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When I wrote about Red Album deluxe track/outtake “Miss Sweeney” I spoke of the euphoria of hearing a classic Weezer track so deep into the new millennium, and the band’s new arena rock/radio pop M.O. But “Sweeney” is far from the first post-Y2K sign of life. Perhaps the brightest beacon in memory came April 9, 2007: music news/gossipper Idolator posted a link to a fresh Rivers Cuomo demo as their leak of the day, which was said to come from an anonymous tipster. Fans report having seen the MP3 originate in an official posting, where it remained for a few hours before mysteriously disappearing again — suggesting that Cuomo leaked the song himself, as he has done more than a few times in the past. The fact that it is the only recording that has leaked from his highly sought-after Delivrance At Hand! home demos crop (circa late ’06/early ’07) seems to corroborate this theory, as if a fan were to have gotten ahold of it, the entire thing would have likely leaked.

Its provenance didn’t particularly matter; what mattered was the raw beauty of the soul and emotion shimmering right on the song’s surface. As various other music blogs picked up the story and the MP3, fan reactions far and wide were largely ecstatic:

Thats pretty much the best thing Rivers has written in about a decade.

Those lyrics, that harmony, that simple emotion, and that smooth, soft melody remind of my favorite band from the 90’s. Thank you Rivers for keeping it real and bringing it back at an ever-so-needed time.

Is that you, Rivers? Haven’t seen you in a while…what feels like ten years…

And they were right. Musically, the song is an epiphany: the confident strum and thrum of a threadbare acoustic guitar, a loose-lipped rap verse that sounds more “El Scorcho” than “Beverley Hills” (or God forbid, “Mo’ Beats”), a most triumphant and fitting return of the fabled ’90s falsetto, elegant and simple piano chords that remind one of the warm wood stove and fireplace in “Longtime Sunshine,” an even more unbelievable (and fucking beautiful) throwback in the form of true harmonica catharsis on the chorus…It’s almost as though Rivers Cuomo opened up a Weezer forum one morning, read some Pinkerton worshipper’s latest refried diatribe, and said, “All right, fine.” Walked over to the guitar in the corner of his room, whipped out the notebook, and drew out some musical staves like the old days.

“This one’s for the little bitches.”

The song’s not just a retread, though — what’s so heart-rendingly beautiful about this song is that it picks out many of the things that worked so well about early Weezer, then travels new territory with them. This is the first glimpse the fans would get of Cuomo’s post-Make Believe exasperation with the standard verse/chorus/verse pop form, the one that he boiled down to an assembly line formula back in 2001: that is to say, I can only refer to the song’s emotional climax as a “chorus” for lack of a better word. The song is essentially one winding, 90-second verse that builds to a gorgeous pinnacle that, just as naturally as it coalesced, falls apart into a brief reprise of the song’s opening thought. Thus concludes Cuomo, dropping his guitar with a thudding chord.

The lyrics are better discussed in the context of the full-band Weezer version recorded during the Red Album sessions — and I say that not because it’s the better version, necessarily. I have a hard time choosing on a given day because the demo does some things better than the band version (namely, Cuomo’s vocal performance, and the overall arrangement of the song: although there is a harmonica on the Weezer version it’s essentially obliterated from the mix by the band’s addiction to electric guitars, and the synth strings that augment the demo’s lush piano chords distract from their plaintive beauty), while the band version does some things better than the demo version…like best reflecting the lyrics. It’s hard for me to say which the better take is, so I won’t — something for the commenters to decide — but there are a couple small added touches that I think do a better job of painting the text of the song.

While the demo began with the proud strut of Cuomo’s worn and dirty acoustic, Weezer kicks things off with a roomy, marching drum beat from Pat Wilson (some of the best-sounding drums on a Weezer recording in ages!), perhaps meant to represent the sound of a caravan approaching the farm where the narrative of the song takes place. The muted cymbal crash (deliciously scrappy, I must say!) that introduces the acoustic guitar is like the gate to the farm clattering to a close behind us, and the swaying chords sound like the hustle and bustle of the barnyard life beginning to encircle us. Cuomo the Pig soon joins our coterie, and spins us the yarn of his life. Naturally, the tale begins with childhood:

When I was a baby, I was so happy
I played with my friends in the mud
Wilbur and Jack and Otis and Beatty
We were a gang, ya got to believe me
Mama would scold us if we got too rough
She didn’t care, she was proud of us…

It’s worth noting that the rapping verse and its falsetto backup from the demo are here intact, albeit a downgrade from the perfection of that magical home recording. But it’s certainly a serviceable performance, and reels us into the Pig’s little world quite nicely. It sounds like he had a nice childhood. The next couplet is very interesting — “I ran around and talked to the animals / Tellin’ ’em stories of savage cannibals” — because while it’s clearly a sort of conversational aside, a little anecdote of what being a kid pig on the farm was like, it’s the sole reference to anything impure in the entirety of the verse vignette. “Savage cannibals” — an interesting concept, especially one for a little pig to have heard about, or perhaps concocted in his own imagination (after all, he’s the one telling the story to everyone else). Its exact meaning is up to interpretation, but it does two things for me: firstly, there’s a sort of literary quality to it which I think makes this song’s inadvertent reference to Orwell’s Animal Farm all the more tangible; and secondly, the dark allusion certainly serves to foreshadow the grizzly inevitable of this tale’s conclusion.

Then I got older and noticed a girl
First I was sure I didn’t exist to her
I sulked around but I didn’t know why
Then she put her cheek on my shoulder, and I
Was lookin’ at her and she was lookin’ at me
We started to smile: it was our destiny
Tina was her name, she was my cutie pie
Forgot about the things that I used to like

Those synth strings enter with this turn in the plot, and with them our hearts begin to melt a little. How adorable is that? Cuomo of course can’t resist putting in a classic hopeless-romantic quip of his own (“I was sure I didn’t exist to her”), but what’s so cute about this story is that the love interest finds the Pig’s sulking endearing (something that never happened in one of Cuomo’s more autobiographical songs: perhaps an interesting subtext here is that something like that would only happen in a fairytale?). “We started to smile, it was our destiny” — so simple, so pure, as if Pet Sounds had just left Cuomo’s turntable yesterday. Gotta also love the “she was my cutie pie” line, a piece of nerdy-white-boy-rap slang that sounds like a discarded draft lyric from “Buddy Holly.” And all this set to such lovely music? Excuse the break in my analysis, but it’s almost too good to be true!

I spent all my time followin’ her around
My friends all made the whiplash sound
But they understood, they was happy for me
And everyone clapped when I asked her to marry me
And she said yes, and we felt so fine!
We lost track of the passin’ of time…
Before I knew it, we had our own babies
Gina and Shade and Kiwi and Ged

Of course, Weezer predictably adds sound effects where appropriate in this segment of the verse. While the demo perhaps wisely left these things to the imagination, when the Pig’s friends make “the whiplash sound,” Cuomo’s friends in Weezer are there to make it as part of the backing vocal track, and they even dub some percussive handclaps over the “everyone clapped when I asked her to marry me” line. Some have bemoaned this move as belaboring the obvious, but personally, I think it works nicely in the song: it’s cute and cheesy in an endearing way, and the handclaps are tasteful and fun enough that I can’t help but clap along whenever I hear them. And oh, the joyous release of that line, “She said yes, and we felt so fine!” It’s lovely — especially when Wilson helps express the point with a little drum roll that sounds almost like the clicking of someone’s heels, or maybe a lovestruck heart skipping a beat. In any case, it most certainly is the sound of a great musician and his talents being put to good use after so many years of being curbed and neglected.

Wilson’s building toms also make for a nice segue into the sad climax of the song, the prolonged inevitable finally realized:

But now, I have to die
I’ve lived a good life, I’ve got no complaints
I’d like to thank Farmer Pete
For bringing me scraps of food that I could eat
He always had a smile on his face
He didn’t want to think of this day
It’s finally here.
It’s finally here, oh…

Catharsis, pure and simple. While the austere beauty of the demo version’s simple, subtle chorus is truly something to behold, I think the electric release of the Weezer version captures the moment better. Those thick, strangled guitars, the piano fully centered now as doubled by a twinkling glockenspiel/xylophone that is TRULY right out of “Pink Triangle,” the harmonica buried deep in the mix (not heard so much as felt), and the backup vocal echoes/harmonies of “it’s finally here” push the emotional resonance of the moment into the red. Speaking of that piano, listen closely — it really hits on some violent, discordant chords in there, and the effect is nothing short of epic.

