I'm Gonna Eat Alot Of Real Bad Food
Art Paul Schlosser · F.A.W.M. (February Album Writing Month) [2008]
that um as I was writing these songs
i came up with kind of a theme
that a lot of them would have food mentioned in them
and this next one is one of them that has a lot of food mentioned
It's called I'm gonna eat a lot of real bad food
Okay here goes
Someday when I'm rich
I'm gonna eat a lot of real bad food
That is what I wish
I'm gonna eat a lot of real bad food
I might even get sick
I'm gonna eat a lot of real bad food
Yeah hand me over that drumstick
I'm gonna eat a lot of real bad food
I'm gonna eat a lot of real bad food
If I get fat so what dude
It's my life I'll do what I want
So what if I get a big gut
I have some buffalo wings
I'm gonna eat a lot of real bad food
Cheese on my french fries
I'm gonna eat a lot of real bad food
No I didn't say little I want them super-size
I'm gonna eat a lot of real bad food
Yeah not just a couple pies alot of pies
I'm gonna eat a lot of really bad food
I'm gonna eat a lot of really bad food
I'm gonna eat a lot of really bad food
I'm gonna eat a lot of real bad food
If I get fat so what dude
It's my life I'll do what I want
So what if I get a big gut
About I'm Gonna Eat Alot Of Real Bad Food
Art Paul Schlosser's "I'm Gonna Eat Alot Of Real Bad Food" stands as a vibrant, absurdist piece from his 2008 *F.A.W.M.* album, a collection born from the February Album Writing Month challenge. The track exemplifies Schlosser's unique comedic style, blending theatrical delivery with surreal subject matter to create a memorable musical performance. Rather than traditional narrative structures, the song functions as a whimsical character study, utilizing exaggerated vocal delivery and rhythmic phrasing to entertain listeners with its bizarre premise. Released within the context of his broader discography, which often features eclectic themes and live recordings, this work highlights Schlosser's ability to transform mundane or nonsensical ideas into engaging musical experiences. The recording captures the energy of his early 2000s output, showcasing a blend of folk-rock instrumentation and spoken-word comedy that defines his catalog. It remains a standout example of his approach to music as a vehicle for humor and creative expression, inviting audiences to embrace the unexpected nature of his artistic vision.