[Michael] Dermot's Pilot: A Look Back - A Re-Evaluation by Frederick French-Pounce

Back in April of 2013, I was awaiting the release of what was probably my most anticipated albums in a long time, if not ever. Weezer’s “Everything Will Be Alright In The End” and The Beach Boys “That’s Why God Made The Radio” are probably the only competition to an extent, and one certainly lived up to that build up more than the other. What did happen in all 3 cases was that, after initial release, all these albums had a very strong honeymoon period. EWBAITE is still relatively fresh as I type this, while now I rarely play anything beyond the closing 4-track suite from TWGMTR. However, what became of that release on April 30th 2013 (29th in the United Kingdom) will go on as something I will never forget. And neither will those around me. The arrival of Michael Dermot’s 2nd LP “Pilot” heralded a new beginning, not only for that music that I listened to, but that which I spoke about, and the very things people related me to. “Stalker” has been uttered on many an occasion. “Obsession”. “Love” even. Whatever it is, things have a reason to happen. And in this case it was undoubtably the music.

I played Pilot incessantly. In my house. In my car. It was there. I tried to flog it off to people. Get anyone to like and listen to it. I made it my mission to spread the word, even alienating people in the process. Do I regret it? Partially, yes, but hey, the things we do for our idols. They drive us to the cosmos.

Regardless of all this, over a year has certainly passed since this record was released. I certainly haven’t played it as much as I used to recently, a factor I put down to it not being released on vinyl and other great new music being released. that’s not to say I haven’t played it much, but the honeymoon period has certainly worn off. On the very day I first heard the record, and on only my second playthrough (I must be on a few hundred now), I wrote a review of my feelings, experiences, and opinions of the then fresh tracks. I was in that early stage of listening. I didn’t know how all the songs went structurally. “Unforgiving Night” confused me. “KONTS” was a novelty in its title. “Unburdened” made reference to the cut B-Side “Pilot” (Now questionably unavailable). All these things were fresh in my mind, and some of the elements of the greater picture would more than certainly have not hit me at this point. In retrospect, it certainly feels like I should give the LP a re-evaluation - a look back at what makes Pilot remain great, rather than what made it great back in that early period.

To keep comparisons genuine, I shall take the same approach as back then - a track by track review, though my analysis will certainly take a different path. Come one, Come all…

In my original review of “Another World” I focused very little on the song itself, and more upon its the very opening and the general tone of the album vs. “Distance Reawakens”. In retrospect, what I did mention was clearly its best points. A pounding opening, which works great as an album opener, and the song has some great variance dynamically, with the soft start to the 2nd verse, and a glorious solo taking you right to the end. Lyrically, the song is also a clear statement to move on from what was, in Michael’s eyes, a weak LP in “Distance..” and deliver something far more competent in “Pilot”. However, as any true Dermot scholar would know, “Another World” was written very soon after the recording of that first album, and to an extent that certainly shines through - the song still has “the Distance melody style” (Rowland 2014), and could certainly flow stronger. However, the very competent lyricism shown, and the excellent musical ability displayed, both structurally and instrumentally, still make this a more than worthy opener to Pilot which never manages to go stale. 7.5/10

In My Mind is a song I didn’t grasp properly at first. Its happy shell did a clever job of disguising the incredibly depressing interior contained within, and still to this day it makes me smirk with joy. The intro however, as I did correctly write previously, is decidedly “massive” and a “complete change of pace” from “Another World”, but it undoubtedly works. However, once again, I did very little review wise previously, merely pointing out that which I found interesting. Yes, I pointed out all the Beach Boys references, and added the extra instrumentation that lifts the 2nd verse into “joyous” territory, but the extremely powerful chorus went unmentioned, a statement for the ages within itself - a clever take at being motivational, without actually referring to the listener, even if this was not the intended effect. Similarly, the structure is very smooth, as is the melody for the most part within the verse. The bridge too does a good job of keeping it fresh, taking a huge risk with great reward, though it does take the subtle lyricism of the chorus and make it more direct - intentional, perhaps? Self-relating definitely. This song is certainly a classic, and makes for great summer driving. Docked minorly because “...only make you lose your mind” lacks some form of punch I would have liked. 8.5/10

The transition between “In My Mind” and “No Through Road” blew my mind the first time I heard it, and it still sounds too to this day, though it certainly doesn’t retain the shock from the first listen, but that is only to be expected. it was a piece of genius then and deserves mention even now. 10/10

