Musical coincidences # 390

April 30, 2013

My friend Michael (architect of the Educating Peter series) spotted this one:

David McWilliams – “Days Of Pearly Spencer” (1967) (excerpt)

Zager & Evans – “Fred” (1969) (excerpt)

When Michael told me about the coincidence, he also asked the following question:

“Why would anyone name a song Fred?????”

I’d be asking the very same question.

Here are the full versions:

David McWilliams – “Days Of Pearly Spencer” (1967)

David McWilliams – The Days of Pearly Spencer by peter95000

Zager & Evans – “Fred” (1969)


Song of the day: Skipping Girl Vinegar – "Making Our Way"

April 30, 2013

I received an automated email from Bandcamp alerting me to a new song by Melbourne band Skipping Girl Vinegar. I could tell it was automated by the way it started:

“Greetings Peter Scott”

That sounds to me as if I was being addressed by an alien. They may as well have said “Greetings Earthling”.

Anyway, Skipping Girl Vinegar’s latest song reminded me a lot of their 2008 song “Sift The Noise” – the choruses of both songs are virtually identical.

Because I enjoyed “Sift The Noise” and posted it on the blog in 2010, I thought I’d post the new song too.

Well, why not?

Skipping Girl Vinegar – “Making Our Way (2013)


Song of the day: Hot Nun – "Win It All"

April 29, 2013

Jeff Shelton is an American musician known for participating in loud rock bands. His latest loud rock band is Hot Nun, and the band made a video for one of its songs.

Here it is:

Hot Nun – “Win It All (2013)


Educating Peter # 45

April 28, 2013

This week’s suggestion by The Man They Call Michael is something called “Your Fool” by someone called Scott Goddard.

Scott Goddard – “Your Fool” (1984)

0:00-0:16 – OK. This sounds like it’s going to be a three-chord effort. With an uninspiring solo guitar part tacked on to the start of the song to qualify as the introductory melody.

Bass nerd talk: That bass guitar has its upper-midrange boosted. I’m not a fan of upper-midrange boost on bass guitar. Grrr.

0:16-0:30 – The opening line of the first verse:

“I loved you and you loved me, and that’s the way I wanted it to be”.

I don’t think this song and I are going to get along.

Incidentally, as this verse continues the rhythm and chords remind me of…

David Bowie – “Queen Bitch (1971)

…which I’d much rather hear.

But I’m here to listen to Scott Goddard’s song. Sigh.

0:30-0:37 – After the verse being in the key of C major I thought it a tad bizarre to play B minor in this section before the chorus (or before another verse – I don’t know what’s coming up next). The three chords in this section (sorry about getting technical here) don’t bear any tonal relevance to what came before it (i.e., the verse). The verse is resolutely in the key of C major, but this little section’s three chords are B minor, D major, and F major. They’re chords you usually hear in a song that’s in the key of G major.

Exactly why Mr. Goddard (or whoever wrote the song) chose B minor, D major, and F major in that section is a mystery to me.

0:37-0:44 – Now we have the chorus, and I can see why Michael likes this song. It has an appealing chorus. Unfortunately, it doesn’t appeal to me. All it’s doing is reminding me of another song that Michael suggested for this series, The Zimmermen’s “Shaking Hand”. I remember not liking that song either.

On a production note, I must say that I think the sound of the snare drum in this song is dreadful. To me it doesn’t sound like a drum at all. It sounds like someone hitting a Hacky Sack.

0:37-0:44 (secondary comment) – Wow, that was a short chorus.

0:44-0:58 – Another verse, but this time with the band playing in stop-start mode (think “Summer Nights“).

I’m not finding this song interesting in any way whatsoever.

(But at least each part of it is short. I’ll be able to finish listening to this in no time.)

And this verse is reminding me of that David Bowie song again. (Note to self: listen to Hunky Dory after this Scott Goddard thing has finished.)

0:58-1:05 – There’s that B minor, D major, F major bit again. Ugh.

I don’t think I’ve mentioned it before, but seeing as I’m bucketing this song I might as well add that I don’t like the sound of the electric guitar. I think that’s a singularly unattractive guitar sound.

By the way, there’s an acoustic guitar in this song as well (in the left channel). It sounds OK, but it’s buried so deep in the mix that you can hardly hear it. (It’s more noticeable at the start of the song. That’s where I noticed it.)

1:05-1:19 – And another chorus.

This song really is doing nothing for me.

