Heartbreak Hotel

This is the song that killed a chicken, and that's hardly the most remarkable thing about it. That was in 1977, in Cale's mid-post-Glam-ish-whateverthehell period. He was doing polo shirts before the Talking Heads, I'm saying. Back then, in those innocent days of good friends, fast women, lots of drugs, and no studio recordings whatsoever, Heartbreak Hotel was pretty much camp, as it was from its debut in the Cale arrangement on June 1, 1974 (yeah, that's the name of the album it's on, too - and we all know what happened on May 30). He would change the arrangement a bit over the years, but through the end of the Seventies it was pretty much the same old bloated parody.

Something like this, from as late as 1981 (gawsh, that's Andy Summers! yet another Cale almost-producee):

And as over-the-top as Cale was through most of that period, and even as genuinely threatening as he could sound, Heartbreak Hotel never really seemed more than a bit of good fun - something to lurch through with some high-concept stage mischief.

But somewhere between playing mit der Polizei and coming out of his lost years, in the less innocent days of good friends, fast women, lots of drugs, and possibly too many studio recordings, somewhere around the time he seems to have hit bottom in '83/'84, he started playing it on solo piano. And no more was this man kidding around.

You can hit this version as being equally over the top, less pleasurable, pretentious, laughably melodramatic without the sense of self-satire that earlier versions had. Hell, audience members start laughing - albeit nervously, this not being what they were used to.

But whatever you think of it, it's hitting an entirely different set of emotional targets now. Like Cale's other piano in extremis songs - Fear and Guts and Waiting for the Man - there's a potent mixture of emotions here. I don't know if it would stand as well on its own without exposure to the Presley version, Cale's earlier and later versions, etc. - but you who haven't heard any of it before can tell me, eh? But IMO it's the definitive Cale version of the song - hell, the most affecting arrangement of the Axton/Durden/Presley song around, says I - and it's not really represented on any albums (John Cale Comes Alive is as close as you get).

But in a radio studio late at night in the winter of 1984, in the middle of an almost unbelievably shambolic performance/forty minutes of weirdness, Cale essayed the unbeatable performance. Anger, resignation, hatred, fear- everything surfaces in it like tongues of flame in a fire. The ending even shut up the annoying radio personality (who, to be fair, was probably panicking at the disaster on his hands). Hear it, if you haven't. Listen again if you have.

Cale gradually gentrified the arrangement, removed the screaming and scenery chewing. The new arrangement, different spins of which can be heard on Circus Live and Fragments of a Rainy Season, is fine - moving in its way, more emotionally resonant than the original - I say this lovingly - wankfest. But it's almost background music now, and doesn't grab you by the balls. I don't think it's coincidence that it's paired with Style It Takes both places.

Subtlety has its virtues, and you can't live like Cale was living in 1984 for very long. But thank God we have recordings of Cale at rock bottom.

More...

Fear (Is a Man's Best Friend)

I was saying to M.A. around the time of the last post, "I really have been avoiding the essential stuff. I'd like to write up Fear, but I don't really know what I can bring to it. Something would have to get me in the mindset." I joked, "Maybe I should go get mugged."

Shortly thereafter, a kid got gunned down a few houses down from us. A drug thing or a gang thing, most likely. And I thought, with very little human decency, "Maybe now I should write up Fear."

But I didn't, because, after all, I had not changed. An burst of automatic weapons fire and a corpse on the neighbor's lawn does not necessarily change you. Scare you, yes. Especially when you consider that you were seen by the whole block talking to the police, and not everyone might be innocent. But that state of fright and shock doesn't last long before being swallowed up by the complacency of the day-to-day. I think back on that early, early morning with little fear or sympathy - little pity, even - just with disgust and not a little wonder that it really happened. Ah yes, and the detectives never bothered to call.

So I can't really blame my unplanned hiatus from this work on any scar from the experience, only on a sense of disappointment that I was not in a better position to write about this, one of Mr. Cale's finest songs. Especially one so tantalizingly apropos to the situation on the ground. I just hacked away at the song on my guitars, over and over again, for the next week or so.

Look, there's a reason it's on every greatest hits that's ever been put out for our man Cale. If you've listened to it, you know. If not, you haven't been listening to me, have you?

More...

(I Keep a) Close Watch

(Fik shun)

Akron, Ohio. Late 1977.

