Tag: Song Lyric Sunday

Song Lyric Sunday – Come On Eileen

Thank you Jim Adams for the series of prompts this week for Song Lyric Sunday. With words like Come, Go, Leave and Stay I new there would be many songs to choose from. My pick is Come on Eileen by Dexy’s Midnight Runners. This is one of those songs that always puts me in a place and time when you hear it. The video begins with some footage of 1950’s singer/songwriter Johnny Ray arriving in London. The opening lines of the song refer to him.

Hope you enjoy it and have a great Sunday.

Come On Eileen” is a song by English group Dexys Midnight Runners (credited to Dexys Midnight Runners and the Emerald Express), released in the United Kingdom on 25 June 1982 as a single from their album Too-Rye-Ay. It reached number one in the United States, and was their second number one hit in the UK, following 1980’s “Geno”. The song was written by Kevin Rowland, Jim Paterson and Billy Adams, and was produced by Clive Langer and Alan Winstanley.

“Come On Eileen” won Best British Single at the 1983 Brit Awards and in 2015 the song was voted by the British public as the nation’s sixth favourite 1980s number one in a poll for ITV. It was ranked number 18 on VH1’s 100 Greatest Songs of the ’80s. 

There are various versions of the song, some in addition to the main section featuring either an intro of a Celtic fiddle solo, or an a cappella coda both based on Thomas Moore’s Irish folk song “Believe Me, if All Those Endearing Young Charms”.

The main section begins with a Celtic-style fiddle played over a drum beat, with the bass guitar and piano providing accompaniment.

The lyrics of the song begin with the lines:

Poor old Johnnie Ray
Sounded sad upon the radio
Moved a million hearts in mono
Our mothers cried, sang along
Who would blame them?

The phrase “Come on Eileen” is used as the chorus to the song, which was loosely inspired by the song “A Man Like Me” by the 1960s British soul group Jimmy James and the Vagabonds.

The bridge of “Come On Eileen” features an improvised counter-melody which begins in a slow tempo and gets faster and faster over an accelerando vocal backing. The chord sequence of the bridge is actually the same as the verses, but transposed up by a whole tone.

Throughout the song, there are numerous tempo changes and key changes:

The 1982 music video was filmed in the inner south London suburb of Kennington in the vicinity of the corner of Brook Drive and Hayles Street, then Austral Street and Holyoak Road. The character of “Eileen” in the music video, as well as on the single cover, is played by Máire Fahey, sister of Siobhan Fahey from Bananarama.

Archival footage of Johnnie Ray arriving at London Heathrow Airport in 1954 was featured in the video.

In a poll by Channel 4 a UK TV channel, the song was placed at number 38 in the 100 greatest number one singles of all time. Similar polls by the music channel VH1 placed the song at number three in the 100 Greatest One-hit Wonders of all time,] number 18 in VH1’s 100 Greatest Songs of the 1980’s[5] and number one in the 100 Greatest One Hit Wonders of the 80s[14] (the group had a previous number-one single in the UK—”Geno” in 1980—but “Come On Eileen” was their only US hit). “Come on Eileen” has sold 1.33 million copies in the UK as of June 2013.

The song reached number one in the United States on the Billboard Hot 100 charts during the week ending 23 April 1983. “Come on Eileen” prevented Michael Jackson from having back-to-back number one hits in the US: “Billie Jean” was the number one single the previous seven weeks, while “Beat It” was the number one song the ensuing three.

Backstory courtesy of Wiki

Lyrics
 
Come on, Eileen
Come on, Eileen
 
Poor old Johnny Ray
Sounded sad upon the radio
But he moved a million hearts in mono
Our mothers cried, sang along, who'd blame them
 
You're grown (so grown up)
So grown (so grown up)
Now I must say more than ever
(Come on, Eileen)
Too ra loo ra too ra loo rye aye
And we can sing just like our fathers
 
Come on, Eileen, oh I swear (what 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
 
These people 'round here
Were beaten down, eyes sunk in smoke-dried face
They're resigned to what their fate is
But not us (no, never), no, not us (no, never)
We are far to young and clever
(Remember)
Too ra loo ra too ra loo rye aye
And you'll hum this tune forever
 
Come on, Eileen, oh, I swear (what he means)
Ah, come on let's take off everything
That pretty red dress, Eileen (tell him yes)
Ah, come on let's, ah, come on, Eileen
That pretty red dress, Eileen (tell him yes)
Ah come on let's, ah, come on, Eileen, please
 
Come on, Eileen, too rye aye
Come on, Eileen, too rye aye
Now you're full grown
Now you have shown
Oh, Eileen
 
Said, come on, Eileen
These things they are real and I know
How you feel
Now I must say more than ever
Things 'round here have changed
I say, too ra loo ra, too raloo rye aye
 
Come on, Eileen

Oh, I swear (what he means)
At this moment, you mean everything
You in that dress, my thoughts I confess
Verge on dirty
Ah, come on, Eileen
Oh, come on, Eileen
Oh, I swear (what he means)
At this moment, you mean everything
In that dress, oh, my thoughts I confess
Well, they're dirty
Come on, Eileen
Come on, Eileen
 
Source: LyricFind
Songwriters: James Paterson/Kevin Rowland/Kevin Adams
Come On Eileen lyrics © Sony/ATV Music Publishing LLC
 

Song Lyric Sunday – Be Without You

This week Jim Adams has given us the following prompts for Song Lyric Sunday. I/Me/Them/Us/You/We. It was more difficult than I thought! In there end I settled for “Be Without You” by the fantastic Mary J. Blige. I hope you enjoy it.

