|
Post by thehudsonsteady on Mar 21, 2022 3:57:09 GMT -5
It's hard not to imagine'tracking shots' as a hold steady song, I think it would fit neatly onto TTTP. The mix is very 'loud' on this one, and those brilliant lyrics do get a bit lost among the noise. I get what you mean about the latter parts of WAWTST too, it gets quiet and spacious and this song doesn't sit easy, it's the only track on the album I ever skip past.
|
|
|
Post by muzzleofbees on Mar 21, 2022 4:33:20 GMT -5
It's hard not to imagine'tracking shots' as a hold steady song, I think it would fit neatly onto TTTP. The mix is very 'loud' on this one, and those brilliant lyrics do get a bit lost among the noise. I get what you mean about the latter parts of WAWTST too, it gets quiet and spacious and this song doesn't sit easy, it's the only track on the album I ever skip past. Definitely agree. It's one of the songs who has the least to offer, in some sense. It doesn't bring anything new to the table, and it doesn't really lift the general impression of the album it's on either. I also skip it, but when the song is about halfway through, I really enjoy the pure sound of the band. And, yeah, there's a TTTP and/or Kaufman-ness to it, in the way they manage to incorporate those horns and rambling guitars into a pretty pleasing whole. But, as you say, to loud.
|
|
|
Post by muzzleofbees on Mar 21, 2022 13:56:24 GMT -5
#52: PLATTSBURGH (All These Perfect Crosses)
I was a little unsure about including Plattsburgh on this list. It was released on All These Perfect Crosses, labeled as “acoustic version”. You would think that implies a non-acoustic version somewhere, but I haven’t been able to find it. Still, it’s obviously more than a demo, and it’s a fully formed song, included on the compilation along with other fully formed song, so I will (under doubt) treat it as a regular released song.
I don’t really have that much to say about Plattsburgh. It’s nice and fine, and it’s a song very much in the vein of the rest of Craig’s production. And there’s great moments in it, where the raw emotions shine through and drag me into the song. Lyrically it’s one of those songs that’s almost too sad for me. I can’t pinpoint what it is, it’s just that general feeling of a tale of a life that didn’t match the hopes and dreams of the youth. Like so many lives, really. And where I might have heard this as almost romantic back in my early 20s, I’m sitting here in my late 30s and let those stories get to me.
I don’t think it’s the best in that category either, although it has a few of those amazing lines that paint a full character with just a couple of words (that one with “baseball” and “monster” are particularly strong), it doesn’t quite hold up to some other, it’s just a little too light. Maybe it deserves a higher ranking, but I think this is as far as I can go right now.
|
|
robs
Hoodrat
Posts: 297
|
Post by robs on Mar 22, 2022 4:33:24 GMT -5
#52: PLATTSBURGH (All These Perfect Crosses) I was a little unsure about including Plattsburgh on this list. It was released on All These Perfect Crosses, labeled as “acoustic version”. You would think that implies a non-acoustic version somewhere, but I haven’t been able to find it. Still, it’s obviously more than a demo, and it’s a fully formed song, included on the compilation along with other fully formed song, so I will (under doubt) treat it as a regular released song. I don’t really have that much to say about Plattsburgh. It’s nice and fine, and it’s a song very much in the vein of the rest of Craig’s production. And there’s great moments in it, where the raw emotions shine through and drag me into the song. Lyrically it’s one of those songs that’s almost too sad for me. I can’t pinpoint what it is, it’s just that general feeling of a tale of a life that didn’t match the hopes and dreams of the youth. Like so many lives, really. And where I might have heard this as almost romantic back in my early 20s, I’m sitting here in my late 30s and let those stories get to me. I don’t think it’s the best in that category either, although it has a few of those amazing lines that paint a full character with just a couple of words (that one with “baseball” and “monster” are particularly strong), it doesn’t quite hold up to some other, it’s just a little too light. Maybe it deserves a higher ranking, but I think this is as far as I can go right now. I haven't listened to either for a while, but is the version on the Plattsburgh EP different?
|
|
|
Post by muzzleofbees on Mar 22, 2022 16:01:50 GMT -5
I haven't listened to either for a while, but is the version on the Plattsburgh EP different?[/quote] Great question, which prompts this embarrassing response: I don't think I've heard it! I'm not quite sure what I was up to in the spring of 2019, but I can't remember either downloading or hearing the EP at all. Hah! I'll try to do something about that.
