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George Harrison - My Sweet Lord

George Harrison - My Sweet Lord Lyrics and Youtube Music Videos

Album: All Things Must Pass
Released: 1970

My Sweet Lord Lyrics

My Sweet Lord
Hm, my Lord
Hm, my Lord

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

My sweet Lord
Hm, my Lord
Hm, my Lord

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

My sweet Lord (hallelujah)
Hm, my Lord (hallelujah)
My sweet Lord (hallelujah)

I really want to see you
Really want to see you
Really want to see you, Lord
Really want to see you, Lord
But it takes so long, my Lord (hallelujah)

My sweet Lord (hallelujah)
Hm, my Lord (hallelujah)
My, my, my Lord (hallelujah)

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

Hmm (hallelujah)
My sweet Lord (hallelujah)
My, my, Lord (hallelujah)

Hm, my Lord (hare krishna)
My, my, my Lord (hare krishna)
Oh hm, my sweet Lord (krishna, krishna)
Oh-uuh-uh (hare hare)

Now, I really want to see you (hare rama)
Really want to be with you (hare rama)
Really want to see you Lord (aaah)
But it takes so long, my Lord (hallelujah)

Hm, my Lord (hallelujah)
My, my, my Lord (hare krishna)
My sweet Lord (hare krishna)
My sweet Lord (krishna krishna)
My Lord (hare hare)
Hm, hm (Gurur Brahma)
Hm, hm (Gurur Vishnu)
Hm, hm (Gurur Devo)
Hm, hm (Maheshwara)
My sweet Lord (Gurur Sakshaat)
My sweet Lord (Parabrahma)
My, my, my Lord (Tasmayi Shree)
My, my, my, my Lord (Guruve Namah)
My sweet Lord (Hare Rama)

(hare krishna)
My sweet Lord (hare krishna)
My sweet Lord (krishna krishna)
My Lord (hare hare)

Writer/s: HARRISON, GEORGE / CHOWTA, SANDEEP
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

My Sweet Lord Song Chart

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

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

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

In 1976, Bright Tunes Music sued Harrison because this sounded too much like the 1963 Chiffons hit "He's So Fine." Bright Tunes was controlled by The Tokens, who set it up when they formed the production company that recorded "He's So Fine" - they owned the publishing rights to the song.

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

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

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

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

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

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

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

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

Whitlock adds, "All during the sessions, the door would pop open and in would spring three or four or five Hare Krishnas in their white robes and shaved heads with a pony tail coming out the top. They were all painted up, throwing rose petals and distributing peanut butter cookies." (For more on these sessions, check out our full Bobby Whitlock interview)

This was the first #1 hit for any Beatle after the band broke up. Harrison was the first Beatle to release a solo album. He came out with Wonderwall Music, a soundtrack to the movie Wonderwall, in 1968.

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

Artists who record chant music often face a negative reaction from listeners who don't understand the mantras. When we spoke with Krishna Das , the leading American chant musician, he explained: "'My Sweet Lord' is very clear and very beautiful, but the problem is that English has been appropriated by Western religion and it's very hard to talk about spiritual things in a song that doesn't get too 'organized religion-y,' you know? And then you get a lot of people who have a negative reaction to that as well. You can get a lot of negativity from the organized religion people. Like, 'This isn't our Jesus. This isn't the way it is.'"

Phil Spector produced this and sang backup. With the blessing of Harrison and John Lennon (and over the objections of Paul McCartney), Spector produced the last Beatles album, Let It Be.

Harrison released a new version, "My Sweet Lord 2000," when he reissued All Things Must Pass.

Producer Phil Spector thought "My Sweet Lord" was the commercial hit of the album, and everyone else resisted him on that. According to Phil, George and others worried about how the public might react to the religious overtones and the Hare Krishna influence.

After Harrison died, this was re-released in the UK, where it once again went to #1. Proceeds from the single went to the Material World Charitable Foundation, which Harrison started in 1973 to support charities that work with children and the poor.

George Harrison parodied "My Sweet Lord" during Eric Idle's Rutland Weekend Television Christmas special on December 26, 1975. He turned it into The Pirate Song. (thanks, Ethan - Franklin, TN)

Artists to cover this song include Aretha Franklin, Johnny Mathis, Richie Havens, Nina Simone, Peggy Lee and Julio Iglesias. The Chiffons also covered the song in 1975 amidst the plagiarism lawsuit over their song "He's So Fine."

U2 performed this as a tribute at their show in Atlanta on November 30, 2001, the night after Harrison died.

The Clash - What's My Name

The Clash - What's My Name Lyrics and Youtube Music Videos

Album: The Clash
Released: 1977

What's My Name Lyrics

What the hell is wrong with me?
I'm not who I want to be
I tired spot cream an' I tried it all
I'm crawling up the wall

What's My Name, name, name

I tried to join a ping-pong club
Sign on the door said "all full up"
I got nicked, fighting in the road
The judge didn't even know

What's my name, name, name

Dad go pissed so I got clocked
Couldn't hear the Tannoy so he lost the lot
Offers mum a bribe through the letter box
Drives you fucking mad

Now, I'm round the back of your house at night
Peeping in the window, are you sleeping tight?
I laugh at your locks with my celluloid strip
An' you won't know who came

What's my name, name, name

What's my name, name, name

Writer/s: STRUMMER, JOE / JONES, MICK / SIMONON, PAUL / HEADON, TOPPER
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

What's My Name

This is the one writing credit that original guitarist Keith Levene got from The Clash on the first album. He claimed to "have a hand" in every song on the first album, but this is disputed by the rest of the band. Joe Strummer always claimed that Levene was too busy doing drugs (heroin and speed, allegedly) to rehearse and hence his subsequent sacking from the band.

Levene claims to have written most of the song with his fellow guitarist Mick Jones in May 1976, and showed it to Sex Pistols singer John Lydon (with whom he would later form the post-punk band Public Image Ltd.). Strummer however remembers that "the only parts the song had when it came was, 'What's my name?' That's all the song was. I put in a few verses to keep the choruses apart."

Judging by early live bootlegs from 1976 to mid 1977, the lyrics were still being worked out (an early version featured a chilling coda about breaking into a house with a flick-knife).

The final lyrics to "What's My Name" are a brutal look at rejection and domestic violence ("Dad got pissed, so I got clocked") and depersonalisation to such an extent that the narrator is literally asking "what's my name?" - he can't even join a ping-pong club ("I went to join the ping-pong club, sign on the door said 'all full up'").

A live favorite from the first Clash album, this is one of the most raw punk tracks from the set when played in a live context; others being "White Riot," "Janie Jones" and "I'm So Bored With The USA." As such, the song remained in the Clash live canon from 1976 till around 1980, before being revived with the rejigged lineup in 1984 with Paul Simonon inexplicably promoted to lead vocals.

