One Direction – What Makes You Beautiful

I have a lot to say about this.

Tim: I listened to this 32 times in the first 24 hours I had this on my computer, so I have a lot to say.

Tom: Right, then I’ll get out the way and let you say it.

Tim: First, let’s have a game of Dynamic Typeface Bingo.

Tom: Catchy song. So what’ve you got to say about it? I can smell a list approaching.

Tim: Ah, what excellent olfactory senses you have. Item one: Few would deny that out of the three acts so far* from X Factor 2010, these are by far the most likely to succeed. They have the looks, youth and personality of an above-average boyband, they have songs written by songwriters of good and excellent vintage, and if this is anything to go by the music overall is very very good.

* In case you’ve not been keeping up, we also have Cher Lloyd and Matt Cardle.

Tom: Now that’s a bold claim, given Cher Lloyd’s at number one now, but I reckon you’re right in terms of long-term success.

Tim: Cher Lloyd’s fans genuinely and unironically call themselves ‘brats’. If she wins, this country has actually died and gone to hell. So anyway, item two: The standard test of a boyband’s song: could it easily be performed by a soloist, or is there enough there to justify five of them? Well, I reckon this just about passes – there’s the ‘nobody else’ in the second chorus, and there’s a decent amount of messing around towards the end. And speaking of towards the end, my favourite bit is the sneeze-and-you-miss-it bit after the bridge where whichever one of them it is in the background goes higher for the ‘you light up my world’. I don’t know if it would have been better if more/all of them had done that (though it almost definitely would).

Tom: He does, and I wish I knew what that musical technique was called. It’s an easy way to get an emotional lift – and it works very well here.

Tim: Item three: The meaning and target of this song. I think that to understand this in all its true depth it’s easiest to become somewhat misogynistic, so apologies in advance. Let’s start rating girls, out of ten for tradition’s sake.* One through six – they’re a no-no. Eight and above – yes please. Seven, though, is borderline, and this is where it depends on the self-awareness of the target. (At no other point, please note, does her personality enter the equation.) As long as she reckons she’s a minger, let’s go with her, because she won’t know she’s out of my league. THIS is the girl to whom the song is sung, and everyone else can move along and listen to other music.

* I met a guy once who rated girls on a scale of ‘necessary number of pints’. I’ll let you judge him.

Tom: Seven is borderline? Clearly we work on different calibrations. Either that, or your scale’s logarithmic.

Tim: Fair enough, we’ll have it your way. One through seven’s a no-no, and eight’ll be borderline. But we should be careful not to take the misogyny thing too far.

Tom: That… that’s not what I… oh, never mind.

Tim: Item four.

Tom: Oh boy.

Tim: ITEM FOUR. The above leads us on to a slight logical fallacy, because there is one group of girls not mentioned: the sevens—sorry, eights—that know they’re fit. ISSUE. As soon as they know it, they’re not, at which point they can’t possibly know it because it’s not true. But now they have become beautiful, and so they do know it, and we’re back to where we started. How to correct this: change ‘you don’t know’ to ‘you don’t think’, and everything will be fine. As such, I have e-mailed Syco to request that this happen in all future live performances of the song. (Really, I have.)

Tom: Let me know if you get a reply. I find that while large companies tend to ignore emails, actual letters still get at least a perfunctory response.

Tim: There’s a potential item five that’s in somewhat dodgy territory, based on the fact that the only implication that they’re singing to a female is the ‘don’t need make-up’ line; they could alternatively be singing to a gay guy who feels he’s had to turn to transvestism to hook up with anyone. Since they’re all still impressionable teenagers, though, we’ll leave that for now.

Tom: Yes, let’s.

Tim: So actual item five: This song is absolutely bloody fantastic. If you disagree, then you’ve got it wrong; to prove I’m right, I’ll put it in a song.

Tom: And I’m sure any of our readers who made it this far would love to hear it.

Tim: So, no-one then. Oh well.

Frank Turner – If Ever I Stray

When the full band kicks in it’s bloody glorious.

Tom: A bit of folk-punk for you here. Not our usual fare, but give it until at least the first chorus, because when the full band kicks in it’s bloody glorious.

Tim: Ooh, that’s good, that is.

Tom: I’m not sure how I’ve never heard of Frank Turner before now, because I found myself really loving this song.

Tim: I have: there was someone I used to canoe with called Emma Turner, but everyone called her Frank because she really liked his music. TRUE STORY.

Tom: And what a voice! It’s the kind of voice that makes me think he can’t keep singing like that: it sounds like he’s putting all his energy into every word, somehow keeping it at a level that shouldn’t be sustained.

I’m not sure why I like this – it’s completely different from what I normally listen to – but there’s something in the shouty earnestness of his voice that reminds me of old friends: the folks who listened to Flogging Molly, and Spunge, and all their compatriots across the many varied genres that fall under the umbrella of ‘punk’.

Tim: I used to be really into Dropkick Murphys; this takes me back a bit.

