Jimmy Smith - Got My Mojo Working

ORIGINATION Got My Mojo Workin'
LAST LISTENED TO the other night
CHANCE OF WAKING TO IT always good
RATING

Well, it's about time! Long time readers will by now have noticed my liking for Jimmy Smith and right here is my all-time favourite Jimmy Smith track (or it is most days). It was recorded 17th December 1965 and was the first song that he sang on! This at the time came as quite a surprise and it's no wonder as he had been putting out albums for nine years by this point, with not one vocal sound on any of them (my estimate makes it around 33 albums). His voice is rich and bluesy and he went on to use it many times.

However, it is not Jimmy's voice that is the centre of attention here. It is his organ again. As usual. For over four minutes, making up the biggest part of the song, there is in my opinion simply the best organ solo you will ever hear. Anywhere. Ever. Ever. I don't have the technical music ability to describe it accurately. In fact, even laying aside any accurate descriptions, i don't think i could possibly do it any justice with any combination of words. For me it is the quintessential Jimmy Smith solo. It begins up high and mostly stays there, using repeated phrases endlessly, at other times hanging onto single notes for long periods. It's blue. It's funky. It moves me. It's perfect. If you don't like it i may never speak to you again.

Goldfingers

This morning found me waking to a combination of several versions of John Barry's main theme from the film Goldfinger. So, in roughly the order that they appeared in:

Jimmy Smith - Goldfinger (Part I)
ORIGINATION Monster
LAST LISTENED TO last night
CHANCE OF WAKING TO IT good, but
RATING

There are two things that make this my favourite version of the Goldfinger theme. Firstly, of course, is the fabulous Mr. Smith and his mighty organ. It is a fact that no one beats Jimmy Smith for organ satisfaction, even here where he hardly appears, that is still the case.

The tune has a long introduction, making for a great, teasing beginning to the Monster album. A third of the way in, Jimmy plays some melody and vocal lines, forming the middle section. He only begins to solo in the last 45 seconds and it's a typically great Jimmy Smith solo, coming in on the high notes and working it's way down, repeating phrases all the way. Blue and soulful.

The secondly reason for my love of this version is Oliver Nelson's arrangement, which brings in further elements of the Goldfinger score. In particularly, the first minute is largely taken from Dawn Raid Over Fort Knox, which is the dramatic highlight of the original Goldfinger soundtrack.


John Barry - Goldfinger (Instrumental Version)
ORIGINATION Goldfinger OST
LAST LISTENED TO November
CHANCE OF WAKING TO IT good, by association
RATING

Not the best known version on the original album, but for me the better of the two. It is more forceful, with a greater variety in textures and features a Beat-sounding guitar part instead of the vocals, which hints at Barry's earlier work. This version also throws in elements from other parts of the score, in manner that clearly inspired Nelson's arrangement for Jimmy Smith.

John Barry - Main Title: Goldfinger (Sung By Shirley Bassey)
ORIGINATION Goldfinger OST
LAST LISTENED TO November
CHANCE OF WAKING TO IT good, by association
RATING

The famous one. It's a great moment in pop history and, whilst it's not a song that i'd ever write anything bad about, it's doesn't have Jimmy Smith on it. It does, however, have a great crescendo and some lovely little Bond-theme moments.

Ray Barretto - Goldfinger
ORIGINATION Señor 007
LAST LISTENED TO January
CHANCE OF WAKING TO IT good, by association
RATING

Take a top latin-percussionist, add a whole load of Bond tunes and shake (not stir) well. Viola, a great party album. The version of Goldfinger is sadly not the best thing on this album, but it's great fun and more parpy than any other version of the tune. The atmosphere is also really quite different.

And finally…
There were sadly a couple of version of Goldfinger that didn't make it into my head this morning, but i feel deserve an honourable mention. Firstly, there are several more by Jimmy Smith, starting with the Part II Version from Monster, which sounds similar to Part I, only a good bit faster and with much more of Jimmy soloing. There are also two live versions, which may be in fact one version edited differently. Next comes Beatle-fave Billy Preston's, which has something of a Booker T. & The MG's feel. Unfortunately, he set his organ for a very rinky-dink sound, which is a fairly pants organ sound. Lastly comes Count Basie and HIs Orchestra, giving it a smooth, bit band setting. This is from his album Basie Meets Bond, which is well worth tracking down.