Be Without You” is a song by American recording artist Mary J. Blige. It was written by Johnta Austin, Bryan Michael Cox, Jason Perry and Blige for her seventh studio album, The Breakthrough. Produced by Cox and Ron Fair, it was released as the album’s first official single in late 2005.

Ranking among the most played songs on US radio in the year 2006, the single was certified double-platinum by the RIAA in 2007. In March 2017, Billboard Magazine ranked “Be Without You” as the most successful R&B/Hip-Hop Song of all time. It is also one of Mary J. Blige’s most successful singles to date, peaking at number three on the Billboard Hot 100. The song was nominated for Record of the Year and Song of the Year and won the Best R&B Song and Best Female R&B Vocal Performance categories at the 2007 Grammy Awards.

Lyrics 

"Be Without You"

I wanna be with you, gotta be with you, need to be with you
(Oh, oh, oh, oh)
I wanna be with you, gotta be with you, need to be with you
(Oh, oh, oh, oh)
Oooo (oh, oh, oh, oh) oooo

Chemistry was crazy from the get-go
Neither one of us knew why
We didn't build nothing overnight
Cuz a love like this takes some time
People swore it off as a phase
Said we can’t see that
Now from top to bottom
They see that we did that (yes)
It’s so true that (yes)
We’ve been through it (yes)
We got real sh** (yes)
See baby we been...

Too strong for too long (and I can’t be without you baby)
And I’ll be waiting up until you get home (cuz I can’t sleep without you baby)
Anybody who’s ever loved, ya know just what I feel
Too hard to fake it, nothing can replace it
Call the radio if you just can’t be without your baby

I got a question for ya
See I already know the answer
But still I wanna ask you
Would you lie? (no)
Make me cry? (no)
Do somethin’ behind my back and then try to cover it up?
Well, neither would I, baby
My love is only your love (yes)
I’ll be faithful (yes)
I’m for real (yes)
And with us you’ll always know the deal
We’ve been...

Too strong for too long (and I can’t be without you baby)
And I’ll be waiting up until you get home (cuz I can’t sleep without you baby)
Anybody who’s ever loved, ya know just what I feel
Too hard to fake it, nothing can replace it
Call the radio if you just can’t be without your baby

See this is real talk
I’m always stay (no matter what)
Good or bad (thick and thin)
Right or wrong (all day everyday)
Now if you’re down on love or don’t believe
This ain’t for you (no, this ain’t for you)
And if you got it deep in your heart
And deep down you know that it’s true (come on, come on, come on)
Well, let me see you put your hands up (hands up)
Fellas tell your lady she’s the one (fellas tell your lady she’s the one, oh)
Put your hands up (hands up)
Ladies let him know he's got your love
Look him right in his eyes and tell him
We’ve been...

Too strong for too long (and I can’t be without you baby)
And I’ll be waiting up until you get home (cuz I can’t sleep without you baby)
Anybody who’s ever loved, ya know just what I feel
Too hard to fake it, nothing can replace it
Call the radio if you just can’t be without your baby

Heeeeeeeeeeeey Ohhhhhhhhhhhhh
Heeeeeeeeeeeey Ohhhhhhhhhhhhh

I wanna be with you, gotta be with you, need to be with you
I wanna be with you, gotta be with you, need to be with you
I wanna be with you, gotta be with you, need to be with you
I wanna be with you, gotta be with you, need to be with you
I wanna be with you, gotta be with you, need to be with you

Written by:
Johnta Austin, Bryan Michael Cox, Jason Perry and Mary J. Blige

Song Lyric Sunday – It Ain’t Me Babe

Another week comes around and I have chosen a Bob Dylan song for Song Lyric Sunday hosted by Jim Adams. This week he prompted us with Babe, Cutie, Doll, Honey or Sweetie. I went with It Ain’t Me Babe. One of Dylan’s classics. His poetic words still resonate.

“It Ain’t Me Babe” is a song by Bob Dylan that originally appeared on his fourth album Another Side of Bob Dylan, which was released in 1964 by Columbia Records. According to music critic Oliver Trager, this song, along with others on the album, marked a departure for Dylan as he began to explore the possibilities of language and deeper levels of the human experience. Within a year of its release, the song was picked up as a single by folk rock act the Turtles and country artist Johnny Cash (who sang it as a duet with his future wife June Carter). 

Dylan’s biographers generally agree that the song owes its inspiration to his former girlfriend Suze Rotolo. He reportedly began writing the song during his visit to Italy in 1963 while searching for Rotolo, who was studying there. 

Clinton Heylin reports that a Times reporter at a May 1964 Royal Festival Hall concert where Dylan first played “It Ain’t Me” took the chorus “no, no, no” as a parody of the Beatles’ “yeah, yeah, yeah” in “She Loves You”.

Nat Hentoff’s late October 1964 New Yorker article on Dylan includes an account of Hentoff’s presence on the evening in June 1964 in the CBS recording studio when Dylan recorded this and a dozen or so other songs. After some description of the recording studio and booth exchanges among Dylan, his friends, and the session’s producers, Hentoff describes the moment. “Dylan,” Hentoff writes, “went on to record a song about a man leaving a girl because he was not prepared to be the kind of invincible hero and all-encompassing provider she wanted.” “‘It ain’t me you’re looking for babe,’ he [Dylan] sang, with finality,” Hentoff writes in his piece. 

The melody in both phrases uses a scale descending through a minor third. (Dylan played at the Royal Festival Hall on Sunday, May 17, 1964. The Times reviewed the performance in the following day’s edition under the heading of “A Minnesota Minstrel.” However, the review makes no mention of “It Ain’t Me, Babe.”)

Facts provided by Wiki

Lyrics

Go away from my window
Leave at your own chosen speed
I'm not the one you want, babe
I'm not the one you need

You say you're lookin' for someone
Who's never weak but always strong
To protect you and defend you
Whether you are right or wrong
Someone to open each and every door
But it ain't me, babe
No, no, no, it ain't me, babe
It ain't me you're lookin' for, babe

Go lightly from the ledge, babe
Go lightly on the ground
I'm not the one you want, babe
I will only let you down

You say you're lookin' for someone
Who will promise never to part
Someone to close his eyes for you
Someone to close his heart
Someone who will die for you and more
But it ain't me, babe
No, no, no, it ain't me babe
It ain't me you're lookin' for, babe

Go melt back in the night
Everything inside is made of stone
There's nothing in here moving
And anyway I'm not alone

You say you're looking for someone
Who'll pick you up each time you fall
To gather flowers constantly
And to come each time you call
A lover for your life and nothing more
But it ain't me, babe
No, no, no, it ain't me, babe
It ain't me you're lookin' for, babe

Source: LyricFind
Songwriters: Bob Dylan
It Ain't Me Babe lyrics © BMG Rights Management, Audiam, Inc
 

Song Lyric Sunday – Like I’m Gonna Lose You

Duets is the theme or this week’s Song Lyric Sunday hosted by Jim Adams. I have chosen a fairly recent song two very talented singers, Meghan Trainor and John Legend, called “Like I’m Gonna Lose You”. It’s a love song with a pretty melody and some beautiful harmonies. I hope you enjoy it.

“Like I’m Gonna Lose You” was written by Meghan Trainor, Justin Weaver, and Caitlyn Smith. It was composed as a demo “years ago”, but Trainor was at first hesitant to show the song to her record label during the recording of her debut album, Title (2015). At the request of Trainor’s uncle, Burton Toney, her management listened to the track. Trainor recalls one of her managers being brought to tears by the song, resulting in the decision to include it on the album. 

The song was produced by Trainor and Chris Gelbuda, who she had first met in 2011 at a music conference in Colorado. They later co-wrote Sabrina Carpenter’s “Can’t Blame a Girl for Trying”. During their recording of the track “3am” for Title, Trainor told Gelbuda about “Like I’m Gonna Lose You”, a reggae song which she felt was a poor fit for the album. The pair brainstormed, with Gelbuda playing various melodies on a guitar, resulting in a change in sound and tempo. “She dug it and it just worked. We built the track together, she sang the vocals, and I worked at it for weeks,” Gelbuda recalls. They recorded “Like I’m Gonna Lose You” in 2014 at The Green Room, Gelbuda’s home studio, in East Nashville, Tennessee. Trainor and Gelbuda did all of the track’s instrumentation, production, and programming.

Initially intended to be a solo recording, L.A. Reid sent it to John Legend, who shares the same management as Trainor. Legend said, “I love this: I want to be a part of it”. Jason Agel recorded Legend’s vocals as a duet with Trainor’s at Germano Studios in New York City, with the assistance of Kenta Yonesaka. Manny Marroquin mixed “Like I’m Gonna Lose You” at Larabee North Studios in Universal City, California, and Dave Kutch mastered it at The Mastering Palace in New York City. Gelbuda describes it as “classic and jazzy” and “a big departure from everything she’s done”.

