20ft high on Blackpool promenade
When I bought Everything Must Go, my dad thought I had just bought an Elvis record because the car CD player’s tiny screen only showed the Elvis part of the track name.
As an opener, it’s one of the band’s best and one of my very best openers in general. Pleasant ocean waves pierced by a gentle harp, some atmospheric acoustic strum and then a blast-off to a quick rock anthem-like (with a rather fun “oh well…” to wave it off). It’s like Everything Must Go in miniature size, but most importantly it just starts the album in such a strong fashion.
Always been one of my favourites this. While the song’s main foothold is its rock section – the atmosphere/dynamics clash between the serene, quiet part and the frustrated rock part is the song’s backbone and lifeblood – I’ve always loved the first half of the song the most. It’s like a calm before the storm moment. It starts so peacefully but when James breaks through with his acoustic guitar, you know there’s something big about to happen. It has a nice air of change around it. And when the change finally hits, well, it’s as strong every single listening time.
The American Trilogy referenced in the lyrics is a part of Elvis’ song cavalcade which pops up throughout the Everything Must Go era. Elvis Impersonator ends up in an ethereal, washed out rendition of “Dixie” and Black Garden starts with a similarly ethereal “Glory, Glory”. The third song never shows up anywhere though I remember reading they meant to but axed it/never got around to it.
The Leaving the 20th Century gig version of this is somewhat amusing, all thanks to completely drunk Mr Wire.