Caught in the field like a dirty great power
Like thunder and rain
Summonsed by nature when summonsed by name
Safe in a house close to door hide his brain

Life theres fear theres hope all for the best
Raw head and bloody rest might shake their bones
To paste and glue
Starting the beginning of me / you

Please mum and I hope that my dad means mum and I
Hope that dad please mummy tell me to do all the
Things I do

All things I do

Screwing my courage to the sticking place
Never a good race never a good race
I hail all hail and give my life to live forever

To walk some coal and take some strain alive
All with lovely love on my side

Waiting to see which way he will jump to find
Which hole he's to creep into when he's old and tired
Not expected to carry on and

When he's away day goes by day
As his old friends die
His hope and fears a secret for his only child
Who's expecting and carrying on in a different style

Washed so bland via remedy man
Stands for all that he can stand
Throws a canker to the can
Moults a hair putredity man
He's a very special man
He's a very special man

Lies to rest in difficult care
For your pleasure to be there
Dissolves in a bed of chair
Reechy institutional man

Walking on fire bright
Something is stealing his feeling again
Lick wound he heals and still feels theres some pain
Washing his dirt in the mud and the rain

Safe as house against a wall of air and noise
A bucket full of everything he needs

(Needs)

Preserver in for her and him survive
All with lovely lovely love on their side

Moults a hair putredity man
Squeak hard if he can
For his girl left his hand
For sex with a man
With a different man
Squeak hard fatty man
Squeak thin fatty man

Shriek and dance to a different noise
Shriek thin fatty girls
Shriek thin fatty boys

Girl boy world puts heads in a whirl
Shriek thin fatty boys
Shriek thin fatty girls

Next to take her back
The break that never works
And find all dust
And the steel in my mind
Urges me to carry on and
Preserver in - for her and him
Shake their bones - to paste and glue
Starts the begininning of me and you

Shriek and dance to a different noise
Shriek thin fat girls
Shriek thin fat boys

Survive all with love on your lawn
Wishing for preserver in all of your
Buds and spawn

Washed so bland via linament man
Stands for all that he can stand
He's a very special man
Moults a hair putredity man
He's a very special man
He's a very special man

Beauty peacock butterflies care
For your pleasure to be there
Dissolves in a bed of chair
Reechy institutional...

Beams all hero apollo man
Stands for all that he can stand
He's a very special man
Beauty peacock butterfly man
He's a very special man
He's a very special man
Seemly shining fireproof man
Stands for all that he can stand
Stands for all that he can stand

What's the point in giving us hands?


Lyrics submitted by Spacecow

Buds and Spawn song meanings
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  • +1
    My Interpretationis this about liking some square person's girl?
    i could never say anything definite about tim's lyrics (syd barrett on speed, anyone?!) but i'm just starting to try and figure out his lyrical vocabulary...
    .
    there seems to be a lot of pent up resentment at the current situation coming through in the sound and rhythms - the protagonist seems to be complaining that the man is very square and institutional, maybe a church going person or someone who has a religious devotion to his job...
    .
    first - takes shelter from a storm

    second - it's someone's house already but he got in through sympathy so might be able to progress his hopes (and fears)

    third - he feels like a child uncertain of 'his parents' consent (eg: the couple might be breaking already and might want him to help them ease the process)

    fourth - if he's wrong the deeds all belong to him, he cannot admit her participation

    fifth - he decides to try it, although he does have sympathy for the guy, he reasons that all is fair in love and war...

    sixth - he will walk on the coals: ie take the chances believing that he's right; confident that the girl is indeed on his side.

    seventh - he's watching the guy for signs of his willingness and opportunity to move away peacefully

    eighth - when the guy is away working, time is agonisingly stretched out with our man's sense of the beauty that might never become fully his. he is also concerned that the girl's body language or modes of speech will be affected and that the guy will notice this and smell a rat.

    ninth - the husband may be an alcoholic: he is washed into such bland personality via the remedies he takes when at home for all the stress of the day. he has no mental energy left to stand for anything outside of his work and he rejects the danger of organ damage from his self abuse, believing himself to be too necessary in his work for toxins to harm him.

    tenth - he points out that all her husband is is his job: all she sees of him is when he is dissolved into his bed of chair and he is not really there for her pleasure at all, unlike our protagonist.

    eleventh - because she has no appetite at the end of the day (the feeling that would have belonged to the husband has been stolen by our man) the husband is left to 'wash out' his own dirt in the mud and the rain (!)

    twelfth - maybe something about the secret's easier to keep than he thought it would be as there is enough 'air and noise' going on for the subtle changes he'd previously worried about to go unnoticed.

    thirteenth - preserver: he has to act the hypocritical part of seeming to wish for the couple's survival also watching her have to try to seem as if she's on both their sides at once.

    fourteenth - this guy's getting a bit older than our man,, so he's not afraid of a squeaking contest,

    fifteenth - as your communications are now not about the same noise that they appear to be, you are advised to keep your communications discrete , you are likely to become visible

    sixteenth - a restatement of the previous: trying to navigate these girl/boy situations can put your heads in a whirls: doing so indiscretely can cause bruises so shriek thin, those of you who might be highly visible.

    seventeenth - next to take her back, the break that never works - the moment of revelation never goes smoothly, however well planned you think you've got your situation, in fact he delays acting in case of having nothing at all left after secrets have come out, so now it seems to him the right thing to do is to continue to seem as if he wants them to carry on together - continue to keep his secret (it's unclear whether she knows of his intentions) whilst he is sure that their lost love will shake their bones apart from each other like dust and glue so that our guy can begin something with her.

    eighteenth - he still cannot speak openly - he has to keep any communications discrete: his shrieks must be thin

    nineteenth - we are exhorted to ensure that we all come out of these triangles on the correct sides so that what is produced from these moments will be fruitful and we will be able to get have good relations with people in the wake of such times as these.

    twentieth - we insult the husband again - going through his defects or virtues as though all were insults

    twenty first - he complements the girl : finally gets around to calling her beautiful and puts himself in a compromising position... then it becomes uncertain (does the husband interrupt them?) or...

    twenty second - our guy seems to reach his goal and begin to revel in her, fulfilling his own need to feel complete and shiny and beautiful like a peacock

    twenty third - if you never use them...?
    pedroagnoon October 12, 2012   Link

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