| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
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Hey, Susan, you asshole, you know virtually nothing about Pearl Jam, do you? Pearl Jam have been making non-mainstream, off-kilter albums since No Code, they don't give a shit whether they're really famous or not, since they still have their legions of loyal fans... Pearl Jam have ALWAYS spoken out against political issues, BEFORE Bush or 9/11. They played at benefits and The Vote for Change tour. Pearl Jam have always been a "political" band, just more prevalent on their last two albums, but that is because there is more to speak out about because of the shit job that Bush is doing... How do we sell records? How can you say that their new album is mainstream? From the weird, Beatles-like "Parachutes" to the slow burning blues epic "Come Back" to the epic closer "Inside Job", the album is the farthest thing from mainstream. Pearl Jam play sloppier and more unorginized than the other alt. bands, who have to make every instrument do the right thing at exactly the right time. This free-spirited approach is what makes Pearl Jam different, and much better. How can you compare Pearl Jam to Green Day? Green Day's lyrics are incredibly immature, and if you look at their previous albums, there is no mention of any political issues. Vedder is a great lyricist who has been speaking out ever since Pearl Jam started. |
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| Jet – Put Your Money Where Your Mouth Is Lyrics | 17 years ago |
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Awesome song... I think it is far superior than any of the Get Born tracks... I didn't know what to think first, with the singer's raspy vocals, but when the chorus came along I caught on... |
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| Audioslave – Revelations Lyrics | 17 years ago |
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Great song, just bought Madden and heard it yesterday... As of now, I can't figure out the meaning of the song... The songs on the new album seem to have a looser, funkier vibe to them... If every song is as good as this one, Revelations could be Audioslave's best album yet... |
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| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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Actually, it doesn't... You mean to tell me that an 18 year old knows more about music than a 15-year old just because they're older? Age has nothing to do with it. My idiot brother is 19, and he's a moron compared to me in terms of musical knowledge. Considering music is my life, and that I'm always trying to find new songs to listen to, I reckon I know more than most adults. And fyi, it's not the AGE that matters, it's the PERSON. |
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| Stone Temple Pilots – Wicked Garden Lyrics | 17 years ago |
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Jamesstmfbong, you obviously can't know anything about STP to make such an idiotic comment... "Random cool sounding shit put together" huh? Take "Plush", a song about the death of a teenage girl, take their other lyrical masterpieces, primarily from their Tiny Music album. AND after Purple, which was a transition in itself, STP went less-mainstream and more experimental, which earns them more respect from me, much like Pearl Jam, who drew away from the spotlight but still made awesome music... |
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| Stone Temple Pilots – Sex Type Thing Lyrics | 17 years ago |
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I love the riff to this song... The lyrics are a bit, well, clumsy, but they get get the point across... One of STP's best songs... |
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| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
| I'm fifteen, and I guarantee I know more about music than you do. Age has nothing to do with it, it's KNOWLEDGE, you fucktard. | |
| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
| Goddammit, another one of you assholes? Do you think you're funny? Seriously, what's the point you're trying to make? It must be pretty easy to re-type the same thing over and over, huh? At least come up with some fresh material, those jokes were so bad, I wasn't even offended... | |
| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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Well, bookworm, emo can be used as two terms The emo I explained... And the slang term of emo...how people ordinarily use it, to describe people or emotions... |
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| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
| I have a dream that you'll shut the hell up and leave this thread...how's that for a dream, fucktard? | |
| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