The version on the From Here to Eternity live compilation is taken from a Camden show in July 1978 and is the same one as seen in the Rude Boy movie, featuring extensive overdubs from the original scratchy sound take.

Bee Gees - You Should Be Dancing

Bee Gees - You Should Be Dancing Youtube Music Videos and Lyrics

Album: Children Of The World
Released: 1976

You Should Be Dancing Lyrics

My baby moves at midnight
Goes right on till the dawn
My woman takes me higher
My woman keeps me warm

What you doin' on your back, aah
What you doin' on your back, aah?
You Should Be Dancing, yeah
Dancing, yeah

She's juicy and she's trouble
She gets it to me good
My woman gives me power
Goes right down to my blood

What you doin' on your back, aah
What you doin' on your back, aah?
You should be dancing, yeah
Dancing, yeah

What you doin' on your back, aah
What you doin' on your back, aah?
You should be dancing, yeah
Dancing, yeah

My baby moves at midnight
Goes right on till the dawn, yeah
My woman takes me higher
My woman keeps me warm

What you doin' on your back, aah
What you doin' on your back, aah?
You should be dancing, yeah
Dancing, yeah

What you doin' on your back, aah
What you doin' on your back, aah?
You should be dancing, yeah
Dancing, yeah

You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah

Writer/s: GIBB, BARRY ALAN/GIBB, MAURICE ERNEST/GIBB, ROBIN HUGH
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

You Should Be Dancing Song Chart

This song was a #1 US hit in September 1976, becoming one of the biggest Disco hits of the era. When the movie Saturday Night Fever hit theaters in December, 1977, the song was used in a famous scene from the movie where John Travolta takes over the dance floor - an appropriate choice since the song is specifically about dancing.

"You Should Be Dancing" was included on the soundtrack along with five other songs performed by the Bee Gees (plus another they wrote: "If I Can't Have You" by Yvonne Elliman). The album sold over 15 million copies in the US, marking the Bee Gees as a Disco act when their earlier output was more charitably classified as Blue-Eyed Soul. Decades later, a new generation discovered the group's earlier work and the Disco taint began to fade, but for Barry Gibb, the memories of the backlash didn't. "It still haunts me like hell," he told Mojo in 2001 about this time. "Every time anyone asks me about it my mouth goes dry."

Along with "Jive Talkin'," this is one of two Bee Gees songs on the Saturday Night Fever soundtrack that had already been released. It first appeared on their 1976 Children Of The World album.

John Travolta prepared for the Saturday Night Fever movie by practicing his dance moves to this song. When he was told by the producers that "Night Fever" would be used for the sequence for which he was practicing, Travolta insisted that "You Should Be Dancing" be used instead.

The dance sequence from the movie was choreographed by Deney Terrio, host of the TV show Dance Fever.

Stephen Stills of Crosby, Stills and Nash played percussion on this track. He recalled to The Independent August 17, 2013: "We were in the studio next door making a CSN album and David (Crosby) was all full of himself and saying this is going to be the album of the year. I went, "No it's not, that's being recorded across the hall," 'cause I'd heard some of that Saturday Night Fever stuff and I knew it was totally unique and going to be a monster. So I played timbales and for a long time that was my only platinum single."

This featured at the end of the movie Despicable Me, where the minions replace ballet music with the song so everyone can dance.

Jackson Browne - The Pretender

Jackson Browne - The Pretender Lyrics and Youtube Music Videos

Album: The Pretender
Released: 1976

The Pretender Lyrics

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

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

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

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

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

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

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

Writer/s: JACKSON BROWNE
Publisher: Jackson Browne/Swallow Turn Music/Night Kitchen Music/Open Window Music
Lyrics licensed and provided by LyricFind

The Pretender

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

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

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

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

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

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

Charlene - I've Never Been To Me

Charlene - I've Never Been To Me Lyrics and Youtube Music Videos

Album: I've Never Been To Me
Released: 1976

I've Never Been To Me Lyrics

Hey lady, you, lady, cursin' at your life
You're a discontented mother and a rich inventive wife
I've no doubt you dream about the things you'll never do
But I wish someone had a talked to me like I wanna talk to you

Ooh I've been to Georgia and California, oh, anywhere I could run
Took the hand of a preacher man and we made love in the sun
But I ran out of places and friendly faces because I had to be free
I've been to paradise, but I've Never Been To Me

Please lady, please, lady, don't just walk away
Cause I have this need to tell you why I'm all alone today
I can see so much of me still living in your eyes
Won't you share a part of a weary heart that has lived a million lies

Oh I've been to Nice and the isle of Greece
While I sipped champagne on a yacht
I moved like Harlow in Monte Carlo and showed 'em what I've got
I've been undressed by kings and I've seen some things
That a woman ain't s'posed to see
I've been to paradise, but I've never been to me

Hey, you know what paradise is? It's a lie. A fantasy we create about
People and places as we'd like them to be. But you know what truth is?
It's that little baby you're holding, and it's that man you fought with
This morning, the same one you're going to make love with tonight.
That's truth, that's love

Sometimes I've been to cryin' for unborn children
That might have made me complete
But I, I took the sweet life and never knew I'd be bitter from the sweet
I spent my life exploring the subtle whoring that cost too much to be free
Hey lady, I've been to paradise, but I've never been to me

I've been to paradise, never been to me
(I've been to Georgia and California, and anywhere I could run)
I've been to paradise, never been to me
(I've been to Nice and the isle of Greece
While I sipped champagne on a yacht)
I've been to paradise, never been to me
(I've been to cryin' for unborn children)

Writer/s: Hirsch, Kenneth W / Miller, Ronald N.
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

I've Never Been To Me

Charlene originally recorded this in 1976, and it got to #97 in the American charts. Six years later, it was re-released after a Florida radio station started playing it to great public acclaim, by which time Charlene had moved to England and was working in an Ilford, Essex sweet shop. The re-release became a huge hit in England as well. (thanks, Edward Pearce - Ashford, Kent, England)

The song was originally written from a male perspective but was rewritten by Ron Miller for Charlene. The use of the line "I've been to crying for unborn children" was not written about abortion. The line refers to a woman who is at a point in her life that she wished she had taken the time to have children.

There are many misconceptions about this song. The spoken bridge in the song was not about or did it mention abortion - it was deemed too feminist and when Charlene's first album was re-released in 1977, the spoken bridge had been deleted. When the song became an unexpected hit in 1982 it was the version WITH the spoken bridge intact that was released. It has also been widely reported that the 1982 single was a re-recording, it is not. (thanks, Shawn - Los Angeles, CA)

Charlene was signed to Motown Records, but this was her only hit.

