Hello. The Tomahawk Kid here again. Whilst Jock is off getting himself a bargain replacement for his Magic Tunes Box I thought I would keep the lyrical challenge series going.
Well done to oestrebunny for correctly identifying two of the tracks from the Tenth Groanin' Jock Lyrical Challenge.
Answers to the tenth challenge are now in the comments on that post. Here are this week's mystery lyrics, let's see if these are easier or harder than normal.
To play, simply identify the songs from the lines given. No Googling.
1: You can't see that I'm just the same as the stupid people who you hate
2: Oh yes I noticed you, you are a friend of mine
3: Tried to please her, she only played one night stands
4: I don't even know what tomorrow will bring, let me tell ya, having no future is a terrible thing
5: I remember better days, lace in every window, and roses 'round the gate
Bon chance.
TTK
Showing posts with label Tune Box. Show all posts
Showing posts with label Tune Box. Show all posts
Monday, June 02, 2008
Thursday, May 08, 2008
RIP MTB
Every day, I'm accompanied almost wherever I go by the Magic Tune Box, an incredible device bearing within its dainty frame 15,000 songs.
At least I was until yesterday.
Whilst transferring new music onto the Magic Tune Box, its battery died. "Nobig deal," I thought, "I'll just plug it in."
Except, when I did, it started rebuilding its internal library. And when it had completed that task, it had miraculously lost 2,500 tracks. Not whole albums, not tracks in any logical order. Just 2,500 random tracks.
Despite this sudden removal of 20 per cent of its total of its contents, this incredible piece of technology had decided not to free up the disk space previously allocated to the tracks. So I'm left with a machine missing key tracks from most albums, its memory full and no way of resetting.
So, as a permanent solution, I'm going to sell my soul and jump on the IPod band wagon (10 years too late). I've decided to invest in a 160GB IPod Classic, which I'm hoping to pick up fairly cheap in China next week.
(Doesn't that last sentence make me sound like a real global traveller. Worse still, at one point in the past day, I uttered the phrase "Maybe Ican fit it in between Shanghai and Stavanger." Which probably just makes me sound like a wanker.)
Anyway, RIP Magic Tune Box. It's been a pleasure.
At least I was until yesterday.
Whilst transferring new music onto the Magic Tune Box, its battery died. "Nobig deal," I thought, "I'll just plug it in."
Except, when I did, it started rebuilding its internal library. And when it had completed that task, it had miraculously lost 2,500 tracks. Not whole albums, not tracks in any logical order. Just 2,500 random tracks.
Despite this sudden removal of 20 per cent of its total of its contents, this incredible piece of technology had decided not to free up the disk space previously allocated to the tracks. So I'm left with a machine missing key tracks from most albums, its memory full and no way of resetting.
So, as a permanent solution, I'm going to sell my soul and jump on the IPod band wagon (10 years too late). I've decided to invest in a 160GB IPod Classic, which I'm hoping to pick up fairly cheap in China next week.
(Doesn't that last sentence make me sound like a real global traveller. Worse still, at one point in the past day, I uttered the phrase "Maybe Ican fit it in between Shanghai and Stavanger." Which probably just makes me sound like a wanker.)
Anyway, RIP Magic Tune Box. It's been a pleasure.
Friday, April 25, 2008
The Tenth Groanin' Jock Lyrical Challenge
Only one of the tracks in the Ninth Groanin' Jock Lyrical Challenge was correctly spotted, Mike from Auld Reekie Rants spotting Mystery Train by Elvis Presley (which Rab pointed out was actually a Little Junior Parker song).
Answers to the ninth challenge are now in the comments on that post.
Here are this week's mystery lyrics. To play, simply identify the songs from the lines given. No Googling.
1: No one else gets high, and I can't sleep cause I got nothing.
2: Oh come all you young fellers so young and so fine, seek not your fortune in a dark dreary mine.
3: I don't believe in everything I see, y'know I'm blind so why d'you disagree?
4: You're workin in bars, ridin in cars, never gonna give it for free.
5: Now courage my boy when they look you in the eye, try not to look too scummy.
Answers to the ninth challenge are now in the comments on that post.
Here are this week's mystery lyrics. To play, simply identify the songs from the lines given. No Googling.
1: No one else gets high, and I can't sleep cause I got nothing.
2: Oh come all you young fellers so young and so fine, seek not your fortune in a dark dreary mine.
3: I don't believe in everything I see, y'know I'm blind so why d'you disagree?
4: You're workin in bars, ridin in cars, never gonna give it for free.
5: Now courage my boy when they look you in the eye, try not to look too scummy.
Friday, April 18, 2008
The Ninth Groanin' Jock Lyrical Challenge
Answers to The Eighth Groanin' Jock Lyrical Challenge are now in the comments on that post. We had a three-way tie for winners this time around, Old Man, Ali and OestreBunny all correctly identifying one song apiece (actually, OestreBunny spotted two, but one was already picked out by Ali).
Here are this week's mystery tunes. Answers in the comments, no Googling.
1: Bring you a tale from the pastel fields where we ran when we were young.
2: Honey you are a rock upon which I stand, And I come here to talk, I hope you understand.
3: Train I ride, sixteen coaches long.
4: Here comes that panic attack, my heart stops... and then it starts.
5: If you smile then that should set the tone, just be limber.
Here are this week's mystery tunes. Answers in the comments, no Googling.
1: Bring you a tale from the pastel fields where we ran when we were young.
2: Honey you are a rock upon which I stand, And I come here to talk, I hope you understand.
3: Train I ride, sixteen coaches long.
4: Here comes that panic attack, my heart stops... and then it starts.
5: If you smile then that should set the tone, just be limber.
Thursday, April 03, 2008
The Eighth Groanin' Jock Lyrical Challenge
Answers to The Seventh Groanin' Jock Lyrical Challenge are now in the comments for that post. Mike from Auld Reekie Rants and The Old Man from Dad's Deadpool Blog are this week's winners with one correct answer each.
Here are this week's mystery tunes. Answers in the comments, no Googling.
1: We'll do it all, everything on our own, we don't need anything, or anyone.
2: But you burn me up, you paint my skin in bad designs that ain't even in. I got good lungs, got a good heart, my mind is fit, and my feet can walk.
3: Many times I loved, many times been bitten, many times I've gazed, along the open road.
4: I sat on the roof and kicked off the moss, well a few of the verses well they've got me quite cross.
5: My friend's addicted to cocaine, smokes day and night, drives mom and pop insane.
Here are this week's mystery tunes. Answers in the comments, no Googling.
1: We'll do it all, everything on our own, we don't need anything, or anyone.
2: But you burn me up, you paint my skin in bad designs that ain't even in. I got good lungs, got a good heart, my mind is fit, and my feet can walk.
3: Many times I loved, many times been bitten, many times I've gazed, along the open road.
4: I sat on the roof and kicked off the moss, well a few of the verses well they've got me quite cross.
5: My friend's addicted to cocaine, smokes day and night, drives mom and pop insane.
Thursday, March 27, 2008
The Seventh Groanin' Jock Lyrical Challenge
It's been quite a while since the last Groanin' Jock lyrical challenge, so I thought I'd revive the game that no-one's talking about.
The object of the game is to identify the artists and tracks plucked at random from the Magic Tune Box. Answers in the comments. No Googling.
1: Now I find I've changed my mind and opened up the doors.
2: Though I ain't got a bean, 'cause I've nothing to dream. So if you're waiting for nothing, do something for me.
3: He left no time to regret, kept his dick wet, with his same old safe bet.
4: Left alone with just a memory, life seems dead and so unreal. All that's left is loneliness, there's nothing left to feel.
5: Riding through the city on my bike all day 'cause the filth took away my licence.
The object of the game is to identify the artists and tracks plucked at random from the Magic Tune Box. Answers in the comments. No Googling.
1: Now I find I've changed my mind and opened up the doors.
2: Though I ain't got a bean, 'cause I've nothing to dream. So if you're waiting for nothing, do something for me.
3: He left no time to regret, kept his dick wet, with his same old safe bet.
4: Left alone with just a memory, life seems dead and so unreal. All that's left is loneliness, there's nothing left to feel.
5: Riding through the city on my bike all day 'cause the filth took away my licence.
Friday, October 05, 2007
Lyrics Revealed
Answers to the sixth and final Groanin' Jock Lyrical Challenge are now in the comments on that post.
