| Conjure One – Endless Dream Lyrics | 4 years ago |
| Twin Flames. Quite simply stated, and beautifully rendered. | |
| Greta Svabo Bech – Circles Lyrics | 4 years ago |
| @[CirCles2:32726], that’s so beautifully stated. Yes, I feel the combination of Einaudi’s composition and Greta’s vocal is too powerful to be about a single human relationship. It feels much more cosmic. There’s more transmitted here than the words and music would belie. Much more. A mother’s love, her own measure of mortality — that’s closer to the truth. Whether her love or His, there’s truth in all of it. | |
| The Moody Blues – The Other Side Of Life Lyrics | 7 years ago |
|
I've got just one thing to say about this song. Sexy. So, very sexy! |
|
| She Wants Revenge – Tear You Apart Lyrics | 7 years ago |
| Hoboy, @Scavnger, well, you just took that WAY further than I really wanted to go, or had the time to bother with. Anyhow. I enjoy the group, and I dig the song. There's always that one who takes things just a bit too far, and we're foolish to think they're not being reached, too. Cheers! | |
| She Wants Revenge – Tear You Apart Lyrics | 7 years ago |
| D'oh! 'Genre'. I meant speciality. I'm also an indie showrunner, so 'genre' is on the brain lately. My bad. | |
| She Wants Revenge – Tear You Apart Lyrics | 7 years ago |
|
@[Scav3nger:15138], while I can't disagree with you, the sexual dynamics being explored here (given that She Wants Revenge is neo-darkwave, and the genre already was big on these topics) are not only extremely dark, but 'just lie still and submit' is ... a tad troubling. 'Dating in school' seems to imply these are just teenagers for pity's sake. I shudder to think what 'the narrator' would turn into if he didn't get these dark fantasies in check. And before you call me prudish and anti-kink, that's actually my field. I'm a sex therapist in the alternative lifestyles genre. But my background is unique in that I started out in forensic psychology with a focus in criminology -- specifically sexualised rage and signature murder. Dude seems like he's thisclose to going necro and possibly following in the footsteps of, say, Edmund Kemper. While it's fascinating in a song, our pop culture can be a very sharp lens for what our society is currently digging, or exploring. Granted, this is a bit older song now, but look at the rise of sex crime as it relates to spree killing? Maybe our narrator is NOT so innocent. Maybe he's an erotophonophile, and has no idea how to deal with it. I wish I could say, but I don't believe SWR has been crystal clear on the meanings of ANY of their songs -- especially this one. And that's fine. Interpretation is often in the ear of the beholder anyhow. |
|
| Wang Chung – Space Junk [Wang Chung '97] Lyrics | 8 years ago |
|
I have no idea why it was used in 'The Walking Dead'. That seems a very odd choice. If anything, seems more suited to 'Doctor Who' than the zombiepocalypse. Nonetheless, the song itself evokes a feeling of a funky interstellar traveller; these might be his musings. With that undeniably sexy beat, it's safe to assume the one to whom the 'space junk' is bringing the narrator carries a romantic connotation. Great song. |
|
| Civil Twilight – Letters From The Sky Lyrics | 8 years ago |
| @[CheshireKat24:6170] Spot-on. I was actually here wondering if anyone caught the hidden PSYOP meaning. And you did. Brilliant. | |
| Twenty One Pilots – House of Gold Lyrics | 8 years ago |
|
Well, they don't call it schizoid pop for nothing, do they? Schizoids, being on the schizophrenic spectrum (though, I must stress, NOT schizophrenic) are often 'split' as the terminology suggests. Our home life was not happy. Our childhoods, deeply flawed. The relationship to the primary caregiver often very complicated, rather dysfunctional, and yet, possessing a potent attachment. (As we don't tend to attach to much else.) The video is very explanatory. It also has a kind of 'Home' -- that episode of The X-Files -- feeling to it. There's definitely a sense of melancholy; as if the son was unnecessarily burdened -- inappropriately so, and it's 'split' him. Again, calling back to the schizoid theme, that's very common in such pathology. We grow up very quickly, taking on more responsibility in the home than should be expected of us, and our role becomes very confused. In short, there's a sense of over-promising what you could never hope to give, because your role has over-stepped its bounds. These guys really, really get it. |
|
| Amanda Palmer & The Grand Theft Orchestra – The Killing Type Lyrics | 9 years ago |
|
If you've ever been a schizoid woman in love with a schizoid man who, paradoxically, is also in love with you, this just might be your occasional theme song. You know, when you've reached your wit's end for the moment. |
|
| Norah Jones – Don't Know Why Lyrics | 10 years ago |
|
First of all, I'm a sex therapist; that's likely colouring my view here. To me, it's got a double meaning. On the one hand, she's allowed her fear, insecurity, possibly even self-loathing to walk away from a relationship with a man she truly and deeply loved. On the other, she may be anorgasmic: meaning, unable to experience orgasm - either in sexual intercourse, or period. It often results from trauma of some kind; can certainly make one fearful and insecure. Usually difficulties with intimacy, commitment, and fears of abandonment and betrayal. Women affected with the condition have low self esteem, tend to have broken relationships, and feel 'apart' from the rest of sex-loving society. It's perplexing, too. Most of the time they flat out find themselves chanting Norah's refrain, as their lover stares bewildered: 'I don't know why I didn't come.' It's possible. If unlikely. She could've gone with 'I don't know why I didn't show.' Makes you think. Either way, beautiful, poignant song. DOES seem to carry an echo of such a woman's lament, though. It really does. |
|
| Meiko – Stuck On You Lyrics | 10 years ago |
| What an adorable song. She's got a great, pure mezzo, too. No Autotune. Love the acoustic version especially. | |
| Joy Division – Love Will Tear Us Apart Lyrics | 11 years ago |
|
There's a definite irony to the song; a sense of strange doom, despite the inclusion of 'love'. While this was clearly never intended, it's often struck me as reminiscent of a failed friendship, rather than a romance. For whatever reason (other partners, obligations, so forth) they can't have a romantic relationship, and there's too much intensity for the dynamic to remain platonic. And thus, 'love' will 'tear them apart'. Why again? Meh. Maybe this isn't the first time. They could've been battling it awhile. At first, the more intimate lyrics seemed irreconcilable for such an interpretation, until I presumed, as friends in an 'it's complicated' sort of situation tend to do, some form of sexual relationship of a casual nature emerges - and that won't do, either. The feelings run too deep, and there's really no middle road. Damned if you do - and if you don't. In the end, irony of ironies, it was love that tore them apart. Again. Any fellow fans of BSG (Battlestar Galactica) would see this sort of thing playing out pretty clearly between Kara 'Starbuck' Thrace and Lee 'Apollo' Adama. A great, close friendship torn apart by the intensity introduced by love that neither could ever seem to handle at the same time. ('Is my timing that flawed?') Alas, only my musings on one of the quirkier songs of the era. |
|
| Jamiroquai – Virtual Insanity Lyrics | 11 years ago |
|
A thought. We all now -live- in the 'digital underground' i.e., what 'the Internet' was known to be in the mid-90s, and largely populated by those who'd been on the BBS before, versed on IRC, and so on. And there is no sound. Because nobody picks up the phone anymore. We all text. We all type. Scary. |
|
| Jamiroquai – Virtual Insanity Lyrics | 11 years ago |
| Strangely prescient back in 1996. Here we are in 2012, and certainly seems we're heading down that useless, twisting road. | |
| Melissa Etheridge – Bring Me Some Water Lyrics | 12 years ago |
|
This one popped into my head the closer the date nears when my best friend is going to be seeing his booty-call while travelling for a show. For complicated circumstances, we've never had the opportunity to get together. I figured my way of A) dealing with it, and B) letting him know how thrilled I am that he's going to be seeing her again would be by covering it on my favourite karaoke site. Oh, music. How you are much-needed therapy. Fantastic song. Hella difficult to sing, actually. Etheridge has got some choice vocals there - and a surprising amount of lung power. |
|
| Survivor – The Search Is Over Lyrics | 12 years ago |
|
Definitely. I always got an M&S vibe from it, too. Honestly, I'm here because I'm looking to use it in my own upcoming series. This is just ... frankly, it's just a hell of a song, and I'm sure it helps that it has personal meaning to me. Heh. Thanks for sharing your interp. Beautifully stated. |
|
| Survivor – The Search Is Over Lyrics | 12 years ago |
| Seriously? I think it's fine. It just demonstrates the intensity. Shows the passion. What would you prefer, 'give a care' ? Or, since we're rhyming with 'man', 'it's not all a sham' ? I think you're taking a single word - which isn't even censored on network television - WAY too seriously, and 'ruining' your enjoyment of a great song. | |
| Robert Pattinson – Never Think Lyrics | 12 years ago |
|
Wow. Seriously? I can't think of anything more lame and hackneyed. 'He wants so much more for her and thinks she could do a lot better than him' ? Jesus. This woman is ruining my genre. Concepts I've been taking VERY seriously for over a decade, and using cleverly, I might add, seem to just be disregarded in favour of the easy plot choices, the most lazy character motivation, and - worst of all - given NO explanation as to why. 'He'll ruin her soul by loving her' ? Uhhh ... Okay. I get it. Dude's a vampire. He's cursed, and all that rot. He -curses- her by loving her? Or is it just due to the fact it binds them, (but wait, isn't he soulless? Oh, so confused now ... ) and therefore, they're the same entity and ... Nope. I'm lost. I don't get it. IF she's using 'ruination' as a metaphor for ego-oriented love verus selfless / universal love -- I think I KINDA follow. Kinda. Otherwise, it seems like WAY too cliched of a device. THAT being said, my God, Pattinson's voice is incredible. WOW. I'm blown away. What a talented guy. -AMP |
|
| Puscifer – Momma Sed Lyrics | 12 years ago |
| Is it 'changes come' or 'change has come' ? It's difficult to tell what they're saying there; the accent could be 'has' rather than '-es'. Either way, BRILLIANT song. | |
| Jonas Sees In Color – I Own These Streets Lyrics | 12 years ago |
| Clearly from the POV of a vampire. Very clever! This is a strong band; they don't have that many hits, but this is very well done, in my opinion. | |
| Delerium – Fallen Icons Lyrics | 12 years ago |
|
Exactly. Or, more specifically, she's embittred about being who she's become today. She isn't responsible for being this way; the addressee in the song is. I disagree, however, with a romantic origin. Could be. But, similar to how amygims stated, it seems a deep betrayal at a younger age. How what would've been an open, gentle and receptive heart became a 'hunter': watchful, vigilant, and predatory. |
|
| Delerium – Fallen Icons Lyrics | 12 years ago |
| Really? It doesn't seem just as likely, if not more so, to be figurative imagery? After all, the brain encodes more readily and vividly that which is most salient -- and the more sensory, the more salient. Like a mnemonic device. The very concept behind memory palaces, and why people who have incredible memories tend to employ similar methods. | |
| Delerium – Fallen Icons Lyrics | 12 years ago |
|
Thanks, bellababy. Didn't intend to be quite so cryptic, as I realise that was. It was more of a gut-reaction than a thorough response. I'd be happy to point to individual elements of the song which bring this interpretation to me. As it's a very personal experience, (the song, and the interpretation it conjures) it's rather second-nature to me now. |
|
| Delerium – Fallen Icons Lyrics | 12 years ago |
|
Discovery of things in one's past having been lies or deception; understanding why you became as you are -- realising it wasn't your fault. Living with that understanding and consequence. Deciding where to go from here. Just my $0.02. Wonderful thing of songs. They're rather subjective. |
|
| Todd Rundgren – Hello It's Me Lyrics | 13 years ago |
|
I agree that this is indeed about a complex relationship and complicated emotions involved, as a result. But I don't agree with the simple interpretation that this is an affair. For one, the song was written in '68 by Rundgren for Nazz. A decade really doesn't die until half-way through the new decade; for instance, sure, we'll be into the '20-teens' next year, but don't expect the 'early naughts' feel to dissipate until 2015, at least. And, simply stated, the sentiments were much stronger in the 20th century. 60's attitudes were well in force into the 70's -- just as the music from the early-to-mid 80's was still strongly 70's influence. This is just where the cultural consciousness was. Given that preamble, consider some of the mindset going on here -- specifically, the sexual revolution. Free-love. A whole revolutionized style of relating. Changing attitudes. Now, by the 80s, we'd all come out of the (somewhat drug-induced, heh) fog of limitless hedonism -- and suffered the health results. Plus, the religious fundamentalists came barrelling through with paraphernalia waving, stating that such behaviours were against [insert-chosen-deity-here] and that's the explanation for disease and what-have-you. Ridiculous, unproven, sure -- but the end result was undeniable: people were sick, dying, and some sort of control needed to be put back into place. So, it's not surprising that sanctioned pair-bonding and nuclear families were again en vogue, with the polyamoury of the past becoming too dicey and remaining in the minority. Still, the backlash was there, and the attitudes remain in the cultural subconscious. (That's why you see a lot of it coming back in the alternative lifestyles which embrace them.) Now, back to Rundgren. Since this was first written in that era, I'm much more inclined to think that this is the sentiment of the tail-end of that paradigm shift. It doesn't have to be an affair, as some have suggested, (and not without merit). Nobody had to be lying. In the case of polyamoury, everyone's aware of everything, there's heavy negotiation, and the understanding that there will be multiple romantic and / or sexual relationships active within the group, or a single pair-bonding. Like swinging, but with some different controls in place. Listen to the song again with this in mind. You might be surprised just how much it seems to fit. Yes, she (or even he) is likely married, or in an otherwise committed, legally-recognized relationship, and the other is not; quite possibly single. Yes, the relationship presents some issues of unfairness and can be very complicated -- for both, but namely the single individual. I feel the 'I never want to make you change for me' line to be the real ticket. It's possible that a relationship was tried given the intensity of emotion between the two, and failed on the grounds that the single partner needs to be more than he (or she) ever can be, given the prior obligation and commitment of the otherwise 'taken' partner. It's nobody's fault, and just plain sucks, honestly. So he sums it up rather well, I feel: they'll see each other 'once in awhile', or if they need a reason to smile, and, if attitudes should change, re-introduce a romantic and / or sexual component. But for whatever reason, either the narrator (Rundgren) or the one to whom he's singing has decided that, due to whatever, a relationship cannot continue for reasons not given. It's probably quite painful. They might still be in love. They may remain friends. As a result, he wants to make sure that (likely the single partner) knows that she 'is free', isn't expected to change, and he still loves her. And, if she decides that she 'just doesn't care' (about the complication) once again, or potentially even finds a partner herself who is open-minded and free-thinking, they could try again. Complex song. Complicated emotions, but very powerful. Three cheers to Rundgren. The man gets it. |
|
| Emery – All I Want (Toad the Wet Sprocket cover) Lyrics | 13 years ago |
| Argh. Typo. I meant to say I'm surprised that -you- think the lyrics are 'happy'. The rest still applies. | |
| Emery – All I Want (Toad the Wet Sprocket cover) Lyrics | 13 years ago |
| I'm surprised to think the lyrics are 'happy'. Romantic, sure, but from a dejected, bitter, and disappointed POV. Where are you getting 'happy', out of curiosity -- especially with a bridge like that? | |
| Evanescence – Lose Control Lyrics | 13 years ago |
|
I would like to amend my previous statement. I believe this, again, is most CERTAINLY about BDSM, but the 'loss of control' is within HERSELF. I believe she HAS always played it straight, controlled, followed all of the rules and so forth, and she's becoming very tempted to start breaking them. This is not a covenant she has maintained with another person, but herself. Her ultimate fear being that her lamb, her lover, will be completely destroyed when she's done with him. Think of the inner struggle of Jekyll and Hyde. Our darkest inner desires we allow to go unnoticed, constantly channelled, monitored, and policed by the rest of ourselves. I believe Amy wants nothing more than to give -HERSELF- the permission to lose control. This is an inner dialogue about that war. And, given that, this song has taken on a new meaning -- and level of brilliance -- to and for me. |
|
| Evanescence – Lose Control Lyrics | 13 years ago |
|
The fact that you term it 'S&M' leads me to believe you know very little of the lifestyle. I'm not criticising, but simply stating that lumping infidelity with alternative sexuality is horribly unjustified. And I stick to my own statement, regarding that it isn't about infidelity as much as it's seeking to have one's needs both suddenly revealed to them and then met. Listen again. Closely. |
|
| Evanescence – Lose Control Lyrics | 13 years ago |
|
Thank you! How is it that we're the only one that interpreted this song this way? More importantly, it seems a bit topping-from-the-bottom. I agree with the addition that, over time, she's using his being dominance to in fact experience her 'submission' -- which isn't truly submitting, as she's still in control. She might even be 'taken', too -- in a relationship with someone who doesn't understand her needs, for example. All of it rather ironic, I feel. |
|
| Evanescence – Lose Control Lyrics | 13 years ago |
|
Because you're secretly looking for a man to allow you to 'lose control' ? Not surprising. A number of women are actually very submissive, but unaware of this aspect of themselves. Perhaps you should talk to your boyfriend about it? If you have a good relationship, you should always maintain good, solid, and open communication. Maybe he'd be willing to explore it with you? |
