Tuesday, July 31, 2012

alone again (naturally)

Gilbert O'Sullivan had an suprising and significant smash success with the subjective suicidal sadness of this solitary serenade. O'Sullivan wrote 'Alone Again (Naturally)' and says it was not autobiographically based: "A lot of letters I've had have said, it must be awful, your mother dying like that. My father's dead, but that song's got nothing to do with me. It's just that I think I understand that situation. I get the feeling that if someone was jilted at the church, even though he had never contemplated suicide before, it might be such a shattering experience that he would. Maybe I would. Then, in that sort of deep depression, you would probably think of all the bad things that had happened during your life. They'd all come to you. But it's not about me...Everyone wants to know if it's an autobiographical song, based on my father's early death. Well, the fact of the matter is, I didn't know my father very well, and he wasn't a good father anyway. He didn't treat my mother very well."

'Alone Again (Naturally)' went to twenty-one in the Netherlands, three in the UK, two in Ireland, and spent six weeks at number one on both the US pop and adult contemporary charts. It sold over two millions copies and was the second-biggest hit of 1972. The song also received three Grammy Award nominations for Best Male Pop Vocal Performance, Song of the Year, and Record of the Year.

In 1982, O'Sullivan sued his former manager Gordon Mills and won back the master tapes to his recordings and the copyrights to his songs. He later became involved in a landmark legal battle over sampling that changed hip-hop forever. In 1991, Biz Markie sampled the song for the song 'Alone Again' on his 'I Need a Haircut' album on Cold Chillin Records. O'Sullivan recalls: "Biz Markie and they approached us and said, this was in 1990, that we would like to sample your song and use it on a track. So we said okay, and if we like it we'll see where we go from there. They sent it over and what they had done was sampled the intro and then he rapped over it, but then we discovered that he was a comic, a comic rapper, and the one thing I am very guarded about is protecting songs and in particular I'll go to my grave in defending the song to make sure it is never used in the comic scenario which is offensive to those people who bought it for the right reasons. And so therefore we refused. But being the kind of people that they were, they decided to use it anyway, so we had to go to court." The song was removed from the album and O'Sullivan won a cash settlement; although he admits, "I'd rather not have gone through it...'Alone Again (Naturally)' has no comic purpose at all, and it is not a song that people can dismiss like 'Get Down' or 'Clair'. Because it means so much to some people, I will not allow it to be used for karaoke or commercials."


In a little while from now 
If I'm not feeling any less sour 
I promise myself to treat myself 
And visit a nearby tower
And climbing to the top will throw myself off
In an effort to make it clear to who 
Ever what it's like when you're shattered
Left standing in the lurch at a church 
Where people saying: "My god, that's tough 
She's stood him up"
No point in us remaining
We may as well go home 
As I did on my own 
Alone again, naturally

To think that only yesterday 
I was cheerful, bright and gay
Looking forward to well wouldn't do
The role i was about to play 
But as if to knock me down 
Reality came around 
And without so much, as a mere touch
Cut me into little pieces
Leaving me in doubt 
Talk about God and His mercy 
Or if He really does exist 
Why did He desert me in my hour of need
I truly am indeed 
Alone again, naturally 

It seems to me that there are more hearts
Broken in the world that can't be mended 
Left unattended
What do we do? What do we do?

Alone again, naturally 
Now looking back over the years 
And whatever else that appears
I remember I cried when my father died
Never wishing to hide the tears

And at sixty-five years old 
My mother, God rest her soul,
Couldn't understand why the only man 
She had ever loved had been taken 
Leaving her to start with a heart so badly broken
Despite encouragement from me
No words were ever spoken 
And when she passed away 
I cried and cried all day
Alone again, naturally 
Alone again, naturally

Monday, July 30, 2012

the rising

Bruce Springsteen reunited with the E Street Band to take part in healing a nation with hope, strength, faith, and love with this artistic response to the events of September 11, 2001.  It had been seven years since the release of his last album 'The Ghost of Tom Joad' and eighteen since the last studio album with the entire E Street Band, 'Born in the USA'.  The band had reconvened in 1999 for a tour; but the tragedy provided the impetus for new songs.  Springsteen admits: "Yeah, I picked up a guitar.  That's my life preserver."  Days after the tragedy, Springsteen was leaving the beach at Asbury Park when a man rolled down his car window, yelled "We need ya!", and then drove on.  "And then I thought, 'Well, I've probably been a part of this guy's life for a while'; and people wanna see other people they know; they wanna be around things they're familiar with.  So he may need to see me right about now. That made me sense, like, 'Oh, I have a job to do.'  our band, hopefully we were built to be there when chips are down.  That was part of the idea of the band, to provide support.  The most fundamental things I heard, constantly, is, 'Man, you got me through' - whatever it might be 'My divorce. My graduation. My high school. This part of my life. That part.' And I usually wanna say back, 'Well, you know, you guys got me through quite a bit yourselves!'"  