 Lyrics

I found myself dreaming
In silver and gold
Like a scene from a movie
That every broken heart knows
We were walking on moonlight
And you pulled me close
Split second and you disappeared
And then I was all alone

I woke up in tears
With you by my side
A breath of relief
And I realized
No, we're not promised tomorrow

So I'm gonna love you
Like I'm gonna lose you
I'm gonna hold you
Like I'm saying goodbye
Wherever we're standing
I won't take you for granted
'cause we'll never know when
When we'll run out of time
So I'm gonna love you
Like I'm gonna lose you
I'm gonna love you
Like I'm gonna lose you

[John Legend:]
In the blink of an eye
Just a whisper of smoke
You could lose everything
The truth is you never know
So I'll kiss you longer, baby
Any chance that I get
I'll make the most of the minutes
And love with no regrets
Let's take our time
To say what we want
Use what we got
Before it's all gone
'Cause no, we're not promised tomorrow

[Both:]
So I'm gonna love you
Like I'm gonna lose you
I'm gonna hold you
Like I'm saying goodbye
Wherever we're standing
I won't take you for granted
'Cause we'll never know when
When we'll run out of time
So I'm gonna love you
Like I'm gonna lose you
I'm gonna love you
Like I'm gonna lose you

Hey
Whoa

I'm gonna love you
Like I'm gonna lose you
I'm gonna hold you
Like I'm saying goodbye
Wherever we're standing
I won't take you for granted
'Cause we'll never know when
When we'll run out of time
So I'm gonna love you
Like I'm gonna lose you
I'm gonna love you
Like I'm gonna lose you

Written by Meghan Elizabeth Trainor,
Justin Weaver and Caitlyn Smith

Song Lyric Sunday – Walk on the Wild Side

Jim Adam’s gave us an assortment of prompts this week for Song Lyric Sunday. Bottom, End, Middle, Side and Top. I chose Walk on the Wild Side by Lou Reed. I’ve always loved the song but never really knew the inspiration for the song or the back story. Thanks to Jim’s prompts and researching it for this challenge, I found the following on Wikipedia

I hope you enjoy it.

Walk on the Wild Side” is a song by Lou Reed from his second solo album, Transformer (1972). It was produced by David Bowie and Mick Ronson, and released as a double A-side with “Perfect Day“. The song received wide radio coverage, despite its touching on taboo topics such as transsexual people, drugs, male prostitution, and oral sex. In the United States, RCA released the single using an edited version of the song without the reference to oral sex. In 2010, Rolling Stone ranked it at number 223 in its list of the 500 greatest songs of all time.[2]

Two decades after the song’s release, Reed told interviewer David Fricke, “I know my obituary has already been written. And it starts out, “Doot, di-doot, di-doot…”

The Inspiration for the Song

In the 2001 documentary Classic Albums: Lou Reed: Transformer, Reed says that it was Nelson Algren’s 1956 novel, A Walk on the Wild Side (itself titled after the 1952 song “The Wild Side of Life”), that was the launching point for the song, even though, as it grew, the song became inhabited by characters from his own life. As with several other Reed songs from the 1970s, the title may also be an allusion to an earlier song, in this case Mack David and Elmer Bernstein’s Walk on the Wild Side, the Academy Award-nominated title song performed by Brook Benton for the 1962 film based on Algren’s novel. During his performance of the song on his 1978 Live: Take No Prisoners album, Reed humorously explains the song’s development from a request that he write the music for the never-completed musical version of Algren’s novel

Each verse refers to one of the “superstars” at Andy Warhol’s New York studio, The Factory

  • “Holly” is based on Holly Woodlawn, a transsexual actress who lived in Miami Beach, Florida as a child. In 1962, after being bullied by homophobes, the fifteen-year-old ran away from home; and, as in the lyrics, learned how to pluck her eyebrows while hitchhiking to New York.
  • “Candy” is based on Candy Darling, a transsexual actress and the subject of an earlier song by Lou Reed, “Candy Says”. She grew up on Long Island (“the island”) and was a regular at “the back room” of Max’s Kansas City. 
  • “Little Joe” was the nickname of Joe Dallesandro, an actor who starred in Flesh, a 1968 film about a teenage hustler. Dallesandro said in 2014 that he had never met Reed when the song was written, and that the lyrics were based on the film character, not himself personally.
  • “Sugar Plum Fairy” has been described a reference to actor Joe Campbell, who played a character by that name in Warhol’s 1965 film, My Hustler. The term was a euphemism for “drug dealer”. “Sugar Plum Fairy” may have been a composite of a number of drug dealers in the Warhol superstars circle.
  • “Jackie” is based on Jackie Curtis, another Warhol actor. “Speeding” and “crashing” are drug references. Curtis at one time hoped to play the role of James Dean in a movie; Dean was killed in a car crash. 
Lyrics

Holly came from Miami F.L.A.
Hitch-hiked her way across the U.S.A.
Plucked her eyebrows on the way
Shaved her legs and then he was a she
She said, hey babe, take a walk on the wild side,
Said, hey honey, take a walk on the wild side.
 
