Albums of the Year: 2009
You can finally exhale: here are my top 20 albums of 2009. Apart from the two top spots, the order is rather random. Ask me in ten minutes’ time, and Grizzly Bear or M. Ward might sit at number 3 and 4. I’ve put sample tracks of each album on a mix; the song titles appear at the end each abstract.
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1. Richard Hawley – Truelove’s Gutter
I didn’t expect Hawley to top his majestic 2005 album Coles Corner. A profoundly soulful pop symphony with accomplished and unusual instrumentation, Truelove’s Gutter may very well be the best album of the decade.
(Open Up Your Door) Homepage
2. Ben Kweller – Changing Horses
Kweller at last finds his sound (changing horses?) with an outstanding country album that provides an antidote to the corporate side of the genre. An absolute joy.
(Gypsy Rose) Homepage
3. Wilco – Wilco (The Album)
Wilco are incapable of releasing a bad album. The eponymous album will probably not go down in the band’s history as a classic, but it’s solid quality.
(You And I) Homepage
4. Brandi Carlile – Give Up The Ghost
It took me a few listens to realise just how good an album this Rick Rubin-produced effort is. Stay-At-Home Indie Pop put it better than I could: “Anthemic, brash, cool… the abc of Brandi, and I could go on to devilish, euphoric, fresh but fragile, and beyond (to gargantuan, hoarse-heavenly, incandescent), but all I want to really do is pathetically declare my love.” But will you still do so when Brandi gets that first clutch of Grammys, Indie-Pop? See if you can guess, without googling, with whom Carlile duets on Caroline.
(Caroline) Homepage
5. Farryl Purkiss – Fruitbats & Crows
The South African singer-songwriter dude returns three years after his excellent full debut with rockier effort. Purkiss draws his influences widely but manages to create his own coherent, late night sound.
(Seraphine) Homepage
6. Elvis Perkins – Elvis Perkins In Dearland
Here’s what I wrote earlier this year: Imagine Dylan as an indie artist, but with an appealing voice. There is a bit of an experimental edge to it, which in the wrong mood can be annoying, but exhilarating in the right mood.
(Doomsday) MySpace
7. Prefab Sprout – Let’s Change The World With Music
Released 17 years after it was actually recorded, this is supposed to be Paddy McAloon’s lost masterpiece. It’s not a masterpiece, but a damn good, and very accessible album, on which McAloon is on a bit of a God trip.
(Last Of The Great Romantics) MySpace
8. Neko Case – Middle Cyclone
Pitchfork calls the New Pornographer “a force of nature”. Hackneyed turns of phrases, even when they intend to pun on an album title, sometimes are just the most appropriate. Case is so much a force of nature that listening to the album can leave the listener exhausted.
(People Got A Lotta Nerve) Homepage
9. Monsters of Folk – Homework
I should love this. Two Bright Eyes guys, M. Ward and the singer of My Morning Jacket, and a batch of very good songs. It’s a fine album, and yet it fills me with a sense of unease, the same vibe I got from the Travelin’ Wilburys (and one song here sounds like a Wilburys track!). And yet, I keep returning to Homework…
(Man Named Truth) Homepage
10. Peasant – On The Ground
This deserved more of a buzz. Nicely crafted guy-with-guitar stuff that recalls Joshua Radin and, yeah, Elliot Smith, with a bit of Simon & Garfunkel. A lovely cool-down album.
(Fine Is Fine) MySpace
11. Eels – Hombre Lobo
E offers nothing much new here, but, hey, it’s an Eels album, and does everything you want an Eels album to do. That’s enough for me.
(That Look You Give That Guy) Homepage
12. Grizzly Bear – Veckatimest
Beguiling and frequently surprising. It’s an aural extravaganza. Now, which Ben Folds does Two Weeks borrow its riff from?
(Two Weeks) MySpace
13. Mindy Smith – Stupid Love
Indie-Pop may be in love with Brandi Carlile; I declare my (admittedly promiscuous) love for the likewise deceptively named Mindy Smith. Stupid Love, it must be said, is not as breathtaking an album as Mindy’s debut, One Moment More, but it has Mindy’s beautiful voice and pleasant enough songs.
(What Went Wrong) Homepage
14. Bob Evans – Goodnight Bull Creek
I’m a great fan of Evans’ 2006 sophomore album, Suburban Songs. Like that set, Goodnight Bull Creek was recorded in Nashville. Creek lacks the immediately catchy songs of the previous album, but has a much richer, textured production.
