The other thing about Napoleon Complex which strikes me as odd now I've thought about the lyric more is that I'm beginning to question my assumption that the song is even about Napoleon the emperor. I never really questioned it previously (having Neil dress up in a Napoleon outfit to sing it on stage seemed a bit of a tell) but there's nothing in the lyrics at all that says it in so many words. It could just be about the complex itself and someone short with grand plans I guess. In which case the stage outfit is nothing more than Neil taking the lyric to its logical conclusion. Sorry we're not even supposed to be discussing this song yet But it's an interesting topic
I think you’re absolutely right- I think it’s about an unnamed person with a Napoleon Complex rather than Napoleon himself!
Speaking of which… Today’s song is: Napoleon Complex Wait, what? Have we started Foreverland? Nope, this is the original version of Napoleon Complex as released on the iTunes version of “Bang Goes the Knighthood”! But isn’t that just a demo of the finished song? Is it? It doesn’t say it is! It’s the final song on my iTunes edition of “Bang”. But why would you discuss the song now when you’re going to discuss it again as the first track of “Foreverland”? Why would Neil put it as the last track on the special edition of “Bang” and then again as the first track of “Foreverland”? Good question. Besides, didn’t we discuss “The Rise and Fall” twice? And “Europop”. And we discussed “Timewatch(ing)” THREE times. Alright; you’ve made your point. Isn’t this demo now on the boxset, so won’t we discuss it in the bonus tracks for “Foreverland”? No, it’s actually not the same demo at all. I stand by my position that this version was presented as if it were finished on “Bang” and should be considered as such, and my decision is final! Who even are you? Who even are you? I ask myself that a lot…
Napoleon Complex This is one of my favourites on the last two albums, and this version is great too in its own way. I presume that the Foreverland version wasn't released as a single (whatever that means nowadays; officially there were three singles from this album and this wasn't one of them) because this earlier itunes inclusion had already made it seem very old hat to a large proportion of the fanbase. It was the obvious first single to my mind (at the time unaware of this earlier version). Though I prefer the finished version with all its extra paraphenalia- and I do like the way the chorus is sung there, too (Cathy presumably) - it is nice to hear Neil sing the chorus. And the ending is really good on this version. I'm struggling with scores again. I want to give it five but I don't know if that's grade inflation. If this was on Casanova surely it would seem a notch below my faves and I would rate it 4? Or is it mere sentimentality, conservativism and bias taht makes me think it's lesser than those '90s greats? I'm going with 4/5, knowing I have the chance to upgrade when we get to the other version. And probably talk about the song a lot more. Off-Topic: There was a question about "My Lovely Horse" on BBC Radio 4's Brain of Britain this week.
Was that always obvious to you though? Up till now I've always considered it to be a song about Napoleon and his invention of the circular firing squad. But now I'm forced to accept that it's actually about an imaginary person boasting about having invented something that doesn't even exist. It's very disconcerting.
Hmm. I can't say I'd ever really thought about it that deeply But listening to it again, I don't think there's anything in the lyrics to suggest a connection to actual Napoleon! (unless he wore cuban heels?)
Napoleon Complex (early version) I didn't hear this version of the song until some time after the version on Foreverland, because I didn't do my big "B sides and stray tracks mop up" until some time between Foreverland and Office Politics. I think the album version is the better of the two, but it's already a fine song in this early incarnation. I miss Cathy's vocals in the chorus, but the distorted guitar in the end bit gives the track some bite. Personally, I've never thought that it was about Napoleon - I think it's fairly obvious that it's about the mental complex itself. 3.8 (for this early version)
Well for me the key things were that it talked about him having invented a (military) method of execution, and also it talks about ruling the world (which Napoleon kind of did, for a while...) Then throw in the fact that - as I recall it - the very first time I heard it it was sung by someone dressed as Napoleon and I didn't think I was going out on a limb to think it was really about him.
I didn’t realise this was actually a real thing. I thought it was just a weird joke or something. Good to have the insights, @LivingForever and @drykid
But I think I'm saying it *is* a weird joke. The only real thing is the expression "circular firing squad", but it doesn't refer to anything that actually ever existed. I suppose you could compare it with the expression "as much use as a chocolate teapot"; the expression is real but as far as I know no-one has ever made a chocolate teapot. Although the internet being what it is, I've a horrible feeling if I google it I'll find dozens of teapots made out of chocolate now. But the point is the expression came first regardless
Napoleon Complex (1) I really like the shuffling drum beat and the really nice bass playing on this version. It’s generally a bit… funkier? I don’t so much like Neil going “Napoleon … eon… eon…” , nor the fact that it’s obviously a homemade demo, so it doesn’t get the best score, but I enjoy the song itself, so… 4?
I think I prefer this to the finished version, sure it's a bit raw in places (especially the soloing on the outro) but it has more of a band feel, even if Neil is the only one actually playing on it. I find the Foreverland version over-produced by comparison. It was probably a good idea to drop the bit about Thatcher; it's generally better in my opinion to keep politics out of songs *unless* you're actually writing a political song, which this clearly isn't. I can't give it high marks even in this version though, because it's just another joke song for me. I think it makes an interesting comparison with Randy Newman's "Short People" which tackles the same subject in a much edgier way. Although saying they're about the same subject doesn't necessarily mean they're making the same point, but then again the Newman song is a whole discussion in itself... But anyway my point is I prefer my satire edgier I guess. 3/5 (I'm feeling generous today.)
