Artist: The Chicks
Album: Gaslighter
Label: Columbia
Released: July 17, 2020
Listen:
Spotify
Apple Music

Background:

The Chicks (formerly the Dixie Chicks) have been radio silent for years, and specifically silent on the radio for an even longer time.
I’d preface this by saying, I don’t think the context of their stand against President Bush and the subsequent fall-out in the country music scene and music industry in general, is necessarily important to understand and appreciate this album. As a result, it won’t be my focus in this background.
The important details for this album come from the members of the band, specifically Natalie Maines, lead vocalist. The album was recorded with producer Jack Antonoff, between 2018 and 2020. While recording Gaslighter, Maines was in the middle of what would become a messy and problematic divorce, with her ex-husband looking to acquire the unreleased music recorded by Maines due to worries of the music containing lyrics that would address their breakup. Upon settling out of court, music recorded was allowed to be released, as the request from her ex-husband would have invalidated their confidentiality clause in their prenup. The album as a result focuses almost entirely on the relationship’s fallout, in addition to the exploration of a new relationship after such a damaging experience with a past lover, as well as closure, and examining the effects a fallout like this can have on children.
Gaslighter was also one of the first albums of 2020 inevitably delayed by Covid-19, and also one influenced by the various social movements of 2020. The Chicks dropped ‘Dixie’, a reference to the Mason-Dixon line that separated the South from the North, from their name officially as a response to the Black Lives Matter protests in response to systemic racism established in several US industries and systems. In addition, the song March March, was written and released in support of the marches and demonstrations that were the focal point of the summer.

Gaslighter

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Jack Antonoff
Producers: All Tracks Produced by Jack Antonoff and The Chicks unless otherwise noted
Watch the video!
Gaslighter opens with its title-track, a gut punching, upbeat, arsenic laced with sugar track. The track is insanely catchy, a phenomenal first track, lead single, and title-track. It does a great job of introducing us to the motif and mood of the album, that even if this isn’t a necessarily ‘happy’ album, it’s confident that happiness isn’t possible, and if you are going to raise hell, have some fun with it, and take no survivors.
The takeaway for each track will be the most poignant moment, either a lyric, musical moment, delivery of a line, or contextual moment for the track that really makes it pop. For this track, the bridge’s vocal delivery, and a final release of emotive anguish “where’s my apology” really could be the cornerstone of the rest of the album.
Best Takeaway: “Gaslighter / You broke me / You’re sorry, but where’s my apology?”

Sleep at Night

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Teddy Geiger, Justin Tranter
A common motif here is going to be the upbeat, ‘use my pain as leverage’, type of feel in these songs. There is a lot of tongue in cheek, and sometimes, even biting the inside of the cheek, leaving some blood. That blood is spilt here, in an almost oozing cheeriness in the production and instrumental, Maines is spitting at her ex here. It is also an interesting song to listen to knowing the history of their divorce. This isn’t a generic break up song, this is pure personal detailed filled take down, with the takeaway of the detailed interaction with the other woman at her own concert. “You can love me as long as you don’t love my man”.
Best Takeaway: “Remember you brought her to our show at the Hollywood Bowl / She said “I love you, I’m such a fan” / I joked that you can love me as long as you don’t love my man”

Texas Man

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Jack Antonoff, Julia Michaels, Justin Tranter
I’ll say it again in this write up, but God bless Annie Clark. St. Vincent appears in a third up beat song, with an actually fitting lyrical theme. Texas Man is the tale of opening up a bit and testing the waters of what love can look like after being so badly broken. It’s evenly desire, emotive, but also, when you’re horny, you really just want to save a horse and ride a cowboy.
The takeaway here is either the horniness of the pre-chorus, or St. Vincent absolutely tearing it up, almost orgasmically in the end of the song.
Best Takeaway: A toss up. “Been way too long since somebody’s body kept me up all night / Yeah, that good kinda keeping me up at night” or St. Vincent’s manic guitar playing into the bridge and last chorus.

Everybody Loves You

Writers: Charlotte Lawrence, Joseph Spargur, Hayley Gene Penner
Shockingly, there is a track here with lyrics completely untouched by the Chicks and Jack. The first slow ballad maintains this running trend of music from different cross sections of a relationship’s closing moments, and here it is the examination of ‘sides’ when a couple breaks up. Why aren’t my friends and family sharing the same sentiment towards this man? The song is surprisingly emotive and you’d never guess that the track was written outside of the minds of the core group that actually experienced this event.
Best Takeaway: The shift into a higher melody in the outro.

For Her

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Ariel Rechtshaid, Sarah Aarons
Natalie, Martie, and Emily all credit the success and writing of this song to Sarah Aarons largely, in part to the construction of the melody, and also her ability to create a song introspective, without having to inside of Natalie’s head.
For Her takes a look within, and into the past. The concept of the song is to look at the history and see where things could have been adjusted to make this present a bit more ‘passable’. Couldn’t something have happened as a younger woman to make this relationship work? Make the life I’m living now easier to handle? The emotive outro, a melody written so perfectly for Natalie’s voice, ugh, chef’s kiss.
Best Takeaway: That classic minute + outro from Jack Antonoff.

