First emerging in the early ’80s, They Might Be Giants were compelling, confounding, and arguably without precedent. They remain, 30 years after the fact, relics of a period in which underground rock’s largely regional character incubated success stories from gifted weirdos across the country. Just as sunbaked desert days helped to produce the druggy haze of the Meat Puppets’ best work, and the Minutemen were products of Southern California’s multi-cultural melting pot of influences, TMBG, with their remarkable combination of free-associative intellectual constructs, indelible hooks, and withering humor always felt like a particularly deranged MIT experiment. Something like a couple of very large brains placed in a blender with a handful of Big Star records, some uniquely tasteless exploitation films, and the entire canon of Russian literature. Early TMBG records are so heavily referential with respect to the musical culture that it can feel a bit like an off-brand, aural actualization of the album art for Sgt. Pepper’s. On the first record alone namechecks run the gamut from Menudo to the Eurhythmics to Elvis Presley to Marvin Gaye and Phil Ochs, to name but a few. Much in the same manner that Quentin Tarantino has made a career out of re-imagining and reordering the cultural space to create new mythologies, TMBG’s brilliance lies in their polymath’s knack for taking in every manner of influence, and eventually bending it to the will of their very particular, and very perverse, imaginations.
Such a long-running success story (and their two excellent recent albums make it clear the band is as creatively vital as ever) must reflect something inspired in the initial composition of the group. The two Johns who functionally are They Might Be Giants — John Linnell and John Flansburgh — are that rare coupling of creative compatriots who are close enough in aesthetic tendencies to tolerate a three-decade partnership, but far enough away that their collaborations still crackle with the intensity of two distinct visions struggling to alchemize into one. In the oversimplified shorthand, Linnell is more of the straightforward pop guy, while Flansburgh is perhaps slightly more inclined towards the experimental and digressive. But crucially, either one can write an unforgettable pop tune at any time, and either can get weird and freak out a whole city block in the span of two minutes. TMBG has every club in the bag, and probably some that aren’t even sanctioned.
As many of their early peers have waxed and waned in terms of popularity and influence, or retired, or died, or possibly worse, They Might Be Giants has retained a nearly startling level of popularity amongst both its rank and file fan base and an influential community of fellow musicians who perceive them as both idol and ongoing inspiration. The excellence of the band’s catalog aside, this may be partially attributable to the savant-like, pre-internet cognizance TMBG seemed to possess about fan outreach through asymmetrical means. Their habit of tacking flexi-discs to random telephone poles as well as their legendary “Dial-A-Song” series, were brilliant early realizations of the inherent limitations of the rote label/publicist/ad buy approach to promoting records. In this regard, they were brilliant at symbolically working the room — actually connecting with their fan base on an intimate and populist level — grasping the notion that reliability and access were ultimately far more charming and likable than the million mile remove of pompous rock stars expressing their bloated selves, willful and indignant, to borrow a phrase from fellow traveler Dan Bejar. So now we take this great, long running band and adjudicate just ten songs that might qualify as their best. Eight might be enough to fill your life with love, but ten is not remotely enough to cover the best of They Might Be Giants. Mistakes will be made, children will be neglected. But at least here is an overview of one of the greatest bands that ever dared to be strange, and vice versa.
10. “Judy Is Your Viet Nam” (from Join Us, 2011)
During the relentlessly vituperative minute and half during which “Judy Is Your Vietnam” unfolds, Flansburgh paints an unmistakable portrait of an ostensibly desirable femme fatale who in fact, for the love of god, must be avoided at every cost. Over an early Who-style rave up, the lyrics are a master class in efficiency. By the time you get through the opening couplet “You met Judy in the ’90s/ She threw parties for magazines,” a kind of dread has welled up in the listener. Yes … we too may have met someone like Judy. (Or did we actually meet JUDY???) From there, things only devolve — Judy is an aging bohemian with a revolving cast of roommates and very little regard for the sanctities of romantic fidelity. She is, memorably “the storm before the calm.” This is “Positively 4th Street” brilliantly cut in half — a pivotal moment and a crushing critique.