Tom: It takes me back as well. Perhaps we should go back there a bit more often.

Gregorgeous – Take You High

It doesn’t do anything all that great

Tim: Here’s a video that takes a rather irritating – some might say inconsiderate – two minutes to actually do anything.

Tom: What is it with music videos getting credits nowadays? Yes, it looks cool, but it’s not a movie. You’re there to show off the music. Lady Gaga can get away with it because her two-minute intros really are spectacles. This is just some people walking into a club.

Tim: And even after all that time, it doesn’t do anything all that great. Sure, it’s a good track, and I do like it – there’s a nice beat to it, decent rhythm, a fairly alright tune and good dance-floor-appropriate lyrics – but it doesn’t really live up to what it should be based on the first few notes.

Tom: I think that’s because the first few notes are actually from Dizzee Rascal’s “Bonkers”.

Tim: Ooh, they are a bit. And when the music originally hit, I thought, ooh, this is going to be a cracker, expecting it to grow a bit, but it didn’t really, which is a bit disappointing.

Tom: You’re right. There’s nothing particularly wrong with it, but it’s just… standard. Also, “Gregorgeous”? There’s someone with a high opinion of himself right there.

Saturday Flashback: Sweet – Poppa Joe

“Ooh, I’m properly smurfing that smurf.” (Plus, four key changes!)

Tom: Cher Lloyd has basically got a novelty song to number one. Well, I’ll tell you this, Tim: novelty songs used to be a lot better than her.

Tim: Certainly did. Top 10, that was, and I listened to that album in its entirety last weekend when I went to see Mummy and Daddy, along with The Smurfs Go Pop! Again and The Smurfs Hits 97. (Drew the line at their Christmas album, though.) Why? Well, why not. Annoyed the hell out of my parents, it really did.

Tom: Oh, bloody hell. I’d forgotten about that. Mind you, the original wasn’t much better.

Tim: Sorry, got a bit distracted there. What are we listening to?

Tim: Ooh, I’m properly smurfing that smurf.

Tom: February 1972, number 13 in the charts. It’s pre-Agadoo, pre-all those other summer hits; it’s a glam-rock band having a bit of fun with steel drums and limbo.

Tim: Yep, and there was me thinking we hadn’t had any key changes here for a while.

Tom: Four key changes. Four! If you’re not grinning at the last one, there’s something wrong with you.

Tim: The cynical part of me would say that that’s because they had absolutely no idea what else they could do with the song after ninety seconds; the other, and much larger, part of me will just enjoy them.

Straight Up – Show The World Tonight

An entirely appropriate song for Stockholm Pride

Tim: Stockholm Pride 2011 had an entirely appropriate official song. This one, in fact.

Tom: Ooh. Someone’s gone all high-concept but low-budget with their video, haven’t they? They’ve reached for the stars and hit… well, they’ve hit something. That’s someone with a graphics tablet and a basic knowledge of After Effects, I reckon. Or MS Paint.

Tim: Interesting idea for the, well, story, I guess, with a somewhat unusual KILL ALL THE HOMOPHOBES vibe to it, which I suppose is meant in a good way rather than a murderous rampage way. Perhaps what they’re imagining Stonewall would have been like if it happened two hundred years later.

As for the music, I love it: it’s great as a dance tune, it’s great as a ‘we’re all gay and it’s fantastic’ song, and is almost inspiring in its way. ‘Try homosexuality! You know there’s a small part of you that’s always wondered, and you really don’t know what you’re missing!’

Tom: They are basically just singing ‘Twinkle Twinkle Little Star’, though. If we rip Cher Lloyd apart for doing nursery rhymes, we should really do the same here. It’s just… a bit uninspired, really. Good production, bad song.

Tim: Fair point about the nursery rhyme, but I wouldn’t say bad song – not by a long way.

Man Meadow – Eaten Alive

It’s no Michael Jackson, but that’s a good cover.

Tim: A cover of Diana Ross it would seem, and rather more modern that you might expect (and just so you know, I don’t know the original, so I’ll be judging this as a new song).

Tom: Well, the original featured Michael Jackson and, while not particularly successful, was quite fun – so we’ll see how this one turns out.

Tom: It’s no Michael Jackson, but that’s a good cover.

Tim: Good strong beat throughout, which is always a plus. The verses aren’t all that interesting, but the song really comes alive in the chorus for sone proper hands waving in the air on the dance floor movement, and that redeems it nicely for me. I’ve got to say, though, that I’m a bit disappointed with what happened after the bridge, or more accurately what didn’t happen.

Tom: I know what you mean – I was expecting a big triumphant WHOOMPH out of that, and it didn’t happen.

Tim: Right – the bridge was pretty much just an empty bit of music; following that and the building line of music underneath the beginning of the echoey chorus up to 2:35, that needed something special. Perhaps not a key change (though it’s a while since we’ve seen a decent one here), but at least something to say WE’RE BACK.

Tom: If it’s key changes you’re looking for, you’re going to love this weekend’s Saturday Flashback.

