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Billy Joel - Just The Way You Are

Billy Joel - Just The Way You Are Lyrics and Youtube Music Videos

Album: The Stranger
Released: 1977

Just The Way You Are Lyrics

Don't go changing to try and please me
You never let me down before
Don't imagine you're too familiar
And I don't see you anymore

I wouldn't leave you in times of trouble
We never could have come this far
I took the good times; I'll take the bad times
I'll take you Just The Way You Are

Don't go trying some new fashion
Don't change the color of your hair
You always have my unspoken passion
Although I might not seem to care

I don't want clever conversation
I never want to work that hard
I just want someone that I can talk to
I want you just the way you are

I need to know that you will always be
The same old someone that I knew
What will it take till you believe in me
The way that I believe in you?

I said I love you and that's forever
And this I promise from the heart
I could not love you any better
I love you just the way you are

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

Just The Way You Are Song Chart

Joel wrote this song about his first wife, Elizabeth. A pure expression of unconditional love, he gave it to her as a birthday present.

Sadly, after nine years of marriage, Joel and Elizabeth divorced in 1982. Joel's next two marriages didn't work out either: he was married to Christie Brinkley from 1985-1994, and to Katie Lee from 2004-2010.

"Every time I wrote a song for a person I was in a relationship with, it didn't last," Joel said. "It was kind of like the curse. Here's your song - we might as well say goodbye now."

This won Grammy Awards for Song of the Year and Record of the Year at the 1979 ceremony. It was a breakthrough for Joel, whose biggest hit to this point was "Piano Man," which reached #25 in the US.

Joel told USA Today July 9, 2008: "I was absolutely surprised it won a Grammy. It wasn't even rock 'n' roll, it was like a standard with a little bit of R&B in it. It reminded me of an old Stevie Wonder recording." (thanks, Bertrand - Paris, France)

After Joel recorded this, he didn't think much of it, considering it a "gloppy ballad" that would only get played at weddings. He credits his producer, Phil Ramone, with convincing him that it was a great song. Ramone brought Linda Ronstadt and Phoebe Snow into the recording studio to hear the song, and of course they loved it, which was good enough for Billy. On Australian TV in 2006, Joel confirmed: "We almost didn't put it on an album. We were sitting around listening to it going naaah, that's a chick song."

Phil Woods, who is a prominent jazz player, played the alto saxophone for this song. (thanks, Alex - Grand Blanc, MI)

Barry White's cover version hit #12 in the UK in 1978. The song was also covered by Frank Sinatra and Isaac Hayes, whose version is in 6/8 time with a long introductory rap.

Joel played a Fender Rhodes electric piano on this track, using the instrument's phase shifter effect. This same setup can be heard on the Paul Simon song "Still Crazy After All These Years."

This was the first single off The Stranger, which was Billy Joel's sixth album.

On a July 16, 2006 blog for the Australian newspaper The Herald Sun, Joel said that he dreamt the melody and chord progression and wrote the lyrics over a few days after the dream recurred. He added that the drum pattern was suggested by his producer at the time, Phil Ramone.

Joel expanded to USA Today: "I dreamt the melody, not the words. I remember waking up in the middle of the night and going, 'This is a great idea for a song.' A couple of weeks later, I'm in a business meeting, and the dream reoccurs to me right at that moment because my mind had drifted off from hearing numbers and legal jargon. And I said, 'I have to go!' I got home and I ended up writing it all in one sitting, pretty much. It took me maybe two or three hours to write the lyrics."

This was Joel's first chart entry in the UK.

In his 2014 appearance on a Howard Stern town hall special, Joel explained that the original sheet music printed for this song was wrong, with an extra chord in the intro. He says that he often hears people playing it the wrong way, and has even corrected some of them when he hears it.

Paul McCartney has delivered high praise for this song, stating in his Club Sandwich newsletter that it's one of the few songs he wished he had written ("Stardust" is his first selection).

Joel performed this on Saturday Night Live in 1977, three months before it was released.

Pulp - Razzmatazz

Pulp - Razzmatazz Lyrics and Youtube Music Videos

Album: Intro - The Gift Recordings
Released: 1993

Razzmatazz Lyrics

The trouble with your brother, he's always sleeping with your mother
And I know that your sister missed her time again this month
Am I talking too fast or are you just playing dumb?
If you want I can write it down

It should matter to you but aren't you the one with your Razzmatazz
and the nights on the town?
Oh-oh-oh Oh you knew it and you blew it didn't you babe?
I was lying when I asked you to stay now no-one's gonna care

If you don't call them when you said
And he's not coming round tonight to try and talk you into bed
And all those stupid little things they ain't working
No they aren't working at all oh

You started getting fatter three weeks after I left you
Now you're going with some kid looks like some bad comedian
Are you gonna go out, are you sitting at home eating boxes of Milk Tray?
Watch TV on your own, aren't you the one with your razzmatazz

