Tag Archives: in

#727: Wings – Let ’em In

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So I’d got through The Beatles catalogue very quickly around 2009/10; the only logical way was to explore the band member’s solo material. I’m not on my house computer so I’m not able to tell you which albums I went to first and who out the four I listened to the most. As if you would want to know that anyway. From what I remember, Imagine and Band on the Run were instant downloads because I’d always heard just from television that they were must-hears. All Things Must Pass followed along the way. Other songs arrived here and there, including ‘Let ’em In’, which I either heard for the first time via a live Paul McCartney performance or on we7.com where the track played randomly. It was 10 years ago; the mind’s going.

‘Let ’em In’ begins Wings at the Speed of Sound, Paul McCartney’s fifth album with his band Wings from 1976. It’s a comforting track, made to welcome the listener to the record and what’s to follow. McCartney hears people knocking on his door and ringing the doorbell, including his brother and aunt, the Everly Brothers and German professor Martin Luther, and implores everyone to let them into the house to have some good times with some glorious harmonies courtesy of himself, Linda McCartney and other members of the group. All this done with a military-style drum beat that takes over at some points of the track and some tasteful horns during the instrumental break. I enjoy how the verses are basically anchored by one note on McCartney’s piano and Jimmy McCulloch’s bass. Builds a sense of tension that way. And as you think it’s going to fade out to silence, the final two notes of the whole track suddenly jump back to normal volume to properly close it out.

It’s a real song for the family, you know? Just one saying “Hey, good to see you, come inside, we’ve been waiting for ages.” Very sweet.

#725: Julian Casablancas – Left & Right in the Dark

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I want to say that I was the first person to get the lyrics for this song on the Internet back in 2009. If anyone remembers the website we7.com, I believe Phrazes for the Young was an exclusive on there before it was officially released a week or so later. Somehow the lyrics for every other song were up on sites already, but no one had taken the time to try and decipher ‘Left & Right in the Dark’. So I did. I listened to this song over and over again, pausing and restarting at various points in order to decipher exactly what Casablancas was singing. I think I did an alright job. I’m very sure that the lyrics I typed up (back a long time ago on letssingit.com) are the ones that are available all over the World Wide Web today. They may have been edited at some point though.

And it was through that somewhat tedious task that I got to know this track. While some may have become sick of the track if they were in my shoes, I found that Casablancas’ song was still bearable. The album was his first solo project outside of The Strokes; while that band is stemmed by 60s classic rock like The Velvet Underground, Phrazes signified an emphasis on glossy synthesizers and drum machines in debt to 80s new wave. ‘Left & Right in the Dark’ makes this apparent right out of the gate with an awesome keyboard riff that is echoed by Casablancas later on in the song.

The track sees Casablancas having almost something of an existential crisis. He reminisces on days when he was a child, when he may have wronged people, generally situations in the past where things were so real. Now they are just moments in time and Casablancas wants the listener to make the most of the time they have in the here and now. Like a lot of Stroke songs, the track is characterised by the songwriter’s classic croon, which seems to sound quite different to how it usually does in his band’s recordings. That might just be down to the mechanical sounding guitars and glossy drums that surround it though.

I listened to Phrazes for the Young fully for the first time a good decade after it initially came out. Wasn’t really for me. This is my highlight from it, still.

#715: Supergrass – Late in the Day

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‘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.

#642: The Who – Is It in My Head?

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The ninth track on The Who’s 1973 rock opera Quadrophenia is just another introspective moment out of many on the album. Its protagonist has…. a lot on his plate – to keep it short and sweet – and is trying to figure out things he can do to try and make himself a better person without coming across as too eager or looking a fool in the process. By the end of the track, he gives up altogether and declares total apathy for anything in the following song ‘I’ve Had Enough’.

For the longest time I thought Pete Townshend sang the chorus. In actual fact, it’s bassist John Entwistle who takes the lead with Roger Daltrey singing the verses. Speaking on Daltrey, this album was definitely his vocal peak. He belts out every howl and bellow from the gut. I can only try and replicate the song’s ‘I feel I’m being followed’ bridge but would never be able to reach those notes with as much gusto.

Daltrey’s voice is really the focal point throughout. As the track is quite mid-tempo, there isn’t as much room for the rapid drum fills or inventive bass lines from the rhythm section. Townshend does add some guitar flourishes here and there, particularly to transition between verses and choruses. Still, it’s another emphatic and cathartic performance by all four members capped off with some warm synthesisers in the mix too.

#631: Big Star – In the Street

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‘In the Street’ is the third song on Big Star’s first album #1 Record from 1972. Now I thought I had talked about a Big Star song before. I haven’t. I have, however, written about two songs by Chris Bell, who coincidentally takes the lead vocal on this track. I can’t recall if I talked about Big Star in them, but to put you up to speed – they were a band in the seventies who made all this great music which didn’t get heard by anyone at the time because of a lack in distribution. As time went on people discovered their albums and realised what they were missing.

Although Bell sings this ‘In the Street’, it was actually written by fellow songwriter in the band Alex Chilton which allowed the tracklisting to alternate between the two singers. I feel that Bell’s shrill vocals are best suited for it compared to Chilton’s calmer tones. Compare Bell here with Chilton on…. ‘Thirteen’, for example. Anyway, the track is more or less about having nothing to do in the neighbourhood but chill out with friends or your partner and smoke a joint every once in a while. It’s a song for everyone, really. This is done so with in a tightly packed two and a half minutes with punchy drums, swaggering production and glorious vocal harmonies.

It took a while for me to get into this song because I was so used to Cheap Trick’s version at the start of That 70s Show. While those 30 seconds are almost always the best parts of those episodes, Big Star is the OG.