Category: pop music

Ride, Lannoy Point, 2 017

Rare are the bands to make something so good after years and years of
activity, even more after decades, as it’s the case for Ride, known for
having been one of the main bands of the “Shoegazing” movement in
England during the 90’s with, in particular, My Bloody Valentine : heavy
guitars but a pop whole, playing while watching the shoes.
I’ll add that this song is one of the come back record of the band, after 20 years without anything.

This song is totally hypnotic, powerful, masterfully composed, with
incredible dynamics. Compared to the 90’s period of the band, the guitar
wall is not permanent and allows the juvenile voice of the singer to
express itself fully.

In a live version which I’ll show another
time, you’ll see how such a voice can come out of the damaged face of
Mark Gardener, once so handsome with his androgynous features ‘n long
hair.

Basile Pesso, 26 December 2 018, 1st broadcast then (Fb)
Ride, Lannoy Point

Remy Zero, Belong, 2 001

Remy Zero fait partie de ces superbes groupes américains
quasiment inconnus hors USA. Et encore, même aux USA, il a fallu qu’ils
fassent le générique de la très bonne série Smallville sur Superman pour
qu’ils gagnent vraiment de l’argent, et aussi, que plusieurs membres du
groupe commencent à jouer avec Alanis Morissette.

Le single du
générique (Save Me) est bon, voire très bon, mais ne représente pas la
finesse de ce groupe sudiste (Alabama), qui s’exprima en particulier sur leur brillant premier album éponyme.

Basile Pesso, FreeLand, 15 mars 2 019, 1e diffusion ce jour-là (Fb)
Remy Zero, Belong

Regular

Superbly soft acoustic version of an already very good song by the
Australian band The Temper Trap and its powerful and delicate
Indonesian/Australian singer and guitarist Dougy Mandagi, proof of the
excellence of Australia in its immigration management, Muslim included,
until…something went slightly wrong some years ago, allowing
radicalization to proliferate, and terror attacks to quite frequently
occur.

Remember that one of the first attacks of the horrible series the West is under happened in Sydney at the end of 2 014 at the Lindt Café.

The brilliant Imam Tawhidi, whom I have often spoken about, warns us
over and over, facing, as we are so many to have to do, the
neo-collaborationnists (Twitter of Imam Tawhidi here).

Basile Pesso, FreeLand, 6 March 2 019, 1st broadcast then (Fb)
The Temper Trap, Trembling Hands (acoustic, 2 012)

Fountains of Wayne, Utopia Parkway, 1 999

Popping, bouncing, efficient and poetic, one more excellent song by the New York band. 1 999.

BP.
Fountains of Wayne, Utopia Parkway

Tom Petty, American Girl, 1 985

A little souvenir of the generous Tom who left us one year and a half ago, the day after the Las Vegas slaughter.

Notice the proximity of the start of this song with the one of the
excellent Last Nite by The Strokes, released 15 years after. I’ll post
Last Nite right after.

As often with Tom the Rickenbacker speaks with a Byrds-like sound.

Basile Pesso, FreeLand, 2nd March 2 019, 1st broadcast then (Fb)
Tom Petty, American Girl

Oasis, Dont Look Back in Anger, 1 995

Cette chanson est-elle une bluette facile, pesante, aux recettes
éculées, par un groupe malin, limite roublard, ou un tube étonnant,
arrivant à concilier un sirupeux maîtrisé, un enregistrement impeccable,
et une efficacité épatante ?

Impossible de le dire, mais ce que
je sais, c’est que, lorsqu’on a pas subi cette chanson issue d’un album
moyen ((What’s the Story) Morning Glory ?) 50 fois par jour pendant des
années, qu’on la réentend pour la 1e fois depuis longtemps, on ressent un plaisir indéniable, éventuellement un rien coupable si l’on est un peu snob.

Basile Pesso, FreeLand, 1er mars 2 019, 1e diffusion ce jour-là (Fb)
Oasis, Dont Look Back in Anger

The Boo Radleys, C’mon Kids, 19 96

Extrait raté d’un album en dents de scie par le légendaire groupe de
“noisy pop” anglais The Boo Radleys, après plusieurs albums historiques
en particulier le célèbre Giant Steps et sa magnifique pochette
psychédélico-kaléidoscopique.

Entre une mélodie vocale quasiment
pompée sur Oasis, en pleine période-phare du groupe des Gallagher, un
riff lourdingue, une voix parfois hurlée, rauque, indigne du talent
aérien de Sice le chanteur, un son de
guitare saturé crécelle parfois mélangé avec d’autres effets tout aussi
mauvais, une voix vocoderisée au départ, le génial groupe du Merseyside
nous abîme les cages à miel avec un pensum ultra-gras à peine récupéré
par un break délicat, mais très court.

A fuir, pour partir sur les chefs-d’oeuvre du groupe. Mais à écouter, juste pour voir si je raconte pas n’importe quoi.

Basile Pesso, Freeland, 25 février 2 019, 1e diffusion ce jour-là (Fb)
The Boo Radleys, C’Mon Kids

Morcheeba, Over and Over, 1 998

The English band Morcheeba is more famous for its poppy/trip-hop songs, often easy but most of the time very nice.
They have also done superb soft songs like this one, based on a few
acoustic guitar arpeggios, the beautiful voice of the female singer Skye
Edwards, some strings, and here, a perfect composition. 3 minutes and a
half of sweet pleasure.

Basile Pesso, Freeland, 7 January 2 019, 1st broadcast then (Fb)
Morcheeba, Over and Over

Tracy Chapman, Freedom Now, 1 989

A bit more than one year after her legendary first and eponymous record
that has shaken the planet in softness and (black) powerful political
fight, as Ben Harper did 6 years later, the remarkable Tracy from
Cleveland, Ohio, USA, came back with Crossroads, which was slightly more
commercial and maybe a bit overproduced, but which still had great
quality and superb songs, as this anthem, or Subcity.

This song is about Nelson Mandela jailed by the
Afrikaneer apartheid regime, but enlarges to the general notions of
freedom, jailing and hope in the dark, with absolutely poignant lyrics.
It’s been plenty of years that I have been absolutely hopelessly
dreaming that the black communities in the world and in particular in
the USA wake the fuck up and fight the good fight against the horrendous
tyranny rising in the world and wanting to eat it. Unfortunately, they
don’t see, don’t want to act, are focused on their own case without
seeing that there’s something waaaaay more serious that also targets
them, and we have to remain with ancient lyrics that we can adapt to the
current situation but which don’t find heirs and heiresses.

“But every day is born a man
Who hates what he can’t understand
Who thinks the answer is to kill
Who thinks his actions are God’s will
And he thinks he’s free free free free”.

Basile Pesso, FreeLand, 11 August 2 018, First broadcast then (YWAMag Fb)
Tracy Chapman, Freedom Now

Shed Seven, Bully Boy, 1 996

In the excellent Bully Boy by the English band Shed Seven, you have one
of the numerous school bullying stories of England. in other countries
you have others, in particular in the USA.

The singer-songwriter
of the band Rick Witter suffered harassment at school, probably because
of his extremely beautiful face features, and his mixed-race appearance.

As Sonya Aurora-Madan (Indian/English) from Echobelly in the fantastic
Call Me Names
two years before, song and band on which I wrote two or
three times I think, people with the same characteristics narrate the
same school horror stories.

Here the bully is clearly represented as a fat white young tyrant, and Rick tells him that he’d fight him “to the death”.

Basile Pesso, Freeland, 6th September 2 018, 1st broadcast then (Fb)
Shed Seven, Bully Boy