Ambition was never the Pastels' strong suit, and luck was rarely on their side; as the group's members -- now including bassist Martin Hayward and drummer Bernice Simpson -- devoted their primary focus to their studies, new music appeared only sporadically and to little notice, on a seemingly random series of labels. After 1983's "I Wonder Why" was released on Rough Trade, they moved to Creation, where they hit their stride with the 1984 drone-pop gems "Something's Going On" and "A Million Tears." After one further single, 1985's "I'm Alright with You," the Pastels split with Creation, moving to the tiny Glass label. In 1986, their track "Breaking Lines" appeared on the influential C-86 collection assembled by the New Music Express, transforming the anorak movement into an overnight media sensation quickly accompanied by intense critical backlash.
Regardless of prevailing musical trends, however, the Pastels soldiered on: after recruiting one-time Shop Assistants keyboardist Aggi Wright, they recorded the 1986 single "Truck Train Tractor," followed by Crawl Babies and Comin' Through. Finally, in 1987 the group found time to assemble an LP, Up for a Bit with the Pastels, followed in 1988 by Suck on the Pastels, a collection of unreleased Creation-era material. In 1989, former Vaselines frontman Eugene Kelly and ex-Shop Assistant David Keegan joined the fold for Sittin' Pretty, the final LP to include Superstar, Hayward, and Simpson. The remaining duo of Pastel and Wright expanded to include Katrina Mitchell for the 1991 collaboration Jad Fair and the Pastels, followed by the 1994 EP Olympic World of Pastelism. Their third album, Mobile Safari, was released in 1995 by Domino in the U.K. (which began a long-running alliance) and Up Records in the U.S. It featured a lineup including longtime band associates Norman Blake and Gerald Love (both from Teenage Fanclub) and ex-Shop Assistant guitarist David Keegan, and a guest appearance from Luna's Dean Wareham.
Their next album, 1997's Illumination, was issued by the same configuration of record labels and featured a similar lineup, only with the addition of guitarist Jonathan Kilgour and guest shots from Belle & Sebastian's Isobel Campbell and pianist Bill Wells. A remix album, Illuminati, was released in 1998 and featured reworks of tracks by Kevin Shields, Stereolab, Cornelius, and other A-list indie rockers. This burst of recognition and activity was derailed when Wright decided to leave the band in 1998, throwing Mitchell and Pastel into a spin. Instead of jumping back into making music right away, the band went on hiatus while figuring things out. The duo next formed Geographic Records in 2000 as an offshoot of Domino, and began releasing records by friends (Future Pilot AKA, International Airport) and obscure acts (Nagisa Ni Te, Maher Shalal Hash Baz.) The band reappeared at last in 2003 with the mostly instrumental soundtrack for the film The Last Great Wilderness. The album was produced by the Sea and Cake's John McEntire and featured International Airport's Tom Crossley along with a vocal feature for Jarvis Cocker. A friendship with Japanese band Tenniscoats led to their next release, 2009's collaborative effort Two Sunsets. The core band was expanded to include Crossley and Mitchell's sister Alison, with Love still there, too. With the record label slowing its pace and releasing one album a year, the band turned toward recording an album of their own, and in 2013 their fifth record, Slow Summits, was released. McEntire was again in the producer's chair and guitarist John Hogarty had joined the ranks. Also on board as guests were To Rococo Rot's Stefan Schneider and Robert Lippok, as well as Norman Blake (again), and original bandmember Annabel Wright. (c)Jason Ankeny
2) An American 50s pop group formed by Dee Irwin while he was serving in the military. Consisted of DiFosco "Dee" T. Ervin Jr. himself, Richard Travis, Tony Thomas and Jimmy Willingham. They toured widely until splitting up in 1959.
