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The Yardbirds - For Your Love

The Yardbirds - For Your Love Lyrics and Youtube Music Videos

Album: For Your Love
Released: 1965

For Your Love Lyrics

For Your Love
For your love
I'd give you everything and more and that's for sure
(For your love)
I'd bring you diamond rings and things right to your door
(For your love)
To thrill you with delight,
I'd give you diamonds bright
Double takes I will excite,
Make you dream of me at night
For your love
For your love
For your love
For your love,
For your love
I would give the stars above
For your love,
For your love
I would give you all I could
(For your love)
(For your love)
I'd give the moon if it were mine to give
(For your love)
I'd give the stars and the sun for I live
(For your love)

Writer/s: GOULDMAN, GRAHAM
Publisher: Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

For Your Love Song Chart

This was written by Graham Gouldman, who was the bass player for the group 10cc. He also wrote "Heart Full Of Soul" for the Yardbirds. Gouldman was inspired by the Animals "The House Of The Rising Sun." Bassist Paul Samwell-Smith made wholesale changes to Gouldman's original demo, including the use of a harpsichord. Gouldman observed to Uncut magazine August 2009: "The harpsichord was an absolute stroke of genius. The record just had a weird, mysterious atmosphere about it."

The Yardbirds wrote many of their own songs as a group, but had some of their biggest hits with the ones Gouldman wrote. What did they think of Gouldman's songs? Yardbirds drummer Jim McCarty told us: "Well, they were always very original. Very interesting songs, very moody, because they were usually in a minor key, the ones we did, anyway. 'For Your Love' was an interesting song, it had an interesting chord sequence, very moody, very powerful. And the fact that it stopped in the middle and went into a different time signature, we liked that, that was interesting. Quite different, really, from all the bluesy stuff that we'd been playing up till then. But somehow we liked it. It was original and different."

The Yardbirds didn't have a lot of hits, but were one of the most influential and original bands of the '60, and an easy pick for the Rock and Roll Hall of Fame, which they entered in 1992. Having a hit song was important to them, however, and this song provided that. McCarty explains: "To try and get a hit song in those days was quite a difficult thing to do for us. We could come up with ideas, but our first hit song was very important for us. And with 'For Your Love' we heard it and had the demo of it and it sounded like a hit song to all of us. Yeah, there wasn't a problem doing that. It was the sort of thing that you relied on to get into that other echelon, to have a hit song. All our contemporaries were having hit songs: The Beatles and the Stones and the Moody Blues and Animals, they were all having Number 1 hits and we were really trying to keep up."

This almost didn't get recorded by The Yardbirds. Gouldman wrote it for his own group at the time, the Mockingbirds, but their demo was turned down by Columbia. Also it is believed that producer Mickie Most turned it down on behalf of Herman's Hermits and that the Animals also turned it down.

The song found its way to The Yardbirds after their manager ran into the fledgling songwriter Gouldman when they were opening for The Beatles at a 1964 Christmas show. Gouldman loved how The Yardbirds would change tempo in the middle of a song, which is how he wrote "For Your Love."

This song prompted Eric Clapton to leave The Yardbirds, since he felt their music was becoming too commercial. He was replaced by Jeff Beck, who was later replaced by Jimmy Page. Clapton joined John Mayall's Bluesbreakers and would later be a member of Cream and Derek and the Dominos. One of the contributing factors to Eric Clapton's departure was, while performing the song live, his having to recreate the song's harpsichord on a 12-string guitar. (thanks, James - Tracy, CA)

The harpsichord on this song was played by session musician Brian Auger, who later became a solo artist of note. His biggest hit was the Bob Dylan song "This Wheel's On Fire," which was credited to Julie Driscoll With Brian Auger And The Trinity. It later became the theme tune for the BBC comedy show Absolutely Fabulous.

The Yardbirds were known as a great live band, but the recording technology of 1965 limited their commercial potential, as the songs they wrote themselves didn't play well in a studio setting. McCarty told us how this song gave them a breakthrough: "All the stuff that we played live and we recorded in the studio, it just sounded really tame. The studios weren't so good then, they weren't really geared for playing rock and roll or blues music. And all the ideas that we'd had up to 'For Your Love' just sounded awful. And so 'For Your Love' was the song that would sound good anyway, because it was a much more commercial song."

On The Yardbirds official site, bass player Chris Dreja says of this: "We owe a lot to that song because it sort of pulled us out from national to international and set the template for us - that time change in the middle, the weirdness of it." (thanks, Bertrand - Paris, France)

This song appeared in the movies Fear And Loathing In Las Vegas (1998), Harimu Ogen (1985) and Deadly Advice (1994).

Fleetwood Mac recorded this for their 1973 album Mystery to Me and released it as a single.

The musical breakdown on this track is as follows:
Keith Relf - lead vocal
Eric Clapton - guitar
Chris Dreja - guitar
Paul Samwell-Smith - bass
Jim McCarty - drums

Non-Yardbirds brought in to play were:
Ron Prentiss - acoustic bass
Brian Auger - harpsichord
Denny Piercey - bongos

This song was covered by Greg Kihn in 1994. It was also used in the movies Fear and Loathing in Las Vegas (1998) and Pirate Radio (2009). (thanks, Charlie - Las Vegas, NV)

This was used in commercials for Zales jewelry. (thanks, Bertrand - Paris, France)

Black Veil Brides - Faithless

Black Veil Brides - Faithless Lyrics and Youtube Music Videos

Album: Black Veil Brides
Released: 2014

Faithless Lyrics

Behold the new hate with all the same lost values
Forsake what lives deeper
In death we're all believers

Raise up your sirens
Break through the silence
We are united in the search for something more

Cross your heart
Open your mind
Hide your face in their disguise

Even when I fall down to my knees
I never say a prayer I don't believe
And I don't wanna look up to the Son
But I will never be the Faithless one

No, I will never be the faithless one

Refuse to destroy the altars we are serving
The truth in living is that our souls are searching

Live with defiance
It's time to fight
Don't ever let them keep your words from being heard

Cross your heart
Open your mind
Hide your face in their disguise

Even when I fall down to my knees
I never say a prayer I don't believe
And I don't wanna look up to the Son
But I will never be the faithless one

No, I will never be the faithless one

Even when I fall down to my knees
I never say a prayer I don't believe
And I don't wanna look up to the Son
But I will never be the faithless one

Even when I fall down to my knees
I never say a prayer I don't believe
And I will never look up to the Son
But I don't wanna be the faithless one

No, I will never be the faithless one
But I will never be the faithless one

Writer/s: BIERSACK, ANDREW / PITTS, JACOB / LONG, NICK / ENGLISH, TOMMY / COMA, CHRISTIAN
Publisher: Warner/Chappell Music, Inc., MEMORY LANE MUSIC GROUP, CYPMP
Lyrics licensed and provided by LyricFind

Faithless Song Chart

Andy Biersack wrote this song with religion on his mind. He told Kerrang!: "I like to use religious images in mind, writing, I don't do it to try and beat controversal, but it serves my lyrical style well. As someone who grew up in a small town in the US, Christianity and, in my specific case, Catholicism, is so ubiquitous. It's a good cover-all for everything I've experienced."

"I guess I would consider myself an atheist – I struggle with the idea of titles, but don't think I'm agnostic, because that's a bit of a copout. I don't believe in a traditional God," Biersack continued. "That said, I have a strong defence of religion where I feel I'm playing for their team, I just don't wear the same jersey. I have a deep love for the positives of religion can build; the feelings of hope and faith that many religions offer. I greatly dislike the 'atheist religion' for that reason; those people disregarded intelligence level of anyone who is a 'believer' – I don't agree with that."

The song finds Biersack singing:

Behold the new hate, with all the same lost values.

He explained to Kerrang!: "This was written when I saw a sign for an atheist's coalition. What do these guys do, get together to talk about how they don't believe in something? 'Faithless' is about not wanting to pray to God. But I refuse to be someone who has no hope, and makes fun of those whose beliefs are different to mine."

Little Eva - The Loco-Motion

Little Eva - The Loco-Motion Lyrics and Youtube Music Videos

Album: LLLLLoco-Motion
Released: 1962

The Loco-Motion Lyrics

Everybody's doing a brand-new dance, now
(Come on baby, do The Loco-Motion)
I know you'll get to like it if you give it a chance now
(Come on baby, do the Loco-motion)
My little baby sister can do it with me
It's easier than learning your A-B-C's
So come on, come on, do the Loco-motion with me
You gotta swing your hips, now

Come on, baby
Jump up
Jump back
Well, now, I think you've got the knack
Wow, wow

Now that you can do it, let's make a chain, now
(Come on baby, do the Loco-motion)
A chug-a chug-a motion like a railroad train, now
(Come on baby, do the Loco-motion)
Do it nice and easy, now, don't lose control
A little bit of rhythm and a lot of soul

Come on, come on
Do the Loco-motion with me

Ye-ye-ye-yeah
Move around the floor in a Loco-motion
(Come on baby, do the Loco-motion)
Do it holding hands if you get the notion
(Come on baby, do the Loco-motion)

There's never been a dance that's so easy to do
It even makes you happy when you're feeling blue
So come on, come on, do the Loco-motion with me

(Come on)
You gotta swing your hips, now
(Come on)
That's right (do the Loco-motion)
You're doing fine!
(Come on, do the Loco-motion)
Come on, babe
(Come on, do the Loco-motion)
Hm-hm-hm, jump up
(Come one)
Jump back (do the Loco-motion)
You're looking good
(Come on, do the Loco-motion)
Hm-hm-hm, jump up
(Come on)
Jump back (do the Loco-motion), yeah yeah yeah

Writer/s: GOFFIN, GERRY / KING, CAROLE
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

The Loco-Motion Song Chart

The husband-and-wife songwriting team of Carole King and Gerry Goffin wrote this song. Little Eva was Eva Boyd, the babysitter - actually more of a nanny - being paid $35/week to watch their daughter Louise and clean the house. They were all young: Eva was 17, King 19 and Goffin 22. One day King came up with a melody that Goffin thought sounded like a locomotive, and when he saw Eva dancing with their daughter to the tune, he got the idea to make the song about a brand new dance - The Loco-Motion. He wrote the lyrics and they brought Eva to the studio and had her record the song as a demo - they were hoping Dee Dee Sharp would sing it. Their producer Don Kirshner thought Eva's vocal was just fine, so they named her Little Eva and had her record the song. The only downside for King and Goffin was losing their nanny: when the song became a million-seller, Eva was able to buy a place of her own.

