The band released their second studio album on February 24, 2009 entitled Masterpiece Theatre.
It takes some real cojones to include the word 'Masterpiece' in your album title, but Josh Ramsay isn't too worried. "I suppose I could be digging myself into a hole calling the record Masterpiece Theatre," he chuckles, "but it's tongue-in-cheek. And I'm not the kind of person that people would assume as being an egomaniac. I hope not, anyway."
Given his feverish imagination and comprehensive musical gifts, Ramsay could probably get away with a little egomania. And with the release of Masterpiece Theatre, the frontman of Vancouver's Marianas Trench makes a iron-clad case for a prodigious set of talents - both his own and those of his bandmates, guitarist Matt Webb, bassist Mike Ayley, and drummer Ian Casselman.
Marianas Trench had already elevated itself above the rest of the pack with a 2006 debut, Fix Me, that showcased a knack for colouring outside the lines of factory-issue millenial punk, shrewdly-built pop, and super-adrenalized modern rock. The single and in particular the video "Shake Tramp" was enough to demonstrate these qualities, coupled with Ramsay's uninhibited urge to be the complete song-and-dance man.
But with both the industry and the fans beating down the door for a quick second album, the Trench decided to put on the brakes. "All of a sudden you have six months to do your next record," Ramsay sighs. "So I really had to just put my foot down and say, 'No, I need the time to do this.' I was not interested in putting something out for the sake of putting something out."
Two years later, Marianas Trench has re-emerged with Masterpiece Theatre. And not surprisingly, it's a work of soaring ambition and decisive technical prowess – that easily might not have happened. "It's one thing when you're Chad Kroeger and you just finished writing 'How You Remind Me'," Ramsay states. "I didn't have some mega-platinum song to back up my argument with, so I was lucky that the band and the label trusted me enough to do it."
By "it", Ramsay means he was allowed to indulge a high-concept fantasy for the band's sophomore album, which is built, for starters, around a song called "Masterpiece Theatre". Adopting Brian Wilson's notion of the 'pocket symphony' and then running with it, the three distinct versions of “Masterpiece Theatre” dotted across the record feature an almost perfect balance between the vocal theatrics of Queen and the more hymnal qualities of the Beach Boys.
By the time “Masterpiece Theatre” is reprised for a final, climactic time, every other song on the album is quoted and incorporated into an intricately constructed dramatic revue that swings from pristine pop, to propulsive riff rock, to quasi-doo wop, to robotic new wave, and finally into a wholly satisfying thematic payoff.
"You know in the climax of a musical, there's always that medley at the end, and I thought that would be cool on a rock record," explains Ramsay, "but it turned out to be a lot harder than I thought it would be. I wrote it in the studio as we recorded it, and it took about three weeks."
After a beat, he adds, "But really it took me two years because it draws from all the songs on the whole album."
Bassist Mike Ayley readily admits, "I don't think any of the three ‘Masterpiece Theatre’ songs could have gone on Fix Me had they been written at the time. ‘Masterpiece’ 2 and 3 in particular are amazing songs that really explore the potential of Josh's writing. You really have to hear them to get it. It's like trying to explain ‘Bohemian Rhapsody’ to somebody who has only heard Kanye West and Katy Perry."
Ramsay agrees. "I really wanted to have a 'Good Vibrations'/'Bohemian Rhapsody’ style song on the first record,” he says, “but I don't think I was a mature enough writer to have written it yet, and I still feel like I was in over-my-head when we did this one, and I just barely made it."
Ramsay is unnecessarily modest; the whole of Masterpiece Theatre demonstrates a startling compositional maturity compared to the Marianas Trench of two years ago.
"Beside You" is a panoramic exercise in big emotions, with a dash of the Dream Academy's "Life In a Northern Town”. "Acadia" begins with a clipped, bright acoustic guitar, and blossoms into something like the Who reconsidered by U2, reimagined for the net generation. In the crunchy "All to Myself", the power ballad "Lover Dearest", and the strident "Good to You" (in which he duets with Kate Voegele), Ramsay pulls out the kind of honeyed vocals more attuned to modern RnB than white, adolescent rock.