When this song was first released in America in 1976, Charlene's full name was Charlene Duncan through her marriage to record producer Larry Duncan, but when the song was released for a second time in 1982, her name was then Charlene Oliver because of her marriage to Englishman Jeff Oliver. (thanks, Terry - Northampton, England)

This was used in the 1994 movie The Adventures Of Priscilla, Queen Of The Desert.

There have been several cover versions of this song by both male and female artists, including Nancy Wilson, Randy Crawford, The Temptations, Walter Jackson and Howard Keel.

Charlene filmed the video for the song at Blicking Hall, Norfolk, England in the very same dress that she got married in. (thanks, Terry - Northampton, England)

Boz Scaggs - Lowdown

Boz Scaggs - Lowdown Lyrics and Youtube Music Videos

Album: Silk Degrees
Released: 1976

Lowdown Lyrics

Baby's into running around
Hanging with the crowd
Putting your business in the street talking out loud
Saying you bought her this and that
And how much you done spent
I swear she must believe it's all heaven sent
Hey boy you better bring the chick around
To the sad truth the dirty Lowdown

(Who I wonder who) taught her how to talk like that
(Who I wonder who) gave her that big idea

Nothing you can't handle nothing you ain't got
Put the money on the table and drive it off the lot
Turn on that old love light and turn a maybe to a yes
Same old schoolboy game got you into this mess
Hey son better get back to town
Face the sad old truth the dirty lowdown

(Who I wonder who) put those ideas in your head
(Who I wonder who) yeah
Come on back down little son
Dig the low low low low lowdown

You ain't got to be so bad got to be so cold
This dog eat dog existence sure is getting old
Got to have a Jones for this Jones for that
This running with the Jones boy
Just ain't where it's at
You gonna come back around
To the sad sad truth the dirty lowdown

(Who I wonder who) got you thinking like that boy
(Who I wonder who)
(Who I wonder who said who I wonder who)
Oh look out for that lowdown
That dirty dirty dirty dirty lowdown
(Who I wonder who oh oh)
Got you thinking like that

Writer/s: DAVID PAICH, BOZ SCAGGS
Publisher: SPIRIT MUSIC GROUP
Lyrics licensed and provided by LyricFind

Lowdown Song Chart

Scaggs wrote this song with the keyboard player David Paich , who would later form the band Toto and write many of their hits. "Lowdown" was the first song that Scaggs and Paich wrote together; it was Silk Degrees producer Joe Wissert who put them together.

In our interview with Boz Scaggs , he explained: "We took off for a weekend to this getaway outside of LA where there was a piano and stayed up all night banging around ideas. We hit on 'Lowdown,' and then we brought it back to the band and recorded it. We were just thrilled with that one. That was the first song that we attempted, and it had a magic to it."

This was the second single released from Silk Degrees. The first was "It's Over," which charted at a modest #38 in May 1976. Scaggs had little name recognition at the time, and sales were stagnant for the album until an R&B radio station in Cleveland started playing "Lowdown." Other stations followed suit, and it quickly became clear that the song had crossover appeal and hit potential. Scaggs' label, CBS, released it as a single and it climbed to #3 on the Hot 100 in October, spurring sales of the album along the way.

The song is about a girl who doesn't appreciate what her man gives her. The "dirty lowdown" is the honest truth - what Scaggs is encouraging this poor sap to face.

The word "Lowdown" was popular slang meaning a summary of what's going on for real. The first Hot 100 entry with the term in the title came in 1969 with the instrumental "Lowdown Popcorn" by James Brown (#41, 1969). Next came Chicago's song "Lowdown" (#35, 1971).

Along with keyboard player David Paich, two other future Toto members also played on this track: drummer Jeff Porcaro and bass player David Hungate. The Silk Degrees marked the first time that Scaggs used these studio pros, and it was also his first album produced by Joe Wissert, who was a staff producer at Columbia Records who had previously worked with Earth, Wind & Fire.

The crew for the album found just the right sound, a Disco-blend that could play in dance clubs and pool halls. Scaggs credits Wissert for giving him and the other musicians plenty of freedom in the studio, resulting in one of the most successful albums of the '70s - Silk Degrees went on to sell over five million copies.

This won the Grammy for Best R&B Song of 1976, making Scaggs the first white artist to win the award (Leo Sayer was the second, taking the trophy the next year for "You Make Me Feel Like Dancing.")

The producers of Saturday Night Fever asked to use this in their movie, but Scaggs' manager turned them down and instead used it in the movie Looking For Mr. Goodbar. Not a good move - Saturday Night Fever became one of the best-selling soundtracks of all time.

Billy Joel - Say Goodbye To Hollywood

Billy Joel - Say Goodbye To Hollywood Lyrics and Youtube Music Videos

Album: Turnstiles
Released: 1976

Say Goodbye To Hollywood Lyrics

Bobby's driving through the city tonight
Through the lights
In a hot new rent a car
He joins the lover in his heavy machine
It's a scene down on Sunset Boulevard

Say Goodbye To Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Johnny's taking care of things for awhile
And his style is so right for troubadours
They got him sitting with his back to the door
Now he won't be my fast gun anymore

Say goodbye to Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Moving on is a chance that you take every time
You try to stay together
Say a word out of line and you find
That the friends you had are gone
Forever, forever
So many faces in and out of my life
Some will last, some will just be now and then
Life is a series of hellos and goodbyes
I'm afraid it's time for goodbye again

Say goodbye to Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Moving on is a chance that you take every time
You try to stay together
Say a word out of line and you find
That the friends you had are gone
Forever, forever
So many faces in and out of my life
Some will last, some will just be now and then
Life is a series of hellos and goodbyes
I'm afraid it's time for goodbye again

Say goodbye to Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Writer/s: JOEL, BILLY
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Say Goodbye To Hollywood Song Chart

Joel wrote this with Ronnie Spector in mind, which he talked about on The Howard Stern Show, where he also explained that it's written in a high key and challenging to sing - he had an easier time hitting those notes when he wrote the song. As for Spector, he was a big fan of her and loved the girl-group sound she exemplified. He met her a few times over the years, but only after he wrote the song.

Joel had recently moved from Los Angeles to New York, which helped inspire this song. He is from Long Island, and did not like life on the West Coast.

This was released in the US as the B-side to "I've Loved These Days" a month before it was put out as an A-side. Neither song charted, but in 1981, a live version recorded at the Milwaukee Arena was released on Joel's Songs In The Attic album and hit #17 in the US. Songs In The Attic was the first digitally-recorded live album.

Ronnie Spector, who was the inspiration for this song and leader of the popular girl-group, The Ronettes, recorded this song in 1977. She said at the time: "In a way it's my life story 'cause I was married in Hollywood, I lived in Hollywood, my life fell apart in Hollywood and now I am saying goodbye to Hollywood."
Spector's version was produced by Little Steven Van Zandt, who she met while singing backup for Bruce Springsteen in 1976. Springsteen's E-Street Band played backup for her.

