A Musical Oddity


When I was first listening to music, in that far-distant land called 1970, there was an Australian band, a duo rather, going by the name of Tin-tin (whose cartoon adventures in stilted five minute bursts I absolutely loved), whose single “Toast and Marmalade for Tea” was a turntable hit, a record played heavily by Radio 1 that nevertheless didn’t chart. The following year, they came back with a follow-up, “Is That The Way?”, using the same distorted piano sounds that made their first single so distinctive. The story was the same: heavy airplay, no sales. Not even a Top of the Pops appearance, on which the signature sound could not be reproduced with even a fraction of fidelity, did the trick. End of story.

But years and years later, I found a rare Tin-tin LP, including “Toast and Marmalade for Tea”, downloadable as an mp3 from YouTube, which I planned to break down into individual tracks and burn to a CD-R for my preferred kind of listening. Tonight, feelingly massively tired, I let it play, and now I shalln’t bother recording it.

It’s too light, too wimpy, too featherweight in melody and instrumentation, too unoriginal except in that signature track, which stands out. And yet, in a weird way, it’s a near-perfect album. Because almost without exception it is an album of perfect intros.

Each songs begins with a tight, individual sound, a strong melody, the perfect cue-in that draw your ears… and then fails to live up to it in any way.

I’ve never heard that before. An album of songs whose intro makes you crave to hear what springs from it… and then disappoints unfailingly when you do.

 

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