"I got it!"
"Got what?"
"John Cale's last album. The album they wouldn't release here."
"Whaddya mean? Guts just came out."
"Guts wasn't a real album, just random songs from his last two albums."
"Huh. So what's this album?"
"Helen of Troy. The cover's, uh, kinda cheesy. Cale is in a straitjacket on an antique chair, and some woman is making a face from a mirror on the wall. I haven't actually listened to it yet. Do you wanna come over?"
"Sure, gimme twenty minutes."

Half of Akron, Ohio's John Cale fanclub sped across the city to visit the other half.

"So where did you get it?"
"Man, I told you already. Dave went to England for a couple weeks with his folks. I asked him to send me a copy if he could find it. I gave him money, a pile of money, for it. I still owe him, he says."
"Well, put it on!"

You can imagine the many layers of confusion side one of this schizophrenic album inspired in the membership that day. (Can you? Hell, can I?) Hard rock, hard rock with a gay guy doing the sexy monologue instead of Judy Nylon, pseudo-Beach Boys, whatever the hell that was, more hard rock, murderous gay desperados. And then on the flip side... the first cut is a big sentimental love song drenched in echo and huge sappy string orchestration?!

"I don't know about this, man."
"Yeah, it... is... a little strange."

Little did these two young Ohioans know that the song in question was trying desperately to have a great performer cover it. Cale wanted so badly* to have Frank Sinatra sing "(I Keep a) Close Watch" - he hired the orchestra, carefully calibrated the melody, ripped off one of Johnny Cash's best lines, kept the lyrics universal enough that Frank could do that thing he did. But it didn't work. Maybe the fact that it was lodged between a song about gay love and murder in the Wild West and a song about Pablo Picasso never getting called an asshole had something to do with it. Or the fact that the album that featured it was never released in the US. Or maybe it just wasn't up to Frank's standards.

Anyway, what we got was an over-the-top pile of sloppy sentimentality in performance and instrumentals and arrangement on top of a touching but slight song. It's a shame Cale can't do this one over again.

* According to the contributor of liner notes to Seducing Down the Door. Blame him if it's not true.

(I Keep a) Close Watch/Mama's Song

"Hi, this is Terry."
"Hey man, how's it going."
"Pretty good. Sandy's under the weather, but she's doing a little better. How are you and Vicky?"
"Fine, fine. I mean, she left last night, but that's fine."
"Aw, shit. I'm sorry to hear that."
"You shouldn't be. I'm not."
"OK. I am, though. Well, the reason I called... this is gonna sound kind of silly now."
"C'mon now, I'm a man. I can take it. Hell, I'm a free man now."
"Well, OK. Do you ever listen to John Cale anymore?"
"Yeah, once in a while. Paris 1919 and Fear, anyway. Heh, you know, that record really pissed off Vicky. Maybe I'll put it on..."
"Well, his new one came into the store. It's... it's pretty fucked-up."
"Really? Like Helen of Troy? Or do you mean good fucked-up?"
"Heh, ouch. No, this is good, I think. But it's painful stuff."
"Helen of Troy was pretty painful. Remember how excited you were to get it?"
"It's not that bad. Besides... you remember that 'Close Watch' song?"
"The Disney song?"
"Yeah, uh, that one. Well, he recorded it again."
"Shit."
"No, no, this is great. It's really... desolate. No strings. Nothing. Just him and his piano... and some organ... and... weird stuff. And it's the most pleasant thing on the album."
"Huh."
"Well, if you want to hear it some time, I've got it. Just let me know."
"Sure, I will."
"You wanna go out for a drink Friday?"

So, yeah, social engagements and such aside, the record eventually did change hands.

And on its return:
"Yeah, fucked up is right. Shit, I'm never listening to that again. But you're right, I do appreciate Close Watch a lot more now... until the fucking BAGPIPES start! Let me know when he makes a rock album again."

I Keep a Close Watch

Fifteen years after Helen of Troy destroyed the Akron Ohio Chapter of the International John Cale Fan Club, our friends, still in contact as they arc through middle age, happen to reminisce about music. Which leads to...
"You know, he released the best album he ever made a couple weeks ago."
"Aw, no. I heard some of that Andy Warhol album - the wife borrowed it from the library. Not my thing."
"No, not that. This is a solo acoustic live album. It's the best live album I own."
"You own an awful lot of live albums."
"I'm not exaggerating on this one."
"Heh, you seem serious enough. You know, I kind of would like to hear some of those songs again. Can you make me a tape?"
"Sure. Hey, you know...
"What?"
"... he does Close Watch!"
Groan!

