“Neil Young” in Song Lyrics

 

     Is any living musician mentioned in lyrics more often than Neil Young? That was the question we asked ourselves while listening to the latest release by Nashville’s Moon Taxi. In their song “Highwave,” Moon Taxi approvingly states “Got Neil Young singing to us” as they drive down the road.
 
     Inarguably, the most notorious mention of Neil is Lynyrd Skynyrd's “diss-track” as a response to Young’s reference to Southern racism and slavery in his songs “Southern Man" and "Alabama." Lynyrd Skynyrd responded “Well I hope Neil Young will remember, a Southern man don't need him around anyhow” in their song “Sweet Home Alabama.”
 
     There are too many other mentions of Neil Young for a comprehensive list. But here is a partial list that shows he crosses into almost every genre:

• Bob Dylan in “Highlands” – “I'm listening to Neil Young, I gotta turn up the sound. Someone's always yellin', ‘Turn him down’."
  
• Grungy: Pearl Jam in “Santa Cruz” – “I got Neil Young on the stereo // He comes along whenever I go.”
• Hip-Hop:  In “Bokeem Woodbine,” Nas states, ” Motivation for the trappers livin' ounce-to-ounce // This is rockstar status, Neil Young with a bounce.”
  
• Sonic Youth in "Creme Brulee" – “Last night, I dreamed I kissed Neil Young. If I was a boy, I guess it would be fun."
• John Mayer in “Queen of California” – “Looking for the sun that Neil Young hung. After the gold rush of 1971.”
• Lady Gaga in “Then You'd Love Me" – “I scream your name across the bar.  I carry pictures of your Neil Young guitar.”
  
• Kris Kristofferson in “If You Don’t Like Hank Williams” – “Forgot to say John Prine, Neil Young, Lyle Lovett (God bless him), Chris Gantry, Jerry Jeff Walker, and David Allen Coe...”
  
• Drive-By Truckers in “Ronnie and Neil” – “’Southern Man’ and ‘Alabama’ certainly told some truth // There's a lot of good folks down here, Neil Young just wasn't around.”
• Weezer in “Byzantine” – “I want Neil Young on your phone speaker in the morning and fuck him if he just can't see this is how his songs are supposed to be heard. No more lectures on fidelity.”
  
• Lucinda Williams in “Ventura” – “Take the long way home so I can ride around. Put Neil Young on and turn up the sound.”
• HAYDEN in “Neil Young Song” – “And I left to put on a Neil Young song, and by the time I came back you were gone.”
• Juliana Hatfield in “Because We Love You” – “Neil Young on the radio. Four dead in Ohio.”
• Opera - Luciano Pavarotti in Certe Notti – “Certe notti la radio che passa Neil Young sembra avere capito chi sei.” TRANSLATION: “Some nights the radio playing Neil Young seems to have understood who you are.”

     “Highwave” by Moon Taxi

Lyrics of “Highwave” by Moon Taxi
Hey ey ey
Floating on a Highwave
I'm on a Highwave whenever I'm with you
 
Long drive up the coastline
No need to say a word
A promise we made in the past
That I'm forever yours
 
We got miles behind us
And we got miles to go
Got Neil Young singing to us
On the radio, singing
 
Hey ey ey
Floating on a Highwave
Hey ey ey
In a sky of blue
Hey ey ey
Floating on a Highwave
I'm on a Highwave whenever I'm with you
 
Got a drink in Boston
On the way to old St. John
With you I could get lost on
Every road we travel along
 
'Cause time just disappears
When we're sitting side by side
Watching the sunrise over the ocean
At the end of a long night, singing
 
Hey ey ey
Floating on a Highwave
Hey ey ey
In a sky of blue
Hey ey ey
Floating on a Highwave
I'm on a Highwave whenever I'm with you

[Repeat after the bridge]

“WHITE LIES” by First Day Of Spring – A Song Feature

 

     “WHITE LIES” arrived as the final of three volumes of the “HUMANFLESH” series from First Day Of Spring. The UK band considers it a credit-rolling closer. We consider the instrumental strength of the song to be the guitar with its upper-frequency dance atop the verses (initially on full display around 1:09). That guitar has chime and charm. But there are other contenders, such as the sax sound that begins around 4:34.
 
