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Sheila Take A Bow might not be the Smiths best known song, or even their best song, but it’s a very good song, with a very good melody.

There’s a fair amount of contention as regards the song’s origins and meanings. I got the following from SongMeanings:

“Interesting enougth this film is about a teenage pregnant girl and her realationship with a young gay man.Thay love each other but in the end the pressures from the outside (mostly the girl’s mum) forces them to separate. ”
Mark Simpson has a very interesting theory in his book “Saint Morrissey” that Morrissey identified strongly with the main character of the play - the girl, Jo. From what I know about the play and the character, it seems quite probable: she has an overbearing mother, she is bored in school and generally unhappy, then, wishing some excitement in life, she has a one-night stand (with a black sailor who she would not see again) which leaves her pregnant. Then she finds real love as non-sexual love. Unhappy teenager, sick of school and family, trying to escape an overbearing parent, looking for love - sounds a lot like “Shakespeare’s Sister” as well as “Sheila Take A Bow”.

Sheila is probably a nod to Shelagh Delaney, and I totally agree that the girl Sheila is the imagined “female Morrissey” (kind of like the girl in the “Everyday Is Like Sunday” video, don’t you think?) and that all he tells her can be said to him as well. He seems to be speaking to himself in several of his songs, adivising himself: Accept Yourself, Handsome Devil (”there’s more to life than books you know”, in Moz’s words the song is aimed at a scholar who should get more physical instead of jsut reading), Sheila Take A Bow, you migh say Ask as well.

She might also be his ideal partner:
“Take my hand and off we stride/ You’re a girl and I’m a boy”
/Take my hand and off we stride / I’m a girl and you’re a boy ” - the switching of gender roles back and forth (nicked by Massive Attack 10 years later in Protection LOL) is very much in tune with Morrissey’s views, too. In Girl Afraid we see that traditional gender roles hinder understanding and contact between two people who like each other. Here we see that traditional gender roles should be disposed of,, in order for people to trully understand themselves and each other.

From Wikipedia:

The single’s cover features actress Candy Darling from the film Women in Revolt (1971). Candy Darling was a transwoman born James Lawrence Slattery and part of Andy Warhol’s entourage.

Perhaps there was some empathy for the things that Candy Darling likely went through. I don’t know myself. I do know that I think it’s a really good song.

Here’s a link to what was likely a performance on Top of The Pops or some similar show

And of course, the lyrics:

Is it wrong to want to live on your own ?
No, it’s not wrong - but I must know
How can someone so young
Sing words so sad ?

Sheila take a, Sheila take a bow
La …
Throw your homework onto the fire
Come out and find the one that you love
Come out and find the one you love

Watusi Rodeo is one of those songs that worms it’s way into your brain and sits in your happy space until you have to pay some attention. It’s a light hearted, tongue in cheek song about Western Colonization, as the cowboys don’t seem to understand how they could possibly be angering the natives while violating a burial ground and forcing them to wear Western wear. Plus, it’s a good, fun tune.

You can listen to the song below:

And of course, the lyrics:

Come along with me to the Congo land
Got a zebra by the tail and a python in my hand
Once my home was a Texas plain
But now I swing a lasso on an alien terrain

Natives are restless under these Stetsons
What are these cowboys doing in the Congo
Look like cows but they’re water buffaloes
Ropin’ and a riding in the Watusi Rodeo
Oh they look like cows but they’re water buffaloes
Everybody’s heading for the Watusi Rodeo

Your Socks Don’t Match is one of those nice, easy-going jazz tunes with a nice sense of humor, the sort that used to be commonplace. I love the trade off between Jordan and Crosby, particularly the little asides each one tosses out. The song itself sort of lopes along at a gentle pace, making for a very enjoyable listen.

You can listen to the song below:

And of course, the lyrics:

We heard a chick just the other day
Cooling out her boyfriend in every way
She kept on squawking, full of complaints
Like she expected folks to be saints
She insisted that he look neat
So this was her complaint complete (report to the nation)

You got a red one, a blue one (that ain’t gonna do son)
Your socks don’t match

Flagpole Sitta. was the first song I heard by Harvey Danger (and thankfully not the last). It’s a really strong pop song with some very clever, outstanding lyrics. Seemingly about a man confronted with life’s ills and slowly being driven crazy, it’s got a great hook, that very lovely singalong chorus, and it’s a very well crafted classic rock and roll song.

Here’s a link to the video

And of course, the lyrics:

I had visions, I was in them,
I was looking into the mirror
To see a little bit clearer
The rottenness and evil in me

(One, two, three, four!)

Girls On Film is easily my favorite Duran Duran song. I love the guitar riffs, the bass line, and I think this is also one of Simon Le Bon’s best vocal outings as well. The song, about the exploitative and voyeuristic qualities of the fashion industry, particularly pertaining to the relationships between photographers and models, moves along at a funky pace that’s quite enjoyable.

It’s also got a good beat, and you can dance to it.

Here’s a link to the video (the tame version–anyone can search for the uncensored version).

And of course, the lyrics:

See them walking hand in hand
Across the bridge at midnight
Heads turning as the lights flashing out
Are so bright
And walk right out to the four line track
There’s a camera rolling on her back
On her back
And I sense the rhythms humming in a frenzy
All the way down her spine

Girls on Film (she’s more than a lady)
Girls on Film
Girls on Film (see you together)
Girls on Film
Girls on Film (see you later)
Girls on Film
Girls on Film (two minutes later)
Girls on Film

No, I am not going to talk about Fiona Apple’s cover. That deserves it’s own post.