Henry Gross - Shannon

Henry Gross - Shannon Lyrics and Youtube Music Videos

Album: Release
Released: 1976

Shannon Lyrics

Shannon

"Shannon" was a song written about the passing of Beach Boy Carl Wilson's Irish Setter of the same name. The song went gold and became a worldwide hit. The second single, "Springtime Mama," sold just short of gold. This was Gross' first album and first hit on the new Lifesong Record label.

This song was a hit in the US in 1976, but is perhaps best known for being the subject of a legendary, profanity-laced tirade by American Top 40 radio show host Casey Kasem while recording an episode of the show in 1985. A listener had requested the song as a "Long Distance Dedication" (a regular feature of the AT40 show) to his own recently-deceased dog. Kasem was upset that the show's producers had placed the dedication immediately following the Pointer Sisters' hit "Dare Me," an up-tempo song that Kasem considered a poor lead-in to a sad song like "Shannon" - and he let the producers know of his displeasure in no uncertain terms. In the end, the dedication, and the mismatched songs, were presented as scripted in spite of Kasem's objection, but the outtake of his rant eventually surfaced as a bootleg recording. The so-called "Snuggles tape" (named for the dog to whom the dedication was made) contradicted Kasem's normally straight-laced, easygoing on-air persona, and provided an amusing footnote to his 18-year-long run as the show's original host.

The falsetto vocals on "Shannon" were written because Gross was a big fan of Beach Boy member Brian Wilson and was influenced by his singing style.

Starland Vocal Band - Afternoon Delight

Starland Vocal Band - Afternoon Delight Lyrics and Youtube Music Videos
Album: Starland Vocal Band
Released: 1976

Afternoon Delight Lyrics

Gonna find my baby, gonna hold her tight
Gonna grab some Afternoon Delight
My motto's always been 'when it's right, it's right'
Why wait until the middle of a cold dark night?
When everything's a little clearer in the light of day
And we know the night is always gonna be there any way

Thinkin' of you's workin' up my appetite
Looking forward to a little afternoon delight
Rubbin' sticks and stones together makes the sparks ingite
And the thought of lovin' you is getting so exciting
Sky rockets in flight
Afternoon delight
Afternoon delight
Afternoon delight

Started out this morning feeling so polite
I always though a fish could not be caught who wouldn't bite
But you've got some bait a waitin' and I think I might try nibbling
A little afternoon delight
Sky rockets in flight
Afternoon delight
Afternoon delight
Afternoon delight

Please be waiting for me, baby, when I come around
We could make a lot of lovin' 'for the sun goes down

Thinkin' of you's workin' up my appetite
Looking forward to a little afternoon delight
Rubbin' sticks and stones together makes the sparks ingite
And the thought of lovin' you is getting so exciting
Sky rockets in flight
Afternoon delight
Afternoon delight
Afternoon delight

Afternoon delight!

Writer/s: BILL DANOFF
Publisher: BMG RIGHTS MANAGEMENT US, LLC, Reservoir One Music, RESERVOIR MEDIA MANAGEMENT INC
Lyrics licensed and provided by LyricFind

Afternoon Delight Song Chart

This is a double entendre song named after the late-afternoon appetizer menu at the restaurant Clyde's Of Georgetown in Washington, DC, where they have a gold record from this song hanging in the bar. That's the official explanation at least: the other meaning is daytime sex. The inspirational menu heading read: "Afternoon Delights."

The Starland vocal band delivered 4-part harmonies with the married couple Bill and Taffy Danoff (Taffy Nivert after they split up), and another couple: Margot Chapman and Jon Carroll (the baby of the bunch, he was just 19 when the song was released). Taffy spiced up the stage banter when they performed this song, explaining that the title came from the menu, but adding some version of "...then Bill came home and we had our own Afternoon Delight. We wrote the song instead of having a cigarette."

Bill says the songwriting was far from sexy: he wrote it over the course of six months, often on Sundays when he was watching Redskins football. "All that energy coming out of the tube gets my creative juices flowing," he told People magazine.

This was the only hit for the Starland Vocal Band, who won the Grammy for Best New Artist of 1976, beating out the band Boston. In a VH1 special on One-Hit-Wonders, Bill Danoff of Starland Vocal Band said: "We got two of the five Grammys - one was Best New Artist. So that was basically the kiss of death and I feel sorry for everyone who's gotten it since."
Starland Vocal Band was a newcomer, but the Danoffs had already released four albums, two under the name Fat City and two as Billy and Taffy. The Starland Vocal Band split up after their fourth album.

Despite having only this one hit, the Starland Vocal Band were given their own TV series called The Starland Vocal Band in 1977. An unknown comic named David Letterman appeared on the show.

Under the name Fat City, the group sang backup on John Denver's "Take Me Home Country Roads." Bill and Taffy co-wrote the song. Denver helped get the Starland Vocal Band a record deal with RCA, where he had his own vanity label, Windsong Records.

From 1997-2007, Bill Danoff had his own restaurant in Washington DC called The Starland Cafe.

This was used in two 2004 movies that were set in the '70s: Anchorman and Starsky and Hutch. The Anchorman DVD contains a video of the cast performing the song, with an intro by Will Ferrell, who in his Ron Burgundy character says: "If you don't think this song is the greatest song ever, I will fight you." (thanks, Billy - Pittsburgh, PA)

The Rolling Stones - Fool To Cry

The Rolling Stones - Fool To Cry Lyrics and Youtube Music Videos

Album: Black And Blue
Released: 1976

Fool To Cry Lyrics

When I come home baby
And I've been working all night long
I put my daughter on my knee, and she says
"Daddy what's wrong?"
I put my head on her shoulder
She whispers in my ear so sweet
You know what she says?
"Daddy you're a Fool To Cry
You're a fool to cry
And it makes me wonder why"

You know, I got a woman
And she lives in the poor part of town
And I go see her sometimes
And we make love, so fine
I put my head on her shoulder
She says, "Tell me all your troubles"
You know what she says?
She says, "Daddy you're a fool to cry
You're a fool to cry
And it makes me wonder why"

Daddy you're a fool to cry
Oh, I love you so much baby
Daddy you're a fool to cry
Daddy you're a fool to cry, yeah
She says, "Daddy you're a fool to cry
You're a fool to cry
And it makes me wonder why"

She says, "Daddy you're a fool to cry
Daddy you're a fool to cry
Daddy you're a fool to cry
Daddy you're a fool to cry

Even my friends say to me sometimes
And make out like I don't understand them
You know what they say?
They say, "Daddy you're a fool to cry
You're a fool to cry
You're a fool to cry
And it makes me wonder why"

I'm a fool baby
I'm a fool baby
I'm a certified fool, now
I want to tell ya
Gotta tell ya, baby
I'm a fool baby
I'm a fool baby
Certified fool for ya, mama, come on
I'm a fool
I'm a fool
I'm a fool

Writer/s: JAGGER, MICK/RICHARDS, KEITH
Publisher: Sony/ATV Music Publishing LLC, BMG RIGHTS MANAGEMENT US, LLC, SONY ATV MUSIC PUB LLC
Lyrics licensed and provided by LyricFind

Fool To Cry Song Chart

This is an introspective ballad that was not typical of most Rolling Stones songs.

