Weezer’s career is one that lends itself to unexpected twists and turns: buttoned-down, multi-platinum power pop band of ’94 goes for raw, rock’n'roll catharsis in ’96; result tanks in every way imaginable, band goes off the radar for four straight years, widely presumed dead; ’96 album meanwhile winds up amassing one of the most fervent cult followings in music history despite silence from band, inspiring their belated return; ’01 comeback album is a slick and vacuum-sealed pop record that is in fact the exact opposite of what that cult following wants from the band, in turn trades much of cult fanbase for a platinum record’s worth of new mainstream fans; band re-embraces die-hard fans in following recording sessions by seeking their advice on everything from vocal performance to guitar solo melody, only to wind up making their least fan-pleasing record of all time; shortly thereafter forges a deeper love-hate relationship with those same fans and promises a new schedule of constant touring and one new album per year, but instead sinks back into anonymity for another 3 years before releasing ’05 album with most obviously (and successfully) commercial-leaning single yet; etc, etc, etc.
Still, 2009′s Raditude represents the point at which many lifelong Weezer taboos became commonplace. Rivers Cuomo, always fixated exclusively on whatever he’s most recently written, began plunging into the vast archives of his own unreleased demos to resuscitate songs dated as old as 1997 for fresh recording. Cuomo, usually averse to collaboration, finally embraced co-writing — but instead of with the songwriters in his own band, he chose to work with name-brand pop stars and songwriters. Cuomo even finally made good on his 2002 threat for there to be real, honest-to-goodness rapping on a Weezer album — and yet instead of Cuomo himself, it’s the world’s biggest rapper contributing the flow and rhymes.
“Let It All Hang Out” is a strange crossroads of many of these firsts. Cuomo recently mentioned in an interview that the song’s main guitar lick is one he found on an old demo recording — lending strong support to the fan theory that part of this song is recycled from an unreleased 1999 composition also called “Let It All Hang Out.” And while the finished track does feature the talents of a rather popular rapper, it’s not in the form of a guest spot — rather, pop rap producer/former Kriss Kross manager Jermaine Dupri contributed the lyrics for the song, which accounts for the painfully awkward (and frankly unnecessary) name-dropping of none other than Jay-Z. (Dupri says he was drawn to Weezer in 1994 with “Buddy Holly,” because despite being a rock band, they were “singing about the kind of thing you’d hear on a rap record” — so it’s no coincidence that this marks the second time in Weezer history that the term “homie” appears in song.)
Other than that, though, I have quite the fondness for this athemic slab of big, dumb party rock. That wailing riff that introduces the song lends itself to air-guitaring, and the pummeling riffs, stuttered lyrics and simple man’s drawl of the verse remind of Everclear (good Everclear). The palm-muted guitar that layers in halfway through the verse is an obvious move, but still gets my hands back on my imaginary fretboard just the same. The chorus is a delight too, a great big sugar rush of heavy guitars, arena rock drumming courtesy of Josh Freese, and a real shouter of a singalong melody from Cuomo. The lyrics are simple as hell — “Tonight I’m leaving all my worries and my problems in the house / I’m goin’ out with my homies and we’re gonna let it / Gonna let it / All hang out, let it all hang out / It’s the last day of the weekend, boy, I need some release!” — but, like the simple riffs and stomping drum fills, it’s relatable in a made-for-the-masses kind of way.
Then there’s that bridge, which is a real test of good taste: over some neanderthalic chord changes, Cuomo shouts (with nary a melody for the words), “Me and JD, chillin’ in the shack! / Sharin’ Chiclets, from the same pack! / 180-proof Vitamin Water! / Energy flavor! / Take us to your daughter!” What’s more is a gaggle of girls from the local coffee shop (no shit) make an appearance to echo the lyrics of the build back into the chorus, sounding kind of like a mix between the annoying bitch on “Beverly Hills” and the children’s choir that Passion Pit have made into their indentured servants. The two name-brand name-drops (wonder if Cuomo got a kickback for that), the Dupri reference, the deeply out-of-character embrace of alcoholic escapism and the skirt-chasing of women half Cuomo’s age and well out of his marital vow bounds (Pinkerton did the whole creepy sexual frustration thing with elegance, damn it) all threaten to drive the average Weezer fan into a spasm of self-inflicted blows to the head — and yet I find this section the most infectious bit of the whole damn farce, tempted to shout along as if it’s something I actually give half a care about. Spiked Vitamin Water and crappy chewing gum ain’t my thing, I assure you — but there’s some kind of shit-stupid, stubborn self-belief going on in this track that actually makes it all work well enough to achieve its (rather modest) goals.
