Both as a standalone and as part of the DSOTS album, you can take this lyric as read. As a matter of public record, Jourgensen's drug intake was legendary even in the 1980s. By the late 90s, in his own words, he was grappling with massive addiction issues and had lost almost everything: friends, spouse, money and had nearly died more than once. "Dark Side of the Spoon" is a both funny & sad title for an album made by a musical genius who was losing the plot; and this song is a message to his fans & friends saying he knows it. It's painful to listen to so I'm glad the "Keith Richards of industrial metals" wised up and cleaned up. Well done sir.
Framed up baby, know her place
Slippery salmon all over her face
Browsing down through the mirrored hall
See Arizona standing ten feet tall
Her father's smart, plays his part
Twirls his star and watch them start
Oh no no don't wander off the set
We haven't reached the borders yet
Then into town he rides in grim
All the mercenaries are following him
Ripped and raw, lays his glove on the door
Walks in and tells the man on the floor
Maybe these boys want to do some talking
Your room's a mess, it's ugliness
But I go on living in it till you say yes
The curtains are new, but the windows are old
All the stories passing through already been told
We live in a style where trust is a drag
To hold up your end means the middle will sag
Some blackhearted actors interfered in your scene
And you can't stand success or the place where it's been
The fader's been placed, judgment passed down
Staying up all night till pure sleep drags you down
Ripped and raw, her voice at the door
Walks in, expecting him, finds something more
Says maybe these boys want to do some talking
Slippery salmon all over her face
Browsing down through the mirrored hall
See Arizona standing ten feet tall
Her father's smart, plays his part
Twirls his star and watch them start
Oh no no don't wander off the set
We haven't reached the borders yet
Then into town he rides in grim
All the mercenaries are following him
Ripped and raw, lays his glove on the door
Walks in and tells the man on the floor
Maybe these boys want to do some talking
Your room's a mess, it's ugliness
But I go on living in it till you say yes
The curtains are new, but the windows are old
All the stories passing through already been told
We live in a style where trust is a drag
To hold up your end means the middle will sag
Some blackhearted actors interfered in your scene
And you can't stand success or the place where it's been
The fader's been placed, judgment passed down
Staying up all night till pure sleep drags you down
Ripped and raw, her voice at the door
Walks in, expecting him, finds something more
Says maybe these boys want to do some talking
Lyrics submitted by mrtrout
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In regards to the meaning of this song:
Before a live performance on the EP Five Stories Falling, Geoff states “It’s about the last time I went to visit my grandmother in Columbus, and I saw that she was dying and it was the last time I was going to see her. It is about realizing how young you are, but how quickly you can go.”
That’s the thing about Geoff and his sublime poetry, you think it’s about one thing, but really it’s about something entirely different. But the lyrics are still universal and omnipresent, ubiquitous, even. So relatable. That’s one thing I love about this band. I also love their live performances, raw energy and Geoff’s beautiful, imperfectly perfect vocals. His voice soothes my aching soul.
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This song is written as the perspective of the boys in the street, as a whole, and what path they are going to choose as they get older and grow into men. (This is why the music video takes place in an orphanage.) The seen, and unseen collective suffering is imbedded in the boys’ mind, consciously or subconsciously, and is haunting them. Which path will the boys choose? Issac Hayes is the voice of reason, maybe God, the angel on his shoulder, or the voice of his forefathers from beyond the grave who can see the big picture and are pleading with the boys not to continue the violence and pattern of killing their brothers, but to rise above. The most beautiful song and has so many levels. Racism towards African Americans in America would not exist if everyone sat down and listened to this song and understood the history behind the words. The power, fear, pleading in RZA and Ghostface voices are genuine and powerful. Issac Hayes’ strong voice makes the perfect strong father figure, who is possibly from beyond the grave.
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This song might be lacking in production insofar as a rock and roll legacy goes, but has potential, and isn't as bad as some folks (the original members, for example) might think. It's a big confusion of musical and cinematic production, and probably prompted an essay or two from Brother Russell (I wouldn't know, but when I read his essay on musicians vs actors, I can't help but think of this song), and as not-so-steeped-in-blues as it wants to be, it's interesting--again, that word, "potential." This band has unleashed much worse, so forgive a failed experiment and listen closer. That means y'all, The Church.