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Yusuf Islam - A Is For Allah

Yusuf Islam - A Is For Allah Lyrics and Youtube Music Videos

Album: A Is For Allah
Released: 1980

A Is For Allah Lyrics

A Is For Allah Song Chart

When Cat Stevens converted to Islam and adopted the name Yusuf Islam in 1977, he was determined to give up his musical career as he felt he needed to dedicate himself to study of his new religion and avoid the secular aspects of the music business. However the birth of Yusuf's first child, a daughter named Hasanah, prompted a return to songwriting. He explained to Uncut: "I wrote a song in 1980 called 'A is For Allah.' I sang it to my first-born and then, when I was going around, a lot of people wanted me to give a talk and then they'd want me to sing something. I wouldn't have a guitar, so I'd just sing this song a cappella and it was recorded on people's cassettes."

"It was probably one of the biggest hits of the Muslim world back in the '80s. Almost every family had it. From there I realized, these kids need music, they need something. So I started writing songs for children and we've had one of the most popular CDs in the Muslim world called I Look, I See."

The Rolling Stones - Rocks Off

The Rolling Stones - Rocks Off Lyrics and Youtube Music Videos

Album: Exile on Main St.
Released: 1972

Rocks Off Lyrics

Oh yeah!

I hear you talking when I'm on the street,
Your mouth don't move but I can hear you speak.
What's the matter with the boy?
He don't come around no more,
Is he checking out for sure?
Is he gonna close the door on me?
I'm always hearing voices on the street,
I want to shout, but I can't hardly speak.
I was making love last night
To a dancer friend of mine.
I can't seem to stay in step,
'Cause she come ev'ry time that she pirouettes over me.
And I only get my Rocks Off while I'm dreaming,
I only get my rocks off while I'm sleeping.
I'm zipping through the days at lightning speed.
Plug in, flush out and fire the fuckin' feed.
Heading for the overload,
Splattered on the dirty road,
Kick me like you've kicked before,
I can't even feel the pain no more.
And I only get my rocks off while I'm dreaming, (only get them off)
I only get my rocks off while I'm sleeping.
Feel so hypnotized, can't describe the scene.
Its all mesmerized, all that inside me.
The sunshine bores the daylights out of me.
Chasing shadows moonlight mystery.
Headed for the overload,
Splattered on the dirty road,
Kick me like you've kicked before,
I can't even feel the pain no more.
And I only get my rocks off while I'm dreaming (only get them off, get them off),
I only get my rocks off while I'm sleeping (only get them off, get them off).
I only get my rocks off while I'm dreaming (only get them off, get them off),
I only get my rocks off while I'm sleeping (only get them off, get them off).
(Only get them off, get them off) (only get them off, get them off)

Writer/s: Jagger, Mick / Richards, Keith
Publisher: EMI Music Publishing, Sony/ATV Music Publishing LLC, BMG RIGHTS MANAGEMENT US, LLC, SONY ATV MUSIC PUB LLC
Lyrics licensed and provided by LyricFind

Rocks Off Song Chart

The lyrics contain lots of sexual content, but they are very hard to understand. The song is about the impending loss of sexual ability - there was no Viagra back then.

Andy Johns, who engineered the Exile on Main St. sessions, told Goldmine magazine in 2010: "It went on for ages. When Mick came back from Paris for the first time he seemed happy with the sound. And Keith would sit down stairs and at one point he sat there for 12 hours without getting out of his chair just playing the riff over and over and over.
And then one night, it was very late, four or five in the morning, Keith says, 'Let me listen to that take again.' And he nods off while the tape is playing. I thought, 'Great. That's it. End of the night and I'm out of here.' So I go back to my place where I was staying. (Horn player/arranger) Jim Price and I had this villa. It was pretty spanky. I'm tellin' you. A half an hour drive. I walk in the front door and the phone is ringing. I pick it up and it's Keith. 'Where are you?' 'Well, I'm obviously here 'cause I answered the phone.' 'Well you better get back here, man, 'cause I have this guitar part. Come back!'"

This was the first of 18 songs on Exile on Main St. Most of the album was recorded at the Villa Nellcote, a place Keith Richards rented in the South of France. The Stones went there to have some fun and get away from England, where they were taxed heavily on their earnings.

This features Bobby Keys on sax and Jim Price on trumpet. They provided horns on albums and tours through the early '70s. Nicky Hopkins played piano on the track. (thanks, Bertrand - Paris, France)

Keith Richards explained the title of the album in his autobiography Life (2010): "We could record from late in the afternoon until five or six in the morning, and suddenly the dawn comes up and I've got this boat... We'd just jump in, Bobby Keys, me, Mick, whoever was up for it... We'd pull into Monte Carlo for lunch. Have a chat with either Onassis's lot or Niarchos's, who had the big yachts there. You could almost see the guns pointed at each other. That's why we called it Exile On Main Street. When we first came up with the title it worked in American terms because everybody's got a Main Street. But our Main Street was that Riviera strip. And we were exiles, so it rang perfectly true and said everything we needed. The whole Mediterranean coast was an ancient connection of its own, a kind of Main Street without borders. I've hung in Marseilles, and it was all it was cracked up to be and I've no doubt it still is. It's like the capital that embraces the Spanish coast, the North African coast, the whole Mediterranean coast. It's basically a country all its own until a few miles inland." (thanks, Bertrand - Paris, France)

Azealia Banks - Yung Rapunxel

Azealia Banks - Yung Rapunxel Lyrics and Youtube Music Videos

Album: Broke With Expensive Taste
Released: 2013

Yung Rapunxel Lyrics

I wanna be free

Who’s cooler than this, witch
Maneuver then dip, hip like the ruger this clip
Bitches Zooted and Sipped, I’m Suited and Zipped
Make a move or get skipped, sis ya “who it,† and hit
Like, who is this bitch?
Who was fooding this fish?
Let ya hoof n’ it slip, I’ll swoop in and split
Take two of this tit D-do-do-dit dit
Keep grooving this bitch, like ya new with this pip!
Stay true to this shit
Mackin' moves in this bitch, whitey hoot for this sis
If these niggas is rich, if these niggas insist
I’ma dig ‘em and dip take a whiff of this mist
I’m used to this chip
Spit ya fluidest, bitch nigga, you could get bent
Remov-ed and spent
I’m a shoe in this shit shaker, you was just tricked
Perusing his dick