March March

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Jack Antonoff, Ross Golan, Ian Kirkpatrick, Daniel Dodd Wilson
The song is an interesting track, large in part to the fact that there is less than 2 minutes of actual lyrics in the track, but the song throws out so many jabs in the short span of lyrics, and matches the emotive words with an equally aggressive instrumental that lasts longer than the lyrical slice. The song takes aim at gun control, youth participation in protests and reform, system oppression, women body autonomy, etc
Best Takeaway: The instrumental really is what makes the punches in the words stick. It moves the listener to turn introspective to figure out how the words made you want to move with the outro given.

My Best Friend’s Wedding

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Jack Antonoff, Justin Tranter
My Best Friend’s Wedding brings up the first tastes of closure, and how closure can get found and realized in someone’s life. Here, it took the vision of someone else learning to regrow to see that there are options for yourself too.
Best Takeaway: “Guess from ashes we can really grow”

Tights on My Boat

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Jack Antonoff, Julia Michaels This is another lovely put down of the ex who did her wrong. The song is notable large in part due to how this is filled with tiny put downs, and a lot of just pure spit. Instead of regret or anger in these lyrics, it’s just a lot of “wow, you are so stupid”. How do you forget a pair of tights? So much of this is just deeply rooted in how dumb she thinks her ex-husband is for letting that slide. If you are looking to cheat, don’t you want to keep it secret?
Natalie is probably wondering why she even fell for someone that dense.
Best Takeaway: “You’re gonna get what you got coming” x 1,000,000 to end the song

Julianna Calm Down

Writers: Natalie Maines, Jack Antonoff, Julia Michaels
The Archer who? Julianna Calm Down took the mold Jack used for Taylor Swift’s the Archer, and decided to actually build it up a bit more and have a release instead of keeping a pretty monotonous approach.
Julianna Calm Down is the spread of advice. If you are hurt, create an environment to make sure others can be spared. Don’t ignore that it doesn’t hurt, but don’t show the weakness that can get turned around and used against you again. Keep control, and if you can keep that strength, there’s nothing that you can’t do.
Best Takeaway: “Strut the fuck around like you’ve got nothing to lose”

Young Man

Writers: Martie Maguire, Natalie Maines, Emily Strayer, Annie Clark, Jack Antonoff, Justin Tranter
And here come the tears again. Here’s the hardest hitting run of songs on the album, with an almost seamless transition into present day, and a look at the life and emotions without the slick lens of a peppy song. Nothing is getting covered up, and this is a pleading explanation of the life Natalie has had to live during this breakup.
Young Man takes the range of damage from a messy divorce, and addresses the collateral when a divorce happens with a child, in this case, two sons who are growing up, watching this happen. The key pieces here are a mix of preparedness that she sees this event giving her sons, as well as a plea to remember that they aren’t defined by her and her actions. The only connection here is that there was a birth here, nothing needs to get linked to you if you don’t let it happen.
Best Takeaway: “You’re of me, not mine”

Hope It’s Something Good

Writers: Martie Maguire, Natalie Maines, Emily Strayer
Like I said, this last run of songs just doesn’t let up. It’s one of the most genuine sounding songs on the record, with an especially heart wrenching chorus. There’s doubt here, one of the few sounds of regret, there are twinges of possible return to this situation if this allowed itself. This is the clearest example of sadness, and a lack of motivation. This song feels and sounds like the middle of a panic attack. “Make the bed / call a friend / do the dishes” hits home to me, in the middle of anxiety, I can’t sit still. Something can be done to change what’s around me, and I will do whatever I can to see if I can fix it, even if the action has no correlation to what’s happening. You can avoid that self-blame with action, but eventually it sets in that there aren’t actions to fix something that is so far out of reach.
Best Takeaway: Sad song. Sad sad sad song. Also, God bless violinists.

Set Me Free

Writers: Martie Maguire, Natalie Maines, Emily Strayer
The final chapter. The song is so easily to compare to several milestones this stands in for. It’s the album closer, the last look into the healing and processing of this relationship. It’s a look at the final signing of divorce papers, officially removing the two from each other’s lives. It’s also her own look at her life and music, this can be the last time she addresses this moment in her life if she wants, she has been able to process and hurt and heal and used this album to do so. It’s done, and there is this deep breath that she can take now.
There’s still this sense of ownership here. This still isn’t coming on her own terms, and there is this lack of control even after being able to get this divorce and make this music. The shadows of this relationship are still present, no matter the light she shines or how fast she can move from this. It’s not the peppy, sweet and sour message of Gaslighter, this album closer is deeply rooted in reality, and nothing can make this bitterness sweet at the end of the journey.
Best Takeaway: “Decency / Would be for you to sign and release me”

Conclusion and Discussion:

I feel like it’s important to include my personal take on the album here. It’s gut wrenching. Absolutely gut wrenching. There are some bright rays of light strewn around, and it makes it a much more delectable album that way, such as Texas Man (God bless Annie Clark). I also think Jack Antonoff proved that his presence on the album was valuable. The Chicks aren’t going to suddenly get brought back into the country music sphere again, so why not branch out into the arms of a group of listeners via one of the hottest producers of the century for the girls and gays.
The album is in my top 10 for the year, I think #6 overall in my final list. Instead of rambling more, I guess I’d give some suggestions if this is your first listen:
IF: Texas Man is your favorite track: Listen to St. Vincent by St. Vincent.
IF: Gaslighter is your favorite track: Listen to Lady Like by Ingrid Andress
IF: Young Man is your favorite track: Listen to Home by The Chicks
IF: For Her is your favorite track: Listen to The Story by Brandi Carlile
IF: Sleep at Night is your favorite track: Listen to The Otherside by Cam