"I always had that aspect in my voice but the first record just didn't have songs that were conducive to me singing that way," he states. "I think it's from growing up listening to a lot of Michael Jackson. With these songs, it made sense to stretch out a little more."
On "Cross My Heart" and "Celebrity Status", the band conjures up a kind of perfect pop crossover. Producer Dave 'Rave' Ogilvie was responsible for the latter track, which cops a move he used on Marilyn Manson's "Beautiful People" with three drummers (Casselman, Ramsay and Shane Wilson) playing at once - much to Ramsay's delight. "He's just worked with so many great artists which makes his well of tricks and ideas so vast," he says.
True to Ramsay's quest for "more diversity on this album" - not to mention the indulgence of his record label - Rave was just one of four prominent guest producers eventually roped into Masterpiece Theatre. Their collective resume includes Nine Inch Nails, Sum 41, Iggy Pop, Avril Lavigne, and Hedley among others.
"I feel really fortunate to have worked with all those guys," Ramsay says, "coz they all bring really unique things. Dave Genn and I have a really good working relationship with each other, and he has such a unique style with arrangement and stuff. Greig Nori was a really pleasant surprise. As far as I can tell, he wanted to work with us because he liked our video. The whole time he was just trying to get me to dance around like an idiot. And Raine Maida, man? Raine's a trip!"
Bassist Ayley also credits Maida for encouraging the band to “find a personality-identity that wasn't as evident when we started the production process," while also praising Ramsay for his production efforts. Ramsay took charge of four songs on the finished record. “Josh is really about capturing the emotion and power which isn't surprising considering all the feeling in the writing,” he says.
Oddly enough, Ramsay also wanted Disney's in-house genius Alan (Little Mermaid) Mencken to twiddle the knobs for the climactic version of "Masterpiece Theatre", but admits, "it's a pretty tall order to get an Academy Award winner to come and work on your record."
Still, the album is certainly not diminished by the few things Ramsay didn't get. And once the world gets a load of this Masterpiece, Mencken, Pharrell Williams, Phil Spector... you name it. They'll probably be lining up.
Here's to All the Zeros
Marianas Trench Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I got sick, got kicked out of high school
I guess then, I kinda got arrested
With a car, and a chase, and a drug test
These days, they don't wanna be near that
'Cause if you're selling records, they don't wanna hear that
Clean-cut, we'll do it like Disney
Party anthems, get them dancin'
Well, I'm the king of second-chancin'
Air-brushed, shiny, notoriety
The disappeared-into-the-back-to-go-and-get-high-ety
Hey, ho, where did all the good go?
Baby, this is where you're dead wrong
Alright, hey, ho, here's to all the zeroes
Every misfit, and all my down-and-outs
Hey, ho, where did all the good go?
Baby, this is where you're dead wrong
Alright, hey, ho, here's to all the zeroes
Every misfit, and all my down-and-outs
You can't sing, you got a young look so
It's nothing auto-tune can't fix though
MTV don't play videos
And no guitar is allowed on the radio
These days I kinda just pretend so
I guess I don't mind, it depends though
I get stuck to every innuendo
But it doesn't seem to matter in the end so
They say, ??Where's the next hit, baby
God, how could I top ??Call Me Maybe
Well, I'm delirious, she's bi-curious
Let's disappear into the back to go and get serious
Hey, ho, where did all the good go?
Baby, this is where you're dead wrong
Alright, hey, ho, here's to all the zeroes
Every misfit, and all my down-and-outs
Hey, ho, where did all the good go?
Baby, this is where you're dead wrong
Alright, hey, ho, here's to all the zeroes
Every misfit, and all my down-and-outs
Hallelujah, up for ransom
Cash values for hash-tag anthems
Hallelujah, up for ransom
Cash values for hash-tag anthems
Hallelujah, up for ransom
Cash values for hash-tag anthems
Where'd the rock and roll go?
