Written by Natalie Merchant
Recorded by 10,000 Maniacs
 
In the late 80s, we Gen-Xers were treated to some beautiful song lyrics. Yes, hair bands like Dangerous Toys offered us songs like “Sportin' A Woody,” but artsy upstate New York, alt-hippy bands like 10,000 Maniacs gifted us with the kind of poetry found in “Like The Weather.” Singer, songwriter and front person Natalie Merchant gave us hope, even during the nastiest of weather and foulest of moods.
 
It’s one of my favorite songs about deep, terrible depression. It’s so quirky and fun! Gloomy weather symbolizing grim moods is nothing new in pop music. Twenty years earlier, in “Rain,” The Beatles made a case that it’s “just a state of mind,” and with proper encouragement, “the weather’s fine,” and it’s ok to come out of hiding to enjoy life. But this may not be the case with our protagonist, nor does she seem to have someone at hand to encourage her. Let’s jump in.
 
The color of the sky as far as I can see is coal grey.
Lift my head from the pillow and then fall again.
 
Some people might mistake the protagonist’s condition as weather-related, but this is a depressed person. As I type, it’s dark and wet outside, and yes, super-gloomy, but I’m not in bed. I’m working on my blog. 10,000 Maniacs are from Western New York, where Buffalo, Cleveland, Pittsburgh, Canada and Lake Erie team up to provide you with some nasty-cold winters. Surely, weather alone can’t stop them!
 
She notes that the only thing currently keeping her alive is involuntary breathing. She’s otherwise mentally checked out and drowning in misery. She’s shivering, quivering and crying. By noon, she has done nothing while others have already “put in half a day.” So let’s revisit that idea of receiving help from another – let’s get into that bridge!
 
Do I need someone here to scold me
or do I need someone who'll grab
and pull me out of this four poster dull torpor pulling downward?
 
First, let’s start with the obvious. Has anyone else ever used the word “torpor” in a pop song? Probably not. And another thing uncommon in pop songs of the time is admitting that you need help. I’m not sure scolding is the best method, but certainly a helping hand sometimes needs to grab a little firmer. But sadly, we never see her ask for help and instead:
 
I say my prayers nightly this will pass away.
 
Personally, I think human help is better. But don’t take it from me, because without help, without reaching out to a friend (hmm, that gives me an idea for my next blog post), you might continue to feel like:
 
The color of the sky is grey as I can see through the blinds.
Lift my head from the pillow and then fall again
with a shiver in my bones just thinking about the weather.
A quiver in my voice as I cry,
"What a cold and rainy day. Where on earth is the sun hid away?"
I shiver, quiver, and try to wake.

​--MJK

Written by Brian Wilson, Tony Asher and Mike Love
Recorded by The Beach Boys
 
Brian Wilson and company released some of the most beautiful, engaging, and innovative pop music of their time, and part of their genius was writing hit singles for an audience outside of their personal worlds.  Only one “Boy” surfed, they weren’t particularly tan, and by the time of the release of “Wouldn’t It Be Nice,” the band members were in their 20s and already knew how nice it is to be older. Lyricist and Pet Sounds-era collaborator Tony Asher was twenty-seven at the time. His lyrics are economical, yet natural and musical. It’s the story of young lovers who yearn for the benefits of an older relationship:
 
Wouldn't it be nice if we were older?
Then we wouldn't have to wait so long
And wouldn't it be nice to live together
In the kind of world where we belong?
You know it's gonna make it that much better
When we can say goodnight and stay together
…Oh, wouldn't it be nice?
 
While the song does not have a traditional-sounding chorus, it does feature refrains and clear ‘A’ and ‘B’ parts. After two runs through those parts, we most certainly get to the bridge, and what a bridge it is. Musically, it’s the kind of Pet Sounds, mid-sixties, trying-to-outdo-The-Beatles arrangement you’ve come to love. And not only does the sound and feel of the song change dramatically, so does the singer. Up until the bridge, Brian Wilson sings lead until he passes the mic to Mike - Love that is!
 
