• Patterns - Band of Skulls
• Under The Bridge - Red Hot Chilli Peppers
  
• Piece of My Heart
• La Bamba
• Dude (looks like a lady)
• She Said - Plan B
• F**k You - Cee Lo Green
• For What it's Worth
• I Like the Way (you move)
• Standing in the Way of Control
• Ghost Town - The Specials
• Put Your Hands Up 4 Detroit
• Son of a Preacher Man
• Ooh La La - Goldfrapp
• Bad to the Bone
• Stop! - Sam Brown
• Get Back - Ludacris
• Woke up this morning - Alabama 3
• Paper Planes - M.I.A
• Deliverance - The Mission (UK)
• Living on a Thin Line -The Kinks
• Step On - Happy Mondays
• Paul Simon - The Boy in the Bubble

Patterns - Band of Skulls

Band of Skulls is an alternative rock band from Southampton, England, consisting of Russell Marsden (guitar, vocals), Emma Richardson (bass, vocals), and Matt Hayward (drums).

Initially, the group played at night clubs in the Greater London area and recorded some demos under the name of Fleeing New York before changing their name to Band of Skulls in November 2008.

Band of Skulls debut album Baby Darling Doll Face Honey, distributed by Shangri-La Music, was released exclusively on the iTunes Store on 6 March 2009, followed by a general release on 20 March. The track "I Know What I Am" was chosen as iTunes' free Single of the Week to coincide with the digital release. The song was also featured in the soundtrack for TV series Friday Night Lights, Volume 2, which was released on 4 May 2010.Another track that was not actually on the album,"Friends", was included on The Twilight Saga: New Moon soundtrack in November 2009.

Patterns features as part of the Soundtrack to the game "Grand Turismo 5".

Lyrics

There's one for the sorrow and two for the joy
And three for the girls and four for the boys

There's five for the silver and six for the gold
And seven for the secrets that are never to be told

There's eight in the river and nine in my head
And ten of the worst kind sleeping in my bed

There's a pattern, there's a pattern, there's a pattern there to follow
There's a pattern, there's a pattern, there's a pattern there to follow
Oh, oh, oh, to follow
Oh, oh, oh, to follow

There's one for the money and two for the sin
And three for the tongue when authority kicks in

There's four for the reason and five for the tricks
But nothing's going to save you from the six six six

There's seven for the days and seven for the nights
And seven for the heavens and the tunnel and the lights

There's a pattern, there's a pattern, there's a pattern there to follow
There's a pattern, there's a pattern, there's a pattern there to follow
Oh, oh, oh, to follow
Oh, oh, oh, to follow

(To follow... to follow... to follow...)

Oh, oh, oh, to follow
Oh, oh, oh, to follow

Under The Bridge

Under the Bridge started as a poem by the Red Hot Chili Peppers lead singer Alan Kiedis. It was initially written as a poem about his days as a heroin addict the bridge referred to in the song being one in Los Angeles where he would buy and use heroin. Kiedis refers to his feelings when his closest friend Hillel Slovak, who played guitar for the Chilli Peppers, died of a heroin overdose.

Critical response to "Under the Bridge" was universally positive. Tom Moon of Rolling Stone felt the song "revealed new dimensions. The rhythm section displays a growing curiosity about studio texture and nuance".David Fricke of Rolling Stone said "Under the Bridge" is a "stark and uncommonly pensive ballad", commenting that the song "drop-kicked the band into the Top 10". Philip Booth of The Tampa Tribune believed the single was "undulating and omnipresent" not only in the alternative rock genre, but pop music as a whole.Ben DiPietro of the Richmond Times-Dispatch praised the record as a whole, but was most impressed by Chili Peppers' shift from exclusive hard rock to adding more moderately paced tracks: "there's still plenty of sonic funk to bang heads to, but the best tracks are the slower ones such as 'Under the Bridge'".Amy Hanson of Allmusic noted that the song has "become an integral part of the 1990s alterna-landscape, and remains one of the purest diamonds that sparkle amongst the rough-hewn and rich funk chasms that dominate the Peppers’ own oeuvre".She went on to praise "Under the Bridge" for being a "poignant sentiment that is self evident among the simple guitar which cradles the introductory verse, and the sense of fragility that is only doubled by the still down-tempo choral crescendo".

"Under the Bridge" has been included in many publications' "Best of ..." lists. In 2002, Kerrang! placed the song at number six on their list of the "100 Greatest Singles of All Time".Q ranked the song number 180 on their compilation of the "1001 Best Songs, Ever". Life included "Under the Bridge" in the compilation "40 Years of Rock & Roll, 5 Songs Per Year 1952–1991", with the year being 1991.Pause and Play included the song in their unordered list of the "10 Songs of the 90's";and the song ranked fifteenth in VH1's "100 Greatest Songs of the 90s".Rolling Stone and MTV compiled a list of the "100 Greatest Pop Songs Since The Beatles" in 2000, with "Under the Bridge" coming in fifty-fourth. "Under the Bridge" was also ranked #98 in the list of Rolling Stone "100 Greatest Guitar Songs of All Time".

Lyrics

Sometimes I feel
Like I don't have a partner
Sometimes I feel
Like my only friend
Is the city I live in
The city of Angels
Lonely as I am
Together we cry

I drive on her streets
'Cause she's my companion
I walk through her hills
'Cause she knows who I am
She sees my good deeds and
She kisses me windy and
I never worry
Now that is a lie

I don't ever wanna feel
Like I did that day
Take me to the place I love
Take me all the way
I don't ever want to feel
Like I did that day
Take me to the place I love
Take me all that way (yeah yeah yeah)

It's hard to believe
That there's nobody out there
It's hard to believe
That I'm all alone
At least I have her love
The city she loves me
Lonely as I am
Together we cry

I don't ever wanna feel
Like I did that day
Take me to the place I love
Take me all the way
I don't ever want to feel
Like I did that day
Take me to the place I love
Take me all the way (yeah yeah yeah)
Ooh no (no no yeah yeah)
Love me I say yeah yeah

Under the bridge downtown
Is where I drew some blood
Under the bridge "
I could not get enough
Under the bridge "
Forgot about my love
Under the bridge "
I gave my life away (yeah yeah yeah)
Ooh no (no no yeah yeah)
Here I stay yeah yeah

Here I stay...

Piece of My Heart

"Piece of My Heart" is a song written by Jerry Ragovoy and Bert Berns and originally recorded by Erma Franklin in 1967. The song came to greater mainstream attention when Big Brother and the Holding Company covered the song in 1968 on their album Cheap Thrills and had a hit with it. The song has since been remade by several singers, including hit versions by Faith Hill in 1994 and Melissa Etheridge in 2005.

In 2004, the Big Brother and the Holding Company version of this song was ranked Number 344 on Rolling Stone's list of the 500 Greatest Songs of All Time. The song is also included among The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll.

The original version of "Piece of My Heart" was recorded by Aretha Franklin's older sister Erma in 1967. The song was a top ten R&B hit in the U.S., and also peaked at number sixty-two on the U.S. Pop Singles chart. In the UK, the single was re-released in 1992, due to a successful Levi's jeans commercial, when it peaked inside the UK Singles Chart at number nine.

The song became a bigger pop hit when recorded by Big Brother and the Holding Company in 1968, with lead singer Janis Joplin. The song was taken from the group's album Cheap Thrills, recorded in 1968 and released on Columbia Records. This rendition made it to number twelve on the U.S. pop chart.

 

 

Lyrics

Oh, come on, come on, come on, come on!

Didn't I make you feel like you were the only man -yeah!
Didn't I give you nearly everything that a woman possibly can ?
Honey, you know I did!
And each time I tell myself that I, well I think I've had enough,
But I'm gonna show you, baby, that a woman can be tough.

