Songs Lyrics and YT- Youtube Music Videos

Jefferson Airplane - White Rabbit

Jefferson Airplane - White Rabbit Youtube Music Videos and Lyrics

Album: Surrealistic Pillow
Released: 1967

White Rabbit Lyrics

One pill makes you larger, and one pill makes you small
And the ones that mother gives you, don't do anything at all

Go ask Alice, when she's ten feet tall

And if you go chasing rabbits, and you know you're going to fall
Tell 'em a hookah-smoking caterpillar has given you the call

And call Alice, when she was just small

When the men on the chessboard get up and tell you where to go
And you've just had some kind of mushroom, and your mind is moving low

Go ask Alice, I think she'll know

When logic and proportion have fallen sloppy dead
And the white knight is talking backwards
And the red queen's off with her head
Remember what the dormouse said
Feed your head, feed your head

Writer/s: SLICK, GRACE WING
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

White Rabbit Song Chart

This was written by Grace Slick, who based the lyrics on Lewis Carroll's book Alice In Wonderland. Like many young musicians in San Francisco, Slick did a lot of drugs, and she saw a surfeit of drug references in Carroll's book, including the pills, the smoking caterpillar, the mushroom, and lots of other images that are pretty trippy. She noticed that many children's stories involve a substance of some kind that alters reality, and felt it was time to write a song about it.

Slick got the idea for this song after taking LSD and spending hours listening to the Miles Davis album Sketches Of Spain. The Spanish beat she came up with was also influenced by Ravel's "Bolero."

Slick wrote this song and performed it when she was in a band called The Great Society with her first husband, Jerry Slick. The Great Society made inroads in the San Francisco music scene, but released just one single, "Somebody To Love" (written by their guitarist, Jerry's brother Darby Slick), before calling it quits in 1966. Grace moved on to Jefferson Airplane, and the group recorded both "White Rabbit" and "Somebody To Love" for their first album with her, Surrealistic Pillow. The songs were the breakout hits for the band, with "Somebody To Love" reaching #5 US and "White Rabbit" following at #8.

The Great Society Version of "White Rabbit" was released in 1968 on an album called Conspicuous Only In Its Absence (credited to "The Great Society With Grace Slick"), a live recording of a show at The Matrix in San Francisco. This version runs 6:07 and meanders through four minutes of Indian stylings before Slick's vocals appear. The Airplane rendition is a tight 2:29 with a far more aggressive vocal from Slick.

This is used in the stage production The Blue Man Group, and appears on their 2003 album The Complex. Music is a big part of the show, which features three blue guys engaging the audience with a combination of comedy, percussion, and sloppy stunts. They got a lot of attention when they were used in ads for Intel.

This was used as the theme song for a 1973 movie called Go Ask Alice.

Slick claimed to Q that the song was aimed not at the young but their parents. She said: "They'd read us all these stories where you'd take some kind of chemical and have a great adventure. Alice in Wonderland is blatant; she gets literally high, too big for the room, while the caterpillar sits on a psychedelic mushroom smoking opium. In the Wizard of Oz, they land in a field of opium poppies, wake up and see this Emerald City. Peter Pan? Sprinkle some white dust-cocaine-on your head and you can fly."

This was one of the defining songs of the 1967 "Summer Of Love." As young Americans protested the Vietnam War and experimented with drugs, "White Rabbit" often played in the background.

Did the band ever get sick of this song? Grace Slick answered this question in a 1976 interview with Melody Maker when she replied: "I can play around with a song on stage without ruining it. We stopped doing 'White Rabbit' for a couple of years because we were getting bored with it. I like it again and we included it last year 'cause it was the year of the rabbit."

The Airplane was frequently found giving free concerts around the Haight-Ashbury area of San Francisco. They shared a large house with several musicians during the psychedelic '60s, often applying for and receiving parade permits to walk the streets. Grace Slick was always a radical thinker, rejecting "daddy's money." She once appeared on The Smothers Brothers Comedy Hour made up in blackface, causing a big controversy.

