Unrequited love again
The theme of unrequited love continues to provide a goldmine, and we’re not even close to even scratching the surface! It’s a universal thing, of course; most people have had a bout of unrequited love. If it was infatuation, they got over it fairly soon. If it really was love, they bear the scars forever. Or at least until they find another true love. Surveying the search engine terms that bring visitors here, there are many people looking for music to soundtrack their lovelorn existence (there are also lots of hits for the songs about impossible love, which tells you all you need to know about just how fucked up a thing romance is). Anyway, if he or she doesn’t love you back, remember to love yourself.
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Cat Stevens – Here Comes My Baby (1967).mp3
Well, it does sound like everything is well with the still beardless Cat. He”s taking a walk at midnight, which is nice. But soon we are alerted that all is, in fact, not well, for the mile he walks is not only long (as miles go), but also lonely. And he keeps “seeing this picture of you”. Which is were the songtitle comes in. But, oh no, she”s not alone: “It comes as no surprise to me, [she”s] with another guy”. And things don”t look like she”ll dump the chump any time soon: “Walking with a love, with a love that”s all so fine. Never could be mine, no matter how I try.” So is Cat entirely discouraged and looking to move on? Is he fuck! Like anybody in unrequited love, he hangs on to that thread of hope woven from the strands of a particularly thin cobweb: “I”m still waiting for your heart, because I”m sure that some day it”s gonna start.” Let”s make a bet it won”t, Cat. The loser turns Muslim.
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Warren Zevon – A Certain Girl (1980).mp3
Zevon is having a conversation about his unrequited love “” and not just unrequited love, but the dreaded frienditis “”coyly refusing to reveal the name (aaah!) of the “certain chick I”ve been sweet on since I met her”, which is “a long, long time” ago. He resolves that “someday I”m going to wake up and say: “˜I”ll do anything just to be your slave””. In the interim he”ll do what most guys in unrequited love do: procrastinate, hoping that the girl will suddenly realise that actually she is in love with him. Which she won”t, not because Warren refers to her as a “chick”, but because, as she will point out, it”ll destroy the fucking friendship.
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Earth, Wind & Fire ““ Wait (1979).mp3
Frienditis is indeed a bastard. Here, our singer is suffering his frienditis with a heroic and surprisingly jaunty optimism, as though he is inebriated with the godfather of self-help books, The Power Of Positve Thinking. “To wait, it takes love that”s for real”, and if his love is authentic, he reasons, reciprocity is inevitable. The certainty “” not just mere hope “” that she will eventually fall for him sustains him. All he needs is patience, that great source of succor for the poor devils suffering from frienditis: “It”s crazy if you think we”re just friends. Loving when infatuation ends. The wait for you, baby it now begins.” He seems to pick up mixed signals “” “You sigh, when I come close to your heart” “” which persuade him that she shall come around (“someday you”ll grow”). Of course, these sighs might be prompted by her discomfort at his clumsy moves, perhaps because she knows how he feels, and how she feels, and that there will be one broken heart and the end of a friendship.
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Sam Cooke – Cupid (live, 1963).mp3
Ah, a Cupid who unquestioningly follows orders would be a fine thing. Alas, the best alternative, if one wishes to invoke imaginary entities, is to outline your predicament with a plea for intercession. Sam, heard here in his live performance at the Harlem Square Club, states his case to Cupid with humility and urgency: “Now, I don”t mean to bother you, but I”m in distress. There”s danger of me losin” all of my happiness, for I love a girl who doesn”t know I exist. And this you can fix.” He knows Cupid”s methods “” “draw back your bow and let your arrow go straight to my lover”s heart for me” “” and makes a pretty big pledge should Cupid choose to make “a love storm” for him: “I promise I will love her until eternity”. Ah, go on then Cupid, let”s test the dude”s ambitious promise.
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Pete Yorn – A Girl Like You (2001).mp3
If you can”t get the one you want, aspire for a clone. That”s what Pete Yorn is doing on this rather good bonus track from his musicforthemorningafter album: “Some day I”ll look into her green eyes and know that she”ll come with me ““ a girl like you. Tomorrow I think I”ll tell you something, the thing that I haven”t said ““ to a girl like you.” The poor girl-like-her will, of course, be just a proxy, forever liable to be compared to Unrequited-love Girl, and possibly hear Pete moaning Unrequited-love Girl”s name in the throes of passion. And, unless Pete isn”t just throwing a strop here, he might pass on some perfectly great girls who don”t have green eyes”¦
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Liz Phair – Extraordinary (2003).mp3
An anthem for the outsider girl in love with a guy who she thinks has too high expectations. He might see her as average, but she thinks of herself as extraordinary. And not just ordinarily extraordinary; she”s “your ordinary, average, every day sane psycho supergoddess”. And she”ll go to extraordinary measures to get him (or at least his attention); “I drive naked through the park, and run the stop sign in the dark; stand in the street, yell out my heart”¦To make you love me.” I can”t quite put my finger on it, but there probably is a good reason why the guy isn”t falling for Liz.
