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September 01, 2005

Tramps Like Us

Bruce Springsteen released Born To Run thirty years ago today.

Thirty years. The album is twice as old as I was when I first heard it.

Amazing.

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I hear the album today, and it's still just as fresh as it ever was. If Rock and Roll is a matter of crystalline moments that still cut and shine through the tarnish of the years and the background noise of everyday life, Born To Run is the mother of all diamonds.

I remember being a seventies-addled junior high kid, watching the guy at Mother's Records in Jamestown - the one across from the high school - drop the needle on the first copy of Born To Run I ever saw, on the one hand thinking "no way it's better than Boston", on the other hand looking at the sleeve - a 26 year old Bruce leaning on a 33 year old Clarence (with a Fender Freaking Telecaster Squire, in the middle of the heyday of the Gibson Les Paul, no less!), presaging the joy and tension and just plain ENERGY in the album, and thinking "Wow. That's rock and roll".

And then - Thunder Road:

The screen door slams, Mary's dress sways
Like a vision she dances across the porch. As the radio plays
Roy Orbison singing for the lonely
Hey that's me and I want you only
Don't turn me home again, I just can't face myself alone again
A girl! Dancing on the porch! Sign me up!

All prelude of course, to the burst of energy to come that washed over me, that shot a chill up my spine:

With a chance to make it good somehow
Hey what else can we do now?
Except roll down the window and let the wind blow back your hair
Well the night's busting open
This two lanes will take us anywhere
We got one last chance to make it real
To trade in these wings on some wheels
Climb in back, Heaven's waiting on down the tracks...
Bruce has done better albums (Darkness on the Edge of Town, Tunnel of Love), he's had records that sold more albums (Born In The USA) - but no album, before or since, has ever had moments like Born To Run.

Moments - it's a prosaic word, but in the world of Mitch, as applied to Rock and Roll, it has a very specific meaning that, for purposes of explanation, I should make clear; a "moment" is something, some tiny snippet of a song, that sends a chill up your spine, that rattles you to the core of your being. They can be huge and dramatic (Roger Daltrey's scream in "Won't Get Fooled Again"), or light and subtle (Susannah Hoffs' cooing "to a perfect world" at the end of "Dover Beach", from the first Bangles album); they can be part of a great song (the final "to bring the victory Jesus won..." in U2's "Sunday Bloody Sunday", the murderous guitar hooks in Big Country's "Where The Rose Is Sown", the bridge in Smokey Robinson's "Cruisin'"), a mediocre one (the final coda in the Alarm's "Blaze of Glory", the bridges in the Babies' "Isn't It Time"), even a crappy one (Neil Schon's entrance in Journey's "Don't Stop Believing"), it can beat you over the head (the beginning of Barry Goudreau's blazing final solo in Boston's "Long Time"), it can seduce you (the mournful, whispered chorus of Richard Thompson's "Jenny", Aimee Mann's transclucent last line of the last verse of Til Tuesday's "Coming Up Close"). You get the picture.

Moments are ephemeral, unpredictable. Most artists never have one (Laura Brannigan and Dee Snider searched their whole careers in vain); most albums never send a single chill up a lonely spine. A single such moment can redeem an otherwise mediocre career; the world could forget the Monkees, Roxette, 10,000 Maniacs, the Cars and Abba tomorrow, but I'd love them for a grand total of maybe fifteen seconds worth of moments among them (brief snippets of "I'm A Believer", "It's All Over Now", "These Are Days", "Bye Bye Love" and "SOS", two-second flares of pop brilliance that are all I need). A talent for such moments - the ability to create more than one or two on a couple of albums - is a rare thing indeed, almost mythical. Pete Townsend, Ray Davies, Chuck D, Lennon/McCartney, Paul Westerberg, Chrissy Hynde (until about 1985), Bono/The Edge, Stuart Adamson, Smokey Robinson, Levi Stubbs, Aimee Mann - it's a small, select list.