Gerry Goffin had actually had this song idea in the back of his mind for a couple of years, but had never found the right moment to bring it out. When he sat down to write it at last, he defended it to Carole: "This is going to sound stupid, but what the hell." Don't all the biggest fads start out that way?

That saxophone solo was performed by Artie Kaplan, who was also the contractor for the recording session. Kaplan was a song plugger in Aldon Music's publishing department and also Aldon's Music Contractor. Among many other things, he was the one who discovered Tony Orlando while eating lunch at the diner across the street from the Brill Building. As songwriter Barry Mann's roommate, he was there to see the beginning of Mann's relationship to songwriter Cynthia Weil.

Describing the sessions for this song, Kaplan told us:
I contracted the "Loco-Motion" recording session and cast the two other musicians who I thought would be right for the date, namely Buddy Saltzman on drums and Charlie Macey on guitar and bass. I played five saxophone overdubs on baritone sax and tenor sax plus the solo part on the session to fill out the feel of a larger orchestra. Carole King played piano on the date and also wrote the arrangement, while she and The Cookies (a female R&B group that recorded for Aldon) added their brilliant vocal backgrounds. And of course there was the wonderful vocal by Eva Boyd, all under the direction of Gerry Goffin and a most able sound engineer Ron Johnson at Dick Charles Recording studios in New York City.

In those days demos were recorded in mono. Meaning that every time the musicians played a different orchestral part or the singers sang an added harmony, the engineer had to bounce the original track to a second machine while balancing the preceding part along with it. This process, known as overdubbing, was quite common in the early days among songwriters seeking inexpensive studios in which to record their songs to audition for music producers and music publishers.

I only mention this bit of history because I hesitate to think of how this recording would have survived, but for the excellent work of the sound engineer Ron Johnson and the masterful job he did mixing a "smash hit" record, overdub by overdub, and he never received a thank you for his effort.

So, I'll do it now, for everyone who simply forgot.

Thank you Ron Johnson for mixing "The Loco-Motion" a piece of musical history. For without you, we would all be nothing.

Much love to you, wherever you are,
Artie Kaplan

When the demo of this song was completed, Artie Kaplan took it to Cameo-Parkway, but Cameo producer Bernie Lowe listened to the opening for all of sixty seconds before squeaking the needle off the record and saying "I didn't hear the hook," turning it down cold. Kaplan just shrugged and took it back to Aldon. Lowe's exact facial expression, upon hearing this song come out of the radio later as a #1 hit by July of '62, is forever lost to history but we're pretty sure it must have been memorable. And that's how this song became the first single put out by the newly-formed Dimension Records, spawned from Aldon Music.

"Loco" means "crazy" in Spanish, implying that the dance was a crazy motion.

In 1974, this became an unlikely #1 US hit for Grand Funk, who did a rock version of the song. It was just the second time a song hit #1 for two different artists - the first was "Go Away Little Girl" by Steve Lawrence in 1962 and Donny Osmond in 1971. That song was also written by King and Goffin.

A cover of this song was the first hit for Australian singer Kylie Minogue. Released in 1987, it was the biggest-selling single of the '80s in Australia, and her only hit (#3) in the US until 2002, when she struck with "Can't Get You Out Of My Head."

The genesis of this song might have been "Uptown" and "Spanish Harlem," two songs produced by Brill building alumnus Phil Spector. According to Rich Podolsky's book Don Kirshner: The Man with the Golden Ear , when these hits charted, Al Kirshner of Aldon Music didn't get what the popularity was with them, but told his songwriting staff, "Write some more of those songs that I don't understand." The other impetus was of course "Mashed Potato Time," by Dee Dee Sharp, part of the "mashed potato" song fad at the time as referenced in the entry for "Mashed Potatoes." Kirshner called his top writers into the office and announced that there was nobody hotter than Dee Dee Sharp in 1962, and that producer Cameo-Parkway was looking for a follow-up hit. So he charged his staff: "Let's give them a song they can't turn down."

The promotional photo for this single features five of the people involved posing around an actual locomotive train engine: Producers Don Kirshner and Al Nevins on the left, founders of Aldon Music, songwriters Gerry Goffin and Carole King on the right, the writers, and lead singer Little Eva, in the front with one foot up on the train like she's keeping it parked so it doesn't roll away. The photo graced the cover of Cashbox magazine.

The song was covered by Canadian Ska-Punk band, The Johnstones, with the title of "Locomotion" for their 2012 album SUCK. Their guitarist Jarek Hardy told us they decided to record their own version, as, "it's just a fun song." He added: " We always thought it would be funny to do a song that has a dance. We tried it on one of our previous albums. We made up a dance. But we've really thought it would be funny to bring back an older song. We were just di--ing around in the studio. It was more of just us in the studio screwing around and just being like, hey, what sounds awesome? And we kind of threw it on there last minute."