Friday, September 21, 2007
The Sixth Groanin' Jock Lyrical Challenge
For the first time, more than half of the tunes in the Groanin' Jock Lyrical Challenge were correctly identified. Misssy led the way with two correct answers, after The Tomahawk Kid had recognised Motorhead's Ace of Spades. Answers to that quiz are now in the comments on the post.
Here are this week's lyrics. The object of the game is to identify the artists and tracks plucked at random from the Magic Tune Box. Answers in the comments. No Googling.
1: I was gonna take the time to sit down and write you a little letter, but I thought a song would probably be a little better.
2: I know how you want it, hot, sweet, and tight. The girls can't stand it when you're doin' it right.
3: Now my advice for those who die, declare the pennies on your eyes.
4: Why don't you kneel me down, why don't we try, try, try?
5: And I know it's getting harder for you to choose - who will lie?
Here are this week's lyrics. The object of the game is to identify the artists and tracks plucked at random from the Magic Tune Box. Answers in the comments. No Googling.
1: I was gonna take the time to sit down and write you a little letter, but I thought a song would probably be a little better.
2: I know how you want it, hot, sweet, and tight. The girls can't stand it when you're doin' it right.
3: Now my advice for those who die, declare the pennies on your eyes.
4: Why don't you kneel me down, why don't we try, try, try?
5: And I know it's getting harder for you to choose - who will lie?
Thursday, June 28, 2007
Music Makes The People Come Together
My legs are stiff from a double dose of football yesterday, my brain is tired from a lack of proper sleep this week (thanks to Mrs Wife's newly-instigated Zero Tolerance policy to my snoring, which means I get a dig in the ribs every time my nose whistle pipes up), so I'll dip into the Magic Tune Box to see what kind of mood it's in today. What ten random noises will it pick from the 14,000 at its disposal?
1: Long Haired Child by Devendra Banhart (from the album Cripple Crow): Insane psychedelic hippy folk tune from the insane psychedelic hippy. Proclaims the necessity of encouraging children to grow their hair long.
2: His Last Painting by Manic Street Preachers (from the album Know Your Enemy): From the Manic's sixth studio album, which sounded like a good record thrown away. His Last Painting is the band in their comfort zone, with neither the growl of their early work nor the elegance of Everything Must Go. But hey, middle age (in rock'n'roll terms) will do that to you I suppose.
3: May This Be Love by The Jimi Hendrix Experience (from the album Are You Experienced?): Hypnotic, jangly love song from James Marshall Hendrix. Not his finest work, although things pick up when the track breaks into a driving chorus a minute in. Mitch Mitchell's drumming is, as ever, faultless.
4: Chasing Cars by Snow Patrol (from the album Eyes Open): I'm not a massive fan of Snow Patrol, but even I have to admire their tenacity in finally making it to the big league after years of slumming around in the indie undergrowth. Chasing Cars is probably their most famous track, and is pleasant enough, but a wee bit dull in my opinion.
5: Good People by Jack Johnson (from the album In Between Dreams): Pretty much sounds like every other Jack Johnson has ever released. Happy clappy, acoustic hippy track from the Hawaiian surfer turned alternative acoustic superstar. I first heard Johnson's work whilst living in Australia, and his albums almost seem perfectly made for days relaxing on the beach with a cold drink and the surf crashing onto the sand.
6: Aneurysm by Nirvana (from the album Incesticide): Aneurysm is one of my favourite Nirvana songs. This version was recorded for Radio 1's Evening Session, and includes Cobain's almost trademark buzzsaw guitar work backed by typically loud Grohl drums and purposefully off-key Novoselic backing vocals. Recently voted the band's third greatest song by Radio 1 listeners - not bad for a B-side.
7: There There by Homer: Indie pop song that puts me neither up nor down. Unremarkable enough to be pleasant, but not exciting enough to get, well, excited about.
8: How Soon Is Now? by The Smiths (from the compilation Best...I): My favourite Smiths song, How Soon Is Now? is also one of my favourite songs by any band. From Johnny Marr's fading guitar and slide work to Morrissey's lyrics ("I am the son and the heir of a shyness that is criminally vulgar), everything about this track fits perfectly. As I've said before, I hope The Smiths never reform - it's better that they leave their memory unsullied.
9: Mario Man by Super Furry Animals (from the album Fuzzy Logic): I've written about my love of the lyrics of Gruff Rhys in the past. Their second album, Radiator, is amongst the greatest I've ever heard, but debut Fuzzy Logic was also pretty darn good. It's less focussed than its successor, but it still showcased a band of unique talents. In Mario Man, Gruff tells us that he "bought myself a frying pan and sailed it to the Isle of Man for a holiday". Insane indie genius, I'm looking forward to seeing the band again at this year's Connect Festival.
10: Mamma Mia by ABBA (from the compilation Gold): OK, in preparation for this weekend's housewarming BBQ, I put a whole load of "party" songs onto the Magic Tune Box - amongst them ABBA, Madonna and Prince. So, ABBA now make their debut on this blog. I'm no fan of them, but some of their tunes are pretty good - and I'm sure that they'll help keep the party spirit flowing on Saturday.
1: Long Haired Child by Devendra Banhart (from the album Cripple Crow): Insane psychedelic hippy folk tune from the insane psychedelic hippy. Proclaims the necessity of encouraging children to grow their hair long.
2: His Last Painting by Manic Street Preachers (from the album Know Your Enemy): From the Manic's sixth studio album, which sounded like a good record thrown away. His Last Painting is the band in their comfort zone, with neither the growl of their early work nor the elegance of Everything Must Go. But hey, middle age (in rock'n'roll terms) will do that to you I suppose.
3: May This Be Love by The Jimi Hendrix Experience (from the album Are You Experienced?): Hypnotic, jangly love song from James Marshall Hendrix. Not his finest work, although things pick up when the track breaks into a driving chorus a minute in. Mitch Mitchell's drumming is, as ever, faultless.
4: Chasing Cars by Snow Patrol (from the album Eyes Open): I'm not a massive fan of Snow Patrol, but even I have to admire their tenacity in finally making it to the big league after years of slumming around in the indie undergrowth. Chasing Cars is probably their most famous track, and is pleasant enough, but a wee bit dull in my opinion.
5: Good People by Jack Johnson (from the album In Between Dreams): Pretty much sounds like every other Jack Johnson has ever released. Happy clappy, acoustic hippy track from the Hawaiian surfer turned alternative acoustic superstar. I first heard Johnson's work whilst living in Australia, and his albums almost seem perfectly made for days relaxing on the beach with a cold drink and the surf crashing onto the sand.
6: Aneurysm by Nirvana (from the album Incesticide): Aneurysm is one of my favourite Nirvana songs. This version was recorded for Radio 1's Evening Session, and includes Cobain's almost trademark buzzsaw guitar work backed by typically loud Grohl drums and purposefully off-key Novoselic backing vocals. Recently voted the band's third greatest song by Radio 1 listeners - not bad for a B-side.
7: There There by Homer: Indie pop song that puts me neither up nor down. Unremarkable enough to be pleasant, but not exciting enough to get, well, excited about.
8: How Soon Is Now? by The Smiths (from the compilation Best...I): My favourite Smiths song, How Soon Is Now? is also one of my favourite songs by any band. From Johnny Marr's fading guitar and slide work to Morrissey's lyrics ("I am the son and the heir of a shyness that is criminally vulgar), everything about this track fits perfectly. As I've said before, I hope The Smiths never reform - it's better that they leave their memory unsullied.
9: Mario Man by Super Furry Animals (from the album Fuzzy Logic): I've written about my love of the lyrics of Gruff Rhys in the past. Their second album, Radiator, is amongst the greatest I've ever heard, but debut Fuzzy Logic was also pretty darn good. It's less focussed than its successor, but it still showcased a band of unique talents. In Mario Man, Gruff tells us that he "bought myself a frying pan and sailed it to the Isle of Man for a holiday". Insane indie genius, I'm looking forward to seeing the band again at this year's Connect Festival.
10: Mamma Mia by ABBA (from the compilation Gold): OK, in preparation for this weekend's housewarming BBQ, I put a whole load of "party" songs onto the Magic Tune Box - amongst them ABBA, Madonna and Prince. So, ABBA now make their debut on this blog. I'm no fan of them, but some of their tunes are pretty good - and I'm sure that they'll help keep the party spirit flowing on Saturday.
