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#990: Simon & Garfunkel – The Only Living Boy in New York

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Upon going through Simon & Garfunkel’s Bridge over Troubled Water album in about 2012/13, there were two clear highlights, at least to me, that stuck out on that first listen. Those were ‘Keep the Customer Satisfied’ and today’s song ‘The Only Living Boy in New York’. Sure, the title track is right there. But it’s never been one that I’ve wilfully gone out of my way to listen to. Probably ever. The rest of the album tracks all have their moments. But it’s always been those two for me. And since I’ve written the post about ‘Customer’, well, I better start going on about this one.

‘…Living Boy…’ was written by Paul Simon during a time when singing partner Art Garfunkel took an acting role and had to travel to Mexico for a lengthy period in order to shoot his scenes. Simon, overcome with these feelings of loneliness, transferred all of this emotion the best way he could into song. He wishes his partner the best of luck and wishes him well; he addresses him as ‘Tom’, which is what Garfunkel would go under when the pair performed as ‘Tom and Jerry’ in their early years. He gets some delight from the mundane things like checking out the weather report for the latest news. Still, the separation doesn’t stop Simon from feeling like the only person existing in the big city of New York. There’s a subtle hint of conflict too, as it seems Simon knows that this acting bit is something that Art is really into. He pleas to him that if he wants to follow through with it, then he should just tell him instead of making excuses. It’s a bit of a turbulent affair, and it would all end when the act broke up and went their separate ways some time after the album’s release.

However the lyrics are interpreted, it doesn’t get in the way of how comforting a listen this track always is. Simon takes the lead vocal here, double-tracked and maybe singing really close to the microphone. I don’t know what it is, maybe he’s using a certain type of mic, maybe it’s an effect, but whatever is used gives his vocal a real close and intimate feel. Like he’s singing you to sleep or something. It’s a gentle delivery with a fine melody with a backdrop of acoustic guitars and a skipping bassline. The whole track delivers for the most part, but then comes that glorious moment when those glorious harmonies from the two singers enter the frame, brought in effect by performing those vocals in an echo chamber and multi-tracking it around eight times. They’re heavenly moments, like lights at the end of the tunnel. It’s at these parts where I guess Garfunkel appears in front of Simon after everything’s happened, telling him to not worry because “Here I am.” Maybe that’s looking too deep. All in all, like a few other songs on Trouble Water, ‘…Living Boy…’ is another personal look into what made those two guys tick.

#916: Mobile – New York Minute

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This track goes in the long list of those that I have to thank EA Sports for. FIFA 2003 to about FIFA 11/12 were the golden years in which their games had the most memorable soundtracks, each filled with songs of various styles from all over the world, which helped mould my music tastes as I got older. ‘New York Minute’ by Canadian band Mobile was on FIFA 07, then released in September 2006 and a time when I was precisely in my very first month of secondary school. Eleven years of age going on 12, how about that.

On a soundtrack that also featured Muse, Keane, The Feeling, and the theme song from The Inbetweeners, ‘New York Minute’ stood out for many a reason. One mainly being that its chorus was an absolute belter. “Hey now” is a small phrase that’s very much universal, and even if you didn’t know what the singer was saying in between the repetitions of it, you can guarantee that at least that part would get stuck in your head. The riff that propels the verses onward was very decent too. I found that the guitars were playing separate melodies during those sections when I hadn’t fully plugged in the audio cable for my PlayStation 2 one day, so I was essentially hearing one speaker and hearing one guitar following that riff while one another day I heard the other playing something completely different. Sounds a lot better with some good headphones on. Plus, after a while it was a track where I got the lyrics down just from hearing it over and over. The FIFA songs that had that effect were usually the best ones.

Despite all that, I never really took the time to listen to any Mobile music. There was a lot of school work to be done, you know how it is. Also, it wasn’t as easy to just find an album by any artist you wanted and play it like it is today. But maybe it’s for the best. That’s actually how it’s been for a lot of songs I’ve grown to like from these games. The artists might be one of those where that’s the only good song they have, you know? Wouldn’t want to put myself through that disappointment. It appears that the band were only around for six years, and were in the middle of working on their third album before deciding to call it quits. Which is a shame, as it is for any band that feel they can’t go on. Nevertheless, they’ll always be that band who made that great song that appeared in a game that one time and a small kid that little bit happier in those days.

#915: Animal Collective – New Town Burnout

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‘New Town Burnout’ is one of two tracks that Noah Lennox, known as Panda Bear by many a person, brought to the table when he and his fellow bandmates in Animal Collective set out to make Centipede Hz. The album turns ten in September this year, time flies, huh. The song was one that was a leftover from Lennox’s solo Tomboy project that had been released the year before. It’s fair to say that you can tell this was the case just by listening to them both. They share the same sonic similarities, a huge emphasis on its percussive elements and the low-end with enveloping reverb-drenched chord progressions on top. The main difference here though is that the track’s filled with all these snippets of samples and noises, in keeping with Centipede‘s alien band radio concept.

I didn’t get to Centipede Hz until about 2014. That was the year I was on my Animal Collective trip, trying to find as much of their music as I could. ‘New Town Burnout’ stuck out as a highlight to me, I think on that second or third listen, and with all the listens since then I continue to find little moments, melodies and other oddities in the mix that are never so apparent on the first try. Like how when Panda starts singing his verse, there’s this other vocal that mirrors his, but is continually ascending and descending. It’s hard to describe. It’s hard to describe a lot of things on here actually. There are guitars, but they don’t sound like them. There are these ‘hoo-hoo-hoo’ vocals which might not even be vocals. The only thing that remains consistent is the booming rhythm. Very hypnotizing when you focus on it, and it’s only interrupted by those erratic synths that then transition into the next track.

