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Snow Patrol: Songs for Polarbears

 A l b u m   D e t a i l s


Label: Jeepster Records
Released: 1999.08.15
Time:
 77:24
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ****...... (4/10)
Media type: CD
Web address: www.snowpatrol.com
Appears with:
Purchase date: 2007.11.20
Price in €: 12,99



 S o n g s ,   T r a c k s


[1] Downhill From Here (Snow Patrol) - 3:23
[2] Starfighter Pilot (Snow Patrol) - 3:19
[3] The Last Shot Ringing in My Ears (Snow Patrol) - 4:25
[4] Absolute Gravity (Snow Patrol) - 2:45
[5] Get Balsamic Vinegar... Quick You Fool (Snow Patrol) - 3:27
[6] Mahogany (Snow Patrol) - 2:46
[7] NYC (Snow Patrol) - 4:27
[8] Little Hide (Snow Patrol) - 2:41
[9] Make Up (Snow Patrol) - 2:12
[10] Velocity Girl (Snow Patrol) - 4:37
[11] Days Without Paracetamol (Snow Patrol) - 3:32
[12] Fifteen Minutes Old (Snow Patrol) - 3:08
[13] Favourite Friend (Snow Patrol) - 2:45
[14] One Hundred Things You Should Have Done in Bed (Snow Patrol) - 6:14

Extra Tracks:
[15] Sticky Teenage Twin (Snow Patrol) - 2:08
[16] Limited Edition (Snow Patrol) - 2:33
[17] Jj (Snow Patrol) - 1:47
[18] My last Girlfriend (Snow Patrol) - 2:59
[19] t.m.t. (Snow Patrol) - 2:51
[20] I Could Stay Away Forever (Snow Patrol) - 4:28
[21] When You're Right You're Right (Snow Patrol) - 3:31
[22] Raze the City (Snow Patrol) - 4:20
[23] Riot, Please (Snow Patrol) - 2:52
 

 A r t i s t s ,   P e r s o n n e l


Gary Lightbody - Guitar, Keyboards, Vocals, Photography
Mark McClelland - Bass, Keyboards, Photography
Jonny Quinn - Drums

Isobel Campbell - Vocals on [7]
Richard Colburn - Drums, Keyboards, Laughs on [2]
Fraser Simpson - Alarm Guitar on [11]
Tom Simpson - Turntables on [4]

Jamie Watson - Producer, Engineer
Devine Inc. - Design
 

 C o m m e n t s ,   N o t e s


1998 CD Jeepster 113141
1999 CD Never 4039
2004 CD Jeepster 4
2006 CD Jeepster 000004

The late '90s found Scotland once again flying the indie-pop flag abandoned by the U.S. scene, and the one of the groups that followed in the footsteps of Belle & Sebastian, the Delgados, and Urusei Yatsura was a quartet of expat Irishmen called Snow Patrol. The group's debut full-length release, SONGS FOR POLARBEARS, is a fun collection of melodious three-chord indie-rock nuggets of noise, given context by Gary Lightbody's second-generation slack vocals and peppered with Tom Simpson's rhythm-inducing record-scratching. Tracks like the new wave-friendly "Starfighter Pilot," the loud and thorny breakup rant "Get Balsamic Vinegar...Quick You Fool," and the soft, lazily yearning "Velocity Girl" expertly take their cues and references from the Americans who had defined this sound in the preceding past decade (Pixies, Pavement, Sonic Youth). But Simpson's nimble DJ-ing skill--scratches that reinforce the music's forward motion, samples that reiterate song points--clearly illustrate that Snow Patrol is going with the evolutionary flow rather than living in an indie nirvana circa 1994. SONGS FOR POLARBEARS boasts sonic joys aplenty.



It's a disservice to Snow Patrol to compare them to their more successful labelmates, but to say that Songs For Polar Bears sounds like Belle and Sebastian gone grunge should go some way to defining the skewed brilliance of this Northern Irish trio. Snow Patrol do some wonderful things to the conventions of fuzzy new-wave guitar-pop; pare it down into a melancholic hymn on "The Last Shot Ringing In My Ears", hyper-tense it into the caffeine buzz of "Starfighter Pilot", or let it dissipate altogether on the ethereal "Velocity Girl2. Songs For Polar Bears works because it's the polar opposite to club-footed cock rock; an album that sounds warmly empathetic, while others are all too eager to shoot their dull load of guitar machismo. That it's a little overlong is a shame - an earlier EP, "One Hundred Things You Should Have Done In Bed" was concise perfection - but Songs For Polar Bears feels like a tender bandage, while the rest of the world's rockers dully figure that if it hurts, it works.

