| Live – All Over You Lyrics | 2 years ago |
| I think this is about a long distance relationship or one of them is away for long periods of time (in a band on tour, in the military, etc.). I think "Pay me now" just means the payout for waiting, like their next kiss when they finally see each other. Or it refers to putting coins in a pay phone. | |
| Voltaire – Santa Claus Is Satan Lyrics | 9 years ago |
| Elves come from the Norse 'underworld' Hel, which is freezing like the North Pole. Such a clever song. | |
| Voltaire – Día de los Muertos Lyrics | 9 years ago |
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I wrote a translation for it: An American tourist arrived in Mexico and simply could not believe what he saw. He felt an earthquake and the solid ground opened up. Many skeletons came out of the recesses. Why? I will tell you! Day of the Dead. He saw a hundred skeletons in holiday garb and that white guy was terrified. Day of the Dead. That douchebag shuddered here in Mexico. A rancid and restless skeleton stole that scrawny white guy's burrito and took it with him. They broke the piñata and bats flew out. That unlucky American soiled his pants. Why? I will tell you! Day of the Dead. He saw a hundred skeletons in holiday garb and that white guy was terrified. Day of the Dead. That douchebag shuddered here in Mexico. We told him, "Have no fear, man; it only happens once a year. When the fires of the underworld are high, the dead climb up here to dance and drink!" Why? I will tell you! Day of the Dead. He saw a hundred skeletons in holiday garb and that white guy was terrified. Day of the Dead. That douchebag shuddered here in Mexico. Tourist: "Day of the Dead! Didn't you hear what I just said?! I didn't even know it was the Day of the Dead. I tried not to lose my head way down in Mexico." Run like Hell because the dead are in the streets! |
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| Voltaire – The Night (Deathrock Version) Lyrics | 9 years ago |
| I wrote lyrics but for some reason the website posted the lyrics that were written by someone else under the regular version of "The Night." I tried to edit those too, but it didn't work. It just reverted back to the original post. | |
| Voltaire – Cantina Lyrics | 9 years ago |
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I wrote down the lyrics for the Bitrektual Version of the song: Well, I went down to Mos Eisley for a converter. Hell, you know how hot it gets on Tatooine. Then I saw that there cantina. 'I'll go in for an Orangina.' I heard it was rough, but how bad could it be? Well, I walked through the door and the music stopped dead. All manner of men and beast were starin' at me. Seems just one week before, their Twi'lek slave girl walked out the door, and I guess I was the next best thing they'd seen. I lost more than my heart in that cantina. I left my manhood there on Tatooine. "Son, it don't mean you're weak if you turn the other cheek. But if you spread 'em both for Jabba, son, you ain't a man." Old Hammerhead, he fixed his mind to screw me. Whipped out his tool and nailed me to the bar. My anus he destroyed, and now I got me hemorrhoids. They had to wrench him off my nuts with a gaffi bar. I was hit over the head by ol' Han Solo. I'd've never guessed that pirate was a homo. I woke up next to Chewbacca. I was smeared in Wookie caca, and what they did to my poor nipples was a no-no. I lost more than my heart in that cantina. I left my manhood there on Tatooine. "Son, it don't mean you're weak if you turn the other cheek. But if you spread 'em both for Jabba, son, you ain't a man." Old Salacious Crumb's so small you can't detect him. Before I knew it, he shoved himself straight in my rectum. And then, just to be heinous, he screamed real loud out of my anus. Now I got an anal car alarm and I can't disconnect him. Ol' Greedo greedily grabbed his green weenie and he yanked that sucker 'til it wa'n't so teenie. He pulled me into Jabba's hut. He stared intently at my butt and then he oota-tootaed me with his zucchini. I lost more than my heart in that cantina. I left my manhood there on Tatooine. "Son, it don't mean you're weak if you turn the other cheek. But if you spread 'em both for Jabba, son, you ain't a man." Take it away, boys. Well, a guy walked up and said, "My friend doesn't like you." I said, "Sorry." He said, "I don't like you either. You better watch yourself." I think his name was Tom Waits. And then some old dude who taught Vader chopped his arm off with a saber that later made for one red hot anal invader. Owww. I was broken on the floor, beat to a stupor. Then I was saved. There at the door were 10 Storm Troopers. But then my hope faded away. I didn't know they cloned 'em gay. And they each took turns storm troopin' me in the pooper. I lost more than my heart in that cantina. I left my manhood there on Tatooine. "Son, it don't mean you're weak if you turn the other cheek." Which is why I still go there every week. |
