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Midnight, a husband getting ready to fight,Ī daughter sleeps alone with the light turned on, she hears, Late at night under typewriter light… I ripped this ribbon to shreds.Īnd then there’s You Keep It All In, a shockingly tuneful account of suppressed aggression inexorably leading to domestic abuse:
Lyric genius get busy sean paul full#
In the full album version, Heaton’s sinister reprise implies that in the case of Mary (the name he can remember), the consequences of the exploitation might have been so tragic as to force a change of heart:
Lyric genius get busy sean paul serial#
The song’s narrator is in fact a serial philanderer, who sleeps with women (so many he can’t remember their names) in order to monetise sex by writing saccharine “love” songs about these fleeting relationships. The first Beautiful South release, Song for Whoever, is, on the face of it, a pleasingly melodic love song dig a little and it turns out to be anything but:ĭeep, so deep, the Number One I hope to reap,ĭepends upon the tears you weep… so cry, lovey, cry… Heaton’s genius as a songwriter is an ability to communicate cynicism via the juxtaposition of what Rolling Stone magazine once called “irrepressibly giddy music hooks” with incommensurably dark lyrical content. And Don’t Marry Her (Have Me), which, notoriously, comes in two versions (I’ll let you join the dots), and in which a temptress attempts to persuade a man to abandon domestic security (“your socks smell of angels, but your life smells of brie”) in favour of ephemeral sexual satisfaction.
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There followed such gems as A Little Time in which a young woman calls bullshit on her partner’s cliched reasons for breaking up, and in doing so moves from “sad into unsad”. He realised it might therefore be better to get a woman to sing them (Housemartins was an all-male outfit).
Lyric genius get busy sean paul professional#
Heaton had concluded that a professional reinvention was necessary because he wanted, occasionally, to write lyrics from an imagined female perspective. When he dissolved The Housemartins and formed a successor band, The Beautiful South, the choice of name was almost certainly a form of gentle trolling. The track is from the album London 0, Hull 4, a title which announces Heaton’s Northern antecedents (and discloses his lifelong obsession with football). That year the Hull based band released Happy Hour, a beautifully jaunty subversion of enforced fun, and a not so subtly disguised attack on the supposedly rapacious, capitalist culture of the time:Ĭos, they speak a different language and it’s never really happened for me… Paul Heaton emerged onto the national stage as long ago as 1986 as the lyricist and lead singer for the The Housemartins. Salvation came through and – pleasingly – it arrived from the North of England, in the form of a genuinely eccentric songwriter who offered musical critiques which went deeper than the standard attacks on the transformational politics of the day. Its founder, Billy Bragg, insisted (modestly) that he wasn’t “looking for a New England”, presumably because he’d done so well out of the Old one. Those of us who were looking for a nuanced, musical interrogation of the Thatcherite agenda had to make do with the strident rent-seekers of “Red Wedge” a collection of leftist musicians who did very well out of the social revolution by disparaging it at every opportunity.
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When attended to properly, Heaton’s work has a beguiling depth There was a problem though: those “protests” were actually pretty rubbish. I was open to the possibility of cultural and musical protest. My grandfather had been a miner in Lancashire, and the whole business of the miners’ strikes was taken personally in our Liverpool-Irish family. I was all the same aware that the policies of the Conservative Party at times paid insufficient attention to the value of social and cultural capital. I was instinctively a conservative, something best kept quiet when your undergraduate days are spent drinking in the bars of Belfast. I came of age in the 1980s, in the middle of the social and economic whirlwind which came to be called the “Thatcher Revolution”.