Louis Pattison - Amazon.co.uk



Snow Patrol's 1998 disc on Jeepster Records showcases the band's sometimes-edgy indie rock and occasionally spacy indie pop. The Edinburgh, Scotland, trio mixes tempos immediately, starting off with the crunchy "Downhill from Here" and the exuberantly poppy "Starfighter Pilot." The pace slows down quickly with the third track, the withdrawn and melancholy "The Last Show Ringing in My Ears." The borderline hip-hop beats of the fourth track, "Absolute Gravity," startle the listener, making it clear that listening to the disc is going to be a colorful ride. "Mahogany" is another acoustic-based ballad, sticking out on a disc full of non-traditional beats and chords. All of the songs highlight the band's earnest approach to songwriting. Tracks like "Velocity Girl" and "Favorite Friend" are some of the disc's catchiest and most endearing songs, calling upon a pop sensibility that's somehow different from the standard 1990s indie artists. Over-indulgent song titles like "One Hundred Things You Should Have Done in Bed" and "When You're Right You're Right (Darth Vader Bringing in His Washing Mix)" are examples of the band's unabashedly quirky approach to music. They're able to pull it off with their undeniable musicianship and musical sensibilities. On Songs for Polar Bears, Gary Lightbody appears on guitars, vocals, and keyboards, while Mark McClelland chimes in on bass and keyboards and drummer Jonny Quinn rounds out the lineup. Guest artists include Isobel Campbell, Richard Colburn, Fraser Simpson, and Tom Simpson. The album was recorded in Edinburgh, Scotland, by producer Jamie Watson.

Stephen Cramer - All Music Guide



Fuzz-box poet Gary Lightbody of Snow Patrol is a quick, caustic wit, but with a gentle side: On the languid "The Last Shot Ringing in My Ears," he rhapsodizes about a pretty girl, then brings himself back to earth with the reminder, "She is someone's daughter." Songs for Polarbears, the debut from this Irish-born, Glasgow-based trio, is full of similarly frayed threads of internal conversation. The more up-tempo material suggests U.K. label mates Belle and Sebastian with a more volatile temper, or what those milquetoast modern-rock radio bands might sound like if they could write piercingly simple, declarative melodies. The softer songs, like "The Last Shot," veer toward Blur-esque existential contemplation. Between those extremes are moments of austere beauty; Lightbody morphs from fulminating preacher to spaced-out choirboy, depending on the atmosphere. Originally issued in Europe in 1998, Songs has been enhanced with five new tracks; these continue Snow Patrol's experiments with texture (a couple feature dense collisions between rhythm section and DJ) and earnest balladry (see the sad and gorgeous "I Could Stay Away Forever"), and indicate that this band has learned how to reconfigure those three familiar rock chords to serve refreshingly personal truths. (RS 827)

TOM MOON - Dec 9, 1999
Rolling Stones



Here’s another case of that situation where a label can capitalize on the subsequent good fortunes of a band they dropped. When these first two Snow Patrol records were issued by London-based Jeepster (best-know for having signed Belle & Sebastian) at the turn of the Millennium, neither the albums nor the handful of attendant singles troubled the British charts, and Jeepster bid them goodbye.

A deal with Polydor and a couple million copies sold of 2003 breakthrough Final Straw later, Jeepster is understandably giving its older siblings another go, throwing “deluxe packaging” and complete B-sides into the deal. It all looks very nice and generous, but since it’s safe to assume that no one will approach these albums without having heard Final Straw and/or its 2006 sequel Eyes Open first, exactly how much of a shocker are they in for? If it’s the radio-friendly sheen of those last two albums people want, they’ll be sorely disappointed. If they want some insight as to what makes bandleader and primary songwriter Gary Lightbody tick, bullseye. And if they’re feeling put off by the regressive MOR stance of Eyes Open, well, here’s some relief.

In the UK press, 1999’s Songs for Polarbears (a nod to Snow Patrol’s original name) and 2001’s When It’s All Over We Still Have to Clear Up are usually laughed off as the Belfast-bred, Glasgow-based band’s too-transparent attempts to sound “indie”. And it’s true that with a no-frills lineup of Lightbody on vocals and guitar, bassist/keyboardist Mark McClelland, and drummer Jonny Quinn banging out short, rudimentary arrangements that are equal parts slacker and sensitive, you don’t have to be a genius to figure out that Lightbody came of age listening to a lot of Pearl Jam, Nirvana, Beck and (here’s where the “indie” comes in) Sebadoh and Belle & Sebastian. Both albums seem to come straight from that phase of young adulthood when smoking, drinking, fucking, and playing music are the only things to do, whereas Final Straw eliminates the smoking and tones the fucking down to intercourse. Still, it’s not hard to see why the general public were unimpressed; this is much more Blur than Harmacy or Odelay. And, for most folks, one Blur was enough.

