Category: Song Lyric Sunday

Song Lyric Sunday – You Can Call Me Al

Names, Pets and Memories are the prompts for this week’s Song Lyric Sunday provided by Di from Pensitivity101. Our friend, Jim Adams is our tireless host, as always.

I have chosen an old favorite by Paul Simon, ‘You Can Call Me Al’. It is a great song from the Graceland album and the official video always stuck with me. It’s a fun production featuring Chevy Chase lip synching to Simin’s lyrics. Hope you enjoy it.

The Song

Simon started recording this song in South Africa, where he worked with local musicians and experimented with their sounds. He recorded with many different musicians while he was there, and he loved the work of the guys from a local group called Stimela, whose guitarist Ray Phiri came up with the riff for this song during one of their jam sessions. These recordings were edited together in New York by Simon’s producer Roy Halee – a monumental task in the age of analog recording, since in South Africa, they rolled a lot of tape that Halee had to sort out with a series of splices.The lyrics contain some intricate wordplay that Simon wrote very carefully around the track, and the character in the song symbolic of his South Africa experience. At the time, South Africa was divided by Apartheid, a policy that separated blacks and whites, and a cultural boycott was in place (check out the Songfacts on “Sun City“). Simon defied this boycott and went anyway, taking a lot of heat for his actions – even though his intentions were good, many black leaders in South Africa felt that any violation of the boycott hindered their cause. Because of the boycott, music from the area was secluded, and when Simon released Graceland, he brought the music of the country to the world. In the documentary Under African Skies, Simon explained: “‘You Can Call Me Al’ is really the story of somebody like me, who goes to Africa with no idea and ends up having an extraordinary spiritual experience.”

This song is about a self-obsessed person becoming aware of his surroundings. In a 1990 interview with SongTalk magazine, Simon explained: “‘You Can Call Me Al’ starts off very easily with sort of a joke: ‘Why am I soft in the middle when the rest of my life is so hard?’ Very easy words. Then it has a chorus that you can’t understand. What is he talking about, you can call me Betty, and Betty, you can call me Al? You don’t know what I’m talking about. But I don’t think it’s bothersome. You don’t know what I’m talking about but neither do I. At that point.The second verse is really a recapitulation: A man walks down the street, he says… another thing. And by the time you get to the third verse, and people have been into the song long enough, now you can start to throw abstract images. Because there’s been a structure, and those abstract images, they will come down and fall into one of the slots that the mind has already made up about the structure of the song.So now you have this guy who’s no longer thinking about the mundane thoughts, about whether he’s getting too fat, whether he needs a photo opportunity, or whether he’s afraid of the dogs in the moonlight and the graveyard.”

So where did “Al” and “Betty” in this song come from? That stems from a 1970 party that Simon hosted with his wife, Peggy Harper. Simon’s friend, the composer Stanley Silverman, brought along another composer named Pierre Boulez, and when he made his exit, Boulez called Simon “Al” and his wife “Betty.” Boulez was French, and he wasn’t being rude – it was just his interpretation of what he heard: Paul=Al, Peggy=Betty.Silverman’s son is Ben Silverman, a television mogul who was executive producer of the American version of The Office. In 2011, Ben commissioned a work composed by his dad called “Les Folies d’Al,” which includes variations of “You Can Call Me Al” and is a send-up of the incident.

This was the first single off Graceland, which won a Grammy for Album of the Year in 1988. It was Simon’s first hit since 1980, when “Late In The Evening” went to #6 in the US.

The best we can tell, this is by far the biggest hit containing a penny whistle solo. It was played by Jy Morr (Morris) Goldberg, a white South African who was living in New York.

Simon arranged for some of the musicians who played on this song, including guitarist Ray Phiri, bass player Bakithi Kumalo and drummer Isaac Mtshali, to came to America, where they worked on some other tracks for the album and backed Simon when he appeared on Saturday Night Live, where he performed this song on May 10, 1986, a few months before the album was released. These musicians later accompanied Simon on his worldwide tour for Graceland.

The video featured Chevy Chase lip-synching the vocals while Simon pretended to play various instruments. Most videos at the time were “performance videos,” meaning the bands would pretend to be playing the song. This video did a great job mocking them. The clip was also notable for its simplicity – it was shot in a small, unadorned room using a single camera.

When they recorded the tracks for this song in South Africa, Simon and his producers were sure they had a hit with this song. Even though the Graceland album did very well, this song was a slow starter. The single did well in the UK, where it made #4 in September 1986, but in America, it stalled at #44 in October. After the album and video gained momentum, the song was reissued with more promotion in March 1987, and this time it went to #23 in the US. It was Simon’s last Top 40 hit in America.

Al Gore used this while he was running for Vice President in 1992. Simon has played at various Democratic fund raisers.

The Lyrics

A man walks down the street
He says, "Why am I soft in the middle, now?
Why am I soft in the middle?
The rest of my life is so hard
I need a photo-opportunity
I want a shot at redemption
Don't want to end up a cartoon
In a cartoon graveyard"
Bonedigger, Bonedigger
Dogs in the moonlight
Far away in my well-lit door
Mr. Beerbelly, Beerbelly
Get these mutts away from me
You know, I don't find this stuff amusing anymore

If you'll be my bodyguard
I can be your long lost pal
I can call you Betty
And Betty, when you call me, you can call me Al

A man walks down the street
He says, "Why am I short of attention?
Got a short little span of attention
And, whoa, my nights are so long
Where's my wife and family?
What if I die here?
Who'll be my role model
Now that my role model is gone, gone?"
He ducked back down the alley
With some roly-poly little bat-faced girl
All along, along
There were incidents and accidents
There were hints and allegations

If you'll be my bodyguard
I can be your long lost pal
I can call you Betty
And Betty, when you call me, you can call me Al
Call me Al

A man walks down the street
It's a street in a strange world
Maybe it's the third world
Maybe it's his first time around
Doesn't speak the language
He holds no currency
He is a foreign man
He is surrounded by the sound, the sound
Cattle in the marketplace
Scatterings and orphanages
He looks around, around
He sees angels in the architecture
Spinning in infinity
He says, "Amen and Hallelujah!"

If you'll be my bodyguard
I can be your long lost pal
I can call you Betty
And Betty, when you call me, you can call me Al
Call me

Na na na na, na na na na
Na na na na, na na na-na na-na
Na na na na, na-na na-na na na
Na na na na, na na na na

If you'll be my bodyguard
I can call you Betty
If you'll be my bodyguard
I can call you Betty
If you'll be my bodyguard

Writer/s: Paul Simon 
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Head Above Water

Jim Adams, the host of Song Lyric Sunday, has deferred to Angie, from The blog King Ben’s Grandma for this week’s prompts. She has suggested ’Illness, Injury or Scars’. An interesting subject. I came across a song by Avril Lavigne called ”Head above Water”. It was about her struggle with Lyme Disease.