Hey, ho, where did all the good go?
Baby, this is where you're dead wrong
Alright, hey, ho, here's to all the zeroes
Every misfit, and all my down-and-outs
Hey, ho, where did all the good go?
Baby, this is where you're dead wrong
Alright, hey, ho, here's to all the zeroes
Every misfit, and all my down-and-outs
The song "Here's to the Zeros" by Marianas Trench seems to be a commentary on the current state of the music industry and the pressure on artists to fit a certain mold in order to be successful. The first verse describes the rebellious behavior of the lead singer, suggesting that he has had a non-traditional path to success. However, in the following verses, he critiques the industry's desire for all artists to be clean-cut and well-adjusted like the Disney brand.
The chorus, "hey ho, here's to all the zeroes," seems to be a celebration of the underdogs and the outcasts of society, who may not fit into the mainstream but still have value and worth. The lines "every misfit, and all my down-and-outs" further emphasize this sentiment.
In the second verse, the singer explores the auto-tune craze and the lack of rock and roll on radio and television. He questions the industry's desire for the next big hit and the pressure on artists to top previous successes.
Overall, the song seems to be a call to embrace individuality and to reject the pressure to conform to mainstream expectations. It celebrates the outcasts and misfits who do not fit neatly into society's boxes.
Line by Line Meaning
Hey kids, do you wanna do what I do?
I have an interesting life, would you like to know more about it?
I got sick, got kicked out of high school
I faced some struggles and didn't have a traditional path through education
I guess then, I kinda got arrested
I made some mistakes that got me in trouble with the law
With a car, and a chase, and a drug test
My mistakes involved reckless behavior and drug use
These days, they don't wanna be near that
Society and the music industry don't want to associate with anything that's seen as problematic or controversial
'Cause if you're selling records, they don't wanna hear that
The industry cares more about record sales and a clean image than authenticity and artistic expression
Clean-cut, we'll do it like Disney
The industry wants artists to have a wholesome image like Disney
Well-adjusted, trusted, trust me
Being well-adjusted and trustworthy can help a musician succeed
Party anthems, get them dancin'
Songs that promote partying and dancing are popular
Well, I'm the king of second-chancin'
I've had some struggles in the past but I'm still successful and getting another chance to prove myself
Air-brushed, shiny, notoriety
Musicians are often polished and presented in a way that enhances their fame and reputation
The disappeared-into-the-back-to-go-and-get-high-ety
The lifestyle of partying and drug use is often hidden from the public eye
Hey, ho, where did all the good go?
What happened to music with substance and meaning?
Baby, this is where you're dead wrong
There is still good music out there, despite what some people may think
Alright, hey, ho, here's to all the zeroes
Let's celebrate the misfits and underdogs (or musicians who aren't mainstream successes)
Every misfit, and all my down-and-outs
Everyone who's been kicked down or has had to fight to be heard
You can't sing, you got a young look so
Looks and studio magic can often make up for lack of singing ability
It's nothing auto-tune can't fix though
Auto-tune can make anyone sound better
MTV don't play videos
Music videos are not as important as they once were
And no guitar is allowed on the radio
Rock music is not as popular as it once was
These days I kinda just pretend so
I don't always feel authentic in the current music industry
I guess I don't mind, it depends though
But I'm okay with it as long as I can keep making music I believe in
I get stuck to every innuendo
I can get caught up in the image and lifestyle that comes with being a musician
But it doesn't seem to matter in the end so
But ultimately, what matters most is the music itself
They say, 'Where's the next hit, baby
The industry is always looking for the next big hit song
God, how could I top Call Me Maybe
It can be difficult to replicate the success of a huge hit like 'Call Me Maybe'
Well, I'm delirious, she's bi-curious
Lyrics can be provocative and designed to generate attention
Let's disappear into the back to go and get serious
Let's indulge in the lifestyle of partying and drug use
Hallelujah, up for ransom
Celebrating the commercial success of a song
Cash values for hash-tag anthems
Songs are often popular based on their viral appeal on social media
Where'd the rock and roll go?
