Category: Song Lyric Sunday

Song Lyric Sunday – Education – Another Brick In The Wall

For today’s Song Lyric Sunday our friend Paula, from Light Motifs II, has given us the prompts School, College, Education, Class and Degree. Thinking about education I remembered the Pink Floyd classic, Another Brick In The Wall. It has an interesting backstory as well as a fantastic video. Hang in there when you play it, the vocals start at around 1:50 minutes. The video is fascinating to watch so you won’t feel like you’re waiting.

The Song

One of Rolling Stone‘s “500 Greatest Songs of All Time,” this 1979 rock song protests overly restrictive schooling and boarding schools. According to the song, thought control and dark sarcasm are among the tactics that teachers use to control students, and students are better off without them

Roger Waters wrote this song about his views on formal education, which were framed during his time at the Cambridgeshire School for Boys. He hated his grammar school teachers and felt they were more interested in keeping the kids quiet than teaching them. The wall refers to the emotional barrier Waters built around himself because he wasn’t in touch with reality. The bricks in the wall were the events in his life which propelled him to build this proverbial wall around him, and his school teacher was another brick in the wall.

Waters told Mojo, December 2009, that the song is meant to be satirical. He explained: “You couldn’t find anybody in the world more pro-education than me. But the education I went through in boys’ grammar school in the ’50s was very controlling and demanded rebellion. The teachers were weak and therefore easy targets. The song is meant to be a rebellion against errant government, against people who have power over you, who are wrong. Then it absolutely demanded that you rebel against that.”
The children’s chorus that sang on this track came from a school in Islington, England, and was chosen because it was close to the studio. It was made up of 23 kids between the ages of 13 and 15. They were overdubbed 12 times, making it sound like there were many more kids.

The addition of the choir convinced Waters that the song would come together. He told Rolling Stone: “It suddenly made it sort of great.”

Pink Floyd’s producer, Bob Ezrin, had the idea for the chorus. He used a choir of kids when he produced Alice Cooper’s “School’s Out” in 1972. Ezrin liked to use children’s voices on songs about school.

There was some controversy when it was revealed that the chorus was not paid. It also didn’t sit well with teachers that kids were singing an anti-school song. The chorus was given recording time in the studio in exchange for their contribution; the school received £1000 and a Platinum record

.The disco beat was suggested by their producer, Bob Ezrin, who was a fan of the group Chic. This was completely unexpected from Pink Floyd, who specialized in making records you were supposed to listen to, not dance to. He got the idea for the beat when he was in New York and heard something Nile Rodgers was doing.

Pink Floyd rarely released singles that were also on an album because they felt their songs were best appreciated in the context of an album, where the songs and the artwork came together to form a theme. Producer Bob Ezrin convinced them that this could stand on its own and would not hurt album sales. When the band relented and released it as a single, it became their only #1 hit.

Two more songs from the album were subsequently released as singles in America and various other countries, but not in the UK: “Run Like Hell” and “Comfortably Numb.” They had little chart impact.
The concept of the album was to explore the “walls” people put up to protect themselves. Any time something bad happens, we withdraw further, putting up “another brick in the wall.”

The Wall was one of two ideas Waters brought to the band when they got together to record in 1978. His other idea was The Pros and Cons of Hitchhiking, which he ended up recording as a solo album.
Waters’ original demo for this song was just him singing over an acoustic guitar; he saw it as a short interstitial piece for the album. He explained in Mojo: “It was only going to be one verse, a guitar solo and out. Then the late Nick Griffths, the engineer at Britannia Row, recorded the school kids, at my request. He did it brilliantly. It wasn’t until I heard the 24-track tape he sent while we were working at Producer’s Workshop in Los Angeles that I went, ‘Wow, this now a single.’ Talk about shivers down the spine.”

When they first recorded this song, it was one verse and one chorus, lasting 1:20. Producer Bob Ezrin wanted it longer, but the band refused. While they were gone, Ezrin extended it by inserting the kids as the second verse, adding some drum fills, and copying the first chorus to the end. He played it for Waters, who liked what he heard.

“Another Brick In The Wall (part I)” is the third track on The Wall. This section, which contains many of the motifs found on Part II, explains that because Pink’s father went off and died in WWII, he built The Wall to protect him from other people. In the movie you see him at the playground with the other kids and their fathers, then one of the kids leaves with his father and Pink tries to touch the father’s hand. The father pushes him away quite aggressively, then leaves.

This segues seamlessly into Track 4, “The Happiest Days of Our Lives,” which runs 1:50. this is the section that includes the lines:

When we grew up and went to school
There were certain teachers who would
Hurt the children any way they could

“The Happiest Days of Our Lives” explains that the teachers must have it rough in their own homes, getting thrashed by their “fat and psychopathic wives,” which is why they take out their frustrations on the students.

This section flows into “Another Brick In The Wall (part II),” which is Track 5. Radio stations would sometimes play all three songs together, or start at “The Happiest Days of Our Lives.” >>
To make the album, the band came up with the concept of the character “Pink.” Bob Ezrin wrote a script, and they worked the songs around the character. The story was made into the movie The Wall, starring Bob Geldof as “Pink.” Many people believe you have to be stoned to enjoy the film.

For the stage show, a giant wall was erected in front of the band using hidden hydraulic lifts as they played. It measured 160x35ft when completed, and about halfway through the show, the bricks were gradually knocked down to reveal the band.

Waters sang lead. When he left Pink Floyd in 1985 and the band toured without him, Gilmour sang it.
Speaking with Top 2000 a gogo, Roger Waters said: “In the mid-’70s, I’d only just figured out a couple of years before that I was living my life, that I wasn’t actually preparing for something, that life was not something that was going to start at some point. This sudden realization that it started a long time ago, you just didn’t notice.

Really, the most important thing about that song is not the relationship with the school teacher. It was the first little thing I wrote where I lyrically expressed the idea that you could make or build a wall out of a number of different bricks that when they fit together provided something impermeable, and so this was just one of them.

When you hit puberty and start getting snotty, it’s good to have an adult around who will say, ‘Well hang on, let’s talk about that,’ rather than ‘be quiet.'”

The line “We don’t need no education” is grammatically incorrect. It’s a double negative and really means “We need education.” This could be a commentary on the quality of the schools.

The original idea for the concept of the actual Wall they wanted to create came from a problem Roger Waters was having during their concerts. When he started thinking about the show, he wanted to isolate himself from the public because he couldn’t stand all the yelling and shouting. “The Wall” was not just a symbol and a concept, but a way of separating the band from their audience.

The 1998 movie The Faculty has a version of this song remixed by Class Of ’99.

In England, this was released in November 1979 and became the last UK #1 of the ’70s.

On July 21, 1990, Waters staged a production of The Wall in Berlin to celebrate the destruction of The Berlin Wall.

In 2004, Peter Rowan, a Scottish musician who ran a royalties firm, started tracking down the kids who sang in the chorus, who were by then in their 30s. Under a 1996 copyright law, they were entitled to a small amount of money for participating on the record. Rowan was not so much interested in the money as in getting the chorus together for a reunion.

