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#988: Bob Dylan – One of Us Must Know (Sooner or Later)

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Like other double albums, Bob Dylan’s Blonde on Blonde contains tracks that I can give two thumbs up to. Others not so much. But I’m very sure that when I first heard the album many years back, like 2013 or something, ‘One of Us Must Know’ was one that caught my ear straight away. It was clearly a track that Dylan recognised some potential in himself, as it was selected to be the first single to be released from the album, months in advance. What probably piqued my ears the most was Dylan’s voice. His exaggerated nasal delivery would give comedians and sitcom writers material to go to town with for years to come, particularly the way he uses it throughout this whole album. But it’s certainly unique and leaves its mark. “Sooner or later, one of us must know” sounds much better as “SoOOoneeeer or lAaaterrrrr, ooOone of us must knooOOoooow”. That’s the best way I can capture Dylan’s delivery.

As I’ve come to understand it, it’s from the point of view of a guy who’s pondering on a relationship that ended. Though the clues were there that things were coming to a close, the narrator here seemed to be oblivious to them all. It’s also made clear that he himself was to blame for at least some part of what went on, but, as men usually do, he sort of brushes it off and tries to make it as if the other half is taking things too personally. This is a narrator who has their faults, but they want to make clear that anything they did was never on purpose and that their heart was always in the right place. The other half ends it all, and he realises that it’s just the way it goes sometimes and no malice has been left over. Now, that’s how I’ve always seen it. But now I’m seeing that it may also be one long metaphor alluding to Dylan’s move from acoustic folk music to electric rock that annoyed a lot of people back in the day. Gotta love interpretations.

Musically, I guess I should point you to the piano, played throughout by session musician Paul Griffin. Particularly during those choruses where he’s really flowing up and down the keys, Griffin’s piano is very much the lead instrument for this one. During the low-key verses, the organ played by Al Kooper will rise in the mix with a little melodic hook here and there. And as the end of those verses come closer, there’s a massive increase in intensity that is then released with the gratifying choruses. Then Dylan closes it all out with a jubilant harmonica solo. It’s good stuff, very nice with the dynamics. It’s only the fourth track on Blonde on Blonde, so there’s still a lot more to come within the context of the record. But when you consider that it closes out the first side of the vinyl before you flipped it over to hear side two, it’s a fine way to finish things off. Just for that little bit.

#618: The Who – In a Hand or a Face

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‘In a Hand or a Face’ closes out The Who by Numbers, The Who’s seventh album released back in 1975. It goes that Pete Townshend, the band’s guitarist and main songwriter, was severely depressed and suicidal during the making of the record. He quit drinking after a long period of severe alcoholism. He was having an existential crisis due to the fear of turning 30 and wondering if he was getting to old for the whole ‘rock ‘n’ roll’ thing. The album as a result has some of Townshend’s most personal, soul-seeking material on there. After nine tracks, including one written by bassist John Entwistle, ‘In a Hand’ sees Townshend at breaking point despite the triumphant confidence with which the music is delivered.

An emphatic crash cymbal and chunky guitar riff begin the song before a thunderous drum roll gets the rhythm going alongside a salutary opening guitar solo. The song is relatively simple. It’s mostly three chords. But there’s an assertive behind every note, chord, and drum fill played that makes the song sound very nonchalant and unfazed. Lyrics-wise, Townshend writes about seeing people in various situations and trying to put himself in their shoes. He asks the listener whether they’ve ever hard the same experiences and self-assesses where he’s at in comparison. His conclusion? He was “going round and round”.

A pulsating rhythm section break marks the song’s key change, and Roger Daltrey, Townshend, and Entwistle repeat its main refrain before the instruments ring out on an unresolved chord. I guess Townshend was in so much of a spiral at the time he didn’t know where he was going. With The Who, with his life…. It wasn’t a great time to be him.

My iPod #410: Fall Out Boy – Get Busy Living or Get Busy Dying

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Honestly, I liked this track much more in the past than I do now. If I had the same attitude towards it like I did then, I would have provided the song’s full title, but that is just too much. I’m tired and burned out. Not to say that this track is bad, ‘cos I’m gonna write about it anyway. It has lost its effect on me, that’s all.

