| Prince – Annie Christian Lyrics | 10 years ago |
| @[MsManomen:3526] "an an event in atlanta" is a big thing. The late 70s/early 80s "Atlanta Child Murders" was a huge serial killer crisis. There was a madman who was going around murdering black children left and right for several years; people were terrified that it was the KKK or a lone nut racist doing the murders. In the end, it was a black guy named Wayne Williams, who was caught and convicted of the murders. Like Lennon's killer, Williams was a former spoiled brat who grew up resentful for being a nobody and resorted to murder to make himself feel like a big man. | |
| Black Sabbath – Zero The Hero Lyrics | 11 years ago |
| Song is a denouncement of those who come from wealth and privilage that fiddle about all day while the world goes to hell, yet are held up in high regard by society as what people should be. | |
| The KLF – Kylie Said to Jason Lyrics | 12 years ago |
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Kylie and Jason= Kylie Minogue and Jason Donovan. Both were on Neighbours, an Australian soap opera that was a huge international hit in the late 80s in part due to the storyline involving Minogue and Donavan's characters love storyline. The series was imported/aired in the UK at the same time it was aired in Australia, creating a massive upswing in popularity in the UK for the show and the actors. In particular Minogue's fledging career as a musician in the UK was the direct result of her popularity in the region because of the show. Now to tie this into the KLF: Drummond and Cauty had produced a novelty hit called "Rocking the Tardis" which was a huge hit and basically made them a ton of money, which they then invested into production of a "road movie" and what became known as the seminal classic album "the White Room", which was originally conceived as the soundtrack to said road movie. The movie basically ate up ALL of the money they made with the Rocking the Tardis, so they decided to repeat it and cash in on the mega popularity of Neighbors to raise quick cash to pump into the movie/album. It failed. MISERABLY. The movie was shelved and the album too probably would never of seen the light of day had several other tracks not ended up being leaked to several of the major underground DJs of the late 80s rave scene. The leaks gave D&C the validation to resurrect the album, dropping KSTJ from it, and retooling it to create one of the most iconic albums of the 90s |
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| Rage Against the Machine – No Shelter Lyrics | 12 years ago |
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It was their label. The label wanted them to do a song for the Godzilla movie, which was being made by the studio that also owned the label. RATM in turn wrote a song attacking the film. It survived, the line, because no one wanted to get into a pissing match with RATM over censorship, especially over a shitty film like the 1998 Godzilla |
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| Rage Against the Machine – No Shelter Lyrics | 12 years ago |
| "Armistad" was a "whip" in terms of the watered down vision of slavery, used to attack racism, which was a criticism of the film in terms of it being Spielberg in preachy mode.... | |
| Rage Against the Machine – No Shelter Lyrics | 12 years ago |
| Coca Cola is a glob al franchise everywhere, even Saigon, to the point that even when North Vietnam took over everything, they couldn't get rid of the Vietnamese addiction to the soft drink. So they let Coca Cola be sold even after the fall of Saigon/fall of South Vietnam.... | |
| Rage Against the Machine – No Shelter Lyrics | 12 years ago |
| Urban legend is this: Sony owns Epic, which was the label RATM was on at the time. Sony had Epic put out the soundtrack and get the artists on the label to do songs for the soundtrack. RATM is coming off a big mainstream breakthrough with Evil Empire and the label makes it clear, they want a song from them for the soundtrack. RATM agreed and they turned out "No Shelter", which slammed the movie. And it survives intact, because by this point, executives realize the Godzilla film is a huge steaming pile of shit and let it slide because it would be easier to let RATM be RATM than draw further attention to the debacle by censoring them. | |
| Arcade Fire – Joan of Arc Lyrics | 12 years ago |
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I have to think this is more a reaction song given how much hate the band got when they beat a good number of mainstream acts like Eminem and Lady Gaga etc to win the Grammy Award for best album a couple of years back. The song is a tribute to the fans of the band who have stuck with them since their early days, before they gained mainstream success with "Neon Bible" and so forth. It's also a bit of a metaphor for the group's standing within the music community: both with the indie fans who loved them then hated them when they went mainstream while still listening to their music/buying their albums and with the non-indie fans, who might have hated them when Funeral/Neon Bible came out but since gotten onto the bandwagon of liking them due to their now being part of the mainstream. |
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| Metallica – Justice Medley Lyrics | 12 years ago |
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It's from the live box set "Live Shit". The backstory is this: basically, while touring in promotion for "And Justice For All", Metallica REALLY grew to hate the album and it's songs, which were long and extremely complicated in terms of playing. When the tour ended/they made plans to go on tour to promote the Black album a decision was made as to how to handle the AJFA songs and whether or not they would ever play them again live. The decision ended up being that the only song from the album they would ever EVER play live again, in full, would be "One". Eye of beholder, Blackened, The Frayed Ends of Sanity, ...And Justice for All, and Blackened were then reworked into a medley that would the only way they would be played live again. For about twenty years, that rule was in place until around the 20th anniversary of the album, when the songs slowly started seeping back into the playlist in their original full form. |
