Post by Helmut83 on Aug 11, 2015 5:13:29 GMT
- Panic: nice energetic song, a bit messy (the guys never ceased to sing, no room for instrumental solos or anything) but good overall, enjoyable.
- Heaven knows I’m miserable now: a bit of a theatrical pop-funk song. The refrain works really well. His singing is a bit annoying IMO, as if he had his nostrils closed. I like the background arrangements of the guitar. Good one.
- Bigmouth strikes again: I’m not someone who gives much importance to the lyrics, and I feel like the lyrics are all this song has to offer to it’s listener. From a musical point of view, quite flat and little creative IMO.
- How soon is now?: well, if I said “Bigmouth…” was flat, this one is still more flat. What’s going on at all in this song? No changes in emotions, not changes between different parts of the songs, not a single chords change that starts something at any point, just that synthetizer going on and on with no apparent point at all.
- This charming man: well, we leave the flatness aside finally. This one has more life and although it doesn’t have any big twists it flows along quite well. Again, nice guitar work in the background and nice bassline, with some interesting figures.
- What difference does it make: good pop song, groovy. The rhythmic section is great, but in my opinion it lacks those 5 cents more that would have taken it to another level, probably a more defined chorus at some point. Still, good one.
- William, it was really nothing: nothing original, it sounds pretty much like 2 or 3 of the previous songs. It would be a filler IMO. .
- There is a light that never goes out: I like this one! Nice rythm, great bassline and drums work. The song really transmits a musical idea and there is actually a chorus with a relatively well-shaped melody (not THE hook, but still good), which kind of completes the circle for me. The outro is good too with that fluteish sound (keyboards surely) is good as well. The best one by quite some distance.
- Please please please let me get what I want: 3 x 4 rythm on this ballad, kind of like vals. Morrisey sings like moaning. Very short, did nothing for me, I didn’t get it.
I found this album (well, the disc 1… sorry Uno but it’s late at night here and if I review both discs it will be really, really late) 50% and 50%. I didn’t find is as good so as to say it is decidedly good and I didn’t find it as bad so as to say it’s clearly bad. It had some interesting things and there were others which were pretty flat and had a tendency to being too similar to each other.
The guys have their own style, you’ve got to recognize them that. Slightly theatrical, like a comedy, slightly dramatical but always sounding as if laughing from himself or some other thing.
One difference between our tastes, Uno, may be that while you seem to give a lot of importance to lyrics in songs –I remember how mad you went when you weren’t able to understand the lyrics of the Swedish band- I give them very little, if any. That may explain to a certain extent why the Smiths work so well for you: their lyrics are clever and really unconventional (and by this I mean original). I, on the other hand, am a sucker for a good melody, no matter if the lyrics say “I love you, I love you so much, I love you from the ground to the sky…”.
In that particular aspect, I think this CD of the Smiths lacked a bit in most songs. Not much, just a bit… a few more melodic twists, a few more sections in which the songs changed, a few bridges preparing the atmosphere for the climax of a chorus … something that made them stand out a bit more, something that made them better. Some of the songs went too flat from beginning to end, as if set in cruising mode. On the other hand, there were a few good ones like “Heaven knows I’m miserable now”, “What difference does it make?” and particularly “There’s a light that never goes out”.
So all in all I’d say “not bad one, not great one”. Thanks for the listen though, I owed the Smiths a bit of a review, if only half of a double album.
- Heaven knows I’m miserable now: a bit of a theatrical pop-funk song. The refrain works really well. His singing is a bit annoying IMO, as if he had his nostrils closed. I like the background arrangements of the guitar. Good one.
- Bigmouth strikes again: I’m not someone who gives much importance to the lyrics, and I feel like the lyrics are all this song has to offer to it’s listener. From a musical point of view, quite flat and little creative IMO.
- How soon is now?: well, if I said “Bigmouth…” was flat, this one is still more flat. What’s going on at all in this song? No changes in emotions, not changes between different parts of the songs, not a single chords change that starts something at any point, just that synthetizer going on and on with no apparent point at all.
- This charming man: well, we leave the flatness aside finally. This one has more life and although it doesn’t have any big twists it flows along quite well. Again, nice guitar work in the background and nice bassline, with some interesting figures.
- What difference does it make: good pop song, groovy. The rhythmic section is great, but in my opinion it lacks those 5 cents more that would have taken it to another level, probably a more defined chorus at some point. Still, good one.
- William, it was really nothing: nothing original, it sounds pretty much like 2 or 3 of the previous songs. It would be a filler IMO. .
- There is a light that never goes out: I like this one! Nice rythm, great bassline and drums work. The song really transmits a musical idea and there is actually a chorus with a relatively well-shaped melody (not THE hook, but still good), which kind of completes the circle for me. The outro is good too with that fluteish sound (keyboards surely) is good as well. The best one by quite some distance.
- Please please please let me get what I want: 3 x 4 rythm on this ballad, kind of like vals. Morrisey sings like moaning. Very short, did nothing for me, I didn’t get it.
I found this album (well, the disc 1… sorry Uno but it’s late at night here and if I review both discs it will be really, really late) 50% and 50%. I didn’t find is as good so as to say it is decidedly good and I didn’t find it as bad so as to say it’s clearly bad. It had some interesting things and there were others which were pretty flat and had a tendency to being too similar to each other.
The guys have their own style, you’ve got to recognize them that. Slightly theatrical, like a comedy, slightly dramatical but always sounding as if laughing from himself or some other thing.
One difference between our tastes, Uno, may be that while you seem to give a lot of importance to lyrics in songs –I remember how mad you went when you weren’t able to understand the lyrics of the Swedish band- I give them very little, if any. That may explain to a certain extent why the Smiths work so well for you: their lyrics are clever and really unconventional (and by this I mean original). I, on the other hand, am a sucker for a good melody, no matter if the lyrics say “I love you, I love you so much, I love you from the ground to the sky…”.
In that particular aspect, I think this CD of the Smiths lacked a bit in most songs. Not much, just a bit… a few more melodic twists, a few more sections in which the songs changed, a few bridges preparing the atmosphere for the climax of a chorus … something that made them stand out a bit more, something that made them better. Some of the songs went too flat from beginning to end, as if set in cruising mode. On the other hand, there were a few good ones like “Heaven knows I’m miserable now”, “What difference does it make?” and particularly “There’s a light that never goes out”.
So all in all I’d say “not bad one, not great one”. Thanks for the listen though, I owed the Smiths a bit of a review, if only half of a double album.