1982 saw GBH's first LP, City Baby Attacked By Rats. The album was marked lyrically with harsh criticism of British and European culture, typical of UK punk. It was also full of violence, morbidity (especially in reference to the song "Passenger On The Menu", which describes in graphic detail the experiences of the passengers on the Uruguayan Air Force Flight 571), atheism, nihilism, social anarchism, and generalised absurdity. However not political, the album's lyrics do seem remarkably socially aware. This kind of content would later follow up in later GBH releases. Musically, the album was loud, and fast, with most songs staying under three minutes, typical of the hardcore punk genre. This is also a trademark of future GBH releases.
In 1983 the band changed their name to simply GBH, arguably just because the word "Charged" in front of their name had dropped from the lingo of many of their fans. (The name change was announced at a gig in the now defunct 'Golden Eagle' public house, where GBH were playing along with ex-Hawkwind sax player Nik Turner's 'Inner City Unit').
GBH are known to be pioneers of the UK82 second wave of British punk rock in the 1980s, along with fellow pioneers Discharge, Broken Bones, The Exploited, The Varukers. and The Skeptix.
The band has, for the most part, kept true to its original punk rock roots since its formation, unlike many other former punk bands, especially hardcore bands, who later formed the Post-Punk genre of the mid to late 80s. However the band has experimented with, alongside many other hardcore punk bands, notably The Exploited, a bit of what is known as metal crossover. Metal Crossover is when punk bands use riffs of heavy metal in their music, usually just as a break in the monotony of the traditional two and three chord, punk rock sound. Some punk rock purists argue that when punk bands do this they break from the original punk sound, and therefore become simply metal bands. The band, though, maintains that they are, in fact, still a punk rock band. However, the band has done this quite a lot, especially experimenting with it heavily in their 1992 release Church of the Truly Warped. This sound carried over even into their latest LPs. However, they have been falling back more on their original punk rock sound roots recently.
The band is still active and touring, even among many circulating rumours about a break up. The band maintains a strong cult following both in England and the rest of Europe, as well as in America and Japan, where some say that punk is still in its elementary to mid-stages.
Too Much
GBH Lyrics
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In this real cold world
I'm in love, with a humongous girl
She sleeps all day in a ruined church
Night time comes, she's got me in her lurch
Still air explosions with her silent touch
Oh, oh, I want her too much
Too much - humongous
She's got an evil eye and a wicked streak
And when she kisses me, you bet my knees turn weak
She'll eat you up and spit out your bones
Don't look far 'cos I'll be gone
The lyrics to GBH's song "Too Much" describe the intense and magnetic attraction the singer feels towards an unconventional woman who sleeps during the day in a ruined church and has an "evil eye and a wicked streak". Despite her quirks and potential danger, the singer is unable to resist her charms, as evidenced by the repeated refrain of "I want her too much".
The imagery in the lyrics creates a sense of stark contrast between the "real cold world" and the singer's burning desire for this woman. The line "Still air explosions with her silent touch" suggests a powerful, volatile energy that lies beneath the surface of their relationship. The phrase "Night time comes, she's got me in her lurch" implies that the singer is at the mercy of this woman's whims and unpredictable nature.
The chorus, consisting only of the words "Too much" and "humongous", adds to the intensity of the song's message. The singer's desire for this woman is so overwhelming and all-consuming that it defies any attempts at rational explanation.
Overall, "Too Much" is a song about the sometimes-dangerous allure of a powerful attraction that cannot be denied, even in the face of potential destruction.
Line by Line Meaning
Well I've got a real hot feelin'
Despite the coldness of the world, the singer feels a passionate desire.
In this real cold world
The world is depicted as bleak and unfeeling.
I'm in love, with a humongous girl
The singer is enamored of a large, imposing woman.
She sleeps all day in a ruined church
The woman spends her days in a ruined church, suggesting decay and decayed faith.
Night time comes, she's got me in her lurch
At night, she has the artist in her grasp, leaving him helpless.
Still air explosions with her silent touch
Her touch is powerful despite its quietness, causing internal explosions and turmoil.
Oh, oh, I want her too much
The singer's desire for the woman is overwhelming and consuming.
Too much (ah I want her too much)
The woman's hold over the artist is too strong for him to resist.
Too much - humongous
The woman's size, both physical and metaphorical, is too much for the artist to handle.
She's got an evil eye and a wicked streak
The woman has a dark, dangerous quality to her.
And when she kisses me, you bet my knees turn weak
Even something as simple as a kiss from her makes the singer feel physically weak and powerless.
She'll eat you up and spit out your bones
The woman is depicted as a cannibalistic force, consuming and destroying those around her.
Don't look far 'cos I'll be gone
The singer warns that he will not be around for long, implying that the woman will ultimately drive him away or consume him entirely.
Lyrics © Sony/ATV Music Publishing LLC
Written by: MICHAEL BLUE, ANDREW WILLIAMS, BRANDON CHANDLER
Lyrics Licensed & Provided by LyricFind