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Mama Cass Elliott – I Can Dream, Can”t I? (1969).mp3
The story of Cass” life in the “60s was defined by her unrequited love for Papa Denny Doherty, with whom she started on the road to stardom in the Mugwumps. So when she sang about unrequited love (as she did with Denny on Glad To Be Unhappy) in this beautiful version of the old standard, she did so from her broken heart, the pain of which is palliated by daydreaming. She doesn”t go into the specifics of her reverie, other than “that I”m locked in the bend of your embrace”. She takes a frequent reality check as she justifies why she won”t give up on her dream: “I can see no matter how near you”ll be, you”ll never belong to me. But I can dream, can”t I?”
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Wilco – I’m The Man Who Loves You (2002).mp3
Tweedy goes all poetic on us, blathering on about unsent love letters and dropping metaphors about him apparently being like the sea. Basically your average victim of unrequited love who can”t find the right words to say. And then he nails it when he makes the most basic observation: “But if I could, you know, I would just hold your hand and you”d understand: I”m the man who loves you.” Sometimes that works better than complex literal devices.
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Indigo Girls – Ghost (1992).mp3
The spectre of a person the singer was in love with (unrequited, death; though a line in the first verse suggests that it might have been a failed adolescent relationship) lingers still, and does terrible injury. “And time passed makes it plain, of all my demon spirits I need you the most. I”m in love with your ghost.” She has sexual dreams about the person which just add to the pain: “When I wake, the things I dreamt about you last night make me blush. And you kiss me like a lover, then you sting me like a viper.” The protagonist is trapped by a love that will never find expression: “Unknowing captor, you never know how much you pierce my spirit. But I can”t touch you. Can you hear it? A cry to be free. Oh, I”m forever under lock and key as you pass through me.”
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Merle Haggard – Always Wanting You (1975).mp3
Apparently a song about Dolly Parton. As country singers do, Merle is telling Dolly, and us, exactly how he feels: “Always wanting you but never having you makes it hard to face tomorrow, “cause I know I”ll be wanting you again. Always loving you but never touching you sometimes hurts me almost more than I can stand.” And there he had thought that he had it all together. The song could go into the post on love that can”t be, and maybe that”s where it belongs, since there seemed to have been “a yearning and a feeling across the room that you felt for me”, suggesting that Merle”s feelings were reciprocated, if not actually acted on. Of course, when a relationship isn”t possible, love remains unrequited even when the sentiments are reciprocal. Either way, Merle regrets knowing her: “I”d been better off if I”d turned away and never looked at you the second time.”
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Scott had summer romance, and now the eponymous girl is gone and he is pining, living on memories “” “You made the man a child again, so sweetly. He breathed your smile, lived in your eyes completely. And on his heart there”s still a trace of you” “” and vain hope that they will be together again. She clearly has forgotten him, or wants to forget him. She might even have told him so (perhaps by the passive-aggressive method of ignoring his communications). Yet our lovelorn crooner is not ready to give up: “I love you, but nothing in this world could make you mine. Yet still in time”¦you may remember me and change your mind.”
Rarely has unrequited love been as jaunty as in Cole Porter”s I Get A Kick Out Of You. Frank “” and let”s not call him by the affectation “Francis”; our man was baptised Frank “” goes to great lengths to tell us about the things that mean nothing to him. Champagne? Pah! Airborne sex? His idea of nothing to do. Cocaine? “I”m sure that if I took even one sniff it would bore me terrifically too” (as do Be Bop and, oddly, Spanish perfume). The only thing that gives him a kick is, to use Sinatra lingo, a “broad” who ob-vious-ly does not adore him. This is the swinging 1962 version; his 1953 take will run next Friday.
