It started off so well…

I can't believe it's taken me so long to get around to writing about this band, but Queen has long been one of my favorite bands. I got hooked on Queen about a decade ago after I had listened to a mix CD that included “Bohemian Rhapsody”, “Crazy Little Thing Called Love”, “We Will Rock You” and “We Are The Champions”. I’d known those songs before, but never really listened to them… and as is typical for me, after hearing a band I really like, I dive right into their music for several months.

 

After borrowing News of the World from a friend, it seemed that each week I’d run out to buy another one of their albums. So, what can I say about Queen? Queen was incredibly different. They could have wild, loud rockers one minute, and then they would have a pretty ballad the next.  Or even better, they would have some bizarre song that was filled with their British charm. John Deacon is an amazing bassist. Deacon bass lines aren’t just that thumping you tend to hear – His bass lines were melodic and beautiful – And he wrote some of the biggest Queen hits. Roger Taylor can totally rock out on the drums and watching him behind a ridiculously huge set, and know exactly where he’s going… It’s pretty impressive. (And it’s because of him that I mastered the drumstick twirl!) Not to mention he can sing higher than me! Brian May is my favorite member… (I think I’ve already mentioned my “thing” for guitarists). Brian is an extraordinary guitarist and the way he used guitars as other instruments – Well, I’ve never heard another musician able to orchestrate a choir of guitars the way Brian can. And Freddie? Jeez, he’s one of the most charismatic front mans ever. He wasn’t much to look at, but that voice! So powerful which such a fantastic range… And he had a distinctive style on the piano as well. And he’s written some of rock and roll’s most complex songs.

 

My favorite album may be The Game – though, that’s not to say I don’t dig their other albums. Honestly, every album of theirs (particularly the earlier albums) have tons of noteworthy songs. I know that to some The Game marks the beginning of the end for Queen. It’s Queen’s first pop album and is the first of Queen’s albums that doesn’t boast the use of no synthesizers. In fact, the first sound of the album is a synthesizer. So, the album may lack the depth of Queen’s preceding albums and lack the edge of News of the World, but it doesn’t make it a bad album. “Play The Game” is a fantastic showcase for Freddie’s amazing vocals. “Another One Bites The Dust” is quite a departure for the band and for the writer of the song – John Deacon – successfully crossing over into the funk genre. Brian’s heavy “Dragon Attack” and John’s catchy “I Need Your Loving Tonight” are both great tunes. And “Crazy Little Thing Called Love” is a lovely little rockabilly tribute to Elvis with a great Brian May guitar solo played on a Fender Telecaster instead of his usual “Red Special”.

 

Brian wrote two absolutely gorgeous ballads on this album as well – “Sail Away Sweet Sister” is by far my most played Queen song. I love Brian’s vocals and amazing guitar solo – and Freddie’s vocals on the bridge tend to blow me away. (How does he hit that note?!) “Save Me” is the other ballad – and it has another killer guitar solo. And Freddie’s vocals are, of course, perfect. It builds up to a poignant climax flawlessly with its catchy and heartfelt chorus. While it may not be groundbreaking, it doesn’t detract from the beauty of the song. It’s a lovely and strong closer to the album.

 

So… I suppose that’s about all I’ve got to say about Queen for now, but be prepared for me to revisit the subject somewhere down the line.

All part of decency's jigsaw I suppose…

XTC seems to epitomize quirky and intelligent pop music. The melodies are catchy but very unusual in their sound and structure. This band has been a part of my music collection for about 7 years now. I had heard a handful of their songs on the TV show, Gilmore Girls, but didn’t realize who they were. The first album I ever heard was their 1986 classic, Skylarking.

