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#701: They Might Be Giants – Kiss Me, Son of God

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When listening to They Might Be Giants’ second album Lincoln you wouldn’t think that, after starting with ‘Ana Ng’, the record would then go on to close with ‘Kiss Me, Son of God’. Musically uplifting, it’s led by a soundscape of rising violins, saxophones and a cello that provide the backdrop to Linnell’s lyrics which detail a dictator who has lost the respect of his closest friends and associates.

In typical TMBG fashion the song juxtaposes happy music and darker lyrical subject matter to create this undertone of tension and uneasiness. The listener however isn’t able to tell unless they really search out those lyrics just because of how upbeat and strident the melodies are. I’m thinking that, as the track is from the point of view of this awful, awful person, the music is meant to reflect the fact that the narrator truly doesn;t care about the hurt he’s causing these people and is in fact very happy about his situation.

Very descriptive in its language and vivid in its imagery, the lyrical highlight arguably occurs in the bridge:

I look like Jesus, so they say
But Mr. Jesus is very far away
Now you’re the only one here who can tell me if it’s true
That you love me and I love me

You see, ’cause as a listener you’re expecting Linnell to sing ‘I love you‘ in that final line but he turns it around and sings ‘me’ instead. You have to hear it to appreciate it.

Linnell and Flansburgh had originally recorded the track during the sessions for the group’s first album. It was released a B-Side on the ‘(She Was a) Hotel Detective’ single, and is very different from how it appears on Lincoln. With no backing music by The Ordinaires, it’s just the two Johns singing in harmony with an accordion at hand. Here is that version:

#700: Kings of Leon – King of the Rodeo

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This is another one of those songs where I was actually alive and could remember its video showing on the TV as opposed to finding it years later. One thing I remember about this track is that I, somehow, always managed to change the channel to MTV2 when the video for this song was almost finishing. I don’t think I ever saw the beginning until YouTube came along. Or maybe it was on the band’s official website when bands used to have their music videos on their in a .wmv format back in the day.

‘King of the Rodeo’ is on Kings of Leon’s second album Aha Shake Heartbreak, released in 2004. It was the album’s third single. I still don’t really know what Caleb Followill is saying throughout this thing. It’s never come to mind that I should find the lyrics and truly understand what he’s singing. I’ve always appreciated the sound of his voice here. The coarse tone, the breaks when he’s reaching for the high notes. It’s a characteristic that made the Kings of Leon those days very exciting to listen to. Yes, I’m one of those people. I think the real main highlight in the track is the guitar work of Matthew Followill. While Caleb pretty much plays two chords for the whole song, Nathan keeps the momentum going with the crunchy riffs and string bends. It’s in the left speaker if you’re using your headphones. Or the right, if you’re watching the video.

Now, I have read the lyrics. Apparently, there are a few references to the film Withnail and I in the track. I wasn’t expecting that. Other than that, there’s not much meaning to the lyrical content. I’ll take it that about they’re about some relationship between a guy and a girl in the South.

#699: The Tallest Man on Earth – King of Spain

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The Wild Hunt by The Tallest Man on Earth turns 10 in just over a week’s time. I got into the album around 2012/13, when I was on a folk tip and trying to find more acoustic-based albums to hear after listening to Pink Moon too many times. The Wild Hunt is much more optimistic in tone, with the songs within mainly threaded by themes of moving on, moving forward and having dreams for the future.

‘King of Spain’ is the sixth track on the album, was the second single from it too, and sees Kristian Mattson – the “Tallest Man” – dreams of becoming the song’s title after unexpectedly starting a new relationship with someone. In his eyes, he could be almost anything now that he’s got that someone who he thought was way out of his reach. And it’s just him and his guitar that do all the magic on here.

Now it’s not out of line to say that here, Matsson wears the Bob Dylan influence on his sleeve from the folk-centric music to the raspiness of his voice. This is something he has gracefully admitted himself. ‘King of Spain’ makes reference to the Dylan song ‘Boots of Spanish Leather’ too. But even so that shouldn’t get in the way of one’s enjoyment of this song. Or the album for that matter. It’s a tour de force delivered by a man and his guitar about daydreams of high hopes and wonderment. You can’t ask for more than that.

#698: Neutral Milk Hotel – The King of Carrot Flowers, Pt. 1

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While I may not see In the Aeroplane Over the Sea as the classic, iconic indie album as a lot of people do – it’s not my go-to when I want something to listen to – I can still appreciate the musicianship and all those elements that make good songs.

‘The King of Carrot Flowers, Pt 1.’ is more or less the introduction to the record, detailing an abusive relationship between two adults while a young boy falls in love with a girl. I would say it’s actually my favourite song on the whole thing. You may find that strange; I won’t argue with you. It just provides a homely and warm vibe straight away from the busy acoustic guitar riff that starts things off. The repetitive melody within the verses become so familiar after numerous listens. I’ve also always liked how the track builds as it goes on, with an accordion added in for the second verse before everything climaxes with those rising horns. It’s beautiful stuff.

It carries on into Parts 2 and 3 where everything takes a left turn. The whole band joins in for a raucous and messy performance. I don’t like it as much. Not because of its rough style. Could never just get into it….. But it’s down there for you.

#658: The Strokes – Ize of the World

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It’s an emotional time. This is the last entry in the “I” section. This has taken two years to do. And I started this again having gone on a bit of a hiatus. I’ll go on a bit of a break after this one. I’ll certainly be back a lot sooner though. So many more songs to go. Plus there are barely any songs for ‘J’.

And to close it out is ‘Ize of the World’, the phenomenal track by The Strokes, found on First Impressions of Earth in 2006. There are a lot of times on this album where Julian Casablancas pushes his voice to the brink. It’s the first one on which he properly screams, or at least properly goes for those high notes with his chest. He goes for those types of vocals on ‘Vision of Division’ where, in my opinion, he doesn’t sound too great. However, it’s on ‘Ize’ where he executes those really well.

It’s a very intense track. Like it’s the backing music to the end of days or something. When I was younger I had these images of my head of people lying awake in bed, fearing of near-death, trying to make up for lost time but it’s too late as the city gets wiped out and there’s nothing left.

That’s really not what the song is about though. It’s more Casablancas’ feelings on modern society, how we survive in these dire times and what we could do to better ourselves. His points and observations are set to great guitar interplay between Albert Hammond Jr. and Nick Valensi (as is the usual in any Strokes song); the track alternates between calm verses and powerful choruses before building in intensity as it nears its end before ultimately disappearing out of existence. Kind of takes your breath away the first time you hear the studio trickery. I think it’s one of the most important songs on this album.

So that’s it. The I’s are done. Hope you enjoyed reading each entry. J’s will come soon. See you lat