Make me dance, I want to surrender ... 's latest album Belle and Sebastian had not received acclaim from critics (at least those few on which I set eyes). They said the B & S now are boiled, the album is "pretty" but not transcendental, when there was Isobel Campbell was better than usual adjective that you pull out when you have to do with a band of about twenty years sold! Not to mention the criticism of individual songs, and this is not good, and this other is weak, and the track (how I hate when they call "tracks" the songs!) Does not close properly the final album ... Some have even found fault with that Stuart Murdoch The frontman and creator of the B & S, has hinted at the dance steps in a video! With this in mind, listen to this album without stirring has proved very difficult at the beginning.
The music I do Belle and Sebastian has this strange at the beginning you can not take it seriously. Many groups are doing everything to get your attention with guitars, distortion, great speeches, etc., while the S & B are almost childish at first listen. Instead they work in the subconscious. One listens distractedly their piece, think cute, reminds me of something I had heard, and it all ends lì.Dopo about an hour the same song devastating effects in the cerebral cortex. Non ti si schioda più dal cervello. Cominci allora a canticchiare, ma a questo punto arriva un grosso problema: i testi. Come per gli Smiths negli anni '80 - '90, le liriche sono - per chi non conosce bene l'inglese - complicatissime da memorizzare. Provate a cantare, ad esempio, una frase come she wants to write a thesis on the population underprivileged che si trova in questo brano tratto da The Life Pursuit :
The Blues Are Still Blue sembra ispirata a un pezzo dei T. Rex 70s, is about a laundry and what is happening. False! The whole song is actually about the difficulty people have in dealing with each other (The refrain compares a relationship gone bad to put the laundry in the washing machine, whites are blacks, whites than blacks, but the blue ones will always be blue - game words on blue / color and blues / sadness -) This tension between the themes of "heavy" music and "light" and / or behind the catchy way to make music by Stuart Murdoch and his people. Another feature is the use of female vocals, which are not simple countermelodies '60s-inspired, but most of contradictory to what he says the main entry.
The opening track of Write About Love , I Did not See It Coming begins with a strange hissing sound in space and merges with the first four bars of battery, which in turn introduce the plan. Here comes the female voice (Sarah Martin) sings:
Make me dance, I want to surrender
familar Your arms, I remember
a minute into the piece, comes the male voice (Stuart) who join her in saying
But we do not have the money
(money makes the wheels and the world go round)
Forget about it, honey
Trouble's never far away when you're around
A uno potrebbe venire in mente, l'immortale dittico dei Vianella E stamo mejo noi / che nun magnamo mai , ma c'è quel verso,
I guai non sono mai lontani quando sei accanto
che ci mette in guardia: allora qui si parla di una relazione dove è lei to start seeing him differently - is Sarah singing -. Is then recorded a vaguely psychedelic where you can barely hear her voice reverberated do:
I did not see it coming
I had seen it coming. The real subject of the song is therefore the time that passes and that threatens to ruin everything. Soon, however, comes the reply from Stuart, introduced a keyboard vaguely Jump of Van Halen , to say:
Take me on a train 'cause I'm not flying
I can see the world from a different side
Read about us in the morning papers
When we make it alive
If you can not fly anymore (because it has lived too long) you can take the train, because now you see the world from another point of view. While we are taking the company, read about us in the morning papers! With this act of heroism resigned the song goes on growing, the female voice keeps saying I had not seen it coming (life as a car accident?) And then add
I'm just not in the running
I'm just not in the running
I'm not in the forefront. And to reiterate:
And we do not need a lifetime
We're Following The right line.
It does not take life, follow the right path . While repeating these lines, indicative of a supervening peace of mind, the voice of Stuart in counterpoint takes the first verse of the song, that
make me dance, I want to surrender
Fammi ballare, voglio lasciarmi andare , che è la stessa frase che cantava lei all'inizio. Come se, andando avanti nella vita, i due si fossero scambiati i ruoli. Ora è lui a cantare la canzone di lei, ma lo fa scandendo le sillabe, quasi che nel volersi arrendere ( surrender ) non volesse ancora arrendersi.
Le parti femminili dei brani di B&S sono rese da voci eteree, impalpabili ma molto chiare nel fraseggio: un'eccezione è contenuta proprio in quest'album con Little Lou, Ugly Jack, Prophet John , dove Stuart duetta con Norah Jones .
Some have called this song "pimp", maybe they were all like that! The voice of Jones in this poignant ballad, country-blues is more "dark" of his counterparts Sebastian: here we are faced with a regret of a love story that she died before birth - a theme similar to Wrapped Up In Books - where he and fantasize about how she could go:
Yeah you're great, you're just part of this lifetime of dreaming
yes, you're great You're just part of this life of dreams. The two admit the inconsistency of their relationship, talking about the end of everything you make and unmake in their head - and I mention the three characters that give the title, Little Lou (Reed), Ugly Jack (Kerouac), Prophet John (Lennon), which are evidently among the saints from Stuart. A sentiment expressed without complacency, where the missed opportunity is described by a series of interrogative sentences:
Can I see what's underneath your bed?
Can I stay until the milkman's working?
Can I stay until the coffee Awakes?
(Together:) Do you hate me in the light?
Did you get a fright?
I hate the light of day? Maybe that's why nothing happened, who knows.
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