The titular song on the album is clearly the centerpiece of the record. The references to The Beach Boys and the lost 1967 masterpiece Smile are palpable and intentional. The main chord progression of the verses and back- ground vocal counterpoint pattern is entirely based on Heroes and Villains. For all of its obvious riffing on Heroes and Villains motifs, there is a ton of originality in this nearly 10 minute song.
The song structure is rather unorthodox as it winds to and fro.
The orchestration on this track is the most complicated I have ever attempted, complete with a full virtual Wall of Sound. Especially prominent is the quadrupled bass in unison – upright bass, electric bass, hollow-body bass, surf guitar as bass – all run through a vintage tape-delay. Other instruments featured are: drums, piano, harpsichord, acoustic guitars, harmonica, muted trumpet, organs, loads of orchestral percussion – timpani, tambourine, sleigh bells, hand claps, glockenspiel, celesta, guiro, triangle, wood block – and full real string sections, baritone saxophone, tape feedback, oboe, english horn, Joe Meek inspired overdriven surf guitar tones, 5+ part contrapuntal background vocals, and more. There are upwards of 200 tracks of audio on this song, a challenging mix to say the least.

This song was originally penned circa 2004 on the heels of the heartbroken, self-pity-fest of the first I.S.S. record, Forget About The Girl. As such, it carries that same tender, disgruntled good guy, tongue-in-cheek misogyny with it. I wrote most of the lyrics but had some significant lyrical contributions and editing by George Smith and Samantha Fisher – on one dark night in Ben Lomond, CA, when the power had gone out.

There begins some purposefully bad lyrics, “...well I’ve been around with a lot of girls..,” reminiscent of Mike Love dorkiness ala the obscure Beach Boys song, I Do. Then there are clever multilayered puns at the very next turn with, “...well I’m no saint father figured it out, mama never had a clue what it was about ‘cause she’s a girl...” (saint, father)(father figure)(figured it out). Then the chorus, “...she’s a girl, so watch out boy she won’t make you happy, ‘cause she’s a girl and that’s not what she’s for, she’s crazy..,” is paradoxical, perhaps a melody so sweet that even a militant feminist may give a pass to the mildly incendiary lyrics. These are the words of a boy who had his heart needlessly shattered by a callous women in the most unnecessarily harsh way, less a jab at the feminine than a moral indictment of the state of affairs.

In the second verse we follow the fool on his errand to ask out the girl who works at the nearby store. Thinking for hours, should I ask her to a movie or what?.. He finally calls her, but she is already watching a movie, so he can’t ask her to a movie, and later on she’s going out for “drinks with a friend.” What does that mean? There are only 3 dates possible, see a movie, get fed, or “...walk along the beach forever...”
Later in the song there are some pretty scandalous soap-opera-level events depicted that are, unfortunately, all true. But do these reckless and harmful behaviors make her feel like she is free?