And frienditis from the female perspective. It seems that the guy is going away (relocating, or perhaps getting married), and Linda, on this song from 1970, is trying to get to grips with the door slamming shut on perennial hope. “I”ve done everything I know to try and make you mine, and I think I”m gonna love you for a long, long time.” Oh, she tried to show him how she felt as he was whoring around “” making Linda blink back the tears “” and he never noticed. So now she”ll be “living in the memory of a love that never was”.
In his 1976 hit, Kenny had the relationship all mapped out: barefoot walks on the beach, kids with “little smiles so warm and tender, looking up at us” et cetera. In absence of all that, he daydreams , presumably as one does in TV comedies where these fantasies are introduced by a harp riff (present here, of course) and soft edges. The kicker here is that Kenny is not in love with anybody other than the idea of romantic and domestic bliss. He is in unrequited love with love.
Women have I Will Survive to articulate for them how all men are bastards. Nottingham”s Mr Sex of the brilliant 
When one wallows in misery, it is good to know that others are feeling just as badly. B.J. Thomas wants his sorrow over a break-up validated by knowing about the romantic distress of others; a union of broken hearts standing together in spiritual solidarity. B.J. is calling for that fraternity through the medium of song. So if he is still wallowing, this post might be just what he needs while he misses his baby. “So please play for me a sad melody, so sad that it makes everybody cry; a real hurtin” song about a love that”s gone wrong, “cause I don”t want to cry all alone.” Lyrics Morrissey would have killed for.
Alas, poor Richard Hawley. Earlier in this series he went to a popular hang-out in a futile bid to pull (
Here the singer was responsible for the break-up and desperately regrets it by way of cliché: “I didn”t mean to hurt you, but I know that in the game of love you reap what you sow.” She is proposing a reconciliation, but seems to understand that this may be a hope to far. Still, she insistently and repeatedly articulates her petition: “And I wish on all the rainbows that I see; I wish on all the people we”ve ever been; and I”m hopin” on all the days to come and days to go, and I”m hopin” on days of lovin” you. So I”m wishing on a star, to follow where you are.”
In the most beautiful and moving of all the beautiful and moving songs here, Rosie had been maltreated by love before, as we learn in the song”s punchline. Now the person who healed her damaged heart is gone too, pulling the rug from under Rosie”s feet. “I”m wandering, I”m crawling, I”m two steps away from falling ““Â I just can”t seem to get around. I”m heavy, I”m weary, I”m not thinking clearly. I just can”t seem to find solid ground since you”ve been around.”
About as beautiful as Rosie Thomas” track, fellow songbird Kate Walsh”s song protests that the object of her desire should make himself scarce because just seeing him opens up still raw wounds. “I”ll fall again if I see your face again, my love, and I”ve done all my crying for you love.” So meeting him again, with his antics such as rolling his blue eyes at her, will break her heart all over again. She wants to forget him, because “I cannot be in matrimony with a dream of love”.
It has been a while since the woman left poor Joseph, and he is depressed. “The plants have died, my hair has grown from the thought of you coming home.” He gets by through the consumption of alcohol, which is never a good idea in his mental condition. And in between he writes her letters which “I won”t send, except for across the floor” (what a fantastic line). Now and then he dreams of happier times, with her in his arms, but then the image of bliss turns to abrupt dread with “a smile that explodes” “” again, wonderful imagery “” “I could never understand”.
If B.J. Thomas had chosen to be more precise in his instruction, he may well have specified that he wanted a Smokey song to be played, because nobody does broken-heartedness the way Smokey Robinson does (even if here, the lyrics aren”t his). The tune is a cheerful, upbeat affair. Smokey sounds like he has no care in the world. But, as we know from past experience, in situations of heartache, Smokey pretends to be the life a party, putting on an out-of-place smile, masquerading outside while inside is heart is breaking. So the melody is deceiving us: Smokey is desperate to see his love again. “I would go anywhere. There”s nothing I wouldn”t do, just to see her again” and “hold her in my arms again, one more time”.
While our other friends in this post have taken to despondency, dreaming, drinking, and descending into despair, Grohl is taking action before anything can happen. Anticipating that she is leaving him, he psyches himself into dumped mode and pledges to become a stalker. “I cannot be without you, matter of fact. I”m on your back”. Just to be sure she gets the sinister message he repeats: “I”m on your back.” And once more for creepy emphasis:”I”m on your back.” So, “if you walk out on me, I”m walking after you.” And with big Dave Grohl on her back, she won”t get very far.
