[Intro] [Begin immediately with a blunt repeating bass figure and hard dry drums. Guitar enters with one jagged dissonant chord, leaves space, then strikes again. Keep the pulse rigid and physical.] [Verse 1] [Vocal stays low, deadpan, and matter-of-fact. Bass carries nearly all of the movement while guitar appears in short abrasive bursts.] There's a Buick in the driveway With the keys on the hood Nobody knows who left it Nobody thinks that's good Engine's still warm Radio's on Weather man says Tuesday Tuesday's already gone [Instrumental] [Keep the bass figure repeating without softening it. Drums add short tom accents while guitar scrapes across the harmony with ringing unresolved notes.] [Verse 2] [Maintain the same rigid pulse. Let small gaps appear between phrases.] Dad checked the backseat Mom checked underneath There's a birthday cake Sitting in the passenger seat Sixteen blue candles All burning straight Nobody's having a birthday At least not till May [Chorus] [Make the band heavier through larger drum hits and wider dissonant guitar chords while keeping the tempo and vocal delivery controlled.] Move the car Nobody will Take the keys Nobody will Call somebody Who? There's a Buick in the driveway What do you want me to do? [Instrumental] [Drop the vocal completely. Bass remains stubborn and repetitive while drums hammer against it with abrupt stops and restarts. Guitar answers with clipped chords, scraped harmonics, and feedback.] [Verse 3] [Return suddenly to the stripped verse arrangement.] At noon it was green By dinner it was red The license plate said THANKS The neighbors went to bed Someone rolled the window down Nobody saw who Now there's snow on the dashboard And a swimming pool [Chorus] [Return to the heavier arrangement. Let guitar become increasingly dissonant around the unchanged bass figure.] Move the car Nobody will Take the keys Nobody will Call somebody Who? There's a Buick in the driveway What do you want me to do? [Extended Instrumental] [Stay with the central pulse and develop it through several increasingly abrasive passes. Bass remains dominant. Drums introduce harder tom patterns, displaced strikes, sudden silences, and violent re-entries. Guitar builds layers of ringing dissonance, scraped strings, and controlled feedback. A distant synthetic tone may emerge briefly behind the band and disappear. Keep everything rigid rather than swinging.] [Bridge] [Pull almost everything away except bass, kick, and occasional guitar noise.] Thursday morning Buick's gone Driveway's empty Nothing wrong Dad found the keys Inside the fridge Mom found the cake Under the bridge [Breakdown] [Stop the guitar. Let bass and drums continue alone with large empty spaces.] Nobody mentioned The swimming pool [Final Chorus] [Full band returns suddenly at maximum density. Keep the central pulse unchanged while guitar surrounds it with unresolved noise.] Move the car Nobody will Take the keys Nobody will Call somebody Who? There's a Buick in the driveway What do you want me to do? [Outro] [Continue the bass figure after the vocal ends. Drums gradually remove pieces of the beat while guitar feedback hangs above it. End abruptly rather than resolving.] [End]