With Mick Taylor gone, The Stones were auditioning lead guitarists while recording Black And Blue. American session man Wayne Perkins played on this and almost got the job, but Ron Wood beat him out.

This was the only song on Black And Blue to chart in England or the US.

Keith Richards fell asleep while they were performing this in 1976 while touring Germany.

Richards: "I was just glad somebody in the band could sing that falsetto. I got a pretty good falsetto myself. But when you got a singer and he can hit those notes, baby go for it. And Mick was always fascinated with the falsetto Soul singers like Aaron Neville. That's crafty stuff, you know what I mean? But he'd been listening to so many people. It's kinda like what goes in, will come out. You'll just hear a phrase or a piece of music. And one way or another it's part of your experience. And a lot of the time it comes out what you do without even realizing it. I don't really like to think about these things too much. It's more to do with feeling than intellectualizing about it." (thanks, Bertrand - Paris, France)

The Canadian duo Tegan and Sara covered this in 2013 for the soundtrack for the HBO drama Girls. Their version can be found on the album, Girls, Vol. 1 (Music From the HBO Original Series). "Lena Dunham (Girls creator and star) reached out about us doing a track for the soundtrack," Tegan told the Toronto Sun. "When she said which one we were going to do I went and listened to it. I was like, 'Oh my god, this is a nightmare! How are we going to do this? It's like he's talking, he's meandering.' I was like, 'What the f---?"

"In the end I loved doing it," she continued, "I thought it was so great. I haven't really listened to a lot of them other than the popular Rolling Stones songs but it was cool to get into a deep cut. And the response has been insane. These teenage girls are like, 'I love this song!' And I say, 'You're welcome, Rolling Stones. We just got you into another generation.'"

ABBA - Dancing Queen

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ABBA - Dancing Queen Lyrics and Youtube Music Videos

Album: Arrival
Released: 1976

Dancing Queen Lyrics

Dancing Queen

This was written by ABBA members Bjorn Ulvaeus and Benny Andersson. According to ABBA's official site, it was conceived as a dance song with the working title "Boogaloo." They drew inspiration from the 1974 George McCrae disco hit "Rock Your Baby," and from the drumming on the 1972 album Gumbo by Dr. John . Their manager Stig Anderson came up with the title "Dancing Queen," and after several months working on the track, ABBA came up with arguably the world's first europop disco hit.

ABBA recorded this about a year before it was released. It was written and recorded around the same time as "Fernando," which was chosen as the single. They knew "Dancing Queen" would also be a hit, so they held it until the album was released before issuing it as a single.

ABBA performed this song on June 18, 1976 at a televised tribute to Queen Silvia and King Gustaf XVI of Sweden, who were married the next day.

This was the only one of ABBA's 14 US Top 40 hits to make it to #1.

Regarding the lyrics, "Night is young and the music's high," many listeners interpret this as a statement that the music makes you feel high. In ABBA's part of the world, however, it simply means that the music is loud.

Along with many other ABBA songs, this was featured in Muriel's Wedding, a hit Australian movie starring Toni Collette and Rachel Griffiths. (thanks, Katie - Australia)

According to the BBC Radio 2 DJ Chris Evans, when this song was played at a Windsor Castle event Queen Elizabeth said: "I always try to dance when this song comes on because I am the Queen and I like to dance."

This song also reached #1 in Australia, Belgium, Brazil, Ireland, Mexico, Netherlands, New Zealand, Norway, Rhodesia, South Africa, Sweden and West Germany. (thanks, Jerro - New Alexandria, PA)

When Benny first played Frida the song's backing track, she burst into tears. "And that was before me and Agnetha had even sung on it!" she smiled to The Guardian. "I knew it was absolutely the best song Abba had ever done."

This came top of a 2014 poll conducted by Blinkbox concerning the most commonly misheard lyrics in Pop. 22% of the people polled admitted they had mistaken the lyric "See that girl, watch that scene, diggin' the dancing queen" for, "See that girl, watch her scream, kicking the dancing queen."

Chris Stein of Blondie says that his group's 1979 hit "Dreaming" is "pretty much a cop" of "Dancing Queen."

U2 covered this during the band's Zoo TV tour in 1992, and were joined onstage by Bjorn and Benny when the show hit Stockholm. "ABBA have a purer joy to their music," Bono explains in the documentary ABBA: The Winner Takes It All, "and that's what makes them extraordinary."

The American disco singer Carol Douglas covered this song in 1977, taking it to #110 in America. The other two covers to chart are by ABBA clones A*Teens (#95 in 2000) and the Glee Cast (#74, 2011).

Joan Jett - I Love Rock And Roll

Joan Jett - I Love Rock And Roll Youtube Music Videos and Lyrics

Album: I Love Rock And Roll
Released: 1981

I Love Rock And Roll Lyrics

I Love Rock And Roll

This was originally recorded by a British group called The Arrows in 1975, and it was written by their lead singer Alan Merrill and guitarist Jake Hooker. Merrill explained in a Songfacts interview how this song came about: "That was a knee-jerk response to the Rolling Stones' 'It's Only Rock 'N' Roll.' I remember watching it on Top of the Pops. I'd met Mick Jagger socially a few times, and I knew he was hanging around with Prince Rupert Lowenstein and people like that – jet setters. I almost felt like 'It's Only Rock and Roll' was an apology to those jet-set princes and princesses that he was hanging around with - the aristocracy, you know. That was my interpretation as a young man: Okay, I love rock and roll. And then, where do you go with that?"

The song was released as a B-side with The Arrows' "Broken Down Heart." The group was recording for RAK Records, which was run by Mickie Most. As Merrill explains, "I Love Rock And Roll" didn't suit his current tastes, as during that time Most preferred ballads and blues. Most's wife Christina Hayes encouraged him to flip the sides, but the song didn't catch on, as it suffered from a poor run of luck at the time of its release. First, it had to be re-released as an A-side. Second, the song came out during an English newspaper strike, so new songs weren't getting the exposure they'd normally get. Third, The Arrows were feuding with their record label. As a result, the song didn't chart and was banished to obscurity.