What happened to the days when rock music was king?
Lyrics © O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
@meluhhhnee
[Verse 1]
Hey kids do you wanna do what I do?
I got sick, got kicked out of high school
I guess then I kinda got arrested
With a car, and a chase, and a drug test
These days they don't want to be near that
Cause if you're selling records they don't want to hear that
Clean cut, we do it like Disney
We'll adjust it, trusted, trust me
[Pre-Chorus]
Party anthems get them dancing
Well I'm the king of second chancin'
Airbrushed shiny notoriety
They disappeared into the back
To go and get high-ity
[Chorus]
Hey, ho, where did all the good go?
Baby this is where you're dead wrong, alright
Hey, ho, here's to all the zeros
And every misfit and all my down and outs
Hey, ho, where did all the good go?
Baby this is where you're dead wrong, alright
Hey, ho, here's to all the zeros
And every misfit and all my down and outs
[Verse 2]
You don't sing, you got a young look so
It's nothing autotune can't fix though
MTV don't play videos
And no guitar is allowed on the radio
These days, I kind of just pretend so
I guess I don’t mind it depends though
I get stuck to every innuendo
But it doesn't seem to matter in the end so
[Pre-Chorus]
They say, "Where's the next hit, baby?"
God how could I top Call Me Maybe?
Well I'm delirious, she's bi-curious
Let's disappear into the back to go and get serious
[Chorus]
Hey, ho, where did all the good go?
Baby this is where you're dead wrong, alright
Hey, ho, here's to all the zeros
And every misfit and all my down and outs
Hey, ho, where did all the good go?
Baby this is where you're dead wrong, alright
Hey, ho, here's to all the zeros
And every misfit and all my down and outs
[Bridge]
Oh
Hallelujah, up for ransom
Cash value for hashtag anthems
Sing it now
Hallelujah, up for ransom
Cash value for hashtag anthems
Hallelujah, up for ransom
Cash value for hashtag anthems
Hallelujah, up for ransom
Cash value for hashtag anthems
Hey, ho, where did all the good go?
Hey, ho where'd the rock and roll go
[Chorus]
Hey, ho, where did all the good go?
Baby this is where you're dead wrong, alright
Hey, ho, here's to all the zeros
And every misfit and all my down and outs
@Vandizzle18
It makes me sad that this band is so underrated. I love them so much <3
@alexapaparelli45
Ikr
@AaronMcdonalddd
I don't understand how people think he's not famous. He's got over a million views on any song he puts out and wrote the song call me maybe... But he's not famous? I mean, he gets as many views as markiplier does and markiplier is considered famous as fuck
@aaron6596
+Aaron Mcdonald (jaaronmcd) exactly. my favorite band is mayday parade but the last time that had a million views was like in 2009. now Its cool if thet get over 400,000 at least I guess. and they just released a new album
@AaronMcdonalddd
+Erin Crowley lol he is famous a musician. Youre just used to the mainstream pop whores like Miley Cyrus with like 30,000,000 views on everything
@aaron6596
+Aaron Mcdonald (jaaronmcd) poop true
@creepypasta9881
This band has always helped me. I'm 18 and I found him 4-5 years ago, he's helped me vibe with myself and just be happy. I was close to an anxiety attack and just hearing his music again has helped so much. He'll always be such an inspiration to me
@beagotm9318
Glad im not the only one coming back to relive my childhood im 19 now :')
@sorabird7355
@Beago TM same age now
@reganmclellan7188
I never realized how many of these lyrics are reflections of Josh's life, the first lyrics "I got sick got kicked outta high school" refers to his heroin addiction and how he was expelled from Magee high school in BC.
"They say where's the next hit baby
God how could I top Call Me Maybe?"
This refers to Josh writing Call me maybe for Carly Rae Jepson and basically the whole song tells us that no matter how low we are, we can always rise and have a second chance.
i love Marianas trench <3