Weezer ~ “El Scorcho”

When one thinks of Weezer, they no doubt think about that little jaunty number in relation to a sweater, which no doubt served as a metaphor of some sort. With a song of this variety, one really does wish that less people knew of Green Day. It is a song like this that makes clear in a great many ways that bands such as Pavement really serve no purpose, as Weezer has better solos and superior vocals, and on this particular cut the lyrics are even smarmier. It is frightening to realize just what Rivers Cuomo could accomplish if he wasn’t such a sap with terrible mainstream taste in music, but as frustrating as recent Weezer output has been on the whole, when he truly wants to, Rivers Cuomo can cook up some rather iconic and impressive Rock.

I will say that other singles don’t define the group nearly as accurately, sure, cuts like “Dope Nose” surprise with the intricate guitar bits and “Say It Ain’t So” is so frighteningly close to birthing the late ‘90’s and early 2000’s sensation that was EMO that it’s almost scary, but the song is saved by a radical guitar lead smack dab in the middle. The lyrics on “El Scorcho” are very quotable, and heaven knows why this record and it’s singles failed so violently, but perhaps the 1996 Pop Culture realm wasn’t ready for something so ambitious in scope that was yet so utterly simple, who knows. New Weezer material is on the horizon as well, so the legacy has yet to be written even though most say: Yeah, the first couple of records were cool but then they really started to suck pretty hard, and maybe only like a couple of songs from the Green Album were cool but shit started to really suck after that, and especially with that Make Believe shit. Later, dude.

Anyway, I am not cynical in terms of the Weez, and let that legacy remain unwritten until the time is appropriate. Here is the vastly strange and emotional horn-dog epic that is El FUCKING Scorcho…

Have You Seen Her by the Chi-Lites

What a wonderful piece of Vocal Pop music. Elements of Soul and a certain Jazzy quality; you got a nice Rock bass sound going on as well. The opening monologue to this wistful romantic classic is given with a smooth delivery and a quality acting performance, and then segwayed into the lovely vocal mantra that really carries this song home with the question: Have You Seen Her? This isn’t so much a sad sack epic, but rather, it relates to a greater feeling of loss that could apply to anything at all: car keys or the death of a spouse. The emotion cuts deep and the spoken word outro breeds further defeated confusion.

The wordless backing vocals say just as much about the depth of emotional intelligence involved as any of the clearly spoken or sung lyrical content. You can’t really beat the live percussion of yore, and the percussive touches on this track are just perfect as is a little jangled guitar bit for added flavor. Once that vocal hook really gets to the mighty punch, the listener is temporarily lost in a Stylistics song and indeed, wants to break up just to make up.

Dig:

Kate Bush – “Wow”

Kate Bush has a thing for the highly dramatic arts, and no doubt she has a subscription to Theatre Arts magazine. This song showcases what a bouncy songbird Miss Bush truly is and in no uncertain terms, and any person with the gift of hearing is not safe from her undeniably wonderful vocal onslaught. “Wow” is taken from the follow-up to her nightmarishly beautiful debut “The Kick Inside,” and the album always struck me as a concept record, and all Bush maniacs know I’m referring to “Lionheart.” The cover of the record greets the listener with Kate essentially sprawled out over a box in an animal suit obviously meant to resemble a lion, although she has removed the lion head in favor of her superior face. Something sexual no doubt, but quite intriguing and mysterious as well.

There is a continuous flow coming from her piano playing that is somehow terrifying and beautiful simultaneously. There is an element of humor at times as well, such as with the following lyrical puzzle:

He’ll never make the screen.
He’ll never make the Sweeney.
Or be that movie queen.
He’s too busy hitting the Vaseline.

Rather curious and thoughtful, but this is Kate’s interpretation of theatre life, apparently. Once the song builds to that powerful vocal hook, we are somehow floating in space. It is a strange starship that Bush commands, but she never fails to fascinate. She is almost like Marilyn Manson, except her act is not a complete and utter sham. In fact, she seems to be a different woman in every song, which goes to fascinate the listener all the more. She sounds eerily insincere at times as well, as if she is just essentially giving mock-praise to a sad and laughable unworthy performer. However, build a perspective of your own by enjoying this monster ballad…

Breakfast:



Brunch:



Bon appétit! Monsieur

Stereolab ~ “Seeperbold”

Interesting song title, no? This is the greatest song in the history of Pop. I am not joking. Featuring the lovely soprano of the late great Mary Hansen on the primary vocal, while Miss Sadier takes a vocal backseat for a change; and the result of which is a revelation. The studio version of this cut can be found on Stereolab’s “Aluminum Tunes” compilation that was originally released in 1998, although, the song itself dates back to early 1995. A curious and strange live version under the working title of “The Pram Song” can be found on the 2002 live radio performances release of “ABC Music.” As for the song itself, a myriad of worthwhile mentions could take place. Such simplistic and beautiful guitar work that is nicely mingled with Doors style keyboard action, and minus any lyrical content about snakes or fire; the beat is a tasty little mantra and the string action at the end is enough to send a repulsive fool like Elvis Costello into exile forever.

Say what you will about The Beatles and comedy legend Bob Saget, but not a thing on this beautiful blue planet can touch Stereolab’s “Seeperbold,” as it is in fact Stereolab’s most astounding work. The vocal arrangement in particular is what moves the listener most of all, and thanks in part to Tim Gane’s instruction, the vocalists hit their marks beautifully and play off one another so well that one wishes all songs could contain such lovely and cherubic sing-song heroics. The lyrics are vague and mysterious, quite enjoyable and utterly fucking delicious.

So, here you have Stereolab’s “Seeperbold” as set to very old home movie footage. A song for both the dead and living to be pleased by…