The video for ‘Let’s Get Sandy’ by be your own PET appeared on MTV2 one day when I was eleven. Before I had enough time to digest what was going on, the song was suddenly over. This track is only 58 seconds long which blew my mind at the time. I didn’t think you were even able to have songs that last for that short amount of time. But alas, there it was. And it turned out to be a single as well. That music video may have been shown once or twice afterwards, at least that the amount of times I saw it again, and then it disappeared from rotation. It is above though, and sees the band members and random people in strange costumes playing a game of hide and seek in the woods.
‘Sandy’ is a ball of energy. Quite the cliché thing to say but if there was a song that saying applies to, it’s this one. 264 beats per minutes is what I’ve gathered from my calculation. That’s fast stuff. And something to look out for is drummer Jamin Orall’s performance on the kit; he’s thrashing away on the cymbals and snare like his life depends on it. It’s not told what the ‘big problem’ as listed in the title is, but singer Jemina Pearl tells us that she didn’t want to make ‘it’ one. And then afterwards goes on about not being let into the ‘news, film, and park’ and breaking a twelve year old’s arms in two places. It’s a bunch of nonsense really, but I still like it to this day.
Another great Beatles parody courtesy of musician, comedian, actor and all round nice man Neil Innes as part of the Rutles All You Need Is Cash film project from 1978. Innes sadly and quite suddenly passed away last December, but his work under the guise of Ron Nasty lives on. I got to know the music of the Rutles more or less around the same time I was on my Beatles tip of 2009/10. Unlike other parody acts that can make a proper half-assed effort in portraying their sources, Neil Innes and The Rutles were always very respectful in their mimicry while also maintaining humour and making great music in general.
‘Let’s Be Natural’ closes out the soundtrack album that accompanied the Rutles film and was released on both the original LP in 1978, and the 1990 CD reissue which included seven more songs not found on the vinyl release. It’s a clear nod to the Beatles song ‘Dear Prudence’, even taking that track’s bassline for its own during the choruses. There’s a bit from ‘If I Fell’ in there too. Innes sings with John Lennon’s trademark nasal tone among some relaxing arpeggiated chords and ‘aaah’ backing harmonies. Man, it’s a very soothing track. But I guess you could ask why you would want to listen to this if you could listen to The Beatles at any time. Probably because if you got to a place where you got tired of listening to them, this would be the closest you would get to their type of music without it actually being by them. Plus all four Beatles approved their music. Paul McCartney less so, apparently. The point still stands.
So I hope you enjoy it. The song’s message is all in the title. R.I.P. Neil Innes.
OK, let me explain. From about 2008 to 2011, N-Dubz were everywhere in the UK. The trio of Dappy, Tulisa, and Fazer could do no wrong in the eyes of the British youth. Their debut album Uncle B included hits of theirs that had been known since about 2006 but just about missed out on a top ten position in the charts. But then they got their first number one hit as a feature on Tinchy Stryder’s track, coincidentally titled, ‘Number 1‘, a tune that just takes me back to Year 9 every time. I had a friend in high school who downloaded every song by N-Dubz to his tiny Sony Ericsson phone. He pretty much had every lyric of theirs nailed to a T, but he would rap them in a mocking and strange way which I found hysterical at that age of 13. While I didn’t really care for them – I was more the Linkin Park, Eminem type person at that time – you could never really avoid the hype that came when N-Dubz released a new single or collaboration.
The 00s were coming to a close. And N-Dubz blessed the public with a new album, almost a year to the day that they released their first one. Against All Odds was its name, and it was preceded by the first single ‘I Need You’. Not gonna lie, I thought that was song was banging from the day its video showed up on YouTube. The lyrics didn’t have much depth, but the production was great. It actually had me looking forward to their album release. It came. I listened through it. I got great entertainment out of tracks like ‘Playing with Fire’ and ‘Duku Man (Skit)’. The rest I didn’t care that much for. Except ‘Let Me Be’, which I actually think is their best song and no one can tell me otherwise.
