Tag Archives: gorillaz

#1391: Gorillaz – Tomorrow Comes Today

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‘Clint Eastwood’ is the official first single by Gorillaz. I’m sure it goes down as that. When it was released in 2001, I was but a small child, but I have a vague memory of watching The Box or something and seeing Noodle kicking a gorilla in the face, having no idea what was going on. Seemed weird seeing a cartoon set to music. That’s seen as the song that introduced the world to Gorillaz. But a few months before, the first batch of Gorillaz material was released in the form of the Tomorrow Comes Today EP. A very pivotal time in Damon Albarn’s life. Only a month before the EP was out, he was appearing on TV shows with Blur, doing promotional work for the band’s Best Of: compilation. But that work was over, it was a new millennium, and it was time to unveil this new project. Gorillaz, hell yeah. ‘Tomorrow Comes Today’ was really the first Gorillaz song to be unveiled, along with a music video that, according to the Bananaz documentary, was done in two weeks.

I… did not like this song a very long time. I heard Gorillaz for the first time in 2010. I may have heard ‘Tomorrow…’ here and there before then, but here it was in the context of the album. With its placement after ‘Re-Hash’ and ‘5/4’, ‘Tomorrow…’ felt like such a downer. Albarn melodically mumbling syllables over downcast music. It wasn’t for me. I didn’t get it. But then, I remember, I was on a train, more specifically the Underground, back home one day. Couldn’t say what year. I was looking at people’s faces, most of them blank, expressionless, tired. The song came to my head, and that was it. I feel I finally understood what the tune was going for. Even though I don’t think anyone really knows what Albarn’s saying apart from the man himself, I get the feeling it’s about being anywhere else than a place you’re currently in – whether that be physically or mentally too. It might have to do with the rapid development of technology or something as well. Albarn’s vocal’s perfect for it. The best part is probably when Miho Hatori, as Noodle, harmonises with him on the last line. Icing on the cake.

The song goes back as early as 1999. We know this because, in its demo form, it was released as a bonus track on Japanese releases of Blur’s 13. Check out Damon Albarn just messing around on his Casio. Obviously, he saw enough potential in the song he had to develop it into the fleshed-out composition it would become. In its album form, it’s led by a really deep bass guitar, sparse piano tinkles and the melodica, an instrumental you’ll find in many a Gorillaz song. I never realized how sample-assisted the track is too. The drum beat is taken from Allen Toussaint’s ‘Get Out of My Life, Woman’. And if I hadn’t looked at Genius, I would have never known there was a recording of a Gregorian chant during the introduction. Thinking that’s down to the involvement of producer Dan the Automator, who was also working on Deltron 3030 almost at the same time. That’s a whole other bag we don’t have to put our hands into. But to sum things up, ‘Tomorrow Comes Today’ is a song I like a lot now having disregarded it for many years. I can find a lot of solace in its gloom.

#1316: Gorillaz ft. De La Soul & Gruff Rhys – Superfast Jellyfish

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On Thursday 25th February 2010, Zane Lowe premiered ‘Superfast Jellyfish’ on BBC Radio 1 when he was still hosting a show on that station. The second song unveiled from Gorillaz’s then upcoming third album, Plastic Beach. I didn’t catch that premiere. In fact, I’m quite stumped on when I heard the song the first time. I want to say it was another ‘Stylo’ situation where I was watching Soccer AM, might have even been the Saturday after that premiere, and during a goal montage the song played. But it also may have been another case where the song was uploaded on YouTube, and I caught the song on there. My gut’s saying it’s the former, but I really can’t remember. I do know for sure that I downloaded Plastic Beach on 7th March, the ol’ family computer says so. Gorillaz had come through with another banger of an album, and ‘Superfast…’ has always been one of the most enjoyable cuts on there.

