Tag Archives: me

#1274: R.E.M. – Star Me Kitten

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Uh, R.E.M. again? You might be feeling that way if you saw this popping up in your email. Just how the cookie crumbles, I’m sorry. And it’s not as if the song today is a widely-known favourite of the band’s, even though it’s from arguably their best album. I look at the number of plays for ‘Star Me Kitten’ on Spotify, and the cold hard truth is it’s the least played out of the total 12 tracks that make up Automatic for the People. It’s definitely the one that brings about a left turn in the album’s proceedings. But it’s the difference it brings that makes me enjoy it a whole lot more, more than a couple other tracks on there, to be honest.

I’d had Automatic… sitting in my iTunes library for years and had maybe gone through it a few times, but nothing really registered. But bring around 2018, I was at work, brought the album up on Spotify, let it play on the loudspeakers and it was a totally different experience. I’ll leave it to general youth and foolishness as to why I couldn’t get into it before then. I gained a whole new appreciation for the record by the end of ‘Find the River’, which would have had its own post too if I’d got my act together, and the individual tracks within. When it came to ‘Star Me Kitten’, I just remember feeling entranced by it. Those layered Mike Mill vocals in the back alongside the organ? Hypnotizing stuff. And the guitar melody by Peter Buck which Michael Stipe mirrors from front to back with his vocal is all slinky and almost seductive in a way. What really got me though was that descending three-note scale that happens at points during the track. You’ll know what I mean when you hear it. But it was really those parts that got stuck in my head and made me listen to the whole thing over and over.

Why the song’s called ‘Star Me Kitten’ has a pretty simple story. We all know the lyric is ‘Fuck Me Kitten’, and it was originally going to be listed as such on physical copies. But doing so would mean that a Parental Advisory label would have to be slapped onto the album covers. The word ‘fuck’ is said a few times in fellow album track ‘Ignoreland’. The band didn’t want this to happen, so they censored themselves using inspiration from The Rolling Stones’ ‘Star Star’. And as to what the song’s about, well, I’ve never come up with anything myself. But seeing the lyrics, it appears to be from the perspective of a narrator lamenting the end of a relationship, but still being enchanted by the other person that they want to have a casual get together every once in a while. That’s my deduced take for you.

#1265: Pezz (Billy Talent) – Square Root of Me

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Last year, 31st May, the people of Billy Talent did the thing that I, and I’m sure many a fan, was waiting on for the longest time, which was finally releasing their first first album Watoosh! onto streaming services. By that date, I was already well accustomed to the record, having had it in my iTunes library since about 2009. Thanking my sister for downloading it from Amazon for that one. And even then I’d known four songs from it since at least 2005. But last year was when it became much more accessible for everyone to hear. Watoosh! was the only album Billy Talent made when under their original name of ‘Pezz’. The music wasn’t as heavy, but just as energetic and melodic. Some would say “weirder” for whatever reason. But I know it’s an album that I prefer to the last couple that Billy Talent have released recently.

‘Square Root of Me’ is the ninth song on Watoosh! The title’s one that I haven’t been able to come to a conclusion too. It doesn’t appear in the lyrics, just like every other song on the album, though at least on a few others their titles have some sort of relation to the subject matter. In ‘Square Root…’, Ben Kowalewicz sings about being a full-grown adult and reminisces on the days when he’d get beaten up by bullies and swear that he’d get his revenge one day. The first verse is the same as the second. Well, there’s a one-word difference in the second. And after that the song’s changes to a minor key, an instrumental break settles in, after which Kowalewicz and guitarist Ian D’Sa harmonize the line “I like you anyway” until the song fades out. The whole shifting-movement-halfway-through-the-song structure is one that’s used on every track on the album. But the songs are different enough that it doesn’t become a massive issue. Very noticeable once you recognise the pattern though.

