Hey Mercedes' first release was a Self Titled EP on Polyvinyl Records. Soon after its release, they signed to Vagrant Records and started touring for support of their upcoming Vagrant full length. In 2001 alone, they performed 114 shows. After the release of the band's first full length at the end of 2001, Dawursk left the band and was replaced with Mike Shumaker. With 2 full lengths, 3 EP's and 358 shows under their belt, Hey Mercedes called it quits. Their final show (#359) was at the Metro in Chicago on April 23rd of 2005.
In a 2007 e-mail campaign, Threadless Tees reported that Hey Mercedes would play at the Metro, to celebrate the grand opening of the company's Chicago store.
Spread Eagle, Wisconsin is a place best known for water, wilderness and paintings of the local ducks. Now it can take credit for LOSES CONTROL, the long-awaited second album from Hey Mercedes. As powerful as it is melodic, the follow-up to 2001's "Everynight Fire Works" finds the midwestern foursome's sharp, wounded songs crackling in a guitar-driven bonfire set by producers Sean Slade and Paul Q. Kolderie (Radiohead, Dinosaur Jr., Mighty Mighty Bosstones).
From the instantly catchy anthem "Quality Revenge At Last" to the more insinuating closer "Go Drone," LOSES CONTROL is remarkably tight and accomplished for a sophomore effort -- though not without good reason. Prior to forming Hey Mercedes guitarist/vocalist Robert Nanna, bassist Todd Bell and drummer Damon Atkinson played together in Braid, a band often referred to as "emo pioneers," though you probably won't find the trio pleading guilty to either description. Nanna and Bell have been musical compadres since 1993, coming together at the University of Illinois as fans of Chicago punk bands like Naked Raygun and Screeching Weasel, while Atkinson joined them in 1997. Braid broke up two years later with five studio albums and several hundred shows behind them, "but it was just so obvious that we needed to keep playing," Nanna says.
The trick was to go down a different path, not just in terms of music, but logistics -- having done everything themselves for years and years, they wanted to stay connected to that grass roots ethic while cutting down on both genuine despair and "Spinal Tap"-like moments. "It's hard to focus on writing honest music when you're 3000 dollars in debt or have three more shows to book, or the show just got cancelled 'cause the cops came," Nanna says.
This time, there'd be a record label and a more patient approach. Joined by guitarist Mark Dawursk, Hey Mercedes played their first show in August of 2000, put out an EP on Polyvinyl and spent the next year touring and developing their sound. Vagrant released "Everynight Fire Works," produced and engineered by old friend J. Robbins (Jawbox, Burning Airlines), in April 2001. It earned rave reviews, including Audio Galaxy's Album of the Year and a Top 5 position on the CMJ chart. Along the way, the band racked up their usual 200-plus shows per annum, including the sold-out Vagrant America tour and bills with Jimmy Eat World, New End Original and Saves the Day. They also found the time to share themselves with fans on a regular basis via "Are You Wearing A Wire?" a collectively written "blog" that can be found on the band's web site.
2002 saw the release of "The Weekend EP," as well as a personnel change - Clevelander Michael Shumaker stepped in for Dawursk, adding an enthusiasm for AC/DC and an eagerness to merely play guitar after fronting his own band Sheilbound.
LOSES CONTROL was recorded at Slade and Kolderie's studio in Cambridge, MA. The band went into the session’s half-afraid the unfamiliar knob-twirlers would impose a different style, but the veteran duo made sure Hey Mercedes' particular quirks and uniqueness were always at the fore. They broke down every part of every song in pre-production, built an amazing set of drums for Damon and gave Robert and Michael access to some three dozen guitars. "Because they knew our songs so well they knew which guitars would sound good on different parts of every song," Nanna says. "The guitars are awesome, really layered -- they just sound big and fat.
"I think overall LOSES CONTROL is just more of a rockin' record than Fire Works," he adds. "It's really loud and in your face. Though lyrically, it's pretty bleak and desolate."
Nanna's vocals bridge the gap between those poles, whether he's locked into "Boy Destroyers"' riff-o-rama or bringing a melancholy overtone to the textured spaciness of "Absolute Zero Drive" (a song the band had earmarked as B-side until Slade and Kolderie convinced them otherwise). Another highlight is "Lashing Out," angry/catchy pop-punk that unexpectedly mutates into a sweet lyrical homage to Sam Cooke's "You Send Me" - a couplet Bob sang while the song was being written, then couldn't bring himself to drop.
And what of Spread Eagle? The band - three-quarters of whom currently reside in Atkinson's hometown of Milwaukee, with Nanna two hours away in suburban Chicago -- wrote much of LOSES CONTROL at a friend's home there, just a few miles from Michigan's Upper Peninsula.
