(Rick Springfield/Matt Bissonette)
away from the sulfur on the streets
cannot deny there's blisters on my feet
Save me from the dark man who came to town
Save me from the dark one who comes around
from the dark men who came to town
d-e-p-r-a-v-i-t, d-e-p-r-a-v-i-t, d-e-p-r-a-v-i-t, t
According to US
Depravity is one of my favorite songs on the album, along with "I Found You." I'll admit to playing those two songs on repeat countless times in a row. I think they make a great dichotomy, both musically and in the stories told by the lyrics. Depravity would fit in well on SDAA, as I believe that it tells a piece of the same story told in that album. It opens with pulsing, angry guitars that fit the sound of SDAA. Rick describes a personal Hell with burning "sulfur on the streets," and "the quicksand pulls, I can't break free." While some may assume "This city burns, it never sleeps" is a reference to NYC, I am certain he is referring to his favorite wasteland, Las Vegas, and the events that transpired there while he was doing his stint on EFX. In Chapter 18 of "Late, Late at Night," Rick describes Las Vegas as "Sin City, the only town that really never sleeps...." and "a haven for more depraved instincts that can bring on our Darkness." The new twist in this song is that Rick is trying to break away from this place, free himself from his own depravity, and move forward. He is begging somebody (perhaps his wife, perhaps God) to save him from himself. I love the sound of the chorus. The chord progression and heaviness remind me of Sound Garden, done RS style. The "Save me" refrain really pounds home how desperately he wants to be helped. The spelling out of the title allows him to end with a long, screaming "Y," and I imagine him crying "Why" to the heavens as he pleads for his salvation. The third verse is full of opposites (fight/peace) (strong/weak) (upside down/gravity) that illustrate someone being pulled in opposite directions, and hints of addiction with references to gambling ("let it roll" - Las Vegas again) and drugs ("pretty pill"). Despite these pulls, he insists on salvation: the last 2 minutes of this 3 1/2 minute song are spent in repeating the "Save me" chorus, interrupted only by a fierce, frantic guitar solo. The echo effect at the end makes me imagine being trapped in that hole, overwhelmed by the depravity that seems to swirl around everywhere. There may be light at the end of the tunnel, but you'll have to listen to another song to find it ("I Found You").
prefer the full version with its screaming electric guitars, I feel that Rick
made the acoustic version work well. I can imagine him performing the acoustic
arrangement live; the many layers and effects of the full version would be too
complicated for a live performance. I like the acoustic guitar solo as much as I
like the electric solo. I may even prefer the acoustic ending, which has him
screaming "Y" (WHY) in that primal cry Rick does so well. It feels more complete
to me compared to the echoing, repeated "t" of the full version. - Shelly R.