Tag Archives: americana

#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.

My iPod #494: The Offspring – Have You Ever

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Is it right to say that The Offspring’s fifth album Americana is underrated? Granted it is one of the band’s most commercially successful pieces of work, but I feel that it wasn’t represented that well by the singles released from it. Especially “Pretty Fly” and “Why Don’t You Get a Job?“. A majority of people will only listen to the band for those two songs and never delve further into their material, missing out on what is – to put it crudely – some good shit.

After an introductory nine second skit, “Have You Ever” really begins the album with stabbing palm-muted power chords and crashing cymbals before a drum roll sets the track’s frantic tempo and singer Dexter Holland wails the first desperate lyrics: “Falling, I’m falling”.

The track is about feeling misunderstood, knowing that sometimes we have no control of our own lives, and generally feeling out of place at certain moments. The constant existential questioning is reinforced by the frenetic backdrop of guitars and drums until about halfway through when the whole song changes, the narrator becomes more confident, sees how this corrupt world really works and pledges to do something about it.

My iPod #34: The Offspring – Americana

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I got this album for Christmas 2005.

‘Americana’ is a good place to start if you’re just getting into The Offspring. A few of their most popular songs are on it, and the hard punk rock sound that they had had for many years was still present but it was also with this album that they started to explore punk with a bit of pop on the side.

The song is sandwiched in between the light, hey-hey-hey, na-na-na-nanah, upbeat song of ‘Why Don’t You Get a Job?‘ and the trippy and eventually epic climax ‘Pay the Man‘, and is the real last short and sharp burst of music that you hear by the band before the final song starts. The introduction takes up one minute of the song. Little by little, the instruments build up. First you hear a simple 4/4 bass kick, then some toms, a killer riff is then overdubbed, the rhythm section joins in with the background vocals, (Ahhhhhhhhhhhhhh.), on and on it continues like a tribal chant. Until Dexter barges in with the first line, ‘NOW I’D LIKE TO TELL YOU ALL ABOUT MY DREAM, IT’S A PLACE.’

Then the song really kicks in. It’s energetic, it’s strong, the word ‘fuck’ is mentioned about five times on here. I have no idea what the song is about but seeing as it is the one the album is named after I would say that it is probably the centerpiece of the running theme of American society that is common throughout. I think the narrator is frustrated by what he lives in, what he is surrounded by and how he is defined.

‘My future’s determined by thieves, thugs, and vermin
It’s quite an excursion but it’s okay
Everything’s backwards in Americana my way’ 

How the narrator is brought up is only because ‘Americana’ made him that way, and this is the straw that breaks the camel’s back. HE HAS BECOME ONE OF THEM. ‘Woh oh oh, woh oh oh, woh oh oh
My nightmare has come true.’ That’s just my interpretation anyway.

Then there’s a key change which would not be expected, but it’s pretty cool to hear. It adds a bit of something extra to the song. Otherwise it could have been a bit to repetitive.

This song’s a really good one. It’s one of my favourites of the album. It hits you hard after listening to the previous song.

Until next time.

Jamie.