All was not lost, however, as The Arrows performed this song when they were guests on the UK TV series Pop 45. The show's producer, Muriel Young, was so impressed that on the strength of this performance, she gave them their own TV show, simply called The Arrows Show, which ran from 1976-1977 in the UK for two full 14-week seasons on the ITV network. It was this show that Joan Jett saw in 1976, which prompted her to acquire a copy of "I Love Rock and Roll" and later cover it in 1981, producing what is arguably one of the most successful covers in rock history.

Jett was touring England as a member of an all teenage girl group called The Runaways when she discovered this song. She wanted to record it with The Runaways, but the other members didn't like the song and made the mistake of passing it up. So, in 1979, Jett recorded it with Paul Cook and Steve Jones of The Sex Pistols and released it as a B-side. Finally, in 1981, Jett recorded the song with her band The Blackhearts, resulting in a monster hit.

Jett recalled to Uncut August 2010 her version with the Pistols duo: "I did a very early version with them, it was great working with them, and no, there was no sense of trepidation on my part, despite the fact that everyone was telling me they were the most notorious band on the planet."

Alan Merrill: "I had the chorus, which to me sounded like a hit. And I thought, I'll do something really unusual. I'll write it that this is a song separate from the verse. So the actual chorus is something that's coming out of a jukebox, and the two kids in the disco who are flirting are hearing this song that's a hit. It felt like The Twilight Zone. I was so sure 'I Love Rock and Roll' was gonna be a hit for the Arrows that I thought, Well, when we have a hit with it, it's gonna be a hit within a hit. A fictional hit coming out of the chorus with the kids singing it as their favorite song in the verse of the song. So when it actually became a huge hit for Joan Jett, my Twilight Zone concept came true. And I don't think too many people get that about the song, you know? They just like the melody, and it's catchy. But it was actually a pretty clever stroke, one that I'm proud of." (Want to find out what shot down The Arrows and see them in action? Check out our full interview with Alan Merrill .)

When the Runaways broke up, Joan Jett and her producer Kenny Laguna put her first solo album together with studio time and travel arrangements fronted by The Who. They struggled to get a record deal and had to form their own label, Blackheart Reocrds, to release the album in America. Jett and Laguna both thought "I Love Rock and Roll" was a great song, but since they didn't have the backing of a major label, they held off on it until they could establish themselves and get better distribution. When "Do You Wanna Touch Me" and "Bad Reputation" started getting airplay, they got a deal with Boardwalk Records. That first album, which was called Joan Jett, was remixed and renamed Bad Reputation. Now that she had a record deal, Jett released "I Love Rock and Roll," which was her first single on a major label and was included on her second album.

The Runaways' bass player Michael Steele went on to join the Bangles, and their guitarist Lita Ford had a successful solo career, but Joan Jett emerged as their most famous alumna. Kenny Laguna plays a big part in her story, as he helped Jett get started as a solo artist and worked with her throughout most of her solo career. In 1972, after working with acts like Tommy James & the Shondells and Tony Orlando, Kenny was looking for work and found it through Peter Meaden, who managed The Who when they were still known as The High Numbers. Meaden got Kenny a job working at Mobile Records in England, where he became friends with The Who and met The Runaways' manager, who asked him to produce what would be their last album. Kenny didn't work on that album, but when The Runaways broke up, he started working with Jett. Peter Meaden, who introduced Kenny to The Who and helped revive his career, was the manager of The Arrows, the group that wrote and originally recorded "I love Rock and Roll." If Kenny had accepted the job and produced The Runaways' last album, there is a good chance he would have made them record it, since he thought it was a hit.

Jett's 1979 version of the song was owned by The Polygram company, who were not enthusiastic about Joan or the song. Laguna explains: "They could care less about Joan Jett, they were busy signing every other Runaway. They thought Joan was the loser and they signed the other girls, who we're all friends with, but I looked at the band and thought she was the Mick Jagger and Keith Richards of the band. The company decided that if I would pay the studio cost of $2,300, I could have all the rights, and I got three songs. I got 'I Love Rock and Roll' with The Sex Pistols, I got 'You Don't Own Me' - they did a great version of the Lesley Gore hit, and they did a song Joan wrote called 'Don't Abuse Me.' So I buy these songs back. In the meantime, Joan has a couple of fans. Rodney Bingenheimer of K-ROCK, KMAC in Long Beach, BCN in Boston, LIR in Long Island, they were playing The Sex Pistols' kind of cruddy version of the song, and it was #1 on the alternative stations. It was really alternative music, they were way-out stations that would play some pretty adventurous stuff, that's why they would play Joan, because Joan was not getting a record deal, Joan was way on the outside, like a Fugazi of her day. We saw some kind of potential there. I remember these guys from the big record distributors in Long Island kept calling and saying, 'This is a hit record, we're getting so many requests for it.' So we cut it over and did a really good version of it." (The above two Songfacts come from our interview with Kenny Laguna)

In the original version, the lyrics are about a guy picking up a young girl and taking her home, which was fairly typical rock and roll subject matter. When Jett covered this, however, it became a song about a girl who notices a guy next to a jukebox and brings him home to have sex. Other hit songs like "Physical" by Olivia Newton John and "Hit Me With Your Best Shot" by Pat Benatar also had sexual overtones, but Jett sang about aggressively pursuing the guy, which for many women made this a female-empowerment anthem. This song helped shape Jett's image as a tough, confident rock star and became an inspiration to many female musicians.

The line "Put another dime in the jukebox" was dated by the time Jett released her version, as very few jukeboxes took dimes. "Quarter" didn't sound good in the lyrics, and as jukeboxes slowly disappeared or became computerized contraptions accepting paper currency, it didn't matter anyway.

Jett's next two singles, "Crimson And Clover" and "Do You Wanna Touch Me (Oh Yeah)" were also covers of songs originally recorded by male singers. When Laguna worked with Bow Wow Wow, he had them record "I Want Candy," another song that had to be adapted for a female singer.

In the US, this was #1 for seven weeks in 1982. "Ebony And Ivory" by Stevie Wonder and Paul McCartney did the same a few weeks later.

The video was directed by Arnold Levine, who also did many of the Loverboy and Bruce Springsteen clips. Jett wore a red leather outfit to the shoot, which took place at New York club called Private's with an assortment of fans that showed up that day forming the crowd. When Jett and Levine looked at the edit, the colors were a mess, with way too much red and mauve in the shots because of poor fashion choices. This was not the rock and roll video they imagined, but when Jett saw the black-and-white work copy, she loved it. Without the color, the clip looked gritty and retro, which is what they were going for.

This black-and-white version stood out on MTV among far more colorful clips by the likes of the Go-Go's and The J. Geils Band. It became a huge hit on the network, which had launched just months earlier and was becoming a criterion of cool. The video helped send the song up the charts and establish an image for Jett as a rough-hewn rocker.

The color version, now available on YouTube, was released in 2003 on Jett's Real Wild Child video anthology.