1:19-1:33 – Yuk. This is the introductory guitar part masquerading as a guitar solo.

I’m glad the solo was short.

That’s one thing I do like about the song: its brevity.

1:33-1:47 – Back to the verse, but this time with a pointless key change.

Awkward Grammar Alert: This is what Monsieur Goddard sings at the start of this verse (1:33-1:37)…

“I woke up and then I found
By your ties I was no longer bound”

I don’t think I’ve ever seen the phrase “By your ties I was no longer bound” anywhere else in the English language.

1:47-1:54 – The B minor, D major, F major bit one more time – but this time the chords make sense because they came after a verse that was in the key of D major.

Lyrics again (1:47-1:50):

“I got wise and played it cool
All you did was stay in school”

What’s made me curious about that particular lyric is that Señor Goddard didn’t mention anything about school until now.

Questions for Scott Goddard:

  • Why bring up school now, so late in the song?
  • And what relevance does the girl being in school have to the rest of the song?
  • Did you chose the word “school” simply because it rhymes with “cool”?

1:54-2:07 – The chorus again, but in its original key of C major. I’m confused. Why didn’t The Goddard choose to keep the key change for the rest of the song?

2:07-2:11 – That guitar part again.

I’ll just keep telling myself it’ll be over soon.

2:11-2:19 – The guitar part is now accompanied by what sounds like chanting. I hope the band isn’t gettin’ all Gregorian on me.

Nope. They’re only singing.

What they’re singing, I don’t know. It’s hard to tell because of that pesky guitar sounding like a mosquito being louder than the singing. But they’re singing something.

Oh. They’re singing “And I loved you and you loved me, and that’s the way I wanted it to be…”.

OK.

This song will be finished soon.

2:19-2:38 – More chanting – and Space Goddarty occasionally interjecting with “Yeah I loved you and you loved me…”.

2:38-2:58 – The song begins to fade out. Which is alright by me.

2:58 – The song finished.

Now to listen to Hunky Dory.


Song of the day: Kelly Jones – "Over Thinking"

April 28, 2013

The songs for the last few days on this ol’ blog have been uptempo ditties. Today being Sunday, I’m in the mood to bring the tempo down a little and get relaxed.

To do that, I’ve enlisted the help of the refulgent Kelly Jones and this song which just happened to appear in my brain a few minutes before I started typing this post, prompting me to think that it would be nice to have a relaxed song for Sunday.

Kelly Jones – “Over Thinking (2008)

My favourite part of the song: the descending riff from 1:19-1:21. Pure bliss.

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Song of the day: Telekinesis – "Power Lines"

April 27, 2013

Somebody posted this on Facebook a couple of days ago (I’ve forgotten who – sorry, O Forgotten One) in response to somebody else posting Fountains of Wayne’s “Red Dragon Tattoo”. The two songs share the same guitar part, but apart from that they’re not terribly similar.

I’d like to thank the person who posted the song non-Fountains Of Wayne, because I like it. (And that’s why it’s here today.)

By the way, if you play the song you’ll need to be patient because it takes 1:08 before it starts properly.

Telekinesis – “Power Lines” (2013)

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Song of the day: Hey Geronimo – "Carbon Affair"

April 26, 2013

A couple of months ago I pestered you with a new-ish (2012) EP by Australian band Hey Geronimo. I also bothered you with a song from it a couple of months before that as well. (Note to self: Try for a bit more variety on the blog, Peter.)

I recently revisited the EP and was pleased that I still like it.

I wasn’t going to assault your sensibilities with yet another song from the EP, but at the risk of repeating myself (any more than usual) I’m fairly keen to play you another track from it.

At least it’s one I haven’t played before:

Hey Geronimo – “Carbon Affair (2012)

My favourite parts of “Carbon Affair” are the 12-string guitar riff at the start, and the dreamy chorus (e.g., 0:30-0:50).

Actually, to stop me playing more songs form the EP in the future I’ll present you with the whole thing:

Right. Now I’ve played you all the songs on Hey Geronimo.

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Song of the day: The Bottle Kids – "Yes You Can"

April 25, 2013

This post is easy peasy.

A chap by the name of Eric (Hi, Eric!) sent me a couple of songs by his band, The Bottle Kids, to see what I thought of them.

I like ’em.

The Bottle Kids – “Yes You Can” (2013)

The Bottle Kids – “Kissing You” (2013)

Easy.

If you liked those, you can hear a couple more over at the band’s website.