Thursday, June 07, 2007
Time For A Tune
Every now and again, I like to dig out the Magic Tune Box, set it to shuffle and see where its whims take us. This is one of those occasions, so here's today's random ten.
1: Who Named The Days? by Arab Strap (from the album Monday At The Hug and Pint): Trademark melancholy from Scotland's own sadly-departed purveyors of misery. Includes a haunting cello refrain to drag Aidan Moffat's lyrics even deeper into tear-stained territory.
2: Wu-Tang Clan Ain't Nuthing Ta F' Wit by Wu-Tang Clang (from the album Enter The Wu-Tang (36 Chambers)): Still magnificent 13 years after its release, 36 Chambers is, alongside Straight Outta Compton, my favourite hip-hop album. There's an in-your-face delivery that still sounds menacing, whilst the Kung-Fu samples thrown in mark it as different from other records of its era.
3: Slow Fade by Teenage Fanclub (from the album Man-Made): From the Fannies' most recent record, this could have been recorded at any point during their lengthy career. That they've never made it to the upper reaches of the charts or the associated riches is criminal.
4: The Ballad of Danny Bailey (1909-1934) by Elton John (from the album Goodbye Yellow Brick Road): Recorded at the peak of Elton's commercial powers, The Ballad of Danny Bailey doesn't get the credit it deserves, having been dwarfed by Candle In The Wind, Bennie and The Jets, Saturday Night's Alright For Fighting and the album's title track. However, it bears favourable comparison with the cream of Elton's work, backing the electric piano with a soaring string arrangement.
5: I Forget by Campag Velocet (B-Side from the single To Lose La Trek): Ten-minute groove from purveyors of noisy, Clockwork Orange-influenced indie mentalists. Whispered vocals from Pete Voss fit in well with the Happy Mondays-style rhythms. A cracking track from a vastly-underrated band, one of the most absorbing live acts I've ever seen.
6: Get Back by The Beatles (from the album Let It Be): Paul McCartney may have gotten his way with the release of Let It Be...Naked in 2003, but Let It Be, despite Phil Spector's OTT production and the inclusion of snippets of dialogue, proved that The Beatles could still play hard and fast blues rock. Billy Preston's keyboard fits perfectly with the chugging bass riff and Ringo's freight train drumming. They may have been a band on the way out, but they ended their career in style.
7: All I Want by The Stone Roses (from the album Garage Flower): Garage Flower was intended as The Stone Roses' debut album, but the band scrapped it and went back to the drawing board, returning with the greatest album ever made, their eponymous debut. Garage Flower was eventually released after the band had split, and showcased a harder, punkier side than that recorded on the first official album. All I Want, like So Young and Tell Me, is probably underrated, but pales into comparison when played alongside anything from the official debut.
8: More Than Us by Travis (with Anne Dudley) (from the More Than Us EP): Delicate reworking of a track from Travis' debut album Good Feeling. Anne Dudley, formerly of the Art of Noise and now a composer, scored the strings for the remix, giving it a sound that fitted with the Britpop theme of the time purveyed by Oasis and The Verve.
9: The Song We Were Singing by Paul McCartney (from the album Flaming Pie): Paul McCartney's post-Beatles work has been unfairly maligned. Granted, much of his output in the 1970s and 1980s didn't cut the mustard, falling well below the standards expected of a songwriter of his pedigree. 1997's Flaming Pie did much to restore his reputation. Very Beatlesy, The Song We Were Singing is a gentle sing-along ending in delicate finger-picking and a strong string arrangement.
10: Sweet Little Sixteen by The Beatles (from the album Live At The BBC): Rock'n'roll standard recorded by the Fabs during one of their many appearances on BBC radio. Whilst showcasing a tight rock'n'roll band and John Lennon's vocal strength, it doesn't hint that the band would become musical revolutionaries within five years.
1: Who Named The Days? by Arab Strap (from the album Monday At The Hug and Pint): Trademark melancholy from Scotland's own sadly-departed purveyors of misery. Includes a haunting cello refrain to drag Aidan Moffat's lyrics even deeper into tear-stained territory.
2: Wu-Tang Clan Ain't Nuthing Ta F' Wit by Wu-Tang Clang (from the album Enter The Wu-Tang (36 Chambers)): Still magnificent 13 years after its release, 36 Chambers is, alongside Straight Outta Compton, my favourite hip-hop album. There's an in-your-face delivery that still sounds menacing, whilst the Kung-Fu samples thrown in mark it as different from other records of its era.
3: Slow Fade by Teenage Fanclub (from the album Man-Made): From the Fannies' most recent record, this could have been recorded at any point during their lengthy career. That they've never made it to the upper reaches of the charts or the associated riches is criminal.
4: The Ballad of Danny Bailey (1909-1934) by Elton John (from the album Goodbye Yellow Brick Road): Recorded at the peak of Elton's commercial powers, The Ballad of Danny Bailey doesn't get the credit it deserves, having been dwarfed by Candle In The Wind, Bennie and The Jets, Saturday Night's Alright For Fighting and the album's title track. However, it bears favourable comparison with the cream of Elton's work, backing the electric piano with a soaring string arrangement.
5: I Forget by Campag Velocet (B-Side from the single To Lose La Trek): Ten-minute groove from purveyors of noisy, Clockwork Orange-influenced indie mentalists. Whispered vocals from Pete Voss fit in well with the Happy Mondays-style rhythms. A cracking track from a vastly-underrated band, one of the most absorbing live acts I've ever seen.
6: Get Back by The Beatles (from the album Let It Be): Paul McCartney may have gotten his way with the release of Let It Be...Naked in 2003, but Let It Be, despite Phil Spector's OTT production and the inclusion of snippets of dialogue, proved that The Beatles could still play hard and fast blues rock. Billy Preston's keyboard fits perfectly with the chugging bass riff and Ringo's freight train drumming. They may have been a band on the way out, but they ended their career in style.
7: All I Want by The Stone Roses (from the album Garage Flower): Garage Flower was intended as The Stone Roses' debut album, but the band scrapped it and went back to the drawing board, returning with the greatest album ever made, their eponymous debut. Garage Flower was eventually released after the band had split, and showcased a harder, punkier side than that recorded on the first official album. All I Want, like So Young and Tell Me, is probably underrated, but pales into comparison when played alongside anything from the official debut.
8: More Than Us by Travis (with Anne Dudley) (from the More Than Us EP): Delicate reworking of a track from Travis' debut album Good Feeling. Anne Dudley, formerly of the Art of Noise and now a composer, scored the strings for the remix, giving it a sound that fitted with the Britpop theme of the time purveyed by Oasis and The Verve.
9: The Song We Were Singing by Paul McCartney (from the album Flaming Pie): Paul McCartney's post-Beatles work has been unfairly maligned. Granted, much of his output in the 1970s and 1980s didn't cut the mustard, falling well below the standards expected of a songwriter of his pedigree. 1997's Flaming Pie did much to restore his reputation. Very Beatlesy, The Song We Were Singing is a gentle sing-along ending in delicate finger-picking and a strong string arrangement.
10: Sweet Little Sixteen by The Beatles (from the album Live At The BBC): Rock'n'roll standard recorded by the Fabs during one of their many appearances on BBC radio. Whilst showcasing a tight rock'n'roll band and John Lennon's vocal strength, it doesn't hint that the band would become musical revolutionaries within five years.
Tuesday, April 03, 2007
Tune Box Time
It's been more than a month since I delved into the Magic Tune Box to see where its mood takes us, so here goes:
1: This Never Happened Before by Paul McCartney (from the album Chaos and Creation In The Back Yard): One of the stand-out tracks from Macca's most recent album. Has a melancholy feel to it and sounds as though it could have appeared on Abbey Road, with Harrison-esque guitar, a typically melodic bass line and strings.
2: Tommy's Disease by The Paddingtons (from the compilation album Bring Your Own Poison: The Rhythm Factory Sessions): Live version of a full-throttle track from the shambolic punks. Bears a close similarity to early Libertines, although without the urgency of Doherty and Barat's work.
3: Theme From Come September by Bobby Darin and His Orchestra (from the compilation album More Music To Watch Girls By): Easy listening instrumental theme tune from the Rock Hudson/Gina Lollobrigida romantic comedy filmed in 1961.
4: Alone by Terrorvision (from the album Good To Go): Terrorvision knew what they were good at and stuck at it throughout their career; a quirky British take on metal. Alone, from their final studio album, could have fitted in with any of their previous records. Enjoyable enough, but hardly memorable.