     Compositionally, the strength of “WHITE LIES” resides in the transition shortly after the four-minute mark. If you’re actively listening, this section of the song generates a sense of anticipation. It might be the start of an intensity decline leading to the end of the track. Or is it a standard bridge, so that the vocals will soon re-enter with another verse? No and No. The section reveals itself to be an interlude bridging the vocals-featured portion of “WHITE LIES” to the somewhat more instrumentally aggressive conclusion.
 
     First Day Of Spring comprise an ever-shifting live line-up, revolving around the songwriting of Southend-born Samuel D. Jones. They describe “WHITE LIES” as “ebbing, rising, and cruising off into the sunset; the track is lyrically inspired by an encounter with an East London mystic and their imparted philosophies on life, art and action.”
 
     As already noted, the song is the final volume of “HUMANFLESH,” which is a series of three releases concerned with personal breakthroughs, quests for self-fulfilment, and full-circle reflection. Sonically, the three tracks are bound together with a synth-fuelled infusion of Glam and British Psychedelia. The two previous volumes featured the bassline funk of “PARTYZEIT!” and the ponderous splendor of “THE RIVIERA (MODERN NATURE).”
 
     “WHITE LIES” by First Day Of Spring

Linktr.ee: https://linktr.ee/firstdayofspringband
Instagram: https://www.instagram.com/firstdayofspringband

Lyrics of “WHITE LIES” by First Day Of Spring
Do you ever get time to think that you would play on the right side?
Did you ever get time when time flies, and you’re in the way
There’s a falicy in games that’s trying to poison my mind
the commonality in pain, the disdain you feel every day
 
I’ve got a ten-foot mother floating around in my mind
Who comes out when another is wasting all of my time
And like the sun shines
Like the bird flies
Like a high tide
Like a long drive
I can feel it
White lies
I can feel it
White lies
 
If you tell me I’ll believe you again about the cries in your heart
Because I only wanna be around if I can die in your arms
I wanna see a big sensational change in my life
I wanna see you smile the same smile I see every day
 
I take time to discover the good things that speak to my mind
And take pride that a brother is left out by the wayside
And like a cold tan
Like a bad plan
Like a lost fan
Like a free man
I can feel it
White lies
I can feel it
White lies

"THE REAPER" by little image – A Song Feature

      Our latest mystery has to do with the Dallas band little image. The band is touring, and the stops are not immediately selling out. As one example, tickets to the San Francisco show (June 13) at the Brick and Mortar have been available for two months. By itself, it would be worthwhile to see the band preform “Kill the Ghost,” a diverse and energizing single released in late 2025. If your interested in the song, CLICK HERE. 
 
      Showcasing the band’s flexibility, little image recently shared “THE REAPER.” The song is more relaxed and introspective than their other tracks, allowing the vocal skills of the band to become a focus. The song is about an imploding relationship – “Please don’t make me start all ovеr again.”
 
     The members of little image are Jackson Simmons (vocals/guitar), Brandon Walters (bass/synth), and Troy Bruner (drums). The band’s tour schedule is available at https://littleimagemusic.com/tour.
 
"THE REAPER" by little image

Facebook: https://www.facebook.com/littleimage
Website: https://littleimagemusic.com/

Lyrics of "THE REAPER" by little image
What is this about?
You never really want to
Used to talk it out
But now you call the lawyer
 
Don't tell me that you thought
You'd always get far
Without my help
I'm sorry I can't fall
Off the rooftop of your heart
Anymore
 
You're making me start over
Like strangers in the dark
I'll keep my self-composure
I'm falling all apart
I'm staring at the reaper
While tryna save a face
Hysterical deceiver
While I've been second place
 
You're making me start all over again
Please don’t make me start all ovеr again
 
Hiding in the house
Peacеful paranoia
Hold me inside out
Dancing in the foyer
 
Don't tell me that you thought
You'd always get far
Without my help
I'm sorry I can't fall
Off the rooftop of your heart
Anymore
 
You're making me start over
Like strangers in the dark
I'll keep my self-composure
I'm falling all apart
I'm staring at the reaper
While tryna save a face
Hysterical deceiver
While I've been second place
 