Come feud with this Fif, face two of this lit
He’s souping his drip, from the roof of this clit

Brrrrrrrr-brrrrrr-brrrrrr-brrraaaat
Bitch better quit that quit that chit chat
If you strapped nigga! dare you ta, dare you ta

Brrrrrrrrrr-brrrp-brrrp-brrrrp
Just let me pop my shit, let me hit that weed!
And sip that aye niggas? What?!
What the fuck?
Dare you ta, dare you ta
Brrrrrrrrrr-brrrrp-brrrrp-brrrp
Let a bitch nigga drop, bet the bitch ain't barkin like me
Well niggas? What the fuck
Dare you ta, dare you ta

Brrrrrrrrrr-brrrp-brrrp-brrrrp
Just let me pop my shit, let me hit that weed!
And sip that aye niggas?, what?!
What the fuck?
Dare you ta, dare you ta
Brrrrrrrrrr-Brrrp-Brrrp-Brrrrp

Show me which niggas out, tryna risk they all with the witch AB?
Az’s on the block, straight cheese on the chop
AZ stay talking that sick, sadistic shit
These niggas think they grew up too tough
I’ll rip your niggas head off like he who what who pop?
I’ll send him to Jehovah like he flew up who got the
(I got a situation to handle)

Brrrrrrrr-brrrrrr-brrrrrr-brrraaaat
Bitch better quit that quit that chit chat
If you strapped nigga! I dare you ta, dare you ta

Brrrrrrrrrr-brrrp-brrrp-brrrrp
Just let me pop my shit, let me hit that weed!
And sip that aye niggas? What?!
What the fuck?
Dare you ta, dare you ta
Brrrrrrrrrr-brrrrp-brrrrp-brrrp
Let a bitch nigga drop, bet the bitch ain't barkin like me
Well niggas? What the fuck
Dare you ta, dare you ta

Brrrrrrrrrr-brrrp-brrrp-brrrrp
Just let me pop my shit, let me hit that weed!
And sip that aye niggas?, what?!
What the fuck?
Dare you ta, dare you ta
Brrrrrrrrrr-Brrrp-Brrrp-Brrrrp

Writer/s: MOORE, CHADRON / BANKS, AZEALIA / JAMES, KEVIN / SMITH, PREMRO / WADSWORTH, JULIAN
Publisher: Sony/ATV Music Publishing LLC, THE ROYALTY NETWORK INC., SONY ATV MUSIC PUB LLC
Lyrics licensed and provided by LyricFind

Yung Rapunxel Song Chart

The first single from Azealia Banks' Broke with Expensive Taste album, the title refers to one of several of Banks' alter egos. "One personality is not enough for me," she told Q magazine. "I need to express myself through alternate fictitious mouthpieces. Sometimes I'm Yung Rapunxel, who is curvaceous and feisty. Then another day I might be Little Bambi, who is sexy and likes to show her bits but doesn't want to be touched."

The song contains an interpolation of Mary J. Blige's 2001 single "No More Drama."

Carly Simon - You're So Vain

Carly Simon - You're So Vain Lyrics and Youtube Music Videos

Album: No Secrets
Released: 1972

You're So Vain Lyrics

You walked into the party
Like you were walking on a yacht
Your hat strategically dipped below one eye
Your scarf, it was apricot
You had one eye on the mirror
And watched yourself gavotte
And all the girls dreamed that they'd be your partner
They'd be your partner, and

You're So Vain
You probably think this song is about you
You're so vain,
I'll bet you think this song is about you
Don't you?
Don't you?

Oh, you had me several years ago
When I was still naive
Well, you said that we made such a pretty pair
And that you would never leave
But you gave away the things you loved
And one of them was me
I had some dreams, they were clouds in my coffee
Clouds in my coffee, and

You're so vain
You probably think this song is about you
You're so vain, you're so vain
I'll bet you think this song is about you
Don't you?
Don't you?

Well I hear you went to Saratoga
And your horse, naturally, won
Then you flew your Learjet up to Nova Scotia
To see the total eclipse of the sun
Well, you're where you should be all the time
And when you're not, you're with some underworld spy
Or the wife of a close friend,
Wife of a close friend, and

You're so vain
You probably think this song is about you
You're so vain, you're so vain
I'll bet you think this song is about you
Don't you?
Don't you?

Writer/s: C SIMON
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

You're So Vain Song Chart

The person Simon is singing about in this song remains a mystery, as she has never made it clear who she wrote it about; rumors include Warren Beatty, Kris Kristofferson, Cat Stevens, and Mick Jagger, all of whom she had affairs with. Carly has been elusive and changed her story a bit when asked the inevitable question about the song (strange considering the album title). In 1974, she told Modern Hi-Fi and Music: "That song is about a lot of people. I mean I can think of a lot of people. The actual examples that I've used in the song are from my imagination, but the stimulus is directly from a couple of different sources. It's not just about one particular person."

The media and the general public seemed to want this to be about a specific person, however, and Simon was happy to indulge. In a 2008 interview to promote her album This Kind of Love, she said: "When I had the line 'You're so vain, you probably think this song is about you,' that was definitely about one person. The rest of the descriptions basically came from my relationship with that person."

When it came time to promote her memoir Boys in the Trees in 2015, Simon divulged that the second verse ("You had me several years ago when I was still quite naive...") is about Warren Beatty, and said that the other verses are about two different men, whom she wouldn't name. As for Beatty's reaction, Simon said, "Warren thinks the whole thing is about him."

