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My Top 40 Happy Rhodes songs, #’s 6 – 10

Happy

Sorry for the lengthy since my last post. Back to work in person full-time, pandemic restrictions starting to lift, a recent project where I’m filling the gaps in my movie viewing history have all kept me away from the blog for a while, but I’m back, and hoping to finish off my favorite Happy Rhodes songs soon.

With this entry, we enter my Top 10 favorites. Surprisingly, five different albums are represented, even going all the way back to 1986, and Happy’s third album, Rearmament. We haven’t had a pre-Warpaint song show up since #32’s The Revelation from Rhodes II. The remainder are taken from each of her last four studio albums.

#10 – She Won’t Go – Find Me (2007) That’s three in a row from Happy’s final album to date, and I’m not sure why that should be such a surprise as I think she just keeps getting better. Perhaps it was the lengthy span between when she recorded the songs to when she finally released them, the album sticks in my head as a compilation, when it’s not. This #10 song is the final song from Find Me, however. She Won’t Go is not one of Happy’s pretty songs, in fact it kicks off with some discordant wailing that persists throughout the track, much like the “she” referenced in the title, throwing tantrums in Happy’s mind. It’s another one of those lumbering, chunky songs that Happy does so well, and I find it rather thrilling.

Happy says of She Won’t Go, “… is a very caustic, almost abrasive-sounding song. I’m not sure I personally would want to listen to that song. I don’t even know how it happened. However, it has some of the most difficult vocal accuracy singing on it that I’ve ever had to do.” Her singing is truly on point in the song, and I like to think the “she” is the bitter, angry girl in Happy’s head who may have evolved out of the bullied child in If I Ever See the Girl Again, Musically, I love the flutter of tom’s that come in after the wailing, that then launch into full drums. The verses are delightfully atonal, with s bouncing bass line that all resolves into the grim chorus. The wailing guitars are used to great effect to had highlighting to the verses while Happy’s voice ping pongs from discordant lows to highs. It’s pretty amazing, and pretty impressive, and maybe it’s not a pleasant song, but it’s certainly a compelling one.

#9 – I Have a Heart – Rearmament (1986) Reaching way back to 1986, and Happy’s third album, which was basically part of the back catalog of songs she had written throughout her youth, there is her tender, heart-breaking ballad, I Have a Heart. Gentle finger-picking of an acoustic guitar leads to Happy’s hesitant voice… a lost lonely voice that is wrapped in some lush synth-strings, before being joined by some gorgeous harmonies. It’s a simple, straight-forward song sung by a young girl dealing with suicidal thoughts. “All I can do is beg her to stay…” is the singer’s mournful plea to her heart, which has been broken and beaten and just wants to leave. It’s hard to deny the sad beauty of the song and it’s enough to make Happy’s Top 10 here.

I’m not sure if she re-recorded the song for her Rhodesongs compilations, or just remastered the existing recording, but i suspect the former. The song sounds like it was sung by a slightly more mature Happy whose voice and grown since the initial recording. So that’s the version I’ve included below.

#8 – Pride – Building the Colossus (1994) There’s something about Pride that’s reminiscent of I Have a Heart but tonally they are nearly opposites. There is such a lovely feeling of self-acceptance in Pride, clearly written and performed by a far more mature Happy who has learned many of life’s lessons. I love how the lyrics are so tied to nature, which seems to be where she finds peace and humility. There is such a gentleness to this song, it just touches my heart. And the instrumentation, a simple blend of acoustic guitar, bass, and electric guitar washes, is gorgeous.

Now for the confession. For years… until today, actually, when I read the lyrics, I thought the first line of verse two was, “Walk on out and catch a bee in my hand…” which I loved. The lyrics are actually, “Walk on out and catch a beam in my hair…:” Okay, so it doesn’t resonate quit as much for me as what I thought, but it’s still lovely. Enjoy Pride as taken from Building the Colossus, and then from a live show at the Tin Angel in 2005.