In an interview with Mojo magazine January 2008, Jett looked back on this song: "I think most people who love some kind of rock 'n' roll can relate to it. Everyone knows a song that just makes them feel amazing and want to jump up and down. I quickly realized, this song is gonna follow you, so you're either gonna let it bother you, or you gotta make peace with it, and feel blessed that you were involved with something that touched so many people."

In 1998, Rolling Stone magazine reported that Jett, Alan Merrill and Jake Hooker made a very unusual financial move when they offered bonds secured by future royalties from this song. The story turned out to be very deceptive, as only Hooker was in on the deal, which never materialized.

This seems like a perfect fit for a Rock and Roll Hall of Fame performance, but when Jett was inducted in 2015, she didn't play the song. Although it is by far her biggest hit, Jett has downplayed it throughout her career, typically performing it in the middle of sets while typically using "Bad Reputation" and "I Hate Myself For Loving You" as bookends.

Queen - Tie Your Mother Down

Queen - Tie Your Mother Down Youtube Music Videos and Lyrics

Album: A Day At The Races
Released: 1976

Tie Your Mother Down Lyrics

Ooh, ooh yeah, ooooh yeah
Get your party gown
Get your pigtail down
Get your heart beatin' baby
Got my timin' right
Got my act all tight
It's gotta be tonight my little
School babe

Your Mamma says you don't
Your Daddy says you won't
And I'm boilin' up inside
Ain't no way I'm gonna lose out this time - oh no

Tie Your Mother Down
Tie your mother down
Lock your daddy out of doors
I don't need him nosin' around
Tie your mother down
Tie your mother down
Give me all your love tonight

You're such a dirty louse
Go get outta my house
That's all I ever get from your
Family ties, in fact I don't think I ever heard
A single little civil word from those guys
But you know I don't give a light
I'm gonna make out all right
I've got a sweetheart hand
To put a stop to all that
Snipin' an' grousin' goin' on all night

Tie your mother down
Tie your mother down
Take your little brother swimmin'
With a brick (that's all right)
Tie your mother down - yeah yeah
Tie your mother down
Or you ain't no friend of mine - ooh no friend of mine -
No no, ow, yeah, bad guy

Ooh, your Mammy and your Daddy gonna
Plague me till I die
They can't understand it, I'm just a
Peace lovin' guy

Ooh, tie your mother down
Tie your mother down
Get that big big big big big big daddy out of doors
Tie your mother down - yeah
Tie your mother down
Give me all your love tonight
All your love tonight

Give me every inch of your love - ooh
All your love tonight
Yeah, gotta get my timin' right hey
Ooh, all your love
Tie your mother down

Writer/s: MAY, BRIAN
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Tie Your Mother Down Song Chart

Queen guitarist Brian May wrote this song. In a 1976 interview on Capital Radio, Freddie Mercury was asked "why tie your mother down?" The Queen frontman replied: "Well this one in fact is a track written by Brian (May) actually, I dunno why. Maybe he was in one of his vicious moods. I think he's trying to out do me after 'Death On Two Legs' actually."

The video, which is comprised of concert footage of the band, was shot in Nassau Coliseum in Long Island during Queen's 1977 US tour. Queen discovered the power of music videos two years earlier when TV shows started playing the video they made for "Bohemian Rhapsody."

Brian May clearly has a lot of affection for this song - it was included in the setlist of almost all Queen shows, as well as his solo tours in the 1990s, the reunited Queen + (Paul Rogers and Adam Lambert) tours, and even on his various performances with Kerry Ellis. On the Acoustic by Candlelight tour with Ellis, he performed a slowed-down, Country-style version of the song to better fit the acoustic performance.

If Brian May and occasionally Roger Taylor guest with other bands, this is commonly the song May will play with the band - they have performed it numerous times with the Foo Fighters and The Darkness.

Brian May and Roger Taylor from Queen performed this when they were inducted into the Rock and Roll Hall of Fame in 2001. Dave Grohl and Taylor Hawkins from The Foo Fighters played with them.

After Freddie Mercury died of AIDS in 1991, a concert was held in his honor in Wembley Stadium in London. At the show, Joe Elliott from Def Leppard sang this with Slash from Guns N' Roses on guitar. The concert drew 72,000 fans and raised money to fight AIDS.

Queen commonly used explosions for effect during live and video performances of this song. During the video shoot, Roger Taylor was blown off his stool and off the stage due to an explosion placed in a bucket on his riser. While watching certain versions of the video you can see the part cut out, where Freddie turns around to face the back of the stage almost immediately. The recording had to be stopped for a moment because Roger was on the floor. Luckily, he was fine, though Brian May states clearly in video commentary, "Nearly killed Roger, it has to be said!" (thanks, Lorena - Miami, FL)

This song was covered by Shinedown for the 2005 Queen tribute album Killer Queen. (thanks, Rachel - South Point, OH)

Guns N' Roses has covered this song live with guitarist Brian May in concert. (thanks, Jonathon - Clermont, FL)

In the documentary Freddie Mercury: The Untold Story, we learn that his close circle of male friends all had female nicknames, and Freddie's was mother. (thanks, Becky - Locust Grove, GA)

On the TV show Al Murray's Happy Hour, on each episode a band would appear and have to cover a Queen song in the outro of the show. The Welsh rock band Stereophonics chose this song to perform, with vocalist Kelly Jones singing the chorus hook and guitarist Adam Zidani handling the rest of the vocals. Pretty good version it is too!

Patti Smith - Because The Night

Patti Smith - Because The Night Lyrics and Youtube Music Videos

Album: Easter
Released: 1977

Because The Night Lyrics

Because The Night Song Chart

Despite her large cult following and Rock and Roll Hall of Fame career (she was inducted in 2007), this was Patti Smith's only hit, making it an anomaly in her discography, which was aimed at a far more narrow audience.

For many not familiar with Smith's career or the history of Punk, this is the only recognizable song of hers. The producers of the 2013 movie CBGB, played to this audience when they portrayed singing this song at the famous club in 1975 - two years before she recorded it and a year before it was written. In the film, Smith was played by Mickey Sumner, who is Sting's daughter.

Bruce Springsteen wrote this song. He gave it to Patti Smith in 1976 because he thought it would suit her voice. He was also in a legal battle with his manager, Mike Appel, that kept him from recording for almost three years.

Springsteen gave this to Smith with the music and the chorus. She filled in the lyrics one night while waiting for her husband to call.

Springsteen joined Smith on Stage several times in 1976-1977, while legal battles kept him from recording.

Smith bought her dad a new 1978 Cordoba with the money she made from this.

Smith's producer on the Easter album was Jimmy Iovine, who would go on to great things as a producer and entrepreneur, but was still getting started in the business at the time. "Because The Night" was his first hit as a producer, and he credits Bruce Springsteen for granting him the opportunity. Iovine had worked on Bruce's 1975 Born To Run album, and Springsteen have him the song to deliver to Smith. This "really launched by career," Iovine said.

