The Mighty Lemon Drops Play “Inside Out”

The Mighty Lemon Drops Inside OutListen to this track by jangly Wolverhampton post-punk guitar pop representatives The Mighty Lemon Drops. It’s “Inside Out”, a bona fide alternative pop hit as taken from their 1988 album World Without End. The song scored placements on UK and North American charts, mostly championed on this side of the Atlantic by college radio.

The words “Bunnymen” and “Echo and the” were commonly used to describe this band in any given write up about them, now including this one. There are many sonic similarities to help justify their use, maybe. But that’s not the whole story with this band as you listen, particularly with this song which share some of the same musical ties to sixties influences as matched with post-punk ones melodically speaking. Yet they seem to escape the dourness (and Doors references) that I personally associate with Ian McCullouch and his lagomorphic fellows.

These guys made an impact outside of that comparison anyway. After forming in Wolverhampton in 1985, The Mighty Lemon Drops managed to make their mark early on with their inclusion on the C86 compilation, an important document of the era for indie-pop in Britain by the mid-eighties. They had another advantage that carried them past all that, of course; a way with an empathetic anthem. Read more

Art Garfunkel Sings “99 Miles From L.A”

Breakaway_(Art_Garfunkel_album)Listen to this track by angelically voiced interpretive singer, actor, and one-time member of a world-beating folk-rock duo that bears his name in part, Art Garfunkel. It’s “99 Miles From L.A”, a cut from his 1975 album Breakaway, his second solo album. The song itself was recorded that same year by its writer, the singer-songwriter Albert Hammond (who also wrote “When I Need You” by Leo Sayer around this same time), complete with lyrics by none other than Hal David.

Garfunkel is wrongly thought by some to be a gooseberry in his own career, with Paul Simon looked upon as the significant talent in their partnership, mostly due to the fact that Simon was a writer and (up until very recently at least) Garfunkel was not. It is also thought that Garfunkel’s solo career is lightweight and a bit “wet”. But I would argue that very few singers reached the depths of melancholy that Garfunkel has in his singing, adding his unique vocal instrument to some of the greatest songs ever written and recorded, and being absolutely indispensable to how well those songs connect on an emotional level with listeners of multiple generations. So few singers in an English-speaking pop context are able to sing a line that is both gloriously optimistic and devastatingly sad at the same time with such precision. This is not to mention his pivotal role as producer and arranger on Simon & Garfunkel albums, of which not many people are aware.

How does Garfunkel bring his formidable vocal powers to this song? I think he does it by utilizing his voice around the very ambiguous story that this song is telling, where we as the listeners aren’t sure of what kind of story it is; happy or sad. Read more

Death Cab For Cutie Play “Title And Registration”

TransatlanticismListen to this track by Pacific Northwest rainy day indie-rock heroes Death Cab For Cutie. It’s “Title And Registration”, a single as taken from their 2003 landmark record Transatlanticism, their fourth LP released toward the latter half of that year. This tune was released in early 2004, initially as an Internet-only offering, and represented their third and final single from the record.

At the time, this record was almost universally praised. Perhaps one reason this song and the record off of which it comes had such impact is because for all of its freshness at the time, it deals with a very pressing issue that has been a part of pop music for over a century and longer; the bad, old-fashioned break up. Head writer Ben Gibbard demonstrates his a knack for positioning this well-trodden thematic path in an interesting and unassuming way that makes it a song that’s more relatable than most in the “breaking up is hard to do” stakes.

And how does he do that? He starts this song with an everyday task. Looking to find the titular documents, the song’s narrator takes a trip to the car and to the humble glove box, which turns out to hold a whole Pandora’s worth of trouble for him.

Read more

The Magnetic Fields Play “I Don’t Want To Get Over You”

The_Magnetic_Fields_-_69_Love_SongsListen to this track by New York chamber pop ensemble led by arch-songwriter Stephin Merritt, The Magnetic Fields. It’s “I Don’t Want To Get Over You”, a love song (sorta) as taken from the 1999 triple album 69 Love Songs, on which there are in fact 69 love songs.

That record might be looked upon as being the result of a dare were it not looked upon as one of the best albums released that year. This is despite its vast scope or perhaps even because of it. What it established, if there was any doubt, was Stephin Merritt’s seemingly bottomless creative well for creating compact, thoughtful, well-constructed pop songs that draw from many genres and eras. And this was just one of his musical projects during that period! The lowest common denominator here is that they are all ostensibly love songs.