I want you to come on, come on, come on, come on and take it,
Take it!
Take another little piece of my heart now, baby!
Oh, oh, break it!
Break another little bit of my heart now, darling, yeah, yeah, yeah.
Oh, oh, have a!
Have another little piece of my heart now, baby,
You know you got it if it makes you feel good,
Oh, yes indeed.

You're out on the streets looking good,
And baby deep down in your heart I guess you know that it ain't right,
Never, never, never, never, never, never hear me when I cry at night,
Babe, I cry all the time!
And each time I tell myself that I, well I can't stand the pain,
But when you hold me in your arms, I'll sing it once again.

I'll say come on, come on, come on, come on and take it!
Take it!
Take another little piece of my heart now, baby.
Oh, oh, break it!
Break another little bit of my heart now, darling, yeah,
Oh, oh, have a!
Have another little piece of my heart now, baby,
You know you got it, child, if it makes you feel good.

I need you to come on, come on, come on, come on and take it,
Take it!
Take another little piece of my heart now, baby!
oh, oh, break it!
Break another little bit of my heart, now darling, yeah, c'mon now.
oh, oh, have a
Have another little piece of my heart now, baby.
You know you got it -whoahhhhh!!

Take it!
Take it! Take another little piece of my heart now, baby,
Oh, oh, break it!
Break another little bit of my heart, now darling, yeah, yeah, yeah, yeah,
Oh, oh, have a
Have another little piece of my heart now, baby, hey,
You know you got it, child, if it makes you feel good.

La Bamba

"La Bamba" is a Mexican folk song, originally from the state of Veracruz, best known from a 1958 adaptation by Ritchie Valens, a top 40 hit in the U.S. charts and one of early rock and roll's best-known songs. Valens' version of "La Bamba" is ranked number 345 on Rolling Stone magazine′s list of the 500 Greatest Songs of All Time, and is the only song on the list not sung in English.

La Bamba has been covered by numerous artists, most notably Los Lobos, whose version reached #1 in the U.S. and UK singles charts in 1987. The music video for Los Lobos' version, directed by Sherman Halsey, won the 1988 MTV Video Music Award for Best Video from a Film.

La Bamba is a classic example of the Son Jarocho musical style which originated in the Mexican state of Veracruz and combines Spanish and indigenous musical elements. The song is typically played on one or two arpas jarochas (harps) along with guitar relatives the jarana jarocha and the requinto jarocho. Lyrics to the song vary greatly, as performers often improvise verses while performing. However, versions such as those by musical groups Mariachi Vargas de Tecalitlan and Los Pregoneros del Puerto have survived because of the artists' popularity. The traditional aspect of "La Bamba" lies in the tune itself, which remains almost the same through most versions. The name of the dance, which has no direct English translation, is presumably connected with the Spanish verb bambolear, meaning "to shake" or perhaps "to stomp".

The traditional "La Bamba" is often played during weddings in Veracruz, where the bride and groom perform the accompanying dance. Today this wedding tradition is not done as frequently as in the past, but the dance is still popular, perhaps through the popularity of ballet folklórico. The dance is performed displaying the newly-wed couple's unity through the performance of complicated, delicate steps in unison as well as through creation of a bow from a listón, a long red ribbon, using only their feet.

The "arriba" (literally "up") part of the song suggests the nature of the dance, in which the footwork, called "zapateado", is done faster and faster as the music tempo accelerates. A repeated lyric is "Yo no soy marinero, soy capitán", literally meaning "I am not a sailor, I am a captain"; Veracruz is a maritime locale.
[edit] Valens' version

The traditional song inspired Ritchie Valens' rock and roll version "La Bamba" in 1958. Valens' "La Bamba" infused the traditional tune with a rock drive, in part provided by session drummer Earl Palmer and session guitarist Carol Kaye, making the song accessible to a much wider record audience and earning it (and Valens) a place in rock history (inducted into the Rock & Roll Hall of Fame in 2001). The song features a simple verse-chorus form. Valens, who was proud of his Mexican heritage, was hesitant at first to merge "La Bamba" with rock and roll but then agreed. Valens obtained the lyrics from his aunt Ernestine Reyes and learned the Spanish lyrics phonetically, as he had been raised from birth speaking English. The song ranked #98 in VH1's 100 Greatest Songs of Rock and Roll and #59 in VH1's 100 Greatest Dance Songs of Rock and Roll, both done in 2000.

In popular culture

    "La Bamba" was performed as a production number in the 1947 movie Fiesta.
    "La Bamba" was recorded by Harry Belafonte in 1956 and 1960 at Carnegie Hall (LSO6007).
    "La Bamba" was also recorded by the East Los Angeles punk group, The Plugz, with slightly altered lyrics.
    In 1979, singer Antonia Rodriguez recorded a version which hit number thirty-four on the American disco chart.[2]
    "La Bamba" is featured in the 1987 movie La Bamba.
    A few lines of "La Bamba" were sung by Stockard Channing and Dinah Manoff in the 1978 movie Grease. It was also played on Frosty Palace's Jukebox.
    Super Dave Osborne sang "La Bamba" on his show in 1987.
    The Los Lobos cover is a playable track on the 2008 music video game Guitar Hero: World Tour.
    In 1991, Indian film music composer Bappi Lahiri adapted the track without permission and with only minor alterations (new Hindi lyrics were written) for their song "Aashiq Deewana Hoon, Pagal Parwana Hoon" from the soundtrack to the Bollywood movie Afsana Pyaar Ka.
    "La Bamba" was recorded by the popular folk group, The Kingston Trio.
    "Weird Al" Yankovic parodied "La Bamba" as "Lasagna".
    Japanese hip hop group Dragon Ash released a version of "La Bamba" on their 2009 album Freedom.
    The song has also been covered in recordings by Alvin and the Chipmunks, The Blues Image, Bobby Darin, Trini Lopez, Nashville Teens (1964), Nana Mouskouri, The Sandpipers, Selena, Leon Thomas III (for the soundtrack for August Rush), Dusty Springfield, The Ventures, Clay Walker, Wyclef Jean, Johnny Rivers and Deer Tick.
    The song is featured in the 2009 direct-to-DVD film American High School, sung by Trini Lopez.

Lyrics

Para bailar la bamba
Para bailar la bamba
Se necesita una poca de gracia
Una poca de gracia para mi para ti
Y arriba y arriba
Ay arriba y arriba
Por ti sere, por ti sere, por ti sere

Yo no soy marinero
Yo no soy marinero, soy capitan
Soy capitan, soy capitan

Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba

Para bailar la bamba
Para bailar la bamba
Se necesita una poca de gracia
Una poca de gracia para mi para ti
Ay y arriba y arriba

Para bailar la bamba
Para bailar la bamba
Se necesita una poca de gracia
Una poca de gracia para mi para ti
Y arriba y arriba
Ay arriba y arriba
Por ti sere, por ti sere, por ti sere

Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba

English Translation

Para bailar la bamba In order to dance “The Bamba”
Para bailar la bamba In order to dance “The Bamba”
Se necesita una poca de gracia One needs a little grace
Una poca de gracia para mi para ti A bit of grace, for me, for you
Y arriba y arriba And faster and faster
Ay arriba y arriba faster and faster
Por ti sere, por ti sere, por ti sere For you I’ll be, for you I’ll be

Yo no soy marinero I am not a sailor
Yo no soy marinero, soy capitan I am not a sailor, I am captain
Soy capitan, soy capitan I am captain, I am captain

Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba

Para bailar la bamba In order to dance “The Bamba”
Para bailar la bamba In order to dance “The Bamba”
Se necesita una poca de gracia One needs a little grace
Una poca de gracia para mi para ti A bit of grace, for me, for you
Y arriba y arriba And faster and faster
Ay arriba y arriba faster and faster
Por ti sere, por ti sere, por ti sere For you I’ll be, for you I’ll be

Para bailar la bamba In order to dance “The Bamba”
Para bailar la bamba In order to dance “The Bamba”
Se necesita una poca de gracia One needs a little grace
Una poca de gracia para mi para ti A bit of grace, for me, for you
Y arriba y arriba And faster and faster
Ay arriba y arriba faster and faster
Por ti sere, por ti sere, por ti sere For you I’ll be, for you I’ll be

Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba

 

Dude (looks like a lady)

"Dude (Looks Like a Lady)" is a song by American hard rock band Aerosmith. It was released as the first of three singles from the Permanent Vacation album in 1987. It reached #14 on the Billboard Hot 100, #41 on the Hot Dance Club Play chart, #4 on the Mainstream Rock Tracks chart, and peaked at #45 on the UK Singles Chart. The song was written by songwriter Desmond Child, lead guitarist Joe Perry and lead singer Steven Tyler.

