Wednesday, October 31, 2012
My friend Zolland (Well hello Zolly!) told me about this coincidence.
After hearing it, I came to the conclusion that I didn't want to bandy about such ugly terms like "blatant theft", or "shameless pilfering", or "you've gotta be kidding me" in describing this coincidence. For someone with as delicate a sensibility as Zolland, that might be a bit too much.
So I thought I'd use the term that Zolland used when he told me about it. He called it "noticeable".
This coincidence is very noticeable.
The Five Americans - "Black Is White - Day Is Night" (1967) (excerpt)
I received an email from a band called Motel Beds letting me know they have a new song available for listenin' to. Unfortunately, my email program decided the message was spam so it was promptly thrown into the Junk E-mail folder. (Maybe it was the band name that caused consternation. The phrase "motel beds" does sound a little suspicious...)
Before I deleted my unwanted emails I spotted the little critter (I do like to know what I'm throwing out before it disappears in case there's something – like a message from a band – that shouldn't be deleted), and told my email program in no uncertain terms that any message from "Motel Beds" is fine. (I sincerely hope there are salacious emails out there containing the phrase "motel beds".)
So, with the Motel Beds email sitting comfortably where it was supposed to be (Message to my email program: "Stop that"), I followed the link it had to their latest song:
I like it.
I like the song's combination of Fifties chord progressions and power-poppin' poppiness. More please.
Tuesday, October 30, 2012
Monday, October 29, 2012
Here's some music I completely forgot to tell you about last week when the Research Turtles told me they'd released an EP.
So let's start this post properly...
The Research Turtles have released an EP. It's actually part two of an album called Mankiller. Part one was released last year.
Which leads me to the following pondering:
Quite why the band decided to release an album in two parts, a year apart, is a bit beyond me. Maybe they did it as a novelty (or, as the band might put it: "We're tryin' somethin' new, man!") Maybe they didn't have enough songs when it came time to record the album (or, as the band might put it: "No way! We had this planned all along!").
Anyway, the upshot of all of this is that them thar Turtles released Part 2 of Mankiller, told me about it, and now I'm telling you about it – albeit belatedly. (Sorry about that, chaps.)
As I may have done in my post for Mankiller Part 1 (I'll have to check), I'll present you with Part 2's six tracks and comment on each one. Feel free to ignore my comments and just listen to the music. (That's the part of the post that matters: the music.)
Announcement Before You Hear Mankiller Part 2
In what appears to be a case of the entire band going mad, they told me that Mankiller Parts 1 and 2, as well as their first, self-titled album, and other things they've recorded, are all available completely free of charge. You can grab everything on the band's Music page, and you don't even have to join a mailing list or provide details of any kind. You just click on the links and start downloading. Mad.
Another Announcement Before You Hear Mankiller Part 2
Those turtlesque chaps ("They're turtle-y wild!") told me that the main Research Turtle, Jud Norman, has recorded a solo album. He's a productive blighter, because in addition to writing the bulk of the Research Turtles material this is his second solo album. It's apparently a collection of home demos that were lying around not being heard by other people. It sounds to me like a tidy-up of loose bits and pieces. A bit of housekeeping, eh Jud?
Anyway, Jud's album is also free on the band's Music page.
Unless Jud expressly forbids me to, I'll have a listen to his solo album sometime and let you know what I think of it.
But first I have to finish this post.
Summary Of Mankiller Part 2 Before You Hear Mankiller Part 2
Mankiller Part 2 is, reassuringly enough, a continuation of Part 1. There aren't any major musical surprises along the lines of "Oh no – the band's gone completely calypso and replaced all their instruments with steel drums! They sound nothing like they did last year!".
If there's a standout track (or, as the band might put it: "They're all standouts, you idiot!"), it might be "Into You". maybe.
Mankiller - Part 2 of 2
1. "Guy Like Me"
I like the main tune in this one, and how it presents itself very unobtrusively (with solo voice), and then builds little by little until it settles into a nice, low-key track. I think it's an interesting way to open an EP/second-half of an album.