9. “They’ll Need A Crane” (from Lincoln, 1988)
They Might Be Giants have a track record of writing great songs about relationships that have gone sour, but they are usually viewed through something of a comical, occasionally cynical lens. “They’ll Need A Crane” stands out in this regard as a surprising outlier because while it has most of the hallmarks of a TMBG classic (wonderful hooks, sharp lyrics, and an impressively short run time) it stands out as being one of the most simply poignant, saddest songs that they have written. “They’ll Need A Crane” tells the story of Lad and Gal, two broken souls and their on-the-rocks marriage. Everyone and everything is beyond repair for these two and so the sensible thing is to just tear the whole sorry lot down, all and sundry, completely. It’s fucking grim. It shouldn’t work as a fast power-pop song. And yet, TMBG managed to nimbly walk the tightrope, splitting the difference at the molecular level between light and dark, making one of the most effective meditations on love lost to ever occupy 2:33 of a record, that manages to get the point across with time to spare for a purely magnificent bridge that captures everything about the band’s genius songwriting abilities.
8. “Working Undercover For The Man” (from Mink Car, 2001)
One of TMBG’s ingenious tropes is to turn their gaze inward and write songs about bands and the experience of being in a band, either real or imagined. This has been adroitly executed in their delightful, perhaps-fully-manufactured-from-whole-cloth meditation on being in the Replacements, “We’re The Replacements,” which more or less narrows down that particular experience to moving and locating equipment, finding Tommy Stinson, and having a party. Other examples include “The Mesopotamians”, about a fake, but fully realized group that has been around since time immemorial, the aspirational tale of wanna-be drummer “Dr. Worm,” and “They Got Lost,” a plausibly factual accounting of TMBG getting lost en route to a performance. “Working Undercover For The Man” follows boldly and originally in this tradition, telling the story of a covert agent posing as a rock star as part of an intelligence-gathering mission. Amidst an inspired Flansburgh vocal and lilting horn/synth arrangement, the song makes being a rock and roller actually seem pretty dull. “I’ve been working hard/ trying to sing and play guitar … paid to fake it in a traveling band/ and I’m working undercover for the man”, he tells us. Only They Might Be Giants would think to strip away all of the glamour and mystique of rock and roll quite this way. The narrator here doesn’t want to come to your town to help you party down, he’s just doing this to tell on people.
7. “XTC Vs. Adam Ant” (from Factory Showroom, 1996 )
No one, but no one, other than TMBG would have ever considered the proposition of a song pitting XTC versus Adam Ant in an epic battle to see who would capture the future of music. For one thing, as legitimately replete with charm as both bands are, neither was ever exactly on the brink of becoming the next Zeppelin. Future historians would not know that from the account given here, where over a bombastic rock attack, the band posits the non-existent XTC/Ant imbroglio as the ultimate contest between content and form. It is a deliriously insane instance of TMBG’s cheerful way with reinventing culture as they might have enjoyed it better. Also amusing: despite the colossal, wars-of-Armageddon nature of the song’s presentation, absolutely no one can decide who wins. Flansburgh seems apocalyptically driven to render the narrative, but also allows that neither side is wrong. Even the singer from Bow Wow Wow can’t make up her mind.
6. “Meet James Ensor” (from John Henry, 1994)
The two Johns have an uncanny knack for putting together truly catchy songs that have the added benefit of being educational. This might be best evidenced by their run of excellent children’s records, which are loaded for bear with tracks where you might actually learn something. They’ve also had storied success teaching their adult audience about James K. Polk (the 11th president) or more recently in their song “Tesla” from Nanobots, which is about the inventor Nikola Tesla (It remains to be seen if they will ever write an homage to the band Tesla). “Meet James Ensor” fits neatly into the category of great TMBG songs that lend itself to a “teachable moment.” It is a minute and a half potted history of the Belgian expressionist painter James Ensor, his life and artistic style. It’s sprightly and charming, with echoes of Jonathan Richman’s previous fine art appreciations, “Pablo Picasso” and “Vincent Van Gogh.” There is a kind of confederacy between under-appreciated artists through time and viewing themselves on a continuum, and the best of them never stop enthusiastically testifying on behalf of their cohort.