On July 7, 2007, Roger Waters performed this at the Live Earth concert at Giants Stadium in New Jersey. Live Earth was organized to raise awareness of global warming, and the slogan for the event was “Save Our Selves” (S.O.S.). Waters poked fun at Pink Floyd and the event by flying a giant inflatable pig overhead, which was a classic Pink Floyd stage prop, except this one was emblazoned wit the words “Save Our Sausages.”

Roger Waters did the Scottish voices on the track. He told Mojo magazine December 2009, “I can do mad Scotsman and high court judges.”

The teacher character in this song shows up again in Pink Floyd’s next album, The Final Cut (1983), notably in the song “The Hero’s Return.” He is based on the many men who returned from war and entered the teaching profession, as they had no other opportunities.

“Bully For You” is a song by Tom Robinson Band. The song’s lyrical hook is the repeated line, “We don’t need no aggravation.” Tom Robinson believe Pink Floyd (with whom the TRB shared both management and record label) took it as an influence when they were writing “Another Brick In The Wall,” specifically the line, “We don’t need no education.” TRB Two was released in March 1979; Floyd’s The Wall followed nine months later. Tom Robinson says in Classic Rock, November 2015: “There’s no question ‘We don’t need no aggravation’ was in the air around Roger Waters. Roger’s skills as writer are were far more developed than my own. He put a great idea to better use, so fair play to him.”

In 2021, Floyd frontman Roger Waters turned down a “huge, huge amount of money” from Facebook for the right to use “Another Brick in the Wall (part II)” in an ad campaign. For years Waters had been a very vocal supporter of Julian Assange, the head of Wikileaks, who was imprisoned in 2019 for espionage. Waters viewed Assange’s arrest as an attempt to silence true journalism and to stifle dissenting voices. He sees Facebook and the other big tech platforms as being part of that effort to silence dissent and “take over absolutely everything.”

Waters minced no words in his refusal of the money, stating, “And the answer is, F- you. No f-in’ way.” He also called Facebook owner Mark Zuckerberg “one of the most powerful idiots in the world” after questioning how Zuckerberg became so powerful after starting FaceMash, which rated Harvard women based on their looks.

Waters did not make the announcement on social media. He did it the old fashioned way: at a press conference.

Courtesy of Songfacts

The Lyrics

Daddy's flown across the ocean
Leaving just a memory
Snapshot in the family album
Daddy what else did you leave for me?
Daddy, what'd'ja leave behind for me?!?
All in all it was just a brick in the wall.
All in all it was all just bricks in the wall.

"You! Yes, you! Stand still laddy!"

When we grew up and went to school
There were certain teachers who would
Hurt the children any way they could

By pouring their derision
Upon anything we did
And exposing every weakness
However carefully hidden by the kids

But out in the middle of nowhere
When they got home at night, their fat and
Psycopathic wives would thrash them
Within inches of their lives

We don't need no education
We dont need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone

Hey! Teachers! Leave them kids alone!

All in all it's just another brick in the wall.
All in all you're just another brick in the wall.

We don't need no education
We dont need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave us kids alone!
All in all it's just another brick in the wall.
All in all you're just another brick in the wall.

[8:20] "Wrong, Do it again!"
"If you don't eat yer meat, you can't have any pudding. How can you
have any pudding if you don't eat yer meat?"
"You! Yes, you behind the bikesheds, stand still laddy!"

{9:00} [Sound of many TV's coming on, all on different channels]
"The Bulls are already out there"
Pink: "Aaaaaaaaaaaaaaaaaaaaaaaarrrrrgh!"
"This Roman Meal bakery thought you'd like to know."

I don't need no arms around me
And I dont need no drugs to calm me.
I have seen the writing on the wall.
Don't think I need anything at all.
No! Don't think I'll need anything at all.
All in all it was all just bricks in the wall.
All in all you were all just bricks in the wall.

[10:50] Goodbye, cruel world
I'm leaving you today
Goodbye, goodbye, goodbye

Goodbye, all you people
There's nothing you can say
To make me change my mind

Song Lyric Sunday – Spirit – Lion

Lion, Tiger, Bear, Eagle and Shark are the prompts for this week’s Song Lyric Sunday, hosted by our friend Jim Adams.

Plenty of material to choose from once you start looking. The Lion King is a favorite musical of mine and this beautiful song, ‘Spirit” by Beyonce is perfect for the prompt. It refers to our path in life and need for strength while facing the unknown as in Simba’s journey after the death of his father, Mufasa I hope you enjoy it along with the beautifully produced video.

The Song

Beyoncé recorded this inspirational song for the soundtrack of the live-action remake of The Lion King and the companion album The Lion King: The Gift. It plays in the film during a pivotal scene with Nala, Simba’s childhood best friend and future love interest. Beyoncé also stars in the movie as the voice of the powerful Nala.

The Lion King tells the story of Simba, a young lion who struggles to succeed his father as King of the Pride Lands. The song starts off with a chant in Swahili, which translates as “long live the king.” The phrase acts as encouragement for the lion and his spirit to prevail.

Beyoncé co-wrote and co-produced this song of strength with:

Swedish-Persian songwriter IIya Salmanzadeh, who has co-penned several of Ariana Grande’s hits, including “Problem,” “No Tears Left to Cry,” “God Is A Woman” and “Break Up With Your Girlfriend, I’m Bored .”

English dance/hip-hop singer and producer Labrinth. Best known for his own hit single “Beneath Your Beautiful,” Labrinth has also contributed to tunes by Noah Cyrus (“Make Me (Cry)”), The Weeknd (“Losers”) and Nicki Minaj (“Majesty”).

Beyoncé produced and curated The Lion King: The Gift companion album. She said that the songs were inspired by the remake’s storyline, which “gives the listener a chance to imagine their own imagery, while listening to a new contemporary interpretation.”

The song’s music video features shots of Beyoncé rocking some colorful gowns against picturesque landscapes (parts of the visual were shot at Havasu Falls in Arizona). Those scenes are interspersed with clips from The Lion King. Her daughter, Blue Ivy, also makes a brief appearance when she joins her mom among a troupe of dancers.

Beyoncé told ABC News’ Robin Roberts the concept of the video is “to show how God is the painter and natural beauty in nature needs no art direction.”

“It’s the beauty of color, the beauty of melanin, the beauty of tradition,” she added.

