Formed in 2019, Yard Act began life when friends Ryan Needham and James Smith started creating minimalist rock tracks using a primitive drum machine and borrowed bass guitar. Later drafting in George Townend on drums, and Sammy Robinson on guitars whom they met at their spiritual home, The Brudenell Social Club, they played a handful of shows to a rapt reception before you-know-what intervened. No matter: ingenuity and artistry enabled them to great their debut release. Overflowing with satirical one-liners, A side ‘Fixer Upper’ follows a cocksure fictional character, ‘Graeme’, planning some home renovations.
Yard Act co-instigator Smith explains: “Graeme was inspired by an amalgamation of people who lived on my street growing up. I think everyone knows a Graeme, maybe a neighbour or an uncle… sorry if he’s your dad. Not a bad man at heart, he just sincerely believes he’s from a country and generation that achieved the apex of everything so therefore can’t ever be wrong about anything.” Drafting in Ross Orton (who’s credits include Arctic Monkeys, Working Men's Club’s, MIA, Amyl & the Sniffers) on mixing duties, it is equal parts fearsome and funny and never less than breath-taking.
On the flip side, ‘The Trapper’s Pelts’ is a satirical take on neoliberalism. James Smith explains, “It skewers elements of the American frontier into a Scarface-type narrative set against the backdrop of a mundane West Yorkshire suburb.” Produced by Bill Ryder Jones (The Coral) prior to lockdown the recording process of the track “felt like a Happy Mondays thing, keeping the drums tight and high up in the mix like a dance mix.” Housed in a screen printed wraparound sleeve (individually printed by Ryan from the band), it’s a debut single to be treasured.
Payday
Yard Act Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Is it growing your own lettuces in the potholes on the road
Do the locals have to eat them all if they don't sell 'em
I call potholes concrete meadows of the soul
What constitutes a ghetto fetish? Huh?
Is it growing your own lettuces but not filling in the potholes
The local council will be getting an earful believe me
I call their lugholes concrete bollards to the soul
And there are starving children in Africa
So go send your toy guns to Bosnia
Take the money, take the money, take the money and run
Take the money, take the money, take the money and run
Take the money, take the money, take the money and run
Take the money, take the money, take the money
And treat your husband right
What constitutes real change? Huh?
Are we even vaguely aware of when we'll terminate the muse
If all offers are final, then how is it even possible
For you to be both flush and completely principled?
Ah, yeah well, I didn't do any of it for you
I did it for the little boys and girls
Pulling lettuce from the pothole hosing off the engine oil
Wax apples at Christmas, next year they're sniffing glue
All of a sudden I was blinded by a powerful light
Woo
Take the money, take the money, take the money and run
Take the money, take the money, take the money and run
Take the money, take the money, take the money and run
Take the money, take the money, take the money
And treat your mama right
Take it
Take it (take it)
Take it (take it)
Take it (just take it, put it in your pocket)
Take it
Take it (don't tell anyone)
Take the money, ay
Take the money, ooh
Take the money, just treat, treat, treat yourself
Take the money
Take it, take it, go on take it
Take it, take, take, take, take, take
Take the money, ay
Take the money, ooh
Take the money and treat your mother right
Take the money, oii
Take the money, yeah
Take the money and treat your mother right
Yard Act's song Payday seems to be an introspective critique of societal norms and values. The opening line, "What constitutes a ghetto?", is a rhetorical question that sets the stage for the rest of the song. The first verse goes on to question whether growing your own crops in potholes on the road is a sign of a ghetto, and whether the locals have to eat them all if they don't sell them. The second verse questions whether growing your own crops but not filling in potholes constitutes a fetish. The vocalist calls the potholes "concrete meadows of the soul" and the council's lack of action "concrete bollards to the soul", implying that the neglect of basic infrastructure leads to a neglect of the soul.
The chorus, "Take the money, take the money, take the money and run, take the money and treat your husband right" seems to be a commentary on societal expectations of women. The line "take the money and treat your husband right" implies that the only way a woman can be fulfilled and successful is by supporting and pleasing her husband financially. It seems to be a critique of the patriarchal society that expects women to bear the burden of financial responsibility while also fulfilling the roles of a wife and mother.
