Monthly Archives: November 2024

#1196: Fall Out Boy – She’s My Winona

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Fall Out Boy have been together longer now since reforming in 2013, than they were after initially forming in 2001 and breaking up sort of acrimoniously eight years later. I can’t say any of the albums released in this second stint have had quite the lasting effect for me as those, I guess, “iconic” ones they did in the first. Mainly I’m referring to that trilogy (you could call it that) of 2005’s From Under the Cork Tree, 2007’s Infinity on High and 2008’s Folie à Deux. It’s the latter of the three where today’s track can be found. Fall Out Boy aren’t the band who are considered to have classics in the canon of pop-punk, alternative rock, whatever you want to name the genre. But if they were to, Folie… would be my nomination. Out of those three “best” albums, it’s definitely the one that holds up. Still strong after almost 16 years.

And I can sort of remember listening through the record for that first time. I think I would have been 14, Folie… would have been out for a few months at the time Popped the disc into the computer, got quite hyped after the celebratory opener which abruptly but effectively transitioned into ‘I Don’t Care’, the “comeback” single that everyone knew by that point. ‘She’s My Winona’ begins right after that, flowing with the same tempo and starting on the pickup of what would be the next measure of ‘I Don’t Care’. So there, something was established. This was an album filled with transitions where songs would start while the previous one was still ending, or the beginning of track would actually begin in the one that preceded it etc. And I was a sucker for those kinds of things even then. ‘She’s My Winona’ carries on the pumping, upbeat energy of the album’s opening moments, filled to the brim with vocal adlibs where there would maybe usually be empty spaces in the music. Patrick Stump really wanted to let you know that he had some singing chops on this album.

On the Genius page for the track, Pete Wentz actually added in personal annotations behind his thinking for a number of its lyrics. So if you want to get the verified, solidified meanings behind those, go right ahead and check it out. My work here’s done pretty much. But if you want to get my take, I’ve come to think of ‘Winona’ as Wentz’s general take on life, at the time of writing, and also something of a mission statement. He explains it in his annotations, so there’s not much reason to get into much depth here. The reason He he gives as to why the song is named the way it is can be found on there too. The explanation kind of opened my eyes a little while also leaving me a bit confused. ‘Winona’ can be anything you want it to be, and to him ‘Winona’ is reality, but he’s his own Winona. That’s what he said. I want to say I understand. Must be a lyricist thing. Their minds work in ways that I’ll never get.

#1195: The Offspring – She’s Got Issues

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So it’s come to this. The last song by The Offspring that I’ll ever write about on here. I don’t know if I’ve said, it’s been a long time since I’ve featured the band on the site, but The Offspring was one of my favourite bands at one point. A real starter group for me, I’m talking when I was about eight years old. 2003-ish. I was very obsessed with ‘Hit That’ at the time, which led me down a hole of watching their music videos on their website via Windows Media Player (pre-YouTube days, people), getting excited whenever they were showing on TV, and eventually getting their Greatest Hits compilation and Americana. Then it took five years for the band to release another album after Splinter, and my own personal hype for the group somewhat diminished in that time.

Some Offspring songs sounded much better then than they do now. ‘Least to me. ‘Pretty Fly’, ‘Why Don’t You Get a Job?’, ‘Original Prankster’… man, even ‘Hit That’ are just a few examples that I haven’t willingly listened to in a long, long time. But then there are others that I get a kick out of whenever, wherever. And ‘She’s Got Issues’ is one of them. The track was released as the fourth and final single from Americana, almost a year after the album’s initial release in 1998. And I think because people were so caught up in the three that came before and still are, I guess, to this day, ‘She’s Got Issues’ has flown under the radar for all this time. I think I saw the music video on MTV2 one day, featuring a young, pre-star Zooey Deschanel, and thought the song was all good. At whatever younger age I was, I assumed the singles that had the music videos were usually the best songs. So when I got Americana as a gift, I was immediately drawn to the track as a result.

