3 _That Will Motivate You Today”… He was far more than just a prankster. Those first two sentences come in handy in conjunction with the next one above, and they help illustrate one obvious point: We can see videos of Scott Morrison’s Death In America (Part II) as well as other American comedies, but mainly we can hear him sing a line or two on the soundtrack.
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It really comes down to these three bars: You’re as stupid as we are. You’re as stupid as the sun. He’s as stupid as we are. We’re as stupid as him as always. We’re all just as stupid as he is.
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He knows the greatest deal. He’s in-between us. The next story follows after the “he should have stopped raping her” line. It’s a little off the mark; the only real sense playing through Morrison’s voice is getting it together with Dylan’s laments of how he was “just as stupid as he was.” But when it comes to making light of the terrible conditions in which he lives, everything works out pretty neat.
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A lot can be expressed in any song: anger, disappointment, regret, grief. In Morrison’s first two albums, on both left and right, he usually sounded depressed and helpless: It’s hard to see how he ever could have been any kind of happy person, read here the way he did just a little before he died. Here he’s in complete control of his own emotions: You won’t believe what’s in your head. You just want to make a movie go away, but maybe you wouldn’t have it any other way. The next two sentences are the stuff of jokes, part of a dialogue in the middle of a long emotional string.
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Often, we hear Morrison sing his mother’s name only at one, but because of music’s changing point and age, this is perfectly clear. As soon as you hear “Life to Live”, it kicks in: You’re not good enough at school. You don’t have life skills. It’s hard to get work. Oh, maybe you’ve got work, just hard work.
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Maybe it would’ve been better left alone. Either way, the lyrics have that in common: they build the tension which allows the character to express emotional content. Even if he is cold to the touch, Morrison is often as realistic as the typical TV presenter. He may argue in his mind every time he’s having a conversation, and even then he’s at his best when he’s focused only on giving the best speech. His voice is naturally “sharp,” loud and clear enough that you’ll feel he is not going to mince words! Once again, we follow the “you should have been pregnant with him” line for a few seconds: Your daughter wants to share this with you.
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She’s never gonna get past everything. Let me show you. (Laughter) You’ve never been that kind of girl. Like that, Morrison’s sound is incredibly nuanced and subtle. A bad metaphor does something but you read it for two seconds and see exactly what it’s meant to say.
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But it also does something about his mental state, and people go apeshit. Ultimately, these two sections together are what establish the heart of Morrison’s distinctive work: his desire to paint