You're making me start all over again
Please don’t make me start all over again
 
I’m staring at the reaper
Please don’t make me start all over again
I’m staring at the reaper
 

“The Age of Violent Revolution” by Strangejuice – A Song Feature

 

     The instrumentation showcases upper-frequency chiming guitar, which enables individual notes to charm the listener. The allure is most apparent after the first of a repeating lyrical statement that forms the chorus. At the 0:56 mark of “The Age of Violent Revolution,” the guitar charm resides between the first two instances of “In the age of violent revolution, the easiest solution was always to cut off the head.” Creatively, guitar characteristics change with each lyrical space in the chorus.
 
     The meaning of the song from Strangejuice is not readily apparent. The most mysterious verse is the final one:

And the flowers are free

If you know how to find 'em

They're growing out of the big refrigerator island

It's okay to cut 'em and take 'em back to your house

Just watch out for the crocodile and the mouse

 
     Strangejuice is the project of Mike Anderson, who describes himself as “an Australian solo multi-instrumentalist and hermit song-maker, prolific and ugly. strange and beautiful.” Strangejuice is based in Perth, Australia. “The Age of Violent Revolution” is the first track on his recently released album “Common Behavior.” Information regarding the album is available at the Bandcamp site CLICK HERE. 
 
      Quoting a revealing description of the single:
  “The Age of Violent Revolution” is a dark, driving rock track built around a propulsive live drum beat, jangling guitars in the verses, and heavier guitars in the chorus. The main hook comes from the repeated vocal line in the chorus, which gives the song its force and obsessive momentum. Lyrically it moves through surreal, unsettling imagery rather than a literal narrative, circling violence, panic, and collapse in a dreamlike way.”

      “The Age of Violent Revolution” by Strangejuice

Facebook: https://www.facebook.com/Strangejuice
Bandcamp: https://strangejuice.bandcamp.com/album/common-behavior

Lyrics of “The Age of Violent Revolution” by Strangejuice
It was some wild time ago
A headless girl with her head in her hand
Had to leave my place 'cause I had no place
Had to leave my place 'cause I had no place
Had to leave my place 'cause I had no place
Had to leave my place 'cause I had no place
Someplace to go
 
In the age of violent revolution
The easiest solution was always to cut off the head
In the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
 
House burning
Saving the gin
Don’t care if the roof caves in
House burning
Saving the gin
Don’t care if the roof caves in
The wind’s howlin’
But the water’s warm
Don’t know if there’s a coming storm
 
In the age of violent revolution
The easiest solution was always to cut off the head
In the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
 
And the flowers are free
If you know how to find 'em
They're growing out of the big refrigerator island
It's okay to cut 'em and take 'em back to your house
Just watch out for the crocodile and the mouse
 

“Let It Die Here” by Linda Perry – A Song Feature

 

     “Let It Die Here” is a title relevant to Linda Perry’s artistic past, present and future. In June 2024, a documentary with that title was released, revealing the vulnerability and courage of Perry. The documentary's trailer is embedded at the bottom of this post. Regarding the present, “Let It Die Here” is the title of Perry's most recent single release. And this May, her album by that name will drop.
 
     Our admiration for Linda Perry dates back to 2016. We are within the widespread fanbase of the 1990’s hit “What’s Up?,” with Perry as the lead singer of 4 Non Blondes. But it was the 2016 documentary “Soundbreaking” that demonstrated her passion for music and her skills and conviction as a producer. In the documentary, she talks about prioritizing vocal emotion over vocal perfection.
 
     The single “Let It Die Here” represents an internal battle. Linda Perry explained, “I wrote this song while taking care of my mom when she was really sick. At first, I thought it was about her dying… but it’s really about learning to let go. That’s what this album is about, and this song is a big piece of that story.” The lyrics are included in this post. The final verse ends “Well, God as my witness, let the healing begin.” The song is already personal and stirring, but the strings and brass significantly enhance the emotion.
 