“Get Busy” is a very bitchy track. It appears to be from the perspective of a guy used for sex, and eventually dumped by a girl who he really had feelings for. The guy’s understandably pissed, but feels that justice is served when the girl’s ‘secret’ (what it is, we don’t know) comes out and rubs it in by telling her that the secret was shit anyway. He’s over her. She don’t matter no more.

I have always liked the music on this track. The palm-muted guitars add a very sinister tone to the song’s atmosphere, and the track also showcases Patrick Stump’s vocal talents. He doesn’t just sing on here, but he also (kind of) screams along with Pete during the bridge, adding a real harshness on his voice. It did take me a while that it actually was him who was doing that and not just a guest vocalist from another band they knew.

Pete Wentz also reads out a poem as the final chord is struck and fades out. To this day I don’t know what it’s about, but as he continues reading it his delivery rises in intensity as the guitar fades in again until coming to a sudden stop. That ending’s always made me feel a bit uneasy. But it’s a good lead in to “XO”. Very similar to what they did with “20 Dollar Nose Bleed” and “West Coast Smoker” on Folie á Deux.

A shame I don’t feel as excited by the song as I used to. But those were some good few years I had when I was.

My iPod #282: Super Furry Animals – Do or Die

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After coming downstairs in the early hours of the morning, switching on the television and changing it to MTV2, the video for “Do or Die” – the last single from “Guerrilla“, the third album by Welsh band Super Furry Animals – came on. It was over quickly because the song’s only two minutes long, but even afterwards I could slightly remember the melody of the chorus, even though I had no idea what Gruff Rhys was singing apart from the title phrase. That was in 2005 or so. I didn’t hear it again until roughly seven years later.

“Do or Die” wasn’t even supposed to be a single. Originally the band had chosen the album track “Wherever I Lay My Phone (That’s My Home)” for release, but the label meddled around and promoted “Die” instead. The band weren’t very pleased. I am though, “That’s My Home” annoys me a bit; it’s very repetitive and doesn’t really go anywhere. It one of those tracks that I think I would have liked when I was four, and then listened to it later on in life thinking “What was so good about this again?”.

The track’s cool, man. It’s got funny lyrics about riding camels and eating tomatoes and a simple, catchy riff that alternates between two chords. The track becomes louder and louder from the instrumental part onwards before coming to a complete stop whilst synthesizer noises carry on and eventually fade out.  Plus it has a really bubbly intro, helped along with those keyboards, that sounds like background music to the start of a Saturday morning children’s television show.

My iPod #104: Michael Jackson – Black or White

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Michael Jackson. A name that brings up so many memories… so many questions. Too many that I won’t go through in this blog. Whether you hated or loved him, you can’t say that the guy didn’t make some damn fine music. That will go down forever in history.

I remember where I was when the news came out that he died…. I was in my bed, asleep. My sister came home from a night out screaming to my aunt that Jackson had died. “Pffff… no way,” I thought to myself “It’s just a rumour.”

Next morning on BBC News – BREAKING NEWS: MICHAEL JACKSON DEAD. Holy shit… he was gone. I didn’t really care for the guy, his music was fantastic and all. It was a shame though. It was raining. Everyone on the public bus to school was quiet, except for this one guy blaring Michael Jackson songs in his ears. My friend hastily ripped of the front page of The Sun and stuck it on the notice board in our form room as some sort of ‘tribute’, and MTV played Michael Jackson videos all day. It was crazy. Four years has flown by.

Enough with the sadness. Let’s talk about “Black or White”. I can’t remember the first time I heard the song. Michael Jackson seems like a name that had been around forever. I have a feeling my sister had a cassette that showed all the videos for “Dangerous” somewhere. It must have been on that. The faces morphing into different people near the end of the song is something I can remember. It’s very vague.

“Black or White” was the first single from “Dangerous” in 1991. I wasn’t born, my sister had been for a few months. It’s a very happy song, singing positively about equality and people getting along with one another. The chorus of the song is, if you… were thinking of getting with Michael, it didn’t matter if you were black or white. If you were fine – and not like ‘feeling fine’ but if you were fine – then you had a good chance with him. And this is all sung over a joyful riff, not played by Slash of Guns ‘n’ Roses. It reached number one almost everywhere, and was another song to add to Jackson’s classics.

Until tomorrow.

Jamie.