Bouncing back
I will hardly reveal myself as the music blogosphere”s slightly less ugly version of Dr Phil when I observe that people recover from the end of serious relationships in very different ways. In this series of songs about love we have looked at various themes, including splitting up. Here we look at how protagonists in ten songs have bounced back, or not, from the death of a liaison.
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Skeeter Davis ““ Gonna Get Along Without You Now (1964).mp3
Well, it”s easier to bounce back when our ex was a bit of a bounder. Look at the ex of Skeeter (or Teresa Brewer or Viola Wills or lately She & Him): one minute he proposes marriage, the next he”s running around “with every girl in town”, masking his two-timing ways by telling everybody that he and Skeeter are just friends. Who needs that? Not Skeeter (or Teresa or Viola or She). “I got along without you before I met you, gonna get along without you now.” And the philosophical lack of concern is followed by the triumphant zinger: “Thought I”d find somebody who is twice as cute , “cause I didn’t like you anyhow.” Bouncebackability score: 10/10
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Ben Folds ““ Landed (Strings version) (2005).mp3
Ben got out of the clutches of a controlling woman (as he tells it anyway). He and the ex moved to the West Coast, and separated from their old social circle. She seems have bullied Ben: “She liked to push me and talk me back down till I believed I was the crazy one. And in a way I guess I was.” She controlled access to him, so when people phoned, she”d not convey the message. Now he has walked out “” “down comes the reign of the telephone tsar” “” and it”s okay to call him. He”s ready to resume his old life, if that is possible: “And if you wrote me off, I”d understand it. “Cause I’ve been on some other planet. So come pick me up, I”ve landed” “” from that “other planet” and from the West Coast. Bouncebackability score: 9/10
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Kris Kristofferson ““ From The Bottle To The Bottom (1969).mp3
Sometimes there is no bounce-back. Whatever solace there can be derived emanates from those friends in low places: Johnny Walker, Jim Beam, Jack Daniels. So it is here. Being asked whether he is happy apparently is bitter a joke. Or at least, “happy” is a concept that needs to be clearly defined before the question is posed. “It seems that since I”ve seen you last I done forgot the meaning of the word. If happiness is empty rooms and drinkin” in the afternoon, well, I suppose I”m happy as a clam. But if it”s got a thing to do with smilin” or forgettin” you, well, I don”t guess that I could say I am.” Happy, that is. Freedom, eh? Living the dream? Not so much: “There”s no one here to carry on if I stay out the whole night long, or give a tinker”s damn if I don”t call. I”m livin” like I wanted to, and doin” things I wanna do, and nothin” means a thing to me at all.” So we might think that Kris is not doing well. In fact, he”s doing worse.
How”s this for being down: “Did you ever see a down and outer waking up alone without a blanket on to keep him from the dew, when the water from the weeds has soaked the paper he”s been puttin” in his shoes to keep the ground from comin’ through, and his future feels as empty as the pocket in his pants because he”s never seen a single dream come true? That”s the way that I”ve been feelin” since the day I started falling from the bottle to the bottom, stool by stool.” He”s lost that bouncing feeling… Bouncebackability score: 1/10
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Rilo Kiley ““ The Execution Of All Things (2002).mp3
There”s no post break-up messing around here: the now defunct relationship must be snuffed out. The split was humiliating to her, as we learn in the first verse, and her business now is to get over that. “Oh god, come quickly, the execution of all things. Let”s start with the bears and the air and mountains, rivers, and streams. Then we”ll murder what matters to you and move on to your neighbours and kids. Crush all hopes of happiness with disease “cause of what you did.” So pretty much a scorched earth policy. And that comes laced with a bit of vengeful anticipation: “And lastly, you”re all alone with nothing left but sleep. But sleep never comes to you; it”s just the guilt and forever wakefulness of the weak.” Bouncebackability score: 7/10
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Damien Rice ““ The Blower”s Daughter (2002).mp3
Here”s a guy not about to bounce back from what might be a broken relationship, unrequited love, unstated love, impossible love. Pretty much a love that has fucked over somebody to whom things tend to come fairly easy. He”s still obsessed: “I can”t take my eyes off of you”. Lisa Hannigan, giving voice the titular blower”s daughter, tries to calm him, pointing out that she didn”t say she loathes him, as he apparently thinks she does. Upshot is that much as he feels like hating her, he doesn”t. So he won”t keep his mind off her, “till I find somebody new”. So there”s hope for the bounce-back yet from whatever love our friend is suffering. Bouncebackability score: 3/10
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Marit Larsen ““ Only A Fool (2006).mp3
Marit”s boyfriend (or perhaps husband; a ring changed hands and unspecified vows were made) betrayed her, and now she has dumped the chump. Our Norwegian songbird has “been changing after what you put me through; there is just no way that I”ll be coming home to you”. She thinks she”d be a bit of an idiot to do so, as she notes with admirable forthrightness in the chorus: “Only a fool would do this again. Only a fool would let you back in. There is no you left to embrace, there is no word would make it feel safe.” Her naive trust was broken, and that must have hurt. But she”s in a better place than her apparently pleading ex: “It feels good here, better than you know. Isn”t it only fair that you try and let it go?”
