The cover artwork of the single uses a photograph of a Lego Space moonscape. The piece is from the Command Centre playset marketed by The Lego Group from 1978 to 1988. After the commercial success and popularity of the album version of the song, the group released several remixes, some of which became hits in dance clubs and radio stations with a dance format. The version most frequently heard on radio was the remix by Nellee Hooper (which appeared as a hidden track on the album).
The intro to this song uses a sample from John Barry's "Golden Girl", a track on the soundtrack for the James Bond movie "Goldfinger". The drums are sampled from "Sorcerer of Isis" by Power of Zeus.
Additionally, the Nellee Hooper remix samples the "a-one two, a-one two" from De La Soul's "Breakadawn", and also uses the famous drum break from The Fatback Band's "Put Your Love (In My Tender Care)".
The music video for the song was directed by Toby Tremlett, and made its debut on 14 January 1997. Throughout the video, which gives off a dark atmosphere, the camera focuses on Kelli Dayton singing in the middle of a dark room sitting in a dentist chair that she spins around. The camera follows Dayton as she slowly walks around the darkened room singing the song. There are also several smaller lit rooms with oval windows within the larger dark room, depicting different scenes such as a man dressed in black practicing various poses, a woman dressed in a nightgown who is vacuuming the floor, a young woman posing around a chair in a red tie shirt and black skirt, a toddler dressed in a costume pouring spaghetti from a jar and tossing it around the room, and an overweight man eating spaghetti while sitting in a recliner. The small rooms with the oval windows could depict a view into people's private lives, and even a view into their souls. A can of worms is poured out by a band member. The other band members are usually seen lurking behind Dayton in this video, including in some scenes where the band is standing in one of the small, brightly lit rooms. At the end of the video, the people in the smaller rooms seem to freeze in place, and in the big room, the band poses at Dayton's dentist chair, and then the lights go out.
The video uses the Nellee Hooper edit of the song. Laura Prepon of That '70s Show was also featured in the video.
6 Underground
Sneaker Pimps Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
6 underground
The ground beneath your feet
Laid out low
Nothing to go
Nowhere a way to meet.
I've got a head full of drought
So far off of losing out
Round here
Overground, watch this space
I'm open to falling from grace.
Calm me down
Bring it round
Too way high off your street
I can see
Like nothing else
In me
You're better than I wannabe
Don't think 'cos I understand
I care,
Don't think 'cos I'm talking
We're friends
Overground, watch this space
I'm open to falling from grace
Talk me down
Safe and sound,
Too strung up to sleep
Wear me out
Scream and shout
Swear my time's never cheap
I fake my life like I've lived
Too much,
I take whatever you're given; not enough,
Overground, watch this
Space, I'm open
I fake my life like I've lived
Too much,
I take whatever you're given; not enough,
Overground, watch this
Space, I'm open
To falling
From grace.
The lyrics of the song "Six Underground" by Sneaker Pimps paint a picture of someone who feels stuck and isolated in their current situation. The first few lines convey a sense of being trapped and confined, with the repetition of "down" and "underground." The reference to having "nothing to go" and "nowhere to meet" implies a lack of direction or purpose. The repeated reference to being "overground" suggests a desire to break free from this confinement and experience something different.
The middle section speaks to the singer's sense of inferiority compared to someone else, likely a romantic interest. They feel as though this person is "better than I wannabe" and that they are out of their league. The line "don't think 'cos I understand I care" could be interpreted as the singer feeling as though they are only included in this person's life because of how well they can listen and empathize, rather than being an equal partner. The repeated refrain of "I'm open to falling from grace" suggests a willingness to take risks and potentially fail, which could be seen as either admirable or foolish depending on one's perspective.
The final section speaks to the singer's restlessness and dissatisfaction with their current life. They feel as though they are pretending to be someone they're not, and that they are not getting what they need from the people around them. The repetition of "overground, watch this space" could be interpreted as a plea for someone to take notice and help them break free from their current situation. The song concludes with the repeated refrain of "I'm open to falling from grace," which could either be seen as a message of hope or a warning of potential danger.
Line by Line Meaning
Take me down
Bring me to a lower level or underground
6 underground
An unspecified underground location, possibly a metaphor for the singer's current circumstances
The ground beneath your feet
The current situation or environment the listener is in
Laid out low
Feeling defeated, helpless and powerless
Nothing to go
No directions to take or options to pursue, feeling stuck
Nowhere a way to meet.
No possible solutions to the problems, no meeting point between the listener and the singer
I've got a head full of drought
The singer feels mentally drought, lacks creativity and inspiration
Down here
In the current low state of mind or circumstances
So far off of losing out
The artist is barely holding on and isn't willing to risk losing what they have left
Round here
In the current environment or community
Overground, watch this space
The singer is ready and willing to make bold and unexpected moves above ground level
I'm open to falling from grace.
The artist is ready to risk everything, even if it means losing their current status, reputation and success
Calm me down
The singer needs emotional support and reassurance
Bring it round
The singer wants the listener to bring them back to reality
Too way high off your street
Feeling disconnected and unfamiliar with the listener's environment and lifestyle
I can see
The artist recognizes and understands the listener's way of life
Like nothing else
The artist perceives it as unique and distinct from their own life
In me
Internalizing the listener's lifestyle as part of their own identity
You're better than I wannabe
The listener is perceived as more successful, better-looking or happier than the singer wants to be
Don't think 'cos I understand
The artist warns the listener against assuming that they are on the same level or share the same experiences
I care,
The artist wants to reassure the listener that they care about their well-being
Don't think 'cos I'm talking
The artist is aware that talking isn't enough and actions are needed
We're friends
The singer recognizes and values the listener as a friend
Talk me down
Urging the listener to help calm them down again
Safe and sound,
The singer wants to feel safe and secure again
Too strung up to sleep
Feeling too stressed, anxious and overwhelmed to sleep
Wear me out
The singer is exhausted from the current situation
Scream and shout
The artist is at the breaking point, in need of an emotional release
Swear my time's never cheap
The artist feels that their time and energy are always in high demand but undervalued
I fake my life like I've lived,
The singer projects an image of having more experience and success than they actually have
Too much,
The singer feels they've reached a tipping point where they can't maintain this facade any longer
I take whatever you're given; not enough,
The artist is settling for whatever life gives them, without feeling satisfied or content
To falling,
The artist is willing to lose everything, even their current status, in the pursuit of something more fulfilling
From grace.
From a state of being successful, respected and valuable in the eyes of others
Lyrics © DOMINO PUBLISHING COMPANY, Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: Chris Corner, Howe Liam Coverdale, Ian Pickering, John Barry
Lyrics Licensed & Provided by LyricFind
@bestdjaf7499
Best years.
Best games & best music & movies & best everything.
I remember listening Rock & Industrial & D&B & Rap & ....
We had everything & everything was allowed.
If I had a time machine, i would definitely go back to 90th.
F@ the Future. It's dark & unpleasant.
There were never the better times & will never be.
@shoot112
The 90's will always be "ten years ago".
@GhastlyCretin85
At most
@bestdjaf7499
90th were the best.
Best movies & music & comedy & ...
Well, The last time I saw a Native American on the screen was probably in 90th.
It was so good, we killed it.
@ralphmiranda2077
🥲👴🏼
@withmejimbo8262
Damn straight
@radioactivereports9910
Seems like last week. Everything was so futuristic. Now they stopped making stuff
@joesharbach3883
For those of us that are old enough, this song evokes memories of a time and world that no longer exists.
@FlyGuy2000
Saudade my friend.
@marykec4098
Exactly
@pimpal
Truth