Well Played: A Review of Kacey Musgraves’ Deeper Well
When you dive into Kacey Musgraves’ lovely folk-country album, Deeper Well, you’ll likely discover the singer/songwriter secure, but searching. After love (captured on the masterpiece that is 2018’s Golden Hour) and loss (poured out on 2021’s star-crossed) come self-healing, (personal and professional) lessons learned, even a few unanswered questions, all reflected on 14 sonically soothing, acoustic-centered tracks, with Musgraves’ angelic voice at the heart (of the woods).
Here, Musgraves is at her earthiest. Throughout the album, she and her writing team have incorporated references to the natural world and its inhabitants, the seasons and the afterlife: With the opener, “Cardinal,” the scarlet-red bird is seen as a messenger “from the other side” (an expression Musgraves also adds to “Dinner with Friends”). She also asks: “Are you just watching and waiting for spring?” With “Too Good to be True,” Musgraves musters the courage to open herself up to that foreshadowed new beginning (“Summer’s gone, but you’re still here/For both of us, it’s been a year”), yet subsequently on “Moving Out,” cohabitation comes with challenges. She sings metaphorically, “That big tree in the front yard lost a limb,” and uses the season of autumn to signify the decay of that relationship, evidenced by the following track, “Giver/Taker” and its opening line: “Sundown and I’m lonely in this house.”
But it’s the title track, as well as “Sway” that document her quest for centeredness amid all the changes that life can bring “without a warning,” words expressed on “Too Good to be True” and similarly on “Cardinal.” Musgraves never pretends to have it all figured out; in fact, on “The Architect,” she paints a series of scenarios to convey a balance of curiosity and confusion about creation, and life on the planet, leading, once again, to confirm Musgraves’ knack for relatability through lyrical construction. By album’s end, “Nothing to be Scared of” finds her dipping her toes in the relationship waters once again. And if life and love ever get murky again, Musgraves now knows she can always go back to the well.
Photo 1: “Cardinal” music video, directed by Scott Cudmore; Photo 2 and 3: “My Saturn Has Returned” promo for Deeper Well (cinematographer: Mika Matinazad).
An Add-Shot of Pop: Sabrina Carpenter’s “Espresso”
Breathy and a bit bratty, in the best possible way, Sabrina Carpenter’s breakout hit, “Espresso” is easily a song-of-the-summer contender. As the track awakens, it’s cool and quiet, just the sound of shimmery synth keys, handclaps, and a deep bass line in the background can be heard. But it’s quick to rise and shine into a caffeinated eight-line chorus (repeated four times in less than three minutes) that proudly boasts the effect one can have on a partner, specifically the prowess of delivering a shot of love so strong, it’s enough to instill a bout of insomnia (“Say you can’t sleep, baby, I know/That’s that me, espresso”).
And while this hook and most of the lyrical content, for that matter, are far from grammatically correct (“Walked in and dream came trued it for ya”; “One touch and I brand newed it for ya”), certain liberties are allowed when crafting a smart, sugary pop song, the kind of sonic addiction that gets into a listener’s veins and brain, and won’t let go. Is it that sweet? I know so.
From Fosse to Ari: The Origin of Ariana Grande’s “yes, and?” Video
As long as there have been artists, it’s pretty safe to say there have been critics. The relationship between the two is a complicated one, for it’s the artist who, in an act of vulnerability, steps into the arena (often literally) to present the creation, and with that, comes the (welcome or unwelcome, hopefully at least constructive) critique from the sideline.