 

Skylarking is a fantastic album – from start to finish. It’s full of interesting and complex arrangements with lush instrumentation. The way the tracks merge into each other make it an album you have to listen to in sequence. While each track is amazing in its own right, it’s even more incredible to listen to it the way it was meant to be heard. My favorite part is the way “Ballet for a Rainy Day” merges into “1000 Umbrellas”. And I adore the use of strings. It’s not an entire philharmonic orchestra, so it doesn’t overpower the track, but it sure gives it character. “Season Cycle” is an upbeat pop song with some clever lyrics and unique rhymes (rhyming “cycle” with “umbilical” is not something you run across every day!). “That’s Really Super, Supergirl” is a really fun song with a very quirky melody. And “Earn Enough For Us” is the first song of theirs I ever heard and I love the lyrics – they hold a certain fear-tinged optimism that I find endearing. Besides the guitar riff intro is pretty fantastic. Then there is perhaps their most well-known song, “Dear God”. It’s really an interesting concept for a song – or even a piece of writing – to write a letter to God explaining why he doesn’t believe in him. There’s a really great use of strings in this song as well.

 

Of course, after getting into this album, I had to check out their other music. Luckily, I had a lot of music to check out because they have 14 albums… I found that Andy Partridge writes some of the most bizarre melodies, but they are damn catchy. And the lyrics are clever and cynical. The early XTC albums sound a little different from their later stuff, having more punk and new wave elements in them, but the songs are every bit as catchy. “This Is Pop?” from White Music may be my favorite of their early recordings. You wouldn’t think that a song with so many dissonant chords would be so catchy, but it’s completely addictive. “Ugly Underneath” from Nonsuch is another favorite of mine – I love the contrast of the harsh rock-y verses with the beautiful melodic chorus. It’s got a pretty awesome bass line too. And I love the lyrics. “Great Fire” off Mummer and “Snowman” from English Settlement are more examples of the catchy, quirky melodies that seem to be Andy Partridge’s trademark… And I really love the song, “Respectable Street” from Black Sea. It’s really an interesting way to begin an album – starting off as an old phonograph record and a gentle delivery of the melody by Andy Partridge then it quickly switches gears with the slam of jangly guitar chords. And I kind of dig the lyrics, observations of modern-day suburbia. I also must mention their last album, Wasp Star (Apple Venus Volume 2).  That album is also fantastic – “The Man Who Murdered Love” is a great rocky pop song. It’s got a tremendously catchy chorus and very unique take on a love song of sorts. “You And The Clouds Will Still Be Beautiful” is currently my most played song by XTC – I love the rhythm of the guitar.

 

There is a perception that the band is essentially a studio creation of a group of gifted reclusive musicians who refuse to tour because they can't cut it as a live band. But if you catch any of their live recordings on youtube you’ll see that Andy Partridge is a riveting performer. Though, he suffers from stage fright, so catching a performance is pretty rare. While they may be an acquired taste, I enjoy all of their music and I find that each album is unique, surprising, and worthwhile.

 

Down came the sky, and all you did was blink…

Sondre Lerche is a Norwegian singer-songwriter that I first discovered on Christmas Day 2007. He had already been on the music scene for several years when I heard that song, “Track You Down”. It wasn’t, however, until several months later that I really started looking into his music and quickly became a big fan of his.

He has an acute talent for writing catchy pop hooks. While it’s quite evident that he was influenced by artists like Elvis Costello and Brian Wilson, I think his work is distinctive in his own write. He weaves his songs from catchy Beatlesque melodies to sophisticated sounds like Burt Bacharach and Elvis Costello and intertwines them with his own notable and worthy voice. Considering his young age when he started (he was only 19 or 20 when his first album was released), you would think his music would be naïve and inexperienced, but it’s pleasantly the opposite.

 

The first album I got was his 2004 album, Two Way Monologue. That is a great album to use as an introduction to such a talented musician. At least, it completely hooked me. It kicks off with an instrumental piece then launches into the enchanting and catchy “On The Tower” and segues into the title track, “Two Way Monologue”. That song was an early favorite of mine. I love the way the song builds – starting with just vocal and guitar and swelling into a toe-tapping pop-rock song.  “Wet Ground” is lovely for the poetic lyrics and melancholy melody. “It’s Over” is another favorite of mine, seeming to be reflecting on a breakup. “Stupid Memory” and “Counter Spark” are both extremely catchy pop songs. And “It’s Too Late” has an unusual melody written in 6/8 time – I really dig the drums in this song.  Then the album ends on that first song I’d ever heard by him – “Track You Down”. I think that song may still be my favorite of his. After listening to that album, I felt compelled to check out the rest of his albums.

