Track Info. For This Toilet Earth

## *This Toilet Earth* Track Info.

Listed below are information for specific tracks off of *This Toilet Earth.* Almost all information taken from Genius.

## Saddam A Go-Go

Saddam A Go-Go is a fast-paced punk/rock song about the dictator Saddam Hussein. To mix things up, the song has a horn section intro, an uses horns throughout. This is one of the few Gwar songs that uses horns. It makes it stand out from the rest of their discography. This is genuinely regarded as one of their most popular songs, and defiantly a fan favorite. It was used in the move *Empire Records,* which Gwar also cameoed in.

As for lyrical meaning, the beginning line, "I, at the time, was a communist, lived on a collective farm" refers to Stalin’s rule of the Soviet Union (a hot topic for GWAR), a policy of collectivization was implemented. Rather than having several different small farms, the USSR organized all of its peasants and farmers into giant “collective” farms, then harshly ruled over them. The result was increased grain production, but famine, feuds, and a massive period of death (called the Holodomor). For the ideal communist, collective farms were a dream realized.

"Ein, Schwein, kick him in the thigh" is comparing Saddam and his army to the Nazi’s of WWII. Which has merit, and still resonates with ISIS in Iraq in present times.

"The running paper tiger chases its own tail" - a “paper tiger” is something that is superficially terrifying, but physically weak and prone to collapse. The phrase was famously used by Mao Zedong, referring to the United States.

In this line, the “paper tiger” represents the U.S. military, mindlessly going to war for war’s sake without any end in sight, A.K.A. “chasing its own tail”.

"As we sit on our roofs and cheer as your scuds fall like rain" - "Scuds" is being used as a metaphor for the consistent talk of launching said missiles everywhere. Originally created by the Soviet Union for use against the U.S., these missiles found their way into the hands of 3rd world countries like Iran, who would use them more liberally than Mother Russia.

"Running around with a saxophone, where is the president, where?" - A nice play on Bill Clinton, President of the United States during the post-Gulf War period. Clinton was famous for, among other things, his saxophone playing. While Clinton did not authorize the Gulf War, he continued airstrikes and the no-fly zone started in the late 1980s.

## Jack the World

This song is one of the most obvious correlations to the Gwar film *Skulhedface.* It makes various references to the movie's plot throughout.

This section lampoons the Eurythmics‘ “Here Comes The Rain Again”:

> I want to walk in the open wind
> I want to talk like lovers do
>
>

GWAR was nominated for Best Long Form Music Video at the 1993 Grammy Awards, though they ended up losing out to Eurythmics frontwoman Annie Lennox’s *Diva* video album. So not only are they making a nod to the fact they lost a Grammy, but also to who they lost it too.

## Sonderkommondo

This song's about Sonderkommandos (German for “special unit”, “unit” referring to a group of slave laborers) were Jewish death camp prisoners who were tasked with removing the bodies left behind in the gas chambers of World War II concentration camps.

For the chorus, "Sonderkommando, what would you do? You'd do your job. King for a day." The question “What would you do?” followed by the immediate answer “You’d do your job” reflect the choices of these Jewish prisoners. The Nazi officers forced the Sonderkommandos to act under threat of death, leaving them with no other options.

The line “King for a day” suggests that although these prisoners were forced to do unspeakable things, they were “kings” solely for the fact that they made it through another day without being killed.

The usage of “Sonderkommando” in the song is meant to spin its WWII terminology into the context of GWAR, with the Sonderkommandos now being aliens that have to deal with the aftermath of GWAR’s intergalactic violence.

## Bad Bad Men

“Bad Bad Men” is a thrash punk song with lyrics that follow a cowboy theme. The slower bridge near the end of the song features influences from older country & western music and western movie soundtracks.

An early demo version was released on the Canadian cassette version of 1992’s *America Must Be Destroyed*.

## Pepperoni

This song was both sampled in other GWAR tracks, the first being "White Boy Can't Dance" on *Slaves Going Single* and the second bebing "Sleazy's Walkin' Music" on *A Soundtrack To Kill Yourself To*

## The Insidious Soliloquy of Skulhedface

Sung by Skulhedface (Scott Krahl), “The Insidious Soliloquy of Skulhedface” is perhaps GWAR’s most ambitious and experimental song. It blends the band’s usual thrash metal stylings with an extended jazz bridge that descends into a waltz before returning to thrash. Rhythm guitarist Mike Derks (Balsac The Jaws Of Death) composed and arranged the jazz and waltz sections of the song. Although Krahl is one of the longest-serving members of Slave Pit Inc., this song is his only vocal contribution to a GWAR album.

The jazz bridge features an interpolation of Raymond Scott’s “Powerhouse”, famous for its use in Warner Bros. cartoons.

Lyrically, Skulhedface describes his origins as an alien queen who was corrupted and became a hideous yet genius monster. He also explains his plans to steal the life essence (Jizmoglobin) from GWAR to regain his former beauty.

Within GWAR’s lore, Skulhedface was originally the Butthead Queen, a beautiful and peaceful alien queen. Longtime GWAR villain Cardinal Syn managed to steal the Butthead Queen’s Jizmoglobin, transforming her into Skulhedface.

## B.D.F.

The controversy and meaning of this song can be found here.

## Slap U Around

An overly-macho and misogynist parody of Southern rock and honky-tonk music, “Slap U Around” features samples of women moaning and yelping in pain and pleasure throughout. These same samples would later be used in the X-Cops song "Paddy Wagon Rape".

## The Obliteration Of Flab Quarv 7

An experimental thrash piece, “The Obliteration of Flab Quarv 7” explains why GWAR was banished to Earth by The Master. Throughout the song, rhythm guitarist Mike Derks (Balsac The Jaws Of Death) portrays a narrator that reads a firsthand account from an unnamed member of The Master’s 3rd Scumdog Legion, of which GWAR were also among the ranks. The Legion attack and destroy the planet Flab Quarv 7, only to find out they were supposed to destroy Flab Quarv 6. The Master, already angered by GWAR’s rebellious nature, banished them to Earth as punishment. This is the first GWAR song to feature Derks in a distinguishable vocal role, as he is usually part of group backing vocals.

Underneath the spoken verses, lead singer Dave Brockie (Oderus Urungus) screams and babbles unintelligibly.

The guitar riff before and after the bridge section was used earlier on the album as the intro for “The Issue of Tissue (Spacecake)”.

Due to the complex nature of the song, “The Obliteration of Flab Quarv 7” has never been performed live.

GWAR’s 2019 comic *The Enormogantic Fail* is a chronicle of Flab Quarv 7’s destruction, told from several contradictory perspectives.