The track got no attention in the UK, but somehow got a music video made for it. I’ve come to the assumption that it was a release in Greece because of Greek rapper Nivo’s appearance where he raps only in Greek. I still have no idea what he’s rapping about to this day.* Oh, and because both Dappy and Tulisa are of Greek ancestry too. On the track, Dappy raps about a girl who’s getting a bit too clingy and even if he does like the sex they have, he’s not sticking around. This then leads into the melodic chorus where Dappy then sings about being watched and followed by everyone now that he’s famous, and comes to a conclusion that this girl probably really likes him because he’s on the TV a lot of the time. Fazer and Tulisa get their verses in nearing the end of the track, the latter gets her iconic ‘ha-ha’ ad-libs in too. What actually impressed me the most about this track all those years ago was how the whole vibe of the track shifted beginning with Fazer’s verse. It just sounds a lot sadder somehow, can’t tell whether it’s a change in key or chord progression but it’s a moment in their discography that I don’t think they ever matched. Not saying it’s some huge musical jump, loads of artists do that type of thing, but from N-Dubz it was quite unexpected.
I can’t believe I’ve typed this much out about N-Dubz. This is the only post on them in this whole blog series that I’ll do so I might as well get it all of my chest. If you want to know what happened to the group, they split in 2011 following the release of their third album. Lowkey, a lot of people want a reunion.
I think I’m now older than Mac DeMarco was when he released Salad Days in 2014. I was in my first year of university, 18 but very close to 19, looking for new music to hear and DeMarco appeared with a Best New Music tag on Pitchfork. This is a story I’ve told many times before on this blog. To cut it short, I liked the album pretty much instantly. I still think it’s his best one to this day. This blog was well under way by the time he released the record, so songs like ‘Blue Boy’ and ‘Brother’ I wasn’t able to write about. I did do one for ‘Go Easy’ though, that could be a fun one to read (I don’t know I’ve never really looked back). There will be more to come from this album in the future. But today’s post looks at ‘Let Her Go’, a track that further proved to an eighteen year old me that this was some really good music.
It was the shining guitar tone that grabbed my attention initially when hearing the album for the first time. It was a constant throughout the album, and comes into play especially on this song. ‘Let Her Go’ is the obvious ‘hit’ from Salad Days, carried by a summery ringing descending guitar riff that interplays with the hopping bassline throughout its verses. Despite its upbeat rhythm, DeMarco sings about the hardships of unrequited love. It’s a classic song trope, happy-sounding music with sad lyrics, and I have to say that when carried out well it’s always an add to the music library. I don’t even think back then I realised how sad the song was until I read the lyrics, even though I was ‘singing’ along to them very freely.
Six years on and ‘Let Her Go’ resonates with me just as much as it did back then. I would be lying if I said I haven’t gone through what’s described in the track. Because of that, it probably resonates with me more. I always be a fan of Mac DeMarco, but that Salad Days/Another One era will always be the one I regard as his best.
‘Let Forever Be’ was released as the second single from The Chemical Brothers’ 1999 album Surrender. After taking inspiration from the Beatles’ track ‘Tomorrow Never Knows’ and collaborating with Oasis guitarist and songwriter Noel Gallagher on their previous track ‘Setting Sun’, a song that got to number one in the UK in ’96, the ‘brothers’ decided to do the same thing again here. It didn’t gained the same amount of commercial success but I believe it’s still one of the duo’s best singles.
While ‘Setting Sun’ relies on its pummeling drums to drive the track’s momentum ‘Let Forever Be’ relies on its bassline which mirrors Paul McCartney’s original bass from the aforementioned Beatles song, starting on the lower strings before reaching for those higher notes and carrying out some licks. Noel Gallagher continues his ‘faux-philosophical/actual nonsense’ lyricism style which, in that period of the 90s, was in its prime and worked tremendously well. His voice sounds great on here and, mixed with the psychedelic backdrop from Tom Rowlands and Ed Simons (The Chemical Brothers), it makes from some very easygoing listening.
Its music video (above), directed by Michel Gondry, gained a lot of media attention. I don’t think it’s too bad myself. I did see it a lot back in the day on the television screen though you can’t go wrong by listening to the song on its own.
The Music in My Ears 