Fast-forward to the spring of 2002: Moorhead and Schroll met through mutual friend Tracy Bonham, and bonded after forming a hard-edged rock band with a volatile singer-songwriter. Creative differences quickly led to the band’s demise, but the partnership forged between Hannah and Terrah became the foundation for what would become The Twenty Twos. “We were determined to work together because we knew how great our chemistry was,” explains Moorhead. “We wanted to form a band of musicians who shared our chemistry, but also our passion and vision.”
The girls began writing songs in a makeshift bedroom studio in Schroll’s Astoria apartment. Songwriting came quickly and easily, thanks to a shared aesthetic and obsessive-compulsive work habits. When it came time to recruit a guitar player who could sing, Hannah and Terrah made a conscious decision to avoid the humiliation of cattle call auditions. “If we build it, they will come” became their mantra – and it worked. Within less than a month, the songwriting sessions at Schroll’s Astoria apartment included Jenny Christmas, a highly regarded guitarist and singer-songwriter unofficially known as the hottest bartender in the East Village. “I first met Jenny when she was bartending at The Continental,” recollects Schroll. “I handed her a CD of some ideas that Hannah and I had come up with, and in exchange she gave me a free Jack and Coke! Needless to say, we hit it off right away.”
Intensive songwriting and a rigorous rehearsal schedule yielded palpable results. By the end of the summer, the band lineup included ex-Spacehog drummer Jonny Cragg, a wily British import with a reputation for being one of the best drummers for hire in New York City. The only thing was, Cragg was never hired by The Twenty Twos. After agreeing to attend a rehearsal with the sole intention of poaching Moorhead for one of his myriad other projects, Jonny was so moved by the band’s sound and vision that he immediately ditched his scheme and pledged lifelong allegiance to Jenny, Hannah and Terrah. According to Cragg, the decision was simple: “They were way better-looking than anyone I was playing with at the time.”
The lineup complete, success came swiftly for The Twenty Twos. Their unprecedented blend of driving rhythms, vintage synth noise and disquieting lyrics attracted the attention of British spaz rock act Supergrass, who invited The Twenty Twos to open for them in early 2003 at New York übervenue Irving Plaza. By the fall of 2003, The Twenty Twos found themselves on an extensive tour of the UK supporting fellow New York art rockers Stellastarr*. 2004 brought more US tour dates with Supergrass, and by the end of the year the band was finally ready to lock themselves in the studio and start recording an album. A five-song EP will be released in June to support The Twenty Twos’ participation in the 2005 Vans Warped Tour, and a full-length LP will be available in September.
While The Twenty Twos’ sound is far from sugar-coated, their songs display a sophisticated pop sensibility that can alternately induce you to get a lump in your throat or steal your next-door neighbor’s Camaro and drive cross-country really, really fast. Cragg and Moorhead’s rhythm section is suffocatingly tight, deftly switching from punk to spacey pop in songs like “All Made Up” with the contained fury of an electrical storm. Christmas’s guitar playing is uncommonly resourceful, almost to the point of being economic – she has an extraordinary gift for knowing exactly how much to play without ever losing momentum or going overboard. “I moved to New York with dreams of being the next Jimi Hendrix, but I could barely play,” laughs Jenny. “Then when I discovered the Stooges, I realized that I didn’t have to be a great guitar player to make great music.” Her vocals, on the other hand, are refreshingly unhinged – feline to be sure, but heartbreakingly human in their range of emotion. Her growls, yelps, belts and hisses on the album’s centerpiece, “Touch And Go,” draw you into a world that’s terrifying yet familiar, tragic yet seductively sweet. “When I play music, nothing matters,” explains Christmas. “It's complete freedom – from my own mind, my anger, my frustrations.”