Aretha Franklin - Rock Steady

ORIGINATION 7"
LAST LISTENED TO a few months ago
CHANCE OF WAKING TO IT pretty low
RATING

Aretha does funky soul for dancing to. It's very good. I am not good today, so that's all you're getting.

Harold Melvin & The Bluenotes - Don't Leave Me This Way

ORIGINATION 7"
LAST LISTENED TO no idea
CHANCE OF WAKING TO IT low
RATING

Yes, yes, yes. I love it when that weird lump of grey stuff pulls a beauty from the past that i had forgotten.

Many people have had a go at this tune and many of them have made good versions (i grew up with Jimmy Somerville's, for which i have a particular soft spot). However, the original version is about as good as it gets. It was recorded for Kenny Gamble and Leon Huff's Philidelphia International label in '75, when they had become the biggest names in soul music.

Harold Melvin & The Bluenotes had been around since the '50s. They found a place at Philly International early on, primarily because of the talents of their lead singer. By this point in their career, however, Melvin had taken a back seat and was no longer the lead singer. Instead it was their one-time drummer, Teddy Pendergrass.

Don't Leave Me This Way begins with some delicate electric piano and percussion, before slowly building into a smooth mid-tempo piece of '70s soul. The lush sounds of Gamble & Huff underpinning it are unmistakable and gorgeous. The crowning glory of the song is the chorus. Pendergrass' testifying over one of the greatest build-ups in soul pulls together the best of both gospel and secular music. Only those with no soul could fail to be moved by it.

Such a lovely way to celebrate 200 posts!

Another fine monday morning mess

Luckily this morning i'm too tired to have much concern about what follows, although i probably should. Both this lack of concern and what follows are the result of being wrenched out of an odd dream by a nasty, nasty alarm clock.

So, it starts with fragments of Anthrax's Making Me Laugh bouncing around inside my head. This is itself a quite unwelcome beginning to a monday. Not entirely because of it being a harsh piece of '80s thrash, but mostly because it is not a particularly good piece of '80s thrash. In fact i can hardly remember it, which is enough reason for the slight dislike. Naturally, if it had been good, i'd have made more of an effort to keep a copy of it. Since i have no copy of it these days, it must be bad. Yes?

Anyway, after a few minutes of that, i find to my surprise that it has been joined by the Fairy Liquid jingle (the one involving hands and dishes). This, i hardly need point out, is much less welcome then my first guest and is much more bizzare in occurance. It's really quite horrid, in fact and i quickly wish that it would stop.

Handily, the Maiden burst in not long after the soapy nonsense, with a lovely rendition of their signature song (you can find out more about that here) which wiped the floor with the early imposters. I spit on them. Ptooey.

The Jimi Hendrix Experience - Little Miss Strange

ORIGINATION Electric Ladyland
LAST LISTENED TO during the week
CHANCE OF WAKING TO IT poor
RATING

Little Miss Strange is my least liked Hendrix track bar none. This is mostly because it sounds nothing like a Hendrix tune, for which there is a very good reason: Noel Redding.

Redding was the bass player for the Experience. By '68, he was not happy with his place in the band, especially with the erratic schedule, party atmosphere and multiple takes involved in the recording of Electric Ladyland. Hendrix would often vanish for days on end, when he was supposed to be in the studio and it was during one of these occasions that Redding brought in Little Miss Strange. It became the only new composition on the album that was not written by Hendrix. Further, Redding not only wrote the song and played the bass on it, but he also sings and plays the guitar, with Hendrix's only apparent input was some overdubs on the near-complete track. Consequently, the song stands out nastily on this great album and is the only part that really shows its age.

In the mid '90s, a documentary about the making of this album laid bare much of this. It also shows that Redding still has an axe to grind. He only ever refers to Jimi as 'Hendrix' and he insists that their version of All Along The Watchtower is not as good as Dylan's original (even though i am pretty sure that Dylan himself doesn't). Little Miss Strange was, apparently, only included on the album as a sop to the disgruntled bass player. I am sure i'm not the only one who wishes it hadn't been.

It's a tune that the skip button on CD players was invented for and is lucky to get two stars.