Now, I skimmed over “No Through Road” in my original review, probably because I had already heard it countless times already, and bar saying all it needed was the ability to “spin at 45 R.P.M. and it would be a perfect single”, I said very little. The track itself is certainly a classic, and one of the most accessible on the album. That said, I could easily say it hasn’t aged so well as I had hoped. It isn’t bad by any sense, but the verse bugs me beyond belief. Until the extra pre-chorus guitar chimes in, the ‘stop-start’ guitar and unconfident sounding vocals certainly detract from the listening experience somewhat, especially when I play it to new people. However, the rest of the song is certainly extremely strong, with the pre-chorus guitar adding a very smooth sound to the song, an extremely catchy hook, and very strong lyrics, which seem to only get better with age. The bridge also elevates the song great, with a very Spector-esque bridge, and a smooth acoustic break swiftly building up into the grandiose closing chorus. My only other complaint here is in the production. until the piano comes in under the acoustic guitar, there is significant hiss, which I can only assume is connected to the piano track, as it vanishes as soon as the instrument enters. Sloppy production possibly? 8.5/10

“Destiny Park” is without a doubt the most continuously solid and well arranged track on the whole LP, without a single flaw in sight. Regardless, it would be remiss of me to skim over it as such, as to do so would undervalue the track at hand. When I first heard this track pre-album release I didn’t like it so much. It didn’t hit so outrightly hard as “No Through Road” did in its intro, and given my limited Dermot experience, I couldn’t grasp it as such. By the time the album came around, my views had certainly improved, taking into account the tremendous dynamic shift that happens into the second chorus, and I failed to expand beyond there. This idea of a ‘grower’ is certainly key in the context of an LP. It stops an album growing stale quickly, while also showing use of less than obvious musical ideas. With “Destiny Park”, I have come to appreciate the soft start, the unusual style of guitar playing employed here, and the evolutionary structure. The first chorus has that needed lift from the first verse, while also being far weaker than the second chorus that follows it. This song is a Alternative structural masterpiece through and through, and the sci-fi lyricism caps it off perfectly, matching the unusual playing with an unusual sentiment. 10/10    

As I move into the meat of the album, I get into fresher territory (at the time anyway). “KONTS” amused me at first due to the title and its confusion before listening. My original comments dealt again with the structure, while also commenting on each section as I went along. My original comments about expecting a solo confuse me in retrospect, but the bridge, which I didn’t remember well enough in my first review, certainly deserves a more detailed mention. The tempo change that occurs is a matter of pure genius as far as I’m concerned, bringing a completely new take on the song, and thus the whole latter section, a progression from the sudden change shown in “In My Mind”s bridge earlier on. I won’t lie either, the entire latter section, of self admission and mention of the now not-so-unknown Cheryl, does make me long for something similar to call my own. I mentioned it in lax terms in my old review, but with all that has passed since, it only feels more ‘right’. Alas, I guess some things probably are never meant to be… Despite this, “KONTS” is a strong ‘Rawk Music’ track, one that has certainly shown its worth in a live environment. The intro is still a favourite of mine, with a similarly great transition occurring between “Destiny Park” and this track only serving to strengthen it. On top of that, the melody is top-notch, and the lyrics, while in theory personal, can be very easily relatable, another great point. “KONTS” in retrospect is the underdog of Pilot, and needs more love. from the fanbase. 9/10   

Now, “Haunted” is a track I have to look at in retrospect again. My early listens were undoubtedly tainted by the [soft version] from the No Through Road EP, and even though I make a point that this is the definitive version, that doesn’t mean my brain was completely whitewashed of the “original”. Taken from the perspective of now, I can really appreciate this track to its fullest degree. Certainly one of the strongest tracks on the LP, the “snowstorm” intro still gives me chills. I don’t know what it is about the arrangement here, but it always feels so much more grandiose and complicated than it truly is. I think it’s the simple piano part that really accentuates this, and I personally feel it to be one of the best moments on the album. Similarly, the simple organ led outro achieves the same thing - instead of going for yet another guitar solo, the song is brought down to its introspective roots,  and really shines because of it. In between, the lyrics are particularly strong, describing to me, at least in my initial form, those who feel like the outcasts from everyone else - those with no more hope. And while that isn’t completely accurate, it certainly meets the song’s message of despair, which culminates in a triumphant, yet unhopeful chorus. The bridge too is one of those peculiarities. The vocal phase doesn’t make sense. And neither does the fact that the narrator wishes to go to Budapest. But it’s great. 10/10

My original views on “So Happy You’re Gone” haven’t changed much since the album’s release. I can’t hear the Oasis stylings. I can’t hear the unhappiness in the song over the bounciness of the music. But that doesn’t mean I dislike the track. While it isn’t as strong as some of the other tracks on Pilot, it certainly manages to holds its own, with some very clever lyrics (“Architects line up to knock you down/lost in your own world and you can’t be found” being a favourite) certainly giving the track a great quality, giving its roots a real personal punch. Sure, the melody might not be so flowing in the verse, but it displays how angry the narrator is at heart too. It matches what it intends to do perfectly, but it doesn’t quite have that complete magic spark to make it a perfect track. it does, however, end perfectly. 8/10