An artist who recently commented about this relationship is Ariana Grande, via her latest music video for “yes, and?” from her seventh studio album, Eternal Sunshine, which saw the light of day on March 8. The track’s sound evokes classic piano and hi-hat ‘90s dance music, while the video treatment harkens back to a stylish ‘80s music video and even further back to an iconic ‘70s movie musical, so therefore, Ari’s video is an homage to an homage. Let’s put on our dancing shoes and retrace our steps:
One of the best depictions of this artist-critic exchange was featured in Bob Fosse’s 1979 semi-autobiographical musical-drama, All That Jazz. Broadway director and choreographer, Joe Gideon (Roy Scheider essentially portraying Bob Fosse) is burning the candle (and many cigarettes) at both ends, trying to cast and create a new show, plus complete the editing of a film, all while barely co-raising his young daughter, and popping a lot of pills.
The new show that Gideon is working on entitled, NY/LA, a loose reference to Fosse’s very own, Chicago, features a musical number about airline travel called “Take Off With Us” (a cheeky title already filled with foreshadowing). Gideon invites a few suit-wearing financial backers to preview the song and dance, which starts out with the character of a purser (Sandahl Bergman), along with her crew of dancing flight attendants, touting the exceptional service they will bestow up their passengers (“They only live to service you...”). The first half of the performance is bubbly, which garners smiles, even a round of applause midway through from the straight-laced observers, but unbeknownst to them, there’s a second half that suddenly turns steamy (literally), with one of the dancers welcoming all aboard “Airotica,” Gideon’s ode to the “Mile-High Club.”
The studio goes dim, now lit only via a few flashlights, with the dancers peeling off their clothes (the “take off with us” double entendre now realized), and pairing up to perform a sensual, then overtly sexual, albeit artistic, number, much to the confusion and disappointment of the backers, the realization sinking in about the limited monetary and sponsorship potential that the addition of “Airotica” will bring. “There goes the family audience,” the head backer whispers to his colleague. At the end, Gideon asks what they think, only for the head backer to feign acceptance and approval with a nervous smile.
Ten years later, the dancer and choreographer, Paula Abdul used Fosse’s “Take Off With Us” as the basis for her “Cold Hearted” music video, directed by a then relatively unknown, David Fincher. The video starts out with a group of record-company executives arriving at a rehearsal space, seemingly uninterested in what they’re there to preview. One says it’s a “Bob Fosse kind of thing; it’s gonna be really, really hot,” to which another executive nervously replies, “Yeah, but tastefully, it’s tastefully hot.”
The first two verses and choruses find Abdul and her crew dancing much to the toe-tapping approval of the executives, but by the bridge, a couple of the dancers begin lowering the window shades, thus beginning Abdul’s (understandably much tamer) version of “Airotica.”
A couple of the executives are turned off, a couple of them turned on. Similar to Gideon asking his backers, Abdul asks her audience, “Well, what do you think?,” to which a conservative executive reluctantly replies, “It’s very nice.”
In January 2024, Grande released “yes, and?” as a self-empowerment reminder amid a social-media culture of click-and-critique. The video came at a time when Grande, once again, became the subject of chatter surrounding her personal life, specifically her short-lived marriage, and quick subsequent kindling of a new relationship with a co-star from the film adaptation of Wicked. For the Christian Breslauer-directed video for “yes, and?,” which starts similarly to Abdul’s, a group of jaded critics reluctantly arrive at an industrial space, yet ironically can’t seem to talk about anything but Grande and her signature ponytail, with some of the critics even rehashing, and reacting to, internet-sourced gossip.
As these critics enter the space, an elated group exits. The new batch take their seats in front of a series of stone statues, one of which is in the form of Grande with her hands covering her eyes in a see-no-evil posture. As the song’s beat drops in, the statues crumble into piles of rubble. Grande is released to tell her story, with the bridge reserved for commentary to those who deliver just that about her (“Don’t comment on my body/do not reply/your business is yours/and mine is mine”).
Through confident lyrics and cohesive choreography, Grande and her dancers persuade the critics to drop their metaphorical stone exteriors as well. Yet just as this is achieved, she and her dancers within a flash assume their statuesque personas once again, perhaps symbolic of the thick shell needed to navigate the current, all-too-easy, drop-a-comment culture. As the newly elated converts leave, yet another cluster of critics enter, they too soon to be shook.
