Zopilote Machine

360. Going to Georgia

Alex Russell Zopilote Machine , , , , , , ,

One of the most requested songs but also a song with some baggage, “Going to Georgia” asks you to really think about the narrator’s bias.

Track: “Going to Georgia”
Album: Zopilote Machine (1994)

There is no denying “Going to Georgia.” It’s the first song from the “old days” that clicks with a lot of people and it really carries the emotion of what those days were like. You have songs like “Family Happiness” and “Baboon” that show people in difficult situations with fury behind their eyes, but it is never as clear and never as direct as the sad narrator of “Going to Georgia.” The thing is, it requires you to not really be paying that much attention to love it that way. I heard it hundreds, maybe thousands, of times before John Darnielle started talking about how he was phasing it out.

The delivery is exceptional and the “most remarkable thing about you standing in the doorway is that it’s you // and that you’re standing in the doorway” lines are perfect for the moment, but the moment is a cruel one. When you’re young, it’s easy to romanticize big gestures. I’m a huge fan of “Korean Bird Paintings” because it’s always seemed to have the same idea but with less violence. Both songs are about a lover making a big show of what they think is love but really is a misguided idea. In “Korean Bird Paintings” they just waste their money on worthless things, but here they show up with a gun. It’s a huge moment, sure, and John Darnielle sells it and that’s why you love it, but it’s not a character to praise. John Darnielle is right, of course, and it’s worth reckoning with why you like this song. If you still listen to it, which I think you can, you just need to be sure you’re processing it correctly.

359. Song for Tura Satana

Alex Russell Zopilote Machine , , , , , , ,

“Song for Tura Satana” introduces us to the kind of life Tura Satana led and what happened when you crossed her.

Track: “Song for Tura Satana”
Album: Zopilote Machine (1994)

John Darnielle says “Song for Tura Satana” is a true story. He also says not to look too closely into that or to share that too widely, but I have to mention that part because we have to talk about it. Tura Satana was an actress and a dancer and about a million other things. She had a really crazy life and a knack for great storytelling. I’ll call specific attention to this retrospective which attempts to fact check a story about her relationship with Elvis. The magazine says that her story can’t be 100% true because Elvis wasn’t where she says he was, but this kinda misses the point of Tura Satana.

She is most remembered for cult action films, including one that John Waters said was the best movie of all time and would be the best movie to ever be made. She taught herself martial arts and did her own stunts. We don’t have nearly enough space to cover it all, but she was shot later in life by an ex-lover. I can’t find any mention of the story in this second verse, where Satana shoots someone for sleeping with her own lover. But just like it doesn’t matter if Elvis was really there that night or if you can just believe he could have been, it doesn’t matter who had the gun or why. “Coming home early // is always a mistake” is ominous even for John Darnielle and even for 1994 for the Mountain Goats, so true story or just slightly true, we’re in dark waters and we know what’s coming.

358. Going to Bristol

Alex Russell Zopilote Machine , , , , , , ,

Sweet language can only distract from the darkness underneath for so long in “Going to Bristol.”

Track: “Going to Bristol”
Album: Zopilote Machine (1994)

Owen Pallett, also often known as Final Fantasy, played violin on a live tour with the Mountain Goats in 2009. For whatever reason, even for shows where no one uploaded a live recording, someone nearly always took video of his performance with John Darnielle for duo performances of “Going to Bristol.” Video isn’t the most uncommon thing for a live show, but I really do have to call out how consistently this is available. You can watch a half dozen of them on the wiki. But of all those shows, I call attention to the solo set in 2018 in Toronto. John Darnielle says the three solo songs of the night have a theme. The theme turns out to be that Owen Pallett has covered all of them in the past, but it could just as easily be that “Pure Heat,” “Going to Bristol,” and “Alpha Omega” all allude to or include people leaving. That show is also where John Darnielle confirms that the first song he ever played live at the first Mountain Goats show was “Alpha Omega,” which must have been quite a sight.

“Going to Bristol” can be read a few ways, but one character definitely smashes a coffee cup and breaks a key in a lock during a tense exit. The narrator’s “I liked everything I saw” and the guitar suggest a love song, but it’s anything but by the end. “Why don’t you just sit still // it’s gonna be okay” is not something you say in a relationship where everyone is getting their needs met. The delivery is beautiful, but the narrator is not to be trusted.

357. Grendel’s Mother

Alex Russell Zopilote Machine , , , , , , ,

Grendel is honored in death and a feud declared in “Grendel’s Mother.”

Track: “Grendel’s Mother”
Album: Zopilote Machine (1994)

Excluding “Going to Georgia,” which we will talk about another time, “Grendel’s Mother” may be the most memorable song from Zopilote Machine. It’s interesting that John Darnielle chose such a direct title, first off, though there’s not enough here that you’d know for certain it was about Grendel’s mother if you didn’t have that. That’s never stopped him before, but in this instance it tells us that this is the story of one of the monsters in the epic poem Beowulf. The hero killed Grendel and then had to deal with his mother, who was, unsurprisingly, angry.