#7 – Proof – Many Worlds Are BornTonight (1998) From the opening drumbeats, the powerful bass, and the wailing guitar licks, Proof captures me instantly. Then Happy’s deep, commanding voice starts making demands, and the chunky rhythm drives us into the song. A standout in the otherwise largely atmospheric Many Worlds Are Born Tonite, Proof seems like it belongs on Building the Colossus. I love the sparse, nearly whispered verses in contrast to the chorus, and then there’s the soaring instrumental bridge that seems like it’s swooping in from a different song.

Lyrically this one’s pretty impenetrable to me. It could be how you have to justify your life more and more as you get older, leaving the carefree days of youth behind. I’m not certain, but as a piece, it’s certainly intriguing, and the closest thing to a follow-up single to Roy that this album produce. I’ve included the original studio version along with a nice live version from 1999.

#6 – Runners – Equipoise (1993) The first track from Equipoise, Runners has the distinction of being the first song by Happy Rhodes I ever heard, and it clearly had quite an impact on me, topping the lower half of the Top 10. Despite its subject matter (which we will get to) Runners is arguably the closest that Happy has ever come to “single” material. I mean, it’s even got a pretty straight forward kick-snare action to drive it forward. Add to that a fairly traditional verse chorus structure, and some nice synths to provide the color and you’ve got alternative single written all over it. I love the gorgeous guitar lines that weave in toward the end while Happy repeats the chorus and adds her ad libs. The whole close out of the song, maybe the last minute and a half, really thrills me. Her voice is strong and commanding, and I love those soaring high notes she wails as the song fades out.

Then there are the lyrics. Runners is about the race to cheat death. There is toxicity everywhere trying to kill us. In what is surely a first for pop music, Happy sings about carcinogens, toxic dumps and malignant lumps. It’s all around us “coming around to take your (sic) heartbeat.” But as the song shift to the halfway points, Happy sings about all the things she is doing to combat the inevitability of death, from diets, to doctors, to wearing a tin hat to protect herself from the ozone. 😉 Only Happy could take such a grim topic, add some black humor, and turn it into a pop song. First I ever heard, and it’s still sticking with me.

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My Top 40 Happy Rhodes Tunes: #’s 11 – 15

Happy Rhodes

Closing in on the Top 10, we kick things off with a couple more songs from Equipoise, before mining Happy’s latest work, Many Worlds Are Born Tonight and Find Me. I think this is a really great batch of songs that shows off the wide range of musical style Happy offers. From the sweeping majesty of Serenading Genius, to the to the gentle, gothic darkness of Temporary and Eternal, which takes on another aspect in its lovely acoustic version. Let’s see what Happy shows us as we approach the top 10.

#15.) Closer – Equipoise (1993) – I’m not sure what Happy is singing about in Closer but it’s certainly pretty intense. The lyrics suggest an inspiration from another art form, perhaps a character in book that shares some sort of symbiotic relationship with another… a rather cruel master. There are definitely science fiction-spawned themes running through this song and it’s haunting yet relentless. In broader terms it could certainly be a harrowing description of child abuse. Either way it’s chilling.

Musically, the verses are curt and clipped, Happy augments the staccato lyrics with sharp piano strikes, first in line, then at odds with the singing. Again, Happy’s amazing voice is used as a musical instrument adding more punctuation to the verses. When the chorus comes, it is in stark contrast to the verses despite having the same musical background. Happy’s multi-tracked voice washes over the music gently as she sings, “I’m closer, closer than before.” What is she closer to? Listening carefully to some of the background vocals that are sometimes difficult to make out, it’s clear she is trying to escape this cruel master, and she’s getting closer “to that open door.” Kelly Bird, who supplied uncanny background vocals on some of Happy’s concert performances adds some desperate sounding vocals as the song nears its conclusion. Closer packs a powerful punch.

#14.) Temporary and Eternal – Equipoise (1993) – Immediately following Closer on the Equipoise album is Happy’s gorgeous song about death. Yes, Temporary and Eternal explores the ending of life, and the crossing over to death, in a way that is illuminating and gentle. She follows the paths of two people, a man and a woman, who reflect upon their lives at the gates of the afterlife and ponder who things would have been different if they’d had the knowledge then that they had now… how after you cross over, everything becomes clear.