DISCUSSION:

Did the album work? A lot of people found it without a purpose or direction, others thought it was phenomenal story telling. Where did it land for you? Was it effective?
Was the range of writers noticeable? It’s interesting that there is a track on this album that neither Jack nor the Chicks wrote on, and lots of visitors on other tracks, could you pick up on this? Does it change how you look at the storytelling?
Did Jack hurt or help the album? (Be nice!)
What do The Chicks do next?

Jane Cele-bz Next Nu-dez Nw_

How would you rank the Revival Era Disney movies?

Zootopia has inspired me to watch all Walt Disney Animation Studios movies. I've now watched all movies in the Revival-Era (current era) of Disney movies, conveniently the era that Zootopia is a part of.
If you've seen them all, I was wondering how you would rank them?
Here is my ranking from best to worst:

Zootopia (obviously) - The most ambitious and well crafted CGI Disney movie IMHO. It has incredible world-building in just showing how a society made entirely of non-human mammals would work. Judy and Nick are incredibly well written and 3 dimensional protagonists, and it's incredible the way they play off each other. I would argue it's one of the funniest Disney movies ever made, it is filled with great jokes from beginning to end. And on top of all that, it incorporates an excellent moral about how prejudice forms and the damage it can cause. Excellent movie... one of Disney's best IMHO.
Winnie the Pooh (2011) - Yes, you read that right... this movie is super underappreciated.It's incredibly funny, which is especially surprising since it's a movie made for small children (a demographic that is commonly pandered to with cheap/silly humor). Some of the plot points are actually incredibly clever in how they pan out. It's filled with the charming and likable characters we all know and love. Many people would argue it is lesser than other Rival Era movies because the plot is so small scale in comparison... but I judge movies based on how well they do what they are trying to, not how they compare to other movies who tried something bigger, and by those terms... I think Winnie the Pooh executes the concept of a group of stuffed animals friends trying to solve a problem incredibly well.
Tangled - I love this movie. Rapunzel is a great character, and you really route for her in her journey to experience the world. Flynn, Maximus, and Pascal make for some really good comedic side kicks. The action scenes and progression of the adventure is really exciting. Mother Gothel is narcissistic, manipulative, and cunning, and I would consider her one of the strongest Disney villains ever made. One huge problem I have with the movie is the logic of the ending (SPOILERS) If Mother Gothel died because the source of her power was gone with the cutting of the hair, how did Rapunzel still have power to heal Flynn? But other than that one plot hole, I think this is an incredibly strong movie.
Wreck It Ralph - It has really clever world building in showing how sentient arcade game characters live among each other. Ralph is a sympathetic villain who wants to be known for something, and his friendship with Vanellope is great. The racing and action scenes are great. Calhoun and Felix are great side characters. On the area of flaws, I find Vanellope slightly annoying sometimes, and there seems to be an inconsistency with the logic: it is established that characters who die within their game re-spawn, but towards the end characters react to death within their own games like it is permanent. Other than that it is a really strong movie.
Frozen - Elsa and Anna have an incredible dynamic as sisters, and it is one of the most genuine feeling relationships I have seen in a Disney movie. I really like the way the plot progresses. Some of the songs are great (Love is an Open Door, Do You Wanna Build a Snowman, Let It Go) but some songs I found lackluster (In Summer, Fixer Upper. While I liked Olaf at times, I found him annoying and unfunny at parts. The Duke of Weaselton is incredibly forced and hammy, and was easily the worst character in the movie IMO...
Moana - This has one of the best song lineups of any Disney movie that I've seen, and I can't think of a single song that was weak or that I didn't absolutely love. The songs have great singing, great lyrics, and really add to the world being created. I like Moana and Maui as characters, and the emotional moments involving them are resonating. The reveal of the villain is great. Now onto flaws. There are a ton of inconsistencies with the logic of the water spirit, and the movie would have been much more compelling had Moana had to fight against the actual ocean. Maui's character development in the last 1/3 of the movie is completely skipped, and it would have been much better had they shown what motivated him to do what he did.
Princess and the Frog - Tiana is a likable protagonist, and you really route for her to live out her dream and overcome a world where she is disadvantaged. She had goo chemistry with Naveen. The way the ending played out was fantastic. Facielier was a good villain, and had a really good villain song. While I didn't find the songs particularly strong in terms of lyrics or singing (besides friends on the other side) the instrumentals where awesome and really added to the feeling of New Orleans. I do have huge problems with this movie. (SPOILERS) There is a gigantic plot hole surrounding the arrest of Lawrence... seriously, there is no reason why he would have been arrested other than the fact the writers wanted him to be punished. Some side character, while I understand the point of including them, were very annoying (ray, Charlotte, Mama Odie etc.). It's one of MuskeClements weaker films, but it is still good overall.
Big Hero 6 - I'm going to be honest, I hate this movie. Lets start out with the positives. The action scenes are fantastic. It's interesting to see the characters specific scientific abilities play out as fighting techniques, and it's cool to see the characters make clever moves while fighting. It's a good thing the fight scenes are long, otherwise this movie would have been a harder sit. I think Baymax is cute and funny at times... and that's about it for the positives. There are so many plot holes and logical consistencies in this movie I could barely count (The ending in particular has huge inconsistencies towards what we already know about how Baymax works). Hiro's character development in the last act of the movie is completely inept... (SPOILERS) he just decides to stop pursuing revenge on whim and experiences almost no character development. I found a lot of the humor and characters, like Aunt Cass and Fred, annoying. A lot of the plot points are introduced through really clunky and unrealistic dialogue. For these reasons, I think this is easily the worst movie of the Revival Era... but hey, I've heard some people love this movie, so i'm glad they saw something in it that I didn't.

