Quoted from songfacts: “Lead singer and guitarist Deryck Whibley wrote this about one of his old girlfriends.” From the title, you can already tell that this is not a track about the good times the couple had in that relationship.
No, it seems that “Bunkface” was asking too much of Deryck. Always going on about being together forever even when they’re only in their late teens, and generally talking about things that, although he appears to care, freak him out when they come into conversation. He tries to put on a smile, but wants out.So this song are basically all the thoughts going through his head while that’s going on.
Can’t say much about it, but I have it on the iPod so I must like it.
Um…. Okay, I know this looks bad…. let me explain.
“Cram It Up Your Ass……. really? What the fuck.” That may be one of the thoughts that may have come to mind when you first saw the title. If you have come to this from my Twitter page, you may be even more confused and surprised. I couldn’t put a song title like that on my feed; people wouldn’t even want to click on the link otherwise.
Enough about that. “Cram It Up Your Ass” is the closer to Guttermouth’s first major release “Covered with Ants” and is one of the funniest songs I have ever listened to. And one of the creepiest.
The only reason I know of this song is because all I wanted to do, when I was ten and playing Tony Hawk on the PS2, was find and listen to “I’m Destroying the World” on the computer for minutes on end. However I could never do that; I always had to listen to thirty second samples instead on random music sites. Whenever it said ‘download’, the link would take me to a place where I had to pay… I’m not about that life.
“Cram It Up Your Ass” is on the same album as “Destroying the World”, and the title looked interesting so I decided to hear it’s sample. Nothing much happened, as you can tell. Just the lead singer singing the title over a bass that was playing the vocal melody. No big deal.
That was until, years later, I found out that it turns into a proper headbanger where all the guitars play the vocal melody in unison with frenetic drums rolling around all over the place. The dynamics are a very key part of this song. The last lines “Do you still like me?” are sung when the instruments come to a sudden stop, leaving the singer all alone. That part freaks me out a bit.
It doesn’t end there. After a few seconds of silence, a bloody grand piano comes in and plays the vocal melody over and over again for five minutes or so! I don’t know. I cut that bit out though, that part is unnecessary.
The reason I talk about that is that there were these clips of Harrison, not during his days with The Beatles but what looked like in a time way after, joking around and goofing off with a lot of people in the gardens of his mansion.
What I thought were clips from a never-seen before film of George at his home, turned out to be clips taken from the music video for “Crackerbox Palace”, a song from his fifth solo album “Thirty-Three & 1/3“.
It took me a long time to find out where those video clips were from. Originally I saw the documentary in 2011, but didn’t see the “Palace” video until the summer of last year. I don’t know.
With a thunderous drum intro, the song suddenly starts with a Calypso-Carribean groove accompanied with a joyful slide guitar and fitful drums. Most of what you hear in the lyrics are based on actual events too, which may or may not be interesting to you.
Only feelings of happiness and loving life arise when I hear this song, and those are further increased when I see the video for it featuring cameos from Eric Idle, Neil Innes, and his wife who he had not yet married at that point.
“Cowtown” is the second song from They Might Be Giants’ second album “Lincoln”. I first heard the track on the old LaunchCast radio/website that Yahoo used to own. I won’t go on about that; I’ve talked about it before in many posts that I can’t be bothered to link into this sentence.
I was probably about nine/ten and what instantly struck me, apart from the galloping clarinet introduction, was the overall tone and mood of the song when John Flansburgh starts singing the chorus and the rest of the instruments come in. There is something very warm, inviting, and full of pride about it. Almost got me thinking Cowtown was an actual place that existed somewhere, and if it didn’t could someone think of a plan to construct it right away.
Although primarily written by Linnell, both Johns sing the track which is great because their voices work of each other so well. And with so many rhymes in the lines and lyrical wordplay, it is a shoe in with the many They Might Be Giants tunes that rely on those kinds of things on… well, almost all of their albums. But the firstfourespecially.
Ah, Billy Talent II. Almost eight years old now, my god. I know Billy Talent’s debut album turned ten in September last year, but I actually remember the lead up towards this album. I was eleven, the “Red Flag” demo was on the band’s MySpace as well as Burnout Revenge, the band’s website design had changed from the glowing red and yellow design to the simple yet powerful white . I can see it all. Where does the time go?
For a while, before it was actually released, the band uploaded the album onto their official website. Now I don’t know whether it was my computer, but for some reason the track lengths that appeared were much longer than the actual duration of the song. I would be waiting there for a minute and a half through silence until it changed to the next. Sometimes it wouldn’t play at all.
Nevertheless it was on the band’s site, their MySpace profile or some other website that I was able to listen to the album in full. “Covered in Cowardice” was a track that I really liked when I first owned the physical copy. Ian’s guitar playing is as flawless as ever, and it still baffles me how he can do the work of two separate guitarists on one lone guitar. He’ll be playing a lick on the three high strings before pulling off a riff on the lower three, it’s very difficult to tell where you’ll end up next. There is plenty of that on this song. That’s one reason why I like it so much.
Essentially, it’s a song about Internet trolls/cyber-bullying. Ben doesn’t stand for that shit, calling them ‘bitter pricks’ and… cowards, obviously. There’s also screaming in the track, which is a thing the lead singer seems to have left in the past for now. I miss screaming in Billy Talent songs.
The Music in My Ears 