Musically this song comes vividly alive for me on The Keep, where Happy performs it acoustically. Both versions are gorgeous, but there’s something about the acoustic finger-picking and guitar washes on The Keep version that really pop. Happy’s voice is solitary on this version as well, and it allows for more depth of feeling. Both songs feature a riveting chorus, where Happy plumbs her deep register to represent the approach to the afterlife. Temporary and Eternal are great words to describe this song… and I would add gentle as well. I’ve included both versions of the song below, and the acoustic version is actually a video of the live recording.

#13.) Serenading Genius – Many Worlds Are Born Tonight (1998) – Closing out the album Many Worlds Are Born Tonight, Happy performs a sweeping lullaby of sorts, Serenading Genius. Almost a continuation of Happy’s homage to those who have inspired her in Feed the Fire, Genius reveals her search for genius. A lofty word, often misconstrued, Happy just wants to improve. Her creative process is a search to improve, to always grow in her art. It’s a fairly simple, straight-forward song, but the rolling melody and Happy’s yodel break just pull you in.

This song really utilizes Happy’s many voices to create much of the texture to the song. In fact, it’s one of the few Happy Rhodes songs that I think falls a little flat when performed live. In the studio recording, Happy fills out the song with so many vocals, and the basswork by Kevin Bartlett, especially on the verses, is stellar.

#12.) Here and Hereafter – Find Me (2007) – This is one of the only love songs Happy claims to have ever written — because she doesn’t like them. Here and Hereafter definitely is a love song, as Happy sings about her person she loves makes everything a little warmer… a little brighter… but Happy being Happy, she has to through in some lines about her love dying as well. That’s the hereafter part. She sings about how she wants to follow her lover wherever they go, here or hereafter. She also sings about “the harder you love, the harder you fall,” so “this love will definitely kill me.” Come on, you don’t expect Happy to write a love song that didn’t have a dark edge, do you?

Musically, the song is joyous. Happy sings with soulful emotion, and her vocals are high up in the mix, really focusing on that vocal strength. There’s a gorgeous multi-layered vocal break leading into each chorus, with a chorus of Happys providing an exultant back-up. The bass and guitars, electric and acoustic provide a grounding counterpart to the ethereal keyboards that provide the joyous lift to match the emotions. And a great guitar solo mid-way through the song completes the picture. It’s probably one of Happy’s most straight-forward and accessible songs musically, but it is presented with such honesty and conviction that it’s difficult to resist.

#11.) One and Many – Find Me (2007) – I mentioned the crunchy rhythms that Happy used in Queen (also from this album), and here is another song that uses that lurching style. There’s something about this category of songs that Happy has written later in her career; it’s almost as if the song itself is a juggernaut-like beast pushing its way through my ears. One and Many seems to be about multiple-personality disorder and what it’s like to endure that affliction. Vocally, like in Here and Hereafter Happy’s really pushing her voice, giving it more strength and power, and utilizing that lower register really well.

I really love how all the instruments work together to propel this song forward… bass, drums, and electric guitar form the power, often echoing Happy’s vocal lines. The drums even use the snare in a way that brings a march to mind, reinforcing that lurching movement. The keyboard flourishes add texture and brightness, and Happy’s backing vocals serve to do the same, but also bring to mind the varying personalities struggling with each other, especially in the third chorus, and the strangely gentle bridge, where she explains how difficult her life is because of her affliction. I really love the unified bass, guitar and vocals to deliver main couplet of the song over and over. It’s a powerful song with great use of drums, and that wailing guitar solo that soars over the final verse really adds a lot. I’d really love to hear Happy perform this live, full throttle with a band. It would be pretty powerful.

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My Top 40 Happy Rhodes Tunes: #’s 16 – 20

Equipoise

As we crack the Top 20 we’re seeing a lot of Equipoise. Three songs from that album appear in this batch, with several more still to come! Not much else to unite these five songs, other than the otherworldly beauty of Happy’s voice. We’ve got some lovely ballads, an upbeat pop song, an inventive homage to her father and a gentle acoustic number. So like Happy to keep things ineresting.

