Chilled out one for Sunday.
Song: Time Enough At Last
Album: Code:Selfish
Year: 1992
Among the techno and sometimes hectoring vocals on display from this 1992 offering, Time Enough At Last is a milder, more relaxed foray into Smith's head, the title taken from the classic Twighlight Zone episode, first broadcast in 1959. The story features a man who loves to read, but is prevented from doing so by those around him. Surviving a nuclear blast which kills everyone in the world except him, he stumbles across the remains of the public library and sorts out books he wants to read for his now empty lifetime. Just as he settles down to read, he breaks his glasses, meaning he cannot read again. I think the point is 'be careful what you wish for' but in my mind, he could easily find some glasses somewhere.
Anyway, this song seems to be about taking stock of your life, taking a step back and deciding what to do and trying to deal with life's problems, there's a line 'the projectiles hit you/When you least expect it' which is true enough.
Overall, the song has a wishy washy feel with shoegaze-style guitars and MES in an almost-singing mood. It's all very airy, but these kind of Fall song are sometimes what you need.
Sunday, 12 June 2011
Day 89: It's there but I don't read it...
A more punk one today...
Song: Futures and Pasts
Album: Live At The Witch Trials
Year: 1979
So this one is fast and frenetic and takes more from the punk scene than later material did, they dropped the snotty, angry thing quite fast as Mark realised he could do more if he made his own framework. This one is still amazing though, I'm not generally a massive fan of LATWT, it seems to rely on speed and anger to get through and ends up sounding a bit repetitive as it travels through its 11 songs, despite most of those songs being quite short. This one, however is one the best on the album, combining what would become The Fall's trademark sound, a high reliance on the bass sound being loud but still crystal clear and the keys throwing some chaos into the mix. The drums sound equally frantic here. This may be to do with how quickly it was recorded, all 11 songs were put down in a day despite the band having a week booked. MES was ill apparently, so hence the 'live' sounding nature of the album, but without it actually being live itself.
The lyrics here are a bit more accomplished than the rest of the album which tends to rely on the title being repeated a lot. Here we hear Smith painting a vivid, clear situation: 'I was in a sleeping dream/When a policeman brought my mother home/By the window I didn't scream/I was too old for that/I was in a drunken dream/The pubs were closed/It was three o'clock' now this seems like it could be from one of Smith's favourite shows The Twilight Zone, the sense of the uncanny and the first-person narrative at play. It certainly sounds as if he is pitching a film idea, one that would certainly be set in black and white with miserable-looking actors.
The next part gets even more surreal: 'At the bottom of the street it seemed/There was a policeman lost in the fog' now this seems even more like the first line, witnessing things while you are awake as if in a dream, being a casual observer. This could well be a comment on the effects of conciousness and the unconscious having a grip on reality. It could also be a comment on people steadfastly living in reality, the lines: 'Look at the woman of thirty-nine/Look at the man of forty-nine/You can read their lousy lives/You can see their ugly face lines/They understand but they don't see it' like they have ignored everything but their lives, quite an easy thing to do.
All this is crammed into a few minutes of music, incredible. Even more incredible when you imagine Smith was only around 22 years old at the time, such maturity in his writing.
Song: Futures and Pasts
Album: Live At The Witch Trials
Year: 1979
So this one is fast and frenetic and takes more from the punk scene than later material did, they dropped the snotty, angry thing quite fast as Mark realised he could do more if he made his own framework. This one is still amazing though, I'm not generally a massive fan of LATWT, it seems to rely on speed and anger to get through and ends up sounding a bit repetitive as it travels through its 11 songs, despite most of those songs being quite short. This one, however is one the best on the album, combining what would become The Fall's trademark sound, a high reliance on the bass sound being loud but still crystal clear and the keys throwing some chaos into the mix. The drums sound equally frantic here. This may be to do with how quickly it was recorded, all 11 songs were put down in a day despite the band having a week booked. MES was ill apparently, so hence the 'live' sounding nature of the album, but without it actually being live itself.
The lyrics here are a bit more accomplished than the rest of the album which tends to rely on the title being repeated a lot. Here we hear Smith painting a vivid, clear situation: 'I was in a sleeping dream/When a policeman brought my mother home/By the window I didn't scream/I was too old for that/I was in a drunken dream/The pubs were closed/It was three o'clock' now this seems like it could be from one of Smith's favourite shows The Twilight Zone, the sense of the uncanny and the first-person narrative at play. It certainly sounds as if he is pitching a film idea, one that would certainly be set in black and white with miserable-looking actors.