In the end, this is not what I want from Weezer in 2009 (or any year), and I’m well aware that this is not a lick different (or better) than the stupid party rock jams I used to bang in the car when Family Force 5′s debut album came out. But this is what Cuomo wants to do right now, apparently, and I have to say I like this a lot more than Cuomo being a loathsome asshole on something like “Space Rock,” or Cuomo feigning insightfulness on a crusty turd a la “We Are All On Drugs.” Hell, even for, say, one of Make Believe‘s better tracks (“Peace,” “Hold Me“) I’m bound to listen to this one way more in the long run, because it actually goes for something completely unique in the Weezer canon and pretty much pulls it off. Consider it a litmus test: if you’re the type of person who can check his cred at the door, crank the fucking volume and sustain a little bit of whiplash in the name of having a good time, then you’ll be more than down to “Hang Out.” And if you aren’t that type of person — say, you’re the kind that despises this song as it represents the sort of hellish, ultra sell-out inversion of everything central to the Weezer you once loved, or maybe you just hate the thing on a strictly musical basis — well, then I expect you to report to the comments section of this post immediately.
One thing that invariably pisses me off about this song, though, is the fuckawful mix. Someone recently brought to my attention (entirely coincidentally!) a clip of this song being played in Rock Band, for which tracks tend to be remixed to make each individual element shine through much clearer (since the kids are supposed to be playing along on their plastic instruments, of course). And indeed, each and every element is far more audible in this version of the mix, including an awesome lead guitar line that layers into the second half of the chorus (COMPLETELY and very regrettably buried in the mix on the album) and a great harmony line from Cuomo that further improves the chorus. The bridge sounds miles better too, and I think the progression actually might be a little bit different! Dear Weezer: release this version of the song — and “Rock Band”-style mixes of all of the records you’ve released this past decade!(Just make sure to skip on the fake audience track and the power-up sound effects.)
56 Comments
I really like this song. Usually listen to it when I’m feeling down and it peps me up a bit. One of the best on Raditude, IMO.
And the Rock Band version sounds so much better.
I agree with everything David said. This song isn’t anything fancy but sometimes it’s okay just to put out a song that’s fun to listen to. Does it reinvent the wheel? Fuck no but that’s okay: It’s a catchy pop song and that’s alright with me.
I think my enjoyment of this song relates back to my period of buying almost the entire Fu Manchu discography about 10 years ago (lets just call it a phase…).
Come to think of it didn’t Pat Wilson keep name-checking Fu back in the day?
Maybe he needed to get it out of his system too.
Good to see Raditude come up in the randomizer, but this song is definately one for playing loud with the car windows up rather than down, if you know what I mean.
Ditto what David and Ludi said. This is a great example of a respectable pop/rock song that does what it needs to do within the confines of its genre. It’s got the right attitude, some fun lyrics, and a punchy chorus. It’s not that the song is great, it’s that there’s nothing truly offensive getting in the way, and so we sort of let the other stuff off the hook. Fun is fun.
Still, I don’t think it speaks highly of Raditude that this is one of it’s highlight tracks.
Yeah, I wish this would’ve been like a Raditude B-side or something and we could have all laughed and wiped imaginary sweat from our foreheads that this didn’t make the album proper but you know what isn’t so bad to listen to and rock out every once in a while and is unique to the Weezer canon.
Sorry, but that bridge is abhorrent. Name dropping Vitamin Water and Chicklets? REALLY? THIS is what we’ve come to expect as OK? Even for the pop genre this is lazy.
I will say that the chorus is incredibly catchy and the lyrics (minus the bridge) are descent. I will admit this song is a highlight for Rad.
My biggest issue with the entire album is simply that it’s not genuine. I’ve said it a dozen times: I love pop, but pop can be done better. A LOT better. I can’t hear anything on this record without wondering who actually wrote what and if the motivation was anything beyond “how many people will buy this if it sounds like X vs. Y.” I find it offensive that after years of ignoring his band, he goes to them on Red, and just as quickly drops them for the new shiny object that is mainstream pop writers.
Am I bitter? Yeah. Is this song fun with a pretty solid guitar lick and chorus? Absolutely. Can simply ignore the context in which this record was created? No. Try as I might…I just can’t.
