TOP 20 TRACKS OF 2010 number one track announced

Here it is folks. ShoutAboutMusic's finest track of 2010...

1. THE ARCADE FIRE ‘suburban war’

I make no apology for choosing three Arcade Fire songs in the top 20 tracks of 2010. After all, The Suburbs is one of the most outstanding albums of the past 10 years, let alone this year. ‘Suburban War’ takes the prize as the finest song from that record, and also the finest song released by anyone in 2010.

Musically, the track owes more than a little to The Byrds (in particular ‘Everybody’s Been Burned’ from 1967’s Younger Than Yesterday). It’s built around the jingle jangle of a Rickenbacker guitar, with harmonies floating in and out of focus at various points. But elsewhere, the song is unmistakably The Arcade Fire (see the gradual climb into a crescendo of skittering drums and impassioned vocals towards the end).

For lyrical inspiration, Win Butler returned to the town where he grew up (for the first time in several years). The ensuing flood of memories and recollections provided fertile ground for his songwriting. 'Suburban War' is a requiem for the lost time between childhood and adulthood. Butler recalls teen gangs and sub-cultures (“The music divides us into tribes, you grew your hair so I grew mine”) and killing time (“Let’s go for a drive, let’s see the town tonight, there’s nothing to do but I don’t mind when I’m with you”).

As he wanders his old stomping ground, Butler crosses paths with former classmates (“All my old friends they don’t know me now. All my old friends are staring through me now”) and reflects on how different their lives have become (”Now the cities we live in could be distant stars and I search for you in every passing car”).

I could go on but really, no amount of words can do justice to the ones written by Win Butler himself on ‘Suburban War’. Quite simply, it’s the best track of 2010.

Listen to it here. 

Read the lyrics here.


The best of the rest
Oh, and in case you missed it before, here is a quick rundown of the rest of the ShoutAboutMusic's Top 20 Tracks of 2010...

20. BAND OF HORSES 'older'

19. THE LOVETONES 'city meets the stars'

18. CRYSTAL CASTLES 'not in love' (single)

17. OLD MAN RIVER 'religion'

16. CROWDED HOUSE 'amsterdam'

15. EDWARD DEER ‘tie up the birds’

14. TEENAGE FANCLUB ‘baby lee’

13. THE CHARLATANS ‘your pure soul’

12. ARCADE FIRE ‘the suburbs’

11. RICHMOND FONTAINE ‘a letter to the patron saint of nurses’

10. EVIL EDDIE ‘queensland’

9. THE TONGUE & JOYRIDE crazy

8. CROCODILES ‘sleep forever’

7. FOALS 'spanish sahara'

6. THE DRUMS 'let's go surfing'

5. VAMPIRE WEEKEND 'diplomat's son'

4. THE ARCADE FIRE 'we used to wait'

3. LITTLE RED 'rock it'

2. GORILLAZ 'stylo'

1. THE ARCADE FIRE ‘suburban war’

Thanks to everyone for their comments, posts, emails and messages in 2010. Happy New Year!

TOP 20 TRACKS OF 2010 COUNTDOWN tracks 4 - 2

Here we are folks, we've reached the absolute creme de la creme. The countdown of the finest songs of 2010 reaches number four...

4. THE ARCADE FIRE 'we used to wait'
The Arcade Fire concocted the best song intro of 2010 on 'We Used To Wait'. A simple, insistent piano line chimes in like an alarm clock, then fixes itself in your brain before leading you through the rest of this magical song. The lyrics are nostalgic; a reflection on a simpler time that was actually not that long ago ("It seems strange how we used to wait for letters to arrive. But it was stranger still how something so small could keep you alive"). 'We Used To Wait' works on so many levels: a social observation, an emotive lament and - perhaps most importantly - utterly captivating music. Listen to it here.
Read about the amazing video clip here.

3. LITTLE RED 'rock it'
When Little Red released 'Coca Cola' on their first record, you couldn't help but fear for their future. The Melbournian fivepiece had produced one of the finest pop songs of the decade. The rest of their career would surely be an exercise in futility; trying and failing to match that early success. Two years later, the sense of surprise was almost palpable when 'Rock It' breezed onto our airwaves. The cheeky little scamps had managed the impossible: eclipsing 'Coca Cola'. The fact that 'Rock It' sounded absolutely nothing like 'Coca Cola' was even more impressive; moving seamlessly from 1950s rock n' roll to 1980s pop funk. Listen to it here.
Read the 2010 ShoutAboutMusic live review of Little Red.
Read the ShoutAboutMusic review of Homebake 2008, featuring Little Red.

