NUMBER FOUR - WILL YOUNG 'LEAVE RIGHT NOW'
will young! just 12 months ago his first album was used to force some of us to get up after a party. horrible. but i guess i was kinda disposed to like him, he's a very nice guy and all so sweet and everything. nice guys win yeah! the video really made this for me: how to use low budget to maximum effect. will's brand of intensity is much more appealing (more human?) than eg bedingfield histrionics. just him staring at a camera - being told to be quiet by the people we can't hear. there is some CLEVER IRONY at play there i'd wager. also obviously this song has the best middle 8 of the year, this is absolutely key, it's great. i like the way the climax is predicted in the first chorus: all that happens each time is the tempo picks up ever so slightly and they add another layer of high-class schmaltz to the arrangement. i haven't heard much said about the new will young stuff - i think NYLPM liked this though. everyone should: it's like brilliant dinner party music for real people. the album has some great stuff on it too, it reminds me of wham! in places.
NUMBER THREE - SCRITTI POLITTI 'A LITTLE KNOWLEDGE'
loved this from the moment it started, it feels familiar and incredibly friendly: every component of every sound in this song is just lovely. sometimes this year i've thought this is the most beautiful sound ever heard - that would make sense because the sound is there to tell the story of the perfect longing: memory of massive happiness existing at exactly the same point as the fall into despair - there is hope of redemption though and maybe this is what gives the whole thing this wonderful buoyant uplifting quality? this song is really an alien thing: it took a while before i felt how strange it really was. it's so poised and so graceful...hardly there at all. ultra-futuristic: you can see all the joins and hear all the workings-out and all this transparency does is reinforce the beautiful simplicity of it all. superhuman restraint is involved: the pace builds so tantalizingly slowly, until the only thing that makes your realize the climax is a quiet, redemptive little piece of guitar that echoes the synth line at the end. and the female vocals of course - the disembodied answer to the poor narrator's longing. you suspect the woman singing here is not the same character he's singing to - rather she is some kind of perfected Female, or even a female voice from within himself perhaps. this isn't a song that demands an answer "not a lot to say now, except i miss you" the self-indulgence is so gorgeous, like slowly sinking into a bath of chocolate. actually the best bit of this song is the piano over the outro, i think it predicts the beta band somehow. not that scritti politti needs the beta band to explain how good they are BUT STILL.