Bouncebackability score: 10/10
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Mazzy Starr ““ Halah (1990).mp3
Sometimes you need closure before bouncing back. Hope Sandoval, Mazzy Starr”s singer, is still looking for that. Instead, there is a lot of confusion. “It”s like I told you, I”m over you somehow.” Well, that is good. But what”s this? “Before I close the door I need to hear you say goodbye.” Ah, not so much over it then. “Baby won”t you change your mind?” And that awful obstacle to closure and bounce-back: hope. The ex owes Sandoval an explanation which she won”t receive. So there won”t be closure any time soon. Bouncebackability score: 2/10
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Ricky Peterson ““ Livin” It Up (1990).mp3
The song has featured in the songs about love series before, in Bill LaBounty”s original version (though that link is dead. The song is on this mix). Here jazz singer Ricky Peterson is giving vocals to the anthem for the false bounce-back. Our friend admits that he had gone through a tough time since the break-up. He even put a service on the phone. And whatever that is, it sounds like the action of a man in a deep funk. But he”s out of that, he informs us (and, more to the point, her). He scraped his heart up off the floor! Oh, and he”s having a majestic time now. Living it up, he is, “right from the women to the wine. Livin” out all those fantasies I never did get to, crazy things I never got to do”. Now that”s bouncing back like kangaroo on methamphetamine. But all”s not as it seems. “Every now and then I must confess, I’m not up to all this happiness. Sometimes I wonder if the place I”m at is where I do belong.” So what”s missing from making this great life complete? Well, all this livin” it up from women to wine involving crazy fantasies…” it don”t seem like living without you”. Bouncebackability score: 6/10
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Tom Waits ““ Innocent When You Dream (78) (1987).mp3
Oh curse you, wicked self-recrimination. Tom and his girl had something beautiful: “I made a golden promise that we would never part. I gave my love a locket.” Tell me more, tell me more, did you get very far? Evidently not. “And then I broke her heart.” So instead of running through a pollen paradise straight out of a shampoo commercial, Tom now observes that “the bats are in the belfry, the dew is on the moor”. But when he sleeps, he resuscitates the happy memories. “The fields are soft and green”, but “it”s memories that I”m stealing”. The song title will have alerted the reader of Waits” punchline: “But you”re innocent when you dream.” Tom isn”t about to forgive himself for what he has done, is he? Bouncebackability score: 2/10
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Rainbow ““ Since You”ve Been Gone (1979).mp3
Head East – Since You’ve Been Gone (1978).mp3
Written by Russ Ballard, we have two proxies expressing his thoughts (Cherie & Marie Currie”s version must wait for a couple of months to feature in a different context). Our jilted lover can take a lot of punishment, including poison letters and telegrams that just go to show she doesn’t give a damn. And the cause for that readiness to be reconciled? Well, see, “these four walls are closing in” and recurring dreams cause our anti-hero to fall out of his bed at night, possibly as a result of reading her letter at night “beneath the back street light” (is he stalking her?). His mental well-being is on the edge. “Since you been gone, I”m outta my head, can”t take it.” Witchcraft may be involved: “Could I be wrong, but since you been gone, you cast the spell “” so break it.” Oooohwaowaow ohwaowoawoh indeed. Bouncebackability score: 1/10
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To mark his 30th birthday, Josh Rouse decided to record a concept album intended to evoke the year of his birth. I”ve written about the cover before 
Lloyd Cole used to get such a bad rap back in the day. I could never understand the charges of Cole being pretentious. Even Easy Pieces, the second Lloyd Cole & the Commotions album which Cole has virtually disowned (on account of having been rushed by the record company to prematurely complete it), has many great and not particularly pretentious moments. Having broken up the Commotions after three albums, Cole”s solo career didn”t really take off. That is a shame. On Music In A Foreign Language, Cole continued on the acoustic trip he began on the previous album. Here it”s just him, his guitar and minimal backing music, with Lloyd singing his melancholy, beautiful songs straight on to his computer. The whole exercise is so intimate, listeners may be forgiven if they feel like they are intruding on a private moment. Lyrically he is on introspective top form. I don”t listen to this album nearly often enough.
This is the album where Death Cab for Cutie crossed the line from oddly-named Indie group to serious rock band. Transatlanticism is something of a rock symphony; it”s not rewarding to pluck out its songs in isolation, except perhaps the excellent opener, The New Year, and the acoustic coda, A Lack Of Color. It”s the kind of lush album one must hear in full, preferably with headphones while in a kicked back mood, being immersed in the sound. Lyrically it has its moment, such as the story of the protagonist in Title And Registration who finds a forgotten photo of an ex-girlfriend after being pulled over by a cop (it also features the annoying line: “The glove compartment is accurately named”; thanks for pointing that out, Gibbard).