God, it keeps going! At this point Cuomo tears into a primal wail so loud and disembodied it sounds like it’s roaring down from the clouds above. And then, in beautiful layered harmony: “They called me Pig!” The guitars are SCREAMING now, Wilson letting loose all over the cymbals, a gloriously heavy and layered restatement of the unassuming tumbles and rolls of the intro — it’s just all so powerful, so gripping. For me, it ranks up there with — maybe even beats — any given old school Weezer song as THE best singalong experience in the band’s canon. When this song comes on in the car and I’m out on the highway, I throw my hands up in the air and shout along with this moment so hard that I am *guaranteed* not to have a voice anymore on the other side. Body-trembling, arm-shaking, rearview mirror-cracking catharsis — what a fucking moment. I can’t get over it. It’s just so, so powerful.

The lyrics only stoke the fire that much more: halfway through the extended verse we really came to like this Pig, the cute and endearing little personification that he is. That’s because despite the metaphor (or perhaps because of it), we can really relate — this is a human’s life just as much as it is a pig’s, which is emotionally poignant and potent on so many levels (the shock of the relatability segues into an identification with the Pig protagonist insofar that some listeners might choose to go vegetarian by the song’s conclusion). This point really comes to a head during that climax: the way the Pig gratefully accepts his cruel fate is, in no small way, a pretty apt metaphor for the way we deal with our concept of God. He gave us life, so even when he’s come to take it back from us, we thank him for the time we had — “I’ve lived a good life, I’ve got no complaints.” Could any of us ask for any more than to truly feel that way, at the end of the day? And yet, even as God, Farmer Pete approaches the Pig with a gun in his hand and regret in his heart. Is that remorse real or imagined? Wishful thinking, or does Farmer Pete really feel something for this Pig the way we do? Regardless, the day has come, it’s finally here, and even when we are brave and accepting, there’s an existential disbelief that comes with this moment of harshest reality. It’s finally here…

What happens next is as grand a triumph as anything Cuomo — maybe anyone — has ever achieved through song. That climax is the sound of the Pig lifting up off the earth and out of reality, already catching a glimpse of the forever just beyond the clouds, be it a pearly-gated heaven or perhaps a blackness as dark and endless as outerspace. But suddenly we’re sucked back down to the moment on earth, where the Pig lays patiently before his maker on the stump of a fallen tree. Knowing what’s about to happen, his life quickly flashes before his eyes, back to the moment that started it all — “When I was a baby, I was so happy, I played with my friends in the mud…” — and the arpeggiating guitar lines reach up to the sky, a rattling tambourine symbolic of the last cool breeze this Pig will ever feel on his skin.

Bang. Wilson hits the snare, and just like that the shotgun shell courses down the barrel, through the open air and directly into the Pig’s bowed head. He was still before, but now there’s a certain lifelessness to him as the blood spills from his skull, gently rolling down the side of the tree stump. The plaintive strum of the guitar pulls the great big Camera of Life away from the scene, Farmer Pete pausing to wipe his spectacles beneath the sepia tones of the setting autumn sun. The farm is instilled with a quiet reverence for the memory of the fine Pig, but you can tell as the sun dips beneath the horizon and the image fades to black, that this is something none of them will ever speak of again.


People: this is a song. I would close with a thought about how this is what Weezer should be about nowadays, and how this is something that should not have to be relegated to outtake/bonus track status — but as I sit here in the wake of this song, that feels beside the point. Forget Weezer for a moment: this is what music should be about; what cinema should be about; what art should be about; what life should be about. It’s rare that a song can so totally consume the heart as to really inspire one to change the fiber of his very existence, but that’s the kind of thing this song achieves for me. Rather than a reprimand or a suggestion, I’d rather take this opportunity to thank Cuomo for a piece of his mind, heart and soul. He truly has a rare and precious beauty in them all.


  1. OOS wrote:

    I think that I Don’t Want To Let You Go has a similar melody, but it’s not THAT similar, in my opinion. I don’t know, which parts are similar?