The Lyrics

Uishi kwa muda mrefu mfalme
(Uishi kwa, uishi kwa)
Uishi kwa muda mrefu mfalme
(Uishi kwa, uishi kwa)

Yeah, yeah, and the wind is talkin'
Yeah, yeah, for the very first time
With a melody that pulls you towards it
Paintin' pictures of paradise

Sayin' rise up to the light in the sky, yeah
Watch the light lift your heart up
Burn your flame through the night

Whoa, spirit
Watch the heavens open (open), yeah
Spirit, can you hear it callin'? (Callin')

Yeah, yeah, and the water's crashin'
Trying to keep your head up high
While you're tremblin', that's when the magic happens
And the stars (stars) gather by (gather by)
By your side

Sayin' rise up to the light in the sky, yeah
Let the light lift your heart up
Burn your flame through the night

Yeah, spirit
Watch the heavens open (open), yeah
Spirit, can you hear it callin'? (Callin')
Yeah (yeah)

Your destiny is comin' close
Stand up and fight
So go into that far off land
And be one with the great I am, I am
Boy becomes a man

Whoa, spirit
Watch the heavens open (open), yeah
Spirit, can you hear it callin'? (Callin'?) Yeah
Spirit, yeah, watch the heavens open, open, yeah
Spirit, spirit, can you hear it callin'? (Callin')
Yeah (yeah)

Your destiny is comin' close
Stand up and fight
So go into a far off land
And be one with the great I am

Writer/s: Beyonce Gisselle Knowles, Ilya Salmanzadeh, Timothy Lee Mckenzie 
Publisher: Walt Disney Music Company
Lyrics licensed and provided by LyricFind

Courtesy of Songfacts

Song Lyric Sunday – Born on the Bayou

Our host for Song Lyric Sunday, Jim Adams, has given us the prompts of Birth, Death and Life this week. Thanks Jim, because now I can use one of my favorite Creedence Clearwater Revival songs, Born on the Bayou. I love vintage CCR and have included the best version of the song along with a video of the band from Woodstock. John Fogerty can still rock that song to this day!

The Song

Creedence Clearwater Revival frontman John Fogerty, who wrote the song, had never actually been to a bayou when he wrote the song – he researched it in encyclopedias and imagined a bayou childhood for the song’s narrative. Fogerty, who is from the very unswamplike Berkeley, California, got his first look at a bayou courtesy of John Fred, the one-hit wonder who sang “Judy In Disguise (with Glasses).” Fred was from Louisiana, and when Creedence played a show in Baton Rouge in 1969, he met Fogerty at a rehearsal and offered to take him to a real bayou. They drove 15 minutes to Bayou Forche, where they ate some crabs and crayfish, giving Fogerty the idea for this song.
In Rolling Stone’s “100 Greatest Guitar Songs” issue, Fogerty explained that the song originated when Creedence Clearwater Revival were booked at San Francisco’s Avalon Ballroom in 1968. Said Fogerty: “We were the #7 act on the bill, bottom of the totem pole. And as the first guys to go on, we were the last to soundcheck before they opened the doors. It was like, ‘Here’s the drums, boom, boom; here’s the guitar, clank, clank.’ I looked over at the guys and said, ‘Hey, follow this!’ Basically, it was the riff and the attitude of ‘Born on the Bayou,’ without the words.”

Drummer Doug Clifford remembers it happening in the Shrine Auditorium in Los Angeles. >>
Fogerty says the song was inspired by gospel music and popular movies. He explained in Bad Moon Rising: The Unofficial History of Creedence Clearwater Revivial, “‘Born on the Bayou’ was… about a mythical childhood and a heat-filled time, the Fourth of July. I put it in the swamp where, of course, I had never lived. I was trying to be a pure writer, no guitar in hand, visualizing and looking at the bare walls of my apartment. ‘Chasing down a hoodoo.’ Hoodoo is a magical, mystical, spiritual, non-defined apparition, like a ghost or a shadow, not necessarily evil, but certainly otherworldly.”

Hoodoo was the name of a 1976 solo album by Fogerty that he never released. By his own account, it was terrible. A couple of singles leaked out, though. Unfortunately for Fogerty, at least one (“You’ve got the Magic”) can be found on Youtube.
Fogerty considers this his favorite CCR song. He performed it on The Tonight Show with Jay Leno in November 2005. >>
This was the first song Creedence played in their set at Woodstock in 1969. They were a big part of the festival, performing 11 songs on the second day. The band first hit the stage at 3:30 am when the majority of the Woodstock crowd was zonked out. Fogerty recalled:

“We were ready to rock out and we waited and waited and finally it was our turn … there were a half million people asleep. These people were out. It was sort of like a painting of a Dante scene, just bodies from hell, all intertwined and asleep, covered with mud.

And this is the moment I will never forget as long as I live: A quarter mile away in the darkness, on the other edge of this bowl, there was some guy flicking his Bic [lighter], and in the night I hear, ‘Don’t worry about it, John. We’re with you.’ I played the rest of the show for that guy.”

The Foo Fighters covered this song at “Shelter from the Storm: A Concert for the Gulf Coast” following Hurricane Katrina in 2005.

Doug Clifford said “Born on the Bayou” is his favorite CCR song, “bar none.”
“Born on the Bayou,” “Proud Mary,” and “Choolgin'” were all connected in John Fogerty’s mind. In Bad Moon Rising, he said, “I was writing these at night, and I remember that Bobby Kennedy got killed during this time. I saw that late at night. They kept showing it over and over. ‘Bayou’ and ‘Proud Mary’ and ‘Chooglin” were all kind of cooking at that time. I’d say that was when the whole swamp bayou myth was born—right there in a little apartment in El Cerrito. It was late at night and I was probably delirious from lack of sleep. I remember that I thought it would be cool if these songs cross-referenced each other. Once I was doing that, I realized that I was kind of working on a mythical place.”
This is referenced in Stephen King’s 1978 short story collection, Night Shift. It plays on the truck stop jukebox in the story “Trucks.”

The Lyrics

Now, when I just was a little boy
Standin' to my Daddy's knee
My poppa said "Son, don't let the man get you
And do what he done to me

I can remember the fourth of July
Runnin' through the backwood bare
And I can still hear my old hound dog barkin'
Chasin' down a hoodoo there
Chasin' down a hoodoo there

Born on the Bayou
Born on the Bayou
Born on the Bayou

Wish I was back on the Bayou,
Rollin' with some Cajun Queen.
Wishin' I where a fast freight train
Just a chooglin' on down to New Orleans
Born on the Bayou
Born on the Bayou
Born on the Bayou

I can remember the fourth of July,
Runnin' through the back wood bare.
And I can still hear my old hound dog barkin'
Chasin' down a hoodoo there
Chasin' down a hoodoo there

Born on the Bayou
Born on the Bayou
Born on the Bayou

Written by John Fogerty

Song Lyric Sunday – Stay – Past, Present, Future

This was a tough Song Lyric Sunday for me this week. Our host, Jim Adams, gave us Past, Present and Future as the prompts. My first thought was Living in the Past by Jethro Tull, but that was covered just last week. Typically I prefer to find a song with a prompt word in the title but found it difficult today. So I have chosen a song by Rihanna, featuring Mikky Ekko, called Stay. It is about temptation and Rihanna would like him to stay in the present, but he will probably move on and be a thing of her past.

The Song

Stay” was recorded by Barbadian singer Rihanna for her seventh studio album, Unapologetic (2012). It features guest vocals by Mikky Ekko and was released as the second single from the album on January 7, 2013. “Stay” was co-written by Ekko and Justin Parker. The song’s lyrical content speaks of temptation and the inability to resist true love. Music critics were generally positive in their opinion regarding the balladry, with most describing it as a standout track on the album.