Incidentally, the way "Guy Like Me" starts reminds me of "The Way I Feel Inside" by The Zombies. It's not a huge musical coincidence or anything – it's just an excuse for me to hear Colin Blunstone's voice again:
The Zombies - "The Way I Feel Inside" (1966)
2. "The Fancy"
This is a moody mid-tempo guitar-going-chk-chk-chk-chk New Wave-ish rocker with bizarre singing. And I mean bizarre. Whoever sang this decided to adopt an affected accent along the lines of the overly emotive New Romantics of the early 1980s. This really is bizarre singing. I'm mystified as to why Mr. Singin' Man chose to sing with that out-of-character singing. But I'm reassured that mercifully no other vocal in the Research Turtles canon sounds anything like what you hear in this song.
Update: It's just occurred to me that, after listening to the song again and this time paying attention to the lyrics, The Singing Dude is probably singing in an extremely mannered manner deliberately, to emphasise the "fanciness" of the object of his
3. "Break It Up"
When this one started I thought "Oh-oh – this verse is a bit ordinary." But then the chorus came along (0:14) with some very enjoyable vocal harmonies (0:18). I liked the glam guitar sound after right after the chorus (0:28). Unfortunately, the ordinary verse came back (0:34), and I was waiting fairly impatiently for that chorus which duly arrived (0:47) to relieve the (admittedly mild) tedium. The middle eight appeared (1:03) right on schedule (i.e., after the second chorus – as it does in almost every rock song ever recorded). I liked it. For a moderately straight-ahead rocker, the end of the middle eight contained some weird vocal harmonies immediately after the singers says how much he likes a particular girl's skin. ("I see you everywhere / the color of your hair / the dimples in your grin / and most of all, your skin".) Now, I don't know much about the modern courting procedures of young people, but telling a girl the thing you like most about her is her skin – is that creepy? In this case I'm guessing yes, because the background vocals when he mentions her skin (1:26-1:31) do sound a little... odd.
I'm spending way too much time talking about this song.
After the middle eight the band plays an instrumental break (1:33-1:40, which is basically a foot-stomping version of the verse with the vocals) until the singer finishes the verse with some warbling. Then it's into the last chorus (1:53). As prescribed in The Unwritten Rules Of Modern Rock Song Writing, it's a double chorus to end the song. Also in the rules, a band has a choice of ending their song with either a bang (i.e., the band all stops together) or with a fade-out. (According to the rules, they're the only two choices a band has. Apparently you're not allowed to do something like fade back in, or stop multiple times.) The Research Turtles chose to end their song with the bang.
And I'll try to be a bit more succinct in describing the rest of the songs on this EP.
This is a garage-y rocker, and I enjoyed it – especially the bit from 1:07-1:27 where the band really takes off. (Pun definitely not intended. Because it's awful.) When the song started, it reminded me of early Hoodoo Gurus. (Thank you, Research Turtles, for reminding me of Hoodoo Gurus.)
With the stop-start drums in the verses, and then the flying-off-into-space choruses, I can imagine "Space" sounding good live.
5. "Into You"
No, this isn't the Atlanta Rhythm Section song, "So Into You".
Despite the drum beats for both the verses and choruses (they're not my favourite rhythms), I liked this song. I think this one might have the best tunes in it. After an ill-fitting middle eight (1:47-2:03 – I don't think it suits the rest of the song), there's a frisky guitar solo. It's divided into two parts. The first part (2:03-2:16) features a guitar playing a pattern notes, but it's had a digital delay applied to it to such a degree that I thought it was silly (but not the good kind of silly). The second part (2:16-2:28), however, is magnificent. It's a cascade of fast note runs (sort of like playing scales, but hyperactively). I loved it. After the guitar solo it was time to repeat the chorus until the end of the song. I liked the little background vocal touches in this part of the song. For example, someone sings a cute "You" in the left channel at 2:34-2:35. And soon after that, when the lead singer finishes singing the word "mine" at 2:39 the background vocals keep going by stretching out their "mine" with its own tune. And they don't stop singing their "mine" until lead singer chappy comes back for the next line. I thought it was nice of them to keep singing until he came back. They waited for him. Awww. When the band finishes the song with an extended flourish (2:52 onwards), the drummer lets loose with some tasty fills.
6. "What Can I Say?"
