Tag Archives: the maccabees

#961: The Maccabees – O.A.V.I.P.

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I knew I was going to see you again. It’s been a long break. Actually finished writing up the previous letter section in April, even the last post was officially out in the middle of May. Just goes to show how much time I give myself to write these things and come back to them if need be. But I’ve been okay. I went to the first weekend of Primavera Sound in the month of June, saw Pavement which is something I would tick of my bucket list if I had one, and generally been working ever since. But a hole in my life needs to be filled, and that’s writing on this blog again. So here it goes. Here come the O’s.

The inaugural song to mark the occasion comes courtesy of The Maccabees, a band I’ve written about a few times before on here. ‘O.A.V.I.P’ is the seventh song on their debut album Colour It In, opening up its second half in a similar manner as the whole record. From what I recall, opener ‘Good Old Bill’ is about the death of one of the bandmember’s grandparents. ‘O.A.V.I.P’, standing for ‘Old Age Very Important Person/Pensioner’, is a dedication to the widow who’s now dealing with that loss.

“She collects medicines in the box where once he had kept his / And holds out hope the year old Werther’s will be gone long before she goes.” Those are the two first lines of the track. They set the scene immediately. Though they read quite bluntly and to the point, it’s singer Orlando Weeks’s delivery of them that add the emotional weight. As The Maccabees’ journey as a band continued, he sort of grew out/got rid of the quivering yelp vocals that were a standard throughout Colour It In. It was that style that made those songs stand out to me compared to lot of the other indie NME-hyped bands that were around at the time. Don’t get me wrong, the band play extremely well too. Brothers Felix and Hugo White play some great guitar lines that weave and create some great countermelodies. But those moments when Weeks pursues those descending-scale “Whoa-oh-oh”s and reaches that high “Farewell old dear” nearing the song’s end… Well, it’s enough to bring a tear to the eye. It’s a very sincere and sweet song. Always been a highlight for me from this album. After it, the albums just never hit me the same way.

#726: The Maccabees – Lego

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‘Lego’ is the penultimate track on The Maccabees’ debut album Colour It In. From what I remember, I don’t think this song was very immediate to me upon first hearing the whole album. Around that time I mostly got albums just to listen to the singles, and ‘Colour It In’ had plenty of them that were shown on MTV2 back in those days. Funnily enough, I don’t listen to those singles that much anymore.

So when did ‘Lego’ really hit? I wish I could say. But I’ve been listening to it for a long time now so it’s safe to say I think it’s still good. There’s a frantic vibe I get from it straight from the beginning with its sudden fade-in and descending guitar riffs by brothers Hugo and Felix White. I’ve always liked that Colour It In is a proper band album. There aren’t many production tricks that are incorporated into a track’s mix; it’s always about the group’s performance – two guitars, bass, drums and Orlando Weeks’ vocals (with occasional guitar from him too). It’s about as raw as the band would get before exploring different avenues in their later releases, and I’m sure it wasn’t by chance that they chose ‘Lego’ as the final ‘band’ track on their debut. (Of course ‘Toothpaste Kisses’ really closes out the album but it doesn’t rock as much).

Until now, I’ve never thought too much about what the song could mean. Someone on Genius thinks it’s about suicide. I think it’s more of a goodbye to those little moments in childhood that one can stick out when one gets a bit sentimental, like remembering to look left and right before crossing the road and screaming ‘are we there yet?’ in the car when driving to a destination. Weeks’ then trademark wailing vocals provide a tone of vulnerability to the song, keeping to a lower register during the verses before raising it in the chorus and then reaching a climactic point during the outro. That and the two guitars are my highlights of the track. It has a standard verse-chorus-verse-chorus-bridge-finish structure to it; it feels like the track goes quite quickly. Still well worth a listen to me.

#713: The Maccabees – Latchmere

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I liked The Maccabees for a while. Physical copies of Colour It In and Walls of Arms sit on my shelf in my bedroom. Still prefer their debut album to anything else they made. Kind of lost me on the third album. It was sad when they split up a few years back. Just another band from my first year of secondary school days that were gone and reminding me that time was moving on.

Looking back I think ‘Latchmere’ may have been the first song I’d ever heard by The Maccabees. Very sure it would have happened during the times when I would be watching MTV2 in the mornings where there would be a program dedicated to the newest music out there. Think it was called ‘Brand Spanking New’? Something along those lines. The version used in its music video (below) was recorded earlier than the one that eventually ended up on the band’s debut album; it’s just a bit different and there are a few lyric changes here and there but nothing too drastic.

The track is dedicated to the leisure centre in Battersea, the place in south London where the band originated from. I feel the lyrics are just made up of phrases that were taken by signs and phrases said by the lifeguards at the place, plus Orlando Weeks’ excitement about the wave machine that’s also there. Also listen to the rapid fire drumming throughout. I would air drum to this thing and there is no let up, especially during the verses.

My iPod #483: The Maccabees – Happy Faces

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Orlando Weeks implores you to ‘run, boy, run’ throughout the ninth song on The Maccabees’ debut Colour It In, and it is hard to not follow his demands due to the sheer positivity and good vibes the track exudes. You ever have one of those times when you feel so happy that you have to show it by running through a field and embracing the vast space ahead, behind, and around you? This is very much the song that plays whilst that situation is happening.

Whilst the final notes of the previous track are in the midst of fading out to silence, the guitars of “Happy Faces” quietly start playing and slowly make themselves heard until the rhythm section begin and really give the track its momentum that is maintained for its duration. Lyrically, there’s not much to say. It’s about being happy for no particular reason at all. Just one of those days when that feeling comes to you. Well the first verse is. The second ones concerns the days when things aren’t going so well, the ones on which you reflect on what could have been different in the past. The serious tone is gone by the last line and from then on it’s back to the all-out excitement that was playing beforehand, climaxing in an almighty yelp of the song’s title by Weeks before the closing moments.

It’s cute. Very enjoyable.

My iPod #461: The Maccabees – Good Old Bill

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Sorry there was a no show yesterday. Was out watching Shakespeare at the RSC Theatre in Stratford-Upon-Avon. Much Ado about Nothing, if you wanted the specifics. Was really good. But you get two posts today. So it’s all good.

If it turns out that the new album by The Maccabees – which is supposedly finished and should be out sometime this year – isn’t that great, I think I will always recognise Colour It In as being my most preferred album of theirs. Before they went on to discover more atmospheric productions for Wall of Arms before establishing that sound in 2012’s Given to the Wild, the band’s first album captured the five members in their most…. naked form I guess you could say.

And “Good Old Bill” starts it all off. Though it is left off of the international versions of Colour It In, which I don’t really understand. The track is about a member of the band’s grandfather – who we can assume his name was Bill – sadly passed away after giving a traction engine to a museum. On the day he died, the museum rang up their grandmother saying that engine wasn’t working and asked if Bill could come up to have a look at it. The engine wouldn’t start without him.

Still, the song brightly begins the album despite the sad context. Set to a sprightly 6/8 time signature for the majority, “Good Old Bill” gives an introduction to all the members from the mood-settling guitar work of the White brothers to the trademark whimpering vocals of Orlando Weeks. After a minute and a half and a few mysterious seconds of silence, three sudden smacks of the snare and open hi-hat signifies the song’s ending in which fast 4/4 tempo is introduced, the performance becomes more energetic and brighter with joyous choral ‘oooh’ vocals bringing it to a satisfying close.

So yeah. That’s “Good Old Bill”. Been good since I heard the album exclusive on NME all those years ago.