The line in this song, "go ask Alice," provided the title of a 1971 book published by an anonymous author. The book was a "diary" of a young girl in the 1960s who had a drug addiction and died. Her name is never given, and the diary is suspected to be fictional despite being promoted as true. The anonymous author is likely Beatrice Sparks, the book's editor.

This capped off Jefferson Airplane's set at Woodstock in 1969. They took the stage at 8 a.m. on the third day, following a performance by The Who that started at 3 a.m.

According to Grace Slick's autobiography, the album name came when bandmate Marty Balin played the finished studio tapes to Jerry Garcia of The Grateful Dead, whose first reaction was, "Sounds like a surrealistic pillow." Slick says that she loves the fact that the phrase Surrealistic Pillow "leaves the interpretation up to the beholder. Asleep or awake on the pillow? Dreaming? Making love? The adjective 'Surrealistic' leaves the picture wide open."

This song is heard multiple times in the movie The Game with Michael Douglas. It demonstrates the madness Douglas feels as he is being manipulated by forces he can't control. (thanks, Nathan - Brugge, Belgium)

In the film Fear and Lothing in Las Vegas, there is a scene where Dr. Gonzo is in a bathtub and this song is playing on a tape player. In an effort to end his life, Gonzo implores Raoul Duke to put the tape player in the tub "When White Rabbit peaks." Instead of doing as instructed, Duke throws a grapefruit at Gonzo and unplugs the tape player. (thanks, Justin - Durango, CO)

Grace Slick said in Q magazine that she wrote this song, "on a funny-looking upright piano with about eight keys missing." The singer added: "I took acid and listened to Miles Davis's Sketches of Spain album for 24 hours straight until it burned into my brain."

The UK version of the album didn't include this track.

Stars - Look Away

Stars - Look Away Youtube Music Videos and Lyrics

Album: No One Is Lost
Released: 2014

Look Away Lyrics

Two sides to three stories
Never whine and forget about it this time
If you want what you've already got, Look Away
Toughen up, Valentines Day wasn't meant for my kind anyway
There's no leaving a forever thing, so look away

Take me out to the lake, break it down and dive into our mistakes
Take me in to the fire, it's just us even for a little while
There's nothing to say, look away

At Seventeen your hair was gold
You bet me once we never get this old
Nobody tells you that you might one day, look away
Through the door I can see the light
I'm not surprised he's always been a good guy
It's a game that we both learned how to play, look away

Take me out to the lake, break it down and dive into our mistakes
Take me in to the fire, it's just us even for a little while
There's nothing to say, look away

Can your first still be your last?
A little bit of shame and a mountain of a past
Nobody wrote the perfect book on a life without a second look
I won't close the door with all this rain if there's nobody to blame

Take me out to the lake, break it down and dive into our mistakes
Take me in to the fire, it's just us and for a little while, there is nothing to say

Toughen up, Valentines Day wasn't meant for our kind anyway
If you want what you've already got, look away
Look away [x4]

Writer/s: McCarron, Christopher Alexander / Millan, Amy E / Campbell, Torquil John / Seligman, Christopher Allen / Cranley, Evan Whitney / McGee, Patrick
Publisher: Kobalt Music Publishing Ltd.
Lyrics licensed and provided by LyricFind

Look Away Song Chart

This dreamy duet between Stars' Amy Millan and Torquil Campbell is the Campbell's favorite song on the No One Is Lost album. "When Amy brought that tune in, I was like, 'That's why I love being in Stars.' It's a story song. You get to play a part," he explained during the record's release party. "Over the years, we've had so many opportunities to tell the story of this fictional couple that we invented together. I feel lucky when I sing that song."

