This is such a fantastic song, from an incredible album. There is a big temptation of linking the whole album and talking about that, as it’s only ~half an hour long, and most of the songs follow the same theme. I’ll stick with Most Of What I Like, but please please go listen to this album. It’s like a more interesting Rubber Soul (bring on da hate), the perfect album for the hard trippy-rocker to stick on when they want to put that heavy shit aside for a bit (listen to I’m In Your Mind Fuzz and you’ll understand). It’s a modern classic, do not miss this half an hour slice of life. Anyway, Most Of What I Like. It’s the song that got me properly into King Gizzard. You know, there usually that one song on an album that catches your ears and body, before you just listened to the album, now you are hooked on that song, and then all the other songs start to make sense, and then you listen to that album over and over and over, as it makes more sense every time. Think Giorgio by Moroder from Daft Punk, or Mount Hopeless by Melody’s Echo Chamber (oh how I love those songs). This is that song for me and King Gizzard. And it is absolutely beautiful.
It makes me feel lucky, appreciative, melancholy and reminds me that I miss having someone to love, to come home to after a long day and be lifted infinitely, all the day-drama been put behind and all that remains is you and your love taking on the night. Of course, I may be interpreting the song wrong, but I’d argue that once an artist releases it’s work, it’s inevitable that people will interpret in their own, and often wrong, way. But that doesn’t detract from this piece of work.
How they’ve managed to sell an easy listening, acoustic song (and album, it’s incredible) to someone who hates Bob Dylan (that guy had the worst live I’ve ever been to, for a legendary artist) is mystical and shows that the genre doesn’t matter, it’s what you do with it. Every instrument is just so interestingly composed and expertly mixed and well played. Two drummers playing simple drum lines (with the occasional quick, seemingly haphazard fill), a bit of double bass, cheesy summer flutes and twangly acoustic guitar (and a couple of other instruments and of course the vox) put together in a way that manages to give you shivers, day after day.
Give this a listen, and then give the whole album a listen. You can ignore The Bitter Boogie, it’s The Black Keys-lite. But every other song flows. You won’t regret it!!
- E