|
| Evanescence – Lose Control Lyrics | 13 years ago |
|
How has no one mentioned BDSM? (Bondage and Discipline, Dominance and Submission, Sadism and Masochism -- there are many variations.) I'm surprised. That's what I got immediately from this song, and it's always been right up her (Amy's) alley. She's tired of always being the one in charge -- the dominant woman. She's hoping with this man, this 'lamb' with the eyes black as coals, she may finally be able to submit -- to quite literally, 'lose control'. I interpret her previous dominance from the ending lines, fearing that there will be nothing left of him were she to turn him to something she could use. She's evidently so good at what she does that this may be her only opportunity to experience submission for herself; once she's 'broken' him down, he'll be so addicted to her doing so that he'll never want to be the one to take charge. My $0.03. |
|
| Switchfoot – The Sound (John M. Perkins' Blues) Lyrics | 13 years ago |
|
I don't buy it. This is not history. This is not the past. This is the voice of the generation now entering the workforce; trying to build their lives on the ruins left in the wake of past generations' squandering. This is a crying out, indeed, and a hopeful wake-up call. But what can so few who hear 'the sound' do when the rest prefer to be deaf to it? Kudos to Switchfoot, and the generation of a nation hoping to be heard. At least -they're- listening to the kids. Nobody else is. |
|
| Incubus – Drive Lyrics | 13 years ago |
|
Truthfully, I'm going to bet this song is about designated driving, and choosing to not be driven around due to being too drunk to be behind the wheel. But, as we know from Jungian psychology, 'driving' has become synonymous (especially in dreams) for taking charge of one's life, and if we're not in the driver's seat, it's not us in control. I offer a secondary interpretation that popped up among the fear-of-driving and driving-phobia communities, to which I have belonged. It was kinda our 'power song', and you can probably see why -- since quite a few of the lyrics refer to 'the fear'; especially: It's driven me before and it seems to be the way that everyone else gets around. But lately I'm beginning to find that when I drive myself my light is found. This seems to fall right in line with the fact that, while there are many of us(!) we're still in the relative minority, as this is how 'everyone else' gets around. And, naturally, once we DO suck it up, by however means, and take the wheel and begin to drive ourselves, the sense of accomplishment, freedom, and independence is unfathomable. Either way, great song. Speaks quite deeply to me. |
|
| Hayley Westenra – Dark Waltz Lyrics | 13 years ago |
|
This one has always struck me as a very 'Phantom of the Opera' reminiscent piece -- oddly, with shades of 'Alice in Wonderland' thrown in, given 'I gaze through the looking glass', (though, it could simply be the feel of Victoriana). The narrator is opening herself up to what is most definitely a seduction with a darker undercurrent. Hades and Persephone, in a sense. Hauntingly beautiful. |
|
| Live – The Dolphin's Cry Lyrics | 14 years ago |
|
Indeed. Have you listened to the studio album version all of the way through? Where there's a (more faint, but there) background chorus that states, 'To the lotus, she will lead us.' ? It's so faint, most people miss it. But I feel it's a direct link to Pure Land Buddhism. -A. |
|
| Live – The Dolphin's Cry Lyrics | 14 years ago |
|
Close, but I'll do you one better here. It's ironic that 'The Dolphin's Cry' should flood into my head upon reading about Pure Land Buddhism -- or is it? There are a few distinct lyrics, (along with the preceding album's title, for chrissake, being 'Secret Samadhi') that tell me this is FAR more than about 'sex on a beach' -- regardless of what Ed says. (I.E., I don't quite believe him.) Any rate, someone did wisely mention tantra, and that's much more in line here -- and much more at stake. Pay closer attention to the lyrics here with an eye to Buddhism, especially the Pure Land variation of it. It isn't a perfect translation, so look into Vajrayana as well (Tantric Buddhism). Here's why: Oh yeah, we meet again It's like we never left Time in between was just a dream Did we leave this place? This crazy fog surrounds me You wrap your legs around me All I can do to try and breathe Let me breathe so that I So we can go together! 'We meet again' ? 'This place' ? 'Time in between was just a dream' ? 'So we can GO TOGETHER' ? There's quite a bit more, but I'll remind that the studio performance includes background verses of, 'to the lotus she will lead us.' NOW look at Pure Land again. In short, this song may be about sex on the beach. But it's between recently reunited soul-mates. - A. |
|
| Toad the Wet Sprocket – All I Want Lyrics | 14 years ago |
|
Let's try this one on. It's about a relationship -- sort of. At least, a dynamic. I believe there's a blockage here. Something that's unexpressed, and being frustrated. Perhaps, because there cannot be a relationship -- at least not the way in which this chemistry between them seeks to be expressed. So, it doesn't seem to me to be a break-up song. It's more of a star-crossed experience. To wit: 'Nothing's so cold as closing the heart when all we need is to free the soul. But we wouldn't be that brave, I know.' Whether it's bravery or commitment to another or a different ideal is up for further extrapolation. Either way, it's a disappointment and a longing. Here's the kicker, though: 'And it won't matter now. Whatever happens WILL BE. Though, the air it speaks of all we'll never be. It won't trouble me.' Maybe that's true. Maybe it's being relinquished more easily than initially expected. Maybe, the reasons are understood, and it's decided to be the best course of action. Maybe, there's a bit of denial involved. It's most likely a combination of all of the above. Since the two people cannot express what's between them, the narrator settles on the overall feeling between them that remains unexpressed -- since it still feels SO close, but not close enough. Letting IT hold him close; IT take him in. I think it ends perfectly, since it CANNOT end, that feeling. It tends to linger. So, he can hear it say ... the very same things he already knows, over which he is experiencing quite a bit of anguish. In the end, the want remains. Even if it's unsatisfied. My $0.03. |