The transition between “So Happy…” and “Unburdened” originally did not sit with me at all. With time I have come to appreciate this, especially the use of dissonance, as a tonal reflection of the conflict between the optimistic chorus of the track and the extremely downtrodden verse, maybe even as reflective of how the song in the end plays out negatively in the end, despite the best efforts of the chorus “voice”. Going back to my original review, I remember remembering very little about these tracks post first 2 listens. They both wandered off in my head, potentially due in part to listening fatigue, or just poor memory. I did, however, manage to get the structure down here it seems, likely through intense re-listening, something that seems so alien to me now. Melodically, the verse could certainly have been a bit tighter. It portrays the anger well, but certainly not to the effectiveness of “So Happy…”, though lyrically the verses certainly get across the idea of intense irritation at the fact nothing is going the narrators way at all. The sub-concious chorus certainly tops the verse, at least melodically, in the fact that it soars. It reaches that triumphant feeling when it hits, and by the time it has been “unburdened”, it feels like it musically. It matches together perfectly, and thus creates an incredibly strong feeling with the listener. Similarly, the breakdown in the bridge is so smooth and succinct that the listener feels the joy from the chorus continued, but there is certainly an air of uncertainty, before being hit by the decisively down trodden solo. Conflicted emotions are perfectly demonstrated in this song, and the sudden domination of the lesser thought process right at the end of the final chorus really hammers that home. 8.5/10

Oh boy. “Unforgiving Night” is probably the song I have taken to the most in the Dermot canon, but there is so much perspective for me to take on this track. I say very little about the track itself in my original review, namely because I couldn’t remember it. I essentially say it has a “great solo” and a confusing song structure, which in retrospect is correct a so wrong at the same time. Once I got to know the track, the whole “‘cause she’s my guiding light” line and section was the very point of perfection for me. But the rest of that track was an interesting ditty, and maybe not so much anything more. To my knowledge anyway. It was once I heard the lyrical changes in the original demo that I really took an interest in the track. The [Freddie Custom Edit] is certainly the key example of this infatuation, and maybe this is all I can attribute my obsession to. Maybe if I had never heard the demo, “Unforgiving Night” would have sat far lower on my rankings for this album, but I guess it’s just the mystery that drags me in. The alternate lyrics in the early studio vocal continue the confusion, though I personally don’t often touch this version, since it lacks the intrigue of the demo, and the punch of the final version. But when I discovered it, I went crazy, like I was unravelling a long-forgotten riddle from an ancient time. And still to this day I have no clue what the song is about. And maybe that’s for the best. On a more literal evaluation, the track certainly offers something confusing. The repetitive section post chorus almost feels unnecessary, and it certainly does take a different direction post solo, but it’s nothing too out of the ordinary. It could easily be compared to the transition to the bridge from “Replaced” from 2011’s “Distance Reawakens”, and maybe an elevation of this idea. it certainly concludes very different, but lyrically both are complete with a “coming to terms” type of lyricism, but neither truly accepts it. “Unforgiving Night” also boasts what is undoubtedly the best guitar solo on this LP, addressing that confusion needed to transfer the listener from chorus to bridge, and taking a very emotive melodic progression. This is a clearly formulated solo, but one that feels like a spontaneous emotion. Maybe there really is a reason I focussed on this latter section in my original review - it’s just that interesting. The verses are similarly confusing, but in lyricism rather than musically. In fact, the chorus achieves the same thing. Confusion. I still to this day have not the foggiest idea what this track is actually about, but I do know it is dark. Very dark. And it hits that on the head. The narrator almost distresses the listener, and maybe that is the genius of the song. The bitter distress. 9.5/10

And then we come to “My Gravity”, the albums finale. I remember on my initial listen I was decidedly underwhelmed, but felt the track was likely a grower. It certainly wasn’t bad to any extent. Just not what I was expecting. And isn’t that usually a good thing? In this case, I certainly feel that’s the way. With reflection, I can see how perfect this track was for the album’s closer. The main themes of the album are addressed in the track, such as personal loss, despair, confliction, and space, and all are executed perfectly, culminating in a triumphant, if heartbreaking finale cry of “I wanna be home…”. To an extent, I feel dissecting this track to be wrong. From the solitary opening, with its confused strumming pattern and introspective vocals, to the chorus that manages to lift without pushing it too much, through the gradual build to the soaring finale, this track is arranged perfectly to its subject matter. It is exactly as the artist intended, and in reality, with a song as personal as this, that is for the best, as it really captures that emotion. 9/10

I said at the beginning about how much Pilot now means to me, on a personal level rather than the obvious musical one. It has infused its sound into my daily life, and there isn’t a day that doesn’t go by where Pilot, or at least Dermot, is mentioned by me in some way, shape, or form. Has that had an effect on the way I portray Pilot to others? Potentially. I certainly rarely consider things like the weakness of “Another World”’s melody, or the uncertain vocal in “No Through Road”, instead marketing them, as, well, marketable pieces of music. “Another World” is a “Punchy opener!”, and “No Through Road” is a “Great single!”. Regardless, while certainly not flawless, there isn’t truly a bad track on this album, and I personally know I can recommend it to people without fear of embarrassment or need to note any specific flaws in justification. And at the end of the day, isn’t that what makes an album great? 