Although that’s another thing with this album. When all 69 songs have been listened to, we’re no further along in understanding love than when we began, and that’s kind of the point. Love is an elusive animal, even in song. But, what is the status of love on this particular song, which is a break up tale that perhaps more of us can relate to than we’d like to admit?  Read more

Graham Nash Sings “I Used To Be A King”

SongsforbeginnersgnListen to this track by former Holly and one-third of Crosby, Stills & (yes) Nash, Graham Nash. It’s “I Used To Be A King”, a key track from his first and arguably best solo record, Songs For Beginners from 1971.

By then, maybe the term “beginner” wasn’t pertinent to Nash. True, this was Nash’s first foray as a solo artist, transplanted from Manchester to sunny California after having left his band The Hollies in the late sixties. But by this time, he was well established as a native of SoCal, and no stranger to the scene. He was riding pretty high with CSNY, with this record being his next project after the mighty Deja Vu completely solidified the success of the bandAlso, Nash had a lot of help on this record from musicians who weren’t exactly babes in the woods either, with members of the Grateful Dead, Traffic, The Flying Burrito Brothers, and a couple of his regular teammates in Neil Young and David Crosby pitching in.

So, what’s all this about “beginners”, then? Well, I suspect the answer to that question had less to do with musical proficiency, career experience, or the road scars that comes with all that. The fact was that by 1971, Nash was starting again for other more personal reasons. Read more

Prefab Sprout Play “When Love Breaks Down”

Steve McQueen Prefab SproutListen to this track by British sophisti-pop architects from County Durham, Prefab Sprout. It’s “When Love Breaks Down”, a single released in 1984 and later to be included on the landmark 1985 album Steve McQueen.

As has been well documented by now, the mid-eighties was a transitional period for bands who traded in synthesizers and post-punk guitar earlier in the decade. Along with The Style Council, Aztec Camera, Sade, and others, Prefab Sprout was one of the vanguard in England to adapt that earlier and increasingly dated (at the time, anyway!) sound with more textural and thematic sophistication. They did so by infusing the dynamics of post punk and new wave with warmer and more soulful atmospheres in instrumentation, arrangement, and production values. It even had a name as christened by the music press; sophisti-pop.

This song is one of the greatest examples of that musical movement. This was not just about the elements of jazz pop and soft rock that can be found here. It’s also about the song’s subject matter and how communicating it to an audience stood in contrast to the less emotionally direct styles of songwriting found at the height of the new wave and post punk era. This is a long way from Joy Division. In this new paradigm, it was time for songwriters to face the music when it came to matters of the heart. Read more

John Grant Sings “GMF”

John Grant Pale Green GhostsListen to this track by former Czars frontman and plain-spoken confessional singer-songwriter John Grant. It’s “GMF”, a sweeping pop vista of melodic delight that employs some fairly colourful metaphors having to do with mothers and the coital act. The song is taken from Grant’s 2013 record Pale Green Ghosts. Note: that’s Sinéad O’Connor on back-up vocals!

The song is chock full of musical ingredients that complement each other seamlessly. Grant adds touches of orchestral pop, progressive rock, and even Beatlesque pop into this song that is the seeming portrait of a narcissist. In pop music, there are all kinds of central characters in songs that appear to be thoroughly repugnant characters who speak as if they are the hero of their stories. From Dion’s “The Wanderer”, to The Smiths'”Bigmouth Strikes Again”, to Britney Spears’ “Oops I Did It Again”, unpleasant and cruel acts as casually delivered by characters of questionable motives and justifications are practically a pop staple.

This song is among the best of those for many reasons. But, one big one is this: this character is not a monster, but rather a real person in pain, hinting that what is monstrous is the circumstance that has brought him to where he is as we find him in this song. Read more

Marshall Crenshaw Plays “There She Goes Again”

marshallcrenshawalbumListen to this song by unabashedly pop singer-songwriter Marshall Crenshaw.  It’s the lead track off of his 1982 self-titled debut Marshall Crenshaw – “There She Goes Again”, which is possibly the most optimistic and well-adjusted break-up song ever written.

If you imagine that Elvis Costello or Graham Parker had sunnier dispositions, you might also imagine that they might sound a little like Marshall Crenshaw, who penned the songs on his first album as a means of making a pure pop record that made people feel good.  Where the brilliance of Costello’s  My Aim is True and Parker’s Howling Wind as debut albums can’t be denied, Crenshaw’s debut let’s the sun shine in while drawing on very similar influences.