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| The Mountain Goats – The Autopsy Garland Lyrics | 12 years ago |
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There is also the HP Lovecraft element to it; a common disguise for the monsters in his stories, when they passed themselves off as human, were wax masks and mitten-like gloves that disguised their inhuman hands and faces. And while the Judy Garland connection is obvious, I do think it does make me think of the general abuse (physical and sexual abuse) of young girls in Hollywood by casting directors and producers. |
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| Kraftwerk – Hall of Mirrors Lyrics | 12 years ago |
| The song is about self-image, fame, and narcissism and general self-loathing; the idea of becoming disgusted or being mortified or being obsessed with your image when you look at yourself as a reflection or photograph or video of yourself. The band references that this sort of isolation is common, both with normal folks and the famous types and how such "stare into the abyss and the abyss stares back" vanity/obsession can result in a change in a person, though at the cost of losing one's identity and become lost in a world where you are constantly changing what you are and moreso, being detached from real life as you become more and more obsessed with vanity and your reflection and how others see you and how that affects how one sees themselves in the mirror. | |
| Garbage – Automatic Systematic Habit Lyrics | 13 years ago |
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Shirley Manson tearing a womanizing jerk who is married and has multiple mistresses that she sees through his bullshit within seconds of talking to him/knows all about his rep and is telling him that she won't be his piece of ass on the side and will DESTROY him by way of exposing him and his shitty treatment of his women if he doesn't get the fuck out of her face. Listening to it, I can't help though in thinking that if they do a video for the song, they need to get Josh Hamm to play the womanizer in question, since I listen to this song and I get the picture in my head of a woman telling Don Draper to drop dead and threatening to expose his adultery to everyone in the state of New Work if he doesn't get out of the woman's way. |
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| The Lawrence Arms – Hey, What Time Is 'Pensacola: Wings Of Gold' On Anyway? Lyrics | 13 years ago |
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Pensacola Wings of Gold was a late 90s syndicated show; an hour long drama about US fighter pilots (think Top Gun the TV Show). The only notable thing about the show, in retrospect given how it's fallen off the face of the Earth with no DVD or reruns on television since it went off the air, is that Kenny Johnson (of The Shield, Saving Grace, and Sons of Anarchy fame) had his first big break as an actor on the show. He played one of the main fighter pilots in the second season before leaving the series. For context purposes, the show is what one would watch if you were bored out of your head and basically just flipping through the channels looking for something, anything (in this case, P:WOG was a syndicated show and as such aired at random times, either in the after noon or after midnight) to serve as background noise while bored. |
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| Marilyn Manson – Astonishing Panorama of the Endtimes Lyrics | 14 years ago |
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According to Wikipedia, the song is basically about Celebrity Deathmatch, a show that Manson had ties to as far as lending his likeness to for usage in several episodes. The show's producers wanted him to do a song about the show for a soundtrack they were putting together, which gives an ironic message to the song/video as far as Manson condemning shows like Celebrity Deathmatch in the context of the show (in the universe it exists in), being a vital part of the celebrity death culture aspect of American life that inspires people to do violence (a theme that would be further explored in Manson's following album "Holy Wood"). Several songs on "Holy Wood" are about celebrity death culture and the glorification of those who kill celebrity favorites (like Mark David Chapman). Also, "this is what you should fear/you are what you should fear" is taken directly from the lyrics of Kinderfeld, from the Anti-Christ Superstar album. The song is in effect, Manson attacking "Celebrity Deathmatch" in the context of it promoting the dead celebrity culture and inspiring people to kill their favorite celebrities, because celebrity death is literally part of the American culture in Earth Celebrity Deathmatch and probably has led to even more celebrity death due to the fact that people killing celebrities are treated as God-like figures on shows like CD. |
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| Ministry – So What? Lyrics | 14 years ago |
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The song's samples are from "The Violent Years", a juvenile delinquency film about an all girl gang who do all sorts of bad stuff (including raping a man they rob). The leader of the gang is a spoiled rich kid who's dad is always working (as a newspaper editor, ironically crusading against juvenile delinquency) and her mom is a vapid socialite who doesn't give a crap about raising Paula in terms of teaching her right and wrong. The line/title "So What?" is a mantra/arc word of the film. The gang members use it as their standard reply when asked a question. The film ends with the girls getting involved with a police shoot-out and all but the main gang leader die, with the gang leader herself getting arrested and it being revealed that she killed a cop during said shoot-out. The above mentioned rape gets her pregnant too and she dies giving birth to the child, who then is put into foster care because a judge decides that the editor and the socialite are unfit