I posted a mix of songs about being in love last year, for Valentine’s Day, with a view to facilitating loads of romantic seductions (or something). That mix got deleted by ZShare. Responding to a request, I have revised the tracklisting, dropping a few songs, adding a few new, changing the track order. The Jonatha Brooke song I owe to 
I am recycling this incredibly moving song from last year. It seems to have been very popular indeed, even though it was a mere album track from an album that was not a big hit even in Karma-Ann Swanepoel”s home country, South Africa. Karma has found someone with whom to connect on an intimate level. As the alert reader might have predicted, there is something that makes this love impossible. They have been talking a lot, always skirting around their true feelings: “So we”ll talk every now and then about our day-to-day, never saying the things we both planned to say.”
The song reflects the experiences of two female friends who are presently conversing. One has an affair with a married man who promises to leave his wife and join her in California. The other is in a difficult marriage ““ it seems she married her husband only because she felt her “time was running out”. But now that she is pregnant, she seems to love him (or so she says). “But now you love him and your baby; at last you are complete. But he”s distant and you found him on the phone, pleading, saying: “˜Baby, I love you, and I”ll leave her and I”m coming out to California”. Ooops! Obviously the husband is in love with the first woman, who loves him too. And the geometry of the relationships will be further complicated when the love triangle turns into a square soon. Woman #1 realises what will happen: “And your husband will never leave you. He will never leave you for me.” An impossible love for at least two people here, beautifully dramatised by the gorgeous Jenny Lewis.
The obstacle of the age gap was explored by Gary Puckett in his anthem to narrowly but judiciously avoided statutory rape. We don”t know how old Gary was vis-a-vis the young girl, but in Roberta Flack”s lovely song from her 1969 debut album, First Take, the relationship is between two consenting adults. The age difference here seems to be too vast to reconcile. I have difficulty buying into that: she is 21, he is 34. That”s just 13 years (and the 21-year-old girl is probably more mature than the guy). But, as Roberta tells it, “now I find according to society that our ages, they must keep us apart.” She rightly believes that the age difference is immaterial when the two of them are so much in love, “a love too strong for gossip to kill”. But gossip seems to be winning; her man unreasonably a hostage to parochial prejudices. So Roberta has to put an ultimatum to him: “What will it be ““ our ages or our hearts?”
The 1978 original of Whitney Houston”s 1985 hit by the one-time singer of the 5th Dimension. It is, of course, another adultery song (which I think is used better here than in the cheating songs instalment). Naturally, the arrangement of clandestinely banging a married man is not ideal, but she really seems to love him, and, one suspects, he really loves her too, believing that this in itself would justify ending his marriage. “You used to tell me we”d run away together. Love gives you the right to be free.” But she knows that he doesn”t really believe this to be true, that he cannot sacrifice his marital obligation on the altar of love. “You said be patient, just wait a little longer ““ but that”s just an old fantasy.” So, is he a cheating cad who is just using Marilyn? Or is he in a desperate situation in which at least two ““ and if his wife finds out possibly three ““ hearts are broken?
Ouch, she fell hard ““ “You make me feel like a lilting girl. What do you do to me?” ““ but is trapped in another relationship. “Now what am I supposed to do when I want you in my world? How can I want you for myself when I”m already someone”s girl?” For Erykah, extra-curricular activity, which her object of desire seems to be proposing, is not an option: “I know I”m a lot of woman, but not enough to divide the pie.” So it won”t happen; they cannot be together, ever. Forever ever? Well, the idea of brutal finality might be just a little too much for Erykah to bear, so she makes a deal: they”ll be together in the next lifetime. “I guess I”ll see you next lifetime. I”m going to look for you.” Which must bring modest comfort to the atheist lover.
Here we have two people who are in love, but geographical distance is coming between them. “I find the map and draw a straight line over rivers, farms, and state lines; the distance from A to where you”d be”¦” He and she, for it is a duet with Loudon”s daughter (ergo Rufus” sister), are feeling depressed about it all. “I”m miles from where you are, I lay down on the cold ground. I pray that something picks me up, and sets me down in your warm arms.” Unlike many others in the impossible love predicament, our two friends may well activate their love fully when they do get together. And in their imagination, they already are: “After I have travelled so far, we”d set the fire to the third bar. We”d share each other like an island until exhausted close our eyelids.” Can the promise of sweaty sex compensate for the agony of separation?