This track I find a little hard to describe adequately. To me, this is simultaneously a relaxed and polished garage rock song – if that's possible. It also has little elements of early-60s songs such as the "oo-oo-oo-oo" background vocals from 0:17-0:19. I like this. Actually, there were a lot things I liked about this particular song. I thought the middle eight (1:12-1:26) suited the song beautifully. Although it had a couple of dodgy aspects to it – using the drum beat from "That Thing You Do", and using the horrendously overused phrase "I know that our love will never die" – I liked it a lot. I really liked the harmonised twin-guitar solo (1:27-1:41). Very Thin Lizzy. (Yum.) And I liked how the bass player played an enthusiastic run of notes when everybody else got quieter for the bit between the middle eight and the next section, from 1:41-1:55 (The Bass Player: "Now it's my chance to shine!"). I liked the arpeggiated guitar in the right channel (1:55-2:06) as the band gradually built the song up to the final choruses – although I don't quite know why it was accompanied by what sounded like jingle bells. With a time of 2:32, I enjoyed this song so much that I thought it was way too short. But I know how to rectify that: I'll play it again.
Well, that's what I thought of Mankiller Part 2. My comments about Part 1 are somewhere around here. Hang on...
OK. Here they are.
Sunday, October 28, 2012
This week Michael has suggested a song I've never heard, by a band I don't know. Excellent.
The song is "Girl On A Train", and the band is Squire. The only thing Michael told me about the track was that the band were from the UK.
Squire - "Girl On A Train" (1982)
0:00-0:05 - I like how "Girl On A Train" starts, with the drummer replicating the sound of a train. It instantly reminded me of this piece of Australian rock history:
Kevin Borich Express - "Goin' Down Town" (1977)
I'd like to thank fellow blogger Stonefish (Hi, Stoney!) for posting a couple of Roxy Music songs on his blog, because it reminded me of this:
Bryan Ferry - "This Is Tomorrow" (1977)
Saturday, October 27, 2012
This coincidence was found by my friend Michael (Hi, Michael!), and I'm extremely glad he found it. (Thanks, Michael!)
When Monsieur M. told me about the coincidence involving two different bands, from two different eras, playing a similar guitar riff I thought: "That's so obvious. Plenty of people would have noticed that." So I went a-lookin' around for articles that mentioned the similarity. But no. Apparently no-one else – anywhere – has noticed the similarity between the two.
I'd like to raise a glass of something enjoyable to The Man Called Michael for spotting this coincidence:
Brian Diamond & The Cutters - "Shout, Shake & Go" (1964) (excerpt)
I received an email from a chap from a record company. The chap is Brian (Hi, Brian!) , and the record company is Fin Records. Brian told me about a Fin Records artiste by the name of Gavin Guss. Mr. Guss recently released an album called On High, and Brian wanted me to hear it.
I had a listen to the little critter and made some notes (see below – if you dare).
By the way, I feel it my duty to let you know that Gavin's album is currently being sold in vinyl form, not on CD. However, if you're the kind of person (like me) who doesn't have a turntable (I sold mine to buy more CDs), the purchase of the album includes a digital download.
(I don't know why I said "digital download". Aren't all downloads digital?)
If you don't mind, I'll switch to present tense for my comments about the album...
With this album I'm going to try something the switched-on Internet people call "live blogging", where I'll type as I'm listening.
Considering the shortness of most pop songs, I'm going to have to type as fast as I can.
1. "Avenue A"
When this song started I thought "That's not bad." But as it progressed my thoughts changed from "That's not bad at all" to "Hey, that's alright" to "This is pretty good" to "I really like this song". Can I play it again? (Note to self: Nope. There's another song coming along.)
Non-important Announcement: Well, I'm going to have to admit defeat. I had to stop playing the track to type the last couple of sentences. I couldn't keep up. Ah well. Now I can take my time with each track.
2. "Come Over"
This is pretty good too.
Interlude After Two Songs:
It's only been two songs, but from what I've heard I can safely say that as a songwriter, Gavin is a traditionalist. He writes songs with solid melodies, solid structures. Solid. (As opposed to liquid.) In addition to the solid songwriting, I'm thoroughly enjoying the production. It's not excessive, and it's not too minimalist. (It has nice little touches of extra instruments placed here and there in the mix.) Themore I'm listening to the album, the more I'm enjoying the production. For me, it's exactly as Goldilocks said everything was.
Although it's only been two songs, I'm rather in the mood to buy this album.