The Song

Avril Lavigne’s album “Head Above Water” includes several songs (including the title track) that shine a light on her journey with Lyme disease. The singer explained on her blog she wrote and recorded songs from her bed and couch while she was ill. “Words and lyrics that were so true to my experience came pouring out of me effortlessly,” she wrote. “By keeping my spirits up, having goals to reach and a purpose to live for, my music helped to heal me and keep me alive.” She added:

[‘Head Above Water’] is also the first song I wrote from my bed during one of the scariest moments of my life. I had accepted death and could feel my body shutting down. I felt like I was drowning. Like I was going under water and I just needed to come up for air. Like I was in a river being pulled in a current. Unable to breathe. Praying to God for Him to help me just keep my head above the water. To help me see through the stormy weather.

“Head above Water” is the first single from Avril Lavigne’s sixth studio album, and the first new music she’d released since 2015’s “Fly.” She hadn’t released a studio album since her self-titled effort in 2013.Lavigne wrote a letter to fans explaining that “Head above Water” is about her battle with Lyme disease, which can cause fatigue and joint pain, and is potentially fatal. She had faded from the public spotlight for a while because she was fighting off the disease. In bed and on the couch, she turned to writing music to get her through the situation.”Those were the worst years of my life as I went through both physical and emotional battles,” the singer wrote. “I was able to turn that fight into music I’m really proud of.”

“Head Above Water,” according to Lavigne’s letter, was the first song she wrote from her bed while battling her sickness. She felt like she was drowning in a river and found herself praying to God to help her. That’s what she’s talking about when she sings:

God, keep my head above water
Don’t let me drown, it gets harder
I’ll meet you there at the altar
As I fall down to my knee, don’t let me drown

One night I thought I was dying, and I had accepted that I was going to die,” Lavigne told ABC News. “My mom laid with me in bed and held me. I felt like I was drowning. Under my breath, I prayed, ‘God, please help to keep my head above the water.’ In that moment, the songwriting of this album began.”After coming up with the lyrics, Lavigne met a “beautiful soul” named Travis Clark (from the band We The Kings), who helped her form the rest of the song. The pair took the song to Stephen Moccio to finalize the music.In the same letter addressed to her fans about the song, Lavigne announced that she was funding efforts to help fight Lyme Disease and to assist those already suffering from it.

The video was shot in Iceland and filmed by director Elliott Lester, whose other credits include the movies Blitzand Aftermath. The visual sees an ethereal looking Lavigne, wearing a flowing white gown, roaming on her own across mossy cliffs and a serene black sand beach.

Avril Lavigne’s former husband, Nickelback frontman Chad Kroeger, offered up sessions for the Head Above Water album at his recording studio, and lent his vocals to the title track. “He was a really great soundboard,” Lavigne told USA Today. “I would call him and send him songs to get his opinion, and if I was ever stuck on something, he’d help me out, which is super cool.”

Avril Lavigne wrote “Head Above Water” with We the Kings vocalist Travis Clark. She started the song on her own when she was still battling Lyme disease. One night when she was starting to feel better, the Canadian had a party at her house. Clark had somehow scrounged an invite, even though she had never met him before.”I found him on my piano and I just thought he was so unbelievably talented, and I asked him to finish the song with me,” Lavigne recalled. “We worked so hard on this track and were able to take my story and put it out in the world.”

Courtesy of Songfacts

The Lyrics

I've gotta keep the calm before the storm
I don't want less, I don't want more
Must bar the windows and the doors
To keep me safe, to keep me warm

Yeah, my life is what I'm fighting for
Can't part the sea, can't reach the shore
And my voice becomes the driving force
I won't let this pull me overboard

God, keep my head above water
Don't let me drown, it gets harder
I'll meet you there at the altar
As I fall down to my knees
Don't let me drown, drown, drown
Don't let me, don't let me, don't let me drown

So pull me up from down below
'Cause I'm underneath the undertow
Come dry me off and hold me close
I need you now, I need you most

God, keep my head above water
Don't let me drown, it gets harder
I'll meet you there at the altar
As I fall down to my knees
Don't let me drown, drown, drown
Don't let me, don't let me, don't let me drown
Don't let me drown, drown, drown
Keep my head above water, above water

And I can't see in the stormy weather
I can't seem to keep it all together
And I, I can't swim the ocean like this forever
And I can't breathe

God, keep my head above water
I lose my breath at the bottom
Come rescue me, I'll be waiting
I'm too young to fall asleep

God, keep my head above water
Don't let me drown, it gets harder
I'll meet you there at the altar
As I fall down to my knees

Don't let me drown
Don't let me drown (don't let me, don't let me, don't let me drown)
Don't let me drown (don't let me, don't let me, don't let me drown)
Keep my head above water, above water

Writer/s: Avril Ramona Lavigne, Stephan Moccio, Travis Clark 
Publisher: A SIDE MUSIC LLC D/B/A MODERN WORKS MUSIC PUBLISHING, BMG Rights Management, Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – No Single? No Number 1

This week, for Song Lyric Sunday, Jim Adams has asked us to find songs that never made it to Number One. We all know of some that fall into this category but in my search for a favorite of mine, “Whole Lotta Love” by Led Zeppelin, I remembered why they never really had any number 1 singles. They just didn’t cut any. They were strictly an album and live performance group. Enjoy reading about it below.

How Did Led Zeppelin Never Have a No. 1 Single?

There are only a few bands that have sold more records than Led Zeppelin. The list starts with The Beatles (183 million albums in the U.S.) and continues with heavyweights like Elvis (No. 3) and the Eagles (No. 4). Garth Brooks (No. 2) is also on this list.

After that comes Zeppelin at No. 5 with a certified 111 million records sold in America. Whatever way you want to measure the band’s popularity, you’ll find plenty of data backing up Zeppelin.

Going by No. 1 albums on the Billboard 200 chart, you’ll find the band with seven. Led Zeppelin II, the band’s biggest chart hit, hung around for 117 weeks after spending the better part of two months at No. 1. Then there’s Led Zeppelin IV, which sold over 23 million copies.

In fact, there’s only one milestone the band didn’t claim over the years: a No. 1 hit single on the Billboard Hot 100. Here’s how Zeppelin never made its way there.

When you look at a band like The Beatles, you see a group built for the Hot 100 charts — especially early on in the Fab Four’s time together. Their songs were short and catchy, simple and bright. Maybe “she loves you,” but either they’d “wanna hold your hand” so you might “love me do.”

