure wasn’t working. They would have to change tempos when going from one section to the next, which just didn’t sound right. Eventually they decided to lump all the faster verses at the beginning and put the slower choruses at the end, transitioning them together with that gradual slowing down in tempo around 50 seconds in. Or rallentando for you music theorists out there. That’s probably the best part of the song there. That tempo decrease marks that build in anticipation for what comes next.

What comes next is hook after hook after hook, as I sort of said earlier, usually accompanied by that widely recognisable guitar riff. They play it live, everyone sings the riff. It’s just how it goes. As to the lyrics and what it’s about, well, there’s a nice little podcast where Kapranos and bass guitarist Bob Hardy discuss these topics. I listened to it a while back, so I can’t remember exactly what was said. But I seem to remember Kapranos saying he took inspiration from a film of some kind, or a certain type of film made by a certain director. You’d better listen to the thing yourself. But just on the surface, without going too deep, you hear the words ‘Take Me Out’, I’d say you’d either there’s a romantic sentiment or a violent one. Like an assassination or something. And that would be neat with the band being called Franz Ferdinand and everything. I think it’s a little bit of both.

#837: Franz Ferdinand – Michael

Franz Ferdinand’s ‘Michael’ is a song about a guy wanting to make out with the titular character. The chorus gets quite descriptive about how he wants to do so. I could see why people could get turned off by it, because some people are just like that. They don’t like the gay. I’ve always enjoyed just because… I mean, it’s just a good song. It’s hard not to sing along to even knowing what it’s about. A lot of times for me the subject of the song is irrelevant initially, but the delivery always matters. And the delivery here is killer.

Those guitar lines that start the track straight away will grab anyone’s attention.Hook’s good, those verses are sweet. Great vocal take by Alex Kapranos, he’s got that sensual thing going at some points with a more direct approach during the choruses. And former guitarist Nick McCarthy sings this countermelody during those; I can’t tell what he’s singing. “Hey yooou/Heyy ???”. Still trying to figure it out to this day. More often than not, I sing along to that more than Kapranos’ bit.

Some time last year I found myself repeatedly watching its music video. I went on a little Franz Ferdinand binge for a bit after the band had a Twitter listening party for their first album. Now, I was alive and kicking when this track was released as a single back in 2004 and its video was being shown on MTV2 and stuff. But I was never as creeped out by it as I am now having properly watched it. Why does Michael have his arm yanked off near the end? Why do the band grow all these extra limbs? Which head of Nick McCarthy’s am I meant to be looking at? The one on the left looks lifeless, but for split seconds it raises its eyebrows and mimes the lyrics. A really random ending to a video that seemed quite harmless for the majority. It still manages to capture the manic delivery of the song’s ending itself, which is probably my favorite part. Kapranos goes crazy in that last minute.

#706: Franz Ferdinand – L. Wells

A month’s gone by already so I guess it’s time to start on these again. There are lot more songs beginning with the letter ‘L’ than the previous two letters – let’s get right into it.

‘L. Wells’ by Franz Ferdinand was released as a double A-side single with ‘The Fallen’ in 2006. I was very much alive back then. The band’s second album You Could Have It So Much Better had been out for months by that year. I got it for Christmas 2005. So when the video for ‘L. Wells’ started showing on MTV2, it begged the question why this song didn’t make it on the album. I assume that it was a song that they laid down way after sessions for the record had finished which is understandable. Still, no joke, ‘L. Wells’ may be my favourite Franz Ferdinand track – and for a while you could only listen to it if you bought the physical single.

So what’s it about? Well, I would say that it’s from the perspective of an admirer of the titular character (whose name is Lynsey/Lindsey, I don’t think the spelling matters hence the initial) who wants to be as carefree and just ‘good’ as her. There’s just something about her that the narrator must know, believing that she must have some sort of secret to her free spirit, and sings about situations where she lets things brush off her shoulder. It’s quite self-explanatory once you read the lyrics really. I couldn’t delve too deep without quoting some phrases from the track.

Described by drummer Paul Thomson as “a bit of a hoedown”, ‘L. Wells’ is an uplifting, very joyful number. I feel it’s one that not a lot of people know about. Hopefully by making this post I can stir a commotion that gets the word around.

My iPod #357: Franz Ferdinand – The Fallen

Don’t worry, I am still here. Just been very busy this weekend so I had to hold this off for a while. To make up for it, this is the first of four so here goes nothin’…

I can’t put the official video of “The Fallen” on here. Although the song is of a reasonable length – just under four minutes – the version in the video cuts out the second verse about ‘drinking to the devil and death to the doctors’. Quite strange. Is that supposed to be a censor or something because this is the twenty-first century and everything.

It is not that big of a deal, anyway. “The Fallen” starts Franz Ferdinand’s second album off, a long note in the key of C blares out for a few seconds before the guitar comes in and begins the main riff. The song contains many references to the New Testament of the Bible. The Virgin Mary, Mary Magdalene, the water into wine stuff. It’s all in there. Alex Kapranos likes that stuff. I have a feeling he has done that sort of writing in another Franz Ferdinand song, but what it is fails to come to me at this moment in time.

Anyway, “The Fallen” is alllright. Probably not my favourite from “You Could Have It…” only because I’ve heard it so many times due its single release. It has to be one of those times when it just randomly appears on the iPod when I really appreciate just how good it is.

My iPod #349: Franz Ferdinand – Fade Together

Nearing the end of Franz Ferdinand’s second album comes “Fade Together”, a forlorn piano-led track about the end of a relationship. You regularly get the ’emotional’ track near the end of any album, and this song is definitely one of those.

A single-tracked Alex Kapranos in the verses sighs into the microphone about plans to ‘get away’ with somebody which all seemed so real, until something of a flash-forward in time in the next verse reveals that those dreams are long gone. Now Kapranos only wishes to get over this person, no matter how hard it actually is to do so. In hope of ending this feeling he, along with himself as the haunting double-tracked vocal comes in for the chorus, calls out to all to ‘fade together/forever’.

A very good album track. One where the time signature is quite weird during the verses (goes from 3/4 to 5/4 and then switches back to 3/4), and includes great use of a piano, which has its own little solo for the last 30 seconds when the singing finishes and the bass and acoustic guitars disappear and you may also hear the sounds of bird tweeting throughout, adding to the track’s lonely atmosphere.

It’s all a bit of a downer. But at least the next track ends the album on more of a confident note.