 

All of his albums have a number of great songs: “To Be Surprised” from the Dan In Real Life soundtrack is an instant feel-good song for me – and I love the guitar in that song.  “No One’s Gonna Come” is another song written in 6/8 with a catchy tune and prominent piano and drums. Phantom Punch is a really great album that has a bit of a different feel than his previous albums – with a bit more of a rockier edge. Particularly “The Tape” and “Face The Blood” – though there are plenty of straight pop songs too, like “She’s Fantastic” and one of my all-time favorite songs, “Say It All”. In that same vein is the song “Don’t Look Now” from Heartbeat Radio. He even does a really great cover of “Human Hands” that gives the fabulous Elvis Costello song a fun, jazzy feel.

 

All in all, if you dig dreamy and romantic pop music, you should definitely check out Sondre Lerche. (And he's not half-bad to look at either!)

 

 

Come together right now, over me...

In honor of John Lennon's 72nd birthday, I decided to write another Beatle-y entry, this time about Abbey Road. Even though it is the last Beatles album ever recorded, it's much more optimistic than the earlier recorded Let It Be. I bought Abbey Road during the summer before my senior year in high school and loved the entire album immediately. There's a lot of different kinds of songs featured, jumping around a bit in genres, but still unified and strong.

 

"Come Together" I'm sure is a song I'd heard before I got the album, but I didn't really know the song. It kicks off the album forcefully with the bass riff and drum beat and John's whispered "shoot me." It's got a great, bluesy feel and typical vague, seemingly nonsensical, Lennon lyrics. It's a pretty great rock song and I love the ending with the repeated "Come together, yeah" and George's super-clean guitar. "Something" is, in my opinion, one of George's best songs. There's a fabulous bass line, sweet lyrics, a clean slide guitar solo and intro, lovely sweeping orchestral backing, and a very cool drum part during the middle eight (and love that descending part taken by the bass and piano). And I know I already mentioned it, but I love the guitar solo – and slide guitar does something to me I don't know how to explain! "Maxwell's Silver Hammer" was the song I most remember singing loudly in the car with my friends, driving home from school (the chorus is a bit anthemic, after all). It's kind of a silly song – and not one that John particularly liked – in fact, I don't believe John made any contributions to the recording, aside from making Paul laugh during "writing fifty times". The song tells the tale of a guy who bashes in the heads of anyone who he feels threatened by. I like the piano arpeggios leading up to the last verse. "Oh! Darling" is kind of 1950s R&B throw back. Paul does a pretty amazing scream-y vocal performance. John does a great job on the piano and the lead guitar is fantastic as is the drumming. Pretty cool bass line, too. "Octopus's Garden" is a Ringo composition that's a fun, happy jaunt. There's a pretty awesome lead guitar part, some groovy drumming, and I dig the piano part. "I Want You (She's So Heavy)" is a very bluesy Lennon song about Yoko, with just the same lyric repeated throughout the 7 and a half minutes and has a little bit of a jam session feel. Paul contributes some great bass lines and Billy Preston is featured on organ (and he does an amazing job!). My favorite part is the "She's so heavy" bit. I also kinda dig how it ends, a repeated guitar riff, cool drumming, and then an abrupt cut, ending both the song and side A in sudden silence.
 