The bridge also offers a lyrical shift. Prior, the couple is grounded. They know, that even though it would be nice to have an adult relationship, they do not, and they’ll just have to patiently wait until they’ve finished high school. But in the bridge, wishes lead to hope, which leads to prayers, and then, there’s no turning back – they’re in fantasyland:
 
Maybe if we think and wish and hope and pray
It might come true
Oh, baby, then there wouldn't be a single thing we couldn't do
We could be married
And then we'd be happy
 
That is, until we modulate back with a “Oh, wouldn't it be nice?” and then, the most harsh of realities:
 
You know it seems the more we talk about it
It only makes it worse to live without it
But let's talk about it…

             …But wouldn't it be nice?

-MJK

​Written by Even Stevens
Recorded by Dr. Hook
 
Dr. Hook and the Medicine Show. With a band name like that, you know you’re in for some good tunes, and among them is “When You’re In Love With a Beautiful Woman.” They had officially shortened the name of the band to Dr. Hook by the time of this release, but I’m not into the whole brevity thing. Dr. Hook and the Medicine Show had a string of '70s hits written by numerous songwriters, including the multi-talented Shel Silverstein. In this case, “When You’re In Love With a Beautiful Woman” was written by Even Stevens. That’s his real name. He often collaborated with Eddie Rabbitt, also his real name. I say all this to further illustrate this unique and entertaining band and the creative world around them. Ok, let’s get into this song, and one of the most vulnerable and self-aware bridges on this blog!
 
“When You’re In Love With a Beautiful Woman” is a tale of romantic anxiety. Our protagonist is extremely insecure in his relationship. He scored a knockout, but he’s now worried that she’ll run off with one of his buddies:
 
When you're in love with a beautiful woman, it's hard…
Everybody wants her, everybody loves her,
Everybody wants to take your baby home.
When you're in love with a beautiful woman, you watch your friends…
 
Is he paranoid? Maybe not, because he soon notes:
 
You know that it's crazy, you wanna trust her,
Then somebody hangs up when you answer the phone.
 
People hang up for all sorts of reasons, right? Maybe he is overreacting, maybe his jealousy is getting the best of him. And this is where the bridge arrives, an opportunity for self-reflection for our tortured lover. Has his beautiful woman been unfaithful? Is he unfairly making assumptions? Will he ever feel at ease in this relationship?
 
Maybe it's just an ego problem
Problem is, I've been fooled before
By fair-weather friends and faint-hearted lovers
And every time it happens, it just convinces me more
When you're in love with a beautiful woman…
 
Yes, he’s been hurt, but if you’re not healthy enough to start a new relationship without carrying that baggage, maybe you should do more of that self-reflection until you’re in a better mental state. Or, stop being in love with beautiful women. Maybe date someone in a similar league. And get some better friends! No matter the case, this isn’t working out for you, dude. The song never concludes that she is indeed cheating, so we must then assume that this guy will continue to act paranoid and he’ll blow his chance with this beautiful woman, and maybe every woman after that.
 
For increased enjoyment, please find the video for this song. It’s a lip-synced performance and everything about it is lovely. Hey, what can I say? When you're in love with a beautiful bridge, oh, it never ends… 

-MJK

Written by Taylor Swift, Jack Antonoff, Sounwave, Jahaan Sweet and Keanu Beats
Recorded by Taylor Swift
 
“Karma” is many things to our song’s narrator, but mostly, it’s a celebration of not being an asshole. It’s tough always doing the right thing, especially when others aren't holding themselves to the same standard. If you’ve earned good karma, toot your own horn and stick it in the face of others. I support this - let’s jump in!
 
The protagonist wastes no time getting into it:
You're talking shit for the hell of it, addicted to betrayal…
You're terrified to look down
'Cause if you dare, you'll see the glare
Of everyone you burned just to get there
 
While this person is burning others, the protagonist has kept her “side of the street clean.” And she knows that a clean street is a direct path to the benefits of good karma. Good karma is everything: a boyfriend, god, and a breeze through your hair on the weekend. But perhaps no comparison expresses the awesomeness of good karma as much as:
 
Sweet like honey, karma is a cat
Purring in my lap 'cause it loves me
Flexing like a goddamn acrobat
Me and karma vibe like that
 
You know who doesn’t vibe with karma like that? Whoever the dipshit is she’s singing to. He’s described as a “spider-boy” and a “king of thieves.” This guy will get what he deserves and karma will hunt him down like a bounty hunter.
 
