5 Songs That I Get Wrong Every Time

5 Songs That I Get Wrong Every Time

Once you hear a lyric wrong, there's no going back.

1. “More than a Woman” by the Bee Gees

Wrong Lyric: Bald-headed woman, bald-headed woman to me

Right Lyric: More than a woman, more than a woman to me

What Would Freud Say? Shout out to my mom for getting this one wrong, so number one here is dedicated to her. I’m thinking that Freud would probably tell her that she secretly wants to be a bald-headed woman. Mom, while you’d look pretty with any hairstyle, don’t go shaving your head, because I am so jealous of your perfect ponytail.

2. “Holy Grail” by Jay-Z featuring Justine Timberlake

Wrong Lyric: Michael Jackson’s toilet

Right Lyric: Michael Jackson's "Thriller"

What Would Freud Say: I have a feeling that Freud would probably think that I really, really want to see Michael Jackson’s old bathroom—because jeez, it’s got to be like a palace, right? Also, it kind of goes to show how much of his music I actually listen to if I’m putting the word “toilet” with Michael Jackson.

3. “Little Talks” by Of Monsters and Men

Wrong Lyric: Cause though the truth may vary/ This s--t will carry out, bodies safe to short

Right Lyric: 'Cause though the truth may vary/ This ship will carry our bodies safe to shore

What Would Freud Say: There’s a lot that Freud would have to say about this one…I sort of botched it. Starting out with “this s--t will carry out,” I think that this blasts my whole “I’m a positive thinker” thing. If I heard it as “this ship,” then I might see the whole song as being positive—about finding inner strength and determination to perceiver. My alternative of “this s--t” obviously shows that I think that life’s going to suck and that it’s going to suck because crap is always going occur in our life. The second part, “our bodies safe to short,” obviously is playing on my sadness of being a short person. At 5’2 and a half (that half really matters), I’m super conscious of my shortness. Obviously, Freud would tell me that my mind is telling me through this song that I’m short and that it won’t stop, so I need to get used to it.

4.“Mony Mony” by Billy Idol

Wrong Lyric: Ride your pony po-po-pony

Right Lyric: I love you Mony mo-mo-mony

What Would Freud Say: Obviously, Freud would tell me that Billy Idol was trying to tell me through song to ride the miniature horse, Nicky, that my grandparent’s need to own. I have no idea who Billy Idol was singing about (who’s Mony and why does he love him or her?), but even after hearing it, I still think the lyrics are most definitely “ride your pony,” because that makes total sense.

5. “It’s Time” by Imagine Dragons

Right Lyric: “So this is what you meant/ When you said that you were spent” … “It's time to begin, isn't it? / I get a little bit bigger but then I'll admit / I'm just the same as I was / Now don't you understand/ That I'm never changing who I am”

What Freud Would Say: I’ve recently become an Imagine Dragons fan, and “It’s Time” isn’t the only song that I confuse the lyrics on; “Polaroid” is another one and there’s a lyric in it that is, “I’m a midnight talker,” and every time I sing—off-key and loudly—“I’m a midnight taco.” Don’t ask why, because I don’t even like tacos. Anyway, with “It’s Time,” I’m not really screwing up the song lyrics as much as I’m screwing the concept. Freud would probably tell me I’ve got a dirty mind and that I read way too many romance novels, because when I listen to this song I’m totally not hearing what they mean, and it's not something you’d talk about in front of your grandma…if you get what I’m saying.

*All lyrics were found using AZLyrics.

Cover Image Credit: Entertainment Weekly

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Opeth: 'Deliverance' Album Review

'Deliverance' boasts Opeth's darkest and heaviest songwriting in their entire discography


Mikael Åkerfeldt - vocals, guitars

Peter Lindgren - guitars

Martin Lopez - drums

Martín Méndez - bass

Additional info:

Steven Wilson - vocals, guitars, keyboards, mellotron

Recorded at Nacksving Studios and Studio Fredman.

Engineered by Opeth, Fredrik Nordström, Fredrik Reymerdahl & Steven Wilson.

Produced by Opeth and Steven Wilson.

Deliverance is the sixth studio album by Swedish Extreme progressive metal band Opeth. It was released on November 12, 2002, through Music for Nations Records. The album's total length is 61:50. The band originally intended for Deliverance and their following album Damnation to be released as a double album, but the record company decided against this and released them separately, about five months apart from each other in order to promote them each with the proper amount of time and care.

Opeth's last album Blackwater Park is a masterpiece and instead of trying to make a similar album, the band went in a new direction. Deliverance still features Opeth's classic progressive death metal sound, but the band implemented some noticeable changes beginning with a much darker sounding production, heavier guitars, and a more straightforward death metal approach at times. This was a welcome change that added another unique release to the band's already impressive discography.

Favorite Tracks:

Track 5: "Master's Apprentices"

This is one of Opeth's heaviest tracks that they have ever composed. The main guitar riff and blast beating that occurs throughout the first three minutes of this track is ridiculously heavy and catchy. Mikael's ridiculous low growled vocals sets the heavy mood of this track perfectly. When I thought that this song was just going to be pretty straightforward and heavy, Opeth switches it up and the track goes into a more mellow progressive rock sound with beautiful clean singing and instrumentation. The ending to the track is just as heavy and explosive as the beginning.

Track 2: "Deliverance"

The title track is one of the band's best. The riffs are ridiculously catchy and heavy. Yet again, Martin Lopez begins by blast beating on the drums. Mikael's mix of both clean vocals and ferocious growls show off Opeth's dualism that makes them such a special band. The song's sudden shift between soft and heavy moments keeps the listener on the edge throughout the song's entirety. The epic closing instrumental section of this track is one of the best closing sections of all time in progressive music. Every time that I listen to this song I cannot help but smile because of how well written it is.

Track 1: "Wreath"

This song is perfectly placed as the opening track of this album. It is one of Opeth's heaviest and most ferocious tracks that the band has ever done. I have never heard Mikael quite sound as dark and downright scary as he does on this track. It has mostly low growls and very little when it comes to clean vocals. If Opeth needed to appeal more to the straightforward death metal crowd this is the track to do it. Musically, its still progressive in nature though and the track lasts eleven minutes. "Wreath" sets the mood perfectly for what this album is going to sound like.

My Verdict:

This may not be as "perfect" as Blackwater Park, but it contains a different sound that is focused on being heavier and darker than the band has ever been before. This album features Mikael's best low growls, the band's heaviest riffs, and some of Martin Lopez's best drum work to date. I think that if I had to point out one extremely small weakness that the album has is the short instrumental "For Absent Friends" which is wasted space that disrupts the flow of the album slightly. Other than those two minutes, this album is yet another perfect Opeth release that is one of the band's most underappreciated in their entire discography.

Grade: A+

Cover Image Credit: vevo.com

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A Must Have Pool Side Convo

Diving Into the Greatest Artist of Our Generation — Frank Ocean

Until the day of Blonde’s, it seemed as if Frank Ocean didn’t actually exist. As days became weeks and turned into long-awaited years, the anticipation for his album was over.

For the last part of 2016, everyone was drowned in the beauty of Frank Ocean’s 60 minutes released of Blonde. A product of a man who took his time to release an album jam-packed with nothing but his raw emotion and passionate yet musical talent for the art of music. A boundary-pushing music album where he left no room for error and combined his natural vocals with sophisticated lyrical contemplations.

The creation of Blonde is an album that still sounds brand new a full 365 days after its release, a rare accomplished which Frank Ocean was able to effortlessly achieved. Through his ideas, events, references to other music, and personal stories, the album captures and reveals parts of Frank Ocean’s life and his extraordinary process of songwriting.

There is a cinematic quality to that draws you in. The lyric storytelling and atmosphere it paints it nothing ever heard of before. Even without the usage of a visual aid, the album itself still is able to create its own vivid imagery. The images of childhood, lost summers, and cars.

While cars have been represented by men as status, wealthy, and especially masculinity, Frank Ocean instead uses them to articulate a sense of vulnerability and intimacy. His usage of cars is a framing device used to dive into moments of where you are driving alone. The album becomes private, self-reflecting, and personal.

As the world thinks of Frank Ocean as an enigmatic figure, almost hidden from the world because his lack of social media presence in our fame-obsessed culture, this is what defines his works from most other artists. His personal depth and restraint take you on a journey through his mind keeping you as close as to the passenger seat where you ride into his heartfelt album.

Cover Image Credit: Wikimedia Commons

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