All of the songs on 'The Rising' deal with grief from varying perspectives with a sense of redemption.  Springsteen says: "The verses are the blues, the chorus is the gospel...After the 11th, I think one of the things people were shocked at was that that was alive in some fashion. I think that we live in a particular pop culture moment, that there's a theatre of humiliation on TV and on the radio, a reflection of self-loathing. I don't think anyone could imagine these sacrifices...You have to come to grips with the real horrors that are out there; and then all people have is hope. That's what brings the next day and whatever that day may bring. You can't be uncritical, but just a hope grounded in the real world of living, friendship, work, family, Saturday night. And that's where it resides. That's where I always found faith and spirit. I found them down in those things, not some place intangible or some place abstract. And I've really tried to write about that basic idea my whole life...I've been at my best when I'm connected to what's going on in the world outside.  I have a sense of what my service to my audience is going to be. It's the true nature of work in the sense that you're filling a place. And that place comes with its blessings and its responsibilities."

'The Rising' was recorded with Springsteen on lead guitar, vocals, acoustic guitar, baritone guitar, and harmonica; Roy Bittan on keyboards, piano, mellotron, Kurzweil, pump organ, Korg M1, and crumar; Clarence Clemons on saxophone, and background vocals; Danny Federici on Hammond B3, Vox Continental, and Farfisa; Nils Lofgren on electric guitar, Dobro, slide guitar, banjo, and background vocals; Patti Scialfa on vocals; Garry Tallent on bass guitar; Steven Van Zandt on electric guitar, background vocals, and mandolin; and Max Weinberg on drums.  Producer Brendan O'Brien also played hurdy gurdy, glockenspiel, and orchestra bells.  The sessions also included Soozie Tyrell on violin and background vocals; Larry Lemaster, Jere Flint and Jane Scarpantoni on cello; plus the Nashville String Machine; Asuf Ali Khan and group; Alliance Singers; and The Miami Horns.  

'The Rising' went to number twelve in New Zealand; four in Australia; two in Ireland; and number one in Canada, Germany, the Netherlands, Norway, Sweden, and the UK. It made its debut at number one in the US with over half a million copies sold in the first week.   It won the Grammy Award for Best Rock Album and was nominated for the Album of the Year.  Springsteen confesses: "I'm always fighting against that feeling of helplessness. I can be overwhelmed by ambivalence, by the despair of the day. That's what people use music and film and art for; that's its purpose. Its purpose is to pull you up out of that despair, to shine a light on new possibilities. And I think if you look at it pretty hard-eyed, it helps. That's where the living is, that's where life is. Regardless of what's going on externally, those are the powers that you find within yourself to keep going and change things. To try to make some place for yourself in the world."


The song 'The Rising' is the emotional centerpiece of the album.  Bruce says:  “Yeah, well, I’m a good.... Well, I was a good Catholic boy when I was little, so those images for me are always very close, and they explain a lot about life...What I was trying to describe, one of the most powerful images of the 11th, that I’d read in the paper, some of the people coming down were talking about the emergency workers who were ascending. And you know, that was just an image I felt left with, after that particular day. The idea of those guys going up the stairs, up the stairs, ascending, ascending. I mean you could be ascending a smoky staircase, you could be in the afterlife, moving on.”  It won Grammy Awards for Best Rock Song and Best Male Rock Vocal Performance of the year, and was nominated for Song of the Year.