You can download Pilot for any price you want from bandcamp here

   

Entry #5: Mr. Reporter by The Kinks [Dave Davies version]

Track: “Mr. Reporter”
Artist: The Kinks/Dave Davies
Year: 1969
Album: Hidden Treaures [2011]

Songs that rip apart those higher up in the food chain are not uncommon by any extent. From the music companies to the upper classes, bands and singer/songwriters often attack these areas, but none more so than The Kinks. In 1966 Ray Davies wrote and recorded a track, almost in demo form, for their album “Face To Face”, titled “Mr. Reporter”. The track remained unissued for many years due to the scathing lyrics ripping apart the journalists and press at the time, who arguably helped the band rise to stardom in 1964. Ray’s vocal on this version also doesn’t feel quite so solid, and the track was shelved until 1969, when Dave, Ray’s brother and bandmate, took on a re-recording of the track for his unreleased [until 2011] solo LP. It is in this version I would argue that the track really comes alive.

“Hey Mr. Reporter, how ‘bout talking, about yourself – Do you like what you’re doing, or is it that you can’t do nuthin’ else?” scowls Dave in the opening lines of the track, with what are probably the nicest lines in the whole song. Dave’s vocal has that distasteful twang to it that really adds to the bite all the way through the track, only making the already angry track furious from start to finish. Instrumentally at this point the track also keeps it simple, with an acoustic guitar bed leaving little fleshed out, though this doesn’t last for long. Once the drums kick in with the rest of the band, the track is off on a deceptively playful bounce. You could play this track in the background and, with the exception of the vocal delivery, be completely oblivious to its intent. “Don’t you twist my words around… I’ll kill you, I won’t let you, distort my simple sound”. Here Dave rips right into the heart of the matter – the press are renound to this day for playing with people’s words to make the say what they want them to say, and here there is no holding back in retaliation. I don’t think a death threat ever is a soft way of looking at anything.

“The reason I am stupid is 'cause I read you everyday…”  

I don’t think any more words are needed here. This is one of the most upright and frank songs with no attempt to hide intent or anger I have ever heard, wrapped in a package you can’t help but love the sound of. And that’s exactly what I want at times.

- Freddie

Entry #4: Let’s All Make Believe by Oasis

Track: “Let’s All Make Believe”
Artist: Oasis
Year: 2000
Album: Go Let It Out [single] (7^th Feburary 2000)

Oasis has always been a band I’ve sat in the middle with. Don’t get me wrong, I adore the band, and many will likely know, but I can see the flaws in their ways. That said, “Let’s All Make Believe”, a simple b-side from the “Standing On The Shoulder Of Giants” sessions is a track I have no intention of faulting to any extent. From the dreamy yet punchy production to the powerful lyrics and succulent vocal delivery by Liam Gallagher, this is without a doubt my favourite track release by the band to this day.

On top of this, it’s one of those songs that doesn’t really just make me think of just one point in my life, but rather a few. Sure, some spring to mind quicker than others – the conflict between me and someone I can only now describe as a good friend made the track feel more poignant than ever, but similarly general conflicts, be they friends, girlfriends or family, all make the call for this track in my head. And it’s what keeps me looking up in all these situations. “Let’s All Make Believe, that we’re still friends and we like each other” begs Liam, and more often than not, me. I’ve never been one to create conflict with anyone, or anything, and this song certainly gives me the mental stance to uphold this ideal.

So if you ever catch me singing this song, let it be. It’s better than whatever the alternative probably is. Because hell if I know what it could be…

-         -  Freddie

…Oh, I seem to have written something more manageable in length. Yay.

Entry #3: Be My Baby by The Ronettes

Track: “Be My Baby”
Artist: The Ronettes [Prod. Phil Spector]
Year: 1963
Album: “Presenting the Fabulous Ronettes” (November 1964)
First Release: A-Side August 1963

It’s quite telling when 2 of my top 3 albums feature production heavily owing to that of Wall of Sound overlord Phil Spector – Springsteen’s “Born to Run” (1975) certainly has a decent stab at utilising the sound to suit his needs, while The Beach Boys, specifically Brian Wilson, used a very similar production style on their 1966 production “Pet Sounds”, an LP whose style arguably elevates that of Spector’s to something more wholesome.  Regardless, his work has evidently had a large influence on some of my most beloved music, and as such it is only right more me to cover arguably his greatest pop 45 ever released – “Be My Baby”.