Starship - We Built This City

Starship - We Built This City Youtube Music Videos and Lyrics

Album: Knee Deep In The Hoopla
Released: 1985

We Built This City Lyrics

CHORUS
We Built This City we built this city on rock an' roll
Built this city we built this city on rock an' roll

Say you don't know me or recognize my face
Say you don't care who goes to that kind of place
Knee deep in the hoopla sinking in your fight
Too many runaways eating up the night

BRIDGE
Marconi plays the mamba listen to the radio
Don't you remember
We built this city we built this city on rock an' roll

REPEAT CHORUS
Someone's always playing corporation games
Who cares they're always changing corporation names
We just want to dance here someone stole the stage
They call us irresponsible write us off the page

REPEAT BRIDGE
REPEAT CHORUS
It's just another Sunday in a tired old street
Police have got the choke hold oh and we just lost the beat

Who counts the money underneath the bar
Who rides the wrecking ball into our guitars
Don't tell us you need us 'cos we're just simple fools
Looking for America crawling through your schools

(I'm looking out over that Golden Gate bridge
Out on a gorgeous sunny Saturday I've seen that bumper-to-bumpertraffic)

Don't you remember (remember)
(Here's your favorite radio station in your favorite radio city
The city by the bay the city that rocks the city that neversleeps)

REPEAT BRIDGE
REPEAT CHORUS TWICE
(We built we built this city) built this city (we built we builtthis city)
REPEAT TO FADE
Writer/s: PAGE, MARTIN GEORGE / TAUPIN, BERNARD J.P. / LAMBERT, DENNIS / WOLF, PETER F.
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

We Built This City Song Chart

This song came from an assemblage of top-tier songwriting and production talent. Elton John's songwriting partner Bernie Taupin wrote the lyrics, which he gave to Martin Page, who put music to the words and made a demo. Page, who later had a hit with "In the House of Stone and Light," garnered attention after the Los Angeles radio station KROQ started playing "Dancing In Heaven (Orbital Be-Bop)" by Martin's group Q-Feel. Taupin, who needed someone other than Elton John to write music for this lyric, asked Martin to do it.

Once the demo was made, Starship's producers Dennis Lambert and Peter Wolf (not the J. Geils frontman) decided to record the song with the group on the condition that they make some changes. The most significant alterations were more repetitions of the chorus and the addition of the DJ/announcer who placed the song in San Francisco ("Looking out over that Golden Gate bridge..."), where the band formed in the '60s as Jefferson Airplane, becoming key contributors to the vibrant and eclectic music scene there. This provided a handy backstory for the band, who when asked about the song would sometimes say that it was based it on an incident in 1977 when Jefferson Airplane was not allowed to play a free concert in San Francisco's Golden Gate Park (a more compelling answer than "our producers picked the song from some demos").

As part of the arrangement, Lambert and Wolf received composer credits on the song along with Taupin and Page. Even though they had to share their writers credits, both Taupin and Page have said that while the changes veered the song away from their original vision, Lambert and Wolf gave it tremendous popular appeal, and they appreciate the hit. "It will probably help send my children to college," Taupin said. Page added, "It was very wise, because I know they wanted to have a hit. Our thing is a little bit more esoteric."

By opening this song with Grace Slick and Mickey Thomas singing the chorus together, Starship's producers used those two powerful voices (check out Thomas on the song "Fooled Around And Fell In Love") to create an immediate impression. Few bands have the vocal talent to pull this off, but by getting the chorus (with the title) up front, it allowed for more repetitions, which is a key component when structuring a hit song.

The disc jockey interlude was not part of the original demo. In that spot, the song's co-writer Martin Page had put a police report broadcasting news of a riot in Los Angeles - something that came on when he turned on the radio looking for something to fill that part of the song.

The police report made the song far more ominous and stuck to the original vision as written by Bernie Taupin. Starship's producers replaced this part with a sunny announcer taking about "another gorgeous sunny Saturday" and delivering standard DJ patter ("the city that rocks, the city that never sleeps!"), changing the complexion of the song.

