It’s got to feel as if you’re being spoken to as much as sung to in the natural cadences of conversation. Because that’s what’s got to be right, the delivery of the vocals has to be natural. So after we halved it, we sped it up a bit. So, we halved the tempo and then it sounded just a little bit too slow. Franz Ferdinand rarely stray far from the dueling-guitars-with-occasional-keyboard approach, granting even the bounciest dance floor numbers pleasantly rough edges, but the final two tracks peak. Then I said look if we half the tempo, it’s going to sound better in the verse. We had this problem, whenever we tried to play it with the band we just couldn’t get it to seem to work. It was kind of like the verse and then I say don’t you know… But we couldn’t get the temp right. Originally, it had a more traditional structure. And that was when the chorus was at the right tempo. Nick was playing along on an old crappy Yamaha synthesizer sort of thing.īut when we wrote it, the temps were wrong. But at the same time, I wanted it to be dance music. Those answering lines is what I was trying to do there. There’s a real dark, sinister element to it. The really sinister-sounding stuff like “ Smokestack Lighting,” that kind of stuff. And some of it kind of-eh-doesn’t really engage me so much. I’ve got a very mixed attitude to blues music. I was trying to do that Hubert Sumlin and Howlin’ Wolf thing of like singing a line and then playing the guitar answer to it. And the guitar line I had, which became like the hook in the main part of the song, that came when I was singing the words, as the words were coming out of my head. But watching him and his band be received so enthusiastically by a vast crowd of young people, identikit bum bags and Love Island haircuts and all, conjures a genuine and satisfying feeling of hope.And the tension is almost unbearable and you want to the other person-you’re almost desperate to the point where you want the other person to literally take you out or figuratively take you out. Rolling Stone ranked it number 327 on the 2010 list of 'The 500. Because it’s never been particularly cool to think that music can change the world. 3 in the UK and was a hit across Europe and America. Healy is one of those pop-culture figures so suffocatingly sincere and earnest in his feelings that it is easy to make fun of him. “And the world needs to change, so f*** off!” “I really liked that boy and I think he really liked that kiss,” Healy adds. He speaks of “government d***heads” and the hope that they’ll eventually “leave you and your lovely genitals alone”. “F***!” There are cheers, both for the protest but also for Healy’s explanation as to why he did it. “So I kissed a boy in Dubai last week,” Healy says, with characteristic faux-modesty. Towards the middle of the show, he references his decision to kiss a male fan on stage at the band’s Dubai concert earlier this month – a stirring act of defiance that played out in a country where homosexuality remains illegal. In fact, that was what helped originate the idea. Perhaps it works because he so often makes a vaguely performative spectacle out of things that are, above all, ultimately positive. The hit song, Take Me Out, by the Scottish rock band Franz Ferdinand is like a slug to the head.
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