The title of the album is an obvious reference to the Australian band with which Scottish-born Colin Hay had some chart success in the early “80s. Here Hay revisits some of his best songs from his solo repertoire as well as the Men At Work catalogue. None of these re-recordings do their originals injustice. The acoustic versions of the three big Men At Work hits “” Down Under, Who Can It Be Now and Overkill “” are strikingly remade and worth the price of the CD alone, especially the far superior interpretation of Overkill. There is also a more faithful reworking of Down Under, with brass replacing the flute; and fine remakes of Men At Work”s Be Good Johnny and It”s A Mistake.
The title of The Minus 5″s fifth album notes the involvement of Tweedy and pals in its production, not an antipathy towards Chicago”s finest (and the group was doubtless aware of the title”s gag). A project of songwriter Scott McCaughey, leader of The Young Fresh Fellows and touring bassist for Robyn Hitchcock, this incarnation of Minus 5 also includes long-time collaborator Peter Buck of R.E.M. and Ken Stringfellow of the Posies. The sound borrows heavily from White Album period Beatles, early Byrds and the Hollies (Life Left Him There sounds more than a bit like Jennifer Eccles), filtered through an ambient alt.country colander. Wilco”s mark is evident but not overbearing, and Tweedy”s voice is welcome when it pops up. There is a joy in the sound which suggests that the collaborators had great fun recording it. This is an upbeat album that doesn”t take itself too seriously.
All of Richard Hawley”s five full albums will feature in my Top 10s of the “00s. All of five of them are superb; all are beautifully orchestrated with Hawley”s attractive baritone giving life to his fine, often melancholy lyrics. So when I declare that Lowedges is my least favourite Hawley album, I am being somewhat unfair to what is a fine album. The songs on Lowedges are as affecting as any; one wants to live inside them. Don”t Miss Your Water, On The Ledge, The Nights Are Made For Us or the dramatic Run For Me are as good as almost any Hawley songs. Lowedge“s The Motorcycle Song probably is my least favourite Hawley song; and even that is not terrible.
O, but Damien was one overwrought lad. You fear for him in what must be a terribly fragile state. But, goodness, there are some beautiful songs on this album, and some heartwrenching lyrics. Rice is not a very good singer, so all the happier the moments when Lisa Hannigan supports him (although, typically, only to make poor Damien even more heartbroken). There are no clunkers on this set, and a bunch of quite brilliant songs, particularly The Blower”s Daughter, Volcano, Eskimo (with the operatic interlude), and Delicate. And Cannonball, which eclipses all of them. The album”s inclusion in this post is something of an anomaly. O was released in Ireland in 2002; after slow-burning success which eventually took the album into the UK top 10, it was released internationally in 2003.
Of Rosie Thomas” four albums (excluding last year”s Christmas effort), this is the one on which she is most explicit about her Christian faith. That is good news, of course, for the believer, but should not put off the religious sceptic, for her brand of Christianity “” like that of her frequent collaborators Damien Jurado and Sufjan Stevens “”bashes no Bible and does not glorify or moralise. Mostly, she is asking God how the hell she is supposed to live this life. Indeed, the evangelical fundamentalists might well call Rosie a Maoist Osama Nazi, as is their objectionable wont, should they encounter lyrics like this, on Tell Me Now: “How am I to tell them if they never follow Christ that heaven doesn”t hold a place for them”¦when I”m no better than them.” Christ is periodically present; and He should be: the album was recorded in Detroit”s 19th century St John”s church.
Was it all a glorious piss-take, lending heavy rock all the camp that Queen fans so routinely denied in their group because the band”s name provided absolutely no clue? The cover of Permission To Land even aped the sexism we occasionally encountered in Queen (remember the Fat Bottomed Girls poster that came with the Jazz album?). The debut, unlike the follow-up, borrowed its influences more broadly than merely Queen, of course. The Darkness swigged copiously from the vats of hair metal, Van Halenesque CocRock, and AC/DC. Singer Justin Hawkins camped it up in striped spandex trousers, while bassist Frankie Pullain played the straight man. It was all a bit Spinal Tap, and if not quite a spoof or wind-up, then certainly rock music performed with a wink and a nod. And yet, the Darkness was not a novelty act; they took their music seriously and wanted the listener to have fun with it. They even gave us a damn good power ballad, featured here.
Before there were The Weepies, there were the shift- and space-bar boycotting eastmountainsouth. Discovered by Robbie Robertson, the folk-pop duo released only this one album, before Kat Maslich Bode and Peter Bradley Adams went their own way. That”s a pity; the album is lovely. It does not spring surprises on the listener; indeed, played in the wrong mood, it could be considered boring. The songs don”t go beyond mid-tempo, and they don”t always engage as immediately as those of fellow folkie Rosie Thomas. But the harmonies are exquisite, the vibe is warm. This is an album to savour on a lazy, preferably rainy weekend over a cup of coffee.
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