Tag Archives: off

#1136: The Rolling Stones – Rocks Off

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Only the second Rolling Stones song I’ve talked about on here. A lot of people love Mick Jagger, Keith Richards, all the other members associated and the albums too. I can take them in small amounts. I feel like a lot of the songs they do are indebted to the old-time blues rock of the US, which I’ve never had much feeling for anyway. There are however some songs by the Stones that I can’t deny must be regarded as ahem… ‘stone’-cold classics. And not the obvious ones like ‘Satisfaction’ or ‘Gimme Shelter’. Even I think those are both just all right. ‘Rocks Off’ though has to be one that almost every Stones fan appreciates. Not just because it opens what’s considered to be the band’s best album, but because of its general feel-good energy and the tight performance by the group as a whole. I got ’round to listening to Exile on Main St. around the same time I was going through a Best Ever Albums list on a website of the same name. At the time the website listed the album as the band’s best piece fo work, the best of its year, and one of the greatest of the ’70s as a decade. Gotta admit, I was excited for what I was about to hear.

It all begins with ‘Rocks Off’, a track that I could hear being played in those dirty, seedy underground nightclubs that I imagine were the places to be during the ’70s. Jagger’s confident “Oh, yeeeah” that he comes out with makes me screw my face up every time, just ’cause I think I know how he’s feeling hearing the guitar work of Richards and Mick Taylor and the rhythm section bring themselves into the mix and establish the groove. This song oozes coolness in all aspects. Jagger doesn’t ham up his vocals to a large extent, taking a sort of laidback approach for the verses and saving the more unrestrained approaches for the choruses. Richards joins in on harmonies. And a big round of applause has to go to those rousing horns that take the track to a higher level entirely. This a real good album opener. Probably one of the best of all time, I’d say the best in the Stones’ discography straight up.

I said the song has a feel-good energy in the first paragraph, which it does, but accompanying the uplifting music are the musings of a narrator who’s feeling disillusioned with life. They’re sort of losing themselves in places, they’re not able to absorb and take things in like they once did. Days are coming and going, they give in to their vices. They’ve lived a life of excess to the brim that they’ve become numb to it, and the only way they’re able to get any true relief and excitement is in their sleep. Sort of goes against the whole idea of getting rocks off. But that’s the way things are going for this person. The song’s about being as jaded as you could possibly get, but man, it’s delivered in such a celebratory manner that you can be forgiven for completely missing the cynicism. I know I did.

#1070: The Raconteurs – Pull This Blanket Off

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Feels like it’s been ages since I last wrote about a Raconteurs song. Actually, it was only a few months ago. But I was thinking that it was even before they had released their most recent album, which is already almost four years old. I listened through Help Us Stranger once. I think once was all I needed, it didn’t leave much of an impression. Nah, Consolers of the Lonely is still the greatest album Brendan Benson, Jack White and co ever did. I’d go ahead even further and say that I think it’s one of the last and best big guitar-centric rock albums to come from the 00s before the whole indie explosion that seemed to erupt from about 2009 onwards. That’s right, this nobody has made this exaggerated statement that anyone will take with a pinch of salt.

I do thoroughly enjoy this album though. A lot of things Jack White’s involved in, I’m not too much a fan of. I like White Stripes songs here and there. Never bothered with his solo stuff. Too much of him is too much for me. But when he’s combined with Benson, I don’t know, something just changes. ‘Pull This Blanket Off’ is yet another example from Consolers… where the dynamic between the two brings the musical touches up a notch. It’s the album’s shortest track, clocking in at just under two minutes. You could consider it to be nothing more than a bit of an interlude moment. But there’s such a dramatic, yearning quality within that I think makes it deserve as much attention as the more “substantive” songs that are alongside it.

White sings the first verse, Benson sings the second, and after an ‘ah-ah’ refrain and short instrumental break, the two harmonise in the next two verses accompanied by the introduction of a warm, thick bass guitar, a patient kick drum and a steady tambourine. What the track is about, I don’t think anyone’s really cared to fully get into. Not from what I can see on the Internet anyway. But I feel like there’s something that’s meant to be very American/patriotic about it. Like the narrator’s trying to believe in this American Dream ideal and trying to stick by their morals, but is disillusioned by their community or things they’ve experienced in their lifetime. It doesn’t get too deep into the message because before you know it, the track comes to an early albeit resolving conclusion with Benson seeing the listener off with a comic “All right, good night.” ‘Rich Kid Blues’, the track that follows, is a bit of a continuation of the theme here though, at least I’d say it is, and that’s 4 and a half minutes in length. I’d suggest you listen to them both in quick succession.

#821: Eels – The Medication Is Wearing Off

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Ah, this is a sad song. Listening to it the first time you might think it’s not too emotional, but knowing the context of it all adds some weight to it. Mark Oliver Everett, commonly known as ‘E’ and the main man behind the music of Eels, found himself to be the only surviving member of his family when both his sister and mother passed away within a short amount of time of one another. Him coming to terms with their loss became the main theme of the Electro-Shock Blues album, released in ’98, and ‘The Medication Is Wearing Off’ is the penultimate track.

The song sees E staring at this watch that he’s been given as a present by either his mother of sister (not quite sure which one) that’s still working and ticking away the seconds while both of his dearest relatives are no longer living. I feel that the song’s a blunt depiction of a person who really feels like they have nothing left. Going through the motions, walking down the street and looking through emails, but wondering what’s the point of it all when you feel so alone. You know that scene in The Simpsons where Homer’s mother leaves him again, and he sits on his car and stares at the night sky while the credits roll? This song is that scene.

The music’s so calming too. That glockenspiel that introduces it and those woodwinds that follow… Makes the whole track sound like a lullaby. Those programmed drums that keep the tempo are never intrusive and the bass is so warm. It’s not necessarily uplifting, though you can’t help but feel a bit good when listening to it. But then you see the lyrics and you think, “Oh”. It’s a conflicting thing. Obviously, you feel however you want to feel when you hear it.

My iPod #415: The Darkness – Get Your Hands off My Woman

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I was eight years old when I received “Permission to Land” as a gift from my cousin. Around the time I thought “I Believe in a Thing Called Love” was one of the best songs to exist, and is probably one of the reasons I started listening to rock music. Some people start with Nirvana; I start with The Darkness.

To this day, I remember my sister asking for the album’s booklet containing the liner notes and lyrics and so on. She then told me that I shouldn’t look in it. Straight up. I asked her, “Why not?” She replied, “Just don’t.” Of course I went on to when she wasn’t looking. I saw the swear words in “Black Shuck” and this song, and saw why she was so suddenly stern about it.

Even though I don’t think as highly of the track/album as I did then, it still brings a laugh whenever I hear it. This track as serious as hell though just like all of the others on “Permission to Land”, I just get the feeling that people wouldn’t have liked them because they were too much of a spoof or a mimic of dramatic heavy metal bands from the 70s or something. But when you have a track like this where the words “motherfucker” and “cunt” are shrieked at a frighteningly high pitch I can’t help but smile at it all. Justin Hawkins is a crazy singer with an astounding vocal range, and “Get Your Hands Off” is just one out of the many where it is shown to its full potential.