Upon the release of Unapologetic, “Stay” charted on multiple charts worldwide. Following its release as a single, it reached number one in Bulgaria, Canada, the Czech Republic, Denmark and Israel and the top five in twenty-four countries worldwide including Australia, France, Germany, New Zealand, Norway, Switzerland and the United Kingdom. It peaked at number three on the US Billboard Hot 100, becoming Rihanna’s twenty-fourth top ten on the chart, thus surpassing Whitney Houston’s tally. Furthermore, it has charted at number one on the US Pop Songs chart and 16 on the Hot Dance Club Songs chart. Worldwide the single has sold over 10 million copies making it one of the best selling singles of all time.

The song’s accompanying music video, directed by Sophie Muller, depicts Rihanna naked in a bathtub filled with cloudy water, while Ekko sings in a separate bathroom. Critics likened the vulnerability and raw emotion in the video to the song itself. Rihanna premiered “Stay” on Saturday Night Live in the United States, while she performed the song in the United Kingdom on the ninth series of The X Factor. Rihanna and Ekko also performed “Stay” at the 2013 Grammy Awards. The track was included on the set list of the majority of her 777 Tour promotional tour dates, in support of the album, while it was included on Rihanna’s fifth headlining tour, the “Diamonds World Tour” in the encore and the opening song of her seventh headlining tour, the “Anti World Tour”.

Courtesy of Wiki

The Lyrics

All along it was a fever
A cold sweat, hot headed believer
I threw my hands in the air, said, "Show me something"
He said, "If you dare, come a little closer"

Round and around and around and around we go
Oh, now tell me now, tell me now, tell me now you know

Not really sure how to feel about it
Something in the way you move
Makes me feel like I can't live without you
It takes me all the way
I want you to stay

It's not much of a life you're living
It's not just something you take, it's given

Round and around and around and around we go
Oh, now tell me now, tell me now, tell me now you know

Not really sure how to feel about it
Something in the way you move
Makes me feel like I can't live without you
It takes me all the way
And I want you to stay

Ooh, the reason I hold on
Ooh, 'cause I need this hole gone
Well, funny you're the broken one 
But I'm the only one who needed saving
'Cause when you never see the light 
It's hard to know which one of us is caving

Not really sure how to feel about it
Something in the way you move
Makes me feel like I can't live without you
It takes me all the way
I want you to stay
I want you to stay

Source: LyricFind
Songwriters: John Stephen Sudduth / Justin Parker / Mikky Ekko
Stay lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Kobalt Music Publishing Ltd.

Song Lyric Sunday – Boogie Woogie Bugle Boy

The prompts for this week’s Song Lyric Sunday are provided by our friend Maggie, from Cave Walls. She has asked us to find a song that features wind instruments which includes Brass instruments (horns, trumpets, trombones, euphoniums, and tubas) and Woodwind instruments (recorders, flutes, oboes, clarinets, saxophones, and bassoons) An old World War II song, Boogie Woogie Bugle Boy by The Andrews Sisters was the first thing That came to mind. It’s a classic that has been redone a few times (see other videos at the end of this post) but I think the original is still the best. It may be a popular pick today.

The Song

Written by Don Raye and Hughie Prince, this jump-blues number is about a trumpeter from Chicago who’s drafted into the army during World War II and shakes up Reveille as the Boogie Woogie Bugle Boy of Company B. It was originally intended for Lou Costello to perform in the 1941 Abbott & Costello comedy, Buck Privates, but was reworked for The Andrews Sisters, who introduced it in the film. The trio also released the tune as a single that same year, and it peaked at #6.

This was nominated for the Academy Award for Best Original Song, but lost to “The Last Time I Saw Paris” from Lady Be Good.

Raye and Prince also wrote the hits “Rhumboogie” and “Beat Me Daddy, Eight To the Bar” for The Andrews Sisters.

This inspired Christina Aguilera’s 2006 single “Candyman,” which was written by Linda Perry and sung in the style of The Andrews Sisters.

In 1943, Stars & Stripes magazine and Billboard magazine both claimed the song was based on a soldier named Clarence Zylman of Muskegon, Michigan. Private Zylman was a trumpeter in Tommy Tucker’s orchestra who found himself blowing the morning wake-up call for a company of sleepy soldiers who didn’t appreciate the jolt from slumber. To ease their grumpiness, Zylman shirked regulation and added some swing to Reveille that had them boogying out of bed. Zylman, however, didn’t enlist in the Army until June 9, 1942 – a year after the song debuted.

Another claimant to the “Boogie Woogie Bugle Boy” title was Harry L. Gish Jr., a trumpeter who played Raye-Prince songs as a studio member of Will Bradley’s All Star Orchestra. He became a well-known bugler in the Army Air Corps and, in the ’80s and ’90s, donned his uniform to perform at services for veterans’ funerals.

The Andrews Sisters also recorded new versions for Capitol Records in 1956 and Dot Records in 1962.

The Andrews Sisters sang this again in the 1943 movie Swingtime Johnny, where they play themselves as factory workers who moonlight as nightclub singers. At one point, they try to prove their identity by singing the tune as it plays on a sidewalk radio. But no one buys it, including a man who says, “Every time three dames get together, they think they’re The Andrews Sisters.”

Bette Midler brought this back to the charts in 1972 when she recorded it for her debut album, The Divine Miss M. Her version, produced by Barry Manilow, peaked at #8 on the Hot 100. It was also reached #1 on the Adult Contemporary chart. Thanks to the hit cover, The Andrews Sisters experienced a career resurgence that included a successful Broadway debut for two of the sisters, Patty and Maxene, in 1974.

The R&B/pop trio En Vogue recorded a version about a “boogie woogie hip-hop boy” for their 1990 debut album, Born To Sing.

Katy Perry, Keri Hilson, and Jennifer Nettles performed this on the 2010 special VH1 Divas Salute The Troops.

In 2015, Rebecca Ferguson, Pixie Lott, and Laura Wright sang this at the 1940s-themed concert VE Day 70: A Party to Remember in London.

Pentatonix recorded an a cappella version for their 2017 Classics EP.

This inspired the 1941 cartoon short Boogie Woogie Bugle Boy of Company B, from Walter Lantz Productions, about a jazz club trumpeter who’s drafted into the Army as a bugler for an African American company.

Patty Andrews of The Andrews Sisters performed this with Lucille Ball, Lucie Arnaz, and Desi Arnaz Jr. on the 1969 Here’s Lucy episode “Lucy And The Andrews Sisters.”

This was referenced in the Sesame Street song “Dance Myself To Sleep” when Ernie christened Rubber Duckie “The Boogie Woogie Bugle Duck Of Sesame Street.”

This was used on Scream Queens (“Rapunzel, Rapunzel” – 2016), Army Wives (“As Time Goes By…” – 2009), Cold Case (“Family 8108” – 2007), The Proud Family – (“The Good, the Bad, and the Ugly” – 2003), and Boy Meets World (“No Guts, No Cory” – 1997). 

It was also prominently featured in these TV shows:

Outlander (“The Search” – 2015): Claire Randall (Caitriona Balfe), a WWII nurse transported to 1743, sings this on the journey to find her kidnapped husband, who will be tipped-off by the modern tune.

