Page 2 of 6 FirstFirst 1234 ... LastLast
Results 16 to 30 of 90

Thread: Uh Huh Her

  1. #16
    Junior Member
    Join Date
    Nov 2010
    Posts
    4
    I'm kind of disappointed studio versions of Uh Huh Her and Evol never came out. I listen to an acoustic Uh Huh Her all the time, and I just picked up the CD promo from Please Leave Quietly which has the live Uh Huh Her and Evol. Great songs, which could have easily gone on a Who The Fuck single. Even backing a White Chalk single would have been nice, since they were all older B-sides anyway.

  2. #17
    Alt Universe CliqueMember Spikey's Avatar
    Join Date
    Jul 2010
    Location
    Snarkletown
    Posts
    3,004
    In another thread I called this album an anti concept album, but maybe I just failed to see all the links between the songs before.
    All of the them seem to be about communication, specifically, communication about internal or emotional, predominantly non-verbal inner states which are hard enough to analyse yourself, let alone communicate about them.
    A lot of communication is one-way, with messages not being responded to or not landing. Strangely enough, Cat on the Wall seemed like an important song in that light.

    It contains the lyric;

    'I heard your voice on the telephone,
    I play it back on the message machine,
    it really sounds like you're having fun,
    I'm going out into the midday sun'.

    So hearing somebody's voice recorded can give you the urge to play it over and over again, just because we want to guess the exact inner state of that other person, and we're sure that that can be heard somewhere between the lines. The recorded voice in the song goes on to be interpreted as somebody having fun, and the next thing the narrator knows, he or she is communicating into thin air what he or she is going to do.

    The radio in the song is another form of this one-way communication, somebody records a song, it's send to you through a radio, and you attach emotional states to it and interpret it in a certain way that has little to do with the original message.

    The Letter is about communication through (of course) written words. A lot of messages have that one sided quality to them I guess, but this is different than the recorded voice on the telephone; usually letters don't try and hide feelings, but are meant to explain them. So the sender puts a lot of feeling into the envelope, and can fantasize forever about when it will arrive.

    'It turns me on
    To imagine your blue eyes
    on my words'

    Then there will be a lonely interpretation by the receiver when the message comes out on the other side, just like with the telephone in Cat on the Wall;

    It's You, to me, has this innocent love quality about it, which often seems to come from a very naive place, no matter what you do or say.
    'Teach me sweetheart how to love you, I'm a clever girl'.
    Motherlove as well as people in love often sound rediculous because it's a very non-verbal, irrational thing. But love makes blind,
    and mother is god in the eyes of a child. So, the song starts with this kind of naivity, but as a response to itself it turns into the opposite;
    'When I'm not with you my dreams are so very dark...
    When I'm not with you I dream of my hair just falling out...
    When I'm not with you I walk dark tunnels of my heart
    When I'm not with you everything just comes apart'.
    Now, this is communicating about love in a sudden, mature kind of way, as oppposed to the rest of the song.
    Lastly, I'd like to think that the narrator of this song finds love in some kind of religion;
    'Wondering to whom I was supposed to pray, it's you'.
    The song deals with the three types of love most difficult to explain; motherlove, young love and religious love. Here the theme of one-way
    communication returns in prayer.

    The desperate kingdom of love though, is the kind of love that we do accept without questioning, and even though the narrator of that song sounds a little obsessed
    with the object of his or her affection, you can communicate about in a psychotic way and still everybody will accept it.

    'You come through' seems to refer to a deep friendship, also a type of hard-to-explain love of course, as there's often no reason to have that kind of deep connection
    with one person and not with the other.

    The Slow Drug is essentially a song about a hard-to describe state, which PJ seems to try and synthesize by means of music and lyrics that refer mainly to a specific kind of atmosphere (which she does really well).
    It's combined with asking the self questions; 'Still the question lingers, I twist it round my fingers, could you be my calling?' which reveals that these inner states
    are all but easy to use for forming intentions.

    Kind of the opposite is 'Who the Fuck?' since 'Who the fuck do you think you are?' is one of the most straightforward things you can ask another person, and is most
    revealing about your own inner state.

    Darker days starts out with a type of communication; promises, and how they are relevant at some point to both people, but these inner states are fickle and bound to change over time.
    I think this song is about that; a relative shift of people regarding a certain promise.

    Very iconic to the theme of communication is that the album begins with a mouth; Badmouth.
    'Plenty goes in but nothing good comes out'.

    Well there's so much more I could type about the connections, but it's late and I have to go to send What's App messages to my ex and sleep. Soon.

  3. #18
    Militia of the Mind toriMODE's Avatar
    Join Date
    Jun 2010
    Posts
    13,931
    What a well-thought out post!

  4. #19
    Member wolfie's Avatar
    Join Date
    Jan 2011
    Location
    Lancashire, United Kingdom
    Posts
    31
    I love this record, I remember the day I bought it when I was fifteen! It was pissing down with rain and I had a bottle of flat Mountain Dew in my bag. Ahh. I have to say that the artwork for this record is some of the best I have ever seen, from any artist, really. Does anybody else take regular photographs of themselves?

  5. #20
    I saw live for the first time during this tour at small place called the Knitting Factory. I managed to get right up front like 2 feet away from her (not kidding), and she blew my mind away. I was not a hardcore fan before that show, but I certainly came out one.

