The Wicked Games You Play: Afghan Whigs, The Weeknd and Drake

 

          xxxo              "your love is a drug to me baby"         xxxo

Everett True is always eloquent, but occasionally wrong:

“The Afghan Whigs write ‘songs for ladies. Cruel, fierce, enflamed swaggering, licentious songs that managed the neet trick of being explicit while still hinting at so much.” In the traditional sense, the hidden heartbreakers of Grunge do not make songs for ladies.

A scentific breakdown of the crowd at this reunion gig would suggest that their audience is made of predominately middle aged men.

 

Rather the Whigs write songs to women. Love songs. Spiteful, nasty and earnest love songs. When I started writing this it was 3am and I was reading True's outstanding grunge memoir "Live Through This." The following extract on the Whigs lead singer Greg Dulli clarified everything.

True discusses Dulli's “paradoxical belief in, and loathing for his own masculinity. He’d frequently flagellate himself inside his songs, and then go out and make the same mistakes all over again. Greg levelled in his sex, even while he tortured himself as to how he could be such a bastard”.

Watching the above clip, where the Whigs incorporate Drake into their live set (an also a brillant cover of Frank Ocean's Love Crimes), my recent obsession with the Whigs are other seemingly unrelated artists, became obvious. 

The Weeknd and Drake, can be lazily grouped as part of the post Kanye 808 ‘anti swag’ collection of singer/rappers. Rather than boasting about ‘moneys’ ‘bitches’ and ‘bling,’ these guys often choose to deal in debauchery, lust and heartbreak.   Just like the Whigs their songs are often gut-wrenchingly honest.

But honesty alone is not enough; how are we meant to relate - or to put up - with an artist such as Drake who simultaneously boasts and cries about having sex four times in a given week? True's analysis of the Whigs provides a solution saying that he (speaking about Whigs lead singer Greg Dulli): “has [the] male strut that sets him apart from his more self-conscious peers”

All of these artists respective songs are not the traditionally teenage love songs, or the indie winning boy wants girls gets rejected/does nothing (a nation whose anthem is the abominable and depressing “Creep"). Rather it's about the wicked games both parties play.

Crucially the characters in these songs usually get the girl. However, getting the girl is not the end of it . In fact, these songs explore romance and relationships as a drug, exploring emotions beyond mere self- loathing. 

Synonyms like addiction, numbness, guilt, power trips, helplessness, victimisation, are among many and are all part of the mix.

The point of this blog is not to make a cliched discussion concerning influences and the musical continum. It's likely that both Drake and the Weekend might have never heard of the Whigs.  Rather, what is important is the paradoxical thematic similarities of masculinity, swagger, helplessness and addiction, that make these artists’ often earnest and heartbreaking tunes so listenable.
 
It makes these songs toxically uplifting.  I will examine why this is so by surveying selected songs of the Whigs, The Weeknd and Drake, and looking at key lyrical components, themes and similarities, leading to an extrapolation of the idea of the "love as a drug." nbsp;

Afghan Whigs

"Ladies, let me tell you about myself I got a dick for a brain And my brain is gonna sell my ass to you now I'm OK, but in time I'll find I'm stuck 'Cause she wants love, and I still want to fuck"

Everett True “Know what was great about Afghan Whigs? The way you wouldn’t have trusted them even if they’d been your closest friends. The suits. The way Greg sounded like he’d kill for whomever he was singing about. The womanising. The compassion. The bellies. The soul. Those goddam bastards….”

I'm Her Slave

What is 'I'm her slave' about? drugs, womanizing or kinky sex? It doesn't really matter, they are one and the same.
 

Dulli's vocals begin strong and sinister; "call and ask your wife" delivered with utter contempt and  dominance.  This song chances.  The brilliance of ‘I'm her slave’ is revealed in its paradoxical chorus.  The power shifts with each repeat of the chorus: "I'm her slave,  But, I don't need no chains,  I'll behave." 

Love is the drug.  Whether or not his addiction to the characters sexual endeavours is satisfying, the narrator realises that the consenting female companion is not the only one being used. By the end, Dulli's vocals almost whimper in his indulgence and he again admits "I'm her slave."