The Rolling Stones - All Down The Line

ORIGINATION Exile On Main Street
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT pretty good
RATING

It's quite a good song, isn't it? And the album is, of course, rather good too. Famously so. The thing here, though, is that i have never listened to any of the tracks individually. I've only ever listened to the album as a whole. A bit odd, but that's just how it is. Which means for me that, due to the overall high quality of all the tunes, no one stands out above the others. Bits of tunes stand out, sometimes. This is the case for All Down The Line. It has some nice backing vocals and good brass support. Which is all i remember about the song. It's good, but it's not great. Am i being unfair? I hope not.

Boney M - Brown Girl In The Ring

ORIGINATION hell
LAST LISTENED TO not even once
CHANCE OF WAKING TO IT awful
RATING

I thought i had no song this morning. It was a bit odd. But no, just as i was making my packed lunch, this crap started up and it just won't let go. I'd really like it to stop now, so i shall never mention it ever again. Does anyone have the number for a good exorcist?

Hanging my head in shame

This morning i had this lovely little brassy latin break in my head. Ba-dum, ba-dum, ba-dum, ta-ra, ta-ra, or something. Nice and jazzy. It was sampled by… ah… um. Bugger. But originally it was from… ah. Definitely bugger.

I could hear the whole thing in my head and it was a good few bars long. But i just couldn't get it. For the first time in several years, i was totally stumped by my morning song.

Now at lunchtime it is totally gone, so i shall never, ever know what it was. Instead i shall suffer from a vaguely disquiet feeling for the rest of the day and hang my head in shame.

Chris Morris - Motherbanger

ORIGINATION Select flexi disc
LAST LISTENED TO some years ago
CHANCE OF WAKING TO IT miniscule
RATING

Yes, that Chris Morris. Brass Eye, The Day Today, Jam. In the early '90s, before any of this, indie rag Select put out a free flexi disc of his work. It was, i believe, recorded specifically, and began with a spoof radio show, titled Wayne Carr In The Afternoon. It fired some very accurate shots at noxious, moustache-wearing cretin Steve Wright (who was quite popular at the time) and his idiot followers.

Next, there was the infamous phone interview with journo-fool Piers Morgan, where Morris pretended to be Bono. Morgan was convinced to print in The Sun that U2 where going to be supported on tour by NWA, that they would co-perform One Less Bitch at Alton Towers, that they had always been a black dance band and that they were going to quit after the tour.

The disc ended with a song. In this case the joke was at the expense of the Pixies and took the form of a reworked (and very reworded) version of their tune This Monkey's Gone To Heaven. Musically it was a spot-on take. Lyrically Morris was at his close-to-the-bone best. None of it is a fitting subject for an innocent music blog. However, just to give you a taste here's the last line: 'embalmed her dying body for necrophilia'.

The man is twisted. Thank god.

The Rolling Stones - You Can't Always Get What You Want

ORIGINATION Let It Bleed
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT mucho high
RATING

This is not my favourite Stones song and it probably never will be. But as a song it is perfectly realised. The slow build up through the gradual addition of instruments is nothing short of perfection. It seems rather pointless to describe fully the whole of this build up, as it is so well known. Instead i will single out a few particular moments that stand out.

First up is the crystal-clear diction of the choir at the opening, which never fails to bring a smile to my lips. This is followed wonderfully with a bare guitar, the sheer simplicity of which almost gives the impression of the song drawing breath before its climb. It also works as a great contrast to the very proper choir. The organ embellishments after the line 'I went down to the Chelsea Drug Store' are restrained but add a lovely touch of soul. Later, with the choir returning for just a few bars in anticipation of the climax, the song just steps up a gear, showing its power and depth. Then there are the piano rolls near the climax and finally the climax itself, particularly Charlie kicking into double time on the fade. Just wonderful.

Today i also noticed for the first time the quietly-mixed bongos that appear a few minutes in, which mesh with the drums to add just one more texture to this complex weave. This depth of layers is just one more great thing about the song.

As i wrote to being with, this is not my favourite Stones song. Only Gimme Shelter or Sympathy For The Devil will ever be that. This song, however, will never be less than third best.

And i've not even mentioned the resignation-to-redemption truth of the lyrics, that the music echoes and which drives home the utter correctness of the song's message: you can't always get what you want, but sometimes, if you try, you might get what you need.

