Album of the Day — July 9
Brian Setzer — Knife Feels Like Justice
Brian Setzer — Knife Feels Like Justice
09.July.2020
Brian Setzer
Knife Feels Like Justice
1986
After The Stray Cats broke-up, lead guitarist Brian Setzer began a journeyman’s career. Playing with Bob Dylan, Stevie Nicks, and serving as the live guitarist for Robert Plant’s Honeydrippers (filling in for studio “hacks” Jimmy Page & Jeff Beck).
Possessing incredible guitar prowess and a powerful rock and roll voice, it was just a matter of time before Setzer embarked on a solo career.
That career began with The Knife Feels Like Justice, released on EMI America Records in 1986.
Setzer’s affinity for American rock helped him find success with The Stray Cats.
With The Knife Feels Like Justice he leveled up the rockabilly sound of The Stray Cats and embraced “heartland rock”. A genre embracing a roots musical sound and a belief that rock music has a purpose beyond just entertainment. Many of the artists like John Mellencamp, Tom Petty, BoDeans, and Steve Earle, whether they wanted to or not, became associated with the sound.
Setzer did have the wherewithal to hire many of the studio musicians who helped shape the “heartland rock” sound:
Chuck Leavell (Rolling Stones musical director since 1982) — keyboards
Kenny Aaronson (Bob Dylan, Hall and Oates) — bass
Kenny Aronoff (John Mellencamp, BoDeans) — drums, percussion
Steve Jordan (Keith Richards) — drums
Benmont Tench (Tom Petty & the Heartbreakers) — organ
Mike Campbell (Tom Petty & the Heartbreakers) — 12 string guitar
He also partnered up with E-Street’er Steven Van Zandt to write “Maria” and Heartbreaker Mike Campbell and legend Bo Didley for “Aztec”.
In Setzer’s attempt to move into this more mature territory, it wasn’t enough to just get the hired hands … he had to get the person who could harness that sound. The very guy who helped define it. And in 1986, that was producer Don Gehman who was then operating at the peak of his powers.
Gehman was the producer (along with John Mellencamp) behind the trio of albums that launched Mellencamp into the stratosphere (American Fool, Uh-huh, and Scarecrow) as well as R.E.M.’s breakthrough album Life’s Rich Pageant.
The songs themselves run the range of topics. Immigration, religion, love, heartache … what you may expect from any rock album. The songs just sound better on The Knife Feels Like Justice.
The title track embraces an unusually verbose — yet effective — lyrical structure:
The Knife Feels Like Justice
So you think that you have found a better life then you should live
And you are through giving it all away, wish there was something I could say
By the time you looked into the mirror and saw someone else looking back
I wish I could find the words but there’s nothing that even comes close
Cause there ain’t nobody ever looked at me without looking right through me
There ain’t nobody ever looked at me without looking right by me
And you can’t go on when the knife feels like justice
When the sun dies down and the air grows cold
And the moon plays tricks through the night
But I low like a snake out of sight
All you got is no other life
You want to laugh say I’m insane
Don’t ever since to come in from the rain
I don’t know why I keep myself
To even try
There ain’t nobody ever looked at me without looking right through me
There ain’t nobody ever looked at me without looking right by me
And you can’t go on when the knife feels like justice
Slip away
Slip away
Slip away
So you think that you won me over
By setting me on fire
When the sound of your beating heart
And your burning heart desire
By the time I looked at your reflection and saw someone else lookin back
It’s a shame things happened that way cause there’s no one that even comes close
And there ain’t nobody ever looked at me without looking right through me
There ain’t nobody ever looked at me without looking right by me
And you can’t go on when the knife feels like justice
I said you can’t go on when the blade tears inside you
You can’t go on when the knife feels like justice
The track “Bobby’s Back” is the kissing cousin to the Clearance Clemons and Jackson Browne hit “You’re a Friend of Mine” from 1985.
Written with Steven Van Zandt, “Maria”, tackles immigration … and is just as relevant today:
Maria
The rains never came; I saw my land die.
Maria was sleeping when I kissed her goodbye.
I couldn’t stand the sound of my children cryin’ no more.
You get hungry; you get mad.
A man without hope is a man that turns bad.