An intro like "This is a love song, so hold onto someone you love," deserves a groan. But sandwiched between "Heartbreak Hotel" and "Hallelujah," Close Watch finally found a context that made sense - not to mention its best recorded performance. And you know what? That's the year the Akron John Cale Fan Club reformed... at least for a while.

Here's a video for your trouble, from a 1983 solo gig down under:

More...

Child's Christmas in Wales

I can't really talk about John Cale collaborations without talking about Dylan Thomas. It would be a mistake to harness these two oxen together or to put a Cale cart behind a Thomas horse. Still, there's a real sympathy between these two men's work, and Dylan the Elder was clearly an inspiration to our Mr. Cale. A long-lived inspiration - long before he was setting sea poems to music with Brian Eno, Cale was filching a title for the leadoff track of 1973's Paris 1919.

There's no direct connection between the kaleidoscopic short story "A Child's Christmas in Wales" and the equally kaleidoscopic song, only a shared spirit of wry reminiscence upon the wonderful and laughable circumstances of their authors' childhoods. Dylan Thomas references dot the song ("long-legged bait" and something else that escapes me), but it's very much Cale on the whole, with wonderful lyrics that perk up the ear on first listen ("Did he say 'murdered oranges'? Bled on board ship? Huh.") but carry emotional resonance ("Take down the flags of ownership, the walls are falling down.") while keeping a reserve of mystery ("Sebastapol, Adrianapolis, the prayers of all combined...") And only on Paris did Cale write lyrics like "The cattle graze bolt uprightly. Seducing down the door..."

I have to admit, I like the song better in its stripped-down solo piano incarnation. It's unadorned and unornamented, one of the barest tracks in a library of stripped-down recordings. It helps that the vocal on the Fragments version is superb, hitting all the right notes of warmth, scorn, admiration, longing, pity. But at root the song deserves to be heard without the thick coating of instrumentals laid on it in the studio.

In fact, I'd say I like the live version much better, but then you'd think I don't appreciate the warmth and fullness of the studio version, the way the slide guitar and bass and piano and organ interplay to wrap around you like the heat from a fireplace. And I do! I wouldn't trade it for anything. I'm just glad I have both versions to enjoy.

Either version's better with some cognac-enhanced eggnog. Whatever your yuletide traditions and innovations may be, I hope they've been grand. From us and ours to you and yours, best wishes and Nadolig Llawen!

P.S. Here's a little present. Nico sings and Cale does his distorted piano thing at CBGBs in 1979. "There's a lady with class," Cale says appreciatively. And even if her singing's not great here, you know I think he's right.

More...

Gun

Of course John Cale worked with Brian Eno from early on. I mean, sure, Brian Eno works with everybody. He does unreasonably brilliant work with almost everybody. What's impressive is how unique his collaborations are: the Enoed Phil Manzanera guitar part in "Gun" does not sound like David Bowie's Enoized instrumentals, which don't sound like the Talking Heads' Enoid nightmares. There's a common aesthetic and set of techniques there, but very different sounds. It's giving him too much credit to call him the central figure of "art music" in the 1970s, but it's not that far from the truth.

Not that I'm going to give Eno credit for this track. His processing is amazing, but it isn't the keystone. If I had to give credit for Gun's frightening power to a single instrument, it would be the drums. Playing ahead of the beat (establishing the track's nauseating anxiety), thumping so atavistically as to embarrass Meg White or Moe Tucker, throwing in violent tumbling fills... fuck flash and precision, this is great drumming*. The guitar is close behind, screaming eerily like human voices in distress, chopped up into stroboscopic pieces and reassembled. And then there's the vocal, at a singularly effective spot in Cale's range - particularly on the choruses, where it brilliantly undermines the potentially stadium-rock riff.

And his phrasing! He gets so much mileage out of the lyric, a film noir script about detectives on a bad beat in an awful world. It doesn't sound that original or compelling if you haven't heard it, maybe; but there's so much fear and hatred in his delivery of these Philip Marlowe-esque lines that the song completely surpasses the concept.