And your nights on the town?
Oh-oh-oh And your father wants to help you doesn't he babe?
But your mother wants to put you away
Now no-one's gonna care if you don't call them when you said

And he's not coming round tonight to try and talk you into bed
And all those stupid little things they ain't working
Oh they aren't working at all
Oh well I saw you at the doctor's waiting for a test

You tried to look like some kind of heiress but your face is such a mess
And now you're going to a party and you're leaving on your own
Oh I'm sorry but didn't you say that things go better with a little bit of razzamatazz?
Na na nana na na na... and now no-one's gonna care if you don't call them when you said

And he's not coming round tonight to try and talk you into bed
Now it's half past ten in the evening and you wish that you were dead
'Cause all those stupid little things
No they ain't working, oh they aren't working at all.

Writer/s: BANKS, NICK / COCKER, JARVIS BRANSON / DOYLE, CANDIDA / MACKEY, STEPHEN PATRICK / SENIOR, RUSSELL
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Razzmatazz Song Chart

Just around the start of the 1990s (after over a decade in the game), Pulp finally began to garner commercial and critical attention. In this time, they endured multiple lineup changes - with Jarvis Cocker being the one constant. "Razzmatazz" was the band's final single on Gift Records before making the major-label move to Island for their next album His 'n' Hers. Whilst it failed to chart, it gained much critical acclaim - a further sign of the mounting momentum behind the band.

"Razzmatazz" details the months after a breakup, with the narrator being ditched by his supposedly far more cocksure girlfriend. The title relates to what the girl thinks is needed after the breakup: some fun, frolics, and 'razzmatazz.' However, as the singer keeps meeting her in the months after, that turns out not to be the case - she winds up putting on weight, going out with a new guy who resembles "a bad comedian," and sitting around in her house all day eating chocolate and watching TV. Eventually he bumps into her at the doctor's whilst he is "waiting for some tests to be done," and he realizes how downhill she has gone since their breakup.

"Razzmatazz" was never released officially on an album, although it was included on the US release of His 'n' Hers as a bonus track, and on the 1995 compilation Intro - The Gift Recordings.

The single contains a trilogy of songs on the B-side which form together to make "Inside Susan - A Story In Three Songs."

"Stacks" details Susan's early adolescent life in Rotherham, UK; "Inside Susan" looks at recounting her thoughts of her late teens as she rides the bus. The final part, "59 Lyndhurst Grove," jumps forward to later in her life where she is the second wife of an architect, living "somewhere in South London," and cheating on her husband to try and alleviate the tedium of everyday life.

Rod Stewart - You're In My Heart (The Final Acclaim)

Rod Stewart - You're In My Heart (The Final Acclaim) Lyrics and Youtube Music Videos

Album: Foot Loose And Fancy Free
Released: 1977

You're In My Heart (The Final Acclaim) Lyrics

I didn't know what day it was
When you walked into the room
I said hello unnoticed
You said goodbye too soon

Breezing through the clientele
Spinning yarns that were so lyrical
I really must confess right here
The attraction was purely physical

I took all those habits of yours
That in the beginning were hard to accept
Your fashion sense, Beardsley prints
I put down to experience

The big bossed lady with the Dutch accent
Who tried to change my point of view
Her ad lib lines were well rehearsed
But my heart cried out for you

You're in my heart, you're in my soul
You'll be my breath should I grow old
You are my lover, you're my best friend
You're in my soul

My love for you is immeasurable
My respect for you immense
You're ageless, timeless, lace and fineness
You're beauty and elegance

You're a rhapsody, a comedy
You're a symphony and a play
You're every love song ever written
But honey what do you see in me

You're in my heart, you're in my soul
You'll be my breath should I grow old
You are my lover, you're my best friend
You're in my soul

You're an essay in glamor
Please pardon the grammar
But you're every schoolboy's dream
You're Celtic, United, but baby I've decided
You're the best team I've ever seen

And there have been many affairs
Many times I've thought to leave
But I bite my lip and turn around
'Cause you're the warmest thing I've ever found

You're in my heart, you're in my soul
You'll be my breath should I grow old
You are my lover, you're my best friend
You're in my soul

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

You're In My Heart (The Final Acclaim) Song Chart

Stewart wrote this love song when he was dating the Swedish actress Britt Ekland; they were together from 1975-1977. Stewart said, "It wasn't totally about Britt... it could of been anybody I met in that period - and there were a lot of them."

This statement may have been influenced by the $12.5 million lawsuit Ekland filed against Stewart, in which her lawyers pointed out how she inspired some of Stewart's most successful music.

Stewart and Ekland split up very publicly after he was photographed leaving a nightclub with another actress, Liz Treadwell. In his autobiography, Stewart said that Ekland thought they were going to get married, but he had no intention of settling down and in turn, was unfaithful.

