I love covers that strip the song in question down to almost the chassis. Like a car up on blocks. What Michelle does with Roland's erstwhile-long song (an MTV fixture back in the 80s) is just extraordinary. It doesn't feel romantic so much as desperate, alone, Codeine-flavored, unrequited.
Mar 3, 2024

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Obsessive with this song at the moment, I can’t get it out of my head, they’ve laced this song with something. It’s like if Michael Stipe of REM fronted Slowdive and told them how to write indie pop melodies with their silly guitar pedals. Listening through some more of their stuff after finding them through instagram earlier this week but this track will not escape any singular judgement I have on their other tracks- they’re all comparable to how this song makes me feel and therefore cannot champion it.
Oct 4, 2024
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I feel like that band's frontman, Britt Daniel, has turned "mood-setting closing track" into something of a cottage industry. The best of these should make you want to replay the album, no? "Everybody's at disadvantage/speaking with their second language"
May 6, 2024
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I finally figured out how to play this on guitar instead of piano as it's constructed here (it's in a different tuning -- drop C, CGCFAD which is also what Nirvana's "On a Plain" is in) I think it's Faces' greatest song, from among many candidates -- Rod Stewart basically isn't on it, he's barely on this album TBH -- it was written and sung by Ronnie Lane. You might read this if you want a deep dive/interpretation: https://oneweekoneband.tumblr.com/post/3776097665/faces-glad-and-sorry-when-they-reconvened-to “Can you show me a dream/Can you show me one that’s better than mine/Can you stand it in the cold light of day/Neither can I.” This is the bit that really gets me, everytime. "Even when we try our best to share each other’s dreams, bare our souls, give up our inmost thoughts, even when we intend to stand shoulder to shoulder and face the world, building something new together—there’s always a point at which it falls apart, and despair creeps in, and it’s all gone past recovery... It’s that cold, hard recognition as the morning dawns and all my stupid fantasies of achievement, of desire, of love, scurry away into the shadows. Another one gone, how many more left to live?" Songwriting is magical and this one has "it."

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Hey tyler hopefully this doesn’t violate some PI.FYI golden rule But after nearly two years of writing, editing and arguing, my book about the EP is coming out in May and can be preordered here: https://hozacrecords.com/product/aifl/ The book is about the origins, history and cultural impact of the EP since these little objects first started coming out in the 50s. Over 50 of my music biz friends then helped me shape the list and review the top 200 ever released, according to us (ha). For those of you who are into this kind of geekery/snobbery, I can’t wait to hear what you think. A labor of love, as all books are! ❀
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I will fail to explain just how much this band meant to me in the 90s. So I will borrow from AV Club who did a fine job of distilling it: “Unwound is the best band of the ’90s. Not just because of how prolific, consistent, and uncompromising it was, but because of how perfectly Unwound nested in a unique space between some of the most vital forms of music that decade: punk, post-rock, indie rock, post-hardcore, slow-core, and experimental noise. That jumble of subgenres doesn’t say much; in fact, it falls far short of what Unwound truly synthesized and stood for. Unwound stood for Unwound. But in a decade where most bands were either stridently earnest or stridently ironic, Unwound wasn’t stridently anything. It was only itself. In one sense Unwound was the quietest band of the ’90s, skulking around like a nerdy terror cell. In another sense it was the loudest, sculpting raw noise into contorted visions of inner turmoil and frustration.” R.I.P. Vern Rumsey. This is their finest song, from their finest album. I really can’t say enough about the sheer bloody minded genius of this group. đŸ–€
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