Tag Archives: in

#630: Weezer – In the Garage

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When Weezer signed to Geffen Records in 1993, frontman and singer-songwriter Rivers Cuomo was assumedly stoked about the whole situation. So much so that he wrote two songs about the ordeal. Whichever one he wrote first can be argued but alongside ‘Holiday’, ‘In the Garage’ was written. Both appeared on the band’s blue debut album a year later.

The two songs connect to each other so much (subject matter wise) that they are put right next to each other in the tracklist, although whilst ‘Holiday’ is a much more uptempo and jubilant affair, ‘In the Garage’ slows things down and takes more of an introspective look on Cuomo’s feelings about being signed. The garage is that of Amherst House in Los Angeles where the members of Weezer lived and would hold their early rehearsals; the track is a dedication to that place. Rivers Cuomo is a nerd and heavy metal fan and a bit of a recluse and he’s proud to declare it here. In the garage he’s able to geek out on Dungeons and Dragons and worship his KISS posters without being judged by his peers. It’s a wholesome track. Has a very warm sentiment.

Much like all of the other tracks on the album, the song is characterized by a wall of sleek guitars (all provided by Cuomo) although here, there is a touch of harmonica and a fuzz bass in the second verse to change things up a bit. It’s a fine listen. It’s a popular one amongst Weezer fans. It’s probably not my personal favourite on the album. The whole thing is a 10/10 so you can’t go wrong.

#629: Pink Floyd – In the Flesh

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There are two “In the Flesh”(es) on The Wall, a concept album by Pink Floyd that some of you who are reading may know inside out, may have heard something about it somewhere, or have no idea about. The first one, ‘In the Flesh?’, is right at the beginning of the album. It introduces the story’s main character. It sets the scene. The second one, with no question mark at the end, comes near the end where the main character is hallucinating and believes he’s a massive fascist dictator at a concert. You need to listen to it to properly understand. Or just read its Wikipedia page.

The two songs have the exact same guitar introduction. Though the straight ‘In the Flesh’ is lengthened out by a glorious vocal choir (featuring Beach Boy Bruce Johnston) that eventually segues into the first verse. What I’ve always liked about this version of ‘In the Flesh’ are the drums. Those pack a punch with each hit. Very militaristic in style. I’ve always enjoyed the long drawn out big-rock ending too. It was during this time that the band’s bassist Roger Waters was very much taking over everything the group did and if the other members didn’t like it they could leave. This did actually happen during the making of the record. When he’s singing about getting ‘queers up against the wall’ and shooting people who smoke pot and have spots, I can imagine him singing it with no hesitation. You see, all of this sounds bad out of context. You really have to hear the whole package. He doesn’t obviously believe in any of it in real life. It is just a plot point in a story, don’t worry about it too much.

#628: Queens of the Stone Age – In the Fade

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I believe it’s agreed amongst many a Queens of the Stone Age fan that ‘In the Fade’ is arguably the best track on Rated R. It’s one that the band have never been able to replicate in terms of style, mood or execution since its release almost 20 years ago, and I think that stands as a testimony to its uniqueness. Mark Lanegan sings it, not the first time as he appears on the album as he backs in both ‘Leg of Lamb’ and ‘Auto Pilot’. Coming after Nick Oliveri’s screeching on the previous track, Lanegan’s deep and gravelly vocals are like butter to the ears.

It takes a while for the song to kick in. There’s a lone buzzing tone that fades into some keyboard chords and an echoing sound that I can’t describe. Lanegan sings the first few lines and after an open hi-hat and cymbal crash the track gives way to a fantastic groove led by Oliveri’s tremendous bassline. There’s a perfect mellow feel the music captures without it being too lazy, it’s a definite head-nodder/toe-tapper so it’s a definie bonus when the harder guitars join in for the more forceful choruses.

Think I read somewhere that it’s about suffering from a hangover? It may also just be about having to leave someone and knowing that it’s what’s best for the both of them. I’m not sure I’ve never cared for its meaning that much, I’m just one of those people. When it comes down to it really, it’s just a brilliant song. Great guitar tones, bass grooves and vocal harmonies/melodies are on full display. And there’s a little reprise of ‘Feel Good Hit of the Summer’ at the end.

#627: Green Day – In the End

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Sorry for the wait for any of you eagerly anticipating a post from here. I was at Lovebox Festival on Friday and Saturday. Have been gradually recovering since. I’m almost there.

‘In the End’ is the third track in that four-short-song-suite (as only I like to refer to it) that appears towards the end of Green Day’s 1994 breakthrough album Dookie. Preceded by ‘Coming Clean‘ and ‘Emenius Sleepus‘, ‘In the End’ concerns Billie Joe Armstrong’s feelings when his mother started dating a man who he wasn’t very fond of, as you can see in the song’s lyrics. It seems that he’s disappointed by his mum’s choice in choosing this person as opposed to practically anyone else and tells her straight that if this new boyfriend lets her down, he hopes he won’t be there to pick up the pieces.

I never properly appreciated the song until it was playable on Green Day: Rock Band. Next year that game turns 10 years old and I would be surprised if anyone remembers it. I reckon it’s quite easy to play on the guitar as its mostly based on two power chords with a bit of variation during the choruses but Mike Dirnt and Tré Cool are bossing it on the rhythm section, particularly on the instrumental section that separates the second chorus from the final one. It’s not very long so there’s not much to say about it; it is thoroughly enjoyable nonetheless.

#626: Coldplay – In My Place

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At some point in time I completely forgot this song existed. I was seven when A Rush of Blood to the Head was released in the autumn of 2002 and I vividly remember the video for ‘The Scientist’ showing on TV. You couldn’t escape ‘Clocks‘ either, its opening was used in almost every advert. ‘In My Place’ was the lead single for the album, made available only two weeks before its eventual release, and I must have completely missed it.

Fast forward years later when I actually got the album (either for a birthday or Christmas) and I realised I hadn’t missed the song at all. I had heard it many times actually. I just didn’t know what the song was or who it was by. The question I hadn’t thought about asking had been answered. This is probably my favourite Coldplay song. It’s all in that guitar riff and the strings that play throughout. As soon as that introduction starts I feel all warm and cosy inside. There’s just a loose and freeing feel about the production that makes the track a very comfortable listen.

Chris Martin’s alright on here. He sings just fine. He doesn’t overdo it which is just what the song needs. When that chorus hits and he goes into that high ‘yeeeeeeah’ along with the rising guitar and cymbals it adds an extra layer of bliss. Never really liked the final verse though, if you could call it that, it doesn’t add much to the song’s substance and I always tend to skip it if I’m singing along to it…… but all in all the whole package is brilliant.