#20.) Mother Sea – Equipoise (1993) – A haunting and somewhat mournful paen to our Mother Sea, Happy’s voice drifts above a gorgeous, simple piano accompaniment by Martha Waterman, and lush keyboard washes to provide texture. I love the changes of mood that ripple through the song. The verses have a bit of longing, or yearning laced in them, then the chorus starts off builds, calling out the power of the sea and its glories, but then it ends on a minor note and a downward cascade of piano notes while Happy sings, “I remember now, how it goes.” It’s aurally reminiscent of some the ‘Twin Peaks’ score; filled with beauty, longing, and sadness.

Mother Sea is another track taken from Equipoise, which was my first Happy Rhodes album, but it wasn’t one of the breakout songs for me. In fact, I rediscovered it’s power and beauty during my research for this list. It’s the third of eight tracks from that album on my Top 40.

#19.) Look for the Child – The Keep (1995) – Look for the Child was first released on the Ecto album, but it is the version of Happy’s The Keep album, a collection of acoustic versions of previously released songs and rarities, that makes it to my Top 20. The Ecto version is quite different, with some heavy electronic drums, and lots of layered keyboards, while on The Keep, it is the acoustic guitar that drives the song forward, with some edgy electric guitar work, and some beautiful harmonics to provide the texture. Ultimately, what launches this gorgeous song into my Top 20 is the dramatic moment mid-chorus where the songs moves from a minor to major key with some dramatic acoustic guitar strumming. When that change occurs, it just feels like my body is lifting up into the sky and the emotion rises in my heart.

Lyrically, it’s simple and beautiful. If we want to be better people, better leaders, we should look to the child, before they are taught to fear, and to hate. Someone who is free of the influence, however loving, of the people around them. The purity and innocence of a child whose curiosity and wonder rule them, would be the qualities we would want in our leaders. Sadly, we very quickly learn to purge that out of our characters. I’ve included a live version of the song as well, because it features Kelly Bird, who toured with Happy for a while, recreating her uncanny vocal harmonies so beautifully.

#18.) Out Like a Lamb – Equipoise (1993) – Family relationships always make for good song-writing fodder, and with Out Like a Lamb, Happy explores the relationship she had with her father. It’s an interesting song, both musically and lyrically and certainly one of the many high points on Equipoise (there are still lots more to come). Lyrically, there definitely seems to be some ambivalence in the lyrics, and it’s definitely exploring the relationship from an adult point of view looking back on what seemed like an absent father situation. I like the fluctuations in the chorus, with the lyrics sometimes declaring, “He’ll call me when he’s back in town, this I know,” and alternatively, the less assured, “He’ll call me when he’s back in town, surely.” And other lyrics certainly imply an initial bravado that would lead to a hasty departure… the classic in like a lion, out like a lamb, scenario. What’s fascinating was reading one fan’s interpretation that the song is about a serial killer sung from the point of view of an admirer, or perhaps his next victim. Fascinating the different ways we can interpret a song.

Musically I like militant snare drum enhancing the mood and the subtle use of bagpipes must surely be representative of the family heritage, but it sounds cool, and avoids the traditional sound one might expect. The keyboard work is fantastic, with multiple textures to denote the conflicting feelings, the strong piano chords, the percussive opening, the airy synth washes. As ever, Happy fills the song with varies tones and moods, a perfect complement to what was clearly a complex relationship. It certainly speaks to the maturing of Happy’s talents not only as a songwriter, but as a musician and a recording engineer.

#17.) Hold Me – Building the Colossus (1994) – Life is hard, and despite mustering all the confidence you can, sometimes you get worn down and you just need someone to hold you. That’s the basic, but universal truth being stated in Happy’s Building the Colossus opener, Hold Me. There are lots of things I like about Hold Me, besides its intricate arrangements, and accessible melody (this is nearly a traditional pop song!), but most of all, this song is a really great showcase for Happy’s voice, featuring all three of her traditional modes of singing. I read that one person thought Hold Me was a duet between Annie Lennox and Kate Bush, which is fairly amusing, given I don’t think either of them could plumb the depths of Happy’s lower register.

