While the calendar fades almost all barricades to a pale compromise. In a short space, the song is pretty far-reaching, like many other of Costello's best. Again we hear the questions rising out of frustration, about society and individuals, beauty and ignorance, respect and weakness. As with a lot of the album's tracks, Elvis seems to be moaning passionately in response to the dimming of every bit of beauty that should and would be out there if we didn't all cripple ourselves each and every day. The cry goes out for our lost innocence, apparently never answered, at least not to our satisfaction.
Shadows abound, beauty is fleeting, and there's no such thing as a true angel.
An ominous, though more up-tempo, sound prevails, chaotic and pounding. Where the one was almost comical in tone, there is no doubt that the feeling here is of a backlash against hopelessness. Once more beauty is stamped out as the clowns are thrown to the lions, the Joan of Arcs on the blaze. Elvis attributes the idea for this song to Paul, which just goes to show that McCartney's shadows house a wealth of material that sees light only infrequently, and are usually best brought out by Costello. One of these days maybe I'll get my wish and this pair will write and record an entire album together, but I'm not going to hold my breath.