This is more like it.  Fair warning:  It starts with a cymbal stop, and it's LOUD.  Watch your ears or turn down your speakers if you're in an unsafe environment.

Again, no real idea on the lyrics. Again, not the greatest sound quality - all of the Actors' tracks were recorded "live" on a four-track, and the engineering is really for shit, as much as I appreciate the use of the equipment. The guy who did the recording was very into the whole pseudo-punk thing of avoiding any clean tones, not keeping the drums at least boxed away so they didn't wash out other instruments, and that sort of thing. The unfortunate result is that you just can't hear a lot of the details.  

That's the apology, now for the bragging :) It's a great riff, and I've actually used it as backing music for several video and audio projects over the years.  This is one of the most fun and energetic songs the Actors ever worked on. I think the riff was Elliot's again, and he took the lead vocal. Mark was on rhythm guitar for this (he also played keyboards, which we'll get to on some other tracks). Nate...ah, Nate. There's just not much I can say about Nate without leaving myself open to some kind of lawsuit, but I'll say this: he was a very solid bass player, and I'd still like to choke the life out of him for adding the gratuitous and utterly meaningless "mother f*cker" shout to the end of this track. Period. It served no purpose, it wasn't "cool" or "edgy," it was just infantile and annoying.

The backing vocals are shaky - as they will generally be in a live setting - and to my great irritation you can't hear the tambourine at all. Not that I love tambourine so much, but keeping it going through the whole song with my left foot while it was attached to my hi-hat stand was on the challenging side.

Probably my favorite contribution to this song is the ride cymbal pattern in the chorus; although you'd never know to listen to it, when I wrote/arranged this and threw that accent in, I actually had a much more complex part from a much more complex song in mind - a bridge/break section in "Chalice Vermillion" from Thought Industry's first album that Dustin taught me (along with a few other choice licks, like the pattern from "Spirit of Radio" by Rush, which this actually sounds closer to) one afternoon at TI's rehearsal space out in Athens, Mi. Oddly, now that I think of it you can probably trace the hi-hat opens to that same afternoon; they bear a passing resemblance to the patterns in "Outta Love Again" by Van Halen, which was in that same list of little things ol' double-D turned me on to that day.

Of course, as with any directly-influenced work, you probably wouldn't even catch the connection I didn't point it out...but then that's what makes it so fun, right? Integrating your influences into your playing style without actually stealing other people's licks.

Anyway, here it is. Enjoy.