As the title suggests, Morrissey and his pal”s girlfriend are in a car, but instead of dreaming about double-decker busses, Morrissey is engaged in a conversation punctuated by directions. It turns out that she is not really happy with Morrissey”s pal. “So how did I end up so deeply involved in the very existence I planned on avoiding?” Morrissey has no answer, for he can”t run his mate down in a quest for this girl. She instructs him to drive on, and he does. There is an obvious attraction. Eventually they get to her place. Will she invite him up for “a cup of coffee”? Would he accept such a suggestion? In the event, she doesn”t though she probably was tempted to, and with what seems like profound regret, Morrissey notes: “I”m parking outside her home. And we”re shaking hands “˜Goodnight”, so politely.”
I”ll cheat and use the same text as I did last year. Welsh songbird Jem usually does the electronica thing, but here she is in ballad mode. And what a sad ballad it is, continuing the close-but-not-close-enough riff of Pachelbel. “I know that we can”t be together, but I just like to dream. It”s so strange the way our paths have crossed, how we were brought together.” The wonder of love desperately seeks physical expression, but even though she”d “love to spend the night”, she “can”t pay the price”, even if they are “so close to giving in”. The realisation arrives: “I know there”s no such thing as painless love”¦we can never win.” And still, in the next line Jem reiterates just how giddy this impossible love makes her “” it makes her “flying high”.
This entirely gorgeous song is not about the death of a love interest, but about that of Melissa”s sister in a car crash. The sisterly love must have been profound “” as deep as that of romantic lovers (which is why this song works for them too). “My silence solidifies, until that hollow void erases you so I can”t feel at all. But if I never feel again, at least that nothingness will end the painful dream, of you and me”¦”
Ben Fold in his song The Luckiest ““ possibly the greatest love song ever written ““ tells the story about his neighbour, an “old man who lived to his 90s” and one day dies in his sleep. His wife lives on for a couple of days and then follows him. The notion of not being able to live without a loved one is the point of this song, performed by a singer much younger than 90. He sets out his stall early: “Love of mine, some day you will die. But I”ll be close behind, I”ll follow you into the dark.” There are hints of suicide should the tragic moment come, and that point may be imminent, suggesting the presence of a terminal illness. “You and me have seen everything to see from Bangkok to Calgary, and the soles of your shoes are all worn down. The time for sleep is now. It”s nothing to cry about, “cause we”ll hold each other soon ““ the blackest of rooms.”
Musically and lyrically a companion piece to I”ll Follow You Into The Dark, Sam Beam is pondering the death of a lover: “One of us will die inside these arms. Eyes wide open, naked as we came, one will spread our ashes “round the yard.” The instructions have been given: cremation, no burial, just scatter the ashes. “She says, “˜If I leave before you, darling, don”t you waste me in the ground.”
Swedish songbird Ternheim rounds off the trilogy of not wanting to live when the other has died. The twist here seems to be that she wants to be in death with someone whom she could not be with in life. “Maybe I could be yours, maybe you could be mine. God, I waited so long, maybe my time has come to walk by your side. Please put me at ease, now my soul is ready for peace.” Which is a twist on the saying, “See you in the next life.”
This song can be interpreted in several ways. We know that Billy Joe MacAllister committed suicide by jumping off the Tallahatchie Bridge on Choctaw Ridge. For Bobbie”s family it seems to be the stuff of casual dinner conversation: “Well, Billy Joe never had a lick of sense. Pass the biscuits, please”. And so the conversation goes, except Bobbie seems to have lost her appetite entirely when mother mentions something uncanny: “”That nice young preacher, Brother Taylor, dropped by today. Said he”d be pleased to have dinner on Sunday. Oh, by the way, he said he saw a girl that looked a lot like you up on Choctaw Ridge, and she and Billy Joe was throwing somethin” off the Tallahatchie Bridge.”
Apparently written about a 9/11 victim, singer-songwriter Ari Hest does what most grieving people do when confronted with a sudden, unnatural death ““ asking why. And for those with religious faith, it can be shaken by such an event, as seems to be the case here. “I can ask all I please, I can beg down on my knees, for a reason, for a sign. But these answers I won”t find.” So instead, “I”ll go on without you, and what”s left for me to do but to stay where I am in my world of pretend.”