|
| The Bolshoi – A Way Lyrics | 15 years ago |
|
Huh. It's rather ironic, I think, in that I've listened to this a few times through my boyfriend's music collection, and it seems to've struck me rather strongly now, but hadn't then. He's unsure of exactly what it could be, which leaves me to speculate more completely. So, let's give it a go, shall we? First of, there's discrepancy as to what it's even titled. iTunes insists 'Away', while AMG.com, Wikipedia and even the official site claim 'A Way'. The first doesn't seem to have as much impact as the latter, and the band insists they're somewhat interchangeable. This might even be purposeful. 'A Way' has one type of impact while 'Away' another. Okay, taking a look at the chorus; with the first spelling, and arguably the most popular: 'Yes, you get by -- a way.' A way. Looking for 'a way' -- to get by, perhaps? It's a little unclear. Trying it out now with the alternative: 'Yes, you get by -- away.' Could be a play on words here. You'll get by -- away. So, either way, there seems to be some kind of distancing happening here. Whether you're primed for it, as granted, I am at the moment. I may check back six months from now and re-evaluate, but it does seem to hold merit. So, who's the song about? A woman, sure. Looking for 'a way'. Perhaps a young woman with ambition? Big dreams and small beginnings. Taught, in some fashion, to 'marry up' and thus presenting herself as a desirable prospect for such a candidate. But let's kick back a second to the opening verse. This seems to indicate the unfolding story. Some line-by-line analysis here. + We're in love, lets be together Happy times or heavy weather Mother says "Today's a special day" So lets not fight, O-K, yeah. + There's some kind of relationship; romantic. Seem to be stickin' it through: 'happy times or heavy weather'. But now we get a third component here; mother; and she says that 'today' is a special day, though we're not given any indication of what that might even be (until later verses) -- and there seems to be some agreement to maintain the peace for the semblance of festivity. + When you were at school you were a honey The boys all loved you - you loved their money The boys would stare - you'd cross your legs And then you'd toss your hair + Ah, school-days. So, she's attractive, but moreso -- she knows how to attract. What to do, what not to. She's very scripted; a 'good girl', it seems. She 'crosses her legs' (which would indicate a bit of chastity) but 'tosses her hair'. She's a tease. Someone won't approve of anything else, so she works with what she's got, and that's the illusion of romantic destiny. (This element of 'illusion' will play out in a larger way later.) Now, beyond the school-days verse, we're back on the home front yet again. + Money's scarce, but family honour Brings it home, brings it home And down the shops, the tongues they snicker TV dinners - beer and liquor, oh yeah + Again, there's some modest beginning here, where the 'marrying into money' seems to hold some importance. The family's not rich and the subject here is focused upon ascending the poor financial climate in which her family is struggling, as was covered in the second verse. Why? 'Family honour' brings 'it' home, though we're not sure yet just what that is. Considering the time, region of the group, the shoppes are likely the common marketplaces and malls where the communities gather to shoppe, gossip, and relate. 'Tongues snickering' seems a clever way to indicate there's some level of tension here outside of the scope of the subject; possibly dealing with her family, given they were the most recent focus of the verse. We remain uncertain as to the roots of this motivation at this point. However, the Bolshoi seem to be rather talented, skilled storytellers. The origins will be revealed later. Now, here's where it gets interesting. Seems somewhat typical up to this point. Woman brought up in poor household marries up (or has been brought up to do so, or seems to want to, whether or not it actually happens) and there's tacit agreement not to argue (over something -- money? Choice of suitor? Something not yet explained?) for the sake of the special event -- quite possibly the actual wedding. One can surmise. So. Here's where it gets complicated. + Skeletons fall out of cupboards. Curtains drawn, fall open to allow. The light shows up the dust, That plays around your face. + Oh ... my. Cupboards, obviously in English lexicon are essentially closets -- and when skeletons fall from them, well; it's rarely a happy story, and this doesn't seem much to be anymore. Things long since hidden by the 'drawn curtains' that are now 'open to allow' the light showing up the dust that plays around your face' are being presented. Stuff is coming out of the dark. Aspects of everything are being revealed in the light of this once-darkness. But this is just the first piece of the puzzle. We jump back into the chorus before continuing on to the next verse. + Innocence and lies don't make a perfect match Leave your door unlatched I know a word can be untrue And yet still move you + The house has become a full-blown metaphor for the household; much as Poe did with his famous gothic horror, 'The Fall of the House of Usher'. Family secrets are being exposed; they aren't pretty, and the dust is being kicked up from every corner. Previously held truths are being un-masqued for the lies they actually are. The narrator seems to be asking that the 'door' remain 'unlatched'. This house, its secrets, have been tightly locked away for far too long, and, like the Ushers, the exposure is creating a bit of an uprising. But it's the last part of this verse that is perhaps most telling: 'I know a word can be untrue and yet, still move you.' We're starting to get a sense of the narrator, now. He's an outsider who's had enough of an inside look to pose questions and make certain evaluations. This line seems to be somewhat compassionate, as his later statements will support. Perhaps, it's a friend of the subject. Maybe her lover; or an older relative or trusted source who has watched the story unfold from the sidelines and is possibly the most objective viewpoint. Actually, there are two; the first seems to be a lover, given the 'we're in