     “Beautiful” was also shared from the upcoming album. The song was written by Linda Perry, and made famous by Christina Aguilera with Perry as the producer. In total, the album will include 17 songs. The Bandcamp site for the album states:
  “Linda Perry’s ‘Let It Die Here’ is a raw, spiritual reckoning, a journey through inherited pain, grief, and redemption. Across seventeen tracks that blend confessional poetry, cinematic rock, and vulnerable introspection, Perry confronts the ghosts of her past — mothers, lovers, and the darker corners of self.
  The record moves from the streetlight confessions of “Balboa Park” to the searing surrender of ‘Let It Die Here,’ culminating in ‘Albatross,’ a release from the weight she has carried her whole life. It is an album about release, letting go of guilt, embracing imperfection, and finding beauty in survival.”
 
     “Let It Die Here” by Linda Perry

Facebook: https://www.facebook.com/lindaperrymusic/
Website: https://www.lindaperry.com/
Linktr.ee: https://linktr.ee/reallindaperry

Lyrics of “Let It Die Here” by Linda Perry
Holy mother, paid the price
Grand illusions, La la lies
 
Nature’s beauty, charm and grace
Set corruption, in the face
 
Fortune teller, all is known
A grifter con, on a tricksters thrown
 
Angel Love, always by my side
Said the spider, to the fly
 
I said save me
Set me free
Let it die here
Rest in peace
 
Forgive me, lover, for I have been
Lost in the darkness of all your sins
 
You gave me strength, but not еnough
So I drink black water, from a demon's cup
 
Fought the battles, with the child’s sword
I stabbed the monster, but lost the war
 
Lick the wounds, to ease the pain
A well of deception, runnin’ through these veins
 
I said save me
Set me free
Let it die here
Rest in peace
 
I said save me
Set me free
Let it die here
Rest in peace
 
No more secrets, guilt or blame
No more fury, no dice, no game
Fell like a bird, catching the wind
Well, God as my witness, let the healing begin
 
I said save me
Set me free
Let it die here
Rest in peace
 
I said save me
Set me free
Let it die here
Rest in peace
 
Let it die here
Rest in peace

“We Knew Before It Fell” by Evil Level Live – A Song Feature

 

     The guitar virtuosity is the immediate draw to “We Knew Before It Fell,” particularly with the appeal of a clean, crisp ascending lick. Gradually, the vocals emerge—beginning with a subtle hum that builds in intensity—before giving way to the track’s minimal, carefully placed lyrics.
 
     Much of the song from Evil Level Live is characterized by Eastern sensibilities, although a more traditional Rock guitar abruptly breaks through at the two-minute mark. At times, the female vocals are reminiscent of Clare Torry’s in the Pink Floyd masterpiece “The Great Gig In The Sky.” The vocals flawlessly and seamlessly meander through the scale. 
 

     “We Knew Before It Fell” is a single from the album “Control Room Lullaby” by Evil Level Live. Interestingly, the album's visual representation (shown in the embedded picture) echoes Pink Floyd, since it depicts Control Room A of the Battlesea Power Station, which graced the cover of Pink Floyd's "Animal" album. 

     In the 13-year history of Indie Obsessive, this might be the first feature by a band with a name that is a palindrome. Looking at the credits on Spotify, the contributors to the single include Christophe Suzat (engineer), James Blish (keyboards), Ben Yamud (drums), Silas Zout (guitar), Jean Pierre Avidol (bass), and Sandy Malo (lead vocalist). The project is based in France.
 
     While referring to their album, the band explained:
  “’Control Room Lullaby’ is an album born inside the machine. In a silent control room, systems keep running while human doubt quietly emerges. Blending dark progressive rock with cinematic textures, Evil Level Live explores control, silent collapse, and the persistence of consciousness. A lullaby for a monitored world — gentle on the surface, deeply unsettling underneath.”
 
     “We Knew Before It Fell” by Evil Level Live

“Owl Song” by Borrowed Feathers – A Song Feature

 

     For the first 88 seconds of “Owl Song,” the vocals and instruments cooperate in forming a cohesive and fluid melodic presentation. Thus, the song from Borrowed Feathers opens with a pair of elegantly layered guitars that are soon supported by a bass-and-drums rhythm section. When the vocals arrive, they maintain the same melodic focus, especially as the band repeats “who,” a refrain that nods to the song’s title—as does the owl’s “hoots” that close the track.
 