This song is on every single Cale compilation, and for one reason: it is essential. I will brook no dissent here. If you don't own The Island Years/Gold (which includes Fear whole and entire), you should buy it. If you don't want to, pirate the track for all I care. But you'd better goddamn listen to it, or that final guitar solo might rip out your throat.

* I do appreciate technique. But you've got to know when to just pound those suckers.

More...

Wilson Joliet

Close the door and let's have some private light!
As mentioned earlier, Wilson Joliet is the equally evil twin of Sanities. Along with Strange Times in Casablanca, it defines the mainline of Honi Soit. Characterized by a paralyzing paranoiac tension, the songs build from a sinister beginning to a crisis point - or a psychotic break? - and culminate in an ecstatic bout of screaming gibberish. (Riverbank and Russian Roulette hew roughly to this template as well.)

Like Sanities, it starts with a woman terrified of her mother. However, this immediately and bizarrely detours into even stranger territory: "Before the clock slammed another door on the weary hours we were facing, a second-hand Shylock shylocked in, in on us." It's rather shocking to hear Shylock, the "evil Jew" of the Merchant of Venice, invoked in such a stark and simple way. It sounds, well, bad. What's worse, it's totally opaque, admitting to no analysis. You don't know where the words are coming from or what they're supposed to mean, so you don't really know how to react. I feel that I have to bring it up, but I've got nothing to say about it.

It then proceeds to, like Riverside, weave military atrocities of the past and their effects on society ("like the lovers below Bataan") into a modern context, though even more obscurely than that song does. Is a lyric like "mothers weep while children sleep like ancestors in the ground" too manipulative, playing the "dead kiddies" card for quick emotional resonance in an otherwise meaningless song? Or does it get points for pointing out the bitter irony of children serving the role of the old (fertilizing the soil) rather than of the young (changing, ha ha, the world)?

Even more than Russian Roulette, it has no shame about its political incorrectness. It's one thing to feature audio clips from the 1954 British WWII film The Dam Busters in which characters call to the commander's black dog Nigger, as Pink Floyd did in The Wall. It's another thing entirely to create a militaristic fantasy world and end the song by screaming about you and the dog blasting out of confinement. Imagine driving through the city, blasting John Cale on your car stereo, and sharing with the world at large repeated screams of "Me and Nigger blasted our way out!" Not comfortable. And you can't explain nor rationalize it.

Like Syd Barrett's solo ramblings, the song's value lies solely in the atmosphere the song creates and the thoughts that it evokes. I don't know whether it's the audio equivalent of a Hieronymous Bosch or of a Jackson Pollock, but this war word salad just does trigger feelings in me. Is it

• the crashing background noises?
  
• the cascading tribal/march drums?
  
• the church organ hovering ghostly over the song?
• the endlessly reverberating guitar?

It might just be the prostration of the almost tuneless vocal, just barely in the realm of song rather than spoken-word, delivering such unexpectedly moving lines like "Yesterday's streets, burned out buildings reduced to shells" or "We are shuffled like a pack of cards" (a lyric he reused in Zen).

I don't know which of these things in particular gets to me, what turns improvised babble into something moving. But something does get to me, and apparently to him too, given that the song was mystifyingly included on the Close Watch compilation. Does it get to you? Why, or why not?

And would someone please tell me what the title means?

More...

Dying on the Vine

It's Día de los Muertos. Why not enjoy a sugar skull with this post?

A note about Robert J. Widlar.

Besides many other distinctions, Bob Widlar was the father of the operational amplifier, an arrangement of transistors and biasing circuits that easily slotted into more complicated circuits, becoming a core building block of the technological revolution of the late 20th century. He did not invent it, but he set the standard for integrated circuit op-amps and designed some of the best and most versatile that have been created. After making Fairchild Semiconductor the leader in the IC market, he started the linear IC division at National Semiconductor.

This is where, over the course of four years, he established a reputation as an excitable boy. He brought a ewe in to mow the lawn. To stop people from raising their voice to him, he created and secretly installed in his office a device called the Hassler, which would echo any noise in the vocal frequency range at a higher frequency, on the edge of the ear's range; as the volume increased, the frequency offset dropped proportionally, making the echo more noticeable, and giving the effect of a ringing in the ears. He smashed nonfunctional components into a fine powder to ensure they had zero chance of causing him trouble in the future.