The B-side of this album is so fantastic – and I adore it! I think part of what gets me so excited is that I saw a Beatle cover band do the entire B-side, with "fake George" playing all three solos during "The End". It was an awesome performance – but The Beatles do a tremendous performance here. "Here Comes The Sun" is the great George track that opens the B-side of the album. It's got lovely, optimistic lyrics, an exquisite melody, and some very interesting time signatures over the bridge (Dhani mentioned that the bridge is very reminiscent of Indian music). George had really come so far as a composer by this point. There's a pretty orchestral accompaniment – I love the deep, mellow sound of violas and cellos. George Martin played the harpsichord on "Because." The choir of Beatle voices is pretty cool and I love the harmonies – particularly Paul's line. The song was influenced by Beethoven's "Moonlight Sonata" – worked around the chords reversed. "You Never Give Me Your Money" was instantly one of my favorite songs on the album – and one of my favorite songs to play on the piano. I initially thought it was sung by 2 different people, since I didn't recognize Paul's "Lady Madonna" voice as his. I love how the song shifts through so many styles and moods. My favorite part is when Paul segues into the swingy part – and the bass line… and then proceeding into that fantastic guitar riff – George does an amazing job here! There is so much in this song, it's hard to believe it's only 4 minutes. It's still one of my favorite Beatles tracks. "Sun King" features lush, multi-tracked harmonies and a made-up language reminiscent of Spanish. It fades into a drum fill by Ringo and is suddenly "Mean Mr. Mustard". There's some great John-Paul harmonizing and a pretty great fuzz-bass line. "Polythene Pam" is a fun song with John singing with a prominent Scouse accent. There's a nice guitar solo by George before John's "Oh, look out!" and Paul's "She Came In Through The Bathroom Window." George does some more fabulous lead guitar work and as always, Paul's bass line is exceptional. "Golden Slumbers" is a song that Paul called "Trad-Arranged McCartney" since the lyrics were based on an old lullaby. Paul plays piano, George is featured on bass, and Ringo on drums. There's a very lovely orchestral backing too. "Carry That Weight" is fantastic with its reprise of "You Never Give Me You're Money" and more great orchestra work. "The End" is noteworthy for the featured instrument solos by all 4 members of the band – and Ringo's only drum solo on a Beatles album. Of course, me being the guitar solo whore I am, I'm captivated by the guitar solos. I was so proud of myself when, in 2002 after realizing that the solos weren't played by one person, I could pick out which solo was performed by which Beatle – Paul is first, George is second, and John is last with the distorted guitar. The solos end with piano chords and the infamous line, "And in the end, the love you take is equal to the love you make." "Her Majesty" is the hidden and final track on the album. It was originally placed between "Mean Mr. Mustard" and "Polythene Pam", but didn't work there. That's the reason for the rather abrupt beginning and ending. Paul is the only Beatle featured on this 23 second track.
 

 

All in all, it's a fantastic album that anyone who loves music should own.

 

So until next time.... Happy Birthday, John!

 

 

Anytime at all, all you have to do is call...

In 1963, my boys had already had some tremendously impressive songwriting skills, chops, and contagious melodies under their belts. A Hard Day's Night is notably different though. Please Please Me was literally a run-through of all the songs they played live at the Cavern, all recorded in one day. With the Beatles was much of the same. Both albums definitely demonstrated The Beatles songwriting ability, but there were a number of covers included. (On a side note, I think "Twist and Shout" and "You've Really Got A Hold On Me" are 2 of the best covers The Beatles ever did.) A Hard Day's Night is the very first Beatles album comprised of only Lennon& McCartney material.

The instrumental landscape is graced with driving acoustic guitars, John and Paul's unmistakable voices and harmonies, Paul's characteristic bass lines, Ringo's steady backbeat and of course, George's ringing 12-string guitar. George's playing was so influential -- especially on the classic title song --that seemingly an entire generation of young guitarists made the 12-string a part of their arsenal.