     Still, the power of “Owl Song” is not in its egalitarian contributions to the overall appeal. Instead, the main portion of the song showcases individual skills of the band members. Our favorite is the harmonica, but strong cases for excellence are available for other instrumental contributions. For example, the guitar solo that begins around 2:53 is another highlight of the song.
 
     The members of Borrowed Feathers are Benjamin Bonin (vocals, guitar), Kalled Ashour (harmonica, vocals), John Jack Brennan (guitar), Magz The Outlawed (drums, backing vocals), Zackary Johnson (bass, backing vocals), and Karrah Bates (keys, backing vocals). “Owl Song” is one of three songs on their recently released album. “The End Is Always Near.” The album, which was produced by Jay Andrix, is available via Bandcamp (CLICK HERE).

     Borrowed Feathers are a Denver, Colorado based Psych Rock & Blues band known for their nostalgic original songs and rocking covers of the 60s and 70s. Quoting content that we agree with regarding their recent release:
  “’Owl Song’ is the ultimate road trip companion, offering a breezy, feel-good anthem with an infectious hook that lingers long after the last chorus. This track captures the freedom of the open road, blending vibrant melodies with an irresistible rhythm, making it ideal for playlists like Road Trip Sing-Alongs, Fresh Finds, or Indie Sunshine Drive. Crafted with the spirit of adventure in mind, it invites listeners to roll down the windows and let the miles fly by.”
 
      “Owl Song” by Borrowed Feathers

Website: https://borrowedfeathers.com/
Instagram: https://www.instagram.com/borrowed.feathers/

Lyrics of “Owl Song” by Borrowed Feathers (with many best guesses)
I had a notion
Of who I was
And who I claimed to be.
Follow the motion.
Catch your sleep.
See what you should have seen.
Who, who….
 
Who are you?
And who am I?
Who pulls the strings?
Or who decides?
Who. who….
 
Well, driving down the road
A midday Kansas stroll
Searching for the answers.
 
Don't know where to go.
[Not known]
Got to gain control.
Take me from this place.
Learn that Rock ‘n Roll
 
Losing all control
To save my battered soul
Playing that Rock ‘n Roll
 
Learn that Rock ‘n Roll
Losing all control
Save my feathered soul
 
Learn that Rock ‘n Roll
Losing all control
Save my feathered soul
 
Who, who….
 
Who are you?
And who am I?
 
Who pulls the strings?
Or who decides?
Who. who….

“Sawdust” and “How You Know Things” by Sleep Kicks – Song Features

 

     Sleep Kicks, a Norwegian quartet, recently released the EP “How You Know Things.” All six tracks are recommended, but we particularly gravitated toward two – “Sawdust” and “How You Know Things pt. I.” The first is a Post Punk gem that was originally shared as a single in 2023. The second is Part I of three songs that can be considered the “title track” of the EP.
 
     “Sawdust” was written shortly after the band’s debut album “The Afterdrop.” Sleep Kicks explain that the single was evidence that they did not intend to rest on laurels of the debut album; the urge to just keep working and pushing towards new achievements is thinly veiled in the lyrics of “Sawdust.” Both the lyrics and the interplay between the vocalists interplay are masterful in the final segment of the song, when the suffix “ing” takes a lead role:

Can’t stop the bleeding

The circus is leaving

For another town

Always competing

Never retreating

Eventually healing

Failure is fleeting

Patterns repeating

For the soldier and the clown

 
     Sleep Kicks are based in Oslo, Norway. They are Terje Kleven (guitar, vocals), Frode Gundersen (drums), Jørn Landbakk (guitar), and Stephen Gardener (bass, synth). The credits of “Sawdust” show that Jade Marie Hasselgård contributed background vocals. Talking about their music, Landbakk once explained:
  “We quickly found out that the four of us have too many different influences to be able to stay within the strict boundaries of post-punk. Instrumental post-rock dynamics can be heard in several songs, while others lean on an almost krauty repetitiveness.”
 