Perhaps it’s Crenshaw’s American ‘can do’ attitude.  Or maybe he was still reeling from having played the part of John Lennon in the first off-broadway run of the stage show Beatlemania before he cut his record.  Still, whatever the reason, the album and particularly this song, lays out an optimistic worldview while at the same time avoiding patronizing his audience with lyrical platitudes.

This is my favourite Crenshaw tune.  It’s the tale of a guy thrown over by a former love, yet completely without the self-pity that often goes along with it in pop songs.  The guy is still in love with her.  Yet he knows that she will never be happy with him, searching as she is for something he can’t give her.  So he wishes her well, and let’s her go without malice.  You’d think that there’d be little drama in a tale like that.  But there’s still a struggle to get over her, watching her chase her empty dreams with ‘another guy’. Where a lesser tune might heep feelings of misery upon the narrator, Crenshaw turns this expectation on its head.  Because he loves her, he’s sad that she can’t find happiness.

Apart from all of that is the tune, which often gets stuck in my head, as do many tunes off of this album which draws from Buddy Holly (whom he would portray in the 1987 movie La Bamba) and the early Beatles as main influences. Plus, Crenshaw pulls off  a storming version of Arthur Alexander’s ‘Soldier of Love’ from 1962, which couldn’t have been viewed as a commercial move even back in 1982.  Yet, Crenshaw would follow his own path from this point forward, never really finding a place in the A-list pop-rock pantheon, yet still remaining a respected figure as a classic guitar-pop songwriter among a tight circle of devoted fans.

For more information and music about Marshall Crenshaw, check out the Marshall Crenshaw website for more news and fan goodies.


Dire Straits Perform “Romeo and Juliet”

Here’s a clip of Newcastle roots-rockers Dire Straits performing their 1980 song, “Romeo & Juliet”, possibly one of the most heartbreaking “dealing-with-the-end-of-a-relationship” songs ever written, appearing on their Making Movies album.

Mark Knopfler, lead singer and guitarist in Dire Straits
Mark Knopfler, lead singer and guitarist in Dire Straits

This is a song which perhaps should have been a part of my 10 break-up songs article, just because I think it hits an important aspect of that painful process. In this song, the speaker was once a partner in one of those relationships you see that seem to exemplify what it is to be in love. The two people seemed destined to be together, the stars having aligned to bring them together. Yet, when things go sour, something happens which seems to occur in a lot of relationships – some revisionist history takes place for one lover while the other lover clings to the history being revised.

On one side, the undying love once professed turns into a half-remembered episode at best (“Oh Romeo, yeah. You know I used to have a scene with him…”). On the other, there is an inability to move on (“All I do is miss you, and the way we used to be…”). Totally heartbreaking, and yet this is no syrupy tale designed to push emotional buttons. For me, this seems as real as some of my own experiences with this uglier side of love – love gone wrong.

The fact is, people deal with the ends of relationships in different ways. Some do revise their past as a means of moving on, and of protecting themselves too. Others get stuck in the mud, and can’t get themselves out. I think this tale is one for the latter, and it’s so poignantly stated, with such respect for a painful subject, that it becomes something beyond the standard pop song about breaking-up. For me personally, there’s something about it that is flesh-and-blood real. One time, I played a version of this myself at a company picnic, and I choked up at the “All I do is miss you…” line. In that moment, the line hit me, and became as real as anything I’d ever felt myself. I had to catch myself, and keep going before anyone noticed I’d been moved. How embarrassing! Never again.  But, that’s good songwriting.

Mark Knopfler and his band have taken a lot of knocks for their back-to-basics sound, and of the slickness of their records. In the middle of punk and new wave, these guys were the antithesis. Their sound is rooted in a sort pristine take on country-rock, with Knopler’s voice suggesting a sort of mellowed out Dylan. Actually, Knopfler worked with Bob Dylan on both 1979’s Slow Train Coming as well as on the 1983 disc, Infidels. This was simply unfashionable at the time since Dylan was so thoroughly associated with rock’s old guard. And Knopler’s fluid, country-influenced guitar playing stood in contrast to the more angular, abrasive sounds made on the instrument at the time by many of his peers. Further to that, the band’s Brothers in Arms album in 1985 was among the first to be sold in the compact disc format, making it inescapable for a long, long time. And familiarity bred contempt for many, including to some extent myself. And of course, there’s the headband issue… Yet, Knopfler’s songwriting talent is undeniable, and this song is one of the jewels of his career.