The song starts off unpromisingly as Loudon sets the scene: “Sometimes I forget that you”ve gone. You”ve gone, and you”re not coming back.” But we quickly learn that he has not been dumped as he surveys the scene: “And your bookcase still holds all your books; it”s as if all you”ve done is go out of town”¦” The addressee could be returning any minute now, but the person “” my guess it”s his father, so let”s identify him as such “”never went on a journey. “But your suitcase is empty, it”s right here in the hall. That”s not even the strangest thing. Why would you leave your wallet behind. Your glasses, your wristwatch and ring.” He has unresolved issues with his father, having failed to say what needed to be said. Death creates a distance, but Loudon feels his father”s proximity. “You”re not far away, you”re near. Sometimes I forget that you”ve gone. Sometimes it feels like you”re right here. Right now it feels like you”re right here.” Wainwright does not specify the nature of his relationship to the deceased, so it can be applied, at least in spirit, to a separation by death of any loved one.
Turning the teen death genre (which we”ll turn to in the next item) on its head a little, Thompson tells the story of an outlaw in love. James Adie, a criminal, and Red Molly fell in love over the eponymous motorbike. Then the day comes that James robs a bank and is shot by the police. Red Molly is called to his deathbed. James declares his love for Molly and the bike, then “he reached for her hand and he slipped her the keys, saying: “˜I”ve got no further use for these. I see angels on Ariels in leather and chrome swooping down from heaven to carry me home”. And he gave her one last kiss and died, and he gave her his Vincent to ride.”
I promised that we”d end off with a much-needed laugh. The early “60s were a fertile period for teen death songs such as The Leader Of The Pack, Tell Laura I Love Her, Teen Angel, Dead Man”s Curve, Run Joey Run, and Ebony Eyes. Jimmy Cross” 1964 song is a parody that moves swiftly from the ridiculous to the bizarre.
Annika Norlin has been cheated on with a thin blonde “with a peanut for a brain and volleyballs for chest”. Worse yet, the dude did the dirty deed “with Miss Non-Bitterness” in her apartment. But, bastard dumped, Annika is getting over it by way of carthasis: “Now, this will be the last bitter song. It will be my last, real bitter song about you.” She will find new themes: “From now on, I”ll write about flowers and butterflies, chickens and kittens and shit.” And she”ll “try to find someone who knows I exist”. Which is the best kind of therapy. And, look, it”s working: “I”m feeling cheerful already. I”d like to break his neck, if I may. But most, I”d like to cut off that hair, and cut off that head, and cut off those volleyballs, and I hope she gets her heart broken, and I hope she turns bitter, really really bitter ““ like me.”
Oh, what a set-up. Jim is on the phone with his woman, who presently is in the company of another man. Reeves has her on the phone, establishing a sense of intimacy and communicating instant forgiveness: “Put your sweet lips a little closer to the phone, let”s pretend that we”re together all alone. I”ll tell the man to turn the juke box way down low”. And then he goes for the jugular: “And you can tell your friend there with you he”ll have to go.” He wants an answer now though: “Though love is blind, make up your mind. I”ve got to know ““ should I hang up or will you tell him he”ll have to go?” No whining, nor sulking, nor recriminations. Make up your mind, woman, and when you do, of course he”ll have to go. 
Jim Reeves is willing to trust again, but that commodity is extinct when Nicole”s man cheats on her. “I know you and you are bound to stray. It”s a foul of men ““ they swear that they”ll never hurt you again, then give their best shots”, but if that is to no avail, “my heart you won”t have it again, so just don”t try.” The relationship will not be healed and it will be over. There won”t be a point in trying to mend it: “Don”t pull over, just kill the headlights.”
It is fair to presume that the beautiful Kelis will not take back the perfidious scoundrel who cheated on her. She is not well disposed towards him, as the line “I hate you so much right now” may suggest. But, from Kelis” side of the story, one empathises with her. What she didn”t do for him? “Held you when you were sick, even sucked your dick” (which, if both ministrations were performed simultaneously, would require soundtracking by Marvin Gaye”s last big hit). Now it”s revenge time on the lying swine. Going one better on Carrie, “I”ll set your truck to flames, and watch it blow up.” Then comes the taunt: “Tell me: How you go”n see her now?” Aaaaaaarrrrgh!!!!!
Smokey is the prince of broken hearts. And here, the heartache is of his own making. He cheated and got dumped. “I did you wrong. My heart went out to play, but in the game I lost you. What a price to pay! Hey I”m crying.” Now he tearfully wants her back: “I”m just about at the end of my rope, but I can”t stop trying. I can”t give up hope, “cause I feel that one day I”ll hold you near, whisper “˜I still love you”.” In the interim, “until that day is here ““ I”m crying.” Would you take him back?