Can't see nothin' in front of me
Can't see nothin' coming up behind
I make my way through this darkness
I can't feel nothing but this chain that binds me
Lost track of how far I've gone
How far I've gone, how high I've climbed
On my back's a sixty pound stone
On my shoulder a half mile line

Come on up for the rising
Com on up, lay your hands in mine
Come on up for the rising
Come on up for the rising tonight

Left the house this morning
Bells ringing filled the air
Wearin' the cross of my calling
On wheels of fire I come rollin' down here

Come on up for the rising
Come on up, lay your hands in mine
Come on up for the rising
Come on up for the rising tonight

Li,li, li,li,li,li, li,li,li

Spirits above and behind me
Faces gone, black eyes burnin' bright
May their precious blood forever bind me
Lord as I stand before your fiery light

Li,li, li,li,li,li, li,li,li

I see you Mary in the garden
In the garden of a thousand sighs
There's holy pictures of our children
Dancin' in a sky filled with light
May I feel your arms around me
May I feel your blood mix with mine
A dream of life comes to me
Like a catfish dancin' on the end of the line

Sky of blackness and sorrow (a dream of life)
Sky of love, sky of tears (a dream of life)
Sky of glory and sadness (a dream of life)
Sky of mercy, sky of fear (a dream of life)
Sky of memory and shadow (a dream of life)
Your burnin' wind fills my arms tonight
Sky of longing and emptiness (a dream of life)
Sky of fullness, sky of blessed life (a dream of life)

Come on up for the rising
Come on up, lay your hands in mine
Come on up for the rising
Come on up for the rising tonight

Li,li, li,li,li,li, li,li,li

'Into the Fire' eulogizes the firemen and rescue workers that gave their lives to help evacuate the towers.  

May your strength give us strength
May your faith give us faith
May your hope give us hope
May your love give us love

The experimental Middle Eastern 'Worlds Apart' speaks to a relationship between a soldier and an Afghan woman and suggests the global issues behind the tragedy.  It features  Qawwali singers Asuf Ali Khan and group.  

'Mary's Place' evokes 'The Wild, the Innocent, and the E Street Shuffle' and finds a reason to celebrate the living at a house party.  

Familiar faces around me 
Laughter fills the air 
Your loving grace surrounds me 
Everybody's here 
Furniture's out on the front porch 
Music's up loud 
I dream of you in my arms 
I lose myself in the crowd 
Let it rain, let it rain, let it rain 
Let it rain, let it rain, let it rain, let it rain 
Meet me at Mary's place, we're gonna have a party 
Meet me at Mary's place, we're gonna have a party 
Tell me how do you live broken-hearted 
Meet me at Mary's place 

'My City of Ruins' ends the album like a prayer with its refrain of "Come on rise up!"  It was originally written about Asbury Park, but came to take on deeper significance after 9/11.

With these hands,
With these hands, With these hands,
With these hands, I pray Lord
With these hands, With these hands,
I pray for the strength, Lord
With these hands, With these hands,
I pray for the faith, Lord
With these hands, With these hands,
I pray for your love, Lord.

full album:

1. "Lonesome Day"   00:00
2. "Into the Fire"   04:08
3. "Waitin' on a Sunny Day"   09:13
4. "Nothing Man"   13:32
5. "Countin' on a Miracle"   17:56
6. "Empty Sky"   22:40
7. "Worlds Apart"   26:16
8. "Let's Be Friends (Skin to Skin)"   32:22
9. "Further On (Up the Road)"   36:43
10. "The Fuse"    40:36
11. "Mary's Place"   46:14
12. "You're Missing"   52:21
13. "The Rising"   57:29
14. "Paradise"   1:02:22
15. "My City of Ruins"   1:07:58

Sunday, July 29, 2012

the virginian

Neko Case made the move from punk rock drummer to alternative country chanteuse with this mix of honky tonk covers and originals.  Case was born in Virginia, but moved around as a child because her dad was in the Air Force.  The family settled in Tacoma, Washington; and Case left home at the age of fifteen to go to school in Vancouver, British Columbia.  While there she became involved as a drummer in several local bands including Del Logs, the Propanes, the Weasels, Cub, and Maow.  Case says:  

"I didn't start singing in front of anybody until I was twenty-five or twenty-six...I started playing drums in punk bands as early as seventeen; I was shy, and drums are a good thing to hide behind. And it's really fun to play drums. I went to so many shows, and finally somebody suggested starting a band, and I was right there. There's a point where you just have to say, 'If these other people are willing to look stupid, I'm willing to look stupid.' And also getting older and having more confidence. I didn't really come from a place with a lot of confidence." 