The DJ on the song is Les Garland, who was an executive at MTV at the time - a good guy to know if you want your video played. Garland not only put the video in hot rotation on MTV, he gave Grace Slick and Paul Kantner's daughter China Kantner a gig on the network, making her the youngest VJ they ever had. Slick and Kantner were early members of Jefferson Starship, and Slick was still with the band when they recorded this song.

This was the first single released under the name Starship. The band formed as Jefferson Airplane, releasing their first album in 1966. After going through some personnel changes in the early '70s, they began recording as Jefferson Starship. When Paul Kantner left the group in 1984, legal entanglements led to the band dropping the "Jefferson," and moving forward with Grace Slick as the only original member.

Considering the shift in band dynamics, the line in this song, "Say ya don't know me, or recognize my face" was quite appropriate.

The song changed drastically from its original demo, which Martin Page composed using Bernie Taupin's lyrics. The song was a cry of rebellion against a corporation trying to ban rock and roll in an imaginary future, but by the time Starship was done with it, it sounded more like a celebration of rock music in San Francisco, although a keen listen to the lyrics does reveal its distrust.

Speaking to Rolling Stone in 2013, Taupin said: "It was a very dark song about how club life in LA was being killed off and live acts had no place to go. It was a very specific thing. If you heard the original demo, you wouldn't even recognize the song."

When we spoke with Martin Page in 2014, he explained: "To me, 'We Built This City' is live music's been pulled away from the streets of LA. We want to get back to rock and roll and play it live. When I wrote it, it still had that feeling to me like something's wrong here. The corporations had taken away great live music. We're being stamped on, the rock was being stamped on.

The line, 'we just lost the beat' reiterated to me the wrecking ball. It's knocking down live music, it's being tramped on by corporations and commerciality.

So it's an interesting thing. The song is such a commercial song and was made that way, and takes a lot of stick. But if you look at the lyrics deeply - and one day people will take it and listen to the demo we did - it has an ominous feel about it. As Bernie says, the song was jerry-rigged to make the chorus come home, which I think was a very, very wise decision by the producers. I agree with what Peter Wolf did. He was a very good supporter of my music, and I think they really made 'We Built This City' a hit.

But if you stop and listen to the lyrics and the verses, you're not listening to 'Mama Weer All Crazee Now' by Slade. We're listening to something that is quite sophisticated and oriented towards keeping back some of the dark side of corporations. So it's very interesting that if you look deeper into that song, you'll see a that there's a darker strain going through it."

When Bernie Taupin asked Martin Page to write the music for this song, he supplied him with anther lyric as well. That one turned out to be "These Dreams," which went to Heart and also became a #1 hit. Page had more success a few years later when he co-wrote Go West's hits "King of Wishful Thinking" and "Faithful."

In 2004, Blender magazine named this the worst song of all time, saying it is "a real reflection of what practically killed rock music in the '80s," and lamenting "the sheer dumbness of the lyrics." The article got of lot of attention when it was touted in USA Today.

Much of this vitriol can be attributed to the transformation of the band, which delivered socially relevant protest songs in the '60s and was a voice of the antiwar movement. By the time they were Starship, they were motivated by mass appeal rather than political action, and this song was an expression of that change.

When this hit #1, Grace Slick was the oldest woman to sing the lead vocal (shared with Mickey Thomas) on a #1 single. The title had been previously held by Tina Turner for "What's Love Got To Do With It," and was later claimed by Cher for "Believe." (thanks, Paul - Detroit, MI)

This returned to the UK singles chart in 2014 after being used for a commercial for the 3 mobile service.

This was the first Top 10 hit Bernie Taupin wrote without Elton John. He had written with Elton before, composing the #12 "How You Gonna See Me Now" with Alice Cooper and Dick Wagner .

The album title, Knee Deep In The Hoopla, came from a line in this song.