The song, which originally started out as "Cruisin' for a Lady", talks about a male with an effeminate appearance, possibly a drag queen, who is mistaken for a female. Steven Tyler says in the book Walk This Way: The Autobiography of Aerosmith, "One day we met Mötley Crüe, and they're all going, 'Dude!' Dude this and Dude that, everything was Dude. 'Dude (Looks Like a Lady)' came out of that session.". According to an interview with Vince Neil of Mötley Crüe done for Swedish television, the title of the song originated from a New York bar crawl where Steven Tyler and Vince Neil had drinks at a bar where the waiters were dressed in women's clothes. This, according to Vince Neil, prompted Tyler to comment; "Dude looks like a lady!".

Joe Perry came up with the chorus riff, and Tyler came up with the chorus refrain.

In his recent book, The Heroin Diaries, Nikki Sixx of Mötley Crüe claims that the song was specifically inspired by Vince Neil, singer of Mötley Crüe.

The video for Dude (Looks Like a Lady) features the band performing live onstage as well as random moments of characters portraying transvestites, including a cameo appearance by A&R man John Kalodner dressed up in a wedding dress at one point. This is a joke based on the fact that Kalodner always dresses in white.

There are also some provocative sexual performances, both by lead singer Steven Tyler as well as an attractive female who has her skirt torn off to reveal an Aerosmith "wings" tattoo on her buttocks.

"Dude" picked up two MTV Video Music Award nominations in 1988 (the first for the band). It was nominated for Best Group Video and Best Stage Performance, but failed to gain the wins. The band made up for it eventually, winning over 10 "moon-men" and 4 Grammys in the 1990s.

The song has long been a staple on both rock radio and in concert, as the band has regularly rotated it into their setlists over the years.

The song has been featured on a number of subsequent compilations by Aerosmith including Big Ones, O, Yeah! Ultimate Aerosmith Hits, Devil's Got a New Disguise and the live album A Little South of Sanity.

In 1993, the song was prominently featured in the film Mrs. Doubtfire, during a montage of the main character bonding with his family in disguise. The song was also used in the film's TV ads.

The song was also featured in the movie It's Pat where the title character (played by Julia Sweeney) sings it at karaoke at their wedding reception. The song fits in with the running joke throughout the film, in reference to Pat's gender confusion.

The song was performed live by the band in the movie Wayne's World 2 and is featured on the soundtrack for the film.

The video for Dude (Looks Like a Lady) is featured on the karaoke game Singstar Vol. 2 for PS3.

Colombian singer-songwriter Shakira sang the song with Steven Tyler on MTV Icons and also included it on the setlist of her Tour of the Mongoose.

Lyrics

Cruised into a bar on the shore
Her picture graced the grime on the door
She a long lost love at first bite
Baby maybe you're wrong but you know it's alright
That's right

Backstage we're having the time
of our lives until somebody say
Forgive me if I seem out of line
Then she whippedd out of her gun
tried to blow me away

Dude look like a lady (4x)

So never judge a book by its cover
Or who you gonna love by your lover
Love put me wise to her love in disguise
She had the body of Venus
Lord imagine my surprise

Dude look like a lady (4x)

Baby let me follow you down
Let me take peek dear
Baby let me follow you down
Do me, do me, do me all night
Baby let me follow you down
Turn the other cheek dear
Baby let me follow you down
Do me, do me, do me, sue me

What a funky lady
She like it like it like it like that
He was a lady

She Said

"She Said" is the second single from British rapper Plan B's second album The Defamation of Strickland Banks - a concept album whose songs tell the fictitious tale of a sharp-suited British soul singer who finds fame with bitter-sweet love songs, but then loses everything when he ends up in prison for a crime he didn't commit. The single was released as a digital download on 28 March 2010, with the CD release the following day.

On 4 April 2010, the single debuted on the UK Singles Chart at a current peak of number 3, making She Said, Plan B's most successful single to date. The single remained at number 3 for two consecutive weeks before falling to number 4 on 18 April 2010, where it remained for two weeks. The single then climbed back to the peak of number 3 on 2 May 2010, where it remained for yet another two weeks. On 16 May 2010, the single fell 3 places to number 6 before falling a further 2 places to number 8 on its eighth week in the Top 10.

The single also debuted on the Irish Singles Chart on 1 April 2010 at number 35, where it remained for two consecutive weeks. On 15 April 2010, the single climbed 15 places to number 20, before climbing a further 8 places to number 12 the following week. The single remained at number 12 for three consecutive weeks before climbing 3 places to number 9 on 13 May 2010, marking Plan B's first Top 10 hit in Ireland. On its second week in the Top 10, the single climbed 7 places to a current peak of number 2.

Lyrics

She said i love you boy
i love your soul
she said i love you baby oh oh oh ohh

she said i love you more than words can say
she said i love you bayayayayaybayyyy

so i said, what you sayin girl it cant be right
how can you be in love with me
we only just met tonight
so she said.. boy i loved you from the start
when i first heard love goes down
something started burning in my heart
i said stop this crazy talk
and leave right now and close the door
she said but i love you boy i love you so
she said i love you baby oh oh oh oh
she said i love you more than words can say
she said i love you bayayayayby (yes you did)


so now up in the courts
pleading my case from the witness box
telling the judge and jur-
-y the same thing that i said to the cops
on the day that i got arrested
im innocent i contested
she just feels rejected
had her heart broken by someone shes obsessed with
cos she likes the sound of my music
which makes her a fan of my music
thats why love goes down makes her lose it
cos she cant seperate the man from the music
and im saying all this in the stand
as my girl cries tears from the galleries
got bigger than i ever could have planned
like that song by the Zutons Valerie
so the jury dont look like their buying it
and its making me nervous
arms crossed screw faced like im trying it
their eyes fixed on me like a murder's
they wanna lock me up
and throw away the key
they wanna send me down

even though i told them she...

she said i love you boy
i love your soul
she said i love you baby oh oh oh oh (yes you did)

she said i love you more than words can sing
she said i love you bayayayayby

so i said why the hell you gotta treat me this way
you dont know what love is
you wouldnt do this if you did
oh no no no noo
mmmmmmm

F**k You

"F**k You!" is a song by American hip hop artist Cee Lo Green from his third studio album, The Lady Killer. A music video for the song was released on YouTube on August 19, 2010,featuring the lyrics of the song appearing on different colored backgrounds with film grain overlayed on the video. The video went viral, getting over two million views within a week of its release.

The song topped the charts in Scotland, the Netherlands, and the United Kingdom. It became a top ten hit in Australia, Belgium (Flanders), Canada, Denmark, Hungary, Ireland, New Zealand, and Sweden. In the US it peaked at number 17 on the Billboard Hot 100.

The song was released in various versions.The radio edit of the song is called "Forget You", while another edit is simply entitled "F.U."