'The Virginian' was recorded with Brian Connelly as producer with musicians Carl Newman, Carolyn Mark, Rose Melberg, Matt Murphy, and Darryl Neudorf, all listed on the album as "Her Boyfriends".  She recalls:  "I had written a bunch of songs that were country and weren't right for Maow. Maow didn't want to be a country band, so I decided to record them myself...It was a haphazard process of calling people that I admired and asking them to play on my record, and most of them did. I couldn't believe it...There's an incredibly supportive music scene in Canada. A lot of that has to do with the Canadian government being so supportive of the arts in general. It's a great place to play music."  

'The Virginian' is divided between originals co-written by Case and a variety of covers of classic and obscure songs by the likes of the Everly Brothers, Matt Murphy, Scott Walker, Loretta Lynn, Ernest Tubb, and Queen's John Deacon.  The sound is classic country; and Case's voice evokes Wanda Jackson and Patsy Cline.  She says:  "I don't like being pigeonholed like that, at all. I don't play 'alternative country' music; I just play country music. I want to have the same outlets, the same goals that all my heroes in country/western music have had. I want to play the Grand Old Opry in my grandmother's lifetime, you know what I mean? I want to be played on mainstream radio. I'm not willing to change my music to get there faster, but I'll fight for it anyway. I don't think anyone gives a shit about country radio. It's bullshit. It just makes me mad that country radio is using the term 'country music', when it doesn't belong to them...I'm not a fan of that. I think now is the time for change in country music; hopefully it'll change for the better. It really burns that all the bands that inspired me were part of a national country music culture that was really admirable and fairly diverse at one time. I want to have the same avenues open to me. It's like having this beautiful old building in your neighborhood and coming back to find that they've torn it down and built a Wal-Mart in its place."



'Timber' was written by Neko Case, Brad Lambert, and Eric Napier.  

'Bowling Green' was written and performed by the Everly Brothers.

'Lonely Old Lies'  was co-composed by Case, Lambert, Napier, and Carl Newman.  

'The Virginian' is another Case, Lambert, Napier, Newman composition. 

'Duchess' was composed by Scott Engel who recorded it under his pseudonym Scott Walker.

'Thanks a Lot' was originally done by Ernest Tubb and written by Eddie Miller and Don Sessions.

John Deacon wrote 'Misfire', which originally appeared on Queen's 'Sheer Heart Attack' album.

'The Virginian'
full album:

"Timber" – 2:45 (Neko Case, Brad Lambert, Eric Napier)
"Bowling Green" – 2:16 (Terry Slater, Jacqueline Ertel)
"Jettison" – 3:13 (Case, Ford Pier)
"High on Cruel" – 2:02 (Case, David Carswell)
"Karoline" – 2:24 (Case, Carswell)
"Lonely Old Lies" – 3:34 (Case, Lambert, Napier, Carl Newman)
"Honky Tonk Hiccups" – 2:22 (Matt Murphy)
"The Virginian" – 3:29 (Case, Lambert, Napier, Newman)
"Duchess" – 2:55 (Scott Engel)
"Thanks a Lot" – 2:35 (Eddie Miller, Don Sessions)
"Somebody Led Me Away" – 2:46 (Lola Jean Dillion)
"Misfire" – 2:10 (John Deacon)

Saturday, July 28, 2012

hey there delilah

It took two years for the Plain White T's third single to become their first number one. Lead singer Tom Higgenson wrote 'Hey There Delilah' after meeting nationally ranked American steeplechase and cross country runner Delilah DiCrescenzo. A mutual friend invited her to a Lucky Boys Confusion concert in Chicago. Higgenson recalls: “She’s gorgeous. It’s love at first sight. We go to the House of Blues and the whole time I’m goofy flirty. I’m not smooth. I have no game. I joke around that I have a song about her. She knows I’m lying because we just met: ‘Cool, I want to hear it.’” He explains: “She’s a girl from Chicago who was going to college at Columbia. That’s where the line about New York City came from.” After she returned to New York, the two corresponded for weeks online. He says she would tease him and ask: “Where’s my song?” “I told her ‘Eventually I’ll write a song for you and it’ll be the best song I’ve ever written. It’ll be the song that gets us famous and you’ll be my date for the Grammys.’”

'Hey There Delilah' took Higgenson six months to write. It was released on the Plain White T's third album 'All That We Needed' and was also included as a bonus track with a string section on their next album 'Every Second Counts'. In July of 2007, two years after it was originally released, the song found its way to the top of the US pop chart. It was nominated for two Grammy Awards (Song of the Year and Best Pop Performance by a Duo or Group with Vocal) and DiCrescenzo went to the awards with Higgenson. She says: “I thought he was just being flirtatious and leading me along. I had a boyfriend at the time, so I really didn’t believe him. I knew it was fictionalized, and I’m glad that I finally get the opportunity to say I do have a boyfriend and it is romanticized. The song means so much to so many different people. I’m just happy that it’s had so much success, and I don’t mind playing along with it.”

'Hey There Delilah' also went to number fifteen in Sweden; fourteen in Italy; nine in New Zealand and Switzerland; eight in the Netherlands; six in Sweden; three in Australia; two in Austria, Belgium, Ireland, and the UK; and number one in Canada, Germany, and on the Eurochart.


Hey there Delilah 
What's it like in New York City
I'm a thousand miles away
But girl tonight you look so pretty, 
Yes you do
Times Square can't shine as bright as you, 
I swear it's true

Hey there Delilah 
Don't you worry about the distance
I'm right there if you get lonely 
Give this song another listen
Close your eyes, listen to my voice 
It's my disguise
I'm by your side

Oh it's what you do to me
Oh it's what you do to me
Oh it's what you do to me
Oh it's what you do to me
What you do to me

Hey there Delilah, 
I know times are getting hard
But just believe me girl, 
Someday I'll pay the bills with this guitar
We'll have it good, 
We'll have the life we knew we would
My word is good

Hey there Delilah, 
I've got so much left to say
If every simple song I wrote to you
Would take your breath away, 
I'd write it all
Even more in love with me you'd fall, 
We'd have it all

Oh it's what you do to me
Oh it's what you do to me
Oh it's what you do to me
Oh it's what you do to me

A thousand miles seems pretty far
But they've got planes and trains and cars
I'd walk to you if I had no other way
Our friends would all make fun of us
And we'll just laugh along because we know
That none of them have felt this way

Delilah I can promise you
That by the time that we get through
The world will never ever be the same
And you're to blame

Hey there Delilah
You be good and don't you miss me
Two more years and you'll be done with school
And I'll be making history like I do

You'll know it's all because of you
We can do whatever we want to
Hey there Delilah here's to you
This one's for you

Oh it's what you do to me
Oh it's what you do to me
Oh it's what you do to me
Oh it's what you do to me
What you do to me

Friday, July 27, 2012

your arsenal

Morrissey revitalized himself while courting controversy with the caustic and clever social commentary of this glammed out rockabilly tour de force. In the months before recording 'Your Arsenal', he began rehearsing and writing songs with a new band. When it came time to go into the studio, he brought in glam rock guitar virtuoso Mick Ronson to produce. Morrissey says: "I chose him because he's a very strong musician, and I wanted to make a record which had a real sense of physicality and body to it." He adds: "I’ve always appreciated Ronson. He’s a very refined musician who was immensely huge in England in the early seventies when he played with David Bowie’s Spiders From Mars and who also made two partly brilliant solo records. He was very pleasant to work with. Which you can hear on the record, if I may say so. Mick is actually one of the nicest people I’ve ever met."

The result is one of the most consistent and confident records of his career. Alain Whyte and Boz Boorer create a twin guitar onslaught; with Gary Day on bass; and Spencer Cobrin on drums. Morrissey handles all of the vocals: "I didn't want to use a lyric sheet. I wanted to make as physical a record as I possibly could instead of constantly being curled up in a little ball at the foot of the bed." Most of the songs were co-written with Whyte.

The reference to the extremist National Front led to accusations of racism. Morrissey says: "I can't prevent people from raving. Since, in life, the great majority of people only believe their views don't matter much. I can't, all the same, go and talk face to face with every single person who'd decide to think certain things wrong or false about me. For instance, I don't make heavy metal and there will never be any ambiguity. In searching in every direction nobody would find any clue which could prove that heavy metal isn't reactionary, a simplistic music for morons. My case is different. It seems to me, whatever people think of me, that it's clear I'm not the last of the idiots, I'm a being endowed with a certain intelligence. And I defy any objective person to find in my lyrics or in my past the least indication in which I wish to harm any fellow being. I don't want to and I'd be truly incapable of it. What more can I say?"
'Your Arsenal' went to number forty-two in Sweden, twenty-nine in Canada, twenty-one in the US, twelve in Australia, and number four in the UK. It was nominated for a Grammy for Best Alternative Music Album.



'You're Gonna Need Someone on Your Side' was co-written by Morrissey and Mark E. Nevin. 