| Susan, Vedder hasn't written a good song? Are you fucking crazy? What song ISN'T good? "Rearviewmirror", "Corduroy", and "Love Boat Captain", and countless others, are pieces of poetic art. Don't think you know everything Susan, because you are a fucking moron...And you ARE Shard, because you answered Shard's posts at the precise time and use the same stale un-funny jokes that he does...seriously, it's getting old...give it up. | |
| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
| No, we're not the same person, though you're not the only one to mix both names up, but no worries. | |
| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
| Well, I hope that answered your question. That is not saying that I agree with all the material presented, but at least it's informative. Thanks to Wikipedia for being the best source of information on the net. | |
| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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Backlash As the music increased in popularity, emo became more and more a target of derision. As certain fashion trends and attitudes began to be associated with "emo", stereotypes emerged that created a specific target for criticism. In the early years of the "third wave", the criticism was relatively light-hearted and self-effacing. In September of 2002, web developer Jason Oda put forth Emogame. The game poked fun at numerous emo stereotypes and musicians, but in a manner that could be appreciated by fans and detractors alike. In ensuing years, the derision increased dramatically. Male fans of emo found themselves hit with homosexual slurs, largely a reflection of the style of dress popular within the "emo scene" and the displays of emotion common in the scene. Complaints pointed to the histrionic manner in which the emotions were often expressed, not necessarily to the emotions themselves. In October of 2003, Punk Planet contributor Jessica Hopper levelled the charge that the "third wave" era of emo was sexist. Hopper argued that where bands such as Jawbox, Jawbreaker and Sunny Day Real Estate had characterised women in such a way that they were not "exclusively defined by their absence or lensed through romantic-spectre", contemporary bands approached relationship issues by "damning the girl on the other side ... it’s woman-induced misery has gone from being descriptive to being prescriptive". Regarding the position of women listening to emo, Hopper went on to note that the music had become "just another forum where women were locked in a stasis of outside observation, observing ourselves through the eyes of others". Collective reaction to Hopper's article was mixed, and many dismissed the charge outright, noting that rock music as a genre had a long history of issues with sexism; the problem wasn't unique to emo music or directly related. By comparison to a genre like 1980s hair metal, in which popular songs (such as Warrant's "Cherry Pie") often objectified women, the perceived sexism in emo was more of an intellectual argument than something that could be specifically cited in the music. Critics of modern emo also point to the increasingly generic nature of the music. As popular bands have attempted to flee the "emo" tag (some have adopted the "post-hardcore" tag), the remaining bands appear to fit the genre solely because of their similarity to other so-called "emo" bands. Critics note a slow homogenization of the genre, with newer bands adhering to a stereotypical style rather than redefining it, not unlike the waning years of grunge music in the 1990s. At the same time, the persistent criticism and negative stereotypes have led to an increasing perception of modern emo as the new "guilty pleasure". Despite the criticism, the modern version of emo has maintained mainstream popularity. However, given the disfavor of the term "emo", the question of whether new bands will openly associate with "emo" leaves the future unclear. |
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| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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The third wave (2000–Present) At the end of the 1990s, the underground emo scene had almost entirely disappeared. However, the term emo was still being bandied about in mainstream media, almost always attached to the few remaining 90s emo acts, including Jimmy Eat World. However, towards the end of the 1990s, Jimmy Eat World had begun to shift in a more mainstream direction. Where Jimmy Eat World had played emocore-style music early in their career, by the time of the release of their 2001 album Bleed American, the band had almost completely removed its emo influences. As the public had become aware of the word emo and knew that Jimmy Eat World was associated with it, the band continued to be referred to as an "emo" band. Newer bands that sounded like Jimmy Eat World (and, in some cases, like the more melodic emo bands of the late 90s) were soon included in the genre. 