![]() ![]() And were we discussing any other INXS track you’d possibly have a point. That I’m getting song and the lead singer’s reputation all mixed up, just because he had an eye for the ladies (and successfully seduced a married woman, live on breakfast TV… and still has those never-proven and almost certainly untrue auto-erotic asphyxiation rumours attached to his untimely death). … which is a paragraph you could argue as unfair. He’s the Antipodean Uncle Monty, and it’s your turn to be Marwood he means to have you, even if it must be burglary… ![]() There’s no subtext behind the vocal simply a declaration that the lead singer of INXS is going to do a sex on you. The song’s intention may well have been a cultivation of the steamy and the sultry, but instead Hutchence comes across as priapic. Specifically, the lyrics, and the manner in which they’re delivered.įor Michael, it transpires, is feeling that little bit frisky. The point being that riff-centric tracks aren’t by nature any less valid than other forms of songcraft we could mention – just as it isn’t the guitar that makes ‘Need You Tonight’ morbidly fascinating. Entire swathes of the Marc Bolan back catalogue. A stock replacement for ephemera such as melody, rhythm, interplay or whatever. Which isn’t in itself a bad thing for as long as rock and pop have been with us (and even longer if you include musical antecedents), there’s been the tendency to circumvent the layering of sonic components so that the riff functions as some kind of substitute. A big, ballsy, blousy motif, unencumbered by subtlety. ‘Need You Tonight’ – that’s definitely a riff. There are songs – the conventions of beginning, middle and end verse-chorus-verse, with a bridge or 12-bar break thrown in for good measure – and then there are riffs. ![]()
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