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

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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.

#1166: Noisettes – Scratch Your Name

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This post may just mark the biggest amount of time between two posts by the same artist/band. The last time I wrote about Noisettes was in 2013, the year this blog started, when I was initially using Blogspot/Blogger. At that point, a year had already passed since the band had released their last album. It’s now been 12, and it doesn’t look like they’ll be returning anytime soon. But the initial trio-turned duo made a mark in the UK at least. In the aforementioned post for the last Noisettes song I wrote about, ‘Bridge to Canada’ (it’s a good one), I dedicate a whole paragraph to ‘Scratch Your Name’ – today’s song. A lot of points I make in that old paragraph still stand though. But if you could refrain from reading it there so I can sort of reuse it here, that’d be great.

‘Scratch Your Name’ was indeed the very first song I heard by the band, and yes, it was through seeing its music video (above) on MTV2 one day. Unlike the smart-aleck 18-year-old I was back then, I don’t think the video is rubbish at all and I was probably just exaggerating to try and get a laugh or something. They did re-release the song as a single some time after though and got a fancier video in the process (below). But I do remember thinking it was very cool to see a Black lady lead singer in a band on the channel for once. Shingai Shoniwa had some soul in that voice, and she rocked too. The video showing up was probably the first time a Black woman-fronted indie rock band appeared on my screen in my experience of watching MTV2, and I’d been frequently visiting that place for at least two years by that time. Was 2006, started watching MTV2 in 2004, so that would make sense.

Like I also said in that old post, and agree with too, the track is a ‘proper rocker’. It starts off with one riff, plays another under the verses before exploding into the power chords for the choruses. Rinse and repeat, it’s a thumbs-up performance. I really like the harmonies between Shoniwa and guitarist Dan Smith as they sing the hook, ‘Scratch your name into the fabric of this world before you go/The skin will tear under the pressure, make it deep so it always shows.’ That’s an encouraging message if ever there was one. Make a name for yourself, make an impact in this world, with your life, in other people’s. It’s something to take on board. The track can be found as the second song on the band’s debut album, What’s the Time Mr. Wolf?, from 2007. I once had a physical copy of that album, but gave it away. There’ll be another song from it that I’ll be revisiting on here.

#1143: The Beatles – Run for Your Life

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I don’t care what anyone says. I really like this song. The Beatles’ ‘Run for Your Life’ has gained a bit of a stink amidst the Internet community in recent years. People hear the song’s first line and are immediately shocked. Appalled. “I’d rather see you dead, little girl, than to be with another man.” Gasp. “What? Oh, my God.” Then come the rest of the lyrics that detail this girl’s low survival rate at the hands of the song’s narrator who will kill her if she even dare tried to leave him. It strikes a chord. Then add in the whole ‘John Lennon beat women back in his day’ statement (which is true and is bad, but the guy’s dead – can’t get any more cancelled than that) and people have a field day with criticising it. Then there’s the argument that it doesn’t bring the most satisfying end to the band’s Rubber Soul album. That’s a notion I would be fine with agreeing with if I cared that much.

The track was the first to be recorded for the album in October 1965. Not much is known of how John Lennon came to write the words, but the opening line (stated in the above paragraph) was taken from the Elvis Presley song ‘Baby Let’s Play House’. I assume that everything that followed was made just to match the tone of that source of inspiration. Backing up the threatening lyrics is an upbeat performance by the four band members. Lennon’s vocal performance is one that I thoroughly enjoy too. He’s backed up by the harmonies of McCartney and Harrison on the choruses, which aid in building that sort of tension within the song, that’s then resolved in the slide guitar and rhythm guitar riff that arrive after each iteration. A piercing bluesy guitar solo adds the icing on the song’s cake. In the end, George Harrison really liked ‘Run for Your Life’. Lennon not so much. He would later state that it was his least favourite Beatles song. In fact, I’d probably say the reason the track was chosen as the album closer was because he thought it was the worst one out of all the songs they’d recorded for the album, rather than thinking it would be a good way to finish things off.

I dunno. I think at the end of the day, it’s just a song and shouldn’t be taken so literally. I mean, are there people living today who could very much hold the values and ideals held by the narrator of the song? I wouldn’t doubt it. And that sucks. But at the same time, it’s so outrageous coming from the Beatles that you almost sort of have to laugh at it. Is Lennon writing about himself? Don’t think you can objectively say no. But I think once people learn about Lennon’s history, they hear the track and judge the dude’s character solely based on it. A whole hypocrisy argument comes in because Lennon was the peace guy, even though this song was written years before he became the figurehead of that specific movement. Maybe it’s me who’s making a big deal out of all of this. I’m just writing about what I’ve seen, I swear. Whatever view you may hold on it, I’m gonna carry on listening regardless.

#1135: Ferry Corsten – Rock Your Body, Rock

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How I came to know this track is unlike a lot of other stories I recount when it comes to writing these posts. Dutch DJ Ferry Corsten’s ‘Rock Your Body, Rock’ was a song I heard in my sleep. That’s right. Around 2003/04, I was sharing a bedroom with my sister, and she’d leave the radio on as we laid our weary heads on our separate beds and got our few hours of shut-eye in. It was during one of those nights that Corsten’s track played. I feel like I was in a deep sleep at the time, but hearing the song woke me up because it sounded like some intense robot factory. I told my sister the next morning, “I heard this really good song that played on the radio last night.” She said, “Ah, nice. Cool.” Something along those lines. She was being nice about it, but kinda brushed it off. And I was left wondering what that really good song was for a long while.

That all changed though, thanks to Top of the Pops. At some point, the show was doing the countdown of the official UK singles chart. ‘Rock Your Body, Rock’ had charted at number 11. I think a short clip of the music video (below) played, and it sort of stopped me dead in my tracks. I went onto Corsten’s website, the video could be played in full on there. This was the song. Would be funny after all these years if it actually wasn’t and I’ve still yet to hear that sleep-song. I’m 95% sure this was it, though. And I tell you, I kept repeating that video basking in the success. Having owned FIFAs 2003 and 2004, I did think it would be cool if the song was used in the next game that would be made. And it was like EA heard my thoughts because the company included the song on the FIFA 2005 soundtrack. Now there was no way I would be able to forget it even if I wanted to.

‘Rock Your Body, Rock’ is the only song of its genre that I’ve ever thought to listen to. ‘Trance’. If anyone knows any Trance albums, please send them my way. If you can’t, well, I can always go to Rate Your Music. But if this turns out to be the only one I know for the rest of my life, I’d be pretty fine. ‘Rock Your Body. Rock’ begins suddenly with Corsten’s heavily effected vocals, droning on a B-flat note (which is also the one chord the track stays on for its entirety), in which he tells the listener that he wants to have relations with his girl on a worldwide scale. Hence the song’s title. I didn’t know that when I was eight but became very apparent while growing up. His verses appear only twice in the whole song, dedicating a lot more time to the surging instrumental passages that trundle along, fade away, then come in with a vengeance with the euphoric “choruses”. The official music video cuts out a lot of the instrumental sections out, so I’d say the album version’s the way to go. But the edit is also there only have three-and-a-half minutes to spare.

#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.