The songs Stewart wrote for the Foot Loose And Fancy Free album deal with this relationship, and are rather conflicted. On "You Got A Nerve" he is quite hostile; "I Was Only Joking" finds him dismissing his lover. "You're In My Heart," however, is the kind of song that would make a woman believe that Stewart is smitten and in it for the long haul.

Soon after the album came out, Stewart explained to NME that in writing the songs, he was expressing his true feelings, and that it made him realize that he wanted to be free, as suggested in the album title. "The songs came first," he said. "I didn't actually think, 'Well, I'll put it in the songs and hope she hears them and knows what I mean.' But it's ironic that the album title and the songs came out as they did."

The "Beardsley prints" is a reference to Aubrey Beardsley, a Victorian artist. It shows that the lady Stewart is singing about has very refined taste, which points to Ekland. Stewart later admitted that she taught him a great deal about art and visual presentation. She even got him to start wearing make-up.

The lines, "You're Celtic, United, but baby I've decided, you're the best team I've ever seen" are a reference to two Scottish soccer teams, Dundee United and Celtic F.C. Stewart is an avid supporter of Celtic.

Pulp - Silence

Pulp - Silence Lyrics and Youtube Music Videos

Album: B-Side
Released: 1987

Silence Lyrics

Silence Song Chart

"Silence" was the main B-side to Pulp's 1987 single "Master of the Universe." It deserves special mention as it was the only song recorded during their ill-feted time on Fire Records that didn't go on to feature on the Masters of the Universe compilation - with good reason, according to Jarvis Cocker.

Talking about the single to Record Collector in 1994, Cocker noted: "That features the only Fire track which hasn't been reissued: 'Silence,' from demos recorded in an old karate studio, written at that first rehearsal with Russell. Oh, it's so depressing, a two-note keyboard drone, someone playing one of those hunting horns you have on the living room wall and me alternately talking and screaming this story about a love affair that doesn't work out. I banned it from going on the Fire compilation, because it's terrible - I couldn't live with it being out.'

Due to Cocker specifically demanding it not be included on any future compilations, "Silence" has earned the title of "Worst Pulp Song Ever" amongst fans - something the band themselves seem keen to agree with!

Michael Sembello - Maniac

Michael Sembello - Maniac Lyrics and Youtube Music Videos

Album: Flashdance Soundtrack
Released: 1983

Maniac Lyrics

Just a steel town girl on a Saturday night
Looking for the fight of her life
In the real time world no one sees her at all
They all say she's crazy

Locking rhythm to the beat of her heart
Changing movement into light
She had danced into the danger zone
When the dancer becomes the dance

It can cut you like a knife
If the gift becomes the fire
On the wire between will and what will be

She's a Maniac, maniac on the floor
And she's dancing like she's never danced before

She's a maniac, maniac on the floor
And she's dancing like she's never danced before

On the ice blue line of insanity
Is a place most never see
It's a hard won place of mystery
Touch it but can't hold it

You work all your life, for that moment in time
It could come or pass you by
It's a push shove world
But there's always a chance
If the hunger stays the night

There's a cold connective heat
Struggling stretching for the peak
Never stopping with her head against the wind

She's a maniac, maniac I sure know
And she's dancing like she's never danced before

She's a maniac, maniac I sure know
And she's dancing like she's never danced before

It can cut you like a knife
If the fight becomes the fire
On the wire between will and what will be

She's a maniac, maniac I sure know
And she's dancing like she's never danced before

She's a maniac, maniac I sure know
And she's dancing like she's never danced before

Maniac, maniac I sure know

Writer/s: MATKOSKY, DENNIS / SEMBELLO, MICHAEL
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Maniac Song Chart

This was featured in the movie Flashdance, which starred Jennifer Beals as a welder by day, dancer by night. Phil Ramone, who was the music supervisor on the movie, produced the track. He also made another contribution to the movie: after seeing some kids breakdancing in New York City, he alerted the movie's producer, who shot footage of the dancers that was used in the film.

Sembello wrote this with his songwriting partner Dennis Matkosky, who got the idea when he saw the William Lustig movie Maniac, which is about a serial killer who stalks his victims in New York City. Sembello told us: "He came up with the original kernel of inspiration and to me with the basic idea and groove and I believe the temporary lyrics for the chorus he had were:
'He's a maniac, maniac that's for sure
He will kill your cat and nail him to the door'
That direction obviously wasn't going to work at which point the genius of Phil Ramone, producer of the soundtrack who had the vision to see the potential of the song, asked us to change it to the present concept of a girl possessed with the passion of a gift for dance. Without Phil it would not have happened."

Sembello added: "It was nominated for an academy award and was disqualified according to 'academy rules' because the song was changed from the original and was not originally written solely for the film, which pisses me off to this day." (Thanks for Michael Sembello for the info. To learn more, check out michaelsembello.com.)