Led Zeppelin’s debut album kicked off with the riotous “Good Times Bad Times” and built up to haunting “Dazed and Confused” on Side One. These songs weren’t built for a pop marketplace. Though Atlantic released “Good Times Bad Times” as a single in 1969, no one knew Zeppelin at the time.

From early on, the band considered itself a band that sold albums, not singles. When “Whole Lotta Love” became a centerpiece of the band’s live shows, the record company wanted to release it as a single. The only problem? It was over five-and-a-half minutes long.

Meanwhile, its psychedelic middle section scared AM radio stations enough to warrant an edit of the song. (FM stations played it in its entirety.) But the band hated the edited version, turning them off singles further. 

While “Whole Lotta Love” sold over 900,000 copies and peaked at No. 4, the band refused to release it in the UK.

While conventional wisdom said you needed singles and constant TV appearances, Jimmy Page and Zeppelin manager Peter Grant decided to go the opposite route. If you wanted to buy “Dazed and Confused” or “Stairway to Heaven,” you had to buy the whole album.

For those who wanted a taste of Zeppelin’s epic live performances, you had to buy a ticket. What started as a technique to build mystique and sell more albums became an absolute cash-cow for the band.

By the time it released Led Zeppelin IV, the band’s records were so in demand it stayed on the Billboard 200 charts for over five years (281 weeks). After Houses of the Holy, there was only one thing to do: Bring the record label in-house. Thus Swan Song was born.

Physical Graffiti, Zeppelin’s first release on its own label, became the fastest album to ever reach No. 1 (two weeks) when it shot there in 1975. That answered the question: Why sell a $0.99 single when you can sell an album for $11.98?

Considering Physical Graffiti sold more than 16 million copies over the years, that strategy speaks for itself. Zeppelin never wanted a single and never needed one. The band almost begrudgingly had a No. 1 hit but it didn’t matter.

Courtesy of cheatsheet.com

The Lyrics

You need cooling
Baby I'm not fooling
I'm gonna send ya
Back to schooling

Way down inside
A-honey you need it
I'm gonna give you my love
I'm gonna give you my love, yeah

Wanna whole lotta love
Wanna whole lotta love
Wanna whole lotta love
Wanna whole lotta love

You've been learning
Um baby I been learning
All them good times baby, baby
I've been year-yearning

A-way, way down inside
A-honey you need-ah
I'm gonna give you my love, ah
I'm gonna give you my love, ah oh

Whole lotta love
Wanna whole lotta love
Wanna whole lotta love
Wanna whole lotta love (I don't want more)

You've got to bleed on me, yeah
Ah ah
Ah ah ah
Ah ah ah ah ah ah ah ah ah ah ah
Ah ah ah ah ah ah ah ah ah ah ah ah ah
(No no no no)
Ah, love
Love love love love love

You've been cooling
And baby I've been drooling
All the good times, baby
I've been misusing

A-way, way down inside
I'm gonna give ya my love
I'm gonna give ya every inch of my love
I'm gonna give ya my love

Yeah
Alright
Let's go

Wanna whole lotta love
Wanna whole lotta love
Wanna whole lotta love
Wanna whole lotta love

Way down inside
Woman, you need it
Love

My, my, my, my
My, my, my, my
Lord
Shake for me girl
I wanna be your backdoor man

Hey, oh, hey, oh, hey, oh
Ooh yeah
Oh, oh, oh, oh
Cool, my, my baby

Keep it cooling baby
A-keep it cooling baby
A-keep it cooling baby
Ah, keep it cooling baby
Ah, ah ha, oh

Writer/s: James Patrick Page, John Bonham, John Paul Jones, Robert Anthony Plant 
Publisher: Warner Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Number 1 Hits – Blinding Lights

When you think of all the great songs over the years I thought this week’s Song Lyric Sunday prompt of #1 Hits was going to leave me so spoilt for choice that I wouldn’t be able to make a decision. So I was curious and did a search on top 100 hits and was surprised to see what was ranked as Number 1 on The Billboard Hot 100 Songs of all time. It was “Blinding Lights” by The Weeknd. A relatively recent song that was in mixed company, to say the least. in the rankings. It made me smile that it knocked Chubby Checker’s Let’s Twist Again off the number one spot and as with any statistics you get what you ask for so there never seems to be an outright winner. So this week I have chosen to go with facts rather than be subjective with my choice. That being said I happen to like this song anyway. Is it the greatest song of all time? Definitely not, but then who is say what is? I can’t wait to see what everyone else comes up with today.

n

The Weeknd’s ‘Blinding Lights’ named top Billboard Hot 100 Song of all time

Nov. 24, 2021, 4:26 PM EST

By Variety

The Weeknd’s hit single “Blinding Lights” has just marked a major milestone, as Billboard revealed on Tuesday that the song is now No. 1 on their Greatest Songs of All Time Hot 100 chart.

The synth-heavy track, which dominated the No. 1 spot for four weeks, had a record-breaking run on Billboard’s Hot 100 chart, earning the most weeks as a top five hit (43 weeks), a top 10 hit (57 weeks) and a top 40 hit (86 weeks). Therefore, “Blinding Lights” surpassed Chubby Checker’s 1960s classic “The Twist” as the all-time No. 1 song, spending 90 total weeks on the Hot 100 Chart.

Billboard’s latest issue features the Weeknd as its cover star — with the musician and a group of his closest collaborators and team members opening up about how “Blinding Lights” broke Checker’s record, the creative process behind the hit and the evolution of the Weeknd’s vision for the song.

“I’ve always been tinkering with the [sounds of the] ’80s,” the Weeknd told Billboard when speaking on the single’s concept. “It was much more subtle before, but I’ve always wanted to completely dive into it. And 10 years in, I think I’ve earned it.”

Billboard has also launched a special collection of trading card packs to accompany the milestone, including five different designs created by trading card veteran Karvin Cheung. Each card is a full bleed card design accentuated with two different foil colors on 120 pt paper stock. Each pack also includes one random trading card from the collection and an information card breaking down the chart data.

“This collaboration highlights a momentous achievement and a very special moment in time for one of the most influential artists today,” said Julian Holguin, president of Billboard. “We’re thrilled to celebrate that moment and translate the most quoted rankings in music to innovative, new formats.”

Courtesy of NBC News

The Song

This up-tempo electropop track finds The Weeknd recounting how his lover lights up his life.

I said, ooh, I’m blinded by the lights
No, I can’t sleep until I feel your touch

The singer is not at peace unless he is in the company of his lady.
So who is the lady The Weekend is speaking of? It is likely the singer is addressing his on-off-on girlfriend, Bella Hadid. The clue is in the song’s bridge where Abel tells the girl he “will never let her go this time.”