“Grendel’s Mother” is sung as a love song and John Darnielle sometimes calls it one at live shows. It isn’t, it’s the story of a woman directly addressing someone who has killed her son and will soon kill her. She doesn’t know that, but what’s much more interesting is what she chooses to say. She tells us about the flaming boat she laid her son on and she tells us that she’s coming after the hero, whether he runs or not. Interestingly, she references Singapore, which is a delightful anachronism. She says “you and I both know what you’ve done,” but the delivery is not furious. “Grendel’s Mother” does not sound like a song where someone declares a fight to the death, but that’s what it is. It’s this dissonance that makes it so fascinating and it may take you a few listens at first to even realize what is happening.

356. Going to Lebanon

Alex Russell Zopilote Machine , , , , , , ,

The Bright Mountain Choir echoes a simple refrain in the sweet, curious “Going to Lebanon.”

Track: “Going to Lebanon”
Album: Zopilote Machine (1994)

It took almost three decades, but we finally got a sequel to “Going to Lebanon.” If the title of “Going to Lebanon 2” didn’t say so, though, I don’t think anyone could reasonably be expected to pick up a connection. There are few enough of these sequel songs that it’s worth calling them out when they exist, but both find a duo by a shoreline as they contemplate things inside themselves. It’s not wholly unfamiliar territory, so just how critical the connection is may be up for debate. John Darnielle did dedicate the second to the person who “looks like” himself who wrote the first, which is my second favorite version of that joke. He once dedicated a song to a person who happened to have the same Social Security number as himself.

The Bright Mountain Choir (3/4, no Rachel on this one, as confirmed here) adds just a little to this one, but they make it a memorable performance. There’s a lot to imagine in this one, with a ton of description of physical space and movement. We don’t get enough backstory or emotion to understand how these two are related, but we can certainly assume, though “I saw your sash come untied” certainly carries different meaning depending on your assumptions. “Blue water, white sky” is a simple repetition, but the performance is so nice that it doesn’t matter much. For whatever reason I’ve always found this one a tough one to connect to logically, but an easy one to enjoy when I come across it. The nature of the live radio performance really works for this one and it’s worth visiting several times.

355. Quetzalcoatl Eats Plums

Alex Russell Zopilote Machine , , , , , , ,

The sight of a simple fruit tree haunts a narrator in “Quetzalcoatl Eats Plums,” but the tree’s got nothing to do with it.

Track: “Quetzalcoatl Eats Plums”
Album: Zopilote Machine (1994)

More than twenty years passed between this performance at CBGB in New York and this performance at Swedish American Hall in San Francisco. At the first, John Darnielle mentioned after playing “Quetzalcoatl Eats Plums” that he had a bunch of copies of his zine to sell for two dollars each. At the second, an enormous crowd explodes and you can hear a few people get really animated after hearing “an old one.” I am probably too fascinated by the “arc” of the Mountain Goats and there really isn’t one, but I love these comparisons. Both versions are good, as is the studio version. You really can’t go wrong with this one.

There are a few other Quetzalcoatl songs. This one finds a narrator about to seek out someone but they just can’t do it. “I meant to leave the house this morning” is a simple statement, but it’s so much more. The forces that separated these two people originally separate them still, but they exist within this person’s head. Maybe there was a reason and maybe there wasn’t, but whatever led to this split is still on this person’s heart. They can’t even make a phone call without be consumed by the sight of the plum tree in their yard. It’s not the tree, it’s everything it represents. Maybe the tree isn’t even related, but just seeing it reminds this person nothing is as simple as it appears to people looking in from outside.

354. The Black Ice Cream Song

Alex Russell Zopilote Machine , , , , , , ,

We are left to hope for the best for this small family in “The Black Ice Cream Song.”

Track: “The Black Ice Cream Song”
Album: Zopilote Machine (1994)

I’ve become somewhat obsessed with a few live shows over the course of this project. Among my short list is this show from 1994 in Ohio at a place called Stache’s that was, I believe, named for the owner’s mustache. John Darnielle plays “The Black Ice Cream Song” and introduces it as “a new one.” There’s nothing necessarily fascinating about that, it’s just how time works. In 1994, this was “a new one.” The performance isn’t notably different than the album, but that’s also to be expected. There is not a reason to mention this except that it grounds Zopilote Machine in another time.

At the time of this writing, the Mountain Goats sound very little like the band that played Stache’s that night. They aren’t writing ten-line songs with mysterious titles anymore. You have to cast back to Stache’s to understand the band that offhandedly mentioned a child in the middle of a song and what it meant to do that at the time. The stories now are more complicated, but then so many of them were two people, maybe lovers and maybe not, who came to a particular moment and soaked in it. Most of them, most of the time, should not have had children. It’s a small mention here, but it wakes you up. Also of note is the specific date in 1957. I had to check, but go karts indeed existed in 1957, but just barely. So much to wonder about in this song, though the biggest legacy has to be the rhyme of “go kart” and “devil’s heart.”