This was accidentally included on a tape of Sembello's songs his wife sent to Paramount for consideration in Flashdance. The studio loved it and used it in the movie.

The dance scenes in the video (and the movie), were performed by body double Marine Jahan. It was a well-kept secret that Jennifer Beals did not dance in the movie.

The video was the first to use nothing but scenes from the movie. It started a movie/music cross-promotion trend (Pretty Woman, Dirty Dancing, etc.).

This was commonly used in aerobics classes, which was a big trend at the time.

In 2007, this was used in commercials for Kia cars, which show a Kia salesman doing a similar dance. The idea is that he's making great deals like a Maniac. (thanks, MusicianJohnPaul - Bay Area, CA)

Pulp - They Suffocate At Night

Pulp - They Suffocate At Night Lyrics and Youtube Music Videos

Album: Freaks
Released: 1987

They Suffocate At Night Lyrics

His body loved her
His mind was set on other things
Keep your face out of sight
And your thoughts to yourself
And this went on for several nights
Festering in silence, growing in the dark

And this they saw as love
Love
So sad to see
They Suffocate At Night
Oh this they saw as love
Love
So sad to see
To see it slowly die

She met his wishes
He found that he had changed his mind
Now the fit is too tight
And the bedroom too warm
The days are filled with things to do
Night-time lies so hollow and memories betray

Oh memories of love
Love
So sad to see
They suffocate at night
Those memories of love
Love
So sad to see
To see it slowly die

Two years have passed
Two years of emptiness inside
And the grey skies above
Just show how far I went wrong
I wonder if she's living there
The way that I recall
The way I'll always think of you
And when I think of you

I think of love
Love
So sad to see
They suffocate at night
You know I think of love
Love
So sad to see
To see it slowly die

I wrote you a letter
I threw it away
I wrote you a letter
I threw it away
I need her
I know I don't need her
I need her
Oh
Oh-oh

Writer/s: JARVIS COCKER, RUSSELL SENIOR, PETER MANSELL, CANDIDA DOYLE
Publisher: CONEXION MEDIA GROUP, INC.
Lyrics licensed and provided by LyricFind

They Suffocate At Night Song Chart

This was the first single from Pulp's largely unsuccessful second album Freaks, released in 1987 during an unhappy relationship with Fire Records. By this point the core of the band that would achieve 1990s fame - Cocker, guitarist Russell Senior and keyboardist Candida Doyle - were in place, with only the rhythm section of bassist Steve MacKay and drummer Nick Banks to come.

The band were not in a happy place at all during Freaks, as Cocker explained in a 1994 Record Mirror interview. Said Cocker: "In June '86, we started the Freaks album. It was recorded for £600 - in one week. The producer disowned it: he didn't want his name on it! This was the low point, emotionally, of my life. It's such a depressing album. There's some decent songs but they're badly done. 'I Want You' is good, but there's a better version as a demo. The violin's miles out of tune - it's supposed to be a big ballad. 'Don't You Know' came out on a Record Mirror compilation 'Fruit Cakes And Furry Collars' - it's the same version.

It was called 'Freaks' because I'd been out of school four years and lived this marginal life with no success. I was living in a factory building, a drop in center for all the freaks and misfits of Sheffield. We'd been doing something worthwhile and original and yet nobody seemed interested. This was the dark days of the mid-'80s: 'we're heading for a boom time, let's be happy.'

'Aye aye aye aye moosey' was in the charts. We were nowhere near the mainstream. Also, I was in the middle of the first proper relationship I'd had. I'd gone into this terrible depression of finding out what relationships were really like, but not knowing how to deal with it - you go out with somebody for six months and spend another eighteen trying to split up. All in all, I was not a happy person."

Proof of how unhappy things had got was when a music video was attempted to be recorded for "They Suffocate At Night" - the band split up on set! Cocker noted in the same Record Mirror interview: "Russell was extremely disciplinarian, I was quite puritanical, but Pete (Mansell, bass) and Mag (Magnus Doyle, drums) just messed around. It got to a head and everybody had a fight. It wasn't worth the aggro anymore."

It would be after this split that the band would reform with the classic 1990s lineup, after a few trials with other members.

Rage Against the Machine - Voice Of The Voiceless

Rage Against the Machine - Voice Of The Voiceless Lyrics and Youtube Music Videos

Album: The Battle Of Los Angeles
Released: 1999

Voice Of The Voiceless Lyrics

Voice Of The Voiceless Song Chart

This is about Mumia Abu-Jamal, a journalist and former black panther convicted of killing the Philadelphia police officer Daniel Faulkner in a 1981 altercation. Abu-Jamal, who was shot in the chest, was sentenced to death but the death sentence was overturned in 2001.

Abu-Jamal was a radio host in Philadelphia, where he was referred to as "The Voice Of The Voiceless" for his exposure of issues in poor and underrepresented communities.

