If there is one thing that Sarah Jaffe will never have to contend with it is the idea that she is a female singer for females. There once was a time that being a female singer meant you would undoubtedly be put into an all too snug box. Is she an angry singer? An activist singer? A singer for the victimor the singer your mom bonds with you over? To be honest, when Sarah’s new CD Suburban Nature was released on May 18th she inserted herself into and destroyed all those boxes simultaneously, because Sarah is a truth singer...and no matter who or what we are we all need and want our singers to be truth singers. Jaffe’s words and voice seem like they are speaking to you, only to you, yet they contain a universal appeal evidenced by the fact that she has recently toured with Midlake and Norah Jones -- two completely different audiences who Jaffe, equally endearing and confident, easily won over.
Growing up in Red Oak, Texas, might not be ideal circumstances for breeding the kind of talent that is encompassed in Sarah’s songs, but it does beg the question of nature verses nurture. What we have in us before we are even us, and what we interpret because of life circumstances. Writing since her early teens, many of the songs featured on Suburban Nature were written long before she could even enter the clubs where they are now performed.
Interestingly enough the first single “Vulnerable,” was written when Sarah was only 17, long before even the material on her first EP, the acclaimed Even Born Again, was produced. Even so, it comprises everything that matters about her voice. If there is one thread that flows through all of Sarah’s work, it is grappling with the self-serving cycles that are in all of us, and the aftermath that those needs deal out. “I’m a fan of life’s wicked ironies. These things that reveal the truth from an aerial view nowhere near your perspective of the situation, and through these realizations you find redemption.” And so it is with Suburban Nature.
From opening track “Before You Go,” everything sounds as wide and deep as the Grand Canyon, the sonic spread covering every degree of the mix. It’s thick enough to feel when you breathe, but spatial enough to allow for the one thing that truly matters with singer/songwriters: their voice. When talking to the album's producer and engineer John Congleton (St Vincent, Polyphonic Spree, Explosions in the Sky, Clinic) about the spacious feel of the album, he had this to say on the matter: “I think it was intentional. Both Sarah’s and my feelings on this was that the vocal should be the focal point have as much space as possible, while the music provided an emotional backdrop.”
Skilled players such as Kris Youmans - cello (Bill Callahan, The Paper Chase, Micah P Hinson) Becki Howard – violin (The Crash That Took Me) Jeff Ryan – percussion (The Baptist Generals, St Vincent, Pleasant Grove) and Robert Gomez - guitar (as himself) provide this essential emotional backdrop. Just take a listen to “Pretender” for an example of the power and talent contained in this group of players. Layers of moveable music float in, out, under and over lines such as “So here we stand, like flowers in the cold, wilt and wither/Here's your chance/Tell me what you want/I'm a forgiver.” In other situations the group provide the perfect backbeat so Sarah is free to spin yarn that might not always be fact, but like we said, is certainly truth.
On “Clementine,” she sings, “We were young, we were young, we were young, we didn't care.” Although only 24 you actually believe her. You believe her because you believe that no matter what her actual age, she lived through the war of a relationship or fifty that aged her to her core, and now her soul speaks to yours in the places where you have aged, and set down roots that flow as grid in a suburb becoming part of your nature. This is why we need singers like Sarah Jaffe and albums like Suburban Nature: We need a truth singer to be a soothsayer, and help heal us in the broken places of our time.
Since the release of Suburban Nature, Sarah has toured constantly, hitting both Europe and the US with Midlake, as well as supporting such varied artists as Norah Jones, Lou Barlow, Centro-matic and Old 97s. “Clementine” Sarah’s debut single reached the #1 spot at various radio stations including Austin’s influential KGSR and Sirus’ Spectrum. Sarah and Suburban Nature landed in many 2010 “Best of Lists” including: Paste Magazine’s 10 Best New Solo Artists, 50 Best Albums, and 50 Best Songs; Amazon.com’s Best Albums and Song’s; USA Today’s Pop Candy 100 People of 2010.
Sarah released The Way Sound Leaves a Room, a CD/DVD combo in Fall 2011. In early 2012, Sarah released the follow up to Suburban Nature, The Body Wins.
