I've been away, but now I'm back

yeah, it's been awhile, but don't worry... I haven't abandoned this thing. quite the opposite in fact, my intention has been and continues to be to post one entry for each week, but that's obviously contingent on having an idea in mind that I feel ready to articulate. the time since my last entry has been spent in a couple of ways. the prospect of doing another "great album" entry has been occupying a lot of my attention, but it's also a bit intimidating. in addition to that, there was a week of vacation with my family, and a week spent firmly in the clutches of this great book I was reading.

anyway, let's get back to it. on the menu for today, my top five favorite male/female duets:

5. In a Lifetime - Clannad
(Moya Brennan and Bono)
A combination of Clannad's usual new agey folk sound, their patiently building soundscapes and dramatic vocals, with a slightly more pop/rock destination. The legendary Bono doesn't stand out here, which is to say that he doesn't define the song. Rather, he functions exactly as a Clannad vocalist ought to: his voice is expressive and powerful, but he is just a part of the overall effect of the song. We already knew he had to be a good team player for U2 to be such a great band... The rest of the song is a calculated product, a well oiled machine. The vocals, instrumentation and abundant production are in perfect musical synergy.
without color, faded and worn

4. 9 Crimes - Damien Rice
(Damien Rice and Lisa Hannigan)
Although Lisa Hannigan is an intrinsic part of all Damien Rice's work, her familiar haunting vocals whisper the first lines of his second album, 9, and one of the few true duets between the two of them. Hannigan's role on O was often more accurately described as backing vocals, providing a strong finish to songs like The Blower's Daughter and Older Chests. (She also carried some songs herself, particularly the hollow, desperate Silent Night, which features no sound at all beyond her own voice.) There were true duets as well, such as Volcano, but 9 Crimes tops them in terms of both the caliber of the lyrics and the effective use of the male and female vocals to express characters in a story.
this is not what I do

3. Sometimes Always - The Jesus and Mary Chain
(Jim Reid and Hope Sandoval)
The recurring theme of this list is the use of male and female vocals to dramatize a romance, and simultaneously tell both sides of the story that is formed. Of this list, only number 5 does not use this technique, and only this song gives the story a happy ending. Sometimes Always is a jangling, upbeat and catchy rock song, somewhat uncharacteristic of JAMC, but nonetheless showing their ability and indie rock influences. The collaboration of Mazzy Star's Hope Sandoval is appropriate given the dreamy feel that is present in both bands' work, and her chemistry with Reid and overall contribution to the song are excellent.
lucky son of a gun

2. Nothing Better - The Postal Service
(Ben Gibbard and Jen Wood)
The very definition of bittersweet, from its perky electronic beat, tempered with heavy synth tones to the superlative declarations and reluctant refusals found in the lyrics. According to Ben Gibbard, this song is inspired by the Human League's Don't You Want Me?, a fun little song in its own right. The genius here is the way that the dialogue between these two characters balances realism with poetry, achieving cinematic proportions. Gibbard's writing style has always been characterized by the meeting of the fantastical and the mundane, and it's hard to think of another of his songs more heart-wrenching than this exchange between two exceptionally well-spoken lovers.
your heart won't heal right if you keep tearing out the sutures

1. Fairytale of New York - The Pogues featuring Kirsty MacColl
(Shane MacGowan and Kirsty MacColl)
Where to start? MacGowan's crowing lyrical achievement, the best Christmas song of all time, the best duet I can damn well think of... Well, okay, even if you don't believe all that, this is undeniably a remarkable song. Opening with a distinctive piano theme, the song's prelude is a touching ballad of frank nostalgia, leading into a rollicking Irish tune. The lyrics take a turn here too, from reminisince to vivid joy, the musical equivilent of a flashback, then to despair and ultimately concluding with heartfelt contemplation. Again, the dialogue is the principal way that the story is told, and this song pulls no punches. "You're a bum, you're a punk" shouts the wife, "you're an old slut on junk" replies the husband. The emotions in each part of the song are captured with equal bluntness, the lyrics reveling in the highs and unflinchingly rendering the lows, in the tradition of the great Irish ballads. The story is tragic and compelling, and the rousing, classic quality of the music unforgettable.
can't make it out alone, I built my dreams around you