Candy came from out on the island,
In the backroom she was everybody's darling,
But she never lost her head
Even when she was giving head
She sayes, hey baby, take a walk on the wild side
Said, hey babe, take a walk on the wild side

And the colored girls go,
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo doo
 
Little Joe never once gave it away
Everybody had to pay and pay
A hustle here and a hustle there
New York City is the place where they said:
Hey babe, take a walk on the wild side
I said hey Joe, take a walk on the wild side
 
Sugar Plum Fairy came and hit the streets
Lookin' for soul food and a place to eat
Went to the Apollo
You should have seen him go, go, go
They said, hey Sugar, take a walk on the wild side
I said, hey babe, take a walk on the wild side, alright, huh
 
Jackie is just speeding away
Thought she was James Dean for a day
Then I guess she had to crash
Valium would have helped that bash
She said, hey babe, take a walk on the wild side
I said, hey honey, take a walk on the wild side
And the colored girls say
 
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo
Doo doo doo doo doo doo doo doo doo doo
 
Source: LyricFind
Songwriters: Lou Reed
Walk On The Wild Side lyrics
© Sony/ATV Music Publishing LLC
 

Song Lyric Sunday – “Ob-La-Di, Ob-La-Da”

Song Lyric Sunday is hosted every week by Jim Adams. This Sunday he has prompted us with just the two letters “La”. It could be La-Dee-Da, or perhaps LA for Los Angeles or even La for Louisiana. Perhaps even Ooo-la-la and that song comes to mind. I have chosen to go with Ob-La-Di, Ob-La-Da by the Beatles from the 1968 White Album. It is a fun song and caused a bit of a stir in the 60s as they used the word “Bra” in the song! Well it did help with the rhyming!

It was written by Paul McCartney and credited to the Lennon–McCartney partnership. Following the album’s release, the song was issued as a single in many countries, although not in Britain or America, and topped singles charts in Australia, Japan, New Zealand, Switzerland and West Germany. When belatedly issued as a single in the United States in 1976, it peaked at number 49 on the Billboard Hot 100.

McCartney wrote “Ob-La-Di, Ob-La-Da” in the Jamaican ska style and appropriated a phrase popularized by Jimmy Scott, a London-based Nigerian musician, for the song’s title and chorus. Following its release, Scott attempted, unsuccessfully, to receive a composing credit. The recording sessions for the track were marked by disharmony as McCartney’s perfectionism tested his bandmates and their recording staff. The song was especially disliked by John Lennon and a heated argument during one of the sessions led to Geoff Emerick quitting his job as the Beatles’ recording engineer. A discarded early version of the track, featuring Scott on congas, was included on the band’s 1996 compilation Anthology 3.

The Beatles’ decision not to release the single in the UK or the US led to several cover recordings as other artists sought to achieve a chart hit with the song. Of these, Marmalade became the first Scottish group to have a number 1 hit in the UK when their version topped the Record Retailer chart in late 1968. Despite the song’s popularity, “Ob-La-Di, Ob-La-Da” has been ridiculed by some commentators for its lightheartedness. From 2009, McCartney has regularly performed the song in concert.

Paul McCartney began writing “Ob-La-Di, Ob-La-Da” during the Beatles’ stay in Rishikesh, India, in early 1968. Prudence Farrow, one of their fellow Transcendental Meditation students there, recalled McCartney, John Lennon and George Harrison playing it to her in an attempt to lure her out of her room, where she had become immersed in intense meditation.

McCartney wrote the song when reggae was becoming popular in Britain; author Ian MacDonald describes it as “McCartney’s rather approximate tribute to the Jamaican ska idiom”. The character of Desmond in the lyrics, from the opening line “Desmond has a barrow in the market-place”, was a reference to reggae singer Desmond Dekker, who had recently toured the UK. The tag line “Ob-la-di, ob-la-da, life goes on, bra” was an expression used by the aforementioned Jimmy Scott-Emuakpor. According to Scott’s widow, as part of his stage act with his band Ob-La-Di Ob-La-Da, Scott would call out “Ob la di”, to which the audience would respond “Ob la da”, and he would then conclude: “Life goes on.” 

Lyrics

Desmond has a barrow in the marketplace
Molly is the singer in a band
Desmond says to Molly, girl, I like your face
And Molly says this as she takes him by the hand

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

Desmond takes a trolley to the jeweller's store
Buys a twenty carat golden ring
Takes it back to Molly waiting at the door
And as he gives it to her she begins to sing

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

In a couple of years they have built
A home sweet home
With a couple of kids running in the yard
Of Desmond and Molly Jones

Happy ever after in the market place
Desmond lets the children lend a hand
Molly stays at home and does her pretty face
And in the evening she still sings it with the band

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

In a couple of years they have built
A home sweet home
With a couple of kids running in the yard
Of Desmond and Molly Jones

Happy ever after in the market place
Molly lets the children lend a hand
Desmond stays at home and does his pretty face
And in the evening she's a singer with the band

Ob la di, ob-la-da, life goes on, bra
La-la, how the life goes on
Ob-la di, ob-la-da, life goes on, bra
La-la, how the life goes on

And if you want some fun, sing ob-la-di, bla-da

Writer/s: John Lennon, Paul McCartney 
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind


Backstory provided by Wiki

Song Lyric Sunday – Crazy

Our last prompt of 2019 for Song Lyric Sunday, hosted by Jim Adams, is “Crazy“. There are a lot of crazy songs out there but I have chosen a favorite of mine called Crazy by Gnarls Barkley.

