Tag Archives: my ipod

#670: Radiohead – Jigsaw Falling into Place

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I got In Rainbows as a gift just because of this song. Either Christmas or a birthday, I can’t remember – either way it doesn’t matter much. The album had been out for a few months though. Unfortunately I was 12 at the time and didn’t have much patience for listening through albums. So when I say I got the album because of this song, I mean I basically didn’t pay attention to every other track that was on there. Not the brightest decision. Took a few more years after to realise that I had a great album just sitting on the shelf in my house.

‘Jigsaw Falling into Place’ was the first single from In Rainbows, the first time that I remember some kind of hype for the arrival of a Radiohead album. The strangely hypnotic video (seen above) was on MTV2 all the time, repeated constantly at various times throughout the day, and it was through watching that that its words and music were slowly ingrained into my memory. Back then, I thought it was a fantastic song. Even moreso at this time after closer listening with headphones.

The song, from what I gather, is about getting drunk, flirting and dancing on a night out but described in the quite abstract and surreal way that Thom Yorke usually does in his lyrics. The song subtly builds in intensity from the very start. The woozy ‘err/ahhh’ backing vocals and busy bassline. The general groove is on point and never provides a moment to breathe Electric guitars eventually join in. And then the moment that every Radiohead fan notes, Yorke’s sudden jump in octave when the beat goes round and round. Each element included in the four minutes ‘Jigsaw’ lasts for work perfectly in tandem. A part in particular that I’ve noticed nearing the end is where some acoustic guitar strums pan from the left channel to the right channel the backing vocals close everything out. Radiohead fans love this track. I don’t think it’s too bad myself. Just a shame they rarely perform it live.

#669: Dizzee Rascal – Jezebel

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Dizzee Rascal goes full story-telling mode in this album cut from his debut Boy in da Corner. ‘Jezebel’, for lack of a better phrase, is a tale about the local sket – a lady who enjoys sex just a bit too much, doing with anyone anywhere she can with no shame.

There’s not much to explain lyrically as Dizzee very much depicts each scene with great clarity. ‘Jezebel’ has clearly taken the wrong path in her life and each verse just lets the listener delve further into her downward spiral, finishing off on a bit of a sad note as she wanders what she would do if she could start all over again.

Like the majority of tracks from the album, Dizzee handled the production himself – backing the narration with these plucked violin strings that give the song an almost childlike innocent feel to it even though the subject matter is the complete opposite.

#668: The Velvet Underground – Jesus

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This song does relate to our lord and saviour Jesus Christ a lot more than the previous post. It doesn’t tell a story about him, nor is it a passage from the Bible set to a piece of music. Closing out the first half of The Velvet Underground’s third album, ‘Jesus’ could be seen as something of a prayer.

“Jesus – help me find my proper place/Help me in my weakness ‘cause I’ve fallen out of grace” are the sole lines in this track, repeated over and over amidst tasteful guitar lines, arpeggiated bass notes and a beautiful harmony between Lou Reed and Doug Yule. Whether the track is taken to be serious is up for debate. This was the same band who were depicting scenes of orgies, drug use, and homosexuality on the previous album. And that was only in one song.

Maybe Lou Reed really was asking to be absolved of his sins. Sounds sincere to me but you never know. Nevertheless, ‘Jesus’, for me, is a highlight from an album that showed a wholesome side to The Velvet Underground. More quiet and digestible. A band you could let your parents listen to. These people couldn’t harm anyone.

#667: Jakobínarína – Jesus

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This song isn’t about our lord and saviour Jesus Christ. You know when you hear or witness something incredibly dumb and over the top and you just roll your eyes and say “Jesus…” to yourself? I believe that’s what this song’s title is going for. Here, the statement reflects the narrator’s frustration with the poor music taste of the crowd and the people performing in front of them.

Throughout the track vocalist Gunnar Bergmann Ragnarsson constantly throws shade at those around him, calling the crowd “kitsch-ass motherfuckers” with “low IQs” who are destined for desk jobs and nothing more. He’s clearly having a miserable time. The music on the other hand is driven by these sleek guitars and a bouncy keyboard melody that doesn’t make things seem so dire. There’s a hip-hop like quality to the rhythm too, dominated by a hefty bass drum and some sampling in the small instrumental break before the bridge.

This track got some frequent play on MTV2 in the UK back in the day. I either always changed the channel when it came on, or it would be finishing when I changed to MTV2 to see what was going on. I didn’t give it a chance that much. That all changed when I actually got the band’s album. That was ten years ago, my god. One of my favourites by the band from the small selection of songs they made.

#666: Stephen Malkmus and the Jicks – Jenny & the Ess-Dog

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Near the end of Stephen Malkmus’ first album as a ‘solo’ artist is ‘Jenny & the Ess-Dog’ – a tale of two people who couldn’t be further apart on the social spectrum in terms of age (Jenny is just 18, the Ess-Dog (Sean) is 31) and upbringing but ultimately like each other enough to have a sweet relationship.

They listen to Dire Straits’ Brothers in Arms album together and buy a pet – a dog – as some couples tend to do. Unfortunately, Jenny goes to college and the relationship eventually fizzles out leaving the two individuals to embark on their separate journeys.

The song is very easy-going and upbeat in its delivery, driven by a climbing/falling vocal melody backed by warm, sunny guitars and child-like keyboard patterns that guide each verse along. ‘Jenny’ is another track on the album that I always felt mirrored the freedom that Malkmus felt upon the split of Pavement in 1999. There was no track like this on Terror Twilight, and I guess he felt that he could with ease with the burden of his old band off his shoulders. This could have been a radio hit if he wanted it to be.

Its music video above has nothing to do with its lyrics as is the usual for a lot of Malkmus-related music videos though that shouldn’t take anything away from the song’s quality. Charming in its own strange way.