In summary, the common threads between the three depictions are as follows:
The critics arrive.
Principal female character with a group of dancers.
Principal character dressed in black, and wearing a black hat with brim.
Stripped-down, industrial-looking rehearsal space featuring scaffolding structures.
Principal character on top of the scaffolding structure.
The controlled critics sitting on chairs as the audience, as opposed to the creative artists “in the arena.”
There’s always a moment when the critics are enjoying what is presented to them.
The rehearsal space goes from light to dark for a version of “Airotica.”
When it comes to Ariana Grande’s “yes, and?” video, there’s no place like homage.
Photos 1, 8, 9, 10: Ariana Grande in the music video for “yes, and?,” directed by Christian Breslauer; Photos 2, 3, 4: All That Jazz, directed by Bob Fosse, cinematography by Giuseppe Rotunno; Photos 5, 6, 7: Paula Abdul in the music video for “Cold Hearted,” directed by David Fincher.
Platinum Portrayal: Ana de Armas’ Golden Performance in Blonde
Disclaimer: Please note that this article about the film, Blonde, features content related to mental and emotional trauma, and other similar themes, that may be triggering for some. Reader discretion is advised.
While many reviews of Andrew Dominik’s Blonde, the 2022 film based on Joyce Carol Oates’ historical fiction novel of the same name, were rather scathing, it’s Ana de Armas’ portrayals of Norma Jeane Mortenson and Marilyn Monroe that serve as the main reason to muster up the courage to try and commit to watching the often disturbing and disjointed three-hour film.
Oddly enough, through no fault of her own, it’s de Armas’ performance that’s representative of how disjointed the film really is: simply put, she’s far better than the material that surrounds her. Here are at least five scenes from Blonde where de Armas goes from good to great, displaying a wholehearted commitment to portraying a fictional incarnation of a famous figure, as well as the daunting, almost insurmountable, challenge of playing the most famous female icon in Hollywood history.
5. Calling the Shots: After talking to her agent by phone about the glaring salary inequity between her and a much-higher-paid Jane Russell for 1953’s Gentlemen Prefer Blondes, Norma Jeane calmly questions: “And I’m playing the blonde, in Gentlemen Prefer Blondes? That’s an insult.” She remains polite, even announcing: “I’m gonna hang up now,” but a second later her agent calls her Marilyn, to which Norma Jeane angrily replies: “F*** Marilyn, she’s not here!” and slams down the receiver. de Armas gives Norma Jeane a look of stunned disbelief at what has transpired, but soon proudly smiles at her newfound confidence.
4. Pink Diamonds: de Armas is Monroe’s Lorelei Lee doppelgänger in Blonde’s recreation of the classic “Diamonds are a Girl’s Best Friend” musical number from Gentlemen Prefer Blondes. With only two days to learn the choreography, de Armas captured Monroe’s hand gestures, shoulder shrugs and slinky movements on the narrow staircase. de Armas did 21 takes, with Dominik using the 21st in the final film.
3. Audition Ambition: In the scene where a nervous Norma Jeane auditions for the role of Nell for 1952’s Don’t Bother to Knock, it’s her opportunity to show the (uninterested) male powers that be how connected she is to the character, to the material and to what it represents. Norma Jeane delivers a solid audition (complete with de Armas dropping a single tear down her left cheek), but still asks to do the reading again. de Armas conveys Norma Jeane’s longing for connection, to be heard, not just seen.
2. A Method to the Sadness: At an acting workshop, an in-depth, Method-style exercise eventually sends Norma Jeane down to the floor in hysterics. As a disheveled Norma Jeane tries to regain her composure, as if she’s been jolted awake from a nightmare, the teacher asks: “What were you thinking of?” To which she replies: “I wasn’t thinking.” She quickly tries to gather her thoughts: “Um, maybe… I was remembering?” This is one of de Armas’ strongest scenes, for its display of raw emotion offset soon thereafter by a subtle, shy smile and a loud sniffle during Norma Jeane’s responses, showing just how committed Norma Jeane was to exploring her acting craft, even after an intense reaction.