 

 Lyrics

(Chorus)
I see you driving 'round town
With the girl i love and i'm like,
F** kyou!
Oo, oo, ooo
I guess the change in my pocket
Wasn't enough i'm like,
F**k you!
And F**k her too!
I said, if i was richer, i'd still be with ya
Ha, now ain't that some shit? (ain't that some shit?)
And although there's pain in my chest
I still wish you the best with a...
F**k you!
Oo, oo, ooo

Yeah i'm sorry, i can't afford a ferrari,
But that don't mean i can't get you there.
I guess he's an xbox and i'm more atari,
But the way you play your game ain't fair.

I pity the fool that falls in love with you
(oh shit she's a gold digger)
Well
(just thought you should know nigga)
Ooooooh
I've got some news for you
Yeah go run and tell your little boyfriend

(chorus)

Now i know, that i had to borrow,
Beg and steal and lie and cheat.
Trying to keep ya, trying to please ya.
'Cause being in love with you ass ain't cheap.

I pity the fool that falls in love with you
(oh shit she's a gold digger)
Well
(just thought you should know nigga)
Ooooooh
http://www.elyricsworld.com/fuck_you_lyrics_cee-lo_green.html
I've got some news for you
i really hate yo ass right now
(chorus)

Now baby, baby, baby, why d'you wanna wanna hurt me so bad?

(so bad, so bad, so bad)
I tried to tell my mamma but she told me
"this is one for your dad"
(your dad, your dad, your dad)
Uh! Whhhy? Uh! Whhhy? Uh!
Whhhy lady? Oh! I love you oh!
I still love you. Oooh!

(chorus)

For What It's Worth

written by Stephen Stills. It was performed by Buffalo Springfield and released as a single in January 1967; it was later added to the re-release of their first album, Buffalo Springfield. The single peaked at number seven on the Billboard Hot 100 chart. In 2004, this song was #63 on Rolling Stone's list of The 500 Greatest Songs of All Time. The song is currently ranked as the 99th greatest song of all time, as well as the eighth best song of 1967, by Acclaimed Music.

While the song has come to symbolize worldwide turbulence and confrontational feelings arising from events during the 1960s (particularly the Vietnam War), Stills reportedly wrote the song in reaction to escalating unrest between law enforcement and young club-goers related to the closing of Pandora's Box, a club on the Sunset Strip in West Hollywood, California. The song's title appears nowhere in its lyrics; it is more easily remembered by the first line of chorus: "Stop, children, what's that sound?"

Stills said in an interview that the name of the song came about when he presented it to the record company executive Ahmet Ertegun who signed the Buffalo Springfield to the Atlantic Records owned ATCO label. He said: "I have this song here, for what it's worth, if you want it." Another producer, Charlie Greene, claims that Stills first said the above sentence to him, but credits Ahmet Ertegun with subtitling the single "Stop, Hey What's That Sound" so that the song would be more easily recognized.

Lyrics

There's something happening here
What it is ain't exactly clear
There's a man with a gun over there
Telling me I got to beware

I think it's time we stop, children, what's that sound
Everybody look what's going down

There's battle lines being drawn
Nobody's right if everybody's wrong
Young people speaking their minds
Getting so much resistance from behind

I think it's time we stop, hey, what's that sound
Everybody look what's going down

What a field-day for the heat
A thousand people in the street
Singing songs and carrying signs
Mostly say, hooray for our side

It's time we stop, hey, what's that sound
Everybody look what's going down

Paranoia strikes deep
Into your life it will creep
It starts when you're always afraid
You step out of line, the man come and take you away

We better stop, hey, what's that sound
Everybody look what's going down
Stop, hey, what's that sound

Everybody look what's going down
Stop, now, what's that sound

Everybody look what's going down
Stop, children, what's that sound

Everybody look what's going down

I like the way (you move)

 

"I Like the Way (You Move)" is a single by Australian Kaz James and Briton Dylan Burns, collectively known as the dance music group BodyRockers. It was released in April 2005 and later appeared on the group's self-titled debut album. The song's chorus is based on Billy Idol's 1987 cover version of "Mony Mony", originally performed by Tommy James and the Shondells in 1968.

The song's music video was directed by Trudy Bellinger. This single reached #3 in April 2005 on the UK Singles Chart, staying in the top 75 for 40 weeks. The song also climbed the charts in the United States following its feature in a Diet Coke ("Loft") commercial. The song peaked at #20 on the Billboard Hot Dance Club Play chart during the Autumn of that year and reached #7 on the Billboard Hot Dance Airplay chart. It peaked at #9 on the Canadian Singles Chart and also made the Dutch Top 40 at #39.

The song has been featured in advertisements for Diet Coke, DirecTV, Hyundai, Mitsubishi and BMW. It was performed by Leonid the Magnificent on a 2006 episode of America's Got Talent and served as the theme music as well. Television programs that have used the song include Alias, CSI and Burn Notice. The song can also be heard in the feature films Aquamarine, DOA: Dead or Alive and Sin City.

Lyrics

 There's so many things i like about you, I..
I just don't know where to begin,

I like the way you, look at me with those beautiful eyes,
I like the way you, act all surprised,
I like the way you, sing along,
I like the way you, always get it wrong,
I like the way you, clap your hands,
I like the way you, love to dance,
I like the way you, put your hands up in the air,
I like the way you, shake your hair,
I like the way you, like to touch,
I like the way you, stare so much,
but most of all....
Yeah..
most of all....

I like the way you move.....
I like the way you move.....

I like the way you, put your hands up in the air,
I like the way you, shake your hair,
I like the way you, like to touch,
I like the way you, stare so much,
but most of all....
Yeah..
most of all....

I like the way you move.....
I like the way you move.....

I like the way you, put your hands up in the air,
I like the way you, shake your hair,
I like the way you, like to touch,
I like the way you, stare so much,
but most of all....
Yeah..
most of all....

I like the way you move!

Standing in the Way of Control

Single by the American indie rock band The Gossip from the album of the same name.

The song was written by The Gossip's lead singer Beth Ditto as a response to the United States government’s decision to deny gay people the right to marriage.

 

Lyrics

 

Put Your Hands Up 4 Detroit

 "Put Your Hands Up 4 Detroit" is a house/tech house single written and produced by Fedde le Grand, and based upon a direct vocal sample from Matthew Dear's "Hands Up for Detroit."

The song was released in the Netherlands first on June 26, 2006, peaking at number four in the Dutch Top 40. It was released in the rest of Europe (UK excluded) in August 2006, and enjoyed steadily increasing popularity, first charting in October 2006.

The single originally reached number one on the UK Dance Chart and 53 on the UK singles chart before being released on CD, from 12" vinyl and digital download sales alone. It was given a full release in the UK on October 23, 2006 and leapt to number two on the overall UK singles chart, selling 46,000 copies. The following week, the song climbed to number one. It remained at number one for one week before being knocked out by "The Rose" by Westlife. The single went on to be the UK's 20th best selling single of the year.[1]

The song was remixed in Germany and included verses from rapper Bizarre and horrorcore rapper King Gordy.

In the UK and Australia, the song was released as "Put Your Hands Up For Detroit", with "for" replacing "4" in the title.

Metro Detroit native Madonna used a sample of the track in a remix version of her 2000 single Music as part of her promotional tour and the following 2008 Sticky & Sweet Tour World Tour, in support of her Hard Candy album.

