Gilbert O'Sullivan Lyrics - The Most Melancholy Of Them All

Born Raymond O'Sullivan in Waterford, Eire in December 1946, Gilbert O'Sullivan became one of the leading singer songwriters of the early seventies, under the stern guidance of Tom Jones' manager Gordon Mills - the man he was to successfully sue in later years, in a major dispute over Mills' record company's royalty payments.
Gilbert O'Sullivan has been largely ignored by most pop music critics; his early image perhaps alienating a sizable portion of them with its contrived, down-at-heel urchin look. It didn't get much better when he soon decided to adopt preppy, American college boy garb with a garish jumper bearing the large letter "G" on the front - not a fashion statement that has stood the test of time.
What has stood the test of time in my view is the quality of some of his songwriting, along with the clean and natural vocal style he employed. Whilst he regularly managed to construct and carry a strong melody, it is the lyrics to some of his early work that I find fascinating.
His first major hit in 1970, Nothing Rhymed, set the tone for much of his writing over the next couple of years. Resolutely melancholic, there seemed to be a hint of Charlie Chaplin-like pathos lurking around every line:
'When I'm drinking my Bonaparte shandy, eating more than enough apple pies
Would I stare at my screen and see real human beings, starve to death right in front of my eyes?'
This is surpassed by the lyrics to the song that broke him internationally, Alone Again (Naturally). The record was a number one chart hit in the US, Canada and Japan and reached number three in the UK. It can be conservatively described as resolutely downbeat. Even the ubiquitous Steven Morrissey from The Smiths might struggle to articulate such despair
'And at sixty-five years old - my mother, God rest her soul,
Couldn't understand why the only man she had ever loved had been taken
Leaving her to start with a heart so badly broken - despite encouragement from me, no words were ever spoken
And when she passed away, I cried and cried all day - alone again, naturally'
Over the next couple of years, O'Sullivan seemed content to flourish at the more throwaway end of the pop spectrum, with such lightweight hits as Matrimony, Ooo-Wakka-Doo-Wakka-Day and Get Down, light years from the harsh depictions of reality embedded in his earlier work. Alone Again (Naturally) is, to me, the most melancholy of all Gilbert O'Sullivan lyrics, and his finest pop moment.

The Best Joe Walsh Album

Joe Walsh's magical music career has spanned well over four and a half decades. Between his stints with the James Gang and the Eagles, Walsh hit a productive and artistic peak in the early 70's with the release of: "Barnstorm" (1972), "The Smoker You Drink, The Player You Get" (1973) and "So What" (1974). "So What," the best Joe Walsh album, is the crowning gem of this tremendous trio.
Composition, performance, and production are the three primary elements that separate "So What" from "Barnstorm" and "The Smoker You Drink, The Player You Get."
Seven of the nine compositions on this album are some of Joe's best work. While "Barnstorm" and "The Smoker You Drink, The Player You Get" contain some great tracks, the sum of the songs on these two albums don't hold up as well. "Welcome to the Club," has some of Joe's best guitar chord work coupled with some of his better lyrics. Great drum work dominates on this track as well. "County Fair'" glides the listener through a sonically enchanted journey, highlighted by Joe's reverse recorded guitar solo. "Falling Down" features vocal arrangements that remind me of Brian Wilson's best work.
All of these great tracks are supported by superior performances by the assembled musicians along with Joe Walsh unique guitar work. In addition, "So What" contains fantastic backing vocals by Randy Meisner, Don Henley and Glenn Frey of The Eagles, along with J.D. Souther and Dan Fogelberg. Their work alone sets "So What apart from other Joe Walsh efforts.
This is by far the best produced Joe Walsh album. Producers: Joe Walsh, John Stronach, Bill Szymczyk and Engineers: Al Blazk, John Stronach, Bill Szymczyk, crafted a record that is cleanly mixed with a distinct separation and definition of sounds while incorporating innovative techniques such as Joe's reverse recorded guitar solo on "County Fair." The arrangements and use of synthesizers and strings are complex, but never give the listener the idea that the music is over-producer or that the producers are "reaching" for something that isn't there. Concurrently, Joe Walsh's voice never sounded better than it does on these tracks.
Most importantly, there is also a greater depth of emotion on "So What," exemplified by "Help Me Through the Night" and "Song for Emma." Emma was Joe Walsh's four-year old daughter. She was tragically killed in a traffic accident by a drunk driver while her mother was driving her to preschool. Joe dealt with this tragedy by composing a very moving and spiritual ballad that in very few words captured the beauty, uncertainty and mystery of life.
If you don't have "So What" in your CD or record collection, you are missing an album that stands well, the test of time.

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