5. “Birdhouse In Your Soul” (from Flood, 1990)
The quizzical but undeniably triumphant first single from TMBG’s major label debut Flood is a straight pop gem with a vaguely subversive agenda. By any standards “Birdhouse” was an oddity. When its video first debuted on regular rotation on MTV, it is fair to say that nothing of the kind had really existed on the network. As a song, it is a real beauty, an amalgam of the comic, baroque, and deeply considered. It anticipated the more whimsical clips from Yo La Tengo and Weezer and set a standard for a new, less self-consciously masculine version of what was then known (unfortunately) as “modern rock.” Above all, it was a great tune with a great video and a highwater mark of early-’90s achievement.
4. “Can’t Keep Johnny Down” (from Join Us, 2011)
The lead track from Join Us is a reminder that TMBG exists on a unique plane, someplace between audience friendly and fully alienating. Set to one of their most fetching melodies ever, “Can’t Keep Johnny Down” possesses all of the hallmarks of an easy introduction into a seemingly innocuous power pop record. That is until the lyrics kick in — bringing to bear an environment of outsized fear and paranoia that could only yield the world historic great opening salvo: “Outnumbered a million to one/ All the dicks in this dick town/ Can’t keep Johnny down.” You’d think it couldn’t get better from there, but by god, it does. We won’t ruin the surprise for the uninitiated, but rest assured that you will not spend a better three minutes this side of a Chicago Blackhawks power play.
3. “Don’t Let’s Start” (from They Might Be Giants, 1986)
The herky jerky pop gem from TMBG’s self-titled 1986 debut helped set the template for the band’s patented blend of synth driven hooks, killer melodies and oddly dyspeptic lyrics, which often create a surreal and disorienting sense of disjunction when juxtaposed alongside their seemingly sunny delivery. “No one in the world ever gets what they want/ and that is beautiful,” Linnell sings, conjuring a sentiment as dark and existentially cold as any to be found on a Voidoids record. The difference here is that TMBG doesn’t sound angry or alienated or even sarcastic — they sound absolutely tickled. This senseless, empty, meaningless world is truly their oyster. “Don’t Let’s Start” is a masterful early instance of the kind of difficult to metabolize subversiveness that has always made the band polarizing, but which also makes them great.
2. “I Palindrome I” (from Apollo 18, 1992)
This sublime single from 1992′s Apollo 18 is perhaps one of the best examples of the band’s polymath minds working overtime. At first blush, it’s a captivating pop song with the usual mordant sentiment that is the two Johns’ stock-in-trade, with the winning opening lyric, “Someday mother will die and I’ll get the money,” and the fun, if elliptical chorus, “You son of a bitch, I palindrome I.” But closer examination of the lyrics reveal that Flansburgh and Linnell have actually peppered the entire song with palindromes throughout — Flansburgh’s backing vocals are more or less all palindromes, the nonsensical “Manonam” and the somewhat sensical “Egad a base tone denotes a bad age,” and the soaring, awesome bridge is one gigantic palindrome. Also, the song’s 2:22 runtime might not be an accident. It is a frustratingly clever song that cannot help but get its hooks (and there are many) into you.
1. “Ana Ng” (from Lincoln, 1988)
Perhaps the finest distillation of all of the band’s manifold merits, “Ana Ng” possesses all of the infectious dexterity of “Don’t Let’s Start” but manages to broaden its narrative purview in nearly panoramic ways. Part love song, part war story, and partly a critique of the human condition, this is TMBG at the intimidating height of their intellectual powers, cranking out what is essentially rock and roll’s own poignant take on For Whom The Bell Tolls in 3:22 of astoundingly efficient storytelling.
You Might Also Like
 They Might Be Giants – “You’re On Fire” (Stereogum Premiere) |  The 10 Best Indie Christmas Songs |  They Might Be Giants Do Conan |  20 Songs Named After The Bands That Played Them |
 |
 |
Leave a Reply
Sign in Sign in with FacebookYou must be logged in to post, reply to, or rate a comment.