So how did our protagonist get to the point of vibing like this, how does she know how to keep her side of the street so clean, and why has she endured while others have failed? The answer is in the bridge!
 
Ask me what I learned from all those years
Ask me what I earned from all those tears
Ask me why so many fade, but I'm still here
 
It’s challenging to separate the author from the narrator. My default is to make no assumptions and take any first-person narrative song as fiction. But at times, for context, it’s worth considering the author. Swift often draws from her own life, career and celebrity. And despite the countless haters, she does seem to keep her side of the street clean, and she has endured. I’m sure she’ll give us many more great bridges in the future – until then, I’ll be vibing with my cats and good karma.

-MJK

Written by Ray Davies
Recorded by The Kinks

I first heard “Lola” while in middle school. I loved the song immediately, but it took many listens, and maybe a few years, to truly understand that this is a song about love conquering all.

Our narrator is a young man, fresh in town and a virgin in every sense of the word. And then one night at the club, he lays his eyes on Lola. She asks him to dance, and he happily obliges, but quickly becomes confused:

Well, I'm not the world's most physical guy
But when she squeezed me tight, she nearly broke my spine
Well, I'm not dumb, but I can't understand
Why she walks like a woman and talks like a man
Oh, my Lola
​Lo-Lo-Lo-Lo-Lola

The listener knows long before he does that Lola is trans. At this point in my life, it's the 1980s, and the language of that time was limited to a few hateful sentiments. Trans people were portrayed as predators or punchlines. This was an unfortunate trope in 1980s entertainment. Still far from being a developed human being, I quickly made the assumption that this song followed suit. But over additional listens, I was drawn into what happens to our narrator during the bridge.

After some drinks and dancing, Lola invites the narrator to go home with her. Despite not being “the world's most passionate guy,” he looks into her eyes, but just before he allows himself to say “yes,” he panics. This act of love is against everything he knows and has been taught. And this is when we get to the bridge.

I pushed her away
I walked to the door
I fell to the floor
I got down on my knees
Well, I looked at her, and she at me

His heart wouldn’t let him leave the club – not without Lola. He's in love and he wants to be with her. It’s as simple as that and it’s beautiful. This shook-up world is more muddled and mixed up than ever. So love who you are and love who you love.

The bridge is wonderful for many reasons. Lyrically, it represents a change of heart and a change in the way one thinks. That’s a whole lot in just five short lines. It’s a bridge with intention, driven by the story. No surprise from Ray Davies. Perhaps we’ll circle back to some more Kinks on the Best Bridges Blog. Until then, go enjoy some champagne. I hear it tastes just like Coca-Cola (C-O-L-A!)

-MJK

Written and Recorded by Guns N’ Roses
 
In my opinion, Guns N’ Roses were the ultimate 80s hard rock/metal band. They may not be my favorite, and they surely have not produced as much material as other bands of their time, but it appeared that with the release of “Appetite for Destruction,” the recipe had been perfected. They had the glamour of the hair bands and pretty boys, but also the authenticity of their heavier, dirtier compatriots. They looked good and probably smelled bad. This is where music had finally gotten to by the late 80s. And the ultimate band must have their ultimate introduction: “Welcome to the Jungle.” What a debut.
 
The narrator of this song has been around the jungle for some time, a dark soul, equipped with some sort of evil serpentine, most likley, his penis. He welcomes an innocent newbie to the scene and promises her that after some “fun and games,” she’ll be on her knees, bleeding – and he wants to watch!  
 
The jungle is full of animals, and whether it’s addiction or a blind desire to be famous and live the high life, these animals prey on your weaknesses.  And if the song was not already completely awesome, then comes the bridge.
 