2. GORILLAZ 'stylo'
Damon Albarn could do no wrong in 2010. Reform Blur and take Glastonbury by storm? No problem. Release the third (and best) Gorillaz album? Easy. Unite a bunch of disparate musicians to record 'Stylo', one of the finest tracks by anyone, anywhere in the entire year? Piece of piss. Yep, 'Stylo' had everything: Bobby Womack's soulful vocal; Mos Def's hip hop smarts; Albarn's own haunting vocals; all wrapped up in the Gorillaz signature electronic glitz. And to top off Albarn's perfect year, Oasis split up too.
Listen to it here.


Tantalisingly close to announcing the top track of 2010 now. Tune in tomorrow to find out which artist has scooped the big one...

TOP 20 TRACKS OF 2010 COUNTDOWN tracks 7 - 5

Heading towards the dizzy heights of the top five tracks of 2010 now. Anyone else feeling giddy?

7. FOALS 'spanish sahara'
A song that takes its own sweet time to reveal itself, 'Spanish Sahara' was the sound of Foals finally feeling comfortable in their own skin. It takes four atmospheric minutes for the song to fully surface, at which point Yannis Philippakis utters, "I'm the fury in your head, I'm the fury in your bed, I'm the ghost in the back of your head." Quietly unsettling and utterly compelling.
Listen to it here.

6. THE DRUMS 'let's go surfing'
At first, the idea of New Yorkers singing about surfing appears ridiculous. But then again, only one of The Beach Boys ever stepped on a surfboard, and it never stopped them. And anyway, The Drums are better judged on the merits of their songs (which are catchy and enjoyable) rather than their authenticity (most of their album was a rehash of Depeche Mode and The Smiths). 'Let's Go Surfing' was arguably the finest pop single of 2010. The challenge for them in future will be to build on the pop and experiment a bit...
Listen to it here.

5. VAMPIRE WEEKEND 'diplomat's son'
...which is exactly what Vampire Weekend did on their sophomore album, Contra, in 2010. Tucked away near the end of that record was a freaky little tune called 'Diplomat's Son'. Across six minutes, the music veers off into all sorts of odd little cul de sacs, while the lyrics recall a story from 1981 involving a tryst between two characters from vastly different social backgrounds. Both the music and the narrative are hazy, sometimes elusive and always fascinating.
Listen to it here.


Coming soon to ShoutAboutMusic: the top track of 2010 will be revealed. Stay tuned folks...

TOP 20 TRACKS OF 2010 COUNTDOWN: tracks 10 - 8

Diving in to the top 10 tracks of 2010 now... Kersplash!

10. EVIL EDDIE ‘queensland’

Following a lengthy spell of writer’s block, Butterfingers’ frontman Evil Edie had an epiphany. He realised that - after all this time - the best source of inspiration was sitting right there under his nose. ‘Queensland’ bounds in on an enormous guitar riff, boasts hooks in all the right places and in-jokes just about everywhere. But Australian hip hop only really works as a comic device, right?... Listen to it here.

9. THE TONGUE & JOYRIDE crazy

...wrong. Dead wrong. With Alternative Energy, Sydney’s The Tongue (aka Xannon Shirley) blew his hip hop contemporaries out of the harbour. Looking beyond the lazy influences of his Australian peers, The Tongue delivered tracks like ‘Crazy’ which combines social conscience with awesome samples and yes, a sprinkling of wit too. At last someone has delivered some credible Australian hip hop that provokes pride, not cringing. Listen to it here.

8. CROCODILES ‘sleep forever’

‘Sleep Forever’ is a smart update of the 90s shoegaze sound, with brittle shards of feedback raining down upon slab after slab of chunky synths. As Charles Rowell’s delicate melodies dip into the mix, then disappear into a fog of echo and delay, the effect is quite mesmerising. Speaking of echoes, you can hear traces of The Jesus & Mary Chain, Slowdive and Spiritualised throughout ‘Sleep Forever’; and that’s never a bad thing. Listen to it here.

Coming soon to ShoutAboutMusic: the top 20 tracks of 2010 countdown continues. Stay tuned...

TOP 20 TRACKS OF 2010 the countdown continues, 15-11

Thanks to everyone for the Facebook posts, emails and messages in response to the first five tracks in the Countdown of the Top 20 Tracks of 2010. Here the countdown continues...

15. EDWARD DEER ‘tie up the birds’

‘Tie Up The Birds’ is the strongest track from this Sydney singer-songwriter’s debut EP. By turns warm, then stark (see opening line: “Home at last, but everything has changed”), this subtle, understated tune stays with you long after the first listen. If he can follow this track up with more of the same, 2011 could be an exciting year for Edward Deer. Pop trivia fact: When someone likened his facial features to a forest-dwelling creature, Edward decided to adopt that as his stage surname. ShoutAboutMusic reckons he looks more like thin-white-duke-era Bowie, but anyway...

Listen to it here.