2003 saw the success of Chris Carrabba, the former singer of Further Seems Forever, and his project Dashboard Confessional. Carrabba's music featured lyrics founded in deep diary-like outpourings of emotion. Where earlier emo had featured lyrics of a more dark and painful direction, Carrabba's featured a greater focus on love won and lost and the inability to cope. While certainly emotional, the new "emo" had a far greater appeal amongst adolescents than its earlier incarnations. With Dashboard Confessional and Jimmy Eat World's success, major labels began seeking out similar sounding bands. Just as Nirvana, Pearl Jam, and the other Seattle scene bands of the early 1990s were unwillingly lumped into the genre "grunge", some record labels wanted to be able to market a new sound under the word emo. At the same time, use of the term "emo" expanded beyond the musical genre, which added to the confusion surrounding the term. The word "emo" became associated with open displays of strong emotion. Common fashion styles and attitudes that were becoming idiomatic of fans of similar "emo" bands also began to be referred to as "emo". (For further discussion, see Emo (slang).) As a result, bands that were loosely associated with "emo" trends or simply demonstrated emotion began to be referred to as emo. In an even more expanded way than in the 90s, emo has come to encompass an extremely wide variety of bands, many of whom have very little in common. The term has become so broad that it has become nearly impossible to describe what exactly qualifies as "emo". Correctly or not, emo has often been used to describe such bands as AFI, Alexisonfire, A Static Lullaby, Brand New, Coheed and Cambria, Dropkick Murphys, Fall Out Boy, Finch, From Autumn to Ashes, From First to Last, Funeral for a Friend, Hawthorne Heights, Matchbook Romance, My Chemical Romance, Panic! At the Disco, Silverstein, Something Corporate, The Starting Line, Taking Back Sunday, The Used, Thrice, and Thursday. The classification of bands as "emo" is often controversial. Fans of several of the aforementioned bands have recoiled at the use of the "emo" tag, and have gone to great lengths to explain why they don't qualify as "emo". In many cases, the term has simply been attached to them because of musical similarites, a common fashion sense, or because of the band's popularity within the "emo" scene, not because the band adheres to emo as a music genre. (The revulsion of some bands from the term emo is not unlike the retreat from the genre by the bands in the indie emo scene near the end of the 90s.) As a result of the continuing shift of "emo" over the years, a serious schism has emerged between those who relate to particular eras of "emo". Those who were closely attached to the hardcore origins recoil when another type of music is called "emo". Many involved in the independent nature of both 80s and 90s emo are upset at the perceived hijacking of the word emo to sell a new generation of major label music. Regardless, popular culture appears to have embraced the terms of "emo" far beyond its original intentions, out of the control of the independent-minded. In a strange twist, screamo, a sub-genre of the new emo, has found greater popularity in recent years through bands such as Thrice and Glassjaw. [7] The term screamo, however, was used to describe an entirely different genre in the early 1990s, and the new screamo bands more resemble the emo of the early 1990s. Complicating matters further is that several small scenes devoted to original screamo still exist in the underground. However, the new use of "screamo" demonstrates how the shift in terms connected to "emo" has made the varying genres difficult to categorize. Even still, the difficulty in defining "emo" as a genre may have started at the very beginning. In a 2003 interview by Mark Prindle, Guy Picciotto of Fugazi and Rites of Spring was asked how he felt about "being the creator of the emo genre". He responded: "I don't recognize that attribution. I've never recognized 'emo' as a genre of music. I always thought it was the most retarded term ever. I know there is this generic commonplace that every band that gets labeled with that term hates it. They feel scandalized by it. But honestly, I just thought that all the bands I played in were punk rock bands. The reason I think it's so stupid is that - what, like the Bad Brains weren't emotional? What - they were robots or something? It just doesn't make any sense to me." |
