The Night Of The Previous Couplet
Feb. 22nd, 2008 04:08 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
koganbotOK, for my record third post in one day, here's a stream of the new Ashlee Simpson single, "Little Miss Obsessive."
I love it, love the singing (very warm, reminds me of "Fall In Love With Me"), a slow lead melody but a lot of movement and crosscurrents from the percussion, so an r&b feel on a pop-rock song, and I also love the way the words follow around her variously divided feelings, she being the one who shuns long goodbyes but who doesn't want to close out this affair. And the chorus going "I guess we're really over, so come over, I'm not over it" - I like the three "overs" saying successively different things. That's very skillful. And she's going for a specificity that was missing from "Outta My Head," the guy tossing in bed, her arguing with herself the next morning, and so on.
That said, the lyrics don't quite reach the specificity that she's after, don't achieve the sense of a populated world with a lot going on, in the way that "Better Off" and "Love Me For Me" did, with their coffee and toothpaste and stained shirts; she's taking longer to create her world and she doesn't create it with her earlier vividness, though it's an interesting world nonetheless.
I'm assuming that Kara DioGuardi and John Shanks (and Shelly Peiken) had something to do with that earlier vividness, but I wouldn't say they often get to the vividness when not working with Ashlee any more than she gets to it without them. I'm still going on too little information here, not knowing who wrote which lines in which songs.
Since we've been doing opening lines let's look: "Am I the reason why you toss and turn last night?/Everything's such a _____, it didn't come out right." I'm kind of a shrug on this one. It gives the situation, might give it better if I could make out the missing word (could be "lie," but that doesn't seem right [EDIT: maybe it's "blur," though I'm not really hearing a "b" in it]); it doesn't waste words, but I think it could have said more in the same space with better words. Next it goes, "All of a sudden it's cold and we're falling apart/No this can't be, please don't leave me in the dark." I don't know. I like that desperately emphatic "No this can't be," and I know what she's saying, but "cold" and "falling apart" don't particularly enrich each other, and "leave me in the dark" recalls the night of the previous couplet but still is just standard shorthand that a thousand other songwriters use, doesn't hit me in the way that, "Sunday morning blues always about you" did on the previous album when she was still working with Kara and John - "blues" being even more of a standard shorthand than "dark" is, but "blues" ramming right into "always about you" makes the sad color permeate, or makes "you" permeate, bringing the blues with you. I do think Ashlee is capable of having written "Sunday morning blues always about you" herself, just as she's probably the one who wrote "I'm the one who's crawling on the ground/When you say love makes the world go 'round" - it's just that with John and Kara around she was more consistently evocative like that.
The warmth of the singing and the lilting half melancholy of the tune and those full beats more than make up for what the words don't bring. Anyway, this deserves to be a hit, is probably more normal and less out of its head than the wonderful "Outta My Head" is, therefore MAYBE the stations that weren't willing to play that one will find this one more accessible; or possibly the station managers simply believe there's just no way that listeners are willing to listen to Ashlee Simpson. ("Outta My Head" did scrape into the top 20 on Tucson's top 40 station, and is getting some airplay in McAllen Texas and in New Orleans, but is basically not even on the map as far as most radio is concerned.)
So the opening couplet gets a 6, the song as a whole gets a 9.
I love it, love the singing (very warm, reminds me of "Fall In Love With Me"), a slow lead melody but a lot of movement and crosscurrents from the percussion, so an r&b feel on a pop-rock song, and I also love the way the words follow around her variously divided feelings, she being the one who shuns long goodbyes but who doesn't want to close out this affair. And the chorus going "I guess we're really over, so come over, I'm not over it" - I like the three "overs" saying successively different things. That's very skillful. And she's going for a specificity that was missing from "Outta My Head," the guy tossing in bed, her arguing with herself the next morning, and so on.
That said, the lyrics don't quite reach the specificity that she's after, don't achieve the sense of a populated world with a lot going on, in the way that "Better Off" and "Love Me For Me" did, with their coffee and toothpaste and stained shirts; she's taking longer to create her world and she doesn't create it with her earlier vividness, though it's an interesting world nonetheless.
I'm assuming that Kara DioGuardi and John Shanks (and Shelly Peiken) had something to do with that earlier vividness, but I wouldn't say they often get to the vividness when not working with Ashlee any more than she gets to it without them. I'm still going on too little information here, not knowing who wrote which lines in which songs.
Since we've been doing opening lines let's look: "Am I the reason why you toss and turn last night?/Everything's such a _____, it didn't come out right." I'm kind of a shrug on this one. It gives the situation, might give it better if I could make out the missing word (could be "lie," but that doesn't seem right [EDIT: maybe it's "blur," though I'm not really hearing a "b" in it]); it doesn't waste words, but I think it could have said more in the same space with better words. Next it goes, "All of a sudden it's cold and we're falling apart/No this can't be, please don't leave me in the dark." I don't know. I like that desperately emphatic "No this can't be," and I know what she's saying, but "cold" and "falling apart" don't particularly enrich each other, and "leave me in the dark" recalls the night of the previous couplet but still is just standard shorthand that a thousand other songwriters use, doesn't hit me in the way that, "Sunday morning blues always about you" did on the previous album when she was still working with Kara and John - "blues" being even more of a standard shorthand than "dark" is, but "blues" ramming right into "always about you" makes the sad color permeate, or makes "you" permeate, bringing the blues with you. I do think Ashlee is capable of having written "Sunday morning blues always about you" herself, just as she's probably the one who wrote "I'm the one who's crawling on the ground/When you say love makes the world go 'round" - it's just that with John and Kara around she was more consistently evocative like that.
The warmth of the singing and the lilting half melancholy of the tune and those full beats more than make up for what the words don't bring. Anyway, this deserves to be a hit, is probably more normal and less out of its head than the wonderful "Outta My Head" is, therefore MAYBE the stations that weren't willing to play that one will find this one more accessible; or possibly the station managers simply believe there's just no way that listeners are willing to listen to Ashlee Simpson. ("Outta My Head" did scrape into the top 20 on Tucson's top 40 station, and is getting some airplay in McAllen Texas and in New Orleans, but is basically not even on the map as far as most radio is concerned.)
So the opening couplet gets a 6, the song as a whole gets a 9.
no subject
Date: 2008-02-23 12:01 am (UTC)