Released under the artist label of The Ronettes in 1963, “Be My Baby” is the pinnacle of Phil Spector’s production catalogue. While later works, such as the incredible “You’ve Lost That Lovin’ Feeling” and the awesome sound of “River Deep, Mountain High”, are certainly strong records in their own right, neither perfect the pop 45 sound contained within “Be My Baby”. As Brian Wilson said, hearing the record isn’t “like having your mind blown – it’s like having it revamped” – taken within or without the context, the sound is incredible. Brian’s reply, “Don’t Worry, Baby”, will likely feature eventually here.

The song itself is pretty much the solid embodiment lyrically of what it stands for too, which is always a bonus. “The night we met I knew I, I needed you so…” sings Ronnie, with a voice that could melt your soul. Playing on the torn to death ‘Love-at-First-Sight’ idea, we instead see what is a far more likely, and genuinely possible, situation where one can fall hopelessly in love with another after spending an evening with them, be it chatting with them about common interests, or even just through getting to know one another [or both!]. The reliability of the lyric takes the song even further. Sure, it may fit a generic framework – “Won’t you say you love me? I’ll make you so proud of me!” – but I’ll be damned if it doesn't bring the emotions to your soul every time you hear it. Even the 2^nd verse manages to add to the situation, taking it from admission to desperate justification – “I’ll make you happy baby, just wait and see…” – leaving the listener eager to see where this may go, and thus willing to dive in. This is a relationship of hope and potential, not another one night stand. And like that relationship, you won’t be leaving this record anytime soon.

That feeling of love and desperation continues on into the chorus – “Be my baby, my one and only baby” – the sentiments of true love are there, and this is not a relationship to be shared, issuing the idea that, if rejection is had, no-one else will do. “Be my baby now!” yells Ronnie, so eager and excited she could burst. The anticipation of the relationship is killing her, making the desperate justification of the 2^nd verse all the more powerful. As I mentioned, this potentially ‘generic’ lyrical fit has been so finely crafted it’s impossible not to relate to your own experiences and needs – right to the core.

And then the backing track. As I said earlier, while this is not Spector’s most grandiose or powerful sounding record, it packs what I would see as the perfect punch. Hal Blaine’s thunderous drumming throughout, from the highly influential drum intro, to his simple, yet driving beat until the end, fuels the entire track, and with the right touch brings it to a climactic finish without overplaying his way over the music. There is a reason he was the session drummer, and arguably the heart of The Wrecking Crew. Meanwhile the percussion fills out what is missed by the lack of cymbals, the strings [Spector’s first use of] add a largely lush texture through the track, and the ‘mess’ of Piano’s, guitars, basses and other assorted instruments creates a sound so thick a steak knife couldn’t cut it. To pick it apart would be a distortion of its intent – this unintelligible mess is what makes the record sound so perfect.

And when that’s all done, you’re left with arguably one of the greatest records of all time. A perfectly produced and arranged record musically, and a lyrical sentiment perfectly close to the heart of anyone that truly has one. All this is creamed off with a vocal of luscious you question if what you are hearing could possibly be made any better.

The answer is simple. It couldn’t.

- Freddie

Entry #2: No Through Road by Michael Dermot

Track: “No Through Road” 3:46
Artist: Michael Dermot
Year: 2013
Album: “Pilot” (30^th April 2013)
First Release: “The No Through Road EP” (22^nd January 2013)

Sometimes the music you love the most comes from the most unexpected places. On the 6^th December 2012, a user on the Smiley Smile Message Board under the username “Gohi” created a thread in the “Smiley Smilers Who Make Music” sub-forum for “No Through Road – my new music video”, going completely unnoticed bar a complimentary reply from user “rab2591” that day. Fast forward to the following day, and one Harrison Hedges would link me to this thread, after it had also been posted on a forum called “AllThingsWeezer”, a place I would come to frequent within the next few months. I clicked on the link and was greeted with the following:

“This is my new single. It's a bit alt-rock and a bit 60s in some parts. There's another song on the album that sounds much more beach boys-like but I didn't wanna spoil that one for you guys before the album's even out. Lemme know what you think!”

With my friend’s good graces and the small amount of info contained here, I clicked the enclosed YouTube link and watched the video. Poor editing, Cheap Camera Work and Terrible lip-syncing was seen, some mirth was had, and most all, catchy hooks were remembered. I had the words “Don’t follow me” stuck in my head for days, and I’d only played it once. I immediately messaged this “Gohi” to see if I could get a hold of this track. I was soon greeted with a file labelled as “No Through Road rough sept 13”, The first of many erroneous files I would garner under the “Michael Dermot” tag.

