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“Head On” – Pixies
(Words/music: William Reid, available on Trompe le Monde, 4AD 1991) 

Even though neither Frank Black nor Kim Deal wrote “Head On,” it remains one of my favorite recordings by the Pixies.  It’s not as lyrically twisted as many of the Pixies other songs, and even though Frank Black dips into the maniacal part of his vocal register, he doesn’t sound as deranged as he does at other points in their catalogue.  Instead, it’s a two and a quarter minutes tearing through a Jesus and Mary Chain song played faithfully enough to please JAMC fans while still giving it the necessary Pixies arrangement to warrant its inclusion on their final studio disc.

Aside from running half as long (and at an increased tempo), the major difference between the Pixies cover and the original lies in the exaggerated dynamics.  The original recording mainly stays at the same volume, aside from the part where the drums cut out in the bridge.  While the Pixies cover never gets as whisper quiet as some of their other recordings (at least the ones where they earned the “loud-soft-loud” reputation that Kurt Cobain admired), the Pixies version pushes the needle into the red immediately.  David Lovering’s drums set the pace immediately with a thunderous opening roll, signaling for the guitars to charge behind him.  It’s Lovering again who sets the pace, first by cutting everything but his bass drum leading out of the chorus, settling into a solid groove when the song’s volume retreats, only to crescendo again when he opens his hi-hat.  While the guitars provide the bulk of the volume (and Black’s tone provides the most tangible gauge), it’s Lovering’s drumming that leads the band through the song.  His band mates follow along, making Reid’s song more explosive without sacrificing the melodic charm of the original.

More on Pixies: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: pixies | jesus and mary chain | william reid | frank black | kim deal | david lovering | 1991 | 1990s | 4ad records | cover song |
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“I Melt With You” – Modern English
(Words/music: Modern English, available on After the Snow, 4AD 1982)

In my junior year of high school, I had to write a Shakespearian sonnet.  The assignment required us to hit all of the key points – rhyme scheme, iambic pentameter, theme of love, etc.  I only remember the assignment because I insisted on trying to work in the line “I’ll stop the world and melt with you” into my poem.  For whatever reason (but probably because I have this way of making things more difficult for myself), I became mildly obsessed with having this line in my sonnet even though it was two syllables short for iambic pentameter.  I don’t remember why this was necessary to me or how I accomplished it, but I remember working it in.  I’d like to think that somehow, in the back of my mind or wherever we silently work these things out before sending them off to our brain to process, that I insisted on using it because it encapsulated the kind of love I wanted and not just to have a song quote in my poem.

Even if I jokingly take issue with the titular line (if one stopped time –stopping the world from spinning – wouldn’t that prevent melting?), it nails the sentiment of enduring love.  It goes beyond attraction and lust into the period where love becomes wanting to share time together.  That’s not to say these things don’t exist in long relationships, but they fall into a different context.  Rather, after a while, lust isn’t enough and needs something else.  For me, it’s this idea that someone else’s presence in my life could make me happy, whether it’s as small as a text message, as elaborate as a trip together, or anywhere in between.  Love isn’t boring, but rather makes the common moments uncommonly special, and that’s what I hear in this song.  It’s a sentiment worth glorifying in a sonnet or, in this case, a lovely synth-pop song.

More on Modern English: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: modern english | 1982 | 1980s | 4ad records | dispatches from brian's teenage years |
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