There’s not much interpretation the listener has to do on their part while going through this one. It’s a very ’90s male take on a woman who, to be fair, may need some help in a professional way. But the way in which Dexter Holland tells the story is pretty funny. I think the listener is meant to feel sorry for the perspective from which the song’s told, but there’s definitely an asshole narrator element to the whole affair that I think levels the playing field. It’s a depiction of a relationship where the two involved are just as bad as each other. Though calling out an ex’s name when in bed is for sure a big red flag. Apart from the crunching riff and those whipping noises that alternate between the two speakers throughout, I think the main musical highlight is Holland’s vocal. He drily approaches the verses before belting out the “Yea-heah, YEAAA-HEAH”s in the louder choruses. As much as I try, I can’t replicate those without my voice completely breaking. But it’s always worth the effort.

#1194: They Might Be Giants – She’s an Angel

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Well, I think I can simply say that I heard ‘She’s an Angel’ for the first time when I downloaded They Might Be Giants’ debut album on the old computer and listened through that, all the way back in the early months of 2011. Or maybe it was the later months of 2010. Either one. I know it was around that time that I decided to really explore TMBG’s discography. Having frequented This Might Be a Wiki for years before then and witnessed ‘She’s an Angel’ being a mainstay in the top five best TMBG songs as rated by users of the site, listening through the first album would finally give me the opportunity to see what the fuss was all about. I could have easily gone onto YouTube or something and just listened to it by itself. But I wanted that whole album experience.

The song is from the told from the perspective of a person who feels they might have fallen for a lady who might just be perfect and is having a bit of an internal crisis about it. The narrator asks questions how this could have happened. They think someone must have sent her. If so, why her over anyone else? “Surely, this doesn’t happen to anyone else.” I don’t want to type out the whole pre-chorus here, but that’s the part of the song where all these questions and feelings happen. And now that this narrator has found this person, does that mean they now have to do anything in order to keep them around? Like that old hypothetical, “If I jumped off a cliff, would you do the same?” But in this song’s case, it’s a building.

You know, before just now, I thought this track was sweet and earnest, but I think I’ve just recognised the hint of paranoia and anxiety behind the lyrics too. John Linnell, the vocalist and song’s writer, refers to a ‘they’ numerous times throughout. But who is ‘they’? The ‘they’ apparently sent this woman to cause the narrator this distress, and now that the narrator has realized the lady’s an angel, ‘they’ might have to do something to the narrator so the word doesn’t get out. A 1984-ish thing going on. But you as a listener wouldn’t think it. As soon as those slide guitars come in on the first pre-chorus, giving a floaty feel that instantly lifts the song’s mood, any sort of questioning you may have goes out of the window. I’ve always enjoyed Linnell’s vocal take on here too. I like the sort of portrayed awkwardness with the trail off the “I’m worried that something might happen to me if anyone ever finds… out” line. I enjoy how he hams up the “Why? Why did they send her” on the second pre-chorus. It’s all very dry and understated, but very impactful. TMBG’s first album is quite off the wall, something that I truly enjoy about it, but it’s nice that ‘She’s an Angel’ exists to reel things in for the few moments it lasts for.

#1193: The Beatles – She’s a Woman

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I inadvertently ended up hearing The Beatles’ ‘She’s a Woman’ by listening to an entirely different song of theirs. When the video for ‘The Night Before’ was playing on VH1 Classic, there was a little moment during it where the action is taken away from the band momentarily and switching to a random character who is somewhere underground and listening to another Beatles song on the radio. Then the scene changes to the band playing the original song as normal. That other song was ‘She’s a Woman’. However long it took me to get to hearing it in full is a duration of time that I can’t remember. My old, old computer would probably still show the original date and time I downloaded the Past Masters compilation it can be found on. I could get back to you on that with a definite answer.

‘She’s a Woman’ was recorded during the time the sessions that would result in the band’s Beatles for Sale album. Released in the December of 1964, it was the second LP of theirs to be given to the masses that year after having unveiled A Hard Day’s Night five months prior. From what I’ve seen, …for Sale isn’t considered to be one of the band’s best works. Mainly because of a reliance on cover material, a result of the constant touring and lack of time John Lennon and Paul McCartney had to write anything original. But even when they did, they ended up with songs like this. Although credited under the usual ‘Lennon-McCartney’ tag, ‘She’s a Woman’ was fully written by the latter and was conceived as an idea in McCartney’s head, demonstrated to the other three members and completed as a Beatles recording all in one day. It was eventually released as the B-Side to Lennon’s ‘I Feel Fine’, when that was chosen to be the standalone single preceding the album’s release.

The track contains one of the most-disliked rhymes to be found in any Beatles song. At least from the opinions I’ve seen on Reddit. People can’t seem to stand the ‘presents/peasant’ occurrence in the first two lines. That’s usually followed by another user talking about what ‘peasant’ meant during the ’60s. And I look on and laugh because I couldn’t really care less about it. I guess it’s an obvious rhyme. But there aren’t many “smart” rhymes you can get to follow ‘presents’. But anyway, I’ve always considered it to be a very solid song. Got a nice groove to it with John Lennon providing those rhythm guitar stabs on the upbeat. Contains some nice little piano fills by McCartney that echo the vocal melody. And he sings in a completely different way than you’ll find he usually does in other songs. Sounds like an entirely different person almost. You could probably say the song’s portrays some dated opinions in regards to how women treat men in a relationship perhaps? It’s a product of its time, though. I wouldn’t stop listening to it.

#1192: Wilco – She’s a Jar

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Wilco’s Summerteeth was the second of the band’s that I listened to in full. Besteveralbums.com showed that Yankee Hotel Foxtrot was considered to be the group’s best work, and when I’d heard that and grown familiar with it, the logical step was to move onto the record that was apparently considered to be their next best. Think it was a couple of years or so between Yankee and Summerteeth that I decided to listen to the latter. For what reason, I don’t know. Things just get in the way to prevent you from listening to albums on the regular. But I distinctly remember doing so when I was interning at a music magazine in 2015/16. It was in either of those two years. And I think ‘She’s a Jar’, the second song on the album, was one that I liked quite a bit after only the first hearing.

Coming after the somewhat groovy and spirited opener of ‘Can’t Stand It’, a song I would have written about had I known it at the time the C’s were going on. ‘Candyfloss’ too, while we’re at it. ‘She’s a Jar’ brings the album into a more reflective, slower mood. To this day I haven’t got my head around the lyrics all too well, but from what I can gather it’s from the perspective of someone in a relationship who’s essentially laying down an examination of their other half to the listener. A lot of lyrical metaphors are in there, so it’s difficult to properly suss out. At least to me. And there’s generally many words in there to remember. And I think to compensate for that, the song has something of a very easy structure that it keeps to. Each verse almost runs into the next, utilising the same vocal melody over a three-chord progression, before that eventually changes up for the “Just climb aboard” choruses that are capped off with a memorable harmonica “solo”.

And while the musicality of the track may be considered to be quite easily understood, multi-instrumentalist Jay Bennett’s work on the keyboards and Mellotron is a different conversation. While Jeff Tweedy, John Stiratt and Ken Coomer lay down the song’s foundation, Bennett’s magic on the keys is the highlight, very much taking the majority of the soundscape filling in the would-be empty spaces with fills and melodic riffs that take the proceedings to another level. The song’s also known for its ending in which the song’s first verse is repeated but with the devastating switch-up on the very last line. “She begs me not to miss her” all of a sudden becomes “She begs me not to hit her”. It’s a bit of a “Hold up, what?” moment, for sure. But Jeff Tweedy once said we should consider that it isn’t actually the narrator enacting the physical violence. I can get with that. I have no large opinion on it. I just think it’s a good song.