Serengeti, “Wedding”

Blake Gillespie

Serengeti, Saal

On “Wedding Crasher”, off The-Dream's Terius Nash: 1977 record, the r&b singer beligerently crashes the matrimony apologizing for the interruption, but far from ashamed of his intoxicated courage. It's a bro's anthem for winning her back, in that it took a bottle of Patrón to achieve clarity, which is far from the formula for happily ever after, but will lead to one helluva hijacked honeymoon. It's catchy and I admittedly praised Nash in the song's initial release on the free download version of 1977, claiming it could “inspire a new generation of Benjamin Braddocks banging on locked Cathedral doors.”

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But “Wedding Crasher” seems less fit for The Graduate references after listening to Serengeti's “Wedding”, off his upcoming Saal record. Serengeti sounds as though he's on a city bus headed for same United Methodist Church in La Verne, California used in the film. Equipped with a sober determination, he's headed there with one goal, offer a gift to the bride that entices her to cuckold her new husband before the honeymoon.

Strangely enough both songs share a common ground that should be written into all wedding crasher tales. Serengeti sings of “when you were mine and I was mine”, which is the tell that binds him to Nash's belligerence. Breaking up a wedding is never about true love, just read Corinthians for the excerpt on patience, but about getting the last word. Terius Nash and Serengeti are both cleverly aware it's a self-serving act. Unforunately, the interpretations of Nash's version might miss the hints he drops, while Serengeti fans are trained listeners for his subtle turns of phrase.

Serengeti's Saal is out February 12 on Graveface.

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