Happy’s three voices include her elfin soprano, something that sounds like it should be coming out of the faerie folk, rather than a grown woman; her deep, otherworldly voice, that surely is far below an alto, or possibly even a tenor, approaching baritone levels; and finally, her bold, strong alto where she can string with strength and power, or with fragility and emotion. The opening verse and chorus feature Happy’s soprano, rolling over your hears like the chirps of a songbird. When the bridge hits, you have Happy’s alto boldly singing about her confidence, and being echoed back to her by that insanely deep, otherworldly voice. It’s hard to wrap your head around, but it’s a special talent that makes Happy so unique. On a side note, love David Torn’s ripping electric guitar solo towards the songs end.

I’ve included a live version of Hold Me as well, because it’s such a different arrangement, focusing more on the acoustic guitar than the keyboards, and shows off Happy’s skill as a songwriter as it still holds up remarkably well.

#16.) He Will Come – Equipoise (1993) – Here is Happy’s precursor to The Flight a duology about a vampire and his vampire hunter lover. He Will Come is the precursor to The Flight, which was #30 on my Happy Top 40, and it’s where an ancient vampire first sees Gabrielle, the woman who he recognizes will one day end his immortal existence and end his undying pain. Lots of beautiful imagery in the lyrics about these star-crossed lovers, with lovely music to match.

The keyboard washes and percussion provided by Rhodes and Kevin Bartlett sets the perfect tone, with the synths mimicking strings through the chorus. Add in some truly lovely acoustic guitar work by Chuck D’Aloia, and this gentle yet sweeping tune conjures visits of Gabrielle dancing while the Count looks on. Sweet and simple with delicate beauty.

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My Top 40 Happy Rhodes Tunes: #’s 21 – 25

Happy Performing Live

Sorry the longish break, but welcome to the newly migrated Justgiblets.com! Had to change my webhosting platform, but fortunately everything seems to have gone just fine. So we’re back looking at my favorite Happy Rhodes tunes, entering the Top 25 this week! Things almost start to get arbitrary here, with the order really reflecting my tastes of the day, I think. All the songs from here on in are just that good. This batch of songs also sees the first appearance of songs from Find Me, the last album Happy recorded of her own material, way back in 2007! (Too long, Ms. Rhodes).

#25.) Play the Game – Equipoise (1993) – I love the sincerity and earnestness that Happy tackles gender roles and identity in Play the Game. It’s pretty direct with its message, almost to the point of treacly, but the simple keyboard arrangement, and the gentle manner in which Happy delivers the melody are undeniably beautiful. I always liked how she points out the difficulties of both genders…

“If I have to be pretty to be liked
Then I think I’m dead in the water
I never want to have to be like the boys
To be allowed to play with the toys”

And it’s a bit of a throwback musically, with Happy on keyboards, and Kevin Bartlett on percussion, but it augments the simpleness of the song that belies the message.

#24.) Warpaint – Warpaint (1991) – It’s mind-boggling, that Happy Rhodes fifth album was recorded and released THIRTY YEARS AGO! I was still two years away from discovering her, but as I’ve mentioned before, Warpaint was the first album Happy conceived of as a piece, rather than just a collection of recorded songs from her past. It’s also the first album for which she used musicians other than herself, and you can feel the change, especially on the title track. Sure the tribal drums and percussion were handled by Ms. Rhodes (programmed or otherwise), but the sinuous guitar parts courtesy of Happy’s new producer, Kevin Bartlett, and that gorgeous fretless bass by Bob Van Detta add the perfect texture fo Happy’s keys.

The song, Warpaint is a powerful one, whether you interpret the lyrics that include references to warpaint, eagles, and the warpath, to apply it to the near genocide of Native Americans, and their resistance, or take it broader, and how experience and the past are represented as the lines on your face, and prepare you for the battles you will inevitably face as you move through life. I love the passion in Happy’s voice on this one too, especially the last few lines of the live version when she sings “I fight to the death.” In a sense, isn’t life one big fight? One struggle to survive? I’ve included a lovely live rendition of Warpaint along with the audio track. I love how so much of Happy’s work is keyboard washes, and when she performs lives, she often replaces those with acoustic guitar, and it still works.

