Music / Mouth Albums

"When I decided to mash up Smash Mouth with John Lennon, of course I was thinking, 'This is super blasphemous, this is designed to make people angry.' But then by accident, some people think that it actually sounds good. A lot of people tell me that they really like it, when I was expecting that it would make them mad."

— Neil Cicierega, describing his thoughts on creating Mouth Sounds

The Mouth Albums are a series of remix albums by Neil Cicierega. The albums consist of popular songs from The '60s to The New '10s mixed together in surprising, blasphemous, and usually awesome ways.

The project started when Cicierega found a repository of song stems from the Rock Band series and began to mess around with them in his spare time, which resulted in the track "No Credit Card," a heavily remixed version of Huey Lewis and the News' "The Power of Love." After positive feedback from posting this on his Soundcloud, he began to work on what eventually became Mouth Sounds, starting a long line of mashups.

To date, four albums in the series have been released, along with various outtakes and other odds and ends.

• Mouth Sounds - The first album in the series, released in 2014. As the name implies, it primarily focuses on Smash Mouth's "All Star."
• Mouth Silence - The second album, also released in 2014. It acts as a "prequel" to Mouth Sounds, and features no visible references to "All Star" — but examining closely reveals a series of cryptic Easter eggs alluding to the infamous song.
• Mouth Moods - The third album, released in 2017. While it has "All Star" in it again, it isn't featured as prominently as in Mouth Sounds.
  • Mouth Misc - Not an album per se, but a collection of outtakes from the first three albums, initially published exclusively to YouTube. Neil made the MP3s public after copyright claims got some of those videos taken down.
• Mouth Dreams - The fourth album, released in 2020. Unlike the others, it has an overarching theme (dreams, as the name indicates), making it a bit of a Concept Album.
  • Mouth Craft - An unofficial "fifth" album; this is a set of Mouth Dreams outtakes that Neil performed in a 2020 Minecraft concert. The set hasn't been officially released to date, but can be found floating around online.

Mouth Sounds and Mouth Silence received significant online attention upon their release, and as a result, several mashups from the albums have become well-known Internet memes, with Mouth Moods' "Bustin" (a remix of the Ghostbusters theme) arguably being the most famous. The albums are available to download for free on Cicierega's website, and to stream on his SoundCloud. He has also released music videos for some of the series' songs, as well as outtakes from Mouth Moods, on his YouTube channel.

---

Tracklists:

Mouth Sounds

1. "Promenade (Satellite Pictures at an Exhibition)" (1:25)
2. "Modest Mouth" (3:47)
3. "D'oh" (1:54)
4. "Vivid Memories Turn to Fantasies" (2:44)
5. "Bills Like Jean Spirit" (4:45)
6. "Full Mouth" (2:17)
7. "Alanis" (1:22)
8. "Imagine All Star People" (3:00)
9. "Imma Let It Be" (2:07)
10. "Daft Mouth" (3:03)
11. "Like Tears in Chocolate Rain" (3:52)
12. "No Credit Card" (5:07)
13. "Bega Interlude" (0:25)
14. "Melt Everyone" (4:53)
15. "The Sharpest Tool" (2:39)
16. "Mullet with Butterfly Wings" (6:20)
17. "Smooth Flow" (6:29)

Mouth Silence

1. "Goodbye" (2:17)
2. "Rollercloser" (3:25)
3. "Furries" (2:20)
4. "Friends" (0:10)
5. "Best" (3:53)
6. "Pokémon" (3:17)
7. "Sexual Lion King" (3:52)
8. "Crocodile Chop" (3:42)
9. "Transmission" (0:54)
10. "Love Psych" (3:54)
11. "Orgonon Gurlz" (4:19)
12. "Born to Cat" (0:43)
13. "What Is It" (3:04)
14. "It's" (1:09)
15. "Close to the Sun" (1:24)
16. "Numbers" (5:07)
17. "Space Monkey Mafia" (3:48)
18. "Wndrwll" (3:28)
19. "Piss" (4:58)

