1972 Gilbert O'Sullivan: Clair

There are two things you can say about Irish singer/songwriter O'Sullivan without fear of contradiction; one is that he has a distinctive voice, and the other is that it's a flatly monotone honk. Prior to 'Clair', O'Sullivan's biggest hit was 'Alone Again Naturally', a maudlin, introspective ballad of a would-be suicide looking back over his life. There's not many laughs to be had within it, and intentionally so, but what amazes is that O'Sullivan delivers 'Clair' with exactly the same dour tone of voice.

It wouldn't be so bad if it was another maudlin, introspective ballad, but it's not. 'Clair' is in fact a more jaunty affair all round, something akin to what Paul McCartney at his most saccharine would come up with to the extent that I was minded to compare it with The Beatles' 'Michelle'. On sober reflection though, I think that's doing McCartney a disservice (for reasons I'll go into later).

As flavourless as his vocal may be, by a twist of fate it's his passionless tone that saves 'Clair' from being something downright creepy; see that girl on the cover? Well that's the 'Clair' he's singing:

"Words mean so little when you look up and smile
I don’t care what people say,
To me you’re more than a child"

to. When you realise that 'Clair' is in fact a 'love' song to the infant niece he's babysitting, then those lyrics are enough to stop anyone in their tracks with a 'what the.....????'. Even if you wanted to blot out the implications and try to imagine it's directed at someone older, the girly laugh at the very end brings you back down to earth with a bump. It could have all gone so horribly wrong couldn't it?

Of course it could, and had this been an early hit for Gary Glitter, then it would have been Exhibit A at his trial, but it's the sheer innocence and genuine expression of affection from O'Sullivan that rescues the song from itself. And yet on the other hand, it's also what damns it - 'Clair' is too innocent and cutesy by half. And more than that, it's popularity is inexplicable in that O'Sullivan has nailed down tight what the song is about, and this is why I considered my initial McCartney comparisons to be wide of the mark. McCartney at his best would never be so specific in his writing to limit the scope of his subject and potential audience in this way. Even the sentiment in 'Michelle' could be taken and applied to any girl you please whereas O'Sullivan is definitely singing to a little girl called 'Clair' and absolutely nobody else.

And the expression of feeling is so personal that listening to it borders on the uncomfortable. It's feels almost as if we're hiding behind the curtains spying and listening to his every word as he babysits making its taste slightly questionable in that O'Sullivan is happy to air his personal feelings in a private situation so publicly:

"But why in spite of our age difference do I cry
Each time I leave you I feel I could die
Nothing means more to me than hearing you say
I’m going to marry you"

It's obviously a heartfelt song that would have meant the world to Gilbert and Clair, but I'm at a loss to explain why the public at large bought into it so readily. It's a pleasant enough listen, but it gives no sense of participation or fulfilment at all beyond those 'Ahhhhhh' noises people make when they see a dog wearing glasses or a baby in a pram. But then again, if they were willing to buy into bagpipes playing hymns then it shouldn't come as such a surprise - 1972 was an odd year for number ones after all.