Educating Peter # 34

For this week, Michael sent me a 1988 song by the Huxton Creepers. Apparently they were a band from Melbourne that had a little chart success in the late 1980s. I don’t remember them at all.

Here we go…

Huxton Creepers – “Nights Become Your Days” (1988)


0:00-0:12 – The vocal melody is OK, but the more I listen to this the more I have an overwhelming urge to use the word “ordinary”. Frequently.

I have a dreadful feeling that I’m going to have difficulty coming up with anything of note to say about this week’s song. As I’m listening to it, I’m thinking of all the other Australian bands that sounded just like this in the 1980s.

0:12-0:36 – Wow, this verse reminds me of The Church.

0:36-0:45 – OK. A riff before the chorus. Unfortunately, that riff isn’t all that original. Its melody has already been used twice before.

0:45-1:03 – Ewww. I don’t like the melody for the chorus. And what makes me go “ewww” is that it sounds like everybody in the band is playing or singing that melody at the same time. They don’t all have to do it, you know.

1:03-1:06 – A little bit of rhythm guitar action before the next verse.

1:06-1:24 – The next verse. And now this song reminding me of the Sunnyboys. I don’t want to be reminded of the Sunnyboys. (This older post of mine will explain why.)

1:24-1:33 – That pre-chorus guitar riff again. (“Close your eyes and I’ll kiss you…”)

1:33-1:51 – I hope this is a short song.

1:51-2:04 – Who on Earth chose that guitar sound to begin the solo? The high notes sound alright, but those low notes sound horrid.

Guitar Solo Trivia: At 2:00.951 the guitarist slides up from the wrong note. But at least he slides up to the right note.

2:04-2:16 – Ah, he’s singing “endless nights”. I couldn’t figure it out for a while, because I kept thinking the singer was singing or “headless eyes” or headless thighs” or “headless lights” or something. I had to hear it a few times before I discovered it was “endless nights”. (Note to self: Peter, you could have just searched for the lyrics online.)

I liked the singer’s enthusiastic “Yeah!” at 2:15, but that didn’t make me want to hear any more of the song than was absolutely necessary.

2:16-2:22 – The more I hear that riff, the more I think I’ve heard it somewhere else. Where have I heard that?

2:22-2:24 – Well, I wasn’t liking this song much to begin with, but the singer just sang a line here in such a monotone that I now like this song even less.

2:24-2:40 – Er, yeah. I can’t think of anything productive to say about this part of the song. But I will say that I was annoyed by the monotonous voice getting higher and higher. There wasn’t much in the way of melody here. It was simply the singer singing the same note for five words, then singing the next five words in a higher note, and then higher still for the next five, until I thought he was going to run out of oxygen for his brain and he’d pass out.

2:40-2:49 – He didn’t pass out. But the band gave him time to recover his voice by playing that not-entirely-original riff again.

2:49-3:01 – There’s the entire band singing and playing that chorus again. Grrr.

3:01-3:06 – A repeat of the chorus. Less please.

3:06-3:30 – The producer mercifully fades the song on that repeated chorus. Thank you, producer.


I would love to be able to say something enlightening about this song which encapsulates how I felt about it, but it sapped all the enlightenment out of me – as most songs from the 80s do.


Ah well. Next week’s song may be enjoyable.

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