3. "Voice Inside My Head"
OK. This one I'm not as keen on as the first two songs. Oooh. At 0:26 Gavin added an unexpected chord and some brain-melting vocal harmonies. Oh no. I'm going to like this song too. Grrr. 1:09 – what a great middle eight. And the rasp in Gavin's voice here – excellent. What's not so excellent is the guitar solo that follows immediately after the middle eight, from 1:19-1:41. The guitar is out of tune, and there's a bum note at 1:29 that actually made me groan out loud. (It was something in between "oh" and "ewww".) The good thing about the solo is that it finished at 1:41 and Gavin came back on board to sing the rest of the song. I spent the rest of this song noticing the drums. I like the sound of them. They sound wonderfully natural. (No fancy "room effects" or sound manipulation to make them resemble something they're not.) The thing I liked most about the drumming were all the drum fills. They're very Ringo-ish. I have a feeling someone likes Ringo's drumming style.
4. "Riga In The Fall"
An exceptionally relaxed song. Very nice. I thought the Leslie organ was a nice touch. As this track progressed I was reminded of Pink Floyd (specifically "Us And Them").
5. "On High"
A bit of boogie. I'm liking this album the more I hear it. I hope it's available on CD. (Beware: From 1:21-1:38 there's another dodgy guitar solo. But it's mercifully short. And the song is good.)
6. "Sister Patchouli"
I like this one too. (No dud songs so far. Splendid.) I love the sound of the bass guitar in the left channel. It's very Paul McCartney-esque. And I like how the bass guitar in the left and the piano in the right are basically playing the same thing. Yum.
7. "Wonder Too"
This one isn't doing much for me. Maybe I was subconsciously hoping for an uptempo poppin' rockin' ditty to keep things a-boppin'. This is enjoyable enough, though. However, I love the melody and vocal harmonies at the end of the chorus (2:01-2:04). I think they're perfect for that part of the song. By the way, from 2:10-2:30 and 2:30-2:50 there are two guitar solos, and they're much, much better than the ones in the other songs. (Maybe it's the change of guitars that made the difference.)
Update: By the time this song finished I liked it.
8. "Will To Fly"
This one isn't doing much for me either. I might like it by the time it finishes. I don't mind the chorus, but it isn't thrilling me an awful lot.
Update: Nope. It didn't do much for me.
9. "Invent You Myself"
A slower song, and one that uses the honky-tonk piano from a few tracks ago (6. "Sister Patchouli"). This has a nice 3/4 (waltz-time) lilt. It also has a not-horrible guitar solo from 1:33-2:07. I thought it was unspectacular, but well thought out. I liked this song more than the previous two.
10. "Parc Monceau"
For such a pleasant album, I was surprised to hear young Gavin swear on this track (at 0:22). Here's a suggestion: why not "...the leaves sticking to the streets" instead of something else sticking to those streets? Despite that awkwardness, I think this is an enjoyable low-key song. And I like the sound of the bass guitar. There's a little non-vocal motif that's played fairly regularly throughout the song, and it reminds me strongly of something else. What it is? I have a feeling it's in a Fountains Of Wayne song. Possibly. (I'll try not to think about it, otherwise I'll end up going through Fountains Of Wayne's entire discography, and I don't want to do that. I'd rather listen to the rest of Gavin's album.)
11. "Once More"
This is better. Gavin's gone back to an uptempo song. I like this. I don't think it's a great song, but I'm glad that it's uptempo.
12. "Lesson One"
And it's back to 'low-key' for the final track. I wouldn't have minded that acoustic guitar having better intonation. (It's slightly out of tune, and bothered me.) And I wouldn't have minded the backing vocals to be a little more in tune too. It's entirely possible that the overall out-of-tune-ness was deliberate, in that it's supposed to convey an air of spontaneity, but it just annoyed me.
Despite the last track annoying me, overall I liked the album. There were a few things I would have preferred, such as more uptempo tracks, a guitar that was in tune for its solos etc. But for the most part, I thought that the album I heard is the album Gavin wanted me to hear.
Thanks, Brian, for letting me know about the album.
Er, I wasn't going to write anything else for this post, but I want to mention a weird coincidence.
As you may or may not know, for the last three days on this blog I've been featuring songs from a Futureman Records sampler. On what I had thought would have been a completely unrelated note, I went to Gavin Guss' website for some more information about him and noticed that one of the albums Gavin is selling there (he has two for sale) is Three Minute Hercules. It's a pre-solo album that Gavin describes as being "from my old band, TubeTop". Well, it just so happens that a TubeTop song from Three Minute Hercules appears on that Futureman Records sampler. It's an incredibly small word, crazy cats.