 

The album (and film) opens with that explosive and instantly recognizable chord. And from there, we are taken on an exhilarating ride. Both Paul and John take lead vocals on "A Hard Day's Night." It is a primarily John written song and the title came from Ringo. John gave the middle bit to Paul since he couldn't reach the notes comfortably. "A Hard Day's Night" is an infectious rocker and a lot of good fun. Great beat, catchy melody, easy to dance to, love the guitar solo, and adore the screams. "I Should Have Known Better" is another super-catchy pop song with a bright melody and John demonstrating his talents on the jaunty harmonica line, as was customary in the early Beatles albums. The guitar solo is a bit lacking, but there's plenty of ear candy to keep me amused – Including double tracked Lennon vocals (and just a side note: Love the way he sounds when singing "When I tell you that I love you, oh. You're gonna say you love me too, oh". Those "oh's" totally get to me!) and appealing lyrics. "If I Fell" is a beautiful ballad with an unusual song structure. John and Paul were definitely growing by leaps and bounds in their songwriting abilities. There's no obvious chorus, just versus with a lovely melody, sweet lyrics, and fantastic harmonies by John and Paul. Considering how distinctive and different their voices were, they had an amazing ability for their voices to blend and wrap around each other, forming heavenly harmonies. "I'm Happy Just To Dance With You" is, while not a well-respected Beatles song, I love it and have always considered it one of my favorites from the album. I'm aware that it's a "basic formula" song and that John wrote it as a throw away song and never cared for it, but it's so catchy and George's performance is absolutely adorable. I can't help but picture him in A Hard Day's Night, doing his little jig during the song. I love the Bo Diddley guitar part during the verses and I think my favorite part is when the background vocals come in during the chorus (The "Ohhh ohhh's").

 

"And I Love Her" is a classic Paul ballad – infused with a bossa nova rhythm. It has the typical, sweet lyrics that are customary of McCartney love songs. The middle eight is fantastic (though, there's some debate over whether John or Paul wrote that) and while the guitar solo does nothing more than repeat the melody, it is done on acoustic guitar – which I love! Also, I love the key change – some key changes come across as a bit unnecessary, but this one, I love. "Tell Me Why" was quite obviously influenced by the R&B styles of girl groups during this time. I love the harmonies used continually (but I'm a sucker for harmonies). It has a swingy, walking bass line, a pretty great middle-eight (though, it was quite some time before I understood what they were saying in the falsetto bit), and a fantastic vocal performance from John. "Can't Buy Me Love" is a brilliant anti-materialistic rocker. I tend to prefer the live version featured in Anthology, but there's no denying that this is a fantastic early Beatles rock song. Amazing bass line, very cool guitar solo (love the twangy sound of the guitar), and an incredible scream from my Paulie.

"Any Time At All" is another one of my favorites from this album and kicks off the B-side of the album.  It's lyrics are upbeat, there's a very cool middle eight with Paul pounding the melody out on the piano, and I love John's shout-y chorus (with Paul singing the echoing "Any time at all" because, again, John couldn't reach the notes). John had said that this song was an attempt to re-write "It Won't Be Long", which I can see – But since I love that song too, it doesn't detract at all. "I'll Cry Instead" features confessional lyrics set to a wistful, country-western musical backdrop. It's a captivating, snappy melody and flies by. This song clocks in under two minutes, and to me, there just isn't time to dislike it. My favorite part is "Don't wanna cry when there's people there" bit. "Things We Said Today" is one of my songs. I love the duga-dum acoustic guitar intro and Paul singing harmony with himself. I think the song is interesting lyrically, with the future tense of the song and how "the present" is somehow the past. I'm quite partial to the middle-8 bit too and the change from a minor key to a major key. "When I Get Home" is another Lennon rocker. I'm finding that I really do like the scream-y voice John uses on these early rock songs. "You Can't Do That" is another song I'm quite partial to. Wilson Pickett inspired, it's got great jangly guitar, nice background vocals, and I like the stop-start of the "I told you before, you can't do that." And there's a pretty nice scream before John launches into a very Lennon-esque guitar solo. "I'll Be Back" is a nice piece of songwriting with rather poignant lyrics. My favorite bit is "I thought you would realize…" It's kind of an unexpected choice as an album closer, but I like how it ends on the promise that "I'll be back again."