The song explores the idea that whatever the topic, literal drugs or seeking a similar high through romance, the using of something as an object of lust is initially a powerful feeling.  He knows this addiction has a hurtful comedown.  It's the quintessential early 20’s male issue – love not as a teenage fantasy/dream but as an often drunken and regretful outlet: the 4am hookup.

When We Parted

When we parted is beautifully bitter:

 "Baby, I see you've made yourself all sick again, Didn't I do a good job of pretending. You're saying that the victim doesn't want it to end, Good, I get to dress up and play the assassin again."

The song (above live version, fluxed with Drake's ‘Over My Dead Body’) describes a torturous relationship, where both parties are unfaithful and volatile. In this emotionally sadistic relationship, truth of infidelities is used violently as a weapon: "If I inflict the pain, then baby only I can comfort you."  These sadistic elements are very common in the work of  Drake. (cf I Hate Sleeping Alone)

Tonight

(Mark Lanegan's excellent cover)

"Hey baby, there's a vampire moon Scaling the sky. Shine in your room... Your eyes are open. You got nothing to do. Come outside and play with me. Tonight... Follow me down to the bushes dear. No one will know. We'll disappear. I'll hold your hand. We'll never tell - Our private little trip to hell. Tonight... Can I walk you home tonight?"

Tonight” is the Whigs ‘I’m on Fire’. A classic tale of lust. Springsteen’s ‘I'm on Fire’ has often been considered implicitly dangerous and predatory as David Burke explores below:

“You can substitute “dangerous” for “disconsolate” in “I’m on Fire” … Russell Simmons of the Jon Spencer Blues Explosion has lauded it as “one of the best courtship songs ever… just a really sexy song about pursuing a girl and showing her you want to take care of her.” It makes me uneasy. Just as “Working on the Highway” hints at sexual violation of a minor, “I’m On Fire,” brief as it is, breathes heavily and threateningly with a kind of forbidden longing. There’s a sense that this guy could do anything to the “little girl” here."pg115 Hearts of Darkness: Bruce Springsteen's Nebraska (2012)

If the predatory nature of ‘I'm on Fire’ is implicit, then Dullis's questionable intentions slap you right in the face - especially with the repetition of the line "can I walk you home tonight".  Rather than romance, lust drives this courtship, and its outcomes left unresolved appear much more sinister.

The Weeknd

Wicked Games

"Listen ma I'll give you all of me, Give me all of it, I need all of it to myself "

This clip is a must watch. A sinister r'n'b update of Chris Isaak's clip of the same name. Abel Tesfaye (alias for the Weeknd) opens up with the spiteful line "I left my girl back home, I don't Love her no more", predicating that this is no simple love song. Again the narrator's lust for pleasure is insatiable: "Bring your love baby I could bring my shame Bring the drugs baby I could bring my pain."

The demented beat, incredible R-Kellish vocals, and earnest delivery make this song not only sinister but sexy. Again love or lust is equated to a drug, a release an escape and an addiction.  

Althought sad and empty and the core , the narrator's swagger creates an uneasy pertinent danger which making intoxicating and oddly sensual.  

Party and After Party

"I got a brand new girl call it Rudolph She'll probably OD before I show her to mama All these girls tryna tell me she got no love And all these girls never got a blow job Ringtone on silent And if you stop then I might get violent No calls worth stopping So mama please stop calling We could play all night It just takes one night To let me fucking prove this feeling I'ma give to you"

The Party and the After Party is a almost eight minute epic tale of drugs, girls an escape. Tesfaye sounds alluring, over a Beach-House sample, intertwined with breakdowns of truth. No sooner is Tesfaye seducing you with his swagger and sexiness by seducing a "brand new girl called Rudolph" (e.g. red-nosed with consumption), than guilt mixes with "she'll probably OD before I show her to mama."

This cocktail of drugs, guilt and girls bubbles with tension: "All these girls tryna tell me she got no love And all these girls never got a blow job Ringtone on silent And if you stop then I might get violent No calls worth stopping."