love' -- and second switches to something more of the latter -- trusted other source, for lack of better determination. So, what's being said? Even exposed, lies can still hold as much sway as truth. Once confronted, the pain is not removed. Habits do not cease to exist once an unhealthy source has been identified. Addictions require recovery; dysfunction can be a type of addiction in itself -- sometimes requiring equal work, support, and healing. Discovery is only the beginning; and it's often terribly painful. Any rate, we're about to get another peek into the past and see more of the story. + And all the time they bring their friends 'round Dress you up, show you up And all the time they told you it was true Well, I'll believe you now + Anyone remember the old custom of debutantes? Right, I act as if this is a dead cultural vice; I know it isn't everywhere. Debutantes, it was discovered in later times, is as objectifying and degrading to women as are other more commonly, self-evident practises with the same result. They are at the mercy of the parents who will now 'present them to society' -- so they may be successful in finding a husband. This was effective, and highly necessary in the mid-to-latter nineteenth century -- yes, England especially -- where a woman was considered a burden upon her family, were she not married by a certain age. (Though, few -- Jane Austen comes to mind -- were insistent upon marketing their talents and surviving as professionals without the aid or support from a marriage. Pre-pre-feminism, I suppose, but far less violent and male-bashing. The 1960's in the good ol' U.S. of A. would take care of that.) But I digress. Still, there's seems to be a bit of this going on -- which hadn't completely yet died out in the 80's, especially, and certainly not in merry ole England. 'Dress you up, show you up.' She's a debutante; we're not clear yet as to whether she even wants to be, but they made her one so that she would find a 'suitable husband' and complete her life's mission (according to the parental folk) of 'marrying up'. Pay extra special attention to the next line: 'And all the time, they told you it was true.' Remember the lie versus innocence -- not necessarily truth, but innocence -- smack-down from before? There was a naivete here. Perhaps, she took her parents word for law. She knew no differently, and may not (yet?) be the sort to challenge the status quo. Debutantes are typically 'released to society' (standard terminology there) around the age of fifteen / sixteen. Right about the time in which greater independence is sought in a variety of ways and will continue for the next several years, growing in intensity and scope. In continuing with the 'innocence versus lies' line of thinking, we see there may be some challenging now. Seems there's some feuding, special events taking place, and the implementation of forced cordiality for the sake of saving face and keeping up appearances -- of which they seem especially fond, given the 'snickering tongues' in the marketplace. 'Well, I'll believe you now,' our narrator says, almost as confirmation to something that's been said by the subject, which we haven't yet been told, and may never know. But the closing verses will give us a better idea of what that could be, and why things are in the state they are. We'll still have to speculate how they got there, but it's not a leap. For whatever reason, he believes her now, despite the seeming evidence to the contrary. That's been exposed as false and misleading. But now, the icing on this rather dark and bitter cake. + But then I just don't know I Think I'd have to reconsider, yeah I know when she got married She looked fine in white and lacy frills Oh yeah she had a baby It was painful, it was worth it And all the time they stuck the knife in Pulled it up and twist it around + Uh, oh. We've got some uncertainty here. Our objective outsider really isn't sure what's going on, or may not be as eager to rock the boat as before. He seems to be agreeing with the subject in secret, maintaining a docile front in public. There's apathy here. An unwillingness to get too involved, just in case it all blows up. And believe me, it does look like it's done just that. So, now we get the story. She got married. She looked fine at the wedding, all dressed in white; perhaps a blushing bride, smiling politely for the camera with a bottle of Scotch in the church dressing rooms -- perhaps, not. The fact that our narrator tells us 'she looked fine' doesn't tell us whether or not she IS fine -- only that she, too, seems masterful at presenting an organised front -- which isn't surprising, considering. We skip ahead a bit; she has a kid now. Seems despite whatever's gone down in the past, she's going to continue the bloodline, try her hand at parenting, and keep living life. Right on. I can believe that. This happens more commonly than one might think; especially in an era of dysfunctional backgrounds -- the world over, but Western society especially. Here's the wrap-up. 'It was painful; it was worth it. And all the time, they stuck in the knife in. Pulled it up, and twist it around.' And we return the chorus. A way. Away. It doesn't matter your spelling; the meaning is clear. Be it 'a way' or 'away' -- you get by. Yes, you get by. I'm convinced this is a tragic song -- full of pain, loss, and unending sadness. They came to the wedding, agreeing not to fight. They were probably present at the birth of her child -- but through it all, 'they stuck the knife in'. It never ends. The pain continues. There is no forgiveness, only resentment that builds and festers until it overtakes everyone involved. There are no relationships here. There are fronts. There is the sake of saving face and that which is most valuable stays intact: the illusion of happiness. The truth is too painful. What has emerged cannot be forced back into the darkness from which it came. As my own mother has said, 'the bell cannot be un-rung.' Sides have been taken, and it's unclear who's down for the count. One? Both? Neither? It's the worst sort of estrangement -- that which is unacknowledged. Partial and yet complete. Nothing is resolved. What has been uncovered is not being reviewed to bring about a state of health and function, but is being ignored. Denial rules, and in it, there is life. But lonely ones. It continues, but differently, and bittersweet. Tragically. Finally, there is apathy. 