After breaking up with Hadid in November 2016, The Weeknd dated Selena Gomez for nine months before reuniting with the model in 2019. Having lost Bella for a while, it seems he now realizes he is only emotionally completed when he’s with her. Abel is determined to keep their relationship going this time.

The Weeknd previously touched upon his need for Bella on his preceding single, “Heartless.”
The song was originally teased in a trailer on German TV for a Mercedes-Benz EQC electric SUV advert. The full-length version of the commercial premiered a few days later on November 29, 2019, alongside the single. The Weeknd plays a central role in the commercial, driving around in his Mercedes and performing the track.

The Weeknd wrote the synth-drenched song with:

Canadian rapper Belly. A frequent collaborator of Abel Tesfaye, Belly earned six writing credits on Beauty Behind the Madness, most notably on “Earned It” and “The Hills.”

Canadian producer Jason “DaHeala” Quenneville. He frequently works with The Weeknd, including on the hit singles “Earned It” and “Starboy.”

Swedish producer Max Martin. Their previous collaborations include the singles “Can’t Feel My Face” and “In the Night,” plus The Weeknd’s hookup with Ariana Grande, “Love Me Harder.”

Swedish writer-producer Oscar Holter. He has also worked on hit singles by Katy Perry (“Bon Appetit”), Hailee Steinfeld (“Love Myself”), Pink (“Just Like Fire”) and Tori Kelly (“Should’ve Been Us”).

The Weeknd co-produced the track with Max Martin and Oscar Holter.
This became The Weeknd’s first-ever UK chart-topping single, besting his previous best performance with 2016’s #2 hit “Starboy.”

The Weeknd performed this on Saturday Night Live when he was the musical guest on the March 7, 2020 episode. This marked the Weeknd’s third visit to the show’s Studio 8H, following appearances in 2015 and 2016.
“Blinding Lights” became The Weeknd’s fifth Hot 100 #1 when it topped the chart dated April 4, 2020. He’d previously visited the summit with “Can’t Feel My Face,” “The Hills,” “Starboy.” and “Heartless.”
The Weeknd told Esquire the song is about wanting to see your lover so much, even being being inebriated won’t put you off.

“You’re driving to this person and you’re just blinded by streetlights, but nothing could stop you from trying to go see that person, because you’re so lonely,” he explained. “I don’t want to ever promote drunk driving, but that’s what the dark undertone is.”
This won Video of the Year at the 2020 MTV Video Music Awards. At the socially distanced ceremony, The Weeknd performed the song from the observation deck at the Edge building in New York City in an elaborate production number with a helicopter, fireworks, and “blinding” spotlights.
The song broke the record for the most time spent in the Top 5 of the Hot 100. “Blinding Lights” eclipsed Chainsmokers’ “Closer” and Ed Sheeran’s “Shape Of You” when it clocked up its 28th week in the top tier.

On the Hot 100 dated March 13, 2021, “Blinding Lights” stayed in the Top 10 for the 52nd consecutive week. This ensured it became the first song in the chart’s history to spend a whole year in that region on the survey.

On the Hot 100 dated August 21, 2021, the song logged on for its 88th week on the tally, breaking the record for most weeks spent on the chart. The track surpassed Imagine Dragons’ “Radioactive,” which had an 87-week run on the survey. It eventually dropped off the listing after 90 weeks.
The Weeknd released several official remixes, including one featuring vocals from Chromatics and a second by Major Lazer. A third official remix with Rosalía was released on December 4, 2020 to celebrate the first anniversary of the original song’s release.
The Weeknd closed out his set at the 2021 Super Bowl with this song. It was a rare halftime show with no special guests, but it took place under unusual circumstances, with many restrictions in place due to COVID-19.
This won Single Of The Year at the 2021 Juno awards. The Weeknd took home four other gongs from the ceremony: Album Of The Year and Contemporary R&B Recording Of The Year for After Hours, Songwriter Of The Year alongside co-writers Belly and Jason “DaHeala” Quenneville and Artist Of The Year.
The Weeknd’s love for Grand Theft Auto: Vice City influenced both this song and the rest of After Hours. “Vice City really opened my eyes to a lot of ’80s music,” he told Billboard, “So there was a nostalgia for when I was a kid playing video games and listening to Hall & Oates and Michael Jackson while driving through the city.”

Tesfaye added that he’s tinkered with the sounds of the ’80s throughout his career. “It was much more subtle before, but I’ve always wanted to completely dive into it,” he said. “And 10 years in, I think I’ve earned it.”

Courtesy of Songfacts

Song Lyric Sunday – Woulda, Coulda, Shoulda!

This week’s Song Lyric Sunday is about songs originally offered to one or more artists and got turned down only to be recorded by someone else resulting in the song becoming a big hit. Researching this subject I found plenty of songs that were recorded fairly recently and I was surprised at how many hits by Rihanna were actually intended for someone else. Same goes for Kelly Clarkson, Britney Spears, even Adele. I was trying to find something from much earlier but did not, so I’m hoping a fellow blogger will surprise me here today.

My thanks to Fandango for hosting today’s SLS while Jim takes a vacation.

The song I have chosen is a Santana and Michelle Branch collaboration, the Game of Love, which Santana had originally wanted Tina Turner to record with him. However, record producer Clive Davis, rejected the idea because he wanted someone younger to appeal to a more youthful audience. Although Songfacts doesn’t mention it, there was a suggestion, from another source, that the song was offered to Rob Thomas. He evidently turned it down because he thought it would be regarded as Smooth 2, his earlier mega hit with Santana. Who knows for sure? As it turned out Clive Davis was right. The finished product with Michelle Branch’s lovely voice and Santana’s magic made it a big hit.

The Song

Gregg Alexander, who records as The New Radicals (“You Get What You Give”) wrote this song with Rick Nowels, whose co-writes include “Standing Still” for Jewel and “Heaven Is A Place On Earth” for Belinda Carlisle. Alexander recorded a demo, and the song sat around for about a year until Nowels’ manager sent the song to Clive Davis, head of Arista Records, when Santana was looking for songs. With no Latin flavor, it was an unlikely song for Carlos Santana to record, but he went for it, making it the first single from his group’s album Shaman, the follow-up to their 1999 blockbuster Supernatural.
This song is about the conflicted emotions that go along with love. The way this story plays out, it was love at first sight (“One kiss and boom you’re the only one for me”) but now they’re apart. The soothing melody belies a dark lyric, as the singer seems kind of dependent:

You roll me
Control me
Console me
Please hold me
You guide me
Divide me into me

She figures it’s all in the game of love, but he might have other ideas.
Michelle Branch is the lead vocalist on this song. She earned an audition through the song’s writer, Gregg Alexander, who suggested her – members of his band The New Radicals also played in Branch’s touring band. “I didn’t think I got it,” Branch told Songfacts. “I was really nervous. I went on tour and thought that was the end of it, and then I got a call saying they loved my version and they had decided that I was the singer.

