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#1240: Oasis – Some Might Say

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Who out there’s one of the lucky people going to the Oasis reunion gigs in the summer? If you are and reading this, I hope you have a good time. I could say I was jealous, but I feel all right knowing that the Gallagher brothers are way past their ’20s and probably won’t be as great live as they were 30 years ago. But it’s nice knowing that Noel and Liam seem to be getting along now, or so it seems. I guess everyone will have to wait and see until that big tour starts in July. It’ll be a spectacle, I’m sure. I like a bunch of Oasis songs. Most of them happen to be singles. I got the Stop the Clocks compilation a long time ago, which is an ideal package if you want to start getting into the band. For any artist, the singles are picked ’cause they’re considered to be the best songs. But that’s something that truly applies to Oasis. ‘Some Might Say’ was the first single from (What’s the Story) Morning Glory?, released in April 1995 – six months in advance of the album. Oasis were already a name in the UK ’cause of Definitely Maybe, and people liked ‘Some Might Say’ so much that it shot straight to number 1 in the charts after its first week.

It’s up there as one of my favourite Oasis songs too. Just like its music video shows, the chugging guitar introduction feels like a rocket ship launching and when the band enters you’re just taken into the stratosphere and never come down from that point on. The song sees Noel Gallagher on some kind of quasi-philosophical line of thinking. “Some might say they don’t believe in heaven/Go and tell it to the man who lives in hell.” “Some might say that we should never ponder on our thoughts today ’cause they hold sway over time.” Some good, good lines. The main line to focus on is the one that precedes the chorus, “Some might say we will find a brighter day.” We all hope for that, don’t we? And then there’s lines about standing at a station in need of education and sinks full of fishes and dirty dishes. The chorus is a bunch of nonsense, but alongside the music, it sounds out of this world.

And like the songs that were listed on Definitely Maybe, ‘Some Might Say’ is designed to be played loud. Guitars levels are boosted to the max, tracks and tracks of overdubs are existing on there. Noel Gallagher’s said before that he doesn’t like the sound of …Morning Glory, but at least to me, this song is where the way it’s loudly mixed works massively to its advantage. Liam Gallagher sings the track very, very well, and I thoroughly enjoy the back and forth between he and Noel during the song’s final moments amidst the feedback and uplifting chord progression. Those guitars that go on and on for the gradual fade-out outro, I could listen to for at least two more minutes, and the story goes that the band kept on playing that outro for a long while after the album’s fade because they were enjoying it so much and didn’t want to stop. I read that somewhere, I’m sure. Or watched Noel say that in a video, I wish I could find it. He does consider it to be one of the band’s finest moments, I have the evidence for that. And as a listener, I wouldn’t argue.

#1239: Gorillaz ft. Lou Reed – Some Kind of Nature

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Plastic Beach, Plastic Beach. In my eyes, still the last really great Gorillaz album. It’ll be 15 years old in just under two weeks. I guess it does feel that way. But I can also remember downloading the album a few days before it was officially released in the UK and listening through the whole thing like it was last week. Wikipedia says that it was released internationally on the 3rd March 2010, but that’s wrong because albums were released on Mondays and that date was a Wednesday. I “got” it on the 5th, the album was released in the UK on the 8th. Though I guess the Wikipedia date was when it was released in Japan or something. That place usually got the early release dates, the lucky people. But that explains why it was so easy to find a high-quality version of it online so I could nab it for myself.

‘Some Kind of Nature’ is the ninth song on the album. There’s a range of guest features on the LP to say the least, and ‘Nature’ wasn’t left out in this regard as alongside Damon Albarn on vocals appeared Velvet Underground man and general top singer-songwriter person Lou Reed. He provides some additional guitar as well. Albarn tells the story about working with Reed in this little video here. You might as well watch the whole thing if you’re a fan. But the meat of it is, Albarn sent Reed three songs to work on. Reed rejected them all. On the fourth attempt, Reed accepted with a vague idea. Albarn flew to New York to meet, but then Reed left the studio to go somewhere else and wrote all his thoughts about plastic in a taxi. He came back, showed Albarn his work, did the vocals in one take. And what you hear was the result. But it’s better to hear the person who experienced it actually tell the story, so go ahead and click on that link.

I can’t remember whether this one was an instant like on that first hearing. But just a week or so after I downloaded the album, ‘Some Kind…’ got its own little music video which I guess let me become accustomed to the song very quickly. The whole track runs at a very chill tempo, led by Reed’s very straight, robotic-like vocals which make a great contrast for Albarn’s richer, melodic voice when he comes in later. I also like singing along to the synth that arrives around 25 seconds in. Makes for a good melodic centrepoint underneath Reed’s recited delivery. The lyrics you’ll find online vary from place to place, but whichever site has the line “All we are is stars” as the last line of the chorus is the correct one. It doesn’t make grammatical sense, but then again, a lot of songs don’t. Only got two more songs left to write about from Plastic Beach, and they both begin with ‘S’. So they’ll be coming around relatively soon. Any guesses as to what they are can be left in the comments.

#1238: Blur – Some Glad Morning

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I was only talking about a Blur song the other day. How I came to know today’s Blur is very similar to the backstory behind ‘So You’ too. Blur’s discography was remastered in 2012. At least a majority of it. I went through all the Special Editions. Eventually came round to the expanded version of Think Tank, the band’s album from 2003. And that’s where ‘Some Glad Morning’ can be found. The song was recorded during the sessions for the LP, early on too before Graham Coxon left the band in acrimonious circumstances, but was left on the shelf until it got its own limited, fan-club exclusive release in 2005. By that point, the band was considered to be over and done while Damon Albarn was doing all his business with Gorillaz.

I think this goes down as one of those Blur songs where, if you look up the lyrics for them online, none of the sites that have them will be correct in any shape or form. It’s another Albarn-sung composition where the singer kinda merges his words together, delivering the vocal with a sort of tired, worn out drawl. Immediately catchy, though. The song has no chorus, revolving more around a ghostly refrain of ‘You’re behind me’ that repeats after nearly every line, but each verse that comes around follow the same melody. Once you’ve got it down, it’ll pop in your head from time to time. ‘Some Glad Morning’ isn’t really about anything. Again, I think it’s a case of Albarn messing around with words to go with the music and succeeding with very good results. Sometimes I wish he’d go back to that type of writing style. Not that I don’t like the Albarn-related music of recent years, but it’s the vague lyrics-aren’t-as-important style songs that always got me. Maybe ’cause of the mystery.

I appreciate the sort of loopy aspect of this song too. The track consists of little riffs and licks that you can tell were probably only played once or twice in a run-through and then copied and pasted wherever appropriate using some kind of software. Same applies with that “You’re behiiiind me” vocal. As it was recorded during a time when Albarn had the first Gorillaz album under his belt, you could guess that maybe he applied some recording techniques from the sessions with the project. There is a bit of a kooky Gorillaz feel about it. But the woozy bass lines and unique guitar chord choices could only ever tell you that it’s a Blur track through and through. I like Think Tank as an album myself, but it gets a lot of flak for not sounding like Blur enough due to the absence of Graham Coxon. A song like ‘Some Glad Morning’ gives a little insight into how things could have been had he stuck around.

#1237: Dananananaykroyd – Some Dresses

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When I wrote about Dananananaykroyd’s ‘Black Wax’ in the bright days of 2013, I mention that I had seen another song by the band via its music video on MTV2 before going onto YouTube and finding ‘Black Wax’ as a result. ‘Some Dresses’ was that ‘another’ song. It was the first ‘Kroyd track I’d ever heard. I want to say I’d read the band’s name on an advert for MTV2 before and probably made fun of it when reciting it to myself a few times. But through the ‘Some Dresses’ video, I now had an image and a song that I could now associate with the name. The clip, showing the band messing about in the woods with some quirky blue screen effects thrown in there, made an impression. An endearing one. It wasn’t too long after that I went ahead and downloaded the band’s debut Hey Everyone! It would be the first of only two albums the group would release.

I only found out relatively recently that a quarter of the tracks from the album contain lyrics that were written by former singer Giles Bailey, who left the band prior its release. ‘Some Dresses’ is one of those Bailey-written numbers. Calum Gunn and John Bailie Jnr joined after Bailey’s departure and contributed their words for seven other songs, with Gunn being the main singer on the majority. The writing styles between the two factions are quite similar though, at least I think. Unless you had a physical copy that told you otherwise, it wouldn’t be harmful to assume that the person singing on the album was the one who wrote the lyrics. It’s not the case. The band did record ‘Some Dresses’ when Bailey was in the band and released it as a single in 2006. I’ll go ahead and embed that not-as-well-known version down below.

The song’s lyrics are told from the perspective of someone waiting for a dress to be fitted on them. There’s nothing much to work out if you read the words. They just tell a head-to-toe look of the different parts of the fabric and the work that’s being done by the tailors and fitters to make sure everything’s good and comfortable. Quite the mundane subject, but certainly unique, made all the more better by the riffs of guitarists David Roy and Duncan Robertson and vocal delivery by Gunn. There’s no reason why a song about putting a dress on should be this punchy and exhilarating. But it just is. The track is comprised of two parts, separated by a breakdown where the band sound like they’ve lost control of all their limbs. The first being more concerned with the dress, while the second takes the making of the dress and turns it into a metaphor of writing a song? At least that’s how I’ve come to think of it. Like this one quite a bit.

My iPod #423: John Lennon – Gimme Some Truth

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“Gimme Some Truth” is a snarly, protest track by John Lennon from his second album Imagine. A criticism of Richard “Tricky Dicky” Nixon and general politics around the early 70s, Lennon produces one of his roughest vocal performances yet for a vitriolic work with a powerful message that still holds its weight in today’s society.

Honestly, it’s not my absolute go-to track from the album. Though I hold it in high regard for it being of the only rockers on the album; John is mad and puts all of his negative energy into the music and the lyrics. Never again could the phrase “schizophrenic, egocentric, paranoiac, prima-donnas” be used in a song. Apart from that, there are the subtle parts of “Truth” that make it that much better to listen to: George Harrison’s fierce slide guitar solo, the sudden falsetto ‘wooooooo’ John lets out after the first chorus, the emphatic ‘aah’ before the last verse, the rising intensity in his voice during the fadeout, all of which are set to a stomping and commanding drum beat. Just a few things to look out for.