And in no album are there more such moments jammed so tightly together, moments enough to define the careers of a dozen other artists, moments that, thirty years later, still thrill and chill and drag you out into onto the Jersey Turnpike of the mind in Dad's jalopy. None. Ever:

  • Thunder Road - "...roll down the window", "it's a town full of losers, and I'm pulling outta here to win..."
  • Tenth Avenue Freezeout - "While Scooter and the big man bust this city in half!"
  • Night - Almost too many to count - the frenetic opening, the raw harmonies of the first verse, the bridge ("Hell, all night, they're busting you up on the outside...")
  • Backstreets - The crescendo when the entire band joins, the exit from the bridge ("...but I hated him, and I hated you when you want away - whoooooah", raw with aching and longing and unrequited pain)
  • The title cut - Again, too many to catalog; "Boom" Carter's half-bar drum intro, "Beyond the palace, hemi-powered drones...", the moment when Bruce counts off the beat to the last verse...
  • She's The One - The band stomping into the Bo Diddley beat from the intro, heavy enough to crush rocks but deft enough to dance to - in fact, impossible not to dance to.
  • Meeting Across The River - All the sly little moments that tell us the song is about a couple of desperate losers looking for the big break; "Here, stuff this in your pocket, it'll look like you're carrying a friend..."
  • Jungleland - Too many to list; the first "Down...in...Jun...gle...Laaaaand", the glorious guitar solo, "...in the parking lots the visionaries dress in the latest rage..., and of course, the song's cornerstone "...and the poets down here write nothing at all, they just stand back and let it all be..."
Born To Run is the encyclopedia of rock and roll - one moment at a time.

And thirty years later, it still crackles like static from the speakers, feeling barely controlled, throbbing with potential energy ("Backstreets'" ominous buildup) and thundering with explosive release ("Night"), careening from smokey barroom to dragstrip to rumble to backseat like one of those lost weekend evenings from your teens - or the teenage years you imagined other people having - packed into a sleeve.

Born to Run is one of those rare records that feels as good today as the day it was released; it hasn't aged or dated itself one iota; one of those bits of art that will long outlive its creator.

One moment at a time.

(Feel free to comment - but please keep all politically-oriented criticism out of this thread. Springsteen's support of John Kerry last year is no more an indictment of Born to Run than the Pedophile Priest scandal is a black mark on the New Testament. Politically based criticism will be gleefully mutilated).

Posted by Mitch at September 1, 2005 05:45 AM | TrackBack
Comments

Good post, though personally I prefer almost all of the Born to Run songs in their Live 75-85 versions, particularly 10th Ave Freeze-Out. Actually, I prefer most of his stuff live. I think those "moments" you spoke of are created by passion evident in the music - for me, anyway, more often than some perfect bit of songcraft or musicianship, but the just-right chord or downbeat or what have you will certainly bring the chills as well. Bands that created those "moments" for me:

Husker Du - Zen Arcade and New Day Rising; The Sex Pistols; The Clash; The Replacements (not Westerberg solo); Chagall Guevarra (the songs Violet Blue or The Rub of Love); Early Smithereens (best power pop since the Beatles);
The Hoodoo Gurus - every album had one or two absolute masterpieces; Elvis Costello, with the original Attractions, U2 on New Year's Day or Pride. Odd choices to some, I'm sure, but that's the beauty of it all.

Beyond their first album, the Cars never did much for me, as they showed zero growth and to my eyes became just a band that would release one very good single and 9 craptacular songs on every subsequent release - but that first album is very, very good. I think you underrate them by putting them in the same class as Roxette.

That's it. It's late/early and I fried what was left of my gray matter to come up with this list.

Steve

Posted by: Steve at September 1, 2005 05:17 AM

Well, to be fair to me, it was neither an exhaustive list nor a "category", per se. I was never a huge Cars fan after "Candy-O" ("All I Can Do" was amazing).

But it was just a list; Roxette had one great moment, the Cars had two or three.

Posted by: mitch at September 1, 2005 07:32 AM

I think every great musician/band has at least one great album in them. Born to Run was Springsteen's. He's had others that came close, but nothing rocks wall-to-wall like Born to Run.

Posted by: Kevin at September 1, 2005 07:38 AM

Can't agree with you more on the brilliance of Pete Townshend, Ray Davies and Paul Westerberg. To that list I would add Ian Hunter of Mott the Hoople, Lowell George of Little Feat and John Easdale of Dramarama.
Never cared at all for Springsteen. Always felt as though he was way over-hyped and had a pre packaged image. Just wasn't my cup of tea.

Posted by: 5-O.T. at September 1, 2005 09:03 AM

Pink Floyd. The entire Wish You Were Here album. Hell, the title was a moment.

The opening of Shine on You Crazy Diamond.

The part:
Come on you target for faraway laughter, come on you stranger, you legend,
You martyr, and shine!

The opening of Wish You Were Here

The instrumental breaks in Have a Cigar

What an album. Actually not my favorite Floyd, but, I think, full of moments as you describe.