One thing I really like about the songs is that they both have a dynamic range. Most songs nowadays are victims of the loudness war, in that all the sound is compressed so that there’s very little difference between loud and soft sounds, which results in a track that sounds LOUD ALL THE WAY THROUGH.

For example, Popmonster is an album by Greg Pope. I like the songs on it, but find the whole thing virtually unlistenable because of how it was produced. This is what the first track sounds like:

Greg Pope – “Sky Burn Down” (2008)

And this is what it looks like, dynamics-wise:

Greg Pope – “Sky Burn Down” (2008)

My head hurts when I listen to “Sky Burn Down”. And it doesn’t matter how much I turn down the volume. No matter how quiet it is, it always sounds too loud to me.

On the other hand, this is what The Bottle Kids’ “Yes You Can” looks like:

The Bottle Kids – “Yes You Can” (2013)

Dynamics!

And courtesy of those dynamics, I find “Yes You Can” eminently listenable in a non-head-hurting way.

If you have no idea what I was on about in the previous paragraphs, here’s a two-minute video that explains the loudness war:

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Song of the day: Wise Girl – "Set In Stone"

April 24, 2013

Today’s songs appear here courtesy of the charming and elfin* Nicole (Hi, Nicole!) from music publicity company LaFamos.

Nicole pointed me in the direction of a band called Wise Girl, and their new self-titled (or should that be elf-titled**?) three-track EP.

I listened to the EP, plus another song I found on the YouTube, and because I had trouble deciding which was my preferred track of the three no the EP, I’ll not play favourites and simply present them all to you.

Incidentally, this post could easily have been called “The Post of Association”, because three of the four songs on offer here remind me of other songs. But I won’t call it “The Post of Association”, because that’s not terribly fair on Wise Girl and their quest for individuality. (Or, putting it another way: “We wanted you to promoted our music, not all these other bands!”)

But because I heard other songs in amongst the Wise Girl ones, and because I’m a can’t help myself, I’ll sneak in the little associations after each of the Wise Girl tracks.

Wise Girl – Wise Girl (EP) (2013)

1. “Set In Stone”

This was the one track that didn’t remind me of anything else.

2. “Wishful Thinking”

Because this one is in the time signature of 6/8, it instantly reminded me of Rooney‘s “If It Were Up To Me“:

Rooney – “If It Were Up To Me (2003) (excerpt)

But pretty much any rock song played in 6/8 that was recorded in the last decade instantly reminds me of the Rooney song, so Wise Girl isn’t alone there.

3. “Roles Are Reversed”

When the drumming started in this track, I immediately thought of:

Cheap Trick – “I Want You To Want Me (live) (1978)

That’s the EP.

And if you want to see Wise Girl as well as hear them, you can do so by watching this here video:

Wise Girl – “So Broken (2012)

I’m afraid to say that a part of this song reminded of something else.

The chorus…

Wise Girl – “So Broken (2012) (excerpt)

…reminded me of…

KC & The Sunshine Band – “Give It Up” (1983) (excerpt)

[full song]

But as for Wise Girl’s EP, I thought it was not too bad.

Thanks, Nicole!

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(*Disclaimer: Nicole may not resemble an elf at all. I’ve never met Nicole in person or seen a photograph of her. We’ve only ever chatted electronically, but I imagine Nicole is a spritely*** young thing.)

(**No, it shouldn’t.)

(***Dreadful pun fully intended.)


Song of the day: Wham! – "Freedom"

April 23, 2013

I’m afraid this post may contain a little cross-promotion…

My friend Michael (Hi, Michael!) has, for the last 43 weeks, tried to persuade me that the music of the 1980s was not the Black Hole of Creativity™ that I generally think it is. Michael sends me an ’80s song each week for this blog’s Educating Peter series (there’s your cross-promotion), and I tend to keep on not enjoying what he sends me.

This has led me to soul searching / navel gazing / looking within see what songs from the 1980s I did like. There were a few, but nowhere near as many as any other decade I can think of. (I’m very fond of music of the 1930s. And the 1820s. And the 1750s.)

I came up with a list of about 10 songs from the ’80s that I thought were excellent, wrote them down on a piece of paper – and promptly lost it. (I think my subconscious was telling me something there.)

Anyway, I remembered one of the songs. It’s this:

Wham! – “Freedom (1984)

I could type an extremely long paragraph telling you why I think this is a stupendously glorious song (short answer: it’s the chorus), but I don’t want to make this post more boring than it is, and I’d rather you just press play.