"It was probably a drunk moment," Nanna says. "We were like, 'y'know, what we should do is find someone with a cabin or a trailer someplace far away in the woods, where we can be as loud as we want for as long as we want, in total seclusion." So they dragged all their gear and a little bit of soundproofing up to Spread Eagle for two weeks of playing, writing, cooking and canoeing. "And we didn't go crazy," he marvels. "It wasn't like 'The Shining.'"
Except maybe for this: Whether you're talking King or Kubrick, "The Shining" stands the test of time. LOSES CONTROL is a dynamite rock'n'roll record that's bound to do the same.
Knowing When To Stop
Hey Mercedes Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Hard pressed and tested to our tongues
Fine friends then blend into the walls
And we're sick to death of waiting on em
So save that dedication to your frustration
Cause the brilliance of a plan is in giving up
There's nothing inspirational like watching angels drop
We fund the function that will free
Well hell, at least we all agree
So roll in that polygraph machine
Cause I don't know what to think and who to believe
So save that dedication to your frustration
Cause the brilliance of a plan is in giving up
There's nothing inspirational like watching angels drop
The hardest part of playfighting is knowing when to stop
But don't stop now
Cause I just want something better to remember
Never any rest for the distressed
The losers are alive and well
In any given holding cell
Time for dedication to your frustration
'Cause the brilliance of a plan is in giving up
There's nothing inspirational like watching angels drop
The hardest part of playfighting is knowing when to stop
The song "Knowing When to Stop" by Hey Mercedes is about the struggle of dealing with difficult friendships and knowing when to let go of toxic relationships. The lyrics describe physical and emotional pain, feeling trapped, and the confusion that can come from conflicting emotions. The line "Left arm left numb cause blood won't come" suggests that the singer is in distress and experiencing physical symptoms because of their stress. They feel "hard-pressed and tested to [their] tongues" and unable to express themselves fully.
The chorus emphasizes the idea that sometimes the best plan is to give up, even if that means watching things fall apart. The line "There's nothing inspirational like watching angels drop" suggests that seeing failure can be a motivator to do better. The lyrics also touch on the idea of commitment and dedication, but ultimately acknowledge that it's important to recognize when a situation is not worth the effort. The phrase "The hardest part of playfighting is knowing when to stop" can be interpreted as a metaphor for relationships, implying that it can be difficult to release attachments even when they are hurting us.
The song ends with the lines "Never any rest for the distressed / The losers are alive and well / In any given holding cell / Time for dedication to your frustration." This final verse suggests that the singer feels trapped and unable to escape their current situation. They seem to be urging listeners to dedicate time to moving on from frustrating situations, even if it means acknowledging that they are one of the "losers" who are "alive and well" in their own "holding cell."
Overall, "Knowing When to Stop" is a poignant and relatable exploration of the difficulties of navigating complex relationships and the importance of recognizing when it's time to let go and move on.
Line by Line Meaning
Left arm left numb cause blood won't come
The singer is experiencing physical numbness due to lack of optimal blood flow.
Hard pressed and tested to our tongues
The singer and their companions are facing difficulties and challenges that are making it hard for them to speak or communicate effectively.
Fine friends then blend into the walls
The singer's once-close friends have distanced themselves and are no longer actively involved in their lives.
And we're sick to death of waiting on em
The artist and their companions are tired of waiting for their friends to take action or make a move.
So save that dedication to your frustration
The artist advises their companions to stop dedicating their energy and efforts towards their frustrations.
Cause the brilliance of a plan is in giving up
According to the singer, giving up on certain plans is actually a sign of intelligence and strategic thinking.
There's nothing inspirational like watching angels drop
The singer implies that seeing seemingly flawless or perfect beings fail can be a motivating or inspiring experience.
The hardest part of playfighting is knowing when to stop
The artist compares their current struggles to playfighting, noting that the most challenging part is deciding when to walk away.
We fund the function that will free
The artist suggests that they and their companions are supporting or contributing to a cause or initiative that will bring about freedom or change.
Well hell, at least we all agree
The artist acknowledges that their group shares a common understanding or goal.
So roll in that polygraph machine
The singer humorously suggests using a lie detector test to determine the truth and identify trustworthy individuals.
Cause I don't know what to think and who to believe
The artist expresses uncertainty and confusion about what to believe or who to trust.
But don't stop now
The singer urges their companions to persevere despite the difficulties they are facing.
Cause I just want something better to remember
The singer desires a happier or more fulfilling experience to look back on in the future.
Never any rest for the distressed
The singer notes that those who are troubled or suffering rarely find peace or relaxation.
The losers are alive and well
The artist acknowledges the existence and persistence of those who are perceived as unsuccessful or inadequate.
In any given holding cell
The artist implies that many people feel trapped or confined in their current situations or circumstances.
Time for dedication to your frustration
The singer repeats their earlier advice to stop focusing on negative emotions or setbacks.
Lyrics © OBO APRA/AMCOS
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