1. Mother and Child Reunion: Early in the film, a seven-year-old Norma Jeane is living in Los Angeles with her mentally and emotionally unstable mother, Gladys. After surviving in a volatile, violent environment, Norma Jeane is placed in an orphanage, while her mother is eventually institutionalized. One of de Armas’ most gut-wrenching scenes occurs when Norma Jeane sees her mother for the first time in well over 10 years. de Armas’ reaction is visceral, capturing the sadness of separation, followed by her scanning her mother’s face in confusion. Despite their deeply dysfunctional history, it’s simply a child wanting her mother.
In an interview with the SAG-AFTRA Foundation, de Armas’ theorized as to the nature of this complicated relationship: “She really wants to fix Mother. The absent father figure is a problem, but I feel like Mother is the real problem, and what she feels like she has to fix… She thought, if I can find my dad and he comes back, then my mom is gonna be okay, but because I can’t find him, if I’m very, very famous, he can find me. But really it was the mother, you can see that she is trying to fix that, to build that relationship, and it’s obviously… no reaction there, there’s nothing, there’s no feedback, they don’t recognize each other.”
Honorable Mentions: de Armas has other remarkable moments in the film. For instance: The recreation of “I Wanna Be Loved By You” from 1959’s Some Like It Hot. Norma Jeane is on set in Monroe mode, playfully and seductively lip-syncing to the track, but quickly de Armas’ face switches to reveal a devastatingly deflated Norma Jeane, who stops mid-scene, and puts her head in her hands, only to then erupt ferociously in anger over the alleged demeaning on-set gossip about her. In seconds, de Armas’ range runs the spectrum from physical embodiment to mentally distracted to emotionally enraged.
Also, Norma Jeane’s meeting with “The Playwright,” is a rare occasion that we see her calm and self-assured. She’s clearly smitten with the intellectual across the table, and she beams at the professional and personal possibilities. Their flirtatious exchange of the greeting, “Hey, you” is one of the film’s sweet, all-too-brief moments.
de Armas received several acting-award nominations in early 2023, including an Academy Award nomination for Best Performance by an Actress in a Leading Role. And while she didn’t win any golden statues, her performance is the gleam amid all the gloom.
The Pop Zeal Project (Track 77): Kylie Minogue: Bittersweet Goodbye
It’s no wonder the word, lullaby appears in Kylie Minogue’s “Bittersweet Goodbye” from her 2000 album, Light Years. The song itself sounds as if it is one, with its tender piano and sweet, comforting vocals. However, it’s not the traditional kind of tale from parent to child, but this time from one lover to another, during the night into the dawn, before the couple parts. The song is written ambiguously to allow for interpretation; the story doesn’t automatically deduce that a breakup per se is about to happen. Yet this still doesn’t lessen the curiosity as to what makes the goodbye bittersweet, eluding, in part, that there is some benefit or joy that comes as a result. Perhaps it’s the future reunion that can only happen after one leaves in the morning light.
Hold this Note: Kylie hardly performs this track live in concert, but did so during her 2012 Anti-Tour, a scaled-down outing, which stopped only in select cities in Australia (Melbourne; Sydney) and England (Manchester; London), where b-sides, demos and rarities were performed in smaller venues.
