Music Review: Phillip Phillips "Gone, Gone, Gone"

Phillip Phillips

Gone, Gone, Gone

Album: The World from the Side of the Moon

Year: 2013

           Phillip Phillips promises to remain loyal to his girlfriend through life’s difficulties in the           possessive “Gone, Gone, Gone.”

            A quizzical guitar opens the single, setting a concerned tone. With her cell phone in one ear, she makes a circular hand motion to him and shrugs her free shoulder. He mouths to her “it’s ok” while standing at the counter, chopping green pepper for their dinner. Her mother usually calls her after work. If she doesn’t answer, she’ll have about a dozen missed calls and several voicemails, asking what’s going on. Fifteen minutes later, she hangs up the cell phone, lets out a frustrated grunt and apologizes to him. She and her mom are close. The last thing he would want to do is make her feel guilty or feel as though she lessen the calls with her mom. If something ever happened to her mom, he would be there for her at a moment’s notice. He’d do whatever is necessary to keep her stable and give her whatever she needs. Her cousin, though, would come after her, blaming her and pressuring her to make a decision regarding her mom, as they try to find loopholes in their aunt’s will. He’d stop them from coming over and block them from speaking to her. When the doctor gives her the DNR form, he’ll be sitting right with her, holding her hands as she cries. (“When life leaves you high and dry/I'll be at your door tonight /If you need help, if you need help/I'll shut down the city lights,/I'll lie, cheat, I'll beg and bribe /To make you well, to make you well/When enemies are at your door i'll carry you way from war/If you need help, if you need help/Your hope dangling by a string/I’ll share in your suffering /To make you well, to make you well.”)

          In the pre-chorus, he isn’t certain she would go to extreme lengths for him. He’d like to think she would. (“Give me reasons to believe /That you would do the same for me.”)

          In the chorus, a breakup wouldn’t stop him. He’d stay in the loop through a mutual friend and plan ways to win her back. His unconditional love for her won’t shut off. He’ll be beside her at night, feeling her feet kick him and waking up with her at5 amwhen she has to go into work early. Even if something tragic happens to her, he’ll still be in love with her. He wouldn’t be able to date again. (“And I would do it for you, for you/Baby I'm not moving on/I love you long after you're gone/For you, for you/You would never sleep alone/I love you long after you're gone/And long after you're gone, gone, gone.”)

      She could get laid off from her job. He’d move her into his apartment, helping her to pay her bills as she looks for another job.  She won’t ever have to worry about not having money for groceries. He’ll take care of for her. All she has to do is ask.  (“When you fall like a statue/
I'm gon’ be there to catch you/Put you on your feet, you on your feet/And if your well is empty/Not a thing will prevent me/Tell me what you need, what do you need?”)

              In the pre-chorus, she’s love of his love of his and has taken care of him in the past. (“I surrender honestly/You've always done the same for me.”)

         The chorus is sung again.

         In the bridge, she gives him purpose and provides support. She’ll get him motivated and be tough, if needed. She keeps him going and without her, he’s nothing. (“You're my backbone,/You're my cornerstone/You're my crutch when my legs stop moving/You're my headstart, /You're my rugged heart/You're the pulse that I've always needed/Like a drum baby don't stop beating/Like a drum baby don't stop beating/Like a drum baby don't stop beating/Like a drum my heart never stops beating.”)

             The chorus is sung again.

             The final part of the bridge is sung again.  (“Like a drum baby don't stop beating..like a drum my heart never stops beating for you.”)

            He ends the single with the last part of the chorus. (“And long after you're gone gone gone/I love you long after you're gone, gone, gone.”)

Phillips’ guttural, strict vocals strong-arm her to meet his excessive relationship requirements.        His uncertainity at first is endearing. By the second pre-chorus, it’s a foregone conclusion she will do it. It’s now an assumption. He may think his intentions are noble. However, it’s soon becomes a demand, as though he’s doing her a favor.

        The controlling “Gone, Gone, Gone” has unrealistic expectations when it really should let things be.