Now I want you to give me your opinion... how would you rank them?

Now that Ralph Wrecks the Internet is out, how would you rank the Revival Era Disney movies (and why)?

For those of you that don't know, the Revival Era is the current era of Walt Disney Animation Studios...
Full disclosure, this is just my subjective opinion. My ranking from most favorite to least favorite

Zootopia - The most ambitious and well crafted CGI Disney movie IMHO. It has incredible world-building in just showing how a society made entirely of non-human mammals would work. Judy and Nick are incredibly well written and 3 dimensional protagonists, and it's incredible the way they play off each other. I would argue it's one of the funniest Disney movies ever made, it is filled with great jokes from beginning to end. And on top of all that, it incorporates an excellent moral about how prejudice forms and the damage it can cause. Excellent movie... one of Disney's best IMHO.
Winnie the Pooh (2011) - Yes, you read that right... this movie is super underappreciated.It's incredibly funny, which is especially surprising since it's a movie made for small children (a demographic that is commonly pandered to with cheap/silly humor). Some of the plot points are actually incredibly clever in how they pan out. It's filled with the charming and likable characters we all know and love. Many people would argue it is lesser than other Rival Era movies because the plot is so small scale in comparison... but I judge movies based on how well they do what they are trying to, not how they compare to other movies who tried something bigger, and by those terms... I think Winnie the Pooh executes the concept of a group of stuffed animals friends trying to solve a problem incredibly well.
Tangled - I love this movie. Rapunzel is a great character, and you really route for her in her journey to experience the world. Flynn, Maximus, and Pascal make for some really good comedic side kicks. The action scenes and progression of the adventure is really exciting. Mother Gothel is narcissistic, manipulative, and cunning, and I would consider her one of the strongest Disney villains ever made. One huge problem I have with the movie is the logic of the ending (SPOILERS) If Mother Gothel died because the source of her power was gone with the cutting of the hair, how did Rapunzel still have power to heal Flynn? But other than that one plot hole, I think this is an incredibly strong movie.
Wreck It Ralph - It has really clever world building in showing how sentient arcade game characters live among each other. Ralph is a sympathetic villain who wants to be known for something, and his friendship with Vanellope is great. The racing and action scenes are great. Calhoun and Felix are great side characters. On the area of flaws, I find Vanellope slightly annoying sometimes, and there seems to be an inconsistency with the logic: it is established that characters who die within their game re-spawn, but towards the end characters react to death within their own games like it is permanent. Other than that it is a really strong movie.
Wreck It Ralph 2: Ralph Breaks the Internet - I honestly can't decide which WIR movie I like more. This movie does a great job with worldbuilding the internet. I really liked how the sequence of the events played out with Vanellope and Ralph clicking ads and being led to different websites around the internet. The action scenes are fantastic, especially the car chase in Slaughter Race. The new characters like Shank, Yesss, and Spamley are all charming and add a lot to the movie. On the end of downsides, their are some jokes that are drawn out way too long and aren't funny (ex. the Eboy scene in Tappers), and it makes little sense to me that characters within the internet can take social media videos of their own, yet it seems Ralph and Vanellope are some of the only characters who do it (seriously, Shank just takes a video of Ralph and uploads it so casually like she's done it before. It is made very clear that nobody knows where the Ralph videos are coming from).
Frozen - Elsa and Anna have an incredible dynamic as sisters, and it is one of the most genuine feeling relationships I have seen in a Disney movie. I really like the way the plot progresses. Some of the songs are great (Love is an Open Door, Do You Wanna Build a Snowman, Let It Go) but some songs I found lackluster (In Summer, Fixer Upper. While I liked Olaf at times, I found him annoying and unfunny at parts. The Duke of Weaselton is incredibly forced and hammy, and was easily the worst character in the movie IMO...
Moana - This has one of the best song lineups of any Disney movie that I've seen, and I can't think of a single song that was weak or that I didn't absolutely love. The songs have great singing, great lyrics, and really add to the world being created. I like Moana and Maui as characters, and the emotional moments involving them are resonating. The reveal of the villain is great. Now onto flaws. There are a ton of inconsistencies with the logic of the water spirit, and the movie would have been much more compelling had Moana had to fight against the actual ocean. Maui's character development in the last 1/3 of the movie is completely skipped, and it would have been much better had they shown what motivated him to do what he did.
Princess and the Frog - Tiana is a likable protagonist, and you really route for her to live out her dream and overcome a world where she is disadvantaged. She had goo chemistry with Naveen. The way the ending played out was fantastic. Facielier was a good villain, and had a really good villain song. While I didn't find the songs particularly strong in terms of lyrics or singing (besides friends on the other side) the instrumentals where awesome and really added to the feeling of New Orleans. I do have huge problems with this movie. (SPOILERS) There is a gigantic plot hole surrounding the arrest of Lawrence... seriously, there is no reason why he would have been arrested other than the fact the writers wanted him to be punished. Some side character, while I understand the point of including them, were very annoying (ray, Charlotte, Mama Odie etc.). It's one of MuskeClements weaker films, but it is still good overall.
Big Hero 6 - I'm going to be honest, I hate this movie. Lets start out with the positives. The action scenes are fantastic. It's interesting to see the characters specific scientific abilities play out as fighting techniques, and it's cool to see the characters make clever moves while fighting. It's a good thing the fight scenes are long, otherwise this movie would have been a harder sit. I think Baymax is cute and funny at times... and that's about it for the positives. There are so many plot holes and logical consistencies in this movie I could barely count (The ending in particular has huge inconsistencies towards what we already know about how Baymax works). Hiro's character development in the last act of the movie is completely inept... (SPOILERS) he just decides to stop pursuing revenge on whim and experiences almost no character development. I found a lot of the humor and characters, like Aunt Cass and Fred, annoying. A lot of the plot points are introduced through really clunky and unrealistic dialogue. For these reasons, I think this is easily the worst movie of the Revival Era... but hey, I've heard some people love this movie, so i'm glad they saw something in it that I didn't.

