Case File #11: The Trapeze Swinger

Iron & Wine
"The Trapeze Swinger"
Around the Well
(2009)




The need to know: A former film professor, Sam Beam stumbled into the music business when his friends began doling out his home-made demos. Of course, one of those eventually ended up at Sub Pop, and three full-lengths, a handful of EPs, some collabs with Calexico, and a very notable cover of The Postal Service's "Such Great Heights" later, it's safe to say Beam's friends were on to something. Not untouchable by the pop culture plague, though, the super-bearded folkie's "Flightless Bird, American Mouth" was used to make tween hearts everywhere swoon at the end of the film Twilight, only adding to my confusion of why the vampire romance films get such kick ass soundtracks.

Why it's worthy: Simple, melodic repetition and lyrics fitting of a self-penned eulogy place "The Trapeze Swinger" among the most beautiful of Iron & Wine's songs, and you can't go two feet without tripping over a gorgeous song in Beam's catalog. A plea for remembrance of times both good and bad, Beam's hushed vocals and a slowly building chorus of "oos" captures some sadness, but it's softly enveloped in a blanket of wistful hope. A prime example of Beam's ability to craft songs that are no less powerful for their subtlety, "The Trapeze Swinger" excels, and captivates, because of it.

Quotable lyric: "And then they went on to say/ That the pearly gates/ Had some eloquent graffiti/ Like 'We'll meet again' and 'Fuck the man'/ And 'Tell my mother not to worry'"

Where you've heard it: "The Trapeze Swinger" originally, and fittingly, appeared on the soundtrack to 2004's awkward Dennis Quaid/Topher Grace dramedy In Good Company.

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Cover Case File #2: "He Hit Me (It Felt Like A Kiss)"

Grizzly Bear
"He Hit Me (It Felt Like A Kiss)"
Friend
(2007)




The need to know: No band was name-dropped more in 2009 than Grizzly Bear. Building on praise from 2006's Yellow House, the release of Vecatimest cemented Grizzly Bear as one of the most watchable up-and-comers. Add in a duet with Michael McDonald (really!) and the title of buzz band doesn't quite capture the ruckus that tracked these experimental poppers throughout '09.

Why it's worthy: "He Hit Me" is a song with a story. When Little Eva, head of early 60s girl group The Crystals, told Gerry Goffin and Carole King that the beatings she received from her boyfriend only proved his love for her, the songwriters penned "He Hit Me" specifically for, and about, her. The Phil Spector-produced original is sometimes seen as satire, with only a plodding bassline left to hint at any uneasiness, despite the content of the lyrics. The Grizzly Bear version, however, is much more ominous and introspective. Where the original sounds like a typical era love song, Ed Drost's buttery smooth vocals drench the song with inner turmoil and the blanketing sadness that Spector all but vanquished from The Crystals' version. A perfect cover choice for the indie darlings, Grizzly Bear performed their version while on tour behind 2006's Yellow House before recording it for their 2007 B-sides EP, Friend.

Quotable lyric: "If he didn't care for me/ I could have never made him mad/ But he hit me/ And I was glad"

Where you've heard it: Courtney Love and her band Hole performed their own cover of "He Hit Me" for MTV Unplugged in 1994. 

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Case File #10: "Virtute the Cat Explains Her Departure"

The Weakerthans
"Virtute the Cat Explains Her Departure"
Reunion Tour
(2007)



The need to know: With a special lyrical knack for poignant cleverness and a blend of folk and punk rock, Winnipeg, Manitoba's The Weakerthans have earned a dedicated following of anecdote and sonnet lovers since forming in 1997. Spearheaded by former Propagandhi bassist John K. Samson, and featuring Broken Social Scener Jasion Tait on drums, as well as stephen Carroll and Greg Smith on guitar and bass, respectively, The Weakerthans paint scenes featuring lonely canvassers, love notes to construction equipment and endearing old hockey goalies all with a hint of Samson's own introspection and the occasional bleeding heart. They also hate Winnipeg. Just FYI.

Why it's worthy: A song sequel to Reconstruction Site's "Plea From A Cat Named Virtute", here we find the run away puddy tat out on the prowl, and, like most of us would be, sick for the comforts of home. Despite the song's subject matter, Sampson never degrades into cutsey territory.  Sure, we're hearing the thoughts of a lost cat, but it never seems laughable or cartoony, which isn't too easy a task. Add in an explosion of soaring guitars and the feline's final admission ("I can't remember the sound that you found for me") and you'll be hard pressed not to take in the next stray you come across.

Quotable lyric: "I remember the way I would wait for you/ To arrive with kibble and a box full of beer/ How I'd scratch the empties desperate to hear/ You make the sound that you found for me"

Where you've heard it: In the mews of every lost cat.

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Case File #9: "Graveyard Girl"

M83
"Graveyard Girl"
Saturdays = Youth
(2008)




The need to know:If you've ever wanted your life to sound like the soundtrack to a John Hughes movie, then you should probably get your hands on some M83. Since 2001, M83, the moniker for French electropop mastermind Anthony Gonzales, has released five albums ranging from the ambient to the shoegazey and is responsible for notable remixes for artists including Bloc Party, Depeche Mode, Placebo and Goldfrapp. But his 2008 album, the aptly titled Saturdays=Youth, captured the 80s teen spirit in all of us, even placing an obvious Molly Ringwald look-alike on its cover. 

Why it's worthy: A theme song for fledgling goth girls everywhere, "Graveyard Girl" plays out like an emo melodrama in miniature. A love song to a girl who maybe spends a little too much time hanging out at the cemetery (like there is such a thing!) plays out over M83s well-adapted, 80s-inspired sonics. One of the bands more grounded "rock" songs, soaring synths and an obvious 80s drum beat play obvious homage to the group's influences, but it's more an interpretation of that decade's sounds than a straight rip off.

Quotable lyric: "I'm fifteen years old/ And I feel it's already too late to live/ Don't you?"

Where you've heard it: "Graveyard Girl" was used to promote British teen drama Skins.

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Case File #8: "Prison Girls"

Neko Case
"Prison Girls"
Middle Cyclone
(2009)




The need to know: On the cover of 2009's Middle Cyclone, that's Neko perched atop a muscle car, bearing a sword. And, yes, she really is that much of a bad ass. As both a part-time front woman for The New Pornographers and solo tour de force, it's Neko's powerful vocals that make her recordings so unforgettable. More than just a serious set of pipes, though, she's also one hell of a songwriter. Often crafting dark portraits of believable characters in her distinct country noir flavor, her albums have consistently provided some of the best alt country this side of Wilco. 

Why it's worthy: An ominous, dreamlike trance, "Prison Girls" threads hopelessly dark imagery with swoon-worthy "Ohs" for a tapestry as rich and inescapable as its narrator's predicament.  Vivid, haunting tableaus juxtapose the song's stunning, poetic cry of "I love your long shadows and gunpowder eyes"--a phrase I could hear Neko sing for hours on end (and I sometimes do).

Quotable lyric: "I love your long shadows and your gunpowder eyes"

Where you've heard it: Neko gets to play guest programmer tonight on TCM, where she'll be playing four of her favorite classic flicks. Unrelated, but still good to know. (Thanks A.V. Club!)

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