(Brother, O Brother) Homepage
15. Jason Paul Johnston – Willows Motel
Solid country, recalling Prine rather than Twitty. And just when I think Johnstone has settled into predictable country mode, he pulls something that makes me think, “What the fuck was that?”
(She’s A Friend) MySpace
16. Marissa Nadler – Little Hells
Again, to quote myself: I am not acquainted with Nadler’s previous effort; apparently it is gloomier than Little Hells. Well, this one isn’t a courtjesters’ convention of heedless madcappery either. It is, however, a beautiful, hypnotic album which draws much of its inspiration from medieval, cloistered sounds.
(Rosary) Homepage.
17. M. Ward – Hold Time
Here Ward draws from the heritage of country and soul, from the Beach Boys and from Spector — the choice of two covers affirm the retro vibe: an excellent cover of Buddy Holly’s Rave On, a less than brilliant rendition of Hank Williams’ Oh Lonesome Me (featuring Hank Sr’s namesake Lucinda). The production is polished, the sound a lot more mainstream than previous albums
(Rave On) Homepage
18. Loney, Dear – Dear John
Our Swedish homestudio-bound genius returns with another magical multi-layered chamber-pop epic which is at once orchestral and, largely thanks to the man’s voice, intimate.
(Airport Surroundings) Homepage
19. Micah P Hinson – All Dressed Up And Smelling Of Strangers
I am not a big fan over covers albums. Usually they are self-conscious about doing something “different” with a song, or issue redundant carbon copies. Cover albums work when the performer is idiosyncratic, so unique that he or she need not try to make a song sound differently. Johnny Cash pulled it off; and for the most part Hinson does so here, where he takes on the likes of Sinatra (My Way, the ambitious fucker!), Leadbelly, Holly, Dylan, Beatles and John Denver, armed mostly only with his trusty guitar and croaking voice.
(This Old Guitar) Homepage
20. Laura Gibson – Beasts of Seasons
Pitchfork nailed it when their reviewer called the singer-songwriter Gibson’s music as “far better suited to a fireplace and a cup of warm apple cider than to your local Starbucks”. Beasts of Seasons is bleak and beautiful.
(Funeral Song) MySpace
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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.
The are at least two types of Ben Folds fans: those who don’t think that Folds has ever topped the work he did in union with with Robert Sledge and Darren Jessee as the ironically named Ben Folds Five, and those who prefer his more mature solo output. Put me down as belonging in the latter group. While the very funny title track, the driving Zak And Sara, Annie Waits or Not The Same would fit snugly in the Ben Folds Five canon, Folds’ solo debut exhibited a greater empathy for the subjects of his lyrics. On Rockin’ The Suburbs (released on September 11), Folds took the baton from BFF songs such as Brick, Don’t Change Your Plans or Best Imitation Of Myself, musically and lyrically.
The first time I saw the Hedwig and the Angry Inch, I was gobsmacked. The curious storyline, the intense performances, the incongruous humour (black GIs in East Berlin!), the imaginative setpieces, the animation and costumes, and, above all, the fantastic music, written by Stephen Trask and performed mostly by John Cameron Mitchell as the genitally mutilated Hedwig, which ranges from ballads and punk to Ziggy-style glam rock.
Before the Idols franchise spewed forth disposable singers of debatable ability, at least in South Africa, televised talent shows in the country brought several artists of notable aptitude to the public’s attention. One of these was Judith Sephuma, born in the northern town of Polokwane (then Pietersburg) and a music graduate from the University of Cape Town. Her 2001 debut album is a captivating blend of jazz and Afro-pop which fully met, and even exceeded, the expectations observers had invested in the artist since her performance at the inauguration of President Thabo Mbeki in 1999, a year before she made a huge impression at the misnamed North Sea Jazz Festival in Cape Town (the local equivalent of the Montreaux festival). If the wonderful Randy Crawford had been South African, this is what she might have sounded like.
Much as I love Sandoval’s group Mazzy Starr, I struggled long and hard to “get” this album. It’s the sort of ambient set one needs to be in a perfect mood for (perhaps when one is recovering from a bout of inebriation). But when everything is set, it hits home in its quiet way. If Sandoval sounds fragile on Mazzy Starr, here you want to pack her in cotton wool and keep the volume low, just in case she breaks. The result is exponentially mesmerising and ultimately gorgeous. It’s not the sort of album from which one can pick a representative track (though I’ll try here); it works best as a body of music. If one is in the mood.