I’m not sure what else I could cover about this one. I find myself singing along to almost every element in the track, whether it be D’Sa’s various guitar riffs and chords, to bassist Jon Gallant’s lines and obviously the vocals. Each part has something in it that my ear immediately latches on to. The thing I’ve always admired about Billy Talent is that even though they’re primarily a punk band, D’Sa incorporates a lot of jazzier chords in his playing that sets they’re whole thing apart from the rest. So there will be a chord slipped in with a note that stands out more than the rest that enriches the whole listening experience. I’m sure there’s plenty of those in this, if only I knew music theory. It’s pretty much guaranteed that Billy Talent won’t perform any of the Watoosh! songs live, if you were to go and see them. In their words, they were a totally different band then. And that is the truth. So I’m glad that at least a few more people will be able to hear their older music now, rather than have it be this thing that only the “true” fans knew about. It’s pretty good stuff.

#1214: Taking Back Sunday – Sink into Me

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After releasing Louder Now back in 2006 and going through the whole touring and promoting singles process, Taking Back Sunday took an extended break. During it, guitarist Fred Mascherino departed the band on not such great terms. A shame because, at least to me, he was the guy who always gave the great backing vocals and provided the lead guitar in all the Louder Now songs I liked. Whatever the band were to come back with would obviously never be the same. That was all in 2007. Wikipedia says that they announced new guitarist Matthew Fazzi in 2008. It’s not something I can remember myself, but I’ll take its word. But new music by the band wouldn’t arrive until a year later, when the new lineup was marked with the arrival of the new single ‘Sink into Me’.

The video played on MTV2 a lot of the time from what I can recall. It was very clear that this Taking Back Sunday was going to be much different from that of the last album cycle. Compared to the likes of ‘MakeDamnSure’ or ‘Liar (It Takes One to Know One)’, ‘Sink into Me’ went for a sort of rawer feel. Almost sounded like something of a punk song. Almost. And the 14-year-old I was at the time was all for this new direction. The guitarist may have changed, but Adam Lazzara’s voice hadn’t changed all that much. And though the prominent backing vocals once covered by Mascherino weren’t there anymore, the constant “hey heys” in this track can’t compare, the loss was more than made up for by the general energy and thrill the music provided. I feel like it must have been a sign for big, big Taking Back Sunday fans that things were gonna be just fine.

In my case though, I never heard another Taking Back Sunday song from this period of the band. I don’t think there was a video made for another track from New Again. If there was, it definitely didn’t play on the TV over here in the UK. So everything about the album sort of came and went. ‘Sink into Me’ always stuck with me though, so that’s why I’m here today to talk about it. Never thought about what it could be about before. If I were to guess… maybe some sadomasochism thing going on. There are usually some sexual undertones in Lazzara’s lyrics, I don’t think it’d be wrong to say it’s the same here. Just a shame that this lineup of the band didn’t stick around for a longer time. Not even a year had passed and Fazzi was let go by the band along with their bass guitarist. Or they both stated they were leaving. Since then, haven’t listened to any new Taking Back Sunday at all really. But I hope they’re all doing well.

#1113: Röyksopp – Remind Me

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Ah, Röyksopp. It’s been a long while since I’ve written about a song by those guys. I won’t lie, I don’t know the duo all that much to write so much on their background if anyone reading was interested in that aspect. All I know is that ‘Happy Up Here’ had been in my iTunes library for some time, and there was a point during 2014/15 where I was looking for albums to listen to that were a little less guitar-centric. Röyksopp fit the bill. Their debut album Melody A.M. appeared to have received some fairly positive reviews, so I went for it. I can say it’s a pretty good record. I didn’t know what to expect when pressing play that first time. I was actually shocked when it came to its opening track. But I’ll save that for another post. What matters today is the album’s eighth track, ‘Remind Me’.