353. Azo Tle Nelli in Tlalticpac?

Alex Russell Zopilote Machine , , , , , , ,

With a title from an Aztec poem, “Azo Tle Nelli in Tlalticpac?” really requires you to pay attention to get it.

Track: “Azo Tle Nelli in Tlalticpac?”
Album: Zopilote Machine (1994)

“Azo Tle Nelli in Tlalticpac?” is one of those songs where it’s less about unpacking the meaning than it is about scraping the surface. John Darnielle played it at Zoop II, possibly the best live show he’s ever done, and said that he didn’t think he’d ever played it live. It turns out he had, but I think we can forgive him for forgetting one night in Belgium from 13 years ago. In Belgium he explained the title and said he never does that, but I think with a song called “Azo Tle Nelli in Tlalticpac?” you sorta have to break your rules. The title means “is that the only thing in the world” and seems to be a religious, repetitive statement from an Aztec poem.

I just said the title out loud which is a first for me, I realized I’ve listened to this dozens of times over the years and never tried to say it. The guitar is repetitive and, to be honest, a little challenging to listen to more than once. At that same Zoop show John Darnielle joked about how this song being second on the album was a little bit of an indefensible choice. It’s slow and droning and feels very long with the repetition. “Good news like a rare blood disorder” is pure John Darnielle, but I don’t think the pieces come together all that well on this one. The live versions are better, with better vocals that make you consider the narrator more than the studio cut. There are good moments, especially the last verse, but overall this is one that asks a lot of you to really find the center.

287. Quetzalcoatl is Born

Alex Russell Zopilote Machine , , , , , , ,

“Quetzalcoatl is Born” is not really about Quetzalcoatl, but even beyond that provides space for you to make it about anything.

Track: “Quetzalcoatl is Born”
Album: Zopilote Machine (1994)

“Quetzalcoatl is Born” opens with a clip from a Barbara Streisand song. That’s how old it is, it’s still from the days of albums with samples and oddities designed to deepen the experience and provoke questions. Maybe that’s overstated and maybe it was all just to be weird, but I am fascinated by it nonetheless. This is the song that closes Zopilote Machine and it closes with a creation story.

You can, and should, read about this elsewhere. It takes more space than I have to explain what’s happening in “Quetzalcoatl is Born,” but put briefly, it’s the story of the creation of the sun and the moon. The gods leap into the fire and the sun is born of the least likely of them. It’s a story about how excellence can come from anywhere, no matter who goes into the fire, and what great things are possible when that happens.

At Zoop II, a legendary request show from 2009, John Darnielle played this live. The crowd is into it and it’s worth hearing, but it’s extra notable for following “This Year.” You cannot follow “This Year” at a Mountain Goats show, even one where everyone is as passionate as they are at this one. Some of the crowd howls and yips at weird moments, but that’s gonna happen. What makes it great is to hear how much John Darnielle loves it. “Into the fire you go, go, go” he insists, and you forget what this is supposed to be about in place of what it could mean in that moment.

258. Sinaloan Milk Snake Song

Alex Russell Zopilote Machine , , , , , ,

The Bright Mountain Choir delivers a strange, beautiful performance on “Sinaloan Milk Snake Song.”

Track: “Sinaloan Milk Snake Song”
Album: Zopilote Machine (1994)

“Sinaloan Milk Snake Song” has been played live and recorded a handful of times. There are even a few videos you can find, which isn’t common and is sometimes discouraged directly by John Darnielle. There’s a compulsion as a fan to want to see everything, but also it’s understandable that John Darnielle wants to keep some mystique. In most cases, I’d suggest live versions of songs as John Darnielle is an incredible performer and you owe it to yourself to witness how consistently he goes for broke. “Sinaloan Milk Snake Song” is a rare case where I have to side with the album.

The Bright Mountain Choir is four people, including former bassist Rachel Ware, who performed backing vocals on a lot of early Mountain Goats albums. They may never be better represented than “Sinaloan Milk Snake Song.” The chorus mixes John Darnielle’s drone with their harmony to create a much different vibe than most other songs from the period. Different members of the Choir jump in and out with fluttering sounds, sometimes hitting the words and sometimes not, and it feels panicked in a deliberate way. It’s reductive to say “you have to hear it” but you really do, in this case, have to hear it.

“I’ve got a message for you // but you’re gonna have to come and get it” is a threat, most likely, and “ever since I came here // all I could think about is water” is an extremely John Darnielle thing to say. The lyrics are something, but it’s really the Choir that sells this one. John Darnielle’s voice cracks in key places and it may not be everyone’s style to view “voice cracks” and “drone” as positives, but this narrator sells us on their situation and it all mixes quite nicely with the harmonies.