    Sunday, April 12, 2009 at 5:21 pm | Permalink
  2. MS wrote:

    similar sure, but it’s not the first time it’s happened in the time-line of Cuomo compositions.

    Sunday, April 12, 2009 at 6:19 pm | Permalink
  3. MyNameIsJason wrote:

    jesus there were a lot of comments in response to this. I missed a lot in England.

    I just listened to this. I can see the resemblance, but its pretty damn insignificant in my opinion. not huge at all. Pig is a beautiful fucking masterpiece, and there is no ripping of any kind going on here.

    Sunday, April 12, 2009 at 10:02 pm | Permalink
  4. Soyrev wrote:

    OOS: The acoustic riff that starts “I Don’t Want To Let You Go” sounds like a cleaned up, nicely dressed version of the acoustic riff that starts “Pig.” The build in the verses is ridiculously similar, melodically and structurally (and even some lyrical overlaps — both songs mention how Cuomo’s friends react to the way he’s approaching his girl, in roughly the same spaces). Especially when the spare piano lines add in, those piano figures are almost identical! I would say listen to IGWTLYG at around 0:30 and the Rivers demo of “Pig” at around 0:53. But really, just the way the songs both build through the verses is the main similarity, especially when you consider the instrumentation, the way the acoustic riffs are very similar in progression and timbre, the spare piano lines that add in, how in both songs the verses are FILLED with words/vocal melody…IDWTLYG has a proper chorus and “Pig” does not, so that’s where the similarities start to taper off, but outside of that I’m not sure how one would fail to notice it…Hell, even in IDWTLYG’s wordless bridge, where Cuomo’s going “ooooh, whoa-ho-oh” in the foreground — that sounds a LOT like what he does during the end of the “Pig” climax (“ooooh whooooaaa / they called me pig,” that part).

    And it makes sense that IDWTLYG is like a cleaned up, pop and simplified revisioning of “Pig,” seeing how Cuomo was experimenting with both pop and experimental drafts of songs at this point — we know how “The Angel and The One” was a rewrite of the traditional verse/chorus “Bad Girl” during the Deliverance era as well.

    MS: Well yeah, but I’m not saying this to at all discredit IDWTLYG or “Pig” — they’re both great songs and definitely different enough to warrant each being released (just not on the same album). Certainly some of Cuomo’s best work this century, although if we’re looking to compare then yes, “Pig” is clearly the better song. Now that I think about, songs like “Miss Sweeney,” TAATO and “The Spider” match a lot of the Blue and Pinkerton era’s material, in my opinion, but I would say “Pig” transcends even that. As a standalone song I would put it above much of the Pinkerton era and most of the Blue — I’d put it on the same shelf of brilliance as songs like SIAS, OID, ATS, FFY, “Butterfly,” truly Cuomo’s best and most inspired moments. Though I’m sure lots of people would burn me at the stake for saying something like that.

    MNIJ: Presuming you’re talking about the “Bohemian Rhapsody” similarity, I agree. Makes the song cooler, actually. Inspired by Queen and Robinson Crusoe, that’s the kind of Cuomo I want to hear!

    Monday, April 13, 2009 at 9:26 am | Permalink
  5. CrippyBoy wrote:

    Well-written and thoughtful as always, Soy. If “Bohemian Rhapsody” was indeed a partial inspiration for “Pig,” Rivers needs to listen to some more Queen. Heck, we all need to listen to more Queen.

    Friday, April 24, 2009 at 8:26 am | Permalink
  6. Soyrev wrote:

    There’s also a bit of similarity in the piano (and wordless climax) in this song and the Beach Boys/Dennis Wilson rarity “Barbara”…though that may just be coincidence. Cool to hear though.

    Thursday, July 2, 2009 at 7:27 am | Permalink
  7. OOS wrote:

    Karl said that there’s been a couple times that he’s pointed out similarities between two songs and gotten them off a tracklist; maybe Pig is one of them? I mean, if Rivers removed YWGWMT (one of his best songs ever, in my opinion) from SFTBH because of a vague similarity to another song, maybe Pig was taken out of consideration when someone brought up these points? Granted, they’re pretty small, and not ripping off other tracks in any way, but still, Rivers is strange.

