Cinerama Cup: Last 16 (1-4)

    

The last 16: ties 1-4

This where it gets really difficult: as Jona put it, 'a torturous task.'

1. Cat Girl Tights v Barefoot in the Park

A real 'TWP Cinerama' vs 'classic Cinerama' tie, albeit one where even most devotees of the 'true' Cinerama sound have to acknowledge the quality of CGT. Not that it's entirely without its Cinerama-esque features; as I said in the blog:

Although 'Cat Girl Tights' contains some Cinerama elements - the strings swoop a little in time-honoured fashion; there's a spot of ethereal backing vocals, tinkling glockenspiel and moody Hammond organ - it's a song where you can feel the balance tipping to TWP.

Johnny, however, was steadfast in his support for 'Barefoot': 'Beautiful, beautiful, beautiful. All those adjectives that ‘he’ uses for ‘her’ - they all apply to the song itself. Give yourself up to it, let it wash over you, succumb…it’s what you need.'

In addition, props to Bob for describing CTG (even though he voted for it) as an 'Aldi Bewitched.'

Cat Girl Tights 14 - Barefoot in the Park 6

2. Health and Efficiency v Careless

A no-brainer for me, as it was for many others, although 'Careless' was not without its champions. Bob was uncharacteristically expansive about this one, so I'll hand over to him:

'Yes, the lyrics are a bit gauche, and it contains (in the title) a deliberate reference to products of the 70's (and earlier) as DLG is wont to do. Sometimes he's a bit like one of those Facebook/Twitter people who constantly post "Hey! Do you remember Spangles?" and the like. But it is a f*cking mighty tune. Careless may have squeaked through against weaker opposition, but this tie was over in the first half.'

Health and Efficiency 14 - Careless 6

3. Manhattan v King’s Cross

This was a really tortuous one for me: two of my absolute favourites (one place apart in the top ten of the blog) cruelly thrown together way too soon.  'Another cruel tie,' pondered Keg, '"Manhattan", as previously stated, could very well be my favourite Cinerama track of all time. But "King's Cross" deserves to go through too, since it's flying the flag for the true believers.'

Predictably, Johnny found himself similarly conflicted:

'Such a difficult call. In the same way the Dalliance and Dare are essentially one piece of music I cannot really contemplate King’s Cross without it’s soulful bedfellow of the Manhattan...

A killer, this is where it’s at kids. If this doesn’t make ‘all hell break loose’ down there then you have no soul. That twang, it’s the thang! These songs, this era, it’s where Gedge was really in his element, firing on all cylinders, these vivid, haunting vignettes of lives and loves lost, the pictures painted, they’re so expressive. I know the whole thing about it being film music, but these are almost aural films in their own right. The test of time will be stood, gallantly, when the fat, baldies hurling pints around the mosh pit during Brassneck are but a faded memory King’s Cross and it’s ilk will still be filling the ears and hearts of fey, little twee nerds like me.'

Manhattan 7 - King’s Cross 13

4. And When She Was Bad v Love

Another 'TWP v Classic' confrontation. I have a soft spot for 'Love' as it's the first Cinerama song I ever heard. But 'Bad', as Gricey reminded me, is also a notable memory. To quote the blog again:

'I first heard this song travelling on the A64 from Scarborough with my dear friend Gricey aka Iggy to see Cinerama in Leeds. I was struck first by the gorgeous melody, but when everything crashed in at 1:16, I was completely transported. The layers of guitar, strings and distant feedback brought back so many memories of TWP at their finest; and then when a few extra pedals get stamped on at 1:53, it felt like a homecoming.'

Bob's view:

'I love Love. I love almost everything about Love. It's a great little song, but has a rather clunky little flute solo bit which has ultimately cost it the match. AWSWB is just bigger and better. Very much so.'

Johnny was, inevitably, passionate in his defence of 'Love':

Absolute, utter perfection. It has everything, a sweeping irresistible rhythm with a chiming melody that weaves its way through pinning it all together so effortlessly, that saucy French opening - such a sweet, sexy sucker punch that lays you out just in time for the song to wash over you, reviving you like a bottle of the holy stuff from Lourdes. Those opposing vocal sections, a duet from the angels, both doing a sturdy battle with the other yet meshing perfectly on the ‘Please just believe me…’ section, it’s up there with anything that Johnny and June ever served up.'

Gav M, on the other hand, described 'Love' as 'confusingly popular.' Whereas Keg was unequivocal: 'No competition! "Love" all the way! There will be consequences if this doesn't go through to the next round.' I wait with trepidation to find out what these 'consequences' might be...

And When She Was Bad 14 - Love 6

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