Dillon Francis - Set Me Free

Dillon Francis - Set Me Free Lyrics and Youtube Music Videos

Album: Money Sucks, Friends Rule
Released: 2014

Set Me Free Lyrics

Set Me Free, set me free, set me free, set me free
Set me free, set me free, set me free, set me free
Set me free, set me free, set me free, set me free
Set me free, set me free

Set me free

Set me free

Set me free, set me free, set me free, set me free
Set me free, set me free, set me free, set me free
Set me free, set me free (set me free)
Set me free, set me free

Set me free

Set me free

Set me free

Set me free

Set me free

Writer/s: GARRITSEN, MARTIJN / FRANCIS, DILLON HART
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Set Me Free Song Chart

This song found Francis collaborating with Martin Garrix before the teenage Dutch DJ was well known. Francis told Billboard magazine that he found instant creative chemistry with Garrix during the two studio sessions that produced this song. "I went to Martin's house before he put out 'Animals,'" the American electronic producer said. "He still had only like 10,000 Twitter followers, and we were just hanging out with his parents. It was awesome because he seemed just like me and he's an amazing producer."

Frankie Valli - Grease

Frankie Valli - Grease Lyrics and Youtube Music Videos

Album: Grease Soundtrack
Released: 1978

Grease Lyrics

I solve my problems and I see the light
We got a lovin' thing, we gotta feed it right
There ain't no danger we can go to far
We start believing now that we can be what we are

Grease is the word

They think our love is just a growing pain
Why don't they understand, it's just a crying shame
Their lips are lying only real is real
We stop the fight right now, we got to be what feel
Grease is the word
It's got groove it's got meaning
Grease is the time, is the place, is the motion
Grease is the way we are feeling

We take the pressure and we throw away
Conventionality belongs to yesterday
There is a chance that we can make it so far
We start believing now but we can be who we are

Grease is the word

It's got groove it's got meaning
Grease is the time, is the place is the motion
Grease is the way we are feeling

This is the life of illusion
Wrapped up in trouble, laced with confusion
What are we doing here?

We take the pressure and we throw away
Conventionality belongs to yesterday
There is a chance that we can make it so far
We start believing now that we can be who we are

Grease is the word

It's got groove it's got meaning
Grease is the time, is the place is the motion
Grease is the way we are feeling

Grease is the word, is the word
That you heard
It's got groove it's got meaning
Grease is the time, is the place is the motion
Grease is the way we are feeling

Grease is the word
Is the word
Is the word
Is the word
Is the word
Is the word
Is the word
Is the word

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

Grease Song Chart

This was featured in the movie of the same name starring John Travolta and Olivia Newton-John. Valli was not in the movie, but another Frankie was: Frankie Avalon played the Teen Angel and sang "Beauty School Dropout." Valli would get a turn in acting: he appeared in seven episodes of the HBO series The Sopranos, which was about a quirky mafia family.

This song was written and produced by Barry Gibb of The Bee Gees specifically for the movie. His music helped make Saturday Night Fever a huge hit two years earlier. That film was produced by Robert Stigwood, who was a partner in the Grease movie and got Gibb on board for the title song.

For this project, Stigwood was interested in Gibb's pen, but not his voice, since The Bee Gees sound ingrained with Saturday Night Fever and he wanted Grease to have its own identity. Frankie Valli , who could sing in a similar high vocal range to Gibb, was asked to record it. Thanks to his many previous hits, Valli provided a familiar sound, but one that was not saturated on Pop radio, as he hadn't had a hit for a while. Gibb did sing backup on the track.

Speaking with Billboard magazine in a 2013 interview, Valli explained how he came to record this song. "Barry Gibb called and said, 'I wrote a song. I think it's for you. It's going to be the title song for this motion picture," Valli recalled. "My manager at the time was Allan Carr, who was partners in Grease with Robert Stigwood. He called and said, 'What do you want to do? Do you want to be in the movie? Or sing the title song?' Well, I had already heard the title song, and I loved it. I called [famed arranger] Don Costa up and told him to come over right away and hear this song. He said, 'If you don't record this song, you're crazy.' So I said, 'What's the song if I want to be in the movie?' And they said 'Beauty School Dropout.' It was done by Frankie Avalon. It never became a hit, but he made a lot of money from it being on the soundtrack. But 'Grease' was one of the biggest records I ever had in my career."

This was not used in the stage production of Grease - it was written specifically for the movie.

The song doesn't make any specific references to the movie, but elegantly expresses it's theme: individuality. It explicitly empowers the title:

It's got a groove, it's got a meaning
Grease is the time, is the place, is the motion
Grease is the way we are feeling

In the bridge, the song gets transcendental:

This is a life of illusion
A life of control
Mixed with confusion

This was quite a departure for Valli: the Jersey Boy typically sang about girls and romance, not spiritual discovery.

This was Valli's second US #1 hit as a solo artist. Three years earlier, he hit the top spot with "My Eyes Adored You," and before that he had an astonishing five #1 hits with The Four Seasons.

When he was approached about "Grease," Valli didn't have a record deal - the single was released on Robert Stigwood's RSO label, which issued the soundtrack. Valli quickly landed a deal with Warner Brothers, but never scored another hit on the Hot 100.

"Grease" was Valli's only #1 not co-written by Bob Crewe or Bob Gaudio.