|
|
|
Post by muzzleofbees on Mar 22, 2022 16:02:56 GMT -5
#51: ANNE MARIE & SHANE (I Need A New War)
I get that some are disagreeing on how Indications ranked so low in this list, and I guess I’m gonna disappoint a few with this entry too. Again we deal with an accomplished song that I’m pretty sure does what Craig wants it to do. It’s jazzy, huge, filled with sweet details - the horns, the meandering drums, the heavenly backing vocals - and very in sync with itself. And I kinda dig how the song changes rhythm and temperature when it slides into the chorus, and they way it’s taken up a notch in the final part of the song.
Still: It’s just not my thing. Too jumpy and jazzy, and not enough melodic anchoring - at least not the kind of melodic anchoring I appreciate. And I’m not sure if it’s the general vibe of the song that bleeds into my opinion of the lyrics, but they don’t move me all that much either. I really respect how Craig in his solo material has moved into a snapshot-like short story territory, how he zooms in on these singular characters, their lives and relationships, and really dwells in them. But this one just doesn’t sit right with me, it’s a little bit too generic, sort of like a bleak version of a story told both more engaging and more colorful before.
As always, there’s some amazing lines here, though. I mean, “Up and down the aisles at the liquor store/ their bodies slump over while their spirits soar/ that's how the legends get made” is pretty much perfect.
|
|
robs
Hoodrat
Posts: 297
|
Post by robs on Mar 23, 2022 8:42:40 GMT -5
I haven't listened to either for a while, but is the version on the Plattsburgh EP different? Great question, which prompts this embarrassing response: I don't think I've heard it! I'm not quite sure what I was up to in the spring of 2019, but I can't remember either downloading or hearing the EP at all. Hah! I'll try to do something about that.[/quote] It sounds like the last five tracks on All These Perfect Crosses are the Plattsburgh EP (albeit in a slightly different order and labelled as "acoustic")
|
|
|
Post by muzzleofbees on Mar 24, 2022 14:11:43 GMT -5
#50: CALVARY COURT (All These Perfect Crosses)
It’s a weird thing: I really, really enjoyed All These Perfect Crosses when it arrived, yet many of the songs on it ranks pretty low on this list. I think this is a good place to underscore the obvious: I like all of these songs, and I like them a lot. And I do maybe enjoy them in a different way than many of the Lifter Puller or Hold Steady songs, which to me seem to shine brighter in their own right, whereas Craig’s solo songs so often slide into a pleasing whole. That’s more a praise for how recognizable his sound has become, and how he (along with Kaufman, I would assume) have an ear for creating fully fleshed-out and coherent albums. But also a different scope and perspective. These songs don’t sound like they were meant to fire up a crowd of sweaty believers, or make kids (of all ages, I should say) scream along in their living rooms. It’s music for armchairs, for contemplation, for grown-ups - in the best way possible.
Long digression aside: Calvary Court is obviously a really good song. It’s stylistically in sync with so much of Craig’s solo material, with a sound and vibe that is starting to feel familiar by now. I get the feeling that we’re musically being brought down to the very same place the lyrics advise us not to visit in this song. There’s a movement and forwardness in the song, while still being pretty bleak and kinda descending.
|
|
|
Post by skepticatfirst on Mar 26, 2022 13:07:19 GMT -5
Oh man I completely missed that you had started this! Let me get caught up ...
|
|
|
Post by muzzleofbees on Mar 26, 2022 15:31:40 GMT -5
#49: WILD ANIMALS (All These Perfect Crosses)
I guess I can refer back to the last text, and just repeat that I like All These Perfect Crosses a lot. Then again, it’s pretty easy to understand why most of them were cut from the albums they could have been a part of. They’re not necessarily minor quality wise, but all of them have a vibe that I can understand if conceived as different or a little bit off.
Wild Animals is really a beautiful song, in a very traditional way. It doesn’t sound like Dylan per se, but it has the same feeling as a track #8 on a really-good-but-not-praised release of his. There’s plenty of emotion in this one, it feels bittersweet and a bit withdrawn, maybe longing for someone or something. I hear it as a kind of traditional piece, a very American song in a very American tradition, connected both to the nature and the earth, but also looking upwards toward some higher understanding. It’s not without its own identity, but more a Song than a Crag Finn Song.