I realize that this is all just a matter of opinion, and everyone’s favorite top ten is different, but…out of ten songs, TWO of them from “Join Us” seems odd.
I’m not a fan of the “best songs” list. The “Worst to Best Albums” is much more fun and seems to generate more productive bickering. Plus, a lot of the bands you profile are more album-oriented.
Yes
No
Maybe
I don’t know
Could you repeat the question?
What??? No “Boss of Me”?
Bryan Cranston would be disappointed.
Yeah, I agree with Ingalls who is possibly my age. Only one song from Flood is a bit unbeleivable. It is a masterwork. Birdhouse is not only their best song but in consideration for best single of all time, anywhere. “Someday mother will die and I’ll get the money” is marvelous too though.
For the record, I just turned 44.
I did so yesterday. We are Saturday Night Specials.
not one of the songs used in tiny toons?
Haha I remember those!
Experimental Film
Pretty good list IMO, though I agree 2 ‘Join Us’ tracks is random. Here’s my list from a few yrs ago cause I’m totes a nerd (http://mypoproks.com/2008/02/04/id-like-to-know-how-you-can-not-love-they-might-be-giants-3/).
10. “Sleeping in the Flowers”
9. “Boss of Me”
8. “Man It’s So Loud in Here”
7. “Purple Toupee”
6. “The Statue Got Me High”
5. “I Palindrome I
4. “Don’t Let’s Start”
3. “Birdhouse in Your Soul”
2. “Put Your Hand Inside The Puppet Head”
1. “Ana Ng”
Off the top of my head:
#10 – Bangs
#9 – Fingertips (Come On and Wreck My Car) [Still my ringtone]
#8 – Damn Good Times
#7 – The Mesopotamians
#6 – Experimental Film
#5 – I’m Impressed
#4 – Birdhouse In Your Soul
#3 – I Palindrome I
#2 – Take Out The Trash
#1 – Istanbul (Not Constantinople)
Then again, I know I’m in the minority already since ‘The Else’ is my favourite of their albums.
The Else is a highly underrated record. It’s not my favorite (I doubt they’ll ever be able to top Lincoln), but it’s neck and neck with Nanobots for their best post-Elektra record.
I should really give Lincoln another listen. It never really clicked with me before. Need to check out Nanobots too – I’d completely missed that release.
Well, it just came out, so fret not. You’ve only missed it by about 2 weeks. I think it’s some of their best sonic composition.
A stunning lack of Dr. Worm and Narrow Your Eyes makes this list flawed.
I could also make a case for Nanobots, Experimental Film, Bangs, the briefly mentioned The Mesopotamians, Till My Head Falls Off, Certain People I Could Name, etc. etc.
XTC vs. Adam Ant? Meh. You manage to pick one of the worst songs on their worst record. Son, I am very disappoint.
And hell, even I managed to forget Particle Man! Hot damn!
They Might Be Giants have a certain mastery of writing upbeat, pop rock songs about maddeningly depressing subject matter. Nowhere is this better exemplified than in The Famous Polka.
Pretty good list though.
I couldn’t agree more with your #1 pick
Also, the album icon linked to XTC vs. Adam Ant is of Severe Tire Damage, not Factory Showroom.
Nothing from Join Us should be on this list. The top 3 is solid, though.
Lets just re-title these lists “Our 10 Favorite ______ Songs” instead of the ten “best” this goes for any band list. Because its just a little arrogant to assert that your opinion is the be all end all (implied through the title, maybe it wasn’t intended). Maybe saying “best” generates more interest and traffic idk, no hate uknowwutimsayinG
making this list is nobodies’ business but the Turks.
The biggest crime on this list is that she’s an angel isn’t on it nor is it number one.
I was going to say exactly what Jim Rountree said.
1. SHE’S AN ANGEL
2. Birdhouse
3. Ana Ng
For consideration
I Should Be Allowed to Think
Particle Man
Your Racist Friend
I don’t know the ins and outs of the tmbg discography too well, but “Birdhouse in Your Soul” still kind of blows my mind.
I don’t want the world. I just want your half.
