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The record is also sequenced well, and deliberately (which Westerberg also confirms in the conversation with Wolf) but the most artful sequence is in the final run, beginning with track 12, “King of America.” This is the section of the record where “Wild Stab” shifts from enjoyable to essential.Westerberg has never been overtly political, outside of the oblique and likely unintentional messages in songs like “Fuck School” or “Customer,” but this all changes with “King of America.” The message is wrapped in robust, rippling instrumentation, but the lyrics are bitter and direct: It’s one of the most profound, astonishing lyrics he’s released, and even more so when you remember that he was working as a janitor when he discovered the Stinson brothers and Chris Mars rehearsing in the basement of the Stinson house.He even manages to get in one or two of those great Westerbergian turns of phrase, “Dinner with a cup of coffee that likes to be called a mug” or “The newspaper gets older every minute.” It’s stream-of-consciousness with a purpose, it’s giving away his secrets, telling his truths, it’s breathtaking and uncomfortable and he knows it.
There’s also an image inside the CD of the two holding hands that mirrors the two guitars on the front cover.
When an interviewer commended her recently for 'Supermodel', which begins with references to "the highest paid piece of ass" and ends "I wish she'd trade places with me", Juliana explained that she only wanted to trade places so she could suffer for her.
This is, remember, the woman Evan described as the purest person he had ever met.
The stark narration of the verses belies the singability of the choruses in an almost “Born in the USA”-like fashion, and makes one wonder what else in this vein is lost on a tape somewhere.
“All the little people can go to hell” is the key line from the track that follows, “Little People.” And then the next track, “Whole Lotta Nothin’” signs and seals the sentiment of this three-pack.