14. TEENAGE FANCLUB ‘baby lee’

The days of consistently wonderful Fanclub albums are sadly long gone, but the lead single from Shadows was a reminder of the halcyon days when the foursome routinely delivered joyous power pop. Four minutes of jingle-jangle guitar, xylophone and strings blended with a celebratory, harmonious chorus. Simple? Yes. But effective too.

Listen to it here.

Read the ShoutAboutMusic album review here.

13. THE CHARLATANS ‘your pure soul’

Another band who released a pretty average album this year were The Charlatans. Who We Touch was a largely sterile wasteland, thanks in no small part to producer Flood’s over-zealous polishing treatment. But hidden amidst the wreckage was one absolute gem: ‘Your Pure Soul’. Reflective, honest and full of longing, this track’s rolling groove meant the song was also achingly hip at the same time. It suggests there’s life in the old dogs yet.

Listen to it here.

Read the ShoutAboutMusic album review here.

12. ARCADE FIRE ‘the suburbs’

An incredible opening to an incredible album, ‘The Suburbs’ hangs off lolloping bar room piano (conjuring up a feeling of primitive elation) and strings (reflecting the escapism in the lyric).  Anyone who has grown up in suburban inertia can relate to Win Butler’s desperate need for release, neatly summed up in the line: “Grab your mother’s keys, we’re leaving”.

Listen to it here.

11. RICHMOND FONTAINE ‘a letter to the patron saint of nurses’

Strictly speaking, this track was released in 2009, but it wasn’t launched in Australia properly until 2010, when singer Wily Vlautin toured here.  Like all the best Richmond Fontaine music, it’s unflinching from the truth (however raw that truth may be). The narrative is written from the point of view of a husband watching helplessly as his wife (a nurse) descends into depression. And yet, within the darkness, there is still a chink of light in the devotion the woman feels towards her patients, and the love this man has for his wife.

Coming soon to ShoutAboutMusic: the countdown leaps headlong in to the top ten. Stay tuned folks…

TOP 20 BEST TRACKS OF 2010 countdown begins

It seems like only yesterday that this blog was just knee high to a spacehopper and yet, here we are, sharing the magical 100th post. A century of nonsense, name-dropping and noodlings. Remarkable really.

To celebrate, today ShoutAboutMusic begins the countdown of the 20 finest musical offerings to be released during 2010. If we were being traditional, this would be a list the 20 best albums but this is the interweb baby and ShoutAboutMusic is a blog. It's time to embrace the age of the mp3 download. We're being ruthless. We're cutting the wheat from the chaff. We're taking no prisoners with stodgy album fillers.

Ladies and gentlemen, without further ado, ShoutAboutMusic reveals the 20 finest tracks of 2010...

20. BAND OF HORSES 'older'
One of the lesser-heard tracks from the exceedingly good Infinite Arms, 'Older' saw the Seattle boys basking in warm alt-country sunshine. It ticks all the boxes:
> Impeccable harmonies? Check.
> Lilting lap steel? Check.
> Melancholy, sentimental lyric? Double-check.
Listen to it here. 

19. THE LOVETONES 'city meets the stars'
One of Australia's most underrated talents, it's no wonder The Lovetones spent a chunk of 2010 touring the West Coast of the USA. 'City Meets The Stars' was just one of many highlights on their fifth record, Lost. Drenched in psychedelic organ and soaked in tears, the song still hints at hope and redemption, finishing with the tantalising line: "We are almost there."
Listen to it here.
Read the ShoutAboutMusic album review here.

18. CRYSTAL CASTLES 'not in love' (single)
The album version of 'Not In Love' was a muted, psychedelic affair; fascinating but hardly scintillating. But the single version was a masterstroke. A three minute blast of urgent electronica and yearning vocals (courtesy of guest Robert Smith of The Cure), it was like all the best dance music should be: at once thrilling, uplifting and emotive. BBC Radio One's Zane Lowe was just one of the music meeja types who raved about the genius of this tune (smart fella that Zane Lowe). Oh, and here's a clue to what's coming further up in the top 20: there's more Canadian music to come. Listen to it here.

17. OLD MAN RIVER 'religion'
Ohad Rein (aka Old Man River) returned in 2010 with Trust; an album influenced in equal parts by India and The Beatles. 'Religion' is a reflective meditation carried along on piano and slide guitar. Dealing with the meaning of love and faith, the song carries a neat lyric that raises more questions than it answers. But it makes you think, and that's a rare quality in pop music these days.
Read the ShoutAboutMusic interview with Old Man River here.

16. CROWDED HOUSE 'amsterdam'
Three years ago, Australia's favourite adopted Kiwis surprised everyone by not only coming back from oblivion - but also reaching a creative high with Time On Earth. In 2010, they followed that up with the rather underwhelming Intriguer - but it did have a few redeeming qualities and 'Amsterdam' was chief among those. It's an exquisite encapsulation of the freaky, unsettling vibe in the Dutch city. Listen to it here.