I have selected two videos of this song. One is the official music video and the other a version of the song performed at Live from Darryl’s House. Darryl being Darryl Hall of Hall & Oates. His shows are very cool and you can see them on the AXS channel. In this particular video Cee-Lo Green of Gnarls Barkley was his guest artist. I think you’ll like it.

This song is about losing your mind and diving into insanity, which the Cee-Lo Green of Gnarls Barkley finds is not all bad. Speaking at a BMI conference, he explained the inspiration for the song: “It was ’04, I was going through a divorce, I did not have a deal – things were bleak at the time and I was going through a personal trial. But it was an opportunity to be expressive. Danger Mouse’s production compelled me into a deep retrospection, and I really appreciate him for that because with him, I knew that my misery had some company, because his music was so miserably brilliant and beautiful to me. It was the sound of my soul. If you could have taken a picture of it, it would have resembled this internal chaos.”

Going along with the theme of the song, the music video is done in the style of the Rorschach test, a method of psychological testing whereby patients identify shapes and images they see in inkblots. It was directed by Robert Hales, who used an ink theme in the video for Jet’s Are you going to be my Girl. In the clip, Cee-Lo and Danger Mouse appear throughout morphing inkblots, designed by art director Bryan Louie.

Gnarls Barkley is producer Danger Mouse (Brian Burton) and vocalist Cee-Lo Green (Thomas Callaway). Danger Mouse produced The Gorillaz album Demon Days; Cee-Lo was in Goodie Mob. The name “Gnarls Barkley” is a play on “Charles Barkley,” who is a Hall Of Fame basketball player and an outspoken commentator. The moniker came up in a conversation between Danger Mouse and some of his friends when they were throwing out weird ideas for band names.

In a 2006 interview with The New York Times, Danger Mouse said: “I brought in a song that I felt was a complete Ennio Morricone ripoff, (Morricone is a composer of spaghetti-western scores) but Cee-Lo and I started talking, and I somehow got off on this tangent about how people won’t take an artist seriously unless they’re insane. And we were saying that if we really wanted this album to work, the best move would be to just kill ourselves. That’s how audiences think; it’s retarded. So we started jokingly discussing ways in which we could make people think we were crazy. We talked about this for hours, and then I went home. But while I was away, Cee-Lo took that conversation and made it into ‘Crazy,’ which we recorded in one take. That’s the whole story. The lyrics are his interpretation of that conversation.”

This song was leaked on the Internet and became a very popular download when it was released in England, sending it to #1 on the UK charts.


Lyrics

I remember when
I remember, I remember when I lost my mind
There was something so pleasant about that place
Even your emotions have an echo in so much space

And when you're out there, without care
Yeah I was out of touch
But it wasn't because I didn't know enough
I just knew too much

Does that make me crazy?
Does that make me crazy?
Does that make me crazy?
Possibly

And I hope that you are having the time of your life
But think twice
That's my only advice

Come on now, who do you
Who do you, who do you
Who do you think you are?
Ha ha ha, bless your soul
You really think you're in control?
Well

I think you're crazy
I think you're crazy
I think you're crazy
Just like me

My heroes had the heart
To lose their lives out on a limb
And all I remember, is thinking
I wanna be like them
Mmhmm ever since I was little
Ever since I was little it looked like fun
And it's no coincidence I've come
And I can die when I'm done

But maybe I'm crazy
Maybe you're crazy
Maybe we're crazy
Probably ooh hmm

Writer/s: Brian Joseph Burton, Gian Pero Reverberi,
Gianfranco Reverberi, Thomas Decarlo Callaway
Publisher: Warner Chappell Music, Inc., Universal
Music Publishing Group, Downtown Music Publishing,
Songtrust Ave, BMG Rights Management,
Sony/ATV Music Publishing LLC,
Kobalt Music Publishing Ltd.
Lyrics licensed and provided by LyricFind



Song Lyric Sunday – Don’t They Know It’s Christmas

This week Jim Adams has prompted us with Christmas, Holiday or Snowman for Song Lyric Sunday. My immediate choice was “Don’t They Know It’s Christmastime by Band Aid. It’s fun to pick out the artists from 1984. They all look so young!

Do They Know It’s Christmas?” is a song written in 1984 by Bob Geldof and Midge Ure in reaction to television reports of the 1983–1985 famine in Ethiopia. It was first recorded in a single day on 25 November 1984 by Band Aid, a supergroup put together by Geldof and Ure and consisting mainly of the biggest British and Irish musical acts at the time. The single was released in the United Kingdom on 3 December 1984 and aided by considerable publicity it entered the UK Singles Chart at number one and stayed there for five weeks, becoming the Christmas number one of 1984. The record became the fastest selling single in UK chart history, selling a million copies in the first week alone and passing three million sales on the last day of 1984, on the way to displacing Wings’s “Mull of Kintyre” as the biggest-selling single of all time in the UK. It held this title until 1997 when it was overtaken by Elton John’s “Candle in the Wind 1997”, released in tribute to Diana, Princess of Wales following her death. The original version of “Do They Know It’s Christmas?” has sold 3.8 million copies in the UK to date. In a UK-wide poll in December 2012, it was voted sixth on the ITV television special The Nation’s Favourite Christmas Song

