Little Baby Nothing

Generic Ratings: 1: Crap. 2: Okay. 3: Good. 4: Great

The band may have been seen as cross-dressing, eye-liner and lipstick wearing freaks in their early days, spouting political sleaze and dirty little punk songs, but it wasn’t until Little Baby Nothing that many of the reasons behind the sleaze and the look became clear. This was a feminist band, almost in militant fashion, not a band who simply dressed that way because they were hot enough to pull it off, not simply espousing and waxing lyrical on the struggles of women due to some designed outsider chic. This was a band who thoroughly despised male dominated culture and called it out for the systematic destruction and whoring of species that it was. Musically and lyrically one of the finest, and most pure in terms of its targeting from any Manics album, it’s clearly a high mark.

The band’s first duet, bringing on board ex Porn Star Traci Lords (after they couldn’t get Kylie Minogue) to perform vocal duties, the lyrics are poignant and potent and merge perfectly with the glossy 80s sheen of the sound. Bradfield tugs at all the strings with his performance, the melodies are gold throughout, and I adore the shift from the verse and chorus to the final section. It certainly comes across as cheesy in its sound now, but it doesn’t take long to look past that to find the honesty of the intent and the power of the music. For my money, it’s also (easily) the best video the band has ever made.

Misheard Lyrics (it feels somehow wrong doing this to what is one of the most gorgeous lyrics of all time, but there you go):

  1. Not allowed to connect you
  2. To steal frequent love
  3. Need to do long (?)
  4. Orderly behind his money
  5. Asking for condolerijusive (??) flowers
  6. Loveless labour
  7. Dress your life in loving
  8. Breaking your mind with Bobby Dom fertility (?)
  9. Mouths broken up, quenched to the last

Actual Lyrics:

  1. No-one likes looking at you
  2. To steal vacant love
  3. Need to belong
  4. All they leave behind is money
  5. Eyes, skin, bone, contour, language as a flower
  6. Loveless slavery
  7. Dress your life in loathing
  8. Breaking your mind with Barbie Doll futility
  9. Moths broken up, quenched at last

Little Baby Nothing: 4/Great (Album version)

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Nightman Listens To – Bruce Dickinson – Tattooed Millionaire

Greetings, Glancers! As I said in a previous post, it’s time for me to delve into the other output which the the core members of Iron Maiden have released over the years. I don’t know much about any of these, I don’t have high hopes of any of them being any good, but if any of them are then it’s going to be Brucey’s solo stuff. While we’re here, we may as well listen to the bonus tracks from the various re-releases. Lets go.

Son Of A Gun‘ opens with a tinny, distant, atmospheric riff. Sounds like early Maiden. Dickinson singing in his more traditional voice than the gruff approach. Slow, heavy. Doesn’t have an 80s vibe, just sounds like classic metal/rock. The chorus isn’t great melodically, and on the whole it’s very simple – not too many risks or progressive elements – I was expecting it to get faster at some point but it stays on the same level throughout.

Tattooed Millionaire‘ is one I may have heard at some point, but I can’t remember. This one is very 80s and does feature a more Fear of The Dark era vocal by Dickinson. It’s a little faster, a little lighter musically – a little more Def Leppard in other words. It has a commercial chorus, though the lyrics are as biting as what Maiden were putting out at the time. Good solo in there, but this is basically a pop song with more prominent guitars. That lead/ending riff also sounds like a copy of Run To You by Bryan Adams.

Born In ’58’ starts quite nicely, not metal at all. Nostalgic lyrics. This could be anyone, sounds like stadium rock, but a bit more subtle. It’s quite nice, feels like a centerpiece and Dickinson saying he can do more than just metal. As The Mullet Man might say, this is one for the ladies.

Hell On Wheels‘ is slow – ACDC slow. Gruff vocals for the verse, old school for the chorus.  Instead of locked he sings ‘lacked’, that style. Very simple and plain. Standard uninspired rock, okay melodies.

Gypsy Road‘ starts slow and soft, similar to ‘Born In 58’. Everything on the album is much lighter than the Maiden wall of sound. It’s Springsteen again, but via Dickinson’s mind and mouth. It’s all very formulaic, verse chorus verse chorus solo chorus end stuff. Melodies okay again.

Dive! Dive! Dive!‘ is presumably going to be higher, starting with an ‘Aces High’ vibe. Then it goes… weird. Oh wow oh vocals. No guitars. Drum, bass, vocals. Then guitar and oh wow oh. I won’t call this one formulaic, though there’s nothing outlandish here. It’s just weird, not weird in a good way, weird in a ‘who thought this was a good idea’ way. A good minute long than it needs to be, not that any of it needs to exist.

All The Young Dudes‘ is Bowie with Bruce’s voice. If you’ve read my Bowie posts you’ll know I’m not a massive fan of Bowie’s vocals. Bruce does a Bowie mimic here for the most part. Still a good song, but get the feeling that all of these should have just been B-Sides or demos or something.

Lickin’ The Gun’ follows what has gone before – gruff vocals, slow pace, basic structure. This one is riff heavy but still sounds weak – middle of the road and uninspired. This could be any 80s rock or soft metal band.

Zulu Lulu‘ opens with howls and guitars. That steady pace is here again and we can already tell from the intro how this is going to go. Talky vocals, lots of pauses in the guitar parts, simplistic. Maybe Bruce had all this crap boiling up in him and needed to get it out of system before getting back to Maiden and making good music again?