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| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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The second wave (1994–2000) As Fugazi and the Dischord Records scene became more and more popular in the indie underground of the early 1990s, new bands began to spring up. Combining Fugazi with the post-punk influences of Mission of Burma and Hüsker Dü, a new genre of emo emerged. Perhaps the key moment was the release of the album Diary by Sunny Day Real Estate in 1994. Given Sub Pop's then-recent success with Nirvana and Soundgarden, the label was able to bring much wider attention to the release than the typical indie release, including major advertisements in Rolling Stone. The heavier label support allowed the band to secure performances on TV shows, including The Jon Stewart Show. As a result, the album received widespread national attention. As more and more people learned about the band, particularly via the fledgling World Wide Web, the band was given the tag emo. Even where Fugazi had not been considered emo, the new generation of fans shifted the tag from the earlier hardcore style to this more indie rock style of emo. It wasn't uncommon for Sunny Day and its peers to be labeled with the full "emo-core". However, when pressed to explain "emo", many fans split the genre into two brands: the "hardcore emo" practiced in the early days and the newer "indie emo". In the years that followed, several major regions of "indie emo" emerged. The most significant appeared in the Midwest in the mid-90s. Many of the bands were influenced by the same sources, but with an even more tempered sound. This brand of emo was often referred to as "Midwestern emo" given the geographic location of the bands, with several of the best-known bands hailing from the areas around Chicago, Kansas City, and Milwaukee. The initial bands in this category included Boy's Life and Cap'n Jazz. In ensuing years, bands such as The Promise Ring, Braid, Elliott, and The Get Up Kids emerged from the same scene and gained national attention. The area around Phoenix, Arizona became another major scene for emo. Inspired by Fugazi and Sunny Day Real Estate, former punk rockers Jimmy Eat World began stirring in emo influences into their music, eventually releasing the album Static Prevails in 1996. The album was arguably the first emo record released by a major label, as the band had signed with Capitol Records in 1995. Other bands that followed the "indie emo" model included Colorado's Christie Front Drive, New York's Texas Is the Reason and Rainer Maria, California's Knapsack and Sense Field, Austin's Mineral, and Boston's Piebald and Jejune. Strangely, as "indie emo" became more widespread, a number of acts who otherwise would not have been considered part of the "indie emo" scene had their albums referred to as emo because of their similarity to the sound. The hallmark example was Weezer's 1996 album Pinkerton, which, in later years, was considered one of the defining "emo" records of the 90s. As the wide range of emo bands began to attract notoriety on a national scale, a number of indie labels attempted to document the scene. Many emo bands of the late 90s signed to indie labels including Jade Tree Records, Saddle Creek, and Big Wheel Recreation. In 1997, California's Crank! Records released a compilation titled (Don't Forget to) Breathe, which featured tracks by notable indie emo bands such as The Promise Ring, Christie Front Drive, Mineral, Knapsack, and Arizona's Seven Storey Mountain. In 1998, Deep Elm Records released the first installment in a series of compilations called Emo Diaries, featuring tracks from Jimmy Eat World, Samiam, and Jejune. In 1999, famed 70s compilation label K-tel released an emo compilation titled Nowcore: The Punk Rock Evolution, which included tracks by Texas Is the Reason, Mineral, The Promise Ring, Knapsack, Braid, At the Drive-In, and Jawbox, among others. With the late-90s emo scene being more national than regional, major labels began to turn their attention toward signing emo bands with the hopes of capitalizing on the genre's popularity. Many bands resisted the lure, citing their loyalty to the independent mentality of the scene. Several bands cited what they saw as mistreatment of bands such as Jawbox and Jawbreaker while they were signed to majors as a reason to stay away. The conflict felt within many of the courted emo bands resulted in their break-ups, including Texas Is the Reason and Mineral. By the end of the decade, the word emo cropped up in mainstream circles. In the summer of 1998, Teen People magazine ran an article declaring "emo" the newest "hip" style of music, with The Promise Ring a band worth watching. The independent nature of the emo scene recoiled at mainstream attention, and many emo bands shifted their sound in an attempt to isolate themselves from the genre. In the years that followed, Sunny Day Real Estate opted to shift to a more prog-rock direction, Jejune aimed for happy pop-rock, and The Get Up Kids and The Promise Ring released lite-rock albums. While "indie emo" almost completely ceased to exist by the end of the decade, many bands still subscribe to the Fugazi / Hüsker Dü model, including Thursday, The Juliana Theory, and Sparta. |