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| Voltaire – The USS Make Shit Up Lyrics | 9 years ago |
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I wrote down the lyrics for the Bitrektual Version of the song: Well, I was stranded on a planet, just me and Spock. We met a nasty Nazi alien who locked our asses up. We found a hunk of crystal and a metal piece of bed. We made a laser phaser gun and shot him in the head. I was standing on the bridge when Sulu came to me. His eyes were full of tears. He said, "Captain, can’t you see the ship is gonna blow? Do something, I beseech.” I grabbed a Tribble and some chewing gum, and stopped the warp core breach. And I said, "Bounce a graviton particle beam off the main deflector dish. That’s the way we do things, lad. We’re makin' shit up as we wish. Klingons and Romulans, they pose no threat to us, 'cause if we find we’re in a bind, we just make some shit up." I know he’s just a child, and most think him a twit, but Wesley is the master when it comes to makin' up some shit. He’s the guy you want with you when you go out in space. Just tell him, “Shut up, Wesley,” if he gets in your face. And if you’re at a party on the Starship Enterprise and the karaoke player just plain old up and dies, set up a neutrino field inside a can of peas, hold onto Geordi’s visor, and sing into Data’s knees. And I said, "Bounce a graviton particle beam off the main deflector dish. That’s the way we do things, lad. We’re makin' shit up as we wish. Klingons and Romulans, they pose no threat to us, 'cause if we find we’re in a bind, we just make some shit up." Well, Sisko’s on a mission to go no bloody place. He loiters on a space station above Bajoran space. The wormhole opened up and now they come from near and far. We’ll keep the booze, but please send back the fuckin' Jem'Hadar. And what is with the Klingons? Remember in the day they looked like Puerto Ricans and they dressed in gold lamé? Now they look like heavy metal rockers from the dead, with leather pants and frizzy hair and lobsters on their heads. And I said, "Bounce a graviton particle beam off the main deflector dish. That’s the way we do things, lad. We’re makin' shit up as we wish. Klingons and Romulans, they pose no threat to us, 'cause if we find we’re in a bind, we just make some shit up." Well, I was stuck on Voyager, pounding on the door, when suddenly it dawned on me - I’ve seen this show before. Perhaps I’m in a warp bubble slightly out of phase, 'cause it was way back in the '60s when they called it Lost in Space. We were looking for a way to make the ratings soar, so we orchestrated an encounter with the Borg. Normally, you’d think that that would get us into shit, but this one has a smashing ass and a lovely set of tits. And I said, "Bounce a graviton particle beam off the main deflector dish. That’s the way we do things, lad. We’re makin' shit up as we wish. Klingons and Romulans, they pose no threat to us, 'cause if we find we’re in a bind, we just make some shit up." Well, then they made a new show and it’s called Enterprise and it takes place a hundred years before Kirk was alive. They say that it’s a prequel, or so that’s what it’s called! It’s such a bad idea you’d swear that Lucas was involved. They have a Vulcan female, but she’s a nervous wreck. Her ass is sweet as sevens, only green, so what the heck? They’re in the past, but Klingons have those lobsters on their heads. I’m more confused than Wesley Crusher nude in Tasha’s bed. And I said, "Bounce a graviton particle beam off the main deflector dish. That’s the way we do things, lad. We’re makin' shit up as we wish. Klingons and Romulans, they pose no threat to us, 'cause if we find we’re in a bind, we just make some shit up." Well, it would seem a big wig up at Paramount must’ve felt the franchise was stale by all accounts, 'cause they hired J. J. Abrams to give the thing a shove! I feared that he would mock and mangle everything I love. Well, I went to the movie, and there, much to my shock, there were hunky models playing Kirk and Spock, Vulcan’s been destroyed, and the timeline has been crushed! So someone tell me why I love this film so fuckin' much. And I said, "Bounce a graviton particle beam off the main deflector dish. That’s the way we do things, lad. We’re makin' shit up as we wish. Klingons and Romulans, they pose no threat to us, 'cause if we find we’re in a bind, we just make some shit up." We’re totally screwed, but nevermind. We’ll pull something out of our behind. “What does god need with a starship?” We'll just make some shit up! |
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| Voltaire – The Sexy Data Tango Lyrics | 9 years ago |
