Angie is mentally disturbed. Probably schizophrenia, but IANAD. Anyway, she lives in her own world, imagining things, imagining lovers that come to her. Then one day a neighbor kid decides to “have a little fun” with Angie, and gets more than he bargained for. The lyrics imply Angie keeps him trapped like a sex slave, but you could always say she keeps him like Norman Bates’ mother, too. Well, maybe…
Jackie Blue is just one of those girls that gets whatever she wants, and uses boys, and no one ever calls her on her shit. Except the singer. Other than the early lyric “Lives her life from inside of her room” the rest of the song supports that’s she’s not mentally ill, just a user of people.
In 69 every car came with a big block option - Camaros, Novas, Chevelles, all could be had with everything from the lowly six to the biggest big block. There were no 69 Corvette 6’s. Factory BBC displacements were 396, (402), 427, with 454 coming later.
Small blocks were 283, 302, 327, 350. The 400 came later.
Odder sizes were a result of aftermarket cranks and/or overbores. The most common small block non-factory displacement is 383 (not to be confused with the Chrysler 383). But they were not available at the time of Racing in the Streets.
So Bruce’s Chevy had a 396 BB. I always pictured it as a Chevelle, because that “dude from LA” had a Camaro, and if Bruce had one he’d have said so.
But the objection was that it can’t be a 396 with fuellie heads because those are just made to fit the small blocks. I’m pointing out that a small block 396 is absolutely likely and that the big block 396 would have been the more unusual option in a '69. Therefore a '69 Chevy with a 396 and fuellie heads is completely plausible.
“Before He Cheats” by Carrie Underwood. Just, the whole thing. She thinks he might be cheating, but hasn’t caught him, and isn’t for sure about it. So she destroys his car, including taking the ill-advised step of carving her own name into his leather seats.
A ‘69 Chevy with a 396 small block would be highly unlikely. Sure, you could bore and stroke a small block to whatever size you could afford, but how many owners do you think did so, and to that particular displacement? Now compare that tiny number to the thousands of ‘69 Chevys that came with factory BB 396s. It was available in every model except the Corvette, in 3 horsepower levels.
I have no idea what John Lennon was thinking here. He’s telling another guy that he is at risk of losing his girlfriend is he doesn’t treat her better - because if he doesn’t Lennon will steal the girlfriend from him.
What Lennon’s motivation? Is he trying to help a friend? If so, why would he threaten to steal his friend’s girlfriend? Is he interested in the girl? If so, why warn the guy and tell him how he can thwart Lennon’s plans?
“Rose and Valerie, screaming from the gallery
Say he must go free
(Maxwell must go free)
The judge does not agree and he tells them
So, o, o, o
But as the words are leaving his lips
A noise comes from behind
Bang! Bang! Maxwell’s silver hammer
Came down upon his head
Bang! Bang! Maxwell’s silver hammer
Made sure that he was dead”
Why the hell would Rose and Valerie - whoever they are (brain-dead classmates?) - spring to the psychopath’s defense?
I can only guess the presiding bailiffs(s) had briefly drifted off, with messy mouths, in some Beer Nutz Donut-induced reverie, to let Maxwell have a go at the judge with a hammer.
“Carve your number on my wall
And maybe you will get a call from me
If I needed someone”
George - First off, was wall-carving still the rolodex of choice back then, and secondly, you’re basically telling this girl: ‘well, I’m too lost in love with someone else, but hey! you’re right in there, like - totes next in line if shit falls through.’
Even as a young kid listening to Abbey Road on cassette in the early 90s, I got the gist of this song. The title character is a picaresque rogue who always skates free from the consequences of his murderous behavior and blithely skips off to his next atrocity. Obviously I could not have put it into those words, but I got the basic idea:
The song opens with him about to take a female classmate out on a date. He just asked her out that very night, and she’s “getting ready to go”. The first verse tells us two facts about Maxwell: he is majoring in medicine, a prestigious field, and he is charming/attractive enough that he’s successfully asked out Joan. Maxwell is a cool guy, basically.
He kills his date for no reason whatsoever; not because he’s mad at her, not because he finds it thrilling or whatever; he just does it. No explanation why. Because there’s such a logical disconnect between the verse and the chorus, and it’s such a jovial and upbeat song, the song becomes a bit of dark comedy. It’s not like I was any stranger to dark comedy as a kid growing up in the 90s; I “got” what the song was going for. I didn’t think “that’s fucked up”, I just accepted it for what it was.
“Back in school” he is goofing off and is reprimanded by the teacher. Something that I personally could relate to. He is punished by having to write the cliched phrase “I will not…” over and over again, which the lyrics amusingly subverts by drifting into “be so…oh oh oh,” i.e. it doesn’t matter what he’s actually writing because it’s a meaningless punishment, leading to,
Maxwell kills his teacher, this time we sort of have an explanation (revenge for being chastised for his reprobate ways.)
Now we arrive at the final verse, where Maxwell is on trial for his crimes. Again, even as a kid I got what they were going for with the Rose and Valerie line. Maxwell is a charming anti-hero who the girls can’t help but like…they just don’t believe the charges against him, they’re not having it…he’s the kind of guy who can get away with anything. Which he continues to do by the conclusion of the song, somehow dispatching even the judge presiding over his very trial.
It’s a testimony to the Beatles’ skill that they could create a sense of immersion and world-building even in this one ridiculous song which is almost a throwaway compared to the rest of the album.
Don’t know much about history
Don’t know much biology
Don’t know much about a science book,
Don’t know much about the French I took
…
Don’t know much about geography,
Don’t know much trigonometry
Don’t know much about algebra,
Don’t know what a slide rule is for
But I do know that one and one is two,
And if this one could be with you,
What a wonderful world this would be
*
Well, now that you’ve explained to me what a complete ignoramus you are, yes I’m definitely interested in you!
I’ll wager here that most of us deduced the same, and I’m not sure if you were wondering, but I did too (hence the point of this exercise). (the vast majority of posts in this thread could have been responded to in that same way.)
"The need inside you
I see it showin’
Whoa, the seed inside ya
Baby, do you feel it growing
Are you happy you know it
That you’re
[Paul & Odia:]
Having my baby"
Thanks for sharing, PA.
But how have the lamaze classes been going?
No deets on iron deficiency anomia?
These lyrics aren’t in-my-face enough.
“The road I cruise is a bitch now baby
You know you can’t turn me 'round
And if a house gets in my way baby
You know I’ll burn it down
You remember the night that you left me
You put me in my place
Got you in a stranglehold baby
You’re gone, I crushed your face”
Well then, Nuge, aren’t you just the exemplar of chivalry.
Any other ditties about domestic issues?
In case you’re serious, a “woodie” was a station wagon type vehicle with a wooden back. They were popular with surfers because their surfboards fit in them.
Let it go…
That’s right, let’s just give up. Actually this whole song sounds like she’s about to become a super villain.
“I’ll show them, I’ll show them all! They dare to mock the insidious Absolute Zero?”