Viikon biisi (9/2018): The Offspring – All I Want (1996)

Kalifornialainen rock-yhtye The Offspring julkaisi neljännen studioalbuminsa Ixnay on the Hombre vuonna 1997. Kolme vuotta aiemmin kuultu Smash oli myynyt Yhdysvalloissa kuusinkertaista platinaa ja saavuttanut myös maininnan arvoista menestystä muualla maailmassa. ”Ixnay on the Hombren” ensimmäinen singlekappale kuitenkin tarjoiltiin kuulijakunnalle jo vuoden 1996 puolella, kun All I Want ilmestyi.

Bryan Keith, tutummin Dexter, Holland, bändin laulaja-kitaristi, on säveltänyt ja sanoittanut All I Wantin omakätisesti kuten leijonanosan muustakin Offspring-tuotannosta. Muu miehitys on bändin klassinen kokoonpano sen huippuajoilta: Greg K. basson varressa, Noodles ykköskitarassa ja Ron Welty rummuissa. Welty lähti yhtyeestä vuonna 2003, muut ovat olleet mukana aina.

F#-mollissa rynnivä kappale etenee suoraviivaisesti ja kaikki sen elementit ovat vahvasti Offspringille ominaisia. Dexter pääsee operoimaan huudon ja laulun rajalla sävyssä, joka ainakin allekirjoittaneelle on aina ollut hieman kaksiteräinen miekka: toisinaan mahtavaa, toisinaan korviin käyvää. Myös Weltyn työskentely erityisesti bassorummun kanssa on hyvin tunnistettava piirre. Tämä biisi huojuu mahtavasti tempossaan, kuten rock-bändin kuuluukin. Heti ensimmäiset yksinäiset laulumelodianuotit tempaisevat aina mukaansa.

Holland on läpi uransa kirjoittanut sanoituksia, jotka kertovat enemmän kuin äkkikuulemalta hahmottaa. ”All I Want” avautuu melkoisesti, kun sen tekstin lukee huolella. Sen kertoja haluaisi, ainoana asiana, että saisi elää elämäänsä omien valintojensa mukaisesti. Ympäristö puristaa perheestä lähtien muottiin, johon hän ei vain tahdo asettua. ”How many times is it gonna take / ’till someone around you hears what you say” on lopulta aika surullinen avunhuuto.

Jos ”All I Want” pitäisi tiivistää yhteen pätkään, itse valitsisin kertosäkeestä löytyvän hetken. Vaikka kappale on jopa angstinen, löytyy siitä hieno toivonpilkahdus: ”’cause I’m sick of not living to stay alive”. Kertoja ikään kuin selättää tilanteensa, vaikka vain hetkeksikin.

ALL I WANT

Day after day your home life’s a wreck
The powers that be just
Breathe down your neck

You get no respect
You get no relief
You gotta speak up
And yell out your piece

So back off your rules
Back off your jive
Cause I’m sick of not living
To stay alive

Leave me alone
I’m not asking a lot
I just don’t want to be controlled
That’s all I want
All I want

How many times is it gonna take
Till someone around you hears what you say
You’ve tried being cool
You feel like a lie
You’ve played by their rules
Now it’s their turn to try

So back off your rules
Back off your jive
Cause I’m sick of not living
To stay alive
Leave me alone
I’m not asking a lot
I just don’t want to be controlled
That’s all I want
All I want

I said it before
I’ll say it again
If you could just listen
Then it might make sense

So back off your rules
Back off your jive
Cause I’m sick of not living
To stay alive
Leave me alone
I’m not asking a lot
I just don’t want to be controlled
That’s all I want
All I want

TOOMIO’s TOP100: 12. Prodigy – The Fat of the Land

Producer: Liam Howlett
Recorded: 1995-1997
Released: 30.6.1997
Label: XL, Maverick

#1 in everywhere.

SINGLES
-Firestarter
-Breathe
-Smack My Bitch Up

“Riktopesso kammpleimai neiboutessia, saikou sommatid arikonsei” So I sung Breathe before I’ve got any idea how the lyrics really are.

The first exposure to Prodigy is No Good (Start the Dance), maybe even Out of Space. Rougher style was the right direction for me. At the year of releasing this had to get bored a little, but it has always been very appealing album.

The album contains the kind of music that no one did before. (Or certainly did, but I haven’t found them.) It’s a pity, because I like this genre. Thought-out sounds, intrusive melodies and obviously intense vocals. In spite of the discretion exercised, in the background of Prodigy’s music lurks always a risk. A small fear, or something that drives thinking about escape.

“All of this makes me thinking about a metal frame of submarine, which is bending under the water pressure.”

There was a phase when listening to electronic music was a crime against humanity in my opinion. Today it’s almost the most rewarding stuff. Knocking and fast drum samples vs. long and slow whistling. All of this makes me thinking about a metal frame of submarine, which is bending under the water pressure.

Sound samples and the equipment used… Would be nice to know, where they get them. These men won’t fail in sounds. The disapproval of the video of Smack My Bitch Up may helped this album to sold so much. The video shocked the world at the time. It’s unable to shock anymore, but it will still get you to think.

Neon lights in the urban and black world is transmitted from the album. Put your headphones on while sitting in the bus at Friday’s rush hour. Evil electricity is in the air.

THE BEST MOMENTS
Smack My Bitch Up –
Shock element without the video is still there.
Firestarter – For me there’s a lot of nostalgia, but this is a great piece of music.

NOT SO BRILLIANT
The middle section of the album is a bit lame.

TOOMIO’s TOP100: 30. Sacrilege – The Fifth Season

Producer: Fredrik Nordström
Recorded: 1997
Published: 19.6.1997
Label: Black Sun Records

Saturday in the autumn of 1999. I bought a couple of albums. The other was something metal, and the second I assumed the acoustic guitar. Not quite. The decision to purchase was also affected by relatively low price of one euro.