Monday morning mess

The shock of an early alarm and a head full of fuzz confused issues too much this morning. I ended up with a big old mess of random snatches of music. The biggest and most continuous snatch was from AC/DC's Rocker, but this was interspersed with a near equally large dose of Public Enemy's Welcome To The Terrordome, both of which would merit a decent mention in their own right. However, there where so many other bits and random pieces kicking around that it doesn't seem fair to pick out just the two. There was bits of the Beastie Boys The Biz Vs The Nuge, for example and even a part from Chris Morris' Pixies spoof Motherbanger which was a real shot from out of nowhere.

Ultimately, there was just too much random noise for anyone's head on a monday morning. No way to start a week.

The Rolling Stones - You Got The Silver

ORIGINATION Let It Bleed
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT pretty high
RATING

This week was Let It Bleed week. It was on a fairly continuous rotation in the mornings. Funnily enough, You Got The Silver is my least favourite track on the album. Not that that is saying much as in my opinion, Let It Bleed is one of the best Stones albums. It opens on Gimme Shelter (which would probably make my all-time top ten tracks by anyone ever, most days) and ends on You Can't Always Get What You Want, which is not just damned good advice, but also a bloody good song.

You Got The Silver is one of those rare outgings when Keith gets to sings (in fact, it was the first tiime he got a song to himself). His voice is really not all that bad, but you do get the feeling that this is a car with one wheel off. It's the Stones, but not really. Also, i've never been hugely keen on their country-ish style songs, such as this one. It's just a matter of taste, i do realise.

Given all that, i do still like the track. The vocals, for all their roughness, actually fit the down-to-earth feel of the tune. In some ways you can almost hear Jagger singing them, as Richard's phrasing and style clearly echo the singer's. The real star is Richard's slide guitar work, which is really quite pretty, especially over-dubbed on his accoustic strumming. The song is also quite short, building to a satisfying climax that is over and done before you really notice.

ruined

Nothing today. Ruined by wine last night, i was. Shocking really. this morning was awful and i had no time to be noticing music. Hopefully i will be well by tomorrow…

Brentford All-Stars - Greedy G

ORIGINATION Studio One Rockers
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT pretty good
RATING

Destination: Jamaica again today! This is getting uncanny. I did spend all of last weekend listening to nothing but music from the island, but i have listened to other stuff since. Clearly it's backed up in my head. Which is fine by me.

The Brentford All-Stars where Studio One's house band (named after Brentford Road, the street upon which it stood). Studio One is one of the, if not the most important labels in Jamaican music. Its rolling cast of studio musicians included some of the best players on the island. They provided the music and rhythms for whoever was the singer on any given day. It was something akin to the factory-line inspired set up at Motown in the US, only more so, as often the music and rhythms were used many times over and in many versions. These Studio One musiciains, like their Motown brothers, worked endlessly and under different collective names, whilst only getting a handfull of releases of their own. Greedy G, under the Brentford All-Stars name, is one of their best known, or at least has become so with the rise of interest in Jamiacan music through the '90s.

It is a piece of mid-to-fast tempo funk, with a (naturally) Jamaican twist and is a good example of what could be done with primarily just these guy's rhythm tracks. The drums are clear funk, although with more echo on than you'd expect. There are also several places where they drop out, where a huge echo from them reverbarates off into the distance, in a dub style. The funky rhythm guitar is closer to its American cousin, but it just skanks too much to be regular funk. Over this rhythm section, however, things become more typically funky with nice southern-fried funky guitar picking and some tasty organ solo action.

It's not quite funk as you know it, but it still is damned funky and damned good.

Senior Soul - Is It Because I'm Black

ORIGINATION Studio One Soul (v/a)
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT fair
RATING

About Senior Soul i know nothing. What is clear, however, is that whomever they may have been, they effected one of the most sucessful Jamiacan soul covers that i have heard.

Originally written and performed by Syl Johnson, the song is the story of one man's depair caused by his given place in the world. He cries 'something is holding me back, i wanna know, is it because i'm black?' Which, clearly, is something of a rhetorical question. It is a heartfelt piece of laid-back soul, describing the injustice of the world.