Disco Playlist: Vicki Sue Robinson: “Turn the Beat Around”
Vicki Sue Robinson shines as a vocalist on 1976’s “Turn the Beat Around,” but the spotlight gets put on musicians and their instruments. From horns and violins, to the guitar scratch and percussion, even the flute player is given rock-star status, the song is a celebration of all the components that go about creating a sound that “carries all the action.” It’s a latin-disco classic, made all the more fun by attempting to sing along to Robinson’s rapid-fire vocals, and lyrics such as “syncopated rhythm” and “rat tat tat…”
Pop Playlist: ABBA: “Mamma Mia”
One is reminded of how powerful the brain can be when a song is featured in a film, and even 20-something years later whenever the song plays, the film and the scene, are immediately conjured. So is the case with ABBA’s “Mamma Mia.” However, the film is not Mamma Mia, based on the stage play, and starring Meryl Streep, but 1992’s The Adventures of Priscilla, Queen of the Desert.
With Felicia (Guy Pearce) a big fan of the Swedish pop group, it was only natural that a song (“Mamma Mia”) would find its way into the film, and it does during the finale. The scene is a celebratory one that has the drag-queen heroes, Felicia and Mitzi (Hugo Weaving) returning home from a long journey into the Australian desert. Geographically, they’re happy to be home, but the bouncy, cheerful-sounding tone of “Mamma Mia” also reinforces how much the duo are also at home in their hearts, doing what they do best, surrounded by the people who love them. The song-scene pairing is also a testament as to how ABBA’s masterful creations can still instill a warmhearted sense of comfort and at times (euphoric) joy.
Pop Playlist: Madonna: “Vogue”
Arguably, Madonna’s 1990 hit, “Vogue” is her signature song, one that will always come up in conversation when discussing the icon’s contribution to pop (music) culture. With its theme of dance floor as place to escape life’s “heartache,” Madonna and co-writer Shep Pettibone paint a scene where fantasy, through imaginative (fashion-pose) voguing, serves as inspirational recharge for one’s own reality, a space that gives “new life.”
The documentarian, Jennie Livingston had already been exploring similar themes in the New York gay underground of competitive fashion-fantasy balls and voguing “battles” years earlier, with her groundbreaking film, Paris Is Burning. Yet Madonna was the one to bring elements from this world into mainstream visibility (“Life’s a ball”). While the powerful documentary delves into far grittier territory, “Vogue” focuses on the glitzier aspects of old-Hollywood glamour. It becomes more than just a catchy dance song or stylish video, it’s indicative of how a savvy Madonna took something subculture and crafted it into one of her most mainstream successes, in turn, also influencing the pop-culture lexicon, the word not just a noun anymore or the name of a magazine, but now a familiar action verb.
David Fincher’s masterpiece:
A clip from Paris Is Burning, with the legendary Willi Ninja. Take note at 1:15 - 1:25, which features a young Jose Gutierez, who a few years later would appear in the video for “Vogue” and be a part of Madonna’s “Blond Ambition World Tour.”
Pop Playlist: The Smiths: “Please, Please, Please…”
The Smiths’ “Please, Please, Please, Let Me Get What I Want” is just shy of two minutes long, but it efficiently goes straight to the heart of desperate longing. The lead singer, Morrissey sounds as if he’s in mid-prayer, a plea to experience “Good times for a change.” Acoustic guitar, and the defeated sadness in his voice, create a somber tone, yet not one of complaining, but contemplation. There’s disappointment, but he’s also hopeful; he’s the “good man” who doesn’t want to “turn bad.” The lyric, “Haven’t had a dream in a long time” may be the track’s most vulnerable, with the later “what” in “get what I want” open to interpretation, the “what” replaceable with “who.” (Morrissey has in fact applied this lyric change during live shows.)
The song works well in the heartwarming (and heartbreaking) film about the confusion of unrequited love, (500) Days of Summer, with Joseph Gordon-Levitt (Tom) and Zooey Deschanel (Summer). In the hopes of getting Summer’s attention, Tom plays the song out loud for co-worker and fellow Smiths admirer, Summer, only for Summer to walk right by his desk.
“Please, Please, Please…” has been covered by Deschanel (She & Him), and the Dream Academy, whose version appears in the film, Ferris Bueller’s Day Off.
