Happy belated valentine’s day, all. I know this is a few days late now, but just to keep the streak going (’05, ’06, ’07, ’08), here’s the usual yearly song-blog entry. And with that, the obligatory V-day, behind-the-curtain status-update: Well, as per the norm, I’m as single as a one-dollar-bill. (The last time I had an actual, honest-to-goodness valentine on this day, l’il Berk notwithstanding, was in 2004. Before that, 2000.) At any rate, it’s now been years since the last gal, figuring she could do better, left with a shrug and disappeared forever…just like the one before and the one before that. And, since then and right up to now, there’s been no one in sight.
This obviously can get to be a little depressing, and, now that I’ve reached my mid-thirties by myself, I sometimes struggle with bitterness over it. Didn’t virtually every movie, tv show, song, and book I’ve ever consumed consistently promise I’d have someone in my corner? It’s not like I’ve been a bad guy. (Then again, all the evidence tends to suggest that that might well have been part of the problem. Like the old Stephen Wright joke, women have often told me I’m “wonderful” …usually right as they kick my sorry ass to the curb.)
But, oh well. I’ve got my health, my faculties, and a First World quality-of-life, so I’m already way ahead in the game compared to a lot of folks out there. And to be honest, I’ve got enough problems on my plate right now without getting pulverized yet again by someone else’s caprice anyway. Besides, given my current steady-jobless, apartment-less, penniless, PhD-less existence, which, frankly, seems less and less “transitional” as the months go by, I probably wouldn’t date me either. (As a colleague noted, nostalgically studying the depression era is turning out to be quite a bit more preferable than actually living it.)
So, no worries. Some politically-minded freelance writing gigs should get me through the next couple of months even if no steady employ is forthcoming, and one day soon, I’m sure, I’ll rise like a phoenix from the ashes of my current lowly existence. And, lo, it’ll be a New Day…just like on The Wire. At any rate, to the music:
Told you I’ll be here forever
Said I’ll always be your friend
Took an oath, I’mma stick it out ’till the end
Now that it’s raining more than ever
Know that we still have each other
You can stand under my umbrella…
As with ABBA last year and Kraftwerk in ’06, I like to kick this post off with a happy, guilty pleasure. This year, it’s Rihanna’s “Umbrella”. Yes, it got played into the ground during its single run, even getting its own Clinton v. Obama version on Mad TV last year. But, just as with Titanic, sometimes things are popular for a reason. With its Jay-Z opening, infectious hook, not-very-oblique double entendre, and inescapable chorus, “Umbrella” is pure, unadulterated pop, and a perfect lyrical counterpart to another quality hip-hop ballad, Method Man’s “All I Need”. (“Even when the skies were gray, you’d rub me on my back and say ‘baby, it’ll be ok.’ Now that’s real to a brotha like me baby…”) And now, with a lot of things “comin’ down with the Dow Jones” in this current economy, “Umbrella” is starting to sound more and more like one of the quintessential 21st-century Depression-era ballads, the kind you might find on “Sister, Can You Spare a Dime?”-type mixes fifty years hence.
[Note: I thought about writing up “Umbrella” this year before the unfortunate Chris Brown situation last week, which can’t help but inflect the song negatively. At first, I figured it might be in poor taste now and that I should choose some other pop song. But, in the end, I just decided to go with it anyway — hopefully, the song stands on its own, and will continue to long after recent events have receded.]
“Yes indeed, I’m alone again.
And here comes emptiness crashing in.
It’s either love or hate, I can’t find in between,
’cause I’ve been with witches and I’ve been with the queen.
It wouldn’t have worked out anyway.
So now it’s just another lonely day…”
On the other side of the emotional spectrum from “Umbrella”, Ben Harper’s “Another Lonely Day” is an acoustic, bone-dry lament to the most recent smash-up. (“Yesterday seems like a life ago, ’cause the one I love today, I hardly know.“) To be honest, there are elements of this otherwise-beautiful break-up song that rankle. Unlike, say, Chris Isaak (listen to anything on Forever Blue) or Tom Waits (last year‘s “Make it Rain” for example), this reads like an I-got-dumped song by a guy who’s never, ever been dumped. (“I’d rather walk alone than chase you around.” Oh, it’s your call, then? How nice that you have the hand. “Further along, we just may?” Again, not up to you, pal.) If, as the song says, this final kiss-off is of Harper’s doing, I wish it’d had more of the conflicted brio of U2’s “So Cruel” or most any of Dylan’s impressive stable of “It’s been real, it’s been fun, hasn’t been real fun” farewells. But, not to lose the forest for the trees, “Another Lonely Day” is still close to perfect in its simple, painful delicacy, and it definitely well captures that grim “Solitary Man” sensation of “Ugh. Here we are again.”