In the hands of Senior Soul, the passion of the original is retained, here driven by a mid-tempo rocksteady-ish beat. Two guitars play throughout; one cranks along with a typical rocksteady skank, whilst the other, slightly distorted and wah'd, recalls Johnson's playing on the original.

It is a pretty straighforward cover. The simple translation to a Jamiacan style, together with its passion are what make it one of the best cover version you'll find on any Jamiacan compliation.

Ken Boothe - Set Me Free

ORIGINATION Studio One Soul (v/a)
LAST LISTENED TO a couple of days ago
CHANCE OF WAKING TO IT ok, i guess
RATING

Ken Boothe is better known for another song. It's another cover, like this one. I forget the name and can't really be bothered to check for it. But you'd know it, if you heard it. He is Jamiacan and does reggae, by the way.

This one is, if you've not guessed, a cover of The Supremes hit You Keep Me Hanging On. If you can imagine that song done in a rocksteady/reggae/Jamaican soul style, by a man better known for somthing else, then you've got it. It's a nice enough tune, but it's nothing special and it lacks the drive and passion of the original. Still, if things Jamaican are your bag, then you'll might well go for this.

The version here is the extended 12" version and it really just goes on too long. The original can only have been around the three minutes. This version, however, is just over seven and instead of the extended sound dynamics that you might hope for (in a dubwise stylee), it merely stretches out the instrumental parts, with little additional flair. This goes on for quite a few minutes. Towards the end, someone at Studio One clearly got bored and decided to drop the vocals back in and rather abruptly at that, even for the somewhat slap-dash approach found at times in Jamiacan music (which of course is part of its appeal). And that's it for this tune.

Hear it once. Yawn. No repeat, thanks. Next…

uck

Early alarm vs. very little sleep (inc. special guest appearance of the Neighbours showcasing their popular hit The Domestic At 3 a.m.). There may have been a song in here, but it just never got noticed in the rush for a train. Sorry.

Devon Irons & Doctor Alimantado - Vampire

ORIGINATION Lee 'Scratch' Perry & Friends: Open The Gate
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT no bad, likes
RATING

From out of the Black Ark comes craziness. Mutant organic soup dub reggae. Jah sent him here to catch vampire. Lee 'Scratch' Perry. Record producer and absolute nutter. If you have never experienced his work before, nothing can really explain it to you. However: modern studios often have at least 24 tracks (one track for guitar, one track for bass, etc); all you could need for a fertile imagination? Perry had 4 tracks in his Black Ark and he didn't see that as a restriction. He just kept mixing all the tracks down into one. Over and over. Added to this heroic amounts of ganja. Mad vibes. He created a swamp of sound that is unlike any other. A big, swirly swamp. Mountains of bass and clouds of cymbals. Vocals drifting in and out. Random found sounds and brass. Choppy guitar cranks. Vampire may be about vampires. It may even be about Island Record's Chris Blackwell whom Perry thought was a vampire (possibly literally). There are several version by differing artists, all are mostly the same tune. More or less. Recycled, remixed, reconstituted, but the same. Strap yourself down and listen to this through headphones in a dark room. Alter your brain cheap. Obadiah sent us here to catch vampire.

Prince Buster - Sit And Wonder

ORIGINATION 200% Dynamite
LAST LISTENED TO yesterday
CHANCE OF WAKING TO IT fairly good
RATING

Prince Buster is one of the most important people in the history of Jamaican music. He was both artist, writer and producer and, whilst being best known for his contribution to ska, he was of almost equal importance to rocksteady. (For the confused, ska slowed down, got rude and became rocksteady, which itself slowed down, got conscious and became roots (or reggae).)

This tune is from the rocksteady period and is typical of the style. It is not one of his best rocksteady tunes, but it is notable for some nice vocal harmonies. The song is about the Prince's lady, who he suspects of doing the dirty on him with some Rude boys. He sings that they took her home after the dance and "who knows where they took you before". Typical slackness for the rocksteady period, but interestingly the story does not then go on to feature violence (or more rudeness). Instead the Prince goes on to wonder if life is worth living, which is more than a little unusual for this period. This, along with the vocal harmonies, gives the song a slight melancholy air, which is kinda refreshing.