I could have chosen any number of versions of Jolene, from Dolly Parton”s original to the delightful Strawberry Switchblade version. It is heartbreaking how the singer humbles herself before the beautiful Jolene, with her ivory skin, emerald eyes and smile “like a breath of spring”. She knows she has lost her man, who keeps saying Jolene”s name in his sleep. Her only hope is that Jolene might dump him, and so she appeals for her rival”s mercy (and, possibly, self-sacrifice). There”s some point-missing going on: “You could have your choice of men, but I could never love again. He”s the only one for me, Jolene. I had to have this talk with you. My happiness depends on you .” 
Shirley phones Barbara to warn her off her “old man”. “It”s only fair that I let you know that the man you”re in love with ““ he”s mine.” Not only does she pay for his clothes and car, but she “loves that man”. And, like Jolene, Barbara is being asked to end it for the sake of her lover”s wife. “Woman to woman, if you”ve ever been in love, then you know how I feel. And, woman to woman, now, if you were in my shoes, wouldn”t you have done the same thing too.” So she warns: “I ain”t gonna let you break up my happy home.” 
Happy? Really? Barbara responds to that in her own song, and it doesn”t look like Shirley”s begging and threats have had any effect, as the title already proclaims. She might not be above to satisfy his material needs, but she can give what he really wants: “I can give him love”. As far as Barbara is concerned, the nameless sap has already made his choice and his bed: “He spent last night with me, where he wanted to be.” So the guy has the choice between a woman with whom he has great sex and a wife who provides all the material comforts. Knowing that Mason”s lyrics were written by a man, how do you think the story will end? 
“Sunshine, blue skies, please go away. My girl has found another and gone away. With her went my future, my life is filled with gloom, so day after day I stayed locked up in my room. I know to you it might sound strange, but I wish it would rain.” Motown lyrics are pure poetry. “Day in, day out, my tear-stained face pressed against the window pane. My eyes search the skies desperately for rain, “cause raindrops will hide my teardrops, and no one will ever know that I”m cryin”. When I go outside to the world outside, my tears I refuse to explain. Oh, I wish it would rain.” Promise me you will punch them.
The unaccountably obscure Tibault in his song from 2000 acknowledges that he was dumped for being a bit of an ass (“And everything about me drags her down”), and he now pretends, Smokey-like, not to be affected by the break-up. But he really still loves her (“She moves around me like the air I breathe, gets inside of me and she never leaves”) and wants her back: “Someday I”ll find my way back in; somehow I”ll cross that bridge again. And then I won”t have to pretend to be unbroken.”
A very jaunty number for so sad a lament wrapped up in nautical metaphors. Since she “sailed away” there are no lights in the harbour and ships lost at sea all because Don is crying so much, he is “on this sea of tears ““ sea of heartbreak”. He tried to woo her back with another maritime call: “Oh, what I”d give to sail back to shore, back to your arms once more.” Poor Don, chances are that another man has put down his anchor in the good ship ex-girlfriend.
You know what it”s like when a song comes on that reminds you of an ex-partner (or, worse, of the break-up itself)? In this rather quirky tune, Sugar Ray bemoan not only the loss of a girlfriend, but also the diminishing delight in the things they used to enjoy together: “All the songs she used to sing, all the favourite TV shows have gone out the window.” It”s worse than that. Not only does he no longer enjoy re-runs of Friends or whatever, but when he does catch one, the old feelings for her return. Which calls to mind Hal David”s lyrics for Always Something There To Remind Me: “I passed a small café where we would dance at night, and I can”t help recalling how it felt to kiss and hold you tight. Oh, how can I forget you, when there is always something there to remind me”¦” The version posted here is a 1982 cover by the English synth-pop duo Naked Eyes, featuring the late Rob Fisher, later of Climie Fisher. Burt Bacharach once said their version was his favourite”¦
The Bee Gees asked for pointers in mending broken hearts. One way of doing so is to enter into a loving relationship with somebody new who will take care of you. In this song, Amy Rigby found such a man, one who”d do anything for her. But sometimes even that doesn”t work, when there remains so much residual anger that the contemptible ex still dominates emotions. In this instance, the new man in Amy”s life wrecklessly* offers to “shoot the dude who screwed me up”. Amy responds that she is “trying so hard to forgive”. With that in mind, “Here”s his address, here”s his picture, here”s the make and model of his car. He works until 4:30, then he hangs out at the topless bar with a girl on each arm.” Amy reminds the new paramour: “Remember how he cheated and he lied to me. You told me that it makes you lose your head”¦ I don”t believe you”d do those things you said.” And did she mention they”re pouring concrete on Route 33? But if he does the things he said he”d do (and here”s the address and a photo), he must not tell her, but keep it to himself. Then Amy sighs: “I like the way that you take care of me. I like the way you that you”ll take care of things.” Hell hath no fury etc. (* google it)
The Smiths canon is brimming with songs about Morrissey”s unlovability. He doesn”t even get rejected; he just can”t find the right person to reject him (and when a girl comes on to him, as one does in Never Had No One Ever, he can”t even get “sorrow”s native son” to rise to the occasion). How Soon Is Now is the anthem of these songs. Every person afflicted with shyness will probably identify with Morrissey”s sad disco tales: “There”s a club, if you”d like to go. You could meet somebody who really loves you. So you go, and you stand on your own, and you leave on your own, and you go home and you cry and you want to die.” Which more or less mirrors my juvenile experience, minus the crying and suicidal tendencies.