Mouth Moods

1. "The Starting Line" (2:54)
2. "Floor Corn" (2:29)
3. "AC/VC" (2:58)
4. "300MB" (2:11)
5. "Revolution #5" (0:28)
6. "Dear Dinosaur" (3:39)
7. "Annoyed Grunt" (3:31)
8. "Bustin" (3:47)
9. "Blockbuster" (0:14)
10. "Busta" (1:07)
11. "Tiger" (3:03)
12. "The End" (3:32)
13. "Shady Interlude" (0:57)
14. "T.I.M.E." (4:37)
15. "Smooth" (4:17)
16. "Stand by Meme" (2:24)
17. "Wallspin" (3:15)
18. "Wow Wow" (3:29)
19. "Mouth Pressure" (3:43)
20. "Shit" (4:08)

Mouth Dreams

1. "Yahoo" (2:13)
2. "Mouth Dreams (Intro)" (0:52)
3. "Spongerock" (2:15)
4. "Just a Baby" (3:48)
5. "Superkiller" (2:26)
6. "Get Happy" (3:50)
7. "Ribs" (3:50)
8. "My Mouth" (2:32)
9. "Aerolong" (1:25)
10. "Sleepin'" (1:15)
11. "Aammoorree" (2:15)
12. "Where Is My Mom" (2:15)
13. "Fredhammer" (2:57)
14. "Limp Wicket" (2:25)
15. "Cannibals" (4:29)
16. "The Outsiders" (1:13)
17. "Johnny" (1:29)
18. "Closerflies" (3:34)
19. "Nightmovin'" (1:25)
20. "Whitehouse" (1:54)
21. "Wah" (0:55)
22. "Pee Wee Inc" (2:36)
23. "10,000 Spoons" (3:23)
24. "Mouth Dreams (Extro)" (1:44)
25. "Brithoven" (1:07)
26. "Ain't" (2:50)

---

This is the story of the tropes:

• And the Rest: The cover art of Mouth Sounds lists most of the musicians Neil sampled for the album, then ends with "...AND MORE." Most notably without mentioning Smash Mouth's "All Star", the single most sampled track on the album, at all.
• Arc Words: The word "Mouth" comes up a lot in the albums, both in the album titles and the titles of songs mashing "All Star" with something else. "Mouth Dreams" also recurs in, well, Mouth Dreams.
• Bait-and-Switch:
  • The title of "Smooth," and tradition from previous albums, would lead one to believe that it involves Santana's "Smooth"... but then it starts with "O Canada" and transitions into a mashup of "One Week" with "Smooth Criminal." And then, right when the listener is resigned to the joke... Santana's "Smooth" kicks in!
  • "Wow Wow" starts with two back to back: "Some-" from "All Star," then "-people call me the space cowboy," from "The Joker," before getting into the meat of the mashup (Will Smith's "Wild Wild West").
• *Bleep*-dammit!: Parodied in Mouth Dreams, where Neil randomly censors the word "hell" in "Fredhammer" but keeps swears uncensored in the rest of the album, even sentence mixing "Feel Good Inc." to uncensor "ass cracks" and making Johnny Cash say "I shit my pants" (Notably, Cash had previously censored that particular curse in his Cover Version of Nine Inch Nails' "Hurt", replacing "crown of shit" with "crown of thorns") in "Just a Baby."
• Blue-and-Orange Morality: In "Superkiller," the psycho killer now HATES PEOPLE WHEN THEIR bed's on fire... despite mentioning several times how his own bed is on fire.
• Book Ends:
  • Mouth Silence begins and ends with a "Semi-Charmed Life" mashup.
  • Mouth Dreams, whose title on the album cover spells out "NICE MODEMS" if you only look at the letters with sparkles (similar to the "U R MR GAY" meme surrounding the Super Mario Galaxy logo), begins and ends with internet-related sounds (the Yahoo! jingle and modem dial-up sounds, respectively).
  • Mouth Dreams also bookends the entire album series, unless Neil makes another follow-up. The Mouth albums begin and end with classical music mashups: "Promenade (Satellite Pictures at an Exhibition)" on Mouth Sounds, and "Brithoven" and "Ain't" on Mouth Dreams.
• Bread, Eggs, Breaded Eggs: In Bustin:
  Ray Parker Jr.: Freaky ghost baby! / Freaky ghost man! / Freaky man baby!
• Brick Joke:
  • Track 6 on Mouth Sounds, "Full Mouth," is a mashup between "All Star" and the Full House theme. Once you think it's over, the next track "Alanis" starts up with the vocals from Alanis Morissette's "You Oughta Know" ...only for the Full House music to kick back in. Then, once you've completely finished with that album and are 45 minutes into Mouth Silence, "Wndrwll" starts out as a chopped up remix of Oasis' "Wonderwall", and then 2 minutes into it, when you least expect it, the Full House music comes back one more time. Can also count as a Call-Forward if you're listening to them in "canonical" order.
  • On the album Mouth Moods, Neil uses a short sample of the song "One Week" in the opening song, "The Starting Line." Later in the album, Neil pairs "One Week" with "Smooth Criminal" on the track, "Smooth." Then, for the sole purpose of tormenting the listener, Neil pairs "One Week" with "Stand By Me" on the very next track.
  • Mouth Sounds contained the track "D'oh," which is a mashup of multiple songs and sound clips, including Homer Simpson's titular Catchphrase. Mouth Moods then followed it up with a similar track titled "Annoyed Grunt," which is how said Catchphrase is written in the script for the Simpsons episodes.
  • Similarly, Mouth Silence ends with a track titled "Piss." Mouth Moods then ended with a track titled "Shit."
  • Mouth Sounds contained a track titled "Vivid Memories Turn to Fantasies," a remix of Will Smith's Men in Black theme, with Will occasionally declaring "Bees!" Mouth Moods eventually followed that up with "Wow Wow," a remix of Will Smith's Wild Wild West theme, including one more declaration of "Bees!"
  • Subverted with "Closerflies" off of Mouth Dreams, which uses the instrumental from "Closer", the vocals of which Neil mashed with "Love Rollercoaster" by the Ohio Players on "Rollercloser" in Mouth Silence. But then the "Fireflies" vocals come in...
• Broken Record:
  • "D'oh!" has "I like big butts and I cannot lie... butts and I cannot lie... butts and I cannot lie..." for nearly a minute under the rest of the song.