Look I know that Flood is the “hit album” but there’s a reason for that. The fact that this doesn’t contain “Particle Man” OR “Women and Men” OR “Istanbul” just seems overtly esoteric to me…
OR “Dead”!
THIS IS A WEIRD LIST!!
1-5 are hard to argue with, but the the bottom half is kind of crazy. i appreciate that craziness, but still… “judy is your vietnam” does NOT belong. NOBODY would put that on their list.
if you’re going to include flansburgh tunes, leaving out “puppet head” is a major oversight, as it’s one of his best.
as for some of my picks… “dr. worm” is an obvious choice. it’s the one song they’ve played at every show i’ve seen by them. a clear favorite.
“the statue got me high” deserves a spot. as does “dead.”
as for a little more obscure, “spiraling shape” is a favorite.
No Where Your Eyes Don’t Go? No Put Your Hand Inside The Puppet Head? Yet Meet James Ensor and Can’t Keep Johnny Down somehow make the list? :P
“XTC vs Adam Ant” is not only the worst song of TMBG’s career, but also worse than any song by either XTC or Adam Ant.
Alright, I may be overstating things slightly. But certainly any song from The Spine would’ve been a better choice.
I’m of the opinion that the best Flans song on Factory Showroom is Pet Name, by leaps and bounds.
I figured either Purple Toupee or Ana Ng would be number one, but no love at all for Purple Toupee! I know it seems like a lazy pick, but that’s because it’s one of their absolutely catchiest songs.
This list not having Another First Kiss, Snowball in Hell, or Dr. Worm makes it entirely invalid.
also: minimum wage. HYAH!
there is no list without Particle Man or Istanbul
(what can i say, i watched tiny toon adventures)
Two songs from Join Us on the list and neither are the actual best song from that album: “When Will You Die”
Too many songs to choose from. Too many possible great lists, which might change from day to day. I don’t actually have a problem with the Stereogum list, even though I would have probably had some different songs in the 6-10 range.
You forgot Mammal, See The Constellation, Fingertips, Boss Of Me, Till My Head Falls Off, Experimental Film, She’s An Angel, and their best track of all time Sensurround
S-E-X-X-Y
“Withered Hope,” from The Else, is my favorite song of theirs. I recognize that it’s a deeper cut, but still. It’s hilarious and catchy, TMBG’s two best traits.
How has no one not pointed out the criminal lack of “The End of the Tour”?
I won’t even start in on how underrated “Pet Name” is.
But..but…Man, It’s So Loud In Here?
New York City? I Should Be Allowed To Think? Fibber Island? How Can I Sing Like A Girl? And definitely, no question, Man, It’s So Loud In Here.
Ten songs = 0.00002% of the total TMBG catalog. Far too small a number. Some pretty bad picks on this list. XTC vs Adam Ant being the worst though, easily!
I’m not convinced the author has actually ever listened to TMBG. I respect differing tastes to a great extent, but two songs from Join Us? You’re having a laugh.
Still though, I’m sure you’ve driven up the traffic. Nice job baiting actual fans.
Even after having listened to “NO!” something like, oh, six or seven hundred times while driving with my kids somewhere, I’d still say that several of the songs from that album deserve consideration for this list:
- Where do they make balloons?
- Four of two
- The house at the top of the tree
But, this particular list is daunting … my all time favorite song I only heard once, on “Dial-a-song”, it was only on there for one day, in 1986 or 1987 I think, and it was about the Mets …
And, FWIW, I was at what I believe was their first official show, at some kind of protest for squatters’ rights in Tompkins Square Park in NYC.
Aren’t you the guy that hit me in the eye?
You totally deserved it.
Mysteeeeeeeerious whisper
The End of the Hour should be there, otherwise great list
Favourite band ever, so impossible to pick a top 10, but for the sake of it, i think these are the 10 tracks I’d recommend a friend who didn’t know the band. Their best straight-up pop songs i guess?
But leaves out so many awesome tunes!
Birdhouse in your soul
She’s an angel
The World’s Address
Hey Mr DJ I thought you said we had a deal
They’ll need a crane
Ana Ng
Don’t Let’s Start
Nothing’s gonna change my clothes
It’s not my birthday
dr. worm