Hey, wait a minute...
I just found a link to that TubeTop album on Bandcamp. It's presented by Futureman Records. What's going on here? Does Keith from Futureman Records (Hi, Keith!), who contacted me a couple of weeks ago about that Futureman Records sampler, know Brian from Fin Records? Is this not a coincidence at all?
Maybe this world we live in isn't as small as I thought it was a few minutes ago.
Friday, October 26, 2012
I have a favour to ask of you.
I use two file-sharing services, DivShare and Box. I like them both, but at the moment I'm using only DivShare.
However, I'm sometimes bothered by the time it takes DivShare to load an MP3. When I try it on my computer, DivShare will occasionally be slow to start playing an MP3. It may just be my Internet connection, not yours, but I'm not keen on the idea of you pressing "play" and having to wait a long time to hear the track.
With that in mind, I'd like you to test an MP3 in both DivShare and Box. The main aim of the test is, as hinted at above, is to find out which file-sharing service is quicker at loading songs. I've provided the MP3 in three different sizes, to see if file size has any bearing on loading times.
And away we go...
The track is:
King Crimson - "Frame By Frame" (1981)
1. Short/Small (0:18, 782 KB)
OK. One last song from the Futureman Records Sampler before I stop pestering you with Futureman Records records. (Are songs still called "records"?)
The Fletcher Pratt - "Million Miles" (2012)
One reason I like about "Million Miles" is that its title reminds me of one of my favourite skinny tie songs...
The Plimsouls - "A Million Miles Away" (1983)
And as it appeared in the movie Valley Girl:
Thursday, October 25, 2012
This post has nothing to do with music.
A friend of mine (Hi, Stephen!) emailed me a video and mentioned that after watching it he may now need therapy. I watched it, and emailed him back with a few comments. After sending off the email, I found myself in the mood to put both the video and comments here.
Don't worry – I won't make my idiotic emails a regular feature on this blog. If you're not interested in this post at all, no sweat. There'll be another post along soon enough – and it'll be about music.
My favourite parts of the video:
0:22 - The text mentioned about going up a "gided tower". For a moment I thought that "gided" was French, until I realised it was a typo.
2:18-2:22 - I laughed out loud when the ultra-relaxed voiceover guy drawled: "It's good to relax, and look around while you rest". I thought of people watching the video at this point who would definitely not be thinking the same thing.
At this point in the video, as the chappy looked around at the vista, I thought to myself: "Height is meaningless." (Although it's not meaningless to someone who's falling. It means they're falling and will soon meet the ground.)
2:32 - Was that a Stormtrooper from Star Wars?
2:39 - "Here you can see an electrical junction box..." Yes you can.
2:42-2:50 - I thought that this part of the video, where the maintenance guy/daredevil started the last part of the climb and instinctively looked down then up whenever he took a step, is probably the part that would terrify viewers the most. It's this part of the video where having a camera on your helmet may not be the best thing for anyone not doing the climbing.
5:30 - Height is meaningless.
5:33 - I thought that (possibly) dubbed thunderclap was silly.
5:51 - Climbing, climbing, climbing, climbing...
6:20 - Yay! A shot of the horizon to help your eustachian tubes restore a sense of balance.
6:43 - At the very top is a beacon, and my first thought was: "He climbed all that way just to change a light bulb?"
6:51 - "This is the tricky part." That has to be one of the greatest examples of understatement I have ever heard.
7:00 - I'd like to retract my earlier statement about the most terrifying part of the video being 2:42-2:50. I dare say this part, at about 7:00 where the climber leans over the beacon, may be even more terrifying for anyone watching the video. (Well, anyone who got this far.)
7:05 - And he leans over more. Can I take back what I said in the previous paragraph?
7:05 (part 2) - Well there you go. I didn't know there was that pole above the beacon. It's nice to know the climber has something to hold on to when he's at the top. That's helpful. When you're 1,768 feet in the air. Without a safety harness.
7:11 - I'm sure that's a Stormtrooper. Or a BASE jumper. Or maybe it's the climber's supervisor, making sure he's doing the job properly. (Supervisor: "Good work, Bob.")
Postscript: I can understand the terror involved in watching something like that but I must admit that I was fine because throughout most of it I was thinking non-terrifying thoughts. (See above.)
The "Four Songs Peter Likes On The Futureman Records Sampler" mini-marathon continues with a song called "Winslow Winston" by Who Hit John. (Yes, that's the name of the band – and no, I don't like it either.)
Who Hit John - "Winslow Winston" (2012)
I enjoyed "Winslow Winston" but was annoyed by one lyric in it. The lyric that begins the song is:
"Winslow Winston, was he convinced he was the man to play Tarzan up on the silver screen."
I found that annoying, but only from a rhyming standpoint. (I like the story the song tells.) To me, the ideal rhyme at the beginning would be:
"Winslow Winston, he was convinced and..."
I think "Winston" coupled with "convinced and" are made for each other. Unfortunately, I hear something awkward in "Winston" and "convinced he".
I can understand if "convinced and" didn't work for the lyricist. If that was the case, then "convinced in" works just as well – and probably helps the lyricist. (I'm glad I didn't have to write the words for the song.)
But all of that is trivial. What matters is the song itself. (As Christopher Marlowe may have said: "The song's the thing".)
And it's a song I like.
Wednesday, October 24, 2012
A fine upstanding (except for when he's sitting) young man by the name of Keith (Hi, Keith!) has a record label called Futureman Records.
If you're a reader of this blog and have a much better memory than mine, you'll remember that I posted a song by Michael Carpenter (his cover of The Shazam's "Super Tuesday") a few days ago. Keith left a comment saying Michael's song is one of 19 tracks on a free Futureman Records sampler which is currently available only at the Pop Geek Heaven website. Although it's free, you have to be a member of Pop Geek Heaven to get it. If you're not a member, that's no problem because it's free to join, and the worst that happens is you get put on the Pop Geek Heaven mailing list. No biggie.
In case you're interested, the track listing for the sampler is:
- "White Knuckle Sound" by Jupiter Affect (from Instructions For The Two Ways Of Becoming Alice)
- "What You See" by TubeTop (from Three Minute Hercules)
- "Bastanchury Park" by Liquor Giants (from Liquor Giants)
- "Orbit" by Lisa Mychols w/Paranoid Lovesick (bonus track from Sweet Sinsations)
- "Jillian Years" by The Jigsaws (from Cereal Toy)
- "You Say The Funniest Things" by The Idea (from Sideways Smile)
- "Secrets" by Dumptruck (from Haul Of Fame Collection)
- "You Or Michael Brown" by The What Gives (from The What Gives)
- "Happy Again" by Joel Boyea (from Please Don't Eat The Daises)
- "She's Varispeed" by Red Letter Day (from Red Letter Day)
- "This Year's Gonna Be Our Year" by Eytan Mirsky (from Who Is Eytan Mirsky?)
- "The Best Part" by The Lolas (from Ballerina Breakout)
- "Postcards From The British Empire" by Phenomenal Cat (from Postcards From The British Empire)
- "Million Miles" by The Fletcher Pratt (from Nine By Nine)
- "Winslow Winston" by Who Hit John? (bonus track from Hey Buffy)
- "Put Out The Fire" by An American Underdog (from Always On The Run)
- "Super Tuesday" by Michael Carpenter (from SOOP Sampler)
- "Glow Girl" by The Vandalias (from The New Sell Out)
- "Pure and Simple" by Lisa Mychols (from Lost Winter's Dream)
I must admit in all honesty that I wasn't particularly keen on most of the songs on it. I liked approximately 21.0526315789% of the beastie.
Putting it in less pretentiously mathematical terms, I liked a not-so-grand total of four songs on it. And that reminds me yet again (for the umpty-umpth time) that music is entirely a matter of personal taste. I'm absolutely sure that the compiler loved most, if not all, of the songs on the sampler, and I reckon there would be plenty of people on that compiler's wavelength, all going "Yes!" to the songs on offer. Personal taste, baby.
Over the next four days I'm going to feature the four songs I like. No, make that three – I've already played you Michael Carpenter's "Super Tuesday".
Over the next three days I'll play you the three other songs I like on the sampler.
