this is why i am lying when i say that i don’t love you no more
i can’t really speak of what came after this album. it was a final point for me. like i saw a peak and didn’t want to look anymore. the sneaky yet fully-known damage i might have caused myself trying to look at an eclipse.
it reflects every strength chan marshall has as a writer and performer. the quiet. the affecting. the rocking. the authoritative.
the most amazing song here, and perhaps across many releases in the collection, is good woman. i’ve used it several times during my break ups. it drew in warren ellis of dirty three after mick and jim had performed in the recording band for the album’s proper predecessor, moon pix. they all made some kind of weird sense to be together.
chan at her peak is reflected in the churning song that is he war. it’s also the thing she does best, literally herself playing a quietly amplified guitar and singing away on the glorious fool.
it still amused that eddie vedder showed up, but in hindsight that’s not such a bizarre thing, given where his path took him. australians loved pearl jam, by the way. for some reason they also love foo fighters, and the shared crest of the respective careers somehow brought chan and dave grohl together here. that made less sense, in spite of what i don’t blame you was about. perhaps the most fascinating link, in some ways, is to david campbell who composed string arrangements on a couple of songs. david is beck’s dad.
the conclusion is that, with some unbelievable songs, the less memorable ones are forgiven. and almost in spite of all those famous people, this stands alone as chan’s and no one else’s.
i will love this love forever