Party and the After party is cryptically volatile and seductive at the same time. The ideal of being used, (while doing the same) is apparent. In Tesfaye's words "They don't want my love, they just want my potential" 

Outside

"Oh I'm tellin' you this ain't the same, And I know he's still in your brain, I'm bout to burn that shit into flames, Once I'm in you baby"

The musical beat to Outside is reminiscent to the soundtrack of the 1989 movie adaption of Bret Easton Ellis' ‘Less Than Zero’. Like the movie, the template is blank, predatory and characters just as consumptive.

Against this backdrop the narrator boasts of his prowess, telling his partner to forget about her past lovers because he will "work her like a pro"..." and that "when I finished with you, you won't go outside."

The final stanza suggests that like alcohol or cocaine binge, the sexual encounter it a mere an outlet, an attempt to forgo the flames of past love: "All the pain that you feel you can tell that we ain't making Explain no love, But I'll pretend, Oh girl, I'll pretend, If you pretend then girl I'll pretend, Let's make it seem like we're all we need in the end"

Drake 

Marvins Room

"I've had sex four times this week, I'll explain"

“F-ck that nigga that you love so bad I know you still think about the times we had” I say “f-ck that nigga that you think you found And since you picked up I know he’s not around"

” I don’t think I’m concious of making monsters Outta the women I sponsor til it all goes bad But shit it’s all good We threw a party, yeh we threw a party Bitches came over, yeh, we threw a party

Marvin's room takes an drunken phone to an ex, as the starting point for a frank admission, of the emptiness of Drake's rap star life. The crux of the song is Drake trying to drunken convince an ex, who he is clearly not over to come be with him. His advances come across as desperate, and are ultimately unsuccessful.

Still Drake can't help himself but boast about his exploits ("I've had sex four time this week, I''v explain"/shit we ..."), injecting moments of male ego and pride in amongst an unsuccessful booty call.

Hate Sleeping Alone

"I was in love two years ago and gave the baggage to my ex It’s all for her to carry, bags she deserve to carry I hate that ho,"

"I say I'd rather be with you but you are not around So I'mma call somebody up and see if they be down Cause I hate sleeping alone,"

"If she can't work with all of me then she say she done with me You say that you over me you always end up under me"

"how dare you tell me it's tougher for you Like I don't hear about the niggas you fucking with, too"

Similar to the Whig's "When we parted" the past or "baggage" is seen as weapon here. Also too is the ability to 'cheat on' or sleep with another, his ability to do so, also given him this power to hurt. Drake also taunts his partner, whose apparently insisting of more of his attention"you say you over me but you always end up under me. "

But again, the victim changes, when Drake dwells on her indiscretions "how dare you tell me it's tougher for you, Like i don't hear about the niggas you fucking with too."

The initial confidence of the narrators sexual prowess, and the high it gives him provides him with power, but soon the paradoxical shame imposed leads to double standard accusations, and a wicked come down, just like any drug. 

Love as a drug

"You came to me this morning and you handled me like meat. You’d have to be a man to know how good that feels, how sweet" Leonard Cohen

The songs discussed all examine love as a drug, the consumption of which brings pleasure, pride and pain. These songs characteristically also deal with love as a physical urge or outlet. The masculine swagger of sexual conquest tinges with an alluring toxic confidence.

Once entangled further the lyrics often reveal an underlying catharsis from the male narrators; primarily concerns of guilt, loneliness and addiction.  Maybe only love can break your heart, but sleeping around, and messing with emotions can certainly fuck you up. It's the of paradox of masculine conquest and emotional numbness with make these songs work. This misogynistic paradox creates intresting contrasts of emotion;attraction and repulsion, coldness and sensitivity. Rather than a traditionally boy meets girl/boy wants girls these songs embrace the emotional complexity of tragic relationships, and the different phases and behaviours exhibited. The rawness of such conflict is unsettling, and demands your attention; a romantic high speed train wreck.

Interestingly enough some any popular artists are taking notice of the work of Drake and The Weeknd. Usher, better known these days as Justin Bieber’s daddy, is reportedly following a similar direction on his new album, but I am skeptical whether he can pull it off. Such deeply cathartic, toxic and honest songs can be hard to listen to. Personally I need convincing before I can legitimately enjoy listening to r'n'b stars whining about their sexual conquests. Those that succeed seduce. As The Weekend says: "He's what you want, I'm what you need".