The subtly pounding, lithe piano run which appoints itself at the start of the Davenports’ achingly beautiful new song, “Don’t Be Mad at Me,” now playing in rotation on Pure Pop Radio, is joined by a gregarious, almost romanticized string section pleased to acquaint itself with a very “Martha, My Dear” ambiance in tow, an ambiance that later trades off with a lovely pop melody and, at the end, an even harder-edged, slightly manic, giddy even, melodic electric guitar attack straight out of the Carpenters “Goodbye to Love” school, but for now leads into the first words of the opening verse, which themselves lead to a cautionary plea: “Betty, don’t be mad at me, Betty,” delivered by the always soothing and satisfying voice of Scott Klass as he seeks to make it all better with more than a few dollops of sincerity. “Don’t cry girl, I’ve got your keys,” he sings, because the time has come to take pause and leave the driving to someone else.
“It’s not conspiracy, revenge or trying to hurt your feelings, Betty,” Klass asserts, lovingly. It’s just the way it is, is what it all means, and you barely wrestle with the idea that at a certain point in everyone’s life–yours, for example–time will come to change the course and allow a loved one or a friendly neighbor or someone else with the power of love in his or her pocket to help, just help, just help steer the course. “But it’s clear now that you’re mixing up your Christophers and Larrys…”
And so it goes as Klass, who wrote the song, sings a litany of wise words that make it all clear as we tumble along the way in our lives. This gorgeous creation, just such a grand achievement and a raise of the bar in the ongoing songwriting life, blinks brightly with all the hallmarks of a Davenports song: the way the words match the rhythm of the melody around quick breaths; the seemingly disparate instrumental elements that come together perfectly to create a winsome, winning musical base; and the idea that a whole life, and all its twists and turns, can be communicated quite clearly in only four minutes and 13 seconds with lively invention and the truth of the songwriter’s craft.
Yes, this is a pop song with strings and a catchy melody and percussion and swooping background vocal harmonies reminiscent of the closing sections of Andy Partridge’s “1,000 Umbrellas,” and it just begs, literally begs that you sing along with it (and you can, because the video, which you can watch below, includes some of the lyrics right there on the screen) and, even if there wasn’t any begging going on, you’d want to sing along anyway, because it’s that kind of a delightful number and that’s what great pop music does: it includes you as if you’re a member of the family, and, of course, you are.
The Davenports have never been anything less than top-flight purveyors of fanciful, melodic pop songs. Here, as stated above, they have upped their game and delivered a momentous achievement. There is nothing like this song in the whole wide world–a world, as depicted in this song’s video, that is alive and well within the confines of a View-Master lying in a box left silently on a sidewalk. A young girl, curious as to the box’s contents, takes hold of the View-Master and there is Betty’s, or someone’s, life, conveyed to the girl in one snapshot after another; little wisps out of time that tell a story.
“Generally,” it is said on the band’s website, this song is “about salad days to sad days, youth to old age, power to weakness, forefront to backdrop. ‘Betty’ is an old great aunt who was once almost like a matriarch of the family–strong, with style, a leader, who drove a huge old Caddy. The narrator is a younger relative who has to take away the keys to the Caddy because Betty has grown old and demented.”
“Betty, don’t be mad at me…” Undoubtedly, this song could be about someone in your life, which makes the message universal. Betty, well, could well be you, some day.
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