Tag: Song Lyric Sunday

Song Lyric Sunday – Died at the Age of 27 Club

Amy Winehouse – September 24, 1983 – July 23, 2011

Jim Adams, our host for Song Lyric Sunday, has prompted us with “Members of the Died at the Age of 27 Club”. We are to choose a song by an artist who, you guessed it, died at the age of 27. Surprisingly there are quite a few. I picked Amy Winehouse and her memorable and fitting song, “Rehab”.

The Song & Artist

This song is autobiographical. Many successful musicians are haunted by their own personal demons of drink and drugs, and Winehouse is no exception. In February 2007 her father gave a candid interview to the Sun newspaper in which he denied that his daughter was an alcoholic, although he admitted that like many single women of her age she sometimes overdid the drink. On one occasion, after splitting up with her boyfriend, she fell over and hit her head.

Her previous management company wanted her to go into rehab but she said she didn’t need to. Her father agreed, adding that she wasn’t an alcoholic but had been drinking too much because she was lovesick, and “You can’t go into rehab for that.” Alcoholics drink everyday, he said, and his daughter didn’t. Hence the line: “They tried to make me go to rehab, I said no, no, no.”
Amy Winehouse was asked by The Daily Mail on August 3, 2007 how she writes songs. Said Winehouse: “With ‘Rehab’ I was walking down the street with Mark Ronson, who produced my last album. I just sang the hook out loud. It was quite silly really.”

She was then asked, “Did you sing the ‘no no no’ bit as well?'”

“Yeah, I sang the whole line exactly as it turned out on the record! Mark laughed and asked me who wrote it because he liked it. I told him that I’d just made it up but that it was true and he encouraged me to turn it into a song, which took me five minutes. It wasn’t hard. It was about what my old management company (run by former Spice Girls manager Simon Fuller) wanted me to do.”
On August 14, 2007, Winehouse entered The Causeway Retreat, a rehab center in Essex, England, with her new husband (and fellow addict), Blake Fielder. Addiction specialists know that admitting a couple to rehab together is a bad idea, but The Causeway was not an ethical institution: it was shut down amid a host of violations in 2010.

In the documentary Amy, Fielder is shown at the facility badgering Winehouse, putting a video camera to her face and asking her to sing “the new, updated version of ‘Rehab,'” presumably making a joke out of it. She refuses.

Winehouse did a few more stints in rehab to treat her drug and alcohol addiction, but it was ultimately unsuccessful. She was found dead in her London home on July 23, 2011.
This won the 2007 Ivor Novello Award for Best Contemporary Song.
At the 2008 Grammy awards, this won for Song Of The Year, Female Pop Vocal Performance and Record Of The Year. Winehouse also won for Best New Artist, and performed a medley of songs that were televised from London. Ronson won for producer of the year.

Backstage at the Grammy ceremony Mark Ronson recalled to Billboard magazine what it was like playing “Rehab” for Winehouse’s A&R for the first time. “About the first 15 seconds in, he said ‘Rewind, rewind!’ I didn’t think there would be dollar signs lighting up.”
The lines, “I’d rather be at home with Ray” and “There’s nothing you can teach me that I can’t learn from Mr. Hathaway” are references to two of Winehouse’s soul music inspirations: Ray Charles and Donny Hathaway. Hathaway is best known for his duets with Roberta Flack: “Where Is The Love?” and “The Closer I Get To You.”
Winehouse’s label Island Records originally didn’t foresee this song’s success. Island Records president Darcus Beese explained in a Genius annotation:

“When ‘Rehab’ dropped it was just like a newspaper being lit. I wasn’t expecting this song to be the one that did it. We wanted to come in with a cool angle. We thought putting Ghostface Killa on ‘You Know I’m No Good’ would be the big hit. It wasn’t until people heard ‘Rehab’ that they really got it.”

The Lyrics

[Chorus]
They tried to make me go to rehab
I said, "no, no, no"
Yes, I been black
But when I come back, you'll know, know, know
I ain't got the time
And if my daddy thinks I'm fine
He's tried to make me go to rehab
I won't go, go, go

I'd rather be at home with a Ray
I ain't got seventy days
'Cause there's nothing, there's nothing you can teach me
That I can't learn from Mr. Hathaway

I didn't get a lot in class
But I know we don't come in a shot glass

[Chorus]

The man said, "why do you think you here?"
I said, "I got no idea."
I'm gonna, I'm gonna lose my baby
So I always keep a bottle near
He said, "I just think you're depressed."
This, me, yeah, baby, and the rest

They tried to make me go to rehab
But I said, "no, no, no"
Yes, I been black
But when I come back, you'll know, know, know

I don't ever want to drink again
I just, oh, I just need a friend
I'm not gonna spend ten weeks
Have everyone think I'm on the mend

And it's not just my pride
It's just till these tears have dried

[Chorus]

Written by Amy Winehouse
Learn more about Amy Winehouse's life here
Courtesy of Songfacts

Song Lyric Sunday – Sweet Love

This week Jim Adams, our host of Song Lyric Sunday, has handed the prompt reins to fellow blogger Angie from the blog King Ben’s Grandma, She has given us “Sweet, Honey, Sugar, Candy and Chocolate”, Plenty of songs out there to fit today’s theme. I have picked Sweet Love by Anita Baker. A personal favorite from the 80s.

The Song

Sweet Love” is a song by American R&B singer and songwriter Anita Baker from her second studio album, Rapture (1986). It was written by Anita Baker, Louis A. Johnson, and Gary Bias, and produced by Michael J. Powell. It was released in July 1986, as the album’s first single.

The song was Baker’s first big hit single, peaking at number two on the US Billboard R&B chart, number three on the US Billboard Adult Contemporary chart, and number eight on the US Billboard Hot 100 in the fall of 1986. In the UK, it reached number 13 on the UK Singles Chart and peaked at number 21 on Canada’s Top Singles chart.

“Sweet Love” won the Grammy Award for Best R&B Song at the 29th Annual Grammy Awards (1987).

Daryl Easlea of the BBC said that Baker’s voice “rings like a bell”, and that “Sweet Love” is one of the three most memorable tracks on Rapture. He felt that the lyrics might have sounded trite if sung by a different artist, but that Baker imbued them with “so much passion and wonderment” that they sound like “old love sonnets” brought back to life.

Baker won two Grammys at the 29th Annual Grammy Awards (1987). “Sweet Love” was selected as Best R&B Song, earning her (along with Gary Bias and Louis Johnson) a songwriting award. Also, the album containing this song, Rapture, won in the category Best Female R&B Vocal performance.

Courtesy of Wiki

The Lyrics

With all my heart, I love you, baby
Stay with me and you will see
My arms will hold you, baby
Never leave, 'cause I believe I'm in love

Sweet love
Hear me callin' out your name
I feel no shame
I'm in love, sweet love
Don't you ever go away
It'll always be this way

Your heart has called me closer to you
I will be all that you need
Just trust
In what we're feeling
Never leave, 'cause baby, I believe
In this love

Sweet love
Hear me callin' out your name
I feel no shame
I'm in love, sweet love
Don't you ever go away
It'll always be this way

There's no stronger love in this world (no stronger love)
Oh, baby, no
You're my man, I'm your girl
I'll never go, wait and see, can't be wrong
Don't you know this is where you belong?

How sweet this dream, how lovely, baby
Stay right here, never fear
I will be all that you need
Never leave, 'cause baby, I believe
In this love

Sweet love
Hear me callin' out your name
I feel no shame
I'm in love, sweet love
Don't you ever go away
It'll always be this way

oh, no, no, no, no, no, no, no
(Sweet love) oh-ooh
So sweet
So sweet
So sweet oh, oh, love
(Sweet love) yeah, oh love
Oh baby no, sweeter love
(Sweet love) oh sweeter love
Oh no, no, no, no, no, no, no no, no
(Sweet love) don't nobody know
Don't nobody know how sweet it is
(Sweet love) how sweet it is
Love me sweetly, baby
Just leave me sweetly, baby
(Sweet love)
Don't nobody know
Source: LyricFind
Songwriters: Anita Baker / Gary Bias / Louis A. Johnson
Sweet Love lyrics © Sony/ATV Music Publishing LLC

Song Lyric Sunday – Australian Music – INXS

I used to be a big fan of INXS and thought front man Michael Hutchence was really hot! Sadly he was a troubled soul and took his own life by hanging himself in the closet of his hotel room in Sydney in 1999. So they are my pick for this week’s Song Lyric Sunday, Australian Music, hosted by Jim Adams. I chose their well known hit “Need You Tonight”

A documentary on Michael Hutchence’s revealed some insights into his life and state of mind at the time of his suicide. You can read about it here in Rolling Stone.

The Song

“Need You Tonight” is basically a musical booty call, with lines that could work if you’re Michael Hutchence (“All you got is this moment,” “There’s something about you girl that makes me sweat”), but would get the rest of us laughed out of the room. It’s not clear how his night ends, but he takes his best shot at the end:I’ve got to let you know
You’re one of my kind
Hutchence didn’t overthink it – he wrote the lyric in one night.

For the Kick album, INXS tried a different approach, with Michael Hutchence and Andrew Farriss (multi-instrumentalist for the band) doing all the songwriting. They wrote “Need You Tonight” and a few other tracks on the album at a studio in Hong Kong, where they worked for two weeks. Farriss came up with the rhythm track on a Roland 707 drum machine in a flash just before leaving for the airport – he was still working on it when the cab driver arrived, so he had the cabbie wait while he recorded a quick demo on cassette.In Hong Kong, he played Hutchence the cassette and Michael wrote the lyrics on the spot in about an hour, creating a sensual storyline to fit the mood of the music. Farriss brought his drum machine with him and was able rebuild the track, adding the guitar riff and a bass line he played on a keyboard bass. With Hutchence adding vocals, they recorded a proper demo of the song that they took back to Sydney, where they recorded it with their bandmates. The way the song came together that day was the same way they recorded it. The drum machine stayed, but their live drummer, Jon Farriss (one of three brothers in the band), added cymbals, toms and fills.

This was the song that launched INXS to global stardom. They had released five albums and were huge in their native Australia, but were just starting to get noticed in most other countries. Many Americans knew the band from their MTV hit “What You Need,” but they had little draw in that country. Atlantic Records knew the Kick album was a chance to break them in America, but the label pushed back when they heard the album, deeming it out of touch. INXS’ manager, Chris Murphy, addressed their concerns by setting up a tour of American colleges to promote “Need You Tonight” as the first single. If this small-scale effort went well, Atlantic could put more promotional might behind the album knowing it had at least a niche audience.So, when the single and album were released in October 1987, INXS was dispatched to places like Kalamazoo, Michigan and Poughkeepsie, New York, where they played colleges. As hoped, the tour got a great reaction and college radio stations jumped on “Need You Tonight.” Their fears assuaged, Atlantic pushed the song to commercial radio stations, which added it to their playlists.

MTV put the video in hot rotation, and on January 30, 1988, “Need You Tonight” went to #1 in America. “Devil Inside,” “New Sensation” and “Never Tear Us Apart” were the next three singles, keeping INXS on the air throughout 1988, while Kick stayed in the upper end of the albums chart the entire year.

The transition to Bono-level superstar frontman was a tumultuous one for Michael Hutchence, who struggled to stay grounded. While his bandmates formed families away from the public eye, his every move – especially his high-profile relationship with Kylie Minogue – was covered in the entertainment press. INXS didn’t release another album until 1990 when they returned with X. It was a success, but subsequent releases had more narrow appeal. Hutchence had a daughter, Tiger Lily, in 1996 with the British TV personality Paula Yates. Struggling with depression and away from his daughter, he committed suicide in 1997.

“Need You Tonight” segues seamlessly into the next track on the album, a poem Andrew Farriss wrote and put to music called “Mediate.” Both tracks are in the same tempo and based on the same drum machine groove, so they flow together very well. When the band heard how well they stitched together, they decided to segue them, à la Queen with “We Will Rock You” into “We Are The Champions.” Many radio stations play the songs together, which is how they appear in the video.

At 2:30, there’s a fake ending after Michael Hutchence sings, “I’m Lonely.” That was the only significant change the band made to the original demo

Courtesy of Songfacts

The Lyrics

Come over here

All you've got is this moment
Twenty-first century's yesterday
You can care all you want
Everybody does, yeah, that's okay

So slide over here and give me a moment
Your moves are so raw, I've got to let you know
I've got to let you know
You're one of my kind

I need you tonight
'Cause I'm not sleepin'
There's somethin' about you, girl
That makes me sweat

How do you feel? I'm lonely
What do you think? Can't think at all
What you gonna do? Gonna live my life

So slide over here and give me a moment
Your moves are so raw, I've got to let you know
I've got to let you know
You're one of my kind

I need you tonight
'Cause I'm not sleepin'
There's somethin' about you, girl
That makes me sweat

So how do you feel? I'm lonely
What do you think? Can't think at all
What you gonna do? Gonna live my life

How do you feel? I'm lonely
What do you think? Can't think at all
What you gonna do? Gonna live my life
So slide over here and give me a moment
Your moves are so raw, I've got to let you know
I've got to let you know
So slide over here and give me a moment
I've got to let you know, I've got to let you know
You're one of my kind

Source: LyricFind
Songwriters: Andrew Charles Farriss / Michael Kelland Hutchence
Need You Tonight lyrics © Universal Music Publishing Group,
Warner Chappell Music, Inc

Song Lyric Sunday – Lunch Lady Land

The fun prompt for this week’s Song Lyric Sunday, provided by Di of Pensitivity101, is ‘Novelty Songs’. Over the years there have been many that fit this category. Some are really funny and others are just plain stupid. If you are a fan of the long-running TV show, Saturday Night Live, then you should remember Adam Sandler singing the Lunch Lady song and featuring the very funny, late Chris Farley as the Lunch Lady herself. Who can forget the chorus? “Sloppy Joe, Sloppy Joe, Slop, Sloppy Joe”

Adam Sandler wrote the song & lyrics and performed it for one of the show’s skits and it became an instant classic. The song was on Sandler’s Album: “They’re All Gonna Laugh At You!”

Enjoy it and have a great Sunday.

The Lyrics

"This is a song..."
"This is uhh, This is a new song..."
"It's through the eyes of one of the greatest people alive, I feel..."
"The Lunchlady"
[Laughing]

Woke up in the morning
Put on my new plastic glove
Served some reheated salisbury steak
With a little slice of love
Got no clue what the chicken pot pie is made of
Just know everything's doing fine
Down here in Lunchlady Land

Well I wear this net on my head
Cause my red hair is fallin' out
I wear these brown orthopedic shoes
Cause I got a bad case of the gout
I know you want seconds on the corndogs
But there's no reason to shout
Everybody gets enough food
Down here in Lunchlady Land

Well yesterday's meatloaf is today's sloppy joes
And my breath reeks of tuna
And there's lots of black hairs coming out of my nose
In Lunchlady Land your dreams come true
Clouds made of carrots and peas
Mountains built of shepherds pie
And rivers made of macaroni and cheese
But don't forget to return your trays
And try to ignore my gum disease
No student can escape the magic of Lunchlady Land

Hoagies & grinders, hoagies & grinders
Hoagies & grinders, hoagies & grinders
Navy beans, navy beans, navy beans
Hoagies & grinders, hoagies & grinders
Navy beans, navy beans
Meatloaf sandwich
Sloppy joe, slop, sloppy joe
Sloppy joe, slop, sloppy joe
Sloppy joe, slop, sloppy joe
Sloppy joe, slop, sloppy joe

Well I dreamt one morning
That I woke up to see
All the pepperoni pizza
Was a-looking at me
It screamed, why do you burn me
And serve me up cold
I said I got the spatula
Just do what you're told
Then the liver & onions
Started joining the fight
And the chocolate pudding
Pushed me with all its might
And the chop suey slapped me
And it kicked me in the head
It's called revenge Lunchlady
Said the garlic bread
I said what did I do
To make you all so mad
They said you got flabby arms
And your breath is bad
Then the green beans said
You better run and hide
But then my friend sloppy joe came
And joined my side
He said if it wasn't for the Lunchlady
The kids wouldn't eatcha
You should be shakin' her hand
And sayin' please to meet ya
She gives you a purpose
And she gives you a goal
You should be kissin' her feet
And kissin' her mole
Now all the angry foods
Just leave me alone
And we all live together
In a happy home

Thanks to
Sloppy joe, slop, sloppy joe
Sloppy joe, slop, sloppy joe
Sloppy joe, slop, sloppy joe
Sloppy joe, slop, sloppy joe

[Spoken]
Well me & sloppy joe got married
We got six kids and we're doing' just fine
Down in Lunchlady Land

Written by Adam Sandler
Courtesy of Genius Lyrics

Song Lyric Sunday – To Sir With Love

This week’s prompts for Song Lyric Sunday are Educate, Learn, School and Teach. I have gone back in time and chosen ‘To Sir With Love’ by Scottish singer and songwriter, Lulu. It was from the movie of the same name featuring Sidney Poitier as a high school teacher in the East End of London in 1960s, and It was Lulu’s acting debut. I find the song almost hypnotic. She commands the music and lyrics masterfully and makes it memorable. Lulu was a very popular in the 1960s with a soulful, rock and roll, raspy voice. She married Maurice Gibb of the Bee Gees. They divorced four years later and then she married Hair Stylist, John Frieda. They remained married for fourteen years and subsequently divorced. They had one son.

A fun fact I was not aware of: Lulu also co wrote ‘I Don’t Want To Fight’ for Tina Turner along with her brother Billy Lawrie, and Steve DuBerry.

Lulu is still performing and has hardly aged. At 73 she looks amazing!

The Song

This is the title song to the 1967 movie of the same name. Lulu was in the film with Sidney Poitier – she got the gig after director James Clavell saw her open a show for The Beach Boys. At first she had just a small role in the movie, but Clavell was so impressed with her that he expanded her role and had her sing the theme. The film stars Poitier as a high school teacher who has a big impact on his unruly students. Lulu plays one of his students, and sings this song to him at the end of the film as the students show their appreciation for the teacher.

Lulu is a charismatic Scottish singer known for her moving rendition of this song. She was born Marie McDonald McLaughlin Laurie (one source cites “Lawrie” as the spelling). She also sang the title song for the 1974 James Bond film The Man with the Golden Gun. From 1969 to 1973, Lulu was married to pop star Maurice Gibb. 

This was Billboard‘s single of the year for 1967, having been #1 for five weeks in the USA. However in Lulu’s native UK it was only ever a B-side to her #11 hit “Let’s Pretend.”

Don Black wrote the lyrics and Mark London composed the music. Black revealed to the Sunday Times August 10, 2008: “It’s one of the very, very few songs that I’ve worked on where I’ve written the words first. Normally, I may give the composer a title or suggest a couple of lines, but I don’t like to write the whole lyric first. If you write the lyric first, you tend to ramble. You want the structure there to work against it.”

Lulu performed this song on The Ed Sullivan Show on October 22, 1967, which was the day after hit #1 in America.

The version used in the movie has three verses. For the single release, the third verse (“Those awkward years, have hurried by…”) was edited out.

This was produced by Mickie Most, and John Paul Jones of Led Zeppelin fame was the musical director. At the time, Most was the, er, most successful producer in the UK, a consistent hitmaker whose CV includes “I’m Into Something Good” for Herman’s Hermits and “Sunshine Superman” for Donovan. Most set up his own record company, RAK, in 1970, and signed Hot Chocolate, Suzie Quatro and Racey to the label.

Courtesy of Songfacts

The Lyrics

Those schoolgirl days 
Of telling tales and biting nails are gone
But in my mind 
I know they will still live on and on

But how do you thank someone 
Who has taken you from crayons to perfume?
It isn't easy, but I'll try

If you wanted the sky 
I would write across the sky in letters
That would soar a thousand feet high 
"To sir, with love"

The time has come 
For closing books and long last looks must end
And as I leave 
I know that I am leaving my best friend

A friend who taught me right from wrong 
And weak from strong
That's a lot to learn
What, what can I give you in return?

If you wanted the moon 
I would try to make a start
But I would rather you let me give my heart 
"To sir, with love"

Writer/s: Don Black, Mark London 
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

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 – 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.

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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
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