I think much like another song “Anti-Matter” (that's also on the same album as this song), this one is also is inspired by a horrifying van crash the band experienced on Nov 3, 2022. This, much like the other track, sounds like it's an extension what they shared while huddled in the wreckage, as they helped frontman Garrett Russell stem the bleeding from his head wound while he was under the temporary effects of a concussion. The track speaks of where the mind goes at the most desperate & desolate of times, when it just about slips away to all but disconnect itself, and the aftermath.
Radio: Hi, we’re back. This is Radio KX and we’re here with Conor Oberst of the band Bright Eyes. How are you doing Conor?
Conor: Fine, thanks. Just a little wet
Radio: Oh yeah, it’s still coming down out there
Conor: Yeah, I sort of had to run from the car
Radio: Well, we are glad you made it. Now your new album, Fevers and Mirrors. Tell us a little bit about the title. I noticed there was a good deal of repeated imagery in the lyrics, fevers . . . mirrors, scales, clocks. Could you discuss some of this?
Conor: Sure. Let’s see, the fever is . . .
Radio: First let me say, that this is a brilliant record, man, we’re all really into it here at the station. We get lots of calls, it’s really good stuff
Conor: Thanks, thanks a lot
Radio: So talk a little bit about some of the symbolism
Conor: The fever?
Radio: Sure
Conor: Well the fever is basically whatever ails you or oppresses you, it could be anything. In my case it’s my neurosis, my depression, but I don’t want to be limited to that. It’s certainly different for different people. It’s whatever keeps you up at night
Radio: I see
Conor: And then the mirror is like, as you might have guessed, self-examination or reflection or whatever form. This could be vanity or self-loathing. I don’t know, I’m guilty of both
Radio: That’s interesting. How about the scale?
Conor: The scale is essentially our attempt to solve our problems quantitatively through logic or rationalization. In my opinion it’s often fruitless, but always, well, not always. And the clocks and calendars, etcetera, its just time, our little measurements. It’s like, it’s always chasing after us
Radio: It is, it is. How about this Arienette, how does she fit in to all of this?
Conor: I’d prefer not talk about it, in case she’s listening
Radio: Oh, I’m sorry, I didn’t realize she was a real person
Conor: She’s not, but I made her up
Radio: Oh, so she’s not real?
Conor: Just as real as you or I
Radio: I don’t think I understand
Conor: Neither do I, but after I grow up I will. I mean, you know what, a lot of things are really unclear for me right now
Radio: That’s interesting. Now you mentioned your depression
Conor: No I didn’t
Radio: You’re from Nebraska, right?
Conor: Yeah, that’s right
Radio: Now let me know if I’m getting to personal, but there seems to be a pretty dark past back there somewhere. What was it like for you growing up?
Conor: Dark? Not really. Actually I had a great childhood. My parents were wonderful. I went to a Catholic school. They have, I had money, so it was all easy. I basically had everything that I wanted anytime
Radio: Really? So some of the references like babies in bathtubs are not biographical?
Conor: Well I did have a brother who died in a bathtub . . . he drowned. Well actually I had five brothers that drowned
Radio: (Chuckle)
Conor: No, I’m serious. My mother drowned one every year for five consecutive years. They were all named Padraic, and that’s why they only got one song. It’s kind of like walking out a door and discovering that it's a window
Radio: But your music is certainly very personal
Conor: Of course, I put a lot of myself into what I do. It’s like being an author, you have to free yourself to use symbolism and allegory to meet your goal. And part of that is compassion, empathy for other people and their situations. Some of what I sing about comes from other people’s experiences. It shouldn’t matter, the message is intended to be universal
Radio: I see what you mean
Conor: Could you make that sound stop, please?
Radio: Yes. And your goal?
Conor: I don’t know. Create feelings I guess. A song never ends up the way you planned it
Radio: That’s funny you’d say that, do you think that . . .
Conor: Do you ever hear things that aren’t really there?
Radio: I’m sorry, what?
Conor: Never mind. How long have you worked at this station?
Radio: Oh, just a few minutes. Now you mentioned empathy for others. Would you say that that motivates you to make the music that you make?
Conor: No, not really. It’s more a need for sympathy. I want people to feel sorry for me. I like to feel the burn of the audience’s eyes on me when I’m revealing all my darkest secrets into the microphone. When I was a kid I used to carry a safety pin around with me every where I went in my pocket, and when people weren’t paying enough attention to me, I’d dig it into my arm until I started crying. Everyone would stop what they were doing and ask me what was the matter. I guess, I guess I kind of liked that
Radio: Really, you’re telling me that you’re doing all of this for attention?
Conor: No, I hate it when people look at me, I get nauseous. In fact, I could care less what people think about me. Do you feel that?
Radio: No, I feel sick
Conor: I really just want to be this warm yellow light that pours over everyone that I love
Radio: So you’re going to play something for us now? Is this a new song?
Conor: Yeah, but I haven’t written it yet. It’s one I’ve been meaning to write called A Song To Pass The Time
Radio: Oh, that’s a nice title
Conor: You should write your own scripts
Radio: Yeah, I know
Conor: Fine, thanks. Just a little wet
Radio: Oh yeah, it’s still coming down out there
Conor: Yeah, I sort of had to run from the car
Radio: Well, we are glad you made it. Now your new album, Fevers and Mirrors. Tell us a little bit about the title. I noticed there was a good deal of repeated imagery in the lyrics, fevers . . . mirrors, scales, clocks. Could you discuss some of this?
Conor: Sure. Let’s see, the fever is . . .
Radio: First let me say, that this is a brilliant record, man, we’re all really into it here at the station. We get lots of calls, it’s really good stuff
Conor: Thanks, thanks a lot
Radio: So talk a little bit about some of the symbolism
Conor: The fever?
Radio: Sure
Conor: Well the fever is basically whatever ails you or oppresses you, it could be anything. In my case it’s my neurosis, my depression, but I don’t want to be limited to that. It’s certainly different for different people. It’s whatever keeps you up at night
Radio: I see
Conor: And then the mirror is like, as you might have guessed, self-examination or reflection or whatever form. This could be vanity or self-loathing. I don’t know, I’m guilty of both
Radio: That’s interesting. How about the scale?
Conor: The scale is essentially our attempt to solve our problems quantitatively through logic or rationalization. In my opinion it’s often fruitless, but always, well, not always. And the clocks and calendars, etcetera, its just time, our little measurements. It’s like, it’s always chasing after us
Radio: It is, it is. How about this Arienette, how does she fit in to all of this?
Conor: I’d prefer not talk about it, in case she’s listening
Radio: Oh, I’m sorry, I didn’t realize she was a real person
Conor: She’s not, but I made her up
Radio: Oh, so she’s not real?
Conor: Just as real as you or I
Radio: I don’t think I understand
Conor: Neither do I, but after I grow up I will. I mean, you know what, a lot of things are really unclear for me right now
Radio: That’s interesting. Now you mentioned your depression
Conor: No I didn’t
Radio: You’re from Nebraska, right?
Conor: Yeah, that’s right
Radio: Now let me know if I’m getting to personal, but there seems to be a pretty dark past back there somewhere. What was it like for you growing up?
Conor: Dark? Not really. Actually I had a great childhood. My parents were wonderful. I went to a Catholic school. They have, I had money, so it was all easy. I basically had everything that I wanted anytime
Radio: Really? So some of the references like babies in bathtubs are not biographical?
Conor: Well I did have a brother who died in a bathtub . . . he drowned. Well actually I had five brothers that drowned
Radio: (Chuckle)
Conor: No, I’m serious. My mother drowned one every year for five consecutive years. They were all named Padraic, and that’s why they only got one song. It’s kind of like walking out a door and discovering that it's a window
Radio: But your music is certainly very personal
Conor: Of course, I put a lot of myself into what I do. It’s like being an author, you have to free yourself to use symbolism and allegory to meet your goal. And part of that is compassion, empathy for other people and their situations. Some of what I sing about comes from other people’s experiences. It shouldn’t matter, the message is intended to be universal
Radio: I see what you mean
Conor: Could you make that sound stop, please?
Radio: Yes. And your goal?
Conor: I don’t know. Create feelings I guess. A song never ends up the way you planned it
Radio: That’s funny you’d say that, do you think that . . .
Conor: Do you ever hear things that aren’t really there?
Radio: I’m sorry, what?
Conor: Never mind. How long have you worked at this station?
Radio: Oh, just a few minutes. Now you mentioned empathy for others. Would you say that that motivates you to make the music that you make?
Conor: No, not really. It’s more a need for sympathy. I want people to feel sorry for me. I like to feel the burn of the audience’s eyes on me when I’m revealing all my darkest secrets into the microphone. When I was a kid I used to carry a safety pin around with me every where I went in my pocket, and when people weren’t paying enough attention to me, I’d dig it into my arm until I started crying. Everyone would stop what they were doing and ask me what was the matter. I guess, I guess I kind of liked that
Radio: Really, you’re telling me that you’re doing all of this for attention?
Conor: No, I hate it when people look at me, I get nauseous. In fact, I could care less what people think about me. Do you feel that?
Radio: No, I feel sick
Conor: I really just want to be this warm yellow light that pours over everyone that I love
Radio: So you’re going to play something for us now? Is this a new song?
Conor: Yeah, but I haven’t written it yet. It’s one I’ve been meaning to write called A Song To Pass The Time
Radio: Oh, that’s a nice title
Conor: You should write your own scripts
Radio: Yeah, I know
Lyrics submitted by EricFrank
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Just listening for the 784,654th time....and it's just perfect in every way. Just incredible. The only reason it was remade was to scoop up a boatload of money from a more modern and accepting audience. But it is a completely different song than the other one that sounds slapped together in a few takes without a thought for the meaning.
This song captivates me still, after 50+ years. Takes me to the deep South and the poverty of some who lived thru truly hard times. And the powerful spirit of a poor young girl being abandoned to her future with only a red dress and her wits to keep her alive.
She not only stayed alive, she turned her hard beginnings around, became self sufficient, successful and someone with respect for herself. She didn't let the naysayers and judgers stop her. She's the one sitting in the drivers seat at the end.
So, not a song about a poor girl, but a song of hope and how you can rise up no matter how far down you started.
There is a huge difference between a singer who simply belts out a song that is on a page in front of them, and someone who can convey an entire experience with their voice. Telling not just a story with words, but taking you inside it and making you feel like you are there, with their interpretation.
Conor is hilarious...when I met him in nyc, we had a good laugh over this interview, and for people who don't know...this isn't real...it's Conor with his good ol buddy Mike Mogus...Hence the: "Conor: Never mind. How long have you worked at this station? Radio: Oh, just a few minutes. "
Contrary to popular belief, Conor is quite the normal, not so depressed, college aged guy, oh and his name is spelled CONOR, how would you like it if a bunch of people were misspelling your name, i would throw my shoe~!
This clip is hilarious... I love the way the radio announcer is portrayed as an idiotic jackass, what with him interrupting Conor at the beginning and then pretending to understand what Conor is talking about by saying things like "I see" and "It does, it does" when it's clear he has no clue what Conor is saying. Also, I like the way that Conor makes himself out to be a lunatic.
By the way, can anyone understand what the people are talking about in the background?
It's very funny. I love how he mixes lies, truths and especially half lies and half truths. Of course the whole safety pin thing is a joke, like the baby drowning etc... but wanting to be admired and at once being shy is something most artists are familiar with. he jokes about something he really feels probably. and come on what he says about the speaker and arienette being real in the same way, well actually there's no real speaker, it's only a character he creates (even though there's someone playing the speaker), just like arienette. and what the real Conor and the other guy which I don't know who is, say it's damn funny as well.
it's funny but it goes beyond that. deep in a quirky way.
does anyone else realize that this interview kind of predicted in a weird way Andrea Yates drowing her 5 baby boys in a bathtub?
So you all know this interview is a joke... I'm pretty sure the voices in the background are a joke too.
Here's what I got out of the voices in the back: it's basically Conor Oberst ranting about how he created the Saddle Creek record, and do you want to hear a story about it? (He actually asks, have I told you about Saddle fucking Creek records, to which his friend says I don't think you have.) So Conor says he put out all this avant sad-sad folk shit, and new wave bands, and it's all fucking load of bullshit and he's fucking fed up. And then his friend says "haha, you might wanna think about what you're doing in there... who you're fucking with." More laughing, and then his friend says in a completely serious, "oh shit" tone "Check your FUCKING mic." implying that we weren't supposed to hear this background conversation. I'm pretty sure it's just a secondary joke though.
First of all, I know this is old but “Fevers and Mirrors” is still a classic in my book - one of my absolute favorites. I still listen to it often. This fake interview is genius and always makes me laugh. It is pretty refreshing after such a dark, heavy, emotional album.
After the interviewer says, “You’re from Nebraska, right?” Conor says, “Yeah, sure.” Instead of “Yeah, that’s right.”
Also I swear right after Conor says, “Do you feel that?” He kinda whispers something. It’s hard to discern because of the loud background noise and also Conor tends to mumble and trail off a lot, but the best I can make of it is “You want to dance?” Before the interviewer says, “No, I’m feeling sick.” Am I the only one hearing something like this??
Last, I have to mention that I’ve also heard people say that it’s not really Conor but someone pretending to be him, well I have been to MANY Bright Eyes shows as well as his solo/other projects and that is absolutely 100% his voice. If you’ve ever heard him speak in person there’s really no mistaking his voice. Certainly not (sorry forget his name) from The Faint. I also love that band and had the honor of going to both Bright Eyes
@jrm I also love that band and had the honor of going to both Bright Eyes
@jrm ...shows they played two nights in a row many years ago in my city and no...just no. Conor’s voice is pretty distinctive.
Sorry, I know this isn't lyrics, but I for one wanted this converstaion on file, because I really enjoy it, so I added it.
thats awesome. "i really just want to be warm yellow light that pours all over everyone"....
i, for one, think this is hilarious in so many ways. he's so random -- i was listening to it and i was cracking up, like at this part:
"Radio: It is, it is. How about this Areanette, how does she fit in to all of this? Connor: I’d prefer not talk about it, incase she’s listening. Radio: Oh, I’m sorry, I didn’t realize she was a real person. Connor: She’s not, but I made here up. Radio: Oh, so she’s not real? Connor: Just as real as you or I. Radio: I don’t think I understand. Connor: Either do I, but after I grow up I will. I mean, you know what, a lot of things are really unclear for me right now."
but i love the way he talks about sybolism, because it does make his songs make much more sense. =)
yeah...alright, two strikes against this. it isnt a song and conor's name isn't spelled correctly. sigh. though when i listened to this for the first time on the cd it did bring a smile to my face despite the annoying sound for the first part of the interview!