The second half of the song questions what constitutes "real change" and whether we are truly aware of when we will "terminate the muse". The vocalist questions whether it's possible to be both wealthy and principled, implying that society values wealth over principles. The final line, "All of a sudden I was blinded by a powerful light", is open to interpretation but could suggest a moment of clarity or realization.
Line by Line Meaning
What constitutes a ghetto? Huh?
The singer questions what is considered a ghetto.
Is it growing your own lettuces in the potholes on the road
The singer questions if growing lettuces in potholes on the road is a characteristic of a ghetto.
Do the locals have to eat them all if they don't sell 'em
The singer questions if the locals have to eat the lettuces that are grown in potholes if they are not sold.
I call potholes concrete meadows of the soul
The singer compares potholes to meadows because grass and plants can grow in both.
What constitutes a ghetto fetish? Huh?
The singer questions what is considered a fetish for ghettos.
Is it growing your own lettuces but not filling in the potholes
The singer questions if growing lettuces but not fixing potholes is a fetish for ghettos.
The local council will be getting an earful believe me
The singer warns the local council that they will receive complaints.
I call their lugholes concrete bollards to the soul
The singer compares the council's ears to concrete bollards, which are used to block roads or paths.
We all make the same sound when we get mowed down
The singer suggests that everyone is the same when they are defeated.
And there are starving children in Africa
The singer brings up the issue of world hunger, particularly in Africa.
So go send your toy guns to Bosnia
The singer suggests that donating toy guns to Bosnia does not solve the problem of violence and conflict there.
Take the money, take the money, take the money and run
The singer urges the listener to take the money and run.
Take the money, take the money, take the money
The singer repeats the line to emphasize the importance of taking the money.
And treat your husband right
The singer adds a humorous twist by suggesting to treat your husband right after taking the money.
What constitutes real change? Huh?
The singer questions what is considered real change.
Are we even vaguely aware of when we'll terminate the muse
The singer questions if we even know when our inspiration or motivation will come to an end.
If all offers are final, then how is it even possible
The singer questions how it is possible to be both completely principled and wealthy if all offers are final.
For you to be both flush and completely principled?
The singer questions how it is possible to be both wealthy and committed to your moral principles.
Ah, yeah well, I didn't do any of it for you
The singer states that they did not do any of it for the listener.
I did it for the little boys and girls
The singer reveals that they did it for the children in the community.
Pulling lettuce from the pothole hosing off the engine oil
The singer describes a scene where children are picking lettuces from potholes and washing off engine oil, which is a common practice in ghettos.
Wax apples at Christmas, next year they're sniffing glue
The singer describes how children who receive nice things at Christmas may be using drugs the following year due to the environment they live in.
All of a sudden I was blinded by a powerful light
The singer describes being blinded by a bright light, which could represent a sudden realization or epiphany.
Take the money, ay
The singer repeats the phrase to emphasize the importance of taking the money.
Take the money and treat your mother right
The singer adds a new twist to the chorus and urges the listener to treat their mother right after taking the money.
Lyrics © DOMINO PUBLISHING COMPANY, Kobalt Music Publishing Ltd.
Written by: James Smith, Ryan Needham, Sam Shjipstone
Lyrics Licensed & Provided by LyricFind
@hotelmario510
I love how every Yard Act song has the same energy as a bloke cornering you in the pub and telling you a long rambling story where he keeps repeating himself and stumbling over his words, pre-empting arguments seemingly with himself
@thecakeislying
lol
@jacksmith4093
Also said that yard act reminds me of one of Frank galligher s rants from shameless
@carrigster
I just love that YA are that perfect mix of 90s indie/britpop/dance throwback but so original and modern (both lyrically and musically). This track is a fucking trip and really hope 2022 is massive for these lads!
@massnebassne6626
with just a hint of stranglers
@layditms2
lol NOTHING fucking original
It is a rehash of how we grew up
@danielhughes2014
It's like the best of the Happy Mondays and the best of Talking Heads, brill. Love it lads.
@mickey4125
And another one! God damn guys, you're gonna give me a heart attack with all this incredible material you've been putting out!
Also I love that long-haired-lettuce-lady is a recurring character in the Yard Act universe
@SaadSuleman
These guys will go huge
@stephendowling2453
I,m Huge