Richard Perry, who produced the album, has his own ideas about the song's subject matter. He said in the book The Record Producers: "It's about a compilation of men that Carly had known, but primarily Warren Beatty."

Simon started recording this with Harry Nilsson singing backup, but Mick Jagger ended up singing on it instead (listen for him on the "don't you" parts), although he was not credited on the album.

When asked how she was able to get him, Simon said: "I guess it was kind of chance in a way. I was in London, it was 1972 and he happened to call at the studio while I was doing the background vocals with Harry Nilsson. Mick said 'Hey, what cha doin'?' and I said 'We're doing some backup vocals on a song of mine... why don't you come down and sing with us?' So Mick and Harry and I stood around the mic singing 'You're So Vain' and Harry was such a gentleman - he knew the chemistry was between me and Mick; in terms of the singing, so he sort of bowed out saying, 'The two of you have a real blend - you should do it yourselves.'" (thanks, Kain - Charleston, SC)

In a 2000 interview with Charlie Rose, Simon explained the origin of this song: "There was originally a song that had the melody of what is now 'You're So Vain,' called 'Bless You Ben.' It went 'Bless you Ben, you came in, where nobody else left off, there I was, by myself, hiding up in my loft.' It never went anywhere, I could never fall in love with it. And then I was at a party and somebody walked in and my friend said to me 'Doesn't he look like he's just walked on to a yacht?' So, I thought to myself - hmmm, let me write that in my notebook. And then one day, when I was playing 'Bless You Ben' on the piano, I substituted 'You walked into the party, like you were walking onto a yacht' and the exchange was equal. And it felt natural and it felt good and then I could get into that man, I knew who I was talking about.

Simon came up with the "Clouds in my coffee" line on a cross-country flight. She explained the meaning of the phrase, saying: "Clouds In My Coffee are the confusing aspects of life and love. That which you can't see through, and yet seems alluring... until. Like a mirage that turns into a dry patch. Perhaps there is something in the bottom of the coffee cup that you could read if you could (like tea leaves or coffee grinds)."

The phrase came courtesy of her friend and musical collaborator Billy Mernit, who was sitting next to Simon on the flight. Carly had the window seat, and Mernit noticed the clouds from the window reflecting in her coffee. He said, "look at the clouds in your coffee," and mentioned that it looked like a shot from the 1967 French movie 2 or 3 Things I Know About Her, directed by Jean-Luc Godard. In the film, there's a poignant shot of cream swirling in a cup of coffee. According to Mernit, he and Simon both wrote the line down in their journals, and a few weeks later, Carly called him and asked if she could use it in a song.

Glenn A. Walsh, who was Astronomical Observatory Coordinator and a Planetarium Lecturer for Pittsburgh's original Buhl Planetarium, told us:
There actually is another part of the "You're So Vain" mystery that few people are aware of. Most people think that most lyrics are simply creative. However, one lyric in this song is very curious:

"Then you flew your Lear jet up to Nova Scotia to see the total eclipse of the sun."

When I first heard this lyric in June of 1972, I immediately knew what it meant. I am sure that nearly ANY scientist who heard this lyric in 1972 knew exactly what it referred to!

In fact, one day in mid-June of 1972, a colleague and I were in the radio station when the record was played. When that particular lyric was heard, he turned to me and said, "that would be nice." I knew he meant that it would be nice to fly to Nova Scotia and see the eclipse the next month.

There was a total eclipse of the Sun on July 10, 1972 and Nova Scotia would be one of the best places to observe this particular eclipse (see an image of the eclipse).

Even though Carly Simon wrote the lyric in past-tense, she was really writing about an actual event in the not-too-distant future!

This brings-up several questions:
- Did she write the lyric in past-tense because she did not think the record would be released until after the eclipse? Or she did not think it would become popular until after the eclipse?
- Did this guy tell her about the upcoming eclipse and his plans to see it? Or did she know about the eclipse herself or did some other friend tell her about it as she was writing the lyrics - and she knew this guy would possibly fly to Nova Scotia to see the eclipse?
- Did this guy actually fly to Nova Scotia to see the eclipse? Or, did the release of this record actually make him decide NOT to fly to Nova Scotia to see the eclipse (AND, was this Carly Simon's purpose in writing the lyric)?

The mystery continues with these questions!

In 2003, Simon held an auction for a charity on Martha's Vineyard where she offered to tell the high bidder who this song is about. The winning bidder was Dick Ebersol, the president of NBC Sports, who paid $50,000. Ebersol had to sign a confidentiality agreement, but was allowed to give one hint - the man's name contains the letter "E." Over the next few years, Simon further revealed that there is also an "A" and an "R" in the name.

Simon married James Taylor a month before this was released. She has said that it is definitely not about him.

The original title of this song, typed on the acetate demo, was "Ballad of a Vain Man." (thanks, Ron - Milton Keynes, England)

When Simon originally penned the song it was more of a folky ballad, but her producer Richard Perry gave it more of a rock edge. She recalled to Uncut Magazine April 2010: "I played it in a much slower tempo, which he raised. I didn't take the song as seriously as all that. It wasn't vengeance - it wasn't Anna Karenina. It was, 'From this point of view, you don't necessarily look as good as you think you look.' There's not an iota of hate in it. There may be much more of an iota of feeling hurt or rejected. I was brought up by a mother who was adamant that you didn't even kiss a man unless you were in love with him. So I was in love with a lot of men! I was definitely a romantic and my hopes were dashed. That led to the song. But I admired all those candidates, for their great artistic sensibility. I was besotted by the lads! Of course, I've never established whether I was attracted to that person. I don't think I would be now."

Howard Stern claims that Simon told him who this song is about... but he forgot. As Stern tells it, Simon appeared on his show with Ben Taylor, who is Simon's son with her ex-husband James Taylor. Carly and Ben had an agreement not to talk about James Taylor, which was clearly a source of tension. Howard was able to open a dialogue about the subject, and Simon was so grateful that she whispered the name of the mystery man into Howard's ear, making Howard and Dick Ebersol the only people she has told. According to Howard, he has since forgotten, but he knows it's not David Geffen.