The half-time and cleaner guitar sounds immediately make it feel like a bridge, and the lyrics could not be clearer: 
When you're high
You never ever want to come down
So down
so down
so down
 
The bridge could have ended here, but thankfully, it does not. What follows is a brilliant musical interlude that tells the story of a downward spiral. It starts on the “so down” refrain with the return of syncoptated rhythms and heavier guitars, then it’s a beautiful guitar-solo (this is Slash’s second guitar solo in the song so far – that’s cool!), and then there’s breakdown guided by McKagen’s driving bassline, and finally, Axl is back to announce:
 
You know where you are?
You're in the jungle, baby
You're gonna die
 
And then we’re back into the chorus. That was quite a bridge. My words do it little justice. Go listen. Is this the best debut bridge? I haven’t thought about it before. I will get back to that in the comments. Until then, enjoy the jungle!

-MJK

Written by Freddie Mercury
Recorded by Queen
 
Somebody to Love is an overwhelmingly brilliant song. I was a bit intimidated to write about a masterpiece like this, but here we are, so let’s jump in! Firstly, this song is about one’s desperate search for love. But it’s also a song about questioning one’s faith. While I try not to look too deep into the author’s life, in this case, I think it’s important to consider that this song was written from the perspective of a gay man, and his search for love carries many more challenges – as does keeping one’s faith according to the restrictive guidelines of traditional religions.
 
We learn that our narrator is extremely depressed. He feels like death every morning, can hardly get out of bed, and cries when he looks at himself in the mirror. He tries so hard to be a man of faith, but he feels betrayed by his God:
 
Lord, what you're doing to me?
I have spent all my years in believin' you
But I just can't get no relief, Lord
 
God has not delivered, and despite his unwavering faith and hard work, by nighttime, his prayers are still left unanswered. Feeling abandoned by God, he shouts, “Can anybody find me somebody to love?”
 
And then we get to this marvelous bridge. John Deacon’s bass leads the way into the bridge and keeps things fun throughout, as the protagonist once again informs us that he works hard - but still, he gains no support from those around him. Instead, he’s met with criticism, insults and accusations about his mental state:
 
Everybody wants to put me down
They say I'm going crazy
They say I got a lot of water in my brain
I got no common sense
I got nobody left to believe
 
But he’s not crazy, he’s exhausted by society’s treatment, and the bridge is his time to express this. Our protagonist feels forsaken and alone, and nothing mirrors this more beautifully than Brian May’s guitar solo that brings us from bridge back to verse.
 
The outpouring of emotions during the bridge has served him well. With his pain expressed, he's once again grounded enough to look back towards the heavens. While he still feels a bit out of step with this world, he’s ok, he’s alright, and with the help of his Maker, he assures us that he will shake off the constraints of society and find the love he deserves:

I ain't gonna face no defeat
I just gotta get out of this prison cell
One day I'm gonna be free, Lord!
 
Mercury revisited this theme a year later with the classic, “We Are The Champions,” a song that, in addition to being a sports arena classic, is about the struggles of surviving in a homophobic world. While “Somebody To Love” introduces the metaphor of the prison cell, in “Champions,” he's finally free after he’s completed his sentence, despite having committed no crimes. And while he declared he wouldn’t face defeat in “Somebody,” he was still alone in his fight. By the time we get to the 1977 single, “I” has grown to “we,” and this former prisoner is now among champions. I’m hoping that this champion found his somebody to love.

-MJK

Written by Barbara Baer, Elliot Greenberg, Doug Morris and Robert Schwartz
Recorded by The Chiffons
 
In a hurry? Do you like short bridges? This might be the shortest! Let’s get right to it!
 
We start with our protagonist warning her fellow ladies that this Sweet Talking Guy is nothing but a lying, cheating player, and if you fall for his sweet lies, all you’ll get is hurt. Sure, he’ll romance you, but keep in mind that “he'll send you flowers and paint the town with another girl.”
 
This all seems like good advice – such good advice that you’d assume she knows enough to stay away, but by the end of the second chorus, she declares that “he's my kind of guy.” Hmm. Is she ignoring her own good advice? Or is the talk just too sweet to resist? Let’s see what she has to say in the bridge:
 
Why do I love him like I do?
 
I knew it, the talk is just too sweet to resist! She can’t help herself. At least she’s honest about it. I respect that. And I love this succinct, confessional, breakdown-style bridge. Once again, the bridge has illuminated a side to our protagonist unavailable elsewhere in the song.
 