Now I want you to give me your opinion... how would you rank these movies

[Table] IAmA: I am Tom Maxwell, former Squirrel Nut Zipper and author of their hit "Hell." Ask me anything!

Verified? (This bot cannot verify AMAs just yet)
Date: 2013-10-07
Link to submission (Has self-text)

Questions	Answers
I saw the Zippers at Horde Festival in maybe 1995 or 6. Add in Primus, Ben Folds, and Neil Young all in the same day... was it awesome? It was awesome. Anyway... There have been a handful of rumors of a reunion of SNZ. Never does the story get enough momentum to get past the rumor phase, though. It seemed like there were some pretty serious differences between you and James (and maybe Katharine). For you, is a reunion possible, or is it better not to zombify the band at this point? What's new on the horizon for you? Something still gonna happen soon?	The HORDE was such a blast. Also, a little like prison camp. I got to stand at the back of the stage and watch Neil Young play the last chord of the last Ben Folds Five song (at an adjacent stage), making his guitar feed back. Oh, and the sun was setting. And it was fucking amazing. I'm not much for reunions but wouldn't rule anything out. I have a new album coming out early next year, made with Zips producer Mike Napolitano and featuring a couple duets/co-writes with one Ani DiFranco. Duke Heitger, who played trumpet on the HOT record, is on it too. It's a very good time!
Sweet. I'll look forward to the new album... and maybe a tour also... and maybe an exclusive preview for your devoted Reddit fans... Seriously though, good luck to you!	Xoxoxo.
I saw Squirrel Nut Zippers at the Cat's Cradle; that show is still my definition for the words "blistering performance." How do 10 musicians stay so mercilessly tight without a conductor? The only ways I can think of are (1) a metronome somewhere that the audience can't see it and (2) rehearsals of a Steely-Dan-like level of intensity. What gives?	Big ears. We were all head players, so nothing was written down. We listened. In the early days, we also practiced two or three times a week. Thanks for thinking it was 10 people - there were only 7 of us!
What was it like opening for Neil Young?	Neil floored me. His sloppy leads, incredible tone...Crazy Horse was in fine form. The first show we played on HORDE I looked behind me and he was standing at the back of the stage! I almost passed out! Later, after I got the courage to talk to him, he said "that damnation record, that's a good record." Wow.
Hope your son is doing well. Hated to hear that the marriage broke up. That sucks.	My son is doing great - thank you for asking. He successfully completed treatment three and a half years ago. And yes, divorce sucks.
Do you still play with Ken Mosher?	I don't play music with Ken (he's in Baltimore now), but talking on the phone with him is like playing music.
What kind of archtop are you playing these days?	Live, I'm still playing Blondie, my modified Epiphone Emperor Regent. It's a big fat jazz box with a 50s P90 pickup I had 'em drop in there. Got her in the late Zippers days and she's my gal. At home I write on a 1928 Gibson L-4, the kind with the oval sound hole.
Always wondered why that tune was panned hard like that! Sounded cool coming out of speakers, but on headphones it makes me walk in circles. Thanks!	I like how you use words. You must be a writer.
	You'll be gratified to know that I worked like hell trying to get that tenor sax solo on Lafitte's to sound as relaxed and melodic as Stan Getz. Don't think I even got close. :)
Do you feel as though the band would have gone further if Mammoth Records hadn't sold out to Disney? I know that Jimbo was being a putz, about cash and credits too. I just hate that the magic disappeared so quickly.	Honestly, we were breaking up when we were recording Perennial Favorites, just as Hell took off. Our life was prolonged, I think. The Disney thing sucked, but so did the whole smash and grab feel to the whole thing. If we, as a band, had been able to row in the same direction we might have stuck it out. That's what you do in a lifeboat. That and assume that the water is full of sharks, which it was.
Oooo...what made you leave the Zippers? It seems like the most fun you can having hanging with someone.	It was, for a long time. We were basically shot out of a cannon once "Hell" hit, and couldn't stand the pressure really. I left because all the stuff I thought made us great musically was gone.
It's been a few years since I've listened. I'm sad to hear it lost the magic. Are you doing anything new?	Yes! Went back to New Orleans and made a record with Zips producer Mike Napolitano. Ani DiFranco is on it! Duke Heitger, who played trumpet on HOT, is too! Coming out early next year.
If you could see any musician (dead or alive) from present or past, at any venue, who, where and when would it be?	God, so many. Cab Calloway in 1932 and Duke Ellington in 1940. Fats Waller and Ray Charles ANYTIME. Lord Executor and The Growler and King Radio and Lord Invader in Trinidad in the late 1930s. Django Reinhardt in Paris in 1937. Mercy me. There are 100 others.
I said in your comments before that seeing you all at Bailey Hall at Cornell in 1997 was such a fabulous time. Did you all have as much fun playing live as we did seeing you?	I can honestly say we did, although people like you having that much fun was a big help. No matter how stressed we were, we always had a complete ball on stage.
	I'd like to say I remember the Cornell show but no luck! I'm so glad it rocked you.
Speaking of remembering the shows, were there ever any "substances" that went along with performing? Always seemed like such a party on stage.	I was stoned every day my dear. Some of us were. We all enjoyed the occasional drink, but I was seldom too drunk to play. There was too much to do.
	I can't speak for anybody else, but besides tobacco that was all I did. We kicked our first trumpet player out for using heroin, and it ended up killing him.