    Thursday, July 2, 2009 at 9:05 am | Permalink
  8. Soyrev wrote:

    I think Rivers took “Pig” off the album due to his subconscious (yet uncontrollable) compulsion to make the shittiest album possible from a given session. No more, no less.

    Thursday, July 2, 2009 at 9:42 am | Permalink
  9. OOS wrote:

    That’s not necessarily true, if it was we would’ve gotten TITW as the closer instead of TAATO, and MDIC instead of Pork N Beans.

    In any case, though, yeah for the most part that seems true.

    Thursday, July 2, 2009 at 4:26 pm | Permalink
  10. Soyrev wrote:

    I don’t think either of those songs were recorded in any session for TRA. Just for argument’s sake. 😛

    Thursday, July 2, 2009 at 5:16 pm | Permalink
  11. OOS wrote:

    That’s cause they (wisely) dropped them because they wanted to pursue better material. Still, I guess you’re right. I’m still using my example, though, because we don’t have any other Red demos.

    As an aside, does anyone else find it infuriating that we got daily updates for the boring Mala-era, and lots of b-sides and live performance from Green, and yet for MB and Red (which seem to be far more interesting periods), we’ve got almost nothing?

    Thursday, July 2, 2009 at 6:16 pm | Permalink
  12. Soyrev wrote:

    Yeah, that sucks a lot. I’m grateful when we get anything from any era — even when the band shits out a turd like “O Lisa,” I want it — but it’s depressing that MB and TRA clearly have the best outtakes/stories of any post-Pink record and they were kept so hush-hush (much like A7, which, good or bad, promises to be the biggest spectacle of Weezer’s career).

    That said, as far as live b-sides go, the one on the Beverly Hills single — “Butterfly” — is as good as it gets. What an improbably beautiful arrangement!

    Thursday, July 2, 2009 at 6:43 pm | Permalink
  13. OOS wrote:

    What a strange choice to pair with BvH. I’ll have to track that down.

    Also, A7 will be interesting. To be honest, i’m not sure how much of a spectacle it’ll be, because outside of the Weezer hardcore, no one knows that it exists.

    Thursday, July 2, 2009 at 8:35 pm | Permalink
  14. Soyrev wrote:

    Yes, but with all the outside writers and musicians and whatnot…It’s definitely going to be a spectacle. Even moreso than Red.

    Thursday, July 2, 2009 at 9:59 pm | Permalink
  15. ThomYorke wrote:

    Perhaps Rivers has kept more quiet about band goings-on because he plans to write his book some day? He figures we’ll hear about it sooner or later?

    I don’t know – just throwin’ it out there.

    Friday, July 3, 2009 at 6:49 am | Permalink
  16. OOS wrote:

    Perhaps. He certainly is a good writer.

    Also, i’m still hoping that the collaborations aren’t for A7. I know that i’m wrong, though.

    Friday, July 3, 2009 at 8:26 am | Permalink
  17. Soyrev wrote:

    I doubt Rivers, in whatever book he ends up writing, is going to detail every little thing we’ll want to know about every session they do…

    Friday, July 3, 2009 at 7:53 pm | Permalink
  18. OOS wrote:

    No, but maybe he still wants to save the important stuff for whenever he wants to release it.

    Friday, July 3, 2009 at 9:07 pm | Permalink
  19. Soyrev wrote:

    I forgot this sucker had so many comments! Good times.

    Thursday, September 24, 2009 at 8:06 pm | Permalink
  20. Soyrev wrote:

    And I just realized, according to, this is my most-played Weezer song (with “Say It Ain’t So” in second, “Getchoo” in third, and “Miss Sweeney” in fourth). What a classic!

    Friday, October 2, 2009 at 6:42 pm | Permalink
  21. David wrote:

    Just listened to this song for the first time in ages. It’s fucking INCREDIBLE, isn’t it?

    That falsetto near the end of the chorus and then the last 2 minutes glorious sound is just amazing, definitely way up there with best Weezer moments ever.

    Love this song so much.

    Sunday, January 24, 2010 at 4:32 am | Permalink
  22. Soyrev wrote:

    At this point, it probably moves me more than any other Weezer song, with the exception of “Only In Dreams.”