The song was also a major success around the world, reaching number one in thirteen other countries outside the UK. In the US, the single fell short of the top ten in the Billboard Hot 100 due to a lack of airplay, but it had sold an estimated 2.5 million copies in the US by January 1985. Worldwide the single had sold 11.7 million copies by 1989. Geldof’s cautious hope was that the single would raise £70,000 for Ethiopia, but “Do They Know It’s Christmas?” raised £8 million within twelve months of release. The single’s worldwide success in raising awareness and financial relief for the victims of the Ethiopian famine led the recording of several other charity singles in the UK and in other countries, such as “We Are the World” by USA for Africa. The song also led to various spin-off charity events, such as Comic Relief, and the Live Aid concert which would take place seven months later in July 1985.

“Do They Know It’s Christmas?” was re-recorded three times: in 1989, 2004 and 2014. All the re-recordings were also charity records; the 1989 and 2004 versions also provided money for famine relief, while the 2014 version was used to raise funds for the Ebola crisis in West Africa. All three of these versions also reached number one in the UK, with the 1989 and 2004 versions also becoming the Christmas number ones for their respective years. The 2004 version of the song was also a UK million seller, with 1.8 million copies sold. 

Original Artists of BandAid were:

  • Bananarama
  • Bob Geldof
  • Culture Club
  • David Bowie
  • Duran Duran
  • Eurythmics
  • Frankie Goes to Hollywood
  • Heaven 17
  • Human League
  • Kool and the Gang
  • Midge Urge
  • Paul McCartney
  • Paul Young
  • Phil Collins
  • Spandau Ballet
  • Status Quo
  • Sting
  • The Style Council
  • U2
  • Wham!
Lyrics
It's Christmas time, and there's no need to be afraid
At Christmas time, we let in light and banish shade
And in our world of plenty, we can spread a smile of joy
Throw your arms around the world
At Christmas time
But say a prayer and pray for the other ones
At Christmas time, it's hard but while you're having fun
There's a world outside your window, and it's a world of dread and fear
Where a kiss of love can kill you, and there's death in every tear
And the Christmas bells that ring there are the clanging chimes of doom
Well tonight we're reaching out and touching you
Bring peace and joy this Christmas to West Africa
A song of hope where there's no hope tonight, ooh
Why is coming first deadly feared?
Why is to touch to be scared?
How can they know it's Christmas time at all?
Here's to you
Raise a glass to everyone
Here's to them
And all their years to come
Can they know it's Christmas time at all?
Feed the world, let them know it's Christmas time again
Feed the world, let them know it's Christmas time again
Heal the world, let them know it's Christmas time again
Feed the world, let them know it's Christmas time again
Heal the world, let them know it's Christmas time again
Heal the world, let them know it's Christmas time again
Feed the world, let them know it's Christmas time again
Heal the world, let them know it's Christmas time again
Heal the world

Source: LyricFind
Songwriters: Bob Geldof / Midge Ure
Do They Know It's Christmas? lyrics © Warner Chappell Music, Inc





Song Lyric Sunday – It’s All Over Now Baby Blue

This week’s prompt from Jim Adams for Song Lyric Sunday is “Baby” Spoilt for choice I decided to go with “It’s All Over Now Baby Blue” by Bob Dylan. This is one of Dylan’s finest and most memorable. The poetry is exquisite and I wish I could write this well. I hope you enjoy it.

Like “Don’t Think Twice, It’s All Right” and “Positively 4th Street,” “It’s All Over Now, Baby Blue” is one of Dylan’s “kiss off” songs, this time sung to someone identified only as “Baby Blue.” The song opens with a bitter declaration:
You must leave now, take what you need, you think will last
But whatever you wish to keep, you better grab it fast

By the end of the first verse, however, Dylan’s voice lilts in grief and regret:
And it’s all over now, Baby Blue
The entire song oscillates between these emotions of scorn and sadness. The lyrics combine realist and surrealist images seamlessly and contain some of Dylan’s best-loved lines:
Yonder stands your orphan with his gun
Crying like a fire in the sun
Leave your stepping stones behind, something calls for you
Forget the dead you’ve left, they will not follow you

Over the years, many critics and historians have made their case for who the “real” Baby Blue was. Folk musicians John Baez, David Blue, and Paul Clayton have all been floated as suspects, but thus far none of it has amounted to much beyond loose conjecture.

The song was recorded for Bringing It All Back Home on January 15, 1965, the same day as “Gates of Eden,” “It’s Alright Ma (I’m Only Bleeding),” and “Mr. Tambourine Man.”

The Bootleg Series Vol. 7: No Direction Home album contains a solo acoustic version Dylan recorded on January 13, 1965, but didn’t release. The album also contains a semi-electric version from January 14, 1965.