Peter Frampton played lead guitar on this track.

With its Disco beat, this song is way out place for the '50s, which is when Grease takes place. Audiences didn't seem to mind this anachronism: the single went platinum, and the soundtrack sold over 8 million copies in America. (thanks, James - Beverly Hills, CA)

Barry Gibb produced this song with Albhy Galuten and Karl Richardson, who worked on the music to the movie Saturday Night Fever.

The Bee Gees never recorded a studio version of this song, but included it on their 1997 live set One Night Only, which was recorded at the MGM Grand in Las Vegas. Their performance was augmented by Frankie Valli's recorded vocals, which come in for the second verse.

The performance was also released on DVD; during this song there are lots of shots of Olivia Newton-John, who earned a seat in the front row.

This was the second US #1 hit from the Grease soundtrack, following "You're The One That I Want," which was released ahead of the movie and hit the top spot on June 10, 1978, six days before the film hit theaters. The title track benefited from the success of the movie, which was a summer blockbuster. "Grease" rose up the Hot 100 in July and reached #1 on August 26.

On January 31, 2016, the Fox network aired a live musical version of Grease, which opened with Jessie J performing this song in a long tracking shot that traversed the set and introduced much of the cast, including Boys II Men, who played the Teen Angel and did some of their "Motownphilly" harmonies in this opening number.

Drake - 6 God

Drake - 6 God Lyrics and Youtube Music Videos

Album: If You're Reading This It's Too Late
Released: 2014

6 God Lyrics

(Rr' Ting) I'll admit it, I'll admit it

Watch your motherfuckin' tone boy
Get hurt boy
Aw here go another mo'fucker
That don't understand the concept of puttin' money first boy (first)
I'm 'bout to hit you with the work boy (work)
I'm 'bout to hit you with the work boy (work)
I hate comin' through stuntin' on niggas that I know, ah
That's the worst boy (worst)
I'll admit it, I'll admit it (I'll admit it)
You haven't been a man for like a minute
I told you that I'm in it for the long haul
You can really get the business
I'll admit it, I'll admit it (I'll admit it)
Rolling swishers hittin' swishes
Got me feelin' like a ball hog
I don't pass 'em when I get it
I'll admit it, I'll admit it
You too worried 'bout the bitches (what you worried 'bout)
I got one girl, and she my girl
And nobody else can hit it
She'll admit it, she'll admit it
She ain't fuckin' with you niggas
And just like every single other thing in my life
You can have her when I'm finished
I hear the talk on road is I'm the shit boy
Phone call back home
Shit is hot up in the 6 boy (hot up in the 6 boy)
Shit hot up in the 6 right now shit
Hot up in the 6 boy (hot up in the 6 boy)
Shit is hot up in the 6 right now
Come see us and get it fixed boy
Black Benz on the road boy
Already had a Rolls Royce
Sold a couple Bentley last week, them were my old toys
I give a fuck about old boy
I give a fuck about his squad boy
I give a fuck about your mob boy
I'm the real 6 God boy
I'm about to say a true thing
I'm about to say a true thing
You was poppin' back when Usher wore a U-chain
God damn you changed
I put it on 'erything, it's a err ting
It's a OVO come through murk things
I know you heard things
Bitch I know you heard things
Yeah, I know you heard things, know you
I'm not new to this
Coming from the motherfucking 6 side
I'm not new to this
Niggas wouldn't make it on this side
I'm not new to this
I'm not new, I'm not new
Yeah, I know you heard things
Nobody really likes us except for us
Yeah, all I ever needed was the squad so that's what's up
Yeah, my sound got the whole city a way right now
Yeah so I don't give a fuck about what anybody sayin' right now

Writer/s: SCRUGGS, JOSHUA / SAMUELS, MATTHEW / GRAHAM, AUBREY
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

6 God Song Chart

This hard-hitting club track was one of three songs (along with "How About Now" and "Heat of the Moment") that Drake released on October 25, 2014, the day after the rapper's birthday. He stated that he dropped the tunes due to them being stolen by hackers.

The Boi-1da and Syk Sense produced cut finds Drake spitting braggadocious lyrics to his haters. The '6' is a reference to Toronto's area codes, 416 and 647, which is often used by OVO Crew members in their songs. Drake is stating he's the god of the Toronto rap scene.

Dr. Hook & the Medicine Show - The Cover of "Rolling Stone"

Dr. Hook & the Medicine Show - The Cover of "Rolling Stone" Lyrics and Youtube Music Videos

Album: Sloppy Seconds
Released: 1972

The Cover of "Rolling Stone" Lyrics

Well, we're big rock singers
We got golden fingers
And we're loved everywhere we go (that sounds like us)
We sing about beauty and we sing about truth
At ten-thousand dollars a show (right)
We take all kinds of pills that give us all kind of thrills
But the thrill we've never known
Is the thrill that'll gitcha when you get your picture
On the cover of the Rollin' Stone

(Rollin stone) want to see my picture on the cover
(Stone)Wanna buy five copies for my mother (yes)
(Stone)Wanna see my smilin' face
On the cover of the Rollin' Stone (that's a very very good idea)