Posted by: Cullen at September 1, 2005 09:32 AM

Cullen, you nailed that one! Yeah, Wish You Were Here really hit home for me in the "moments" department. That album brings back a huge flood of memories and emotions every time I hear it and still resonates deeply. That's not to take away from Born to Run as it's by far my favorite Springsteen album because of the things Mitch describes and wayyyy up there in my list of great music.

As to the politics of the singers or actors, who gives a rip? I'm not paying them for policy analysis and deep insight, I'm paying them to entertain me. If they do that they can get my money, if they don't, well, I'll find someone who gives me what I want. I like Laura's advice to them: shut up and sing!

Posted by: nerdbert at September 1, 2005 10:05 AM

My comments became a post in itself. Your trackbacks aren't working, so you can find it here:

http://brainstorming.typepad.com/mawb_squad/2005/09/the_band_played.html

Posted by: Sandy at September 1, 2005 10:35 AM

Couldn't agree with you more Mitch (Red directed me here from her post) --- for me there is Springsteen, and then everybody else. Great post - and glad to know it's release date.

Posted by: Dave at September 1, 2005 10:53 AM

Couldn't agree with you more Mitch (Red directed me here from her post) --- for me there is Springsteen, and then everybody else. Great post - and glad to know its release date.

Posted by: Dave at September 1, 2005 10:53 AM

Small correction Mitch--it aint a Tele Squire--it's just an old fashioned tele.

They didn't start making the Squires until the early 80's.

How can I disagree with your emotional response to a certain album of music? I guess I can't and since you banned any reference to the fact that Springsteen hates you, your family and everything you stand for, I guess I can't say anything.

Reason #4,932 that I listen to country I guess...

Posted by: JB at September 1, 2005 12:15 PM

In 1979 and 80 for almost two solid years (until I sold the car) I had Born to Run stuck in my tape player. If there was to be sound in the car it was the Boss and only that album.

I couldn't listen to the radio, couldn't eject the tape. It was either on or off... and most of the time it was on... LOUDLY

As for "Moments" you're spot on... though I’ll add to the moment with Backstreets. The whole first stanza, concluding with the first booming chorus, is a moment for me. I was a high school senior when the album came out… Just the line, "Trying in vain to breathe the fire we was born in." spoke volumes for me and my best friend Terry O'Leary.

Very nice tribute and thanks to Sheila for the point.

Posted by: Oceanguy at September 1, 2005 01:11 PM

Oceanguy: My "My Favorite Song On BTR" title keeps bouncing between "Backstreets", "Night" and "Jungleland".

JB:

Re the guitar; I mistyped. It's not a Squire, it's an *Esquire*.

http://www.fendereurope.com/fenderfiles/TenTerrificTelecasterGuitars.asp

I haven't been marinading my mind in guitar trivia enough lately.

As to this bit: "How can I disagree with your emotional response to a certain album of music?"

As emotion? You can't. It's all about my own visceral, internal reactions to the music; one I happen to share with an awful lot of people (it's not considered one of the best American rock and roll records ever for no reason).

" I guess I can't and since you banned any reference to the fact that Springsteen hates you, your family and everything you stand for, I guess I can't say anything."

Two responses:
1) Hate? That's a pretty strong term. I don't see "Hate" in disagreement, any more than I "hate" liberals for disagreeing with me. Unless you have some prima facie evidence that there's genuine "hate" involved, the point really delves into the hyperbolic.

2) Even if he does...so what? The music is all that matters, really. I don't pay Bruce Springsteen for political analysis. I pay him - via royalties - for great music. He delivers, consistently (except for side two of "Human Touch", anyway). I'm trying to catalog all the artists whose output I love, whose politics I'd probably abhor *if I cared*; Steinbeck, Hemingway, Wagner, Beethoven, Woody Guthrie, Robert Johnson, Gustav Mahler - shall I go on? Worse, shall I eschew their art because our politics are discongruent?

"Reason #4,932 that I listen to country I guess..."

I've worked at three C&W stations over the years. I listen to it, too - although among my favorites are probably the artists whose politics I disagree with the most, too - Steve Earle, Emmylou Harris, Ryan Adams, the Dixie Chicks...

Politics isn't the only thing in life.

Posted by: mitch at September 1, 2005 02:02 PM

One of the things that i do admire Springsteen about - is that his music, his show, his schtick - is about a lot more than politics. The human condition he writes about, leads him to a certain conclusion --- but he is always fair about other perspectives.

