This Delicate Rate We've Made: The Darren Hayes / Savage Garden Rate - WINNER announced

What will win this rate?


  • Total voters
    14
  • Poll closed .
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A Thousand Words
Album track from ‘Savage Garden’
Average: 6,827
Highest score: 2x9 (@jtm, @CorgiCorgiCorgi)
Lowest score: 1x3 (@funkyg)

Darren: "The first track Daniel and I wrote and finished together was A Thousand Words. And it was... funny, I remember sitting in his front room and we said, "Let's... we're gonna do this, let's write some songs" and he said "What do you want to do?" And I said, "I've been working on this song" and... I pulled out the chords to Right On Time by... uh... that band, whatever that was (Daniel: Nightclubs... ) (Darren demonstrating the tune: Dan-dan-dan-d-dan dan) really simple house song and y'know and sang this different melody over the top, thinking I could fudge it, and Daniel said, "Eh, well, you know, we could go that way, but a zillion bands have, y'know, what do you actually want to do?" and we started talking about music and I was really into Achtung Baby... by U2 at the time and, I don't know, Daniel... was a big fan of INXS and Seal, I guess. But he pulled out a chord progression, which is the chord progression in this song and I pulled out a like a Manchester kind of beat... to go over the top of it, and it became... it filled the room. I remember thinking, "Wow, this is the most full, you know, piece of music I've ever heard in my life." And when I look back now, Daniel probably thought it was really simple, but for me, it was the most musical thing I'd ever seen or heard and... lyrically, it was... about a real conflict that I've had with... uh, uh... a friend of mine and it's someone I don't even speak to anymore. Um... it's funny, I'd had an argument with the person and uh... the song basically is about me phoning the person up and just telling them all the things that I'd always wanted to say to them, and that's, that's why it's called A Thousand Words... um... cause it's about me realizing that... in the end, (sighs) um... however sad... it is to admit it, there's probably not... a single word you could say... to make me... want to go through... this hell... and, and get back on line again and, and have this a part of my life again and it's funny because I since... sort of reconciled with that person and now I'm really not in that person's life anymore, but... the song... sums up the whole... vibe of that relationship for me, and yeah."

Daniel: "A Thousand Words... (laughs) A Thousand Words is a song... that was... it was the virgin song. It was the first song that, that happened. I, I still think you can see Darren and I learning about each other... in listening to that song. It's... that was sitting there sort of like looking up at Darren and looking up at Daniel and the songs can say different things to each of us. But I think it's great that it's on our first record because it means a lot in that way."


The Savage Garden debut album gets no break as ‘A Thousand Words’ becomes the first song to leave in the top 100.

I would have hoped for this one to stick around much longer as I like both the instrumental part and the lyrics. I probably would have used this as a single over ‘Break Me Shake Me’ and ‘Santa Monica’ (and ‘Universe’ and ‘All Around Me’).

Besides the insight from above, here’s some more info on the song from an article called ‘Beyond the Singles’:
One of the earliest tracks written and recorded by the pair at Jones’ home-turned recording studio is the ecstatic, A Thousand Words, which would appear on the group’s debut album a few years later. The track begins with eerie synths before launching into a funky mix of loose guitar riffs, a subtle bass line and stabbing keys embellished by a subtle guitar line. […]

While the pair’s compositions would continue to develop and evolve, A Thousand Words is a demonstration of the clear talent and sophistication in Jones’ musical ability, creating a vibrant and interesting sonic landscape with pop sensibilities. The composition would also be an indication of the fusion of various genres and sounds that would continue to be evident throughout the band’s catalogue. Between the funk elements evident in the percussion, contrasted with the prominent guitar riff reminiscent of rock, with pop chord progressions, it’s clear that the pair’s genre-crossing inspirations would be evident in their music.

On top of this composition, Hayes’ details the breakdown of a relationship with the lyrics, using his exceptional ability as a songwriter to paint vivid, visual images:

We stumble in a tangled web
Decaying friendships almost dead
And hide behind a mask of lies
We twist and turn and we avoid
All hope and salvage now devoid
I see the truth behind your eyes


Darren elaborates on the writing of the track, “One of the two songs about conflict in relationships. This track is a very personal snapshot of a real life argument and a play on linguistics and twisted meanings. The rhythm section of Terapie Richmond and Alex Hewitson take the track beyond its original Manchester feel and make it alive, grunting and believable.”

The exciting result of the developing song was vital in instilling confidence in the pair and encouraged them to continue to create music as Jones notes, “We were so confident after that, that we just decided to come back to each other’s house every day. And really that’s all this band has been. It’s just a decision for both of us to keep coming back every day and keep doing it.” In a retrospective interview after the release of Savage Garden’s debut album, Daniel discussed the recording of the track further and the special distinction it holds on the album, “A Thousand Words is a song… that was… it was the virgin song. It was the first song that happened. I still think you can see Darren and I learning about each other in listening to that song. It’s.. that was sitting there sort of like looking up at Darren and looking up at Daniel and the songs can say different things to each of us. But I think it’s great that it’s on our first record because it means a lot in that way.”

