| The Sisters of Mercy – More Lyrics | 14 years ago |
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I've always thought it's: And I need all the love I can get And I need all the love that I can't get, too |
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| Grand Duchy – Donnes Moi Lyrics | 14 years ago |
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Oops, "Come to the tea party" is more accurate than "Let’s go to the tea party" BTW, Violet sings "J'ai non pas besoin d'une télévision" but it should be "Je n'ai pas besoin d'une télévision" |
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| Grand Duchy – Donnes Moi Lyrics | 14 years ago |
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The morning sun shines brightly into my room The curtains dance for my pleasure I don’t need a television Lots of bon-bons of sugary possession A pot of tea, oh joy! Give me that That’s what I want That’s all that I know And for my desire Give me that That’s what I want That’s all that I know Let’s go to the tea party It’s very exciting to play I have the icing to my right I laugh at the thought of me Give me that That’s what I want That’s all that I know And for my desire Give me that That’s what I want That’s all that I know |
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| They Might Be Giants – Prevenge Lyrics | 15 years ago |
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Believe it or not, I think this is sort of a sci-fi song that’s somewhat reminiscent of the original sci-fi tinged version of “First Kiss” (Severe Tire Damage). It might be stretching it, but it could even be a sequel to “First Kiss” told from the POV of a jealous rival that song’s main character. The speaker is a waiter in the 1945 film “The Clock” (I’m not sure, but I think the character might be listed on IMDB as “Man Smoking Pipe” played by writer Robert Nathan). Background info: In “The Clock” Alice Mayberry (Judy Garland) and Joe Allen (Robert Walker) meet and decide to marry over the course of two days. On the second day, they try to have a romantic dinner at a New York café. However, a waiter sits down uncomfortably close to them and hovers over their every word while smoking a pipe. Similarly, in the film “The King of Comedy” Rupert Pupkin (Robert De Niro) and Rita Keane (Diahnne Abbott) have dinner at a Chinese restaurant in New York. While Rupert is trying to pick up on Rita, a mysterious man in the background if trying to interfere by, I suppose, flirting with Rita and mocking Rupert. Neither characters’ motives are revealed in their respective films. I believe Flansburgh noticed the uncanny similarities between these two odd scenes and came with a scenario to explain the appearance of the waiter in “The Clock.” In “Prevenge” the waiter comes from the future and is involved in some diabolical plot to interfere with the relationship of the couple he’s watching. The couples’ two-day courtship is a “freak show,” and silently seated beside them, the waiter has a front row seat to their would-be intimate dinner. Convinced that relationships like this are a sham (girls just making it up; boys just pushing their luck), the waiter is intent on taking preemptory revenge upon the couple. Rather than an actual waiter, he is an interloper from the future who has brought himself onto the scene in order to carry out some selfish plan that he expect will change the course of the couples’ (and possibly his own) future. His “ride” is a time machine that hasn’t been invented in the timeline of Alice and Joe, and he’s only posing as the restaurant’s waiter (would a waiter be allowed to take such an intrusive break?) in order to meddle. The puzzling slang of his internal thoughts (fully moto / on the headfo = very MOTivated, sitting with his HEAD FOrward) are indicative of the “waiter’s” “future speak.” Additionally, he invites a character from the future, “The King of Comedy’s” Rupert Pupkin, to join in on the plot to subvert the couple’s “love-in.” p.s. I think the speaker might actually be inviting the unnamed character seated behind Rupert Pupkin at the aforementioned Chinese restaurant, but lyrics such as this would be horrifyingly cumbersome: Calling my friend, whose name I can’t mention because no one knows it, but who sat at a table in a restaurant next to Ms. Mayberry and Mr. Pupkin To join us at the love-in… |
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| They Might Be Giants – I Should Be Allowed To Think Lyrics | 15 years ago |
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Sometime in ’93, around the time this song was being written and recorded, the city of Seattle was pushing hard for the ban of posters and ads on utility poles and streetlights. The ban went into effect in ’94, and consequently, promotion for local bands and entertainment was significantly restricted. Many Seattle citizens felt that the ordinance impinged upon freedom of speech, as well as would lead to a degradation of Seattle's music scene, the arts, and political communities. This song comes from the point of view of someone protesting the Seattle poster ban. Trying to appear intellectual, the narrator cites Ginsberg's "Howl,” which was banned for obscenity in 1956. Not only does the narrator probably not understand “Howl,” but he/she does not seem to comprehend the personal, artistic, and cultural liberties that such bans threaten. Ironically, the narrator believes that the ban somehow interferes with his/her desire to think and spout nonsense, and is fighting for the “right” to leave paper stains. |
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| Frank Black – You Ain't Me Lyrics | 15 years ago |
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Why do people think this song’s about Kim Deal? Is Kim Deal “like a man with his pet,” eh? No, but this song obviously has something to do with Lewis Carroll, to whom the lyrics make two explicit references. 1) A “snark” is an imaginary animal from Carroll’s poem “The Hunting of the Snark.” 2) “Wonderland” is a reference to Carol’s book “Alice in Wonderland.” My guess is that the song has something to do with Mike Batt’s musical production, “The Hunting of the Snark,” which is based on Carroll’s poem. Possibly, it is sung from the perspective of the ghost of Lewis Carroll who is disappointed after having watched Batt’s musical: “Standing in the light / You're so self-congratulatory” The musical has ended, and Batt, proud of his work (like man with his pet), steps onstage to accept applause. Batt makes some remark or rhetorical question, to which Carroll gives a snide remark. Batt’s bewildered, and Carroll goes to say that he feels a bit gypped, and reminds Batt that he’s no Lewis Carroll. BTW, Batt’s musical was filmed and broadcast on British television in 1987. In addition to Batt himself, the musical featured Billy Connolly, Roger Daltrey, Justin Hayward, John Hurt, Julian Lennon, Captain Sensible, Midge Ure, Deniece Williams, etc. |
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| Frank Black – Calistan Lyrics | 15 years ago |
| "And through the layers of California, from pre-Navajo (as the Spaniards said) all the way to a time found somewhere between now and Blade Runner." - Frank in the press kit for the album. | |
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