  • "No Credit Card" from Mouth Sounds takes this up to eleven; the first two-and-a-half minutes are almost entirely composed of variations on "Don't need no credit card to ride this train," which then simply cuts it down to "Ri-ri-ri-ri-ri-ri-ri-ri..." with a background of "Feel the power of love" for the next two minutes.
  • "The Starting Line" is a compilation of opening lines from several songs (more specifically, songs where the vocals start before the music), repeating constantly for the entire duration of the song.
  • Then there's "Smooth," where the lyrics for "One Week" ends before the "Smooth Criminal" instrumentals do and so it just starts repeating certain phrases of the lyrics for the remainder of the song like "Chickity China the Chinese chicken" and "Harrison Ford" for the hell of it.
  • "Alanis": "You-UH! You-UH! You-UH! You-UH! You-UH! You-UH! You-UH! You-UH! Oughta know!"
  • Ladies and gentlemen, this is Mambo number five... number five... number five... number five...
  • From "Get Happy"; "C'mon get happy, we'll make you happy! C'mon get happy, we'll make you happy! C'mon..."
• Call-Back: Sounds and Moods both have interludes featuring "Mambo No. 5"; Sounds has "Bega Interlude," which is a brief MIDI version of the song, while Moods has "Revolution #5," which mashes it up with "Revolution #9."
• Concept Album: Mouth Dreams focuses almost entirely around songs that involve or at least mention sleep, and even has an intro ("you've just crossed over into... Mouth Dreams") and an "extro" (which begs the listener to wake up).
• The Cover Changes the Meaning: Several of these remixes edit the vocal tracks enough to wildly change the subject of the song.
  • He turns the Ghostbusters theme into a celebration of "bustin'" on a "freaky ghost bed."
  • "Eye of the Tiger" into a song about a number of literal tigers... and also about the conservation of said tigers, considering "you must fight just to keep them alive" lyric is left unchanged.
  • Cicierega juxtaposes a news segment about furries to make "Foxy Lady" about Jimi Hendrix being a furry lusting after a literal fox lady.
  • "Men in Black" has been edited to give Will Smith a weird obsession with bees.
  • "Wild Wild West" has been transformed from a rap song of boastful masculinity into one about crossdressing and blatant homoeroticism ("Who that is?! Loveless, bad for ya health! invoked Lookin' damn good though, if I could say it myself! Told me Loveless is a good man, but I don't feel that, he got his behind lookin' damn good though!")... and once again, Will Smith also has a weird obsession with bees.
  • "Love Psych" is a frighteningly extreme example. The upbeat vocals from The B-52s' "Love Shack" are relatively unchanged, but when put behind the string soundtrack to Psycho, some of the lyrics start to form a new narrative, vaguely parallel to the plot of the movie, just a lot more euphemistic.
  • "Just a Baby" (based on Johnny Cash's "Folsom Prison Blues") is now about a baby who's "stuck in baby prison" for acting out various kinds of Troubling Unchildlike Behavior... such as shooting a train (but that train was just a car), "always drinking coffee," and smoking. Also, he likes vehicles, and his mother killed a man.
  • In some cases, the covers actually change the meaning of the song by removing the Lyrical Dissonance and giving more spotlight to the lyrics. "Tears in Chocolate Rain" takes away the cheesy instrumental of "Chocolate Rain" to highlight its lyrics about institutional racism; "T.I.M.E." puts "Y.M.C.A." over the epic score of Inception to show how its lyrics are a genuine Rousing Speech telling a (presumably gay) homeless man on his last legs there's still hope for him and that he's not alone; "Johnny" puts "Never Gonna Give You Up" over Johnny Cash's solemn "Hurt" to show that it's a genuine love song buried under the synthesized '80s sheen and memes.
• Credits Gag:
  • For the big list of featured artists on the Mouth Sounds cover, Neil doesn't mention Smash Mouth—burying them under a generic "...AND MORE"—despite them being the most-sampled artist on the album. Yet the big list does credit musicians who only indirectly appeared on the album: specifically Edwin Birdsong ^note because he was sampled in Daft Punk's "Harder Faster Better Stronger"and Dámaso Pérez Prado ^note because he was sampled in Lou Bega's "Mambo Number Five".
  • Also, the Dave Matthews Band and Huey Lewis and the News get their names slightly tweaked: Dave Matthews and His Band, and Huey Lewis and His News.