To me, if you’re not moved by this song, you’re dead inside.


10 Break-Up Songs

broken heartLove – it’s an untamed beast. And in popular song, it’s often downright ferocious.

As the pop song poet Neil Sedaka once said, ‘breaking up is hard to do’. But it seems it’s actually pretty common anyway; common enough for a lot of songwriters to capture the many facets, feelings, and consequences of the end of love from the early days of tin pan alley to this modern age of ours. And despite the era, it seems that human reactions to break-ups haven’t really changed. There are still a number of attitudes expressed in pop songs about what it is to see love die. Some love affairs end and it’s for the best, with both parties knowing that even though the end of a relationship is always sad, that it ultimately makes the most sense for everyone in the long run. Some end with a real sense of tragedy, that the love gone wrong was a misstep of destiny, or a belated insight about how to keep love alive. Some lovers put on a brave face. Some drown in their own tears, as another poet called Ray Charles once wrote. Some leave callously. Others are left in the dirt.

Whatever the reaction, break-ups are universal – most people have experienced the heartache, or the relief, and sometimes both, of a relationship ending. Here are 10 songs that talk about it, from cordial goodbyes, to pleas of the desperate, to the taunts of the non-committed. Whatever the point-of-view, it’s often pretty easy to see our own lives, our own experiences, reflected in the garden variety break-up song.

They Can’t Take That Away From Me – George & Ira Gershwin

Fred and Ginger Shall We DanceThe best possible break-up is the one where it really is ‘a mutual thing’. And the king-bee anthem to this kind of bust-up has got to be the Gershwin’s ‘They Can’t Take That Away From Me’, a song written in 1937 and recorded by artists ranging from Fred Astaire (from the movie Shall We Dance – see the clip) to Frank Sinatra to Robbie Williams. This is the most civilized break-up tune you’re ever likely to find, with the narrator celebrating what defined love while it was alive, instead of wallowing in the misery caused by its passing. In this, it is more poignant than any song that talks about ‘not being able to live without you’ or ‘I’m nothing without your love’ etc. It is the best of all things when one considers the magnitude of love; it is bittersweet, and reverent of love’s complexities.

As I’ve said in other post, my favourite version of the song is by Ella Fitzgerald and Louis Armstrong on their 1957 Ella & Louis album. This tune was born to be a duet , sung by two former lovers who have nothing but good memories of what they shared together. If we’re not lucky enough to find love to last us for the rest of our lives, then this is the best anyone could otherwise hope for.

Memphis, Tennessee – Chuck Berry

Chuck BerryOne thing that people always think of when news of a break-up is given is how it will affect the kids. In this tune by Chuck Berry, a man tries to desperately return a call from a girl called Marie who lives in the titular town. We don’t get to find out who Marie is until the end – a six-year old girl, whose “happy home was torn apart because”, as the narrator explains, “her mum would not agree.” When I think that this song was written at a time when broken homes were fairly rare, and even more rarely discussed, I marvel at Chuck’s imagination. He positioned the typical break-up song not from the point of view of an unmarried teenager (which was his usual approach), but from the position of a divorced father, trying to adjust to being apart from his child.

In some ways, it was a brave move to talk about something other than cars, girls, and no school. This was social comment about one of the most heartbreaking aspects of a break-up; the injury of the innocent who can’t understand why Mum and Dad aren’t together anymore. This situation makes the break-up more than just about two people. It’s about entire families who feel the brunt of it. Who knew that duck-walking Chuck Berry had it in him to speak so eloquently, yet succinctly, about it?

Tears of a Clown – Smokey Robinson & The Miracles

Smokey RobinsonSometimes when a break up has happened, people try to put a brave face on in order to cover up just how miserable they are. In Smokey Robinson’s ‘Tears of a Clown’, the narrator does one better – he’s downright jubilant , while inside he’s tortured. Maybe this is a guy thing, that it just doesn’t do to let people know just how crushed one is, and how vulnerable. And I think because of Smokey’s keening falsetto, he carries this idea off better than most; a seemingly happy guy who is suffering somehow make that suffering even more profound.

Like so many Motown hits, underneath the sugary surface, there lurks a lot of pain. In many ways, this song and the other Smokey single which preceded it, ‘The Tracks of My Tears’, is a standard by which a lot of pop songs like this are written; that they are empathetic with the range of emotions which go along with everyday life. Tales of happiness and joy are alright in their place, but it is interesting that tales of emotional dishonesty in the face of loss connect with so many in a more enduring way.

