Tag Archives: change

#1002: Fall Out Boy – Our Lawyer Made Us Change the Name of This Song So We Wouldn’t Get Sued

Another album opener, ‘Our Lawyer…’ is the first track on Fall Out Boy’s From Under the Cork Tree. It’s an album that many a fan of the band’s hold dear to their hearts. Has the well-loved classics like ‘Dance, Dance’, ‘A Little Less Sixteen Candles…’ and of course, ‘Sugar, We’re Goin’ Down’. Can’t say I hold the same regard. If there is a best Fall Out Boy, it’s clearly Folie à Deux. Cork Tree for me sounds a bit dated in comparison. A lot of the sentiments on there I just can’t vibe with anymore compared to when I was, let’s say, 13. But it sets off with a great start and a whole lot of self-deprecation and sarcasm, which I’m always all in for – especially when it’s done right.

“Brothers and sisters put this record down / Take my advice ’cause we are bad news” are the opening lines to this track, and for the rest of the track Patrick Stump sings bassist Pete Wentz’s lyrics which further go onto to tell the listeners the myriad ways in which the band will let them down and the superficial things that they’re good for – like celebrity status and fashion sense – that don’t really amount to anything properly meaningful. The track is set to a swinging tempo, but there’s an aggression and heaviness to the way the guitars are played that enables automatic headbanging among the instinctive swaying motion that you have to do with those types of tempos. Patrick Stump sounds like a kid, and he pretty much was – would have been 20 during the making of the album – but for a guy who supposedly wasn’t too confident about his singing, I’d say he does the job well. He’d only become better as the years went on, full embracing his inner soul-singer on Folie à Deux.

The song’s title is one of truth. Its original title was ‘My Name Is David Ruffin And These Are The Temptations’, but the band’s lawyers intervened and made them change the name. Either way, it’s another title of the band’s during that time that were very long, were usually never mentioned in the lyrics at all, and were probably named as such just to get some reaction from the listener. Funnily enough, I think one of the band’s shortest song title is on the same album too, with ‘XO’. That’ll be the next one from the record I do a post on. As I said earlier, not so much a fan of it now. But there’ll be more Fall Out Boy in between, for sure.

#951: They Might Be Giants – Nothing’s Gonna Change My Clothes

Hey, this is no joke one of my favourite songs of all time right here. First time I heard ‘Nothing’s Gonna Change My Clothes’ was when I would have been going through They Might Be Giants’ debut album in early 2011 or something. The connection I had with the song from that initial point was instantaneous. The band’s debut album is my personal favourite of theirs, and I believe that this song encapsulates everything the album offers in its two minute runtime. A fun melody, great hooks, undeniable catchiness, little moments that leave you thinking “what the hell was that?” It’s all there. And it’s so darn repeatable, I could listen to it for an hour straight.

There’s an interpretation about this track that I’ve seen online that kinda shocked me a bit. Before I’ll reveal it, I’ll tell you my initial thought, which I was quite happy to go along before I did the further research. Making it quick, I thought it was about a person who was basically happy with their life even though there was all this chaos going on around them. Everyone’s going crazy, yet this narrator looks in the mirror and is happy to be alive – a dancing skeleton in a fleshy overcoat. Although everything actually as great as everyone’s making it out to be, living in an ‘ignorance is bliss’ type state, I guess. The narrator isn’t be the one to bring everyone down. Their just gonna go ahead and live their life. Nothing’s gonna change their world, or in this case, clothes. So when I recently read an idea that the track was actually from the point of view of a dead person in their coffin describing the gifts that have been left in the casket, it left me with some thinking to do.

Whatever the track may or may not be about, I never let it get in the way of how I feel when that swinging high-hat pattern starts. It’s a programmed high-hat, but that doesn’t stop the foot from tapping. Things from then on just come as a bonus. The song’s filled with these small licks and moments that occur for mere seconds, but when you hear them enough they’re very hard to forget. Like those drawn out ‘yooo’ backing vocals, or that ascending guitar riff that comes in before the choruses. Of course, I have to tip my metaphorical hat to John Linnell, who sings the tune with a cool combination of looseness while also staying in time and reaching notes with an incredible tightness. The heavy breakdowns of the chorus endings add another unexpected angle to things and then to add to that John Flanburgh’s “Ever? AAAHHH!” right at the song’s conclusion, makes for one of the most cathartic endings in TMBG’s catalogue. I’m gonna go ahead and link the track’s demo below ’cause it’s just as good, and Linnell sounds even looser than he does on the album.