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This failing is also apparent on “The Big Guns of Highsmith,” a track whose chorus is the confused, and eventually annoying “Hurts to be the one who’s always feeling sad / Oh just stop complaining, Oh just stop complaining.” Left alone with nothing but a bare piano accompaniment, the lyrics feel whiney and self-indulgent instead of meaningful...
...doctors and soldiers stationed at the 4077th Mobile Army Surgical Hospital in South Korea. A thinly veiled allegory for the Vietnam War, the show pioneered the “dramedy” genre. Its producers were famously among the first to fight against the use of a laugh track. “M*A*S*H” ran on CBS for eleven years, outlasting the Korean War itself by eight years. And given the obstacles faced, it really should’ve been awful...
...Running From the Cops” has Carter singing through garbling effects similar to those found on Aphex Twin songs. Though these effects can be grating, they do add some variety to the vocals in their oddity. “You Are the Ocean” is the only track with Carter on lead vocals that truly succeeds in being an emotional and catchy tune, proving he can be an effective lead singer, not just a guy playing around with production gimmicks...
...See” is probably the most interesting track on the later portion of the album. The beat, which sounds like something J Dilla might have put together, draws heavily on samples and chopped vocals. It would be incorrect to say Barthel sings over this track, as it really feels like her voice is incorporated into the beat. The lyrics are ambiguous yet clearly melancholy, with Barthel, declaring, “As far as I can see / Nobody loves me / As far as I can tell / Nobody loves you with her.” These lines are somewhat representative...
...lost the use of my heart / But I’m still alive,” sings Sade Adu on the titular track from “Soldier of Love,” Sade’s first album since 2000. For an impressively constructed album based on and made for “love,” this line seems more of a curious apology from the band than a testament to love from a wayward lover...