If You See Her, Say Hello – Bob Dylan

Bob DylanSome of the most heartbreaking break up songs are not the ones which describe the depths of pain in detail, but rather the ones which are focused on what comes after, the replaying of the past which goes on that talks about what could have been. Bob Dylan’s Blood on the Tracks album covers this theme across a number of songs. This is popularly known as Bob’s ‘divorce album’, although Dylan himself has caused this assumption to be questioned, as is his custom when absolutes are placed upon his work. But whether or not the song is autobiographical or not, ‘If You See Her, Say Hello’ wins the gold for most heartbreaking, song on the record, which is saying something when considering the competition. In this song, we get a new point of view still, the voice of a man so disconnected from his former love, that she never makes an appearance. She’s just a ghost trail to the memories of a former life. ‘She might be in Tangiers‘, says the opening lines, which succinctly puts the intimacy of love into context with a separation; those once close now separated by vagueness as much as by oceans and continents.

Maybe one of the most heartbreaking aspects of the song is that the narrator realizes what has caused the dissolution of the relationship only now, when his former love is long gone, becoming a little more than a disembodied name, one he hears as he ‘roams from town to town’. Only now does he realize what he contributed to the ending of his relationship, and that his love was right to leave despite remembrances of the night he ‘tried to make her stay’ . In fact, he finds that he always has ‘respected her, for doing what she did and getting free’. The knowledge of this makes this song no sunnier. And this is its power, I think; that knowledge and insight often comes too late, which is the real tragedy in most relationships.

Always Something There to Remind Me – Burt Bacharach & Hal David

Naked EyesThe annoying thing about break-ups is that they’re so intrusive. You can’t go to the places you used to go, hear that song, see that movie, enjoy that memory, without the knowledge that you once shared those things with someone else. This song talks about how the pain of a break-up can invade every aspect of one’s life, and that the broken connections between one person and another are often felt the most painfully in the mundane details of daily living. This song was written in the early 1960s by Burt Bacharach and Hall David, and has since been recorded by the likes of Dionne Warwick who had a hit with it in 1967, R.B Greaves in 1970, and Sandie Shaw in 1985.

My favourite version is the one by Naked Eyes in 1982, their sole North American hit. I remember first hearing it at a school dance. I heard it on the radio again much later, but it was the Greaves version and I remember thinking, ‘that sounds like that Naked Eyes song, only old!’. I had yet to discover how old the tune was. There was a whole range of break-up songs to discover, I found, many of which were written decades before I was born. It seemed that the emotions attached to them, the magnitude of the loss of love, would be the same no matter which era it came out of.

All of My Heart – ABC

Martin Fry of ABC“I think we should just be friends” may be one of the most debilitating sentences (in two senses of the word sentence…) in the English language. Many of us know that being dumped is no fun. But it’s the dealing with the imbalance of it long afterwards which is the hard part; loving someone who no longer loves you, and having to settle for friendship, or the pretense of friendship, as a result. One of my favourite songs which opens up this idea best is ABC’s “All of My Heart”, which was an anthem for the 80s sensitive guy, who knows that he can no longer slough off his feelings of pain over being left behind with feelings of love for someone who doesn’t, and possibly never did, share them. And he can’t win anything back by thinking that’s it’s all for the best, ‘a crock of gold at the end of the rainbow.’

One thing that comes across is the line ‘the kindest cut’s the cruelest part’. The idea of letting someone down easy by offering friendship seems to be a myth for the most part. And in this song, this kind of kindness is still a ‘cut’, which seems to show that unrequited love still sucks, no matter how you handle it. And also, the song is a reminder that the risk of loving someone doesn’t often pay out. Sometimes, you put everything you’ve got on the table, and you get taken. The dark side of love that makes the contrasting rewards all the more glorious is of little comfort here.

Cheap Hotel – Ron Sexsmith

Ron SexsmithSometimes you just have to get out. Escaping abuse and all of the psychological implications and influences that go along with it is a drawn out process for some, but there comes a time when what is needed is a cheap hotel, a refuge, a place to go to reboot one’s life and start again. More importantly, there is a need to get to a place when one realizes that one is never really trapped in a relationship other than by traps of one’s own making. Ron Sexsmith’s 2001 song from the album Blue Boy tells this familiar story from the point of view of a mum in an abusive relationship, breaking the cycle of “first he’d be sweet to her and talk for hours/then lay right into her, and buy her flowers.”

