Tag: Lyrics

Song Lyric Sunday – My Sweet Lord

The prompts for this week’s Song Lyric Sunday are Delightful, Pleasant and Sweet suggested by our friend Paula from Light Motifs. It wouldn’t surprise me if we have some repeats again this week as there are a lot of songs with the word ’Sweet’ in the title. I was spoilt for choice but I have picked a favorite, ”My Sweet Lord” by George Harrison. I will never get tired of hearing it. There is a lot of history behind this song so I hope you enjoy reading about it too.

The Song

This was Harrison’s first single as a solo artist, and it was his biggest hit. The song is about the Eastern religions he was studying.

Highly unusual for a hit song, Harrison repeats part of a Hindu mantra in the lyric when he sings, “Hare Krishna… Krishna, Krishna.” When set to music, this mantra is typically part of a chant that acts as a call to the Lord. Harrison interposes it with a Christian call to faith: “Hallelujah” – he was pointing out that “Hallelujah and Hare Krishna are quite the same thing.”

In the documentary The Material World, Harrison explains: “First, it’s simple. The thing about a mantra, you see… mantras are, well, they call it a mystical sound vibration encased in a syllable. It has this power within it. It’s just hypnotic.”


In 1971, Bright Tunes Music sued Harrison because this sounded too much like the 1963 Chiffons hit “He’s So Fine.” Bright Tunes was controlled by The Tokens, who set it up when they formed the production company that recorded “He’s So Fine” – they owned the publishing rights to the song.

During the convoluted court case, Harrison explained how he composed the song: He said that in December 1969, he was playing a show in Copenhagen, Denmark, with the group Delaney and Bonnie, whose piano player was Billy Preston (who contributed to some Beatles recordings). Harrison said that he started writing the song after a press conference when he slipped away and started playing some guitar chords around the words “Hallelujah” and “Hare Krishna.” He then brought the song to the band, who helped him work it out as he came up with lyrics. When he returned to London, Harrison worked on Billy Preston’s album Encouraging Words. They recorded the song for the album, which was released on Apple Records later in 1970, and Harrison filed a copyright application for the melody, words and harmony of the song. Preston’s version remained an album cut, and it was Harrison’s single that was the huge hit and provoked the lawsuit, which was filed on February 10, 1971, while the song was still on the chart.

In further testimony, Harrison claimed he got the idea for “My Sweet Lord” from The Edwin Hawkins Singers’ “Oh Happy Day,” not “He’s So Fine.”

When the case was filed, Harrison’s manager was Allen Klein, who negotiated with Bright Tunes on his behalf. The case was delayed when Bright Tunes went into receivership, and was not heard until 1976. In the meantime, Harrison and Klein parted ways in bitter fashion, and Klein began consulting Bright Tunes. Harrison offered to settle the case for $148,000 in January 1976, but the offer was rejected and the case brought to court.

The trial took place February 23-25, with various expert witnesses testifying. The key to the case was the musical pattern of the two songs, which were both based on two musical motifs: “G-E-D” and “G-A-C-A-C.” “He’s So Fine” repeated both motifs four times, “My Sweet Lord” repeated the first motif four times and the second motif three times. Harrison couldn’t identify any other songs that used this exact pattern, and the court ruled that “the two songs are virtually identical.” And while the judge felt that Harrison did not intentionally copy “My Sweet Lord,” that was not a defense – thus Harrison was on the hook writing a similar song without knowing it. Harrison was found guilty of “subconscious plagiarism” in a verdict handed down on August 31, 1976.

Assessing damages in the case, the judge determined that “My Sweet Lord” represented 70% of the airplay of the All Things Must Pass album, and came up with a total award of about $1.6 million. However, in 1978 Allen Klein’s company ABKCO purchased Bright Tunes for $587,000, which prompted Harrison to sue. In 1981, a judge decided that Klein should not profit from the judgment, and was entitled to only the $587,000 he paid for the company – all further proceeds from the case had to be remitted back to Harrison. The case dragged on until at least 1993, when various administrative matters were finally settled.

The case was a burden for Harrison, who says he tried to settle but kept getting dragged back to court by Bright Tunes. After losing the lawsuit, he became more disenfranchised with the music industry, and took some time off from recording – after his 1976 album Thirty Three & 1/3, he didn’t release another until his self-titled album in 1979. He told Rolling Stone, “It’s difficult to just start writing again after you’ve been through that. Even now when I put the radio on, every tune I hear sounds like something else.”