Two And A Half Men (“818-jklpuzo” – 2009): Performed by Charlie’s ex-fiancee, Mia (Emmanuelle Vaugier), an aspiring singer.

The Simpsons (“Catch ‘Em If You Can” – 2004): The Andrews Sisters’ Capitol Records cut is playing on a record player that two old men are carrying around.

A Different World (“War And Peace” – 1991): When their friend is called to active duty in the Persian Gulf, Whitley (Jasmine Guy), Jaleesa (Dawnn Lewis), and Kim (Charnele Brown), don military uniforms and perform the tune in his honor.

Mama’s Family (“Flaming Forties” – 1983) Thelma (Vicki Lawrence), Fran (Rue McClanahan), and Naomi (Dorothy Lyman) lip-sync to The Andrews Sisters tune during an impromptu performance at a high school dance.

This was also used in these movies:

Pitch Perfect 2 (2015)
Swing (2014)
Red Tails (2012)
21 And A Wake-Up (2009)
Land Of The Lost (2009)
Wah-Wah (2005)
Racing With The Moon (1984)
Saboteur (1942)

In the 1997 miniseries The Shining, this is performed by an orchestra conducted by the story’s author, Stephen King.

The Lyrics

He was a famous trumpet man from out Chicago way
He had a boogie style that no one else could play
He was the top man at his craft
But then his number came up and he was gone with the draft
He's in the army now, a blowin' reveille
He's the boogie woogie bugle boy of Company B

They made him blow a bugle for his Uncle Sam
It really brought him down because he couldn't jam
The captain seemed to understand
Because the next day the cap' went out and drafted a band
And now the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

A toot, a toot, a toot diddelyada toot
He blows it eight to the bar, in boogie rhythm
He can't blow a note unless the bass and guitar is playin' with 'I'm
He makes the company jump when he plays reveille
He's the boogie woogie bugle boy of Company B

He was our boogie woogie bugle boy of Company B
And when he plays boogie woogie bugle he was buzy as a bzzz bee
And when he plays he makes the company jump eight to the bar
He's the boogie woogie bugle boy of Company B

Toot toot toot, toot diddelyada, toot diddelyada
Toot, toot, he blows it eight to the bar
He can't blow a note if the bass and guitar isn't with 'I'm
A a a and the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

He puts the boys asleep with boogie every night
And wakes 'em up the same way in the early bright
They clap their hands and stamp their feet
Because they know how he plays when someone gives him a beat
He really breaks it up when he plays reveille
He's the boogie woogie bugle boy of Company B

Da doo da da doo da da da
Da doo da da doo da da da
Da doo da da doo da da da
Da doo da da doo da da
A a a and the company jumps when he plays reveille
He's the boogie woogie bugle boy of Company B

Publisher: THE SONGWRITERS GUILD OF AMERICA, Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Courtesy of Songfacts

Song Lyric Sunday – I Am A Rock

This week I found myself torn with regard to song choice. The prompts for Song Lyric Sunday are Atoll, Island, Key, Lagoon, Peninsula, Reef and Tropical, suggested by Kristian, from Tales From The Mind of Kristian. As Paul Simon is one of my favorite artists I wanted to feature ‘I Am A Rock’. The lyrics to me are pure poetry. At the same time I like the upbeat Sammy Hagar song, ‘All We Need Is An Island’, so I decided to go with both. I hope you enjoy them.

The Song

Simon was going solo at this time because the Simon & Garfunkel 1964 debut album Wednesday Morning, 3 A.M. had stiffed, and the duo split up. Late in 1965, the producer Tom Wilson overdubbed and remixed a track from that album, “The Sound Of Silence,” and it became a huge hit. Paul Simon and Art Garfunkel were summoned back to the studio, where they recorded the singles “I Am A Rock” and “Homeward Bound,” which were included on their Sound of Silence album. These songs were recorded with producer Bob Johnston at one of the Columbia Records studios in New York City, and now released with a more contemporary sound, “I Am A Rock” became a hit for the duo.
In the UK, this was released three times in a one year span: first as the original Paul Simon single in 1965, then in the summer of 1966 it was released as an EP and again as a single. The song was very popular there in 1966, but the chart position suffered because the sales of the single were diluted by multiple releases.
The guitarist on the Simon & Garfunkel hit version of this song was Ralph Casale, who was a top session player in the ’60s. He remembers organist Al Kooper and drummer Bobby Gregg – both associated with Bob Dylan – also performing on the song. Describing the sessions, Ralph told us: “The band was booked from 7:00 p.m. into the wee hours of the morning. I was given a lead sheet for ‘I Am A Rock’ with just chords and asked to play the electric twelve string guitar. The producer wanted a sound similar to the Byrds. It was important that session players became familiar with the current hits because many times producers describe the style they want by referring to well known groups. Paul Simon sang the figure he wanted me to play between verses and asked me to play it in thirds. The rest was left to me. ‘Homeward Bound’ was on that same date.”

The Lyrics

A winter's day, in a deep and dark December
I am alone
Gazing from my window to the streets below
On a freshly fallen silent shroud of snow
I am a rock, I am an island

I've built walls
A fortress deep and mighty 
That none may penetrate
I have no need of friendship
Friendship causes pain
It's laughter and it's loving I disdain
I am a rock, I am an island

Don't talk of love
But I've heard the words before
It's sleeping in my memory
I won't disturb the slumber of feelings that have died
If I never loved I never would have cried

I am a rock, I am an island
I have my books
And my poetry to protect me
I am shielded in my armor
Hiding in my room, safe within my womb
I touch no one and no one touches me

I am a rock, I am an island
And a rock feels no pain 
And an island never cries

Writer:  Paul Simon

The Song

There was a suggestion that 65-year-old Hagar record this song with 23-year-old country-pop superstar Taylor Swift, but he was concerned about the age difference. Instead he laid it down it with Heart’s Nancy Wilson. “She did the best duet on the record,” Hagar told Jam! Music of Wilson. “She brought more to that song than everyone else did … It’s beautiful. She took my idea and just made it from a girl’s perspective. I wanted to do it with someone real young and hip and popular and my manager and everyone around me was like, ‘Yeah, yeah, yeah! Let’s get Taylor Swift! Yeah, her guitar player is a big Sammy fan! All he does is play your music on the bus.’ And then I thought, ‘Well, gee, what if someone wants us to do a video, then people are going to be going, ‘Is that her grandpa?’ I’m okay with being a grandpa but not Taylor Swift’s grandpa.”
Hagar also considered recording this with the lead singer of Grace Potter & the Nocturnals. “I met Grace Potter, and I wanted to do a duet with her,” he told Rolling Stone, “but I didn’t have the song. I thought ‘All We Need Is an Island,’ but I ended up doing that with Nancy [Wilson], and Nancy killed it.”