parents given how they raised a monster. The song goes deeper though and in a lot of ways, mocks the message of "The Violent Years"; Al's lyrics imply a more violent, nhillism that is tied into the whole idea "being born too late"/"make us saints". The idea that we are all inherently self-destructive and murderous and that society tries to use sedatives or sports and sex ("anal fuckfest/thrill olympics") to make kids channel this rage into other less destructive outlets, to which "so what" becomes less of a mantra and more of a rejection as far as him singing of a young man who is sicken by the hypocrisy of "killing is wrong" and longing to have been born in an era where men could kill and be saintified for their violence and him telling the world, at the end that he's giving into his urges and screw everyone else. Which makes the monologues from "The Violent Years" more or less a stock reply of sorts: what the media and moral guardians would say about Al's character in the song; rather than actually try and find out why he is so violent, they blame the parents and brand him a thrillseeker/thrillkiller and seek to exploit his crime spree to guilt parents into spending more time with their kids to make them not become killers. |
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| Fleetwood Mac – Dreams Lyrics | 14 years ago |
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I think it's music biz slang: players are the studio musicians and hired gun musicians that perform the songs for artists who don't have a regular crew of musicians that they work with. In this instance, Stevie might be bitterly suggesting to LB, that his new friends in the music industry, really don't like him and are only nice to him because he's paying their bills. |
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| Garbage – Butterfly Collector Lyrics | 14 years ago |
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The song "Butterfly Collector" is a B-Side Song by the group "The Jam". It's about a particular breed of groupies/starfuckers: the type that, besides making their living seducing musicians via trading sex for financial support, try and use sex to gain a considerable amount of psychological control over the famous people they sleep with. They just don't just fuck for fame and money, they fuck for power they have over their prey, to the point that they can use their sexuality to get the famous person to do whatever they want. But in the end, as soon as someone new and even more famous comes along, the "butterfly collector" will dump their current lover for another famous lover. The whole "notch on the bedpost" thing taken to it's most extreme: seduce someone, make them do anything you want, but dump them for another famous person because the butterfly collector only gets off on controlling and seducing rich people. And each man (or woman) they seduce and dump becomes a "butterfly" in their "collection" of past lovers. Of course, the song does seem to indicate that the "butterfly collector" in particular that the song is about, is fast reaching the point where karma is now catching up to her: the starfucker is getting older, she's no longer attractive and her sexy clothing and sexy perfume is now considered to be "second rate" by the men she is attempting to seduce as her thralls. Furthermore, as her looks (her only asset) fade, she has no life skill training: can't cook her own meals, can't sew; all she knows how to do is seduce and have sex with men. And even that is failing her these days as she gets older and less attractive. However, she's in denial and moreso, because her starfucking has given her a level of minor "cult" fame, she still sees herself as a big shot, someone who is still at the top of her game as the "Queen of the butterfly collectors". |
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| Marilyn Manson – Born Again Lyrics | 14 years ago |
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I always saw "Born Again" as being something of a zeitgeist song of the time when the album came out, as far as the barren wasteland of the music industry and how Manson was in a precarious position where he had credibility that the boybands, teenybopper pop stars (Brittany, Beyonce, Christina), and the Nu-Metal acts lacked but didn't like the idea of how people praised him BECAUSE he wasn't like those other people and that on some level, Manson was uncomfortable with this status of metal and rock fans seeing him as one of the guys who "didn't sell out" as it were. The disco line is Manson bemoaning those who want him to bash the other bands, something Manson thinks would be beneath him and a waste of his time because he already knows that he's better than them. The whole notion of "Born Again" (and "I'm someone stupid just like you") is Manson sarcastically saying that he will make a big deal about how he "doesn't suck" or "isn't a corporate sell-out" like Fred Durst or Korn. He'll "sell out" in that regard, becoming someone different and someone else entirely from who he sees himself as an artist, someone stupid like the fans he is bemoaning for the way that they equate liking Manson simply as a means to rebel against the status quo music-wise. |
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| The Tragically Hip – Locked In The Trunk Of A Car Lyrics | 14 years ago |
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Regarding the meaning of the song, on several live MP3s I have on my computer (when I downloaded a slew of bootlegs of the band), Gordie introduced the song by claiming it was about having writers block one dark and stormy night. Which would fit into the lyrics of the song (especially the random bit about "armor in my belly" and the line about becoming "Chronologically Fucked Up" reflecting his inability to write) as well as the metaphor of writer's block being akin to being locked in the trunk of a car and screaming "Let me out!" and trying to escape. |
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| Lady GaGa – Government Hooker Lyrics | 14 years ago |
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I think the song is about how musicians work with politicians and the whole issue of musicians (left and right, but mostly the left) essentially serve a proverbial prostitutes to the left. The left wing of the political spectrum uses rock and roll to contrast how the right wing of the political spectrum is reactionary and out of touch with the people (as seen by the way conservatives have long hated rock and roll) and the song is about Gaga coming to terms with this form of prostitution: she is essentially a whore for the Democratic Party, but it's one where Gaga is convincing herself that it's for a good cause and that the work and awareness she is able to raise for GLBT community with her high profile support for the Democratic Party is worth it. She hates how she has to compromise herself associating with political types who see her as nothing more than a prop, much in the same way George W Bush routinely used famous athletes as props to appeal to conservative voters, but she convinces herself that they care for the work and causes that she advocates, which gets her through all of it. |
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| Prince – Cindy C. Lyrics | 15 years ago |
| The song "Cindy C" is one big diss at Cindy Crawford. The story behind the song is this: Prince encountered Cindy Crawford at a nightclub one night and tried to get Cindy to hang out with him. Cindy, through one of her entourage that was with her, told Prince no thanks. Prince, pissed off, wrote "Cindy C" as a "fuck you bitch" song, complete with lyrics that accuse Cindy of being a glorified high price whore. | |
| Tori Amos – Cornflake Girl Lyrics | 15 years ago |
| Man with the golden gun= God/Christianity/Male Religious Figures. | |
| Tori Amos – Cornflake Girl Lyrics | 15 years ago |
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Don't close this door, I know it's so easy To close this door, I know it's over baby Don't close this door, I know it's so easy To close this door, I know so easy ----------- The lines were overdubbed onto the "Man With the Golden Gun" lines, largely because Tori doesn't like that section of the song (having mellowed out over the years in regards to her love-hate relationship with Christianity). Weird, but it beats what she's done to the song when performed live, as she instead sings "And the man with the, thinks he knows so much" three or for times before finally saying the full line in question. |
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| The Psychedelic Furs – Pretty in Pink Lyrics | 16 years ago |
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I never saw the song to be about a promiscuous girl so much as a girl who her classmates/friends all gossip about as far as guys claiming to have slept with her. The middle section (the one who insists he was first in the line/is the last to remember her name) makes me think of the "Caroline" character being sung about being someone who wasn't easy but all of the guys say they slept with her, are really the guys who shunned her and not bothering to remember her name if told. "Pretty In Pink" could be seen as sort of a code of sorts; an attractive but upopular girl who is a bit of a dreamer, wanting to fit in with her peers and is always seen wearing pink, which becomes how her peers think of her (IE the hot looking girl who is always wearing pink that they can't be bothered to remember her name yet brag about having sex with her in private). The final part is the narrator of the song being with Caroline; perhaps being a guy who likes her and who knows who she is and is in a relationship with her. They have sex (these cars collide) and the rest of the third part of the song is about how Caroline is madly in love with the narrator and the implications of her being a virgin despite the gossip of her being a slut. "She doesn't have anything You want to steal, Well Nothing you can touch"= refers to her giving her virginity up to her narrator boyfriend; "Caroline talks to you Softly sometimes She says 'I love you' and 'Too much'" refers to her love for the narrator; loving him enough to give up her virginity. |
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| Talking Heads – Burning Down the House Lyrics | 16 years ago |
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I always took it as a break-up song of sorts: a guy breaks up with a girl at a party at his house and is basically counting down to when the shit will hit the fan as far as the girl going postal and "burning down the house" in response to being dumped; the rest of the song is selfish recriminations as far as the guy blaming his girlfriend for being upset that she's been dumped, as far as telling her that he's that kind of jerk that would dump a girl like that. |
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| Green Day – American Eulogy: A. Mass Hysteria/B. Modern World Lyrics | 16 years ago |
| Or the "Calling Christian and Gloria" thing could be a bit of fourth-wall breaking, as far as the narrator wondering, in the middle of the violence and destruction of the riot, where the two main characters of the album's story are as far as them being stuck in the middle of the madness unfolding as bystanders. | |
| Green Day – American Eulogy: A. Mass Hysteria/B. Modern World Lyrics | 16 years ago |
| The song has a level of apocalyptic flavor to it, especially with the "Modern World" section. Vocalwise, it kind of reminds me of Cyndi Lauper's "Hole In My Heart" and seems to indicate a major sense of emergency as if to describe a modern metropolis breaking out into riots and flames as the narrator describes the "Mass Hysteria" of the sh*t hitting the fan with the rioting (which is ironic given the utter lack of violent rioting/protesting against Bush II policies in the states during his presidency) and the notion of it summing up the whole point of the album as far as how f*cked up America is and how Neo-Cons, the Religious Right, and the senseless war in Iraq could explode in such a violent explosion, that it makes the narrator not want to live in "the modern world" if this is what "the modern world" is supposed to be. | |
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