The song prompted police protests as cops objected to Rage supporting a man convicted of killing one of their own. During a show in Philadelphia, Rage introduced a song with "Good evening, We want to just quickly send a nice friendly message to uh, the fraternal order of police in Philadelphia. Here's something nice and friendly, and it goes something like this..." They proceeded to play "F--- the Police" by NWA. (thanks, Rory - Philadelphia, PA, for above 2)

Rage guitarist Tom Morello visited Abu-Jamal in jail, and used the band's website to rally support for him.

"And Orwell's hell, a terror era coming true. But this little brother's watching you too." This is a reference to the classic George Orwell novel 1984, where the state is basically this unseen authoritarian force that controls everything and everybody. The term Orwell uses for the government is "Big Brother" (which is still used as a metaphor for government over 50 years after he wrote the book in 1948). So "little brother" in that lyric would be the average citizen, who's aware of the government's abuse/authority and knows it's wrong. (thanks, Tim - Pittsburgh, PA)

Pulp - Everybody's Problem

Pulp - Everybody's Problem Lyrics and Youtube Music Videos

Album: Everybody's Problem/There Was...
Released: 1983

Everybody's Problem Lyrics

Standing there before you / defences thrown aside / I thought I heard you laughing / but
When I asked you said you'd cried / I wanted to believe you / yes I wanted to feel strong
/ but looking at my picture / I realised I must be wrong / sounds so weak / it sounds so
Fey / it doesn't sound / like what I meant to say / I speak to you / with a borrowed
Tongue / shall I stop right now / or blindly carry on? / choose one [? ] / but I'm not
Everyone / I only have one viewpoint / don't talk to me of right or wrong / and didn't I
Often tell you / oh didn't I often say / that something in your manner / that really takes
My breath away? / it's not weak / to show I care / I know of those / who wouldn't even
Bear / the fact remains / I feel a need / is it love / or is it simply greed? / it's not
Weak / to show I care / I know of those / who wouldn't even bear / the fact remains / I
Feel a need / is it love / or is it simply greed? / you choose what you believe in / as
Far as I'm concerned / but one thing I can tell you / is innocence cannot be learned / I
Wish you'd stop me talking / oh I wish you'd shut my mouth / well the reason why I tell
You / is I think that you could help me out / and if you do then there's no doubt / that
All my problems won't just fly away.
Writer/s: JARVIS COCKER
Publisher: CONEXION MEDIA GROUP, INC.
Lyrics licensed and provided by LyricFind

Everybody's Problem Song Chart

"Everybody's Problem" was a result of one of many shifts in direction in the early days of Pulp in an attempt to find commercial success. Having already moved from alternative in their early days to acoustic pop-ballads on their debut album It, this song was a result of producer Tony Perrin telling Jarvis Cocker that pop groups like Wham! were very popular at the time and to write songs accordingly.

Cocker explained in a 1994 Record Collector interview: "Red Rhino put up the money for another single. That's where things got bad. Tony Perrin, in his infinite wisdom, decided that Wham! were a good group, and said, 'You could write commercial songs like Wham!, Jarvis.' 'Everybody's Problem' was the result. As soon as I'd written it, I'd realized I'd made a grave error. It's got a brass section. I refused to sing properly. What's on the single is a desultory guide vocal - I messed up all the words. 'Everybody's Problem' bombed out and the future was canceled due to a lack of interest!'

If one good thing came out of the "Everybody's Problem" debacle, it's that Cocker's disillusionment with chasing commercial sounds for popularity led to him reassembling the band with a more noisey, alternative and experimental direction soon after, and not long after came members who would go on to feature in their most successful years: guitarist Russell Senior and keyboardist Candida Doyle. It was a close thing though - Cocker was close to dissolving the band altogether and going to university before a practice with Senior put him back on track.

"Everybody's Problem/There Was..." was a largely self-financed double-A-side single, and the original single is now a highly prized collector's item. The songs themselves have been reissued several times, including on the 2013 compilation Scared To Get Happy: A Story of Indie Pop 1980-1989.

Strawberry Alarm Clock - Incense And Peppermints

Strawberry Alarm Clock - Incense And Peppermints Lyrics and Youtube Music Videos

Album: Incense And Peppermints
Released: 1967

Incense And Peppermints Lyrics

Incense And Peppermints Song Chart

This song has a rather convoluted history that Mark S. Weitz, who was the original keyboard player of the Strawberry Alarm Clock, helped us sort out. The writing credits on the song are listed as John Carter and Tim Gilbert, who were not part of the band, and the lead vocalist on this track was also not a member of the group.

It was Greg Munford, a 16-year-old singer with a group called The Shapes, who sang lead. He was brought in to sing harmonies on this song, but ended up doing the lead vocals. He was not even a regular band member, but ended up singing a tune that would rocket to #1 in the United States and sell over a million copies. Despite this success, Munford never actually joined the group.