I tend to enjoy this one more on each successive listen and it’s unfortunate that they didn’t choose it for a 2nd single. This one is a great sing-a-long and it fits in well with the theme of the album. Sure the bridge has cheesy/awkward lyrics about gum and chillin in shacks but I don’t mind that either. Good read!
I knew we always speculated that it may have been related to the ’99 demo, but I didn’t know it was confirmed in an interview. I’d really like to hear the early demo of this song now, as it’s probably very different (and much better) than this version. The Rock Band mix is a little more pleasing to my ears, but I enjoy the song for what it is: a big, dumb rock/party jam.
Thank god I don’t have to stop reading this blog Soy, you’re my last refuge of Weezer related internet information, and I’d have hated to see you miss the point of this one. You have upheld my faith in you.
I’ve yet to venture to the-message-board-formerly-know-as-A6 since Raditude came out, but I did have an exchange with the highly esteemed Mr. Boxer a few weeks ago. Here were my thoughts on the album as a whole (and they apply perfectly to this song, which happens to be my favorite on the album).
“I think Raditude was successful for what it was, the equivalent of BREAKUP SEX with Geffen…the band did EVERYTHING, Geffen could possibly want, the most pandering pop they’ve ever made (and pretty good for what it was attempting), and promoted the fuck out of it with TV appearances, and WUGGIES!!!111 This was TGA to the Nth power, and I can respect that.”
Its fine in the context of Raditude, though I would much rather go play KDDO, which this reminds me of.
One of the few tunes I like from the new album. The verse sounds like The Cars to me. I approve of that.
@ OOS:
I *knew* I wasn’t the only one who was reminded of KDDO! Crab, too. The whole chorus of this song sounds very, very Green-ish.
I must admit, if there is one thing that irritates me about this song it IS that bridge… it seems really forced and doesn’t fit in with the rest of the song at all. I like the pause between the end of it and the last chorus though, that actually sounds cool. The girls singing annoys me too, they sound like a group of 10-year-old girls… especially the “on the dance floor” part. I just think the song didn’t need them and they don’t really sound natural either.
I’m going to be honest here…I like that bridge, and the Chicklets/Vitamin Water stuff, because it actually does sound like 39-year old Rivers Cuomo sat down and wrote it. The rest of the lyrics are contrived (although not bad) but I like the awkwardness of those lines. I wish Raditude was more of this and Trippin’ and If You’re Wondering…and less IYD and PMBT, which sound like Rivers writing for other artists. Oh well.
(This song probably sounds awesome if you hear it on the radio in the car, too.)
I guess I’ll be in the minority and say this is one of my least favorite songs from Raditude.
The lyrics are the worst part for me. While, I’m sure there was some kind of irony in the classic Buddy Holly line involving “homie,” I feel like there’s none of that in LIAHO, and that really ruins it.
And the “Vitamin Water” line might be one of my least favorite Weezer lines ever. When I hear it, all I can think is “Does Rivers even really know what this means? Has Rivers, at any age, much less at 39, ever experienced this?” This probably ties into the “insincereness” that Thomyorke was talking about.
Also, like Thomyorke was saying, the music is clearly “Paint By Numbers Pop-Rock: 2009 Edition.” Sure, it’s catchy, but I can turn on Top 40 radio and hear 100 other songs that sound identical. I’m not anti-pop, but to hear such a great songwriter churn out cookie-cutter pop like this pains me.
I stand by the notion that if the 10 songs of Raditude were broken up and given to other musicians, you would have 10 songs valid of being singles for any other musician. But not for Weezer.
That said, it’s not my least favorite track of Raditude (those would be, Love Is The Answer, Can’t Stop Partying, and… ugh… In The Mall). But it’s certainly not at the top of my favorite tracks from Raditude (not that that says much).
the girls singing in the chorus make me want to shoot myself in the head. did varz really go pick them up at a coffee shop? i’d never heard that. they sound like they’re six. too young for coffee.
That Rock Band video should just be the official video if this becomes a single.
And I do agree that this is the “paint by numbers pop” that Nate mentioned, although I actually think this is one of the few instances on Raditude where it works. I cannot see TGGH, IYD, or any of those cookie-cutter pop songs being actual hits. They don’t sound like Katy Perry, or Lady Gaga, or anything that resembles current radio trends. They’re actually quite bland compared to what’s on top-40, which is really saying something. LIAHO, on the other hand, does sound like it could be a radio hit.