    Sunday, January 24, 2010 at 10:56 am | Permalink
  23. brado8 wrote:

    It’s fantastic, no doubt. I prefer ‘Miss Sweeney’ if push comes to shove.

    Sunday, January 24, 2010 at 2:48 pm | Permalink
  24. GuessWho wrote:

    The Angel and the One > Pig > Miss Sweeney.


    Sunday, January 24, 2010 at 3:34 pm | Permalink
  25. danup wrote:

    I was listening to this the other day and I finally heard him saying “they call me pig” at the end. It’s weird—I had read this entry, I’m pretty sure I’d read the actual lyrics, and I’ve listened to it over and over, but for some reason those vocals had never struck me as words. Did this happen to anyone else?

    It’s okay; I was the last person to see the FedEx arrow and hear “I L O V E Y O U” in Death and Destruction, too.

    Monday, March 8, 2010 at 7:36 pm | Permalink
  26. noobcakesmcgee wrote:

    I L O V E Y O U in DnD? Okay, second to last apparently. what is that?

    Monday, March 8, 2010 at 8:16 pm | Permalink
  27. Soyrev wrote:

    At the end of the “Death and Destruction,” Cuomo slowly spells out “I love you,” letter-by-letter. A little cheesy, but kinda cool. I like that song.

    Monday, March 8, 2010 at 8:34 pm | Permalink
  28. noobcakesmcgee wrote:

    Ah, I see. Always thought it was just random oh-ing and ooo-ing. DnD has definitely grown on me though. I dig it now.

    Monday, March 8, 2010 at 9:05 pm | Permalink
  29. OOS wrote:

    I never listened to DnD. I only got through the first 30 seconds, which I liked a lot and thought had a very morose, classic rock feel to them. Then I got sidetracked, and i’ve really never felt the need to listen to Maladroit since, so that song sort of fell through the cracks.

    Tuesday, March 9, 2010 at 11:10 am | Permalink
  30. Soyrev wrote:

    That makes no sense. You heard a Weezer song that you liked a lot, didn’t finish it, and never went back to it? I can’t imagine someone doing that but also being interested enough in the band to, say, read this website.

    Wednesday, March 10, 2010 at 9:18 pm | Permalink
  31. Melack wrote:

    I have probably never finished Maladroit as a whole.

    Friday, March 12, 2010 at 10:03 am | Permalink
  32. OOS wrote:

    To be honest, the site that I was streaming the album on closed, and I totally forgot that DnD existed, so never went back to try it again. And now my speakers are blown so I cant. It also didnt help that this correlated with the post-Raditude “I dont care about Weezer” attitude that most (including me) seem to have at this point.

    In any case, i’m totally gonna go try it again once I get my speakers back up.

    Anyway, Pig, great song huh?

    Friday, March 12, 2010 at 10:13 am | Permalink
  33. Soyrev wrote:

    Melack: But you’ve heard it all at some point or another!

    OOS: Yes, a great song indeed. I really don’t know why we’re talking about Maladroit here, of all places.

    Friday, March 12, 2010 at 10:35 am | Permalink
  34. OOS wrote:

    I dont know either. But yeah, great song. It really shows that trying to be universal doesnt really help one bit; heres a song that absolutely NO one can relate to, and yet it rings truer then anything that Rivers has made for a decade. Why? Because he infuses it with little details and so much emotion that you believe what hes saying, and get into the mindset of the character that he’s created.

    Was a reason ever given for why this wasnt on Red? I honestly cant see why. The fanbase loved it, and considering Rivers constant need to please, one would think that Pig would be a shoe in.

    Friday, March 12, 2010 at 11:45 am | Permalink
  35. OOS wrote:

    I dont know either. But yeah, great song. It really shows that trying to be universal doesnt really help one bit; heres a song that absolutely NO one can relate to, and yet it rings truer then anything that Rivers has made for a decade. Why? Because he infuses it with little details and so much emotion that you believe what hes saying, and get into the mindset of the character that he’s created.

    Was a reason ever given for why this wasnt on Red? I honestly cant see why. The fanbase loved it, and considering Rivers constant need to please, one would think that Pig would be a shoe in.