I’ll try my luck in Texas; adios Mexico.
CHORUS
Wipe away your tears, Maria;
There’s a better life for us somewhere.
Let me see you smile, Maria;
Close your eyes; we’re on our way there.
My country was a great one — once upon a time.
I wish I lived when you didn’t need borderlines.
Somebody came and took the heart of my people away.
Now I ain’t worried, baby, come hear what I say.
My people gonna rise again, fightin’, someday.
I’ll be there to see it; I’ll be there to welcome them home.
REPEAT CHORUS
I saw Texas; she looked so fine.
I met some other people — same story as mine.
Laughin’ and drinkin’, waitin’ for the sun to go down.
We had life in our eyes as we crossed the borderline.
Shot six good men without tellin’ them why.
How could anybody steal the only thing a man has left?
REPEAT CHORUS
“Three Guys” finds Setzer going back to a rockabilly vibe. The song sounds like it could be paying homage to his former bandmates … or it could be a Pentecostal parable rave-up:
Three Guys
Well I get up and the sun goes around
So rundown but I head into town
Taking a chance and I started to dance
What I need is a new romance
Step back chicken shack homicidal maniac
That chick’s outta whack dancin’ with a broken back
Making a move as I head on out
Being a man makes me jump and shout
CHORUS
Father son and the holy ghost
They’re three guys that I like the most
Everybody say a prayer each day
A word for Jesus lights the way
Hey little Pete what you go and do
I should have knocked some sense into you
Came in swingin’ and you went out hidin’
Twenty four hours of horseback ridin’
Well this is just a make-believe world
One two three kick one two three jump
There’s one thing I’ll always remember
I’ll love you much more than just a pretender
REPEAT CHORUS
Everybody’s got a secret they made
Everybody’s got a skeleton closet
There’s just one person that’s got the key
Well if you want to have some fun
Come along with me yeah
Well shine on harvest moonshine on brightest stars
I ain’t had no visitors lately from Jupiter or Mars
I had a dream it’s about you
I had a dream that always comes true
When I die I wouldn’t hide
I’d happily ride to the other side
Father son and the holy ghost
They’re three guys that I like the most
Everybody say a prayer each day
That oughta keep the devil away
REPEAT CHORUS x 2
A key component of “heartland rock” is placing a sense of import on the songs. The song can entertain, but it can also inform — besides, the mid-80s was peak music industry social responsibility/commentary.
Much like he did with Steven Van Zandt on “Maria”, Setzer partners up to write a song like that. This time its Heartbreaker Mike Campbell and legend Bo Didley for “Aztec”.
Campbell borrows heavily from Roger McGuinn’s signature Rickenbacker 12-string sound that aligns perfectly with the lyrics and Setzer’s voice.
“Aztec” glides right into Bruce Springsteen country.
Aztec
We traveled through this land a thousand years ago
We were the first to see the purple skies
I wondered round the desert in a mask of gold
I left a thousand things for you to find
CHORUS
I left my home where your houses stand
I left my gold where your highways ran
I lived my life on what you call your land
I left my soul in the Aztec sand
The days grow long the nights are getting warmer
The rains are few beneath the blazing sun
Traveling fathers finding little water
The time has come when we must play this world
REPEAT CHORUS
Round and round
Our lifetime goes
Where does it end
Someone must know
I’ve got a family now but you wouldn’t know them
They’re beaten down so hard they can hardly stand
We used to live so brave so free like an eagle
Now they make us live like a crippled man
REPEAT CHORUS
CRITICS
Only peaking at #45 on the Billboard album chart, The Knife Feels Like Justice failed to strike a chord despite generally favorable reviews:
Mark Deming at AllMusic called The Knife Feels Like Justice “a rare example of Setzer taking a stab at contemporary rock & roll with a message, and it is more successful than anyone might have expected … there’s a heart and sincerity to this material that’s genuine and affecting.”
Not one to get boxed in, this album marks the beginning of Brian Setzer’s Rand McNally like approach to music. He would take his impeccable guitar playing and his road-tested rock and roll voice and just … go … go, man go!
The justice in The Knife Feels Like Justice is that it establishes Brian Setzer for what he’s come to be known for, his creativity, and his talents.