• Double-Meaning Title: "The Starting Line" from Mouth Moods consists entirely of lyrics that are the starting line of their respective tracks, including, of course, "The Distance" by Cake, which starts with the line "Reluctantly crouched at the starting line..." And on top of all of that, it's also the first track of the album.
• Early-Installment Weirdness: The song titles from Mouth Sounds were often much less simple and concise than his later works, such as the first track being called "Promenade (Satellite Pictures At An Exhibition)" and another being called "Vivid Memories Turn To Fantasies." Song titles in later albums are usually four syllables at most and are a combination of the song or artist's names, such as "Aerolong," "Superkiller" and "Spongerock." In a broader sense, the mashups themselves are more predictable, with there usually just being one joke for the entire song, usually involving "All Star" or "Smooth." Later albums have a greater variety of artists and more jokes within a single song.
• Easter Egg:
  • Mouth Silence is full of carefully hidden "All Star" references, including an album cover, backwards messages, and even some text in ID3 tags.
  • Each of the albums have a different image reflected in Neil's glasses, usually relating to a track on the album: Sounds has Shrek (obviously), Silence has the Hampster Dance (referencing its appearance in "Piss"), Moods has Larry King (a reference to his appearance in "Annoyed Grunt"), and Dreams has Wicket (referencing "Limp Wicket").
• Epic Rocking: The last two tracks on Mouth Sounds both surpass the 6-minute mark.
• Fading into the Next Song: The albums use a variation of this, where each song seamlessly transitions into the next, either musically or through subject matter. Some good examples come from Silence: "Furries" ends with the phrase "dressing up as their favorite four-legged friends," leading into, naturally, "Friends." "Best" ends with "I wanna be the very best," leading into "Pokémon." "Pokémon" ends with a snippet of dramatic score from The Lion King (1994), leading into "Sexual Lion King."
• Foe Romance Subtext: Done in "Wow Wow" from Mouth Moods, where Jim West(/Dress)'s feelings for Loveless suddenly take an unexpected sexual turn:
  Who dat is? Loveless, bad for your health
  Lookin' damn good, though, if I can say it myself
  Told me Loveless is a good man, I don't feel that
  He got his behind looking damn good, though
• Gay Cowboy: "Wow Wow" features a Wild West setting, and a crossdressing US Army Captain Jim West(/Dress) who is attracted to his archenemy Loveless.
• Hourglass Plot:
  • "Mullet with Butterfly Wings" starts with the vocals from Smashing Pumpkins' "Bullet with Butterfly Wings" mashed with the instruments from Loverboy's "Working for the Weekend." Halfway through, the two songs swap places: the vocals from "Working for the Weekend" paired with a slightly modified version of the instrumentals from "Bullet with Butterfly Wings." Then they swap back for the very end.
  • Downplayed with "Spongerock." It starts with vocals from the SpongeBob SquarePants opening theme set to the stomp-stomp-clap rhythm section of Queen's "We Will Rock You," then swaps to Freddie Mercury singing over the ukulele from SpongeBob's end credits theme—but the stomp-stomp-clap rhythm from the first half persists, and the SpongeBob vocals return as the chorus a few more times.
• Hypocritical Humor: In "Superkiller," David Byrne accuses the listener, "You start a conversation you can't even finish!" then awkwardly goes silent for the next bar.^note The line that was cut, in a funny bit of meta commentary, is "You're talking a lot, but you're not saying anything." Also, in the first verse, he mentions multiple times that his bed is on fire, but in the bridge he declares "I hate people when their bed's on fire!"
• Immediate Self-Contradiction: In "Superkiller," David Byrne declares, "When I have nothing to say, my lips are sealed. / Say something once, why say it again? / Say something once, why say it again?"
• Instantly Proven Wrong: In "Nightmovin'," M. Shadows insists "Can't wake up in sweat / cuz it ain't over yet!" just before the song abruptly ends.
• Leitmotif: "All Star," "Smooth," the Full House theme, "One Week"...at this point, almost no song is sacred from being used in a lot of his mashups.
• Limited Lyrics Song: Sometimes to the point of Overly Long Gag levels. "Don't need no credit card to ride this train..."
• List Song: Taken to its logical conclusion with "Space Monkey Mafia," a mash-up of R.E.M.'s "It's the End of the World As We Know It (And I Feel Fine)" and Billy Joel's "We Didn't Start the Fire."