I’m not gonna try to put this into a wider narrative context, but there’s so many glimpses here that recalls scenes from Lifter Puller or Hold Steady. And I still feel that many of Craig’s solo songs are just different perspectives, maybe even different dimensions, of stories we’ve already heard before. If there was any doubt, I mean that in the best way possible.
|
|
|
Post by muzzleofbees on Mar 28, 2022 13:37:57 GMT -5
#48: I WAS DOING FINE (THEN A FEW PEOPLE DIED) (Faith In The Future)
This might be Craig’s darkest solo song, lyrically - and among his brightest and most optimistic musically. I kind of struggle to really fit those two pieces together. Sometimes, that dichotomy makes for amazing art. And maybe this is amazing art too? I’m kinda left more confused than amused.
There’s plenty of similarities between this one and the WAWTST closer Be Honest. Both have this musical sense of sunlight and optimism, while their respective lyrics are disturbingly dark. I’m not gonna get ahead of myself in ranking Be Honest, but I think it’s a nice counterpoint. Where Be Honest feels fulfilled with the embodied contrast played out in a controlled way, I Was Doing Fine… seems a little to eager to prove its point. And it’s not that strong melodically either.
It’s a song I enjoy quite a lot at face value. You know, it’s nice, good to my ears. But it’s also a little too… simple? Predictable? It feels like an engineered last track, without the gravtias of a closer. And it always leaves me a little cold cause it promise more than it can fulfill.
|
|
|
Post by muzzleofbees on Mar 29, 2022 6:04:12 GMT -5
#47: CARMEN ISN'T COMING INTO TODAY (I Need A New War)
Another really sweet and lush song from I Need A New War, another one who doesn't really strike me the way I understand it’s supposed to do. This song is probably among the most elegant and complete tracks on the entire album, I totally get the idea, and I love some of the subtle chord changes throughout the, eh, verses. The jazzy-ness is turned down a notch here, there’s a more conventional pop/rock feeling in the melody, though sped down and draped in soft and breezy arrangements. I think that’s what put it ahead a (pretty popular?) song like Indications for me - but it’s still on the lush side of the scale, in a way that make me prefer songs like Magic Marker, Bathtub In The Kitchen or Grant At Galena way more.
As usual, there’s some damn clever stuff in Craig’s way with words. The simple but effective shift in perspective when Carmen’s absence is formulated via the person passing the message on - it’s not “I’m not coming in today”, the message is delivered from someone one link away from her. And sure, the image with holes in the bedsheet as a symbol of the hopelessness in her relationship.
This is also one of the songs who underscore what I’ve been writing a couple of times, and thought about way more: How the entire album is so capital-s Sad, in an almost existential way. I don’t really think I’ve ever heard an album so good at capturing the deep feeling of sadness, and while I admire and respect it, it’s done so well that I have serious trouble listening to it.
|
|
|
Post by sequesteredinuk on Mar 29, 2022 8:53:29 GMT -5
I hope you don't mind others postings on individual songs Muzzle? Not every single time of course, that would get boring really quickly I feel. But I thought I'd share thoughts about your #47.
I love this track,it's richness in describing a relationship that has deteriorated to the point of hopelessness on Carmen's part is so expertly crafted, it's up to the listener to decipher when the relationship went bad,how much is on her partner or did she bite off more than she could chew at the beginning of the relationship? Now she's more like a carer than a wife or girlfriend and there seems no way to break the cycle, how much sympathy does the listener have for Carmen? How much blame can you attach to her? The narrative doesn't conclude anything, it's simply an overview.
Like many Craig songs the secondary character, who seems to sit around all day,has very little revealed about him. We know what He does and what he doesn't do but really we don't know why other than the odd indicator about being broken when they first met. is he depressed? Has he got physical difficulties? Whatever the answer Carmen is trapped in a relationship that she didn't see coming.
The fantasy of running away, to keep driving, is relatable to so many who've faced seemingly irreversible sadness, then the resignation of it being just that. A fantasy. It's beautiful writing in a simple form, so much so I'm not sure anyone but Craig could have wrote a song like this? Perhaps Bruce at his best? 'A good man is hard to find'(Pittsburgh)has some similarities, in fact Carmen could be the woman in that song ten years or so later!
