While it’s a fantastic song all in all, for me it’s all about the drum track. It’s so unfussy, so methodical and regular, and then so satisfying when the drums break out into a quick rattle at the close of some of the vocal lines. I’ve not been able to find out for sure who the drummer is, but Motown’s house band The Funk Brothers are usually credited so the likely candidate is Richard ‘Pistol’ Allen.
It’s amazing how much he’s able to achieve in the moments that he allows himself to escape from the standard beat, and I love the way that towards the end of the song he lets the rat-a-tatting take over little by little, threatening to transform the song from Stax-esque funk into a wild marching band.
Click here to listen to Signed, Sealed, Delivered I’m Yours on Spotify.
David is my favourite songwriter of the Herman Düne brothers but this song by André is an absolute beauty. There are two guitar solos in this song and both are near-identical – I’ve always assumed that the solos were by David, but I’ve had trouble finding out either way.
At 02:10 André’s and Diane Cluck’s vocals drop out and the guitar solo begins – at first confident and clear, but then fading and rattling into uncertainty. As the next verse continues, the lead guitar shimmers in the background, and then at 4:38 the solo returns, this time accompanied by an insistent regular drum pattern, rising in volume gradually.
The lead guitar line’s naive simplicity and repetition mirrors André’s cracking voice and sometimes awkward French-Swedish accent. It’s one of the most perfect marriages of vocal and instrumental melodies that I can think of.
Click here to listen to So Not What I Wanted on Spotify.
Although only released last year, I like to imagine Summertime! by The Drums as the soundtrack to my end-of-sixth-form summer holiday. It’s sunny, hopeful and nostalgic. Like Animal Collective, The Drums have Brian Wilson as an ancestor, but also mix in Factory Records reverb and melodies that you’d swear were hits back in the 80s.
This EPs one of those rare records that make me sure that whichever track I’m currently listening to is my favourite – but I think ‘Don’t Be a Jerk, Johnny’ has to be top, if only for the coda ‘You used to be so pretty / But now you’re just tragic / Believe in something / You’re full of horseshit’.
There’s a huge amount of buzz around for The Drums – Rose and I will be seeing them live on 23rd Feb and I can’t wait to hear a sample of their first full-length album.
Click here to listen to Summertime! on Spotify.
Here’s a Spotify playlist that I made at the end of last year. It’s a bit of a mishmash of old 78s, distortion and cheap Beatles pastiches (come on Spotify, surely you can talk the boys around by now?).
1. I don’t want to set the world on fire – The Ink Spots
2. Welfare bread – King Khan & the Shrines
3. So bored – Wavves
4. California girls – The Magnetic Fields
5. rr vs. d – Au
6. I keep losing heart – Electrelane
7. Lesley Gore on the T.A.M.I show – Casiotone for the Painfully Alone
8. The cracks are showing – Vivian Stanshall
9. Shake appeal / Tight pants (live) – The Stooges
10. Red shoes by the drugstore – The Wedding Present
11. Bottle opener – Giddy Motors
12. You can’t catch me – Chuck Berry
13. All my loving – Beatles Rumba Band
14. Living in hope – The Rutles
15. Making plans for Nigel – XTC
16. Two sleepy people – Hoagy Carmichael & Ella Logan
17. Say a litle prayer – Santo & Johnny
18. Barbados – Lord Invader
19. Staging the plaguing of the raised platform – Cornershop
20. Are animals – Au
21. You are the generation that bought more shoes and you get what you deserve – Johnny Boy
Click here to listen to I Keep Losing Heart on Spotify
I’m a total sucker for songs with modular, separate elements that eventually come together in surprising ways.
‘I lost my place / In your / Line of vision’ begins the song, the vocal line stop-starting, timing at odds with the lone staccato guitar line. Then on the second vocal phrase the rhythm guitar and drums hit, just two beats for a fleeting moment.
Fifteen seconds in, Shahin Motia emits the perfect phrase ‘I hate my body / I love your eyes’ and the drums thwack again and again, battling the guitar riff with bloodyminded steadiness.
And then, suddenly, the whole band are in agreement. Thick guitars mesh together, the off-kilter drums manage to underpin the melody without appearing to relate to it, and Shahin sings ‘You see, you see me, you see me / Hey, you see me, you see me’. It’s mindless but it feels eloquent, somehow.
The song’s modular, bitty. It never allows itself to reach a stable rhythm. The band occasionally drops out leaving just the knifing guitar, only to appear with a shriek moments later. Past the 50 second mark you feel that the band could fray and dissipate at any moment, and then at 1 min 03 secs it’s all over as abruptly as it began.
Click here to listen to Girlfriend is Worse on Spotify.
Fair enough, U2 are now profoundly uncool. And on relistening, much of Zoo Station isn’t nearly as special as I’d believed in 1991 – a large proportion of Bono’s lyrics are banal (‘I’m ready to duck / I’m ready to dive / I’m ready to say / I’m glad to be alive’). But the first 30 seconds are magnificent.
The track begins with a barely audible ticking, then a huge formless guitar riff lurches in and drops like a stone. The second time round the riff is followed by an industrial clunking that might be distorted drums but is almost felt rather than heard, like the thump of a migraine. Finally, a percussive tapping begins off-beat, perhaps a spanner hitting a pipe in a vast warehouse space. The riff and percussions repeat, slightly out of phase with one another. For the next few seconds the two patterns compete until they eventually mesh into a cohesive rhythm. The undistorted guitars arrive, Bono ruins the party, and the song becomes more and more conventional as the song progresses… but those first 30 seconds were glorious.
Click here to listen to Zoo Station on Spotify.