Oh my God I love you. I wish I could think of a good question... Um... Who's Stephen Foster?	Stephen Foster was America's first great songwriter. He cranked out a bunch of good tunes in, like, the 1840s, including "Camptown Races."
What is the meaning of this song?	Which song? "Hell"? I'm not sure it has a meaning. It's either about eternal damnation or being hungover. Or the intersection of the two. The concept of hell scared me when I was a kid, so I guess I was trying to get control over it.
	Now that I think about it, the song is about justice, or karma, or balance. It can't be that people can get away with doing bad things, or just get by on their looks. "All the things you try to hide / Will be revealed on the other side" is like that old gospel song that says "What you do in the dark will be brought to the light."
Hey Tom, I saw you perform at Bynum Front Porch a few weeks back. Heck of a show. What kind of music are you listening to these days?	Thanks! I really enjoyed that show. Lately I've been listening to Jan Johansson - because it's Fall. His album Jazz Pa Svenska is a masterpiece. Also love that new song "Royal." My daughter turned me onto that.
Hello Tom, Thanks for doing the AMA! I saw the "Hell" thread at work and was looking forward to indulging once home... only to find YOU online!	The chandelier was an accident. I bumped it, doing the vocal for Hell. Ken said it sounded good, and that I should shake it. One of the glass arms broke off in my hand! If you turn up the volume at the end of Hell, you can hear me say "I broke the chandelier." I was mortified. The label paid for the damage.
Do I recall wrong that for a while the Zippers were friends with / working with the Ben Folds camp? I have vivid memories of that era and loved the music that came from it. I remember one of the band members selling a $10,000 bass sax on your website a long time ago too lol.	Kenny and I played horns on BFF's last record. That's me, laughing during Army, when Ben is talking about his redneck past. Robert Sledge was in the first incarnation of The Minor Drag, and I co-wrote a song or two with Darren Jesse, one of which I think is going to be released, or has been.
You've been on Dick Clark's Rockin' New Years; Played the HORDE festival; appeared on shows from the sublime to the ridiculous - Prairie Home Companion and Viva Variety. Looking back, what would you say has been the highlight of your career so far?	It will always be performing Pallin' With Al with the song's inspiration Al Casey, Fats Waller's former guitarist. I tried to tell him the changes, but he said "play it through one time, I'll latch on." He took two solos and the tears just streamed down my face. It will never get better than that.
Are there any unreleased SNZ songs hidden away in some vault somewhere?	Not really. There is the version of The Interlocutor that we recorded down in Kingsway with the rest of the HOT record, but is missing two seconds, mysteriously erased, possibly by the house ghost. Not a joke. I've always wanted to put up those reels and listen, maybe mix and release it as-is.
The Zippers were my first show in 2001; sadly you had left by then. Did you listen to the band after you left and what is your upcoming book going to cover?	I heard Bedlam Ballroom and thought it sounded like a Zippers record without me and Ken Mosher. Jimbo is a hell of a writer, but he couldn't cover the spread.
	My book is going to be about the Zippers, right up until we got famous. Then it ends. I want to try and describe just what odd little iconoclasts we were, and how deeply weird it was to go mainstream.
Have you ever checked out some of the music from your former bandmates from their solo careers? If so, was there anything you might listen to, or is it too painful to listen to that stuff?	I really dig what Katharine is doing now. She only wrote on song during the Zippers, Sub Unus Rex, which we never recorded. She's a fine writer now.
What was it like playing with Andrew Bird?	Bird's a genius. He picked up on stuff so fast; had such good technique. He's also an odd...bird. While overdubbing his part on one song a door that had been propped up fell over, making a tremendous crash. Bird didn't stop playing because he said it was a good take! His drummer Kevin O'Donnell and I did impressions of him until we almost peed ourselves.
Which character appeared on both the original series and The Next Generation and is rumored to have filled an ocean with his tears? Google is cheating.	Good lord I have no idea. Google IS cheating, though. I agree.
Do you believe in Hell, and where did the idea 'Teeth are extruded and bones are ground Then baked into cakes which are passed around' come from?	No, I think hell is a preposterous idea. Karma feels better to me, cos we all want to see assholes get their due.
	The original line was "rolled into joints which are passed around," but I didn't think the 'rents would understand. I remembered a Warner Bros. Jack and the Beanstalk cartoon where Elmer Fudd is playing the giant. He says "I'll grind your bones to make my bread!" Then, picking up a little coffee mill, he says "this should grind their bones very nicely!" in such a sweet voice. I still think it's hilarious.
Wow, I can't believe all these years after loving that song in high school I got these answers from you, yourself. I've always loved that passing cakes around line, it's just so strange. And I'm glad you don't believe in hell.	This is so fun. it's like friendly twitter.
	I was really proud of using the word "extruded." :)
So... Where's Bee? :-) (<3 from the west coast, darlin.)	scramble scramble8 BOING BOING BOING (much love from back home sweetie)
Where are you guys from originally? I heard somewhere in Oregon...	We formed in and around Chapel Hill.