In 1976, Simon performed this on Saturday Night Live, but taped her performance about an hour before the show because she got really bad stage fright. Chevy Chase played the cowbell and sang in the background.

In February 2010, Simon gave a clue regarding to whom this song is directed, when she told Uncut magazine: "You know what, I'm just going to tell you this. The answer is on the new version of 'You're So Vain,' on my new record Never been Gone. There's a little whisper and it's the answer to the puzzle."

A representative for Simon confirmed that the name whispered during the song is "David." Multiple media outlets quickly reported that the subject was David Geffen, who ran Simon's Elektra record label at the time of the song's release. They surmised that the song had been inspired by her resentment of the attention Geffen had put into promoting her label-mate Joni Mitchell: In 1973 Mitchell penned "Free Man in Paris" about Geffen.

However, in an email to Showbiz 411 Simon said that Geffen is not the "David" in question. She wrote: "What a riot! Nothing to do with David Geffen! What a funny mistake! Someone got a clue mistaken for another mistake," adding that she never even knew Geffen in 1971 when the song was written, "How can this guessing game stop without a lie?" she said.

The chorus of this song ("You're so vain, you probably think this song is about you; don't you?") is included in the Nine Inch Nails song "Starf---ers, Inc" on The Fragile album. (thanks, Eric - Suffern, NY)

In 2001, Simon sang on Janet Jackson's "Son Of A Gun," which was an updated version of this song.

Dexys Midnight Runners - Dance Stance

Dexys Midnight Runners - Dance Stance Lyrics and Youtube Music Videos

Album: Searching For The Young Soul Rebels
Released: 1979

Dance Stance Lyrics

I'll only ask you once more
You only want to believe
This man is looking for someone to hold him down
He doesnt quite ever understand the meaning

Never heard about, cant think about
Oscar Wilde and Brendan Behan,
Sean OCasey, George Bernard Shaw.
Samuel Beckett, Eugene ONeill, Edna OBrien and Lawrence Stern.

I'll only ask you once more
It must be so hard to see.
This man is waiting for someone to hold him down
He doesnt quite fully understand the meaning.

Never heard about, wont think about
Oscar Wilde and Brendan Behan,
Sean OCasey, George Bernard Shaw.
Samuel Beckett, Eugene ONeill, Edna OBrien and Lawrence Stern.
Sean Kavanaugh and Sean McCann,
Benedict Keilly, Jimmy Hiney
Frank OConnor and Catherine Rhine.

Shut it You don't understand it
Shut it That's not the way I planned it
Shut your fucking mouth til you know the truth.

Writer/s: Rowland, Kevin
Publisher: EMI Music Publishing
Lyrics licensed and provided by LyricFind

Dance Stance Song Chart

The first single by Dexys Midnight Runners, "Dance Stance" makes reference to a range of Irish playwrights and writers who arose from Kevin Rowland's Irish-Catholic background. "I was sick of hearing anti-Irish prejudice all the time from really thick people and the lyrics just spilled out of me," he recalled to The Guardian. "I had this biography of Brendan Behan and on the back it said: 'Some say Behan has the potency of Oscar Wilde...' and listed all these other great writers: Sean O'Casey, George Bernard Shaw and so on."

Rowland added, "I'd heard of them – that was all – but thought: 'I'll put them in!' I don't think I was ever claiming to have actually read them. I was saying: 'If Irish people are so thick, how come they've produced all these great writers.'"

The song was originally titled "Burn It Down." The single release was changed to the less inflammatory "Dance Stance" at the suggestion of their then-manager Bernard Rhodes. When the Dexys re-recorded the song for their debut album, Searching for the Young Soul Rebels, they returned to the original "Burn It Down" title.

The Rolling Stones - I Got The Blues

The Rolling Stones - I Got The Blues Lyrics and Youtube Music Videos

Album: Sticky Fingers
Released: 1971

I Got The Blues Lyrics

As I stand by your flame
I get burned once again
Feelin' low down, I'm blue

As I sit by the fire
Of your warm desire
I've got the blues for you, yeah

Every night you've been away
I've sat down and I have prayed
That you're safe in the arms of a guy
Who will bring you alive
Won't drag you down with abuse

In the silk sheet of time
I will find peace of mind
Love is a bed full of blues

And I've got the blues for you
And I've got the blues for you
And I'll bust my brains out for you
And I'll tear my hair out
I'm gonna tear my hair out just for you
If you don't believe what I'm singing
At three o'clock in the morning, babe, well
I'm singing my song for you

Writer/s: JAGGER, MICK / RICHARDS, KEITH
Publisher: Abkco Music, Inc.
Lyrics licensed and provided by LyricFind

I Got The Blues Song Chart

Mick Jagger wrote the lyrics about his breakup with Marianne Faithfull.

Bobby Keys played the saxophone on this track and Jim Price, who also came up with the horn arrangements, played the trumpet. They both joined The Stones for their 1970 European tour.

Billy Preston played the gospel organ.

Sticky Fingers was the first album The Stones recorded on their own label, and the first in which Mick Taylor played guitar on nearly all the tracks. It has sold over 6 million copies since it's release. (thanks, Bertrand - Paris, France)

Dexys Midnight Runners - There, There My Dear

Dexys Midnight Runners - There, There My Dear Lyrics and Youtube Music Videos

Album: Searching For The Young Soul Rebels
Released: 1980

There, There My Dear Lyrics

Dear Robin
Hope you dont mind me writing, its just that theres more than one thing I
need to ask you. If youre so anti-fashion, why not wear flares, instead of
dressing down all the same. Its just that looking like that I can express
my dissatisfaction.

Dear Robin
Let me explain, though youd never see in a million years. Keep quoting
Cabaret, Berlin, Burroughs, J.G. Ballard, Duchamp, Beauvoir, Kerouac,
Kierkegaard, Michael Rennie. I dont believe you really like Frank Sinatra.