Halfway Right
Sarah Jaffe Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
In the summer
Which was slaughter
And in a way to pull a piss
And oh it's something different
So I got off of the boat,
Jumped into the lazy river
Between jealousy and lust
Sought to get you off just to let me slide
I make it seems not hard to seem halfway right
And you got there see it from the outside
It's really just a matter of playing the victim right
Right, right
Playing the victim right
Right, right
For the first time in his whole life
I see where doom lies
I lay my palms out right
And we both can instigate
But I know the roads we'll take on
And there's a thousand different ways,
Bear my weakness in your kingdom
Though I think it's fair to say
I'm strong enough to lean on
Things are not the same, not the same, no
Things are not the same, not the same, no
Sought to get you off just to let me slide
I make it seem not hard to seem halfway right
And you got there, see it from the outside
It's really just a matter of playing the victim right
Right, right
Playing the victim right, right, right
Playing the victim right, right, right
Playing the victim right, right, right
Playing the victim right, right, right
"Halfway Right" by Sarah Jaffe is a song about self-reflection and the complexity of relationships. The lyrics depict the singer's attempt to navigate the ups and downs of a romantic relationship. The first verse describes a moment of relief from the heat of summer, with the singer finding a cold spot in the water that ultimately turns out to be a disappointment. This can be interpreted as a metaphor for the singer's disappointment in the relationship, and their attempt to find comfort in something that ultimately doesn't suffice.
The chorus of the song, "Sought to get you off just to let me slide, I make it seem not hard to seem halfway right," can be interpreted as the singer's internal conflict of wanting to end the relationship but also wanting to maintain a semblance of normality. The singer recognizes that they are playing the victim, but they are willing to do so in order to make the situation seem less difficult than it actually is.
The second verse discusses the complexity of the relationship and the singer's uncertainty about where it will lead. Despite this uncertainty, the singer is willing to bear their weakness and lean on their partner when needed. The song ends with a repetition of the chorus, emphasizing the singer's struggle to be truthful with themselves about their feelings and the dynamics of their relationship.
Line by Line Meaning
Found a cold spot in the water
I discovered something unexpected and uncomfortable
In the summer
During a time that is typically associated with warmth and positivity
Which was slaughter
The discovery was harsh and brutal
And in a way to pull a piss
I acted impulsively without thinking about the consequences
And oh it's something different
This experience is unlike anything I've had before
So I got off of the boat, jumped into the lazy river
I made a spontaneous decision to leave my comfort zone and take action
Between jealousy and lust
I struggled with conflicting emotions
And made fine incision
I made a precise and deliberate move
Sought to get you off just to let me slide
I tried to shift blame for my actions
I make it seems not hard to seem halfway right
I'm trying to justify my actions, even though they were not entirely correct
And you got there see it from the outside
Others can see through my facade and recognize that I'm not being genuine
It's really just a matter of playing the victim right
I'm trying to manipulate others into feeling sorry for me by presenting myself as a victim
Right, right
This is the truth
For the first time in his whole life, I see where doom lies
I've realized the gravity of the situation and the potential consequences
I lay my palms out right
I'm being honest and transparent
And we both can instigate, but I know the roads we'll take on
We both have a role in this situation, but I'm aware of where we're headed
And there's a thousand different ways, bear my weakness in your kingdom
There are many paths we could take, but I'm willing to accept my vulnerability and rely on you
Though I think it's fair to say, I'm strong enough to lean on
Even though I need your support, I'm capable of being independent and standing on my own
Things are not the same, not the same, no
The situation has changed and is no longer as it was before
Sought to get you off just to let me slide
I attempted to avoid consequences for my actions by blaming someone else
I make it seem not hard to seem halfway right
I'm trying to present myself as partially correct, even if I'm not entirely in the right
And you got there, see it from the outside
Others can see through my deception and recognize the truth of the situation
It's really just a matter of playing the victim right
I'm trying to manipulate others into feeling sorry for me and absolving me of responsibility
Right, right
This is the harsh reality of my actions
Playing the victim right, right, right
My attempts to manipulate others into feeling sorry for me and excusing my behavior
Contributed by Hunter D. Suggest a correction in the comments below.