You’ve Got to Hear Hippy’s Falling In Love With Being Alive
It’s hard to know exactly where to start when listing the accomplishments Hippy’s achieved on its latest full length release, Falling in Love With Being Alive. For starters there’s the lyrics, which almost redefine the very nature of lyrics themselves. Paul Hipson is credited with vocalizing them, so chances are he also gets writer’s credits as well.
Whatever the case, money’s outright philosophizing on this joint, with some tidbits and theories almost anyone would do well to heed. “Tell me you love me and I’ll tell you it’s a lie/’cuz when you give what you want you don’t want what you give/it’s a vicious circle that makes the world go ‘round and ‘round.” Whether waxing about global relations, international conflict, domestic issues, or just friendship, more astute words have rarely been voiced—and on a pop song, of all things.
Granted, “Circle” is much less pop than it is reflective, melodic, and flat out real but still, the same sentiment holds true. While we’re on the subject of lyrics, however, sunny point number two is the fact that Hipson has all but mastered vocal phrasing. His delivery is part smoke infused, well annunciated, and the perfect topping for the sumptuous melodies (such as are found on “Circle”) and some outright nasty grooves that are bubba bad to the quick.
Which, of course, brings us to the instrumentation on this LP, the majority of which is attributed to Hugh Frizell. Check the bass line he drops on the opening number, “Consistently Inconsistent” (and if you guessed by the title that this track is home to more musing from Hipson, you’re catching on quickly). The bass is pure wickedness, the electric guitar provides the hair-raising aspersion to the number, and there’s even some streaming organs to make this one of the hardest cuts you’ll hear outside of rap—while simultaneously surpassing numerous numbers in that genre, as well.
But back to those guitars. As previously mentioned, sometimes Hipson’ stroking a bass guitar. He’s certainly got a flare for the electric on “Til We Meet Again”, which is both played and mixed loud enough for you to feel it. And not to keep bringing up the ineffable “Circle”, but he’s complementing himself on multiple tracks of acoustic guitar on this one, something that’s well worth hearing—as is this project on the whole.