Panda Bear’s a family man. He likes the simple things in life. He’s written plenty of songs that echoes those sentiments. And ‘New Town Burnout’ is no different in that it’s about being bored with touring, and wanting to go home and sit down in peace for a bit. When he makes it back to his place, he’ll take off his shoes and coat, he’ll put his belongings someplace (doesn’t really matter where, he’ll know where they are) and sleep without having to worry about the things that usually arise when on the road. Can’t say I’m in the position where I can relate, but he sings it very well and sounds very earnest which is want you always want from a song. When he goes for those higher notes for the “No more at the wrong…” lyrics, it’s always a thumbs up. And as the track nears its end, he lulls the listener to slumber with those elongated repetitions of “Light” before stressing that “t” sound on the beat. Words don’t do the music much justice, but it’s good, good stuff.

#914: R.E.M. – New Test Leper

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Got a memory of listening to New Adventures in Hi-Fi for the first time. It’s a bit vague, but I remember where I was and when, all the essential things. Was in January 2018, and I was on a bit of an R.E.M. trip after revisiting Murmur after a few years and falling head over heels for it. The first two weeks of that month, I went into the office at my then new job, went onto Spotify and went through the band’s discography an album per day. I was the only one in there pretty much all the time, so I could play them all out of the loudspeakers while I was doing my duties or whatever. As a result, the lyrics usually went over my head, but the music always stuck out at some parts. ‘New Test Leper’ was one of the tracks from the album where these little moments piqued my ears quite a few times.

Always appreciated the overall tone of this track. It’s a swaying 6/8 time number with these layered acoustic guitars and a great melodic bassline from Mike Mills. Those times when the bass ascends during the chorus followed by Michael Stipe’s descending “hey, hey, hey” feel so satisfying. Stipe’s hushed and restrained vocal performance suits the track perfectly, can’t think of another R.E.M. track where he takes that sort of a approach. It’s quite a unique track. And you’d never think it was five and a half minutes long, despite what it might say on the CD or Wikipedia.

The track’s first line caused a bit of controversy among some Christians back in the day, where it seems that Michael Stipe is just disowning Jesus Christ. But listening on, the track reveals itself as a first-person account of a not-so-very religious person who finds themselves as the subject in front of a studio audience on a talk show. The narrator’s trying to get the audience and host to understand their point of view, but to no avail. The network cut to commercial, the host has no personality, the audience won’t listen, and overall the whole experience is a bit of a farce. I can’t think of another track that tried to merge religion with a cultural situation such as a talk show, and for that reason I think ‘New Test’ deserves some props. But on the whole, good music, great lyrics, brilliant performance all round. It’s a stellar track.

#913: The Who – New Song

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This here is ‘New Song’, the opener to The Who’s 1978 album Who Are You, one that many may argue to be their last great record solely due to the fact that it’s the last one Keith Moon played on before he died a few weeks after its release. I think it’s okay. The predominant use of synthesizers throughout definitely gives the album a sound of its own. Certainly unique compared to the albums that preceded came before. But they also make the album sound quite dated on there as a result. And ’cause of that lack of those usual balls-to-the-wall rock-and-roll performances, the majority of tracks don’t possess that power that The Who were usually known for. But I like this track though. I like it quite a bit.

At the time of its release, Who Are You was the arrival of new Who material in three years. In the period, all four members went their separate ways pursuing their own individual interests and journeys. But now they were back. And the first track was suitably titled ‘New Song’. So what would this about? Turned out it was a song about making music. Pete Townshend tackles the subject of writing songs in the cynical, joking, almost mocking way that only he could. He explains to the listener how hard it is to write material without inadvertently creating a song that’s been done in the past. How despite his aging appearance and his tendency to go to the bottle to drown his sorrows away, he can write a hit song that’ll get us all up on our feet and make everything okay. And how in the end, the new songs he writes aren’t really that different from those he’s written before, and yet we all come grovelling for more. It’s a track that self-deprecates as well as pokes fun at fans as well. Something to say the artists are chumps and so are the followers, but as long as the music’s there it’s all fine. I think that’s why I like it in a way, everyone gets a fair share of ridicule.

It’s a solid performance from all four Who members. As I said before, it’s not the manic teetering-out-of-control type of show that The Who would give in the past. Instead, it’s more of a controlled affair. Townshend seems to have put his guitar down to have more control on the synths, but he does come in with neat guitar fills and strident chords here and there. Daltrey sings almost each line with that trademark growl of his, but when the music changes and calls for a softer approach he obliges. Fair to say Keith Moon isn’t as spectacularly flamboyant with his drumming here, but he definitely still includes those fills that shouldn’t work but somehow do. There’s a moment at about 3:20 where I think he overlaps into the chorus a bit too late, but comes into it like nothing happens. Arguably the best performer on here is John Entwistle on the bass, who provides a drone-like atmosphere during the introduction and provides a standard rhythm during the verses, before going all funky on the choruses when the track goes into half-time. More than 40 years on, the album may not be The Who had their best, but there was a certain magic that always happened when the four individuals played together. Such a bummer Moon went so soon. Music goes on and all that, still.