Where does Michael finds these songs?
This week it’s “Can’t Get Close”, a 1980 track by Canadian skinny-tie band The Cry. I haven’t heard it yet, but I’m fairly confident that it’s going to be a skinny-tie song because of this:
I see skinny ties.
Technical Note Before We Get To The Song:
I’ve discovered that the version of “Can’t Get Close” that Michael supplied is in mono. (I had a quick listen.) I found a stereo version, and it was tagged as “remastered”, but it sounds awful. I’m going to listen to the mono version.
0:00-0:13 – This is the introduction, and it doesn’t bode well for the rest of the song. It’s all a bit anonymous-sounding to me.
But it has prompted me to ask a question I don’t usually ask in day-to-day life: Is that a flanged bass?
0:13-0:38 – Yep. It’s a skinny-tie song. An Elvis Costello-inspired skinny-tie song. And I must apologise for the amount of hyphens in the previous two sentences. Sorry about that.
This is sung well enough, and played well enough, but it’s not igniting any flames of excitement in me. I can, however, imagine this going over well in a live situation (i.e., at a gig).
0:38-0:50 – This chorus would definitely be well received at a gig. It has a shout-along quality that sweaty, inebriated audiences can yell at the top of their lungs.
By the way, the vocal melody of the chorus reminds me of the chorus of Johnny O’Keefe‘s “She’s My Baby” (1960):
Also by the way: This song deals with a chap who’s in a state of extreme irritation because he “can’t get close” to his potential romantic partner. Why are so many power pop songs concerned with frustrated love? There aren’t that many frustrated singers in The World of Power Pop, are there?
Because of this, I think the chorus of “Can’t Get Close” is going to be followed by the verse of “Get Off Of My Cloud”.
0:50-1:15 – The singer sure sounds agitated in this verse.
1:15-1:27 – Time to shout along again: CAN’T! GET! CLOSE!.
1:27-1:40 – This is a repeat of the introduction. Coming as it does after the second chorus, my spider senses are telling me there’s going to be either a middle eight or a guitar solo appearing very shortly.
1:40-2:04 – It’s a middle eight.
2:04-2:17 – Here’s the chorus again. SHE’S! MY! BABY!…
2:17-2:29 – A repeat of the chorus. SHE’S! MY! BABY!…
2:29-2:58 – And a variation on the chorus. The big difference (which isn’t all that big) is the background vocals. There’s an elongated “action” (first time from 2:34-2:35).
And that’s about it for the song.
It’s a three-minute blast of skiny-tie-ness. (And there I go with the hyphens again.)
Hopefully, the singer finally found the “action” he was looking for. And I’d also like him to relax sometime.