Tim: Ooh, sir, how you do tease me.

My Chemical Romance – The Only Hope For Me Is You

Just buy the damn album.

Tom: Just buy the damn “Danger Days” album.

Tim: Oh, is that your view? I wasn’t aware.

Tom: Look, we both have bands and artists we like. If Hera Bjork was bringing out singles, you’d be all over them. At least give me this one.

Tim: Fair point. Plug away, my friend, because you’re right, it is a good album.

Tom: And yes, I know I said “just buy the album” last time, but it’s the first album in a long time that I’ve found that I can just keep listening to – it’s one of those that will help me work. It reliably gives me about an hour of concentrated focus and flow. Then – finishing with the American national anthem and a track sort-of mocking ‘Twilight’ and the Sweet’s ‘Ballroom Blitz’ at the same time – it leaves me uplifted and enthused, with a load of work done and the time having passed easily.

Tom: This version suffers a bit from YouTube compression, but ignore it. In fact, the album’s a fiver. Just get it. Some day, these guys will put out a duff album: but this isn’t it.

Olly Murs feat. Rizzle Kicks – Heart Skips A Beat

“Swaggering leprechaun cockery.”

Tom: I only send Olly Murs’ singles to you so I can reuse the phrase “swaggering leprechaun cockery”. And let me tell you: it is in full force in this video.

Tim: What a total bell-end. I mean, come on, really.

Tom: Unfortunately, there’s nothing to back it up on this one; you’ll remember I found myself really quite enthused by some of his earlier tracks, despite not liking his hat and his dancing. This just doesn’t have the joy – manufactured or otherwise – that, say “Thinking of Me” had.

Tim: Still can’t believe you liked that atrocity. The lyrics came from SATAN HIMSELF, DAMN IT.

Tom: But it was fun! Anyway – Rizzle Kicks’ contribution to this one mercifully short – short enough that it’s questionable whether it should really be there in the first place. It’s as if some producer went “actually, this is really bad – how much can we remove before we break our contract with them?”

Tim: Not enough, it would seem.

Tom: Funny thing, though; between you sending that, and me reading it, I heard this on Radio 1 – quietly, in the background in a shop. And I found I quite liked it, as long as I didn’t actually listen. I have no idea how that works.

Wonderland – Nothing Moves Me Any More

Not a drumkit to be seen anywhere.

Tom: Wonderland: five-piece girl group manufactured by Louis Walsh. So far, so ordinary. Only this isn’t your normal girl group track: it’s slow, it’s mostly in five-part harmony, and there’s not a drumkit to be seen anywhere.

Tim: Hmm…

Tim: I repeat. Hmm.

Tom: Take that, the Saturdays. No ridiculous autotune here – or, if there is, it’s subtle enough that I can’t notice it. And sure, it’s slow, but that final chorus – with just enough instrumentation to give it a proper lift – is just beautiful.

Tim: And also, kind of boring. Sorry, because I accept that it is beautiful, and charming, and moving, and could bring a tear to the eye of someone somewhere, probably – but I just find it a bit dull.

Tom: This has been out on an album for months now, but it’s getting a formal single release – whatever that counts for these days – soon. That probably means that Walshy is trying to give the group another push before going on with whatever wins the X Factor this year.

Tim: Walshy? Are we best buds with him now or something?

Tom: Well, it was meant to sound vaguely sarcastic, but I don’t think it really works in text. Anyway – is it sacrilege to want a remix of this? I’m not sure if it would ruin it or make it a floorfiller, but either way I want to hear it.

Tim: Yes. This track’s USP (some might say only SP) is its quietness and calmness and all that. Take that away, and you’re left with…well, I don’t know what but it probably wouldn’t be good. Mind you, I’d have said the same thing about Evergreen, and look what happened there.

Saturday Flashback: Kikki Danielsson & Dr. Alban – Papaya Coconut

Comfort food.

Tim: What is this, you ask? Well I have absolutely no idea at all. Occasionally when I’m looking for tracks I’ll check Swedish music charts, and for no reason that I can discern, this 13 year old version of a 25 year old song is near the top of the iTunes chart. So: what do you think?

https://www.youtube.com/watch?v=LJ8yj1aOIiU

Tom: Oh my word, it’s like I’m 13 again. How is something so objectively terrible so damned enjoyable?

Tim: Weird, isn’t it? But, is it objectively terrible (by our standards)? It certainly has great redeeming points – the dance backing behind the rapping verse bits is lots of fun, the steel drums add a nice summery feel, the ‘we can fly’ prevalent in the chorus is uplifting, if that’s what you’re looking for in this song (though there are undoubtedly far better ones) – and all in all they outweigh the admittedly numbers dodgy bits. Well, I reckon so.

Tom: I knew exactly what it was going to do before it did it – even down to the textbook mid-90s reggae-rap bit. It’s like comfort food, in a way: it’s not fancy, it’s not particularly good for you, but now and again… well, yes. I like this song.

Tim: Good. Good good good.