MANIPULATION, ANYONE? Unlike most of the other tracks on this album, Wendy Time is not a lovely track to listen to, but if you’re writing a tune about shameless manipulation and terrible pick-up lines, you probably don’t want a lovely tune – but one that reflects the nausea-inducing scenario related. And in that sense, the tune really fits, its unpleasantness and discord appropriate for the topic. Although this is not a song I’d go out of my way to listen to for its aesthetic appeal, I do applaud its inclusion on this album for thematic reasons.
There’s a whole swag of love-gone-wrong songs on Wish – and here’s one situation that could head that way but never does, because it’s nipped in the bud by the target of the manipulation, who is wise to it – which has me cheering, because so many people fall for this sort of thing.
LOVE GONE WRONG, LET ME COUNT THE WAYS (finale) Cut is a jagged sort of number, a lament for a dying relationship.
Sometimes it’s like that and there’s nothing you can do – Sensate Focus won’t fix this and psychotherapy doesn’t look good here either; along with other tools they’re better at preventing this kind of disconnection that trying to fix something that’s broken into two separate pieces. Sometimes something is just dead, and all you can do is write a dirge. The sad thing here is that the death of the thing is so lopsided, as it so often is – with one party checked out, and the other wishing it wasn’t so. All that you can do then is to remember that there’s lots of other people you can connect with – and that thinking you’re never going to feel again like you felt about the person who checked out is a bit of a grass-is-greener thing, and a bit like when you’ve had a big lunch and you can’t imagine ever feeling hungry again – because you will.
LOVE GONE WRONG, LET ME COUNT THE WAYS (continued) End was one of our personal favourites on Show, which we had for yonks before Wish. I guess we’re not particularly into shiny music most of the time, so a song like this appeals to us way more than Friday I’m In Love, musically but also lyrically. Let me hasten to add though that if you were to go the other side of End into deliberately wallowing, wrist-slitting, let’s-lie-down-in-this-and-do-nothing-like-we-have-no-agency music, I’d be off the train as well, because I find that seriously annoying – the idea of deliberate victimhood, fashionable with some. There’s a huge difference between that, and healthy confrontation of dark things about life.
I’m really enjoying our new acquisition Wish, on multiple levels – musically there’s so much on there that’s lovely, and even the stuff that’s not I think is the way it is to reinforce the story told by the lyrics – e.g. Wendy Time isn’t exactly a beautiful song, but the quacking Donald-Duck type guitars and the dissonance and ner-ner-ness of the thing just goes with the portrait of an insufferable attempt at manipulation, which the narrator is wise to, which in turn makes me go, “Hooray!” because how many people fall for that, not just once but repeatedly…
It’s mostly like aromatherapy for your ears (not roses or geranium, and nothing fake with phthalates from the chemistry lab either, more like sandalwood and boronia), while the lyrics to most of the songs are written with great care, go well as stand-alone poetry, and make you think. If there’s a main theme, I think it’s interpersonal relationships and the human condition…but I would think that – it’s like, “What do you see?”
THE MAILBOX IS GROANING. CDs have descended on our mailbox thick and fast and yesterday we found Pornography in it. OMG, the things that happen when you’re ordering from the Cure back catalogue… Alas, that and the self-titled are staying in their wrappers while I take a look at the 1992 album Wish.
Note: Post in early development and needed as spaceholder to keep things chronological!
Today I’m going to start a fine-lens look at Kiss Me Kiss Me Kiss Me, including the lyrics, which I forgot to get around to on the original forum thread because Wish arrived in our remote rural mailbox and I got highly enthused from the first listen. So, there will be a few well-deserved extra entries on that in this curation of my open journal Exploring the Back Catalogue, before I return to the “reprints” and additional commentary on Wish, and then continue with the in my view excellent self-titled album, which was next in the mailbox and which I got partly through before transferring the whole shebang onto my blog!
February 13, 2022 It’s been over two months since my long-time equine friend Sunsmart died (see this goodbye post). Three years ago I had already done much of the preliminary training to start riding his younger half-brother Julian, but then came Sunsmart’s Cushings diagnosis and I decided to completely focus riding time on him while …
Continue reading “Julian’s Lap of Honour”
JAWS If you want to know what the musical theme was about, read the previous instalment. With this present instalment, I’m wrapping up my look at The Head On The Door.
What’s that doing here??? That’s not The Cure!
Today, the microscope is back out and we’re looking at the lyrics for Push.
ONCE UPON A POWDERKEG It’s so much more pleasant to write about music you love than about music that leaves you lukewarm or that you have issues with, but when you’re going through anyone’s back catalogue, unless you have extremely wide tastes and don’t get analytical with lyrics, you’re likely to find a mix of both. This is just like the Smorgasbord Analogy I wrote about on Exploring “Join the Dots”. No one person can or should be expected to eat and enjoy every dish that’s on offer at a buffet.
Steve Kilbey is the bass player and vocalist of an Australian band called The Church, which started in the early 1980s and is still going in their 60s. They’re to Australia what bands like The Velvet Underground are to the US – a hugely influential cult alternative band. The general public is most likely to …
Continue reading “Steve Kilbey & Friends Concert”