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I wrote down the lyrics for the Bitrektual Version of the song: If, while you're out in space, Love, you're horny as a targ... Take a tip from a security chief, Love, that fat slut Tasha Yar. She discovered the pleasures of Data. He became her sexual pet, 'cause he's fully functional and anatomically correct. He's fully functional and anatomically correct. His Defiant, with its thrusters, will explode in your wormhole. And he'll rub his trusty spangler wrench on your warp core manifold. His multiphasic torpedo will penetrate your rift and cause a quantum singularity in your transwarp conduit. So if you're a filthy Horta, Data's your bestest bet, 'cause he's fully functional and anatomically correct. He's fully functional and anatomically correct. He gently massages your gel packs while he replicates some lube. Then he thrusts his throbbing razor beast into your Jefferies tube. So lower your shields, spread your nacelles, to make room for his 'craft as he docks his Delta Flyer into your big, fat, juicy aft. So if you're a filthy Horta, Data's your bestest bet, 'cause he's fully functional and anatomically correct. He's fully functional and anatomically correct. His pelvis, a tireless engine. He shakes it when he struts. He's full of dilithium crystals in his bolts and in his nuts. He too likes to be pleasured. He will put you on your knees. And, if you're into disgrace, he will cover your face with his android antifreeze. If you're a filthy Horta, Data's your bestest bet, 'cause he's fully functional and anatomically correct. He's fully functional and anatomically correct. He's fully functional and ripped for your pleasure and anatomically correct. |
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| Voltaire – Screw The Okampa! (I Wanna Go Home) Lyrics | 9 years ago |
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I wrote down the lyrics for the Bitrektual Version of the song: We were in the badlands one day chasing B'elanna and Chakotay. We were wizzed into the Delta Quadrant. Fuck, that's far away. I wanna go home. (Said Ensign Kim.) Please let me go home. (No one listened to him.) I say screw the Ocampa. I wanna go home. The Caretaker had an array that could get us home safe. But Janeway, that ignorant slut, she blew it away. I wanna go home. (Said Ensign Kim.) Please let me go home. (No one listened to him.) Drop me off at a wormhole. I wanna go home. So now I'm stuck here for years in the Delta Quadrant, I fear, with the Kazon and Hirogen and a brother with pointy ears. (Say what?!) I wanna go home. (Said Ensign Kim.) Please let me go home. (I bitchslapped him.) Talaxian chicks are ugly. I wanna go home. So hoist up the aft nacelles. See how the warp core burns. Tell Janeway to go to Hell. I wanna go home. I wanna go home. (Said Ensign Kim.) I wanna go home. (Someone listen to him!) I say screw the Ocampa. I wanna go home. I say fuck the Ocampa. I wanna go home. |
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| Panic! at the Disco – She Had The World Lyrics | 10 years ago |
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I think the song has two singers just to represent this having happened to more than one guy in her presence. I feel this is one continuous narrative, even though it applies to both men addressed. The song most likely references "The Lady of Shalott" by Alfred Tennyson, because of the medieval sound of the song ("The Lady of Shalott" is set in medieval times, and is a very well-known story.). The Lady of Shalott can't see the outside world in the conventional sense, but she can weave images of it subconsciously, and she can see her town in a mirror. In the land around her, farmers mainly cut down wheat with scythes (Recall that grim reapers are characterized as holding scythes.). Shalott acknowledges that she can't see the broader picture, and says her world is half in shadow. Lancelot wins Guinevere a diamond, but Shalott heals him. Shalott tells Lancelot that she loves him and he says that he's in love with Guinevere, but that he can give Shalott anything else. From my understanding, Shalott didn't ask for anything. Evidently Guinevere only wanted love as well, because she threw the diamond in a lake, due to Lancelot having spent time with Shalott. Shalott dies on a boat in said lake en route to deliver her love letter to Lancelot. Lancelot he finds the note posthumously, when looking for the diamond. {"She held the world upon a string... She spun the stars on her fingernails... She said she’d won the world at a carnival..."} ---> The woman could have anything and anyone she wants, except the narrator, so she probably has money and a good social standing. She could even be a classy prostitute. Perhaps in order to be with her, the narrator would have to fit in with her peers and pretend to be something he's not. {"She held the world upon a string, but she didn't ever hold me. She spun the stars on her fingernails, but it never made her happy, because she couldn't ever have me. She said she’d won the world at a carnival, but she couldn't ever win me, because she couldn't ever catch me."