And then, after that four years was up, he got in his car and drove down to Mexico, to Puerto Vallarta, leaving no forwarding address. He took a single-room adobe apartment, where he could concentrate on his alcohol and write technical papers on electrical circuits without so much as an electric lightbulb around. National Semiconductor sent a mission down to track him and reacquire him. Eventually he signed on as a contractor, but kept his Mexican residence. He died at fifty-three during a demanding jog. He wasn't identified for several days.

And now, back to your regularly scheduled fragment.

I think of Bob Widlar when I hear this song. I don't only think of him - I think of the Katharine Anne Porter novel Ship of Fools, as well, and of Ambrose Bierce, charging down into Mexico despite his age to join Pancho Villa's army, disappearing from the face of the earth.

To be honest, I think of myself. Even though I'm not an alcoholic, nor a gringo in Mexico, nor hanging out among troops and criminals. I don't think it's self-dramatization; there's something about the song that reaches out and pulls you into it. It's an epiphanic moment, a passing instant of understanding crystallized into a song. Despite the very particular scenario, it's a song with a weird universal resonance.

That's a big claim, but consider this: "Dying on the Vine" is a fairly obscure song in Cale's catalog, its definitive version a live take, the studio album entirely forgotten. And yet I have heard from several other people who call it their favorite Cale song. It is my favorite Cale song. It is not his best song, it is not his most characteristic song, but it is the song that most reaches into my chest and clamps down on my heart.

Two albums feature this song: Artificial Intelligence as an inebriated slow-motion dance, a life observed from the bottom of the bottle; Fragments of a Rainy Season as a flood of illumination. The video above comes very close to a perfect hybrid of the two. Of all the versions, the Fragments version (mp3 here) is the most essential; it's the most accessible path into the song. (It's worth noting that the version included on the Close Watch compilation is indeed the Fragments version.) I was very disappointed by the studio version on first listen, but I've come to understand and appreciate it.

It's interesting to think about the choices behind Cale's different approaches to the song: play up the Spanish motif or not? play up the emotion or hide it? emphasize the choruses or the verses? what spin do you put on the narrator? and how much of him is you? I've gone through six solo guitar arrangements of this song myself, and tweaking each of these parameters has a substantial effect on the nature of the song. But the song stands up to everything! There are few songs I've encountered that can stand up to as much resculpting as this one does, and yet it always seems to retain its soul.

I'm not a reliable guide to the lyrics of this song; my interpretation is completely personal and extremely idiosyncratic. Just part of the magic of the song is the sentence fragment in the chorus: "I was living my life like a Hollywood..." A Hollywood what, he doesn't say, but it evokes so many Nathanael West-type possibilities.

More...

Cable Hogue

SHACKLE AND IBERT (Excerpt)

Shackle: Finally, we'll look at a new Western: Cable Hogue, a Sam Peckinpah remake by Welsh auteur John Cale.
Ibert: He gets his shots in, but does he get his man? Let's see.

Cut to clip:
I just wanted to say goodbye
I wanted so much to say goodbye
I wanted to say goodbye to all my friends
In case I die

Ibert: You know, even with all the remakes in recent years, I didn't think we'd be seeing one of this film. Peckinpah's 1970 original, The Ballad of Cable Hogue, was the director's favorite, but not anybody else's, I think. A fine film, but a minor one.
Shackle: I agree with you there, Reg. This is an odd choice for a remake. Cale succeeds, though, by changing the story in surprising ways. He really makes it his own, especially with original scenes like this.

Cut to clip:
Please don't leave me here... like... this...

Ibert: He took a Romantic film touched by revenge, and turned it into a revenge film.
Shackle: Yeah, he really changed it. Now it feels like Poe. The Cask of Tequila or something.
Ibert: It doesn't seem as original or honest as Peckinpah's, to me.
Shackle: I think its honesty is one of its best characteristics.

Cut to clip:
Something inside me tells me that you won't show
I know you carry heat, but what for God only knows.

Ibert: The most impressive thing to me is that he has a coherent movie that splits its action across three settings. In the setting closest to the original, it's a straight, direct movie Western: barroom piano, guitar, a little bass, lots of clumsy mumbled words. Evocative of the old West. In the next setting...
Shackle: It's like Aeschylus.
Ibert: Greek tragedy, yes. Simple staging, oversized characters...
Shackle: Fate.
Ibert: Fate. And then the third setting, it's modern, it's about how we live now. Technology interferes; there's phased instruments and echoes, a clattering, modernistic drum track - a simulacrum of train wheels.
Shackle: That setting seems forced to me, I have to say. And it's a mistake to end it so slowly - the other settings cut off abruptly. Like life. The majestic guitar solo is way out of place here, and it leaves a sour taste in my mouth.
Ibert: It's a clumsy mistake in the midst of some very high-quality work.

