But none of this matters, because at the end of the record is the real masterpiece, "Death of a City":

Did Ray really survive the death of a city that once was alive?
Still wears bespoke suits, he feels fireproof
maybe religion still offers him proof
And he walks right thru you and I now silently making his usual rounds

It goes on from there, this fantastic (in both definitions) story that could almost be science fiction, could be in the past, could be in the future. It's another song that's perfect because it's not overly embellished, there are strings and background vocals but the arrangement is done with a light touch, it's like a perfectly decorated Christmas tree. A headphone song in the classic sense.

It's the universal rock and roll tale: Stringfellow is a musician whose talent should be accorded more attention and respect than he receives. His songcraft as part of the Posies is still astounding, a body of work that's almost classic, and R.E.M. don't ask just anyone to back them up onstage. Generalizing isn't fair, but it's the way the world goes around: the problem is that the sound(s) Stringfellow is interested in pursuing isn't trendy, and is only commercial when it's diluted beyond recognition into John Mayer-esque type pop pap. It's a tragedy, because the only way Stringfellow will get to continue to pursue his divine pop visions is if people buy the damn records.