I got a freaky ole lady name a cocaine Katy
Who embroideries on my jeans
I got my poor ole grey haired daddy
Drivin' my limousine
Now it's all designed to blow our minds
But our minds won't really be blown
Like the blow that'll gitcha when you get your picture
On the cover of the Rollin' Stone

(Rollin Stone) want to see our pictures on the cover
(Stone) want to buy five copies for our mothers (yeah)
(Stone) want to see my smilin' face
On the cover of the Rollin' Stone
(talking) Hey, I know how
Rock and roll

Ah, that's beautiful
We got a lot of little teenage blue eyed groupies
Who do anything we say
We got a genuine Indian Guru
Who's teaching us a better way
We got all the friends that money can buy
So we never have to be alone
And we keep getting richer but we can't get our picture
On the cover of the Rollin' Stone

(Rollin stone)Gonna see my picture on the cover
(Stone) Gonna buy five copies for my mother (wa wa)
(Stone) Gonna see my smilin' face
On the cover of the Rollin' Stone
On the cover of the Rollin'
Stone) Gonna see my picture on the cover
(talking) I don't know why we ain't on the cover, baby
(Stone) Gonna buy five copies for my mother
(talking) We're beautiful subjects
(Stone) Want to see my smilin' face
(talking) I ain't kiddin', we would make a beautiful cover
On the cover of the Rollin' Stone
(talking) Fresh shot, right up front, man
I can see it now, we'll be up in the front
Smilin, man
Ah, beautiful.

Writer/s: SHEL SILVERSTEIN
Publisher: T.R.O. INC.
Lyrics licensed and provided by LyricFind

The Cover of "Rolling Stone" Song Chart

This was written by Shel Silverstein, a best-selling author of children's poems who was also a contributor to Playboy magazine and writer of many Country hits, including A Boy Named Sue. His books include Where The Sidewalk Ends , Giraffe and The Giving Tree . Silverstein also wrote Dr. Hook's first hit, "Sylvia's Mother."

This is a parody of the rock and roll lifestyle. It pokes fun at all the things that rock stars indulge in when they're successful: groupies, shady characters hanging around, limo rides, etc.

The group had a funny side and a serious side, but it was the funny side that came out on stage and framed their image. The pirate theme added to the novelty of the group: originally known as the Chocolate Papers, they took the name Dr. Hook & the Medicine Show after the character in Peter Pan, which also played up the eye patch worn by their singer Ray Sawyer, who many people assumed was "Dr. Hook." Sawyer wore the eye patch as a result of a car accident.

The group made the cover of Rolling Stone magazine on March 29, 1973, 3 months after this song was released. The text next to their picture read: "What's Their Names Make The Cover." The song was great publicity for Rolling Stone magazine, which was only five years old.

For the story, reporter Jim Cahill followed the band on tour, portraying them (accurately) as a ragtag band of misfits who were making it up as they went along. Early stage shows for the band were a bawdy affair, with a lot of improvisation and revelry.

Dr. Hook singer/guitarist Dennis Locorriere never took a stage name, which made it tough on journalists before there was Google. In the Rolling Stone article, they spelled his name wrong.

Mitch Myers, who is Shel Silverstein's nephew and wrote the book Silverstein Around the World , explains: "I think that he was already hanging with Dr. Hook when he did it, but if he didn't, he had been around musicians, and he understood what people wanted. And he understood how every musician's dream was to be a star. To be a big star. To be on the cover of a big magazine, and what magazine epitomized music? And Shel lampooned the whole rock and roll lifestyle in that - groupies and Indian gurus - at the time. The Beatles and everybody, Donovan, and all those people were wearing Indian garb and going to see Maharishi Mahesh Yogi, and coming back supposedly enlightened - or not. And everybody was still hustling, was all hustle. I'm not saying that anyone was insincere, I'm just saying that you can see people for what they are. And he did that, and made it funny, too.

Dr. Hook and the Medicine Show became such prolific interpreters of Shel's material for some reasons which would completely include their sense of humor. They were just a bar band from New Jersey, as much as Columbia Records tried to make them some crazy Cajun band that came out of the swamps. I mean, Ray Sawyer was from the South, maybe one or two of the other guys. But they were just a bar band, and were blessed with two great singers, both Ray and Dennis had fantastic voices. Dennis' was the one that was a little raspier and rougher, and similar to Shel's in grit, and Ray was a little bit more lascivious and a little bit more playful, and the chemistry between the two of them - although it did not last forever - was a perfect foil for Shel to use. And if it was a sweet love song, you know, Dennis might just do something very straightforward. Like "I Can't Touch The Sun For You" off the first record. And not all their songs were novelty, and not all their songs were humorous, and not all their performances were gimmicky. But they also were not afraid to go over to Europe and perform on stage and get naked. I mean, they were just a bunch of maniacs." (Learn a lot more about Shel Silverstein in our interview with Mitch Myers.)

This was featured in the 2000 movie Almost Famous, about a 15-year-old reporter writing an article for Rolling Stone. The band he is writing about sings this when they find out they made the cover. The director, Cameron Crowe, was once a reporter for Rolling Stone.

