Tag Archives: stand

#1270: Dizzee Rascal – Stand Up Tall

I remember being alive in 2003 and seeing Dizzee Rascal on The Box with ‘I Luv U’. His first ever single, released from the seminal Boy in da Corner. I was eight years old. I didn’t understand it at all. Then ‘Fix Up, Look Sharp’ came around, and that track blew up like crazy. Had the memorable hook with the stomping drums, sampled from Billy Squier. I was too young to understand the grime movement and how important Dizzee’s success was to it. I just knew that there was this guy existing in the world, out and about with these new songs. And it felt that as soon as 2003 ended and 2004 began, there he was again with this new song called ‘Stand Up Tall’. Hopefully someday an actual high-quality video for the song will arrive on YouTube. For now, it looks like we’ll have to do with the 240p quality that’s available for the time being.

‘Stand Up Tall’ was released as the first single from Dizzee Rascal’s second album Showtime, released in the summer of 2004. I won’t lie to you and say it’s an album I know inside out. I listened to it in full once in about 2015/16 and have proceeded to forget how most of it goes. It was very much critically acclaimed at the time, but a lot of the attention to this day goes to its predecessor. And I mainly remember its singles that were released in its era. But ‘Stand Up Tall’ was the one to mark Dizzee’s return, even if he never really left, and here he was with the bigger-budget music video filmed somewhere in the US, but making sure that you knew he was from London/UK with the predominant showing of the Union Jack, the silver hackney carriage, and the ladies dressed in attire typical of the English capital.

I never saw the music video repeatedly like it usually goes with many of the songs I’ve written about on here. I maybe saw it once or twice on the TV. I instead got well-accustomed to ‘Stand Up Tall’ through its inclusion on the FIFA Street soundtrack. Many weekends were spent playing that one. As was the practice for the company, the track was censored in places – muting the mention of ‘Chinese [zoots]’ and the line about stretching ‘the [arsehole] without straining’. This was the version of the song that I knew for the longest time. When it comes to what the song’s about, well, it’s just Dizzee saying that he’s representing London, stating that he’s got love for his people living in all areas of the UK, warning any haters to not try anything with him ’cause he’ll retaliate, and telling people to get on the dancefloor when his song’s playing and to stop the tough-guy pretenses. And also there’s the message to be confident in yourself and do your best. All delivered along a hectic beat with whirring synths and plucky pizzicato strings.

#1269: They Might Be Giants – Stand on Your Own Head

Nearing the end of They Might Be Giants’ Lincoln, the band’s second debut album released in the September of 1988, comes the song ‘Stand on Your Own Head’. Now, I’ve always thought it was a good one, and I’m sure there are a lot of Giants fans out there who feel the same way. You wouldn’t find it being regarded as a major highlight, but it’s appreciated all the same. My view, it gets a bit of a raw deal being sandwiched between two of the album’s most well-known tracks in ‘Shoehorn with Teeth’ and ‘Snowball in Hell’. I’d go for this one over the former any day, and maybe you could tell because I’m writing about ‘Stand…’ and haven’t done a post on ‘Shoehorn’.

This one here is another TMBG track mainly written by John Linnell. I’ve come to think of the lyric as some kind of wordplay exercise, taking idioms and everyday phrases and then turning them upside down. Or “on their heads”, you might say. And you can go through it line by line. At least, almost. “I like people, they’re the ones who can’t stand”, I guess is a turn on “I hate people, they’re the ones I can’t stand”. It’s a bit of stretch on my part, seeing as that’s not really an everyday phrase. But what’s more obvious comes in the lyrics for the chorus, “Stand on your own head for a change/Give me some skin to call my own”, which calls to the “Stand on your own two feet” phrase and provides a combination of “give me some skin” and “a home to call my own”. And then there’s the “You’ve made my day, now you have to sleep in it” in the second verse, a reference to making a bed and lying in it. The other parts about smoke signals and suing for custody, I’ve still not been able to pin down. But they sound good nonetheless.

The main musical highlight in this tune is the prominent feature of the banjo, which is rarely used in any other They Might Be Giants song, if it even is at all. The band’s Wiki side credited its playing to John Linnell. I never thought much of it. I listened to a podcast one day that questioned whether this credit was correct. There are TMBG songs that have Linnell playing guitar and he isn’t all that proficient in that, so it did make me wonder whether the credit was true too. But then a few years ago, a TMBG live performance from 1988 was released on YouTube, and right there in the thumbnail was Linnell with banjo in hand alongside John Flansburgh. Though whether he’s playing the intricate part during the choruses is still up for question. If you were somewhat displeased with my own take on the song, luckily I found this track-by-track breakdown of Lincoln while writing this. Linnell’s recollection of the track might just be more useful than mine.

My iPod #163: The Libertines – Can’t Stand Me Now

 

A “hate you but I love you” type of song at its very finest.

Pete Doherty and Carl Barât were not getting along with one another as they did in the years before 2004. Pete was doing drugs, Carl did not like it, they argued and the band split up later.

But what better way to express their feelings to one another than through song? With memorable call and response verses, the two lead vocalists express their feelings to each other. No metaphors or other literary devices are used which may try to place ambiguity on any lines… it’s just pure emotion. Not like soppy emotion. But the truth. Straight from the heart.

The song is the lead track from the band’s last album. It almost got to number one in the charts. It peaked at number two. It got beaten by this.

Jamie.