The Compulsive Gamblers were formed in Memphis, TN, in 1990 by Greg Cartwright and Jack Yarber, two friends who had played in a number of rough and ready punk bands in the deep south.
Originally calling themselves the Painkillers, by 1991 guitar maulers Cartwright and Yarber were joined by Philip "Flipper" Tubb on keyboards, drummer Rod "Bushrod" Thomas, and fiddler Greg Easterly, and the new handle the Compulsive Gamblers was adopted.
Hitting the Memphis club circuit, the band recorded a four-song EP, Joker, in someone's kitchen in late 1991; released a year later, the record helped to win them a local following, and two more discs, Church Goin' and Goodtime, followed in 1994.
However, while the singles did reasonably well and the band began developing a powerful reputation on the road as a first-class live act, after Thomas and Easterly relocated to New Orleans, it became difficult for the band to hold together, and in 1995 the band broke up, with their recordings compiled on a CD released by Sympathy for the Record Industry, Gamblin' Days Are Over.
Cartwright and Yarber almost immediately re-emerged with a new group, the Oblivians (in which they renamed themselves Greg Oblivian and Jack Oblivian), but after the Oblivians folded in 1997, Greg and Jack opted to give the Compulsive Gamblers another try, this time as a three-piece with Thomas back behind the drums. The new Compulsive Gamblers trio released an album, Bluff City, in 1999, and added bassist Jeff Meier for a European tour later that year. Brendan Lee Spengler signed on as keyboardist in time to record the Crystal Gazing Luck Amazing album, and a live set followed in 2003. The Compulsive Gamblers also had the honor of backing up R&B legend Andre Williams on several cuts on his album The Black Godfather.
Two Wrongs Don't Make a Right
Compulsive Gamblers Lyrics
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I got the covers pulled over my head
Cause in darkness I can pretend
Just you here with me, even though you're not really
Well you got yourself a new guy
And I can see that look in your eye
Well one o' these days,
And even up the score
Cause two wrongs don't make a right
But two rights don't make a shit
I think I'm in it
Well I'm not gonna let you have all the fun
I went downtown and got myself a gun
Yeah, I'm sure your boyfriend'll be surprised
When I show up in your living room
And with my gun pointed at you
Well pretty boy got it into face
I'm sorry, didn't mean to mess up
Your lacy underwear
And all that blood in your hair
Cause two wrongs don't make a right
But two rights don't make a shit
I think I'm in it
The Compulsive Gamblers' song "Two Wrongs Don't Make a Right" is a song about a man who is unable to let go of his ex-girlfriend. The song opens with the man lying in bed with the covers pulled over his head, pretending that she is still with him. He then reveals that she has moved on and found a new man. The man is jealous and wants to prove to her that he is "good for" her and "even up the score."
In the second verse, the man becomes more aggressive and threatening. He says that he has gone and bought himself a gun and is planning to use it to confront his ex-girlfriend and her new boyfriend. The song ends with the man reflecting on what he has done, apologizing for the mess, but still feeling like he is "in it."
The song's lyrics suggest that the man is struggling with feelings of rejection, jealousy, and inadequacy. He cannot accept that his relationship is over and wants to hold onto his ex-girlfriend in any way possible, even if it means resorting to violence.
Line by Line Meaning
Well I'm lying here in bed
At the very start, we see the singer feeling low and dejected, lying in bed, probably heartbroken.
I got the covers pulled over my head
The singer is trying to escape from reality by covering their head with blankets, as if to hide away from the world.
Cause in darkness I can pretend
The darkness provides a false sense of comfort for the singer, who can pretend that things are still the same as before.
Just you here with me, even though you're not really
Despite the fact that the person they want to be with is not there, in their mind they imagine that they are.
Well you got yourself a new guy
The artist is aware that the person they want to be with has moved on and is now with someone else.
And I can see that look in your eye
The singer can still see the same look in the other person's eyes that they used to see when they were together.
Well one o' these days, I'm gonna show you just what I'm good for
The singer is determined to prove their worth to the person they want to be with, to show them what they are missing out on.
And even up the score
They want to make things equal between them, to feel that they have the upper hand again.
Cause two wrongs don't make a right
The artist acknowledges that acting negatively towards the other person won't fix the situation, and may only make things worse.
But two rights don't make a shit
Even doing things the 'right' way may not result in the desired outcome, or may not make a significant difference at all.
I think I'm in it
Despite this knowledge, the singer is still caught up in the situation and can't seem to move past it.
Well I'm not gonna let you have all the fun
The artist is resentful that the other person seems to be living their life to the fullest, and wants to join in on the 'fun'.
I went downtown and got myself a gun
The singer has taken drastic measures to feel powerful and in control, even going so far as to purchase a weapon.
Yeah, I'm sure your boyfriend'll be surprised
The singer is confident that they will be able to cause a stir and surprise the other person, especially their significant other.
When I show up in your living room
The singer plans to show up unannounced in the other person's private space, likely to assert themselves and cause fear or discomfort.
And with my gun pointed at you
The artist threatens the other person with a weapon, a dangerous and violent action.
Well pretty boy got it into face
The other person's significant other faces the brunt of the artist's anger and violence, which is ironic given the descriptor of 'pretty boy' as someone often thought of as harmless or attractive.
I'm sorry, didn't mean to mess up
The singer almost attempts to express remorse, but it's unclear whether they actually feel bad or are using this as a tactic to manipulate the situation.
Your lacy underwear
The singer shows a lack of respect or decorum by commenting on the other person's underwear or undergarments.
And all that blood in your hair
The violence implied here is gut-wrenching, with the mention of 'blood' being especially graphic and unsettling.
Writer(s): Greg Cartwright
Contributed by Daniel Y. Suggest a correction in the comments below.