Booker T. & The MG's - Hip-Hug Her

ORIGINATION 7"
LAST LISTENED TO a few days ago
CHANCE OF WAKING TO IT fair, rising
RATING

The classic line up of one of the most important soul groups ever. As house band for Stax records, they backed up almost everyone on the label, including most notably Otis Redding. As writers, organist Booker T Jones and guitarist Steve Cropper wrote or co-wrote some of the biggest soul hits of the '60s.

On their own records, they were something special too. Admittedly, there were times when they drifted into hammond-a-go-go cover territory, but even here they were cream of the crop. Indeed, a case could even be made for them haven started the whole thing off but that would be a little unfair on them.

Hip-Hug Her was recorded in 1967, at a time that many consider to be them at the height of their powers. It has a huge, bass-driven groove that is liberally sprinkled that starts with some very big hammond chords from Jones, before he takes fills the first half of the tune with a funky solo. In behind, Cropper cranks out the same chords, with a guitar sound that is rougher than his usual. For a short period in the middle, the roles are reversed with Cropper soloing, before the guys head back into the melody. Naturally, just before the end Jones and Cropper take time to squeeze in another short solo each, before it sadly fades.

This is without doubt the biggest, fattest groove that Booker T. & The MG's (bad punctuation and all) ever recorded. So a final mention must be made to the guys who really built it; Al Jackson, Jr. on drums (reputed to be more accurate than a drum machine!) and Donald 'Duck' Dunn on bass (soon to be owner of a ludicrous 'tache).

Helloween - Save Us

ORIGINATION I Want Out 12"
LAST LISTENED TO last night
CHANCE OF WAKING TO IT as high as the singer's voice
RATING

Look, i was into metal as a kid and my liking for it has never really died. Sure, along the way there have been times when i have totally forgotten it, but eventually i'll have an urge for crashing chords, widdling guitar solos and squealing vocals. I can't help it. Clearly it's some sort of addiction. That's me excuse, anyway.

Helloween, for those of you who don't know (and i'm guessing that's almost all of you, with one exception who shall remain nameless but who is more known to like jazz daily these days) were pretty much a German version of Iron Maiden. This probably sounds like a bad idea and if i had any sense at all i'd agree. However, for reasons inexplicable, i rather enjoy Helloween. And it's not just because they had cartoon pumpkins as a kind of mascot (really, they did). I have plenty time for Maiden, so almost by default i have a bit of time for their Deutscher counterparts. Anyway, there was always a silly side to Helloween, not that Maiden were exactly super-serious or anything, but whatever they were Helloween were sillier. Do i need mention the pumpkins again? In fact, i do seem to recall that the slogan Pumpkins Fly Free was theirs.

And the music? Well, it sounds like Maiden. Maybe a bit faster and with less literature-based songs. Also the vocals were, if anything, higher pitched more often than Bruce's (that's Maiden's singer). This song in particular has some fine wailing. The only real problem i have with it is that it might just have some sort of christian undercurrent, which frankly has no place in metal. Or, indeed, metaaaaaaaal!

Pierre Dutour et son orchestre - Following You

ORIGINATION Music For Dancefloors: The Cream Of the Chappell Music Library Sessions
LAST LISTENED TO april
CHANCE OF WAKING TO IT better than yesterdays but not by much
RATING

Library music again! And this time one that really shows why i and so many others love library music: it's just so damned groovy. But then it's a funky hammond work-out with some killer brass lines and i am such a sucker for those. They don't get much better than this. I think today is going to be a hammond day. Again. Fantastic!

G Sorgini - Honda

ORIGINATION Vroommm: Funk Cinematique - High Performace 70s Turbo Sounds For Sprint-Exotic Movie Scenes (v/a)
LAST LISTENED TO april
CHANCE OF WAKING TO IT teensyish weensyish
RATING

It's only three stars. It's pretty obscure Italian library music from the '70s. There is no way you're ever going to hear it unless you have the LP or come round and steal mine. And now i'm watching out for it, so you'll never get your crafty hands on it. I'm onto you. Just you watch.

So, what does it matter what it's like?

For appearance's sake: it is built around a funky soul bass, with boxy, mid-range drums with psyche-like guitar splashed all over the top. It's pretty catchy, i suppose. But, you know, you'll probably never hear it, so what do you care. Go now.