Although the Walkabouts started in Seattle, US their main base of popularity was Europe. Their blend of folk idioms and noisy experimental rock has won them lots of devoted fans; however, even with twelve studio albums and another 15 EPs, live albums and compilations released, they still remain below the radar of the public at large.
The band drew inspiration from folk and country music, particularly Townes Van Zandt, Neil Young and Johnny Cash, but also from other types of artists and musical styles such as Scott Walker, Leonard Cohen, French chanson and Jacques Brel. Their sound is typically rich, with string arrangements and keyboards in addition to the standard rock instruments. In reviews the band's music is often described as melancholic or mellow, while Eckman's lyrics, concerning such themes as human relations, loneliness and restlessness, are often emphasized as poetic.
The Walkabouts achieved commercial success and a strong fanbase in Europe, where they have done promotion and extensive touring since early 1990s. They have occasionally even made it high on the record charts in countries such as Greece and Norway.
Carla Torgerson and Chris Eckman met in 1983 when they were both working at an Alaskan fish cannery as a summer break from Whitman College in Walla Walla, Washington. In 1984 they moved to Seattle, and the band was born when they joined forces with Chris' two younger brothers, drummer Grant and bassist Curt. The Eckman brothers had been playing in various punk rock and pop groups during their college years, and Carla came from a folk and street singing background. The band took their name from the cult Nicolas Roeg film, Walkabout. [1]
They released their first EP, 22 Disasters, in early 1985. Curt Eckman then left the band, to be replaced by Michael Wells. Their second EP, Linda Evans/Cyclone, was released in 1987. The following year they released their first album, See Beautiful Rattlesnake Gardens, on the PopLlama label, before being signed by Sub Pop as that label's first non-grunge band. Adding keyboard player and multi-instrumentalist Glenn Slater, they released three albums on Sub Pop over the next few years - Cataract (1989), Rag & Bone (1990), and Scavenger (1991). They also toured extensively, particularly in Europe. In 1992 they left Sub Pop Seattle, but remained with Sub Pop Europe who issued three more albums, New West Motel (1993), Satisfied Mind (1993), and Setting The Woods On Fire (1994). Drummer Terri Moeller replaced Grant Eckman in 1992, when he left to care for his new born son, Dakota Eckman.[1]
Satisfied Mind was their first of several albums largely or wholly comprising songs originally written and recorded by an eclectic variety of other artists, including Nick Cave, Charlie Rich, Johnny Rivers, Patti Smith, Mary Margaret O'Hara, and Gene Clark. Their 1996 collection of unreleased songs, Death Valley Days, also included songs by Neil Young, Nick Drake and Bob Dylan, and in 2000 they issued Train Leaves At Eight, which broadened the approach further by including songs by European artists including Mikis Theodorakis, Goran Bregović, Jacques Brel and Neu!.[1]
In 1995 the band signed with Virgin Records in Germany and released Devil's Road (1996) - recorded in part with the Warsaw Philharmonic - and Nighttown (1997), leading to new levels of success in Europe. Michael Wells left the band for several years in 1996, rejoining in 2003. In 1999 they moved to the German record label, Glitterhouse Records (the successor to Sub Pop Europe), and released Trail of Stars (1999), Train Leaves At Eight (2000), Ended Up A Stranger (2001), Slow Days With Nina (2003) - an EP tribute to Nina Simone - and Acetylene (2005).
Eckman and Torgerson have also released albums as side projects under the name Chris & Carla and as solo artists. Eckman has worked with Willard Grant Conspiracy in recent years, on the albums Regard The End and Let It Roll, as well as with The Bambi Molesters.
Terri Moeller has also formed The Transmissionary Six with Paul Austin, formerly of Willard Grant Conspiracy.
