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#1100: Eminem – The Real Slim Shady

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If you were to start going through this series from the very first post and up to here, you’d think that the only hip-hop artists I listen to on the regular are Eminem and Kanye West. Not that there’s anything wrong with this. They’re both two of the best to ever do it in the genre. But, you know… I’d like to think I have a varied taste now. I wasn’t able to write the posts in time, is all. I started this blog when I was 17, and at that age, in my eyes, Eminem and Kanye were the best ever and no one could beat them. Times have passed, and their flaws – musically speaking – have become apparent to see as the years roll on. But their classic songs are still classics, including this one right here, which everyone knows and is still one of Eminem’s most popular tracks almost 25 years after its release.

‘The Real Slim Shady’ was the first single to be released from Eminem’s second major-label album, The Marshall Mathers LP. It had only been just over a year since the rapper blessed everyone’s screens with ‘My Name Is’, introducing the world to Slim Shady and the persona’s wild, wild antics. Now Em was back, laughing at the chaos left in his wake and making his mark again as a labelled misogynist and advocate of domestic violence (taken from Wikipedia, I’m sorry), being the White man succeeding in a Black man’s game and ultimately poking fun at the imitators who had made themselves present in the aftermath of his success. It’s a mixture of silliness and seriousness as Eminem criticises vapid boy/girl pop groups, journalists and critics and the general public. He also cusses out Will Smith in one of the funniest diss lines to be put to paper.

I was five when all of this was happening, so I didn’t really grasp Eminem’s magnitude at the time. To me, he would just pop up with his new singles every time a new album was coming around. I wanna say I do remember watching that VMA performance of the song where he got hundreds of lookalikes to stand menacingly as he rapped through the track. ‘The Real Slim Shady’ doesn’t have that much a personal connection with me, but it’s always just been there existing almost as long as I’ve been around, and it’s damn good. Does it sound a bit dated? Sure. I mean, those cultural references in the lyrics aren’t anything but stuck in the late ’90s/2000 dead-on. But once Eminem gets to rapping, I never get that feeling to skip it.

#1099: The Who – The Real Me

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Goodness, the amount of times I’ve written about songs from The Who’s Quadrophenia on here. One of the most represented albums on this blog. But I can’t say anything else apart from it’s just that good. To me, anyway. Anyone who’s been reading these for the longest time will know how I feel about that record. There’s only one more song to be covered here, I swear, just if you were getting sick of all the Quadrophenia coverage. That should be coming relatively soon too, if you’re thinking about what track it could possibly be. Then that’ll be it. No more. Until then, though, I have to make some notes on the album’s outright introduction (following its opening overture) of ‘The Real Me’ where we’re introduced to the story’s main character, Jimmy, and all of his problems.

The premise of Quadrophenia is that this central character suffers from a multiple-personality disorder, four personalities which each possess characteristics of the four Who members, who’s trying to deal with this alongside handling familial and sexual relationships, and battling with his identity as a Mod of the 1960s. ‘The Real Me’ spells out to the listener that this narrator is not all that right, and we follow his journey for initial help as he asks his doctor, his mother and, finally, a preacher for any solution, to get to the bottom of what exactly is going on in his head. His questions are left unanswered by the end of it all, leaving the narrator with just a tad of unresolved confusion, leading into the album’s instrumental title track.

‘The Real Me’ hits right out of the gate, with aggressive guitar chords from Pete Townshend, a bustling drum pattern from Keith Moon, and an off-the-wall bass guitar performance by John Entwistle that he knocked out in the first take. Quoted that he was was only “joking around” when doing it, he certainly puts a different spin on laying a bass line under a song in the fact that it doesn’t really match a chord progression or follow any melodic element within the song. It’s truly a beast in itself. Very sure you can hear his fingers smacking the strings around 2:10 too. And plus, he’s also on those blasting horns that come through on the choruses too. The Who didn’t have splash out on those brass bands, Entwistle always had those covered. Daltrey’s trademark growling vocals have become even more pronounced following their last effort with Who’s Next, and I can always try and match the anger, the grit and overall attitude when I attempt to sing along myself. I even try to replicate that voice break on the final “Can you SeE the real me” before he roars out that “mother”at the end of the track. Suffice to say, it doesn’t end so well for me. If there’s another album opener that’s as full-throttle as this, I like to be pointed to its way. This one would take a beating.

#1093: Pavement – Rattled by the Rush

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This song does have an official music video, but because it uses its radio edit, the guitar solo is cut out entirely. It’s only right that I have the album version up here first. I’ll embed the video after the final paragraph, though. Now that that’s out of the way, let’s get into this properly. ‘Rattled by the Rush’ is the second track on Pavement’s Wowee Zowee, the band’s third album, released just over a year after Crooked Rain, Crooked Rain. Story goes that critics couldn’t wait for Wowee Zowee to arrive because Crooked Rain… was just that good, but when it came around they were somewhat disappointed in its sprawling, eclectic direction, coming to the conclusion that Pavement were trying to sabotage their careers and were afraid of success. Stephen Malkmus replied to these notions, stating that it was mainly the marijuana usage that steered things along. It was also the marijuana that made ‘Rattled…’ sound like a smash hit to him, which resulted in it being released as the album’s first single.

If I tried to explain on here what I think ‘Rattled by the Rush’ is about, it’d probably be a waste of your time and mine. And no matter what Genius might have to say about it, I think this song is one of those occasions where the lyrics are just what they are and don’t have to be interpreted to any length or depth. There’s a clear stream of consciousness technique to them, the second verse in particular is a favourite of mine in terms of the rhyming and the words used in general, with ideas of one line running into a different idea in another (“cross your t’s, shirt smell”), and the words are accompanied by this stop-starting rhythm that makes it all sound very awkward, like it’s struggling to get going, before cascading into these heavy guitar breakdowns after the choruses. It’s a strange, strange song for sure. Especially one to choose for a first single. ‘Grounded’ was right there. But you’ve got to give it to Pavement for sticking to their principles.

The music video for the song caused some controversy back in the day. The band chose the guy who directed their former drummer’s ‘Plant Man’ music video to do the same job with ‘Rattled…’ (If you have questions about that linked song, don’t ask.) Band members mentioned that it wasn’t the greatest experience filming the video, and when it was shown on MTV2, it was banned for making people too dizzy because of the constantly spinning/zooming in and out camera work. An additional music video was made to make it more “pleasant” to watch, where the original video is shown on a bathroom tile next to a grotty bathtub. Fair to say, the track deserved better in terms of visuals.

#1078: They Might Be Giants – Put Your Hand Inside the Puppet Head

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Man, look at those fresh-faced Johns in that music video. I reckon I was about 12 years old when I saw the clip for TMBG’s ‘Put Your Hand Inside the Puppet Head’ for the first time and thus heard the song too. Would have been 2007, and YouTube was up and running at this point. Not the big deal it is today. Was a lot more humble and much more innocent back then. At 12, the Giants had been around in my life for probably three and a bit years at that point. And it was hard to find music videos by them online without really having to look for some websites. Now all of them were on this “new” site, and ‘Puppet Head’ was a well-liked song according to the band’s wiki. Became an instant hit in my book and another to add to that list of tunes I already knew that really made TMBG stand out compared to any other band/musician/artist I usually listened to.

I distinctly remember stopping and starting the video numerous times, just to keep replaying the image of the two Johns jumping in time to the track’s opening drum pattern. It’s quite hypnotizing in its own way. Plus, it’s quite the visual to start things off with. Once I realised that this was the duo’s first ever music video, it made sense that the first scene had to lure viewers in somehow. In fact there are many dance moves here (which were a signature in those early TMBG videos) that I kept on rewatching. Just made the two guys all the more endearing. But you want to know about the song, that’s why you’re here. Well, John Linnell originally wrote it – lyrics and music – but was unhappy with how his verses turned out. He gave it to bandmate John Flansburgh who “filled in all the blanks”, resulting in one of the best TMBG outcomes, a collaboration between the two band members in comparison to the usual where one or the other will write the entire song.

From what I can gather from the lyrics, I think it’s simply about a person who doesn’t like their job, wants more out of life. Maybe a little loving to help soothe the pain. And all of this could happen if someone would only put their hand inside the titular puppet head. The talk about zombies and this puppet head puts things into a bit of a surreal area, but I think that’s just a way of making the understanding a little harder to achieve. Well, I think they did that quite successfully. But like a lot of other TMBG songs, it’s a bunch of fun to sing along to. The track was released as the second song on the band’s first album from 1986, but with a different mix from that in the music video. The snare hits are drenched in reverb, someone suggested to make the song a little sharper in its key, and the tone overall is a little brighter. It does fit in alongside the other 18 tracks on that record. When I sing it out of the blue, my pitch usually goes to that of the video’s. But honestly, this is one of those rare occasions where I like two separate released mixes of a song at about the same level.

#1077: Feeder – Pushing the Senses

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Feeder, Feeder, Feeder. Don’t believe I’ve ever gone through a whole studio album by the band before. Not sure whether they have a worldwide-recognised bona-fide classic. But they always seem to hit a home run when it comes to their single releases. All the Feeder songs I’ve written about before on here were commercially released as representatives of their parent albums at some point or another. That also includes today’s song ‘Pushing the Senses’, the title track from the band’s 2005 album. Or, if you’re turned off by my subtle dismissal of their studio albums, you can find the track on the fantastic Singles compilation. In my honest opinion, if you want to get to know Feeder, this is the only release you’ll need.

To be even more honest, I don’t have a great emotional investment in this track as I do for a lot of other tracks in this long, long list. That’s to say it’s not a song that I’m usually seeking out to listen to on a regular basis. Nor was there a key moment in my life that I can recall where it played a significant part. In fact, I’m very sure that it was used in a car advert a few years back, wanna say it was one for Mitsubishi for some reason, and that reminded me that the song existed and thus made me revisit it. I’d be singing along to it whenever it came on the TV though. Partly because it used to air a numerous amount of times. But mostly because the car company’s use of the chorus was a smart move. Very melodic. Very memorable.

The usual conclusion to come to when listening to this track is that in some way it’s probably about the band’s former drummer Jon Lee, also a good friend of guitarist/songwriter Grant Nicholas, who committed suicide in January 2002. Many tracks on the albums following on from that year contain lyrics alluding to Nicholas’s feelings on Lee’s passing, but it was Pushing the Senses and 2002’s Comfort in Sound that really captured them in the midst of that sad time. I’ve come to see the track as one that’s about a relationship, one in which the narrator wants to fix things with the significant other just by talking things out when things get tough. Then again, you could take that to be Nicholas wanting to talk to Lee about his own feelings and to try and find some resolve. We could go round in circles here. What matters really is the music, and the gist is that it’s a very driving, forward-looking power pop tune. Gets a thumbs up from me.