    Friday, March 12, 2010 at 11:46 am | Permalink
  36. Soyrev wrote:

    From the “Harvard Crimson Interview: Director’s Cut” edition…

    THC: Okay, so getting back to the original question: What are some of the topics that you’re writing about, now, in that case?

    RC: I’m working on a song called “Pig,” which, ah, follows the life of a pig, from when it’s just a little piglet on the farm, playing with other animals, to a point where it’s grown up and married and has kids, but then it eventually [laughs], it gets slaughtered!

    THC: Hopefully, this isn’t semi-autobiographical?

    RC: Not intentionally, no. And ah, but he’s singing to the farmer at the end of the song. He’s forgiving him. As he’s going to be slaughtered.

    THC: That’s very appropriate for Easter, I suppose.

    RC: [Laughs]

    Sunday, March 28, 2010 at 9:03 pm | Permalink
  37. Soyrev wrote:

    I like that for a couple of reasons. One, it shows that Rivers really spent a lot of time working on this little gem….And I like how he says it’s “not intentionally” autobiographical. 😀

    Sunday, March 28, 2010 at 9:04 pm | Permalink
  38. ahoutman wrote:

    Poor Walfred must have been devastated.

    Tuesday, March 1, 2011 at 4:09 pm | Permalink
  39. andybedingfield wrote:

    The final paragraph of your essay is perfect. Much like this song.

    Random: the Rock and Roll Hall of Fame is stupid at times, but I want to see Weezer make it in before I die. I wonder if that’ll ever be in the cards. Anyone who writes a song this good deserves as much.

    Thursday, March 3, 2011 at 8:48 pm | Permalink
  40. Mr. Sweeney wrote:

    True, the Rock Hall has some stupidity in it’s hallowed halls (Alice Cooper anyone?) But there’s a hell of a lot of brilliance in there as well. Where else can you say Run DMC, The Beatles, and Nirvana in the same sentence?

    And as for Weezer’s chance of getting in, I bet that they will. Those two first albums are beloved by critics to, not just us rabid fans. I think you’re eligible 25 years after the release of the first record, so we should only need to wait eight years to see their name on the ballot. Well, hopefully.

    Friday, March 4, 2011 at 10:13 pm | Permalink
  41. Ludicrosity wrote:

    Considering many consider Pinkerton to be the birth of emo (which is mostly terrible now), I think Weezer should definitely be inducted — they pretty much invented a new genre of music… or brought it to higher prominence anyway. I’m not sure if they will be inducted though, considering their lackluster productivity after the first two records. It’ll be interesting to see though, those first two albums influenced a lot of bands.

    Saturday, March 5, 2011 at 10:58 am | Permalink
  42. yim_yecker wrote:

    They’re already in there guys! Well, they donated the El Scorcho video’s =W= sign to the gift shop and you can see it lit up at night when you drive by. As for the museum, they leave out a lot of the great bands because I think they’re more inclined to show artists who have made generous donations. I didn’t see ANY Queen or Beach Boys stuff on display when I just went a couple weeks ago. But I guess they think it’s okay to display one of Slash’s top hats in the actual museum part (when him or his band have not yet even been inducted!!) like I even care. Haha but there is a lot of cool stuff and a lot of cool reading/information. Nirvana isn’t in there yet, but they will get in there first I hope and then Weezer!!

    Saturday, March 5, 2011 at 10:48 pm | Permalink
  43. clonus wrote:

    I’d like to think Rivers would refuse on principle until they induct KISS. 😉

    Sunday, March 6, 2011 at 5:53 pm | Permalink
  44. andybedingfield wrote:

    Clonus: Haha. Kiss needs to be in there. I’m not even a huge fan but they were so important to rock music.

    Mr. Sweeney: I know, there are a few hip hop artists I wouldn’t mind seeing along with RunDMC, although that makes it hard to call it the Rock n Roll Hall of Fame. And it took so long for Alice Cooper, Van Halen and deserving artists…I actually want Rush in soon, it’s a travesty they aren’t in.

    Sunday, March 6, 2011 at 7:06 pm | Permalink
  45. Ludicrosity wrote:

    I think Nirvana has to be a first ballot entry into the Rock hall… come on, they just have to be. Kiss also needs to be inducted, weird that they aren’t in there already.

    Sunday, March 6, 2011 at 9:01 pm | Permalink

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