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at 3.29-ish but it's all best bits there are no not-best bits in this tune

i remember at the time of this coming out thinking that it had a quality of geometry, a peculiarly orderly symmetry.... but that tension, the play of rigidity against loose'n' groovy, is at work at all levels of the instrumentation not just the vocal melody yes "Celebration" is an...

melodically this one has a kind of "plotted out on graph paper" quality, or Morse Code or something, with the singing as controlled and almost formal as the tune - until a horrible section that's all melismatic and oversouled and breaks the mood completely no need to mention which sublime...

melodic spacing in the chorus in full effect actually the verses are quite rectilinear (not sure if that's the right word but I'm sticking with it) thinking about it was something of a hallmark of Jam and Lewis's writing and arrangement - as with SOS Band

listen to the fade of the 12-inch for the "all right" as used in "Radio Babylon" and a thousand (slight exag) rave tunes

this is another example and the spaced-out, rectilinear effect is exacerbated by breaking up the chorus so that it's a sort of a back and forth between two voices (both Cheryl i think) her voice is unreal subtly saucy lyric too

one thing i've noticed recently listening to 80s club faves, is that a lot of postdisco / boogie tunes have this thing where the chorus is rectilinear - regular and spaced out notes - which creates a delicious tension with the grooviness of the music. the verse melodies tend to move in this...

Bassline borrowed from Glen Brown's "Melodica International"

one of the most surprising - and lovely - migrations of dub technique into English pop starts at about 1.30 in and recurs full strength later into the song as well I'd say it was dub via A.R.Kane if it wasn't for the next tune

With the Ruts you would think "Babylon's Burning" or even "Staring at the Rude Boys" would be the obvious punk reggae moments, but I think this tune assimilates reggae into rock in a much more potent and fully alloyed way (talk about "bass weight") Certainly much better than their actual...

this also great, slightly less reggae, but still there especially in the, ha, sublime bit at 1.56

When Sublime first came along, I loathed them - but then I was living in New York, it made no sense at all. Now I'm in Southern California.... hearing it on the radio, it sound just right Nothing to do with "bass weight" and that side of things, this is about reggae as an art of singing - and...

image-wise not so much, but sonically actually surprisingly close to Fuzzbox - thin vocals, massed effectively - droning punkpop bludgeoning the ear

a sort of Stock Aitken Waterman version, kinda, sorta - not making the music themselves (well, I assume) but the same girl-gang vibe

And Ms Chainsaw is kind of their bratty niece

Fay Fife is kind of their auntie