4th of July (1987) – X

(Part One of the From Matrimony To Alimony trilogy)

In this country-tinged round of barroom rock, John Doe deplores a loveless marriage with the same blue-collar strife and pregnant details that Springsteen brings to the table. Doe can’t identify the exact moment of defeat, only the entirety of the ebb. As he reflects upon their quandary, he is reminded of the carefree trivialities that once enlivened their relationship. Perhaps she can remember as well. He goads her to partake of the Fourth of July festivities, hoping to tap into the celebratory spirit abounding and alleviate the symptoms, if not cure the malady. He just hopes this isn’t the day she declares her independence.

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Just Because It’s Dying (2002) – Jenny Toomey with Franklin Bruno

(Part Two of the From Matrimony To Alimony trilogy)

Along with Stephen Merritt, Franklin Bruno is one of the modern-day American songwriters who excels in vivid metaphors and clever wordplay that appease the intellect. His colleague and occasional collaborator, Jenny Toomey (of Tsunami/Grenadine/Liquorice/Simple Machines/Slack/Geek/solo fame), undertook to record renditions of twelve old and new Bruno compositions. One of the highlights of this association, “Just Because It’s Dying” (from Bruno’s 2000 release Kiss Without Makeup) offers encouragement to those who have lost the passion in their relationship and are on the fence as to whether it’s time to cut ties.

When the heat of July just gets you more sweaty than steamy, it’s time to rediscover the sparks that once flew: “When you see the fireworks fizzle / hit the lake, and start to sizzle / don’t you wish for one last missile / to illuminate the sky? / So do I.” Depicting love as tangible, Bruno appeals to the rational side of the debate that promotes salvaging over scrapping, knowing that rash decisions grounded in emotion are more likely to be erroneous ones. Toomey sings with empathetic compassion, backed by Bruno himself, former-Tsunami member Amy Domingues, and members of Calexico, who lay down a blanket of sauntering acoustic chamber pop. Aside from their lyrical wit, Bruno’s songs cast memorable melodic hooks as well: Toomey’s swooning inflection (“do you?” and “to you”) bait the heart, while tender moments of gently nudged melody in the transitional refrain reel it in. Once landed, Bruno’s not inclined to throw it back just yet.

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John Riley and the Housewives Who Love Him (2003) – Baskervilles

(Part Three of the From Matrimony To Alimony trilogy)

In “John Riley and the Housewives Who Love Him,” Baskervilles don their Belle & Sebastian cap, as singer/guitarist Rob Keith pouts sardonically to the strains of haunting chamber pop. Notably, Craig Van Orsdale’s sweetly sibilant hi-hats and richly pinging ride cymbal sparkle in exceptionally recorded brilliance. Anti-climactic one-two jabs of guitar and tom-tom punctuation following the refrain reflect the songs theme of unmet expectations. Keith depicts John Riley as a Hugh Grant-type that women daydream about and men resent, waiting for him to slip up so that the tabloids can humiliate him. Keith reduces Riley’s accomplishments to how many gossip rags he moves at the checkout stand. But, Riley’s true appeal lies in providing a daily diversion for women who live vicariously through his publicized affairs as they sleepwalk through stale marriages. Keyboardist/violinist/vocalist Stephanie Finucane chimes in to explain women’s idolization of John: “Reading about him beats the doldrums that set in / Glad we’re not alone even though romance has gone,” to which Keith retorts sarcastically on behalf of their husbands: “That’s right. I mean, why work hard / when it’s ‘til death do we part? / Our love life can’t compare to John’s.” Although men may teem with cynicism and sarcasm, the irony is that, quite possibly, they covet as much as they contemn.

Listen to "John Riley and the Housewives Who Love Him" and purchase from iTunes Music Store.