“Epic, a four-letter word which this song truly deserves” / Ode To The Dudes by Quinlan Porteous
I’m going to have to use a four-letter word which this song truly deserves. And you’ll perhaps be upset – because “epic” is one of those annoying words. Like “iconic” it’s slapped onto cultural artefacts unworthy of the name, anything from ice-cream to underwear. One more instance of how late-stage capitalism robs valid concepts of their power in the service of the almighty buck.
Quinlan … “If I didn’t know I could deliver a spirited vocal, I wouldn’t have taken on this iconic Billie Reid song. To do justice to the lyric, thus to Billie, I needed to be fearless. I wanted to offer up a musical creation, more so than just release another song, that not only paid homage to Billie Reid the poet but to Billie Reid the Planet warrior, thus supporting the cause, that is, the movement against our planets reckless destruction, that Billie is so passionate about. I think I’ve done that. I laid my soul out there, and I’m proud of what I’ve produced.”
The fact ‘Ode To The Dudes’ brings to mind such thoughts in seeking to write about Quinlan’s take on what is probably Billie Reid’s defining lyric tells you a good deal about the song. Quinlan wanted to do the words justice – “I needed to be fearless”. You can judge for yourself, but I’m inclined to agree with his assessment – “I laid my soul out there.”
In its tone and sonics ‘Ode To The Dudes’ evokes a powerful politically-charged track from late in David Bowie’s career – ‘I’m Afraid of Americans’ – a collaboration with Trent Reznor (Nine Inch Nails). Like that potent meeting of talents Quinlan draws on a pre-existing song which others breathe vital new life into.
Just how is this track epic? Let me count the ways. For one, I can’t think of another that captures, in less than 150 words, how humanity has gone from living on the land to exploitation by those who see others only in their capacity to generate wealth for themselves. The way I’ve put it there suggests the track could be a tired rant, but Billie’s words have a timeless quality, taking you on that journey through his ability to tap into mythic concepts with a few impeccably-chosen phrases.
Quinlan draws on the full range of his vocal talents, taking listeners from folk ballad to anger, against a backdrop that steadily builds up a sound-picture with wailing sirens and hints of riot. It works to good effect, alchemical production part of what it shares with the Bowie track. And again – as with The Thin White Duke’s restless explorations – there’s a more experimental mix of the track, ‘Ode To The Dudes (Ext-Re-Mix)’, that stretches sonic possibilities further still. Producer SquidEyes serves up propulsive explorations akin to an action painting inspired by the song’s anger – not one you’ll listen to so often, but one of those pieces of music that’s perfect for cranking up when you’re in the right kind of wrong mood. In 2022 it’s likely we’ll be feeling it more often.
Charlie Reynolds