Hüsker Dü broke with the anti-traditionalist ethos of most early hardcore bands. Their early songwriting shows the influence of folk, 1960s pop music, blues, and other forms (although often buried under a thick layer of angst and aggression), and has a strong melodic sense. The lyrics made astute, sharp, personal and social commentary, showing a great deal of vulnerability and sympathy for their subjects. Hüsker Dü's songwriting was widely admired, and their live shows were often a venue for brilliant improvisational playing. (A feedback-laden solo guitar performance from an early-'80s soundcheck tape merited release via the avant-garde Telus Magazine.) Hüsker Dü were also, however, widely regarded as somewhat unusual-sounding in their early prime, due to the instruments' non-standard tones: Mould's guitar is described below, while Hart's drums were considered 'thumpy' (and he consistently played slightly behind the beat); Norton played bass fairly laconically even at fast tempos, using his fingers rather than a pick. The band's sound can be considered an organic synthesis of these elements -- a unit that was quite powerful in combination, yet perhaps difficult to parse singly.
A particular strength of the group was the two powerhouse singer/songwriters, Mould and Hart. The tension between their musical styles (Mould was generally the angrier songwriter, Hart the more melodic one), and their willingness to collaborate, made the sum of their contributions greater than their parts. Another strength was Mould's unique, resonant guitar sound, described by a critic at the time as "molten metal pouring from the speakers." Mid-period Hüsker Dü songs are immediately recognizable via Mould's incandescent guitar tone, achieved by splitting the signal in the studio between amplified and direct tones and adding a light stereo chorus effect. Mould's technique involved playing resonant drone notes on the high strings. Although a trio, Hüsker Dü generally sounded extremely large on record and live.
The group is also notable as one of the first 1980s American underground rock bands to contract with a major record label, a move that blazed the trail for the rise of alternative rock a few years later. Another key Minneapolis band who served as an alternative rock icebreaker was The Replacements, who had a friendly rivalry with Hüsker Dü.
Mould has gone on to release other albums, including a recent solo double album release called Body of Song. Prior to that he took a stint as a writer for World Championship Wrestling (WCW) scripting scenarios and fights.
Grant Hart died from cancer on September 14, 2017.
She's a Woman
Hüsker Dü Lyrics
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Into a belvedere with a trailer pulled behind
Well, things didn't go exactly as they planned, no, no, no
She's a woman and now he is a man
Well, there's a vacancy between them ever yday
And a sense of guilt that's not going away
And when they get older perhaps they'll understand, oh, oh, oh
And now he's into something that her heart cannot forgive
She's saying to herself, "this is not the way to live"
Well, he'll never listen to her 'cause his mind is like a sieve
Oh brother, oh brother, I'm telling your sister
No way can I resist her
With a guilty feeling hanging in their brain
And when the two of them are potentially insane
Well, they've had enough, which is more than they can stand, oh, oh, oh
'Cause she's a woman and now he is a man
I can see her loading boxes in my mind
Into a belvedere with a trailer pulled behind
Well, things didn't go exactly as they planned, no, no, no
She's a woman and now he is a man
She's a woman and now he is a man
She's a woman and now he is a man
She's a woman and now he is a man
She's a woman and now he is a man
The song "She's A Woman" by Hüsker Dü is a poignant reflection on gender roles and relationships. The opening verse features the singer imagining a woman loading boxes into a car with a trailer, indicating a sense of hard work and perhaps a sense of displacement. It is clear that something did not go according to plan, and the singer notes that the woman has transitioned to being a man. This transition may be a literal one or may represent an emotional shift in the woman's life.
The second verse addresses the space between the two characters and the sense of guilt that permeates their relationship. As they age, they may come to understand the complexities of their situation, but it is clear that they are struggling to come to terms with it at the moment. The third verse deals with the man's inability to listen to the woman's needs and desires, and the sense of guilt that both of them feel is almost overwhelming. The final chorus echoes the first, ending with the refrain that the woman has become a man.
The lyrics of "She's A Woman" are open to multiple interpretations, but the song is clearly intended to be a reflection on the way that gender roles can shape our lives and relationships. It is a powerful commentary on the ways in which societal expectations can both harm and liberate us, and it is a reminder that there is often a great deal of complexity and nuance in every human interaction.
Line by Line Meaning
Well, I can see her loading boxes in my mind
The singer can vividly imagine the woman he's singing about moving boxes into a car with a trailer attached.
Into a belvedere with a trailer pulled behind
The woman is loading boxes into a type of car called a belvedere, which has a trailer attached to it.
Well, things didn't go exactly as they planned, no, no, no
Something went wrong in the relationship, which didn't turn out the way they wanted it to.
She's a woman and now he is a man
The male partner in the relationship has become a man, while the female partner is still referred to as a woman.
Well, there's a vacancy between them every day
There's an emotional distance between the partners, which they feel on a daily basis.
And a sense of guilt that's not going away
Both partners feel guilty about something, but that feeling is not diminishing over time.
And when they get older perhaps they'll understand, oh, oh, oh
The hope is that when they're older, they'll be able to understand each other better and work through their issues.
And now he's into something that her heart cannot forgive
The male partner has done something that the woman can't forgive, which is causing a rift in their relationship.
She's saying to herself, 'this is not the way to live'
The woman is realizing that the current situation is not working for her and is not how she wants to live her life.
Well, he'll never listen to her 'cause his mind is like a sieve
The male partner is not listening to the woman's concerns or feelings, possibly due to forgetfulness or a lack of empathy.
Oh brother, oh brother, I'm telling your sister
The singer is speaking to the male partner's sibling or friend, informing them of the situation from the woman's perspective.
No way can I resist her
The artist may have feelings for the woman, or could simply be acknowledging her strength and resilience in the face of a difficult situation.
With a guilty feeling hanging in their brain
Both partners are consumed with guilt, possibly related to their actions or feelings towards each other.
And when the two of them are potentially insane
The situation is causing both partners to feel like they're losing their minds, or acting irrationally.
Well, they've had enough, which is more than they can stand, oh, oh, oh
The partners have reached a breaking point and can't endure the situation any longer.
'Cause she's a woman and now he is a man
The repetition of the refrain emphasizes the idea that the two partners have grown apart and are unable to understand each other's perspectives.
Lyrics © BMG Rights Management
Written by: GRANT HART
Lyrics Licensed & Provided by LyricFind