I love it. Not top ten but certainly top twenty for me. let me just state for the record my feelings on threads.like this one and similar ones..We all can't the same feelings out of the same songs..I think that's established. That doesn't mean we don't respect the opinions of others though. If I was looking for friends to agree with me 100% the time I'd be a long time alone. I love how this forum for the most part keep differing opinions respectful and civil. Keep up the good work Muzzle, an extremely enjoyable thread so far. Viva la difference.👍
|
|
|
Post by muzzleofbees on Mar 30, 2022 2:23:14 GMT -5
I hope you don't mind others postings on individual songs Muzzle? Not every single time of course, that would get boring really quickly I feel. But I thought I'd share thoughts about your #47. Not at all! Keep'em coming. Yeah, there's a lot of stuff between the lines in Carmen Isn't Coming In Today. It's related to plenty of other lyrics where Craig tells a story from one single perspective, or even through dialogue without further context. I think that's one of his greatest ability as a songwriter, being so damn effective and economical, and still create these fully formed characters, scenes or human relationships. It's really magnificent.
|
|
|
Post by muzzleofbees on Mar 30, 2022 2:27:27 GMT -5
#46: SOMETIMES SHE DOESN'T CALL BACK (Newmyer's Roof EP)
There’s definitely an all-american dustiness to a lot of Craig’s solo catalog, but listening back to Sometimes She Doesn’t Call Back, I’m reminded that the catalog also contains some of his most, eh, urban songs. The sound of this is pretty firmly set inside a city to me, with skyscrapers, neon lights and smokey alleys. It’s a pretty sparse song, with the drums and the synth making up much of the song, with the occasional backing vocals breaking through. And I really dig the general sound here, it has such a nice feeling to it.
The final part of the song where the band comes in are pretty beautiful, warm and swirling. Musically it sounds like a bridge between Faith In The Future and the more elaborate stuff coming on We All Want The Same Things and the classic sound of I Need A New War, and with some minor changes it wouldn’t sounded out of place on either of those albums.
In the end, I just think it’s a little to static, like the idea or the song in itself just isn’t strong enough. The repetition of the title gets a little too much in the end, the same thing with the “Yeah yeah yeah yeah yeah yeah” part. It’s not bad in any way, and I genuinely think it’s a nice track, but it sounds slightly underdeveloped as a written song.
|
|
bigontheinside
Midnight Hauler
If you don't know the words, don't sing along
Posts: 1,478
|
Post by bigontheinside on Mar 30, 2022 6:37:10 GMT -5
Wow! Carmen is maybe my #1. It's extremely sad, yes, but it's brilliantly told. It moves me every single time.
There are many great details, but I'd like to point out one in particular. The way she writes "have a decent day", like saying "have a good day" would be too much to ask. I just find it so affecting. Getting goosebumps just thinking about it.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Mar 31, 2022 2:18:24 GMT -5
#55: APOLLO BAY (Clear Heart Full Eyes) This is such a dark song, and also one who feels deeply personal, and - dare I say - autobiographical. It’s always hard to assume this when it comes to Craig’s writing, but I get the sense that this song is somewhat removed from a narrative universe inhabited by characters with name and a backstory, and zooms in on the author as the narrator, alone in his car, displaced and in pain. I’m not saying it’s necessarily a true, and self-lived story from Craig’s life. But the emotions and the feeling in it doesn’t seem to be attributed to a character. These are his own words, if that makes sense. It’s not your regular album opener, let alone the start of the solo career by a beloved frontman in a sparkling rock’n’roll band, but it’s sure as hell interesting. And for what it’s worth, I think it’s one of the songs from the debut where Craig gets the most out of his backing band, instrumentally. They really play up the general feeling in the melody and the lyrics, with piercing licks of guitar, followed by temporarily soothing waves of melody. There’s a great connection between the words and music here, and they build a compelling and believable soundscape. There’s plenty of things to appreciate in Apollo Bay, and especially the sense of claustrophobia, nearness and earnestness. This sounds deeply personal, an agonized glimpse into a desperate point in a pretty bleak trajectory. But as a pure listening experience, it ranks pretty low for me. I think I may have mentioned this before, but what the hell I’ll tell my story again: Apollo Bay is the most important song I’ve ever heard in my life. I usually tell this story better, but here’s the short version. Without getting into too many personal details (though I’ve told the full story elsewhere, and I can tell it privately if anyone asks), I was at the lowest point in my life in Sydney, one of the lowest points it’s possible to have. And then, mindlessly surfing YouTube, I heard a Craig Finn song I’d never heard before - Apollo Bay. Some of the references sounded Australian, so I looked it up, and it turned out that Apollo Bay was a tourist destination a few hours outside of Melbourne. I couldn’t afford a trip to Minneapolis or Ybor City, but everyone was telling me to move to Melbourne anyway. It was the song that finally did it, though. I moved to Melbourne on my birthday (I was going to move on Easter) and had a symbolic resurrection. Things have been bad and good and bad and good, but I really feel like the song - and the trip - saved me. I’ve still never been to Apollo Bay, though. And I don’t think I can drink that much VB.