} ---> The woman is perpetually unhappy. She may be selfish and unappreciative from having everything and/or everyone; or she may hop from thing to thing in a childlike way, being just as easily bored as she is easily excited; or she's romantic and the only thing in the world she cares about is the narrator. "Fingernails" could imply her intimately stroking people with her fingertips. Maybe her fingernails are manicured, so they literally reflect the stars. Maybe the number of celebrities (stars) she's been with can be counted on both hands (meaning between 6 and 10). {"She held the world upon a string... She spun the stars on her fingernails... She said she’d won the world at a carnival... she couldn't ever catch me... Throwing a line out to sea to see if I can catch a dream."} ---> For the woman, love is a game and life is a carnival. People hang on her every word, like marionettes dangling from her finger tips. She won a beach ball designed to look like a globe, because things come to her easily. She's trying to catch the narrator the same way you catch objects with a fishing pole in certain kinds of carnival games. Maybe 'scoring' (having sex) is what is most important to her. Maybe she's too heartless or too innocent to know what a relationship entails beyond stealing hearts and ensnaring men in her trap. {"I… I know why, because when I look in her eyes, I just see the sky."} ---> The hesitation means that the narrator is not really convinced that turning the woman down is what he wants to do. He's stammering and seems to be making up excuses. He appears to have low self-esteem, feeling like he doesn't deserve someone who loves him. He has at least some feelings for the woman (if not love, then platonic feelings), so she DOES have him, he just won't accept her into his world. {"The sun was always in her eyes. She didn't even see me. But that girl had so much love, she’d want to kiss you all the time."} ---> The narrator feels that the woman doesn't know who he is on the inside. He feels there's something major about him that she wouldn't like. The woman is interested in the narrator physically and he may be concerned that she doesn't like him at the emotional level. {"I don’t love you; I’m just passing the time. You could love me if I knew how to lie. But who could love me? I am out of my mind. Throwing a line out to sea to see if I can catch a dream."} ---> It doesn't sound like the narrator's actually turned the woman down yet, seeing as he keeps saying "could." He cast a line in the sea (meaning that he's willing to date other women), but he isn't happy about it. Therefore, I think you'd have to turn to other songs on the album to determine whether or not he turned the woman down. {"She said she’d won the world at a carnival, but I'm sure I didn't ruin her. Just made her more interesting."} ---> Being around the narrator didn't spoil or heart-break the woman. Instead, it gives her stories to tell about the places they went to. She might be more interested in new life experiences and/or material things than she is interested in the narrator. {"...when I look in her eyes, I just see the sky."} ---> People say 'Eyes are the windows of the soul,' yet the narrator just sees the reflection of the sky in the woman's eyes. That implies that he is either not looking hard enough because he's afraid of being in a relationship, or that all he can see in her eyes and soul is vast emptiness. The woman is dreamy and distant, like a goddess that can never be physically touched. |
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| Panic! at the Disco – Nine In The Afternoon Lyrics | 10 years ago |
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{"Feeling as good as lovers can, you know. We're feeling so good... Feeling as good as love. You could. You can... Back to the place where we used to say, 'Man, it feels good to feel this way.' ...We're feeling so good, just the way that we do..."} ---> The narrator wants the woman to take a leap and allow herself to fall in love, so she can feel for him the way he feels for her. The woman may feel unsure about the situation because they aren't supposed to be together, because she's confused about her feelings, or because they haven't seen each other in a while. The line, "Back to the place where we used to say, 'Man, it feels good to feel this way'," sounds like they've been together for a long time and have been in this ecstatic state many times before, so I believe they've been intimate. Therefore, I cross off intimacy as a reason for the girl to be hesitant. {"Back to the place where we used to say, 'Man, it feels good to feel this way.'"} ---> The couple is ready to try out new things to enhance the relationship. {"Feeling as good as lovers can... Feeling as good as love."