Saddle Creek also released Letting Off the Happiness in November 1998, a ten-track record that boasted a much more focused and clear sound than the previous album. According to the Saddle Creek press release, it features members of Lullaby for the Working Class, Neutral Milk Hotel, and Of Montreal. It was predominantly recorded in the Oberst family basement in Omaha on an analog eight track reel to reel; with some work also done at keyboardist Andy Lemaster's Athens, GA studio. Although almost all of the tracks feature a full band, June on the West Coast is performed with only acoustic guitar and vocals. Padraic My Prince gives a dramatic fictional account of the death of Oberst's imagined baby brother.
In 2000 Bright Eyes released Fevers and Mirrors, a demonstration of the immense improvement in production quality and musical vision of the band. New instruments such as flute, piano, and accordion were introduced into the song arrangements. After An Attempt to Tip the Scales, a mock radio interview takes place. The mock radio interview features Todd Fink of The Faint doing an impression of Conor Oberst while reading a script that Oberst wrote. The man interviewing is Matt Silcock, a former member of Lullaby for the Working Class. In this interview, the fake Oberst intentionally presents a strange, contradictory explanation of his attitude towards his music. The interview acknowledges criticisms of his lyrics as overblown and insincere, which had begun to appear as the popularity of the band increased, but responds by stating that the lyrics are meant for personal interpretation. In a 'real' interview with KittyMagik.com, Oberst stated about the mock one: "It was a way to make fun of ourselves because the record is such a downer. I mean, that's one part of who I am, but I also like laughing and fucking around."
2002 saw the release of Lifted or The Story Is in the Soil, Keep Your Ear to the Ground, and since then Oberst has released an almost constant stream of new material on collaborative EPs, split singles, tribute albums, and charity records. He ventured into the studio with Nebraska folk-pop outfit Tilly And The Wall, co-producing their debut album Wild Like Children and released it on his newly established record label, Team Love.
January 2005 saw the release of two albums: I'm Wide Awake, It's Morning, which is a country-tinged mรฉlange of Conorโs finest acoustic songs, featuring guest vocal appearances from Emmylou Harris and Jim James of My Morning Jacket; and Digital Ash In A Digital Urn, which is a more produced, electronic album featuring cameo appearances by Nick Zinner of the Yeah Yeah Yeahs.
One single from each album, Take It Easy (Love Nothing) from Digital Ash and Lua from I'm Wide Awake took the top two slots on Billboard Hot 100 Singles Chart, the first time for any artist since 1997.
As had become expected of Bright Eyes recordings, the albums feature an array of talented comrades including members of Rilo Kiley, Tilly And The Wall, Cursive, Now Its Overhead, The Good Life, Azure Ray, The Faint, The Bruces, Neva Dinova, The Postal Service and Audrye Sessions.
In October 2006, Bright Eyes released a compilation of rare tracks called Noise Floor: Rarities 1998-2005.
Bright Eyes released their sixth studio album called Cassadaga on April 9, 2007, preceded by an EP entitled Four Winds on March 6, 2007.
A further 25-30 tracks have been recorded in Portland, Oregon and New York City, with another session planned in Omaha, Nebraska. Some of these tracks had already been performed at live shows.
On February 15, 2011, the band released their seventh studio album, The People's Key.
On June 22, 2020, they released Down In The Weeds Where The World Once Was, their first album on Dead Oceans after a long history with Saddle Creek.
Light Pollution
Bright Eyes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
He used to loan me books and mic stands
He even got me a subscription
To the Socialist Review
Listening to records in his basement
Old folk songs about the government
"It's love of money, not the market"
He said, "these fuckers push on you"
"And freedom yells, it don't cry
Whatever sells will decide
But there's no hell when you die
So don't look so worried"
He got a night life, lost his day job
Pushing papers, swinging pendulums
Anything to serve a function
Or to occupy some time
You gotta earn this living somehow
You're good as dead without a bank account
But it's funny how alive he felt down
In that unemployment line
With all that trash at his feet
The pools of piss in the street
All of that filthy empathy
For the way we're feeling
The billboards shade
The flags they wave
The anthem was playing loud
The baseball game was letting out
And all at once
He saw the dust
And heard every tiny sound
Got in his truck and turned around
Drove out through the crowd and the cops
Drove out past that center mall
Drove out past that sickening sprawl
Out past that fenced in gold
And maybe he lost control
Fucking with the radio
But I bet the stars seemed so close
At the end
At the end
At the end
The song Light Pollution by Bright Eyes tells the story of John A. Hobson, a man who used to loan Conor Oberst books and mic stands, and gave him a subscription to the Socialist Review. John was a good man who believed that love of money is the root of all evil, not the market. He spoke out against the corruption of the government and the greed of the establishment. He was passionate about folk songs that protested the system, and he shared his knowledge with Conor in his basement.