The line "Police have got the choke hold" is a reference to a controversial issue in Los Angeles. Legal action had been taken against the Los Angeles police department, claiming that their tactic of choking suspects was dangerous and should be outlawed. Eventually, choke holds were banned by the department in most cases.

This part of the lyric goes along with the dark underpinnings of the song and its connection to Los Angeles.

The Swon Brothers - This Side of Heaven

The Swon Brothers - This Side of Heaven Youtube Music Videos and Lyrics

Album: The Swon Brothers
Released: 2014

This Side of Heaven Lyrics

Four years old, dressed up like a super hero
Always smiling, never showing he ain't well
His mom and daddy held his hand through all the chemo
And sometimes This Side of Heaven is hell

Sara Rollins, she left home right out of high school
Felt the call to serve the day those towers fell
She came back home today underneath the flag
And a twenty-one gun salute
Sometimes this side of heaven is hell

Somewhere right now a thousand tears are falling
Somewhere right now a heart's all out of break
Sometimes it feels like God don't hear us calling out for help
Sometimes this side of heaven is hell

Young couple laugh and cry and celebrate
Two little pink lines showed up clear as a bell
But their world crashed down
When the ultrasound found no heartbeat
Sometimes this side of heaven is hell

Somewhere right now a thousand tears are falling
Somewhere right now a heart's all out of break
Sometimes it feels like God don't hear us calling out for help
Sometimes this side of heaven is hell

Sometimes this side of heaven is hell

I know that on the other side there's healing
Jesus said there ain't no sorrow up there
But sometimes it takes all I've got to hold onto the promise
That only this side of heaven is hell

Somewhere right now bells and tears are falling
Somewhere right now a heart's all out of break
Sometimes it feels like God don't hear us calling out for help
Sometimes this side of heaven is hell

But only this side of heaven is hell

Writer/s: BEN MERRITT STENNIS, RYAN TODD LAFFERTY, WILLIAM BLAKE BOLLINGER
Publisher: BMG RIGHTS MANAGEMENT US, LLC, DOWNTOWN MUSIC PUBLISHING LLC
Lyrics licensed and provided by LyricFind

This Side of Heaven Song Chart

The Swon Brothers close their debut eponymous album with this Adam Craig, Jeff Middleton and Josh Thompson penned chill-bumper. Said Zach Swon, "It's rare that a song grabs me on first listen, but that one just stuck in my head immediately. It's such a sad song, but it's so uplifting, too. I think it's one of the most well-written songs I've ever heard."

Olivia Newton-John - Physical

Olivia Newton-John - Physical Youtube Music Videos and Lyrics

Album: Physical
Released: 1981

Physical Lyrics

I'm sayin' all the things that I know you'll like
Making good conversation I gotta handle you just right, you know what I mean
I took you to an intimate restaurant, then to a suggestive movie
There's nothing left to talk about 'less it's horizontally

Let's get Physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk
Let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk

I've been patient, I've been good, try'n to keep my hands on the table
It's gettin' hard this holdin' back, you know what I mean
I'm sure you'll understand my point of view, we know each other mentally
You've gotta know that you're bringin' out the animal in me

Let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk
Let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk

Oh let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk
Let's get animal, animal, I wanna get animal, let's get into animal
Let me hear your body talk, your body talk, let me hear your body talk
Let me hear your body talk, let me hear your body talk

Writer/s: KIPNER, STEPHEN / SHADDICK, TERRY
Publisher: Sony/ATV Music Publishing LLC, TERRY SHADDICK MUSIC
Lyrics licensed and provided by LyricFind

Physical Song Chart

You know how at the end of the movie Grease Olivia Newton-John transforms from a chaste good girl into a leather-clad vixen? She was definitely in vixen mode for this song, which if you are at all paying attention to the lyrics, is blatantly about sex: "There's nothin' left to talk about unless it's horizontally."