#23.) Fall – Find Me (2007) – The first song to appear in my Top 40 from Happy’s most recent album is a gentle song about passing. Whether it’s about a person dying, or the passing of a season is up for interpretation. On first read, the lyrics seem pretty clear that something is ending, and it very well could be a person’s life. But there are a lot of references that could be pointing to a seasonal transition, spring/summer turning over to fall/winter. There is reference to gardens, cold, moss, moon… all referencing the cycle of time. I really love how Happy writes lyrics that can be open to many interpretations.

Musically, this one really grabs me. I always love a descending melodic progression, and Happy augments that falling melody that she’s singing with some lonely piano notes. (In fact, it’s very reminiscent of one of my favorite Emm Gryner songs, Visiting Hours – ranked at #11 in my Emm Top 40 – which is also about someone dying.) Fall has that same gentleness in the music and the way Happy sings it. I love the gorgeous interplay between the finger-picking of the acoustic guitar, and the spare and haunting, but somehow (for me) comforting piano part. And I love the tenor of Happy’s voice in the final verse.

#22.) Many Worlds Are Born Tonight – Many Worlds Are Born Tonight (1998) – The title track to Happy’s 1988 album, Many Worlds Are Born Tonight is a sonic epic. From the strange scuttling sounds that start the song, I just get drawn right in. Then Happy’s voice, used as a tapestry against which the song will be sung.The layering of the keyboards, Kevin Bartlett’s e-Bow, and the many vocal parts that Happy offers creates a gorgeous sonic pallet. The sounds she creates with her voice are so lush and full, supporting her vaguely inspiring, vaguely cautionary lyrics. In fact, the song ends with the growl of a beast, so I’m left with conflicting thoughts on its meaning.

The song starts off as an exploration of inspiration, or energizing, or a call to live and feel to the fullest, explore the wonders and scary spaces in your head — ‘If you want, then want a lot…’ Happy says, but embrace yourself in your alone time as well: ‘Turns the lights out for a while, and have a rock with the solitude.’ To me it feels like a very uplifting song, and so gorgeously constructed. It sneaks up on you though… I overlooked it for years before really discovering it’s beauty.

#21.) Queen – Find Me (2007) – Queen catches me right from the intro, with those intricate layered harmonies, and Happy’s declaration that she is my queen. Then the song launches into those crunchy rhythms… there are a series of Happy songs that have a similar rhythm that I refer to as crunchy. The song has the feel of a lumbering beast. There’s something about that feel that I love. Another stand-out about Queen are definitely Happy’s vocals. From the layered textures she constructs from her voice, to the afore-mentioned harmonies, to the ping-ponging between registers. Add to that those sustained electric guitar wails, and you’ve got a powerful song that draws you in and thrills your senses.

Lyrically there’s a lot going on, as usual. The narrator is professing her loyalty as a queen, and calling forth lost souls that she will support. Toward the end of the song though, she talks about how wearing it’s been and she can no longer do it. Not sure if this is about a particular character, or an allegory for Happy’s position as a musician with admirers.Either way it works well, but this one is all about the music and production for me.

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My Top 40 Happy Rhodes Tunes: #’s 26 – 30

Happy Rhodes

It’s funny. Each time I sit down to write an entry for the next five Happy Rhodes songs on my list, I end up rearranging them a bit. It just goes to show how difficult it is to rank her songs, and it gets harder and harder the higher up we go, especially in the Top 20. I don’t think I’ve mentioned that I did get to see Happy perform lived as a solo artist once, and then a few more times in a Peter Gabriel tribute band Security Project. I very much hope to see her perform more of her own material again someday, and hopefully she will record another album of her own soon. Actually, I want the album more than the show. The studio is where Happy really excels!