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Feeling like I needed you,
Like I’m walking up surrounded by me,
A&E.“
Ever looked at the words of a song you thought you knew decently well and discovered that it’s not at all about what you thought it was? (I would guess a lot of Republicans had this experience when discovering that “Born in the USA” wasn’t even close to a pro-Reagan anthem of the heartland.) This happened to me just this past week when I decided to write up Goldfrapp’s A&E. Given the upbeat tempo, the video, and the snippets of lyrics I knew, I always thought this song was about someone slowly emerging out of the clouds of a bad break-up and enjoying a day outdoors. (“It’s a blue, bright blue Saturday, and the pain’s starting to slip away.“) But, I was wrong. Reading more closely, it seems the “backless dress” is a hospital gown, A&E is the British term for the ER, and Alison Goldfrapp is basically waking up druggy after a botched “Then he’ll be sorry!” suicide attempt. (“I think I want you still, but it may be pills at work.“) Uh, oops.
Ok, so this is less like Bjork’s All is Full of Love” and more like The Sundays’ “Here’s where the Story Ends” than I originally thought. Still, it’s a great song, and not half as depressing as it reads on the page. Goldfrapp more often go for cinematic Portishead-like atmosphere (Felt Mountain) or sultry, come-hither dance numbers (“Ooh, La La,” “Strict Machine”), and I’m a big fan of both settings. Still, the organic, pastoral feel of Seventh Tree is a grower, as is “A&E.”
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All the people that I love can’t hear.
All the people I love are drunk.
All the people that I love aren’t here.”
After getting “A&E” wrong, I’m not even going to try to make heads or tails of the lyrics to Hot Chip’s obscenely catchy “Crap Kraft Dinner”, a current staple of my driving time. At first it just seems to be about a happy, drunken party buzz (i.e. the exact opposite of “This Place is a Prison,” by The Postal Service.) But, eventually amid the haze, there’s clearly somebody missing, and/or sort of break-up happening. (“All you can hear is my refusal, ’cause i haven’t got the time for a jerk-off loser.“) Regardless, both strands intertwine, then fade into that sweet, melancholic outro. Like Brian Eno’s “By this River,” this isn’t really a love song per se, but one I find strangely soothing.
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The fame, the vanity, the glitz, the stories.
One day I’ll become a great big star.
You know like the big dipper.
And maybe one day you can visit my condo.
On the big hill you know like 9-0-2-1-0…“
Speaking of obscenely catchy , Felix the Housecat’s “Madame Hollywood” isn’t a love song either. And, granted, almost every cut featuring Ms. Kittin has almost exactly the same “ritzy, raunchy, and bored” monologue somewhere therein. (Cases in point: “Frank Sinatra,” “1982,” “Nurse.”) So I don’t have much to say about this one, except that I could listen to the crisp, old-school-Modish backbeat that drives this track for just about forever.
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“And have you ever wanted something so badly that it possessed your body and your soul, through the night and through the day, until you finally get it…and then you realize that it wasn’t what you wanted after all? And then those selfsame, sickly little thoughts now go and attach themselves to something — or somebody — new! And the whole goddamn thing starts all over again…”
Well, I’ve been crushing the symptoms, but I can’t locate the cause. Unfortunately, The The’s “True Happiness This Way Lies”, the stand-up-routine opening track to Dusk, one of my desert-island discs, doesn’t appear to yet be on the Youtubes. (That is, aside from one well-intentioned misfire of a cover.) [Update: It is now. Added below.] But in it is distilled much of what makes Matt Johnson’s better albums (Dusk, Soul Mining) so powerful — the relentless self-questioning (“Slow Emotion Replay“), the soaked-through melancholy (“This is the Day“), the dismal sensation of being endlessly driven astray by one’s passions (“The Dogs of Lust.”) So, for the next day or two, and as per the old-school method around here, you can grab this track here. And remember: The only true freedom is freedom from the heart’s desire…and the only true happiness this way lies.
Happy (belated) Valentine’s, y’all.