Sunday, 21 December 2008
Dubious Song Lyrics #5 'Delilah'
My obsession is with dubious song lyrics.
Just to clarify, this isn't a list of 'bad' (i.e. poorly written) lyrics, of which there are millions. Rather, I hope to count down the five lyrics which actually breech the boundaries of taste, decency and legality, and yet which remain spectacularly popular and (in most cases) provide popular singalongs for a public who perhaps don't subject them to sufficient semantic scrutiny.
The first is a song so popular it has been embraced on football and rugby terraces, most famously by Stoke City fans. 'Delilah' by Tom Jones starts as our protagonist (let's call him 'Tom') casually spies on/stalks 'his woman': 'I saw the light on the night that I passed by her window / I saw the flickering shadows of love on her blind'. Unperturbed by this obvious sign of infidelity, Tom stays throughout the act, just to ensure he's been truly cuckolded: 'As she deceived me I watched and went out of my mind'.
Tom surmises from this act of voyeurism that 'this girl is no good' for him, before jumping into a sea of mixed metaphors: 'But I was lost like a slave that no man could free'. Correct me if I'm wrong, but based on my knowledge of the slave trade, being 'lost' was not the most pertinent feature of a slaves predicament. Surely the physical and mental torture, as well as the degrading racism, were more pressing issues to a slave than being a bit 'lost'?
Nevertheless, Tom continues: 'At break of day when that man drove away I was waiting', implying that he had no intention of confronting the man actually having an affair with 'his' woman, in turn, implying that he doesn't blame this mysterious gent and that Delilah was entirely responsible for their evening of nuptials. Gallantly, Tom 'cross[es] the street to her house and she open[s] the door', at which point, (and somewhat conveniently for Tom) Delilah stands there laughing. Now either the chuckling Delilah is pathologically cruel-hearted and callous or Tom needed to quickly add some conjecture to ensure that, as listeners, we were on his side. I'm surprised he just stopped at laughing - couldn't she have been murdering puppies, or making obscene calls to Andrew Sachs, just to be on the safe side?
Anyway, Tom does what any respectable man would do and pulls a knife out on her. He seems to be particularly pleased with this act of insane violence as he assures us 'she laughed no more'. Well, that's a relief - you've taken the comedy out of the situation - well done, Tom.
The song ends as Tom pleads for forgiveness 'before they come to break down the door', suggesting that at least he had the decency to barge his way in and carry out the murder behind the previously open aperture.
Perhaps the most alarming thing about this song is not the incredibly distressing central narrative; rather, it is the euphoric, anthemic musical accompaniment. The bouncing melody of the verse is so seductive it might as well buy all your drinks and offer to pay the taxi fare, inevitably building to the orgasmically catchy chorus. Set to a dark, brooding musical landscape (imagine, say, a Joy Division version) the song would make sense. But as it is, Delilah is a party anthem, where you drunkenly put your arm around the person next to you, give them a wink and say, without a trace of irony: If I ever caught my girlfirend cheating, I'd murder her.
Friday, 19 December 2008
Aftermath
I've always believed that in order for a song to be truly great, what it needs most is that intangible, often elusive quality: context. Now, far be it for me to proclaim a song that I was involved with as 'great', but I do feel that 'Aftermath' was the most perfectly-formed of Tokyo Beatbox's repertoire. Lyrically speaking, the title derived from a double-whammy of influences, it having been the name of a Rolling Stones album and one of the names considered by James, Nicky and Sean (Richey hadn’t joined at that point) before settling for 'Manic Street Preachers'. It was at the stage of the band where we were trying to move on from our first crop of songs, but lots of petty irritations kept getting in the way. It was a dialogue inspired by The Libertines' 'Can't Stand Me Now' and encapsulated my relationships with several different people at the time. This song is also a perfect example of how Simon's music could instantly and perfectly complement the lyrical sentiments: the music is choppy, turbulent, chaotic. That we were completely in love with Bloc Party at the time is also pretty apparent.
This (live) video was shot and edited by my good friend Steve Naish at one of our soundchecks. You can tell that we're cold, rusty and that Andy hasn't brought enough drums and cymbals with him. You can also tell that Chris didn't have time to get changed, hence his 'travelling salesman' look. But I think you can also tell that there's a pretty good song in their too - with a sense of angst and frustration, but also of understanding and redemption. In many ways it was the great 'lost' TB number, as we never made CD copies and stopped gigging soon after recording. Please click and enjoy!
Wednesday, 17 December 2008
Pest control
I have a favourite...
.... 'Pest Control', which, i presume, is where you call if you have an animal pest in your house or office etc.
What i love is the sign they have outside their office, next to the road. It has in big letters 'pest of the week', then a gap where the 'pest of the week' can be displayed. I find it funny that someone has a pest of the week, usually these sorts of titles are for good things, but i suppose pests are a good thing for 'pest control' because thats their job!
When i first passed by and saw this sign the cynic in me thought, "i bet that sign never changes, it'll be the same pest for months".
But i have been prooved wrong, there has been many pests given the coverted title of 'pest of the week'; german cockroach, house mouse, mite, bed bugs...
Presently it is the brown rat.
Oh joy of joys, the daily commute!
Monday, 15 December 2008
Those who can't...
Saturday, 13 December 2008
Special Needs
Monday, 8 December 2008
Friday, 5 December 2008
MISSING
Have you seen this man? Committed drinker, convicted dogger, poet, scoundrel, shoulder shrugger, skin slammer, silent but deadly. Known to answer to the name 'Stixey'. Hasn't answered any of my calls or emails* If you see him staggering between a dartboard and East Street, do not approach. He has some dubious political views.**
WANTED DEAD OR ALIVE
REWARD: £2.00
*no calls have been made and no emails sent.
** very dubious