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| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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Early emo's influence In California - particularly in the Bay Area - bands such as Jawbreaker and Samiam began to incorporate influences from the "D.C. sound" into a poppier framework; The former's music was described by Andy Greenwald as "a sonic shot-gun marriage between the bristly heft of hardcore, the song-writing sensibility of Cali pop-punk, and the tortured artistry of D.C. emo".[6] Other bands soon reflected the same sense of rough melody, including Still Life and Long Island's Garden Variety. Also in the early 90s, bands like Lifetime reacted in their own way to the demise of youth crew styled straight-edge hardcore and desired to seek out a new direction. While their music was often classified as emo, it was also considered to be melodic hardcore. In response to the more metal direction their hardcore peers were taking, Lifetime initially decided to slow down and soften their music, adding more personal lyrics. The band later added a blend of speed, aggression, and melody that defined their sound. Lifetime's sound, lyrics, and style were a virtual blueprint for later bands, including Saves The Day and The Movielife. Similarly, bands such as Converge, heavily influential on modern metalcore, drew inspiration from East Coast emo bands and added a sense of catharsis and atypically introspective lyrics. |
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| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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To perfectly describe emo, there will be different sections of my post, broken up (so it isn't overly long). Here is some info from some sites including wikipedia. The first wave (1985–1994) In 1985 in Washington, D.C., Ian MacKaye and Guy Picciotto, veterans of the DC hardcore music scene, decided to shift away from what they saw as the constraints of the basic style of hardcore and the escalating violence within the scene. They took their music in a more personal direction with a far greater sense of experimentation, bringing forth MacKaye's Embrace and Picciotto's Rites of Spring. The style of music developed by Embrace and Rites of Spring soon became its own sound. (Hüsker Dü's 1984 album Zen Arcade is often cited as a major influence for the new sound.) As a result of the renewed spirit of experimentation and musical innovation that developed the new scene, the summer of 1985 soon came to be known in the scene as "Revolution Summer". Within a short time, the D.C. emo sound began to influence other bands such as Moss Icon, Nation of Ulysses, Dag Nasty, Shudder To Think, Fire Party, Marginal Man, and Gray Matter, many of which were released on MacKaye's Dischord Records. The original wave of DC emo finally ended in late 1994 with the collapse of Hoover. Where the term emo actually originated is uncertain, but members of Rites of Spring mentioned in a 1985 interview in Flipside Magazine that some of their fans had started using the term to describe their music. By the early 90s, it was not uncommon for the early DC scene to be referred to as emo-core, though it's unclear when the term shifted. As the D.C. scene expanded, other scenes began to develop with a similar sound and DIY ethic. In San Diego in the early 1990s, Gravity Records released a number of records in the hardcore emo style. Bands of the period included Heroin, Indian Summer, Angel Hair, Antioch Arrow, Universal Order of Armageddon, Swing Kids, and Mohinder. Also in California, Ebullition Records released records by bands of the same vein, such as Still Life and Portraits of Past, as well as more traditional hardcore punk bands, all having various social and political themes in common. At the same time, in the New York/New Jersey area, bands such as Native Nod, Merel, 1.6 Band, Policy of 3, Rye Coalition and Rorschach were feeling the same impulse. Many of these bands were involved with the ABC No Rio club scene in New York, itself a response to the violence and stagnation in the scene and with the bands that played at CBGBs, the only other small venue for hardcore in New York at the time. Much of this wave of emo, particularly the San Diego scene, began to shift towards a more chaotic and aggressive form of emo, nicknamed screamo. By and large, the more hardcore style of emo began to fade as many of the early era groups disbanded. However, aspects of the sound remained in bands such as Four Hundred Years and Yaphet Kotto. Also, a handful of modern bands continue to reflect emo's hardcore origins, including Circle Takes the Square, Hot Cross, City of Caterpillar, Funeral Diner, and A Day in Black and White. Following the disbanding of Embrace in 1986, MacKaye formed the influential group Fugazi, and was soon joined by former bandmate Guy Picciotto. While Fugazi itself is not typically categorized as emo, the band's music is cited as an influence by popular second-wave bands such as Sunny Day Real Estate, [3] Braid, [4] and Jimmy Eat World. [5] |