'Well, that's fine,' he says, with repetition; almost a sense of being defeated. There's anger now. The narrator isn't hiding it, and the irony is unmistakable. That's fine, he says. Fine. Fine. Fine. Ironic, because nothing truly is anymore. Nor will it likely ever be. You just get by. And while it is, and it isn't -- it's fine. Powerful song, tragic message. Strange life. The whole thing is truthful, but ironic. Even the upbeat melody. It ends in apathy; a sad acceptance. You get by -- with a way, or away. It's all the same. You get by. EDIT: I really didn't feel like re-writing the above, so I'll instead supply this last-minute insert. Take a closer look at the verse surrounding 'family honour'. I'm going to argue this family is too image-conscious to have never had money before. I believe they've fallen on hard times. Things are rough; luckily, they've got a daughter who appears to be their meal ticket. The 'WAY' out. A way. But things don't turn out as expected. The war continues. The skeletons are dancing in the regalia of the once-prestigious family, and they're not going back in the 'cupboards'. So, away, or a way. They all get by. Of course, this is all just my opinion. I could be wrong. |
|
| Daughtry – All These Lives Lyrics | 16 years ago |
|
Addendum: 'Don't you know, it's violation?' seems simply to be a good word-rhyme with 'separation'. It could be alluding to the fact that abduction is illegal, but that seems too obvious for intent. Heh. The real cleverness lies in the other lyrics and hook of the song. And, yes, the fact that the 'glass is sprayed' doesn't seem to indicate an abduction by a non-custodial parent. Happens, but typically the parent isn't required to take the child so forcefully. They often drive off across state lines, more than anything. The child is usually trusting, given the relationship, and depending upon age, the concept of time isn't fully formed. An hour long car ride may seem half an hour to fifteen minutes if the child is actively engaged. Next thing you know, the custodial parent reports the child missing, local law enforcement is handing it over the Bureau, (given it's both an abduction AND crossed state lines) and you've got a federal mess. I also love this song as a theme of one involved in the law enforcement side of matters. 'Deep inside, my heart is breaking. They're gonna find you; just believe. You're not a person, you're a disease.' If anything, I see an officer (or agent) very involved with a case, or just sensitive in general. Perhaps one who adjunct with victim assistance or recovery. They're identifying with the tragedy of these broken lives, feeling all of the pain from the separation, vowing to do all they can to end the suffering and prevent it from continuing. It's an idealistic sort of thing, but a well-meant one, nonetheless. Heh, I believe that's all for now. |
|
| Daughtry – All These Lives Lyrics | 16 years ago |
|
TessLa: what an unusual interpretation of this song. I honestly hadn't thought of that. The 'glass sprayed' is indeed indicative of there having been an abduction. If one was simply fleeing, there'd be no need to be so destructive; it would also alert those nearby. Unless, they're escaping their captors, but in this case, they aren't. I take it as both, actually -- child abduction, as well as serial murder. It could easily be a very clear, stark message to the 'social disease' we combat known as serial / multiple homicide. There's the literal form of 'taking lives', as well as abduction. Not to mention, the FBI's NCAVC taskforce is the Child Abduction Serial Murder Investigative Resources Centre, as, sadly, abduction is part and parcel. Personally, the line, 'you're not a person, you're a disease,' doesn't relate to dementia to me, but rather is an excellent depiction of the current state of debate in the psychological as well as behavioural analysis world. While many serial murderers, abductors, and rapists are a product of their poor environment, there's genetic factors involved as well -- hence the war of nature versus nurture rages on. Some are deeply mentally unstable (psychotic), others truly psychopathic. Classification that strips an UNSUB of their humanity, labelling them 'a disease' is either an overly clinical way of dealing with the issue -- which is what many of the dedicated men and women in law enforcement do. But, again, this could also point to the scholarly debate in academia outside of the 'field', even if not all offenders are psychotic, just as they're not all psychopathic, either. Typically, a little bit of both. Great song. |
|
| Samantha Mumba – Gotta Tell You Lyrics | 16 years ago |
|
Pretty straightforward; narrator's all hot and bothered, but is being prudent enough to hold back in case her feelings aren't returned. Great beat, very nice bridge. Good one-hit-wonder, (as it really is, considering she doubled as a sometimes-actress.) |
|
| Three Days Grace – Pain Lyrics | 16 years ago |
|
To me, it's very clearly a theme of the psychopath. I rather like it for the fact that it has a definite 'screamo' feel to it, without diving head-first into unintelligible primalness. There's still a good bit of 'sanity' present for the most of it. The vocals are clear, and at times, soft, nearly taunting. It seems the subject is wrestling with the notion of, for all they know, what seems to be genuine care for another person. Being in that psychopaths do not experience emotion normally, and lead their lives in a very numbing, apathetic existence -- often employing deception and mimicry to seem otherwise -- BDSM (which the song does imply to a degree) is often one of the only forms of 'relating'. Closer examining the lyrics, it could even be a bit more eerie than a sexually-deviant overture; look at the bridge: 'you're wounded, I'm here to save you, I'm always here for you, you'll thank me later?' Again, the regular conception of love and devotion is confused, twisted into something insidious and darker. How does the narrator propose to save the object of his 'affection' ? There seems almost to be an element of madness here, which could, in turn, prove deadly. Now, you might even have a crime of passion borne from the previous aspects of a fear of being numb to everything, and subsequent indulgence in sadomasochistic behavioural extremes. Probably not what the band was intending, heh, but very, very intriguing, nonetheless. |