The BBC refused to play this because it violated their rule stating that songs could not mention trademarked products by brand name (the Kinks had to change "Coca-Cola" to "Cherry Cola" in their song "Lola" to get around the rule). CBS Records responded by setting up a phone line that would play the song to anyone willing to dial in, which helped build the buzz. The BBC was only able to play the song after some of their DJs edited themselves shouting the words "Radio Times" over "Rolling Stone" (Radio Times was a show on the BBC). Rumor was that Dr. Hook recorded the "Radio Times" version, but they never had to.

Drake - How About Now

Drake - How About Now Lyrics and Youtube Music Videos

Album: If You're Reading This It's Too Late
Released: 2014

How About Now Lyrics

How About Now Song Chart

This slow-moving ballad was one of three Drake tracks released because of hackers on October 25, 2014 along with "Heat of the Moment" and "6 God." The song had leaked a week earlier.

The Boi-1da & Jordan Evans produced cut finds Drake taunting a former lover over a sample of the Jodeci ballad "My Heart Belongs to You."

I'm up right now, and you suck right now, yeah
You thought the little effort that you put in was enough, girl
How 'bout now? Yeah
Girl, how 'bout now, how 'bout now, girl?
What about now, girl, how 'bout now?

Drake was infatuated with the girl before he became well-known, even going to church with her despite not being a Christian. She didn't appreciate Drake's efforts then but is probably regretting her lack of enthusiasm now he's rich and famous.

The song was later included on the physical release of Drake's If You're Reading This It's Too Late album. (It did not feature on the mixtape version).

Isaac Hayes - Theme From Shaft

Isaac Hayes - Theme From Shaft Lyrics and Youtube Music Videos

Album: Shaft Soundtrack
Released: 1971

Theme From Shaft Lyrics

Shaft
Who's the black private dick
That's a sex machine to all the chicks?
(Shaft!)
You're damn right
Who is the man
That would risk his neck for his brother man?
(Shaft!)
Can ya dig it?
Who's the cat that won't cop out
When there's danger all about
(Shaft!)
Right on
You see this cat Shaft is a bad mother
(Shut your mouth)
But I'm talkin' about Shaft
(Then we can dig it)
He's a complicated man
But no one understands him but his woman
(John Shaft)

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

Theme From Shaft Song Chart

This was featured in the 1971 movie of the same name starring Richard Roundtree. It was remade in 2000 starring Samuel L. Jackson as Shaft. Hayes made an uncredited appearance in the remake, but that wasn't what he had in mind. According to Q magazine, Hayes agreed to write the Shaft theme after being promised the lead role but the promise wasn't kept - he didn't even get an audition.

This won a Grammy for Best Instrumental Arrangement and an Oscar for Best Original Score. The Oscar win made Hayes the first African-American to win an Academy Award in a composer category.

Hayes was a songwriter for Stax records before he became a successful recording artist. He wrote some hits for Sam & Dave, including "Soul Man" and "Hold On I'm Coming." Hayes explained in an interview with National Public Radio: "The character Shaft was explained to me: a relentless character always on the prowl, always on the move. I had to create something to denote that. Otis Redding's 'Try A Little Tenderness,' I had a hand in arranging that. At the end, Al Jackson was doing some stuff on a hi-hat, and I thought if I sustained that kind of thing on a hi-hat, it would give a relentless, dramatic effect, and it worked."

Future actress (she was on the TV shows Bosom Buddies and Family Matters) Telma Hopkins was one of the backup singers. That's her saying "Shut Your Mouth!", which became a bit of a catchphrase for Hopkins, whose character would often say it on her shows. Joyce Wilson was the other backup singer; she and Hopkins performed as Tony Orlando's backup group Dawn.

The instruments were played by Memphis funk group The Bar-Kays. For a while, they were Otis Redding's backup band.

The distinctive funk guitar and hi-hat cymbals make this a very recognizable song. It is often used in commercials and TV promos, sometimes with the product name put in place of the word "Shaft."

Hayes was the voice of "Chef" on the TV show South Park. Despite being a cartoon, Chef usually found an opportunity to sing on each show.

There was also a TV version of Shaft, which lasted one season on CBS in 1973. Hayes contributed music to the series.

When Hayes was inducted into the Rock and Roll Hall of Fame in 2002, he opened the ceremonies with this song.

Bart and Lisa sing this on The Simpsons episode "One Fish, Two Fish, Blowfish, Blue Fish."

Exodus - Class Dismissed (A Hate Primer)

Psychedelic Pop, Neo-Psychedelia,
Exodus - Class Dismissed (A Hate Primer) Lyrics and Youtube Music Videos

Album: Exhibit B: The Human Condition
Released: 2010

Class Dismissed (A Hate Primer) Lyrics

Class Dismissed (A Hate Primer) Song Chart

This song tells the story of the Virginia Tech massacre on April 16, 2007, where 32 people were killed. The slaughter was the deadliest shooting incident by a single gunman in US history and this song recounts the tragedy through the eyes of the perpetrator Seung-Hui Cho. Exodus stopped playing the tune live after the Sandy Hook shooting.

