bad I had to tell him..."). And his extended dalliance on the leading tone at the end of the main bridge ("..., say hey hey <>HEY...") reminds me of Thelonious Monk.">
Wayne Wayne Go Away Meanings & Lyrics Discussion by razajac | SongMeanings
bad I had to tell him..."). And his extended dalliance on the leading tone at the end of the main bridge ("..., say hey hey <>HEY...") reminds me of Thelonious Monk." />
I feel like "Wayne, Wayne, Go Away" captures the best--and most maddening--about R. Stevie Moore.
If Moore had written a "straight up" lyric, I suspect he'd've been able to retire on the royalties from its performances and recordings by greater luminaries. It's one of the most beautiful melodies/accompaniments/song structures he's ever written.
But that's where it... Well, I shouldn't say "ends"... because the lyrics are interesting, as a kind of cubistic representation of young love and general, anarchic youthful energy. Including "horn dog" sexual energy, looking to bust out, wherever it can.
I was never able to help hearing Moore singing as himself, from whence one gets the impression that the scenario is gay. But I guess it's not supposed to be a stretch to hear the voice as that of a young girl. But that kind of direct, out-of-control expression of sexual energy--without recourse to the buffering (softening) effect of "romance"--is more typical of a guy. So....
In other words, I guess I found it hard to hear the voice as female, as it seems like a typical "guy's world" description of sexuality.
And that's why the tune languishes in cult classic hell. Other than that, it showcases Moore's talent as a conduit for good ol', down-home pop tunesmithing.
And, make no mistake, that talent is very well represented in this tune. You're struck by his very clever melodic segues (from the second to third iteration of the main theme ("it got so <> bad I had to tell him..."). And his extended dalliance on the leading tone at the end of the main bridge ("..., say hey hey <>HEY...") reminds me of Thelonious Monk.
I feel like "Wayne, Wayne, Go Away" captures the best--and most maddening--about R. Stevie Moore.
If Moore had written a "straight up" lyric, I suspect he'd've been able to retire on the royalties from its performances and recordings by greater luminaries. It's one of the most beautiful melodies/accompaniments/song structures he's ever written.
But that's where it... Well, I shouldn't say "ends"... because the lyrics are interesting, as a kind of cubistic representation of young love and general, anarchic youthful energy. Including "horn dog" sexual energy, looking to bust out, wherever it can.
I was never able to help hearing Moore singing as himself, from whence one gets the impression that the scenario is gay. But I guess it's not supposed to be a stretch to hear the voice as that of a young girl. But that kind of direct, out-of-control expression of sexual energy--without recourse to the buffering (softening) effect of "romance"--is more typical of a guy. So....
In other words, I guess I found it hard to hear the voice as female, as it seems like a typical "guy's world" description of sexuality.
And that's why the tune languishes in cult classic hell. Other than that, it showcases Moore's talent as a conduit for good ol', down-home pop tunesmithing.
And, make no mistake, that talent is very well represented in this tune. You're struck by his very clever melodic segues (from the second to third iteration of the main theme ("it got so <> bad I had to tell him..."). And his extended dalliance on the leading tone at the end of the main bridge ("..., say hey hey <>HEY...") reminds me of Thelonious Monk.