Last month Hawley released a masterpiece, Truelove Gutter. Without wishing to resort to hyperbole, I’ll claim with confidence that it is not only the best album of the year, but one of the best of the decade. Hawley, a former member of Britpop groups Longpigs and Pulp, has produced a series of delightful and always affecting albums that started with his full debut, Late Night Final (it was preceded by a self-titled EP in 2000). The gorgeously melancholy, late night mood of that great triptych of Hawley albums — Coles Corner, Lady’s Bridge, Truelove Gutter — is already evident here. His voice has now dropped a register and the arrangements have become more intricate since Late Night Final (on which Hawley’s country influence is still evident), but the basics of the Hawley sound, and the quality, are already there. The stand-out track is Baby, You’re My Light, which I featured on 
Death Cab For Cutie is one the most stupid band names in modern music. It evokes the image of shouting and wailing nu-metal emo types, or perhaps a death metal outfit that failed in conjuring a suitably satanic-sounding moniker. Death Cab are nothing of the sort, of course, nor do they deserve to be dismissed for featuring so prominently on the teen drama-soap The O.C. (which was actually quite good for a couple of seasons and featured some excellent music that otherwise would not have received wider exposure). The Photo Album is Death Cab’s transition album, still drawing from the Indie rock of the earlier albums but preparing for the almost symphonic feel of 2003’s Transatlanticism and last year’s Narrow Stairs. It lacks the diversity of 2005’s Plans, but like Plans and more than Transatlanticism, it does have tracks that stand on their own. This is solidly guitar-driven, ambient Indie rock, but more accomplished (or, purists might say, polished) than the four preceding Death Cab albums.
In 2004, Rilo Kiley released a brilliant album in More Adventurous. The preceding two albums are more patchy. Take-Offs & Landings borrows its influences widely, blows some alt.country over it, and voila. Sometimes it works, and there is nothing here that is really objectionable, but this is very much the work of a group still finding its way. Likewise, the wonderful Jenny Lewis is still discovering her voice, which here is still banking on its cuteness before it became the sexiest voice since Julie London’s. If all this sounds half-hearted, then that is not quite fair on an enjoyable album. It suffers not on its own merits, but in comparison to what the group and Lewis as a solo artist produced later.
At a time when soul music is dying a gangrened death at the hands of dancing corporate muppets and sexless nasal whiners, we ought to be grateful for the few artists who still refer to the rich heritage of the genre. So I find it difficult to sympathise with those who dismiss the artistry of Alicia Keys. OK, she’s not quite all that which the hype claims her to be, as a pianist or as a singer. Much of her material is bland. It’s safe to say that she cannot compare with, say, Roberta Flack. Judging only from her appearances at the Grammys (which I still watch for reasons I cannot comprehend; probably only for the In Memoriam section), I find her a bit smug, a bit corporate, a bit too convinced of her own genius. And yet, her albums includes a clutch of tracks which, had they been recorded 35 years earlier, would be noted as fine contributions to the canon of soul music, celebrating the derivations of her material as reflecting an astute choice of influences. Despite all the caveats I have raised, I’m glad that Alicia Keys is around.
Playing the song New Slang from this album, Natalie Portman’s character in the fine film Garden State promises Zach Braff’s protagonist that it will change his life. Without wishing to spring spoilers upon the reader who unaccountably have not seen the film, it indeed does so. The Portland, Oregon-based band’s debut thus broke out from the ghetto of Indie cult on the back of Braff’s championing. If the Kinks had been Americans recording their music in the ’00s, this is what they might have sounded like. I have quite enjoyed The Shins’ subsequent albums, which are musically accomplished, perhaps more than Oh, Inverted World. But if I want a fix of The Shins, it’s the debut I turn to.
What is it with all those people who are so quick to dismiss every Weezer album because it isn’t Pinkerton? It seems to be accepted wisdom that Pinkerton, one of the great albums of the 1990s, set some kind of standard that Rivers Cuomo and the other three chaps must live up to. The trouble is, by the time the Pinkerton evangelists listened to the other Weezer albums, they were no longer of an age when they locked themselves in their bedrooms because school and parents and jocks sucked and listened to Pinkerton in the recovery period between wanks. The Green Album is a fine album; it has some great tunes, it’s fun, it doesn’t challenge you; it does everything you’d want from a Weezer album. Island In The Sun is my cellphone ringtone, by the way.
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 – 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 
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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