Dylan generally played his songs live a few times before recording them in studio. With “It’s All Over Now, Baby Blue,” he wanted to get it down on record before he had a chance to become too comfortable with it in concert.

This song appears last on the album and has been categorized as one of Dylan’s “farewell” songs. As such, it continues a pattern established with the two preceding albums, which both also wrapped up with “farewell” songs. “The Times They Are A-Changin'” finishes with “Restless Farewell,” and Another Side of Bob Dylan finishes with “It Ain’t Me Babe.”

“It’s All Over Now Baby Blue” has been covered by many artists over the years including: Them featuring Van Morrison, Eric Burdon and The Animals, Marianne Faithful, Joni Mitchell, The Grateful Dead, The Byrds, Bonnie Raitt and Joan Baez.

Joan Baez covered the song on her 1965 album Farewell, Angelina. Baez is one of the most frequently fingered suspects for being the “real” Baby Blue. 

Backstory courtesy of Songfacts

Lyrics

You must leave now, take what you need,
you think will last
But whatever you wish to keep,
you better grab it fast
Yonder stands your orphan with his gun
Crying like a fire in the sun
Look out, the saints are comin' through
And it's all over now, Baby Blue
 
The highway is for gamblers,
better use your sense
Take what you have gathered from coincidence
The empty-handed painter from your streets
Is drawing crazy patterns on your sheets
The sky too is folding under you
And it's all over now, Baby Blue
 
All your seasick sailors, they're all rowing home
Your empty-handed army is all going home
Your lover who just walked out the door
Has taken all his blankets from the floor
The carpet too is moving under you
And it's all over now, Baby Blue
 
Leave your stepping stones behind there,
something calls for you
Forget the dead you've left,
they will not follow you
The vagabond who's rapping at your door
Is standing in the clothes that you once wore
Strike another match, go start anew
And it's all over now, Baby Blue
 
Source: Musixmatch
Songwriter: Bob Dylan

It's All over Now, Baby Blue lyrics ©
Special Rider Music, ABKCO MUSIC INC

Song Lyric Sunday – With Arms Wide Open

Jim Adams has continued with his body part theme for this week’s Song Lyric Sunday. The prompts are Arms, Elbows, Knees and Legs. I have chosen With Arms Wide Open by Creed. For some reason I have a soft spot for certain singers. To name a few, Lenny Kravitz, Eminem, Ed Sheeran and Scott Stapp of Creed. They all have personal stories that have touched my heart. Today’s song written by Stapp reflects his personal story.

Lead singer Scott Stapp wrote this song after finding out he was going to be a father. He had a son named Jagger, and later had two more children.

Once he found out that he was going to have a son, Stapp wrote this song because he didn’t want his child facing the same problems he faced while growing up. Stapp was from a very strict, very devout Christian household and he didn’t want his son to grow up questioning himself and his faith like Scott did. Stapp told us: “Don’t we always want our kids to be better than us? Don’t we always want them to have a better experience in this life and this journey than we did? So I think that from my point of view I’m beginning to see why that song struck a chord with multiple generations: because it touches on a feeling and sentiments that are universal for fathers, and for parents in general.”

The title became the name of a foundation set up by Stapp to help children and families. To launch the With Arms Wide Open Foundation, the band released a limited edition “enhanced-package single” in September 2000, with proceeds going to the charity. The single contained an orchestrated version, a rock version, an acoustic reading, and the music video.

This won the 2000 Grammy for Best Rock Song. It was also nominated for Best Rock Performance By A Duo Or Group With Vocal.

The song inspired a T-shirt sold at The Hard Rock Cafe to benefit the With Arms Wide Open Foundation. The shirt features Stapp holding a child.

This was Creed’s only #1 hit on the Pop charts, although they had several other #1s on the Mainstream Rock charts.

Backstory provided by Songfacts

Lyrics

Well I just heard the news today
It seems my life is going to change
I close my eyes, begin to pray
Then tears of joy stream down my face

With arms wide open
Under the sunlight
Welcome to this place
I'll show you everything
With arms wide open
With arms wide open

Well I don't know if I'm ready
To be the man I have to be
I'll take a breath, I'll take her by my side
We stand in awe, we've created life

With arms wide open
Under the sunlight
Welcome to this place
I'll show you everything
With arms wide open
Now everything has changed
I'll show you love
I'll show you everything

With arms wide open
With arms wide open
I'll show you everything, oh yeah
With arms wide open, wide open

If I had just one wish
Only one demand
I hope he's not like me
I hope he understands
That he can take this life
And hold it by the hand
And he can greet the world
With arms wide open

With arms wide open
Under the sunlight
Welcome to this place
I'll show you everything
With arms wide open
Now everything has changed
I'll show you love
I'll show you everything
With arms wide open
With arms wide open

I'll show you everything, oh yeah
With arms wide open, wide open

Writer/s: Mark Tremonti, Scott Stapp 
Publisher: RESERVOIR MEDIA MANAGEMENT INC
Lyrics licensed and provided by LyricFind


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