Weitz gave us this account of how the song was written and how Munford ended up singing it: "I came up with the idea and actual music to the then untitled song that ultimately evolved into the #1 national hit, 'Incense and Peppermints.' I wrote the intro (the oriental sounding riff), the verses, and the ending (the major sevenths) while Ed King, at my request for some help on completing the song, co-wrote the bridge (the F # part) and of course the lead guitar parts. At the time when the music was recorded at Art Laboe's 'Original Sounds' studio in Hollywood, there was only a temporary title to the song, and lyrics had not yet been written. Our producer Frank Slay decided to send the fully mixed music track (recorded on 8 tracks of mono!) to John Carter; a member of the band The Rainy Daze, who Slay also produced at the time. John Carter was solely responsible for conjuring up the lyrics and the controversial melody line extracted out of the finished musical track. Frank Slay ultimately credited that melody line solely to the writing team of John Carter and Tim Gilbert. To this day, they have received 100% of the royalties.

When Frank Slay was approving the writer's names and how they would appear on the actual label prior to printing, our manager Bill Holmes and our producer Frank Slay had an argument. It was regarding who should receive the credit as writers of 'Incense and Peppermints.' Holmes was not happy with the fact that Ed King, John Carter, Tim Gilbert and I would receive credit as writers (which was rightfully so). Holmes wanted HIS name as well as ALL the members of the SAC as writers to appear on the label. Holmes would not agree to Slay's request for only having FOUR writers maximum to appear on the label. I assume, this was the industry standard at the time, that Slay was committed to uphold. This displeased Holmes to say the least. A verbal battle ensued, and ultimately Frank Slay went ahead and made a decision to have the label printed with John Carter's and Tim Gilbert's names both listed as the writers. Needless to say, when the song climbed to #1 on the Billboard Top 100 charts, Ed King and I were duped out of our fair share and never received a dime for our efforts. I was determined to sue all parties concerned, but was talked out of this action by Slay by mentioning the fact that it would destroy the future livelihood of the band, and we would lose the tour bookings that the band just signed on to do with the William Morris agency. I agreed to call off the dogs. After 2 years, I made a second attempt to initiate the lawsuit against Holmes. Upon the untimely breakup of the SAC in 1970, and due to the high cost of continuing on with the lawsuit, I was forced to drop the case.

Regarding the lead vocalist on I & P: When it came time to record the vocal tracks, none of the members of the Alarm Clock sounded right for the lead vocal. We all tried. Greg Munford (A 16 year old guitar player also produced by Holmes) was a guest in the studio that day, and gave a go at it. His voice sounded best, and we all agreed on keeping his vocal track on the final version."

The group's guitarist, who co-wrote this song, was Ed King. In 1970, an unknown band called Lynyrd Skynyrd opened some shows for The Strawberry Alarm Clock, and King got to know them. In 1973, King joined Skynyrd on guitar.

This is a good example of "Psychedelic" music, which was very popular at the time. Many of these songs had a drug influence, and that may have been the case here. Says Weitz: "When the music was written by myself in early '67 at my home in Van Nuys California, with my request for some help on the bridge of the song from Ed King, it was mid day, and no drugs were involved whatsoever. I came up with this musical idea and chord progressions that evolved that afternoon in a short time to what basically was recorded with some minimal editing to cut down the almost 5 minute original down to 3 minutes and change. As for the lyrics, that was the brainchild of John Carter. Carter was under contract with Frank Slay also as a producer. And there are many stories to how he came about those lyrics, but I can't substantiate any of it."

Regarding the band's name and their psychedelic look, Weitz says, "It went from Thee Sixpence right into the Strawberry Alarm Clock. I was instrumental in coming up with the name. I borrowed the Strawberry from Strawberry Fields Forever and then right down to the noisy Baby Ben electric alarm clock (in my bedroom/guest house where we used to rehearse) that we hooked up with name Strawberry to come up with the new name. We were asked by Frank Slay to come up with a new name because when we did a name check to clear it for label printing, Thee Sixpence was already used somewhere by another band at the time and there would be too much confusion. Slay was not instrumental in our 'Look.' He was our record producer. The East Indian Kurtas we had custom made at a store named Sat Parush in Westwood, California. I think our drummer Randy Seol stumbled on the store by accident one night while having dinner on the floor above at an ethnic restaurant or some kind one night way back in the beginning of 67. He showed us what they had there, and we liked it."

A common misperception is that the band took their name from the Beatles song "Strawberry Fields Forever." That song hadn't been released when the band formed.

According to the group's bass player George Bunnel, they were trying to sound British when they sang this, but their fake English accents ended up sounding trippy, which ended up working very well.

