Tag Archives: Radio Song

Bad first songs

OK, “bad” is hyperbole in most cases here, but go with me.

A bad opener is a much rarer beast than the bad last song, at least among albums that are any good. Most artists seem to be better at recognising the best place to start than the best place to end. Nonetheless, missteps happen; some of the records I’d count among my very favourite have opening tracks that don’t quite get things rolling.

Asked to name a favourite band, I’d plump for the Beatles. Asked to pick some favourite songs, or albums, the Beatles would figure highly. But – controversial opinion alert – they weren’t always the best judges of how to get start their albums off.

Revolver has been the consensus “best” Beatles album for about 20 years, and it’s probably true that it contains the highest concentration of fantastic songs on any Beatles record. While the album is such a monolith in the history of rock ‘n’ roll that I can’t imagine any other song plausibly taking its place, Taxman has always felt like one of its weakest tracks for me. It’s full of interesting bits – the jerky, stop-start rhythm, McCartney’s bass playing and guitar solo – yet it never quite coheres into a song I find myself compelled to listen to. And while acknowledging that a 95% top rate of tax is pretty eye-watering, it’s not like the Beatles were short of cash at the time, so I can’t bring myself to care all that much for Harrison’s plight.

It wasn’t just Revolver, though. Sure, the title track of Sergeant Pepper’s Lonely Hearts Club Band does important work in establishing the concept of the album as a whole, but it doesn’t much flatter the band. By the middle of their career, the Beatles had lost some of the dynamism and power captured in their early recordings (I’m talking strictly as players here), and there is, as Ian MacDonald observed, something about their attempts at heavy rock in the second half of their career that calls to mind a middleweight puffing themselves up in an attempt to pass for a heavyweight. Magical Mystery Tour‘s opening title song, meanwhile, is similarly unsatisfying, partly because its lyrical idea is so shopworn, and partly because there’s not much melodic development.

But let’s leave the Beatles so I can put the boot into another one of my very favourites, Joni Mitchell.

For the Roses is a pivotal and somewhat underrated album, one that is very close to my heart. It’s certainly a transitional piece (it came out between Blue and Court and Spark and shares characteristics with both), but it has a character of its own, and four or five songs that are genuine career high points. Yet its opener, Banquet, is one of Mitchell’s least successful songs: a shrill, irritating melody and a series of overwrought metaphors. I nearly always skip it. Like Taxman, which feels weak as soon as Eleanor Rigby starts, Banquet is shown up by the brilliant second track, Cold Blue Steel and Sweet Fire

Many people would argue that Rainy Day Women gets Blonde on Blonde off to a shaky start. Me, I’m always happy to hear it. For me, the weakest Dylan openers are Desire‘s misbegotten and botched Hurricane and Nashville Skyline‘s godawful version of Girl from the North Country, a duet with Johnny Cash that brings out the worst in both singers. I’d actually prefer the album to start with Nashville Skyline Rag, which is hardly earth-shattering, but is a great deal of fun. Mel nominated Oh Mercy‘s Political World, too – I don’t know the album that well but it’s sure no Where Teardrops Fall.

Any discussion of good albums with bad first songs has to include R.E.M.’s Out of Time and its opener, Radio Song, which features a cameo from KRS One. While it has a certain goofy charm, I don’t think I could argue with anyone who suggested that the album would be better if it started with its second track, Losing My Religion. I asked my colleagues Sara and Nick to give me a couple of suggestions for bad opening songs on good albums: they both said Radio Song. So there you go. It’s unanimous.

Steely Dan’s seventies records have maybe five lacklustre songs between them, but would anyone object too strenuously if I cited Katy Lied‘s opener Black Friday as probably the album’s weakest track? Its shuffle groove is just a bit pedestrian. I almost always start listening from track two, the wonderful Bad Sneakers.

Among lesser known but, to me, very important albums, the two albums that Belly released in the 1990s, Star and King, both start with tracks I’ve never much cared for. Puberty, which begins King, just sounds messy and unfinished, and Someone to Die For, from Star, while explicable from the point of view of having what’s ultimately a slightly weird and creepy album begin with something weird and creepy, has always felt too obvious an attempt at spookiness to me; what’s so compelling about Star is that even its pop songs are a bit off-kilter. Track two, Angel, just sounds like a much more natural opener, and more representative of the band generally.

Of course, some bands have a knack of aceing it. But that’s another post.

While you’re here, can I trouble you to listen to this? It’s my new EP, available now (that’s NOW) from Bandcamp, iTunes, Spotify, Tidal, Google Play, Apple Music, and wherever you stream/download your music.

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25 Years of R.E.M.’s Out of Time

Let’s break up the drum posts with something different. I’ll be back next week with more underrated drum tracks.

Spin CDs send me an email every day, a little round-up of new and upcoming stock. Their algorithms have done their job well; there is, for instance, a Grateful Dead live album in almost every email (amazingly, a different one nearly every day). Right now they’re hawking the new 25th-anniversary edition of R.E.M.’s Out of Time.

We’ll skip past the 25-years stuff, as no one needs another one of my wistful gee-how-did-I-get-to-be-in-my-mid-thirties disquisitions; it’s probably only been half a dozen posts since the last one. But I will say this, Out of Time is a pretty formative album for me.

I bought it with paper-round money in, I think, early 1995, when the record was about four years old. I’d liked every song I’d ever heard by R.E.M. and while I knew more songs from Automatic for the People (Drive, Man on the Moon, Everybody Hurts and The Sidewinder Sleeps Tonite were all big enough hits in the UK for me to have heard them on the radio), I wanted a copy of Losing My Religion, which I knew, but not well; I guess I’d started listening more to the radio in the time between the releases of OOT and AFTP and had started to pay more attention to finding out which artists responsible for songs I liked.

Buying an album for £12.99 when you earned a tenner a week* was a big deal, so every time I bought a record, I played it to death, and didn’t purchase anything without a lot of forethought. I came to be familiar with every note of Out of Time, and it had a huge and lasting impact on my sense of what an album could be.

Out of Time stretched in all kinds of directions. It took the listener on a journey, one with unexpected digressions and tangents. The bassist sang two of its songs (one of which – Near Wild Heaven – had the temerity to be a single), while Endgame was a quasi-instrumental with a lyricless Michael Stipe vocal. Opening track Radio Song had an unlikely guest appearance from KRS One (it’s not widely loved, but I’ve always liked how they sound like they’re enjoying themselves). Low was stark, minimal and tense – not much more than Stipe’s voice, some muted guitar chords and Bill Berry’s congas. Shiny Happy People was, well, you know what it was (and I like to think it was on some level a parody). Losing my Religion was one of the great singles. Half a World Away and Country Feedback were the album’s sad, confused heart. Out of Time was by turns goofy and dark, happy and sad; up and down, high and low.

I didn’t understand when hearing it as a 13-year-old that few albums actually worked like this, that most strive for a streamlined consistency in which all the songs are good in essentially the same way. I imagined that R.E.M. were working to a formula other bands also followed. Not so. Twenty-five years later, I hear Out of Time‘s uniqueness, and love it all the more.

There’s a two-part documentary on BBC 6 Music at the moment (thanks to Sara for alerting me to it), narrated by long-time friend of the band Billy Bragg, with contributions from Berry, Buck, Mills, Stipe and producer Scott Litt. Well worth a listen if you’re a fan.

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*I was a teenage guitarist in a band, so I needed to pay for my share of rehearsal-room hire costs and buy new strings, cables, etc. We practised more or less weekly (not that you’d have been able to tell), so typically I could afford a new record once a month.