• Longest Song Goes Last: Mouth Sounds closes with the 6:29 "Smooth Flow."
• Lyrical Cold Open: "The Starting Line" is Exactly What It Says on the Tin: the lyrics consist entirely of the cold opens from various songs.
• Lyrical Dissonance: Embraced to absurd degrees in his mashup songs, either with silly sounding instrumentals with serious lyrics ("Rollercloser," "Crocodile Chop," "Floor Corn" and "The End"), or serious sounding instrumentals with silly lyrics ("Love Psych," "T.I.M.E."). Or both ("Mullet with Butterfly Wings," "Spongerock").
• Miniscule Rocking: Several of his mashups are much shorter than their source songs, on the basis of mashup dissonance ("Born to Cat," "Busta") or executing one exact joke from the lyrics ("Friends," "Nightmovin'") before slamming the listener in the face with the next track in line.
• Mundane Made Awesome: "300MB" primarily samples an infomercial dramatically playing up the incredible power of a 300MB hard drive, mixed in with an energetic tweak of "I'm Gonna Be (500 Miles)," giving it this effect. invoked
• Musical Pastiche: "Time More One Baby", an outtake from Mouth Dreams, is "...Baby One More Time" done In the Style of symphonic rock, specifically channeling Electric Light Orchestra.
• My Friends... and Zoidberg: The cover art of Mouth Sounds lists 26 of the musicians Neil sampled for the album. There were only 27 musicians sampled for the album. The one who got their credit replaced with a generic "...AND MORE"? Smash Mouth, of course.
• Numbers Stations: "Transmission" is designed after one, with samples from David Bowie's "Space Oddity" providing the automatic voice and tags. The numbers are ASCII codes for letters; decoding them spells "SMASH MOUTH".
• Odd Name Out: Subtly done in "Pokémon." While the song ostensibly concludes with a montage of different newscasters saying the word "Pokémon" over and over, but listen closely and you'll notice that one of them actually says "Digimon" at one point.
• Orange/Blue Contrast: Used tastefully on the Mouth Sounds cover, where Neil is posed in front of a dark background, with teal light shining on him from one side and a smaller bit of orange light shining on him from the other. Then cranked up to 11 for Mouth Moods cover, where teal and orange lighting split his face right down the middle, and the background is solid orange to the left and solid teal to the right. Then inverted for Mouth Dreams: the color scheme is red and blue instead, but these specific shades are the color inverts for the teal and orange from the previous covers.
• Overly Long Gag:
  • "Full Mouth" starts with over a full minute of the unedited Full House theme before the lyrics of "All Star" kick in.
  • "Alanis" ends with the Vanity Plate jingles of Lorimar-Telepictures and Warner Bros. Television, the producers of Full House... then Columbia Pictures Television, Castle Rock Television, Buena Vista Television, Touchstone Television, Gracie Films, 20th Century Fox Television, and then finally Klasky-Csupo.
  • "Cannibals" in Mouth Dreams basically has the listener ask, "Neil can't possibly mash up an entire song for four and half minutes using production logo jingles and the THX Deep Note as the main instrumental sources, can he?" He does.
  • "The Outsiders" from Mouth Dreams lists the characters of the titular story from the movie trailer, along with Dad, Inspector Gadget, Kid Cuisine, and other non-Outsider members, all in the voice of renowned trailer VA Don LaFontaine.
  • "Sleepin'" on Mouth Dreams takes the opening riff from "My Own Worst Enemy" by LIT, and extends it past its resolution... and then longer.
• Precision F-Strike: Inverted with "Rollercloser" from Mouth Silence, where the F Strikes from the chorus of "Closer" are replaced with funk vocals.
• Quote Mine: All over the place with how the remixes are edited, but one of the funniest examples is in "Space Monkey Mafia," where the intro of "It's the End of the World as We Know It (And I Feel Fine)" is changed from "Lenny Bruce is not afraid" to "Billy Joel is not afraid"... by using a (female) text-to-speech voice. This is the only time text-to-speech has been used on any of the four albums.
• Remix Album: Mouth Sounds, Mouth Silence, Mouth Moods and Mouth Dreams all consist of remixes and mashups of popular songs and found audio from the late '50s to the early 2000s.
• Rule of Three: On Mouth Moods, "All Star" is one of the songs used on "The Starting Line," but only in the same context as every other vocal sample in that track, by repeating its starting line. After that theme is over, there are two isolated "SOME"s to fake out the listener (the end of "The Starting Line" and the beginning of "Wow Wow") before the song gets its proper mashup treatment in "Mouth Pressure."