Dear Robin
Youre always so happy, how the hell do you get your inspiration? Youre
like a dumb patriot. If youre supposed to be so angry, why dont you fight
and let me benefit from your right? Dont you know the only way to change
things is to shoot men who arrange things, Dear Robin
I would explain but youd never see in a million years. Well, youve made
your rules, but we dont know that game, perhaps Id listen to your records
but your logics far too lame and Id only waste three valuable minutes of
my life with your insincerity.

You see Robin, Im just searching for the young soul rebels, and I cant
find them anywhere. Where have you hidden them?

Maybe you should welcome the new soul vision.
Writer/s: ROWLAND, KEVIN ANTHONY/ARCHER, KEVIN
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

There, There My Dear Song Chart

Written as an open letter to a pseudo-intellectual musician called Robin, this horn-led song acts as a dismissal of a dishonest music scene. Kevin Rowland told The Guardian: "It's an angry song. In the lyrics, I'm addressing 'Robin,' but he was the personification of a certain type of middle-class musician in NME, quoting Kerouac and Burroughs and all these authors I'd never read."

In the Searching for the Young Soul Rebels liner notes, the song title is followed by the line "P.S. Old clothes do not make a tortured artist."

After the song's closing notes, Rowland sings unaccompanied the main chorus of Lee Dorsey's 1969 R&B classic "Everything I Do Gonh Be Funky (From Now On)."

The Rolling Stones - You Gotta Move

The Rolling Stones - You Gotta Move Lyrics and Youtube Music Videos

Album: Sticky Fingers
Released: 1971

You Gotta Move Lyrics

You gotta to move
You gotta to move
You gotta to move, child
You gotta to move
Oh, when the Lord get ready
You gotta to move

You may be high
You may be low
You may be rich, child
You may be poor
But when the Lord get ready
You gotta to move

You see that woman
Who walks the street
You see that police
Upon his beat
But then the Lord get ready
You gotta to move

You Gotta Move

Writer/s: FRED MCDOWELL, REVEREND GARY DAVIS
Publisher: BMG RIGHTS MANAGEMENT US, LLC, DOWNTOWN MUSIC PUBLISHING LLC
Lyrics licensed and provided by LyricFind

You Gotta Move Song Chart

This was written and originally performed by Mississippi bluesman Fred McDowell. McDowell was active in the 1920s and '30s as both a musician and a farmer. He remained fairly obscure until the '60s, when blues and folk historians raised his profile. (thanks, Bertrand - Paris, France)

This was the first song The Stones recorded for Sticky Fingers. They did it over three days in 1969 at studios in Muscle Shoals, Alabama. "Brown Sugar" and "Wild Horses" were also recorded over these three days.

Before recording this, Mick Jagger and Keith Richards had been performing it as a duet.

The Stones played this at their live shows throughout the '70s.

This was the Stones third straight album with one blues cover. Let It Bleed had "Love In Vain" and Beggars Banquet had "Prodigal Son."

Aerosmith covered this on their album Honkin' On Bobo. (thanks, Bertrand - Paris, France)

Mick Taylor, 2011: "'You Gotta Move' was this great Mississippi Fred McDowell song that we used to play all the time in the studio. I used a slide on that - on an old 1954 Fender Telecaster - and that was the beginning of that slide thing I tried to develop with the Stones." (thanks, Bertrand - Paris, France)

Enter Shikari - Anaesthetist

Enter Shikari - Anaesthetist Lyrics and Youtube Music Videos

Album: The Mindsweep
Released: 2015

Anaesthetist Lyrics

(Anaesthetist)
(Anaesthetist)

Doctor, fetch the Anaesthetist (Anaesthetist)
Fetch the Anaesthetist, so when I go under the knife I believe in this
Fetch the Anaesthetist (Anaesthetist)
Fetch the Anaesthetist, so when I go under the knife I believe!

You fucking spanner!
Just a cog in the industry, you're part blind
You shared your blood from the convicted
You parasite!
You play god and you don't care who it affects
You suck the blood of the afflicted
You suck the blood of the afflicted

Illness is not an indulgence which you should pay for,
Nor is it a crime for which you should be punished
For this conviction I would endanger my health
Shut it! Oi!
Just 'cause you break bridges and lust for fame
No you won't see us participating in that game
Keep it twisted, take the success
'Cause all I really want is what's beating in your chest

Doctor, fetch the Anaesthetist. (Anaesthetist)
Fetch the Anaesthetist, so when I go under the knife I believe in this
Fetch the Anaesthetist. (Anaesthetist)
Fetch the Anaesthetist, so when I go under the knife I believe!

We drink to your health!
But just one thought,
This round's on you.
And every day you roll the dice.
We drink to your health!
We capitalise on your condition!
Bad luck, you pay the price
Bad luck
You pay the price

Fetch the Anaesthetist
(Anaesthetist)
Fetch the Anaesthetist
I wanna go under the knife I believe in this

You sold us short,
You will not profit off our health!
Step the fuck back

Writer/s: BATTEN, CHRIS / CLEWLOW, LIAM RORY / ROLFE, ROBERT / REYNOLDS, ROUGHTON
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Anaesthetist Song Chart

This song finds Enter Shikari tackling what they see as the Conservative government's privatization of the free healthcare provided in the UK by the National Health Service. Speaking about the track, frontman Rou Reynolds said: "We seem to have reached a stage of such capitalistic fervor, that we believe it acceptable to punish people for ill health."

"By charging for healthcare we act as if illness is nothing but one's own problem, but what is the purpose and advantage of 'civilization' if it is not helping the most vulnerable within society? The lottery of birth can offer us a wealth of bad luck when it comes to our health and the safety nets are being pulled in as the desire to boost profit overtakes the desire to help people."

Enter Shikari debuted the song live during their shows at the 2014 Reading and Leeds Festivals.