This song was briefly featured on an episode of The Simpsons when Homer was smoking medicinal marijuana. (thanks, zack - Worthington, KY)

Several members of the group reunited during the '80s for a succession of "Summer Of Love Revisited" tours. Their memory would be brought to the forefront again in 1997 when this was featured in the first Austin Powers movie, and in 2007 they reunited to play some shows. See the band in Song Images. (thanks, Kain - Charleston, SC)

Pulp - Little Girl (With Blue Eyes)

Pulp - Little Girl (With Blue Eyes) Lyrics and Youtube Music Videos

Album: single release only
Released: 1985

Little Girl (With Blue Eyes) Lyrics

You're just a
Little Girl (With Blue Eyes)
Everybody looks at you
(Well, it's your day)
And you're
Stepping from the black car
But you'll be getting back in soon
(And on your way)

Little girl (with blue eyes)
There's a hole in your heart
And one between your legs
You've never had to wonder
Which one he's going to fill
In spite of what he said
You'll never get away
Hey
You'll give it up one day
Come what may

Dad's not got a shot-gun
But his look's enough to murder you
(See what you've done)
And forget about the paintings
'Cause you'd better get the washing done
(Oh something's wrong)

Little girl (with blue eyes)
There's a hole in your heart
And one between your legs
You've never had to wonder
Which one he's going to fill
In spite of what he said
You'll never get away
Hey
You'll give it up one day
Come what may

Face down on the pavement
Chalk lines round your little hands
(Hit and run)
And now a
Mother sits in silence
In a darkness she can't understand
(Where you've gone)
Oh

Little girl (with blue eyes)
There's a hole in your heart
And one between your legs
You've never had to wonder
Which one he's going to fill
In spite of what he said
You'll never get away
Hey
You'll give it up one day
Come what may.

Writer/s: PETER MANSELL, JARVIS COCKER, RUSSELL SENIOR, CANDIDA DOYLE
Publisher: CONEXION MEDIA GROUP, INC.
Lyrics licensed and provided by LyricFind

Little Girl (With Blue Eyes) Song Chart

This was the third single put out by Pulp. It was another non-album single after "Everybody's Problem/There Was...", and the first to feature two members who would become staples of the band well into their boom period: Russell Senior on guitar and Candida Doyle on keyboards.

Jarvis Cocker explained how the post-"Everybody's Problem" period saw the new lineup come together: "Around the middle of '84, I met up with Russell Senior, who I'd first met in 1980. He came to our Leadmill concert and wrote our very first review in his fanzine 'The Bath Banker.' We decided to have a last ditch effort, so we practiced with a new drummer, Magnus Doyle, and the next incarnation of Pulp was born, with a new bassist, Pete Mansell, who was a friend of Magnus', whose sister Candida Doyle joined after a few months. At first, we had Tim Allcard, who played two-finger keyboard parts and recited poetry in between songs."

Cocker explained the meaning behind the song in a 1994 Record Collector interview with John Reed: "This was about a girl who gets pregnant. It was after seeing a picture of my mum, getting out of her wedding car, and realizing she was only 20, when she got pregnant and had to get married. She was at art college but had to give it up to have me."

He continued: "The song got banned because of the lyrics - but not like Frankie goes to Hollwood. They just didn't play it. It got good reviews - 'a Scott Walker for the 80s!' People said, 'you'd like Scott Walker,' but all I'd heard sounded like Tom Jones. It wasn't until 1987 when somebody gave me a tape of his proper solo albums that I understood his genius. I started buying easy listening albums from jumble sales and Oxfam shops. Burt Bacarach, Henry Mancini - I found that easier to deal with, especially as we were making such abrasive music. I needed something to calm me down. I gave up being in touch with modern music. I resented anybody who was successful. I resented the Smiths, because they were from the North and doing a fairly similar thing."

The band would later go on to work with Scott Walker as a producer on their We Love Life album.

The single featured three tracks on the B-side - "Simultaneous," "The Will To Power" and "Blue Glow," all of which ended up on the Masters of the Universe compilation.

Steel Panther - Gloryhole

Steel Panther - Gloryhole Lyrics and Youtube Music Videos

Album: All You Can Eat
Released: 2014

Gloryhole Lyrics

There's a place in France where the naked ladies dance
There's a hole in the wall where you put your cock & balls
But you never really know who's sucking on the other side
Is it a boy or a girl or a lady-man hermaphrodite

Honey, I don't wanna know
Who's sucking my dick today
I'm going to the glory hole
Gonna spend my weekly pay
Dream about Cheryl Tiegs
While a beast greases up my pole
I'm gonna blow my load at the glory hole
Blow my load at the glory hole
Blow my load at the glory hole
The glory hole

I know a place down the street just behind Micky dees
Where the thing behind the hole really aims to please
Well a buck o' five is all you need to get a job well done
It doesn't matter if it's Tommy Lee or Attila the Hun