Next time on ShoutAboutMusic: the next five top tracks of 2010 will be revealed. Stay tuned pop-pickers...

THE MILLERS TALE wish it away

Please don't judge me when you read this review. I might not like it sometimes, but I have a duty to be honest...

Sometimes being a music hack really sucks. The plentiful supply of free booze, quality drugs and backstage passes are all well and good, but then something like The Millers Tale comes along. I don't want to give them a hard time. They're quiet, harmless and by all accounts really decent people. Right now 'Wish It Away' is playing on my stereo and is looking up at me with big puppy dog eyes that say "Please be nice. I'm a gentle animal who only wants to make you smile".
 
The trouble is that it's my job to tell it like it is and the simple fact is that this record is really, really ordinary. Yes Rebecca Quade has a lovely voice and yes John MacLean's acoustic guitar is pleasant - but it's just not enough. They've tried to mix things up with strings and brass here and there, but no matter how many guest musicians they bring in the end result is the same: inoffensive and pedestrian.
 
The funny thing is that I'm usually a sucker for the straightforward female vocal / acoustic guitar combo. Much to the derision of my cooler friends I freely admit to loving everything The Sundays ever did. The Millers Tale use exactly the same ingredients but lack the pop nous or the lyrical dexterity to make 'Wish It Away' anything other than just "okay".
 
If The Millers Tale were in Star Wars they would be the Ewoks: cuddly and friendly but a bit boring compared to Chewbacca.
 
By Andy McLean. Copyright held by author.
First published in The Brag, Sydney, 2004. 

'Wish It Away' is available through Vitamin Records.

BLOC PARTY bloc party ep

Looking back, I do actually get it right occasionally. I wrote this review just before Bloc Party released their debut EP...

 

Some bands kinda wear their influences on their sleeve but Bloc Party take things a whole literal step further. The artwork on this EP instantly evokes two words: “Joy” and “Division”. The minimalist design (black, black and more black) that carries the Soviet sounding words “Bloc Party” suggests a dark Warsaw-like journey ahead.

Musically it’s not quite as plagiaristic as Interpol but the circular guitars on ‘Staying Fat’ (coupled with Kele Okereke’s insistent vocals that vibrate like an alarm bell) aren’t far off. The British post-punk influence is also felt on ‘She’s Hearing Voices’, a song as haunting as the title suggests. This time it’s an amped-up Cure circa 1981, with a dash of 'Subway Song' in the lyrics.

The spartan ‘The Marshals Are Dead’ doesn’t work quite so well. A repetitive cry of “Forever!” quickly starts to grate and although it demonstrates a willingness to experiment, it ends up sounding like The Fall at their very worst.

Like Ian Curtis and his glum chums, Bloc Party show a willingness to embrace electronica. The final track is a disco edit of opening song ‘Banquet’ which drops an intriguing hint as to where their future might lie. I’m looking forward to their debut album already. 

File under P: for Promising.

By Andy McLean. Copyright held by author.

First published in The Brag, Sydney 2004.

Bloc Party EP is available through Festival Mushroom

RAY CHARLES lyrics of the week

Ray Charles' performance of this song was just sublime. He seemed to revel in every single (punch)line. A stone cold blues classic.

You said before me met
that your life was awful tame
Well, I took you to a night club
and the whole band knew your name.

Well, baby
I've got news for you
Oh, somehow your story don't ring true
Well, I've got news for you.

Well, you told me you'd be late
'cause you took the wrong express
and then you walked in smiling
with your lipstick all a mess

Oh, let me say to you little mama
I've got news for you
Ah, your story don't ring true lil girl
Yeah, I've got news for you.

Oh, you wore a diamond watch
claimed it was from Uncle Joe.
When I looked at the inscription
it said "Love from Daddy-O".

Oh, well baby, lil girl, I wanna say
I've got news for you.
Ah, if you think that jive will do
Let me tell you
I've got news for you
Well, somehow your story don't ring true
I've got news for you.

THE BEATLES lyrics of the week

ShoutAboutMusic is almost 100 posts old and it's remarkable that this is the first time the Fab Four have got a mention. Like many Lennon/McCartney compositions, the sentiment of the song ('Rain') is simple and universal while, musically speaking, this is one of the most psychedelic (and experimental) tunes they ever produced. And the outro features some freaky backwards looping that you just gotta love (see the last line of the lyrics!)...

If the rain comes they run and hide their heads.
They might as well be dead.
If the rain comes, if the rain comes.

When the sun shines they slip into the shade
And sip their lemonade.
When the sun shines, when the sun shines.

Rain, I don't mind.
Shine, the world looks fine.

I can show you that when it starts to rain,
Everything's the same.
I can show you, I can show you.
 

Rain, I don't mind.
Shine, the world looks fine.
Can you hear me, that when it rains and shines,
It's just a state of mind?
Can you hear me, can you hear me?
 

