If in doubt, listen to the track If you’d like to be updated about future posts, you can sign up here. Listen to the track to get an idea what that sounds like. Take Me Out was released in 2004 and features Paul Thomson on. Thirdly, the landing on the new tempo feels massive, with the aforementioned unisons and kicks introducing the bulk of the song that would be a great number all in itself, but feels even more impactful because of what comes before it. Drum transcription of Take Me Out by Franz Ferdinand. Without Thompson's kick, the tune would feel suspended, and the slowdown wouldn't nearly be as impactful. It was released on CD, 7' vinyl, and as a DVD single with the video promo and a short interview with the band. It was released in the United Kingdom on the 12 January 2004 and in the USA on 9 February, both through Domino Records. The kick has such a unique driving force in music it solidifies a track's tempo by filling up the bottom of the sound, driving people to dance and jump more than any other instrument. 'Take Me Out' is the breakthrough hit and second single from Scottish band Franz Ferdinand on their self-titled album. I really hear Thompson's kick drum as doing a lot of work to keep up the energy. Secondly, despite a 35 percent decrease in tempo, the song retains if not increases its energy throughout the four measures. Alex Kapranos has deemed their tempo decision "kind of the wrong way to do it, but it kind of works in that song." He's underselling it the slowdown more than kind of works.
Firstly, it comes at an unorthodox spot, but it's sold wholesale by the whole band to the point that it doesn't feel odd - it just feels fitting. In the bridge section, Bob abandons crotchet root notes in favour of a melodic sub hook that outlines the A Dorian mode – notice how the 2-bar pattern alternates between descending and ascending lines to create interest.The slowdown works so well on "Take Me Out" for three main reasons. Bach being the undisputed heavyweight champion of weaving multiple melodic lines in contrary motion (those who are curious about counterpoint should read ‘ Evening In The Palace Of Reason’ by James Gaines or – if you’re feeling brave – Douglas Hofstadder’s brain-melting ‘ Godel, Escher, Bach: An Eternal Golden Braid’ for more on the subject).Īs the intro comes to an end, the tempo slows as the band signposts the main event of ‘Take Me Out’ – the repeated guitar melody that is underpinned by solid crotchets from the bass, locking with the four-to-the-floor drumbeat. This notion of having two (or more) melodies which simultaneously move in different directions was the staple of the Baroque era, with J.S. This is just a bunch of good songs by 5 modern British bands you know. After 50 Seconds: Marquee Moon By Television/Float On by Modest Mouse. Bassist Bob Hardy shows that he isn’t afraid of utilizing the ‘dusty end’ of the fretboard, frequently playing in the same register as the guitars. Before 50 Seconds: The Strokes - Trying Your Luck / Take it or Leave It / Reptilla.
The bass and guitar both have independent parts that move in different directions, creating a series of different harmonic intervals as the intro progresses. The song’s intro actually shows an interesting musical device that seldom appears in commercial rock and pop songs – counterpoint.
The lead single from the album and perhaps the band’s best-known track, ‘Take Me Out’ was Franz Ferdinand’s international breakthrough hit, combining punchy guitar hooks and a shout-along chorus with influences taken from dance music.
(If any readers can think of a genuinely excellent band name then PLEASE email and I will arrange a suitable prize).Īnyway, enough of my personal grievances back in 2004 Scottish indie darlings Franz Ferdinand were achieving chart success and critical acclaim thanks to their debut album (imaginatively titled Franz Ferdinand), which won them the Mercury Music Prize, a Brit Award, a Grammy nomination and has shifted almost 4 million copies to date. The band behind ‘Take Me Out’, Franz Ferdinand, are no exception, but there’s something about naming a band after the Austrian duke whose assassination triggered the outbreak of World War 1 that’s particularly awful. U2, Coldplay, Radiohead, The Beatles, Pink Floyd – regardless of how great they may be musically and commercially the reality remains that they all are garbage. Here’s a thought to consider: all band names are terrible.