In regards to the meaning of this song:
Before a live performance on the EP Five Stories Falling, Geoff states “It’s about the last time I went to visit my grandmother in Columbus, and I saw that she was dying and it was the last time I was going to see her. It is about realizing how young you are, but how quickly you can go.”
That’s the thing about Geoff and his sublime poetry, you think it’s about one thing, but really it’s about something entirely different. But the lyrics are still universal and omnipresent, ubiquitous, even. So relatable. That’s one thing I love about this band. I also love their live performances, raw energy and Geoff’s beautiful, imperfectly perfect vocals. His voice soothes my aching soul.
Standing in the light
You're so self-congratulatory
So I guess you have the right to be so masturbatory
And like a man with his pet
You always seem to forget
That you ain't me
You ain't me
You ain't me
No, you ain't me
Did you include the question mark?
When I answered you were totally shocked
You looked at me like I was a Snark
While your head was extremely mentally blocked
I'm the guy from Wonderland
And you could never understand
That you ain't me
You ain't me
The money has been spent
I'm not saying it hasn't been earned
The customers have paid
I'm just feeling kind of burned
Tell me where have you been
Oh, black-eyed mannequin
You ain't me.
You're so self-congratulatory
So I guess you have the right to be so masturbatory
And like a man with his pet
You always seem to forget
That you ain't me
You ain't me
You ain't me
No, you ain't me
Did you include the question mark?
When I answered you were totally shocked
You looked at me like I was a Snark
While your head was extremely mentally blocked
I'm the guy from Wonderland
And you could never understand
That you ain't me
You ain't me
The money has been spent
I'm not saying it hasn't been earned
The customers have paid
I'm just feeling kind of burned
Tell me where have you been
Oh, black-eyed mannequin
You ain't me.
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"Fast car" is kind of a continuation of Bruce Springsteen's "Born to Run." It has all the clawing your way to a better life, but in this case the protagonist never makes it with her love; in fact she is dragged back down by him.
There is still an amazing amount of hope and will in the lyrics; and the lyrics themselve rank and easy five. If only music was stronger it would be one of those great radio songs that you hear once a week 20 years after it was released. The imagery is almost tear-jerking ("City lights lay out before us", "Speeds so fast felt like I was drunk"), and the idea of starting from nothing and just driving and working and denigrating yourself for a chance at being just above poverty, then losing in the end is just painful and inspiring at the same time.
I Can't Go To Sleep
Wu-Tang Clan
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This song is written as the perspective of the boys in the street, as a whole, and what path they are going to choose as they get older and grow into men. (This is why the music video takes place in an orphanage.) The seen, and unseen collective suffering is imbedded in the boys’ mind, consciously or subconsciously, and is haunting them. Which path will the boys choose? Issac Hayes is the voice of reason, maybe God, the angel on his shoulder, or the voice of his forefathers from beyond the grave who can see the big picture and are pleading with the boys not to continue the violence and pattern of killing their brothers, but to rise above. The most beautiful song and has so many levels. Racism towards African Americans in America would not exist if everyone sat down and listened to this song and understood the history behind the words. The power, fear, pleading in RZA and Ghostface voices are genuine and powerful. Issac Hayes’ strong voice makes the perfect strong father figure, who is possibly from beyond the grave.
Just A Little Lovin'
Dusty Springfield
Dusty Springfield
I don't think it's necessarily about sex. It's about wanting to start the day with some love and affection. Maybe a warm cuddle. I'm not alone in interpreting it that way! For example:
"'Just a Little Lovin’ is a timeless country song originally recorded by Eddy Arnold in 1954. The song, written by Eddie Miller and Jimmy Campbell, explores the delicate nuances of love and showcases Arnold’s emotive vocals. It delves into the universal theme of love and how even the smallest gesture of affection can have a profound impact on our lives." https://oldtimemusic.com/the-meaning-behind-the-song-just-a-little-lovin-by-eddy-arnold/
Head > Heels
Ed Sheeran
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“Head > Heels” is a track that aims to capture what it feels like to experience romance that exceeds expectations. Ed Sheeran dedicates his album outro to a lover who has blessed him with a unique experience that he seeks to describe through the song’s nuanced lyrics.
Yes she is ezamor... she is like a man with his pet... now shaddup!! :)
Someone told me this is a song about Kim Deal.
I agree, I'm sure charlie boy has said this at some point or another..... or maybe i just dreamed it... any how.. nuff said. the song rocks!
Why do people think this song’s about Kim Deal? Is Kim Deal “like a man with his pet,” eh?
No, but this song obviously has something to do with Lewis Carroll, to whom the lyrics make two explicit references.
1) A “snark” is an imaginary animal from Carroll’s poem “The Hunting of the Snark.” 2) “Wonderland” is a reference to Carol’s book “Alice in Wonderland.”
My guess is that the song has something to do with Mike Batt’s musical production, “The Hunting of the Snark,” which is based on Carroll’s poem. Possibly, it is sung from the perspective of the ghost of Lewis Carroll who is disappointed after having watched Batt’s musical:
“Standing in the light / You're so self-congratulatory”
The musical has ended, and Batt, proud of his work (like man with his pet), steps onstage to accept applause. Batt makes some remark or rhetorical question, to which Carroll gives a snide remark. Batt’s bewildered, and Carroll goes to say that he feels a bit gypped, and reminds Batt that he’s no Lewis Carroll.
BTW, Batt’s musical was filmed and broadcast on British television in 1987. In addition to Batt himself, the musical featured Billy Connolly, Roger Daltrey, Justin Hayward, John Hurt, Julian Lennon, Captain Sensible, Midge Ure, Deniece Williams, etc.