The next part gets even more surreal: 'At the bottom of the street it seemed/There was a policeman lost in the fog' now this seems even more like the first line, witnessing things while you are awake as if in a dream, being a casual observer. This could well be a comment on the effects of conciousness and the unconscious having a grip on reality. It could also be a comment on people steadfastly living in reality, the lines: 'Look at the woman of thirty-nine/Look at the man of forty-nine/You can read their lousy lives/You can see their ugly face lines/They understand but they don't see it' like they have ignored everything but their lives, quite an easy thing to do.
All this is crammed into a few minutes of music, incredible. Even more incredible when you imagine Smith was only around 22 years old at the time, such maturity in his writing.
Day 88: You don't need that cosmic crap...
This one seems the most playful I've heard in a while...
Song: Choc Stock
Album: Dragnet
Year: 1979
So this one is just a bit daft, but MES couldn't help but slip some serious lines in there towards the end. This is as close as The Fall get to sounding a bit like Frank Sidebottom (his cover of Hit The North still makes me laugh). They even say during the course of the almost too-long tune 'Why are you smiling/Why are you laughing/At or with this song' it is intended to be funny I suppose, but then The Fall's snotty, antagonistic head rears up again as well, meaning you can't feel fully comfortable with it.
The song seems to be a statement about the band being different, I suppose Dragnet has the self-reverential Printhead and Your Heart Out on it, so this is just another one recorded as a mission statement of sorts. I know MES didn't particularly like being part of the punk scene, or even the post-punk scene, so the comments about class in this song are probably something to do with that. Similarly, the parts about not needing space boots or 'that cosmic crap' are probably about the rise of glam in that era too, there are some gems among that scene that still sound great today, but for the most part, it was terrible, ugly chaps in make-up and with frizzy hair singing see-thru sexual metaphors in platform shoes. Those kind of bands end up in country parks playing to middle-aged/elderly people who are sipping wine while sat on rugs, can't imagine MES at one of those.
Song: Choc Stock
Album: Dragnet
Year: 1979
So this one is just a bit daft, but MES couldn't help but slip some serious lines in there towards the end. This is as close as The Fall get to sounding a bit like Frank Sidebottom (his cover of Hit The North still makes me laugh). They even say during the course of the almost too-long tune 'Why are you smiling/Why are you laughing/At or with this song' it is intended to be funny I suppose, but then The Fall's snotty, antagonistic head rears up again as well, meaning you can't feel fully comfortable with it.
The song seems to be a statement about the band being different, I suppose Dragnet has the self-reverential Printhead and Your Heart Out on it, so this is just another one recorded as a mission statement of sorts. I know MES didn't particularly like being part of the punk scene, or even the post-punk scene, so the comments about class in this song are probably something to do with that. Similarly, the parts about not needing space boots or 'that cosmic crap' are probably about the rise of glam in that era too, there are some gems among that scene that still sound great today, but for the most part, it was terrible, ugly chaps in make-up and with frizzy hair singing see-thru sexual metaphors in platform shoes. Those kind of bands end up in country parks playing to middle-aged/elderly people who are sipping wine while sat on rugs, can't imagine MES at one of those.
Saturday, 11 June 2011
Day 87: In comic type letters...
I've had to use the live version of this song to blog it, as Shift Work seems to be shrouded in copyright mystery, sort it out Youtube...
Song: The Mixer
Album: Shift Work
Year: 1991
This video gives a great impression of the song, I like the bits with what sounds like rehearsals on his little tape walkman and the fact Brix seems to be wearing trainers with a red dress, amazing. The song itself is a pretty good one, it has a warm, satisfied sound to it and the lyrics reflect this. The sound of the melodica can grate for some people, but here I'd say it combines well with Brix's guitar lines and the quick and paced beat laid out by the drums.
The lyrics are great, I feel that this fictional 'Mixer' is MES himself, he sounds relaxed and pleased with the laid-back backing track and lines about reassurance like 'he turns and smiles at me' make me think it's about self-awareness and reflection, but who knows? I still feel MES is not a shameless self-promoter, he is still incredibly question-dodging and still gives interviews as if the journalists are out to get him. I'd say this is more a nod to say that he knows who he is and those doubting him are way off the mark. However, I seem to recall him saying that no Fall song is about himself, but I would argue the opposite, every Fall song seems to be about himself, but without being overly sugary and sickly sweet. You will never find MES singing a folorn ballad for example, or even referring to himself in the third person. He has done that once as far as I know on Middle Class Revolt ('You're sleeping with some hippy halfwit/Who thinks he's Mr Mark Smith).
Overall I'd say this is one to just enjoy, this is The Fall in rare reflective and calm mode.
Song: The Mixer
Album: Shift Work
Year: 1991
This video gives a great impression of the song, I like the bits with what sounds like rehearsals on his little tape walkman and the fact Brix seems to be wearing trainers with a red dress, amazing. The song itself is a pretty good one, it has a warm, satisfied sound to it and the lyrics reflect this. The sound of the melodica can grate for some people, but here I'd say it combines well with Brix's guitar lines and the quick and paced beat laid out by the drums.