#30.) The Flight – Equipoise (1993) – Happy’s sixth studio album is notable for me, as it was the first of her work that I was purchased. Because of that, it has possibly impacted me the most of all her work. Eight songs from this album made my Top 40, with The Flight being the first at #30. Interestingly enough, the second and third tracks from Equipoise, The Flight being track three, are about the same characters, a vampire, and his vampire hunter lover., Gabrielle. In The Flight, Happy pairs somber verses with her skittish keyboards and Kevin Bartlett’s bass and percussion to tell a story of an ancient vampire who grows weary of existence and is ready to submit himself to his killer, Gabrielle. I search around to some references to a vampire hunter named Gabrielle, and there is one notable character from a Role-playing game based novel, House of Hell where Gabrielle is a niece of one of the notable Van Helsing family, who were famous vampire hunters in pursuit of Count Dracula. Another Gabrielle of note came from Ann Rice’s Vampire Chronicles, but she is a vampire, not a hunter. For me, it’s the intricate music juxtaposed with the dreamy lyrics that make this song so interesting.

#29.) Murder – Warpaint (1991) – Happy often tackles some of her toughest subjects lyrically while wrapping them in upbeat, poppy melodies. Murder is one of these songs while the singer grapples with the darker side of human nature. She states that she believes in the goodness in humanity but struggles with the impulses that cause people to do harm to others, and in particular, animals. The percussive beat does have a sinister tone, but the verse comes in with a positive major melody. it’s a song about questioning, about trying to grapple with darkness. Those darker sounds come in at the chorus, in her search for the root of this darkness so she can understand it. She sings with passion, especially the lines, “You cannot defy their will, but I would rather die than kill.” It’s not until the last verse when she mentions the apathy of a woman who stands by and watches a cat die that there might be a hint of the song being about mans violence toward lesser creatures, a theme that comes up in some of her other songs. The emphasize her point, the song ends with a distorted lead guitar line that takes us out of the song.

#28.) Glory – Building the Colossus (1994) – The third of nine songs from Building the Colossus to appear in my Top 40, Glory is the closing track, and is another song that tells of her love of animals. It’s a lovely, gentle song, with an odd opening that features conversations in the background and a slow fade in with some lovely bass work, and light percussion. Then a nice acoustic guitar propelling the verses forward. It’s a very simple track the was one of my early favorite songs. It’s got a great outro too, again highlighting the bass playing by Kevin Bartlett, and some great drumming by Jerry Marotta. It’s funny, Happy has said that Building the Colossus is an album that she can’t listen to because she doesn’t like the production. She says she likes some of the songs on it, but she feels that looking back it doesn’t hold up. Ironically, it’s the album that seems to be my favorite, as it has the most songs on this list, and the most songs (4!) in my Top 10! Just goes to show, there’s an audience for all of your work, Happy!

#27.) If I Ever See the Girl Again – Building the Colossus (1994) – I can actually see why Happy might be a little disappointed with the production on this song… it’s a little bit on the nose, sounding like the opening of The Addam’s Family. But the lyrical message is so great and spins out so cleverly, you can forgive any clumsiness in the song structure. When all is said and done, it’s actually damn catchy and fun, and ultimately triumphant. It starts off with Happy criticizing a girl she sees who she thinks is pathetic, and how if she ever sees her again, she will befriend her. It turns out, it’s adult Happy looking back on her younger self, and essentially accepting herself and loving herself. It’s actually pretty close to a pop song, and one that often catches the attention of people who hear it that don’t know Happy.

#26.) Ra is a Busy God – Many Worlds Are Born Tonight (1998) – Textures. Happy does wonders with textures, and nowhere more so than in this song. From the opening wind chimes and the sound of the crashing surf, and a morse code-type signal moving from left to right to the first keyboard washes and Happy’s plea for Ra to take her with him. Keyboards pop, bass riffs swoop, all while Happy celebrates the Egyptian god Ra, who rules over the sun, the sky, the earth, even the underworld. It’s playful, even while it’s atmospheric. The singer is longing for Ra’s attention, and she is envious of his friends, the moon, the rain, the wind. She could be an ancient worshipper in Egypt, or perhaps she is a modern-day human just glorying in a beautiful day. The fun sing-songy bridge adds a playful touch before some gentle electric guitar picking underscores some call and response between the different voices of Ms. Rhodes. I’ve included a live, acoustic, live version of the song because it shows how beautifully Happy’s songs are constructed so that they are beautiful in so many forms. And what a great percussionist!