• Running Gag: Smash Mouth's "All Star" is constantly either mashed-up or referenced throughout all four of the Mouth albums.
• Sequel Escalation: Mouth Moods to Sounds and Silence, as many of the songs on Moods are sequels or inverses of songs on the preceding albums taken up to eleven. A particular example is "Annoyed Grunt" which is simultaneously a sequel to "D'oh" from Sounds and "Friends" from Silence.
• Siamese Twin Songs: Dreams has "Fredhammer" and "Limp Wicket," which both sample Limp Bizkit's "Nookie" and play back-to-back as a single song.
• Spoken Word in Music: Happens a lot in Mouth Silence and Mouth Moods by using a spoken word sample to segue into or introduce another song.
• Stealth Pun:
  • Sounds starts with "Promenade (Satellite Pictures at an Exhibition)" followed by "Modest Mouth," a remix of "Float On." The original artists of those songs are Modest Mussorgsky and Modest Mouse.
  • "Rollercoaster" replaces every instance of "fuck" in Nine Inch Nails' "Closer" with a funk sound effect. If one interprets each sound as a stand-in for the word "funk," it becomes "I wanna funk you like an animal."
  • The song "300 MB," which has "I'm Gonna Be" playing over a woman ranting about the magic and wonder of a computer hard drive that can hold up to 300 megabytes. Specifically, the vocal inflictions the brothers make in the song, "DADA DA DA," or as one could interpret it, "DA-DA-DATA! DA-DA-DATA!" invoked
  • Mouth Silence ends with a track titled "Piss," and Mouth Moods ends with one titled "Shit." Looking for a pattern, fans retroactively decided the final track from Mouth Sounds, "Smooth Flow," must be a euphemism for Toilet Humor as well.
  • The promotional video for Mouth Dreams prominently featured a Green Day song; one of the last songs encourages the listener to wake up; and the album released on September 30th, 2020, the last day of the month. A secret message to Wake Me Up, When September Ends.
  • The song "Get Happy" is immediately followed by "Ribs," which prominently features vocals by Marilyn Manson, and is itself followed by "My Mouth." In other words, Marilyn Manson's ribs are the only thing between his mouth and getting happy—a cheeky reference to an urban legend about Manson.
  • "Fredhammer" / "Limp Wicket" includes music and lyrics from Limp Bizkit's "Nookie" (with the lyrics edited to mention cookies a lot)—and combines them with Meco's Star Wars themed "Ewok Celebration," which prominently mentions Chewbacca. The logical rhyme would be "I did it all for the Wookiee," but Neil teases the audience by not using the word "Wookiee" even once.
• Technology Marches On: Invoked with "300 MB," which remixes an early '90s infomercial about a hard drive with 300 megabytes of storage capacity, making it out to be world-changing and epic. For reference, Mouth Moods itself in FLAC format is 431 MB.
• Telephone Song: "Numbers" takes samples from a bunch of other songs about telephones (most prominently Milli Vanilli's "Baby Don't Forget My Number," Carly Rae Jepsen's "Call Me Maybe" and the Ghostbusters theme), as well as ads for gimmicky 1-900 numbers, and mashes them all together.
• Toilet Humor:
  • "Piss" from Mouth Silence is about, well, drinking piss.
  • "Shit" from Mouth Moods, its sequel (the number two, if you will), is about taking a really, really good shit.
• Troubling Unchildlike Behavior: The protagonist of "Just a Baby" is a baby who constantly drinks coffee, smokes cigars, and shoots people with guns.
• Urban Legends: Invoked in "Ribs"—a mashup including Chili's "Baby Back Ribs" and Marilyn Manson's "The Beautiful People," subtly referencing an enduring one about Manson. It also hasn't gone unnoticed that this song is preceded by "Get Happy" and followed by "My Mouth"...
• Wholesome Crossdresser: "Wow Wow" reimagines Will Smith's Jim West as a crossdressing lawman named Jim Dress.
• Word Salad Lyrics:
  • "Just a Baby" has Neil mix up the lyrics of "Folsom Prison Blues" by Johnny Cash so much that it becomes an incomprehensible song about Johnny Cash being a baby and a train.
  • "10,000 Spoons" takes Alanis Morissette's "Ironic" and sentence-mixes its lyrics into oblivion, replacing the ends of multiple lines with "...on your wedding day," etc. It also chops off the second halves of a few lines, creating non-sequiturs like "It's like 10,000 spoons...."

---

...Bees.
^...Bees!