Coming Up For Air
The Walkabouts Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Chewin' on surrender because it's cheap and it lasts
This ain't hell, it's a holding tank
Where memory and the future draw a big, fat blank
I know this tunnel leads somewhere
But it takes mystery and a torch
And a reason to care
I know this tunnel leads outside
Comin' up
Up, Up, Up, Up
Comin' Up for Air
There is no better story than a man in a hole
This is where he laid still
This is how he rolled
This is how he fed, on the marrow of his bones
This is where he shuffled
Playin' doomsday alone
A suicide miner
With a depth charge timer
Rathole lover
Diggin' deep for a cover
You suffocate first
Then you learn how to breathe
The sweet of the sewer
Shows you the way to leave
Make room for the cleanup crew
They're the last to the scene
And the first to be fooled
The townsfolk line thick
Along the riverside
Lookin' for a place
To watch the elephants die
The first verse of Coming Up for Air by The Walkabouts presents an image of someone stuck in a difficult situation, described as "suckin' alabaster in a ventilator shaft". The person is trying to find a way out and is contemplating giving up and surrendering to their circumstances because it is easy and lasts - implying that survival means settling for the bare minimum. The setting is "a holding tank" where there is no present or future, just a blank void of existence. The singer knows there is a way out, but it will require effort and determination coupled with uncertainty, as exemplified in "it takes mystery and a torch and a reason to care." The person can see the light at the end of the tunnel, but they need to have a purpose or motivation to make it through. The final lines of the verse allude to the idea of going down to the river where elephants die. There may be a sense of inevitability and death that comes with being trapped or stuck for too long, but going down to the depths is also where one can find new beginnings.
The second verse is more reflective and philosophical, presenting the metaphor of a man in a hole as the ultimate story, one that can be read and repeated infinitely. The idea of being stuck, playing "doomsday alone" might be a commentary on modern life, where we are all trapped in our own personal crises, forced to come up with our own solutions. The person in the hole is likened to someone "diggin' deep for a cover", searching for safety in the unknown depths. They are a "suicide miner" with a "depth charge timer", alluding to the precariousness of their situation. The lyrics then take an interesting turn; the person suffocates at first, then learns how to breathe, a reference to the idea that going deep into the unknown can be painful and suffocating, but it also leads to growth and self-discovery. The singer then gives insight into the experience of those who come later to "clean up" the mess, highlighting the human tendency to want to observe tragedy from a safe distance.
Line by Line Meaning
Suckin' alabaster in a ventilator shaft
Trying to survive in a difficult, airless environment
Chewin' on surrender because it's cheap and it lasts
Giving up too easily and settling for a less satisfying outcome
This ain't hell, it's a holding tank
Feeling trapped in a situation, but realizing it could be worse
Where memory and the future draw a big, fat blank
Feeling uncertain about the past and future
I know this tunnel leads somewhere
Believing that change and a better future are possible
But it takes mystery and a torch
Recognizing that the journey won't be easy, but requires curiosity and determination
And a reason to care
Knowing that it's important to have a motivation or goal to keep going
I know this tunnel leads outside
Believing that there is a way out and a better life beyond the current situation
Down to the river where the elephants die
Realizing that even the most majestic and powerful creatures can fall and fail
Comin' up
Rising up and overcoming the struggles
Up, Up, Up, Up
Going further and beyond
Comin' Up for Air
Taking in the fresh air and new opportunities
There is no better story than a man in a hole
Recognizing that overcoming struggles and rising up is a compelling story
This is where he laid still
Accepting the current situation and not taking action to improve it
This is how he rolled
Accepting defeat and setbacks as part of life
This is how he fed, on the marrow of his bones
Surviving on the absolute minimum, and making the best of a bad situation
This is where he shuffled
Moving through life without taking control or making changes
Playin' doomsday alone
Feeling isolated and hopeless
A suicide miner
Risking everything for a chance to survive
With a depth charge timer
Aware that time is running out and a change is necessary
Rathole lover
Being attracted to dangerous situations or habits
Diggin' deep for a cover
Seeking refuge from the troubles of the outside world
You suffocate first
In order to change, it can feel like one has to hit rock bottom first
Then you learn how to breathe
Through struggle and hardship, one can learn and improve
The sweet of the sewer
Through adversity, one can find a different perspective and way forward
Shows you the way to leave
Difficult times can provide clarity and a path towards a better future
Make room for the cleanup crew
Recognizing that change can be messy and require a lot of work
They're the last to the scene
The hard work of improving a situation can come after the initial crisis
And the first to be fooled
Critics may be quick to judge the cleanup efforts before they can see results
The townsfolk line thick
The community is watching, and depending on the outcome
Along the riverside
In a common area where the consequences of the situation are visible
Lookin' for a place
Searching for hope and a better outcome
To watch the elephants die
Seeing large and powerful figures fall can be both fascinating and devastating, but recognizing that there is always a chance to overcome the impossible and rise again
Contributed by Jayce E. Suggest a correction in the comments below.