Smith was hesitant to use a song written by someone else, but changed her mind when she heard Springsteen's demo.

After this song became a hit, Smith dismissed it as "commercial sh-t." She admitted that it was a well-written song, but didn't want it to define her career. (thanks, Adam - Dewsbury, England)

As The Boss was struggling to finish this song, he agreed to Jimmy Iovine's request that Patti Smith could complete it. Springsteen explained why to Mojo magazine August 2010: "It was a love song and I really wasn't writing them at the time. I wrote these very hidden love songs like For You, or Sandy, maybe even Thunder Road, but they were always coming from a different angle. My love songs were never straight out, they weren't direct. That song needed directness and at the time I was uncomfortable with it. I was hunkered down in my samurai position. Darkness… was about stripping away everything - relationships, everything - and getting down to the core of who you were. So that song is the great missing song from Darkness On The Edge. I could not have finished it as good as she did. She was in the midst of her love affair with Fred 'Sonic' Smith and she had it all right there on her sleeve. She put it down in a way that was just quite wonderful."

Talking Heads - Theme

Talking Heads - Theme Lyrics and Youtube Music Videos

Album: Not Released on an Album
Released: 1976

Theme Lyrics

Theme

This instrumental is a previously unreleased Talking Heads song that was placed online in December 2013. The track was recorded at CBGB's in New York on July 30, 1976 and revealed at the Talking-Heads.nl, a Dutch information website for the band. Webmaster Francey explained, "The instrumental song is introduced by David Byrne as 'Theme' and never developed into a complete song. Talking Heads played two sets at legendary venue CBGB's that night, opening both times for Television. The recording is of the first Talking Heads set of that night. It's unknown whether it was played during the second set as well. David Byrne introduces the track as 'We call it "Theme," but then we just keep it to ourselves.'"

AC/DC - Dirty Deeds Done Dirt Cheap

AC/DC - Dirty Deeds Done Dirt Cheap Lyrics and Youtube Music Videos

Album: Dirty Deeds Done Dirt Cheap
Released: 1976

Dirty Deeds Done Dirt Cheap Lyrics

If you're havin' trouble with the high school head
He's givin' you the blues
You want to graduate but not in 'is bed
Here's what you gotta do
Pick up the phone
I'm always home
Call me any time
Just ring
36 24 36 hey
I lead a life of crime

Dirty deeds, done dirt cheap
Dirty deeds, done dirt cheap
Dirty deeds, done dirt cheap
Dirty deeds and they're done dirt cheap
Dirty deeds and they're done dirt cheap

You got problems in your life of love
You got a broken heart
He's double dealin' with your best friend
That's when the teardrops start, fella
Pick up the phone
I'm here alone
Or make a social call
Come right in
Forget about him
We'll have ourselves a ball

Dirty deeds, done dirt cheap
Dirty deeds, done dirt cheap
Dirty deeds, done dirt cheap
Dirty deeds and they're done dirt cheap
Dirty deeds and they're done dirt cheap

If you got a lady and you want her gone
But you ain't got the guts
She keeps naggin' at you night and day
Enough to drive ya nuts
Pick up the phone
Leave her alone
It's time you made a stand
For a fee
I'm happy to be
Your back door man

Dirty deeds, done dirt cheap
Dirty deeds, done dirt cheap
Dirty deeds, done dirt cheap
Dirty deeds and they're done dirt cheap yeah
Dirty deeds and they're done dirt cheap

Concrete shoes, cyanide, TNT
Done dirt cheap
Neckties, contracts, high voltage
Done dirt cheap

Dirty deeds
Do anything you wanna do
Done dirty cheap
Dirty deeds
Dirty deeds
Dirty deeds
Done dirt cheap

Writer/s: ANGUS MCKINNON YOUNG, RONALD BELFORD SCOTT, MALCOLM MITCHELL YOUNG
Publisher: J. ALBERT & SON(INTERNATIONAL) PTY. LTD.
Lyrics licensed and provided by LyricFind

Dirty Deeds Done Dirt Cheap

AC/DC lead guitarist Angus Young got the song title from the 1962 animated cartoon series Beany and Cecil. The Show first aired on ABC Television and only ran for one season until the 26 episodes shown were cast as repeats for the next five years until it was recreated in 1968. The specific inspiration for the song name was the cartoon's main villain, "Dishonest John," who would carry around a business card that said, "Dirty Deeds Done Dirt Cheap. Holidays, Sundays, and Special Rates."

This song epitomizes AC/DC's dangerous and mean sound, with Angus Young's heavy guitar and Bon Scott's leering, vocals that would have scared the living daylights out of any unsuspecting teenage Pop fans when this song first hit the airwaves (they did it on a national TV show in Australia called Countdown, which was usually frequented by acts like ABBA and Bucks Fizz).

This was recorded at Alberts Studios in Sydney, Australia in 1976 soon after the sessions that produced the Australian version of their TNT album.

The ending is one of the most famous screams in Rock history. For those wondering, it's spelled: "Yaaaaaaaaaaarrrrrrrrrggghhhhhh!"

This was used in the Norm MacDonald movie Dirty Work. It is played while Norm's character Mitch and his friend Sam are wrecking a building in an attempt to get it condemned.

Lesley Gore, known for '60s hits like "It's My Party," recorded this for the 2002 compilation album When Pigs Fly: Songs You Never Thought You'd Hear . Her version was produced by Mauro DeSantis, who worked with Cevin Soling on the track. Soling, who was executive producer of the album, explains why he chose this song for Gore: "Her stuff was fairly empowering as far as female artists and things that she was doing. So it's not like it was the complete stretch, but you still think kind of the lighter girl-group kind of music from the '60s, and here's something that's pretty hard-core aggressive. But at the same time, I certainly concede that she was doing edgy stuff in her own way, at the time." (Check out our interview with Cevin Soling.)

On a 2008 episode of The Simpsons where they team up on a stakeout, we learn that Homer Simpson and the pious Ned Flanders have come common ground in their musical tastes. Homer likes AC/DC, and Ned likes their Christian tribute band: AD/BC, and their version of this song, "Kindly Deeds Done For Free."

Regarding the lyrics, "Just ring: 3-6-2-4-3-6," this was an actual phone number in Australia at the time, and it also could describe the measurements of a very shapely woman: 36-24-36. A year later, the Commodores used the same measurements to describe a woman in their song "Brick House." Sir Mix-a-Lot, however, scoffed at these measurements in his 1992 hit "Baby Got Back," where he says: "36-24-36? Only if she's 5'3."

The song about murder for hire enjoyed a sales spike following drummer Phil Rudd being charged with trying to procure a murder in November 2014. The charge was soon dropped.