If the rain comes they run and hide their heads.
sdaeh rieht edih dna nur yeht semoc niar eht fI.

THE CURE 4:13 dream

Okay, yes, I admit that whenever a new Cure record comes along, I'm the first one in the queue pestering my editor for a chance to review it. But, having been a fan since 1989, I figure I am pretty well qualified to provide some analysis, right? 

About ten years ago, Robert Smith admitted that there is a ‘Cure sound’ and that he was comfortable with his music fitting that description. Critics interpreted that as the creative equivalent of waving the white flag but - despite the glut of post-punk pretenders around today - one thing is for sure: nobody sounds quite like The Cure. So, in that sense, they are still forging their own original path.

4:13 Dream is a distillation of that ‘Cure sound’, which means if you loved The Cure before, you will love this record. If you didn’t, you won’t.

Of course, there are some subtle differences. Following the acrimonious sacking of keyboardist Roger O’Donnell, there are far less synths than usual. And with the re-hiring of axeman Porl Thompson, there is a more guitar-oriented sound. The other slight shift is that this is, by and large, an upbeat album (rumour has it that a batch of ‘darker’ songs have been saved for a separate release next year).

Minor variations aside, 4:13 Dream contains distinct echoes from the past: the swooning romance of opener ‘Underneath the Stars’ wouldn’t have been out of place on Disintegration (yes, it’s that good); ‘Sleep When I’m Dead’ is the long lost brother of ‘The Walk’ and ‘Let’s Go To Bed’; and the tempo and scrawling guitar on ‘It’s Over’ recalls ‘Shiver & Shake’.

This record may ‘kick out the blues’ more than usual, but if you peer between the cracks in the make-up, The Cure’s heart still beats to a bittersweet rhythm.

By Andy McLean. Copyright held by author.

First published in The Brag, Sydney, 2008.

4:13 Dream is available through Suretone.

BETCHADUPA aiming for your head

This article was written back in the days when Liam Finn (son of Crowded House's Neil Finn) hadn't yet gone solo. And it was written in the days when Wayne Rooney was just a young whippersnapper, learning his trade at Everton. This is what journos call 'setting the scene'. Now that I've done that, you can read on... 

Betchadupa were a revelation at Auckland’s Big Day Out this year, where they outshone every other homegrown act (and on a bill that included The Datsuns and The D4 that was no mean feat). When you have a live show as good as theirs it's a logical step to go analogue and record an album "as live" - so that's exactly what they've done. 

Aiming For Your Head is a definite progression from Alphabetchadupa (their quiet-bit-loud-bit Nirvanalike debut). This time they're bolder and tougher, able to take a few chances and surprise you a bit. The lolloping pyschedelia of 'My Army Of Birds And Gulls' is a fantastic way to start, laced with conspiracy theories and paranoia. Elsewhere, unexpected tempo changes make songs zip about like flies, with ‘Running Out Of Time’ and the title track being particular highlights. 

They're less convincing when they play safe, as on former single 'Move Over' and it's B'side 'The Bats of Darkwell Lane'. Perhaps they sense themselves that they can do better than that now.

All in all though there's enough to suggest that one day Betchadupa are gonna record a five star, solid gold record. This isn't quite it but it's a step in the right direction.

If Aiming For Your Head was a soccer player it would be Wayne Rooney: a gifted youngster offering glimpses of a bright future.

By Andy McLean. Copyright held by author.

First pubished in The Brag, Sydney, 2004.

Aiming For Your Head is available through Liberation Music 

HOLLY THROSBY live review

Delving back into the archives today, we look back at a fabulous live show from the delectable Ms Holly Throsby...

Somebody, somewhere deserves a massive pat on the back for inviting Holly Throsby to perform at the Spiegeltent. Rarely can a performer and a venue have been so well matched. The circular tent has an intimate, nostalgic feel to it, right down to the wooden panels and cosy, candlelit booths. It’s the ideal setting for Throsby’s hushed voice and whimsical music. Meanwhile, the mirrors that adorn the walls of the tent suggest the same air of illusion and mischief that is also found in Throsby’s lyrics.

Long-time collaborators The Hello Tigers are also well-suited to Throsby. Both Jens Birchall and Bree van Reyk are multi-instrumentalists of some talent. But what really sets them apart is their ability to leave space in all the right places, allowing Throsby’s whispered voice to shine through. 

‘Warm Jets’ opens the night in graceful fashion. Throsby plays a revolving keyboard line, Birchall plucks his cello strings pizzicato-style, while van Reyk supports on backing vocals. Next comes ‘On Longing’, a song about the reconciliation of two lovers that includes the neat lyric: “I have many things done wrong.” It’s classic Throsby because it’s simple, slightly flawed and playful. 