Today, the drum sounds of this album may sound funny. Drum sounds has mixed top because this is album from the longest-serving drummer of In Flames, Daniel Svensson’s band. The band originally could not find a suitable singer, so Svensson decided to do both by yourself. That, however, was followed by a slightly coordinative problems and there’s often seen as a separate singer on the gigs. Although Daniel Svensson‘s In Flames-stuff hasn’t ever been so special, but Sacrilege’s drum work is very genuine.

There’s nothing to complain about Svensson’s singing. I would give special praise for guitars. Here, if anywhere, is the groove of what death metal has too little. Folk riffs and Scandinavian atmosphere. Otherwise album sounds like it was recorded in the attic of old house. The last seconds of the last song increase the mood.

If I may say death metal-term connected to this album is a bit misleading. Somekind viking metal could describe the music better. Vocals are something between Dani Filth and Soilwork’s Speed. Behind the sounds of 90’s is a number of catchy compositions. The transitions between the sections takes place via a very imaginative fills. It seems very obvious that songs have been composed by drummer. Lovecraft-inspired presence of evil.

Album length is suitable snappy and the whole thing quite idiosyncratic. At least the drums stand out clearly. Homespun world of sound makes this album easy to be received.

For the moments when driving in poor weather of the Finnish winter. Perhaps also in Sweden.

THE BEST MOMENTS
Summon the Masses & Walk Through the Fire Passionate opening song. Effected vocals C-section acts like ABBA in the elevator.
Feed the Cold – Guitar riffs are remarkably good!

NOT SO BRILLIANT
Dim with Shame Starting drum beat is like a cheap Rammstein. Not for me.

Oasis – TOP21-songs: 8 – Don’t Go Away

From the album Be Here Now (1997).

From Bere Here Now comes to prominence a track that could well be from the previous (WTS)MG-album. Noel knew how to churn out this kind of love songs in the 90s. This one is also perhaps the greatest vocal performance of Liam’s career. Man himself has admitted that he bursted into tears during the recording session. He didn’t tell the reason, however…

The stale sounds of the BHN-album don’t quite reach this song. There’s no overmuch distorted guitars and the acoustic ones can be heard clearly. Also the lyrics don’t contain special words, but the wholeness is magnificent. Noel has told he wrote the song for his mother.

Bridge, loppupuolella kertosäkeiden välissä kuultava 8 tahtia, lainaa jälleen Oasista itseään tuttujen kitaralinjojen muodossa. “Me and you, what’s going on? / All we seem to know is how to show / the feelings that are wrong”. Lopetuksessakin on jotain hienoa.

Bridge, the 8-measures-long-part that can be heard towards the end of the song, borrows again from Oasis itself with it’s familiar guitar fills. “Me and you, what’s going on? / All we seem to know is how to show / the feelings that are wrong”. The ending of this song ain’t bad either…

If Don’t Go Away doesn’t hit your sensory nerves then what does…?

Cold and frosty morning – there’s not a lot to say
About the things caught in my mind.
And as the day was dawning my plane flew away
With all the things caught in my mind.

And I wanna be there when you’re coming down
And I wanna be there when you hit the ground

So don’t go away,
Say what you say
Say that you’ll stay
Forever and a day
In the time of my life
’cause I need more time,
Yes, I need more time
Just to make things right

Damn my situation and the games I have to play
With all the things caught in my mind.
Damn my education – I can’t find the words to say
With all the things caught in my mind.

And I wanna be there when you’re coming down
And I wanna be there when you hit the ground

So don’t go away,
Say what you say
Say that you’ll stay
Forever and a day
In the time of my life
’cause I need more time,
Yes, I need more time
Just to make things right

Me and you – what’s going on?
All we seem to know is how to show
The feelings that are wrong.

[x2]
So don’t go away,
Say what you say
Say that you’ll stay
Forever and a day
In the time of my life
’cause I need more time,
Yes, I need more time
Just to make things right

Yes, I need more time
Just to make things right

Yes, I need more time
Just to make things right

So don’t go away. “

Toomio’s TOP100: 77. Faith No More – Album of the Year

Producer: Roli Mosimann, Billy Gould
Recorded: 1996-1997
Published: 3.6.1997
Label: Slash

4. in Finnish albumchart, 7. in UK and 40. in USA.

SINGLES
Ashes to Ashes
Last Cup of Sorrow
Stripsearch

I don’t know what happened, but the album name wouldn’t have been a bad choice.

This album is maybe the best from the FNM. Wild start with Collision and continues with Stripsearch. It’s not a bad start. The songs are good and they have some good jumps. Not too confusing “art shit” but catchy alternative songs. The band plays on the same side in every aspect.

Mike Patton already knows what he wants, and using his voice in wide range. Megaphone sound I’ve always hated though, and it seems to be the epitome of Patton. The whole band is accompanied comfortably. Keyboardist Roddy Bottum has a smooth elegance. He complements, but doesn’t take up a major part of the show.

“When you have the courage, the songs can be just a simple drum beat and vocals.”

Overview of the FNM is certainly confusing and artistic, but when you have the courage, the songs can be just a simple drum beat and vocals. Of course, it also requires a skilled and fearless singer. Think about songs without Patton’s vocals!?

Listening must be happen in GTI Golf somewhere between Utti-Alavus, when the speed is just too high. The year could be 1999.

THE BEST MOMENTS
StripsearchSeen for the first time on MTV with the video and after all, it’s great in all tranquility.
Got That FeelingThe complete opposite of Stripsearch.

EI LÄHDE
Naked in Front of the Computer Just as good as the name suggests.