Tag Archives: is

#707: They Might Be Giants – Lady Is a Tramp

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When I found out that They Might Be Giants’ ‘Lady Is a Tramp’ – found on their B-Side compilation Miscellaneous T – was a cover of a classic musical number, I went to listen to an earlier take of the track from long ago. It’s been performed by some true greats. Frank Sinatra, Ella Fitzgerald, Bing Crosby, you name it. Once I did that, it really left me wondering how They Might Be Giants’ version resembled the song in any way.

The Johns’ cover is an instrumental of blaring synthesized trumpets and a bass guitar that gets louder and louder in the mix at various points. It’s only a minute and 20 seconds long. Someone, I assume it’s John Flansburgh, yells “Yeah!” twice and there’s a sample of Carla saying the word ‘tramp’ from her and Otis Redding’s song of the same name. After a few listens I realised that the trumpets loosely follow the original song’s melody in a very jumped up and hyper fashion. Lady Gaga and Tony Bennett coincidentally released their cover of the song the same year I heard TMBGs’ for the first time; the melodic similarity was right there. I think They Might Be Giants’ wild take just makes me appreciate their cover a lot more. It’s a very different way of taking on a Broadway musical number.

#678: They Might Be Giants – Judy Is Your Viet Nam

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They Might Be Giants’ 2011 album Join Us turns 10 next year and, to me, it was the group’s best record they released in the last decade. I like a lot more songs on there than on say, Nanobots or Glean. It was released during a time when I was quite happy with the way things were going in life. As much as things can go when you’re 16. Either way I can’t believe that time has gone by so quickly. It’s still one of my favourite albums by They, and this song is a great offering from it.

‘Judy Is Your Viet Nam’ is the 11th track on Join Us. Sung by John Flansburgh, ‘Judy’ originated as something of a Christmas song. Lyrics from that initial idea can be heard in the background during the “Who knew she could be so reckless?” verse. Somewhere along the line the song’s intentions changed, transforming into a rowdy rocker led by a Keith Moon-esque drum performance by Marty Beller.

It tells the story of ‘Judy’ who was something of a free spirit in the 90s before time eventually caught up with her and life changes had to be made as a result. It’s a weird one to describe because the narrative is in the second-person, so Flansburgh sings as if you knew Judy yourself. We probably do know a few Judy’s as depicted here, honestly.

I think this song’s great. Really enjoy it. Enough to satisfy in the 80 seconds it lasts for.

#648: Tame Impala – It Is Not Meant to Be

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‘It Is Not Meant to Be’ is the first track on Tame Impala’s debut album Innerspeaker, released almost ten years ago…. If I remember right, that particular was the second of the “group”‘s that I listened to following Lonerism when I was in my last year of sixth form. Compared to that album, it was apparent that there was a lot more focus on the guitars and some good riffs. A lot less synthesizer work. But it was all still some great music for this guy in 2012/13.

Probably down as one of the best introductions to an album in my music library, ‘It Is Not Meant to Be’ grabbed me right away with its thick bassline and phasing guitars that repeat on and on for a minute and 20 seconds before the vocals eventually come in. If that section were its own track I wouldn’t be too upset. It’s very hypnotizing. But then Kevin Parker arrives and tells the listener about a girl he’s had his eye on and who is way out of his league, much to his reluctant acknowledgment. And that’s something a lot of guys have been through, right? I know I have.

But it’s not just because of its relatability that I dig this track. It just sounds so good. When I listen to it, I see…. trees of green, the sun. I sense a summery feeling but its surrounded by a mystic haze. Like I’m lying in a field. And then when the chorus hits I’m lifted to a whole other level. It’s a warm, comfortable listen that carries a heavy weight but won’t do you any harm in the long run. It’s definitely a smooth way to start off a discography.

#644: Teenage Fanclub – Is This Music?

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‘Is This Music?’ is the instrumental that closes out Scottish power pop/alt rock band Teenage Fanclub’s album Bandwagonesque, released back in 1991. I remember listening to this album for the first time, in 2014 according to my computer, and… do you ever have those moments when you hear an album’s first few songs and think – ‘It feels like I’ve known this thing for years ‘cos there is no bad song on here so far’….. or something along those lines? Well, that’s how I felt with this one. Immensely inspired by the work of Big Star, the tracks on Bandwagonesque are quality – all characterised by a grand sense of melody, rhythm and generally great songwriting.

Like a few others on the album, ‘Is This Music?’ is written by the band’s (now former) bassist Gerard Love who actually plays the lead guitar refrain that repeats throughout the song. Norman Blake, another songwriter in the band and usual rhythm guitarist, takes the bass here. There’s nothing much I can say about the track as there’s no vocals nor message that needs to be deciphered or figured out. It’s a great piece of music that although repetitive doesn’t tread the line of annoyance because the licks on here are so memorable. It’s the final point on the album that says thanks for listening, we’re out of here.

Some may also know this as the backing music that played during the ‘goal of the month’ compilation for Match of the Day during the 90s.

#643: The Strokes – Is This It

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This is it. The title track and opener on The Strokes’ debut album from 2001. And a lot argue that it never got a lot better than this. I’ve said I’m more into Room on Fire in the past but ‘Is This It’ is definitely one of The Strokes’ best songs, in my opinion.

Everything about it sounds so simple, warm and cozy to the ears; it is a song that couldn’t see anyone not liking for any particular reason whatsoever. Two seconds of silence are interrupted by the sound of a tape reel rewinding, before the track’s slow drum rhythm comes in along with the first guitar and Julian Casablancas’ trademark croon. The verse transitions into the first chorus where the second guitar is introduced, but it’s when that bass line kicks in on the second verse that the track is complete. It’s the full package. If you don’t like the hop/skipping catchiness of the bass with basically everything else you hear…. The Strokes aren’t for you. The band gives you what they’re all about right here in the short duration of time the song lasts for.

Did you know that the sound at the beginning is actually a take of ‘Someday’ that’s been sped up to a crazy amount and progressively been slowed down? It’s interesting to hear, if you care that much.