Acoustic guitar and accordion then come to the fore, as the trio sing together on the tender ‘Now I Love Someone’, before playing the more atmospheric ‘Under The Town’ (“a song about a dead dog” as Throsby explains, in typically self-deprecating style).

In between songs, Throsby is jovial and often pokes fun at herself (after noting the close proximity of the audience, she says she regrets her decision not to wear tights). She also explains that Tim Rogers once told her that he would love her to play ‘Berlin Chair’. So, after a quick “apology to anyone who remembers this as a rock n’ roll song”, that’s exactly what the band does. And, thanks mainly to Birchall’s deft mandolin, they pull it off.    

The night draws to a close with a slightly wonky version of ‘Building A Fire’, and then two songs from the first album: ‘Damn That New Body’ and ‘We’re Good People But Why Don’t We Show It’. Performing these older songs is a fittingly nostalgic way to end a performance in this venue.  When the Spiegeltent returns to these shores, let’s hope somebody, somewhere has the good sense to invite Throsby back.

 

By Andy McLean. Copyright held by author.
First published in The Brag, Sydney, November 2008.

SEPARATED AT BIRTH? tim burgess vs james anderson

Australia is currently in the grip of Ashes fever and - at the time of writing - Australia's batsmen are currently in the grip of England's bowlers. Speaking of which, is it just me or does English paceman James Anderson bear an uncanny resemblance to Madchester survivor Tim Burgess?

BUTTERFINGERS lyrics of the week

This week's lyrics are from 'Yo Mama' by Butterfingers. Not exactly Shakespeare, but my God it's still genius...

I see you in your office
Sending and receiving cheques
But I know the quest for money
Comes from a quest for sex
So I cut to the chase
And forgot about my job
And decided to stay home wit yo mama on my knob

I can see you laughing so i guess you think it's funny
But while you're getting drunk, I've been gettin honey
And by tomorrow night you will be hungover and sick
And I'll be at my home wit yo mama on my dick

Your mama's on the top of my things to do list
Your mama's on the top of my things to do list
Your mama's on the top of my things to do list
Your mama's on the top of my things to do list

Thinking you're the man
Well I am bringing news
Our manhood's being measured by the women that we choose
And you can't earn respect if all you ever pick is sluts
So I'll be staying home to let yo mama suck my nuts

Your mama's on the top of my things to do list
Your mama's on the top of my things to do list
Your mama's on the top of my things to do list
Your mama's on the top of my things to do list

Eat more fruit

Plant more trees
Learn to shoot

Travel overseas
Wash the dog

Read a book
Find three Chinese recipes to cook
Learn to waltz

and speak Maltese
Ferment to invent a better fetta cheese
The highest they get is number two
Cos number one on my list of things to do
Is yo maaaamaaaaa
Yo maaaamaaaaaa
Yo maaamaaamaaa
Yo mamaaaaa
She's always on top
She's always on top
She's always on top
She's always on top

Your mama's on the top of my things to do list
Your mama's on the top of my things to do list
Your mama's on the top of my things to do list
Your mama's on the top of my things to do list

COCKFIGHT SHOOTOUT breed until broken

Time for me to make very own daggy music confession...

Can you keep a secret? This stays just between me and you okay? Cool. Here goes: I’m a bit of a closet headbanger. I might look like a skinny white indie kid on the outside, but on the inside I’m a black leather studded rawker! It’s sorta my guilty pleasure.

So when Cockfight Shootout’s mini album landed in my lap I tried not to look too pleased – but deep down I couldn’t wait to stick it on. The Melbourne Metalers didn’t disappoint.

‘Step In Line’ opens the six-tracker in style, crunchy rhythm guitar and chugging bass perfectly complementing Caelhain Gallogly’s hoarse vocals. Then the bruising ‘In The Comforts Of Madness’ steams in, giving axeman Mick Farley the room to let fly with some slick guitar solos. Admittedly there is a bit of a lapse after that. The mid-paced ‘Tastemaker’ lacks any real spark and ‘A Question Of Guilt’ is a bit like post-Troublegum Therapy? (all the right ingredients but kinda half-baked).

The relentless racket of ‘Eat Your Own Kind’ is better but that’s immediately eclipsed by the humdinging closer ‘Tricks of Light’. Part Motorhead/part ZZ Top it’s got tempo changes and licks in all the right places and suggests there’s a lot more to come from Cockfight Shootout.

If Breed Until Broken were a self-help book it would be: Learning To Love Your Inner Metaler.

By Andy McLean. Copyright held by author.

First published in The Brag, Sydney, 2004.

Breed Until Broken is available through Chatterbox Records.

BRENDAN BENSON lyrics of the week

Before Brendan Benson teamed up with Jack White to form The Raconteurs (or 'The Saboteurs', as they are known in Australia) he released solo album Lapalco. It's a terrific album full of power pop gems, and this ballad - called 'Metarie' - is the cream of the crop. 