In keeping with the whole environmental theme of the LP, ‘Superfast Jellyfish’ predicts a future where we’ll all be eating jellyfish as a commodity, as a result of depleting the ocean of all its natural wildlife for our own gain. In the Gorillaz-Plastic Beach world, the superfast jellyfish are an actual animal that swim around the island depicted on the album’s cover. The track, in general, is something of a commercial for the delicacy. Plugs 1 and 2 of De La Soul provide the voiceovers similar to those you’d hear in those fast food adverts, and there’s a sample of an actual TV dinner commercial to ram the message home. And Gruff Rhys of Super Furry Animals comes in for the glorious choruses, which further promote this way of eating while also alerting us on the continuous pollution of the sea in the process. Another fine, fine blend of rap and singalong melody as only Damon Albarn and his guests know how do when creating a Gorillaz composition.

And we have a whole making of documentary that shows the work that went into it. Not just a song, but the whole album. What I’ve linked to is, appropriately, the ‘Superfast Jellyfish’ section of the doc. Looks like Albarn, Rhys and De La Soul all had fun while in the studio. You like to see it. I do remember wondering if Rhys was on the song at all on those first listens. I thought it was Albarn doing all the vocals initially in the choruses. It might have taken watching that documentary years back to convince me it actually was Gruff Rhys. And I also have this vivid memory of waiting in line for a ride at Thorpe Park on a school outing, only a few months after the album was out, and this kid in front of us started reciting the lyrics to the song’s first verse. Maybe to impress his mates he was with, I don’t know. It took all the energy within me to refrain from being like, “Hey! Superfast Jellyfish! I know it too!” It was for the good that I did. But I knew what was up.

#1301: Gorillaz ft. Bobby Womack & Mos Def – Stylo

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If there was a lot of talk during the later months of 2009 that a new Gorillaz album was coming out soon, I had somehow missed out on all of it. At that time, I was 14, my sister had gone to university for her first year and my mum would usually be at work for some hours of the day during her shift. So I suddenly found myself having a lot of freedom at the house. And I spent that freedom watching more TV and spending more time playing video games. During the times when I was watching more television, the programme Soccer AM was on. That was a sport-comedy show that had guests and skits and focused on the great sport of football for two hours. Got cancelled a couple years ago. But it was during a “best goals in League [number I can’t recall]” montage on there that ‘Stylo’ played in the background, and I found out that Gorillaz had a new single and a new album coming soon after five years of waiting.

That album turned out to be Plastic Beach. I was gonna say, “We all know how I feel about this album.” It’s much more likely you all don’t know. It’s probably my favourite one by Damon Albarn and co. In my opinion, still the last great, great one they’ve done. Even though it was the first single, ‘Stylo’ has never reached the sort of popularity that their previous first singles received almost instantly. ‘On Melancholy Hill’ seems to be the number that did instead. But I’d be in ‘Stylo”s corner if time came that I had to defend it. Like some of the greatest Gorillaz tunes, the song relies on an unexpected collaboration of artists. The blend of hip-hop artist formerly known as Mos Def and legendary soul-man Bobby Womack is one that shouldn’t work on paper. But with Albarn tying it all together, it somehow does. How could you hold any negative feeling about the way Bobby Womack explodes into the track (“IF IT’S LOOOOVE, it’s electric”) or how Albarn delivers his soft, melodically ascending vocal? With Mos Def bookending it all with his verses as well? It’s a fine concoction.

All three artists respectively sing about completely different things, though mentions of ‘love’ and ‘electricity’ aid in threading their lyrical sections together. What the song’s about, I couldn’t tell you, but I’m sure it ties in with the whole anti-pollution/overpopulation themes the whole album was built around. The official music video for the song, featuring Bruce Willis of all people, wasn’t released until September 2010. That was eight months after the single’s initial release. I’d like to think that had the visuals been initially released alongside the song, it could have done so much better commercially. The song didn’t even chart over here in the UK, being only available to download digitally. It opens up a can of worms about that whole Plastic Beach era of the band. This fanmade documentary explains the time very well. It’s just the way things have to go sometimes. But despite all that, the music’s always been damn good. And ‘Stylo’ is a mark of that quality.