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| The Smashing Pumpkins – Silverfuck Lyrics | 17 years ago |
| If anyone has this song in iTunes format, can you e-mail it to me? I can't download this anywhere... | |
| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
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Hey shard, I got you figured out too!!! You and your female alter ego, Susan, go on this site, and, instead of actually posting about the meanings of songs, you piss off all the active members of the site! Was I right? Oh, and I'm not T-CAP75, though the similarities of the names are striking... That is why we hate you, shard... |
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| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
| Yeah, Shard, give the kid a fucking break... He just met Eddie Vedder, for crying out loud... I mean, if you meant your idol (Whoever that may be) you wouldn't be excited? Are you fucking human? And the damn porno jokes are getting old, and, not only that you are not funny, you are completely immature. A person just told how he was feeling, so you berate the kid, and then keep on telling the joke over and over? What, you think people are laughing at your jokes? At least come up with some funny shit, your jokes are stale and disgusting... | |
| Panic! at the Disco – I Write Sins Not Tragedies Lyrics | 17 years ago |
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Courtney, while I may not like this song, you, unfortunately, are an asshole... The meaning of the song is, roughly, th song itself... If a song was really catchy, and had good music to it, but was about a moose having sex with a lamppost, that would leave you with a bad taste in your mouth, wouldn't it? The people who write these songs write them for a reason...to share their innermost feelings with everybody else, and even better, to connect with everybody else, to give a message or show a point... I don't care how catchy a song is, if it's about a moose having sex with a lamppost (I know I'm blowing this out of proportion; trying to prove a point) I'm not going to listen to it because I don't connect with it; I can't understand what the narrator is trying to say. The bands that I listen to, while also great musically, are also great lyricists... Take Pearl Jam's "Corduroy", for example. The music is awesome; the building-up and ending riff is undeniable; but it's my favorite song ever because of the MEANING behind it; about hatred towards someone or something that has wronged you (Many people have assumed the song is about a failed relationship; actually, it's about hatred towards the media and fair-weather fans). And, Courtney, if you came on here just to say that, that's pretty sad...nobody gives a fuck what you think... What, you think you just showed us the error of our ways? No, especially since you type like a complete immature moron, you just reinerated in me why we NEED to figure out the meanings of songs, so, in a way, I have to thank you. I thank you for showing me how NOT to treat music. Thanks. |
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| Silversun Pickups – Lazy Eye Lyrics | 17 years ago |
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Very good song... Uses cool Pink-Floyd like music... The only thing, I have to listen to this band in small spurts because the voice of the singer gets to me... |
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| Rage Against the Machine – Down Rodeo Lyrics | 17 years ago |
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This is my favorite RATM song... I always viewed it as rich vs. poor, seeing as Rodeo is a street in L.A. full of fancy shops and Hollywood stars... De La Rocha is the best rapper I've ever heard, lol... No, seriously, he is...Comes up with some great rhymes that actually mean something, won't find that with 50 Cent or Nas... RATM are the best rap-metal band ever...though Linkin Park is proably second...Everyone hates on LP, but they write some good songs... |
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| Tonic – Casual Affair Lyrics | 17 years ago |
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Wow, I always wrote off Tonic as a one-hit wonder band... But I just picked up Lemon Parade in a clearance bin, and it is amazing... This has to be the best song on the album, maybe along with "Open Up Your Eyes"... I see the song as somebody (world leader; iconic figure) who is loved by all, not because of his personality, but for his fame... The protagonist disgusts this figure, and is not afraid to change even if it means turning others against him... Such an amazing song...I can't believe that I thought Tonic sucked a couple of days ago... |
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| Pearl Jam – All Along the Watchtower (Bob Dylan cover) Lyrics | 17 years ago |