That’s not to say that these albums don’t have their share of dorm-room charm or even good songs. Polarbears boasts the post-Nirvana scrape of “Downhill From Here”, the brilliant new wave chug and synth squeals of “Starfighter Pilot” (Lightbody’s ode to, yep, intergalactic heroes and their action figure miniatures), and the fanboy hip-hop of “Absolute Gravity”, which smartly follows the line “Maybe I’m unbalanced” with a burst of guitar noise. When It’s All Over brightens up the sound just a tad, with indie new wave ("Never Gonna Fall in Love Again") and lazy breakbeats ("Ask Me How I Am") again taking the day. In a bit of foreshadowing, Lightbody’s affection for after-the-argument weepies comes into play. Some, like “An Olive Grove Facing the Sea” and “Batten Down the Hatch”, are pretty and affecting; others, such as “One Night is Not Enough” and “On/Off”, are whiny and lame. For this reason, Polarbears gets the nod in the case of an either/or decision.

On both albums, Lightbody comes across as a clever, concise, and sometimes devastating chronicler of relationship implosion, with lines like, “Small talk turns to dust in my mouth” on “Absolute Gravity” and “God only knows what Brian Wilson meant” on “Batten Down the Hatches”.  Listeners will catch occasional glimpses of the metallic drums and fuzz bass that were put to good use on some of Final Straw‘s strongest moments. Otherwise, Lightbody’s grown-men-cry voice is virtually unrecognizable, as he’s buried in effects and/or deliberately mumbling. Also, at times it is clear that the guys are trying to sound like they’re not very good at playing their instruments. Only McClelland sometimes cuts loose, single-handedly rescuing several songs.

How telling it is, then, that Lightbody kicked McClelland out of the band between Final Straw and Eyes Open, claiming “...the band could not move forward with Mark as a member”. Unless McClelland had a band-killing drug problem under wraps, listeners who are now well-versed in Snow Patrol’s catalog should read that as code for, “Mark just could not abide seeing the band he helped form go from derivative but sincere rockers to successful but calculating schlockers, so we sacked him”. Those listeners should also conclude that Final Straw and Eyes Open producer Jacknife Lee had more than a little to do with that transformation and its resulting chart success. Anyhow, those who think Snow Patrol jumped the shark with Eyes Open can pick up these re-issues and pretend it never happened.

by John Bergstrom - © 1999-2008 PopMatters.com
 

 L y r i c s


Downhill From Here

You could get arrested for
getting your kit off in the street
How many times have I told you
It's not polite to meet and greet
We'll get you home and wash you up
In a bath of cold coffee
I only do this cause I love you
And you can make things easier
Didn't you hear me when I said
Not to do this anymore
I've had enough it's got to stop
Or I will leave you then we'll see
If you could handle things yourself
Without me here to scrape you up
This is the last time I'll warn you
Don't make me leave you all alone
It doesn't matter anyway


Starfighter Pilot

Andrew's a starfighter pilot
He can get high in his jet
Tells me about all his women
He can get any I'll bet

You know I'll think of you
Your picture on the wall
I would raise my drink to you
But I'll stay sober just for you
Just for you
Just for you

Andrew's a starfighter pilot
He knows all the girls in the world
He's better than James Kirk or Tweeky
I cradle his picture at night

Andrew's a starfighter pilot
I watch him on TV each day
I've got all the toys from his programme
And all of his past shows on tape

You know I'll think of you
Your picture on the wall
I would raise my drink to you
But I'll stay sober just for you
Just for you
Just for you

La la la la la la
La la la la la... (until fade out)


The Last Shot Ringing In My Ears

Take her home
Take her past this evening
I'm not sure
Sure if I believe you
You carry a gun for fun
You use it twice as easy
I'm sure she is
She is someone's daughter
I couldn't even feel that it was
Wrapped around my head
I don't know what she's done
I don't even want to think about it
She was beautiful
The prettiest girl I've ever seen
I saw everything
Things I hoped I'd never see
She got away from him
And got on a plane this morning
I couldn't even feel like it was
Wrapped around my head
I'm coming down
Coming down the next day


Absolute Gravity

Her gravity make me feel light-headed
Small-talk turns to dust in my mouth
She doesn't know that I'm already
thinking bout how I'm gonna make her look my way
But she smiles at herself in mirrors
A little too often these days
Maybe I'm unbalanced
The way she walks, my God she'd get it
All my friends reckon she is oh so fine
But the way I talk when I'm speaking near her
She must think I crawled out of the sea today