The Lyrics

Well, all we need is an island
Big ol' sandy beach
Palm tree for some shade
Sweet sugar cane

All we need is an island (all we need is an island)
A hammock that swings
A tall cool one, a whole lotta sun
A belly full of rum

All we need is an island
Ooh, all we need is an island
All we need is an island

Get the cold ass winter gone
So cold and so long
Feel it in my bones
All we need is an island (all we need is an island)

A little time alone
A feeling in me, you and me
A little ecstasy
All we need is an island

Ooh, all we need is an island
(All we need is an island)
All we need is an island

Sea, sun, salt and sex
A line and a pole
Put a pig in a hole
All we need is an island

Work, work, work away
Honey, take me to this paradise
With a miracle kiss
All we need is an island

Ooh, all we need is an island
(All we need is an island)
All we need is an island

(All we need is an island)
Ooh, all we need is an island
(All we need is an island)
All we need is an island

Writer: Sammy Hagar

Song Lyric Sunday – I Just Called To Say I Love You

This week’s prompts for Song Lyric Sunday have been suggested by Di from Pensitivity. She has given us ‘Communication, Information, News and Telephone’ and we are to find a song title or lyrics including one or more of these prompts. I have selected I Just Called To Say I Love You, by Stevie Wonder. I hope you enjoy it.

The Song

“I Just Called To Say I Love You” is Stevie Wonder’s best-selling single worldwide, and also one of his most maligned. The song is about a guy who calls his special someone with a simple message of love. It’s very sweet, but to many, it crossed over to sickly.

Wonder had moved to a more middle-of-the-road, adult contemporary sound when he released the song. His early hits like “Superstition” and “Higher Ground” were often filled with funk, but in the ’80s, songs like this one and “Part-Time Lover” had a smoother sound, resulting in big hits, but disappointment for those hoping for a classic Wonder groove. Wonder though, stood by the song, often playing it at live shows throughout his career.

This was featured in the movie The Woman In Red, starring Kelly LeBrock as the woman and Gene Wilder as the married man mesmerized by her. Stevie wrote most of the soundtrack for the movie; he got the gig after Dionne Warwick, who was the “song coordinator” on the film, suggested him to the producers.

Wonder wrote seven songs that were used in the movie, including one called “Woman In Red.” He sang lead on three of the tracks, including “I Just Called To Say I Love You.” The soundtrack was issued by Wonder’s label, Motown Records,” which pegged the song as a hit and released it as a single. Two more songs from the soundtrack were also released: an instrumental called “Love Light in Flight,” which made #17 US and #44 UK, and “Don’t Drive Drunk,” which reached #62 UK.

This won the Oscar for Best Original Song, beating out “Against All Odds (Take A Look At Me Now),” “Footloose,” “Let’s Hear It For The Boy” and “Ghostbusters.” All five nominees were #1 hits on the Hot 100, the only time that has happened.

Wonder did not have a specific person in mind for this song – it was more of a universal feeling. “You Are The Sunshine Of My Life” is similar in sentiment.

On October 13, 1984, this song reached the top of three different charts: Hot 100, Adult Contemporary and R&B, and stayed at the top of each for three weeks. In the UK it got an even warmer reception, going to #1 on September 8 and staying for six weeks, that last being October 13.

In October 1985, the songwriters Lloyd Chiate and Lee Garrett sued wonder, claiming they wrote a song called “Hello It’s Me/I Just Called to Say” in September 1976 that they played for Wonder, who stole the title and chorus idea. In his testimony, Wonder claimed he wrote the chorus to “I Just Called to Say I Love You” on July 16, 1976 while returning home from a visit to his mother.

Garrett, who co-wrote “Signed, Sealed, Delivered I’m Yours,” was a childhood friend of Wonder. He dropped out of the lawsuit on May 7, 1986, but Chiate kept going. In 1990, a jury ruled in favor of Wonder, and in 1992 Chiate lost an appeal.

The lawsuit created some problems with Wonder’s Oscar win, as only songs written specifically for the films were eligible. Since wonder wrote much of the song in 1976, this put that eligibility in doubt, but no action was taken and he kept the award.

Wonder claimed that while he wrote the music for this song in 1976, he “modernized” it when he added lyrics for the soundtrack. Wonder is an extremely prolific composer and was constantly coming up with songs that he would sometimes revisit much later.

In his testimony, Wonder added that he had John Lennon in mind when he worked on the song. Said Wonder: “I had the melody and the lyric that I had for the chorus, and I imagined in my mind when hearing the chords that The Beatles were singing with me. And that idea and feeling is what inspired me to use the vocoder, when I heard about the vocoder. And I always imagined myself and The Beatles singing that. It was in 1980 I believe, or ’81 when John Lennon was killed, that I knew that the dream would never be fulfilled.”

Wonder played every instrument on this track, produced it, and did all the vocals. The instruments were synthesizers, drums and vocoder.

This is one of the least political songs you’ll ever hear, but it gave Wonder a voice to help end apartheid in South Africa. When the song won the Academy Award, Wonder said in his speech, “I would like to accept this award in the name of Nelson Mandela.” The next day, the South African government banned his music, as Mandela was an enemy of the state, imprisoned since 1962. This drew a lot of attention to Mandela and his fight against apartheid in that country; later in 1985, a collective of musicians called Artists United Against Apartheid released the song “Sun City,” taking a stand against entertainers who performed at the popular resort in South Africa. Wonder, energized by the ban, spoke out in interviews and included the song “It’s Wrong (Apartheid)” on his next album, In Square Circle.

The movement culminated in the 1988 Free Nelson Mandela Concert at Wembley Stadium in London, where Sting, Peter Gabriel, Whitney Houston and a host of other stars performed on his behalf. Wonder opened his set with “I Just Called To Say I Love You.”

This is Motown’s biggest-selling single ever in the UK, where it was Wonder’s first #1. It was his eighth #1 in the US. >>

Wonder had been working on his In Square Circle album for about four years when he took on The Woman In Red soundtrack. Under terms of his Motown contract, Wonder had a lot of control and worked at his own pace, but for the soundtrack he was under time constraints. Wonder delivered the songs uncomfortably late in the project, but his music fared better than the film itself, which last we checked had a 35% rating on Rotten Tomatoes.

Stevie sang some of this when he made an appearance on The Cosby Show in 1986. The episode was called “A Touch of Wonder,” and was later cited by Ahmir “Questlove” Thompson as an inspiration to many young musicians who became interested in samplers and making music after seeing Wonder on the show.

On the soundtrack album, this song runs 6:16. The single was cut down to 4:21.

Jay Graydon and David Foster submitted some demos for The Woman In Red before Stevie Wonder took over the soundtrack. One of those songs became “Who’s Holding Donna Now,” which was a hit for El DeBarge.

In the 2000 movie High Fidelity, this is the subject of a rant by a character played by Jack Black. In the film, a man walks into the record store and asks for this song so he can give it to his daughter. Black’s character, who is working there, scolds him for wanting such and awful song and goes on to explain that his daughter probably hates it and it was clearly the low point of Wonder’s career.

When Wonder did Carpool Karaoke with James Corden, he called Corden’s wife to serenade her with a custom version of this song: “I Just Called To Say James Loves You.” The host was overjoyed.