This was recorded at Abbey Road studios using the same equipment The Beatles used. There were some familiar faces at the sessions who had contributed to Beatles albums, including John Lennon, Yoko Ono, Billy Preston and Eric Clapton. Bobby Whitlock was friends with Harrison and Clapton, and played keyboards on the album. When Songfacts spoke with Whitlock, he shared his thoughts:

“That whole session was great. George Harrison, what a wonderful man. All the time that I ever knew him, which was from 1969 to his passing, he was a wonderful man. He included everyone on everything he did because there was enough for all.”

Whitlock adds, “All during the sessions, the door would pop open and in would spring three or four or five Hare Krishnas in their white robes and shaved heads with a pony tail coming out the top. They were all painted up, throwing rose petals and distributing peanut butter cookies.”

This was the first #1 hit for any Beatle after the band broke up. Harrison became the first Beatle to release a solo album when he issued Wonderwall Music, the soundtrack to the movie Wonderwall, in 1968.

When this song was released, the phrase “Hare Krishna” was associated with a religious group called the International Society for Krishna Consciousness, whose members would often approach passengers in airports, seeking donations and trying to solicit members. Individuals in this group became popularly known as “Hare Krishnas,” with a generally negative connotation.

The Lyrics

My sweet Lord
Mm, my Lord
Mm, my Lord

I really want to see you
Really want to be with you
Really want to see you, Lord
But it takes so long, my Lord

My sweet Lord
Mm, my Lord
Mm, my Lord

I really want to know you
Really want to go with you
Really want to show you, Lord
That it won't take long, my Lord

(Hallelujah)
My sweet Lord
(Hallelujah)
Mm my Lord
(Hallelujah)
My sweet Lord
(Hallelujah)

Really wanna see you
Really wanna see you
Really wanna see you, Lord
Really wanna see you, Lord
But it takes so long, my Lord

(Hallelujah)
My sweet Lord
(Hallelujah)
Mm, my Lord
(Hallelujah)
My my my Lord
(Hallelujah)

I really wanna know you
(Hallelujah)
Really wanna go with you
(Hallelujah)
Really wanna show you, Lord
That it won't take long, my Lord
(Hallelujah)

Mmm
(Hallelujah)
My sweet Lord
(Hallelujah)
My my Lord
(Hallelujah)

Mmm my Lord
(Hare Krishna)
My my my Lord
(Hare Krishna)
Oh my sweet Lord
(Krishna, Krishna)
Oohh
(Hare Hare)
Now I really wanna see you
(Hare Rama)
Really wanna be with you
(Hare Rama)
Really wanna see you, Lord
But it takes so long, my Lord
(Hallelujah)
Mmmm my Lord
(Hallelujah)
My my my Lord
(Hare Krishna)
My sweet Lord
(Hare Krishna)
My sweet Lord
(Krishna, Krishna)
My Lord
(Hare Hare)
Mmmm
(Gurur Brahma)
Mmmm
(Gurur Vishnu)
Mmmm
(Gurur Devo)
Mmmm
(Maheshwara)
My sweet Lord
(Gurur Sakshaat)
My sweet Lord
(Parabrahma)
My, my my Lord
(Tasmayi Shree)
My, my my my Lord
(Guruve Namah)
My sweet Lord
(Hare Rama)
(Hare Krishna)
My sweet Lord
(Hare Krishna)
My sweet Lord
(Krishna Krishna)

Writer/s: George Harrison 
Publisher: CONCORD and MUSIC PUBLISHING LLC, DistroKid
Lyrics licensed and provided by LyricFind

Courtesy of Songfacts

Song Lyric Sunday – Faithfully True

Welcome to another Song Lyric Sunday where we are challenged to find songs using he given prompt words. This week, blogger Lady A, has provided the prompts of ‘Devoted, Faithful, Honorable, Loyal and True’

I knew immediately that I wanted to pick “Faithfully” by Journey, released in 1983. It will likely be a popular choice today so I’m also including “True” by Spandau Ballet also released in 1983. I love both of these songs and I hope you enjoy them.

The Song

The lyrics for this song were inspired by a crush Spandau Ballet’s Gary Kemp had on Altered Images singer and Gregory’s Girl star Clare Grogan: “I was infatuated with Clare Grogan,” he told The Guardian. “I met her on Top of the Pops and, at one point, travelled up to Scotland to have tea with her and her mum and dad. Although my feelings were unrequited and the relationship was platonic, it was enough to trigger a song,”

Some phrases in the lyrics were adapted from the novel Lolita, a copy of which Clare Grogan had given Gary Kemp. “The lyrics are full of coded messages to Clare,” Kemp told The Guardian. “I’m still berated for the line ‘Take your seaside arms’ but it’s straight out of Lolita by Vladimir Nabokov, which she had given me as a present – although in the book, it’s ‘seaside limbs. The line ‘With a thrill in my head and a pill on my tongue’ is also a bastardisation of Nabokov.”

One of the song’s producers, Tony Swain, recalls in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh, “We made the True album in the Bahamas and I am sure that a lot of that place got into the album. True was not a complicated song but it has really got something. There is something timeless about it: it has had over 2 million radio plays in America and it has been used in the wedding scenes for lots of films. It’s very nice to have made a record that has lasted that long and I still feel good about it.”
This was a huge worldwide hit, going to #1 in 21 countries.

The video for this song helped its chart fortunes considerably. Directed by Russell Mulcahy, it got lots of airtime on MTV, which was just two years old at the time.

There was plenty of production value, but no real storyline in the video, which was intentional. Gary Kemp explained: “I didn’t want to dictate what ‘True’ should be like. I’m sure when people hear that record they’ve got their own idea of what it means and what it looks like. So we just performed it, and lit it well – shooting light through water and broken glass – and it worked.”

Gary Kemp wrote of the song on his website: “I wanted to write a soul song a la Al Green or Marvin Gaye. I still remember sitting on my bed at my parents’ house writing it on guitar and calling Martin (his brother and Spandau Ballet bass player) in to listen to it. It became a song about trying to write a love song to someone who didn’t know your true thoughts, but how difficult it is to spell out your feelings without seeming too foolish.”

“We never realized the full potential of this song until we started to record it at Compass Point. On the ECD’s home movie footage of Nassau you can see the moment where we’re playing back the song, half finished, in the studio, and everybody, including the roadies, are singing along to it. It was at that moment that I knew we had something special.”

The saxophone solo was by the band’s Steve Norman. He told The Guardian: “The solo is actually a composite of two takes. I’d only been playing a year and was listening to Grover Washington Jr’s ‘Just The Two Of Us’ with Bill Withers, over and over. The solo is a reply to that: at the key change things just lift off, giving the song a moment of elation.”

The Lyrics

(Ha-ha-ha, ha-ah-hi)
(Ha-ha-ha, ha-ah-hi)

So true
Funny how it seems
Always in time, but never in line for dreams
Head over heels, went toe to toe
This is the sound of my soul
This is the sound

I bought a ticket to the world
But now I've come back again
Why do I find it hard to write the next line?
I want the truth to be said

(Ha-ha-ha, ha-ah-hi)
I know this much is true
(Ha-ha-ha, ha-ah-hi)
I know this much is true

With a thrill in my head and a pill on my tongue
Dissolve the nerves that have just begun
Listening to Marvin all night long
This is the sound of my soul
This is the sound

Always slipping from my hands
Sand's a time of its own
Take your seaside arms and write the next line
I want the truth to be known

(Ha-ha-ha, ha-ah-hi)
I know this much is true
(Ha-ha-ha, ha-ah-hi)
Ooh, I know this much is true

I know this much is true

I bought a ticket to the world
But now I've come back again
Why do I find it hard to write the next line?
I want the truth to be 
I want the truth to be said

(Ha-ha-ha, ha-ah-hi)
I know this much is true
(Ha-ha-ha, ha-ah-hi)
I know this much is true

I know this much is true

This much is a true

This much is true-ooh
This much is true-ooh-ooh
This much is true-ooh
This much is true-ooh-ooh

There's a thrill in my head and a pill on my tongue
Dissolve the nerves that have just begun
Listening to Marvin all night long

This much is true-ooh
This much is true-ooh-ooh

This is the sound

This much is true-ooh
This much is true-ooh-ooh

I bought a ticket to the world

This much is true-ooh
This much is true-ooh-ooh

I bought a ticket to the world

This much is true-ooh
This much is true-ooh-ooh

Writer/s: Gary James Kemp 
Lyrics licensed and provided by LyricFind

Faithfully – The Song

Journey keyboard player Jonathan Cain wrote this song about the challenges of being a married man on the road in a rock band:

Always another show
Wondering where I am
Lost without you

At the time, he was married to his first wife, Tané, a singer who had a #37 hit in 1982 called “Holdin’ On,” which Jonathan co-wrote and produced. He and Tané divorced a few years later, despite him pledging in this song to be “forever yours… faithfully.”
In his Songfacts interview, Jonathan Cain said, “God gave me that song,” as he wrote it so quickly. “I started it on the bus heading to Saratoga Springs,” he said. “I woke up the next day with a napkin on the side of my nightstand and I looked at the lyrics, ‘Highway run into the midnight sun.’ Then I got this supernatural download: This is the rest of the song.

I wrote rest of it down, almost frantically. I’d never had a song come to me so quickly that it was anointed, supernatural. Literally, in 30 minutes I had written that song. I had the napkin in my pocket and I put it on the piano. I had a big grand piano there by the orchestra. I played through it and I thought, ‘Man, this is good.’

The Lord gave me permission to finish it. Normally I would go to Steve Perry or somebody and say, ‘Help me finish this song.’ No. God gave me the mind to finish it, and the rest is history. That would be a love song to God, absolutely.”
According to the liner notes in Journey’s Time3 compilation, Cain paid tribute to Journey road manager Pat Morrow and stage manager Benny Collins in the line, “We all need the clowns to make us smile.”

“He told me he got the melody out of a dream,” said Neal Schon. “I wish something like that would happen to me.”

“Basically it’s a road song,” Cain said. “You know I’m being a good dog out here – don’t worry about it.”
Like “Rosanna” by Toto, this contains lyrics delivered by the lead singer but written by another member of the band, which led many fans to believe Steve Perry wrote the song about a particular girl.
Journey’s first music video was for this song. At the time, finding a director for a video wasn’t easy, especially in America, so the band’s manager, Herbie Herbert, hired the guys from NFL Films to shoot footage of the band on the road and onstage. So the same guys who filmed Walter Payton scoring touchdowns also filmed Steve Perry shaving his mustache.

Journey hated making videos, but couldn’t ignore the promotional impact of MTV. The network favored acts like Journey at the time because they were trying to position themselves with a rock format.
The song was performed by Lea Michele and Cory Monteith in the first season finale of Glee, along with several other Journey songs in the same episode. In the week after the transmission of the episode, download sales of the Glee version were sufficient to return the song to the Top 40 of the Hot 100.
When he was young, Jonathan Cain wanted to be a priest. He attended the Our Lady of the Angels School in Chicago and survived the 1958 fire there that killed 95 people. He stepped away from his faith, and after going through turmoil with Journey and enduring two failed marriages, he had an epiphany on a road in Florida, where he found himself calling out to God.

He joined the New Destiny Christian Center in Orlando, Florida, and in 2015 married its pastor, Paula White. In 2016 he released his first album of worship music, What God Wants to Hear. Looking back on “Faithfully,” he saw it in a different light. “If you take ‘Oh girl’ and you put ‘Oh God’ in there, you’ve got a Christian song,” he told Songfacts.

The Lyrics

Highway run
Into the midnight sun
Wheels go round and round
You're on my mind
Restless hearts
Sleep alone tonight
Sendin' all my love
Along the wire

They say that the road
Ain't no place to start a family
Right down the line
It's been you and me
And lovin' a music man
Ain't always what it's supposed to be

Oh girl you stand by me
I'm forever yours, faithfully

Circus life
Under the big top world
We all need the clowns
To make us smile
Through space and time
Always another show
Wondering where I am
Lost without you

And being apart ain't easy on this love affair
Two strangers learn to fall in love again
I get the joy
Of rediscovering you
Oh girl, you stand by me
I'm forever yours, faithfully

Oh, oh, oh, oh
Faithfully, I'm still yours
I'm forever yours
Ever yours, faithfully

Written by Jonathan Cain

Courtesy of Songfacts

Song Lyric Sunday – The Pretender

It was an easy choice for me this week when I saw the prompts for Song Lyric Sunday. Jim Adams, our host, handed the prompt reins to Angie Trafford for her suggestions. She has given us Fraud, Hypocrite, Phony, Pretender and Snob. I instantly thought of The Pretender by Jackson Browne. An old favorite that I just happened to hear few days ago. I hope you enjoy it.

The Song

This song is about a man who gives up his dreams and lives a life of routine monotony in order to accumulate money. He is the pretender.

In a 1997 interview with Mojo magazine, Browne said of this song: “I’m a big fan of ambiguity and its bountiful rewards, and ‘The Pretender’ is two things at once. It’s that person in all of us that has a higher ideal, and the part that has settled for compromise – like Truffaut says, there’s the movie you set out to make, and there’s the one you settle for. But in a more serious way, ‘The Pretender’ is about ’60s idealism, the idea of life being about love and brotherhood, justice, social change and enlightenment, those concepts we were flooded with as our generation hit its stride; and how, later, we settled for something quite different. So when I say ‘Say a prayer for The Pretender,’ I’m talking about those people who are trying to convince themselves that there really was nothing to that idealism.”

Browne’s first wife, Phyllis, committed suicide in the spring of 1976, but in the wake of the tragedy he recorded his commercial breakthrough album, The Pretender. The record climbed into the Top 10 upon its fall 1976 release, going platinum in the spring of 1977.

This appears on the soundtrack of the movie Mr. Holland’s Opus.

Browne said in Rolling Stone, October 16, 2008: “‘The Pretender’ took a long time. It’s not that I worked on it every day; I was reluctant to finish it before I had gotten all there was out of it. Songwriting is a search. Most of my songs set up a bunch of questions, and it takes a while to answer them.”

Jackson Browne told Mojo magazine in 2015: “It’s grappling with the question of whether the life you’re living is the life you thought you were heading for. ‘The Pretender’ is an open question: Do you find life’s best qualities by having children and a job, or in tearing those things down?”

The Lyrics

I'm going to rent myself a house
In the shade of the freeway
Gonna pack my lunch in the morning
And go to work each day
And when the evening rolls around
I'll go on home and lay my body down
And when the morning light comes streaming in
I'll get up and do it again
Amen
Say it again
Amen

I want to know what became of the changes
We waited for love to bring
Were they only the fitful dreams
Of some greater awakening
I've been aware of the time going by
They say in the end it's the wink of an eye
When the morning light comes streaming in
You'll get up and do it again
Amen

Caught between the longing for love
And the struggle for the legal tender
Where the sirens sing and the church bells ring
And the junk man pounds his fender
Where the veterans dream of the fight
Fast asleep at the traffic light
And the children solemnly wait
For the ice cream vendor
Out into the cool of the evening
Strolls the Pretender
He knows that all his hopes and dreams
Begin and end there

Ah the laughter of the lovers
As they run through the night
Leaving nothing for the others
But to choose off and fight
And tear at the world with all their might
While the ships bearing their dreams
Sail out of sight

I'm gonna find myself a girl
Who can show me what laughter means
And we'll fill in the missing colors
In each other's paint by number dreams
And then we'll put our dark glasses on
And we'll make love until our strength is gone
And when the morning light comes streaming in
We'll get up and do it again
Get it up again

I'm gonna be a happy idiot
And struggle for the legal tender
Where the ads take aim and lay their claim
To the heart and the soul of the spender
And believe in whatever may lie
In those things that money can buy
Thought true love could have been a contender
Are you there
Say a prayer for the Pretender
Who started out so young and strong
Only to surrender

Say a prayer for the pretender
Are you there for the pretender
Say a prayer for the pretender
Are you there for the pretender
Are you prepared for the pretender

Writer/s: Jackson Browne 
Publisher: FLAT TOWN MUSIC CO., A DIV. OF SWALLOW PUBLICATIONS, INC.
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Breakfast at Tiffany’s

Our friend Paula of Light Motifs II has given us this week’s prompts for Song Lyric Sunday, hosted by Jim Adams. Her suggestions are Breakfast, Brunch, Dinner, Lunch, Snack and Supper.

I have chosen Breakfast at Tiffany’s by Deep Blue Something. A cute song and video that I remember from the 90s. but the band was really a one hit wonder. The good thing about Song Lyric Sunday is that when you start researching these songs you sometimes find a really interesting backstory. In this case it was Truman Capote’s connection to Rock Music!.