Comin' Through
The Pastels Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She's always somehow coming through
Acting tough like nothing else
Cause baby says that's common sense
Cause she says there's some things she could show me
Well it makes me wonder how well she knows me
Love to love her like I should
Cause when she's in she just won't quit
And I don't feel as stupid
Well you know
Like I know
I'm grateful
But I've got to go
Said send her down and she'll deliver
But I've got to say I don't believe her
Cause when she grips she won't let go
And I'll just move her away back home
Well you know
Like I know
I'm grateful
But I've got to go
She says it's gonna rain
She says she's only playing
She says she'll see me again
Yes you love her, course you do
She's always somehow coming through
Acting tough like nothing else
Cause baby says she's double blessed
And you know
Like I know
I'm grateful
But I've got to go
She says it's gonna rain
She says she's only playing
She says she'll see me again
She says it's gonna rain
She says she's only playing
She says she'll see me again
The Pastels' song "Comin' Through" is a love song that explores the complexity of a relationship. The opening lines, "Yes you love her, course you do/She's always somehow coming through," suggest that the singer is deeply in love with the woman he is singing about. However, there is a sense of conflict and uncertainty in the verses that follow. The woman is described as "acting tough like nothing else" and "double blessed," implying that she may be difficult to understand or connect with.
The chorus repeats the phrase "Well you know/Like I know/I'm grateful/But I've got to go," indicating that there is a sense of unrest and a desire to move on from the relationship. The lines "Said send her down and she'll deliver/But I've got to say I don't believe her" suggest that the singer has lost faith in the woman's ability to follow through on her promises.
The final verse repeats the earlier lines "She says it's gonna rain/She says she's only playing/She says she'll see me again," perhaps indicating that the relationship is a cycle of uncertainty and broken promises. Overall, the song speaks to the complexity of love and relationships, and the difficulty of knowing when it is time to let go.
Line by Line Meaning
Yes you love her, course you do
It is obvious that you love her
She's always somehow coming through
She always manages to show up or come through when you need her
Acting tough like nothing else
She puts on a strong front and acts like she can handle anything
Cause baby says that's common sense
She believes that acting tough is the sensible thing to do
Cause she says there's some things she could show me
She suggests that she could teach me some things
Well it makes me wonder how well she knows me
Her offer to teach me makes me question how well she really knows me
Love to love her like I should
I want to love her properly
But bet her heart's a lump of wood
However, I suspect that she is emotionally unavailable
Cause when she's in she just won't quit
When she is involved in something, she is tenacious and does not give up easily
And I don't feel as stupid
I don't feel foolish for caring about her
Said send her down and she'll deliver
She claims that she can get things done if given the opportunity
But I've got to say I don't believe her
However, I am skeptical of her ability to follow through
Cause when she grips she won't let go
When she becomes fixated on something, she holds on to it stubbornly
And I'll just move her away back home
As a result, I will have to separate myself from her and go back to where I started
She says it's gonna rain
She predicts that it will rain
She says she's only playing
She claims that she is just joking
She says she'll see me again
She promises to meet me again in the future
Cause baby says she's double blessed
She claims to be very fortunate, as if she has been blessed twice
And you know
As you are aware
Like I know
As I am aware
I'm grateful
I am thankful for her help or presence
But I've got to go
However, I must leave
Contributed by Samantha L. Suggest a correction in the comments below.
@Martylovescats
I love the openning so much! And then the rest of the song plays, and love isn't a big enough word!
@markhower8986
Blast this really loud and confuse your neighbors..a really cool band who are still a treasure :)
@friautz
My music, my style, I miss it...
@GermanDreadnought
then return to it. there is no "too late" for must do things
@oadiedoadie
Loving these guys. Every day is a schoolday.
@Thrillkisser
🖤🖤🖤
@patrickguerrero452
The whole world needs to know about this song.
@eldaave
I recon Eugene Kelly of the Vaselines! I fucking love their fucking style
@octoberrosesaxon8818
This makes my heart happy🙃
@oo0O08
Thank you for uploading this you loveley person