The next thing you know, I was going to Chicago to film the music video. The first time I met Carlos was on set for ‘The Game Of Love.'”
Branch was still a teenager when she recorded her vocal, but she had the poise and confidence to suggest a change to the lyric. Instead of “a little bit of laughs,” she wanted “a little bit of lust,” and the line “I’m telling you my babe” changed to “I’m turning in my bed.” Her suggestions were politely declined.

In her Songfacts interview, she said: “I was thinking of being lovesick, unable to sleep, turning in the bed. Like lusting after someone. But they wanted it a little more lighthearted. But I love the song and I’m honored that I was chosen to sing it.”

Tina Turner was reportedly Santana’s first choice as vocalist and even recorded it with him. Details are sketchy, but it seems label boss Clive Davis rejected Turner and went with Branch for youth appeal; most of Santana’s hits around this time were with vocalists a generation younger than him, like Rob Thomas and Wyclef Jean.

The Tina Turner version was finally released in 2007 as part of the Ultimate Santana collection. When it was issued, Santana made this statement to the Associated Press:

“Queens come and go – there’s only one Tina Turner. I love Michelle, and she did a great interpretation of it. It’s just that with all honor and respect to Michelle, there’s the girl and there’s the woman, and Michelle is unfolding into a woman. But it takes time to go from a girl to a woman.”

Michelle Branch released her breakthrough album The Spirit Room in 2001 when she was 18. “The Game Of Love” gave her next one, Hotel Paper, released in 2003, a nice push – it went to #2 in the US and sold a million copies.

The video was directed by Paul Fedor, who was known for darker fare like Alice in Chains’ “Get Born Again” and Marilyn Manson’s “The Nobodies.” The “Game Of Love” video shows Santana and Branch performing the song on the streets of Chicago as a number of couples suck face.

Michelle Branch was an excellent pairing for Santana. She was a TRL favorite with a young, female fanbase, but sounded great to the ears of Santana fans, who were much older. Branch wrote her own songs and was a student of emotions, able to sing convincingly about romantic love before she had experienced it herself. She could also play acoustic guitar, providing a nice symmetry in the video while Carlos Santana played electric.

Branch did so well that when Santana released their next album, All That I Am, in 2005, she once again got the call to sing the first single, “I’m Feeling You.” She was the only guest vocalist to appear on both the Shaman and All That I Am albums.

The song’s co-writer Gregg Alexander was a bit of mystery man around this time, having moved to London where he wrote songs under assumed names. For this one, he used Alex Ander.
Michelle Branch joined Santana from time to time to perform this song on the group’s 2002 tour; they first performed it together in Los Angeles on October 12.
Branch was thrilled to record with Santana; her mom used to play their 1970 album Abraxas in the house.

Courtesy of Songfacts

The Lyrics

Tell me
Just what you want me to be
One kiss
And boom you're the only one for me
So please tell me
Why don't you come around no more?
'Cause right now
I'm crying outside the door of your candy store

It just takes a little bit of this, a little bit of that
It started with a kiss
Now we're up to bat
A little bit of laughs, a little bit of pain
I'm telling you my babe
It's all in the game of

Love is
Whatever you make it to be
Sunshine
Instead of this cold lonely sea
So please baby
Try and use me for what I'm good for
It ain't saying goodbye
It's knocking down the door of your candy store

It just takes a little bit of this, a little bit of that
It started with a kiss
Now we're up to bat
A little bit of laughs, a little bit of pain
I'm telling you baby
It's all in the game of love
It's all in this game of love

You roll me
Control me
Console me
Please hold me
You guide me
Divide me
Into me

So please tell me
Why don't you come around no more?
'Cause right now
I'm dying outside the door of your loving store

It just take a little bit of this, a little bit of that
It started with a kiss
Now we're up to bat
A little bit of laughs, a little bit of pain
I'm telling you my babe
It's all in the game of love
All in this game of love
It's all in the game of love
Let's play the game of love

Roll me
Control me
Please hold me
I'm out here on my own
On my own

Writer/s: Gregg Alexander, Richard Nowels 
Publisher: BMG Rights Management, Sony/ATV Music Publishing LLC, Spirit Music Group
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – One Hit Wonder

Amy, aka E.M., has provided us with the theme for this week’s Song Lyric Sunday, and it is One Hit Wonders. The song I chose for this prompt is ‘Come On Eileen’ by Dexys Midnight Runners. I featured it back in early 2020. Although the band had a subsequent hit song with Geno in the UK, Come on Eileen is the only hit the group had here in the USA.

Our regular host, Jim Adams, is on vacation for a couple of weeks and so Song Lyric Sunday is hosted by our friend and regular participant in SLS, Fandango, from the blog This, That and the Other.

The Song

Written by Dexys lead singer Kevin Rowland, trombone player Jim Paterson and guitarist Al Archer, this song was an enormous hit, going to #1 in America, the UK and Australia.While the song will fit nicely in an ’80s music time capsule, it sounded nothing like the other hits of the era. There are no synthesizers on the song, but there is banjo, accordion, fiddle and saxophone. In a Songfacts interview with Kevin Rowland, he explained how the song came together: “We wanted a good rhythm and we found one. Lots of records we liked had that rhythm: ‘Concrete and Clay,’ ‘It’s Not Unusual’ by Tom Jones. Lots of records we liked had that ‘Bomp ba bomp, bomp ba bomp.’ We felt it was a good rhythm. We came up with the chord sequence ourselves and just started singing melodies over it. I remember thinking, ‘We’re really onto something here.

I came up with that, ‘Too ra loo ra,’ and I remember thinking, ‘Wow, this is sounding really good.’ You get a feeling when you’re writing a song. Something happens. And in the end it kind of finished itself.”

This song is based on a true story. Eileen was a girl that Kevin Rowland grew up with. Their relationship became romantic when the pair were 13, and according to Rowland, it turned sexual a year or two later.Rowland was raised Catholic and served as an altar boy in church. Sex was a taboo subject, and considered “dirty” – something that fascinated him. When he wrote this song, Rowland was expressing the feelings of that adolescent enjoying his first sexual relationship and dreaming of being free from the strictures of a buttoned-down society:

You in that dress
My thoughts I confess
Verge on dirty

The song describes the thin line between love and lust. 

