Tag Archives: rock

#1135: Ferry Corsten – Rock Your Body, Rock

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How I came to know this track is unlike a lot of other stories I recount when it comes to writing these posts. Dutch DJ Ferry Corsten’s ‘Rock Your Body, Rock’ was a song I heard in my sleep. That’s right. Around 2003/04, I was sharing a bedroom with my sister, and she’d leave the radio on as we laid our weary heads on our separate beds and got our few hours of shut-eye in. It was during one of those nights that Corsten’s track played. I feel like I was in a deep sleep at the time, but hearing the song woke me up because it sounded like some intense robot factory. I told my sister the next morning, “I heard this really good song that played on the radio last night.” She said, “Ah, nice. Cool.” Something along those lines. She was being nice about it, but kinda brushed it off. And I was left wondering what that really good song was for a long while.

That all changed though, thanks to Top of the Pops. At some point, the show was doing the countdown of the official UK singles chart. ‘Rock Your Body, Rock’ had charted at number 11. I think a short clip of the music video (below) played, and it sort of stopped me dead in my tracks. I went onto Corsten’s website, the video could be played in full on there. This was the song. Would be funny after all these years if it actually wasn’t and I’ve still yet to hear that sleep-song. I’m 95% sure this was it, though. And I tell you, I kept repeating that video basking in the success. Having owned FIFAs 2003 and 2004, I did think it would be cool if the song was used in the next game that would be made. And it was like EA heard my thoughts because the company included the song on the FIFA 2005 soundtrack. Now there was no way I would be able to forget it even if I wanted to.

‘Rock Your Body, Rock’ is the only song of its genre that I’ve ever thought to listen to. ‘Trance’. If anyone knows any Trance albums, please send them my way. If you can’t, well, I can always go to Rate Your Music. But if this turns out to be the only one I know for the rest of my life, I’d be pretty fine. ‘Rock Your Body. Rock’ begins suddenly with Corsten’s heavily effected vocals, droning on a B-flat note (which is also the one chord the track stays on for its entirety), in which he tells the listener that he wants to have relations with his girl on a worldwide scale. Hence the song’s title. I didn’t know that when I was eight but became very apparent while growing up. His verses appear only twice in the whole song, dedicating a lot more time to the surging instrumental passages that trundle along, fade away, then come in with a vengeance with the euphoric “choruses”. The official music video cuts out a lot of the instrumental sections out, so I’d say the album version’s the way to go. But the edit is also there only have three-and-a-half minutes to spare.

#1134: The Clash – Rock the Casbah

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The Clash, The Clash, The Clash. Now, I appreciate the band and their influence and I understand why people would be a huge, huge fans of their music. I did revisit the London Calling album some months ago and did think that it was where Pete Doherty and Carl Barât got their whole shtick from for their Libertines stuff. Seemed so obvious while listening through it. But for me, The Clash are a group that I’ve never caught the fever over to start worshipping them. They do have some great songs, though. In fact, here’s one right now. ‘Rock the Casbah’. At least, in my opinion, it is. As one of the band’s most well-known singles, some may think it’s overplayed and they’ve heard it too much. I’m not one of those people.

Unlike the majority of Clash songs where songwriting duo Joe Strummer and Mick Jones would create the music and then continue to develop the songs with the rest of the band, ‘Rock the Casbah’ was brought into the studio almost completely finished by drummer Topper Headon. He had a piano idea in mind for some time. When one day he came into the studio and found no one there, he recorded the drums, bass guitar and piano. Strummer, Jones and regular bassist Paul Simonon came in and were impressed with what Headon had got down. After not-so-subtly rejecting Headon’s original lyrics for the track, Strummer wrote his own – detailing an ongoing situation where a king calls a ban on Western music, much to his people’s annoyance. They go ahead and play it anyway, because they just don’t care. We’re meant to imagine that this is all happening in the Middle East somewhere, most likely Iran, hence the mentions of ‘ragas’, ‘minarets’ the ‘Sharif’ and so on and so forth.

I think it was after seeing the video a few times on MTV2, or some other music video channel, that I thought the song was cool enough to add to the personal library. Upon finding out how the song was made, I always thought it was wrong how the bass guitar was mixed so low in the version that ended up on Combat Rock. Luckily, the mix used when it was reissued some years later (and in the music video above) altered that choice and pushed it forward. How Strummer sings “The Sheikh he drive his CADILLAAAC” makes me chuckle. He really hacks out the “cadillac”. You can hear a digital wristwatch alarm at one point during the track. I don’t have much else to day. I enjoy this one a lot. A shame that Topper Headon wasn’t able to enjoy the success the song he made got. He left the band before the song was released because of a slight addiction to heroin and had to witness the music video the band filmed without him with another drummer in his place.

#1133: Blink-182 – The Rock Show

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I’ve never listened to Blink-182’s 2001 album Take Off Your Pants and Jacket in full. I don’t think I’m missing out on anything if I never did. But I may be being a bit too harsh. I’m sure it has its fans, but the album being sandwiched in between what are considered to be the band’s best works with Enema of the State in ’99 and the self-titled/untitled album arriving in 2003 has built up this preconceived idea in my head that the whole record probably wouldn’t be as good. ‘Happy Holidays, You Bastard’ is a regular at the Christmas parties I have with friends. I’m pretty indifferent to it. And I’ll be one to say that ‘Anthem’ is way better than ‘Anthem Part Two’. So we’re off to a good start.

‘The Rock Show’ is a song that can be found on the album, however, and is one that’s been around in my life for a long, long time. Maybe even since 2001. I have a memory of watching the video on TV, even before I was consciously looking for music of its type. It was probably on The Box or something. My sister laughed at the scene where Tom DeLonge and Mark Hoppus buy a box of doves from a store and free them from their captivity. It wasn’t until years later, after finding out who Blink-182 actually were and getting into their music, that they were the group who made that song about falling in love with the girl at the rock show. The track, mainly written by bassist Mark Hoppus but credited to the entire band, was released as Take Off’s… first single.

The track is a tale of young love. Very pop-punk oriented. A boy meets a girl on the Warped Tour, they’re both into each other, they tell their parents they going to move Las Vegas… and by the song’s bridge it seems that some time’s passed and the relationship has ended, but it doesn’t stop the narrator remembering those good times as he stares at her picture on the wall and waits for a phone call that never arrives. I never realised that there was a line that was a nod to Bon Jovi’s ‘Livin’ on a Prayer’, but it’s there, that’s quite neat, actually. It’s a tight performance by Hoppus, DeLonge and Travis Barker, energetic and very cathartic with those cymbal crashes on the “Fell in love/She said what/She’s so cool” moments in the choruses. The whole track just seems like a brief snapshot in time when things in America seemed to be carefree before another event in 2001 happened and messed everything up.

#1132: The Who – The Rock

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And here we are again. Another last song from an album that’ll be written about on here, but certainly not the last you’ll see from the band. Out of the 17 songs from The Who’s Quadrophenia, I’ve talked about ten of them, with ‘The Rock’ bringing it to a total of 11. Without looking back in those posts, I’m sure that I’ve mentioned in nearly all of them how the album is my favourite of the band’s. And I guess through that sentence, I’ve done it again. But it really is fantastic though. Was a teenager myself when I first heard it, and even though the story revolves around a character whose scene was very much of its time and place, the thoughts and feelings expressed in the lyrics are pretty much universal. Plus, the music’s top-notch. ‘The Rock’ arrives as the album’s penultimate track and the second instrumental song on there after the title track which appears earlier.

I prefer ‘The Rock’ to the ‘Quadrophenia’ song and always have done. They do almost mirror each other in terms of their structure, but the former comes at a climactic point in the album’s story, and as a result the music was made to be that little more intense. It’s here that the album’s protagonist Jimmy steals a boat and uses it to sail to a rock overlooking the sea, which is the rock referred to in the title, acting as the transitional piece between him having an almighty drug-fuelled rampage in ‘Doctor Jimmy’ and screaming for salvation in the album’s final track. Utilising the four musical themes established in the album that represent the individual members of the band, the instrumental is split into four/five sections. I’m telling you, it’s better to listen to than to read about, so maybe I won’t go through them all. Leave it to you to discover.

The best one however is clearly the ‘Helpless Dancer’ section that begins at 2:45, with Townshend’s guitar mirroring the vocal melody of that song while Keith Moon thrashes some serious thundering drum rolls on top. The vocoder-affected ‘Love Reign o’er Me’ refrain that pops in near the end is quite neat too. The track finishes with an explosive crash and the sound of thunder and rain, leading perfectly into the record’s closer. What amazed me, when the deluxe edition of the album was reissued in 2011, was finding out that the final version of the track was essentially ripped straight from Pete Townshend’s demo recording of it with John Entwistle and Keith Moon adding their respective bass guitar and drums on top. I don’t know, it just floored me. Goes to show that Townshend really was on something during the making of the record. And to think it’s not in the 1001 Albums You Must Hear book I have. Doesn’t make any sense to me.

My iPod #230: They Might Be Giants – Cyclops Rock

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This is the end… for now. I’ve come to the last of the ‘Cs’, and starting from tomorrow there won’t be posts for a while. I enjoy typing these; I hope you like reading them. I may come across as a bit repetitive or just silly in general, telling you how I feel about songs and trying to ‘review’ them without having technical music knowledge is quite challenging, but it gives me something to do everyday… so it’s all good.

“Cyclops Rock” is a tune from They Might Be Giants’ album “Mink Car” from 2001. After John Linnell’s track about a mesmerizing hair cut comes John Flansburgh’s about….. I’m not so sure. I don’t want to say the lyrics are nonsensical or random because there probably is a clear meaning behind them…. I can’t tell. What does “cyclops rocking” entail? How is it different from plain rocking? I’m only joking.

It doesn’t really matter when it comes TMBG. All of their songs have that sort of thing about them. Who cares what the song is trying to say when it rocks as hard as this. Starting with three chimes of tubular bells, “Cyclops” launches into life with Flansburgh shouting the chorus at you along with some great guitar playing and sliding saxophone notes by Linnell on the side. Full of energy, very quick, a cameo by Cerys Matthews in the bridge (which was actually meant for the late Joe Strummer at one point). Three things you can expect from this song.

Well, that’s it. Cs are done. Bring on the Ds.

See ya.