As for him hating my family, well, I hadn't realized he met them!

Posted by: Dave at September 1, 2005 02:53 PM

Yes, well, let's see how long it takes this great slice of American musicology to put together a Live Aid concert for our friends down in Dixie...

Posted by: Eracus at September 1, 2005 04:08 PM

I'll stay off the political thing to respect the boundaries of the conversation, but what it comes down to is Springsteen's corrupt, secular humanist world view.

Why would you want that garbage in your life?

He's comitted to sending everything through this twisted prism. I guess if you share his world view, you are all set, but if you don't, why would you want this in your head?

It's a mighty high price to pay to be cool if you ask me.

Posted by: JB Doubtless at September 1, 2005 04:09 PM

Precisely. Well said.

Posted by: Eracus at September 1, 2005 05:02 PM

"I'll stay off the political thing to respect the boundaries of the conversation, but what it comes down to is Springsteen's corrupt, secular humanist world view."

He's not a secular humanist. He's a liberal and a Catholic.

"Why would you want that garbage in your life?"

There is no "garbage" in my life as a result of being a Springsteen fan. I have this curious ability, it seems, to avoid being hypnotized by music.

"He's comitted to sending everything through this twisted prism."

I guess I'd like to see evidence of this nefarious plot, which would seem worthy of Doctor Evil.

" I guess if you share his world view, you are all set, but if you don't, why would you want this in your head?"

My post makes fairly clear what is "in my head". What, do you think that listening to Springsteen affects my worldview? My faith? My politics - I, who am more conservative than you are?

Where exactly does having it "in my head" cause problems?

"It's a mighty high price to pay to be cool if you ask me."

Who said anything about being cool?

Springsteen hasn't been "Cool" since about 1990. It's about what *I* enjoy. Period.

I don't know *where* you're getting the rest of it.

Posted by: mitch at September 1, 2005 05:21 PM

Just because you like someone's music doesn't mean you have to like their politics. I'm pretty hardcore conservative and two of my favorite bands are Megadeth and Bad Religion. Good tunes are good tunes.

I'm reposting from Sheila's because this album rocks so hard and deserves repeating:

Just thought of another great one.

From Genesis' The Lamb Lies Down on Broadwa:

* In Fly On A Windshield at the end of Gabriel's singing, that huge musical buildup. Wonderful. Leads right into:

* Gabriel's wailing, poetry in the Broadway Melody Of 1974
Echoes of the Broadway Everglades,
With her mythical madonnas still walking in their shades:
Lenny Bruce, declares a truce and plays his other hand.
Marshall McLuhan, casual viewin, head buried in the sand.
Sirens on the rooftops wailing, but theres no ship sailing.
Groucho, with his movies trailing, stands alone with his punchline failing.
Klu Klux Klan serve hot soul food and the band plays In the Mood
The cheerleader waves her cyanide wand,
Theres a smell of peach blossom and bitter almonde.
Caryl Chessman sniffs the air and leads the parade, he know in a scent,
You can bottle all you made.
Theres Howard Hughes in blue suede shoes,
Smiling at the majorettes smoking Winston Cigarettes.
And as the song and dance begins,
The children play at home with needles; needles and pins

Great album. Great song.

Posted by: Cullen at September 1, 2005 06:34 PM

for JB doubtless --- Dude, get a life
I'm probably up there in the top 20 of Bruce fans, but I've got a life --- and as much as I enjoy the music, the shows, the poetry --- IT'S ONLY ROCK AND ROLL -- it's not politics, it's not religion - it's not my job - it's not my only guide map to life

World View of Bruce? Believe me, you could do a whole lot worse.

Posted by: Dave at September 1, 2005 07:29 PM

Bruce is a little like our favorite, Steve Earle...a bit of pink in his politics....but dang, he's good. It just leaves a person a little disappointed is all...I guess I wouldn't buy any overtly leftist album that Earle would put out (the last one) but like whatever he does otherwise. The Dixie Chicks, tho...I really liked them a lot, but they stepped way over the line...plus they sounded ditzier than hell when they stepped. Won't listen, won't buy.

Posted by: Colleen at September 1, 2005 08:16 PM

I like Born to Run quite a bit, but always thought "Darkness" was better, and think now that it has aged better. BTR still contains remnants of the early Springsteen who seemed to be self-conciously aping Dylan, whereas in "Darkness" we hear a more self-confident composer.

