Gilmore is said to have become interested in music as a result of her father's record collection, which included work by Bob Dylan, Joni Mitchell, Elvis Costello, and Tom Waits, among others. At 16 she left home and began working in a recording studio where she was discovered by her now long-time collaborator, producer and sometime co-songwriter Nigel Stonier, who became her husband in a ceremony in October 2005.
Thea recorded her debut album aged just 17 and then entered a spell of productivity which, in the four and a half years from January 1999 to August 2003, saw her record and release six albums including four "official" releases and two cult albums which were only intended for internet release but which have long since been available in the shops. In 2001, with the release of Rules For Jokers, she hit some kind of national nerve and garnered some attendant airplay but it wasn't until 2003's Avalanche that Thea finally began to make significant waves. Avalanche became Radio 2's Album Of The Week and spawned two hit singles including her first certifiable Top 40 hit Juliet. Thea has gathered countless plaudits over the years - "the best British singer songwriter of the last ten years - and then some" (Uncut), "so good its scary" (Mojo), and "Gilmore is already in a league of her own" (Q) immediately spring to mind - but Avalanche was truly a quantum leap forward and "a breakthrough record" (Times) to boot. And you can bet that Thea remains the only artiste to have her under-$50 video shown on Top Of The Pops.
Increasing radio support and acclaim from the music press led to a lucrative tour of the US in 2004, in support of legendary folksinger Joan Baez. During this time, Gilmore was diagnosed with clinical depression and also split from her personal relationship with Nigel Stonier after seven years, although they continued touring and working together.
In 2005, Gilmore continued touring commitments, for the first time not releasing a new album (the covers collection Loft Music was widely released during 2004). In October 2005, she and Stonier, who, in the light of Gilmore's depression diagnosis, re-started their personal relationship, married in a ceremony near their home in Cheshire.
Gilmore finally returned to recording with the release of Harpo's Ghost in August 2006, after a three-year absence of new material. The album was once again acclaimed in the music press and UK radio lent their support to the single "Cheap Tricks." Gilmore has been touted by Uncut magazine as "the best British singer-songwriter of the last 10 years...and then some" and has gained steady acclaim for each of her albums.
On November 14th, 2006, Gilmore gave birth to her first child with Stonier, a son named Egan, having conducted a UK tour in the autumn while heavily pregnant.
Thea Gilmore writes lyrics that somehow combine awesome poetic grace together with a 21st century barbed undercurrent. She also delivers razor sharp missives on life, love, sex, death, politics and wars (both personal and global) and all with an achingly-beautiful delivery which melts hearts in an instant. Someone once remarked that Thea is a hellraiser with a voice like honey and if you get to meet her you will know what this means. Barely out of her teenage daze, Thea was being compared to everyone from Joni Mitchell to Ryan Adams and Tom Waits and now at 31, Thea is going to make you think sweet somethings all over again.
www.theagilmore.net
Bad Idea
Thea Gilmore Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Like a living work of art
And I can do cute with a bite or angry with a personable side
But they're my only parts
And this town crossed its legs a long time ago baby
When it got sick of trying
And the violent soprano of an ambulance siren screams round the block
Like the whole world is dying
Oh, oh I have to give everything a name
Oh no I can smell gas in here again
And you say what an explosive little sugar I am
And I say well you know sweetheart you live on bad ideas
She managed them both like some dizzy soap opera queen on the TV
And I manoeuvred my way round the rocks smuggling scorn into my words
And she didn't even see me
I love it when you float off like some great feather in the breeze
But the only trouble is I'm left sitting here panting for more
Like a bitch on heat, now
And oo, oh I have to give everything a name
And oh no I can smell gas in here again
And you say what an explosive little sugar I am
And I say well you know asshole you live on bad ideas
Skin tight and forthright
I can pick this fight alone
Hold on we can take it on 'cause only
Words can cut to bone
Skin tight and forthright
I can pick this fight alone
Hold on we can take it on 'cause even
Words
Oh, oh I have to give everything a name
Oh no I can smell gas in here again
And you say what an explosive little sugar I am
And I say well you know asshole you live on bad ideas
Thea Gilmore’s song "Bad Idea” is a commentary on the harsh realities of life that we all have to face at some point. The song is a reflection of the singer's perspective on her life and how she has to deal with certain situations that come her way. The lyrics paint a picture of a woman who is standing on stage, feeling exposed and vulnerable. She has mastered the art of disguising her true self, and adapting to the different personalities that will best serve her in certain situations. The line “And this town crossed its legs a long time ago baby/ When it got sick of trying” refers to the apathy that many people feel towards life and their surroundings, especially when they face unexpected challenges.