Baby, I don't wanna know
Who's sucking my cock tonight
I'm going to the glory hole
Gonna fuck it with all my might
In my head it's Jessica Biel
Don't care if it's a fucking troll
I'm gonna blow my load at the glory hole
Blow my load at the glory hole
Blow my load at the glory hole

Come, give your cock a chance
No need for romance
Come soil your pants at the glory hole
Come, get what you need
Do the dirty deed
Deposit your seed at the glory hole

Fell somebody new at the glory hole
Fill someone with goo at the glory hole
No one judges you at the glory hole

I don't wanna know
Who's sucking my dick today
I'm going to the glory hole
Gonna spend my weekly pay
Dream about virgin teens
While a beast greases up my pole
I'm gonna blow my load at the glory hole
Blow my load at the glory hole
Blow my load at the glory hole
Blow my load at the glory hole

Oh baby, here I come
Oh, oh, oh, fuck

Writer/s: Haley, Travis / Parrish, Russell / Leader, Darren / Saenz, Ralph
Publisher: Kobalt Music Publishing Ltd.
Lyrics licensed and provided by LyricFind

Gloryhole Song Chart

We'll leave it to you to find out what a glory hole is (just make sure you're in privacy mode when you do), but we will tell you what Steel Panther guitarist Satchel told us when we asked if the band had any firsthand experience with them.

"It's based on stuff that happens to us all the time," he said, adding that he's never had a bad experience with one. "We're one of those bands that likes to do that kind of stuff together. Hey, we're all in Bangkok tonight, we're on tour, we don't have anywhere to go. Let's actually go to a whorehouse or a glory hole and have sex with random people behind a wall."

The music video, like the song, is not for the easily offended. Directed by Frankie Nasso, it's a very literal depiction of the lyric, set in a bathroom visited by all sorts of characters. Nasso is best-known for his work with Asking Alexandria; he directed their clips for "The Death of Me" and "Breathless."

Cheap Trick - I Want You To Want Me

Cheap Trick - I Want You To Want Me Lyrics and Youtube Music Videos

Album: Live At Budokan
Released: 1977

I Want You To Want Me Lyrics

I Want You To Want Me.
I need you to need me.
I'd love you to love me.
I'm beggin' you to beg me.
I want you to want me.
I need you to need me.
I'd love you to love me.

I'll shine up my old brown shoes.
I'll put on a brand new shirt
I'll get home early from work
If you say that you love me.
Didn't I, didn't I, didn't I,
See you cryin' (cryin, cryin').
Oh, Didn't I, didn't I, didn't I,
See you cryin' (cryin, cryin')
Feelin' all alone without a friend
You know you feel like dyin' (dyin', dyin').
Oh, didn't I, didn't I, didn't I,
See you cryin' (cryin', cryin').

I want you to want me.
I need you to need me.
I'd love you to love me.
I'm beggin' you to beg me.

I'll shine up my old brown shoes.
I'll put on a brand new shirt
I'll get home early from work
If you say that you love me.
Didn't I, didn't I, didn't I,
See you cryin' (cryin, cryin').
Oh, Didn't I, didn't I, didn't I,
See you cryin' (cryin, cryin')
Feelin' all alone without a friend
You know you feel like dyin' (dyin', dyin').
Oh, didn't I, didn't I, didn't I,
See you cryin' (cryin', cryin').

Feelin' all alone without a friend
You know you feel like dyin' (dyin', dyin').
Oh, didn't I, didn't I, didn't I,
See you cryin' (cryin', cryin').
Feelin' all alone without a friend
You know you feel like dyin' (dyin', dyin').
Oh, didn't I, didn't I, didn't I,
See you cryin' (cryin', cryin').

I want you to want me.
I need you to need me.
I'd love you to love me.
I'm beggin' you to beg me.

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

I Want You To Want Me Song Chart

This song has a long and intriguing history. It was written by Cheap Trick's guitarist Rick Nielsen and recorded for their 1977 self-titled debut album, but it didn't make the cut. The song was included on their second album In Color, which was released later in 1977. This version had a medium tempo with a country feel and a honkey tonk piano throughout the song.

By 1978, the band had dropped it from their setlist, but restored it when they toured Japan that year, since Japanese audiences loved the song. They played it on April 28th and 30th at their famous concerts that took place at the Budokan temple in Tokyo, which was a big deal because many Japanese citizens felt the temple was sacred and not appropriate for rock concerts. The concerts were released as the Live At Budokan album, which captured Cheap Trick's live energy and turned their fortunes around in America, where the album was released in February 1979 and sold over 3 million copies. The extracted "I Want You To Want Me" became their first hit, charting at #7.

The famous At Budokan version of this song was inspired by a French cover version ("J'attends Toutes les Nuits") by by a fairly obscure French synthpop artist named Niko Flynn, who sped up the tempo and put a beat to the song.

This is one of the few rock songs that starts with the chorus.

In 1978, this appeared as the B-side of Cheap Trick's single "California Man."