Songfacts

Breakfast at Tiffany’s” is a 1995 song recorded by American alternative rock band Deep Blue Something. Originally appearing on the album 11th Song, it was later re-recorded and released on their album Home. It was the band’s only hit,  peaking at number five on the US Billboard Hot 100. Outside the United States, “Breakfast at Tiffany’s” topped the UK Singles Chart and peaked within the top ten on the charts of Australia, Flanders, Canada, Denmark, Germany, Iceland, the Republic of Ireland and Sweden.

Follow-up singles failed to match the success of “Breakfast at Tiffany’s”, hence the reason for the band’s classification as a one-hit wonder.

Deep Blue Something lead singer Todd Pipes was inspired to write this song after seeing Audrey Hepburn in the film Roman Holiday, but he thought “Breakfast at Tiffany’s” would be a better title.
Breakfast at Tiffany’s is a 1961 movie based on a book by Truman Capote. It starred Audrey Hepburn as Holly Golightly, a high-priced escort looking for a rich man to marry. The movie made the song “Moon River” famous.

The song is a humorous and optimistic look at a failing relationship. One partner focuses on how different the two people are and how they aren’t going to last as a couple:

You say that we’ve got nothing in common
No common ground to start from
And we’re falling apart

The other partner, however, focuses on one small detail they have in common which is that they both like the movie Breakfast at Tiffany’s. The speaker clings to this one detail and repeats it five times as the chorus in the song:

And I said, “What about Breakfast at Tiffany’s”
She said, “I think I remember the film”
and as I recall, I think, we both kinda liked it
And I said, “Well, that’s one thing we got”

Deep Blue Something was formed by four college students from the University of North Texas. This was their only hit, and they did not release another album until Byzantium in 1998.
Todd Pipes recalled to Q magazine November 2008 that promoting this song got to be pretty tiresome. He explained: “As the song had Breakfast in the title, radio stations thought it would be genius to have us on at breakfast time. We’d be up till 3 a.m. and they’d wonder why we were pissed off playing at 6am.”

Truman Capote (1924 – 1984) was an American author, many of whose short stories, novels, plays and non-fiction are recognized literary classics. He was born in Louisiana and his early works, including The Glass Harp, are about the South. He then moved to New York, where he wrote scripts for plays and films plus further novels including his 1958 novella Breakfast at Tiffany’s. In the early 1960s, Capote’s career flagged until In Cold Blood (1965), his journalistic work about the murder of a Kansas farm family in their home, made Capote a celebrity.

Capote was 5 feet 3 inches tall and openly homosexual. His distinctive, high-pitched voice and odd vocal mannerisms were bought to life in Philip Seymour Hoffman’s Oscar-winning portrayal of him in the 2005 movie, Capote.
Apart from this song, Capote has several other connections to rock music. They include:

1) In 1972 Capote was commissioned by Rolling Stone to cover the Rolling Stones’ tour of North America. And though he set out on the tour and began taking copious notes, he quickly fell out with Mick Jagger and refused to write the article. “Mick Jagger is about as sexy as a pissing toad,” he later cattily averred.

2) Capote posthumously appeared on the sleeve of The Smiths’ 1985 single, The Boy with the Thorn in His Side. English fashion and portrait photographer Cecil Beaton took the picture in 1949.

3) Capote was name-checked along with a number of other famous people in the Red Hot Chili Peppers’ 1991 track, “Mellowship Slinky In B Major.”

Courtes of Wiki and Songfacts

Lyrics

You'll say we've got nothing in common
No common ground to start from
And we're falling apart
You say the world has come between us
Our lives have come between us
Still I know you just don't care

And I said, "What about Breakfast at Tiffany's?"
She said, "I think I remember the film
And as I recall, I think we both kinda liked it"
And I said, "Well, that's the one thing we've got"

I see you, the only one who knew me
But now your eyes see through me
I guess I was wrong
So what now? It's plain to see we're over
And I hate when things are over
When so much is left undone

And I said, "What about Breakfast at Tiffany's?"
She said, "I think I remember the film
And as I recall, I think we both kinda liked it"
And I said, "Well, that's the one thing we've got"

You say that we've got nothing in common
No common ground to start from
And we're falling apart
You say the world has come between us
Our lives have come between us
Still I know you just don't care

And I said, "What about Breakfast at Tiffany's?"
She said, "I think I remember the film
And as I recall, I think we both kinda liked it"
And I said, "Well, that's the one thing we've got"

Ooh, and I said, "What about Breakfast at Tiffany's?"
She said, "I think I remember the film
And as I recall, I think we both kinda liked it"
And I said, "Well, that's the one thing we've got"

And I said, "What about Breakfast at Tiffany's?"
She said, "I think I remember the film
And as I recall, I think we both kinda liked it"
And I said, "Well, that's the one thing we've got"

Writer/s: Todd David Pipes 
Publisher: Warner Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Soul

Helen Vahdati’s Song Lyric Sunday  this week is SOUL.