#1252: Gorillaz – Sound Check (Gravity)

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‘Sound Check (Gravity)’ is another song from Gorillaz’s 2001 debut album. I say ‘another’ because it doesn’t feel so long ago that I was writing about the last one to appear on here. I’ll try my best not to repeat anything, but don’t hold it against me if I do. Just a coincidence that two of the songs I like on the LP begin with the letter ‘S’. Being the 16-track record Gorillaz is, with ‘Sound Check’ being the eighth on there, I think the song’s placement and general tone is meant to make it out as the epic closer of the album’s first half. Got these heavy dub-record scratch breakdowns and (synthesized) violins. Meant to really heighten the dramatic atmosphere of it all, even though the song isn’t arguably about anything much at all.

If you look at ‘Sound Check’ in a structural sense, which I guess I do sometimes on here, you can say it’s split into three different sections. You firstly get the “Graviteh-eh-eh-eh” verses, the instrumental breaks where the dubby bass guitar comes in with the record scratching, and the “ah don’t ‘pon me down” verses. Some websites list the latter part as the choruses. They seem like the least chorus-like parts of the song. Damon Albarn’s doing a thing that he does throughout the album, which is switching up his vocal style, really exploring parts of his voice that he never would with Blur and singing actual words mixed with a bit of gibberish which have some meaning and sort of don’t. There’s always a very fine melody associated with them all, though.

The main puzzle I’d always had with the track was regarding the sample that’s used during the instrumental breaks. Once I read that the person in that sample was saying “I’m gonna rock this rigging”. And it sounds like that, thought it was a pretty valid deduction, so I’ve been singing it that way for all this time. But before writing this, I just did a little check to see how the lyrics are noted on various websites. One of the first few results that came up was a Reddit post asking about that sample lyric, and someone straight up posted the actual source. You hear it about 27 seconds in. So it’s actually just “I’m gonna rock this pla-ace”. It’ll take me some time to get used to that. But that’s one question solved that I don’t have to think about anymore.

#1239: Gorillaz ft. Lou Reed – Some Kind of Nature

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Plastic Beach, Plastic Beach. In my eyes, still the last really great Gorillaz album. It’ll be 15 years old in just under two weeks. I guess it does feel that way. But I can also remember downloading the album a few days before it was officially released in the UK and listening through the whole thing like it was last week. Wikipedia says that it was released internationally on the 3rd March 2010, but that’s wrong because albums were released on Mondays and that date was a Wednesday. I “got” it on the 5th, the album was released in the UK on the 8th. Though I guess the Wikipedia date was when it was released in Japan or something. That place usually got the early release dates, the lucky people. But that explains why it was so easy to find a high-quality version of it online so I could nab it for myself.

‘Some Kind of Nature’ is the ninth song on the album. There’s a range of guest features on the LP to say the least, and ‘Nature’ wasn’t left out in this regard as alongside Damon Albarn on vocals appeared Velvet Underground man and general top singer-songwriter person Lou Reed. He provides some additional guitar as well. Albarn tells the story about working with Reed in this little video here. You might as well watch the whole thing if you’re a fan. But the meat of it is, Albarn sent Reed three songs to work on. Reed rejected them all. On the fourth attempt, Reed accepted with a vague idea. Albarn flew to New York to meet, but then Reed left the studio to go somewhere else and wrote all his thoughts about plastic in a taxi. He came back, showed Albarn his work, did the vocals in one take. And what you hear was the result. But it’s better to hear the person who experienced it actually tell the story, so go ahead and click on that link.

I can’t remember whether this one was an instant like on that first hearing. But just a week or so after I downloaded the album, ‘Some Kind…’ got its own little music video which I guess let me become accustomed to the song very quickly. The whole track runs at a very chill tempo, led by Reed’s very straight, robotic-like vocals which make a great contrast for Albarn’s richer, melodic voice when he comes in later. I also like singing along to the synth that arrives around 25 seconds in. Makes for a good melodic centrepoint underneath Reed’s recited delivery. The lyrics you’ll find online vary from place to place, but whichever site has the line “All we are is stars” as the last line of the chorus is the correct one. It doesn’t make grammatical sense, but then again, a lot of songs don’t. Only got two more songs left to write about from Plastic Beach, and they both begin with ‘S’. So they’ll be coming around relatively soon. Any guesses as to what they are can be left in the comments.