} ---> When people are in love, they say they're 'On top of the world,' meaning nothing will make them happier. {"You could. You can... You could cuz you can, so you do. We're feeling so good, Just the way that we do..."} ---> The couple doesn't see sex as something sinful or shameful or anything unhealthy like that; but rather, they casually enter into it whenever it feels right. {"Picking up things we shouldn't read. It looks like the end of history as we know. It's just the end of the world."} ---> They shouldn't be reading about the news (picking up newspapers and magazines), because it makes them cynical. To regain hope and happiness, they have sex. {"Into a place where thoughts can bloom."} ---> If the couple isn't supposed to be together, then the thoughts blooming are schemes of ways to meet up. {"Down to our feet."} ---> It sounds like they took all their clothes off except their socks. {"Losing the feeling of feeling unique. Do you know what I mean?"} ---> The two are becoming one, and their union is going beyond the realm of individual selfishness into the realm of what is best for the relationship. They may even be feeling oneness with the rest of humanity from practicing sacred (spiritual) sexuality, such as tantra. {"Your eyes are the size of the moon."} ---> When people are excited about anything, they're characterized by having eyes wide open. The moon is a common symbol of romance (i.e. having dinner under the full moon). Strong sexual arousal causes enlarged pupils, and during the Victorian era women used deadly nightshade infused eyedrops so that men would think they were turned on. {"Into a place where thoughts can bloom. Into a room where it's nine in the afternoon. And we know that it could be. And we know that it should. And you know that you feel it too, cuz it's nine in the afternoon."} ---> This means when you get carried away with something, especially when the room has no windows (like the bedroom in the music video), you lose track of time and don't know if it's closer to 9 PM or 9 AM. Moreover, staying up late makes the evening feel more like the afternoon. This makes me think of time-altering expressions like, 'We have all the time in the world,' 'Time flies,' 'I want this moment to last forever,' etc. Lack of sleep even causes hallucinations, so there may be a comparison to drugs. People in love say things like, 'Love is the drug,' 'You're like heroin,' 'I'm addicted to your love,' etc., meaning they feel 'high' and 'never want to come down.' Yet, in this song, the best high is love ("Feeling as good as love."). The "afternoon" probably also indicates that they went in for a nooner, which means having sex in the middle of the day. The "nine" may refer to "Cloud Nine," which means pure bliss. {"Back to the street where we began... Back to the street where we began... Back to the street... Back to the place where we used to say, 'Man, it feels good to feel this way.' Now I know what I mean. Back to the street, back to the place, back to the room where it all began. Back to the room where it all began."} ---> The place where they are having sex is the place where they gather their thoughts, the place where no one judges them, the place where good memories are stored, the place where anything goes, the place where everything feels possible. It could be the place where they met, but since they're having sex there, it's more likely the place where they first had sex. The couple is going back to what their relationship was like at the beginning, where everything was new and uncomplicated, like people feel when they go to theme parks, circuses, concerts, etc. |
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| Panic! at the Disco – That Green Gentleman (Things Have Changed) Lyrics | 10 years ago |
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Regarding the title, the narrator is green with envy (meaning extremely jealous), but he is putting on the front of a gentleman. Green is also a color associated with growth, new beginnings, and lust. {"Things are shapin' up to be pretty odd. Little deaths in musical beds."} ---> When people have sexual intercourse, beds make all kinds of noises. The woman and/or the narrator seem to go from bed to bed with each other and/or with other people like a game of musical chairs. Each time that happens, the person dies a little inside, so ultimately there will be nothing left of him/her. {"So, it seems I'm someone I've never met."} ---> False rumors were spread about the narrator. It's clear that they're false, because the "so" is very casual, as if he just found out what people were saying behind his back, and is feeling cynical about it. {"You will only hear these elegant crimes fall on your ears from criminal dimes. They spill a-fowl from a pretty mouth."