Napoleon Complex I've never heard this version before and didn't know it existed until yesterday. Lyrically, there's that little difference with 'if they only knew his name' (rather than 'who will make them scream his name'), which perhaps makes it more obvious that it's about the idea of the Napoleon complex rather than Napoleon the person. I think I read somewhere that it might have been (partially) inspired by a certain short Irish rock megastar...? (namechecked in Ireland Ireland ). I quite like the Margaret Thatcher line, but ultimately think 'child catcher' works better. Yeah I'm not keen on the 'Napoleon - eon -eon bit either!' The bass is great and the drums sound real to me (though I'm no expert!). Is it definitely just Neil? Perhaps this is one of those demos he spent ages trying to play decent drums on? (I'm sure he said that somewhere in the box set notes). Overall, I miss Cathy's backing vocals and the massive, ridiculous echo on the word 'power' but otherwise I did enjoy this version. But I'm not quite sure I really like the song itself, although that may be because I'm struggling to divorce it from it's context on Foreverland, where every song is either openly lovey-dovey, or is about Cathy and/or Neil, only thinly-veiled beneath the guise of a costume drama/ BBC 4 documentary... But we'll discuss this when we get there...! So I'll give it 2.8/5
Interesting! (I've never heard Brain of Britain but remember it being sent up weekly on Dead Ringers so almost feel I've heard it...!)
Napolean Complex First time hearing this version, I think, having missed the iTunes bonus tracks at the time. This, in this form, is the best of the four, though it's hard to judge because of my familiarity with the Foreverland version. I'd certainly say this version is less good than the later version - the rhythm is bit more plodding, and it definitely sounds more home-made (though, in fairness, it's certainly good enough as it is - his home recordings from here on in are perfectly releasable). And there are parts of this that I like a lot - the double tracked vocals, the bass line, the guitar part at the end and Margaret Thatcher all stand out. Some interesting discussions about the meaning of this one - I've always assumed this was about someone with a Napolean complex, rather than Napolean himself, and that the costumes were inspired by the song after the fact. I think I also assumed, given that Neil is himself not ever so tall, that he was essentially referencing himself in self-deprecating fashion, but I might be wrong about that - I haven't given it a lot of thought. 3.5/5
Well he refers to his own height when discussing the song in the sleeve notes, so it's clearly partly about himself at least. It's interesting to look at the lyrics written down and see just how little there is to this song: Napoleon Complex Napoleon Complex Napoleo-eo-eo-eo-on Who pulls the strings? Who makes the deals? Stands five foot three in Cuban heels Who gets all the girls Then wakes up again? Who will rule the world? Who will make them scream his name? Napoleon Complex Who was the true inventor of The infamous circular firing squad? Who has all the brains But none of the stature? Who'd make the Child Catcher Cry for mom and run away? (OK that's the final lyric, but it's near-enough to the demo being discussed.) When you have a lyric that's as brief as that, I suppose you have to consider the possibility that even Neil isn't sure what he's writing about but just throwing in a few thoughts around a basic theme. And if he doesn't know then we can't be expected to either
I'm assuming it's all Neil because that's my understanding of how he does those demos. But that bass line is quite elaborate (and clearly played live rather than sequenced); I still think it's Neil but he's not a bad bass player if that's really him. Part of the problem with assessing Neil's talents as a multi-instrumentalist is that he only ever plays keyboards or guitar live so it's hard to have much to go on. I seem to remember him saying in interview that he only played lead guitar live when with a band because he was terrible at playing rhythm guitar (or was it the other way around? I'd look for the interview except it was years ago and I doubt I'd find it...)
That's true, but don't forget that he played most of the instruments except drums and strings on "Liberation" and "Promenade", and a lot of them on "Casanova" too... I think a lot of us were taken aback at that when we covered those albums - there's some really nice playing on those, especially in the bass department!
He said something similar in the Victory For The Comic Muse documentary - he'd written himself out of all the playing as his timing wasn't very good. I don't think it helps that Neil plays down his abilities as a musician in interviews, including the instruments he plays live. It makes me forget that he played practically all the bass, keyboards and guitars on the first three albums, and he must have improved a lot since then. Actually, it still surprises me that the 'band' instruments on Casanova were largely played by Neil as it feels it's on another level, so I'd just presumed the 90s band lineup played on the album and I can't get rid of that idea! There's a difference playing live to on the record, of course, but the fact he's spent most of his career playing alongside Guildhall-trained classical musicians may well have made him feel he's less capable than he is (and he doesn't seem like a person who was brimming with self-confidence to begin with).
If you listen to Neil play Lucy on solo acoustic guitar then that's quite a difficult rhythm to play and sing over at the same time (I wouldn't know where to start), so that alone makes me think he can play rhythm guitar better than he likes to acknowledge. Although I suppose it's easier when you're the only musician on stage because if you slow down or speed up slightly then there's no-one else to be put off by your dubious timing. I suspect it's more a case that he has to sing too and playing lead lines just allows him to concentrate more on vocals. If I was him then I know that's how I'd want to do it too. Yeah I should re-visit those earlier albums (not that I need an excuse really.) But I'm listening to music on headphones a lot lately while exercising, and the bass at least is something that's far more noticeable when listened to that way (for me anyway) so it might shed new light on his abilities.
When I discovered this song last year, I'm pretty sure that I read or saw an interview (perhaps even more than one) where Neil said exactly that: he was referencing himself because he isn't exactly tall and can be quite ambitious.
I haven’t listened to it in years. Radio 4 used to have it in their 6:30 pm slot, which is now usually reserved for comedy and it tends to be on whilst I’m working. Makes ‘Only connect’ seem like ‘Tipping point’.
Actually ignore the last post: I was thinking of the ‘Round Britain quiz’; that’s one for the esoteric amongst you.
These quotes confirm this is correct: From BBC Arts - BBC Arts - The Divine Comedy: Writing silly songs isn't easy From Napoleon Complex by The Divine Comedy - Songfacts