In 1938 the New Zealand Social Security Act provided a pioneering state medical service. Stimulated by its success the British economist and civil servant William Beveridge published his report proposing a full welfare state for Britain. The post war Labour government took heed of this and in 1948 they created a public funded healthcare system, the National Health Service as part of their new welfare state. The aim of the founders of the NHS was that the state should care for its citizens "from the cradle to the grave."

By 2013 the NHS was employing 371,777 qualified nursing staff and 147,087 doctors. With an ever-expanding elderly population, many fear that without reform it is heading for a financial crisis. Some argue the privatization of the NHS is the answer, whilst others believe an additional taxation to raise funds would resolve the issue. As well as Enter Shikari, the topic is addressed by several other bands such as Maximo Park.

The protest song won Best Single at the 2015 Kerrang! Awards.

The Rolling Stones - Wild Horses

The Rolling Stones - Wild Horses Lyrics and Youtube Music Videos

Album: Sticky Fingers
Released: 1971

Wild Horses Lyrics

Childhood living is easy to do
The things you wanted I bought them for you
Graceless lady you know who I am
You know I can't let you slide through my hands

Wild Horses couldn't drag me away
Wild, wild horses couldn't drag me away

I watched you suffer a dull aching pain
Now you've decided to show me the same
No sweeping exit or offstage lines
Could make me feel bitter or treat you unkind
Wild horses couldn't drag me away
Wild, wild horses couldn't drag me away
I know I've dreamed you a sin and a lie
I have my freedom but I don't have much time
Faith has been broken tears must be cried
Let's do some living after we die

Wild horses couldn't drag me away
Wild, wild horses we'll ride them some day
Wild horses couldn't drag me away
Wild, wild horses we'll ride them some day

Writer/s: RICHARDS, KEITH / JAGGER, MICK
Publisher: Abkco Music, Inc.
Lyrics licensed and provided by LyricFind

Wild Horses Song Chart

This started as a song for Keith Richard's newborn son Marlon. It was 1969 and Keith regretted that he had to leave his son to go on tour. Mick Jagger rewrote Keith's lyrics, keeping only the line "Wild horses couldn't drag me away." His rewrite was based on his relationship with Marianne Faithfull, which was disintegrating.

This was first released by Gram Parsons' Flying Burrito Brothers in 1970. The Stones' version was written in 1969, but had to wait for Sticky Fingers in 1971.

Mick Jagger's girlfriend at the time, the singer Marianne Faithfull, claims "Wild horses couldn't drag me away" was the first thing she said to Mick after she pulled out of a drug-induced coma in 1969. There are other theories as to Mick's muse for this song, however. Jagger's longtime girlfriend Jerry Hall in The Observer Magazine April 29, 2007, said: "Wild Horses is my favourite Stones song. It's so beautiful. I don't mind that it was written for Bianca." (Not likely, since Jagger didn't meet his future wife Bianca until 1970, which was after the song was recorded.)

The Stones recorded this during a 3-day session at Muscle Shoals Sound Studios in Alabama from December 2-4, 1969. It was the last of three songs done at these sessions, after "Brown Sugar" and "You Gotta Move."

Muscle Shoals Sound Studios (actually located in Sheffield, Alabama) opened in May 1969 when Jerry Wexler at Atlantic Records (The Stones' label) loaned money to four of the musicians at nearby FAME studios so they could start their own company and install 8-track recording equipment (FAME was on 4-track). Wexler sent many of Atlantic's acts to Muscle Shoals, since the musicians were fantastic and it was a dry county with nothing to do, which meant the artists were more likely to stay focused. The studio also had a distinctive sound that can be heard on this track, especially on Jagger's vocals - you can hear a slight distortion that was caused by the console.

When The Stones left the Shoals, they headed for Altamont, California, where they gave a free concert on December 6, 1969 - a disastrous show where a fan was stabbed to death by a Hell's Angels security guard. In the documentary Gimme Shelter, which chronicles the concert, there is a scene where the band is listening to playback on "Wild Horses" Muscle Shoals Sound.

The Sticky Fingers album had very elaborate packaging. Designed by Andy Warhol, the cover photo was a close up of a man's jeans with a real zipper on it. It was also the first time the tongue logo was used.

Ian Stewart, who usually played piano for The Stones, refused to play on this because he hated minor chords, which is how this starts. He left the session and Jim Dickinson was brought in to play piano. After playing with The Stones, Dickinson worked as a musician and a producer with Aretha Franklin, Big Star and the Replacements, and did a lot of movie soundtrack music with Ry Cooder. He died on August 15, 2009 at age 67.

Stones guitarist Mick Taylor played acoustic guitar on this song in what's known as "Nashville tuning," in which you use all first and second strings and you tune them in octaves.

Chinese rock star Cui Jian sang this with Mick Jagger when The Rolling Stones played a concert in Shanghai on April 8, 2006. Jian was supposed to open for The Stones in 2003, but their Chinese tour was canceled because of S.A.R.S. (thanks, Bertrand - Paris, France, for above 2)

The Sundays covered this song. Their version appears on the soundtrack to Buffy The Vampire Slayer. (thanks, Daisy - Ikast, Denmark)

To coincide with the release of Britain's Got Talent star Susan Boyle's cover of this song, Universal/Polydor re-released The Rolling Stones' original as part of a special digital bundle featuring three versions of the track. The other two being a recording backstage during the band's Voodoo Lounge tour in 1995, which was included on the Stripped live album and a video of a live performance of the song recorded at Knebworth in 1976.

Keith Richards wrote in his autobiography Life (2010): "'Wild Horses' almost wrote itself. It was really a lot to do with, once again, f---ing around with the tunings. I found these chords, especially doing it on a twelve-string to start with, which gave the song this character and sound. There's a certain forlornness that can come out of a twelve-string. I started off, I think, on a regular six-string open E, and it sounded very nice, but sometimes you just get these ideas. What if I open tuned a twelve-string? All it meant was translate what Mississippi Fred McDowell was doing - twelve-string slide - into five-string mode, which meant a ten-string guitar."