Met a girl – introduced myself
I asked her to with me and no one else
And she said: "I’d really like to see you everyday
"But I’m afraid of what my friends might say
"You need a bath and your clothes are wrong
"You’re not my type I can tell we wouldn’t get along."
I just laughed, what else could I do?
And her friend chimed in singin’ "Get a clue
"Get a life – put it in your song."

There’s something I’ve been meaning to say to you
I've run out of gas and I'm stuck like glue.

I'd had enough; I couldn't take it anymore
So I turned and I ran straight for the door
Bought some mags on my way home
For later on, y'know, when I'm all alone
Bottle of wine and some cigarettes
A racing form, maybe, maybe I'll make some bets
I know a guy lives in Los Angeles
Sometimes his life there makes me so jealous
I'd like to move out of this place
Change my name, get a new face
Get a life, put it in my song.

There's something I've been meaning to say to you
I've run out of gas and I'm stuck like glu.e

I'd like to move out of this place
Change my name, maybe get a new face
Sleep all day, stay up all night
Everybody I meet thinks I'm alright
Get a life - put in my song.

There's something I've been meaning to say to you...

THE WARLOCKS surgery

If you haven't discovered The Warlocks yet, then it's high time you did...

I knew I was gonna like this Warlocks album the moment my neighbours banged on the wall and told me to turn it down. They're miserable Mariah Carey-loving saps y'see (my neighbours, not The Warlocks) so the fact they disapproved was all I needed to know. 

The Warlocks are pretty much the polar opposite of Mariah. Phoenix, their last outing, was all about down-strum antisongs and although Surgery is slightly more accessible, it's still a rough, narcotic nightmare. Which is a good thing. At least in my book. 

Corey Grant and John Rees allow their fuzzed up guitars to bleed all over every song, while Bobby Hacksher's pained words reek of novocaine, radiation and darkness. The influence of The Jesus And Mary Chain is obvious (especially on tracks like 'Evil Eyes Again' or 'It's Just Like Surgery') whilst there is a definite shogazey vibe going on during 'Come Save Us' and 'Thursday's Radiation'.

Occasionally Laura Grigsby's piano will stumble, as if by accident, into the wall of feedback (see 'Angels In Heaven, Angels In Hell') but it's quickly snuffed out. The distorted guitars are the star of this show and they ain't sharing the limelight with nobody. 

If Mariah Carey heard this: she'd probably hack her own ears off. Hey, maybe 
someone should send her a copy. 

By Andy McLean. Copyright held by author.

First published in The Brag, Sydney, 2005.

Surgery is available through Mute Records.

EMILIANA TORRINI me and armini

Today we look at an underrated record with quite a lot of hidden depth...

Emiliana Torrini’s parents must be so proud right now. Their little girl has finally grown up and blossomed. Sure, the Icelandic songstress showed promise before but you couldn’t help feeling she was holding something back. Love In The Time Of Science was enjoyable but derivative, while Fisherman’s Woman was haunting but one dimensional. Me And Armini is altogether more assured, more original and more diverse.

For a start, there are several upbeat songs (a sure sign of Torrini’s growing confidence), including ‘Jungle Drum’ (a two-minute ball of energy, which combines playful vocals, bouncy bass and a persistent rhythm) and ‘Big Jumps’ (which skips along on catchy acoustic guitar as the lyrics urge you to escape your comfort zone). 

Then there are mellower tunes, where Torrini’s mischievous charm peeps out. The title track is a gentle reggae song of sympathy for a naive stalker, while ‘Fireheads’ is the kind of fuzzy, stoner-pop that Ben Kweller would be proud of. 

And we get a glimpse of Torrini’s darker side too: ‘Dead Duck’ is unsettling, with nonsensical, effects-laden vocals that carry the listener into an extended psychedelic instrumental outro; and the echoing vocals on ‘Gun’, combined with industrial electric guitar, create an atmosphere of quiet malevolence.

If this album was a bag of lollies, it would be Skittles Sours: colourful and sweet, but with a twist.

Article by Andy McLean. Copyright held by author.

First published in The Brag, Sydney, 2008.

Me and Armini is available through Remote Control Records.

WET WET WET daggy music confession of the week

Thanks to blog reader PJ for fessing up this week...

"I grew up in a house filled with classical music. There was no Rock N Roll ever played at home.

"Somehow though, Scottish popsters Wet Wet Wet infiltrated my life at around the age of about 11 - and I was hooked. My first ever record was Wet Wet Wet's Part One Greatest Hits. This included such gems as 'Goodnight Girl', 'Sweet Surrender' and 'Hold Back The River'; but their big hit around that time was a cover of The Troggs sixties hit 'Love Is All Around'.

"I bought two tickets for a Wet Wet Wet show at Sydney Entertainment Centre; one for me and one for my sister. Unfortunately for her, she had school camp that weekend. Unfortunately for me, that meant my Dad had to come instead! Regardless, I still loved the gig.

"I have to admit, I do still sometimes listen to it. But then, to be honest, I still like every album I've ever bought. If you liked it at the time, that's cool. There's something to recommend it."



Sadly for Wet Wet Wet, things didn't end well. Squeaky clean lead singer Marty Pellow ended up as a heroin addict.

THE CRIBS the cribs

I never did quite get The Cribs. Even when Johnny Marr joined them recently, they just didn't 

grab me. Below is my review of their debut LP and I still stand by everything I wrote back then... 

British trio The Cribs are the latest hopefuls to come off the seemingly 
endless new rock conveyor belt. In order to deliver their debut album 
they've put down pretty much every song they've written so far. This makes 
for a pretty varied 30-odd minutes to say the least.

On the one hand there's the brilliant pop of 'You Were Always The One' and 
'The Lights Went Out' and on the other there is the almost unlistenable 
'Third Outing' and 'The Watch Trick'. In between these two extremes there's 
also a fair dollop of fillers too such as 'Baby Don't Sweat' (which just 
kinda staggers about aimlessly) and 'Another Number' (which is half baked 
and half arsed in equal measure).

It's all very frustrating because they clearly have the ability to write 
really infectious indie pop tunes. 'You Were Always The One' and 'The Lights 
Went Out' aren't revoluntionary but they're made for the dance floor in the 
same way The Strokes and Franz Ferdinand are.

There's just a complete lack of quality control though. The album starts off 
sounding like a drunken Nick Cave crawling in the gutter and ends sounding 
like a jam where everyone's just lost interest, and that's exactly how I 
felt by then as well. 

If The Cribs was a tennis player it would be Tim Henman: brilliant in 
flashes but too inconsistent to ever win a major prize.
 
By Andy McLean. Copyright held by author.

First published in The Brag, Sydney, 2004.

The Cribs is available through FM Records.
 

RADIOHEAD lyrics of the week

Thom Yorke is not often noted for being a romantic, but the lyrics to 'Exit Music (For A Film)' really tug at the heartstrings. Of course, the lovebirds he's writing about are in a tense, desperate situation. In fact, one senses that they are both horribly doomed; but these lyrics are still romantic in way that few of Radiohead's songs are.

Wake from your sleep
The drying of your tears
Today we escape, we escape

Pack and get dressed
Before your father hears us
Before all hell breaks loose

Breathe, keep breathing
Don't lose your nerve
Breathe, keep breathing
I can't do this alone

Sing us a song
A song to keep us warm
There's such a chill, such a chill

You can laugh
A spineless laugh
We hope your rules and wisdom choke you
Now we are one in everlasting peace

We hope that you choke, that you choke
We hope that you choke, that you choke
We hope that you choke, that you choke


Wow, reading these lyrics again has just blown me away. I'm off to play OK Computer on my stereo. Really, really loud.

BRIAN WILSON live review

Earlier this month, a living legend performed in Sydney. ShoutAboutMusic was there to watch the show and give you the lowdown...

One of the unwritten rules of Murphy’s Law is that every time a Beach Boy comes to town, there is a deluge of torrential rain. When Mike Love performed with Sydney Symphony recently, there was a storm of epic proportions. Tonight Love’s estranged cousin and former bandmate, Brian Wilson, has also attracted the wrath of Thor, the God of Thunder.

Of course, this is entirely appropriate when you consider the career trajectory of The Beach Boys. Wilson may be responsible for some of the happiest, sunniest party music in pop history, but his personal life has been ravaged by tragedy and heartbreak. Parental abuse, mental illness, drug addiction, divorce, brainwashing psychiatrists, financial meltdown, untimely family deaths, Wilson has seen it all.

It’s no surprise then that a live Brian Wilson performance is bittersweet. It’s wonderful to see a living legend in the flesh. It’s wonderful to watch him conquer decades of stage fright. It’s wonderful to hear him backed by an outrageously talented band who can do justice to his wonderful back catalogue of songs. But it’s also sad to see a once-great performer reduced to reading lyrics from an autocue. It’s sad to hear his once-great falsetto crumple into a breathless murmur. And it’s sad to see this once-great composer hit occasional bum notes and often forget to sing into his mic.

Fortunately, his band and his audience are happy to make allowances. Just like Wilson’s music, this show is proof that love, surf and song can conquer all. Maybe it’s the seven-part harmonies of ‘Surfer Girl’, maybe it’s the symphonic genius of ‘Heroes & Villains’, or maybe it’s the succession of three minute pop masterpieces but – by the time the time we leave the Enmore – something magical has happened. The rain clouds have been spirited away.

Article by
Andy McLean. Copyright held by author.

First published in The Brag, Sydney, November 2010.