While “Sweet Talking Guy” remains in rotation on the Oldies stations, The Bronx’s The Chiffons scored even bigger hits with “He’s So Fine” and “One Fine Day.” And both of these fine songs have fantastic bridges. Perhaps we’ll cover those soon – until then, talk sweet to me! 

-MJK

Written by Richard Leigh
Recorded by Crystal Gayle
 
Crossover Country Pop singer Crystal Gayle is well-known for three things: being the sister of Loretta Lynn, her iconic floor-length hair, and her huge hit “Don’t It Make My Brown Eyes Blue.” It’s a song of love-gone-bad, nothing new here at Best Bridges Blog, but there are a few things that make this song special. Starting with the title – a colorfly poetic and perfect metaphor. And while the bridge may seem standard in composition and sentiment, there is something a little more fun happening with this song.
 
We learn that our protagonist’s lover has left her for another and all she’s been doing is crying. We’ve all been there and we’ve all written songs about it.
 
Don't know when I've been so blue
Don't know what's come over you
You've found someone new
Don't it make my brown eyes blue
 
Clocking in at a little over 2:30 minutes, the song quickly gets to the bridge.
 
Tell me no secrets, tell me some lies
Give me no reasons, give me alibies
Tell me you love me and don't let me cry
Say anything but don't say goodbye
 
Ok, she’s asking to be lied to. The truth is too painful and she’d rather be oblivious than be alone. The bridge is her safe place for denial. Decent bridge, right?
 
But when we get to the third verse, our protagonist is no longer in denial, and comes to reveal some hard truths about herself. She accepts the blame for her actions. She treated her lover poorly and took them for granted.  By the end of the song, her brown eyes are no longer turning blue because she’s been hurt, but because she’s regretful of how awful she treated someone she loves and she knows she's responsible for the end of their relationship.
 
The third verse of a pop song doesn’t often reveal new information. Frequently, the third verse is just a repeat of an earlier verse. But in this case, we not only get a nifty turn with the bridge, we enjoy a twist ending. Not a crazy twist, but not what I was expecting. What do you think? Leave a reply and don’t you leave my bridges blog blue!
 

Written by John Lennon and Paul McCartney
Recorded by The Beatles
 
No Reply is a classic song about unfaithfulness, suspicion, jealousy and heartbreak. While more Lennon than McCartney, the song is a beautiful example of The Beatles' blossoming songwriting as they entered the mid-1960s.
 
Our protagonist is trying to track down his girl, but the gatekeepers that share her home (parents, roommates, landlady?) tell him that she’s not there. He’s called, he’s knocked on the door, but the answer is always “get lost.” But he knows she’s there. Not only can he see her through a window, he just watched arrive home – escorted, “hand in hand with another man!” My heart drops just thinking about it. She might as well have just walked across his face like the doormat she thinks he is. But is he? Does he somehow possess the strength to tell her exactly how he feels? Let’s go to the bridge!
 
If I were you, I'd realize that I
Love you more than any other guy
And I'll forgive the lies that I
Heard before, when you gave me no reply
 
We enter the bridge with a shift in instrumentation and arrangement, and there are a few things happening. The rhythm moves from a swingy bossa nova groove to a straight-up rock n’ roll beat, aided by hand claps on every beat and a driving piano part, courtesy of producer George Martin. McCartney’s intense and beautiful harmonies add to this clear and definite message: “Stop this deceit and listen to me! Can’t you see a good thing when it’s right in front of you?”
 
The pain is tangible, his message is commanding, but while the music remains this way throughout the bridge, does his message stray? Halfway through the bridge, he’s already promising her forgiveness? You can feel his confidence wane. And when we get to the word “before,” it’s all crystal clear: that pain has not gone away, and despite his pleas, he knows she will hurt him again. There is something about McCartney’s harmony on the word’s second syllable, “fore.” It’s so sad. I feel so bad for this guy.
 
And as soon as the bridge moves into the final verse, he’s back on the phone, he knows she’s there, but he’s once again informed that she isn’t home. Lies!
 
While “No Reply” has my favorite bridge from my favorite band, it doesn’t mean that it’s the best of the Best Bridges Blog, but it’s close. We have many more bridges to cross but for now, if you leave a comment, I promise, I will reply.  

-MJK