Pop Playlist: Depeche Mode: “Enjoy the Silence”
English synth-pop icons, Depeche Mode had one of their biggest successes with 1990’s Violator. It featured strong singles, such as “Personal Jesus,” “Policy of Truth,” “World in My Eyes” and this song, “Enjoy the Silence.” From the start, “Silence” bounces with a deep synth-bass line, while a tender guitar riff softens the sound. But not too soft, for when Dave Gahan adds his vocals to the first verse, the mood intensifies once again. “Silence” is essentially a (dark) ballad: “Words are very unnecessary/They can only do harm.” Yet drum-machine beats and brilliant transitions, particularly the one between the chorus and second verse, give the song a surprising sense of catchy vitality, allowing it to become an alternative-pop and dance hit in several countries.
Below is a clip from 2014’s Live in Berlin filmed concert, directed by Anton Corbijn, who also directed the music video for the song. The deep synth-bass line, as referenced earlier, comes in at 0:46 and is definitive Depeche. “Silence” never sounded so good.
Pop Playlist: Christina Aguilera: “Come On Over Baby”
Along with Britney Spears, Christina Aguilera became one of the biggest pop stars in the late ‘90s, thanks to “Genie in a Bottle” and “What a Girl Wants.” In 2000, Aguilera’s “Come On Over Baby” became the fourth single off her debut, self-titled album. Strong, soulful vocals and a driving dance-pop beat were customary for the first two singles, and for this track too, with “I Turn to You” the necessary power ballad. “Come On Over” served as provocative invitation, not just lyrically toward the song’s object of affection (“You better cross the line”), but as if toward the audience as well. With the world in a new millennium, Aguilera began to take steps toward (perceived image) change too, with “Come on Over” becoming her first “not that innocent” moment, only to pale in comparison to the later “Dirrty” chapter of her career.
Pop Playlist: The Beatles: “In My Life”
Reflection on the past is a prevalent theme in The Beatles’ “In My Life.” With lyrics by John Lennon, (life) change and its inevitability, in relation to places and people, give the song a melancholic, matter-of-fact sense. Superbly simple songwriting that captures aspects of the human condition (past loss; present love), along with a sweet melody and an unexpected (classical) bridge make “In My Life” a timeless track, a case where one could say that some things don’t change.
Pop Playlist: She & Him: “Sing”
Leave it to She & Him lead singer, Zooey Deschanel to write an eccentric lyric referencing the MTV show, “Cribs,” which is evident in the first line of the track, “Sing” from their album entitled, Volume Two. “Sing” is another offering that showcases the group’s love of traditional-pop-song brevity. At just over three minutes, Deschanel’s vocals are once again soothing to the ear, and features a harmonious delivery of jazzy “ba-da-da-dums” as a carefree conclusion.
Zoot Suits: Kylie Minogue Fits Well on Zoot Woman Track
“Still Feels Like the First Time” from the band, Zoot Woman is another prime example of meditative pop. The band, consisting of Johnny Blake, Adam Blake, and Stuart Price (mega-producer of Madonna’s near-perfect Confessions on a Dance Floor and Kylie Minogue’s fierce and mighty Aphrodite), has been known to embrace a synthpop sound, and “Still Feels Like…” is a three-minute escape to the sci-fi future. With Kylie on guest vocals, with some affected intentionally to create a robotic distortion, the duet is gorgeous and gentle; lovely, light and airy, full of heavenly harmonies.
Pop Playlist: Fleetwood Mac: “Over My Head”
“But it sure feels nice” is not just a lyric from Fleetwood Mac’s 1975 single, “Over My Head,” but essentially the subsequent end result after every listening session. The distinct, soothing lead-vocal style of the band’s keyboardist, Christine McVie is always a comfort to the ears, even as she sings of the lows of love, and the realization of being in a relationship with someone who’s not reciprocating what’s deserved: “Your mood is like a circus wheel/You’re changing all time.” McVie’s lyrics capture that struggle between head and heart in a simple, yet creative manner.