} ---> The sexual encounters are in some way forbidden, at least from the narrator's point of view. He considers these "crimes" too dirty for conversation. The narrator and the woman could be forbidden to see each other; or one or both of them could be prostitutes. It seems like both characters mingle in society, dressing and acting classy. {"Everybody gets there when everybody gets there, and everybody gets their way."} ---> The members of society will do anything, legal or not, to maintain their image and to have things go their way. {"I want to go where everyone goes. I want to know what everyone knows. I want to go where everyone feels the same."} ---> The narrator wants to be around people who know what he's going through, but the crowd he's associating himself with aren't on his side. The narrator himself seems to be pretending to be something he's not. {"I never said I missed her when everybody kissed her. Now I'm the only one to blame."} ---> The narrator never got around to telling the woman that he loves her. {"I never said I'd leave the city. I never said I'd leave this town. A falling-out we won't tiptoe about... Things have changed for me, and that's OK. I feel the same. I'm on my way."} ---> The narrator is standing his ground to face his fears like a grown-up, instead of running away like an irresponsible kid. Things have changed but they feel the same because this new change feels right. In the process of changing, the narrator is rediscovering his former self, which feels familiar. The rules and false pretenses of society are no longer appealing because he found his sense of uncalculated joy and awe, and he found it by allowing himself to innocently fall head over heels in love. |
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| Panic! at the Disco – Folkin' Around Lyrics | 10 years ago |
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{"By the time your father's heard of all the wrong you've done, then I'm putting out the lantern."} ---> The narrator and the woman are intimate, unbeknownst to the woman's father, who would disapprove. {"By the time your father's heard of all the wrong you've done, then I'm putting out the lantern. Find your own way back home... If love is not enough to put my enemies to sleep, then I'm putting out the lantern. Find your own way back home."} ---> There are a number of possibilities. A. The narrator may be putting a lantern outside so that the woman can find her way home and find her way back to him. That makes me think of the expression 'Follow your own path,' which means to think things through and make your own informed decisions, independent of what others want. B. The narrator may be putting the lantern outside in front of his home so that the woman can find his home easily the next time she returns. The reason the narrator isn't going to her home is because the woman's father disapproves. C. The narrator may be putting out the light in the lantern in a rushed way and either taking the lantern himself or handing it to the woman. In that scenario, they would either be hanging out away from both of their homes or at the narrator's home; and the woman has to get home either before the father heads their way or before he notices his daughter's absence. D. The narrator may be putting out the light in the lantern so that the woman can't find him by following the light. Maybe he doesn't want her to find him, or maybe he does but she has to do it all by herself to prove her feelings. {"I'm putting out the lantern. Find your own way back home."} ---> Characters carrying lanterns are common symbols of that person being someone else's 'guiding light' (a person who helps others 'find their way' literally and/or metaphorically). In this case, the narrator is the one who is guiding the relationship, because the lantern is his. The expression 'inner light' refers to a person's creativity and optimism. If the narrator literally puts out the light in the lantern, then each time he does, his hope is somewhat diminished. The narrator has 'lost his way' literally (in the darkness, either without a lantern or without a lit lantern) and metaphorically (meaning he became someone he didn't want to be). {"...where summers lasted longer than... we do... Where nothing really mattered, except for me to be with you. But in time we all forgot and we all grew."} ---> People tend to lose track of time and realize that they missed out on a lot of things that they wanted to do or experience. As time passes a person by, he/she tends to lose track of the small, simple things that used to be the most important thing in the world to him/her. When that happens, life feels more complicated and less beautiful. Since the memories are of summertime, that means the couple was preoccupied with other things more often than not during the other seasons of the year. {"Allow me to exaggerate a memory or two, where summers lasted longer... than we do. Where nothing really mattered, except for me to be with you. But in time we all forgot and we all grew."} ---> As they grow older, they notice more complex issues in the relationship. However, the narrator doesn't want to remember those issues, and has exaggerated memories of the good parts of the relationship. He may not have been able to see how the relationship really was (part of its downfall) or he may have blocked a lot of bad memories from his mind. {"Your melody sounds as sweet as the first time it was sung, with a little bit more character for show."} ---> The melody would be moans and/or the woman saying the same romantic cliches time and time again ("I love you," "You're the best thing that ever happened to me," "I'm so lucky to have you," etc.). In the moaning scenario, the extra character for show would be the woman exaggerating the moans. In the romantic lines scenario, the extra character for show would be the woman slightly tweaking the romantic lines to sound more genuine, either sincerely or because she doesn't know what she likes about him and has to resort to scripted dialogue. {"If I've forgotten how to sing before I sung this song, I'll write it all across the wall before my job is done."} ---> The narrator wants the woman to know exactly how he feels before the relationship is over. The "song" may be a 'swan song,' which means a final gesture, often a grand final gesture. The expression, 'The writing's on the wall' means failure is inevitable and the parties involved are aware of that (but are often in denial). {"I'll even have the courtesy of admitting I was wrong, as the final words before I'm dead and gone."} ---> The phrase 'Dead and gone' means something that's still going on actually ended a long time ago. In this case, the narrator's professions of love are dead and gone, so the woman seems to not think about what the narrator said and did after he said and did them. The narrator also implies that he's going to love the woman until the day he dies. {"You've never been so divine in accepting your defeat, and I've never been more scared to be alone."} ---> The woman either gracefully bows out of the relationship due to lack of feelings, or stays in the relationship but gives up hope really easily for the first time. Either scenario shocks and terrifies the narrator. {"If love is not enough to put my enemies to sleep, then I'm putting out the lantern."} The expression 'putting enemies to sleep' means to get problems out of the way, but it implies that the problems themselves are not resolved. This tells me that the relationship DIDN'T end, but that the same relationship problems are still there. |
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| Panic! at the Disco – Nearly Witches (Ever Since We Met...) Lyrics | 10 years ago |
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{"Mona Lisa, pleased to please you."} ---> Mona Lisa (as in "Mona Lisa" by Leonardo da Vinci) is a metaphorical name for the female character in the album. In the music video for one of the songs, "The Ballad of Mona Lisa," the narrator kills Mona Lisa, but the album itself isn't necessarily so literal. {"My wing tips waltz across naive wood floors... Here I am composing a burlesque out of where they rest their necks, sunken in their splintered cradles and ramshackle heads. They asked for it."} ---> The expression 'where you lay your head' means the place you call home. The "heads" can be dolls' heads and cradles refer to innocence, so the burlesque dancers seem to live at the cabaret and are "naive," innocent, and probably young. The expression 'robbed the cradle' means an older person pursued a significantly younger person, and was successful. The opposite of that is saying someone 'robbed the grave.' This part of the song can also mean that the narrator killed several young women and their skulls and bones are lying about the room; however, that seems to be a metaphor for the skeletons in the closet, which is an expression meaning a person's secrets. So, instead of actually killing the women, the narrator seems to be comparing that to the guilt he feels towards having hired them to be exotic dancers, like Mona Lisa. He may also feel guilty for being intimate with other dancers, after Mona Lisa left. {"My... slumbering apparitions that they've come to wake up."} ---> Apparitions (or shadows or skeletons) from the past are people's secrets. Waking them means someone figured out the secrets. {"My percussive feet serve cobweb headaches..."} ---> The place is run-down and neglected, so there are cobwebs everywhere. A web also refers to a web (maze) of lies that the narrator has to dance through. To dance through something means to pretend it isn't as bad as it really is. {"My wing tips waltz across naive wood floors. They creak innocently down the stairs. My percussive feet serve cobweb headaches as a matching set of marching clocks..."