| Before everyone yells at me for posting these lyrics, let me just say that Pearl Jam does a great cover of this in concert....now yell away. | |
| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
| And give me back my friggin name! I was on this site before you were! T-CAP75 and T-Crash sound too much alike... | |
| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
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Dude, I don't see how I made you react like that...I was joking around... But, seriously, "chicken liver"? Come on, that's like the suckiest comeback ever... |
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| Trapt – Stand Up Lyrics | 17 years ago |
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Very good song...it may just sound like post-grunge normalcy to many, but it's actually really good... Though I don't really like Trapt... |
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| Pearl Jam – Even Flow Lyrics | 17 years ago |
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Well, we can all agree that this song is about homelessness to some degree... but I do think you have to dig deeper to find the "true" meaning of the song... I like the Ten version better than the Rearviewmirror version...the RVM version sounds over-done... This is a kickass song in concert... |
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| Bush – The Chemicals Between Us Lyrics | 17 years ago |
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This is my favorite Bush song, along with "People That We Love"... It is SO amazing... I mean, I DO think that Bush copied Nirvana's style of music, but at least they have some good songs to show for it... |
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| Faith No More – Midlife Crisis Lyrics | 17 years ago |
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Wow, well, I can safely say that this is my favorite song about Madonna, lol... This is Faith No More's best song, but, a year ago, I hadn't even heard of Faith No More! My buddy played Grand Theft Auto (Terrible game, by the way) and this song played... |
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| Green Day – American Idiot Lyrics | 17 years ago |
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Wow, I just read the last few pages of this song...pretty entertaining! Well, I LIKE "American Idiot", I feel it is sub-par when compared to Green Day's better stuff... I'm not going to comment on the meaning, since that's been over-analyzed many times over... Oh, and on the Metallica-Pantera debate, wouldn't Metallica be more mainstream? Because more people know of Metallica than Pantera... And I agree that Vulgar is a very good album, but, as a band, Metallica are better... Of course, I'm no metal expert, but I just thought I'd throw my two cents in there... |
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| Audioslave – Original Fire Lyrics | 17 years ago |
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Yeah, I heard lots of people saying Cornell was going to leave...I hope you're right, "Undiscovered", because Cornell is the driving force in the band... That stated, I really like this song... Sure, at first listen, I was disappointed, expecting an epic like "I Am the Highway" or "Be Yourself", but it grew on me. The chorus is very, let's say, "sing-a-long-able"... Isn't the line actually "Can't contain something ETHEREAL"? I don't think the song is about rock, like T-CAP75 stated, I think it definetly has political undertones... And I thought Cornell told people he wasn't going to write political-based songs... My sister told me it could be adapted to fit the Liebermann-Lamont race for Senate... I live in Connecticut, and that's all that's on TV recently...I'm glad Lamont beat him in the primary... |
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| Black Stone Cherry – Rain Wizard Lyrics | 17 years ago |
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You don't really have to dig deep to find the meaning of this song... It's about a wizard who brings rain to the land... Surprisingly, though, BSC actually pull this one off despite the rather predictable lyrics... The chorus is insanely catchy, and the singer proves he can actually sing. |
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| Dave Matthews Band – I Did It Lyrics | 17 years ago |
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Wow, this has to be one of DMB's finest moments... Well, at least in my book... The song is so (God, I hate this word) "groovy". The cool off-kilter riff is a surpising change of pace for DMB, and they pull it off with great results. Basically what others said, it's about drugs... |
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| Soundgarden – Boot Camp Lyrics | 17 years ago |