     “Sawdust” by Sleep Kicks

Facebook: https://www.facebook.com/sleepkicks
Website: https://elasticstage.com/sleepkicks

Lyrics of “Sawdust” by Sleep Kicks

Not a sparkle, not a sound
Bruised and battered on the ground
Collecting dogtags on a chain
Yet another failed campaign
Way outnumbered and unprepared
And all ambitions left for dead
 
Can’t stop the bleeding
The circus is leaving
For another town
Failure is fleeting
For the soldier and the clown
 
Filter teardrops, sweat and blood
Through the sawdust and the mud
Time to reload, go again
Find the strength to entertain
Walk the tightrope for the crowd
Before the silence gets too loud
 
Can’t stop the bleeding
The circus is leaving
For another town
Always competing
In search of a meaning
And the clock keeps counting down
 
It’s time to get back on the horse
Ride out to conquer the applause
 
Can’t stop the bleeding
The circus is leaving
For another town
Always competing
Never retreating
Eventually healing
Failure is fleeting
Patterns repeating
For the soldier and the clown

     “How You Know Things pt. I” is the more Atmospheric Rock than is “Sawdust.” And the backing vocals of Jade Marie Hasselgård play a larger role. The song does not include the standard instrumental intro, but does include an extended spoken-word segment during the second half (the lyrics are included in this post).
 
     The materials released with “How You Know Things pt. I” state:
   “[The] track leans more clearly than before into the band’s long-standing dream-pop influences — soaring, melodic, and atmospheric - and perhaps a tad in a more uplifting territory than the band has previously operated. The lyrics nod to Hemingway, while music nerds will certainly approve of the bouncy 7/4-groove in the bridge.”
 
     “How You Know Things pt. I” by Sleep Kicks

Lyrics of “How You Know Things” by Sleep Kicks
Clearly, I miss him
But since you put it in that way
Why not leave them to it?
 
She was silent and asked for nothing
“There is no chance,” she said
And left without a smile
Without a smile
 
I believe that it must be
I will sleep as they would sleep
 
Met him in the doorway
Must have been a Tuesday night
Oh, those awkward moments
 
They're gone in just ten seconds
Couldn't look him in the eyes
But I think I saw a smile
I saw a smile
I saw a smile
 
I believe that it must be
I will sleep as they would sleep
 
Were you expecting someone
To show up at your door?
How you know things will be
Exactly how they were before
 
Did you expect the feeling
to fade out silently?
How you know things will be
Exactly like they used to be
 
Were you at some point thinking
There's nothing left to do?
How you know things will be
Precisely like you'd want them to
 
Was this the first incentive
To grow a thicker skin?
How you know things will be
The same as they have always been
 
I believe that it must be
I will sleep as they would sleep

“Everyfire” by Field Hospitals – A Song Feature

 

     This marks the second consecutive post in which we’ve featured a Minnesota-based band whose song references the extended presence of federal law enforcement in Minneapolis. Despite any appearances to the contrary, Indie Obsessive does not intend to turn more political. Rather, the aim remains the same as always: highlighting and promoting music we genuinely enjoy. The previous song from The Dead Century and the below track from Field Hospitals are aligned with that goal.
 
     The lyrics of Field Hospitals’ “Everyfire” are sufficiently vague to accommodate different readings, but they begin “Days of occupation.” The lyrics are included at the bottom of this post. Still, the strength of the song lies in its instrumentation. A synthesizer initiates the single and a punchy rhythm section soon joins, but “Everyfire” is guitar-driven and melody-focused. The press release interestingly declares that the track:
  “[B]alances their classic jangle pop sound with subtle synth textures and a driving post-punk feel, “Everyfire” shows the Field Hospitals expanding its musical palette without losing the tuneful, classic Indie Rock guitar sounds that define the group.
 
     The members of Minneapolis’ Field Hospitals are Matt Helgeson (bass), Dan Ganin (guitar), Hank Henry (vocals, guitar), and Jeff Ball (drums). They feature melodic chiming guitars and a driving rhythm section. “Everyfire” is their first 2026 release. A sophomore album is planned to later this year. The band’s 2025 debut EP “Ethel Green” won praise from critics and was picked as one of Spin’s “Best EPs of 2025.” The band was also one of the featured artists honored in Racket’s annual “Picked to Click” music industry poll.
 
