Released: 9th June 2008
Format: CD & 2x 7" Vinyl & Download
Highest Chart Position: 25
CD:
01. We Are The People
02. Calling Out For Days
7" Vinyl 1:
01. We Are The People
02. Calling Out For Days
7" Vinyl 2:
01. We Are The People
02. Somewhere To Call Your Own
Download:
01. We Are The People
We Are The People is Feeder’s (count them) 26th single release and the first from their delicious new album ‘Silent Cry’.
An odd choice maybe for a single, and an even odder one for a first single - you get the feeling that Tumble & Fall’s bizarre success in the charts had something to do with it, because We Are The People is to Silent Cry what Tumble & Fall was to Pushing The Senses. And except for its album beating b-sides, it’s hard to understand quite why Tumble & Fall did so well in the charts. It was a bit like Hamilton Academicals getting to the World Cup Final and playing Brazil. It didn’t really deserve to be in there, but it was and that confused everyone. Maybe Echo snuck out and bought back all the copies they put on sale, or maybe all the other CD Single manufacturing plants for that week’s releases simultaneously burnt down in an FFS Pro Boards-esque ‘fire’. Either way, success was there’s and it tasted sweet as cake.
Despite charting at #25 (the lowest first single charting position since Day In Day Out way back in the 20th Century) We Are The People actually did quite well too, with hard-copy sales putting it at a far more respectable #6 in the UK Charts – and only digital sales letting it down. This brings us on to the biggest of all gripes we have with We Are The People – digital sales were almost non-existent because the digital content was non-bloody-existent.
The option to download We Are The People was largely irrelevant without any B-Sides, since everyone who would have downloaded it had already either bought the CD, pre-ordered the album or downloaded it illegally last January, yet B-Sides weren’t even an option. This is the first review we’ve ever written where we still haven’t heard all of the content of the release, since ‘Somewhere to Call Your Own’ sits ‘exclusively unplayed’ on one of the two 7” vinyls now gathering dust on the top shelf – a victim of a modern household who’s record player hasn’t worked since sometime after the Jacobite rebellion. Vinyls are great to collect and are good at lying around the house making you look like you’ve got a real music collection whenever you throw a house party, but keep exclusive content off them please and we won’t hate you so much for releasing them for every bloody thirty seconds.
Despite WATP’s chart failings, it’s worth bearing in mind that whilst Feeder have a decent track record of first singles, with Buck Rogers, Come Back Around and Tumble & Fall all doing reasonably well, they have an even better track record of second singles, with Insomnia, Seven Days, Just The Way I’m Feeling and Feeling A Moment all doing better. So there’s still hope yet - fingers crossed for Itsumo or Tracing Lines to sort that out next time around, but overall we’re quite pleased with the direction the new campaign has taken so far. Yes, ‘We Are The People’ probably is one of the weaker songs on the album, but then, it’s a very good album, so it’s not saying much.
It’s a lively but harmless track that has a good rhythm about it - a really good crack at doing something epic, and probably the most political Grant’s ever been, with lyrics finally about something rather than nothing, and without all the usual coming back, coming around, coming back around, fading out, fading to grey, turning to grey, calling out, calling out to grey, calling out to come back from fading to grey, etc. etc. It’s actually closer to previous single ‘Save Us’ in sound than anything on the new album, but bridges the gap well and dismantles the opinions of those who described Feeder as a schizophrenic band who change the direction of their music every five minutes.
Calling Out For Days, the one B-Side we can listen to without travelling back in time to the 70’s, is ‘OK’ - ‘OK’ like a blueberry muffin as opposed to a chocolate chip muffin, but not a song that will capture the hearts of too many people. At least not in the way a chocolate muffin would do. It has some good build up sections, but falls short with a repetitive chorus that just shimmers away from exciting just when it looks at it’s most promising. Which is a shame because the buck well and truly stops there when it comes to bonus ‘stuff’, because outside of WATP, one B-Side and one song that might not even exist for all we know, there’s absolutely bugger all else.
No videos, no documentaries, no lyrics screens, no live tracks, no acoustic tracks, no starving third world children, no nothing. Even the Tangerine single gave us more content than this, and that cost the same as a Big Mac. Stick Grant’s acoustic cover of Johnny Cash’s ‘Hurt’ on there and everyone would have been happy. Stick Grant’s cover of Johnny Cash’s ‘A Boy Named Sue’ on there and Coldplay may as well give up their music careers and open up a burger stand on the M25.
Maybe we’re wrong, but wasn’t that dodgy YouTube video of the Grinch driving around in an old Cortina that won the Miss You video competition supposed to be included on this single? If it was and it was taken off, good. It was rubbish and we’d have only whinged about it if it had been on there, anyway.
Once again, all pre-ordered copies of We Are The People came signed by a different member of the band, which is nice, but makes you wonder if their signatures are actually worth anything anymore with almost every album/single/promo/poster/banjo arriving with the band’s autographs plastered all over them. I’m actually starting to get a little paranoid that maybe I have Feeder band members following me about during the day with black felt tip pens. Maybe Echo should resolve this by axing the whole album and single artwork thing entirely for future releases and just slip a blank cheque in the CD case instead.
Speaking of artwork, the lovely black and gold designs and symbols are some of the best we’ve seen in years and work really well to make the single look sexy like it has actual music on it you can listen to. Unfortunately they’re spoilt by a large clip-art picture of a crow on the front that seems to have no bearing or relation to the rest of the art direction at all, like having kit-kats on toast, or something. Maybe they had some crows left over from the Shatter artwork they needed to use, but some moody black and white photography as seen in The Singles campaign bordered by some black and gold trim and stylings would have been totally fucking awesome. A bit like kit-kats and toast, but not necessarily together in that order.
6 / 10
time for fan power once more guys, lets flex our muscles and remind them why we're the best group of fans around, we did it for Shatter, now add your voice to the campaign to get a physical Tracing Lines/Silent Cry release AND a new track!
http://www.ipetitions.com/petition/feeder/