Dexys Midnight Runners had no American distribution for their first album, which did very well in the UK and contained a #1 hit called “Geno.” “Come On Eileen” was their first single issued in US, and was the only American hit for the band – “The Celtic Soul Brothers” was served up as a follow-up single, but petered out at #86. Much of the US success for “Eileen” can be attributed to its video, which got constant airplay on MTV and remains one of the most memorable and beloved clips of the era.Most videos at the time were slick productions featuring impossibly pretty people in unexpected locations, but Dexys’ video was delightfully different, with the overall-clad band acting out the love story on a gritty street. Kevin Rowland doing an earnest jig became a defining image of the early MTV era. When we asked him about shooting it, he told us: “It was one day. We started at 6 in the morning, we finished very late at night. It just kind of worked.”

When this hit #1 in the US, it knocked Michael Jackson’s “Billie Jean” off the top spot.

Dexys Midnight Runners released their first album, Searching for the Young Soul Rebels, in 1980. It contained the #1 UK hit “Geno” and earned the band lots of acclaim in their home country of England. For their second album Too-Rye-Ay, the group added fiddles and switched to more of an Irish folk sound. Kevin Rowland changed out every member except for Jim Paterson and also updated their image, going from a stylish, rustic Italian look to a ragged, unkempt appearance.This hillbilly theme was a great complement to their new sound and made for a striking visual. Rowland sold the look by appearing in patched-up denim offstage and insisting that it was not an act. When Smash Hits writer Dave Rimmer broached the subject in 1982, Rowland snapped: “I take deadly serious what I do. It’s very important to me to be an individual. I don’t care if people laugh. That’s what Dexys Midnight Runners is all about: showing your feelings and not giving a damn what other people think.”

The Lyrics

Come on, Eileen
Come on, Eileen

Poor old Johnny Ray sounded sad upon the radio
He moved a million hearts in mono
Our mothers cried
And sang along who'd blame them?

You've grown, so grown
Now I must say more than ever
(Come on, Eileen) Toora Loora Toora Loo-Rye Aye
And we can sing just like our fathers

Come on, Eileen, I swear (well he means)
At this moment, you mean everything
You in that dress, my thoughts I confess
Verge on dirty
Ah come on, Eileen

These people round here, wear beaten down eyes
Sunk in smoke dried faces, so resigned to what their fate is
But not us, no not us, we are far too young and clever
(Remember) Toora Loora Toora Loo-Rye-Aye
Eileen I'll hum this tune forever

Come on, Eileen, I swear, well he means
Ah come on, let's take off everything
Pretty red dress Eileen (Tell him yes)
Ah come on, let's ah come on, Eileen
Pretty red dress Eileen (Tell him yes)
Ah come on, let's, ah come on, Eileen, please

Come on, Eileen taloo-rye-aye
Come on, Eileen taloo-rye-aye
(Now you have grown, now you have shown, oh, Eileen)
Said come on, Eileen taloo-rye-aye
You've grown

So grown (Show, how you feel)
Now I must say more than ever
Things 'round here have changed
I said too-ra-loo-ra-too-ra-loo-rye-aye

Come on, Eileen, I swear (well he means)
At this moment, you mean everything
You in that dress, my thoughts I confess
Verge on dirty
Ah come on, Eileen

Come on, Eileen, I swear (well he means)
At this moment, you mean everything
You in that dress, my thoughts I confess
Well, they're dirty
Come on, Eileen
Come on, Eileen, well he means

Song Lyric Sunday – Wonder

Song Lyric Sunday prompts for this week are Amaze, Astonish, Curious, Shock, Surprise and Wonder suggested by Melanie B Cee, aka Sparky of Sparks From A Combustible Mind.

I have picked the Natalie Merchant song, “Wonder” that I have always liked. Hope you like it too!

The Song

When she was a teenager, Natalie Merchant worked at a day camp for special needs children, many of whom had been institutionalized since infancy and abandoned by their parents. This song was inspired by that experience.

She explained on a VH1 Storytellers appearance: “When I was 13 years old, we’re talking 1976, I spent my summer working as a volunteer for a bunch of hippies, basically, that got a seed grant from the Carter administration, which had a lot of really wonderful programs for the arts. These people started a day camp for handicapped children, and I worked for them the whole summer. A lot of these children were institutionalized – their parents had left the scene a long time ago. They didn’t function so well in a conventional sense, but it seems that a lot of the children had developed like a private language or new senses so they could navigate through the world, especially the blind and the deaf children that we worked with.

From an early age, I had that contact with children who had special needs. I had lost my fear of intimacy with them – especially with Down syndrome kids, they could be really unpredictable and up to that point I had been a little frightened of them. I maintained some of the friendships with those kids and I was always open to meeting children with special needs. So when I wrote the song ‘Wonder,’ I wrote the song about a woman who was born with handicaps that seemed insurmountable, but she did overcome them, greatly because she had a loving family, especially her adoptive mother – she had been given up to an institution at birth.”
This is a very meaningful song to many people who grew up with special needs and their caretakers. The song views these people as “wonders,” with doctors having no explanation for their condition, but seeing the work of God in the creation.

“I’ve met a lot of people through this song, and they’ve told me that they’ve taken it on as their song, that it describes them,” Merchant said. “It describes their strengths in spite of what others would see as deficiencies.”
Natalie Merchant performed this song, along with “Carnival,” on an episode of Saturday Night Live hosted by David Schwimmer in 1995.

The Lyrics

Doctors have come from distant cities, just to see me
Stand over my bed, disbelieving what they're seeing

They say I must be one of the wonders
Of God's own creation
And as far as they see, they can offer
No explanation

Newspapers ask intimate questions, want confessions
They reach into my head to steal, the glory of my story

They say I must be one of the wonders
Of God's own creation
And as far as they see, they can offer
No explanation

Ooo, I believe, fate smiled
And destiny laughed as you came to my cradle
Know this child will be able
Laughed as my body she lifted
Know this child will be gifted
With love, with patience, and with faith
She'll make her way, she'll make her way

People see me I'm a challenge to your balance
I'm over your heads how I confound you
And astound you
To know I must be one of the wonders
God's own creation
And as far as they see, they can offer
Me no explanation

Ooo, I believe, fate smiled
And destiny laughed as she came to my cradle
Know this child will be able
Laughed as she came to my mother
Know this child will not suffer
Laughed as my body she lifted
Know this child will be gifted
With love, with patience and with faith
She'll make her way, she'll make her way
She'll make her way, she'll make her way

Writer/s: NATALIE A MERCHANT 
Publisher: Downtown Music Publishing
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Guilty

The prompts for this week’s Song Lyric Sunday, hosted by Jim Adams, are Disgust, Embarrassment, Guilt, Regret, Remorse and Shame suggested by Melanie B Cee aka Sparky of Sparks From A Combustible Mind. I thought they were difficult at first but then I remembered a song by Barry Gibb and Barbra Streisand called ’Guilty’ I hope you enjoy it.

