I’m going to come out and say it. Morningside is about sex. And the guilt that follows a night of, ahem… passionate love.
When your single and have no real desire to settle down the acquisition of the fuck buddy comes into play. (I feel comfortable using the word fuck in this post since Sara uses it at least a dozen times during each performance.) The fuck buddy is that friend with benefits that maybe you see once a month, or if you’re lucky, once a week. There’s no real mental attachment. But what happens when one person in this relationship starts to fall for the other? If not reciprocated it can be an eye opening realization that you aren’t getting what you really want out of love. But old habits are hard to break, especially when they bring rain you desire.
Morningside is the metaphor Sara uses to describe the realization that you have fallen again to the temptation to that certain someone that you know will never be more than a fuck buddy. The morning after when your cuddling under sheets, each is reminded of the real person you are with. The sun is up. Sight is clear. Hair is messy. Breath is bad. Heads are free and clear of alcohol. The only thing that remains is a slight headache and the sting of forgetting not to forget.
Morningside is the first and only song on Little Voice that features the The Rhodes piano, which was a popular instrument in jazz music in the late 1960s. Musical legends like Miles Davis and Herbie Hancock were advocates of its sound. The amplification of the strings allowed them to be heard much more easily in groups when compared to an acoustic piano. I have to think the usage of the Rhodes piano by Sara was more than just a producers choice. Perhaps it’s inclusion is to amplify her message that in times of weakness her internal resolve needs to amplified in order to break the habit of having someone get to her on her Morningside.
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