No Lies‘ is, of course, the early Bruce version of Bring Your Daughter, with a very similar opening riff. This feels like a demo as the same few words are repeated over and over. Then in the second minute the lyrics start pouring out. It’s a little bit better than most of the other stuff, but it has the same problems – vocals aren’t great and there’s nothing new or of any decent quality. It just reminds us of better songs – No More Lies due to the title, Bring Your Daughter, and Can I Play With Madness thanks to the drums in places. We have this long section in the middle with drums and distortion and nothing else, a bit of bass that no-one cares about. After this brief dalliance with the pointless we return to the chorus and an okay solo.

Spirit Of Joy‘ is the first bonus track. It’s an Arthur Brown cover. A lot of these will be covers. It has a faster pace, sounds better already than most of the album stuff. Not a song I’m overly familiar with but it’s fine.

Darkness Be My Friend‘ is not a cover. It starts well, ominous and soft, much better vocal. Like a dark and lonesome folk song. This is easily the best song so far. Then the flute (?) comes in. Yet it works, even if I imagine pixies skipping about a glade or something.

Sin City‘ is AC/DC, so not my favourite band. Starts with starty stoppy chops of music. Ding don ding dung. Then the familiar ACDC beat comes in. Then the vocals and the cut-off guitars. Not my thing. Growly vocals sound silly. Shite all round.

Winds Of Change‘. Ha ha, this really does sound like G’n’Rs version of Knockin’ On Heaven’s Door. And that’s all we’ll remember from this. This is some sort of love song with big Brucey vocals. It’s cheese, but it’s fine.

Riding With The Angels‘ is a Russ Ballard cover – he wrote songs for KISS and others. Sounds live. Screeches and talking. At least this is fast and energetic which makes a change from the rest of the album. It sounds both like very early Maiden and early 90s Maiden. Just a bit of throwaway speed fun.

Bring Your Daughter‘. You know it. You love it. Or hate it. Maybe you haven’t heard this version. It’s almost the same though, slightly different vocals, different guitars but almost the exact same song.

Ballad Of Mutt’. It’s a funny name, and it seems it’s a funny song with some unfortunate vocal appropriation. Still funny though, funny lyrics, standard blues stuff. I wrote a song almost exactly the same as this. Except mine was called ‘Barnaby’.

Black Night‘ is Deep Purple. Live again. More energy and speed. You all know this one, right? Feels like Sabbath, but isn’t, so must be Deep Purple. It’s unfortunate when your covers, which aren’t that great, are better than most of the songs on your official album.

So I said at the top I didn’t have high hopes but that this was likely the best? Oh dear. If this is the best, then we’re in for a whole crapload of crap in the coming listens. Mercy, please. Let us know in the comments what you thought of this – did I get it wrong, does it deserve another listen?

Found That Soul

Generic Ratings: 1: Crap. 2: Okay. 3: Good. 4: Great

I remember shortly before the release of Know Your Enemy that James did an interview for some music magazine – it could even have been a guitar magazine, where he proclaimed that the band were ‘ready for war’. It was typical Manics sloganeering and bravado but it symbolized some of the thoughts they were sharing at the time – that perhaps the success of their last two albums had taken them too far from their musical, political, and lyrical roots, that they had accumulated a host of new fans who knew nothing of their past, and that they had spent too long being shoe-horned into a movement to which they never belonged. The net result was supposed to be a return to a more fierce, polemic sound and everything about this first single and opening track Found That Soul was geared towards those thoughts. It has a fast, traditional, punk sound, the production is pulled waaay back, and the video is a bunch of books being dropped onto a table. James whips out a solo and has a bit of a snarl to his vocals again, yet the constant clatter of the piano gives it a grounded rock’n’roll vibe.

Found That Soul: 3/Good

Misheard Lyrics: 1. Show me or wander you can’t piss you off

2. A band still stranded here

3. So clean so rusk (?)/Soaking so rust

4. Sick and fail but/Sickened feel but

Actual Lyrics: 1. Show me a wonder you can’t be sure of

2. But still stranded here

3. So clean so lost

4. Sick and pale but

The Girl Who Wanted To Be God

Generic Ratings: 1: Crap. 2: Okay. 3: Good. 4: Great

Perhaps the most Britpop of all of Everything Must Go, in terms of music at least, this jangling, chiming guitar based soft rock anthem isn’t plain enough to be boring, nor grand enough to be great. The production does its best to make us feel that this is something more special than it actually is, with grand sweeping strings blasting the chorus to the heavens, but the Happy Mondays drumming and the not quite powerful enough chorus keep it from reaching the highest heights. My favourite moment is middle line of ‘hold me  she said, love me to death’ as it breaks up the central melody. It is a good song, with typically strong lyrics, but looking at the album as a whole it feels like one that could have been replaced with one of the era’s stronger B Sides.

The Girl Who Wanted To Be God: 3/Good

Interiors

Generic Ratings: 1: Crap. 2: Okay. 3: Good. 4: Great

I can’t imagine many calling this out as a favourite from the band or from the album, given that it could easily get lost among the more well known singles, but this has always been a personal favourite of mine, and a much stronger song than say Kevin Carter or the title track. I love the non-intro, I love the stabbing guitars, I love the shouted, stuttered melodies, I love the warmth of the guitars in the pre-chorus and through the chorus, I love the twisting little middle section, but most of all I love Bradfield’s vocal – the way he unleashes that final ‘ say what you have’ – incredible.

Misheard Lyrics:

1. Say worry ’bout tomorrow

2. A beautiful landscape of damnation

Actual Lyrics:

1. Say where is the tomorrow

2. A beautiful landscape of your nation

Interiors: 4/Great