FWIW, think Dylan's best work may be "Blood on the Tracks", although, if I remember correctly, you don't like Dylan all that much.

Posted by: Will Allen at September 2, 2005 12:59 AM

Geez, now you started it Mitch; I'll have this running through my head for the rest of the night...


It was in another lifetime
One of toil and blood
When darkness was a virtue
The road was full of mud
I came in from the wilderness
A creature void of form
Come in, she said
I'll give you
Shelter from the storm

and

If I pass this way again
You can rest assured
I'll always do my best for her
On that I give my word
In a world of steel-eyed death
and men who are fighting to be born
Come in, she said
I'll give you
Shelter from the storm


...by the time I wake up in the morning, I'll have the rest of the song (which is pretty long) recalled, despite not having heard it in 20 years
or so...


Posted by: Will Allen at September 2, 2005 01:12 AM

Mitch,

You guys act like Bruce's politics are somehow an abstraction that has nothing to do with his music. My point is that his disgusting liberal politics and secular humanist world view are present in many of his songs.

I hate to bring back up Johnny 99, since I did such an amazing job pointing out what a piece of dreck it is previously on Fraters, but I will.

How can a conservative listen to a POS song like that and enjoy it? Is it the melody that you like? Bruce's singing? Can't be. The thing that is supposed to make that song so great is what Bruce is saying and what he's saying is that murderers are victims of society (poor Johnny couldn't find a job and he had BILLS!) and that we shouldn't be mean to them.

Johnny has a name and Bruce wants us to feel sorry for him. The guy he murdered is not named.

This is a perverted world view that is not healthy to consume.

Unless you are a wacked out lefty who buys this nonsense, why would you want this type of thing in your life?

Stick with the Boston.

Posted by: JB Doubtless at September 2, 2005 08:24 AM

Mitch,

For me, musical moments inspire interest in performance art. No one wants to be part of a lousy band, but everybody thinks they can be as good (in creating moments) as Springsteen.

I joined JC chorus after listening to the Winter '81 concert from the chapel's loft...I think Todd was next to you? I stayed in the middle. Remember the reaction we got from the French tourists in Paris?

Posted by: Michael A. at September 2, 2005 09:11 AM

Will:

"I like Born to Run quite a bit, but always thought "Darkness" was better, and think now that it has aged better."

DOTEo'T is still my favorite album - of all time, actually.

"BTR still contains remnants of the early Springsteen who seemed to be self-conciously aping Dylan, whereas in "Darkness" we hear a more self-confident composer."

I can see that.

"FWIW, think Dylan's best work may be "Blood on the Tracks", although, if I remember correctly, you don't like Dylan all that much. "

I love Dylan, although I'm neither as into him nor have I had the time to really dig through his catalogue. SOmething I need to fix.

JB:

You remind me of my aunt, who used to lecture "kids who play Dungeons and Dragons will get sucked into an anti-Christian life", because their little minds just couldn't ward off Gary Gygax's satanic intent.

Baloney.

"You guys act like Bruce's politics are somehow an abstraction that has nothing to do with his music."

Where did I say anything of the sort?

Politics were integral to Steinbeck - politics I disagree with! - but it neither takes anything away from "Grapes of Wrath", nor does it mean reading it will turn me into a socialist. *I have a worldview that I've thought out*, in case you hadn't noticed, and while art of all types and from all sources enriches my life (and my worldview), it controls none of it.

Like I said a couple of years ago - listening to socialist Joe Strummer made me a better conservative.

" My point is that his disgusting liberal politics and secular humanist world view are present in many of his songs."

JB, I got the point the first time around - like, years ago! My point in response - so what?

"I hate to bring back up Johnny 99, since I did such an amazing job pointing out what a piece of dreck it is previously on Fraters..."

...and I did such a great job of defending it...

"...How can a conservative listen to a POS song like that and enjoy it? Is it the melody that you like? Bruce's singing? Can't be. The thing that is supposed to make that song so great is what Bruce is saying and what he's saying is that murderers are victims of society (poor Johnny couldn't find a job and he had BILLS!) and that we shouldn't be mean to them."

And I gutted that notion, completely, in my response to your post.

"Unless you are a wacked out lefty who buys this nonsense, why would you want this type of thing in your life?"

I refute you thus; I am neither wacked out nor lefty. And it's not only in my life, but is part of the mosaic of influences that make me the best conservative I personally know.