The Song

Guilty” is a vocal duet between Barbra Streisand and Barry Gibb. The song was written by all three Bee Gees: Barry, Robin & Maurice Gibb. Released as a single from Streisand’s 1980 album of the same name. “Guilty” peaked at No. 3 on the US Billboard Hot 100 chart and No. 5 on the adult contemporary chart. In the UK, the song reached No. 34 on the UK Singles Chart. The single was certified gold by the RIAA. In addition, “Guilty” won a Grammy Award in the category Best Pop Vocal Performance, Duo or Group. The song also appeared on the 2001 Bee Gees compilation, Their Greatest Hits: The Record.

The funny thing about Guilty is that while it’s credited as a Barbra Streisand album, it’s essentially a Bee Gees album with Streisand singing on it. Barry Gibb did much of the work on the album including writing, producing, and arranging. He plays guitar and sings much of the backing vocals as well as a couple of songs with Streisand including the title track. And the album cover shows Streisand and Gibb nestled with each other in white clothing against a white backdrop. Streisand wasn’t trying to hide the connection. Despite the massive backlash against the group at the time, the public was perfectly fine with hearing the Bee Gees in a supporting role.

The idea for Guilty came from Streisand who after attending a Bee Gees concert at Los Angeles’ Dodger Stadium approached the group about having them collaborate with her on her new album. The initial plan was for the Bee Gees to write and produce half the album but Streisand liked the songs they wrote so much that she and Barry wound up working on the entire album. “Guilty” was written by Barry along with his brothers and bandmates Robin and Maurice Gibb, the only song on the album with writing credits from all three Bee Gees, with Barry producing alongside regular collaborators Albhy Galuten and Karl Richardson.

“Guilty,” the album’s first track, was an obvious choice for a lead single but Streisand and her label Columbia held back on releasing it. By this point, Streisand had hit #1 twice with duets, 1978’s “You Don’t Bring Me Flowers” with Neil Diamond and 1979’s “No More Tears (Enough Is Enough)” with Donna Summer, and she didn’t want the public to see her as just a duets artist. Columbia released “Woman In Love,” a ballad-heavy solo track as the lead single from Guilty weeks before the album’s release to establish the album in its own right. It turned out to be the right decision as “Woman In Love” hit #1 on the Hot 100 in October 1980 becoming Streisand’s fifth and final #1 hit. The success eventually led Columbia to release “Guilty” and it wound up being a big hit as well.

The Bee Gees influence is heavy on “Guilty.” Like a lot of Bee Gees songs, “Guilty” is a love song with vague lyrics about a couple expressing their devotion to each other. Like many Bee Gees songs, it’s filled with lyrics that don’t make a whole lot of sense using Max Martin’s method of melodic math well before he popularized it, “You battle on with the love you’re livin’ on/We are devotion.” None of the lyrics for the album were re-written which says a lot. And it also has lyrics that are trying way too hard to be poetic, “Make it a crime to be lonely or sad/Our love will climb any mountain near or far.” The influence shows up in more direct ways. The build-up to the chorus sounds a lot to me like the post-chorus of “Night Fever.” And one of the lyrics, “Eyes can see that we got a highway to the sky” is a direct lift of the lyric, “You and me girl got a highway to the sky,” from “Too Much Heaven.” 

On Barry Gibb’s demo for “Guilty” released in 2006, you can easily hear what the song could have been with Barry singing in his trademark falsetto throughout. Considering the lyrics don’t exactly require a duet, if the Bee Gees hadn’t fallen so drastically it very well could have been another hit for them. Gibb and Streisand could have easily turned “Guilty” into a show-stopping vocal duet. Instead, their performances are toned down singing in a more restrained manner and not being too showy. 

Courtesy of D’Orazi Hit Parade and Wiki

The Lyrics

Shadows falling, baby, we stand alone
Out on the street anybody you meet got a heartache of their own
(It oughta be illegal)
Make it a crime to be lonely or sad
(It oughta be illegal)
You got a reason for livin'
You battle on with the love you're livin' on

You gotta be mine
We take it away
It's gotta be night and day
Just a matter of time
And we got nothing to be guilty of
Our love will climb any mountain near or far, we are
And we never let it end

We are devotion
And we got nothing to be sorry for
Our love is one in a million
Eyes can see that we got a highway to the sky
I don't wanna hear your goodbye

Pulse's racing, darling
How grand we are
Little by little we meet in the middle
There's danger in the dark
(It oughta be illegal)
Make it a crime to be out in the cold
(It oughta be illegal)
You got a reason for livin'
You battle on with the love you're buildin' on

You gotta be mine
We take it away
It's gotta be night and day
Just a matter of time
And we got nothing to be guilty of
Our love will climb any mountain near or far, we are

And we never let it end
We are devotion
And we got nothing to be sorry for
Our love is one in a million
Eyes can see that we got a highway to the sky

I don't want to hear your goodbye
Don't want to hear your goodbye
I don't want to hear your
And we got nothing, and we got nothing to be guilty of
Our love will climb and mountain near or far, we are
And we never let it end

We are devotion
And we got nothing to be sorry for
Our love is one in a million
Eyes can see that we got a highway to the sky
Don't want to hear your 
And we got nothing to be guilty of, my love

Lyrics submitted by Ice
Guilty Lyrics as written by Barry Gibb, Robin Hugh Gibb, Maurice Ernest Gibb
Lyrics © Universal Music Publishing Group
Lyrics powered by LyricFind

Song Lyric Sunday – Silver Spring

I knew which song I wanted to use the moment I saw the prompts for this week’s Song Lyric Sunday. Our friend, Paula from Light Motifs II, provided the prompts of Money, Gold, Silver or Rich. My choice is a classic Fleetwood Mac song, Silver Spring. I hope you enjoy it.

The Song

Stevie Nicks wrote this after her breakup with Lindsey Buckingham, the band’s guitarist and her long time boyfriend. She wanted to make sure he would never forget about her: “I’ll follow you down till the sound of my voice will haunt you.” In 2009, she told Rolling Stone: “It was me realizing that Lindsey was going to haunt me for the rest of my life, and he has.”

Nicks got the idea for the title when she saw a sign for Silver Spring, Maryland while driving with Lindsey. The name was, to her, so beautiful that she wrote it into the song.

This was supposed to appear on Fleetwood Mac’s Rumours album, but it was cut due to space limitations of vinyl. In 2002, it appeared where it was supposed to on the DVD-A release of Rumours.
This was used as the B-side of the singles “Go Your Own Way” and “Don’t Stop.” It didn’t appear on an album until their 1992 The Chain box set. It was also released on their 2002 greatest hits album.
Nicks used to check into hotels on the road under the alias “Miss Silver Spring.”

