Originally, the Australian band was called The Boys Next Door, comprising Cave, Howard, Mick Harvey (guitar, drums, organ, piano), bassist Tracy Pew, and drummer Phill Calvert. After the Door Door album and Hee Haw EP under that name, the band moved to London and switched its name to the deceptively benign Birthday Party. Once they arrived in Britain, their demented, knotty post-punk began to gel. They released their first international album, Prayers On Fire, in 1981, earning critical praise in the U.K. and U.S. While the band was preparing to record the follow-up, Pew was jailed for drunk driving; former Magazine member Barry Adamson, Harry Howard, and Chris Walsh filled in for the absent Pew on 1982's Junkyard.
After the release of Junkyard, Calvert joined Psychedelic Furs and the band moved to Germany, where they began collaborating with such experimental post-punk acts as Lydia Lunch and Einstürzende Neubauten. Harvey left in the summer of 1983. The group briefly continued with drummer Des Heffner, but it soon disbanded after a final concert in Melbourne, Australia. Cave had the most successful solo career, recording a series of albums in the '80s and '90s that maintained his status as a popular cult figure; Harvey joined Cave's band Nick Cave & The Bad Seeds. Howard joined Crime & The City Solution, which also featured his brother Harry and Harvey. Tracey Pew toured with The Saints before dying of an epileptic seizure in 1986.
--Review from AMG Allmusic Guide
Big-Jesus-Trash-Can
The Birthday Party Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Big-Jesus soul-mates Trash-Can
fucking rotten business this
both feet in the Bad-Boot
stiff in the crypt, babay, like a rock
rock-rock-rock
Big-Jesus soul-mates Trash-Can
and he pumped me fulla Trash at least it smelt like Trash
but god gave me Sex appeal
right right
well-well-well-rock
well-well-well-rock
well-well-well-rock
well-well-well-rock
he drives a Trash-Can
he drives a Trash-Can
he drives a Trash-Can
he drives a Trash-Can
he's comin' to my town
he's comin' to my town
he's comin' to my town
he's comin' to my town rock-rock-rock-
r-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-ck!
right!
Big-Jesus-Oil-King down in Texas
drives great holy tanks of Gold
screams from heaven's Graveyard
american heads will roll in Texas
roll llike daddy's meat
roll under those singing stars of Texas
roll under those glorious singing stars of Texas
well-well-well-rock
well-well-well-rock
well-well-well-rock
well-well-well-rock
he drives a Trash-Can
he drives a Trash-Can
he drives a Trash-Can
he's comin' to my town
he drives a Trash-Can
he's comin' to my town
he drives a Trash-Can
he's comin' to my town
he drives a Trash-Can
he's comin' to my town
he drives a Trash-Can
The Birthday Party's Big Jesus Trash Can is a fast-paced and provocative song that delves into the theme of corruption, religion, and power in the United States. The song opens with a reference to Big Jesus and his soul mate, Trash-Can, which sets the tone for the rest of the song's imagery. The lyricist describes it as "fucking rotten business this," referring to the corrupt nature of Big Jesus and his followers. This is emphasized by the phrase "both feet in the Bad-Boot," indicating that these people are deeply entrenched in their corrupt activities.
The lyricist then paints a picture of Big Jesus pumping him "fulla trash," which serves as a metaphor for being manipulated and used by those in power. Big Jesus is described as having "greasy hair" and wearing a "suit of Gold," suggesting that he's wealthy and powerful but vain and immoral. Despite this, the lyricist declares that "god gave [him] sex appeal," which may imply that the singer feels a sense of empowerment despite Big Jesus' attempts to control him.
The song concludes with an ominous reference to the "Big-Jesus-Oil-King down in Texas," who drives "great holy tanks of Gold." It's suggested that this figure has an ungodly amount of power and influence that allows him to scream from heaven's graveyard and cause "american heads" to roll in Texas. The chorus repeats the line "he drives a Trash-Can" and "he's comin' to my town" several times, emphasizing the ominous presence of the singer's oppressor, who is seemingly unstoppable.
Line by Line Meaning
Big-Jesus soul-mates Trash-Can
Describing a person who worships a flashy, showy version of Christianity, but also engages in dark, dirty activities
fucking rotten business this
Expressing disgust and frustration with the situation
both feet in the Bad-Boot
Fully committed to a life of sin and debauchery
stiff in the crypt, babay, like a rock
Completely still, like a dead body
rock-rock-rock
Echoing the feeling of being unchanging and stuck in place
and he pumped me fulla Trash at least it smelt like Trash
Referring to a sexual encounter where the other person was dirty and unpleasant
and he's got greasy hair wears a suit of Gold
Describing a person who appears wealthy and successful, but is actually morally corrupt
but god gave me Sex appeal
Suggesting that despite the circumstances, the artist is still desirable and attractive
Big-Jesus-Oil-King down in Texas
Referencing the idea of a wealthy, influential Christian figure in power
drives great holy tanks of Gold
Describing the opulence and extravagance of this figure
screams from heaven's Graveyard
Imagining a voice of God condemning these sinful actions
american heads will roll in Texas
Suggesting that there may be consequences for the actions of these powerful figures
roll llike daddy's meat
Making a crude reference to violence and death
roll under those singing stars of Texas
Painting a picture of a violent, chaotic scene under the night sky
he drives a Trash-Can
Continuing the metaphor of a person who is flashy on the outside but engages in dirty, corrupt behavior
he's comin' to my town
Suggesting that this person will bring chaos and trouble to the artist's community
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
@EvilCat-EnergyCatalyst
Me: Yo pass the aux cord
Friend: You better not play trash
Me:
@robjones2408
Saw The Birthday Party live in London in the very early 1980s.
Utterly fearsome, truly fantastic. At the height of their powers, they were unbeatable.
RIP Tracy Pew and Roland S Howard, both great musicians who departed too soon.
@hazelthemcwitch
Still my favourite Cave track that primordial visceral release feels so good I play it full volume in the car on my way to work and scream hellishly along with that beautiful man.
@killachunes2349
Simultaneously ferocious and hilarious! The Birthday Party, along with The Cramps, were the last and arguably the best of the Stooges derived bands that made any worthwhile music. Sonny's Burning almost shades it, but this is their best recording.
@BintAlAbla1999
Indeed, both these tracks are absolute angel dust. Must go and listen again! Thanks for uploading.
@asabracodeaythfaerie204
The Cramps have been my favourite since I was 11. Always been a Cave fan but just got into BP recently and its my new obession.
@hazelthemcwitch
Asa Braco /Deayth Faerie I was lucky enough to see the Cramps back in the 80’s (and Nick Cave a couple of times at Glastonbury festival, he’s so charismatic you could die 🤤) the Cramps are still the best live gig I’ve been to all these years later and I’ve been to a lot, they were an absolute inferno 🔥
@kw2785
I'd like to make a case for Suicide's place among those legends!
@TheMilfordboy
When I was a Student a fellow of mine called James Johnstone lent me the album this was on in an attempt to dilute my love of pop and Weller.....In the end - He went onto create Gallon Drunk and etc...plus extensive collaboration with Nick Cave....Gifted Musician and Artist. Shit History Student.
@Lucas17802
Loved the Captain Beefheart influence