In honor of B.o.B’s upcoming appearance at UNF, we decided to do a Top Five Songs With Initial Song Titles. What better than a list of acronyms and initialisms to pay homage to B.o.B’s period-filled aesthetic? Here they are, ordered by the number of periods in each name:
“F.C.P.S.I.T.S.G.E.P.G.E.P.G.E.P.” – Fall of Troy
From the now-defunct Fall of Troy comes the granddaddy of all acronym-named songs. Though the band has claimed the title means nothing, the common belief is that it stands for something pretty lecherous. Interested parties can consult the Internet. The song itself isn’t nearly so NC-17. Lyrically, it seems to be about ambivalence in a faltering relationship. The tune’s strongest point is the interplay between bassist Tim Ward’s driving triads and guitarist Thomas Erak’s super-minimal, washed-out chords. F.C.P. is a pretty standard verse-chorus fare until the middle, where the band moves through a couple experimental breakdown sections that have the kind of silly-fast, single-note flurries for which the band has come to be known. Even if F.C.P. isn’t your bag, appreciate the irony in making such a long and unwieldy acronym.
“C.R.E.A.M.” – Wu Tang Clan
There’s no question what C.R.E.A.M. means. Method Man tells us right off the bat: “Cash rules everything around me.” And ain’t it true? Raekwon and Inspectah Deck expound on the struggles of inner-city life and the futility of gangster life respectively. From a prison cell, Deck’s narrative laments the youth who turn to crime for money and status: “But shorty’s running wild smokin sess drinkin’ beer/ And ain’t trying to hear what I’m kickin’ in his ear.” The beat, produced by RZA, is laidback but also mournful. He used the opening melody of the Charmels’ “As Long As I’ve Got You.”
“T.N.U.C.” – Grand Funk Railroad
Sure they’re not actually a funk band, but GFR keeps it soulfully swingin’ on “T.N.U.C.” This tune combines garage rock drums and biker-bar guitar riffs, with hip-shaking results. Bassist Mel Schacher’s plays a hypnotizing motif which holds the song together. The drum solo in the middle showcases Don Brewer’s talent, but it’s a little too long and indulgent. After the solo, however, the song builds into a cacophonous crescendo. Oh, and if you’re wondering for what T.N.U.C. stands, hold the paper up to a mirror and read it.
“W.P.L.J.” – Frank Zappa
This doo-wop tune from the mustachioed maestro’s 1970 albumn “Burnt Weeny Sandwich.” W.P.L.J. stands for White Port and Lemon Juice – a drink popular among blues players. The song has a blues standard feel with lilting sax and finger snaps in the background. Frank sings in his typical tenor/bass (an enraged fan permanently injured his throat) while back-up singers “doo-wop.” The backup singing style is reminiscent of The Tokens’ “The Lion Sleeps Tonight,” though not as grating. It’s actually more over-the-top than anything the Tokens did, it’s just not as annoying. The song is absurd in a great way, and if the doo-wops weren’t enough, the song fades out while Roy Estrada berates members of Motorhead (who can be heard in the background) entirely in Spanish. Bravo.
“B.O.B.” – Outkast
Did B.o.B have this song in mind when he was coming up with a stage-name? Maybe so, maybe not, but either way, it would be crazy not to include this song, which means “Bombs Over Baghdad.” The beat combines up-tempo drum-and-bass with church organ and a funky guitar. On top of that, Dre and Big Boi conscripted a gospel choir for the hook. The production is outstanding; the second half of the song sees a lot of experimentation and the duo introduces new motifs late in the song. Also, keep an ear out for Big Boi’s nod to the 1999 hurricane season – only someone from the Dirty South could have done it.
