And so it goes to show that the song was too good to be a B-side. It has a soaring guitar solo, a pounding piano line, a towering vocal delivery and a bellowing horn line, laced together by a strong chorus line. What it lacked was an obvious chorus, which is something ‘The Masterplan’ has in spades.
It certainly would have belonged on a more pastoral-sounding album, and the acoustic textures would have added to the milieu of the album, which was frequently confessional in its resolve, demonstrating a weirdly far-reaching view of the complexities and nuances that showcased the demons swimming in his camp, whether it could hang on a tune or not.