5: 2:1 by Elastica (from the album Elastica): Cracking song from one of the great Britpop albums. Everything about the song clicks, from the jarring guitar line to Justine Frischmann's vocals. The band would never scale such heights again, taking five years to follow up their debut record. This track featured on the Trainspotting soundtrack.
6: Evening Sun by The Strokes (from the album First Impressions of Earth): I didn't like The Strokes until the release of Juicebox - something about them just never appealed to me. But I quite enjoyed their third album, although I still don't think they deserve the praise they've had since emerging back in 2000. Evening Sun just sounds like a typical Strokes song.
7: The World Outside by Palo Alto (from the album Heroes and Villains): Comparisons between Palo Alto and Radiohead are perhaps inevitable, but whilst Thom Yorke and Co. have branched out into jazz rock and almost deliberately obtuse takes on their music, Palo Alto concentrate on the dynamics of songwriting, in a similar vein to Radiohead during the mid 1990s. The World Outside, the opening track from their debut album, is a great song, setting the tone for the rest of the record.
8: You Know I Hate Stupid Phones by Liars (from the album They Were Wrong, So We Drowned): Spiky new-wave track from the Brooklyn band. Echoes Gang of Four and The Slits. Well worth checking out.
9: Bankrobber by Audioweb (from the album Audioweb): A cover version of the classic Clash song, playing up to the original's reggae rhythms. Singer Sugar launches into his own lyrics promoting marijuana after the second verse. One of the better Clash covers I've heard, and a great live experience.
10: God In The Numbers by Richard Ashcroft (from the album Human Conditions): Richard Ashcroft has never hit the same heights he did as leader of The Verve, but his solo albums have hinted at a middle-aged satisfaction with his lot, and that his days as the angry young man in the Bittersweet Symphony video are long gone. God In The Numbers is typical of his solo work, an acoustic track adorned with synths and psychedelic guitar. Very easy listening.
1: This Never Happened Before by Paul McCartney (from the album Chaos and Creation In The Back Yard): One of the stand-out tracks from Macca's most recent album. Has a melancholy feel to it and sounds as though it could have appeared on Abbey Road, with Harrison-esque guitar, a typically melodic bass line and strings.
2: Tommy's Disease by The Paddingtons (from the compilation album Bring Your Own Poison: The Rhythm Factory Sessions): Live version of a full-throttle track from the shambolic punks. Bears a close similarity to early Libertines, although without the urgency of Doherty and Barat's work.
3: Theme From Come September by Bobby Darin and His Orchestra (from the compilation album More Music To Watch Girls By): Easy listening instrumental theme tune from the Rock Hudson/Gina Lollobrigida romantic comedy filmed in 1961.
4: Alone by Terrorvision (from the album Good To Go): Terrorvision knew what they were good at and stuck at it throughout their career; a quirky British take on metal. Alone, from their final studio album, could have fitted in with any of their previous records. Enjoyable enough, but hardly memorable.
5: 2:1 by Elastica (from the album Elastica): Cracking song from one of the great Britpop albums. Everything about the song clicks, from the jarring guitar line to Justine Frischmann's vocals. The band would never scale such heights again, taking five years to follow up their debut record. This track featured on the Trainspotting soundtrack.
6: Evening Sun by The Strokes (from the album First Impressions of Earth): I didn't like The Strokes until the release of Juicebox - something about them just never appealed to me. But I quite enjoyed their third album, although I still don't think they deserve the praise they've had since emerging back in 2000. Evening Sun just sounds like a typical Strokes song.
7: The World Outside by Palo Alto (from the album Heroes and Villains): Comparisons between Palo Alto and Radiohead are perhaps inevitable, but whilst Thom Yorke and Co. have branched out into jazz rock and almost deliberately obtuse takes on their music, Palo Alto concentrate on the dynamics of songwriting, in a similar vein to Radiohead during the mid 1990s. The World Outside, the opening track from their debut album, is a great song, setting the tone for the rest of the record.
8: You Know I Hate Stupid Phones by Liars (from the album They Were Wrong, So We Drowned): Spiky new-wave track from the Brooklyn band. Echoes Gang of Four and The Slits. Well worth checking out.
9: Bankrobber by Audioweb (from the album Audioweb): A cover version of the classic Clash song, playing up to the original's reggae rhythms. Singer Sugar launches into his own lyrics promoting marijuana after the second verse. One of the better Clash covers I've heard, and a great live experience.
10: God In The Numbers by Richard Ashcroft (from the album Human Conditions): Richard Ashcroft has never hit the same heights he did as leader of The Verve, but his solo albums have hinted at a middle-aged satisfaction with his lot, and that his days as the angry young man in the Bittersweet Symphony video are long gone. God In The Numbers is typical of his solo work, an acoustic track adorned with synths and psychedelic guitar. Very easy listening.
Friday, February 23, 2007
Tune Box revisited
It's been a while since I delved into the Magic Tune Box, so here's a little insight into the strange sounds lurking within that silver music machine:
1: F.E.A.R. (with Dann) by Ian Brown (B-side): Remixed version of Ian Brown's strongest post-Stone Roses track. Brings in a female vocalist, who gives a more melodic interpretation of the lyrics. Doesn't really compare with the album version.
2: Magic Pie by Oasis (from the album Be Here Now): The first respite from the thunderous guitars that signalled the start of Oasis' third album. Magic Pie was unfairly maligned, as was much of the album, but stands up well when revisited 10 years on. Includes one of Noel Gallagher's best lines: "An extraordinary man can never have an ordinary day". Too long at seven minutes.
3: Wasted Little DJs by The View (from the album Hats Off To The Buskers): Jingly-jangly indie from Dundee's finest. A fine blend of Libertines-esque guitars and Scottish accents.
4: Sweetness Follows by REM (from the album Automatic For The People): Like most of this colossal album, Sweetness Follows is a downbeat, lyrically perceptive track built around Michael Stipe's almost shy drawl. I haven't listened to the album for years, but this track reminds me just how huge it was.
5: Depression by Black Flag (from the album Damaged): Noisy, uninhibited and extraordinarily powerful live, Black Flag were a major influence on Kurt Cobain, as demonstrated by the uncomprising Depression, which even covers a theme later broached by Cobain.
6: Northenden by Doves (from the album Lost Sides): Doves have never really reached the level that their talents suggest they are capable of. I think I've seen them live nine times since they first burst on the scene with debut album Lost Souls in 2000. B-side Northenden is typical downbeat indie fare, with exquisite guitar work throughout.
7: Pro (Your) Life by Arab Strap (from the album Elephant Shoe): Falkirk's Arab Strap are an acquired taste; their tales of misery and woe, backed by plaintive guitar and electronic drums, are never going to appeal to the masses. In this song, Aidan Moffat gives an alternative (male) view of abortion.
8: Submarine by Black Grape (from the album It's Great When You're Straight...Yeah): That Shaun Ryder was able to put the heroin-fuelled disintegration of the Happy Mondays behind him and re-emerge with Black Grape is testament to his never-say-die spirit. Their debut album was packed full of bouncy, feel-good party songs, all set off brilliantly by Ryder's acidic wit.
9: Space Invaders by Arctic Monkeys (Unreleased demo): Hinting at the genius that would become evident on Whatever People Say I Am, That's What I'm Not is standard Arctic Monkeys fare; world-weary lyrics delivered in a Sheffield drawl by Alex Turner, whilst the band rattle through at break-neck pace.
10: Biting The Soles Of My Feet by The Electric Soft Parade (from the album Holes In The Wall): The ESP's debut album, recorded when brothers Alex and Tom White were just teenagers, gave us the concept of "prog indie", bringing an archetypal indie sound to songs typically eight minutes long or more. Biting The Soles Of My Feet is typical of the band's sound at the time.
It seems that the Magic Tune Box was in a very indie mood today.
1: F.E.A.R. (with Dann) by Ian Brown (B-side): Remixed version of Ian Brown's strongest post-Stone Roses track. Brings in a female vocalist, who gives a more melodic interpretation of the lyrics. Doesn't really compare with the album version.
2: Magic Pie by Oasis (from the album Be Here Now): The first respite from the thunderous guitars that signalled the start of Oasis' third album. Magic Pie was unfairly maligned, as was much of the album, but stands up well when revisited 10 years on. Includes one of Noel Gallagher's best lines: "An extraordinary man can never have an ordinary day". Too long at seven minutes.