Like Morrissey, Hawley is looking for company in bright, busy places, only to find nothing. “I”m going downtown where there”s music. I”m going where voices fill the air. Maybe there”s someone waitin” for me with a smile and a flower in her hair.” And with such hopes our hero puts on his best shoes and (as Kris Kristofferson would have it) his cleanest dirty shirt and heads to Coles Corner, apparently a popular hang-out in Sheffield. “I”m going downtown where there”s people. My loneliness hangs in the air, with no one there real waitin” for me, no smile, no flower, nowhere.” And so he”ll make his sad way home.
Annika Norlin (for she is Hello Saferide) has nobody in her life, so she is looking to compensate for that with meaningless one-night stands, rationalising it with the statement of the song”s title. No strings attached. “I will be gone when you wake up. No awkward breakfasts, I swear. And don”t you look for me, because I could be anywhere ““ in someone else”s house, in someone else”s arms, with someone else to warm the pain away.” Her promiscuity is a band-aid for the sores of loneliness. She really would like closeness, to open up herself, not just her legs. “If I told you my stories and sang you my songs, would you laugh at me? Would you pity me? What would you say if I asked of you not out of accident, out of loneliness: would you shelter me? Will you shelter me?” And why does she not ask? Low self-esteem seems to be at play: “What can I ask of you? What would you want from me? What would you say if I just fell asleep?” Annika, there”s a club, if you”d like to go”¦
Another song about promiscuity compensating for loneliness. She wakes up with a one-night stand guy and instantly has regrets, thinking: “Whatever happened to a boyfriend, the kind of guy who makes love cause he”s in it”¦ I want a boyfriend. I want all that stupid old shit like letters and sodas.” But it doesn”t seem that a boyfriend is on the cards (maybe Liz should look in the unrequited love section; loads of nice guys there), even when a one-night lover reaches out to her. She doesn”t want his pity. So, she concludes, “I”m gonna spend another year alone. It”s fuck and run, fuck and run.” But there is an alarming clue in the lyrics which might explain her disposition. “It’s fuck and run, fuck and run, even when I was 17. Fuck and run, fuck and run even when I was 12.” Does that suggest that she was abused, leading to these trust issues?
In an alternative riff on Audrey”s Somewhere That”s Green in Little Shop Of Horrors, Jay is describing a scene of domestic bliss (and great sex): “I”m making guacamole, he”s working on the car. When he grills turkey burgers he knows I like them charred. I like to wash the dishes, I like to scrub the floors, don”t mind doing his laundry, what are boyfriends for?” Yes, he wants to be a housewife. “What”s so wrong with that?” But, as it turns out, he”s not one yet. “Can”t wait to till he”s in my life, “cause we haven”t met.” (
At first glance, this song (from Hay”s 2001 album Going Somewhere; one of three versions) might not belong in this series, but I think it has a place, and right here. The singer has a girl, but she”s obviously not what he really wants. He”s holding out for a better life which does not seem to include her. Indeed, even now, she is peripheral. “And you say: “˜Be still my love, open up your heart, let the light shine in.” Don”t you understand I already have a plan, I”m waiting for my real life to begin.” It seems to me that our friend could be in depression, vainly holding out for a better future “” “Let me throw one more dice, I know that I can win” “” and in the process is unable to return the love offered by his current partner. Which is really just as tragic as Morrissey”s shyness, Annika”s and Liz”s promiscuity, and Kevin”s lack of self-confidence.
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