I’ve been watching a lot of musical documentaries recently. I find music-themed biopics mostly irritating, but I love straight up documentaries. We just finished one on the band Fanny (average documentary, but cool band) and just started one on Tina Turner.
Disc 1547 is…. Indestructible Machine
Artist: Lydia Loveless
Year of Release: 2011
What’s up with the Cover? An artist’s rendition of Lydia Loveless as an Indestructible Machine. You know you’re indestructible when you’re drinking a can of what appears to be electrified gasoline.
If you’re tempted to say, “I’ll have what she’s having” I would suggest you reconsider.
How I Came To Know It: I went to see the Mountain Goats live in Portland back in 2019 (the last year when such things were a thing). The opening act was Lydia Loveless, so before I left for the show I check out her music on Youtube to familiarize myself.
As it happens, a bunch of rude hipsters talked through her opening act, making it impossible to hear, but I did like the albums I checked out, and bought a bunch of them in local Portland record stores when I was there. This was one of them.
How It Stacks Up: I have five Lydia Loveless albums. Of those I have to put “Indestructible Machine” at #1. Best of the bunch.
Ratings: 5 stars
Lydia Loveless isn’t just an old soul, she’s a weathered and road-weary one. Even though she recorded “Indestructible Machine” at the tender age of 21, this record has a patina of hurt it usually takes a good decade of hard living to accumulate.
Loveless’ style is a mix of rockabilly, country, Americana and more than a bit of good old punk rock snarl. In fact, the second track, “Can’t Change Me” has that same anxiety-inducing “Dunt! Dunt! Dunt! Dunt!” from the Clash’s “London Calling”. That punk aesthetic is more than backed up by the lyrics, which are a visceral snarl of someone making bad life choices and refusing to do anything about it.
“Well, I had a lot to say last night, I’m sorry, did I say that to you?
Well, I talk so much shit that I forget who I’m talking to
Cause my mouth is like a sinking boat
I keep throwing words out, hoping I can keep afloat
But the more I try to dry out, the more I get soaked”
This verse also introduces the theme of hard drinking, which features on most if not all of the tracks. “More Like Them” is a wish for moderation and normalcy (whatever that is). “Jesus Was a Wino” brings Jesus into the argument in favour of choosing excess instead. Jesus also features in “Can’t Change Me” as the conversation shifts from between two people to a chat with God as things begin to fully unravel. He’s the second most commonly recurring character, after the bottle.
While the record can have a flailing and desperate quality, Loveless makes all of her artistic choices with care and deliberation. She’s wild and crazy in the moment, but make no mistake – these songs are crafted works of art. She straddles multiple musical styles, bending each to her will. The songs I’ve noted so far are master classes in punk/country mixology, but Loveless is just as adept at playing it straight. On “How Many Women” and “Learn to Say No” she plays it as country as a latter-day Loretta Lynn, full of twang and heartache.
“Learn to Say No” is a masterclass on alcoholism, as Loveless’ character opines, “Why does it take so much out of me to be this weak?” and observes that casual drinkers “don’t know what it’s like to say no” and what that expression means to someone with an actual problem. It is powerful, heartbreaking and illuminating all in one.
For all the hurt and snarl, my favourite song on the record is the funniest. “Steve Earle” is a song that Loveless has noted at length in interviews is not actually about Steve Earle, but rather an amalgamation of a character of an unwanted suitor. Well, it may not be about Steve Earle, but it is easy to imagine otherwise, and a hell of a lot more fun as well.
“He says he isn't hittin' on me, he just wants to write some songs
And I keep askin', "Steve, would you please introduce me to your
son?"
Because he read an article that said, oh gee, I guess I drink a lot
And now he's buyin' all my drinks so I can't seem to get off the sauce”
It fits nicely with Earle’s self-confessed fearless heart falling for a young chanteuse and as for that line about preferring the son all I can say is…ouch! Also, note the ever-present drinking theme. I hope Steve Earle has heard this song, not just because of the topic, but because it is such a God damned perfect song, something Steve’s written more than a few himself.
And before I go, I’d be remiss to not note Lydia Loveless’ voice. Smooth and pure of tone it is not. Her voice has a twist of pain throughout, peeling, and powerful and perfectly suited to the unabashed honesty of the type of songs she writes. This record will seduce you, pull your heart out, and then forget your name in the morning while it pulls its combat boots on and leaves without breakfast. Yes, you’ll feel a little bad after listening, but you’ll be glad you did it all the same. Bitter-sweet perfection is still perfection.
Best tracks: All tracks
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