Get Balsamic Vinegar... Quick You Fool

Cut my eyes out, dear
So I can't see your smug grin
You're right you always win
Untie my hands now
I'm game up to a point
And we're well past bedtime now
All this time away
And I'm freezing cold now
I try hard not to laugh
As she trips up on the step
And her look turns me to stone
I'm closer to the truth
She hates being on her own
But fuck her I'm leaving tonight
Why should I live this way
When I could be with someone else
I don't want to hurt her feelings
But she's a crazy fucked up bitch


Mahogany

I could help myself to something
Like a little bit of revelation
You could be the one to help me help myself
Maybe if I could see exactly what was in your way I'd move it for you
Don't always need to do it by yourself
UI'm not trying to find a way to get into your bed
I'll just sing for you
Until you fall asleep, then I will go
I never understood how you should feel
You've been left out
I'd never do that
It's all in your imagination, dear


NYC

Is this on
I am so too
I could take you there but I don't know how to get there
   

Little Hide

I wish I had a penny for
Everytime she gave me those eyes
Those eyes would cry, take me on the floor
I've been with her once of twice
In my dreams it felt so nice
I'd do exactly what those eyes told me
There's never a smile on your face
Always a gesture of disgrace
Obviously you're unhappy with my stares that I hold just too long
Of course I know that it is wrong
But deep down inside I know you like it
In my little hide
Upon the rack I'm stretched and split
Demeted as I do my bit
Whatever I could do to make you smile
I can't wait to get to bed
Not so I can rest my head
Just so I can dream about you more


Make Up

If I could understand this better
I might be a little closer to you
Brushing my face with her hair
As she pushes past towards the door
That's a little ticklish but please just don't stop
She's probably heard this a million times before
The sweep of her brush is like a gentle lick
It seems to make her like everything you want
Cause if you didn't you'd want her soon enough
That's a little ticklish but please just don't stop


Velocity Girl

Oh velocity girl
What makes you go so fast
Is it the speed you're taking
Since you gave up the drinking
Oh velocity girl
I can't keep up with you
Can't stand to be alone
Think you should be with me
Just want to stay here in your arms
Oh velocity girl
Try harder to stay put
Understand me when I say
Please don't leave today
Oh velocity girl
I don't know what I'm thinking
Since I gave up the drinking
Please just stay with me
Just want to stay here in your arms
Oh velocity girl
Can I touch your hand
Can I move it here
Don't you understand?
Just want to stay here in your arms
Just want to stay here in your arms
Just want to stay here in your arms
Just want to stay here in your arms


Days Without Paracetamol

When summer falls asleep
And winter plucks your strings
The colder that you get
Makes you feel at home
Build it up, tear it up, throw it out
If I come round there now
Would you be pleased to see me
I wouldn't make much noise
Just whimper to myself
Build it up, tear it up, throw it out
My head hurts more each time
The drinking strangles me
Believe in God, like hell
Believe in hell, by God


Fifteen Minutes Old

I'm good for inspiration, aren't I?
You will find
Well, close the door and I'll go anywhere
You take me to from this bed onto so much more
Care for you, I will
Can I have a picture of you tonight
Keep it with me always in my mind
Touch me cause I can't move
I can barely breathe,
speechless, breathless
I can't tell you if I'm here or not
Running both legs tied together
Arms in the air
Care for you, I will
Can I have a picture of you tonight
Keep it with me always in my mind


Favourite Friend

You're my favourite friend
And I adore you
Love you to the end
No one heard a word you say
You're my favourite friend
We rule the world together
With out secret codes
And plans we can't remember
From now on, must be strong
My favourite friend
You're my favourite friend
When I need you
And when I don't as well
Of course you miss me being around
You're my favourite friend
But I'm older now
I can't pretend
I can't see you anymore


One Hundred Things You Should Have Done In Bed

I haven't left here yet, but I'm trying
I'm still tied to the bed
Can you come here?
When you come, could you please bring a knife
And cut me down
Cause she is larger than life and I'm frightened
100 things you should have done in bed
But you never got the chance to try them
At least the dog has a smile on its face most of the time
I'm drained and I'm dry and I'm sore
It's not that bad if she could be here all the time
It would kill me
I think I've been broken in two and I can't scream


Sticky Teenage Twin

To run about with no style chasing her around Dundee
Making sense about as much as nonsense is meant to make sense
Sleeping in cause I'm mortified to go outside today
All this time and I have changed so much but sometimes never
Keep in time
All my love I am leaving here because I cannot cope with your man touching you and patronising me
What's his game?
I don't give a toss about what he has to say for himself or anyone for that matter
Keep in time
All this time I'm thinking if I could make you love me
I'd be better this time, swear to God
 

 M P 3   S a m p l e s


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