Olivia's real life image was far more modest than what she portrays in this song, and she was concerned about how she would be perceived. Her managers talked her into recording it, as they knew they had a huge hit on their hands.

Songwriters Steve Kipner and Terry Shaddick came up with this song, which was originally titled "Let's Get Physical." Instead of writing about the emotions of love, they decided to write this about the physical side, which many listeners found very refreshing in a pop song. Other songs Kipner helped write include "Hard Habit To Break" by Chicago and "Genie in a Bottle" by Christina Aguilera.

The song was released about a month after MTV went on the air, so the video got a lot of spins on the new channel. In the clip, Newton-John is shown teasing fat men as they try to exercise in some kind of locker room/gym. The whole idea of the video as to distract from the fact that the song is about sex, and fat guys working out accomplished that goal.

Aerobics was just gaining popularity when the song came out, and the video jumped on the trend and included some scenes where Olivia leads a cardio routine the guys can't handle. Eventually, the fat guys are replaced by fit, muscular men who ignore Olivia and pair off, indicating that they are gay. Despite the lascivious themes, the video was a huge commercial and critical hit - it won the Grammy for Video of the Year.

This was a #1 hit in the US for an amazing 10 weeks. The only song to that point that stayed at #1 longer was Elvis Presley's "Hound Dog." In America, it was the best-selling single of the '80s.

For 9 of the 10 weeks that this song topped the charts, "Waiting For A Girl Like You" by Foreigner was the runner-up. When "Physical" did finally fall, it was replaced at #1 by "I Can't Go For That (No Can Do)" by Hall & Oates. The #2 song that week: "Waiting For A Girl Like You" for the 10th consecutive week.

A few radio stations in conservative communities (including Salt Lake City, Utah) refused to play this song because of its veiled sexual content. This just added to the song's popularity and didn't hurt Olivia's reputation as one of the least offensive women in music.

After this was released, Newton-John appeared on a US TV special called Olivia Newton-John: Let's Get Physical, which featured this and other songs from her album, along with little skits where we got to know her better. Olivia did a great job of using her acting talents to promote her music, and these TV specials got a huge audience in the days when there weren't a lot of viewing options.

The video was directed by Brian Grant, whose experience was mostly on British TV shows. It was his idea to make fun of the overtly sexual lyrics by setting the video in a gym, and the gay reveal at the end (long before "Call Me Maybe"), was also his idea. The choreographer on the shoot was Kenny Ortega, who had worked with Newton-John on the movie Xanadu.

A slow and sultry version was recorded by Kylie Minogue for the movie Moulin Rouge, but it was cut by director Baz Luhrmann. Minogue as the Green Fairy was to have performed this song in the movie. (thanks, Ross - Brisbane, Australia)

In 1999 remixed versions of the song, (titled "Physical '99: Single Edit," "Neutron Bomb Mix," "Mustard Deep Dub," & "Mustard Full Vocal") with different vocals and an added vocal bridge, were to be released in the UK, but the single was pulled at the last minute.

On her Fall 2002 "Heartstrings Tour," Olivia performed an unplugged/Bosa-Nova style version of this that was a true crowd pleaser. Due to popular demand by her fans, Olivia recorded this version of the song and included it as an unlisted "bonus" track on her Australian duets album (Nov 2002) called 2. (thanks, James - Minneapolis, MN, for above 2)

This was used in a Tropicana Light advertisement that featured oranges exercising. (thanks, Tiffany - Dover, FL)

In a survey by Billboard magazine based on each song's performance on the Hot 100 chart, this was named the #1 Sexiest Song Of All Time. The runner-up was Rod Stewart's "Tonight's The Night," followed by Boyz II Men's "I'll Make Love To You" in third place.

