Saturday, February 02, 2013
more here). Another element of Cray's songwriting becomes evident comparing the two. He does not have just one persona, nor just a single story, to tell. There's a multiplicity to these songs—which may not have a single story to tell, but ultimately all tend to connect one way or another around deceit in matters of love—that reminds me of a parallel multiplicity to mid-'60s albums by the Beatles. In those songs it is puppy love whereas Cray's are sophisticated and cynical, but the same shifting viewpoints across horizons of experience within the stories of the songs is there. So one result for me is that, as I return to Strong Persuader now and then, I notice that different songs step out differently from the others, or rub against each other in new and different ways, and I identify with these narrators in different ways. It still can seem new when I come back to it. One constant always, of course, is that these songs are excellent blues jam workups within the verse-chorus-verse structure and a perfect pleasure to let just play.