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25 Years Of Local H
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| MANIFEST DESTINY PT 1 was written after Scott woke up on the floor of Joe's apartment in Augusta (yes, there had been a party). We were seriously short on tunes, but we were already booked to go in the studio very soon. The idea of splitting a single song idea into two was a terrific way to cheat and pump the number of tracks up to 13. Ham Fisted had 12 tracks and we don't like to repeat numbers. It also helped give the record that Pink Floyd concept vibe, something we like to repeat. At any rate, it's about a guy who can't help but fuck up (sad sack loser character established!). The same four chords Em, Am, C, B7 would later be shuffled around for Hands On The Bible.
HIGH-FIVING MF - Where do you think the idea for this song came from? Scott was in a bar, saw two asshole bouncers give each other high fives, turned to his friend and said, I'm gonna write a song called High Fiving Mother Fucker. Threw in some lines about meatheads in the mosh pit and that was that. It's also a great example of Joe's penchant for crafting drum beats that are actually hooky. But maybe the tune's greatest attribute is how it cuts both ways. Yes, it's about clueless fuck wads, but it's also those fuck wads' favorite song. Satire.
BOUND FOR THE FLOOR - You know this one right? Keep it simple, stupid.
LOVEY DOVEY - Yes, Dave and Heather were a real couple. And yes, they had fights. This owes a debt to Morrissey's We Hate It When Our Friends Become Successful. And how about that kazoo solo? Why aren't there more of those? It's not as good as the one in Pink Floyd's Corporal Clegg, but still.
I SAW WHAT YOU DID AND I KNOW WHO YOU ARE - The most metal song on the record. This was partly inspired by the tour we did with Corrosion Of Conformity and takes its title from an awesome Joan Crawford movie. This one has some serious ADD issues and was always fun to play live. It's the kind of song that you write simply because you can.
NO PROBLEM - We were getting ready to record this and went shopping in Connecticut to find an acoustic guitar. Scott kept playing the main riff on different guitars trying to find perfect fit (btw - that wouldn't happen until we put toothpaste on the strings). Finally, a kid came up to him and said, How do you play that? What? That Pumpkins song. At first, Scott was just relieved that he hadn't been accused of ripping off Red Red Meat (that would have been half-true) - then he got a little indignant. It's not a Pumpkins song, he sniffed as he turned away. We never did check to see if that kid had a point before we recorded it. We should've. It was a lesson to us: If someone gets there first - let 'em have it. On the other hand, our A&R guy was worried that this sounded too much like Janis Ian. Listening to it now, it's sounding more like a Liz Phair song.
NOTHING SPECIAL - Another tune written on a borrowed acoustic guitar after Scott woke up somewhere he shouldn't have. This is the clearest statement of the record's themes and possibly the most straight-ahead rock song in our catalogue. Although, like Lovey Dovey, it's a blurry line between verse and chorus. |
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