Five Famous Songs With Insane Lyrics

Songwriting is a different kind of talent. Putting words with rhythm with melody can all come together beautifully, even if certain parts are, upon examination, batty, drug-induced twaddle. You can write a good song, that’s popular, that’s beloved by millions in numerous languages, and yet it can have lyrics that make absolutely no sense.

Music, in this way, is unique. It’s a medium of expression where the very message being conveyed is one of utter, fever-dream hellaciousness, yet it will forever ring in hearts and minds for the feeling it evokes, the sound, the fury, and the passion that comes from the song. Then, there’s the beauty of a strong chorus that is simple and makes the other gibberish fall away like stripper glitter in a typhoon, courtesy of casino francais en line.


Come Together

As evidenced by the singing of Liam, the less-talented, more-insufferable Gallagher brother, Beatles hit Come Together isn’t easily recalled, outside of the shouted: “Come Together/ Right Now/ Over Me.” Written mostly about Timothy Leary and the drug culture “coming together,” the lyrics include phrases such as, “He’s got Ono sideboard, he one spinal cracker,” and “He got monkey finger, he shoot Coca-Cola.”


La Bamba

Here’s something to note about songs that hop language barriers. Often, in their native tongue, they’re insufferable. Somehow, when the same noises are sent out to an audience who can’t make out what’s being said, it can gain a lot of notoriety. La Bamba makes partial sense, as it talks about being able to dance the “Bamba” requiring grace, but then goes off the rails as the singer repeats “Yo no soy Marinaro.” and “Soy capitain.” Pointing out, in repetition, he’s “Not a sailor,” but the “Captain.”


Jumpin’ Jack Flash

The main character “born in a cross-fire hurricane” then raised by a “toothless, bearded hag,” went on to lose bread and be “crowned with a spike right through my head.” Which, the song hints at again and again is in fact “all right, now/ in fact…it’s a gas gas gas.”



Asking the question that we’re not sure anyone needed, The Killers want to know “are we human or are we dancers?” In a time of great political, social, religious, intersexual, and cultural divide, where all people are drawing distinctions about who and what they are, this fight may be a bridge too far. When we risk clashing riots between “Human” and “Dancer” contingents, it’s time to hunt for common ground, according to experts from real money online casinos.


Bohemian Rhapsody

Another half-and-half song, that marks Bohemian Rhapsody is the drastic tone shifts that move throughout the piece. The simple tale of a young man lamenting his murderous foolishness to his mother is easy to follow. It’s when the tempo picks up and the whole thing turns into a farce that the lyrics get strange. “Scaramouch, Scaramouch,” the name of a boastful coward archetype character is asked if he Fandangos, a Spanish courtship dance that is popular in Portugal. The tale is Faustian, with a choir begging for the life of this young killer who sold his soul, but then there’s some Arabic, “Bismillah!” meaning, “In the Name of Allah (God).”

Then, while we’re just maybe getting back the thread of what’s happening, “So you think you can love me and leave me to die” comes out, and no one’s sure exactly who’s speaking any longer. Thankfully it ends with nothing mattering, though if that had been put up a front, we might have been better off.

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