} ---> Clocks are often symbols of a person running out of time. The narrator also wants to find out how the woman, 'Mona Lisa', ticks (which means he wants to know why she says and does things; and 'tick-tok' is the sound a clock makes). The line also refers to a group of dancers moving in unison with their precise timing (Another Panic! song, "Behind the Sea," says "They sang so that our matching legs are marching clocks."). Moreover, when people can't sleep, they tend to glance at clocks, and clearly no one can get any sleep in the building with all the "percussive" stomping around on creaking wood floors. Since the narrator can't sleep, and has "headaches," that means he can't find any peace and quiet. {"Drag melody."} ---> In emo rock, there are several songs involving straight men who wear drag (women's clothing) for various reasons, and drag is common at cabarets, so I take this line completely literally. The narrator is probably literally walking in Mona Lisa's shoes (metaphorically that means he's learning what her motivations were for her actions). {"How does a heart look if no one has noticed its presence, and where does it go? Trembling hands play my heart like a drum, but the beat's gotten lost in the show."} ---> It sounds like the narrator performs in some pretty intimate burlesque shows with other dancers, but can't feel a thing because Mona Lisa isn't there. {"As a girl, you have set your heart on haunting me forever from the start. It's never silent."} ---> This seems to be a reference to "The Tell-tale Heart" by Edgar Allan Poe, where a narrator of unspecified gender kills a man and hides the heart under wooden floorboards, only to find that the sound of the beating heart is inescapable. {"Ever since we met, I only shoot up with your perfume. It's the only thing that makes me feel as good as you do.} ---> Metaphorically, this references "Perfume" by Patrick Suskind. "Perfume" is set in France in the 1700s and is about a man who kills virgins with imperfect body odors until he meets and falls in love with a woman with the perfect scent/pheromones. As for this song, the narrator of the song seems to be comparing intimacy with young women to shooting young women. I think the title "Nearly Witches" refers to the other seductive dancers. The narrator is also continuing the drag theme, because wearing Mona Lisa's perfume brings him comfort (he was classically conditioned to associate her scent with her comfort). {"Ever since we met, I've got just one regret to live through, and I regret never letting you go! ...Ever since we met, I've got just one regret to live through, and that one regret is you."} ---> The narrator allowed himself to get so attached to Mona Lisa that he will ever get over her. Her memory and his love for her will haunt him, but it's also the only thing that keeps his true self alive. Without her memory, he would become a different person, a type of person that he is evidently trying with all his might not to become. |
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| The Dead Weather – Rolling In On A Burning Tire Lyrics | 11 years ago |
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"The road is always clear." The characters have a stable life (school, jobs, or careers). "The moon is always full for us." The characters are in a stable relationship (engaged, married, or living together). "I was raised up like a snake. You were raised to leave me bait that I always take." The narrator (singer) can't resist the other character (let's call him/her "character B") no matter how much that person changes. "One is born so one can die... The days will come and go." The narrator explains that the good days make up for the bad days, and that when a bad thing happens (ex. a death) a good thing also happens (ex. a birth). "You must wait a really long time. That's more than you can bare." Character B finds his/her life very tedious and uneventful. "One is born so one can die... The band will march along." Character B thinks of his/her life as a funeral procession. "'Til the day you cast a shadow that looks nothing like your own... That's not what you want to hear." Character B feels like what has died has been the person he/she once was. Maybe he/she had higher aspirations. Maybe he/she wanted to be the complete opposite of what he/she is now in terms of life goals and/or personality. "Rolling in on a burning tire, you're gonna set my house on fire, just to show me you were there." Character B is willing to throw away everything he/she has (at the expense of the narrator), just because he/she feels as if he/she is someone he/she is not supposed to be. While this song wasn't written for Twilight: Eclipse, it's played when Riley and Victoria kiss. I imagine it's played there because Victoria wishes she were with James and is willing to do anything it takes to either exact revenge or be with him in the afterlife. That would make Victoria character B in the song. |
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