Pop Playlist: Garbage: “Cherry Lips (Go Baby Go!)”
A blend of rock and synth, with touches of mid-century pop, the 2001 song, “Cherry Lips (Go Baby Go!)” by Garbage surely makes for an interesting listen. Although the band’s familiar, no-holds-barred rock-guitar riffs tear through, there are sweet-sounding production elements (handclaps; church bells) and Shirley Manson’s (girl-group) vocal delivery that allow the track to feel reminiscent of a bubble-gum song from the ‘60s… gone wild.
More About Beginnings: Semisonic: “Closing Time”
The 1998 song, “Closing Time” from the band, Semisonic serves as a lyrical homage to that all-too-familiar moment that occurs around 2:00 a.m. at most drinking establishments—closing time. There’s even a classic bar-culture phrase that makes it way into the song that sums it all up: “You don’t have to go home but you can’t stay here.” Reportedly the song is not just about leaving a bar at the end of the night, but about moving from one life chapter to another. The lead singer and songwriter, Dan Wilson penned the song while his girlfriend was pregnant, and it ended up being about pending fatherhood, childbirth and new life (for all involved): “Every new beginning comes from some other beginning’s end.”
Lyrics to Live By: Sheryl Crow Says “Live It Up”
Sheryl Crow’s 2005 album, Wildflower is certainly full of heartfelt ballads, but Crow adds a bit of cheer on “Live It Up.” It’s an encouraging ode to present-moment thinking and action. Besides its upbeat chorus, other memorable lyrics include reminders of the futility of worry and the time-waste that comes with trying to predict/control the future: “You can’t stop/working on the outcome”; “Put on your backpack/Take a trip to nowhere/You’re sidetracked/on your way to somewhere/You wind up/right back where you started.” Seeing as Crow’s offerings on Wildflower were solemn and strings-heavy, this track is a nice occurrence of pop optimism that pops up a little unexpectedly, yet serves as a welcome glimmer of hope in the midst of so much introspective reflection.
Central Park Best: Sheryl Crow: “If It Makes You Happy” (Live)
Rockers have lots of stories to tell. Sheryl Crow is no exception. Her song, “If It Makes You Happy” starts with the line: “I belong/A long way from here.” If the Southern-inspired whiskey-soaked opening guitar riff and soulfully smooth bass chords—that roll in at just the right time—don’t pull you in… that line will.
This version, from Crow’s 1999 Live in Central Park, features The Pretenders’ lead singer, Chrissie Hynde—a woman presumably with lots of stories to tell as well: life on the road; death of a close colleague; love with a fellow musician, themes to which Crow can also relate. The singers—who seemingly have seen it all, heard it all, played it all—trade verses, with Hynde’s signature style fitting in wonderfully.
Crow’s lyrics can often leave you scratching your head (“Bring you comics in bed/Scrape the mold off the bread/And serve you French Toast again”), yet it’s how the tale is told, the drowsy buildup offset by explosive high points at the chorus—and the simplicity of that infectious chorus—that bring about universal understanding.
We don’t know how this story concludes, yet the return of that whiskey-soaked guitar riff signifies a satisfying, albeit melancholic, close to the chapter.
Two-Minute Warning: She & Him: “I Knew It Would Happen This Way”
The solemn “I Knew It Would Happen This Way” is the bonus track on She & Him’s Volume 2. It features an acoustic-guitar intro followed by dreamlike electric guitar, reminiscent of something playing on the jukebox at the Double R diner in David Lynch’s “Twin Peaks.” Zooey Deschanel’s equally ethereal vocals barely utter lyrics such as “And you don’t want me anymore”; “I won’t be waiting on the dock.” This weary-sounding character now knows her prediction about the relationship has come true and is most assured of her decision to leave. M. Ward concurs musically and provides a brief acoustic run to quickly close out this two-minute vignette.