 

Lyrics

I'm shaking slowly to the beat
I like rolling on my feet
So people listen to the sound
Round round round round round
Put your hands up

Oh, yeah put your hands up
Yeah yeah

My satisfacion is complete
I keep on rolling on my feet
Just put your hands up to the sound
And turn around round round

Put your hands up

1, 2, 3, 4... 1, 2, 3, 4
oh, yeah ah ah
yeah yeah

I like shaking all my body
Down to the beat
Relax my mind rolling down
On my feet
People put your hands up
When you hear the sound
People scream scream
Put your hands up

 

Son of a Preacher Man

Recorded by Dusty Springfield in 1968 and featured on the album, Dusty in Memphis. Written by John Hurley and Ronnie Wilkins, "Son of a Preacher Man" was originally offered to Aretha Franklin, who turned it down. It was only upon hearing Springfield's version that Franklin reconsidered and recorded the song herself. By that time, however, Springfield's version had already become a hit; thus, Franklin's version, included on her 1970 album, This Girl's In Love With You, charted only as a tag-along b-side of the single, "Call Me" .

Springfield's version was produced by Jerry Wexler, Tom Dowd and Arif Mardin for her first album for the Atlantic Records label and became an international hit reaching #10 in the United States and #9 in her native UK when released in late 1968. The album Dusty in Memphis was released in stereo though its singles were remixed and released in mono. "Son of a Preacher Man" was to be the last Top Twenty chart hit for the artist for almost 20 years until she teamed up with Pet Shop Boys for the single "What Have I Done to Deserve This?" in 1987.
Contents

The writers of Rolling Stone magazine placed the release at #77 among The 100 Best Singles of the Last 25 Years in 1987. The record was placed at #43 of the Greatest Singles of All Time by the writers of New Musical Express in 2002. In 2004, the song made the Rolling Stone list of The 500 Greatest Songs of All Time[1] at #240.

A sample from "Son of a Preacher Man" was used on Cypress Hill's song "Hits from the Bong" on their album Black Sunday (1993). A year later the song was featured in a scene of the film Pulp Fiction. In the movie, the song was a background for the scene of Mia Wallace (portrayed by Uma Thurman) making Vincent Vega (portrayed by John Travolta) wait on the intercom. The soundtrack reached No. 21 on the Billboard 200, and at the time, went platinum (1,000,000 units) in Canada alone. "Son of a Preacher Man" helped to sell over 2 million units of the album and to reach #6 on the charts according to SoundScan. Quentin Tarantino has been quoted on the "Collectors Edition" DVD of Pulp Fiction as saying that he probably would not have done that scene had he not been able to use "Son of a Preacher Man". The song is also featured in the Movie Enron: The Smartest Guys in the Room, during scenes depicting Kenneth Lay, ex-Enron CEO and son of a Baptist minister. In the 2008 television episode of the American series "The Office" entitled "Baby Shower," Jan Levinson, played by Melora Hardin, is filmed singing "Son of a Preacher Man" as a lullaby to her newborn daughter Astrid.

Lyrics

Billy-ray was a preachers son
And when his daddy would visit hed come along
When they gathered round and started talkin
Thats when billy would take me walkin
A-through the back yard wed go walkin
Then hed look into my eyes
Lord knows to my surprise

The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, mmm, yes he was

Being good isnt always easy
No matter how hard I try
When he started sweet-talkin to me
Hed come and tell me everything is all right
Hed kiss and tell me everything is all right
Can I get away again tonight?

The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, lord knows he was

How well I remember
The look that was in his eyes
Stealin kisses from me on the sly
Takin time to make time
Tellin me that hes all mine
Learnin from each others knowing
Lookin to see how much weve grown

And the only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, oh, yes he was
He was the sweet-talking son of a preacher man
I guessed he was the son of a preacher man
Sweet-lovin son of a preacher man
Ahh, move me

 

Ooh La La - Goldfrapp

Supernature, Goldfrapp's third album, was released in August 2005. The album comprises pop and electronic-dance music prominently featured on Black Cherry, but focuses more on subtle hooks instead of the large choruses that made up its predecessor.

The band never intended to create dance music, however, previous releases were popular across nightclubs in North America and as a result, they decided to write a more dance-oriented album.

Supernature debuted at number two on the UK albums chart, selling 52,000 copies in its first week. It has sold one million copies worldwide and was certified platinum in the UK.The album received a Grammy Award nomination in 2007 for "Best Electronic/Dance Album" and "Ooh La La" was nominated for "Best Dance Recording".

"Ooh La La", the album's lead single, became Goldfrapp's first UK top five single.The song was chosen as the lead single "because it was up and in your face and carried on the theme of the glammy, discoey beat from the last album".

"Ooh La La" became the first song performed by the band to feature the electric guitar and was often cited as a highlight of the album by music critics."

Dial up my number now
Weaving it through the wire

Switch me on
Turn me up
Don't want it Baudelaire
Just glitter lust
Switch me on
Turn me up
I want to touch you
You're just made for love

I need la la la la la la
I need ooh la la la la
I need la la la la la la
I need ooh la la la la...

Coils up and round me
Teasing your poetry
Switch me on
Turn me up
Oh child of Venus
You're just made for love

I need la la la la la la
I need ooh la la la la
I need la la la la la la
I need ooh la la la la...

You know I walk for days
I wanna waste some time
You wanna be so mean
You know I love to watch

I wanna love some more
It'll never be the same
A broken heel like a heart
I'll never walk again

Yeah!

I need la la la la la la
I need ooh la la la la
I need la la la la la la
I need ooh la la la la...

 

 

Bad to the Bone

"Bad to the Bone" is a song by George Thorogood and the Destroyers released in 1982 on the album of the same name. While it was not a major hit on initial release, its memorable video made recurrent appearances on the nascent MTV, which was created only a year before and just taking off. Widespread licensing for films, television, and commercials has since made "Bad to the Bone" one of the best-recognized songs of the 80s.

The song's roots can be traced back to rock and roll legend Bo Diddley's song "I'm a Man", which uses the same guitar riff and vocal rhythm, and has a similar overall structure, as well as Muddy Waters's "She Moves Me" and "Mannish Boy".

The video intercuts a live performance by Thorogood and his band with his playing a lengthy game of pool with Bo Diddley himself (who therefore, presumably, did not mind Thorogood's reworking of his song). Pool legend Willie Mosconi is summoned from another room by a spectator, and he wagers a large sum of money on Diddley. As Thorogood appears to be winning, a group of children outside celebrate while Diddley gets a dirty look from Mosconi.

Thorogood prominently smokes a fat cigar throughout the pool-playing sequence. The video ends with Thorogood making the 8 ball drop into a pocket by flicking a large quantity of cigar ash on the floor, apparently triggering the drop of the ball in the pocket.

The song was used in the bar scene in Terminator 2: Judgment Day. "Bad to the Bone" can also be heard in the remake of The Parent Trap (featuring Lindsay Lohan) in the poker scene, the opening credits to Major Payne, in the first scene and during the closing credits of Stephen King's Christine, as well as multiple episodes of the sitcom Married... with Children, in the Super Nintendo classic game Rock 'n Roll Racing, and in the film Talk Radio as the song that starts off the talk show. The song also served as the main theme to Problem Child, with its main riff appearing through the movie and served as the background music in the restored Camaro scene in Better Off Dead. The song also appears in the movie Joe Dirt, albeit for a few seconds before winding down to a stop.

It was also featured in the episode Endless Summer of the series Renegade. Almost the full Song can be heard at the beginning of the Episode "Nobody Lives Forever" on the TV-Series Miami Vice.

The song is used by for Dennis Anderson's Grave Digger monster truck as entrance music, and plays during his portion of the freestyle round at Monster Jam events, and as an entrance theme for closing pitcher Takashi Saito of the Los Angeles Dodgers. It was also played during every at bat of former Seattle Mariners slugger Jay Buhner.

In 2008, "Bad to the Bone" is being used for a TV commercial for Wrangler Jeans featuring Dale Earnhardt Jr.