Ah ha... I have family in the Raleigh/Durham area, and am originally from Southern Oregon. I seem to remember some friends of mine saying they saw you guys playing a show in Grants Pass, OR (circa ~2000), and that you did not seem happy about it.	Maybe they were unhappy that I had already quit the band by that time... :)
Here is Tom breaking the chandelier! I pulled out my CD and grabbed this section ;) Link to www.youtube.com.	HAHAHAHA! Halloween night, 1995. I was wearing that blue Chinese gown you see on the back of the record.
Hello Tom, What aspects of the song did you write- the progression, lyrics, etc? Or maybe both. Also, did you write any other SNZ tunes? My band is currently covering Wash Jones, which is a personal favorite of mine :)	I wrote everything for Hell - the progression, the melody, the lyric and the riff. Bear in mind that it is a single-tone calypso, and adheres to the form. Kind of like blues.
	I wrote about a third of the band's catalog, including Put A Lid On It and Meant To Be.
	I cover Wash Jones myself! My favorite Zippers song.
Wash Jones! I managed to figure out the roots but what the hell is the guitar playing there exactly?!	Haha! You're on your own!
Tom Maxwell! Holy shit! I love SNZ. What do you think about how the swing revival went and how big of a part do you think SNZ played in it?	I didn't really like the swing revival. I like that people dressed up; I like that people danced. But in terms of a fad or whatever, it put a shelf date on us. It was limiting. A lot of the other stuff that was called swing music was boring to me, and as the thing went on a lot of people we called "swing nazis" would show up to dance. They pushed with other fans out of the way to dance down front and complain about how fast our tempos were. I liked it better when no one knew how to categorize us. We were credited with starting it, but I don't think that's true. I guess we had the first hit, but it was calypso, not swing.
So excited to see this on here. I'm a huge Zippers fan. Your music was such a HUGE part of my adolescence. Loved to find out you were still making music! Can't wait for the new stuff! I actually recognized Ken at a restaurant in Baltimore about a month ago. We spoke for a few - when I mentioned I was from Pennsylvania he talked about a crazy night you all had when playing at the Electric Factory in Philly. What were your favorite cities/clubs to play?	Atlanta was always a blast. I loved playing Chicago, especially Tschuba's (sp?). The critics HATED us and we sold out every time. Our first show in San Francisco, at Cafe Du Nord, was also mind-blowing. Everyone knew all the lyrics to our first record and we'd never been out there before.
Link to i.imgur.com. Additional question; Pallin' With Al, did you write all the guitar parts? That's some beautiful playing if so!	I did the rhythm and Jimbo played the lead. That little figure in the beginning of Pallin' With Al was what Al Casey played on his signature song Buck Jumpin'. Al was Fats Waller guitar player, my idol and later friend. When I told him I lifted his lick, he said "steal from the best, that's my motto!"
A show somewhere in the Charlotte area on the week of the 21st-25th would be super duper. Just sayin. Has nothing to do with me being in the area from Dallas, TX that week :P.	Damn it! I'm playing solo in Charlotte on Monday.
Origin of the name Squirrel Nut Zippers?	We got it from a candy, made at the time by the Squirrel Brand Company in Cambridge, MA. They got it from a police blotter. In the 20s, they invented a chewy peanut candy and were searching for a name. They read a piece about a drunk dude stuck in a tree (this was during prohibition). When the cops asked him what got him up there, he said "must have been the Nut Zipper," which I guess was some raggedy-ass alcoholic concoction.
Some good music came out of the 90s, but damn there was also a lot of crappy so-called "alternative" music. Did you and your bandmates see yourselves as a conscious reaction to that? A return to American music roots? Because I kind of saw it that way, and it was awesome.	Absolutely, although we didn't consider ourselves standard bearers. The flannel shirt/jeans with one ripped knee/black Converse high top uniform was a little limiting, as was the "everything sucks whatever" theme. Not that some of those bands didn't kicks serious ass. We wanted to rock acoustically, and dug a lot of the old school.
How did you feel about the use of "Hell" in "Dead Like Me"? Did you feel like it fit well or was it too obvious?	I dug it.
Do you still hear the old man stamping his feet?	Louder now.
Can I have a sip of that, Monk?	What's mine is yours, Monk.
Holy shit. I remember my dad coming home from a trip to see family in New Jersey with this 'amazing record you gotta hear'. I seem to recall that the swing revival stuff was underway, so that puts it at the mid 90s. Then there was the KROQ Weenie Roast... My teenager mind was blown completely.	Well, fuck yeah to all of that.
No question, just a thanks for the music and memories.	During one of those radio festivals, an older lady in her 60s said she liked our stuff. Then she pointed to a 90-something year-old behind her and said "My mom likes it too!" I was so proud.
I just googled you and thought, "well, that look's a little different from the SNZ days".	HA! That's the other guy. Leather cowboy hats are not my thing. Neither were zoot suits, for that matter.
You were my first concert! Thanks for putting out good stuff that still holds up today. Also Goddamn if the art direction/vibe on the Hell video wasnt amazing.	Thanks! I wanted the Hell video to look like a demented Lawrence Welk show.
I forgot all about 'get fitted for a suit of flames'. You really have a way with words.	Xoxo.
So very late to the game, but, "Meant To Be" was my wedding song and we're still going strong after 16 years!	That's just the coolest thing. It's so fantastic to be able to affect people you don't even know. Good for y'all.