|
| Billie Myers – Tell Me Lyrics | 17 years ago |
|
Amazing song. Definitely a thought-provoking one concerning the topic of gender roles, and how men and women experience sexuality differently. (The music video especially depicts this. A recommended watch for the full feel.) Specifically, she's wondering what it would be like for him, and if he wonders how it is for her. A great song for exploring the myriad facets of sexual experience. |
|
| Howard Jones – No One Is To Blame Lyrics | 17 years ago |
|
That's basically how it was explained to me when it first came out, ('85). Sometimes, attractions happen for whatever reason, and they can't be fulfilled. Typically situational. So while I can see it being about infidelity, I don't think it is, truly; more, it's almost a mourning for it, what can't be. Again, he uses dozens of wonderful metaphors for expressing it, without taking action. The title of the song is the key, in this case. He's saying, I believe, that for whatever reason, these things happen, and it's all right. Who can unravel the mysteries of human relationships or sexual attraction? Various scientific studies have been taking a crack at it for years, and yet, one of the most profound additions to the 'debate' has got to be this idea: no one is to blame. It happens. Accept the fact, deal with it, and go on. It's a little like Elton John's "Sacrifice". A discussion over the idea, just handled differently. Jones leaves that open, just in case: "some break the rules" (go through with it) "and live to count the cost" (suffer the consequences of a broken trust, or relationship(s) "the insecurity is the thing that won't get lost" (ultimately, things are going to take a dive in one regard or another, so it's not to be considered lightly.) Wonderfully thought-provoking, poignant, and in some ways, timeless song. Recent covers by Emile Millar (off of his "Stay Here" 2007 solo release -- a bit bluesy, wonderful vocals, reminds me of another artist whose name's escaping me, but you'll recognise it, too) and Jodie Manross (live, and available through iTunes -- folk artist with some eclectic roots, very acoustic) are excellent arrangements and covers. Jones also updated his own work, adding in some different instruments and stylistic changes for his 2000 'Perform' tour. Highly recommended. |
|
| Elton John – Sacrifice Lyrics | 17 years ago |
|
I'm going to go with the actual "sacrifice" is the affair, and I can understand that completely. It's the way I've always interpreted this song. The narrator loves their spouse, even though the "temptation's strong". It isn't worth throwing everything away for what may just be that -- a temptation. The universality is implied, too, "into the boundary of each ... sweet deceit comes calling, and negativity lands." O'Connor's cover is absolutely breathtaking, I agree. I'm also inclined to think that this is the more likely interpretation (against the one in which Elton is expressing his feelings over his orientation) as Taupin is the lyricist, while John is the melody. ;) They're an amazing team of incredible talent. |
|
| Justin Timberlake – FutureSex/LoveSound Lyrics | 17 years ago |
|
Right ... yeah, but, again, this IS songmeanings, not praisetheartist. Anyone want to take a stab at what it MEANS? My best friend snagged the album the other day and we were listening to it. Typically isn't my music scene, (though I'm liking the second movement of 'Lovestoned' -- it's very Brit-alternative) but I found the beat and vocals catchy as well. Our best guess was that a "futuresex lovesound" refers to the intimate noises one makes and things one says during a sexual encounter. In this case, "must be my futuresex lovesound" is referring to a kind of subliminal intuition of there being an imminent encounter between these two. All signs pointing to 'yes', if you will. Instead of deducing the situation logically, (she's "pressed up on" him / "ready to blow") he takes it for a kind of cosmic thing; almost like he's receiving this "futuresex" message on a different radar. Thus, all she has to do is tell him "which way [she] likes that", etc. Does he hear these "sounds"? We get the idea that he senses them somehow, "must be ... " and that's altogether different. Very different kind of mix, to use seemingly straightforward R&B lyrics but almost hide an entirely different message within them, given the neologisms "futuresex" and "lovesound". Kinda innovative. Thoughts? |
|
| Dirty Vegas – Days go By (acoustic) Lyrics | 17 years ago |
|
Ulp! Forgive me, everyone. Was having a bit of a cognitive nap, there. I'm listening to both versions carefully, and I'm going to bet that this new version I've found, "Days Go By" (Guitar Version) is indeed the track I spoke of. The percussion is different, and 0:04 into the song it has a bit of synth. It is NOT the same as the "acoustic" version. Now, I HIGHLY recommend it! Much more polished. Perhaps, if you e-mail me (and be sure to put something in the subject line regarding Songmeanings, etc. so the spam filtre doesn't eat it up) I'll see what I can do about finding it for you. -nudge, nudge, wink, wink- |
|
| Dirty Vegas – Days go By (acoustic) Lyrics | 17 years ago |
|
Man, I adore this version so much. Ever since I first heard it. May be short, but it's poignant. Powerful. The vocals are so reminiscent of Neil Finn (specifically, of early Crowded House). I wish I could find the "radio edit" that has the underlying percussion beat (NOT the one on the acoustical guitar versions, though, they're obviously beautiful.) The percussion is just a touch bit stronger, and it lends an overall different feel to the song. Sort of like the different versions of "Mad World" released by Gary Jules for the "Donnie Darko" OST. Sometimes you want a bit more of a beat, sometimes you don't. ;) Speaking of the percussion, it's also very Guster-like. Dirty Vegas definitely landed a hit with this track! Now, then. I agree with the sentiment that the narrator is longing for a loved one; be it that they're since over, or they've lost them in some tragic way. Despite the manner or method, he's reflective, thoughtful and pensive. Just love it. Mildly cinematic, too. You can just see him driving down the road of a sleepy town, maybe rising from the winter's frost, where he and his love spent the summer ... A song for memories. |
|
* This information can be up to 15 minutes delayed.