BBC Music – God Only Knows

“It’s not Perfect Day.”

Tim: You may or may not remember Perfect Day, the Lou Reed cover that the BBC put together back in 1997 that had just about every artist in the world in it.

Tom: Remember it? I think it was the first single I bought. Charity and all.

Tim: Well, they’ve gone and done something similar with this Beach Boys track seventeen years later. This got broadcast on every channel and station last night (except Radio 3, who were busy playing Brahms) both to promote the new BBC Music thing and to raise money for Comic Relief. Shall we?

Tim: Hmm.

Tom: “Hmm” is right.

Tim: Well, I think the first question we should all be asking is what on Earth is going on with Louis and Niall’s hair –

Tom: I was going to mention that.

Tim: – but musically I’m going to say…ehhh. It’s a track, certainly, and it’s musical, for the most part it’s very enjoyable.

Tom: But it’s not Perfect Day. Am I looking back with rose-tinted spectacles? Possibly, but I can remember being absolutely blown away by Perfect Day when it first appeared on TV — here, they seem to be dazzling with ridiculous CGI rather than just good music.

Tim: The only criticism I have is that I’m really not sure the orchestral/chorus break sounds right. I get that they want to indicate that it’s about all types of music, but I think if you want to do that, make it longer.

Tom: Right! Yes! Perfect Day is busy, but it never approaches anywhere near “cacophony”. There’s not room enough to breathe in here. The instrumental break of Perfect Day was one very good solo: here, we’ve got loads of instruments and vocalists, and each one gets a pause to itself. And Brian May crowbars his trademark guitar sound in. It doesn’t work.

Tim: I’m usually the first to complain that a track’s too long, but you’re barely pushing two and a half minutes there, and I don’t think anyone’d begrudge you an extra minute to fit it together better.

Tom: Also, let’s be clear about that video: Brian Wilson has the haunted look of someone who has no idea what’s going on.

Tim: Still, gets the point across, and it’s good enough to listen to. Makes the right point about how important music is to them, and at a time when people are having a go at the BBC right, right and further right, it’s nice to have them showing off what they can do. And beg for our support, which I suppose is a more cynical and probably unfair way of looking at the lyrics. So I’ll close by saying: great idea, not quite so great execution, but good enough for me.

Calvin Harris feat. Florence Welch – Sweet Nothing

This feels like an album track.

Tom: I’ve known a few people who’ve said “they like the Machine, but not Florence”: her vocals tend to polarise people. How well does she fit with Calvin Harris, then?

Slight warning here: while there’s no actual blood or nudity, this isn’t a comfortable video to watch.

Tim: Ooh, blimey.

Tom: Somehow, despite the video, this feels like an album track.

Tim: It does – there’s nothing to really get you going on it. No massive hook to remember, no big chorus to hang around afterwards.

Tom: I can’t say why: Florence Welch sounds like Florence Welch, Calvin Harris sounds like Calvin Harris, together the two of them should sound spectacular. Were my expectations too high?

Tim: I’ll going for something like: a good Calvin Harris track needs bigger vocals than this, a good Florence track needs slightly more traditional instruments. To me, this sounds more like a mash-up that doesn’t quite hit the spot.

Tom: Yes! That’s exactly it. It’s like someone’s taken the unmemorable verses from two tracks and mashed them together, rather than the choruses that everyone knows.