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My iPod #324: The Beatles – The End

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It all came down to this in 1969. This was The Beatles’ last song ever. Well, it was meant to be. “Let It Be” was released a few months later after “Abbey Road“, and even on the latter album itself “The End” is followed up by “Her Majesty“. But even then, the track was recorded with the full understanding between the four guys that this would be the last thing they would do together. How did they decide to it? In one of the most epic ways possible. And all in two minutes too.

If you have “Abbey Road”, you know that the second half of it is the famous medley where all the songs run into each other. So not only are you treated to that, a musical movement beautifully put together with orchestra and guitars everywhere, but this is the climax of it all. The big finale. With a drum solo by Ringo Starr (the first and only one he ever did with the group) symbolising his recognition 0f being the steady, solid drummer and the rotating guitar solos by Paul, George and John which seem to go on and on and on until a piano plays, the four members sing ‘that’ line and the finishes on a rising chord progression.

Now you may read that and think “Well, that doesn’t sound that good. What’s all that about?” And I know I can’t do it enough justice in writing. You do have to hear it to be convinced. Actually listen to ‘The Abbey Road Medley”. Search it up on YouTube. You will not be disappointed.

My iPod #313: They Might Be Giants – The Edison Museum

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“The Edison Museum” is They Might Be Giants’ “endearing” tribute to the Thomas Edison National Historical Park, which is actually in New Jersey. I put endearing in quotation marks because the the track is quite the opposite. The lyrics and music make it out to be one of the creepiest and mysterious places to exist on the face of the Earth. The track even uses a line from the original Charlie and the Chocolate Factory film, which I only just realised and makes this track a bit more comedic than I thought it was.

The use of only horns, a keyboard and a vibraband mimicking the sound of a sped up voice recording give the track a very eerie and spooky atmosphere. That’s also emphasised by radio DJ Nick Hill’s vocal. He sang  “I Hear the Wind Blow” in the “Fingertips” track on “Apollo 18”, if you didn’t know. His low voice guides the listener through the dusty corridors of the haunted building, which is apparently used as a threat to children if they don’t stop arguing and yet is still a wondrous place which amazes the many people that lay their eyes on it.

This track may be hard to talk about. It’s not one that would be regularly requested for the band to play at their shows that’s for sure. But it is still an interesting one to listen to nonetheless. It’s the last song on the band’s album “Long Tall Weekend“. It brings a very abrupt end to it; I can remember listening through the album for the first time when this song finished expecting something to follow it up. The last line is sung, and then it just stops – that is the end of the album. But that’s due to the fact that the track was originally much longer, but was cut down to the final version that was released.

It is unusual. But that’s what They Might Be Giants do occasionally.

My iPod #301: Super Furry Animals – (Drawing) Rings Around the World

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 I’ve never listened to the “Rings Around the World” album; I should get to doing that sometime soon. I started listening to Super Furry Animals’ discography a few weeks ago, starting with “Fuzzy Logic” and then “Radiator“. Their albums seem to be the only ones from a band where all of them have been acclaimed by critics and stuff, so I wanted to see if they were actually that good. Those first two are. “Guerrilla” too. I’ll carry on listening to the others later.

“(Drawing) Rings Around the World” is the title track from Super Furry Animals’ 2001 album, the Welsh group’s first one on a major label. I’ve known this one for many years now. I saw the video on the television one time, and then completely forgot how the song actually sounded because I never saw it again until a few years later. It’s a cool one. The introduction builds up from a lone synthesizer, which is then gradually accompanied by the guitars, drums and eventually lead singer Gruff Rhys about communication and rings of TVs and satellites around the Earth.

Two minutes of the song is a coda which may be repetitive for some; I enjoy just ’cause the melody’s brilliant. Reminds me of that “Rockin’ All Over the World” song. Don’t really like Status Quo though.

My iPod #279: The Who – The Dirty Jobs

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Maybe I should have tweeted that there wasn’t going to be a post yesterday. It would save time in having to explain why. I was out, and for anyone that was desperately waiting for that usual update in their Twitter feed…. I am sorry. Dreadfully sorry. But it’s here now, and will be followed by another one soon.

Here’s one random question I want to ask….. Is it wrong to be young and really like The Who? This randomly came up as a thought when I was listening to The Who on shuffle, when I was on the train back to university from Liverpool. I think The Who are amazing (or were); “My Generation” through to “Who Are You” speak for themselves. But I’ve never met in person or seen on the internet anyone my age who feels the same way. I feel as if The Who’s the kind of band who are only listened to by middle-aged men trying to make their name in the rock music business or something. You see, hear or research about new bands who say that they are influenced by The Beatles…. or material that the members went on to produce in their solo careers. But you never really see any new and talented vocalist say they are inspired by Roger Daltrey, or a bass player inspired by John Entwistle. I stress that this is new bands that I’m talking about here. There are loads of bands I listen to who admire each and every member. But…. I don’t know. Maybe it’s a generation thing….. That pun wasn’t intentional.

That’s something you guys can think upon.

But enough of that. Today’s track is “The Dirty Jobs”, a song from the band’s second ‘rock opera’ “Quadrophenia“. At this point in the album’s ‘plot’, the narrator has left home and meets these workers who do ‘the dirty jobs’, such as looking after pigs and driving the miner bus. The narrator criticises them for not sticking the middle finger up to ‘the man’. That sums the song up lyrically.

It’s astonishing how though in this song – hell, through the whole album – it is the four members of The Who who play every instrument you hear. Except for the piano part that’s played a session musician. I brick-walled the track using Audacity (something I still have polarizing feelings about now). It’s very loud, mostly thanks to the constant cymbal thrashing and drum pounding from Keith Moon, but I can’t listen to it any other way. Just everything about the song is brilliant. Awesome. Great. Fantastic. Can’t think of superlatives to emphasise how good the track is.

Actually, just listen to “Quadrophenia”. You must. You won’t forgive yourself if you don’t. Arguably The Who’s creative peak as a group.

My iPod #248: The Beatles – A Day in the Life

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“A Day in the Life” is the grand finale of The Beatles influential 1967 album “Sgt. Pepper’s Lonely Hearts Club Band”. Many consider this to be the greatest song the group did, and see it as the pinnacle of the experimentation the four guys had been undertaking during the mid 60s.

2007 was its 40th anniversary, and it was of an immense deal that the cast of Eastenders did a cringeworthy tribute of it for Comic Relief (take some time to think before you go to this) and a whole bunch of other bands (from Stereophonics to The Fray) got together to do a cover album as a tribute too. But it was two years later in 2009, when I first listened to the album and therefore the song. I did not think that it was worth all that fuss. I found out that it was. It’s still not my favourite of theirs though.

In terms of the track… I think I was looked at its article on Wikipedia one time (God knows why) and the overwhelming detail it listed about “A Day” – its background, the dates it was recorded on, the crescendos of the brass, the combination of Lennon and McCartney’s separate song ideas, the almighty piano chord at the end – it made me think I was missing out on a song of epic proportions. I had to listen to it.

Funnily enough, I didn’t care for it so much the first time. I was thirteen. This opinion has changed. It is one of the greatest album closers ever.