The original is quite strong in it’s own right. The song starts out slowly and quietly, builds up through anger and sadness, ending with quiet regret. it’s one of Elvis’s best vocal performances as he conveys the feelings of a man who’s lost his love to someone else quite well.

The Attractions, as always, are on top of their game as well. The song isn’t as complex musically as some of the other songs they’re famous for, but they show excellent restraint in building an atmosphere of changes in movement during the song.

Here’s a link to a mashup

And of course, the lyrics:

Oh my baby baby I love you more than I can tell
I don’t think I can live without you
And I know that I never will
Oh my baby baby I want you so it scares me to death
I can’t say anymore than “I love you”
Everything else is a waste of breath
I want you
You’ve had your fun you don’t get well no more
I want you
Your fingernails go dragging down the wall
Be careful darling you might fall
I want you
I woke up and one of us was crying
I want you
You said “Young man I do believe you’re dying”
I want you
If you need a second opinion as you seem to do these days
I want you
You can look in my eyes and you can count the ways
I want you
Did you mean to tell me but seem to forget
I want you
Since when were you so generous and inarticulate
I want you
It’s the stupid details that my heart is breaking for
It’s the way your shoulders shake and what they’re shaking for
it’s knowing that he knows you now after only guessing
I want you
It’s the thought of him undressing you or you undressing
I want you
He tossed some tattered compliment your way
I want you
And you were fool enough to love it when he said
“I want you”
I want you
The truth can’t hurt you it’s just like the dark
It scares you witless
But in time you see things clear and stark
I want you
Go on and hurt me then we’ll let it drop
I want you
I’m afraid I won’t know where to stop
I want you
I’m not ashamed to say I cried for you
I want you
I want to know the things you did that we do too
I want you
I want to hear he pleases you more than I do
I want you
I might as well be useless for all it means to you
I want you
Did you call his name out as he held you down
I want you
Oh no my darling not with that clown
I want you
You’ve had your fun you don’t get well no more
I want you
No-one who wants you could want you more
I want you
Every night when I go off to bed and when I wake up
I want you
I want you
I’m going to say it again ’til I instill it
I know I’m going to feel this way until you kill it
I want you
I want you

This is such a peppy song, I love it. Of course, the subject matter isn’t quite so peppy, but it’s not exactly evil either. A much better than average song about a fickle woman walking all over the hearts of the men she bewitches, it’s still a fun song with some great lyrics (EC=great lyrics? Who knew?).

It is most assuredly a fun song. The jaunty bass line plays against the eager strummed guitar, and Costello’s vocals harry and hector the song along through several key changes, and it’s just a fun song to listen to.

You can listen to the song below:

And of course, the lyrics:

(chorus)
It’s going round the town
It’s going round the town
It’s going round the town
You’re so lovable

(chorus)

XTC have long been known as a quirky, but quite good, English pop band. However, one thing I don’t think they’ve been given much credit for is crafting some of the sweetest, most intelligent love songs out there. The Mayor Of Simpleton is one of those lovely songs.

The song has a fabulous bass line (I have no idea how Colin Moulding can sing backups and leads playing the complicated bass lines that he does), and some terribly sweet and clever lyrics. I particularly enjoy how very positive Andy Partridge’s vocals are. It would be easy to toss out Cole Porter like lyrics like Well I don’t know how many pounds make up a ton, Of all the Nobel prizes that I’ve never won and give an aura of sincerity, but you feel like Partridge means it. That’s really great.

Here’s a link to the video

And of course, the lyrics:

Never been near a university,
Never took a paper or a learned degree,
And some of your friends think that’s stupid of me,
But it’s nothing that I care about.

When all logic grows cold and all thinking gets done,
You’ll be warm in the arms of the Mayor of Simpleton.
You’ll be warm in the arms of the Mayor of Simpleton.
You’ll be warm in the arms of the Mayor.
(Please be upstanding for the Mayor of Simpleton.)

Fountains of Wayne is one of those quirky bands that enjoy their quirkiness. Denise is a nice example of that. It’s almost a very sweet pop song, but what the listener really comes away with is an undercurrent of despair that the singer will not be able to hold on to his golden girl.

Personally, I love it because it’s a great tune, it’s very catchy and listenable, plus I find myself singing snatches from it all the time. I don’t mind a song like this that gets into your system, at least not when it’s a good song (one of these days I’ll vent about Kelis’ Milkshake, but the less said about that, the better).

Here’s a link to the video

And of course, the lyrics:

I know this girl named Denise
She makes me weak at the knees
She drives a lavender Lexus
She lives in Queens but her dad lives in Texas

[sha la la la la la la]
She controls me
[sha la la la la la la]
She can’t help herself
[sha la la la la la la]
Won’t you tell me
Do you love me Denise?
Whoa-oh
Do you love me Denise?
Oh baby tell me please
[do ya do ya ah-oh do ya do ya]

Young Americans is a great song with some great performers playing on it, including David Sanborn and Luther Vandross. It’s a rollicking piece of urban style rhythm and blues, with stream of consciousness lyrics, an excellent series of church choir vocals, and just good old funk. Not to mention that it’s got one of the great lyrics of all time: Ain’t there one damn song that can make me break down and cry…?, which he delivers beautifully.

Here’s a link to a tribute video or if you prefer, here’s a link to Bowie performing the song on The Dick Cavett Show.

And of course, the lyrics:

They pulled in just behind the bridge
He lays her down, he frowns
‘Gee my life’s a funny thing, am I still too young?’
He kissed her then and there
She took his ring, took his babies
It took him minutes, took her nowhere
Heaven knows, she’d have taken anything, but

All night
I want the young American
Young American, young American, I want the young American
All right
I want the young American
(Repeat 3 x’s to fade)