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The song was penned by vocalist and guitarist Mac McCaughan in reference to an indolent co-worker he had at the time. Credited to all four band members, it was the band's second single and first to be released under the name Superchunk. Issued as a 7-inch single in April 1990, "Slack Motherfucker" rapidly became one of the band's best-known songs.
Musixmatch is an Italian music data company and platform for users to search and share song lyrics with translations. Musixmatch has 80 million users (50M active users), [2] 12 million songs with their respective lyrics, and 115+ employees.
The song was first performed at the 12-12-12 benefit concert by the four, [4] and was released on December 14, 2012, through YouTube. [5] The four performed the song on Saturday Night Live in 2012, and again on June 19, 2013, along with a number of Beatles songs at a McCartney concert in Nirvana's home town of Seattle .
"The House of Blue Lights" is a boogie woogie-style popular song written by Don Raye and Freddie Slack. Published in 1946, it was first recorded by Slack with singer Ella Mae Morse and Raye. The song's intro includes a "hipster"-style spoken exchange: "Well, whatcha say, baby? You look ready as Mr. Freddy this black.
"Gimme Some Slack" was first released on Panorama, and in 1981, the song was released as the third single from said album. However, the song failed to chart in any countries, making it one of the band's least successful singles. The song has since appeared on the compilation album Just What I Needed: The Cars Anthology.
"Down the Road a Piece" is a boogie-woogie song written by Don Raye. In 1940, it was recorded by the Will Bradley Trio and became a top 10 hit in the closing months of the year. Called "a neat little amalgam of bluesy rhythm and vivid, catchy lyrics", the song was subsequently recorded by a variety of jazz, blues, and rock artists. [1]
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Previously, sexual lyrics had been merely suggestive, but the new "slack" lyrics, part of the rebellion against fading Rastafari movement ideals, left nothing to the imagination. [2] The term reflects the derisive attitude typified by the Nyabinghi toward reggae music seen as lacking a deeper message.