This is inspired by Clint Eastwood's THE OUTLAW JOSIE WALES and "The Night They Drove Old Dixie Down" by the Band. In today's polarized world it's a challenge to attempt to see each others' perspectives. Philosophically it's eminently frustrating. Here's a different approach. I used to be a construction worker. Every cliche is pretty much rooted in reality. Everybody is racist or homophobic until they're working with a person of another race or sexual proclivity. Once it's proven that a worker works they transcend the stereotype. It always bugged me that this enlightenment stayed on the job site. At least that's how things appeared.
The US is completely insane. The threat of violence is always present. That's what the Axis didn't understand during World War II. We are ahead of the curve always in terms of a willingness to inflict harm on other human beings. I also find the image of Europe looking on in concerned fascination while we butchered each other with iron clad war ships amusing. One day we'll come to terms with our vicious soul but I ain't holding my breath.
Here's the big shift from bar band to rock opera band. We opened with this for years, especially in showcase environments. I loved opening with it because there's awesome head bang breaks where I made my hair look crazy. I shit you not. We were in denial for YEARS about boastfully being willfully ignorant of the way we presented ourselves but that was total horse shit. We absolutely played up the working class apocalyptic drunken mountain men on speed look for years.
This was one of the first songs I had to go back and change the lyrics because I got the geography fucked up! I was mimicking "Answering Machine" by the Replacements off of LET IT BE. I played this live until Ochster solidified himself as the SFP drummer. I was also trying to tell a sorrowful tale along the lines of another Replacements song, "Little Mascara" off of TIM. The open B minor would hurt my lil fingies when I played this acoustically.