It’s interesting that the cheap hotel, the refuge to which she takes her children when her husband steps out, is looked upon as both a blessing and a curse; that she is both glad to leave and hates to leave at the same time. As with most things, the emotions involved are not black and white. Leaving a bad situation and starting again leaves a lot of room for improvement. But in this song, there is a lot of uncertainty too along with the sense of empowerment that goes along with saying enough is enough; “god bless” and “goddamn” the cheap hotel are on equal footing here. Sexsmith leaves enough space in his song not to judge this one way or another, being as he is one of the best songwriters working today.

Lonesome Tears – Beck

BeckWhen in a relationship that one knows is ultimately unsalvageable, one thing which often happens is the need to carry on regardless, to continue to slog through because feelings and attachment outweigh the sense of inevitability. In other words, denial is not just a river in Egypt when it comes to breaking up. Beck’s “Lonesome Tears” is about getting out of this cycle, to realize that the energy spent on a relationship which is doing more harm than good is wasted, ‘riding farther than I should, just to meet you there’. This could very well be an angry song, a song of defiance. Yet, it’s ultimately sad, filled with the narrator’s love of another, yet with the knowledge that such a love will cost too much to both.

The 2002 album Sea Change, which Beck released to follow up his more celebratory and more carnal Midnite Vultures, is an understated affair in many ways in the singer-songwriter tradition. Traces of his trademark irony are entirely gone, and this is perhaps the most striking thing about it. In “Lonesome Tears” particularly, we get the sense that his songwriting is meant to be an emotional release after a breakup of his own, an approach that he’d not engaged in fully before.

Cold Hard B*tch – Jet

JetSometimes a break up happens in a matter of hours as opposed to a matter of years. And this being the case, there are songs which give voice to the scoundrel, to the good-natured rogue, to the one who isn’t interested in holding hands and talking about “little plans” with would-be life partners. Australian group Jet cover this territory well with ‘Cold Hard B*tch’, an anthem for the scramble-out-of-bed-before-she-wakes-up set. They took a lot of heat when the song came out, because I think a lot of people assumed that the CHB in question was supposed to be the woman in the picture. I personally think it’s about the man, making his paltry excuses and running out the door – that’s cold.

To me this song is about poorly communicated expectations. For the guy in this song, “she was shakin’ her hips/that was all that I need”. Yet, for the woman in this particular song it’s all about “holding hands and talking about little plans”. So many hearts are broken over this kind miscommunication. But for loud, testosterone-fueled rock anthems, this is fa song to inspire the ripping up of seats everywhere, with the voice of the commitment-phobic leading the charge.

Your Ex-Lover is Dead – Stars

Stars Set Yourself on FireBreak-ups can take a long time to get over. But sometimes, it works the other way too, that once things are settled, the other person seems like someone you dreamed about, not someone who you were tied to in real life. When you meet the person randomly years later, there is no murmur of heartache so much as a feeling of strangeness, as if a character from one novel shows up in another novel, turning the overall story which might have been a tragedy into something that more closely resembles a comedy. In “You r Ex-lover is Dead” by Stars off of their album Set Yourself On Fire, there is a feeling of bemusement in meeting an old flame, with the feelings of regret supplanted by a detached sense that one was never really touched by the other person in the first place. This is a song that reminds the listener that sometimes a relationship is very much of its time, that it has no place beyond its own ending.

The most powerful line to me in this song is “I’m not sorry I met you/I’m not sorry it’s over/I’m not sorry that there’s nothing to save.” In many ways, this brings us full circle to ‘They Can’t Take That Away From Me”, although this kind of resolution is less celebratory, and contains a more clinical view of one’s romantic history. And yet the sense of resolution is the same. And resolution is really what we’re all after, post break-up. So, this is a hopeful view of a break-up too then, knowing that if time doesn’t necessarily heal all wounds, it certainly gives new perspectives in that what is important at one time may not apply in another.


Break-ups; a human experience that not many of us enjoy when we’re the ones being dumped. To be fair, even the dumpers have a hard time with it. And like most common human experiences, popular song has them well covered, in all of their complexities, giving voice to the vulnerable and the callous in equal measure. In some ways, making art or appreciating it can add all manner of value to one’s life, particularly in times when we need to be reminded that what we’re going through is common. Songs – lyrics that resonate, melodies that keep us company by playing in our heads – help to remind us that we’re not alone in the times where we feel that we are. And what is a more basic human need than that?