Fall Out Boy - Irresistible

Fall Out Boy - Irresistible Lyrics and Youtube Music Videos

Album: American Beauty/American Psycho
Released: 2015

Irresistible Lyrics

Count me in unannounced, drag my nails on the tile
I just follow your scent
You can't just follow my smile
All of your flaws are aligned with this mood of mine
Cutting me to the bone
Nothing left to leave behind
You ought to keep me concealed just like I was a weapon
I didn't come for a fight but I will fight till the end
This might be your battle, might not turn out okay
You know you look so Seattle, but you feel so LA

Eh eh eh eh eh
Eh eh eh eh eh
Eh eh eh eh eh
Eh eh eh eh eh

And I love the way you hurt me
It's Irresistible, oh oh oh oh oh oh yeah
Oh oh oh oh oh oh yeah
I love the way
I love the way
I love the way you hurt me baby
I love the way
I love the way
I love the way you hurt me baby

I'm gonna get you to burst just like you were a bubble
Frame me up on your walls, to keep me out of trouble
Like a moth getting trapped in the light by fixation
Truly free, love it baby, I'm talking no inflation

Too many war wounds and not enough wars
Too few rounds in the ring and not enough settled scores
Too many sharks and not enough blood in the waves
You know I give my lover a four letter name

Eh eh eh eh eh
Eh eh eh eh eh
Eh eh eh eh eh
Eh eh eh eh eh

And I love the way you hurt me
It's irresistible, oh oh oh oh oh oh yeah
Oh oh oh oh oh oh yeah
I love the way
I love the way
I love the way you hurt me baby
I love the way
I love the way
I love the way you hurt me baby

You're second hand smoke
You're second hand smoke
I breath you in, but honey I don't know
What you're doing to me
Mon Cheri, but the truth catches up with us eventually
Tryna say live, live and let live
I'm no good good, admit to this

Second is yours, mi amour
I'm coming for you, and I'm making war

I still love the way you hurt me,
It's irresistible, oh oh oh oh oh oh yeah
Oh oh oh oh oh oh yeah
I love the way
I love the way
I love the way you hurt me baby
I love the way
I love the way
I love the way you hurt me baby

Writer/s: WENTZ, PETER / STUMP, PATRICK / TROHMAN, JOSEPH / HURLEY, ANDREW
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Irresistible Song Chart

This sadistic song is about an abusive relationship which the victim finds "irresistible." Bassist Pete Wentz said it reminds him of a scene involving Sex Pistols bassist Sid Vicious and his girlfriend Nancy Spungen in the 1986 biopic Sid & Nancy. "When I think of 'Irresistible' it brings this image to my head, whether it's fictional or real, of Sid and Nancy in an alley garbage raining down on them in an eternal spiral of romance and poison," he explained. "Sometimes it hard not to love what can hurt us the most."

Pete Wentz told Kerrang!: "I'm particularly attracted to people that probably have the ability to hurt me, but hopefully they don't."

Initially released as a promotional single for American Beauty/American Psycho in early 2015, the song was re-released in a remixed version later in the year with additional vocals by Demi Lovato.

The original video, posted in February 2015, shows the band playing a hapless gave of basketball. In January 2016, Fall Out Boy released a new music video for their remix of "Irresistible" featuring Demi Lovato. The clip is a homage to the Toy Story narrative of the *NSYNC clip for "It's Gonna Be Me." In this instance, Fall Out Boy and *NSYNC both exist in the same store as figurine, but the Fall Out Boy dolls are unwanted.

The video is directed by Wayne Isham, the guy who helmed the "It's Gonna Be Me" visual. It features cameos by the boyband's Chris Kirkpatrick (as an assembly line worker) and Joey Fatone (as an employee in the toy store). Lance Bass also tweeted his approval.

The band wrote in a post: "I was looking back at the video for 'It's Gonna Be Me' - where they come to life as dolls - and we thought was there an analog to this story. Like somewhere in that same store was there a dollar bin full of toy that no one really wanted that would band together like the misfit, offbrand little outsiders they were.

The toys no one ever wanted come to life. Where would our band have fit in that story? We called up Wayne Isham, the director who did the original video (as well as some of our other favorite Mötley Crüe and Metlallica videos), and pitched ideas back and forth.

Before long we came with the treatment- and were lucky enough to get a few cameos from the original source; as well as our partner in crime on the song Demi Lovato."

The Rolling Stones - Brown Sugar

The Rolling Stones - Brown Sugar Lyrics and Youtube Music Videos

Album: Sticky Fingers
Released: 1971

Brown Sugar Lyrics

Gold Coast slave ship bound for cotton fields
Sold in the market down in New Orleans
Scarred old slaver knows he's doin' all right
Hear him whip the women just around midnight

Brown Sugar, how come you taste so good
Brown Sugar, just like a young girl should

Drums beatin' cold, English blood runs hot
Lady of the house wonderin' when it's gonna stop
House boy knows that he's doin' all right
You should have heard him just around midnight

Brown Sugar, how come you taste so good
Brown Sugar, just like a young girl should

Brown Sugar, how come you dance so good
Brown Sugar, just like a black girl should

I bet your mama was a Cajun Queen,
And all her boyfriends were sweet sixteen
I'm no school boy but I know what I like
You should have heard them just around midnight

Brown Sugar, how come you taste so good
Brown Sugar, just like a black girl should

I said, yeah, yeah, yeah, wooo
How come you, how come you dance so good
Yeah, yeah, yeah, wooo
Just like a, just like a black girl should
Yeah, yeah, yeah, wooo

Writer/s: RICHARDS, KEITH / JAGGER, MICK
Publisher: Abkco Music, Inc.
Lyrics licensed and provided by LyricFind

Brown Sugar Song Chart

The lyric is about slaves from Africa who were sold in New Orleans and raped by their white masters. The subject matter is quite serious, but the way the song is structured, it comes off as a fun rocker about a white guy having sex with a black girl. (thanks, Phil - Palo Alto, CA)

Mick Jagger wrote the lyric. According to Bill Wyman, it was partially inspired by a black backup singer named Claudia Lennear, who was one of Ike Turner's backup singers (Ikettes). Jagger and her met when The Stones toured with Turner in 1969. David Bowie also wrote his Aladdin Sane track "Lady Grinning Soul" about her.