The song is also quite a popular entrance theme song in professional wrestling. As many wrestlers have used it as their theme song. Such as Kevin Wacholz, who used the song in the 1980s as "Mr. Magnificent" Kevin Kelly, while wrestling for the American Wrestling Association. It was also used by the Bad Crew.

A modified version of the song was used in a TV ad for the Buick Grand National

In advertisements for the tv show Lost, the song was used as the theme music for the character James "Sawyer" Ford.

On October 7, 2008 the song was released as downloadable content for the music video game series Rock Band.

 On the day I was born, the nurses all gathered 'round
And they gazed in wide wonder, at the joy they had found
The head nurse spoke up, and she said leave this one alone
She could tell right away, that I was bad to the bone
Bad to the bone
Bad to the bone
B-B-B-B-Bad to the bone
B-B-B-B-Bad
B-B-B-B-Bad
Bad to the bone

I broke a thousand hearts, before I met you
I'll break a thousand more baby, before I am through
I wanna be yours pretty baby, yours and yours alone
I'm here to tell ya honey, that I'm bad to the bone
Bad to the bone
B-B-B-Bad
B-B-B-Bad
B-B-B-Bad
Bad to the bone

I make a rich woman beg, I'll make a good woman steal
I'll make an old woman blush, and make a young woman squeal
I wanna be yours pretty baby, yours and yours alone
I'm here to tell ya honey, that I'm bad to the bone
B-B-B-B-Bad
B-B-B-B-Bad
B-B-B-B-Bad
Bad to the bone

 

Stop

The single was originally released in 1988, missing the UK top forty and peaking at number fifty-two. It was not until 1989, however, that the single became a hit, when it peaked at number four on the UK Singles Chart. "Stop!" became her biggest hit to date, spending twelve weeks on the UK chart. It was the 35th best-selling single of 1989 in the UK.

 

 

 

 

 

Lyrics

 

All that I have is all that you've given me
did you never worry that I'd come to depend on you
I gave you all the love I had in me
now I find you've lied and I can't believe it's true

Wrapped in her arms I see you across the street
and I can't help but wonder if she knows what's going on
you talk of love but you don't know how it feels
when you realise that you're not the only one

Oh you'd better stop before you tear me all apart
you'd better stop before you go and break my heart
ooh you'd better stop

Time after time I've tried to walk away
but it's not that easy when your soul is torn in two
so I just resign myself to it every day
now all I can do is to leave it up to you

Oh you'd better stop before you tear me all apart
you'd better stop before you go and break my heart
ooh you'd better stop

Stop if love me
(you will remember)
now's the time to be sorry
(that day forever)
I won't believe that you'd walk out on me

Oh you'd better stop before you tear me all apart
you'd better stop before you go and break my heart
ooh you'd better stop

 

 

Ludacris - Get Back

From his 2004 album - The Red Light District

[Intro]
heads up! heads up!
Here's another one!
And a - and another one


[Chorus]
Yeet yeet WHOOP WHOOP!! why you all in my ear?!
Talking a whole bunch of shit
That I ain't trying to hear!
Get back, muthafucka You don't know me like that!
(Get back )muthafucka!! You don't know me like that!!)
Yeet yeet WHOOP WHOOP!! I ain't playing around!
Make one false move I'll take ya down
Get back ! muthafucka You don't know me like that!
(Get back !!muthafucka You don't know me like that!!)

[Verse]
WHOO!! S-s-so c'mon c'mon
DON'T ... get swung on, swung on
It's the knick knack paddywhack, still ride in Cadillacs
Family off the street! made my homies put the baggies back
Still stacking plaques! (yep!) still action packed! (yep!)
And dough!! I keep it flipping like acrobats!
That's why I pack a mac, that'll crack 'em back
Cause on my waist there's more Heat than the Shaq Attack
But I ain't speaking about ballin, ballin
Just thinking about brawlin till y'all start bawlin
We all in together now, birds of a feather now
Just bought a plane so we changing the weather now
So put your brakes on, caps put your capes on
Or knock off your block, get dropped and have your face flown
Cause I'll prove it! scratch off the music!
Like hey little stupid! don't make me lose it!!

[Chorus]

[Bridge - repeat 4x]
I came (I came) I saw (I saw)
I hit 'em right dead in the jaw (in the jaw)

[Verse]
See I caught 'em wit a right hook, caught 'em wit a jab
Caught 'em wit an uppercut, kicked 'em in his ass
Sent him on his way cause I ain't for that talk!
No trips to the county, I ain't for that walk!
We split like two pins at the end of a lane
We'll knock out your spotlight and put an end to your fame
Put a DTP pendant at the end of yo chain
Then put the booty of a Swisha at the end of a flame

[Chorus]

[Bridge]
HEY! You want WHAT wit me?!
I'm a tell you one time, don't FUCK wit me!
GET DOWN! Cause I ain't got nothing to lose
I'm having a bad day, don't make me take it out on you!
You want WHAT wit me?!
I'm a tell you one time, don't FUCK wit me!
GET DOWN! Cause I ain't got nothing to lose
And I'm having a bad day, don't make me take it out on you!

[Verse]
Man! Cause I don't wanna do that
I want to have a good time and enjoy my Jack
Sit back and watch the women get drunk as hell
So I can wake up in the morning wit a story to tell
I know it's been a lil while since I been out the house!
But now I'm here, you wanna stand around
running your mouth?!
I can't hear nothing you saying or spitting, so whats up!
Don't you see we in the club?! Man shut the fuck up!!

[Chorus]

[Outro]
Ah! We in the Red Light District!!
Ah! We in the Red Light District!!
WHOO!! We in the Red Light District!!
Ah! We in the Red Light District!!
WHOO!! We in the Red Light District!!
WHOO!! The Red Light District!!
WHOO!! The Red Light District!!
Ah, we in The Red Light District

 

Alabama 3 - Woke Up This Morning [Chosen One Mix]

There's some online confusion about the meaning of the lyrics, in particular

" But you were born under a bad sign,
With a blue moon in your eyes."

the confusion is with the term "blue-moon" which generally refers to a rare event ("Once in a blue moon"). In this case it seems to be an astrological reference hence "born under a bad sign", the moon is seen as being responsible for emotions so a "blue moon" would be a moon that caused the blues.

 

 

 

You woke up this morning
Got yourself a gun,
Mama always said you'd be
The Chosen One.

She said: You're one in a million
You've got to burn to shine,
But you were born under a bad sign,
With a blue moon in your eyes.

You woke up this morning
All the love has gone,
Your Papa never told you
About right and wrong.

But you're looking good, baby,
I believe you're feeling fine, (shame about it),
Born under a bad sign
With a blue moon in your eyes.

You woke up this morning
The world turned upside down,
Thing's ain't been the same
Since the Blues walked into town.

But you're one in a million
You've got that shotgun shine.
Born under a bad sign,
With a blue moon in your eyes.

When you woke up this morning everything you had was
gone. By half past ten your head was going ding-dong.
Ringing like a bell from your head down to your toes,
like a voice telling you there was something you should
know. Last night you were flying but today you're so low
- ain't it times like these that make you wonder if
you'll ever know the meaning of things as they appear to
the others; wives, mothers, fathers, sisters and
brothers. Don't you wish you didn't function, wish you
didn't think beyond the next paycheck and the next little
drink' Well you do so make up your mind to go on, 'cos
when you woke up this morning everything you had was gone.

When you woke up this morning,
When you woke up this morning,
When you woke up this morning,
Mama said you'd be the Chosen One.

When you woke up this morning,
When you woke up this morning,
When you woke up this morning,
You got yourself a gun.

 

Paper Planes - M.I.A. 

Background

"Paper Planes" was written and produced by M.I.A. and Diplo, recorded in Bedford-Stuyvesant, Brooklyn, and includes kids from Brixton singing on the chorus. The song's beat and melody are reworked from the song "Straight to Hell" by The Clash. Additional production is by Switch, who mixed the track in London.