"Stick with the Boston."

It's not an either-or situation. And I once knew how to play every single song on their first album ("More Than A Feeling" was the first solo I ever learned, actually...)

Posted by: mitch at September 2, 2005 10:17 AM

Love your post about the music (although Born to Run was made before I was born, I love listening to it). I could do without all the people ripping it to shreds over politics. As I read through them all, I kept wondering why everyone started resorting to talking about Bruce and his political views- I thought this was about the music and the moments! Then I went back to the top of the page and saw the title of the blog...lightbulb on!

It's an interesting debate to talk about how someone's political views directly affect their lyrics. Was Bruce as politically involved when he made Born to Run as he is now?

Posted by: Jen at September 2, 2005 10:45 AM

Jen, you anticipated my next thought perfectly.

There is not a single political, or even social, moment anywhere in "Born To Run" (or "Greetings...", "E Street Shuffle...", "Darkness on the Edge of Town" or "The River"). On "Nebraska", there were social comments that could be broadly termed "populist" - stop the presses. "Born in the USA" wasn't remotely political, even the title cut (and Springsteen snubbed Mondale just as conclusively as he did Reagan in the flap afterwards), "Tunnel...", "Human Touch" and "Lucky Town" had nothing remotely political, "Tom Joad" was Nebraska II, and "The Rising" eschewed politics for spirituality.

"Devils and Dust" is the first album where he's done anything remotely political - to which I respond "Who cares?" I don't go to Richard Thompson for cooking tips, I don't ask Paul McCartney how to grout my shower, and I don't give a rat's ass what some rock and roll singer from New Jersey has to tell me about politics. Zip.

As another band, The Band, said, I "take what I need and leave the rest". And I took the very best.

Posted by: mitch at September 2, 2005 12:01 PM

It's not the "politics," it's the subversive element, which is hard for anyone to really define. It's what makes art "speak." So much of contemporary music is so full of that "poor me" stuff, it's wearin' thin.

Personally, I don't need to hear about how the Man's got me down, but the part about how she done me wrong helps me drink more.

Posted by: Eracus at September 2, 2005 12:19 PM

mitch - what are your thoughts on Radiohead?

I have complex thoughts on them - there are some songs that I find truly transcendent, but in kind of an intellectual way, if that makes sense. Not really a "moment" kind of thing- but there's certainly SOMEthing there that I respond to.

Do you like them?

Posted by: red at September 2, 2005 09:03 PM

Interesting you should ask that, Red. To me, there are three kinds of bands and artists - those that I just viscerally love because they do something that grabs me in the liver and inspires me, and those where I sit back and go "aaaah, interesting" in an intellectual sense; either the writing or something about their musical or production technique interests me. The two can and do overlap quite a bit - Richard Thompson has a zillion great moments, but even if he didn't, his guitar playing would still engross me. (the third category is artists I just don't like)

I can't honestly say I like Radiohead much - they just never grabbed me, although King Banaian tells me I need to give it another concerted try :-) and I probably will. But I have quite a few bands like that, bands that don't do much in the way of visceral moments, but are still engrossing on a more conscious level.

So I'll get back to you on that one, K?

Posted by: mitch at September 3, 2005 09:02 AM

mitch - yeah, I know just what you mean.

Here's the thing:

I remember where I was, who I was with, etc. etc. when I first heard "creep" - And I remember shushing my sister, saying, "Shhh ... listen ... who the fuck is that band????"

Creep hit me viscerally. The actual message of the song is kind of ... well, whiny, I might say "Waah, waaah, I'm a loser" - BUT there's a reason it landed so hard with teenagers. They all feel like creeps. They all feel out of it, and like they don't fit in - even the popular ones. But it's mopre than that - it's the tune. How it starts kind of in this otherwordlyl way, his sort of high voice, the melancholiness of it ... but then in the chorus, you get these major chords, this major sound - I can't describe it well. It just gets me every time I hear it.

Then there are a couple of songs on OK Computer that I absolutely love - but in more of that intellectual way I've described. I need to be in juuuuuuust the right mood to listen to OK Computer. I need to be a tiny bit melancholy and contemplative - it's that kind of music for me.

But nothing on OK Computer grabs me by the throat like Creep did.

Posted by: red at September 3, 2005 09:20 AM

So I would say - if you want to re-visit them - listen to "Creep" first. I'd be interested to hear your thoughts.

Posted by: red at September 3, 2005 12:23 PM
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