Michigan-based Northern Rock collective the Great Lakes Myth Society declar… Read Full Bio ↴Michigan-based Northern Rock collective the Great Lakes Myth Society declared itself a proper entity on January 1st 2003. The groups' previous incarnation as the "Original Brothers and Sisters of Love" yielded two critically-lauded albums (1999s The Legende of Jeb Minor and 2001's H.O.M.E.S.) for the Brooklyn, New York indie label The Telegraph Company (Kelley Stoltz, Stew, Finishing School) and successful appearances at New York City's Knitting Factory, CMJ, SXSW and Bostons NEMO Festival, but by 2002 the amicable departure of violinist and native New Zealander Elisabeth Auchinvole and the record company's untimely financial collapse had left the band with two gaping holes in its side and a mammoth completed record with no home. Rather than fold up their maps and head inward, Timothy Monger (accordion, guitar & vocals), James Monger (guitar & vocals), Gregory McIntosh (guitar & vocals), Scott McClintock (bass & vocals) and Fido Kennington (drums & vocals) adorned themselves in the most affordable black suits available, changed their name to reflect the region from which they drew their power and began to shop what would eventually become their formidable debut. It wasn't long before the newly minted "Great Lakes Myth Society" began sharing stages both locally and regionally with artists as diverse as Andrew Bird, Danielson, The Gourds, Saturday Looks Good to Me, The Hidden Cameras and The High Strung, eventually breaking through into the often impenetrable Detroit music scene with key shows at the Magic Stick, Lager House, Comerica TasteFest and finally a headlining slot at the first annual "Motor City Music Conference". Their eponymous debut, an alternately brooding and nostalgic blend of muscular English folk-rock, pine-kissed Northern Americana and Midwest Carny grit was released in April 2005 on the Boston-based label Stop, Pop & Roll (Paula Kelley, Ad Frank, Cathal Coughlan). Within weeks it had broken into the CMJ Top 200 and the band hit the road, bringing their consistently engaging and occasionally brutal live show to New York, Massachusetts, Rhode Island, Illinois, Minnesota, Wisconsin and Michigan's Upper Peninsula, even putting in an appearance on NPR's "All Things Considered". The GLMS signed with Southeast Michigan-based publishing house, record label, web developer and video/television production company Quack!Media in 2006 with plans to release their second album, "Compass Rose Bouquet", in the Summer of 2007. An eponymous single followed in early 2008 featuring "Brablec Farms" and "She's Come Home To Steal Her Rainbows".

Buffalo Nickel
Great Lakes Myth Society Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

They can take away the moonlight
And the trains
And the clotheslines down
Dig a hole
And rub sand
In summer's open sore
In summer's open sore

All the parking lots are empty
But they breathe
As the old shops beneath them, awaken
In summer's open sore
In summer's open sore
In summer's open sore
In summer's coming storm
Ooh, ooh, ooh

Come rain, come strangers at the bus stop
There's a fair on Ann Street
Come rain, come strangers at the bus stop
There's a fair on Ann Street

There's a Buffalo (Buffalo)
A Buffalo (Buffalo)
A Buffalo (Buffalo)
Nickel on the concrete
Buffalo (Buffalo)
A Buffalo (Buffalo)
A Buffalo (Buffalo)
Nickel on the concrete
Buffalo (Buffalo)
A Buffalo (Buffalo)
A Buffalo (Buffalo)
Nickel on the concrete
Buffalo (Buffalo)
A Buffalo (Buffalo)

A Buffalo (Buffalo)
Nickel on the concrete

Overall Meaning

The song "Buffalo Nickel" by Great Lakes Myth Society touches on the theme of nostalgia and loss, specifically regarding the decline of small towns and the changing of seasons. The lyrics start with the notion that even the most familiar and constant things can be taken away, such as moonlight, trains, and clotheslines. The line "dig a hole and rub sand in summer's open sore" creates an image of trying to soothe a wound caused by the harshness of summer. The use of the word "sore" suggests discomfort and pain, while "summer's open" implies that the damage has already been done and cannot be undone.

The verses continue to describe a town that has lost its vibrancy and people, as evidenced by the empty parking lots. However, there is still life underneath the surface as the "old shops beneath them awaken." The chorus then repeats the phrase "in summer's open sore" and adds "summer's coming storm," emphasizing the cyclical nature of change and the inevitability of future hardship. The final lines of the song mention a buffalo nickel found on the concrete, perhaps symbolizing a past time or memory that is still tangible but fleeting.

Line by Line Meaning

They can take away the moonlight
Despite trying to remove natural sources of light, such as the moon, from the environment, there is still hope.

And the trains
Even transportation can be removed, but that does not mean life ceases to exist.

And the clotheslines down
The mundane aspects of life can be removed, but society will continue to function.

Dig a hole
Even if society is buried and forgotten about, remnants will still remain.

And rub sand
These remnants will still be subject to natural forces, such as erosion.

In summer's open sore
This describes a place of discomfort and pain, a sore spot.

In summer's open sore
Repeating the line emphasizes the pain and discomfort associated with the place.

All the parking lots are empty
The desolation of the parking lots represents a larger feeling of emptiness and abandonment.

But they breathe
Despite the emptiness, there is still life and activity present.

As the old shops beneath them, awaken
This activity stems from past memories and experiences that still resonate in the present.

In summer's open sore
The repetition of the line here signifies that even the awakening of memories cannot erase the pain associated with this place.

In summer's open sore
Again, the repetition stresses the deep-rooted pain and misery associated with the place.

In summer's coming storm
A storm is brewing, adding to the tension and potential chaos of the situation.

Come rain, come strangers at the bus stop
Both rain and strangers symbolize unexpected changes and disruptions in life.

There's a fair on Ann Street
A fair represents happiness and joy, contrasting with the negative associations of the song thus far.

Come rain, come strangers at the bus stop
This repetition drives home the point that change is inevitable and can happen at any moment.

There's a Buffalo (Buffalo)
The presence of a buffalo is a symbol of strength and resilience, despite being associated with a dirty, urban environment.

A Buffalo (Buffalo)
The repetition of the buffalo's presence emphasizes its significance in the context of the song.

A Buffalo (Buffalo)
Again, stressing the power of the buffalo in this situation.

Nickel on the concrete
The presence of the nickel represents the mundane, everyday aspects of life, regardless of the larger struggles and chaos surrounding it.

Buffalo (Buffalo)
The repetition of the buffalo symbolizes its strength and resilience, despite the hardships of urban life.

A Buffalo (Buffalo)
Once again, emphasizing the significance of the buffalo's presence in this context.

A Buffalo (Buffalo)
The repetition conveys the message that no matter how mundane an object or event may seem, it still holds power and significance in the chaos of everyday life.

Nickel on the concrete
Repeating the presence of the nickel affirms this message of the power of mundane objects in the larger context of life.

Writer(s): James Christopher Monger

Contributed by Madison Y. Suggest a correction in the comments below.

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