In an interview in August 2008, M.I.A. described the song as being a satire "about people driving taxicabs all day and living in a shitty apartment and 'appearing' really threatening to society. But not being so. Because, by the time you’ve finished working a 20-hour shift, you’re so tired you [just] want to get home to the family". She added that she felt that listeners could choose how to interpret the gunshots and cash register ringing in the song's chorus. "People could say, 'Oh my God, this song is so violent,' but at the same time, there was a war in Iraq. I felt like certain people made so much money from selling ammunition and military weapons and stuff, and killed a million people, and it wasn't even an issue that was raised."

In August 2008, Sri Lankan rapper DeLon circulated a viral YouTube video in which he rapped over "Paper Planes" and accused M.I.A. of "supporting terrorism" by using images of the tiger and discussing violence in her lyrics, and showing graphic images of violence connected to the Tamil Tigers. M.I.A responded, stating that her music is the voice of a civilian refugee and that she is not willing to discuss it with someone that is looking for self-promotion. DeLon is Sinhalese (the ethnic majority in Sri Lanka), while MIA is a member of the Tamil minority. The song was censored in the USA for a while but was available after strong sales.

A censored version released by MTV in December 2007 differs greatly from the version uploaded to M.I.A.'s YouTube account. In the MTV version, M.I.A.'s vocals are doubled, the gun sounds are replaced with ambiguous popping sounds, and the word weed is removed. M.I.A. performed the song on the Late Show with David Letterman which, to her visible surprise, was similarly censored.

Chart performance

The song charted in the U.S. and Canada soon after its release. In June 2008, the song charted on the Belgian singles chart, peaking at 18. After its use in trailers for the film Pineapple Express, the track rebounded on the U.S. charts in July 2008, entering the Billboard Hot 100 chart at position 55, with 42,000 downloads. In subsequent weeks, it continued to climb the chart, eventually peaking at number four. It received heavy airplay on mainstream, pop, alternative, and some Urban Contemporary formatted stations.

On 7 September 2008, the song entered the UK Singles Chart at number 69 on downloads alone and peaked at number 19. On 15 February 2009, the song re-entered the charts at number 33 after it was used in the film Slumdog Millionaire.

Lyrics

[x2]
I fly like paper, get high like planes
If you catch me at the border I got visas in my name
If you come around here, I make 'em all day
I get one down in a second if you wait

[x2]
Sometimes I think sitting on trains
Every stop I get to I'm clocking that game
Everyone's a winner, we're making our fame
Bonafide hustler making my name

[x4]
All I wanna do is (BANG BANG BANG BANG!)
And (KKKAAAA CHING!)
And take your money

[x2]
Pirate skulls and bones
Sticks and stones and weed and bongs
Running when we hit 'em
Lethal poison through their system

[x2]
No one on the corner has swagger like us
Hit me on my Burner prepaid wireless
We pack and deliver like UPS trucks
Already going hell just pumping that gas

[x4]
All I wanna do is (BANG BANG BANG BANG!)
And (KKKAAAA CHING!)
And take your money

M.I.A.
Third world democracy
Yeah, I got more records than the K.G.B.
So, uh, no funny business

Some some some I some I murder
Some I some I let go
Some some some I some I murder
Some I some I let go

 

Deliverance - The Mission

Believe in magic believe in lore legend and myth
And the hand that guides in the cunning if hope in the weaving of dreams
And the lady of the lake takes my hand and leads me
To the holy isle and the fairy rings and the circles of stone
Forever and again

Give me, give me, give me, deliverance
Brother, sister, give me, give me
Deliverance, deliver me

Surrender to the wisdom of age and the spirits of time
Remember our souls entwined for eternity
And the healing hand of the fairy queen will come to all who have faith in her
And the apple tree will bear it's fruit in the gardens of Avalon
Forever and again

Give me, give me, give me deliverance
Brother, sister, give me, give me
Deliverance, deliver me
Give me, give me, give me, deliverance
Brother, sister, give me, give me
Deliverance, deliver me

Let me sleep for awhile and dream of Avalon and the Beltane fires
And a silent kiss steals away into the mist and out to the lake
Where the sword will rise again from the water into the
Hands of the chosen one the righteous one
Forever and again

Give me, give me, give me, deliverance
Brother, sister, give me, give me
Deliverance, deliver me
Give me, give me, give me, deliverance
Brother, sister, give me, give me
Deliverance, deliver me

The Kinks - Living On A Thin Line

Though never released as a single, the track "Living on a Thin Line" by Dave Davies is one of the most popular songs on the 1984 album "Word of Mouth" and was played twice in the 2001 episode University of the American TV show The Sopranos. According to producer Terence Winter on the DVD extras, it is the series' most asked about song

 

 

 

 

 

 

 

Lyrics

All the stories have been told
Of kings and days of old,
But there's no England now.
All the wars that were won and lost
Somehow don't seem to matter very much anymore.
All the lies we were told,
All the lies of the people running round,
Their castles have burned.
Now I see change,
But inside we're the same as we ever were.

Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Living this way, each day is a dream.
What am I, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?

Now another century nearly gone,
What are we gonna leave for the young?
What we couldn't do, what we wouldn't do,
It's a crime, but does it matter?
Does it matter much, does it matter much to you?
Does it ever really matter?
Yes, it really, really matters.

Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?

Then another leader says
Break their hearts and break some heads.
Is there nothing we can say or do?
Blame the future on the past,
Always lost in blood and guts.
And when they're gone, it's me and you.

Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line.

 

Step On - Happy Mondays 

From their third album "Pills 'n' Thrills and Bellyaches". "He's Gonna Step On You Again" (aka "Step On") was a hit single, written and performed by John Kongos in 1971. Happy Mondays covered the song, retitling it "Step On" in 1990. It became their biggest-selling single, peaking at Number 5 in the UK. It also enjoyed limited success in the USA Billboard Hot 100 chart at Number 57

He's gonna step on you again, he's gonna step on you
He's gonna step on you again, he's gonna step on you
You're twistin' my melon man, you know you talk so hip man
You're twistin' my melon man

Hey rainmaker, come away from that man
You know he's gonna take away your promised land
Hey good lady he just wants what you got you know
He'll never stop until he's taken the lot
(hey hey he hey hey)

Gonna stamp out your fire, he can change your desire
Don't you know he can make you forget you're a man

Gonna stamp out your fire, he can change your desire
Don't you know he can make you forget you're the man
You're a man

You're twistin' my melon man, you speak so hip

Hey rainmaker he got golden plans I tell you
You'll make a stranger in your own land
Hey good lady he's got God on his side he got a double
Tongue you never think he would lie

(oh he lied, oooh he's twistin' my melon man
(oh he lied, oooh he's twistin' my melon man)

Gonna stamp out your fire, he can change your desire
Don't you know he can make you forget you're a man
Gonna stamp out your fire, he can change your desire
Don't you know he can make you forget you're the man
You're the man

He's gonna step on you again, he's gonna step on you
He's gonna step on you again, he's gonna step on you

Hey rainmaker, come away from that man
You know he's gonna take away your promised land
Hey good lady he's got God on his side he got a double
Tongue you never think he would lie

Gonna stamp out your fire, he can change your desire
Don't you know he can make you forget you're a man
Gonna stamp out your fire, he can change your desire
Don't you know he can make you forget you're the man
You're the man

You're twistin' my melon man, you know you talk so hip man
You're twistin' my melon man
(hey hey he hey hey)

He's gonna step on you again, he's gonna step on you again
He's gonna step on you again, he's gonna step on you again

 

Paul Simon - The Boy in the Bubble

It was a slow day,
And the sun was beating
On the soldiers by the side of the road,
There was a bright light,
A shattering of shop windows
The bomb in the baby carriage
Was wired to the radio,
These are the days of miracle and wonder,
This is the long distance call,
The way the camera follows us in slo-mo
The way we look to us all,
The way we look to a distant constellation
That's dying in a corner of the sky,
These are the days of miracle and wonder
And don't cry baby don't cry
Don't cry,

(Pause)

It was a dry wind,
And it swept across the desert
And it curled into the circle of birth,
And the dead sand,
Falling on the children
The mothers and the fathers
And the automatic earth,
These are the days of miracle and wonder,
This is the long distance call,
The way the camera follows us in slo-mo
The way we look to us all o-yeah,
The way we look to a distant constellation
That's dying in a corner of the sky,
These are the days of miracle and wonder
And don't cry baby don't cry
Don't cry

(Pause)

It's a turn-around jump shot
It's everybody jump start
It's, every generation throws a hero up the pop charts,
Medicine is magical and magical is art think of
The Boy in the Bubble
And the baby with the baboon heart

And I believe
These are the days of lasers in the jungle,
Lasers in the jungle somewhere,
Staccato signals of constant information,
A loose affiliation of millionaires
And billionaires and baby,
These are the days of miracle and wonder,
This is the long distance call,
The way the camera follows us in slo-mo
The way we look to us all o-yeah,
The way we look to a distant constellation
That's dying in a corner of the sky,
These are the days of miracle and wonder
And don't cry baby don't cry
Don't cry don't cry

 

Ghost Town - The Specials

From - The Specials: How Ghost Town defined an era BBC News 17 June 2011

Ghost Town by the Specials is 30 years old. How did this strange but unforgettable record capture a moment in history?

It starts with a siren and those woozy, lurching organ chords. Then comes the haunted, spectral woodwind, punctuated by blaring brass.

Over a sparse reggae bass line, a West Indian vocal mutters warnings of urban decay, unemployment and violence.

"No job to be found in this country," one voice cries out. "The people getting angry," booms another, ominously.

Few songs evoke their era like the Specials' classic Ghost Town, a depiction of social breakdown that provided the soundtrack to an explosion of civil unrest.

Released on 20 June 1981 against a backdrop of rising unemployment, its blend of melancholy, unease and menace took on an entirely new meaning when Britain's streets erupted into rioting almost three weeks later - the day before Ghost Town reached number one in the charts.

The song's much-celebrated video - in which the band, crammed into a Vauxhall Cresta, patrol empty, crumbling streets - seems unlikely promotional material for a hit single.

And whatever similarities might exist between the tough economic environments of 1981 and 2011, the fact this odd, angular song could become such a massive hit might be astonishing to modern ears.

But, clearly, it expressed the mood of the early days of Thatcher's Britain for many. "It was clear that something was very, very, wrong," the song's writer, Jerry Dammers, has said.

If the band's ability to articulate the mood of the era can be traced anywhere, it is surely in Coventry, where they were based. The city's car industry had brought prosperity and attracted incomers from across the UK and the Commonwealth, meaning the future Specials grew up in the 1960s listening to a mixture of British and American pop and Jamaican ska.

But by 1981, industrial decline had left the city suffering badly. Unemployment was among the highest in the UK.
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"When I think about Ghost Town I think about Coventry," says Specials drummer John Bradbury, who grew up in the city.

"I saw it develop from a boom town, my family doing very well, through to the collapse of the industry and the bottom falling out of family life. Your economy is destroyed and, to me, that's what Ghost Town is about."

With a mix of black and white members, The Specials, too, encapsulated Britain's burgeoning multiculturalism. The band's 2 Tone record label gave its name to a genre which fused ska, reggae and new wave and, in turn, inspired a crisply attired youth movement.

But, as a consequence, Specials gigs began to attract the hostile presence of groups like the National Front and the British Movement. When vocalist Neville Staple sighed wearily on Ghost Town that there was "too much fighting on the dance floor", he sang from personal experience.

The violence came even closer to home when guitarist Lynval Golding was badly hurt in a brutal racist attack - an incident documented in Ghost Town's bewildered B-side, Why?

As their popularity grew, the band's tours of the UK took them around a country shaken by rising joblessness. Dammers has cited the sight of elderly women in Glasgow selling their household possessions on the street as the song's inspiration.
Continue reading the main story
From Ghost Town


But it was not only economic hardship, industrial dereliction and racial unrest that imbued Ghost Town with paranoia and tension. By the time it was recorded, The Specials were riven by acrimony and distrust. Following their appearance on Top of the Pops to promote the single, frontmen Terry Hall and Neville Staple walked out of the group along with Golding.

"Ghost Town was a rough time for the band members," recalls Bradbury. "We were more or less at each other's throats. It was very intense. That definitely makes you play in a certain way."

While it may have sounded chaotic, the song had been carefully plotted by Dammers for over a year. Once it became public property, however, Ghost Town took on an entirely new meaning.

By mid-1981, the UK was already tense following April's riots in Brixton, which an official report later found were fuelled by indiscriminate use of stop-and-search powers by the police against the local black population. The murder of a Coventry teenager called Satnam Singh Gill in a racist attack prompted The Specials to announce a gig promoting racial unity in their city on the day of Ghost Town's release; the National Front announced a march in the area on the same day.
Brixton riot, 1981 The UK was shaken by rioting as Ghost Town climbed the charts

Then, as the single climbed up the charts, Britain's streets ignited. Between 3 and 11 July, serious rioting broke out across the country at Handsworth in Birmingham, Toxteth in Liverpool, Southall in London, and Moss Side in Manchester, while Bedford, Bristol, Edinburgh, Gloucester, Halifax, Leeds, Leicester, Southampton and Wolverhampton all witnessed unrest.

By the evening of 10 July, Ghost Town was a number one single.

From a 21st Century perspective, the song's nightmarish chanting, portentous lyrics and doom-laden bass all sound remarkably avant garde for a hit song.
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But according to the Guardian's chief pop and rock critic, Alexis Petridis, the momentum of The Specials' growing fan base and the uneasy mood of the general music-buying public combined were enough to propel it to the summit of the charts.

"There's something frenzied and mad about that record," he says. "It has such a kaleidoscope of influences - jazz, (film score composer) John Barry, Middle Eastern music, a solid reggae undertone and stuff that sounds like nothing else.

"But you don't listen to Ghost Town and think it's weird. I was 11 when it was released and I don't remember going, 'What's this?' At the time there were a lot of political songs in the charts. But if a record like that got to number one today you'd go, 'Wow, that's bizarre.'"

Nonetheless, while it may describe a very specific moment in British history, Ghost Town's popularity has barely dimmed. A re-formed Specials, minus Dammers, are due to tour later in 2011, with the song as the centrepiece of their set.

The parallels between the Britain of 1981 and 2011 might be up for debate. But Les Back, professor of sociology at Goldsmiths, University of London, who has studied the 2 Tone phenomenon, is not surprised that the track has endured, regardless of the political context.

"It sums up how it felt to be young at the time," he says. "But at the same time it's timelessly resonant.

"There are a handful of tunes that do that and Ghost Town is one of them.

Lyrics

This town, is coming like a ghost town
All the clubs have been closed down
This place, is coming like a ghost town
Bands won't play no more
too much fighting on the dance floor

Do you remember the good old days
Before the ghost town?
We danced and sang,
And the music played inna de boomtown

This town, is coming like a ghost town
Why must the youth fight against themselves?
Government leaving the youth on the shelf
This place, is coming like a ghost town
No job to be found in this country
Can't go on no more
The people getting angry

This town, is coming like a ghost town
This town, is coming like a ghost town
This town, is coming like a ghost town
This town, is coming like a ghost town