Despite his ideals, John eventually lost his day job and ended up in the unemployment line. He saw the filth and poverty around him, but at the same time, he felt alive and empathetic towards those who were struggling. The billboards, flags, and anthem all seemed to him like symbols of a sickening sprawl, a society that valued profit over people. In the end, he gets in his truck and drives away, away from the crowd and the cops and the gold-fenced suburbs. He loses control of the radio, but it doesn't matter. The stars are so close, and maybe in that moment, John feels free.
The song is a commentary on the emptiness and hypocrisy of American culture, and John is a symbol of those who speak out against it. The contrast between the concrete jungle and the starscape highlights the loss of connection to the natural world that results from urbanization and consumerism. The use of folk music, with its history of protest and social commentary, reinforces the message that there is something deeply wrong with our society.
Line by Line Meaning
John A. Hobson was a good man
John A. Hobson was a man who cared about others and was kind to the singer.
He used to loan me books and mic stands
He used to lend the singer books and equipment to help him with his passion of making music.
He even got me a subscription to the Socialist Review
He went out of his way to help the singer be informed about socialism by getting him a subscription to the socialist review.
Listening to records in his basement
In his basement, John and the artist enjoyed listening to music together.
Old folk songs about the government
They listened to old folk songs that were critical of the government.
"It's love of money, not the market"
John believed that capitalism was not the solution to world problems, as it prioritizes profit above all else.
He said, "these fuckers push on you"
John was critical of the people who profit from capitalism, and he felt that these people put pressure on individuals to follow their system.
"And freedom yells, it don't cry
Freedom is not passive; it is a force to be reckoned with.
Whatever sells will decide
The market and the people who profit from it will ultimately have the most influence on what products are available and what ideas are popular.
But there's no hell when you die
Death is not something to be feared, as there is no eternal punishment or reward after death.
So don't look so worried"
Don't worry about what happens after death; instead focus on how you live your life.
He got a night life, lost his day job
John lost his job, but he found other ways to spend his time, such as going out at night.
Pushing papers, swinging pendulums
John likely picked up odd jobs like office work or manual labor.
Anything to serve a function
John took any job that helped him and others survive.
Or to occupy some time
He also took up jobs simply to have something to do with his time.
You gotta earn this living somehow
You need a job to make ends meet in this society.
You're good as dead without a bank account
Without a means to store and earn money, you are essentially destitute.
But it's funny how alive he felt down
John found a sense of community and purpose in unexpected places, such as the unemployment line.
In that unemployment line
Despite the despair of unemployment, John found a sense of connection and empathy with fellow unemployed people.
With all that trash at his feet
The physical environment of the unemployment line was chaotic and unpleasant.
The pools of piss in the street
The streets were dirty and gross, with bodily fluids pooled in public places.
All of that filthy empathy
Despite the chaos and unpleasantness, John felt a sense of solidarity and compassion for his fellow unemployed workers.
For the way we're feeling
John could empathize with the anger and frustration of those in the unemployment line.
The billboards shade
The ads and marketing of corporations can be overwhelming and oppressive.
The flags they wave
Patriotic symbols can be used in manipulative ways by those in power.
The anthem was playing loud
The singer might be in a stadium or public space with the national anthem playing loudly.
The baseball game was letting out
The singer was at a baseball game that just ended.
And all at once
Suddenly, in the midst of all these loud, oppressive symbols and systems, something shifted.
He saw the dust
John noticed the small details of his surroundings, such as the dust on the road.
And heard every tiny sound
He became hyperaware of his surroundings and all the small sounds around him.
Got in his truck and turned around
He decided to leave those oppressive spaces and systems behind.
Drove out through the crowd and the cops
John left the public gathering, amidst police presence.
Drove out past that center mall
He left the center of consumption, a place of constant sensory overload.
Drove out past that sickening sprawl
He left the urban sprawl that seemed to go on endlessly.
Out past that fenced in gold
He left behind the manicured, wealthy areas that are fenced off from the rest of the world.
And maybe he lost control
Perhaps in this moment of leaving everything behind, he felt a sense of chaos and confusion.
Fucking with the radio
He may have been trying to find something that would give him comfort or distraction on the radio.
But I bet the stars seemed so close
Despite the chaos, John may have felt a sense of tranquility and connection to the universe in that moment.
At the end
This moment of clarity and escape marked the end of the oppressive systems that John was surrounded by.
At the end
It is a moment of true freedom and a break from the monotony of everyday life.
Lyrics ยฉ Sony/ATV Music Publishing LLC
Written by: OBERST, Conor Oberst
Lyrics Licensed & Provided by LyricFind