As the song progresses, the tone and language become more aggressive, and the singer appears to become increasingly frustrated with her situation. She accuses someone of living on bad ideas, while also admitting that she herself is living on them as well. This shows a level of self-awareness and self-criticism, and a realization that sometimes even the choices we think are good at the time can lead us down a path of disappointment and regret. The final stanza resolves into a plea for change: “Hold on we can take it on 'cause even/ Words can cut to bone,” suggesting that words and actions can have a significant impact on the course of our lives and that fighting back is a viable option.
Line by Line Meaning
Perfectly ugly I'm standing up here in front of you
I may not be conventionally attractive, but I am confident in myself and unafraid to be vulnerable in front of you.
Like a living work of art
I see myself as a unique and valuable creation, worthy of appreciation and respect.
And I can do cute with a bite or angry with a personable side
I have learned to adapt to different situations and emotions, and can express myself in a variety of ways.
But they're my only parts
Despite my versatility, I am still limited by my own nature and personality.
And this town crossed its legs a long time ago baby
The people in this town have become jaded and unresponsive, unwilling to engage with others in a meaningful way.
When it got sick of trying
The town gave up on progress or change, content to wallow in its own stagnation.
And the violent soprano of an ambulance siren screams round the block
The sound of emergency vehicles reflects the chaos and violence that pervades the town.
Like the whole world is dying
The town feels hopeless and apocalyptic, as though everything is coming to an end.
Oh, oh I have to give everything a name
I feel compelled to label and categorize everything I encounter, in order to make sense of the world around me.
Oh no I can smell gas in here again
I am sensing danger or trouble, perhaps in the form of a toxic or explosive situation.
And you say what an explosive little sugar I am
You recognize my unpredictable and potentially dangerous nature, but find it intriguing or exciting.
And I say well you know sweetheart you live on bad ideas
I point out that your own behavior and actions are flawed or misguided, leading to negative consequences.
She managed them both like some dizzy soap opera queen on the TV
Another person is able to juggle multiple relationships or situations, like a character in a melodramatic TV show.
And I manoeuvred my way round the rocks smuggling scorn into my words
I use subterfuge or sarcasm to express my disapproval or criticism of the situation.
And she didn't even see me
The other person is oblivious or indifferent to my feelings and reactions.
I love it when you float off like some great feather in the breeze
I admire your carefree and graceful demeanor, and enjoy watching you move through the world.
But the only trouble is I'm left sitting here panting for more
However, I am left feeling unsatisfied and longing for greater connection or intimacy with you.
Like a bitch on heat, now
I am consumed by my desire and passion for you, unable to control my impulses or feelings.
Skin tight and forthright
I am bold and assertive, unafraid to speak my mind and stand up for myself.
I can pick this fight alone
I am capable of defending myself or pursuing my own goals, without relying on others for help.
Hold on we can take it on 'cause only
However, I am willing to work with you or others to overcome obstacles or challenges.
Words can cut to bone
I recognize the power of language to wound or hurt, and am careful with my own words as well as those of others.
And you say what an explosive little sugar I am
You continue to be drawn to my unpredictable and potentially dangerous nature, but in a more affectionate or playful way.
And I say well you know asshole you live on bad ideas
I continue to critique your behavior and choices, this time with a more confrontational or hostile tone.
Lyrics © OBO APRA/AMCOS
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