Tag: 1990s

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Best tunes of 1990: #18 Morrissey “November spawned a monster”

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Due to the particulars of my own musical education, the year, the age, and my own geographical location, I definitely put the cart before the horse when it comes to Morrissey and The Smiths. I became familiar and fell in love with Morrissey’s solo material long before I did so with The Smiths. My very first exposure to the Moz was his song “Interesting drug”, thanks to a mixed tape given to me by a friend, and it wasn’t long after that I began searching out his other solo material. As for The Smiths, I heard them throughout my university years but with the exception of a few tracks, I did my best to avoid listening to them on purpose, after having them foisted upon me by one of my roommates.

The former frontman of the band released his solo debut, “Viva hate”, mere months after the dissolution of The Smiths. He had planned to title his sophomore album “Bona drag” but ended up using the title for his first compilation album, which became a necessity in 1990 after he had spent the two previous years dropping single after successful single.

“November spawned a monster” was the last of these singles to be released before making its appearance on “Bona drag” and though not his highest charting, it is one of Morrissey’s personal favourites. Yes, it’s a pretty great track but in my own opinion, quite spooky and not a little a bit freaky. In amongst the jangly guitars, there’s something sinister and ominous happening, nothing quite so obvious as a malevolent harpsichord but it’s there nonetheless. Then, right in the middle of all this, up pops these bone-chilling backing vocals, sounding too much like either someone in agony or a violent voodoo invocation.

And if that all weren’t enough, we’ve got something a bit off-putting about his lyrics, like when he seemingly clucks his tongue at us about the “poor twisted child, so ugly, so ugly”, or those damning words that gave the song its title: “November spawned a monster in the shape of this child”. Like many of his songs, its meaning is up to interpretation, but to me, this one is all about society’s treatment of the physically challenged, through no fault of their own. But unlike some of his other works, Morrissey gives us hope at the end of this one:

“Oh one fine day
LET IT BE SOON
she won’t be rich or beautiful
but she’ll be walking your streets
in the clothes that she went out
and chose for herself”

Yep, this is the glory of Morrissey at the height of his powers. Enjoy.

For the rest of the Best tunes of 1990 list, click here.

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Tunes

 100 best covers: #98 Great Big Sea “End of the world”

<< #99    |    #97 >>

“It’s the end of the world as we know it…. and I feel fine.” What a great line and an incredible tune.

Chances are pretty good that you’ve heard R.E.M.’s original version. From their 1987 album “Document”, “End of the world” is considered one of the band’s best-known and best-loved songs and is definitely up there among my own personal faves by Michael Stipe and company.

Fast forward to 1997 and we have Newfoundland-based folk rock band, Great Big Sea, releasing a cover of said song for their third studio album, “Play”. If you’re not from Canada, it’s possible you’ve not heard of this band but they were pretty big here in their home country. I say “were” because they’re broken up now but in their heyday in the 90s, the four-piece of Alan Doyle, Bob Hallett, Séan McCann, and Darrell Power put out a string of albums that were filled with high energy rock tunes with a Celtic folk bent and more than a few of these were perfect soundtracks for hoisting a pint or three. I didn’t like all of their songs, favouring those where their traditional background was more evident, but they had a talent for putting a rousing Celtic folk touch on the songs they were covering.

Great Big Sea’s version of “End of the world” is a full minute and a half shorter than the original. But don’t you go thinking that they cut out a verse or something.

No. It’s all there.

It may be unbelievable to you R.E.M. fans but they actually did it by speeding up the already frenetic pace set by Bill Berry’s drumming in the original. Fiddles are a-whir and the mandolin on a tear but it’s Alan Doyle’s valiant vocal effort here that really makes this song, sounding off each syllable of Michael Stipe’s lyrics with his own hoarse Newfoundland roar.

Both versions are great in their own right (though I still prefer the original) and both are ripe for a rowdy dance floor, but where R.E.M.’s is made for the pogo, Great Big Sea’s is one more prone to jigging.

Oh and be careful, that dance floor is likely quite sticky from all the spilt beer. Carry on.

The cover:

The original:

For the rest of the 100 best covers list, click here.

Categories
Tunes

Best tunes of 1990: #19 Deee-lite “Groove is in the heart”

<< #20    |    #18 >>

How do you say… Deeee-grooooo-vy????

A million dollar question, for sure. You might be able to do so with the help of Towa Tei, Lady Miss Kier, and one Supa DJ Dimitri. Throw in a guest rap by Q-Tip of A Tribe Called Quest and the bass stylings and vocal flourishes of funk master Bootsy Collins and you’ve got one hell of a dance number. Dig.

The Deee-Lite we know and love became real once Towa Tei joined the already existing duo of Kier and Dimitri, forming an international supergroup of sorts. The American-based trio had a string of hits that were spear-headed by the “astronomical” uber-hit “Groove is in the heart”, off their debut album “World clique”, but really, that one single is all that anyone ever remembers. The group only lasted a handful of years and three albums before disbanding, though the individual members have all gone to have successful solo careers as club DJs.

This sort of tune isn’t typically my bag. Guilty pleasure? Absolutely not! It hooked me hard in my youth and never truly let go. It’s hard to argue with Bootsy’s killer bass line, the one that insinuates itself into your soul like some sort of designer drug, whose only side effects are to chronically force you into already packed dance floors. The frenetic and funky beats don’t hurt at all, and neither do the ridiculously infectious vocals. This song has found itself on the playlist of many wedding receptions in the last two decades for good reason. Like “The Macarena” and the “Grease Mega Mix”, it’s a crowd-pleasing, dance floor filler that for some reason or other, appeals to all generations. But unlike those other tracks, this one has a bit of soul.

Unfortunately, the video hasn’t aged as well as the song. I remember watching this technicolor, ridiculous mess at the time and thinking it was cool and that Lady Miss Kier in her catsuit and nails was where it was at. Now, I just shake my head and close my eyes and turn up the volume.

This song, right here, is how you spell de-groovy. And it’s a perfect spin to kick off a weekend so… Kick it.

For the rest of the Best tunes of 1990 list, click here.