My first thoughts were to go for the soul songs of the 60s.  Sam and Dave, Wilson Picket, Otis Redding etc. but I opted for Van Morrison’s song Soul.  The lyrics are his beautiful poetry …

Soul is a feeling, feeling deep within
Soul is not the color of your skin
Soul is the essence, essence from within”
It is where everything begins

It is the right choice for me.

Have a great day!

Lyrics

Soul

Van Morrison

Soul is a feeling, feeling deep within
Soul is not the color of your skin
Soul is the essence, essence from within
It is where everything begins

Soul is what you’ve been through
What’s true for you
Where you going to
What you’re gonna do

Soul is your station for the folk of your nation
Something that you wear with pride
Soul can be your vision or something that is hidden
It’s not something that you gotta hide

Soul is what you’ve been through
What’s true for you
Where you going to
What you’re gonna do

Soul can be your station for the folk of your nation
Something that you wear with pride
Soul can be your vision it can be your religion
Something that you just can’t hide

Soul is a feeling, feeling deep within
Soul is not the color of your skin
Soul is the essence, essence from within
Soul is where everything begins

Songwriters: Van Morrison

Soul lyrics © BMG Rights Management

Song Lyrics Sunday – Positively Dylan

I love today’s prompt for Song Lyric Sunday . As soon as I saw it was “Street” the first song that jumped into my mind was Positively 4th Street, by Bob Dylan. He recorded it on July 29, 1965.

Dylan wrote great poetry and this song represents some of his best. The last four lines are my favorites:

Yes, I wish that for just one time you could stand inside my shoes
You’d know what a drag it is to see you
I wish that for just one time you could stand inside my shoes
And just for that one moment I could be you

Let’s celebrate our own 2017 Nobel Prize Winner for Literature with Positively 4th Street.

LYRICS
Positively 4th Street by Bob Dylan
You’ve got a lotta nerve to say you are my friend
When I was down you just stood there grinnin’
You’ve got a lotta nerve to say you got a helping hand to lend
You just want to be on the side that’s winnin’
You say I let you down, ya know its not like that
If you’re so hurt, why then don’t you show it?
You say you’ve lost your faith, but that’s not where its at
You have no faith to lose, and ya know it
I know the reason, that you talked behind my back
I used to be among the crowd you’re in with
Do you take me for such a fool, to think I’d make contact
With the one who tries to hide what he don’t know to begin with?
You see me on the street, you always act surprised
You say “how are you?”, “good luck”, but ya don’t mean it
When you know as well as me, you’d rather see me paralyzed
Why don’t you just come out once and scream it
No, I do not feel that good when I see the heartbreaks you embrace
If I was a master thief perhaps I’d rob them
And tho I know you’re dissatisfied with your position and your place
Don’t you understand, its not my problem?
I wish that for just one time you could stand inside my shoes
And just for that one moment I could be you
Yes, I wish that for just one time you could stand inside my shoes
You’d know what a drag it is to see you

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Speak – Song Lyric Sunday

This week’s Song Lyric Sunday – by Helen Vahdati  called for a song with the word SPEAK.

I remember this one from No Doubt called “Don’t Speak” Hope you enjoy it.

 

LYRICS

Don’t Speak

You and me
We used to be together
Everyday together always
I really feel
That I’m losing my best friend
I can’t believe
This could be the end
It looks as though you’re letting go
And if it’s real
Well I don’t want to know
Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts
Don’t speak
I know what you’re thinking
I don’t need your reasons
Don’t tell me ’cause it hurts
Our memories
Well, they can be inviting
But some are altogether
Mighty frightening
As we die, both you and I
With my head in my hands
I sit and cry
Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts (no, no, no)
Don’t speak
I know what you’re thinking
I don’t need your reasons
Don’t tell me ’cause it hurts
It’s all ending
I gotta stop pretending who we are
You and me I can see us dying, are we?

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