Following this, the track went everywhere with me. I played it solidly during free periods at Sixth-Form, between every LP I played at home, and even called my dad up to give it a test run on him. The ironic thing here is that the rough mix, while uncompressed [woo!] pales in comparison to the powerful final mix, and yet it was perfect to me. I would anticipate any further music by this “Michael Dermot”. And play them all to death. But that’s a story for another entry…

The track itself is a 90s Alt-Rock classic in my book, with a bit of 60s Pop blended in for good measure [See the Spector-esque Bridge… broken down live one expects “Be My Baby” to kick in!], and carries itself solidly throughout. The melody is mostly solid, with some neat guitar work, especially going into the chorus, and a structure that develops rather than repeats, ensuring an enduring listen. The last chorus especially stands out, taking the extended 2^nd chorus and adding in extra backing vocals to create a worth climax to a great song. Don’t follow me tonight indeed.

Regardless, to musically examine this song, as I did “Please Let Me Wonder”, would defy the point of its inclusion here. This song introduced me to Michael Dermot [Rowland], who, as many of you reading this will likely know, forms a huge part of my life. I try to turn everyone I possibly can onto his music, I have near enough officially played the Pilot LP more than anyone else in the world, and, through interactions with the man himself, have “attempted” [successfully or not] to shape his next impending musical project. His comments during his acoustic set on the Weezer Cruise 2014 near enough summarise how I feel about the whole endeavour, or more why I feel the way I do about it:

“…He keeps me goin’ sometimes… y’know… I make music in my mind and in the basement, but I know with his help and support, I’m gonna go onto something great”

I sincerely hope you are Michael. I really do.

Just don’t forget me on the way.

- Freddie

Get The No Through Road EP on Bandcamp Here
Get Pilot on Bandcamp Here
“like” Michael Dermot on Facebook Here

Entry #1: Please Let Me Wonder by The Beach Boys

Track: “Please Let Me Wonder” 2:47
Artist: The Beach Boys
Year: 1965
Album: “The Beach Boys Today!” (8^th March 1965)

First Release: B-Side of “Do You Wanna Dance” US only 45 (15^th Feburary 1965)

Please Let Me Wonder, like many tracks I often adore today, never was a track I originally had a great relationship with. During my earlier days of working through The Beach Boys back catalogue, mainly through pickups at record fairs and the odd lucky find at a boot fair, Today! was not an LP I was quick to find. Many of their other LPs, most notably the 60s LPs, had found their way into my collection, but for a while The Beach Boys Today! was left stranded as a collection of files on my PC. I’d played what I had a few times, but it was the 2^nd side of the LP [figuratively speaking] that bothered me. 6 tracks of pure up-tempo pop goodness suddenly ground to a halt in a cloud of muddy ahhhs and ooooohs, and I couldn’t work with it. THEN I got the LP, and the understanding of Please Let Me Wonder clicked.

Sticking of side 2 of an LP always allows for a fresh start to the collection of tracks. One can make a statement on side 1 and then make a completely different, yet cohesively linking one, on the next side. And Today!’s second side of Pet Sounds Prequel ballads does this perfectly, and Please Let Me Wonder is without a doubt the perfect example of this.

The aforementioned muddy quality of this track is certainly an easy reason to dislike the track within the first few seconds. The group vocals of the intro seem far less distinct at first compared to the first half of the LP, and the instrumentation refuses to stick out. This, along with the mono mix of Don’t Back Down from the previous “All Summer Long” LP, seem like unusual occurrences under Wilson’s watchful eye, but even the phasing on production masterpiece “Good Vibrations” shows audio quality probably wasn’t his priority. Regardless, once Brian’s beautiful [And single tracked!] lead vocal kicks in, it all makes sense. The voice manages to leap out of the fog, like a beautiful thought surrounded by a confused situation. “This would have been worth waiting forever” Wilson sings, bringing the listener into the moment. Finally, alone with the person of his dreams, he likely has the chance to admit his true feelings to them, but, like anyone who has been in the situation has felt, he is shaking. His heart is breaking. The fear is creeping in. Does his dream really love him? Is he going to leave heartbroken? The words can’t even come out his mouth.

And then the chorus kicks in. “Please let me wonder, If I’ve been the one you love, If I’m who you’re dreaming of”. The search for answers has been left stilted, and Brian [though the chorus lead is sung by Mike] is left with a preference that instead of total rejection, he should just be left wishing, WONDERING, if his love feels the same way as he does. He is not seeking answers, rather an alternative to what seems like another devastating heartbreak.

