Lesson of the day, kids: Don’t believe something just because somebody on the internet told you it was so. :smack:
"Crippled Inside" by John Lennon. The corny good-timey music is intentionally ironic.
To be fair, Lily Allen herself has said variously it’s about both. It was about the BNP, then was changed to be less specific where she said it was now about Bush, but can really be about almost anyone she decides to hate at any given moment.
They BNP are now legally required under the Equality Bill to accept racial minorities. Rajinder Singh is the first such member. The number of votes they received in the last European elections went down in number, though unfortunately up as a proportion of the total votes cast.
Okay, Mel is kinda messed up. Of course, Kenny might be too, but not because of writing this song.
No love for “I Don’t Like Mondays”? Totally cheerful, upbeat song about a gal who goes crazy and kills a bunch of people.
Randy Newman is good at this.
Sail Away, for instance, sounds like a pleasent, uplifting song, until you realize it’s about slavery. And then there’s “My Country”, which, disguised as a rousing anthem, features the following lyrics:
Now your children are your children,
even when they’re grown.
When they speak to you,
you got to listen to what they have to say.
But they all live alone now,
they have TVs of their own
but they keep on coming over anyway.
And much as I love them,
I’m always kind of glad when they go away.
Sorry, wasn’t trying to correct you or anything. I just thought it was interesting that Tillis wrote the song. It doesn’t seem to fit the persona that he shows (or showed) when on TV.
No, it’s not.
But it IS sarcastic. Timbuk3 were making fun of shallow, materialistic yuppies-in-training.
Sublime— Santaria has a very happy little tune, Not so the lyrics
Daddy’s got a new .45
And I won’t think twice
To stick that barrel straight down sancho’s throat
Believe me when I say that I got something for his punk-ass
What I really wanna know (my baby)
What I really wanna say, is there’s just one way back
And I’ll make it
My soul will have to wait
The usually-omitted last verse of an upbeat patriotic song by Woody Guthrie:
In the squares of the city - In the shadow of the steeple
Near the relief office - I see my people
And some are grumblin’ and some are wonderin’
If this land’s still made for you and me.
No problem - I’m always interested in learning new things. 
In the spirit of the season, I really love * I Believe in Father Christmas* by ELP. It heavily quotes the Lieutenant Kijie suite by Prokofiev, an almost satirically cheerful piece of music.
And then it hits you with lyrics like:
Greg Lake insists that it is not in fact an atheist anthem, but I sure do love to read it that way.
Nobody has mentioned “Cherry Poppin’ Daddies” yet? Damn, their songs are INSANELY cheery and upbeat, yet cover very dark subject matter. I give you, “Zoot Suit Riot” which is actually about race riots that occurred in LA in the iearly 1940s, and “Drunk Daddy” which is about child abuse, from the point of view of the child. Both such bouncy tunes.
I dunno. I’m going to disqualify this on a couple of grounds. First of all, Richard Thompson could sing “Itsy Bitsy Spider” and it would sound dark. And second, the song is actually * less * dark than the title would imply, given that the Wall of Death is some kind of carnival ride.
You may be interested in this recent thread: Musical Dichotomy. The OP was “sunshine lyrics with somber music.”
Lots of mixing it up in the thread.
My entry for the OP:
Bruce Hornsby — Lost in the Snow.
Whoa. Not only is an upbeat tune with depressive lyrics, but it also has upbeat lyrics that turn sad.
Check out the opening:
Weeee! What a great day this is going to be! The song describes an eight-year-old Rockwellian boy in a Rockwellian scene.
Then there’s the bridge:
:eek::eek:
Oh my. Oh my oh my. I hope this works out OK. But there’s the chorus:
Is he going to be OK? Please? The last two lines…
:(:(:(:(:(:(:(:(:(:(:(
I came in to specifically mention Mr. Lehrer, but I was thinking specifically of “Who’s Next?” but it’s true, just about any of them qualify…“Poisoning Pigeons in the Park,” for example.
“Bliss” by Muse is one of their most popular stadium anthems, but it’s also a bleak, emotionally anguished song about alienation and personalities clashing within a relationship, despite its upbeat, stompy, alternating rhythms and cheerful first verse, in which the narrator approvingly observes of his lover:
“Everything about you is how I’d wanna be
Your freedom comes naturally
Everything about you resonates happiness
Now I won’t settle for less”
But here’s the narrator’s creepy reaction:
“Give me
All the peace and joy in your mind” [falsetto wailing]
Unfortunately, serenity, peace, and joy don’t work that way. Matt Bellamy’s wailing at the end of the choruses can be interpreted variously as cries of joy or pain – or frustration at his inability to fully connect with (and share the blissful mindset of) his girlfriend. The song’s narrator seems to get it, too:
“Everything about you pains my envying
Your soul can’t hate anything
Everything about you is so easy to love…”
As the song progresses it steadily creeps towards an ever-more minor key. Actually, the tonal poignancy is there from the very beginning, with the introductory guitar arpeggios, but the emotional bleakness of the song is largely masked at first by the ethereally lovely synth part (those rapid, bubbly ascending arpeggios that sound so happy) that feature so prominently in the song.
This song also features one of the best uses of guitar distortion by Bellamy, who’s a renowned guitar axman famously besotted with distortion as achieved by various means. The way he flanges key notes throughout the song gives them a bittersweet tonal twist, souring and curdling them as the lyrics stake out a progressively darker mood.
And in the end, the minor key triumphs over the major. From the beginning, the minor bits are inserted in the guitar figures that accompany the verses, but by the final guitar solo, the minor (or is it diminished?) key takes over, and accompanying that, in some performances, Bellamy hits the whistle register (the octave above falsetto) with a final climax of wailing in extremis.
I always loved Iris by Live, esp. after realizing it was about a guy hating his girlfriend for loving him while giving him a blow-job
Let’s not forget the musical offerings of Borat
Kinda surprised no one’s mentioned Creedence Clearwater’s Bad Moon Rising yet.
Also, The Toadies kinda have this genre as their thing, notably on songs like Possum Kingdon, Tyler, and Jigsaw Girl (About an ex-girlfriend that was murdered, cut up, then the singer lays her severed body parts on his bed )