    Love the album, b-sides, and the songs that were only played live. Except for cat on the wall, i hate that song, lol.

  6. #21
    Crow Winger Bruce's Avatar
    Join Date
    Jun 2010
    Location
    San Francisco
    Posts
    1,576
    Quote Originally Posted by Maximus Decimus View Post
    I saw live for the first time during this tour at small place called the Knitting Factory. I managed to get right up front like 2 feet away from her (not kidding), and she blew my mind away. I was not a hardcore fan before that show, but I certainly came out one.

    Love the album, b-sides, and the songs that were only played live. Except for cat on the wall, i hate that song, lol.
    i was at this show as well. Absolutely mind-blowing. Also had the good fortune (lol) to catch her at the 2000 Knitting Factory show, which was my first time seeing her live. Good times!

  7. #22
    Senior Member
    Join Date
    Oct 2010
    Location
    NYC
    Posts
    607
    Quote Originally Posted by JIM View Post
    I loved Uh Huh Her and all the b-sides to death when it came out. I was going through a weird time then in 2004. The Phone Song was actually my favorite b-side: "If I could tell you anything... That the loop, it can be broken / That your heart, it can be open".

    I used to listen to an extended playlist of my own, instead of the album (I hated the track order at the time) - one of the segues was Badmouth/Phone Song/You Come Through. It just seemed like such a natural fit. I went to see some friends in San Francisco that summer, stayed there for over a month, and my Uh Huh Her mix was a constant companion. I remember stargazing and listening to The Phone Song... god, just typing this is making me nostalgic.
    What was the track listing for your playlist? I just made my own tentative UHH playlist:

    UHH (iTunes original)
    Shame
    Badmouth
    Pocket Knife
    97 Degrees
    The Slow Drug
    The Phone Song
    Evol (Peel)
    Bows and Arrows
    You Come Through
    It's You
    The End
    The Desperate Kingdom of Love
    The Darker Days of Me and Him

    I tried to keep the disjointed vibe of the original track listing because that's part of its charm for me. I'll probably end up changing it 150 times, but I'm happy with this for now.

  8. #23
    thirst world problems Octopussy's Avatar
    Join Date
    Jun 2010
    Posts
    7,093
    I had it in 2 parts. The first one is supposed to be the ugly "vomit-inducing" rock album that it was originally:



    it looks pretty solid, though I haven't listened to it this way in awhile. The only problem is that the Peel Session bootleg doesn't sound that great - if there was an official version (without all that radio static), this would be the perfect mix IMO!!

    ETA: Liverpool Tide! it's a refugee from a White Chalk single, it totally fits here.

  9. #24
    Senior Member
    Join Date
    Oct 2010
    Location
    NYC
    Posts
    607
    ^I like that! It's really a crime that the 2004 Peel Session wasn't included in full on the released compilation. I still love Evol from Peel with the applause removed as an addition to UHH, though. The additions from other eras (Faster and Kick it to the Ground) don't bother me because it fits in well with the whole scrapbook idea. That reminds me, actually. Do we have an idea of which era each of the tracks from UHH came from?

  10. #25
    thirst world problems Octopussy's Avatar
    Join Date
    Jun 2010
    Posts
    7,093
    ^ From the album, only Shame (Stories) and The Slow Drug (Desire). But for b-sides, I think Stone and Falling were also Stories-era, Angel is allegedly from before Dry, and Dance sounds Rid of Me-era to me.

  11. #26
    Senior Member
    Join Date
    Oct 2010
    Location
    NYC
    Posts
    607
    I definitely figured Desire for The Slow Drug. I kind of wish she hadn't given the full version of No Child of Mine to Marianne Faithfull. I think it would have been perfect with that production next to It's You and Pocket Knife.

  12. #27
    thirst world problems Octopussy's Avatar
    Join Date
    Jun 2010
    Posts
    7,093
    I guess a PJ version of No Child of Mine would be ok, but I definitely don't like it on Marianne Faithfull's album. Mystery of Love was the best song there, I would kill to have PJ do that!!

  13. #28
    Crow Winger Bruce's Avatar
    Join Date
    Jun 2010
    Location
    San Francisco
    Posts
    1,576
    Quote Originally Posted by JIM View Post
    I guess a PJ version of No Child of Mine would be ok, but I definitely don't like it on Marianne Faithfull's album.
    That's actually one of my favs by Polly or Marianne, I think that song is brilliant. Also love Before The Poison and Mystery Of Love.

  14. #29
    Senior Member
    Join Date
    Oct 2010
    Location
    NYC
    Posts
    607
    Quote Originally Posted by JIM View Post
    I guess a PJ version of No Child of Mine would be ok, but I definitely don't like it on Marianne Faithfull's album. Mystery of Love was the best song there, I would kill to have PJ do that!!
    Mystery of Love is so Uh Huh Her! I would have loved to hear Polly cover it. Hmm, maybe I'll add Liverpool Tide into my mix. It's never made much of an impression on me, but I do want to give it a chance.

  15. #30
    Quote Originally Posted by talkingtadpole View Post
    Mystery of Love is so Uh Huh Her! I would have loved to hear Polly cover it. Hmm, maybe I'll add Liverpool Tide into my mix. It's never made much of an impression on me, but I do want to give it a chance.
    I'd love to hear Polly's version of Mystery of Love, it's also a Desire? era song.

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •