I got Fall Out Boy’s Folie à Deux for my 14th birthday back in 2009. Got the sent email in my old Hotmail account – or Outlook, to get with the times – of the gift list I sent to my cousin that backs this statement up. By that time, ‘I Don’t Care’ had been out as a single. I think ‘America’s Suitehearts’ had its video out for some time too. Because I already had Infinity on High, I guess I thought, “Why not”, and asked for From Under the Cork Tree too. And I got ’em. Now I had a copies of that holy trinity. But as I’ve said before, not too long ago either, Folie… is my favourite Fall Out Boy album. I can sort of remember listening through it the first time and having a feeling I was listening to something very good. I think because it’s made by Fall Out Boy, no one apart from Fall Out Boy fans and a rare member of society here and there wants to recognise its quality. That’s just the way life is sometimes.

‘Tiffany Blews’ is the tenth song on Folie…. If you hear it on its own, it feels like it starts very suddenly with the kick drum. That’s just ’cause, on the album, the preceding song transitions into it via a synthesizer chord. Man, the transitions on this album are great too. Makes for a fine listening experience. I can’t remember how I got into this track at all. It certainly wasn’t a first-time epiphany kind of deal. I once had a YouTube channel in 2008, and I uploaded the album in sections onto it before copyright was such a big thing on the site. I’m gonna put it down to that and becoming more familiar with the songs in the process. What you really need to know is ‘Tiffany Blews’ is one of my favourite songs on the album. May be one of my favourite Fall Out Boy songs full stop. And I think it has the best chorus the band’s ever done. That explosion in energy with the “Ohhh, baby, you’re a classic…” line. A moment of elation.

In this track-by-track commentary on the album, Pete Wentz doesn’t go into much detail on ‘Tiffany Blews’. He says it may be a single, it wasn’t, it’s got weird verses and straighter choruses, which I can understand – I’d say the verses are funkier more than anything – and that it features Lil Wayne, which I think must have scared some people when that was revealed, but he actually sounds cooler in the bridge than he does in any of those rock features/albums he wasn’t into around that time. I’m one of those who think Wayne did better than Stump’s initial version. The song’s title doesn’t give anything away in terms of its meaning. One of those reference that only Pete Wentz would understand. And I think it’s to throw you off from the fact that it’s a song about himself – even when he writes “Baby, you’re a classic / Like a little black dress / You’re a faded moon” and so on. It’s all self-examination. At least, that’s what I believe. Look out for those upward scales in the choruses, those are little hooks in themselves.