Schroll’s vocal style manages to mix seamlessly with Christmas’s while remaining distinct enough to carry breathtaking leads on darker numbers like “Radio.” Her arsenal of vintage keyboards is in many ways The Twenty Twos’ secret weapon, providing lush, neo-prog soundscapes that lend the band’s radio-ready pop songs a refreshing unpredictability and at times epic scope. With influences as diverse as The Cure, The Clash, Stevie Wonder and Yes, it’s not surprising that The Twenty Twos sound like nothing you’ve ever heard before.
Just Another Day
The Twenty Twos Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't your move your walk right by me
Just another day in the neighbourhood
I can do no harm, I can do no good
Just another day, just another day
Just another day, just another day
You better get out, you better stay clear
Just another day, just another day
Just another day, just another day
Waiting for the day to come where I don't feel like any higher
Waiting for the day to come where I don't feel like offing myself
Waiting for the day to come where you will be a bigger man
Waiting for the day to cooooome.
Now near goes there all the same
Wide eyes, bright lights, and cocaine
Just another day, just another day
Just another day, just another day
Waiting for the day to come where I don't feel like any high
Waiting for the day to come where I don't feel like offing myself
Waiting for the day to come where you will be a bigger man
Waiting for the day to cooooome.
Waiting for the day x3
Waiting for the day x3
The lyrics of The Twenty Twos's song "Another Day" talk about the monotony of daily life and the struggle to break from it. The singer is surrounded by people who are telling him to stay away or to be careful, hinting at a certain danger or risk. However, he seems to be stuck in his own routine, going through the motions and waiting for a day where he can feel better, where he can break free from the feelings of despair and self-harm. The repetition of the phrase "just another day" emphasises the feeling of sameness and hopelessness that the singer is experiencing.
The second half of the song introduces new characters, with the singer mentioning "wide eyes, bright lights, and cocaine". The song takes a darker turn, highlighting the potential dangers and temptations that exist in everyday life. The repetition of the phrase "waiting for the day to come" reinforces the feeling of a lack of control that the singer is struggling with, and the need for something to change.
Overall, the lyrics of "Another Day" convey a sense of desperation and a longing for change, with the singer feeling stuck and helpless in their current situation.
Line by Line Meaning
With your two eyes you'll see what I see
I want you to take a closer look at what I am seeing, so that you can understand it better
Don't your move your walk right by me
Please do not ignore me or my struggles, but take the time to acknowledge me and what I am going through
Just another day in the neighbourhood
This is a typical day, nothing special or out of the ordinary is happening
I can do no harm, I can do no good
Regardless of what I do, it will not make much of a difference, it is just another day that will fade away
Waiting for the day to come where I don't feel like any higher
Hoping for a day when I will be satisfied with what I have, and not crave for more or better things
Waiting for the day to come where I don't feel like offing myself
Hoping for a day when I am not feeling so low or hopeless that I consider ending my life
Waiting for the day to come where you will be a bigger man
Hoping for a day when you will grow bigger and stronger, and be able to handle your own problems
Now near goes there all the same
Despite what I do or how hard I try, things always seem to end up the same way
Wide eyes, bright lights, and cocaine
Referring to a lifestyle of partying and drug use, as a way to escape the monotony of everyday life
Waiting for the day x3
Reinforcing the desire to hope for a better day, each time with greater emphasis
Lyrics © Universal Music Publishing Group
Written by: BRAD BECKER, JARROD LEE GOLLIHARE, JOHN RUSSELL, MARK CARR
Lyrics Licensed & Provided by LyricFind
@JacobGodly
One of my favorite movies, I could watch it over and over
@haneefbowens87
Hell yeah!
@blackbeard5244
same. cult classic
@williamtucker-uv8ek
Don't judge me, monkey.....
@brandonmontana8670
you should never throw a bong kid. ever
@RustyShacklefardd
Man the early 2000s hits different in your 30s
@MelBrooksFan78
Who else came here because of Grandma's Boy?
@comfortablynumb9021
at first like 5 yrs ago it was...now i just like the song
@flashbeaster
right here, right now, timeless movie 😃 👍
@bltpork
+ComfortablyNumb90 real talk