|
|
Deleted
Deleted Member
Posts: 0
|
Post by Deleted on Mar 31, 2022 2:26:19 GMT -5
#53: TRACKING SHOTS (We All Want The Same Things) The lyrics, though. Man, they’re some tough shit. They kinda get lost in the party here, but on paper they read out more like a Lifter Puller tale than something from the 2010s. Here sexy skeletons, hard kisses and money smelling like gasoline on freeways and frontage roads. Take time to read it all through, it’s really good. This is another song that is very personal to me (most Craig Finn solo songs are, come to think of it), mostly because of the Black Flag reference in ‘I was thinking we could rise above Something like love or close enough’ that reminds me of a girl with a Black Flag mask I dated. It’s also got an amazing circular reference: “ The righteous path is hard to walk” is a reference to the Drive-By Truckers song The Righteous Path (which I have on an awesome t-shirt) and that song has the line “ We're tryin' to Hold Steady on the righteous path”, one of the songs with an unambiguous, obvious reference to the band.
|
|
|
Post by muzzleofbees on Mar 31, 2022 4:01:08 GMT -5
Wow! Carmen is maybe my #1. It's extremely sad, yes, but it's brilliantly told. It moves me every single time. There are many great details, but I'd like to point out one in particular. The way she writes "have a decent day", like saying "have a good day" would be too much to ask. I just find it so affecting. Getting goosebumps just thinking about it. Wow, #1, haha! I think I can understand that, at some level, and it just underscores how we look for, and enjoy different stuff within the catalog. I'm really not the biggest fan of the entire I Need A New War sound. I think the album is a fine listen, but the overall feeling of it is just on the wrong side of every axis for me.
|
|
|
Post by muzzleofbees on Mar 31, 2022 4:04:02 GMT -5
#45: HER WITH THE BLUES (I Need A New War)
I’ve drawn comparisons between I Need A New War and large chunks of Bob Dylan’s 00s and 10s production, and Her With The Blues might be the song where it’s most fitting. Of course, the differences - on so many levels - are huge too, but there’s this feeling of really great lyricists finding a home in a very classic and pre-rock kinda sound as a vehicle for their storytelling. Dylan might have taken the retro/genre study one step further, and there’s more than a few ways to tell that I Need A New War is an album from the 2010s and not the 1940s, but it’s that kinda vibe here.
I’m not quite sure what separates this quality wise from Anne Marie & Shane or Carmen Isn’t Coming In Today, but I feel this might be even truer to what I imagine as the idea for the project. Or maybe it’s just that this feels emotionally more at ease in the situation portrayed in the lyrics. This isn’t capital-S sad, it’s more sentimental, maybe even romantic, in a way that recalls past times, maybe even a movie like romance. There’s a classic-ness to it, in a way. Like it’s reminiscing a general past - not unlike what Dylan did in the 00s and 10s.
I also think the song brings me closer to understand Craig’s framing of the album as a New York album better. This feels very New York to me, in a timeless way.