American-born singer Marsha Hunt is also sometimes cited as the inspiration for the song. She and Jagger met when she was a member of the cast in the London production of the musical Hair, and their relationship, a closely guarded secret until 1972, resulted in a daughter, Karis.

According to the book Up And Down With The Rolling Stones by Tony Sanchez, all the slavery and whipping is a double meaning for the perils of being "mastered" by Brown Heroin, or "Brown Sugar." (thanks, Kyle - Wichita, KS)

The Rolling Stones recorded this in the musically rich but luxury deprived city of Sheffield, Alabama, where Jerry Wexler of the group's label, Atlantic Records, often sent his acts. The Stones arrived in Sheffield on December 2, 1969, stayed until the 4th, then performed their fateful Altamont Speedway concert on December 6, where they performed this song live for the first time. At the show, a fan was stabbed to death by a Hell's Angels security guard.

During their three days in Alabama, The Stones recorded at Muscle Shoals Sound Studios, which opened in May 1969 when four of the musicians from FAME Studios left to establish their own company. "Wild Horses" and "You Gotta Move" also came out of these sessions, making it a very productive stop. The engineer at the Muscle Shoals sessions was Jimmy Johnson, the producer/guitarist who was one of the studio's founders. The Rolling Stones engineer Glyn Johns added overdubs in England (including horns), but he left Johnson's mix intact. Johnson says that Johns called him from England to compliment him on the mix.

Even though this was recorded in December 1969, The Stones did not release it until April 1971 because of a legal dispute with their former manager, Allen Klein, over royalties. Recording technology had advanced by then, but they didn't re-record it because the original version was such a powerful take.

Mick Jagger started writing this while he was filming the movie Ned Kelly in the Australian outback. He's been in a few movies, including Performance, Freejack and The Man From Elysian Fields. Jagger recalled to Uncut in 2015: "I wrote it in the middle of a field, playing an electric guitar through headphones, which was a new thing then."

In Keith Richards' 2010 autobiography Life, it floats a theory as to what the lyrics "Scarred old slaver know he doin' alright" are all about. Some poor guy at their publishing company probably came up with that transcription for the lyrics, but Jagger was most likely singing, "Skydog Slaver," as "Skydog" was a nickname for Muscle Shoals regular Duane Allman, since he was high all the time. (thanks, Bertrand - Paris, France)

A year after this was first recorded, The Stones cut another version at Olympic Studios in London with Eric Clapton on guitar and Al Kooper on keyboards. It was considered for release as the single, but was shelved until 2015 when it appeared the a Sticky Fingers reissue.

Originally, Mick Jagger wrote this as "Black Pussy." He decided that was a little too direct and changed it to "Brown Sugar."

This was the first song released on Rolling Stones Records, The Stones subsidiary label of Atlantic Records. They used the now-famous tongue for their logo.

The album cover was designed by Andy Warhol. It was a close-up photo of a man wearing tight jeans, and contained a real zipper. This caused considerable problems in shipping, but was the kind of added value that made the album much more desirable (you don't get this kind of stuff with CDs or downloads).

Sticky Fingers also marked the first appearance of the famous tongue and lips logo, which was printed on the inner sleeve. The logo was designed by John Pasche, who was fresh out of art school (the Royal College of Art in London).

This was used in commercials for Kahlua and Pepsi. The Stones have made big bucks licensing their songs for ads. (thanks, Whitney - Houston, TX)

The fortunate souls who got to see The Rolling Stones on their nine-date UK tour in 1971 got a preview of this song, since it was included on the setlist even though Sticky Fingers wouldn't be released for another month.

This was one of four songs The Stones had to agree not to play when they were allowed to perform in China. After getting approval to play in China for the first time in 2003, they canceled because of SARS, a respiratory illness that was going around the country.

Jimmy Johnson, who was a guitar player for the Muscle Shoals Rhythm Section (also known as "The Swampers"), engineered the sessions that produced this song as well as "Wild Horses" and "You Gotta Move." Johnson worked with many artists, including Aretha Franklin, Bobby Womack, Lynyrd Skynyrd and Johnnie Taylor. (thanks, Bertrand - Paris, France)

This has been covered by Mos Def and ZZ Top. Bob Dylan often performed it on his 2002 US tour. (thanks, Brett - Edmonton, Canada)

In 327BC Alexander the Great came across the cultivation of sugar cane in India. From this reed, a dark brown sugar was extracted from the cane by chewing and sucking. Some of this "sweet reed" was sent back to Athens. This was the first time a European had come across sugar. (From the book Food for Thought: Extraordinary Little Chronicles of the World by Ed Pearce)

The bootleg version which has Eric Clapton playing lead slide guitar was recorded at a birthday party for Keith Richards. It is widely considered to have been part of an informal audition by Clapton to become The Stones second guitarist. The bootleg version shows why Clapton likely did not get offered the job, or withdrew himself from consideration: While Clapton plays a million notes a minute, his lead has almost no interaction with the rest of the band. It is like a studio musician simply playing along with a CD that has already been recorded.

In many interviews, Richards has spoken admiringly of his good friend Clapton's musicianship, but has always commented that the two-guitar sound he and Ron Wood have developed is not Eric's cup of tea. (thanks, David - Orlando, FL)

This features Bobby Keys on saxophone. A favorite of The Rolling Stones, having guested notably on Sticky Fingers and Exile on Main Street, he was also heard on John Lennon and Elton John's hit "Whatever Gets You Thru the Night" and on classic albums like George Harrison's All Things Must Pass and Marvin Gaye's Let's Get It On.