Someone kindly told me 
That you'd wasted 
Eight of nine lives
Oh, give yourself a break 
Before you break down 
You're gonna need someone on your side 

'Glamorous Glue' features the line "we look to Los Angeles for the language we use, London is dead." Morrissey says: "What I mean by this is all television and radio broadcasters now speak with American accents. The English news is very interesting because it's totally focused on America. Everything that happens in America is constantly reported on the English news while in America, England is never referred to and British politics are completely meaningless. I mean the country could completely explode and disappear into outer space and America would not mention that on the daily news. That's a big failing in American culture, it's entirely self-obsessed. If it finally did realize that other countries do actually exist, this country might be a nicer place. British broadcasting is obsessed with L.A. and it's really upsetting and I think it's sad as well."

'We'll Let You Know' gives the album its title and gives voice to football hooliganism. Morrissey says: "I understand the level of patriotism, the level of frustration and the level of jubilance. I understand the overall character. I understand their aggression and I understand why it must be released...I'm not a football hooligan...but I understand the character. I just do. I've got a computer at home for such things...I can't fully explain. When I see reports on the television about hooliganism in Sweden or Denmark on somewhere, I'm actually amused. Is that a horrible thing to say? ... As long as people don't die, I am amused."

We're all smiles 
Then, honest, I swear, it's the turnstiles 
That make us hostile 
We will descend 
On anyone unable to defend 

'The National Front Disco' addresses the growing racial unrest in Britain. Moz says: "Well I like to feel, in some small way, that I'm not actually restricted in anything I wish to write about. Of course, within the exciting world of pop music, the reality is that we are restricted. Whether you chose to write about wheelchair-bound people, November Spawned A Monster, or the subject of racism, The National Front Disco, the context of the song is often overlooked. People look at the title and shudder and say, Whatever is in that song shouldn't exist because the subject, to millions of people, is so awful...I don't want to sound horrible or pessimistic but I don't really think, for instance, black people and white people will ever really get on or like each other. I don't really think they ever will. The French will never like the English. The English will never like the French. That tunnel will collapse."

David, the wind blows 
The wind blows
Bits of your life away 
Your friends all say
"Where is our boy? Oh, we've lost our boy" 
But they should know 
Where you've gone 
Because again and again you've explained that 
You're going to
Oh, you're going to
Yeah, yeah, yeah, yeah 
England for the English! 

'Certain People I Know' charted at thirty-five in the UK.

I'd hate to be like 
Certain people I know 
They break their necks 
And can't afford to
Get them fixed 
Ah, they'd sacrifice all 
Of their principles for 
Anything cashable 
I do believe it's terrible 

'We Hate It When Our Friends Become Successful' was the first single. It went to fifty-five in Australia, seventeen in the UK, nine in Ireland, and peaked at number two on the US modern rock tracks chart.

We hate it when our friends become successful 
Oh, look at those clothes 
Now look at that face, it's so old 
And such a video ! 
Well, it's really laughable 
Ha, ha, ha

'You're the One for Me, Fatty' went to eighty-five in Australia, nineteen in the UK, and sixteen in Ireland.

You're the One for me, fatty 
You're the One I really, really love 
And I will stay 
Promise you'll say 
If I'm ever in your way

'I Know It's Gonna Happen Someday' was another composition by Morrissey and Nevin.  It was later covered by David Bowie.  

You say that the day just never arrives 
And it's never seemed so far away 
Still, I know it's gonna happen someday 
To you 
Please wait
Don't lose faith

'Tomorrow' went to number one on the US modern rock tracks chart.

Will it really come? 
And if it does come 
Will I still be human? 
All I ask of you is one thing that you never do 
Would you put your arms around me? 
I won't tell anyone

'Your Arsenal'
full album:

All lyrics written by Morrissey; all music composed by Alain Whyte, except as noted.

1. "You're Gonna Need Someone on Your Side" Mark E. Nevin 3:38
2. "Glamorous Glue" 4:01
3. "We'll Let You Know" 5:17
4. "The National Front Disco" 4:23
5. "Certain People I Know" 3:11
6. "We Hate It When Our Friends Become Successful" 2:29
7. "You're the One for Me, Fatty" 2:58
8. "Seasick, Yet Still Docked" 5:07
9. "I Know It's Gonna Happen Someday" Nevin 4:20
10. "Tomorrow" 4:05