Here we go with the final four songs from my in-car CD #87. The purpose of these CDs has always been to introduce my son to as a wide a variety of pop music as possible, not to steer him down any particular musical road or inculcate tribalism, which I’ve always believed to be a Very Bad Thing when it comes to musical appreciation.
Track 19: Vampire Weekend - A-Punk
Way, way back in the first decade of this disappointing millennium, Vampire Weekend were the Next Big Thing for all of three weeks or so. That said, this appears to be the average duration of Next-Big-Thingness in a world that constantly craves something NEW and rapidly loses interest in any artist with more than a couple of albums under their belt.
A-Punk is the second single from VW’s eponymous debut album, and it’s a perfect example of their early “Paul Simon meets Talking Heads” sound. Or, as iffypedia puts it, “they bonded over a shared love of punk rock and African music”… so the Paul Simon bit is actually Graceland-era Simon, where he was nicking all his rhythms (and more) from South Africa. Of course, there’s a whole political / cultural appropriation argument to be heard when anybody brings up Graceland, but it was and still is one of my favourite albums of all time, so I’m not opening that can of worms here… other than to say that it was nice to hear a New York indie band doing something in the same style. That’s what drew me to Vampire Weekend more than anything.
The lyrics here are barked out at such speed that I’ve never stopped to ponder what the song is actually about, but there’s a rather confused examination to be had on Genius if you’re into that sort of thing. The closest thing A-Punk has to a chorus is the repeated line, “Look outside at the raincoats coming, say: Oh-oh-oh-oh”, which the Genius interpreter suggests might be a reference to “the redcoats are coming” (i.e. British soldiers in the American revolutionary war) or The Raincoats (the British postpunk band, one of the band’s musical reference points). Or it could just be that the song involves a character driving slowly into New York on a snowy day, and so everyone she sees is wearing a raincoat. Is that too literal?
Track 20: Them - Gloria
“G-L-O-R-I-A”, sings Van The Man, in a song he wrote when he was 18, back in 1963, and it was only a B-side… but it still went on to become one of the most famous songs in the history of rock. The Shadows of Night had a bigger hit with it, but they didn’t sound like they were making it up as they went along like Van did (especially live, where this 2 ½ minute pop song was often stretched to 20 minutes of pure madness). And that was long before Patti Smith got a hold of it and really blew the doors off.
I’ve never seen the early promo video Them recorded for Gloria before… but watching it now, I'm surprised to find subliminal cuts of a donkey popping up every now and then. The interweb tells me that these were added after a music critic said that Van’s voice sounded like his neighbour’s ass… which only goes to prove that The (Grumpy Old) Man must have had a sense of humour once, even if it seems to have long since deserted him.
Track 21: The Clint Boon Experience - Comet Theme Number One
I was rather obsessed with The Clint Boon Experience back in the late 90s. Clint’s organ may well be the greatest thing to ever come out of the Madchester scene, and by all accounts he was a much nicer guy than the likes of Ian Brown or Shaun Ryder. (I was listening to Guy Garvey on 6Music a couple of weeks back and he told a story about how Elbow wanted to record their first album in France, but they couldn’t afford flights, so Clint Boon drove them all there in his van… then came back and collected them when the sessions were over).
I probably like the Clint Boon Experience even more than I like the Inspiral Carpets, partly for their DIY aesthetic, and partly because I was more ready for this kind of music in 1998 than I was ten years earlier. Comet Theme Number One was one of a string of catchy singles Clint and co. released towards the end of the last century. None of them were hits, but they all were in this house. CT#1 is also one of a couple of Clint Boon records to feature guest vocals by “Opera Dude” – better known these days as acclaimed singer Alfie Boe.
Track 22: John Waite – Missing You
Let’s finish this CD with a classic, shall we? (How many of you just spit out your tea? I claim a point for each ruined shirt-front.)
I was 12 when Missing You was on the radio, so obviously I loved it. Here was a big rock ballad in the “methinks he doth protest too much” vein, a sub-section of songwriting that always appealed to me because as a young man I was often laughing loud and hearty while deep inside, I was blue. I was also regularly infatuated with girls who didn’t even know I existed, and there’s definitely a sense of that in this song.
John Waite hailed from Lancaster but made more of a name for himself in the US, first as lead singer of The Babys with two Billboard Top Twenty hits in the late 70s. Missing You was his only UK solo hit, and even then it only scraped into the Top Ten, unlike the States where it knocked Tina Turner off the top spot. Waite later reunited with some of his Babys pals to form Bad English… which makes me wonder if he was casting aspersions at the UK record buying public? I’m sure he made more money in the States than he ever could have back home.
The video, which I've somehow reached the age of 54 without ever seeing before (we never had MTV when I was a kid) deepens my nostalgia. It feels like an episode of a soft focus US TV drama, and there's an amusing moment where the girlfriend John is stalking (there were a lot of stalking-based pop videos in the 80s) opens the door into his face and appears to break his nose. There's also a bit where a larger lady tries to chat him up in a bar, but obviously he's having none of that. And to top it off, he smashes up a payphone too. Kids these days, they wouldn't even know what a payphone was.
That's it for CD87... but I'll be back soon to examine another of your random selections.
You must remember this: a kiss is still a kiss. A sigh is still a sigh.
And Saturday Snapshots is still the thing that gets you all up early on a weekend. Or you could arrive late like Lynchie did yesterday and still hoover up some points. I may stop awarding Winner status at this point, because it's largely irrelevant and involves me doing extraneous maths. Thanks for playing, as always.
"They hypnotized the summer, nineteen seventy nine"
Meanwhile, Alyson offered Elton John: Are You Ready For Love ('79 Version)… except, according to my research, Alyson, this would be '76 Version. If you're aware of a '79 version, I can't seem to find it. But feel free to bring it back 3 weeks hence.
Martin has known me longest though, so wins the 1979 award this week with his suggestion: Veruca Salt - Spider-Man '79. Clue - if there's a song with Spider-Man in it, there's a good chance I'll like it. However... that still wasn't my choice for this week.
The Swede offered the only non-year suggestion this week. And let's face it, if you can't have years, then streets are always a good second best... Humble Pie - 79th Street Blues. Let's be careful out there!
Onto this week's winners then, and from my record collection... still avoiding years wherever possible... it was a toss-up between two songs. The runner-up was this...
Here, the 79 appears to be a room number in a hotel where The Cat had an assignation with a somewhat disreputable young lady.
This week's winner, though, was this, from the eponymous debut album - never bettered - by Vampire Weekend. M79 is a bus route in Manhattan...
78 next week, and a couple of obvious non-year suggestions spring to my mind... one of which I suspect will be very popular with some of the usual suspects... but the other might well be my pick.
Special mentions to Question Mark & The Mysterians, Slash, The Parenthetical Girls and !!! (which is a contender for worst band name ever: how do you even pronounce that?).
Ranking Roger loved his Full Stops from the very first Beat single, of which this was double-A side with their more-played version of Tears of a Clown. The final full stop comes right at the end of the song though...
In legal documents and religious texts, punctuation is all-important. Thea proves that here...
‘Cause you see, I’ve got this theory that it’s only punctuation That separates the list from you to me And you can have your little war of full stops and meritings But the real power’s in parentheses
The ghetto boys are catcalling me As I pull my keys from my pocket I wonder if this method of courtship Has ever been effective Has any girl in history said Sure, you seem so nice, let's get it on Still, I always shock them when I answer Hi my name's Amanda And I'm not gonna live my life on one side of an ampersand
Wonder what Neil Gaiman makes of that philosophy? (Let's not ask him, his answers tend to go on for years without end, like his stories.)
So the Oxford Comma, if you don't know, is the optional comma you may sometimes use before the 'and' at the end of a list. Used properly, it can avoid confusion and comedy...
Vampire Weekend though, they don't give an f-bomb about it. Philistines.
1. Dan Baird - I Love You, Period
Top single from the former Georgia Satellite in which Dan's affair with his English teacher is curtailed by bad punctuation...
That's the problem with English teachers.They let pedantry get in the way of romance.
Featuring the phantom head of the late Princess...
Line the streets, Diana, With armoured cars, Oh column inch, timeless
inch Can you inch another centimetre closer to hearts and minds? You'll win them yet.
Her eyes china blue saucers, she's born that way
She tastes of apple strudel, you can tell she does
With arms that hold sweet William to her breast
On the other hand, only Paddy McAloon could write an affectionate tribute to the former Queen of Hearts... that I don't hate on principle.
The darling of, the darling of, creation of the editor
I guess that's what, suppose that's what she's for
I hope they're crying in their sleep for promises they cannot keep
For disappointments rooted deep
That's why the boys and girls love Diana
Surprisingly absent from most Fleetwood Mac Greatest Hits albums, yet it was one of their biggest UK hits. Being mostly a Lindsey Buckingham song... perhaps Stevie doesn't like it?
A new entry, in with a bullet, the first track from the new Vampire Weekend album, sounding as good as the stuff on the first album... and better than anything on the second. Great news all round.
1. John Cougar-Mellencamp - Jack & Diane
A little ditty that became one of the greatest rock songs of the 80s. And there's so much innuendo and philosophy in the lyrics, you'd think Jarvis Cocker wrote it.
Oh yeah, live goes on... long after the thrill of living is gone.