The Lyrics

No New Year's Day to celebrate
No chocolate covered candy hearts to give away
No first of spring, no song to sing
In fact here's just another ordinary day

No April rain
No flowers bloom
No wedding Saturday within the month of June
But what it is, is something true
Made up of these three words that I must say to you

I just called to say I love you
I just called to say how much I care
I just called to say I love you
And I mean it from the bottom of my heart

No summer's high
No warm July
No harvest moon to light one tender August night
No autumn breeze
No falling leaves
Not even time for birds to fly to southern skies

No Libra sun
No Halloween
No giving thanks to all the Christmas joy you bring
But what it is, though old so new
To fill your heart like no three words could ever do

I just called to say I love you
I just called to say how much I care, I do
I just called to say I love you
And I mean it from the bottom of my heart

I just called to say I love you
I just called to say how much I care, I do
I just called to say I love you
And I mean it from the bottom of my heart, of my heart, of my heart

Song Lyric Sunday – Ain’t No Sunshine When She’s Gone

Some generous prompts have been provided to us this week for Song Lyric Sunday, courtesy of one of our fellow bloggers, Angie, from King Ben’s Grandma. She has given us a chance to find songs with Heavenly Bodies, Planets, Moon, Sun and Stars in the title or lyrics. There are so many songs to choose from I wonder if we will have any duplicates this week. I can’t wait to see what everyone picks.

I have chosen a song that I first shared in January 2019. It’s a Bill Withers classic, Ain’t No Sunshine When She’s Gone. At that time I did not offer any backstory for the song or Bill Withers, so this is a good time to do it. It’s a great, moody song and the only thing I didn’t like about it is that it’s too short!

At the end of this post, I have included the video from Wither’s induction into the Rock and Roll Hall of Fame in 2015, where Stevie Wonder sang this song and Bill Withers ’assisted’.

Bill Withers died in 2020 at age 81.

The Song

In a Songfacts interview with Bill Withers, he explained how this song came about: “I was watching a movie called Days Of Wine And Roses (1962) with Lee Remick and Jack Lemmon. They were both alcoholics who were alternately weak and strong. It’s like going back for seconds on rat poison. Sometimes you miss things that weren’t particularly good for you. It’s just something that crossed my mind from watching that movie, and probably something else that happened in my life that I’m not aware of.”

This was Withers’ first hit. After spending nine years in the US Navy, he had a job at a factory making parts for airplanes when he was introduced to Booker T. Jones from Booker T. & the MG’s. Booker was an elite session musician with Stax Records, where Otis Redding, Wilson Pickett and many other soul legends recorded. He brought in some other top-notch musicians, including Stephen Stills on lead guitar, and produced this album for Withers, who was 32 when it was recorded.

This was released as the B-side to another song called “Harlem.” Disc jockeys played this as the single instead and it became a hit.

All the instruments on this track are acoustic. Personnel are:

Withers: guitar, vocal
Booker T. Jones: keyboards
Stephen Stills: guitar
Jim Keltner: drums
Bobbye Hall: percussion

The part where Withers repeats “I know, I know,” has become a very recognizable piece of the song, but it wasn’t what he had in mind. Withers told Songfacts: “I wasn’t going to do that, then Booker T. said, ‘No, leave it like that.’ I was going to write something there, but there was a general consensus in the studio. It was an interesting thing because I’ve got all these guys that were already established, and I was working in the factory at the time. Graham Nash was sitting right in front of me, just offering his support. Stephen Stills was playing and there was Booker T. and Al Jackson and Donald Dunn – all of the MGs except Steve Cropper. They were all these people with all this experience and all these reputations, and I was this factory worker just sort of puttering around. So when their general feeling was, ‘Leave it like that,’ I left it like that.”

The MGs were the backup band for Otis Redding when he recorded “Dock Of The Bay” in 1967. The famous whistling in the third verse of that song was something Redding did to fill time until he could fill it in with some words. He never had the chance because he died in a plane crash three days later. The whistling stayed, just like Withers’ verse of “I knows.”

On its first release, this song did not chart in the UK, but Michael Jackson’s cover hit #8 there in 1972. Withers’ original version eventually made its first entry into the UK singles chart in May 2009 after being performed on Britain’s Got Talent by contestant Shaun Smith.

Withers performed this on an episode of The Old Grey Whistle Test, a British TV show that ran from 1971-1987 and featured a variety of musical guests. In the ’70s, the show was shot in a small studio with no audience, which resulted in more relaxed performances where the artists could concentrate on their music. Withers’ appearance is considered a classic from the show, and was included in a DVD compilation released in 2001.

Won the Grammy for Best R&B Song in 1972.

“Ain’t no” isn’t good grammar, but in the context of a song it sounds a lot better than “there isn’t any.” Motown acts often used it, notably on “Ain’t No Mountain High Enough” and “Ain’t No Woman (Like The One I’ve Got).”

This was used in the movies Girls Town (1996), Notting Hill (1999), Old School (2003) and Munich (2005). TV shows to use the song include Monk (2005), CSI: NY (2009) and Scandal (2013).

Besides Michael Jackson, this has been covered by many artists in a wide range of styles. Paul McCartney, Isaac Hayes, Lionel Hampton, Prince, Sting, Kenny Rogers, Tom Jones and Lighthouse Family have all recorded it. It was also interpolated by rapper DMX for his 2001 song “No Sunshine.”

Sax player Grover Washington became the first person to cover one of Withers’ songs when he did an instrumental version shortly after Withers released his. In 1981, Washington and Withers teamed up to record “Just The Two Of Us.”

There is no introduction on this song, as the vocals come in right away. This was thought of as bad for marketing purposes, as it meant disc jockeys couldn’t talk it up, but it gave the song a more interesting structure. Withers’ label Sussex Records gave him plenty of artistic freedom, which he lost when Sussex folded and he moved to Columbia. In the 2009 documentary Still Bill, Withers explains, “If nobody throws all their rules at you, you might make a song with no introduction.”

The metal band Black Label Society recorded this song and issued it as a single in 2013. Band members John DeServio and Zakk Wylde decided to cover it after seeing a 1974 episode of the TV show The Midnight Special, where Withers performed the song.

Black Label Society made an unusual video for the song featuring anthropomorphic horses. In our interview with Zakk Wylde, he said that he got a kick out of reading the negative comments about the video from folks who didn’t get the joke, comparing the hostility to what his professional wrestler friends get when they turn heel.

Stevie Wonder inducted Bill Withers into the Rock and Roll Hall of Fame in 2015. At the ceremony, Wonder performed this song with Withers sitting next to him on stage. Withers decided not to perform at the ceremony, although he appeared midway through Wonder and John Legend’s performance of “Lean On Me” to join on vocals.

In the 2015 Shawn Mendes song “I Know What You Did Last Summer,” he and his duet partner Camila Cabello sing “I know” sections similar to how Withers did in “Ain’t No Sunshine.” Wither was given a songwriting credit because the vocal is so similar.

