When listening to They Might Be Giants’ 1986 self-titled debut for the first time, the opening drum fill for “Hide Away Folk Family” slightly caught me off guard. The four preceding songs establish the album’s upbeat and sprightly mood that you assume it’s the kind of rhythm and mood they’ll be going for throughout the whole thing. But no. “Hide Away” slows the album’s pacing down, allowing the listener to breathe for a few minutes and really feel the music.
Sung and presumably written by John Flansburgh, the track has a cosy and homey feel to it with a light lullaby-like melody to its lyrics and cute instrumentation. Take away the lyrics which creepily depict a mother and father who are paranoid about their house being burned down or blown up, and you have a perfect instrumental for a child’s bedtime song. The ‘happy music with dissonant lyrics’ trope is one that They Might Be Giants have used countless times; this is another instance in which it is executed with great effect. You wouldn’t realise what it was you were singing about unless you had a very good look at the lyrics.
They Might Be Giants are known to be unorthodox when it comes to making music. The two Johns seem to be able to use any instrument or find some weird recording technique to produce a song. And they will never disappoint in giving you something different with each album they come out with. But most importantly every album of theirs is a fun and entertaining listen, and nothing sums up those two adjectives then They Might Be Giants’ debut album. Look at this album cover and tell me you don’t feel just a bit happier after looking at it.
It all began with this track. “Everything Right Is Wrong Again”, is about exactly what the song title tells you. Everything is going bad and the narrator only wants to know when things get better again. And while this may be a bit dire, this is all sung against some of the happiest music that’s been written. Sometimes it reminds me of that kind of music that would be a theme tune to a comedy show or something (there’s just something about that chord progression during the “all the dishes” part that makes me feel it should be in a cartoon). Or it may just be the reference to a comedy film that is made in the refrain.
I think if you were to ask me what track I thought really depicted what They Might Be Giants are all about, it would probably have to be this one. Most of the themes the group use are covered in the two-and-a-half minutes “Everything” lasts for and the track is cleverly written with humorous lyrics and busy rhythm. It slows down only for the middle section before resetting back to its original pace for the last chorus, where the keyboards rise in volume and perform the most joyous, almost-classical sounding piece of music bringing a triumphant end to a brilliant opening track. The fun carries on for eighteen more songs after.
Wonderful news, I am now back in university after a three week break with the family. Will my style of writing change because of it? Probably not. And why would it?
That seems a strange way to begin this post. To be honest, I am just writing down whatever comes to my head because I didn’t plan what to write about “Don’t Let’s Start”, one of They Might Be Giants’ most popular songs which can be found on their debut album from 1986. I have never taken the time out to really think about what I would type for all the songs that have preceded this, but for some reason I have no clue where I could ‘start’ with this track.
It is definitely one of the group’s best. And one of Linnell’s, seeing as he wrote it. The thing is I couldn’t tell you what its subject matter is. Linnell vaguely stated that it is about ‘not let’s starting’ and also admitted that he wrote the music first, and the syllables in the lyrics were able to fit in with the melody. Maybe it’s not about anything important. Maybe it’s about nothing at all. But that doesn’t matter. What matters is how it’s all delivered to the listener, right?
Well, it’s pretty quick. But a lot happens in just under three minutes. This track contains one of Linnell’s most eccentric vocal takes, singing softly one second before passionately yelling the next and then throwing out a random tongue twister. It also contains the band’s most dramatic yet most memorable lyrics: “Everybody dies frustrated and sad, and that is beautiful” and “I don’t want to live in this world anymore”. A bit morbid, true. But the happy, stop-starting music makes them all sound hilarious and nonsensical.
The track got They Might Be Giants ‘noticed’ for obvious reasons, and they went on to dominate the world with their drum machine, and eventually their actual backing band. Still going strong today, too.
Probably not the most popular TMBG song, but it just has something that attracts me to it. I honestly can’t say much about it – it’s only 1 minute and a few seconds long. That’s not a bad thing, but it’s more of a transitional thing that sets you up for the next track.
It’s very easy to memorise, the Johnny Cash sample fits in very well (however oddly placed it may sound). It sends off a very mysterious vibe. What is the ‘boat of car’? Why is the narrator following the ‘traces of the fingernails’?
Who am I kidding, it’s nothing to get philosophical about. It probably doesn’t mean anything at all.
Vocals are done by John Flansburgh’s old girlfriend by the way.
Oh my god, I’m so late. Sorry guys. I’ve been revising, so… yeah.
“They Might Be Giants again?” Yes. Deal with it.
It is another song from their debut entitled ‘Alienation’s for the Rich’, one of those songs with a title which would make you immediately think, ‘Oh hohoho. Those Giants and their weird, quirky titles derp derp derp.’
No.
I have to say, it did take me quite some time to actually get into this song. I would listen to the album, and it was so quick. You would be listening to songs with great melodies and eclectic instrumentation but they would be over so quickly before you realised.
Then ‘Alienation’ would start, and it just sounded so slow compared to the others. I was even like ‘Alienation’s for the Rich, like wh… what does that mean?’ It was a song on the album that I would skip over quite a bit.
After listening to it a few more times, I have realised that it is probably one of the best songs out of the last five of the album, Rhythm Section Want Ad takes first place. Do you want to know why I changed my mind?
I will tell you anyway.
Yes, the first section of the song is pretty much samey samey, but it definitely captures the ‘couch-potato, lazy sod’ emotion and attitude that the ‘narrator’ is in. To me, just from the lyrics, it’s about someone who ‘needs a job’ and needs to ‘get some pay’, but he doesn’t give a shit and he feels fine.
John Flansburgh is a very underrated vocalist. I think that needs to be said. Both Johns are. They are very good singers. In this case, Flansburgh has a very wide range of vocal ability, ranging from girly-sounded whispers to a giant yelling his triumphs high from the hills. And he is able to use it well in any kind of song.
That is when the song completely changes. With a sudden key change after the instrumental bridge, Flansburgh starts belting out the second verse at the top of his lungs! I don’t really know how to say it to you, I’m listening to the song in my head and trying to write how it sounds.
It’s just brings a real elation to the track. You realise that the narrator is not miserable in the state he is in, but is damn proud of it. He really doesn’t care. I mean, listen to the maniacal laughter at the end. LISTEN TO IT.
The Music in My Ears 