The tune was one that I had heard many years before when its music video played on one of those music channels. Don’t think it was MTV that time, but it was definitely one of them. What had remained in my head from that viewing up to the point of going through Melody A.M. was the song’s hook, “Remind, remind, remind me/Remind, remind, remind me”. Everything else I’d forgotten. So I was looking forward to hearing the song again, almost as if it were actually the first time. The track eventually arrived. But something was off. That hook that I had remembered for so long never arrived. Also, the song sounded totally different from how I recalled it. Well, it turned out that the music video utilised the single version of the track, which was a remix made by an obscure artist going by Someone Else. Probably because the album version didn’t have a clear chorus, which this remix rectified. I was unsure on how this ‘new’ album version sounded. But after giving it a few more plays, I came to appreciate it greatly. It was if that single version never existed.

In comparison to that single version (below), which is much more busier with a thumping beat and a commanding presence, the version on the album has an empty shopping mall/elevator/waiting room-music vibe to it (something I actually really like about it, makes for some really easy listening) that I think works to emphasise the melancholic nature of the lyrics, concerning the buzzkill of returning home after a hectic, busy time away and an attempt of rekindling a relationship that doesn’t go to well, as sung by Kings of Convenience vocalist Erlend Øye. Where a chorus would usually appear after the song’s first verse is replaced by an endearing keyboard refrain, mirroring the established vocal melody. The track’s beat kicks in after that little keyboard break adding a bit of momentum to the proceedings, but not so much that it overbears the soundscape. And these bleeps and bloops arrive in the mix before the final chorus, followed by a subtle, subtle guitar that suddenly appears during it. The track fades into silence, and it’s a bummer when it finishes. Not just because the song’s over, but also because this isn’t one of the most happiest songs out there. Leaves you feeling reflective and all that.

#1099: The Who – The Real Me

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Goodness, the amount of times I’ve written about songs from The Who’s Quadrophenia on here. One of the most represented albums on this blog. But I can’t say anything else apart from it’s just that good. To me, anyway. Anyone who’s been reading these for the longest time will know how I feel about that record. There’s only one more song to be covered here, I swear, just if you were getting sick of all the Quadrophenia coverage. That should be coming relatively soon too, if you’re thinking about what track it could possibly be. Then that’ll be it. No more. Until then, though, I have to make some notes on the album’s outright introduction (following its opening overture) of ‘The Real Me’ where we’re introduced to the story’s main character, Jimmy, and all of his problems.

The premise of Quadrophenia is that this central character suffers from a multiple-personality disorder, four personalities which each possess characteristics of the four Who members, who’s trying to deal with this alongside handling familial and sexual relationships, and battling with his identity as a Mod of the 1960s. ‘The Real Me’ spells out to the listener that this narrator is not all that right, and we follow his journey for initial help as he asks his doctor, his mother and, finally, a preacher for any solution, to get to the bottom of what exactly is going on in his head. His questions are left unanswered by the end of it all, leaving the narrator with just a tad of unresolved confusion, leading into the album’s instrumental title track.

‘The Real Me’ hits right out of the gate, with aggressive guitar chords from Pete Townshend, a bustling drum pattern from Keith Moon, and an off-the-wall bass guitar performance by John Entwistle that he knocked out in the first take. Quoted that he was was only “joking around” when doing it, he certainly puts a different spin on laying a bass line under a song in the fact that it doesn’t really match a chord progression or follow any melodic element within the song. It’s truly a beast in itself. Very sure you can hear his fingers smacking the strings around 2:10 too. And plus, he’s also on those blasting horns that come through on the choruses too. The Who didn’t have splash out on those brass bands, Entwistle always had those covered. Daltrey’s trademark growling vocals have become even more pronounced following their last effort with Who’s Next, and I can always try and match the anger, the grit and overall attitude when I attempt to sing along myself. I even try to replicate that voice break on the final “Can you SeE the real me” before he roars out that “mother”at the end of the track. Suffice to say, it doesn’t end so well for me. If there’s another album opener that’s as full-throttle as this, I like to be pointed to its way. This one would take a beating.