The Lyrics

Ain't no sunshine when she's gone
It's not warm when she's away
Ain't no sunshine when she's gone
And she's always gone too long
Anytime she goes away

Wonder this time where she's gone
Wonder if she's gone to stay
Ain't no sunshine when she's gone
And this house just ain't no home
Anytime she goes away

And I know, I know, I know, I know,
I know, I know, I know, I know, I know
I know, I know, I know, I know, I know
I know, I know, I know, I know, I know
I know, I know, I know, I know, I know
I know, I know,
Hey, I oughtta leave young thing alone
But ain't no sunshine when she's gone

Ain't no sunshine when she's gone
Only darkness every day
Ain't no sunshine when she's gone
And this house just ain't no home
Anytime she goes away
Anytime she goes away
Anytime she goes away
Anytime she goes away

Songwriters: Bill Withers
Ain't No Sunshine lyrics © Dead Game Publishing, Songs Of Universal Inc.

Courtesy of Songfacts

Song Lyric Sunday – Let’s Get It On

Song Lyric Sunday prompts for this week are provided by our host Jim Adams. He has asked us to find songs where somebody is having sex or talking about it. These days there are plenty of songs that leave nothing to the imagination, but I opted for a sexy oldie by Marvin Gaye from the 70s called ‘Let’s Get It On’

Enjoy the song and your Sunday!

The Song

Originally written by 1950s one-hit-wonder Ed Townsend (“For Your Love” in 1958), the song originally addressed the author’s desire to get on with life after beating alcoholism. Marvin Gaye completely changed the lyrics (and meaning) to the song after meeting Janis Hunter, the woman who would become his second wife. The song helped cement Gaye’s reputation as one of the greatest singers of baby-making music. Song writing credits on the song went to both Gaye and Townsend.

“Let’s Get It On” was the title track of Gaye’s 1973 album. It topped the Billboard Pop Singles chart for two weeks and the Billboard Soul Singles chart for eight weeks. It also made history as Motown’s most successful release in the United States to that date and the second most successful song of 1973 (behind Tony Orlando & Dawn’s “Tie A Yellow Ribbon Round The Ole Oak Tree”).

This song’s co-writer Ed Townsend also produced the album with Marvin and co-wrote the three other songs on the first side of the disc, including “Keep Gettin’ It On.” He wrote with Gaye again on songs for Marvin’s 1978 album Here, My Dear.

This song has appeared in a variety of TV shows, movies and commercials, often for comic effect to imply an imminent romantic encounter. Some of the media uses include the TV shows The SimpsonsThe SopranosScrubsHouseUgly BettyCharmedSpin City and The King of Queens.

Movie uses include Into the Night (1985), Queens Logic (1991), The Inkwell (1994), Austin Powers: The Spy Who Shagged Me (1999), High Fidelity (2000), Crossroads (2002), Something’s Gotta Give (2003), Mr. 3000 (2004), Bridget Jones: The Edge of Reason (2004), The Change-Up (2011), and The Dictator (2012).

The Lyrics

I've been really tryin', baby
Tryin' to hold back this feeling for so long
And if you feel like I feel, baby
Then, c'mon, oh, c'mon

Let's get it on
Ah, baby, let's get it on
Let's love, baby
Let's get it on, sugar
Let's get it on

We're all sensitive people
With so much to give
Understand me, sugar
Since we've got to be here
Let's live
I love you

There's nothing wrong with me
Loving you, baby no no
And giving yourself to me can never be wrong
If the love is true, oh baby

Ooh don't you know how sweet and wonderful life can be ooh
I'm asking you baby to get it on with me ooh ooh
I ain't gonna worry
I ain't gonna push, won't push you baby
So c'mon, c'mon, c'mon, c'mon, c'mon, baby
Stop beatin' 'round the bush, hey

Let's get it on
Let's get it on
You know what I'm talkin' 'bout
C'mon, baby
Let your love come out
If you believe in love
Let's get it on
Let's get it on, baby
This minute, oh yeah
Let's get it on
Please, please get it on

I know and you know what I've been dreaming of, don't you baby?
My whole body makes that feelin' of love, I'm happy
I ain't gonna worry, no I ain't gonna push
I won't push you baby, woo

C'mon, c'mon, c'mon, c'mon, c'mon, darlin'
Stop beatin' 'round the bush
Oh, gonna get it on
Threatenin' you, baby
I wanna get it on
You don't have to worry that it's wrong
If the spirit moves ya
Let me groove ya good
Let your love come down
Oh, get it on

C'mon, baby
Do you know the meaning?
I've been sanctified
Girl, you give me good feeling
I've been sanctified

Oh dear I, baby
Nothing wrong with love
If you want to love me just let your self go
Oh baby, let's get it on

Writer/s: Marvin Gaye, Ed Townsend 
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Courtesy of Songfacts

Song Lyric Sunday – This Boy, The Beatles

Today we have been given the prompts This, That and Other for his week’s Song Lyric Sunday challenge. Our host, Jim Adams, is giving a nod to our friend, Fandango, from the blog This, That and the Other. For the last three-plus years Fandango, not his real name, has given us a daily prompt word to tickle our muses and get us writing, along with Flash Fiction challenges, Provocative Questions and Who Won The Week? A big thank you from your fellow bloggers!

This SLS challenge was a little more difficult than I thought it would be. I found a few songs that fit but I wasn’t that thrilled with them. In the end I went with a very pretty song with great harmonies, This Boy, by the Beatles.

The second video is short and sweet. George Harrison is observing and commenting on another video of The Beatles singing this song. He pokes a little fun and it’s quite funny. I hope you enjoy it.

The Song

John Lennon wrote this song. One of his early compositions, it is seemingly simple, but very clever. The song contains only a few notes, but the space between the notes is filled by the arrangements. It’s the same technique you hear in Liszt’s “Liebestraum,” the piano piece in Schumann’s Davidsbündlertänze and in Beethoven’s “Moonlight Sonata.”

This was the first Beatles composition that was commented on by a music critic. William Mann wrote in The London Times December 27, 1963, that the song had “pendiatonic clusters.”

George Harrison: “It was John (Lennon) trying to do Smokey (Robinson).”

The vocals were a three part harmony sung by Harrison, Lennon and McCartney.

The Beatles performed this on their second Ed Sullivan Show appearance – Feb 16, 1964. They played six songs on the show that night, and this provided a slow change of pace from the uptempo songs like “She Loves You” and “I Want To Hold Your Hand.” The Beatles were just beginning their breakthrough in America and got a huge audience from the show.

This was used in Ringo’s big scene in The Beatles movie A Hard Day’s Night. The version used in the film is an instrumental renamed “Ringo’s Theme (This Boy),” and without any harmony singing.

This was one of the first songs on which The Beatles used a 4-track recorder.

Artists to cover this song include Tom Baxter, David Bowie, Sean Lennon, George Martin, Delbert McClinton and The Nylons.

The Lyrics

That boy
Took my love away
Though he'll regret it someday
But this boy wants you back again

That boy
Isn't good for you
Though he may want you, too
This boy wants you back again

Oh, and this boy would be happy 
Just to love you, but oh my 
That boy won't be happy
'Til he's seen you cry

This boy
Wouldn't mind the pain
Would always feel the same
If this boy gets you back again

This boy, this boy, this boy
Writer/s: John Lennon, Paul McCartney
Publisher: Sony/ATV Music Publishing LLC, BMG Rights Management,
Songtrust Ave, Kobalt Music Publishing Ltd.
Lyrics licensed and provided by LyricFind

Courtesy of Songfacts

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