The 2^nd verse continues the fight in the first verse for a sign of love from Wilson’s dream, desperately trying to prove just how much this girl means to him. “I build all my goals around you” Brian weeps into the microphone, “[So that] my love would surround you”. The words of a man desperately trying to prove his love to someone he knows may be fading from him quicker than he can bring them back. The struggle is noted perfectly in Brian’s voice. He’s trying to keep it straight, but there is a clear shakiness in his delivery that creates an uncertainty with the listener. For Brian defeat is just around the corner, and if anything, it’s tearing him apart. Brian’s lyrical conclusion rounds out the reasoning for the distress in his voice. “For so long I’ve thought about it, and now I just can’t live without it”. Brian’s perspective of his love is one he wants to be unchanged, an idea later reflected upon in his 1966 solo single [and later Pet Sounds closer] “Caroline, No”. The swift transition back into the chorus only further leaves Brian no choice but to surrender before he is defeated. He knows what he truly dreams of will never be his, but to be officially denied it will destroy him. He needs to be left pondering on the matter, with no real closure, even if he has near enough been granted it. The solo section simply serves to allow the listener to reflect upon Brian’s distress, before hammering the point home with another chorus to fade. However, just before Brian calls it out and leaves, he surrenders to himself, and quite plainly states – “I love you”. The ponderous instrumentation and quick fade leaves the listener begging to know what may have occurred next, although Brian’s attitude throughout has, in theory, addressed the point already.

Interestingly, an earlier version of the track, sung by Mike Love, features a far more distressed, if melodically unstable, set of lyrics, most notably in the line “so please don’t say what you plan to say”. Here the concept of leaving the love in question out in the open is disregarded – Mike doesn’t want to know, and makes this point clear. However, from a musical stand point, this version is certainly the inferior take. Mike’s vocal does not emit the emotion in Brian’s heartfelt delivery, and the lyrics and melody seem forced at the best of times, leaving the listener uneasy without having tossed their emotions around.

In conclusion, Please Let Me Wonder is easily one of my favourite Beach Boys tracks, and well as one of my favourite musical moments in general. The emotion of the song feels spot on, as does Brian’s perfect vocal and the instrumentation. Mike’s alterations to Brian’s original lyrics also manage to create a more structurally sound track, leaving me moved each and every time.

-         -  Freddie   

Album Review: 'Pilot' - Michael Dermot

Well, after a wait that seemed an eternity after I heard the excellent ‘No Through Road’, with teasers such as alternate versions of albums tracks and the incredible ‘Destiny Park’, the day is finally upon us when the earth can revel in the joy that is ‘Pilot’. And my, what a joy to behold it is…

Opening, rather unexpectedly [considering Dermot’s own preference for the guitar], with a powerful combination of Drums and Bass, ‘Another World’ launches the album into a powerful Guitar led flurry, with a soft, melodically perfect verse, building to the climactic Guitar solo at the end, demonstrating Dermot’s statement of intent from the go – Strong, rocking songs, meticulously crafted to fit the ears of every listener. The change from ‘Distance Reawakens’, Dermot’s first album effort, is apparent from the get-go – a clear vocal improvement shines through, along with the work of a producer who knows what is needed. In this day and age of false drum loops and car-horn autotune, it’s great to have something as fresh and as natural as this.

Moving on, ‘In My Mind’ feels like it’s almost a complete change of pace from what I have just heard, with a massive intro of heavily reverbed drums and ‘Epic-Film-Score’ [Technical term] harmony vocals, before launching into some very ‘Beach Boys’ vocals. ‘dau ba di dit’ is that Dermot? It seems only suitable in a track so based off of Dermot’s influences that we see a credit to one Brian Douglas Wilson. The sunshiny second verse, ‘Vega-Table’ and ‘On A Holiday’ lyric references were certainly asking for it. And it made me very happy. And just as the song seems pretty standard, a complete change of movement that should be jarring appears, only to feel almost as fluid as the melodies Dermot has been chanting at you from your speakers. And you’re only on Track 2!

Saying that, the transition into the absolutely spiffing ‘No Through Road’ is so well executed that you’ll wonder how he did it. Catapulting through with strong Verse, Chorus and Bridge, you’ll wonder why your local radio station hasn’t picked up on it yet. All it needs to do it spin at 45 R.P.M. and we have the perfect single!

‘Destiny Park’ on the other hand almost seems unconvincing at first. The relatively lightweight intro and questionable vocal melody are a matter of confusion on first listen. The Verse and Chorus ring around, and by the second verse you start to settle in. The simple but effective drum beat at this point is full of momentum makes you believe something is coming. Then the second Chorus comes. And you wonder why it hasn’t blasted a hole in the side of your house/apartment/head/dog, creating an explosion of sound so powerful you can’t understand why you didn’t grasp the song before. Every subsequent listen is perfection from start to finish. And that’s how music should be.