Wikipedia has a weird note about this song: ‘It was thought by many that an arrangement of "A Thousand Words" was later used as introductory music in Microsoft's Windows XP, however that track was actually written by linear media composer San LePard around the same time.’

I don’t hear that at all, but check for yourself here:



Finally, our commentators:

@londonrain: ‘Not groundbreaking but enjoyable all the same.’ (7)

@berserkboi: ‘Kinda passed me by’ (6.5)

@CorgiCorgiCorgi: ‘This is way more new jack swing than I remembered it being!’ (9)

@jtm: ‘This is one of my favorites from the debut album. I love everything about this.’ (9)

Listen here:

 
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Tiny Little Flashlights
Bonus track from ‘Secret Codes and Battleships’
Average: 6,831
Highest score: 1x9,5 (@Eric)
Lowest score: 2x5 (@phoenix123, @Sprockrooster)

As noted in the discussions in the last days, Secret Codes and Battleships still has A LOT of bonus tracks and b-sides lying around, so it’s high time we get to eliminating one of them. The victim is ‘Tiny Little Flashlights’, a fairly inoffensive bonus track found on the 2CD edition of Secret Codes.

The lack of in-detail coverage of the newer solo albums make it a bit difficult to find meaningful information about the bonus tracks, but I guess everyone is still busy reading the novel I pasted into the last elimination post and is fine with going straight to commentary:

@londonrain: ‘I want this to be so much more than it is.’ (6)

@berserkboi: ‘Very nice!’ (8)

@Eric: ‘I'm not sure why Spotify prioritizes this song above all others in Secret Codes in my Daily mixes but it's awesome - it definitely has echoes of the second half of Affirmation for me.’ (9.5)

@jtm: ‘I don't think I've listened to this in quite a while. Nice bonus track but one song where it's clear why it wasn't on the proper album.’ (7.5)

Listen here:

 
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Oh wow. I wasn’t expecting the debut album to be taking such a beating.

All of the remaining Savage Garden songs deserve to stay for a little while (barring Hold Me and Truly Madly Deeply).

What's with this Hold Me slander?

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londonrain

Staff member
Affirmation has zero bad songs, but I think I have a bit more of a grudge against Hold Me because its release as a single felt like such a blatant attempt to replicate the success of Truly Madly Deeply and I Knew I Loved You and reposition them as a band who did sappy love ballads.
 
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What You Like
Album track from ‘Spin’
Average: 6,835
Highest score: 1x10 (@phoenix123)
Lowest score: 1x4,5 (@funkyg)

It seems there are two albums that are getting quite a beating now that a lot of the bonus stuff is out of the way: Savage Garden and Spin. ‘What You Like’ becomes the latest song from the second half of Spin to say goodbye, and with it @phoenix123 loses another 10!

I’m not a big fan of the long runtime of some of the songs on Spin and this is another offender. The song is basically over before the 4-minute mark but goes on and on and on. It also makes listening to the album as a whole a bit of a chore. The live version below is a bit shorter and has quite a great intro.

Here’s your verdict:

@londonrain: ‘Sounds like it was written for a flop boyband but I’m here for it.’ (7)

@berserkboi: ‘Very nice!’ (8)

@Sprockrooster: ‘Filler’ (5)

@Eric: ‘So sweet…’ (7.5)

@jtm: ‘Didn't remember this was quite electronic. It's good and pretty sexy, but the beginning and some of the production are also quite annoying again.’ (7)

Listen here:



Live in London 2002:

 
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Let's Go
B-side from ‘This Delicate Thing We’ve Made’
Average: 6,86
Highest score: 1x9,5 (@jtm)
Lowest score: 1x3,5 (@funkyg)

The second to last b-side of the Delicate era bids farewell as ‘Let’s Go’ leaves this rate at a much too soon number 97. The final remaining b-side is therefore ‘Fallen Angel’ but with this trajectory who knows if that will survive the weekend.

‘Let’s Go’ was the b-side to the physical ‘Me, Myself and (I)’ single and apparently an outtake from the Tension era which I think is quite evident from both production and lyrics:
Dirty beats, crowded place
Sweaty room, angel face
You know I'm not even listening

As the beat penetrates
Wanna leave this place
I could kiss your lips forever

In my opinion this is one of Darren’s very best b-sides and I’m happy it at least outlived its side A.

Your comments:

@londonrain: ‘A great discovery for me!’ (8)

@berserkboi: ‘Very nice but he has done better!’ (8)

@rawkey: ‘One of the better discoveries from among these demos’ (6.5)

@Eric: ‘Very different especially given it's from the Tension and the Spark era - might have worked as a single...’ (9)

@jtm: ‘The sexiest song from the Delicate era and I really wish the album were more like this and less like.. what it is now.’ (9.5)

Listen here:

 

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