"Fast car" is kind of a continuation of Bruce Springsteen's "Born to Run." It has all the clawing your way to a better life, but in this case the protagonist never makes it with her love; in fact she is dragged back down by him.
There is still an amazing amount of hope and will in the lyrics; and the lyrics themselve rank and easy five. If only music was stronger it would be one of those great radio songs that you hear once a week 20 years after it was released. The imagery is almost tear-jerking ("City lights lay out before us", "Speeds so fast felt like I was drunk"), and the idea of starting from nothing and just driving and working and denigrating yourself for a chance at being just above poverty, then losing in the end is just painful and inspiring at the same time.
Cop killer
Let's kill the cops tonight
Kill them, cop killer
Let's kill every cop in sight
Cop killer
Law
Against the law
Against the law
Against the law
Cop killer
Let's kill the cops tonight
Kill them, cop killer
Let's kill every cop in sight
Cop killer
Law
Against the law
Against the law
Against the law
Law
Against the law
Against the law
Against the law
Let's kill the cops tonight
Kill them, cop killer
Let's kill every cop in sight
Cop killer
Law
Against the law
Against the law
Against the law
Cop killer
Let's kill the cops tonight
Kill them, cop killer
Let's kill every cop in sight
Cop killer
Law
Against the law
Against the law
Against the law
Law
Against the law
Against the law
Against the law
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More Featured Meanings
Fast Car
Tracy Chapman
Tracy Chapman
The Night We Met
Lord Huron
Lord Huron
This is a hauntingly beautiful song about introspection, specifically about looking back at a relationship that started bad and ended so poorly, that the narrator wants to go back to the very beginning and tell himself to not even travel down that road. I believe that the relationship started poorly because of the lines:
"Take me back to the night we met:When the night was full of terrors: And your eyes were filled with tears: When you had not touched me yet"
So, the first night was not a great start, but the narrator pursued the relationship and eventually both overcame the rough start to fall in love with each other:
"I had all and then most of you"
Like many relationships that turn sour, it was not a quick decline, but a gradual one where the narrator and their partner fall out of love and gradually grow apart
"Some and now none of you"
Losing someone who was once everything in your world, who you could confide in, tell your secrets to, share all the most intimate parts of your life, to being strangers with that person is probably one of the most painful experiences a person can go through. So Painful, the narrator wants to go back in time and tell himself to not even pursue the relationship.
This was the perfect song for "13 Reasons Why"
Bron-Y-Aur Stomp
Led Zeppelin
Led Zeppelin
This is about bronies. They communicate by stomping.
Just A Little Lovin'
Dusty Springfield
Dusty Springfield
I don't think it's necessarily about sex. It's about wanting to start the day with some love and affection. Maybe a warm cuddle. I'm not alone in interpreting it that way! For example:
"'Just a Little Lovin’ is a timeless country song originally recorded by Eddy Arnold in 1954. The song, written by Eddie Miller and Jimmy Campbell, explores the delicate nuances of love and showcases Arnold’s emotive vocals. It delves into the universal theme of love and how even the smallest gesture of affection can have a profound impact on our lives." https://oldtimemusic.com/the-meaning-behind-the-song-just-a-little-lovin-by-eddy-arnold/
Amazing
Ed Sheeran
Ed Sheeran
Ed Sheeran tells a story of unsuccessfully trying to feel “Amazing.” This track is about the being weighed down by emotional stress despite valiant attempts to find some positivity in the situation. This track was written by Ed Sheeran from the perspective of his friend. From the track, we see this person fall deeper into the negative thoughts and slide further down the path of mental torment with every lyric.
This song is about how disappointed John Maus was when he found out the Turner & Hooch DVD had little or no special features. Maus indicates that interviews with Hooch's trainer or the other actors could have made a really interesting "making of" featurette, or a Hanks / Zemekis commentary would have been nice as well.
The song itself isn't about killing cops, but rather killing the institution that they represent and uphold. As stated by John Maus: "It's this whole idea, the politics of aesthetics or whatever, that any genuine work, right, is always a disruption of the police. I would hope, of course, that everybody would grant that I'm not talking about shooting human beings, I'm not talking about shooting or killing a human being, I'm talking about the police, talking about cops, the cops in our heads, the cops that are everything other than us, everything inhuman, that would put us to work towards an end other than each other.
Perhaps, in the name of each other we should stomp that out, we should destroy it, you know? We should kill it, because it isn't even alive. I would never want to kill a human being, that's not what I'm talking about at all, but a king, a cop, a thing that refuses to recognise a human being, that's indifferent to human beings, that's what we've got to violently emancipate ourselves from. Isn't it? I think that's what all genuine work absolutely does. It's a cop killing, it's an emancipation from the police, from the things that would put us to work towards spectres and nonsense? Towards the accumulation of surplus, or towards the fucking...ah, positive truth, or all these stupid ideas that are finally everything other than us. Fight re-presentation. Fight actuality in the name of potentiality. Fight the state in the name of the people. This tired metaphysical distinction, right, that we don't have a better vocabulary within that. Maybe that is the way of putting it, maybe that is the way of expressing the primacy of potentiality over actuality and our language, is in 'Cop Killer'." (John Maus interview: Emily Bick)