The guitar tail riding into ‘KONTS’ is only lessened in its greatness by the confusion caused by the title. ‘KONTS’? What the heck is that? You listen intently, drawing your attention to the strangely layered recording that sounds smaller than it is [No easy task, I must say!], but the moment the hook rings around, all makes sense in the world. You relax, and just enjoy what is left of the track. Is that a Guitar solo coming? No, but we do get another of Dermot’s ingenious melodic changes in the bridge, so different that you’ll wonder how any human could ever come up with something so perfect. Riding into a perfectly suitable solo by Dermot [was that just a tease earlier?], we get a load of gibberish vocals, followed by the inclusion of an unknown Cheryl [what I would give to be mentioned on this record!], the song draws to a suitable close. Side One over, and all seems unfeasibly perfect. Who is this ‘Michael Dermot’, and where can I buy his brain?

A track called Haunted previously had been released as a B-Side to the fabulous ‘No Through Road EP’ [Which includes album causality PILOT, an equally brilliant track that just didn’t fit here], though that version was very different. The version on the album, as I am reliably informed by the man himself, is the earliest of the 2, and after a jarring first listen due to my ears having to adjust to this new-old version, this is clearly the definitive cut. Yet another strong vocal by Dermot, this track features a few nuances that step further out the box than anything on Side One. A Phase-Space Bridge draws the cover of the album in your head, and the simple-but-effective Casio-Keyboard sounding solo in the outro brings it down for the ending.

‘So Happy You’re Gone’ bugs me to hell. After being told it could have easily been an Oasis track, it can’t hit me. And as an oasis nerd that depresses me. However, this allows me to evaluate it on its Dermot merits as opposed to its well selected influences. Though the opening ‘Hey’ will always sound like ‘Hey Jude’. Anyway, following on from the new theme set by ‘Haunted’, ‘So Happy…’ lowers the uplifting tone of Side One to something more sombre. Lyrically anyway… Despite the less than ‘happy’ lyrics on ‘So Happy…’, the instrumentation makes you want to bounce along with joy, almost taking you away from the once again strong lyrical content of Pilot. A sneaky reference back to the earlier side of the album sparks a little bit of joy to those that notice it, reinforcing the fact that, to those who hadn’t been paying attention, this album so far has fitted together almost too well, and will continue to do so until the final fade cut.    

Opening with a classic bit of dissonance thanks to a transition with the final chord of ‘So Happy…’, ‘Unburdened’ runs as the first of what I have come to view as a mini-trilogy that closes the album of exemplary sombre, albiet great songs, but a selection that I find tough to remember musically. ‘Unburdened’ seems typical enough until the second chorus, but then the song breaks down into a lusciously smooth and tranquil breakdown, with an effective cymbal use, before building to another solo and a beautiful section, featuring near perfect vocals from Michael and an even softer backing. The song finishes, but then takes you off guard once again for a final mini chorus – a perfect end to yet another great song.

Every album has to have its epic, be it just ‘the best track’ near the end, or the long, near perfect solo that closes the album [or thereabouts]. Instead, Pilot has ‘Unforgiving Night’, Dermot’s only collaboration, here with his Producer and Bassist Ed Ackerson. Here, we get, not only the ‘longest track’, but also a great solo by Dermot, and a ‘post-solo’ song structure that makes you question where you are in the song. It could end at any point, but it doesn’t, and when you don’t think it will, it does – is Dermot veering into the realm of Prog? Either way, what comes after the solo, as I have said, can only be described as Dermot’s ‘Epic’, and ‘My Gravity’ is the perfect way to follow it up…

Starting with an almost demo-like sound [check out Decaf Coffee on the ‘No Through Road’ EP], ‘My Gravity’m much like the earlier ‘Destiny Park’, aims to build from a far smaller sound than it sets out to, but unlike the explosion of sound in track 4, here the sombre tone lends to a far gentler sound for the majority. ‘You can’t go off in space and come back in one piece – but you can try’ whispers Dermot, making us wonder the fate of the unknown character on the album cover – will he ever get home? A huge lift into the final solo of the album brings down to a heartfelt ‘oh’ by Dermot, melodically akin to the opening of ‘In My Mind’.

And then it finishes, and you stop. You questioned if what you just played was really accomplished by a young man in Minnesota, or the work of those far higher up in the industry. But that unmatchable sound makes you realise you’re wasting precious time. You run over to your Hi-Fi and hit the play button with almost as much glee as you did playing your Smile Sessions Box Set for the first time, and once again… you disappear…

In other words, it wasn’t bad. 

Be sure to 'like' Dermot's Facebook page here, and download this incredible album [or order the limited edition CD] from Bandcamp here!