Album: Mono
Year: 2002
The last song from Mono is definitely on the shortlist of Prettiest Songs Ever Recorded, Paul Westerberg Divsion, and not coincidentally, is probably my favorite of all of his solo songs. So far.
Like many of the songs on Mono, there aren’t a lot of words or much musical variation on “AAA,” but it really doesn’t matter, because “AAA” is definitely one of those songs that says more with less.
Featuring a riff that bears some resemblance to the one that Bob Mould came up for Sugar’s “Helpless,” “AAA” starts off with an angelic chorus of Westerbergs chanting:
Alllllllllllll IIIIIIIIIIIII knoooooooow
Alllllllllllll IIIIIIIIIIIII knoooooooow
Alllllllllllll IIIIIIIIIIIII knoooooooow
Given that most of the rest of Mono has been Paul shouting over loud guitars, his more subdued voice — and the lovely overdubbed harmonies here is a bit of a shock, especially juxtaposed with the jagged riff. But it continues on the first verse and chorus.
Take your diet pills
How many have you got?
I’ll kiss you on the cheek
Leave you in the parking lotI ain’t got anything for anyone ah-ah-ah-anymore
I ain’t got anything for anyone ah-ah-ah-anymore
I ain’t got anything to say to anyone ah-ah-ah-anymore
I ain’t got anything to say to anyone ah-ah-ah-anymore
One of the things I really like about the chorus is how the guitar riff peeks out in between “anything,” “anyone” and “anymore,” while Paul sneaks in the occasional double backbeat on the drums. Obviously, Paul’s drumming is rudimentary — neither as weird as Chris Mars or as steady as Josh Freese — but especially on “AAA,” it’s also highly effective for what he’s going for here, especially his bashing behind the buzzsaw guitar solo that follows the second verse.
After that, it’s another chorus, only now he’s got the “all I want” angels as a counterpoint to the chorus, and the result is just gorgeous. Too gorgeous, as a matter of fact, so with a couple of rude chords that come out of nowhere, he stops “AAA” in its tracks, as if he just realized that he’s gotta fuck this up somehow.
But of course, that stoppage only lasts for a few seconds, and with a stiff roll, “AAA” kicks back in, a bit unsure where it’s going next, until after almost a whispered “you gotta know / I love you” Paul finally starts shouting, voice echoing out over the world:
I ain’t got anything! To say to anyone! Ohh anymore!
I ain’t got anything! To say to anyone! Ohh anymore!
I ain’t got anything! To say to anyone! Ohh anymore!
I ain’t got anything! To say to anyone! Ohh anymore!
And it’s exactly the release that “AAA” needs at the end: Paul shouting about how he’s got nothing to say over and over and over and over until the fade. And in fact, it’s one of my very favorite Paul song codas — maybe not quite up there with “Answering Machine” or “Left of the Dial,” but damn close.
Like many of my favorite Westerberg songs “AAA” is contradictory, confusing and incredibly moving all at the same time, somehow totally sincere while maintaining just enough knowing distance for plausible deniability.
“AAA”
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