There are lot of things to dislike about this song, but for the most part I can make an effort to ignore them and accept the song “for what it is” (as people like to say) and gain some enjoyment from it. The fact that I have to make an effort at all in order to enjoy it is disappointing to say the least.
I hate the repetition of the last word of each line in the verses though. I don’t know why I consider that any worse than the other stuff, but I do. It’s just another thing that hammers home the “Kelly Clarkson-esque” vibe it already gives me.
Adroit: “one for playing loud with the car windows up rather than down, if you know what I mean.” That’s brilliant! And I mostly agree, but I actually think pretty much all Weezer is windows up music: even if I’m playing something great like “El Scorcho,” I don’t really want the whole neighborhood hearing me wail along to some messy, sexually frustrated little tune.
SOS: It’s not confirmed that he was referring to the 1999 demo of the same name, but Cuomo did mention he had this riff lying around for a long time and found it again recently (presumably when poking around for Alone 2). So that at least lends some weight to the theory that it’s old music with new Dupri words; previously Karl Koch himself had no idea that anything from the song was anything old.
And it would explain why so many people here get a sort of Green Album vibe from the song, though I’d say this leans more towards SS2K than anything else.
FarmerPete: I like that! Raditude as breakup sex with Geffen after TGA was makeup sex…Very funny. Although let’s not forget that Raditude is something Cuomo really wanted to do himself.
OOS and GuessWho: That’s odd, I could never imagine substituting KDDO for LIAHO or vice versa — two very different songs that accomplish very different things, in my opinion. Though I think I probably like KDDO more, if forced to choose.
Nate: Right you are! There was definitely something tongue-in-cheek about the use of the word “homie” in “Buddy Holly,” and it’s very telling for the future of LIAHO that Dupri missed that irony completely (and that him failing to hear the irony is what made him dig the band!). It’s odd that Rad and even Red find themselves embracing what old Weezer would only ever dare (or care to) poke fun at, and now the only thing Red and Rad tend to poke fun at is the notion of old Weezer (like in that abhorrent little parody that appears during “The Greatest Man That Ever Lived”). It is what it is, I suppose…
Running Monk: I’d bet good money that Rivers wasn’t even around when they recorded their gang vocals. It was Butch Walker who went down to the local coffeeshop and asked the employees there if they wanted to be on a Weezer record. Knowing Butch — an unimaginative, loathsome fuckwit who paved the way for Cuomo’s current way of thinking by being That Guy who sings about making mixtapes for high school girls despite being in his 30s — he probably fucked all of them, and they were probably all 16 at the oldest and generally kinda beat.
I’m not saying you could substitute KDDO for LIAHO, but LIAHO has very Green-esque guitar tones and chord progressions. Quick, go listen to the chorus of LIAHO, then turn on Crab.
Soy-you need to go back and put that thing about the gang vocals in the original post. That stuff about Butch was beautiful. Oh man.
and I can picture a 99-era home demo of that riff at a slower tempo-wasn’t Crazy One from that time? something like that, but obviously different vibe/lyrics. definitely of that era.
Soy: “Knowing Butch … he probably fucked all of them, and they were probably all 16 at the oldest and generally kinda beat.”
Youch! I would still like to hear the Walker version of IYD that is partly shown on the making-of video though. It sounded a lot better than any of the versions we have…
Clonus: I guess that’s partially because, as sad as it is, IYD and TGGH are the most “Weezer” sounding songs on the album (other than maybe Put Me Back Together). Probably do to sheer goofiness.
Though, the synth breakdown on IYD could fit pretty well was clearly inspired by the 80s Elecronica Fad going on in pop music today.
Don’t give them ideas… we all saw the Troublemaker video…
(On a random note, while flipping through the channels, I saw the video for “If You’re Wondering” on MTV U. I was pretty surprised, Weezer is hardly relevant these days it seems).
This is definitely one of the better songs on Raditude. It’s one of four that I can stand whatsoever (the other three being I Don’t Want to Let You Go, Trippin’ Down the Freeway, and I Want You To). That being said, I’d be in a much happier place if it, along with the rest of the godawful album, were never released.