The film as a whole is not as good as its source material, but I give it a thumbs-up. Jean?
Shackle: It has its warts, but it's unique and meaningful. I give it a big thumbs-up.

CUT TO CREDITS

The settings described by my guests were the 1975 original from Helen of Troy, the 1992 solo piano version from Fragments of a Rainy Season, and the 2006 Circus Live recording.

Me, I'm in favor of Greek tragedy. Take a listen to the Fragments version here, or download a low-quality mp3 here.

More...

Riverbank

Having learned very little about origins or substance of the China attraction, then, let's break this "theme" thing by jetting over to Vietnam. Or Great Britain. Or something. On Riverbank, Cale's major theme seems to be the suffering of those that soldiers leave behind, but the particulars are mysterious.

In concert he claimed the song was about Liverpool, home of shipbuilding and dockyards. On the other hand, the lyrics reference Madame Nhu, the disastrously powerful fascist at the heart of the corrupt and "Catholic" South Vietnamese government. 'Course, he may have been obliquely referring to another legendary Dragon Lady, Maggie Thatcher, but gentlemen never tell. (The comparison, if it exists, is manifestly unfair.) You might think the song was inspired by the Falklands War, but that's impossible: the album Honi Soit preceded the war by a number of months.

So out with historical context! This is a song with a magnificent melancholy and a straightforward first two verses that quickly careens off into "satisfied as heretic vicars" and "foulmouthed pupils, broken heart surgery creatures crawling back inside of you," only returning to the main topic in the last verse. Lyrically, it seems to be another child of the moment, with composed lyrics sitting alongside improvised ones in a marriage made in frustration.

Instrumentally, you can't knock it. A tentative, chiaroscuro piano part starts out the song with a single cymbal being tapped fast. Other instruments encrust the sound before the vocal comes in: organ and restrained bass, then finally guitar. The guitar meanders, a bit randomly but in counterpoint to the vocal melody. It's a committed and sincere vocal from Cale. The structure is funny: though no lyrics are repeated, a chorus-type section comes in once at the end of the first verse, then twice after the second. This "chorus" music, with choppy guitar and martial drumrolls, turns into the middle-eight. Then comes a final verse, and a vocal coda based on the verse music "the stones around their necks are the stones of the riverbank." And an instrumental coda, which sounds awfully like "Hey Jude" and, despite some nice arching guitar lines, doesn't make itself worthwhile. It's a good song but not a great song, and I'm not sure why it occupies valuable space on the only in-print compilation album, Close Watch: An Introduction to John Cale.

A much finer ending was used for the solo-piano renditions of the 1983 tour. Cale sings that same vocal coda with halting piano accompaniment, then ends the song with single-note piano stabs that seem to go on forever. An audience member keeps trying to start applause and Cale keeps playing. It's extremely uncomfortable. Despite the much rougher vocal, this is the version to listen to. I've posted a high-quality MP3 from the show in Hamburg here.

More...

Mr. Wilson

The lead track of 'Slow Dazzle' is "Mr. Wilson," a partly-ironic and partly-sincere tribute to Brian Wilson. (And also, I've heard, Harold Wilson, but I dunno about that.) It's a very light song with an acid center, which makes it hard to interpret. If I had to try, I'd say that Cale is identifying with Wilson ("Take your mixes, not your mixture/Add some music to our day", "Whisper whisper, got a monkey on my back") and that it quite scares him. Though that probably fits his future career trajectory too closely to be true. Anyway, what that has to do with Annette Funicello or the movies he mumbles ("I know your movies/'In the Sea' and 'Serenade'"), I've got no idea.

It's a strong though too-cute piece of music, with deliciously cheesy string/xylophone/choir (mellotron?) arrangements and repetitive electric piano chords played staccato. Some jauntily syncopated drumming on the sinister middle eight is a treat to hear. This has an interesting form: two times verse + chorus, a middle eight + chorus, and a coda. I should note: in the coda, despite the ironic and mysterious lyric "California wine tastes fine," all musical irony drops out and only a frankly affecting string part and vocal harmonies are left.

More...