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There are two videos of live performances of this song available online, though embedding is disabled on both of them: one here, which is quite close to the album version that’s on the mix I sent, and a faster-paced version of the last two verses available here.

What do I love about this song? I love that he’s in love with the woman’s hands. Not her face, not any of the other bits of her that popped into my head the first time I heard him sing ‘I took a picture/but not of her face’, not with whatever he imagines might be going on in her head (OK, ‘in love with her brain’ is a pretty sexy message, too, except that a lot of times when a male artist talks about what a woman thinks he’s really talking about the way she mirrors what he thinks and that becomes less sexy and more creepy and invasive… but I digress), but with her hands, the things that she uses to interact with the world and actually do things. And that interaction isn’t stuff like running them through his hair, or running them through her hair and looking sexy, or giving him a backrub. He loves the lines, the marks that this woman, whoever she is, has lived a bit. He loves them even though she thinks they’re unattractive. Me, I imagine that that woman is a woodworker, or maybe a knitter. I imagine that her hands are calloused, maybe slightly scarred or ink-stained, that her nails are unpolished and her cuticles aren’t trimmed and even. I imagine that her hands are like mine.

Also, I love the restraint. It’s not about loving someone for ever and ever, about the sort of obsessiveness that pop music tends to pass off as ‘true love’. It’s about loving someone for miles… until this road ends. Whenever that may be.

Because I really like Danny Michel’s sound, and his words, and the way the two work together, here’s a few more tracks that I managed to dig up on Youtube:

White Lightning

Toledo

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