Tag Archives: you

#696: Eminem – Kill You

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In 2009, I was fourteen and going through those weird motions as you do at those early teenage years. That year saw Eminem return to music with Relapse. My friend and I thought that Eminem was the greatest rapper of all time. Thought all of his music was great. I hadn’t actually listened to any of his albums in full though, only his singles. So I decided to download The Marshall Mathers LP one day to up my game when it came to Eminem knowledge.

‘Kill You’ is the second track on the album, following the opening intro. Can’t say I had too many strong feelings about it 11 years ago. I thought the hook was good, the beat too, but I wasn’t really taking in what he was actually talking about. For that reason, I didn’t listen to it for a very long time. Gave the album a replay many years later…. and it became very clear that Eminem was saying some very fucked up shit on here.

It actually starts off quite normally. Eminem tells the listener about his less than pleasant relationship with his mother before voicing his acknowledgment of those who wondered what he would rap about now that he was rich from the success of The Slim Shady LP. And then he suddenly starts exclaiming about choking women until they can’t breathe. And then from then on it’s just one outrageous lyric after another with imagery of him raping his mother, dismemberment with a chainsaw, and basically being a psychopath and having no regard for any human life. He describes it so vividly and with such energy in his voice though, that it’s just enjoyable to listen to. Everything in here is so off the wall that you obviously shouldn’t take anything he says in it seriously. 20 years ago people didn’t understand this, and so protested and demonstrated against Eminem for his awful, hateful messages. Actually, he probably wouldn’t get away with releasing this in this age if he tried to.

This track is fantastic. It’s got all the clever wordplay, assonance, internal rhyming, metaphors, similes, imagery that you want from a hip-hop song and were the usual standard for an every Eminem song back in those days. He does the same thing now…. the songs just don’t sound as good. I’ll leave it at that.

#650: …And You Will Know Us by the Trail of Dead – It Was There That I Saw You

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‘It Was There That I Saw You’, the (almost) opener of Trail of Dead’s 2002 album Source Tags & Codes still gets me pumped today. I listened to the full album for the first time about five years ago and ended up pleasantly surprised by the entire thing. There’s this grand mystical vibe that the music and lyrics give out throughout which some may find pretentious but I found bearable at least.

But ‘I Was There’ starts it all off with this calming introduction that suddenly explodes into a ball of energy with crashing drums and exhilarating guitar work. It is during this moment that singer Conrad Keely comes into frame singing about the time he became enamoured by someone (I’ll assume a lady) and had some great times with her before eventually losing touch. He is left wondering what he has been up to in the time that have been apart.

It’s endearing stuff. But then the fast music suddenly stops and transitions into this slow breakdown – with a melody taken from the preceding track ‘Invocation’ – that builds and builds in intensity, repeating that melody endlessly before transitioning back into the fast music you were hearing almost two minutes ago. Ahhh… it feels so good when that happens. You can experience it too!

It’s a dynamic track that pulls and pushes and takes a few turns here and there. It’s an exciting listen. It’s a great album, I say.

#647: Blur – It Could Be You

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I may have said this before but just to reinforce it again, I prefer The Great Escape to Parklife. I realise that the latter is recognised as Blur’s first classic album, it was immense for British culture during the time it was released. The former is mostly seen as Parklife‘s weaker follow-up nowadays. It also doesn’t help that none of the bandmembers don’t look on The Great Escape very fondly either. When it comes down to it, I enjoy a lot more songs from that album than I do its predecessor.

‘It Could Be You’ is a track from The Great Escape, released in 1995, and was also released as single – only in Japan – the following year. It is predominantly inspired by The National Lottery, which had recently become a thing around the time the album came out, with its title taken from the initial slogan that was used to promote the whole ordeal. Damon Albarn sings about what he could do if he were to win it, or at least sings from the perspective of someone who wishes to, alongside various phrases and observations on British society that he was prone to during those times.

Like a lot of songs on Parklife, the track is rich in melodies and general catchiness, pepped up with enthusiastic ‘doo-doo/ooh-ooh’ vocals here and there and quite the keen vocal take from Albarn. Actually, a lot of the vocals here seem almost camp in a way…. like it could be a musical number or something. Though it does help that they’re backed up by a relatively strong performance from Graham Coxon’s guitars and the rhythm section of Alex James and Dave Rowntree. Check out the fuzz bass that comes in for a brief moment during the chorus. It took me a while to realise that was even there.

#614: Arctic Monkeys – If You Were There, Beware

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‘If You Were There, Beware’ was always a highlight of mine from Favourite Worst Nightmare. Bought that album from Woolworth’s in about the first or second week it was released in April 2007. It was a big deal. A year and a bit had just passed and the biggest UK band of 2006 had come back with their second record. I think it’s always been my favourite album by the group. It was a bit like their first album but very beefy in its production. And the songs are good too.

Anyway, ‘This House Is a Circus’ seamlessly transitions into ‘If You Were There’ – one of the best moments on Nightmare – and the latter begins with an unforgettable riff that drew 12 year old me to it immediately. All the other instruments join in for the emphatic introduction which eventually give way to Alex Turner’s vocals for the first verse. All this time I’ve never put any thought into what the song was about; the vocal melody is so infectious that it just never came to mind. Though reading up on the lyrics (and just seeing fan interpretations) it’s somewhat agreed that it’s about the British tabloid press and the vulture-like manner in which they gather information from celebrities or the people they’re involved with.

Looking back on Arctic Monkeys’ discography now, it’s not so surprising that the band followed this up with Humbug a couple years later. I have a vague memory of people being slightly put off by the change in sound they undertook. Though evidence of what was to come was in this song all along. Matt Helders carries the track with some fantastic drum work, really leading the track’s rhythm when the song slows down just over a minute in. And overall the song’s direction changes so many times it’s as if there are four songs in one. It’s a mammoth of a song and maybe, just maybe, one of their most ambitious at that point.

#613: Jamie T – If You Got the Money

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Sometimes this song will come up on shuffle when I’m on the underground and I’ll be tempted to grab my phone right out of the pocket and press skip. I was in Year 7 when Panic Prevention came out, very much into my NME/British indie music stage. Jamie T doesn’t really make music like that any more. He has grown, as have I. So when the track starts immediately with him singing the song’s title with his prominent South London accent, it almost makes me wince a little. It just reminds me of that time in 2007 when I was young and doing stupid things.

That all changes when the bass comes in and the track’s groove gets going. It’s hard not to at least nod your head to it. It’s all about that rhythm. It’s at that point when I begin to remember what attracted me to the song in the first place. It’s a song that covers two things in each verse. The first concerning potential love and the loss of it on the dancefloor while on a night out, and the second detailing basic frustration with having a low-paying job and drinking your problems away. It’s very relatable. Very British in its delivery and execution too. Quite easy to see why he was described as a ‘one-man Arctic Monkeys’ during his first few years.

It’s a playful track, one that you can have a laugh to when listening but still appreciate what Jamie talks about and the great music that accompanies his thoughts.