But back to the song. I love, love the intro, bad mixing and all – pretty much exclusively because it reminds me of a Green Album song. Also, the chorus has a fantastic melody, and I have a weird affinity for the bridge as well. But I just abhor the verses. The repeating thing is stupid as fuck, and the Jay-Z reference simply makes no sense in context. Here’s a quote from a song called Jockin’ Jay-Z: “Fuck talking about the recession, that shit’s depressing”. So why would it being a recession make Cuomo “feel like Jay-Z” and conclude that “this can’t be life”? A much more apt comparison could come in the form of Young Jeezy, who called his latest album The Recession. And it could easily be substituted: “On top of that it’s a recession, I feel like Jeezy, this can’t be life.” I mean, Jay-Z? Do you even KNOW how much money that dude has?
But that’s enough from the hip-hop fan in me. Basically, this song receives about a 4/10 from me. Which, for a Raditude song, is unfortunately saying a lot.
Red, I think the point of that line is that despite it being a recession, Dupri/Cuomo still feels like “Jay-Z” — you know, larger than life, wanting to spend big and live it up — which makes the current circumstances all the more bothersome and likely to drive Dupri/Cuomo to let it all hang out even more.
But it’s still definitely my least favorite line in the song, and the only one that makes me go, “alright, fuck that.” Also, “Jockin’ Jay-Z” really blows.
Ah, I guess I just didn’t interpret it that way. Especially since the rest of the verse mentions his “freakin’ jerk” boss, the next one mentions “bills on top of bills”, etc. I guess I just don’t get the connection there; it doesn’t seem to me that Cuomo says “fuck it, I’m gonna party anyway” until the chorus.
And about “Jockin’ Jay-Z”, sure it’s not the best, but have you heard what actually ended up being on The Blueprint 3? Jesus, talk about a piece of shit album.
I actually really liked the gang vocals, although originally I thought it was a children’s choir, which would have been a lot cooler (it’s all the rage these days, Passion Pit, Annie Clark, Mew). At any rate, I think it’s still a great surprise that does well to liven up the track just as it feels like it’s about to die.
I wonder what the song would sound like with the gang vocals as back-up throughout the entire song. I just hate how Rivers repeats himself in the verses, it sounds so “Stacy’s Mom”ish, it’s almost unbearable for me. Then again, I do like how they’re a nice surprise at the end… so maybe just take out the repetitions?
I really like this song, and it seems to represent raditude as a whole because it’s a full on collaborated sugary pop/rock song. Just what Cuomo wanted and i think he achieved with raditude.
I get a Bruce Springsteen vibe from it, being down with the people and all that.
Has anyone noticed it sounds alot better on speakers than headphones?
I also wish that the band did some falsetto backup vocals instead of the girls, actually my main complaint with Rad is the lack of the other members voices.
This has always had a WAAOD vibe to me, but it’s better than its predecessor.
Does anybody else get a Prince’s “1999″ vibe on the verse sections?
Am I the only one who absolutely hates the song?
I think the theme of the song is kind of cool, kind of a “Out in the Street” feeling going on there.
But god I find the melodies sooo boring. And that main guitar lead is grating on my ears.
Everything just feels wrong to me and the bridge sounds so out of place.
No Melack, you’re not alone. Despite my admitting it has some descent parts, I’m no “fan” of this by any stretch.
Also Arfentul, Rivers WISHES this was anything close to being Stacy’s Mom. Stacy’s Mom, like many Fountains of Wayne songs, is actually aware of its stupidity and brilliant in its willingness to sing the lyrics straight. FOW knows how to play up the character and it’s genuinely entertaining once you realize the point of view is supposed to be a 13 year old kid who’s dead serious about wanting to be with his buddies mom.
Rivers has lost the ability (or desire?) to write the kind of subtle dry humor that a song like Stacy’s Mom achieves. Plus, the melody in Stacy’s mom is way better too.
/end rant
I’m not a fan of this song either.
And Waitingandwaiting, you’ll have to describe the Bruce Springsteen vibe, because I don’t get it at all.
Bruce Springsteen – Out in the Street imo.
Let It All Hang Out is pretty much a modern take on the same theme, but nowhere near as good as a song.
That’s why I can appreciate and relate to some of the lyrics and feelings in this song. But that can’t save anything when the music itself blows.
thom, I agree. I do like Stacy’s Mom, but it’s just that little aspect (the repetitions) that really grate with me, even if they fit into Stacy’s Mom. And when it’s used horribly in LIAHO, it makes it even worse.
Also, lulz at Rivers wishing he could do something as good as Fountains of Wayne. WHAT A WORLD WE LIVE IN.
It’s amazing how wrong you are about the bridge.