Last updated: 2013-10-12 09:03 UTC
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jokes on you charlotte lawrence lyrics video

Find more of Charlotte Lawrence lyrics. Watch official video, print or download text in PDF. Comment and share your favourite lyrics. No new notifications View all notifications Hey, click the icon to check the status of your contributions. Log in or Sign up. Home; Charts; Top new; Updates; Add new lyrics Feedback. Charlotte Lawrence – Joke's On You lyrics Post my meaning ; 13 explanations Joke’s on You Songtext von Charlotte Lawrence mit Lyrics, deutscher Übersetzung, Musik-Videos und Liedtexten kostenlos auf Songtexte.com Charlotte Lawrence Lyrics "Joke's On You" (from "Birds Of Prey" soundtrack) Drag me to death, like a lit cigarette Took my last breath, like the smoke from my lips I've lied for you, and I liked it too But my knees are bruised, from kneelin' to you I've had enough, but you're too hard to quit We had our fun, now your sugar makes me sick I've lied for you, and I liked it too But my makeup's Charlotte Lawrence. Joke's On You. Compartilhar no Facebook Compartilhar no Twitter. exibições 59.284. Joke's On You Charlotte Lawrence. Drag me to death, like a lit cigarette Took my last breath, like the smoke from my lips I've lied for you and I liked it too But my knees are bruised from kneeling to you I've had enough, but you're too hard to quit We've had our fun, now your sugar makes Charlotte Lawrence – Joke's On You Lyrics [Verse 1] Drag me to death like a lit cigarette Took my last breath like the smoke from my lips I've lied for you and I liked it too But my knees are bruised from kneeling to you I've had enough, but you're too hard to quit We've had our fun, now your sugar makes me sick I've lied for you and I liked it too But my makeup's ruined [Pre-Chorus] And now L Charlotte Lawrence Joke's On You (from Birds of Prey: The Album) Playlist Share. Show song Drag me to death, like a lit cigarette Took my last breath, like the smoke from my lips I've lied for you, and I liked it too But my knees are bruised, from kneelin' to you I've had enough, but you're too hard to quit We've had our fun, now your sugar makes me sick I've lied for you, and I liked it too Charlotte Lawrence - Joke's On You Lyrics & Traduction. La traduction de Joke's On You de Charlotte Lawrence est disponible en bas de page juste après les paroles originales. Drag me to death, like a lit cigarette Took my last breath, like the smoke from my lips I've lied for you and I liked it too But my knees are bruised from kneeling to you I've had enough, but you're too hard to quit We Artist: Charlotte Lawrence Song: Joke’s on You Album: Birds of Prey (Original Motion Picture Soundtrack) Year: 2020. Lyrics: Drag me to death like a lit cigarette Took my last breath, like the smoke from my lips I’ve lied for you and I liked it too But my knees are bruised from kneeling to you I’ve had enough, but you’re too hard to quit We’ve had our fun like sugar makes me sick I Everybody Loves You Lyrics: I am so tired, I have to tame my mind before I get too frustrated / Can't go back in time to change in someone's eyes / That I was not something to play with / Try not “Jokes On You” is the second single off of the Birds of Prey (Original Motion Picture Soundtrack) by American singer Charlotte Lawrence. On January 15, 2020, Charlotte announced

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Charlotte Lawrence - Joke's On You (Lyrics) - YouTube

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