on life, music etc beyond mainstream

2013 28 Jul

The Mountain Goats

von: Manafonistas Filed under: Blog | TB | 1 Comment

„Color in your cheeks“
(The song comes from an old and terrific album from The Mountain Goats, just re-released, „All Hail West Texas“)
She came in on the redeye to Dallas-Fort Worth.
All the way from sunny Taipei.
Skin the color of a walnut shell,
and a baseball cap holding down her black hair.
And she came here after midnight.
The hot weather made her feel right at home.
Come on in, we haven’t slept for weeks.
Drink some of this. it’ll put color in your cheeks.

He drove from in from Mexicali, no worse for wear.
Money to burn, time to kill.
But five minutes looking in his eyes and we all knew he
Was broken pretty bad, so we gave him what we had.
We cleared a space for him to sleep in,
and we let the silence that’s our trademark
Make its presence felt.
Come on in, we haven’t slept for weeks.
Drink some of this. it’ll put color in your cheeks.

They came in by the dozens, walking or crawling.
Some were bright-eyed.
Some were dead on their feet.
And they came from Zimbabwe,
or from Soviet Georgia.
East Saint Louis, or from Paris, or they lived across the street.
But they came, and when they’d finally made it here,
It was the least that we could do to make our welcome clear.
Come on in, we haven’t slept for weeks.
Drink some of this. it’ll put color in your cheeks.

This entry was posted on Sonntag, 28. Juli 2013 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.

1 Comment

  1. Michael Engelbrecht:

    All Hail West Texas is a lonely album, a product of idle time and summer boredom recorded alone, quickly, in an empty house. John Darnielle wrote most of the lyrics in the margins of the stapled, mimeographed handouts given to him in the orientation sessions at his new health-care job in Ames, Iowa. It was 1999. Every day he’d come home at three to an empty house, dishes crowding the sink (his wife was away at hockey camp) and pass the solitary evenings leafing through his handouts and editing the day’s work. When a melody came to him, he’d grab his guitar, mute the TV and hit the red button on a dying, decade-old boombox that had documented hundreds of similarly fractured, bleating folk songs since he began recording as the Mountain Goats in 1991.
    There were obstacles to recording this way– sometimes the tape ran out mid-song, very occasionally the phone rang– and once they were resolved, the composition in question had sometimes already fallen out of Darnielle’s favor. “In those days, a song got exactly one day in which to either resolve its issues or be cast forth from the company of its brethren,” he writes in the reissue’s liner notes. The lucky survivors, though, have a palpable immediacy. Most of the takes you hear on All Hail West Texas were recorded within hours (or, when the juices were really flowing, minutes) of being written.
    (Only the beginning of the review)

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