It’s not a song I actively put on, but it have a beautiful lightness to it, and it’s more than decent when it flies by in the background.
|
|
|
Post by thehudsonsteady on Mar 31, 2022 6:57:50 GMT -5
As always, Muzzle, your opinions are very entertaining and informative. I'm with you on 'Carmen', though I would still put it above almost all of the debut album, it somehow seems less than the sum of its parts. 'Her with the blues' though? Come on, this is top 25 surely?!! Several years ago my family had a holiday in New York and at one point cycled along Riverside, this song always brings that back, so maybe I'm biased. It's the closest point I'll ever have of being able to empathise with a CF lyric!
|
|
|
Post by doctoracula on Apr 2, 2022 21:49:11 GMT -5
#48: I WAS DOING FINE (THEN A FEW PEOPLE DIED) (Faith In The Future) This might be Craig’s darkest solo song, lyrically - and among his brightest and most optimistic musically. I kind of struggle to really fit those two pieces together. Sometimes, that dichotomy makes for amazing art. And maybe this is amazing art too? I’m kinda left more confused than amused. There’s plenty of similarities between this one and the WAWTST closer Be Honest. Both have this musical sense of sunlight and optimism, while their respective lyrics are disturbingly dark. I’m not gonna get ahead of myself in ranking Be Honest, but I think it’s a nice counterpoint. Where Be Honest feels fulfilled with the embodied contrast played out in a controlled way, I Was Doing Fine… seems a little to eager to prove its point. And it’s not that strong melodically either. It’s a song I enjoy quite a lot at face value. You know, it’s nice, good to my ears. But it’s also a little too… simple? Predictable? It feels like an engineered last track, without the gravtias of a closer. And it always leaves me a little cold cause it promise more than it can fulfill. This one hit me really, really hard when I was going through a tough time right around when the album came out. "I was the first to get married, I was the last one to know, I went down in the darkness, and I came to at some show" punched me directly in the gut.
|
|
|
Post by muzzleofbees on Apr 5, 2022 2:58:59 GMT -5
A few days off here, due to a very Craig Finn-esque trip to Sweden. I'm still trying to recover. Let's move over to..-
#44: EVENTUALLY I MADE IT TO SIOUX CITY (All These Perfect Crosses)
Maybe this can serve as a juxtaposition to everything I’ve written about I Need A New War so far. Because this is in many ways clearly a less impressive song than most of the songs on that album. It’s formularic, mimcing plenty of very American songwriters singing very American songs. A certain Bruce Springsteen springs to mind, so does guys like Townes Van Zandt or even Warren Zevon, and there’s something in the melody that feels almost universal, like this is a song you heard way before you actually heard it.
The thing is, I really like that vibe. It’s not a tour de force of songwriting or inventiveness, but it’s damn solid, tripping along with that saloon-y piano and a saxophone as down to earth as a saxophone can be. It might be unfair to put it above some of the newer tracks down the list, but based on pure enjoyment, it’s pretty fair.
Lyric wise, it’s chilling to once again hear about that encounter with a very evil man. It’s hard not to imagine this as the same character portrayed as “the devil” in No Future.
|
|
|
Post by muzzleofbees on Apr 6, 2022 3:38:39 GMT -5
#43: JACKSON (Clear Heart Full Eyes)
Jackson was actually a UK single from Clear Heart Full Eyes, and while I understand its potential, I think it was a little strange decision. It’s a song placed inside one of the best run on the record, from No Future throughout Terrified Eyes, all within a sound I feel characterize the whole album.
I like Jackson, but I think the verses promise a lot more than the choruses are able to live up to. It feels a little too subdued and muted, which also plays into the very Craig-y story about a named character with some issues. The story is a good one, perfectly calibrated between saying enough to give us an idea about both Jackson, Stephanie and the narrator, while also leaving gaps to fill in for ourselves.
The melody is decent, but a little underwhelming. But I think the main reason for ranking Jackson below some of its album counterparts, is how it serves as an example of a general tendency on Clear Heart Full Eyes: That either the band, Craig or both, lack the confidence to pursue ideas all the way. There’s a sketch of a better song here, but everyone seems to hold back a little. Like they don’t really dare to push the song all the way through. Does that make sense?
|
|
mafee
Clever Kid
Posts: 94
|
Post by mafee on Apr 6, 2022 5:07:28 GMT -5
I haven't listened to Clear Heart as an album in a long long time but I think it very much has an element of it being a bunch of individual songs rather than a collection making up an album - everything post CHFE seems more like an album with a specific style. Dave Hause is the exact same with his solo album releases too.
As for Jackson, it's actually one of my favourite Craig Finn solo songs - definitely Top 5. Interestingly you say it's placed inside a good run of songs which looks like it includes New Friend Jesus - now that's one I just don't see the appeal of. There's a guitar (maybe a pedal steel?) going throughout it that just really really irritates me.
|
|