Chris: alright, let’s talk Gut Feeling / Slap Your Mammy in 3. 2. 1. Now! The most pop optimistic chord on the album.
Chris: Yeah. Heavy reverb. Duane Eddy shit.
Chris: The drums kick in and I always feel excited. The song is just a pure pop gem.
Jon: Yeah this is another excellent example of how to build up a song bit by bit.
Chris: Absolutely. The organ coming in.
Jon: When the piano shows up it’s like oh hey! That guy was here the whole time, how fun.
Chris: Haha yeah. Another layer.
Jon: I don’t think I ever parsed that both instruments are there.
Chris: They build slow and deliberate, but nothing feels wasted.
Chris: Might be the only time we have a piano in Devo?
Jon: Very valid question.
Chris: Little Richard style piano snaps.
Jon: Yeah, lot of early rock n’ roll vibes.
Chris: And we ebb into the verse.
Jon: Killer bass line, too.
Chris: Oh the bass is so good.
Jon: I know we don’t wanna make this blog just us going “MAN what a good song!” but sometimes…
Chris: Haha yeah it is difficult. This song owns. Very complex but danceable. Which is real hard. This almost gospel music and the lyrics are all “you suck!”
Jon: Haha seriously. I dunno how I feel about it being the “Life Aquatic” song to a lot of people now.
Chris: Yeah that is weird. Those screeching guitars. It’s like the song is falling apart.
Jon: Haha yeah.
Chris: And now we slap your mammy.
Jon: And now a mini-rodeo shitkicker jam to set up the cleaner rodeo jam coming up.
Chris: I always felt like this section was like The Ocean (Zeppelin). In that total change that’s still related. And out clean.
Jon: Yeah I can see that. Yeah, setting up Jonee perfectly. Again, we jerk off about the sequencing. But good lord.
Chris: Haha. Yeah, it’s a hell of a thing to jerk to. That end section of the song is head turning as well, because the beginning you don’t know who is being sung about. Who the object of ire is. The default is some ex lover, and the rock n roll/gospel/pop underpinnings put you in that traditional thought.
Jon: Yeah! Also “Mammy” brings up a lot of blackface/Al Jolson imagery, as a word.
Chris: Mmmm, yeah I hadn’t thought of that. I was just thinking of the turn as, “it’s your mom!” But considering what we heard in the hardcore discs, I wouldn’t be surprised.
Jon: Yeah, no. Haha. There’s a few levels of discomfort here.
Chris: Yeah, there certainly are.
Jon: Now I’m listening to The Ocean cuz it’s been a while.
Chris: It’s a good tune. Not to lead the witness.
Jon: Haha yeah. I agree. My first exposure was the Beastie Boys though.
Chris: Oh wow!
Jon: Haha I know right.
Chris: I mean that makes sense. Mine was actual Zep but my childhood was odd and specific.
Jon: True. It took a while to not expect their sampling of it. Time signature wise sepcifically.
Chris: Haha, sure sure. I learned that song on drums at one point.
Jon: Oh sick!
Chris: Yeah that was what was interesting drum-wise. Apparently people couldn’t figure out the time signature for a long time. It ended up that it’s a combination.
Chris: The first phrase is in 7⁄8. Then the second is in 4⁄4. And finally the ending segment is in 3⁄4.
Jon: The whole thing is in F⁄U.
Jon: (shreds away on skateboard)
Chris: That is the best mic drop I think this post can get.