It was bumped off the Rumors album by another song Nicks wrote called “I Don’t Want To Know,” which the rest of the band liked better and fit better on the album because it was shorter. Stevie was very upset with the decision and considered refusing to sing “I Don’t Want To Know” in protest.
This was finally included in it’s rightful place on the Rumours re-issue, released in 2004. This is a 2-disc set which also includes a longer bonus version of the song.

During this song’s performance on Fleetwood Mac’s 1994 DVD The Dance, halfway through the song while singing, Stevie turns towards Lindsay and appears to be singing directly to him. It was as if she was reminding him who the song was about. Once they locked eyes, you could see and feel the emotions they must have felt many years ago when they dated and eventually broke up. A very intense moment.

Stevie Nicks appeared on two episodes of the TV series American Horror Story: Coven, including the finale, where she performed “Seven Wonders” to open the show. Later in the episode, this song was used to underscore a scene where a witch was sent to burn at the stake.

The Lyrics

You could be my silver spring
Blue-green colors flashin'
I would be your only dream
Your shinin' autumn ocean crashin' 
Don't say that she's pretty 
And did you say that she loves you?
Baby, I don't want to know

So I'll begin not to love you 
Turn around, you'll see me runnin'
I'll say I loved you years ago 
And tell myself you never loved me no 
Don't say that she's pretty 
And did you say that she loves you?
Baby, I don't want to know

Oh no
And can you tell me was it worth it?
Baby, I don't want to know

Time cast a spell on you but you won't forget me
I know I could've loved you
But you would not let me 

Time cast a spell on you but you won't forget me
I know I could've loved you but you would not let me 
I'll follow you down 'til the sound of my voice will haunt you 
Give me just a chance, you'll never get away from the sound of the woman that loves you

Was I such a fool?
I'll follow you down til' the sound of my voice will haunt you
Give me just a chance, you'll never get away from the sound of the woman that loves you?
Time cast a spell on you but you won't forget me
I know I could've loved you, but you would not let me
I'll follow you down 'til the sound of my voice will haunt you

Writer/s: Stevie Nicks 
Publisher: Wixen Music Publishing
Lyrics licensed and provided by LyricFind

Courtesy of Songfacts

Song Lyric Sunday – Can’t Get You Out Of My Head

This week’s Song Lyric Sunday prompts are Head, Hat, Hair and Scarf suggested by our friend Paula of Light Motifs II, The first song I thought of was “Can’t Get You Out Of My Head” by Kylie Minogue. It does tend to stay with you, so be warned! I’ve been singing it all day!

The Song

True to the title, this is a song you can’t get out of your head. It’s sometimes known as “The La La Song” because the chorus is Kylie singing “La, la, la, la, la, la, la, la” over and over, which combined with the irresistible groove makes it an effective earworm. The song even starts with that chorus.

The verses are an afterthought on this one, there to support the music. The lyric finds Minogue crazy in love, hoping she can spend a lifetime with this lucky guy.

This was written by Cathy Dennis and former Mud guitarist Rob Davis. Dennis had a few hits as a solo artist in the early ’90s, including “Just Another Dream” and “Too Many Walls.” Regarding “Can’t Get You Out Of My Head,” she told Songwriting magazine: “It was organic, we didn’t try and do anything contrived, so when something did spark we were both able to embrace it and jump on it and go with it. I thought the song is very ‘left of center’ for pop.”

Cathy Dennis and Rob Davis originally wrote this for S Club 7 after their manager, Simon Fuller, asked the duo to come up with a song for the British pop group. After Fuller heard the demo, he felt it wasn’t right for S Club 7 and rejected it. It was then offered to Sophie Ellis-Bextor, but she turned it down. Davis then met with Minogue’s A&R executive Jamie Nelson who, after hearing the demo cassette of the song, booked it for Minogue to record.

For most Americans, this was the first they heard from Minogue since 1988, when her cover of “The Loco-Motion” hit #3. She became an international sensation that year, but in the ’90s her support was concentrated in the UK and in her home country of Australia. “Can’t Get You Out Of My Head” put her back on the charts in many more territories.

This song fits into the disco revival timeline, bringing the boogie back in the ’00s after Madonna, Daft Punk and Jamiroquai flew the flag in the late ’90s. Minogue stuck to the sound and had a number of Dance hits in America as disco crested again in the ’10s. Her 2020 was even titled Disco.

The year before this was released, Minogue played the Green Fairy in the movie Moulin Rouge. In Australia, she’s a huge celebrity thanks to her role on the soap opera Neighbours and her high-profile romance with INXS lead singer Michael Hutchence.

In the UK, this song was huge, staying in the Top 40 for five months. This song’s first week on the UK chart was Kylie’s personal 262nd week on chart, making her the most successful chart act not from the US or UK. “Can’t Get You Out Of My Head” is her biggest seller in the UK, selling 1,037,235 copies. It was the biggest single and the most played song of 2001 there (it was aired 45,577 times on UK radio).

At the 2002 Brit Awards, Kylie performed a version of this to the beat of “Blue Monday” by New Order. This remix was released as the B-side of her 2002 hit “Love At First Sight.”
The song was accompanied by a state-of-the-art video directed by Dawn Shadforth, who had Kylie dressed in various futuristic fashions on a virtual set. The look evoked the ’60s sci-fi renditions of Utopia.

This was the most-played tune of the 2000s in the UK, according to PRS for Music, which collects royalties on behalf of songwriters and composers. The track received the most airplay and live covers in the first decade of the 21st century whilst Britney Spears’ single “Toxic” was the second most played song. The same songwriter, Cathy Dennis, penned both tunes.

The Lyrics

La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la

I just can't get you out of my head
Boy, your lovin' is all I think about
I just can't get you out of my head
Boy, its more than I dare to think about

La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la

I just can't get you out of my head
Boy, your lovin' is all I think about
I just can't get you out of my head
Boy, its more than I dare to think about

Every night
Every day
Just to be there in your arms
Won't you stay
Won't you stay
Stay forever and ever and ever ah ah

La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la

I just can't get you out of my head
Boy, your lovin' is all I think about
I just can't get you out of my head
Boy, its more than I dare to think about

There's a dark secret in me
Don't leave me lost in your arms
Set me free
Feel the need in me
Set me free
Stay forever and ever and ever ah ah

La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la
La, la, la, la, la, la, la, la

I just can't get you out of my head (La,la,la La,la,la,la,la)

Songwriters: Cathy Dennis / Robert Berkeley Davis
Can't Get You Out of My Head lyrics © Sony/ATV Music Publishing LLC,
Universal Music Publishing Group

Courtesy of Songfacts

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