The manner in which you bristle against creativity is how you manage to mark yourself as a true Weezer fan.
Word.
And who was that directed towards, Joe?
Soy, he’s referring to the Jay-Z song “This Can’t Be Life” in that line.
http://www.youtube.com/watch?v=WZ-tqRzenPQ
http://blackhawks.nhl.tv/team/console.jsp?catid=894&id=53412
idk what they did to make this sound great but this is my favorite version of this song
Scorch, you’re right, that’s definitely a slightly different mix…More pronounced lead guitar in the chorus, and a more audible harmony line. Maybe it’s the same version as the Rock Band mix(albeit very truncated)…why it hasn’t been released beats me.
JBM: Cool! Thanks for the pointer…I need to brush up on my Jiggaman.
Joe, since you seem to be gone for the minute: if you happened to be talking to me, I think it’s worth noting that I gave this song “Grand Playlist” honors and said the bridge was my favorite part. I really love the song (for what it is), and am either air-guitaring, air-drumming or shouting along the whole way through. It’s a riot.
That said, there is nothing emblematic of “creativity” in this song, let alone the bridge. It’s made to be derivative, and it is certainly something that has been done millions of times before (and in some instances, done better). The most “different” thing about it is the girly-kiddy choir, and that’s been a huge trend in music for years now. Anyone wanna try to pinpoint the hit that started the trend? Was it “D.A.N.C.E?” “Huddle Formation?” Something even earlier? No matter what, it’s a very trend-chasing move.
But originality is not essential to good music, even less so to simply fun music. I appreciate this song for what it is (very much, actually, and I’m glad to see it’s being played live), but I have no delusions about what it is.
Uh, is it just my computer or is the pitch of the song in that video waaaay higher than it should be?
And I meant the NHL network video, not the Rock Band one embeded in the post.
And, not to spam the site with comments, but didn’t people at the A6 forums used to get the individual tracks of songs like this when they’d come out in Guitar Hero or Rock Band? I know all of the tracks from Greatest Man, Dreamin’ and Troublemaker were made available this way. Just asking because, if so, someone could probably make a mix that sounds like the one in the game… without the crowd noise and cheesy RB sounds.
Newer Rock Band songs use stronger encryption that hasn’t been cracked. Artists (and record labels, hint hint) don’t like having their master tracks leaked, see.
That’s very unfortunate then.
Honestly, I think that that little lead part was removed on the album version. It wouldn’t be the first time that unfinished recordings went to Rock Band / Guitar Hero (The same thing happened with Death Magnetic by Metallica).
Seriously, it’s not a matter of compression, that lead part has literally been excised from the song.
Whatever the case, Weezer screwed up!
Nah, that lead guitar part is in the album version.
Actually, it’s not so clear in the Rock Band mix normally, either. That video is someone playing the guitar part in Rock Band – the game boosts whatever instrument you’re playing higher in the mix. If he’d been playing drums, the drums would be louder, or bass would be louder, etc.
All of Weezer’s mixes from Green on have been regrettably mishandled (Red is the best of the lot, but no exception). I really want to hear Scott’s bass parts better on Raditude, because what I can make out is great, just almost entirely buried…
Actually, it’s worth noting that the different instrument tracks can be ripped from most of these games. Sure, it’s not quite the same as having the original masters (effects are still on there, everything that isn’t one of the four played instruments gets squished onto one track) but it might still be possible to come up with a better mix for songs like this one.
The backup choir people in the bridge remind me of Quick And To The Pointless by Queens Of The Stone Age, just to add.
I can’t decide if I love or hate this song. With different lyrics, I’d be down to give it a shot, but they try so hard to make it relatable, it backfires.
In the thanks section of the Raditude booklet, they thank “Sydney, our biggest fan”
Mykel and Carli have been replaced by a dog…
This song came on my MP3 player the other day.
I don’t hate this song as much as I did.
Hear you me sydneeeeyyy?
nope doesnt work
In much delayed response to PKMN Trainer Red’s comment, #24, about how the Jay-Z reference makes no sense: I’m listening to Jay’s Roc La Familia album right now and realizing that he actually has a song called “This Can’t Be Life.” And the reference makes much more sense that way — “This Can’t Be Life” is not the typical triumphant Jay, but a really downtrodden and depressed one, which fits the “Let It All Hang Out” verse. The only thing is that the Jay-Z song might be a little TOO sad to reference in a song about partying at all.
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