3: Wasted Little DJs by The View (from the album Hats Off To The Buskers): Jingly-jangly indie from Dundee's finest. A fine blend of Libertines-esque guitars and Scottish accents.
4: Sweetness Follows by REM (from the album Automatic For The People): Like most of this colossal album, Sweetness Follows is a downbeat, lyrically perceptive track built around Michael Stipe's almost shy drawl. I haven't listened to the album for years, but this track reminds me just how huge it was.
5: Depression by Black Flag (from the album Damaged): Noisy, uninhibited and extraordinarily powerful live, Black Flag were a major influence on Kurt Cobain, as demonstrated by the uncomprising Depression, which even covers a theme later broached by Cobain.
6: Northenden by Doves (from the album Lost Sides): Doves have never really reached the level that their talents suggest they are capable of. I think I've seen them live nine times since they first burst on the scene with debut album Lost Souls in 2000. B-side Northenden is typical downbeat indie fare, with exquisite guitar work throughout.
7: Pro (Your) Life by Arab Strap (from the album Elephant Shoe): Falkirk's Arab Strap are an acquired taste; their tales of misery and woe, backed by plaintive guitar and electronic drums, are never going to appeal to the masses. In this song, Aidan Moffat gives an alternative (male) view of abortion.
8: Submarine by Black Grape (from the album It's Great When You're Straight...Yeah): That Shaun Ryder was able to put the heroin-fuelled disintegration of the Happy Mondays behind him and re-emerge with Black Grape is testament to his never-say-die spirit. Their debut album was packed full of bouncy, feel-good party songs, all set off brilliantly by Ryder's acidic wit.
9: Space Invaders by Arctic Monkeys (Unreleased demo): Hinting at the genius that would become evident on Whatever People Say I Am, That's What I'm Not is standard Arctic Monkeys fare; world-weary lyrics delivered in a Sheffield drawl by Alex Turner, whilst the band rattle through at break-neck pace.
10: Biting The Soles Of My Feet by The Electric Soft Parade (from the album Holes In The Wall): The ESP's debut album, recorded when brothers Alex and Tom White were just teenagers, gave us the concept of "prog indie", bringing an archetypal indie sound to songs typically eight minutes long or more. Biting The Soles Of My Feet is typical of the band's sound at the time.
It seems that the Magic Tune Box was in a very indie mood today.
Thursday, February 01, 2007
Where the Magic Tune Box goes, nobody knows
It's been a wee while since we delved into the darkest regions of the Magic Tune Box, so here goes. Brace yourselves.
1: A Strange Arrangement Of Colour by I Am Kloot (from the album I Am Kloot): Typically downbeat Scouse indie. I'm a big fan of the band, especially Johnny Bramwell's lyrics and deadpan drawl.
2: Falling Away With You by Muse (from the album Absolution): Muse's ascendancy to one of the biggest bands in the world has taken a while, but each successive album has built on their skyscraping, over-the-top blend of Queen, Radiohead and Pink Floyd. This, from their third studio album, is a characteristic combination of an almost leisurely verse and bombastic chorus.
3: Shoot To Thrill by AC/DC (from the album Back In Black): Few bands in the history of rock'n'roll could follow the tragic death of their frontman by recording their greatest ever album. There are no weak tracks on Back In Black, and Brian Johnson's gravel-voiced roar, whilst different from Bon Scott's drunken drawl, helped carry AC/DC to the stadium-rock level.
4: The River Curls Around The Town by Hood (from the album Cold House): Using cut-up vocals over backwards-masked guitar lines may not be a new trick, but Hood use it to good effect on this track, although it meanders along throughout its three minutes without ever really progressing too far.
5: C Note by Body Count (from the album Body Count): Guns'n'Roses-tinged instrumental from one of the most intentionally antagonistic albums ever recorded. Amongst the other tracks on the record are KKK Bitch, Evil Dick and the infamous Cop Killer, which was removed from later releases of the album.
6: Zip...Just Gone by Lo-Fidelity Allstars (B-side from the single Lo-Fi's In Ibiza): If Lo Fi's In Ibiza is the sound of a big beat Balearic rave, then Zip...Just Gone is the after-show comedown, combining jazz horns with an almost spoken vocal. Very chilled.
7: Guide My Hand by Driveblind (from the album Driveblind): One of the slower numbers from the Aberdeen band's debut album. It still seems strange to hear of Driveblind playing sold-out shows in LA, as I know a couple of the band's members fairly well, having worked with them in the office of an Aberdeen engineering company. Guide My Hand isn't one of the stronger tracks from the album, but does carry the band's hallmarks of strong vocals, faultless guitars and magnificent production.
8: Skeptics and True Believers by The Academy Is... (from the album Almost Here): American indie-punk by numbers from the Chicago band. Whilst I have nothing against them as such, this track does sound indistinguishable from Fall Out Boy, All-American Rejects and their ilk.
9: Bully Boy by Shed Seven (from the greatest hits album Going For Gold): In which Rick Witter - whose name became unfortunate Britpop-era rhyming slang for shitter - recalls a beating he received. Not the band's finest hour, with Witter's foghorn delivery failing to gel with the poor man's Stone Roses backing track.
10: I Don't Know by Beastie Boys (from the album Hello Nasty): I didn't really get into the Beastie Boys first time around - it wasn't until the release of Intergalactic and Body Movin' that I sat up and took notice. I've subsequently discovered their Beatles-sampling masterpiece Paul's Boutique, and whilst Hello Nasty doesn't quite compare with that record, it's still a very strong set. I Don't Know is one of the record's quieter moments, eschewing the Beasties' electro beats and triple-pronged rap attack.
1: A Strange Arrangement Of Colour by I Am Kloot (from the album I Am Kloot): Typically downbeat Scouse indie. I'm a big fan of the band, especially Johnny Bramwell's lyrics and deadpan drawl.
2: Falling Away With You by Muse (from the album Absolution): Muse's ascendancy to one of the biggest bands in the world has taken a while, but each successive album has built on their skyscraping, over-the-top blend of Queen, Radiohead and Pink Floyd. This, from their third studio album, is a characteristic combination of an almost leisurely verse and bombastic chorus.
3: Shoot To Thrill by AC/DC (from the album Back In Black): Few bands in the history of rock'n'roll could follow the tragic death of their frontman by recording their greatest ever album. There are no weak tracks on Back In Black, and Brian Johnson's gravel-voiced roar, whilst different from Bon Scott's drunken drawl, helped carry AC/DC to the stadium-rock level.
4: The River Curls Around The Town by Hood (from the album Cold House): Using cut-up vocals over backwards-masked guitar lines may not be a new trick, but Hood use it to good effect on this track, although it meanders along throughout its three minutes without ever really progressing too far.
5: C Note by Body Count (from the album Body Count): Guns'n'Roses-tinged instrumental from one of the most intentionally antagonistic albums ever recorded. Amongst the other tracks on the record are KKK Bitch, Evil Dick and the infamous Cop Killer, which was removed from later releases of the album.
6: Zip...Just Gone by Lo-Fidelity Allstars (B-side from the single Lo-Fi's In Ibiza): If Lo Fi's In Ibiza is the sound of a big beat Balearic rave, then Zip...Just Gone is the after-show comedown, combining jazz horns with an almost spoken vocal. Very chilled.
7: Guide My Hand by Driveblind (from the album Driveblind): One of the slower numbers from the Aberdeen band's debut album. It still seems strange to hear of Driveblind playing sold-out shows in LA, as I know a couple of the band's members fairly well, having worked with them in the office of an Aberdeen engineering company. Guide My Hand isn't one of the stronger tracks from the album, but does carry the band's hallmarks of strong vocals, faultless guitars and magnificent production.
8: Skeptics and True Believers by The Academy Is... (from the album Almost Here): American indie-punk by numbers from the Chicago band. Whilst I have nothing against them as such, this track does sound indistinguishable from Fall Out Boy, All-American Rejects and their ilk.
9: Bully Boy by Shed Seven (from the greatest hits album Going For Gold): In which Rick Witter - whose name became unfortunate Britpop-era rhyming slang for shitter - recalls a beating he received. Not the band's finest hour, with Witter's foghorn delivery failing to gel with the poor man's Stone Roses backing track.
10: I Don't Know by Beastie Boys (from the album Hello Nasty): I didn't really get into the Beastie Boys first time around - it wasn't until the release of Intergalactic and Body Movin' that I sat up and took notice. I've subsequently discovered their Beatles-sampling masterpiece Paul's Boutique, and whilst Hello Nasty doesn't quite compare with that record, it's still a very strong set. I Don't Know is one of the record's quieter moments, eschewing the Beasties' electro beats and triple-pronged rap attack.
Wednesday, January 10, 2007
Return of The Magic Tune Box
It's been quite a while since we delved into the darkest corners of the Magic Tune Box and joined its journey through my diverse music collection.
So, hold on folks, here goes.
1: Projects by Ash (from the album Nu-Clear Sounds): Nirvana-influenced rock from the Belfast boys. I've been a big fan of Ash since I was a teenager, and none of their albums has ever disappointed me. Nu-Clear Sounds moved their sound to a harder, grungier feel, and Projects is a throaty yell backed by Grohl-like drums.
2: Baby Get It On by Ike & Tina Turner (from the Nutbush City Limits box set): Soul-rock stomp featuring a full-bodied duet from the most turbulent couple in pop. Whilst most of Tina's solo career is middle of the road crap, her early work marked her out as one of the greatest singers of her time, infusing Aretha Franklin's soul with a shot of rock spirit.
3: Dolphin '99 by Shed Seven (from the greatest hits album Going For Gold): Shed Seven were amongst Britpop's finest magpies - able to knock out facsimile copies of Oasis, The Stone Roses or The Charlatans depending on the prevailing indie wind of the time. Dolphin '99 attempts to copy the Roses' loping drum beat, combining it with Rick Witter's enthusiastic vocals.
4: Conspicuously Leaving (Without Saying Goodbye) by AC Acoustics (from the album AC Acoustics): Fairly bland, warbling indie tune ideally suited to background music. Never likely to get the pulse racing.
5: Queen Of The Hours by Electric Light Orchestra (from the album First Light Series): ELO have been unfairly maligned in rock's history. Although claims that they were going to be the 1970s' answer to The Beatles may have been wide of the mark, they did at least attempt to inject a bit of creative energy into their songs. As with most of their output, this track incorporates an elaborate string backing, giving an eerie feeling.
6: New Pin by Oceansize (from the album Everyone Into Position): Earnest rock song that simultaneously evokes Nine Inch Nails, Radiohead and Metallica. By no means the highlight of a strong album, but a stirring listen nonetheless.
7: Squealer by AC/DC (from the album Dirty Deeds Done Dirt Cheap): Boasting a false start before typical Angus lead guitar work, this is the sound of the young AC/DC beginning to find their own distinctive sound. Includes a minute-long song section where only Bon Scott and drums are audible, bar the occasional guitar chord. Then, two minutes in, the band begins to rawk. Bon Scott is Scotland's greatest ever frontman - born just down the road from Groanin' Jock in Kirriemuir.
8: People Take Pictures Of Each Other by The Kinks (from the album The Kinks Are The Village Green Preservation Society): Ray Davies is undoutedly one of Britain's greatest songwriters. Having single-handedly invented the punk rock sound on You Really Got Me, he deserted his rock roots for explorations of life in a fast-fading traditional England. People Take Pictures Of Each Other is a typical Davies song of the period, combing 'la-la-la' backing vocals with intricate acoustic guitar work.
9: Oh My God by Kaiser Chiefs (from the album Employment): Whilst I think the Kaiser Chiefs are a great live act and that their debut album contains some great songs, they do occasionally have the feel of a novelty act unexpectedly turned massive. Oh My God is a definite highlight of the album, and as great a festival anthem as has been recorded in the past few years. Deserves kudos for the line: 'But you work in a shirt with your name tag on it, Drifting apart like a plate tectonic'.
10: Switching Off by Elbow (from the album Cast of Thousands): One of the greatest crimes in music today is that Elbow aren't as massive as Radiohead and Muse. As a creatively inventive band, they are matched today only by those bands and by Super Furry Animals. As with most of their output, Switching Off has an almost hymnal quality, led beautifully by Guy Garvey's voice.
So, hold on folks, here goes.
1: Projects by Ash (from the album Nu-Clear Sounds): Nirvana-influenced rock from the Belfast boys. I've been a big fan of Ash since I was a teenager, and none of their albums has ever disappointed me. Nu-Clear Sounds moved their sound to a harder, grungier feel, and Projects is a throaty yell backed by Grohl-like drums.
2: Baby Get It On by Ike & Tina Turner (from the Nutbush City Limits box set): Soul-rock stomp featuring a full-bodied duet from the most turbulent couple in pop. Whilst most of Tina's solo career is middle of the road crap, her early work marked her out as one of the greatest singers of her time, infusing Aretha Franklin's soul with a shot of rock spirit.
3: Dolphin '99 by Shed Seven (from the greatest hits album Going For Gold): Shed Seven were amongst Britpop's finest magpies - able to knock out facsimile copies of Oasis, The Stone Roses or The Charlatans depending on the prevailing indie wind of the time. Dolphin '99 attempts to copy the Roses' loping drum beat, combining it with Rick Witter's enthusiastic vocals.
4: Conspicuously Leaving (Without Saying Goodbye) by AC Acoustics (from the album AC Acoustics): Fairly bland, warbling indie tune ideally suited to background music. Never likely to get the pulse racing.
5: Queen Of The Hours by Electric Light Orchestra (from the album First Light Series): ELO have been unfairly maligned in rock's history. Although claims that they were going to be the 1970s' answer to The Beatles may have been wide of the mark, they did at least attempt to inject a bit of creative energy into their songs. As with most of their output, this track incorporates an elaborate string backing, giving an eerie feeling.
6: New Pin by Oceansize (from the album Everyone Into Position): Earnest rock song that simultaneously evokes Nine Inch Nails, Radiohead and Metallica. By no means the highlight of a strong album, but a stirring listen nonetheless.
7: Squealer by AC/DC (from the album Dirty Deeds Done Dirt Cheap): Boasting a false start before typical Angus lead guitar work, this is the sound of the young AC/DC beginning to find their own distinctive sound. Includes a minute-long song section where only Bon Scott and drums are audible, bar the occasional guitar chord. Then, two minutes in, the band begins to rawk. Bon Scott is Scotland's greatest ever frontman - born just down the road from Groanin' Jock in Kirriemuir.
8: People Take Pictures Of Each Other by The Kinks (from the album The Kinks Are The Village Green Preservation Society): Ray Davies is undoutedly one of Britain's greatest songwriters. Having single-handedly invented the punk rock sound on You Really Got Me, he deserted his rock roots for explorations of life in a fast-fading traditional England. People Take Pictures Of Each Other is a typical Davies song of the period, combing 'la-la-la' backing vocals with intricate acoustic guitar work.
9: Oh My God by Kaiser Chiefs (from the album Employment): Whilst I think the Kaiser Chiefs are a great live act and that their debut album contains some great songs, they do occasionally have the feel of a novelty act unexpectedly turned massive. Oh My God is a definite highlight of the album, and as great a festival anthem as has been recorded in the past few years. Deserves kudos for the line: 'But you work in a shirt with your name tag on it, Drifting apart like a plate tectonic'.
10: Switching Off by Elbow (from the album Cast of Thousands): One of the greatest crimes in music today is that Elbow aren't as massive as Radiohead and Muse. As a creatively inventive band, they are matched today only by those bands and by Super Furry Animals. As with most of their output, Switching Off has an almost hymnal quality, led beautifully by Guy Garvey's voice.
Monday, November 20, 2006
Magic Tune Box
It's Monday, it's wet and I'm still recovering from driving home from Perth in the dark during hurricane winds and torrential rain. So it feels like a good time to take a look through the Magic Tune Box and see where its mood takes us.
1: Sunshine Of Your Love by Cream (from the album Disraeli Gears): Clapton at his finest, matched by Ginger Baker's thunderous drums, both of which are anchored by Jack Bruce on bass. The only three-piece band ever to have matched the Jimi Hendrix Experience.
2: White Palms by Black Rebel Motorcycle Club (from the album Black Rebel Motorcycle Club): Bass-driven punk squal taking a pro (or anti) religious stance, depending on your beliefs. "Jesus when you coming back, Jesus when you coming back, Jesus never coming back - Jesus I dare you to come back."
3: Mucho Mungo by John Lennon (from the Dakota disc of the Lennon Anthology box set): Downbeat acoustic lament in which it is possible to hear baby Sean screaming in the background. A little hint of the way Lennon's life was going before he died.
4: Mellow Doubt by Teenage Fanclub (from the album Grand Prix): A slice of acoustic beauty clocking in at less than three minutes long. Includes the Fannies' trademark layered harmonies and a whistled solo. Possibly their finest song.
5: Ode To Billy Joe by Bobby Gentry: A song that, despite its dark subject matter, always makes me smile. Gentry's vocals, whilst hardly in the soul diva category, are nonetheless highly evocative. I love songs that tell a story, and Ode To Billy Joe is a fine example.
6: Bad by Michael Jackson (from the album Bad): A song that, from those opening synth strings, transports me back to when I was seven and this album was released. I don't care what anyone says, at that age I thought Wacko was the coolest guy on Earth, dressed in shiny black leather and dancing like some futuristic spaceman. Pop as it should be done.
7: Desert Drought by Cast (from the album Beetroot): High-tempo, jaunty indie number driven by flutes and bongos, an interesting combo. Sounds nothing like anything Cast had done previously, which is probably a good thing. Typically nonsensical lyrics though: "The way some people operate, they spend their time promoting counterfeit that's fake".
8: A Bell (Of Love Rings Out For You) by AC Acoustics (from the album AC Acoustics): Inoffensive indie song that could have been written at any point between 1966 and 2006.
9: 138th Street by The Walkmen (from the album Bows + Arrows): Jingly-jangly guitars and almost Dylan-esque vocals. Reminds me of The Pogues' Fairytale In New York.
10: PS You Rock My World by Eels (from the album Electro-Shock Blues): Typically gloomy but oddly inspiring string-laden love song of sorts.
1: Sunshine Of Your Love by Cream (from the album Disraeli Gears): Clapton at his finest, matched by Ginger Baker's thunderous drums, both of which are anchored by Jack Bruce on bass. The only three-piece band ever to have matched the Jimi Hendrix Experience.
2: White Palms by Black Rebel Motorcycle Club (from the album Black Rebel Motorcycle Club): Bass-driven punk squal taking a pro (or anti) religious stance, depending on your beliefs. "Jesus when you coming back, Jesus when you coming back, Jesus never coming back - Jesus I dare you to come back."
3: Mucho Mungo by John Lennon (from the Dakota disc of the Lennon Anthology box set): Downbeat acoustic lament in which it is possible to hear baby Sean screaming in the background. A little hint of the way Lennon's life was going before he died.
4: Mellow Doubt by Teenage Fanclub (from the album Grand Prix): A slice of acoustic beauty clocking in at less than three minutes long. Includes the Fannies' trademark layered harmonies and a whistled solo. Possibly their finest song.
5: Ode To Billy Joe by Bobby Gentry: A song that, despite its dark subject matter, always makes me smile. Gentry's vocals, whilst hardly in the soul diva category, are nonetheless highly evocative. I love songs that tell a story, and Ode To Billy Joe is a fine example.
6: Bad by Michael Jackson (from the album Bad): A song that, from those opening synth strings, transports me back to when I was seven and this album was released. I don't care what anyone says, at that age I thought Wacko was the coolest guy on Earth, dressed in shiny black leather and dancing like some futuristic spaceman. Pop as it should be done.
7: Desert Drought by Cast (from the album Beetroot): High-tempo, jaunty indie number driven by flutes and bongos, an interesting combo. Sounds nothing like anything Cast had done previously, which is probably a good thing. Typically nonsensical lyrics though: "The way some people operate, they spend their time promoting counterfeit that's fake".
8: A Bell (Of Love Rings Out For You) by AC Acoustics (from the album AC Acoustics): Inoffensive indie song that could have been written at any point between 1966 and 2006.
9: 138th Street by The Walkmen (from the album Bows + Arrows): Jingly-jangly guitars and almost Dylan-esque vocals. Reminds me of The Pogues' Fairytale In New York.
10: PS You Rock My World by Eels (from the album Electro-Shock Blues): Typically gloomy but oddly inspiring string-laden love song of sorts.
Friday, November 03, 2006
More random noises from the Magic Tune Box
Once again, I have failed to come up with a blog topic as witty, intelligent and thought-provoking as my usual standards, so I will set the Magic Tune Box to random and see where it takes us, as I did in a previous post.
1: Hawks & Doves by Magdalen Green (from the Magdalen Green EP): Bluesy Zep-like acoustic ballad tinged with harmonicas and bongos. From the young British band's debut single, which I recommend everyone check out as soon as possible.
2: Song of Life by Leftfield (from the album Leftism): A reminder of why Leftfield were so good at their peak. Coming from the same album that gave rise to Open Up, Song of Life starts slowly, combining Indian chanting with quiet drums, before accelerating to clubland in its final four minutes, including Leftfield's own trademark skull-crushing drums.
3: Sittin' Here In Silence (On My Own) by Oasis (B-side from the Let There Be Love single): Downbeat acoustic strum-along from the band's recent renaissance. Only two minutes long, the song hints that not everything in Noel Gallagher's world is rosy in the post-Britpop comedown.
4: Policeman Skank...(The Story of My Life) by Audioweb (from the album Fireworks City): Audioweb's lead singer Sugar was a strange creature - a six foot plus black guy who could sing like an angel and rap better than most of his contemporaries. This reggae-tinged pop romp tells, as the title suggests, the story of his life, arrest and time in jail.
5: Rain by Terence Trent D'Arby (from the album Introducing The Hardline According To Terence Trent D'Arby): A comparitively weak track from the 80s soul saviour's debut album. Doesn't come close to the greatness he enjoyed on Wishing Well and Sign Your Name. A statement that could also be made about the remainder of TTD's career after this album.
6: Safe In Mind (Please Take This Gun From Out My Face) by UNKLE (from the album Never, Never, Land): UNKLE's futuristic, string-drenched electro hip-hop brings in Queens of The Stone Age's Josh Homme on lead vocals, to brilliant effect. UNKLE are most definitely at their best when collaborating with guest vocalists, with key hook-ups including Richard Ashcroft, Thom Yorke, Ian Brown and Badly Drawn Boy. This track includes the lyric 'Life's a gun that's always pointing in my face.'
7: Strawberry Fields Forever (Take 1) by The Beatles (from the album Anthology 2): The original first studio take of the greatest song ever. Includes woozy acoustic slide guitar, deadened drums and John Lennon giving a heart-rending performance on acoustic guitar and lead vocals. Reveals that at the heart of the most wonderful piece of art ever created, lies a simple acoustic ballad. Beautiful.
8: Talk On by Ocean Colour Scene (from the album Ocean Colour Scene): Many people believe that Moseley Shoals, the album which included the singles The Riverboat Song, The Day We Caught The Train and The Circle, was Ocean Colour Scene's debut. In fact, it was this self-titled record, after which they were quickly dropped by their record company. OCS themselves largely ignore this album, feeling that the band and label's conflicting musical views led to a 'watered-down' debut which lacked the edge of OCS' live popularity. An inoffensive and un-inspiring track, a charge which could be levelled at most of those on the record. Cynically re-released in 1996 to captialise on the band's new-found popularity.
9: Central Reservation (The Then Again Version) by Beth Orton (from the album Central Reservation): Trip-hop influenced remix of the title track from Orton's second album. Although I own all of her albums, I don't think I've listened to one for a few years - which is a shame, as whenever one pops up on the Magic Tune Box, I remember how good she is. Then I go home, forget all about her and listen to Bob Dylan instead.
10: Half A Dream Away by Ocean Colour Scene (from the album Marchin' Already): Seems the Magic Tune Box has an OCS fixation today. Typically well-played, well-produced but terminally bland album track from the follow-up to Moseley Shoals. Includes a trombone solo and some bizarre couplets including: 'The fireman tried but the hose was frozen; The cupboard's bare but the door needs closing'. Does end with a 30-second spell of finger picking by Steve Craddock. Which is nice.
1: Hawks & Doves by Magdalen Green (from the Magdalen Green EP): Bluesy Zep-like acoustic ballad tinged with harmonicas and bongos. From the young British band's debut single, which I recommend everyone check out as soon as possible.
2: Song of Life by Leftfield (from the album Leftism): A reminder of why Leftfield were so good at their peak. Coming from the same album that gave rise to Open Up, Song of Life starts slowly, combining Indian chanting with quiet drums, before accelerating to clubland in its final four minutes, including Leftfield's own trademark skull-crushing drums.
3: Sittin' Here In Silence (On My Own) by Oasis (B-side from the Let There Be Love single): Downbeat acoustic strum-along from the band's recent renaissance. Only two minutes long, the song hints that not everything in Noel Gallagher's world is rosy in the post-Britpop comedown.
4: Policeman Skank...(The Story of My Life) by Audioweb (from the album Fireworks City): Audioweb's lead singer Sugar was a strange creature - a six foot plus black guy who could sing like an angel and rap better than most of his contemporaries. This reggae-tinged pop romp tells, as the title suggests, the story of his life, arrest and time in jail.
5: Rain by Terence Trent D'Arby (from the album Introducing The Hardline According To Terence Trent D'Arby): A comparitively weak track from the 80s soul saviour's debut album. Doesn't come close to the greatness he enjoyed on Wishing Well and Sign Your Name. A statement that could also be made about the remainder of TTD's career after this album.
6: Safe In Mind (Please Take This Gun From Out My Face) by UNKLE (from the album Never, Never, Land): UNKLE's futuristic, string-drenched electro hip-hop brings in Queens of The Stone Age's Josh Homme on lead vocals, to brilliant effect. UNKLE are most definitely at their best when collaborating with guest vocalists, with key hook-ups including Richard Ashcroft, Thom Yorke, Ian Brown and Badly Drawn Boy. This track includes the lyric 'Life's a gun that's always pointing in my face.'
7: Strawberry Fields Forever (Take 1) by The Beatles (from the album Anthology 2): The original first studio take of the greatest song ever. Includes woozy acoustic slide guitar, deadened drums and John Lennon giving a heart-rending performance on acoustic guitar and lead vocals. Reveals that at the heart of the most wonderful piece of art ever created, lies a simple acoustic ballad. Beautiful.
8: Talk On by Ocean Colour Scene (from the album Ocean Colour Scene): Many people believe that Moseley Shoals, the album which included the singles The Riverboat Song, The Day We Caught The Train and The Circle, was Ocean Colour Scene's debut. In fact, it was this self-titled record, after which they were quickly dropped by their record company. OCS themselves largely ignore this album, feeling that the band and label's conflicting musical views led to a 'watered-down' debut which lacked the edge of OCS' live popularity. An inoffensive and un-inspiring track, a charge which could be levelled at most of those on the record. Cynically re-released in 1996 to captialise on the band's new-found popularity.
9: Central Reservation (The Then Again Version) by Beth Orton (from the album Central Reservation): Trip-hop influenced remix of the title track from Orton's second album. Although I own all of her albums, I don't think I've listened to one for a few years - which is a shame, as whenever one pops up on the Magic Tune Box, I remember how good she is. Then I go home, forget all about her and listen to Bob Dylan instead.
10: Half A Dream Away by Ocean Colour Scene (from the album Marchin' Already): Seems the Magic Tune Box has an OCS fixation today. Typically well-played, well-produced but terminally bland album track from the follow-up to Moseley Shoals. Includes a trombone solo and some bizarre couplets including: 'The fireman tried but the hose was frozen; The cupboard's bare but the door needs closing'. Does end with a 30-second spell of finger picking by Steve Craddock. Which is nice.
Thursday, October 19, 2006
Noises from the magic tune box
As I am in my office on my own and have nothing to write about, I will borrow an idea from Elisson. I've hooked my MP3 player up to my computer and will list the first 10 tracks it plays (from a selection of around 12,000), when set to 'random', and will write a little about each one.
1: Rocks by Primal Scream (from the album Give Out But Don't Give Up): A euphoric slab of Stones-aping good time rock. Probably the band's best track, from a 20-year career of highs (both musical and chemical). Sadly covered awfully by Rod Stewart many years later.
2: Danny The Dog by Massive Attack (from the album Danny The Dog): An ice-cold sheet of instrumental bleakness. From the instrumental soundtrack to the movie of the same name. Not the Bristol band's finest hour.
3: Let Me Put My Love Into You by AC/DC (from the album Back In Black): ACCA-DACCA at their finest - Bon may be gone, but Back In Black showed that the band truly belonged in the upper echelons of rock'n'roll. Anyone who doesn't like this album is deaf or dead.
4: I'm Gonna Crawl by Led Zeppelin (from the album In Through The Out Door): One of the better tracks from Zep's last studio album. By no means their greatest work, with no sense of the blues-based power of their early years. Even Robert Plant sounds understated.
5: See Emily Play by Pink Floyd (from the Pink Floyd Best Of Echoes): A woozy psychedelic trip into Syd Barrett's mind, which by all accounts wasn't a pleasant place at times. No hint of the globe-straddling prog beast that Floyd would evolve into after Syd's departure.
6: Truth Hides by Asian Dub Foundation (from the album Community Music): Eight-minute epic from the angry drum'n'bass collective. Builds slowly, with spoken word sections before a haunting Asian vocal. Gives way to cacophonous drums in the last minute.
7: Ain't That A Shame by Ike and Tina Turner (from the Nutbush City Limits boxset): Tina going through the motions on a cover of the soul standard.
8: Mind The Gap by The Soundtrack of Our Lives (from the album Behind The Music): Beatles-esque masterpiece from the 60s-tinged Swedish rockers. Crashing piano chords and drums of which Ginger Baker would be proud, culminating in chant-along chorus of 'We might as well blow you away'. Genius.
9: Behind These Cannonball Eyes (mash-up of Kelly Clarkson's Behind These Eyes and The Breeders' Cannonball): Strangely enjoyable mix of the indie classic's bass riff with American Idol winner's preening pop. Has to be heard to be believed.
10: Workingman's Blues #2 by Bob Dylan (from the album Modern Times): Proof, as if any were needed, that Dylan is America's greatest ever songwriter, and testament to the fact that, of all the artists from the 1960s, Dylan alone continues to record music that is relevant today.
If any of you want to hear these tracks, let me know and I'll put them online somewhere (just don't tell the record companies)
1: Rocks by Primal Scream (from the album Give Out But Don't Give Up): A euphoric slab of Stones-aping good time rock. Probably the band's best track, from a 20-year career of highs (both musical and chemical). Sadly covered awfully by Rod Stewart many years later.
2: Danny The Dog by Massive Attack (from the album Danny The Dog): An ice-cold sheet of instrumental bleakness. From the instrumental soundtrack to the movie of the same name. Not the Bristol band's finest hour.
3: Let Me Put My Love Into You by AC/DC (from the album Back In Black): ACCA-DACCA at their finest - Bon may be gone, but Back In Black showed that the band truly belonged in the upper echelons of rock'n'roll. Anyone who doesn't like this album is deaf or dead.
4: I'm Gonna Crawl by Led Zeppelin (from the album In Through The Out Door): One of the better tracks from Zep's last studio album. By no means their greatest work, with no sense of the blues-based power of their early years. Even Robert Plant sounds understated.
5: See Emily Play by Pink Floyd (from the Pink Floyd Best Of Echoes): A woozy psychedelic trip into Syd Barrett's mind, which by all accounts wasn't a pleasant place at times. No hint of the globe-straddling prog beast that Floyd would evolve into after Syd's departure.
6: Truth Hides by Asian Dub Foundation (from the album Community Music): Eight-minute epic from the angry drum'n'bass collective. Builds slowly, with spoken word sections before a haunting Asian vocal. Gives way to cacophonous drums in the last minute.
7: Ain't That A Shame by Ike and Tina Turner (from the Nutbush City Limits boxset): Tina going through the motions on a cover of the soul standard.
8: Mind The Gap by The Soundtrack of Our Lives (from the album Behind The Music): Beatles-esque masterpiece from the 60s-tinged Swedish rockers. Crashing piano chords and drums of which Ginger Baker would be proud, culminating in chant-along chorus of 'We might as well blow you away'. Genius.
9: Behind These Cannonball Eyes (mash-up of Kelly Clarkson's Behind These Eyes and The Breeders' Cannonball): Strangely enjoyable mix of the indie classic's bass riff with American Idol winner's preening pop. Has to be heard to be believed.
10: Workingman's Blues #2 by Bob Dylan (from the album Modern Times): Proof, as if any were needed, that Dylan is America's greatest ever songwriter, and testament to the fact that, of all the artists from the 1960s, Dylan alone continues to record music that is relevant today.
If any of you want to hear these tracks, let me know and I'll put them online somewhere (just don't tell the record companies)
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