Thursday Thive: Paramore Singles

Posted on November 28, 2013


Yeah, that’s right. Paramore. The pop of all pop bands, diminutive cute singer, bouncy hooks and an absolute marketing machine. Really, with the exception of the diminutive cute singer, I should despise this band. Where is the ugliness? Where is the shameless half time? Where is the chuggedy chug? Well, you can’t argue with good songs, and Paramore are knee deep in the things. Sure, when they suck they suck, but when they are good, you can’t get the bastards out of your head. So, let’s thive it.

5: ‘That’s What You Get’
It was tough, but ‘That’s What You Get’ slips into the fifth spot. Any song that starts with a solitary snare is alright by me. This is as obvious a third single as you can possibly get, but despite that there’s something adorable about it. ‘That’s What You Get’ is to ‘Riot!’ what ‘In Bloom’ was to ‘Nevermind’, a song of continuity that will always be loved by fans long into the night. Nice summer video too.

4: ‘Monster’
Okay, let’s be honest here. ‘Monster’, a between albums single off a Transformers soundtrack, is mostly something of a mini-‘Decode’ with a silly video. Still, a darker crunchier guitar sound is always welcome, and Hayley Williams really excels vocally throughout. That ‘calling’ just before the second chorus is absolutely wonderful. The major kicker for me however when it comes to ‘Monster’ is one of what I call the standards, the oldest tricks in the Book of Good Songs. When it comes to the final chorus, you have two real options. The first of these is to strip everything except guitar and vocals, and go for the singalong end. Thankfully, Paramore went for option two, the strongest of all final chorus options. Double time last chorus. I’m a sucker and I always will be.

3: ‘Misery Business’
Again with the solitary snare opening. Is it a riff? I guess it’s a riff. Still, this was the first Paramore song that I took any real notice of, and it’s not a bad one to start with. Again, the major power of Paramore is on show here, and that lies in the incredible terror of the hook. Paramore manage to straddle acceptable and shameless beautifully. These are hooks that you can appreciate both in the quiet of a car or the noise of a club. Oh, and that silly drum fill before the last chorus is glorious. (Option three: half time last chorus).

2: ‘Still Into You’
If ‘That’s What You Get’ is adorable, I really do not have an adjective strong enough to describe this song. I just want to give it a cuddle, pinch its cheeks, scruff its hair. Adorable is defined as inspiring great affection or delight, and both of these feelings are on great display here. The video helps. This is pop music at it’s most, well, adorable. The kitchen sink is thrown at it in that respect, and sure it gets a bit Christina Aguilera towards the end, but ‘Ain’t No Other Man’ was a tune. This whole thing is just the cutest.

1: ‘Decode’
Well, duh. I still to this day remember that glorious summer in Liverpool. Myself and Ashley Morton would finish work, and head back home. Switch the TV on, head to the music channels. ‘Mountains’ or ‘Psychosocial’ would be on the gogglebox, and there was an unspoken surety that what was going to follow would be something very pleasant indeed. ‘Decode’ was released as part of the whole Twilight thing, and it is by far the best thing to come out of anything to do with vampires in the history of everything to do with vampires. Heck, I’d put it above anything Bram Stoker could create. The term ‘skyscraping’ was surely created in reference to the chorus of this wonderful, wonderful song. Great floor tom towards the end as well.

And I’ll never tire of pretending to catch a running deer.

Posted in: Music, Thursday Thive