Other songs inspired by the Virginia Tech massacre include:

"Triple Mass" by Flipper
"Without You" by The Feeling
"Singing Man" by The Roots

On August 24, 2014 James Evans, a 31-year-old Exodus fan posted lyrics to the song on Facebook

Student bodies lying dead in the halls
A blood splattered treatise of hate
Class dismissed is my hypothesis, gun fire ends in debate

Multiple agencies received calls concerned about the post, resulting in Evans' arrest as, "he threatened to kill students and or staff at school." Evans was placed in the Muhlenberg County Detention Center before being released eight days later.

UB40 - Can't Help Falling In Love

UB40 - Can't Help Falling In Love Lyrics and Youtube Music Videos

Album: Promises And Lies
Released: 1993

Can't Help Falling In Love Lyrics

Wise men say
Only fools rush in
But I Can't Help Falling In Love with you

Wise men say
Only fools rush in
But I can't help falling in love with you

Shall I stay
Would it be a sin?
But I can't help falling in love with you

As the river flows
gently to the sea
Darling, so we go
Some things were meant to be

Take my hand
Take my whole life too
But I can't help falling in love with you

As the river flows
gently to the sea
Darling so we go
Some things were meant to be

Take my hand
Take my whole life too
But I can't help falling in love with you

I can't help falling in love with you
I can't help falling in love with you
I can't help falling in love with you

Writer/s: GEORGE WEISS, HUGO PERETTI, LUIGI CREATORE
Publisher: IMAGEM U.S. LLC
Lyrics licensed and provided by LyricFind

Can't Help Falling In Love Song Chart

Elvis Presley originally recorded this in 1961. UB40 were asked to record an Elvis tune of their choice for a new film called Honeymoon In Vegas. The band's drummer, James Brown, suggested they record this song because it was one of his favorites. The band agreed but when they presented the song to the film director Andrew Bergman, they learned that a few other acts had recorded the same song, with Clarence Giddons and Bruno Hernandez's version making it into the film, whilst Bono's version ended up on the soundtrack album, even though it wasn't in the film. However it was included on the soundtrack for the movie Sliver, starring Sharon Stone and William Baldwin. Guitarist Robin Campbell admitted in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: "We weren't all that happy with the finished version. But we thought it might have been used in Honeymoon In Vegas. We were going to scrap it because we were working on our new album Promises and Lies at the time and we were determined not to put any cover versions on it." Most of the band were against including the track on the album because, as Robin said, "They thought it wasn't representative of the album, but I persuaded them that it would be pointless not to, as it was likely to be a smash hit."

This was UB40's biggest hit. It was #1 in the US for seven weeks.

UB40's only other US #1, "Red Red Wine," was also a cover. It was originally recorded by Neil Diamond.

Like ZZ Top and the Irish band U2, UB40 has managed to maintain a steady lineup for 30 years. While they did use session musicians and certain members pursued solo careers, the band really never had to replace any members at all. (thanks, Aram - Sarajevo, Bosnia and Herzegovina)

George Ezra - Listen To The Man

Psychedelic Pop, Neo-Psychedelia,
George Ezra - Listen To The Man Youtube Music Videos and Lyrics

Album: Wanted on Voyage Released: 2014

George Ezra - Listen To The Man Lyrics



Listen To The Man Song Chart
I feel your head resting heavy on your single bed
I want to hear all about it
Get it all of your chest, oh
I feel the tears and you’re not alone, oh
When I hold you, well I won’t let go, oh

Why should we care for what they’re selling us anyway?
We’re so younger than you know, whoa
You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you

Your world keeps spinning and you can’t jump off
But I will catch you if you fall I can’t tell you enough
I hate to hear that you’re feeling low
I hate to hear that you won’t come home

Why should we care for what they’re selling us anyway?
We’re so younger than you know, whoa
You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you, whoa, whoa, whoa.

Easy, easy and a one, two, three, oh
Easy, breazy if you come with me, oh
Easy, easy and a one, two, three, four, five, six, seven eight, nine

You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you, whoa, whoa, whoa

You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you, whoa, whoa, whoa

Writer/s: JOEL LASLETT POTT, GEORGE BARNETT
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

George Ezra - Listen To The Man

Psychedelic Pop, Neo-Psychedelia,
George Ezra - Listen To The Man Youtube Music Videos and Lyrics

Album: Wanted on Voyage Released: 2014

George Ezra - Listen To The Man Lyrics



Listen To The Man Song Chart
I feel your head resting heavy on your single bed
I want to hear all about it
Get it all of your chest, oh
I feel the tears and you’re not alone, oh
When I hold you, well I won’t let go, oh

Why should we care for what they’re selling us anyway?
We’re so younger than you know, whoa
You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you

Your world keeps spinning and you can’t jump off
But I will catch you if you fall I can’t tell you enough
I hate to hear that you’re feeling low
I hate to hear that you won’t come home

Why should we care for what they’re selling us anyway?
We’re so younger than you know, whoa
You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you, whoa, whoa, whoa.

Easy, easy and a one, two, three, oh
Easy, breazy if you come with me, oh
Easy, easy and a one, two, three, four, five, six, seven eight, nine

You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you, whoa, whoa, whoa

You don’t have to be there, babe
You don’t have to be scared, babe
You don’t need of plan of what you wanna do
Won’t you listen to the man that’s loving you, whoa, whoa, whoa

Writer/s: JOEL LASLETT POTT, GEORGE BARNETT
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind