| Vampire Weekend – Walcott Lyrics | 1 year ago |
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@[pre1twa:44569] Hey the timing of Walcott's career kindly of perfectly synchs with Vampire Weekend's emergence, and I always though of Theo Walcott when I heard of this song too. Your comment is witty and writhes through the content like a published author making a quip. Can't believe after 9 years I'm the first to thumb up your commentary. |
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| Pearl Jam – Even Flow Lyrics | 13 years ago |
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rpd... You are so right. Mental Disorders are diagnosis' coined so Psychologists can earn a buck by attributing certain people with them and revenue for the person who invented the terms... SO true. |
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| The Smiths – Stop Me If You Think You've Heard This One Before Lyrics | 13 years ago |
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"Oh, so I drank one, it became four And when I fell on the floor, I drank more" I will interperate this how I feel Russell Brand must have when he was building a sense of hope on the back of such lyrics. It seems to me that as well as being a song that doubles up as an excuse note for a flailing drunkard and a childlike lament against whoever said he was lying about a certain event as if the lyrical subject was a school-ground affair, the song also implies a granduer in the way it references the blood of Christ; what is known as Red Wine. This implication arrives in the quoted lines above, as the drinking of "one" and "four" would surely suggest alcohol, whereas if the lead character falls to the floor and somehow drinks "more" then you must conclude that the he he had Red Wine and that his own blood is sacred like that of Christ. Russell Brand often talks about his life as a "Jesus Audtion" and why wouldn't he if he thought it was sanctioned by his all-time hero? The slackening of tempo at the point of the song where Morrissey sings these lyrics also suggests a significant event that occured as if in slow-motion; this makes sense if the moment of the lead character falling is equivocated to the death of Christ. Otherwise the granduer would seem mostly out of place. If you take up the hilt of this interpretation then you may discover just how romantic this song can feel. |
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| Morrissey – Our Frank Lyrics | 14 years ago |
| Then Endless Mike, this song is about you, frankly. | |
| Echo and the Bunnymen – The Killing Moon Lyrics | 14 years ago |
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If I could just offer an ammendment to your confusion. I think it reaffirms the theory you support. The giving "yourself to him" lyrics denotes the body giving up. If you take the view that this song heralds the inevitability of death then this lyrics should be ostensible in it's effect. You give yourself to him when your body retires on you. No matter how much willpower you maintain, your bodyclock ticks along to the beat of fate. |
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| The Smiths – Nowhere Fast Lyrics | 14 years ago |
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I think this song is an assault on the deculturalisation of modern Britain and the gradual numbing of it's populace. "I'd like to drop my trousers to the world each household appliance is like a new science in my town" - These lyrics invoke a disgruntled youth who is either a bookworm (as Morrissey is/was) who is indignant at the incessant materialisation of the lower crust of society and society's acceptance of that or perhaps, he has caught the bug himself and wishes to shed off the obsession both in real terms (shunning coffee percolators and the like) and in symbolic terms ala dropping down his trousers. "and if the day came when I felt a natural emotion I'd get such a shock I'd probably jump in the ocean" - He speaks as someone who seems to be disaffected by his current state of living. The subjugation of his class of people (the lower) serves to numb them and, in turn, himself. If he felt a natural emotion such as optomism for his future or ambition derived from self esteem then he'd be out of his comfort zone. It seems that the household appliances and whatever else, all serve to weaken the morale of those of slender means as they provide a fleeting satisfaction rather than one found at the end of hard work and perseverance. "and when a train goes by it's such a sad sound" - The sound of progress and elsewhere puts his occupationally threadbare existance into glaring apparency. for the humdrum of his working class lifestyle runs to a much slower riff than the that of a train. This is symoblically represented by Johnny Marr's riff in between the second and third verse in that it is a solo that clatters away like the wheels of z train over a tracks. Much of the rest of the song explains itself away quite easily or is not integral to my interpretation of the song. This section of the final verse however: - "And when I'm lying in my bed I think about life and I think about death and neither one particularly appeals to me" - When emotions are dumbed down due to the monotony experienced by many, suicide becomes a prime contemplation. After not very long of course, the notion of death becomes exactly that, notional. Morrissey, like any healthy human being realises that he is quite fond of his existance really. He is quite devoted to his mundane life. As much as realising death isn't appealing may add some short relief, it becomes quickly apparent that life isn't all too appealing in itself. Hence forth Morrissey finds himself back in numb depression once more; no longer contemplating life or death, and certainly feeling no natural emotions. |
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| Morrissey – America Is Not The World Lyrics | 14 years ago |
| I can't fault your understanding of this song. You get it's lyrical pugnacity and simplicity wonderously well. | |
| The Smiths – I Don't Owe You Anything Lyrics | 14 years ago |
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I listened to this song a few times today with the contemporary perception of this song, kept snugly in mind - the one that sees the love interest as a man and the scenario being Morrissey asking this man to come out because he owes him a night on the town. As well as the period in which this was written, certain lyrics lead me to believe that this interperatation is wrong on both levels. "Bought on stolen wine" - I'm not sure if the stolen is an auxillary adjective or if it adds further meaning, but for this review I will leave it on the wayside. Buying wine is an unusual gesture to ask someone to go out with them, and is almost certainly the opposite, a bid to stay at home. You must remember that this was set in the 80's, therefore the purchase of pre-clubbing alcohol is less likely as binge drinking was less common in those days. It would appear the oft-reclusive Morrissey was looking for another one of his sacred nights in, but with a love interest of his, whether this be a girl or boy. The following verse would suggest that indeed, Morrissey was seeking to lure the person from out of their house. The consequent lines to his repeated question-lyrics are as follows: "Oh, but you will For you must" - This is sung in some despair; a tone of dread feels apparent when listening to the aspiration of each vowel. The execution of these lines suggests that Morrissey did in fact, walk a considerable distance just to hear his love interest say "I don't want to go out tonight". "You should never go to them Let them come to you Just like I do Just like I do" - This verse appears to diffuse the possibility of the singer seeking to go out. Morrissey "comes" to this person over an unenviable trek across grim Manchester, unlike what his love interest would be doing if he/she chose to venture out to a nightclub, going to the so-called "them". These lines fit the "looking-for-a-fellow-recluse" interpretation soundly. Finally, the only reason why I doubt this is a male infatuation is again down to the time era. The 80's was largely camp as is known, but as I am aware it was still stigmatic to be openly gay. At the very least, it is unlikely that a gay man would be known by Morrissey for always going out. "Too freely on your lips Words prematurely sad Oh, but I know what will make you smile tonight" - These words are surely ones of refusal for Morrissey's proposal? The "freeness" of these words suggest she is aquainted with turning down offers, and that his offer is no more worthy to her than that of a stranger in a nightclub, despite their ostensive familiarity. Going out would appear to be what will make her smile tonight. In short, it is unlikely that a gay man in the 80's would have had such a thriving nightlife that Morrissey's advances would be so sorely ineffectual. |
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| The Smiths – I Don't Owe You Anything Lyrics | 14 years ago |
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Rimbaudesque, I've found just about the only person to interperet the song as I did and you are that person. Funny to think that we both wish to express this interperation in 2010, whether that holds any significance I do not know. I listened to this song a few times today with the general perception of this song in mind, the one that sees the love interest as a man and the scenario as Morrissey asking this man to come out because he owes him a night out. Ceretain lyrics as well as the time this song was written lead me to believe that this interperatation is wrong on both levels. "Bought on stolen wine" - I'm not sure if the stolen is an auxillary adjective or if it adds further meaning, but for this review I will leave it on the wayside. Buying wine is an unusual gesture to ask someone to go out with them, and is almost certainly the opposite, a bid to stay at home. You must remember that this was set in the 80's, therefore the purchase of pre-clubbing alcohol is less likely as binge drinking was less common in those days. It would appear the oft-reclusive Morrissey was looking for another one of his sacred nights in, but with a love interest of his, whether this be a girl or boy. The following verse would suggest that indeed, Morrissey was seeking to lure the person from out of their house. The consequent lines to his repeated question-lyrics are as follows: "Oh, but you will For you must" - This is sung in some despair; a tone of dread feels apparent when listening to the aspiration of each vowel. The execution of these lines suggests that Morrissey did in fact, walk a considerable distance just to hear his love interest say "I don't want to go out tonight". "You should never go to them Let them come to you Just like I do Just like I do" - This verse appears to diffuse the possibility of the singer seeking to go out. Morrissey "comes" to this person over an unenviable trek across grim Manchester, unlike what his love interest would be doing if he/she chose to venture out to a nightclub, going to the so-called "them". These lines fit the "looking-for-a-fellow-recluse" interpretation soundly. Finally, the only reason why I doubt this is a male infatuation is again down to the time era. The 80's was largely camp as is known, but as I am aware it was still stigmatic to be openly gay. At the very least, it is unlikely that a gay man would be known by Morrissey for always going out. "Too freely on your lips Words prematurely sad Oh, but I know what will make you smile tonight" - These words are surely ones of refusal for Morrissey's proposal? The "freeness" of these words suggest she is aquainted with turning down offers, and that his offer is no more worthy to her than that of a stranger in a nightclub, despite their ostensive familiarity. Going out would appear to be what will make her smile tonight. In short, it is unlikely that a gay man in the 80's would have had such a thriving nightlife that Morrissey's advances would be so sorely ineffectual. |
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| Pearl Jam – Even Flow Lyrics | 14 years ago |
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I interpret this song to be an exploration into self-sabotage. It seems to me that chasing away the figurative "butterflies" of thoughts is equivocal to blocking out the inspirations that elevate your thinking process. It is an indistinct trait that many have, but I myself am guilty of. Instead of catching those butterflies, I often chase away moments of inspiration in the assumption that better "days" (thoughts) are ahead. Unless you occupy the upper crust of society then you have to deal with low expectation and drab settings that are apart of every day life. Resting on the "bed of concrete" is resting on your laurels in that you want to sleep away any creative influences whilst resting on the uncomfortable pillow of self-sabotage. If self-belief isn't instilled into you from a young age, then you may divert the "Even Flow" of thoughts that enter you head. Of course, I may be biased due to the intimiate interpretation I have with the song, but that is my 3 cents. |
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| Arctic Monkeys – The Jeweller's Hands Lyrics | 14 years ago |
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I say with a lot of confidence that this song is about the inevitability of their musical stock going down over time. Of course, they were snubbed at the recent music award nominations, so this proved true as soon as this album hit the shelves. "Fiendish wonder in a carnival's wake Old caresses once again irritate Thred soflty stranger Move over toward the danger that you seek" The fiendish wonder is in effect, the inpermanent fan base that sprung up around 2005-2006 that will have no doubt waned by now. Humbug still received a lot of sales and a healhty dollop of publicity in the states, but the change in direction allows the "old caresses" of Alex's fklashes of creativity to "irritate" as the prose he produces becomes more inventive while remaining alliterative. The danger that he seeks is the output of such songs as "Crying Lightening" which have astonishingly tight thematic verses egged on by majestically arranged instrumentation. These songs do little for the average Top 40 obsessive, as they may require a few listens to really get to grips with the content. "The precession of pioneers" - This is the right lyrics as a precesson is effectively a precedent, of which are included all the "pioneering bands" from the history of rock music; from Cream to Clash, all hallmark bands are lost as they "all drown". Alex Turner is by this turn of phrase recognises how unique the Arctic Monkeys were, and that they too will become as irrelevant as any other forgotten pioneer. It doesn't matter how well regarded the Arctic Monkeys grow to be for they will simply drift into the haze of pioneers in the near future. The jewellers hands are a representative of the fortune that all gifted writers are blessed with, that ability to inject fresh turns of phrase into their writing - he knew what it was like, so it is as if he knew the Arctic Monkeys were going to fall all along. Finally, I believe the song to be a second person view of Alex from his own removed perspective. If you look at this song with this view in mind, you will see the lyrics back up my interperatation quite comprehensively. The final verse is Alex asking himself to come up with the goods anyway, in spite of any receding fandom. |
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