The lyrics are great, I feel that this fictional 'Mixer' is MES himself, he sounds relaxed and pleased with the laid-back backing track and lines about reassurance like 'he turns and smiles at me' make me think it's about self-awareness and reflection, but who knows? I still feel MES is not a shameless self-promoter, he is still incredibly question-dodging and still gives interviews as if the journalists are out to get him. I'd say this is more a nod to say that he knows who he is and those doubting him are way off the mark. However, I seem to recall him saying that no Fall song is about himself, but I would argue the opposite, every Fall song seems to be about himself, but without being overly sugary and sickly sweet. You will never find MES singing a folorn ballad for example, or even referring to himself in the third person. He has done that once as far as I know on Middle Class Revolt ('You're sleeping with some hippy halfwit/Who thinks he's Mr Mark Smith).
Overall I'd say this is one to just enjoy, this is The Fall in rare reflective and calm mode.
Day 86: I got a lot of things to say now baby...
Never let it be said that The Fall let things get stale...
Song: I'm Frank
Album: Extricate
Year: 1990
So this is possibly the only Fall song to feature a flute (correct me if I'm wrong) and has an upbeat and rockabilly style, Martin Bramah was back for this album and the guitars sound incredible on this one.
MES's vocals sound great, he almost sings every line on this one and the guitars and him combine to create a call and response style effort. This one is notable for its simplicity and a fantastic middle 8, sounding for all the world like a pop song, but without the influence of Brix, showing MES has an ear for pop of his own. The production sounds probably the best The Fall can sound, everything is clear and you can even tell the extra percussion adds weight to this as well. I can't believe how up to date this sounds given it was recorded 21 years ago, The Fall are timeless.
This is another Fall song that plays well on a long journey, might be one to watch the speedometer though, it makes me put a bit too much gas on personally.
Song: I'm Frank
Album: Extricate
Year: 1990
So this is possibly the only Fall song to feature a flute (correct me if I'm wrong) and has an upbeat and rockabilly style, Martin Bramah was back for this album and the guitars sound incredible on this one.
MES's vocals sound great, he almost sings every line on this one and the guitars and him combine to create a call and response style effort. This one is notable for its simplicity and a fantastic middle 8, sounding for all the world like a pop song, but without the influence of Brix, showing MES has an ear for pop of his own. The production sounds probably the best The Fall can sound, everything is clear and you can even tell the extra percussion adds weight to this as well. I can't believe how up to date this sounds given it was recorded 21 years ago, The Fall are timeless.
This is another Fall song that plays well on a long journey, might be one to watch the speedometer though, it makes me put a bit too much gas on personally.
Day 85: Raced a couple of hundred yards...
Here's a schizophrenic one if there ever was one...
Song: Bournemouth Runner
Album: Bend Sinister
Year: 1986
Bend Sinister is becoming another fave of mine, this song should tell you why. Starting off all spooky and serious, it soon descends into a keyboard lick-led jaunt that John Shuttleworth would be proud of, I think they must have had the same Casio, who knows, maybe they bought it from the same shop.
When it finally kicks in, the contrast with the beginning is amazing, an upbeat, driving Fall tune that runs for a lengthy 6 minutes in total. Mark's vocals are incredible here, his timing impeccable and varied. The keyboards seem to do what they want over the whole thing, it's all very end-of-the-pier stuff, which may be intentional what with the location, one of Britain's many seaside resorts. Do Americans say seaside? Seems a bit tommy to me.
There's some amazing lines in here that are laugh-out-loud funny, stuff like: 'Our backdrop was friendly, heavy/ Often it would rumble into hotel/ And partake with us/ In diluted drink and dogmeat/ Of RAC-reccomended hostelry' this gives some amazing images, to imagine MES in a pokey bed and breakfast on Bournemouth's seafront is hilarious, but I love the lines about dog meat and the sneaky mention of the RAC. This is what I love about The Fall, no pretensions, just songs about real life, who else has songs about subjects as diverse?
This is again, a strange contrast of an album, the LP runs the gamut, from chirpy numbers like this to dystopian collages like US- 80s/90s and then a cover of Mr Pharmacist. Just shows you what the band can do, which is mainly surprise.
Song: Bournemouth Runner
Album: Bend Sinister
Year: 1986
Bend Sinister is becoming another fave of mine, this song should tell you why. Starting off all spooky and serious, it soon descends into a keyboard lick-led jaunt that John Shuttleworth would be proud of, I think they must have had the same Casio, who knows, maybe they bought it from the same shop.
When it finally kicks in, the contrast with the beginning is amazing, an upbeat, driving Fall tune that runs for a lengthy 6 minutes in total. Mark's vocals are incredible here, his timing impeccable and varied. The keyboards seem to do what they want over the whole thing, it's all very end-of-the-pier stuff, which may be intentional what with the location, one of Britain's many seaside resorts. Do Americans say seaside? Seems a bit tommy to me.
There's some amazing lines in here that are laugh-out-loud funny, stuff like: 'Our backdrop was friendly, heavy/ Often it would rumble into hotel/ And partake with us/ In diluted drink and dogmeat/ Of RAC-reccomended hostelry' this gives some amazing images, to imagine MES in a pokey bed and breakfast on Bournemouth's seafront is hilarious, but I love the lines about dog meat and the sneaky mention of the RAC. This is what I love about The Fall, no pretensions, just songs about real life, who else has songs about subjects as diverse?
This is again, a strange contrast of an album, the LP runs the gamut, from chirpy numbers like this to dystopian collages like US- 80s/90s and then a cover of Mr Pharmacist. Just shows you what the band can do, which is mainly surprise.
Day 84: The season for hard drugs and cider mate!
Hello all, back again. I've been really busy this week with not being at home and staying elsewhere for work, I'm actually off to France next week too, will try and find the time with my netbook, but if you don't see any updates, that'll be why.
Onto the blogging proper, today's is a suggestion and I'm glad it's such a good one.
This song reminds me of Half Man Half Biscuit (who I'm sure stole a raft of material from The mighty Fall).
Song: Middle Mass
Album: Slates
Year: 1981
So this one features an incredible bassline that runs through the whole track courtesy of one of the best bass players ever, Steve Hanley. It has a swaggering rhythm to it, all confidence and big gestures. Mark's vocals are great, with some excellent lyrics.
Now what this song is about I've no idea, but it could fit a myriad of explanations. I'd like it to be about football, the talk of summer closed season and the bits about drugs and drink make me think it's about football hooligans, but there's just my interpretation for you. The bits about 'running with and from the cats from tin pan alley' make me think this too, though it could equally be one of Mark's early gangster-like film noir nods, possibly about a young gang member who is naive, unaware of the world. The use of the American colloquial 'cats' made me think this might be the case.
This is actually one of the more listenable songs on Slates, as the rest of the album can sometimes grate, the production differs from the rest of the LP here, all clear and crisp. Perhaps they wanted to showcase that bassline, I certainly wouldn't hide it under reams of fuzz and scratch. I like the clear dynamics on display here too, the spoken parts and the whispered parts bring something else to the whole effort, very nice.
Just a note on Slates, I love the cover to this, which is what looks like a blurry live shot of the band, I always see something else if I catch the cover in passing. I see a night scene with some lights from a distant fire, or I see a bonfire, strange what the mind conjures up, that said, sometimes it's bloody stupid, I used to think the Phil Collins album my parents had (they had some awful stuff) reminded me of tomato soup, it's the one where it's his smug face staring at you, No Jacket Required, I'm glad he has retired from music, I have remembered that right haven't I, I didn't dream it?
Onto the blogging proper, today's is a suggestion and I'm glad it's such a good one.
This song reminds me of Half Man Half Biscuit (who I'm sure stole a raft of material from The mighty Fall).
Song: Middle Mass
Album: Slates
Year: 1981
So this one features an incredible bassline that runs through the whole track courtesy of one of the best bass players ever, Steve Hanley. It has a swaggering rhythm to it, all confidence and big gestures. Mark's vocals are great, with some excellent lyrics.
Now what this song is about I've no idea, but it could fit a myriad of explanations. I'd like it to be about football, the talk of summer closed season and the bits about drugs and drink make me think it's about football hooligans, but there's just my interpretation for you. The bits about 'running with and from the cats from tin pan alley' make me think this too, though it could equally be one of Mark's early gangster-like film noir nods, possibly about a young gang member who is naive, unaware of the world. The use of the American colloquial 'cats' made me think this might be the case.
This is actually one of the more listenable songs on Slates, as the rest of the album can sometimes grate, the production differs from the rest of the LP here, all clear and crisp. Perhaps they wanted to showcase that bassline, I certainly wouldn't hide it under reams of fuzz and scratch. I like the clear dynamics on display here too, the spoken parts and the whispered parts bring something else to the whole effort, very nice.
Just a note on Slates, I love the cover to this, which is what looks like a blurry live shot of the band, I always see something else if I catch the cover in passing. I see a night scene with some lights from a distant fire, or I see a bonfire, strange what the mind conjures up, that said, sometimes it's bloody stupid, I used to think the Phil Collins album my parents had (they had some awful stuff) reminded me of tomato soup, it's the one where it's his smug face staring at you, No Jacket Required, I'm glad he has retired from music, I have remembered that right haven't I, I didn't dream it?
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