labingi: (riki)
[personal profile] labingi
I have been back in Gungrave headspace, all the more so as I've started to rewatch it with [personal profile] sixish. Gungrave is almost completely unficcable, but I had a song list revelation last night. Below the cut are some additions to my Gungrave songs, with a spot of explanation.

Some More Gungrave Songs (many recycled from other stories I've previously mapped them to):

* "Duvet" (BOA), acoustic so that it doesn't make me think of Lain. Brandon to Harry. This song expresses so beautifully the endless, dark tunnel Brandon finds himself in as his career progresses. He has placed himself in a no-win situation. He can't quit because to do so would violate his morals of protecting and never betraying the Family. But he can't be anything other than miserable in his work because he is too moral a man not to hate himself for being a hired killer. He is, indeed, falling and fading and drowning (even minus the fallout with Harry). And, yes, he can read Harry's mind; it's a shame the skill is not mutual. I love this song because it expresses all the things Brandon needs to say but can't.

And you know I don't mean to hurt you
But you know that it means so much
And you don't even feel a thing.

* "Closing Time" (Leonard Cohen), very latter-day Harry to Everybody. I tried this song on Harry on a whim and was amazed at how well it fits his voice. I think almost all the words fit him well if you assume that the lines are directed to various people rather than one lover, as suggested by the lyrics. "I loved you for your body" has got to be Sherry, but "I loved you for your beauty" might well be Brandon if we read this broadly as something like his martial grace. And a nice summation of his relationship with Brandon:

And I loved you when our love was blessed,
And I love you now there's nothing left
But sorrow and a sense of overtime.
And I missed you since the place got wrecked
And I just don't care what happens next.
Looks like freedom but it feels like death.
It's something in between, I guess.

* "Little Miss" (BOA again), Harry and Sherry. This song requires a bit of reading between the lines. I like the idea that Sherry really is stronger than she seems; in fact, Harry remarks on her strength. This song may be a bit more in character for Sherry than Harry, yet I suspect it would be a pretty good description for a fair amount of their 13-odd years of marriage.

In the evening, when you come home
You save the whisky and you talk about your dreams
And you hold her when she cries 'cause
She's feeling lonely - the same way that you do

Harry's bourbon but oh well. I also like the tension in this song between love and neglect, between caring and not caring. All that's there in their relationship.

She's gonna scare you with her passion
She's gonna make it seem like she don't care
She's gonna hold you close
She's gonna make you cry
She's gonna make it feel like you don't care
You're gonna need her
She's gonna love you
And melt your cold stare

(I even like the odd jazz dissolve: it's very "Gungrave" music.)

* "A Sorta Fairytale" (Tori Amos), Brandon to Harry, coming up to the break. Straightforward but fits well.

And I ride along side
And I rode along side
You then
And I rode along side
Till you lost me there
In the open road

And moreover:

we may be
On this road but
We're just
In this country you know
So we go along and we said
We'd fake it
Feel better with
Oliver stone
Till I
Almost smacked him -
Seemed right that night and
I don't know what
Takes hold
Out there in the
Desert cold...

* And on the subject of Tori, "Space Dog," looking back...

Deck the halls I'm young again
I'm you again
Racing turtles
The grapefruit is winning
Seems I keep getting this story twisted
So where's Neil when you need him
Deck the halls it's you again
It's you again
Somewhere someone must know the ending
Is she still pissing in the river
Now heard she'd gone
Moved into a trailer park

Actually, I don't want Neil Gaiman's hands in Gungrave. That said, it's a nice expression of the confusion over how the hell we got from A to Z. "She" could pretty much be any of them, getting lost along the way. And Harry is their commander still...

* "Three Hits" (Indigo Girls), Big Daddy to Brandon; they get to share this song with Ujiyasu and Kagetora, but it's big enough for all of them. It fits Big Daddy's love for and very palpable sense of guilt over Brandon as the spiritual son he wants to embrace but is conscious too of deeply hurting.

From a wise man to your red hand
You lay covered in our best sins.

Now, here...

Well, the first two might release you,
But the last one sings in me, son.

If we want to read this heavily, I suppose the first two would be Maria and Harry. Big Daddy would, of course, be wrong on both counts (well, Maria largely releases him, I suppose...).

* Speaking of fathers and sons, here's a weird one: "Tear in Your Hand" (Tori Amos), Bear Walken to Harry. Now, this one doesn't fit exceptionally well. The whole first verse needs to be thrown out, but if you do that, what's left offers an interesting expression of Bear Walken's regrets over having given his daughter, and thus himself, away to the wrong man, a man he nonetheless cares for deeply.

I tell you there're pieces of me you've never seen.
Maybe she's just pieces of me you've never seen well.

All the world is
All I am
The black of the blackest ocean
And that tear in your hand
All the world is danglin'... danglin'... danglin' for me, darlin'
You don't know the power that you have
With that tear in your hand.

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