Here's the first one. It's track one, and although I don't warm to the sound of the singer's voice (it reminds me a bit too much of SpongeBob Squarepants), I enjoy everything else about it:
Jupiter Affect - "White Knuckle Sound" (2000)
More Futureman-ness tomorrow.
Tuesday, October 23, 2012
Here's another coincidence found by one of the
The Heartbreaks - "Liar, My Dear" (2012) (excerpt)
Morrissey - "The Last Of The Famous International Playboys" (1989) (excerpt)
Here are the full versions:
The Heartbreaks - "Liar, My Dear" (2012)
Morrissey - "The Last Of The Famous International Playboys" (1989)
Much obliged, Mr. Steve Man, for noticing that one.
For some unfathomable reason, I woke up the other morning with this particular song in my head. I'm not complaining...
The New Pornographers - "The Electric Version" (2003)
Monday, October 22, 2012
Here's a quick 'n' easy coincidence that was supplied by coincidence-spotter Michael (Hi, Michael!).
The Youngsters - "Candyapple" (1969) (excerpt)
The Ronettes - "Baby, I Love You" (1963) (excerpt)
Here are the full versions:
The Youngsters - "Candyapple" (1969)
The Ronettes - "Baby, I Love You" (1963)
Today's song comes to you courtesy of blog commenter Alex (Hi, Alex!) who went a-commentin' on yesterday's post which featured 80's American new wave / power pop band Pearl Harbor & The Explosions.
The song posted yesterday was "Everybody's Boring But My Baby". I wasn't a fan of it, and neither apparently was Alex who said:
A year earlier, Pearl Harbor & the Explosions were a fairly typical (and catchy) New Wave band. I think you'd enjoy "You Got It (Release It)" much better than "Everybody's Boring..."
Pearl Harbor & The Explosions - "You Got It (Release It)" (1980)
Yep. I'm in complete agreement with Alex. I much prefer it to "Everybody's...". (But I still think that's a remarkably tasteless name for a band.)
Sunday, October 21, 2012
As with every '80s song Michael has sent me so far, this week's is one I also didn't know. It's "Everybody's Boring But My Baby" by Pearl Harbor & The Explosions.
Before we get to the music I'd like to say that I think the name of that band is remarkably tasteless. What were they thinking? Let's be provocative?
The tastelessness of the name reminds me of a South Australian punk band, also from the 80's. To give you an idea of how ill-advised this band name is/was, I need to give you some historical background. On January 26 (Australia Day) 1966, three children – siblings Jane Beaumont (age 9), Arnna Beaumont (7), and Grant Beaumont (4) – disappeared at Glenelg Beach, and were never seen again.
And the name of that South Australian band? The Sensational Missing Beaumonts.
OK. Now that I have my grumbles out of the way, let's attack the music...
(Note to self: Don't say "attack the music", Peter. Especially not in this post. What were you saying about "tasteless" earlier? Wouldn't "listen to the music" have been preferrable?)
Pearl Harbor & The Explosions - "Everybody's Boring But My Baby" (1980)
0:00-3:27 – Pearl & co. decide to go faux-Fifties with this slightly bouncy number. I'm afraid it doesn't do much for me. When I'm listening to it I can't think of anything in particular to say about it, one way or the other. (Maybe I could mention that I like the sound of the bass guitar, but that's not particularly interesting.)
As I listened to "Everybody's Boring..." I remembered another revisionist song, one that I much prefer: The Tubes' "Don't Touch Me There". I'm rather in the mood to play that as soon as "Everybody's Boring..." has finished.
Okey dokey. The Pearl Harbor song has finished. Excuse me while I play this:
The Tubes - "Don't Touch Me There" (1976)
That's reminded me of this Fifties-inspired track from The Rocky Horror Picture Show:
Susan Sarandon - "Touch-a, Touch-a, Touch-a, Touch Me" (1975)
(Beware: This video has been classifed as "Rude")
Toucha Toucha Touchme Rocky Horror Picture Show by Boombastyk
And that's reminded me of this Fifties-inspired, NESFW (not entirely safe for work), song:
Suzie Seacell - "Me And My Vibrator" (1979)
I've gone back to "Everybody's Boring..." and listened to it three more times. After each listen I liked it fractionally more, until I got to the point where I thought it was pleasant enough. But that's pretty much where it got to in the "How much does Peter like this song" caper. I'll listen to it one more time. Hang on...
Now I think I'll go and listen to something else.