     “Everyfire” by Field Hospitals

Facebook: https://www.facebook.com/fieldhospitals.mpls/
Instagram: https://www.instagram.com/field.hospitals/

Lyrics of “Everyfire” by Field Hospitals (littered with “best guesses”)
Days of occupation
Lie around us in the dark
And then romance untied
If you were wandering
 
Down that shoulder
You left the lonely running
Find the cold run into tonight
And show me very fight
Just show me every fight
You said run
Now show me every fight
Just show me every fight
You said run
Now show me every fight
 
Call me up
Call me out
You were faded
I replied
And it all defines
Who made it
And the other questions “Why?”
 
Down that shoulder
You left the lonely running
Find the cold ran into night
And show me very fight
Just show me every fight
You said run
Now show me every fight
Just show me every fight
You said run
Now show me every fight
 
Just show me every fight
You said run
Now show me every fight

“Been Better” by The Dead Century – A Song Feature

 

     A burst of rapid-fire guitar launches the intro with urgency, soon propelled forward by power percussion. The intro of “Been Better” lasts 27 seconds, approximately the same length as the outro that showcases the guitar skills of The Dead Century. In between resides a Trojan Horse - a convincingly engaging framework harboring a somber theme. The band accurately describes it as “an upbeat, guitar-driven Rock song that’s full of angst, joy, and yearning,” but not in equal parts.

 

     Lyrically, “Been Better” unfolds as a telephone conversation, with most of the reflections coming from the person on the other end of the line. She is struggling within circumstances that are outside of her control and stretch beyond her personal world. The lyrics are included at the bottom of this post. While she admits patience is required and expresses gratitude for the call, any suggestion of faith in the future fades with her closing confession: “… between you and me, this shit better get better soon.”

 

    It’s significant that Minneapolis serves as the home base for The Dead Century, a city shaped in recent months by political conflict, federal law enforcement presence, and the lingering aftermath of civil unrest. The band notes that “Been Better” was originally drafted during the difficult days of the 2020 lockdowns, but was only recently recorded in Minneapolis. The song’s lyrical message feels as timely now as ever. The band’s explanation is more interesting:

  The very first draft of this tune was a product of those hyper-anxious early days of the covid lockdowns, basically pre-history at this point. It took some serious revisions to find its way here, but (alas?) the song still hits our ears with the same kind of urgency—that better days are on the way, but also that sh*t better get better soon.

  Here’s to the triumph of hope and kindness over experience!

 

     The members of The Dead Century are Nick Check (guitar, vocals), JP Check (bass), Austin Peterson (lead guitar, vocals), and Robert Muehlbauer (drums, vocals). Nick and JP are brothers.

     “Been Better” by The Dead Century

Facebook: https://www.facebook.com/thedeadcentury
Website: https://www.thedeadcentury.com/

Lyrics of “Been Better” by The Dead Century
She’s been living on her own since the summer
She’s not distraught, just a little distracted
Said “Lover, let me count the ways”
And the list came up a little shorter than expected
 
And since you asked
She said “I guess I’ve been better
You know it’s been a rough few months
And I don’t know when that’s going to change”
 
You know the last time was an absolute trainwreck
Well, she’s so grateful that that’s been established
The sugar crash was almost as cruel as the come down
And in any case those feelings just vanished
 
And since you asked
She said “I guess I’ve been better
You know it’s been a rough few months
And I don’t know when that’s going to change
Well I’m alright
Just under the weather
I’m stuck here and holding out hope
That we’re gonna see better days”
 
Everyone tells you that time’s going to conquer the pain
But tell me how long has it been now and how much has changed
You keep moving forward but every day just feels the same
But what can you do when the only solution is wait
And wait, and wait
 
She says “Anyways, thanks for the phone call
It’s cool to talk to an interested party
There’s comfort in community, there’s solace in the solitude
And in theory that should be enough for me”
 
And since you asked
She said “I guess I’ve been better
If time is what fixes things then I guess
There’s not much left I can do
I’ll do my best
Keep up with the patience
Yeah, but between you and me
This shit better get better soon”