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I actually thought this song was about boot camp... How the generals (army leaders, whoever runs the thing) forces these thoughts inside your head, until that is all you believe in... Great song, really shows their evolution, from the heavy riffings of Badmotorfinger to the chilling, beautiful music of "Boot Camp". If there is a problem with the song, it's that it ends too quickly... |
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| Pearl Jam – World Wide Suicide Lyrics | 17 years ago |
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Wow, great song... Well, Eddie Vedder is singing about his anti-war feelings, but I'm going to talk about the chorus. I think "World Wide Suicide" means the repercussions of nuclear war. Once one country bombs another country, the other bombs back, setting off a huge string of devastating events... Scary, really...How the fate of the world rests in those nuclear bombs... Songwise, this is like the Ramones-meets-the-Who. When the melody kicks in, you can't help but bob your head. Best song off their new album. Oh, and to T-CAP75, come on, you never met Eddie Vedder! Stop lying, man, cause God is ALWAYS watching you...well, I guess that means God is a pervert, lol... |
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| Pearl Jam – Severed Hand Lyrics | 18 years ago |
| This song definetly has a "Porch" vibe to it. Except its much deeper. I always thought that it was about a guy that started taking drugs after his wife left him (hence the wedding ring). | |
| Pearl Jam – Crazy Mary Lyrics | 18 years ago |
| This is even better than Victoria Williams' version, probably because of the long (but awesome) guitar solo. One of their famous concert songs, and it's not even theirs. | |
| Pearl Jam – Come Back Lyrics | 18 years ago |
| This song, in my opinion, is better than "Parachutes" and "Gone". I like the slow blues and soulful mood it creates. The lyrics are pretty obvious, but you don't have to have confusing metaphors in each song. Vedder does have a great voice, and it shows here. | |
| Pearl Jam – Marker in the Sand Lyrics | 18 years ago |
| PJ played this live at the Dodge Music Center in Connecticut, and it was great. It was the best show I've ever been to. I saw the Foo Fighters and Audioslave before. They sang all the fast-paced songs off the new album along with Inside Job. The show-stopper was Corduroy, the guitar solo was amazing. They didn't play many ballads, unless you count Better Man and Black. Very intense show. They played I'm Open, Sleight of Hand, and Do the Evolution in the first encore. That's when I left, not knowing that PJ was going to come out again. I missed some great songs, like Go, Alive(much to my dismay) and Yellow Ledbetter. | |
| Pearl Jam – Grievance Lyrics | 18 years ago |
| This was a Grammy-nominated song for Best Hard Rock Performance. Surprising nomination, because PJ weren't really a mainstream band anymore, but I'm glad it was nominated. PJ were almost forgotten(inexplicably) but they keep on making great music. Grievance is a great song, and I totally agree with Vedder on the technology thing. | |
| Pearl Jam – Comatose Lyrics | 18 years ago |
| When I first heard it, I thought of other fast-paced rockers like Spin the Black Circle and Last Exit. It is a very good song. The song being about gay marriage may make sense, but I don't think it really has much meaning behind it. Just about being in a coma. Though with Vedder you never know. | |
| Pearl Jam – Life Wasted Lyrics | 18 years ago |
| This is the best PJ leadoff track ever. It is one of their best songs and is becoming a hit, I heard it on the radio the other day. But, I have to ask, what is the album concept? I mean the artwork. It has an avocado on the cover and Vedder with a bunch of bloody heads inside. The booklet has a bunch of sculptures and weird photos. I think it looks cool, but what is the meaning behind it? | |
| Pearl Jam – Severed Hand Lyrics | 18 years ago |
| This is the best song on the new album. It just plain out rocks, and is now one of my favorite PJ songs ever. I think it amazing that PJ still is making great songs after all these years. Pearl Jam, quite simply, are the best band out there. | |
| Pearl Jam – Big Wave Lyrics | 18 years ago |
| This is one of my favorites of the new album. The sheer brutality is amazing. I don't think it sounds too much like SG's song. This sounds much faster and goes straight for the gut. Though I do like both songs. | |
| Pearl Jam – Severed Hand Lyrics | 18 years ago |
| How do you know about the other songs on the album? Are they available to download? | |
| Pearl Jam – Severed Hand Lyrics | 18 years ago |
| Pearl Jam did this on SNL, and it rocks! It surprised me! I loved the guitar solo at the end. | |
| Pearl Jam – Severed Hand Lyrics | 18 years ago |
| Pearl Jam did this on SNL, and it rocks! It surprised me! I loved the guitar solo at the end. | |
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