Tag: Song Lyric Sunday

Song Lyric Sunday – America the Beautiful

This week for Song Lyric Sunday, host Jim Adams, has given us the prompts Alluring, Beautiful, Charming, Graceful and Seductive. For my choice I have decided in America the Beautiful by the late, great Ray Charles. I hope you enjoy it, especially the video of him opening for the Yankees v Diamondbacks World Series Game 2 in 2001. It came just weeks after the 9/11 attacks and the country was still reeling from the terrible tragedy. It was a time of such sadness and Charles gave a very moving rendition of the song.

The Song

The lyric to “America The Beautiful” was written by a Wellesley College English professor named Katharine Lee Bates, who wrote it as a poem that was first published in 1895. At the time, the term “America” was rarely used in reference to the United States (it does not appear in the “The Star-Spangled Banner”), but over the next few years, when the country claimed Puerto Rico, the Philippines, Cuba, Guam and Hawaii as overseas territories, it was much more than a collection of states and better described as an empire known as America. This song helped popularize the term, which Theodore Roosevelt used regularly when he became president in 1901.

To this point, most patriotic songs referred to the United States as “Columbia,” which was the female personification of the country (“Hail, Columbia” and “Columbia, The Gem Of The Ocean” are examples), and presidents hardly ever referred to “America,” although “American” was commonly used as an adjective.

“America The Beautiful” became a song in 1926 when the poem was combined with the music of a hymn written by Samuel Ward called “Materna” for a contest by the National Federation of Music Clubs. It remained the most popular “America” song until Kate Smith recorded Irving Berlin’s “God Bless America” in 1938.

Many Americans feel this should be their National Anthem, rather than the “The Star Spangled Banner.”

Many artists have recorded this, including Frank Sinatra and Elvis Presley, but Charles’ version is the most famous.

Bates was inspired by the beauty of nature during a lecture tour in Colorado Springs.
She recalled just before her death in 1929: “One day, some of the other teachers and I decided to go on a trip to 14,000-foot Pikes Peak. We hired a prairie wagon. Near the top we had to leave the wagon and go the rest of the way on mules. I was very tired. But when I saw the view, I felt great joy. All the wonder of America seemed displayed there.”

She continued: “We stood at last on that Gate-of-Heaven summit, hallowed by the worship of perished races, and gazed in wordless rapture over the far expanse… It was then and there, as I was looking out over the sea-like expanse of fertile country spreading away so far under those ample skies, that the opening lines of the hymn floated into my mind.”

The poem first appeared in a Boston church publication called The Congregationalist on July 4, 1895, with the editor’s introductory note: “Miss Bates’s poem has the true patriotic ring pertinent to Fourth of July.”

The original poem described the skies as “halcyon” instead of spacious and the plain as “enameled” instead of fruited.

According to Mark Steyn’s A Song for the Season, Samuel Ward wrote the music that would eventually accompany “America the Beautiful” after a particularly thrilling visit to Coney Island.

On May 25, 1986, millions of Americans joined hands to form a human chain across the country (with sizable gaps) as part of Hands Across America, an effort to ease hunger and homelessness in America. At 3 p.m. Eastern Time, participants began singing “We Are The World,” followed by “America The Beautiful” and the event’s theme song.

The Lyrics

Oh beautiful for heroes proved
In liberating strife
Who more than self, our country loved
And mercy more than life

America, America may God thy gold refine
Til all success be nobleness
And every gain divined

And you know when I was in school
We used to sing it something like this, listen here

Oh beautiful, for spacious skies
For amber waves of grain
For purple mountain majesties
Above the fruited plain

But now wait a minute, I'm talking about
America, sweet America
You know, God done shed his grace on thee
He crowned thy good, yes he did, in brotherhood
From sea to shining sea

You know, I wish I had somebody to help me sing this
(America, America, God shed his grace on thee)
America, I love you America, you see
My God he done shed his grace on thee
And you oughta love him for it
Cause he, he, he ,he crowned thy good
He told me he would, with brotherhood
(From sea to shining Sea)
Oh lord, oh lord, I thank you Lord
(Shining sea)

Lyrics from a song in Public Domain

Song Lyric Sunday – Fast Car

This week, our host for Song Lyric Sunday, Jim Adams, has prompted us to find songs related to Car, Vehicle, Automobile or Jalopy. The suggestion is provided by our friend Melanie B Cee from the blog sparksfromacombustiblemind

I am going with a particular favorite of mine by Tracy Chapman called Fast Car.

The Song

In this song, Chapman sings from the perspective of a woman whose life isn’t working out as she hoped. She’s with a guy who’s unemployed, lazy and unsupportive – she works at the convenience store to pay the bills while he’s drinking at the bar.

In the chorus, we hear why she’s with him: Long ago, he made her feel like like she belonged, and that they could have a fulfilling and exciting life together. Riding in his fast car, his arm around her shoulder, all was right.

Speaking with Q magazine, Chapman said: “It’s not really about a car at all… basically it’s about a relationship that doesn’t work out because it’s starting from the wrong place.”

This won the Grammy Award in 1989 for Best Female Pop Vocal Performance.

This song returned to the UK singles chart in April 2011 after it was performed by contestant Michael Collings on the first edition of the fifth series of Britain’s Got Talent.

When the then-unknown Tracy Chapman was booked to appear down the bill at the Nelson Mandela birthday concert at Wembley Stadium on June 11, 1988, little did she know her appearance would be the catalyst for a career breakthrough. After performing several songs from her self titled debut during the afternoon, Chapman thought she’d done her bit and could relax and enjoy the rest of the concert. However, later in the evening Stevie Wonder was delayed when the computer discs for his performance went missing, and Chapman was ushered back onto stage again. In front of a huge prime time audience she performed “Fast Car” alone with her acoustic guitar. Afterwards the song raced up the charts on both sides of the Atlantic.

Two popular dance music cover versions were released near the end of 2015.

The producer Jonas Blue was just 21 when he released his version; he wasn’t alive when the original was released, but it was one of his mother’s favorite songs, so he heard it a lot growing up in England. He struggled to find a vocalist to bring the song to life, but he hit the mark when he tried a young singer named Dakota, whom he spotted performing in a pub. She ended up being the vocalist on the track. This version went to #1 in Australia and was a hit across Europe, reaching #2 in the UK. In America, it went to #1 on the Dance chart.

Around this same time, the Swedish remix man Tobtok (Tobias Karlsson) released his version with another mononymed vocalist, River. This version, which was accompanied by a video, was a modest hit in Australia, reaching #19.

Courtesy of Songfacts

The Lyrics

You got a fast car
I want a ticket to anywhere
Maybe we make a deal
Maybe together we can get somewhere
Anyplace is better
Starting from zero got nothing to lose
Maybe we'll make something
Me, myself I got nothing to prove

You got a fast car
I got a plan to get us out of here
I been working at the convenience store
Managed to save just a little bit of money
Won't have to drive too far
Just 'cross the border and into the city
You and I can both get jobs
And finally see what it means to be living

You see my old man's got a problem
He live with the bottle that's the way it is
He says his body's too old for working
His body's too young to look like his
My mama went off and left him
She wanted more from life than he could give
I said somebody's got to take care of him
So I quit school and that's what I did

You got a fast car
Is it fast enough so we can fly away
We gotta make a decision
Leave tonight or live and die this way

So remember we were driving, driving in your car
Speed so fast I felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
I had a feeling that I belonged
I had a feeling I could be someone, be someone, be someone

You got a fast car
We go cruising to entertain ourselves
You still ain't got a job
I work in a market as a checkout girl
I know things will get better
You'll find work and I'll get promoted
We'll move out of the shelter
Buy a bigger house and live in the suburbs

I remember we were driving, driving in your car
Speed so fast I felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
I had a feeling that I belonged
I had a feeling I could be someone, be someone, be someone

You got a fast car
I got a job that pays all our bills
You stay out drinking late at the bar
See more of your friends than you do of your kids
I'd always hoped for better
Thought maybe together you and me would find it
I got no plans I ain't going nowhere
So take your fast car and keep on driving

I remember we were driving, driving in your car
Speed so fast I felt like I was drunk
City lights lay out before us
And your arm felt nice wrapped 'round my shoulder
I had a feeling that I belonged
I had a feeling I could be someone, be someone, be someone

You got a fast car
But is it fast enough so you can fly away
You gotta make a decision
Leave tonight or live and die this way

Writer/s: Tracy L. Chapman 
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Before He Cheats

Break Up Songs is the prompt from Janis of the momshiediaries blog, for this week’s Song Lyric Sunday. I went with Carrie Underwood’s “Before He Cheats”. It is a fair warning song with great lyrics of what she will do if he cheats on her. Better look out man, she means business!

Enjoy the song and video and I hope have a great Sunday.

The Song

This song is about revenge. Underwood sings about going into a parking lot and vandalizing her cheating boyfriend’s 4×4 truck with a baseball bat. She finds solace knowing that the next time he cheats, it won’t be on her.

When Underwood sings about her ex putting on “bathroom Polo,” she’s referring to vending machines found in the men’s rooms of certain US drinking establishments that dispense low-grade cologne. The guys who buy these fragrances often believe it will help them attract a mate in the bar, although many females are actually repelled by the scent.

This song won the trophy for Single Of The Year at the 2007 Country Music Association Awards. In addition, Carrie Underwood also won the award for Female Vocalist Of The Year.

In February 2008 “Before He Cheats” became the first country song to achieve RIAA certification as a Double-Platinum Digital Single, recognizing 2 million purchased downloads.

Underwood performed this at the 2008 Grammy awards with the cast of Stomp, which acted as backup dancers and percussionists. The set was designed to look like cars they were beating up.

Some Hearts became the best selling solo female Country debut in RIAA history. It also was the highest selling Country album in the US in both 2006 and 2007.

The Roman White directed-music video shows Underwood destroying her cheating lover’s truck. Her unfaithful partner is played by Atlanta-based model Tabb Shoup.

Speaking with CMT, Underwood admitted she almost passed on this song out of fear of a fan backlash. “I remember at that time – because that was right after Idol – we [were] on the road, and then I get this song,” she recalled. “I [thought], ‘People are going to hate me for singing this song.’ They’re gonna be like, ‘Oh my gosh, we can’t listen to her album. She’s bad, and I can’t let my children listen to this.’ Finally I was just like, ‘You know what? I like this song. I would turn this song up on the radio, so I’m just gonna go for it.'”

The song holds the record for the longest ascent to the top ten of the Billboard Hot 100. It took 38 weeks to climb to the top tier in 2006-07.

Thanks to this song, Underwood carved out a niche for songs that take down badly behaved boyfriends. Some of her later tunes to incorporate this theme include “Cowboy Casanova,” “Two Black Cadillacs” and “Dirty Laundry.”

Courtesy of Songfacts

The Lyrics

Right now, he's probably slow dancing
With a bleached-blond tramp
And she's probably getting frisky
Right now, he's probably buying
Her some fruity little drink
'Cause she can't shoot whiskey

Right now, he's probably up behind her
With a pool-stick
Showing her how to shoot a combo
And he don't know

I dug my key into the side
Of his pretty little souped-up four-wheel drive
Carved my name into his leather seats
I took a Louisville slugger to both head lights
I slashed a hole in all four tires
Maybe next time he'll think before he cheats

Right now, she's probably up singing some
White-trash version of Shania karaoke
Right now, she's probably saying "I'm drunk"
And he's a-thinking that he's gonna get lucky

Right now, he's probably
Dabbing on three dollars
Worth of that bathroom Polo
Oh, and he don't know

That I dug my key into the side
Of his pretty little souped-up four-wheel drive
Carved my name into his leather seats
I took a Louisville slugger to both head lights
I slashed a hole in all four tires
Maybe next time he'll think before he cheats

I might have saved a little trouble for the next girl
'Cause the next time that he cheats
Oh, you know it won't be on me!
No, not on me

'Cause I dug my key into the side
Of his pretty little souped-up four-wheel drive
Carved my name into his leather seats
I took a Louisville slugger to both head lights
I slashed a hole in all four tires
Maybe next time he'll think before he cheats

Oh, maybe next time he'll think before he cheats
Oh, before he cheats

Oh

Writer/s: Chris Tompkins, Josh Kear 
Publisher: Sony/ATV Music Publishing LLC, Round Hill Music Big Loud Songs
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Dog and Butterfly


We have been prompted with Insects and Bugs for Song Lyric Sunday this week, courtesy of Amy from aimusic. My song choice for this prompt is Dog and Butterfly by the band Heart. This song was also an inspiration for my similarly named poem, The Dog and the Butterfly. You can read that here if you are interested.

I have used this song before but it was several years ago and we have some new participants in our group so I think it should be acceptable.

Dog & Butterfly” is a song recorded by the rock band Heart. It is the title track to the band’s fourth studio album Dog & Butterfly and was released as the album’s second single. The song is a more subdued effort from the band, differing from past hard rock-oriented hits, as Ann and Nancy Wilson pulled from their folk music influences. The song charted moderately in the US in 1979, peaking at #34 on the Billboard Hot 100.

Ann has said she was inspired when she looked out a window and saw a dog relentlessly chasing a butterfly. She saw the song as an inspiration when things get tough to “keep going after it.”

Although it enjoyed only moderate chart success, the song has remained a setlist staple for Heart consistently through the years.

Lyrics

There I was with the old man
Stranded again so off I'd ran
A young world crashing around me
No possibilities of getting what I need
He looked at me and smiled
Said no, no, no, no, no child

See the dog and butterfly
Up in the air he likes to fly
Dog and butterfly
Below she had to try
She roll back down to the warm soft ground, laughing
She don't know why, she don't know why
Dog and butterfly

Well I stumbled upon your secret place
Safe in the trees you had tears on your face
Wrestling with your desires frozen strangers
Stealing your fires, the message hit my mind
Only words that I could find

See the dog and butterfly
Up in the air he like to fly
Dog and butterfly below she had to try
She roll back down to the warm soft ground
Laughing to the sky, up to the sky
Dog and butterfly

We're getting older the world's getting colder
For the life of me I don't know the reason why
Maybe it's livin' making us give in
Hearts rolling in taken back on the tide
We're balanced together ocean upon the sky

Another night in this strange town
Moonlight holding me light as down
Voice of confusion inside of me
Just begging to go back where I'm free
Feels like I'm through
Then the old man's words are true

See the dog and butterfly
Up in the air he like to fly
Dog and butterfly, below she had to try
She roll back down to the warm soft ground
With a little tear in her eye
She had to try, she had to try
Dog and butterfly, yeah

Up in the air he like to fly
The dog and butterfly, below she had to try
She roll back down to the warm soft ground, laughing
She don't know why
But she had to try, she had to try
Dog and butterfly

Source: LyricFind
Songwriters: Ann Wilson / Nancy Lamoureaux Wilson / Susan Ennis
Dog And Butterfly lyrics © Universal Music Publishing Group

Song Lyric Sunday – Bob Dylan

One of the most influential American singer, songwriter, poets of my generation is Bob Dylan. I have chosen him as my artist for this week’s Song Lyric Sunday post, hosted by Jim Adams, who asked us to concentrate on honoring American artists in honor of Independence Day July 4th.

My song choice, Positively 4th Street, is a personal favorite. I used this song back in July of 2018 when SLS was hosted by Helen Vahdati. She had prompted us with the word ‘Street’. I figured enough time had passed and I could share it again.

Only Dylan could answer what this song is actually about. There are many theories shared online as to who or what is the subject of the song. Some say it was his departure from acoustic to electric guitar which was not regarded as a good decision at that time. Others allude to a business association gone wrong. There is also discussion about which 4th Street he is referring to. Is it New York’s Greenwich Village or is it the one in San Francisco? It was definitely 4th Street in New York! Crazy theories in my opinion. I have always regarded it as the ultimate break-up song with unforgettable last lines that have always stuck with me.

Whatever you may think, it is an iconic song that will always put me in a place and time as music usually does.

The Artist

Bob Dylan (born Robert Allen Zimmerman; May 24, 1941) is an American singer-songwriter, author and visual artist. Often regarded as one of the greatest songwriters of all time, Dylan has been a major figure in popular culture during a career spanning nearly 60 years. Much of his most celebrated work dates from the 1960s, when songs such as “Blowin’ in the Wind” (1963) and “The Times They Are a-Changin'” (1964) became anthems for the civil rights and anti-warmovements. His lyrics during this period incorporated a range of political, social, philosophical, and literary influences, defying pop music conventions and appealing to the burgeoning counter culture.

Following his self-titled debut album in 1962, which mainly comprised traditional folk songs, Dylan made his breakthrough as a songwriter with the release of The Freewheelin’ Bob Dylan the following year. The album features “Blowin’ in the Wind” and the thematically complex “A Hard Rain’s a-Gonna Fall”. Many of his songs adapted the tunes and phraseology of older folk songs. He went on to release the politically charged The Times They Are a-Changin’ and the more lyrically abstract and introspective Another Side of Bob Dylan in 1964. In 1965 and 1966, Dylan drew controversy when he adopted electrically amplifiedrock instrumentation, and in the space of 15 months recorded three of the most important and influential rock albums of the 1960s: Bringing It All Back Home (1965), Highway 61 Revisited (1965) and Blonde on Blonde (1966). Commenting on the six-minute single “Like a Rolling Stone” (1965), Rolling Stone wrote: “No other pop song has so thoroughly challenged and transformed the commercial laws and artistic conventions of its time, for all time”.

In July 1966, a motorcycle accident led to Dylan’s withdrawal from touring. During this period, he recorded a large body of songs with members of the Band, who had previously backed him on tour. These recordings were released as the collaborative album The Basement Tapes in 1975. In the late 1960s and early 1970s, Dylan explored country music and rural themes in John Wesley Harding(1967), Nashville Skyline (1969), and New Morning (1970). In 1975, he released Blood on the Tracks, which many saw as a return to form. In the late 1970s, he became a Christian and released a series of albums of contemporary gospel music before returning to his more familiar rock-based idiom in the early 1980s. Dylan’s 1997 album Time Out of Mind marked the beginning of a renaissance for his career. He has released five critically acclaimed albums of original material since then, the most recent being Rough and Rowdy Ways (2020). He also recorded a series of three albums in the 2010s comprising versions of traditional American standards, especially songs recorded by Frank Sinatra. Backed by a changing lineup of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour.

Since 1994, Dylan has published eight books of drawings and paintings, and his work has been exhibited in major art galleries. He has sold more than 125 million records, making him one of the best-selling musicians of all time. He has received numerous awards, including the Presidential Medal of Freedom, ten Grammy Awards, a Golden Globe Award and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Nashville Songwriters Hall of Fame and the Songwriters Hall of Fame. The Pulitzer Prize Board in 2008 awarded him a special citation for “his profound impact on popular music and American culture, marked by lyrical compositions of extraordinary poetic power”. In 2016, Dylan was awarded the Nobel Prize in Literature “for having created new poetic expressions within the great American song tradition”.

The Song – Positively 4th Street

The song, written and performed by Bob Dylan, was first recorded in New York City on July 29, 1965.  It was released as a single by Columbia Records on September 7, 1965, reaching No. 1 on Canada’s RPM chart, No. 7 on the U.S. Billboard Hot 100, and No. 8 on the UK Singles Chart. Rolling Stone magazine ranked the song as No. 206 in their 500 Greatest Songs of All Time list.

The song was released between Highway 61 Revisited and Blonde on Blonde, as the follow-up to Dylan’s hit single”Like a Rolling Stone”, but was not included on either album.[7] The song’s title does not appear anywhere in the lyrics and there has been much debate over the years as to the significance or which individual the song concerns.

An unreleased promo spot of the song can be found on the No Direction Home DVD special features.

Courtesy of Wiki

The Lyrics

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

Writer/s: Bob Dylan 
Publisher: Universal Music Publishing Group
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 – Killer Queen

Song Lyric Sunday prompts this week are Brutal, Cruel, Frenzy, Savage and Violent suggested by Melanie. I had a tough time with this one and apart from ‘Don’t Be Cruel’ by Elvis Presley I was stuck. Then I remembered an old favorite ‘Killer Queen’ by Queen and thought it fit the category perfectly, but without the violence. I hope you enjoy Freddie Mercury at his best in this video.

Song Facts

In the New Musical Express November 2, 1974, the song’s writer Freddie Mercury elucidated on this song: “It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”

Regarding the line, “‘Let them eat cake’ she says, just like Marie Antoinette,” according to legend, Marie Antoinette (the Queen of France) said “Let them eat cake” after hearing how the peasants had no bread to eat. It’s more likely that the phrase was uttered by a French philosopher, not Antoinette. 

The Marie Antoinette quote has gone down in history as justification for the French Revolution. It demonstrates how out of touch with the common folk the ruling class had become. According to legend, when informed that there was no bread for the people to eat, she replied, oblivious, “then let them eat cake!” It is said, that enraged by this incredibly ignorant response, the people revolted. In the song, it is used to demonstrate at what level this high priced prostitute sells her wares. 

The first single from Queen’s third album, Sheer Heart Attack, “Killer Queen” was their first song to chart outside their native UK, where “Seven Seas of Rhye,” from their previous album Queen II, reached #10. Their breakthrough to superstardom came with their next album, A Night At The Opera, which has the epic “Bohemian Rhapsody” on the tracklist.

The Sheer Heart Attack album cover was shot by Mick Rock, who did the famous cover of their previous album, Queen II, showing the four band members in darkness with their faces illuminated. Freddie Mercury typically drove the visual direction of the band, but it was drummer Roger Taylor who came up with the concept for the Sheer Heart Attack cover. “He said, ‘I want us

to look like we’re thrown up from a shipwreck on some distant shore,’ so that’s what I shot,” Mick Rock told Songfacts. “Of course, they were soaking wet and there was a lot of spraying going on.”

In the New Musical Express November 2, 1974, the song’s writer Freddie Mercury elucidated on this song: “It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”

Regarding the line, “‘Let them eat cake’ she says, just like Marie Antoinette,” according to legend, Marie Antoinette (the Queen of France) said “Let them eat cake” after hearing how the peasants had no bread to eat. It’s more likely that the phrase was uttered by a French philosopher, not Antoinette. 

The Marie Antoinette quote has gone down in history as justification for the French Revolution. It demonstrates how out of touch with the common folk the ruling class had become. According to legend, when informed that there was no bread for the people to eat, she replied, oblivious, “then let them eat cake!” It is said, that enraged by this incredibly ignorant response, the people revolted. In the song, it is used to demonstrate at what level this high priced prostitute sells her wares. 

The first single from Queen’s third album, Sheer Heart Attack, “Killer Queen” was their first song to chart outside their native UK, where “Seven Seas of Rhye,” from their previous album Queen II, reached #10. Their breakthrough to superstardom came with their next album, A Night At The Opera, which has the epic “Bohemian Rhapsody” on the tracklist.

The Sheer Heart Attack album cover was shot by Mick Rock, who did the famous cover of their previous album, Queen II, showing the four band members in darkness with their faces illuminated. Freddie Mercury typically drove the visual direction of the band, but it was drummer Roger Taylor who came up with the concept for the Sheer Heart Attack cover. “He said, ‘I want us to look like we’re thrown up from a shipwreck on some distant shore,’ so that’s what I shot,” Mick Rock told Songfacts. “Of course, they were soaking wet and there was a lot of spraying going on.”

Courtesy of Songfacts

Lyrics

She keeps her Moet et Chandon
In her pretty cabinet
"Let them eat cake", she says
Just like Marie Antoinette
A built-in remedy
For Kruschev and Kennedy
At anytime an invitation
You can't decline

Caviar and cigarettes
Well versed in etiquette
Extraordinarily nice

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?

To avoid complications
She never kept the same address
In conversation
She spoke just like a baroness
Met a man from China
Went down to Geisha Minah
Then again incidentally
If you're that way inclined

Perfume came naturally from Paris (naturally)
For cars she couldn't care less
Fastidious and precise

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Drop of a hat she's as willing as
Playful as a pussy cat
Then momentarily out of action
Temporarily out of gas
To absolutely drive you wild, wild
She's all out to get you

She's a Killer Queen
Gunpowder, gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite
Wanna try?
You wanna try

Writer/s: Freddie Mercury 
Publisher: Sony/ATV Music Publishing LLC, DistroKid
Lyrics licensed and provided by LyricFind


Song Lyric Sunday – Hey Joe

Welcome to another Song Lyric Sunday where we, the participants in the challenge, share different songs after being prompted by our host Jim Adams. This week he has given us “Greet, Hey and Howdy”. We are to find a song with one of these prompt words in either the title or lyrics. Please join us if you want to play along. Create your own post with song choice, video and lyrics and link it to he SLS site so we can all see it and you can read everyone’s posts.

I have gone with the first song that jumped into my head and that is Hey Joe by the great Jimi Hendrix. I was fortunate to have seen him perform at The Upper Cut Club in London’s East End in 1966. Hendrix lived for a time in London in the 60s and it was here in the dressing room of the club that he began writing Purple Haze.

The story goes that, while tuning up backstage on Boxing Day 1966, Hendrix’s manager and producer, Chas Chandler, overheard Hendrix play the Purple Haze riff. He ordered him to write the rest of it and Hendrix wrote the lyrics of the infamous song in the dressing room there that very day.

Purple Haze was then recorded at De Lane Lea studios in Soho two weeks later.

I love the way the poster for the upcoming events at the club spelled his name as Jimmy rather than Jimi.

The second video is a more up front and personal one of Hendrix playing acoustic guitar. Just wanted to share something else.

Background

“Hey Joe” was written by a singer named Billy Roberts, who was part of the Greenwich Village folk scene in the early ’60s. The song is structured as a conversation between two men, with “Joe” explaining to the other that he caught his woman cheating and plans to kill her. They talk again, and Joe explains that he did indeed shoot her, and is headed to Mexico.

Billy Roberts copyrighted this song in 1962, but never released it (he issued just one album, Thoughts Of California in 1975). In 1966, several artists covered the song, including a Los Angeles band called The Leaves (their lead singer was bassist Jim Pons, who joined The Turtles just before they recorded their Happy Together album), whose version was a minor hit, reaching #31 in the US. Arthur Lee’s group Love also recorded it that year, as did The Byrds, whose singer David Crosby had been performing the song since 1965. These were all uptempo renditions.

The slow version that inspired Hendrix to record this came from a folk singer named Tim Rose, who played it in a slow arrangement on his 1967 debut album and issued it as a single late in 1966. Rose was a popular singer/songwriter for a short time in the Greenwich Village scene, but quickly faded into obscurity before a small comeback in the ’90s. He died in 2002 at age 62.

This is the song that started it all for Hendrix. After being discharged from the US Army in 1962, he worked as a backing musician for The Isley Brothers and Little Richard, and in 1966 performed under the name Jimmy James in the group Jimmy James and the Blue Flames. Hendrix introduced “Hey Joe” to the band and added it to their setlist. During a show at the Greenwich Village club Cafe Wha?, Chas Chandler of The Animals was in the audience, and he knew instantly that Hendrix was the man to record the song.

Chandler convinced Hendrix to join him in London, and he became Jimi’s producer and manager. Teaming Hendrix with Noel Redding and Mitch Mitchell, Chandler had the group – known as The Jimi Hendrix Experience – record “Hey Joe,” and released it as a single in the UK in December 1966. It climbed to #6 in February 1967, as Hendrix developed a reputation as an electrifying performer and wildly innovative guitarist.

America was a tougher nut to crack – when the song was released there in April, it went nowhere.

The song incorporates many elements of blues music, including a F-C-G-D-A chord progression and a story about infidelity and murder. This led many to believe it was a much older (possibly traditional) song, but it was an original composition.

Hendrix played this live for the first time at the 1967 Monterey Pop Festival. It was the first time the group performed in America.

This was released in Britain with the flip side “Stone Free,” which was the first song Hendrix wrote for The Jimi Hendrix Experience.

The song was released in the UK on the Polydor label in a one-single deal. Hendrix then signed to the Track label, which was set up by Kit Lambert, producer for The Who.

Dick Rowe of Decca Records turned down Hendrix for a deal, unimpressed with both “Hey Joe” and “Stone Free.” Rowe also turned away the Beatles four years earlier.

This is one of the few Hendrix tracks with female backing vocals. They were performed by a popular trio called the Breakaways (Jean Hawker, Margot Newman, and Vicki Brown), who were brought in by producer Chas Chandler.

The Hendrix version omits the first verse, where Joe buys the gun:

Hey Joe, where you goin’ with that money in your hand?
Chasin’ my woman, she run off with another man
Goin downtown, buy me a .44


In the original (and most versions pre-Hendrix), Joe also kills his wife’s lover when he catches them in bed together.

This was the last song performed at Woodstock in 1969. The festival was scheduled to end at midnight on Sunday, August 17 (the third day), but it ran long and Hendrix didn’t go on until Monday around 9 a.m. There weren’t many attendees left, but Hendrix delivered a legendary performance.

While Jimi’s version is by far the most famous, “Hey Joe” has been recorded by over 1000 artists. In America, three versions charted: 

The Leaves (#31, 1966)
Cher (#94, 1967)
Wilson Pickett (#59, 1969)

Hendrix is the only artist to chart with the song in the UK, although a completely different song called “Hey Joe” was a #1 hit there for Frankie Laine in 1963.

Lyrics

Hey Joe, where you goin' with that gun in your hand
Hey Joe, I said where you goin' with that gun in your hand
I'm goin' down to shoot my old lady
You know I caught her messin' 'round with another man
Yeah, I'm goin' down to shoot my old lady
You know I caught her messin' 'round with another man

Huh! And that ain't cool
Hey hoe, I heard you shot your mama down
You shot her down now
Hey Joe, I heard you shot your lady down
You shot her down in the ground yeah!
Yeah!

Yes, I did, I shot her
You know I caught her messin' round messin' round town
Huh, yes I did I shot her
You know I caught my old lady messin' 'round town
And I gave her the gun
And I shot her
Alright
Shoot her one more time again baby!
Yeah!
Oh dig it
Oh alright

Hey Joe
Where you gonna run to now where you gonna go
Hey Joe, I said
Where you gonna run to now where you gonna go
I'm goin' way down south
Way down to mexico way
Alright
I'm goin' way down South
Way down where I can be free

Ain't no one gonna find me
Ain't no hangman gonna
He ain't gonna put a rope around me
You better believe it right now
I gotta go now
Hey, Joe
You better run on down
Goodbye everybody
Hey, hey Joe

Playing Acoustic Guitar

Song Lyric Sunday – Borrowed Time

Something Old, New, Borrowed and Blue are the prompts this week for Song Lyric Sunday, hosted by our friend Jim Adams. There are some great songs out there to choose from with these prompts in the title or lyrics and I think we will see a wide variety of picks.

I have chosen Borrowed Time by John Lennon. I have to admit it is not my favorite song from him, but there is an interesting backstory to the song, and the video gives us a chance to see some special Lennon moments. (Do your best to block out Yoko Ono! 😦)

“Borrowed Time” is a song from John Lennon and Yoko Ono’s last album, Milk and Honey. While the single failed to chart in the United States, it charted at number 32 in the UK Singles Chart. The B-side features Ono’s song “Your Hands” from the same album.

The song was inspired during Lennon’s 1980 sailing holiday from Newport Rhode Island to Bermuda. During the journey, Lennon’s yacht encountered a prolonged and severe storm, resulting in most of the crew eventually succumbing to profound fatigue and seasickness. Lennon (free of seasickness) was eventually forced to take the yacht’s wheel alone for many hours. Lennon found this terrifying but invigorating, with the effect of both renewing his confidence and making him contemplate the fragility of life (Lennon claimed his recovery from heroin addiction some years earlier had rendered him immune to seasickness). Once he arrived in Bermuda, Lennon heard the line ‘living on borrowed time’ from Bunny Wailer’s “Hallelujah Time” and was inspired by his recent experience to write the lyrics around that theme. Wailer was also the inspiration for the reggae feel of the music. Lennon commented that living on borrowed time was exactly what he was doing but then said, “come to think of it, it’s what we’re all doing, even though most of us don’t like to face it.”

A demo of the song with acoustic guitar and double-tracked vocals was recorded in Bermuda on 22 June 1980 and was released on the John Lennon Anthology in 1998.

An attempt was made to formally record the song during the Double Fantasy sessions on 6 August 1980. It was the second song attempted during the sessions, with Lennon telling the band to think of the Isley Brother’s “Twist and Shout” and “Spanish Twist”. As he was somewhat frustrated that the band could not quite catch the reggae feel, Lennon decided to set the song aside. A horn overdub was planned, but never recorded.

Courtesy of Wiki

Sadly, this proved prophetic, as Lennon was killed in December 1980. (from Fred Seaman’s The Last Days of John Lennon)

According to Yoko Ono, Lennon considered his time precious, and was aware that his life could be cut short. 

This is a very lighthearted song, but the title became sobering when John was killed. “Now when we think about the title, it’s just kind of chilling in a way, that he was very aware that it was a borrowed time,” Yoko said in a 1998 interview with Uncut.

Courtesy of Songfacts

LYRICS

When I was younger
Living confusion and deep despair
When I was younger
Living illusion of freedom and power 

When I was younger
Full of ideas and broken dreams (my friend)
When I was younger ah hah
Everything simple but not so clear 

Living on borrowed time
Without a thought for tomorrow
Living on borrowed time
Without a thought for tomorrow 

Now I am older
The more that I see the less that I know for sure
Now I am older
The future is brighter and now is the hour 

Living on borrowed time
Without a thought for tomorrow
Living on borrowed time
Without a thought for tomorrow 

Good to be older
Would not exchange a single day or a year
Good to be older
Less complications everything clear 

Living on borrowed time
Without a thought for tomorrow
Living on borrowed time
Without a thought for tomorrow

Writer/s: JOHN LENNON, JOHN WINSTON LENNON 
Publisher: Downtown Music Publishing
Lyrics licensed and provided by LyricFind

Song Lyric Sunday – Walking In Memphis

Welcome to another Song Lyric Sunday. This week we are prompted to find songs about towns, counties, cities, states and countries and my journey took me to some far flung places. We all have an affinity to where we are born and I found many songs about my home town of London. Although I was tempted, I decided to keep on searching and found myself hopping all over the world. In the end I opted for a song that I have always enjoyed listening to and we don’t hear it very often – “Walking in Memphis” by Marc Cohn.I like the story behind this song and hope you like it too.

Cohn wrote this song after traveling to Memphis to check out Graceland, which is Elvis Presley’s mansion and a kitschy tourist destination. He made sure to see an Al Green sermon when he was there, but it was a trip out of Memphis along Highway 61 where the meaty part of his journey took place. In the desolate Delta, he saw a sign that said “Hollywood,” which turned out to be the Hollywood Cafe, which is a small diner/music joint in Tunica County, Mississippi. This is where Cohn smelled the catfish and encountered a black woman in her 70s named Muriel who was at the piano. After watching Muriel play a variety of spirituals and Hoagy Carmichael songs for about 90 minutes, he spoke with her when she took a break.

Cohn’s mother died when he was just 2 years old, and he lost his father at age 12. He spent a lot of time reconciling his childhood, which often comes out in his songs. Speaking with Muriel, he got maybe the best therapy of his life. Cohn described this conversation in his 1992 interview with Q magazine, saying: “She was real curious, she seemed to have some kind of intuition about me, and I ended up telling her about my family, my parents, how I was a musician looking for a record deal, the whole thing. Then, it must have been about two in the morning, she asks me up to sing with her and we do about an hour, me and this lady I’d never met before, hardly a song I knew so she’s yelling the words at me. Then at the end, as the applause is rising up, she leans over and whispers in my ear, she’s whispering, “You’ve got to let go of your mother, child, she didn’t mean to die, she’s where she’s got to be and you’re where you have to be, child, it’s time to move on.”

The Hollywood Cafe is still there – you drive right past it to go to several of the casinos now located in Tunica. Muriel and Cohn kept in touch, and she attended his wedding in New York. Cohn saw her again when he took another trip down south and played her some of his new songs, but Muriel died in 1990. >>

This was the first single for Cohn, who was discovered by Carly Simon in the mid-’80s when he was with a 14-piece band called The Supreme Court. Atlantic Records signed him in 1989, but the first attempts to record his debut album with Tracy Chapman’s producer David Kerschenbaum failed. Ten months later, he tried again, producing the set himself with help from the little-known Ben Wisch, who had helped him with his demos. Finally released in 1991 when Cohn was 31 years old, his self-titled debut album was a huge hit, thanks to the massive success of “Walking In Memphis.” Cohn won the 1991 Grammy for Best New Artist award, beating out both Boyz II Men and Seal. Cohn never matched the chart success of this song, but like his musical heroes Van Morrison, Joni Mitchell and Jackson Browne, he remained a critical and artistic success as a songwriter and performer.

Cohn has explained that this song is a journey to be baptized in the world of blues music. He said it is about “Spiritual Awakening.”

The lyrics, “Walking with my feet ten feet off of Beale” refers to Beale Street, an actual street in Memphis. Riley B. King became known as the “Beale Street Blues Boy” shortly after he first arrived in Memphis. Later, the nickname was shortened to B.B., and the rest is history.

Cohn wrote this song after traveling to Memphis to check out Graceland, which is Elvis Presley’s mansion and a kitschy tourist destination. He made sure to see an Al Green sermon when he was there, but it was a trip out of Memphis along Highway 61 where the meaty part of his journey took place. In the desolate Delta, he saw a sign that said “Hollywood,” which turned out to be the Hollywood Cafe, which is a small diner/music joint in Tunica County, Mississippi. This is where Cohn smelled the catfish and encountered a black woman in her 70s named Muriel who was at the piano. After watching Muriel play a variety of spirituals and Hoagy Carmichael songs for about 90 minutes, he spoke with her when she took a break.

Cohn’s mother died when he was just 2 years old, and he lost his father at age 12. He spent a lot of time reconciling his childhood, which often comes out in his songs. Speaking with Muriel, he got maybe the best therapy of his life. Cohn described this conversation in his 1992 interview with Q magazine, saying: “She was real curious, she seemed to have some kind of intuition about me, and I ended up telling her about my family, my parents, how I was a musician looking for a record deal, the whole thing. Then, it must have been about two in the morning, she asks me up to sing with her and we do about an hour, me and this lady I’d never met before, hardly a song I knew so she’s yelling the words at me. Then at the end, as the applause is rising up, she leans over and whispers in my ear, she’s whispering, You’ve got to let go of your mother, child, she didn’t mean to die, she’s where she’s got to be and you’re where you have to be, child, it’s time to move on.”

The Hollywood Cafe is still there – you drive right past it to go to several of the casinos now located in Tunica. Muriel and Cohn kept in touch, and she attended his wedding in New York. Cohn saw her again when he took another trip down south and played her some of his new songs, but Muriel died in 1990. >>

This was the first single for Cohn, who was discovered by Carly Simon in the mid-’80s when he was with a 14-piece band called The Supreme Court. Atlantic Records signed him in 1989, but the first attempts to record his debut album with Tracy Chapman’s producer David Kerschenbaum failed. Ten months later, he tried again, producing the set himself with help from the little-known Ben Wisch, who had helped him with his demos. Finally released in 1991 when Cohn was 31 years old, his self-titled debut album was a huge hit, thanks to the massive success of “Walking In Memphis.” Cohn won the 1991 Grammy for Best New Artist award, beating out both Boyz II Men and Seal. Cohn never matched the chart success of this song, but like his musical heroes Van Morrison, Joni Mitchell and Jackson Browne, he remained a critical and artistic success as a songwriter and performer.

Cohn has explained that this song is a journey to be baptized in the world of blues music. He said it is about “Spiritual Awakening.”

The lyrics, “Walking with my feet ten feet off of Beale” refers to Beale Street, an actual street in Memphis. Riley B. King became known as the “Beale Street Blues Boy” shortly after he first arrived in Memphis. Later, the nickname was shortened to B.B., and the rest is history.

LYRICS

Put on my blue suede shoes
And I boarded the plane
Touched down in the land of the Delta Blues
In the middle of the pouring rain
W.C. Handy, won't you look down over me
Yeah, I got a first class ticket
But I'm as blue as a boy can be

Then I'm walking in Memphis
Walking with my feet ten feet off of Beale
Walking in Memphis
But do I really feel the way I feel?

Saw the ghost of Elvis
On Union Avenue
Followed him up to the gates of Graceland
Then I watched him walk right through
Now security they did not see him
They just hovered 'round his tomb
But there's a pretty little thing
Waiting for the King
Down in the Jungle Room

When I was walking in Memphis
I was walking with my feet ten feet off of Beale
Walking in Memphis
But do I really feel the way I feel?

They've got catfish on the table
They've got gospel in the air
And Reverend Green be glad to see you
When you haven't got a prayer
But, boy, you've got a prayer in Memphis

Now Muriel plays piano
Every Friday at the Hollywood
And they brought me down to see her
And they asked me if I would
Do a little number
And I sang with all my might
She said
"Tell me are you a Christian child?"
And I said "Ma'am, I am tonight"

Walking in Memphis
(Walking in Memphis)
Was walking with my feet ten feet off of Beale
Walking in Memphis
(Walking in Memphis)
But do I really feel the way I feel?

Walking in Memphis
(Walking in Memphis)
I was walking with my feet ten feet off of Beale
Walking in Memphis
(Walking in Memphis)
But do I really feel the way I feel?

Put on my blue suede shoes
And I boarded the plane
Touched down in the land of the Delta Blues
In the middle of the pouring rain
Touched down in the land of the Delta Blues
In the middle of the pouring rain

Writer/s: Marc Cohn 
Publisher: Sony/ATV Music Publishing LLC, DistroKid
Lyrics licensed and provided by LyricFind
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