U2 - Volcano

U2 - Volcano Youtube Music Videos and Lyrics

Album: Songs of Innocence
Released: 2014

Volcano Lyrics

The world is spinning fast tonight
You can hurt yourself tryin’ to hold on
To what you used to be
I’m so glad the past is all gone

Been out in the wild
Been out in the night
Been out of your mind
Do you live here or is this a vacation

Volcano
You don’t wanna, you don’t wanna know
Volcano
Something in you wants to blow
Volcano
You don’t wanna, you don’t wanna know

Your eyes were like landing lights
They used to be the clearest blue
Now you don’t see so well
The future’s gonna land on you

Been out in the wild
Been out in the night
Been out of your mind
Do you live here or is this a vacation

Volcano
You don’t wanna, you don’t wanna know
Volcano
Something in you wants to blow
Volcano
You don’t wanna, you don’t wanna know
You’re on a piece of ground above a volcano

You were alone
And now you’re not alone
You were alone
But you are rock n’ roll
You and I are rock n’ roll
But you are rock n’ roll
You and I are rock n’ roll

Oh, volcano
You don’t wanna, you don’t wanna know
Volcano
Something in you wants to blow
Volcano
You don’t wanna, you don’t wanna know
You’re on a piece of ground above a volcano

Writer/s: CLAYTON, ADAM / EVANS, DAVE / HEWSON, PAUL DAVID / MULLEN, LARRY
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Volcano Song Chart

Paul "Bono" Hewson's mother died when he was 14 after suffering a brain aneurysm at her own father's funeral. This driving tune finds a young, angry Bono wrestling with the death of his two close family members. "My mother died that year, so did my grandad," he writes in the album booklet. "After grief comes rage…the molten lava that turns to rock if it can... this kind of fire in the belly cannot sustain. If you're lucky, it burns out before it burns you out."

The song follows another track on Songs of Innocence about Bono's loss of his mother, "Iris (Hold Me Close)."

When The Observer asked Larry Mullen if he remembers the teenage Bono as the cannonball of fury and grief portrayed in this song Volcano, the U2 drummer instantly replied: "That's the guy I know now."

The Beach Boys - Surfin' U.S.A.

The Beach Boys - Surfin' U.S.A. Youtube Music Videos and Lyrics

Album: Surfin' U.S.A.
Released: 1963

Surfin' U.S.A. Lyrics

If everybody had an ocean
Across the U.S.A.
Then everybody'd be surfin'
Like California
You'd seem 'em wearing their baggies
Huarachi sandals too
A bushy bushy blond hairdo
Surfin' U.S.A.

You'd catch 'em surfin' at Del Mar
Ventura County line
Santa Cruz and Trestle
Australia's Narabine
All over Manhattan
And down Doheny Way

Everybody's gone surfin'
Surfin' U.S.A.

We'll all be planning that route
We're gonna take real soon
We're waxing down our surfboards
We can't wait for June
We'll all be gone for the summer
We're on surfari to stay
Tell the teacher we're surfin'
Surfin' U.S.A.

Haggerties and Swamies
Pacific Palisades
San Anofree and Sunset
Redondo Beach L.A.
All over La Jolla
At Waimia Bay

Everybody's gone surfin'
Surfin' U.S.A.

Everybody's gone surfin'
Surfin' U.S.A.

Everybody's gone surfin'
Surfin' U.S.A.

Everybody's gone surfin'
Surfin' U.S.A.

Everybody's gone surfin'
Surfin' U.S.A.

Everybody's gone surfin'
Surfin' U.S.A.

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

Surfin' U.S.A. Song Chart

The lyrics are basically a guide to good surf locations, but the "Surfin' U.S.A." music was based on Chuck Berry's 1958 hit "Sweet Little Sixteen." The Beach Boys did it as a tribute to Berry, but didn't get his permission first - maybe because Berry was in jail for transporting a minor across state lines. When Berry threatened to sue, The Beach Boys agreed to give him most of the royalties and list him as the song's composer. The song also helped build Berry's legend while he served his time.

David Marks, who was a guitarist in The Beach Boys from 1961-1963, explains on the DVD Brian Wilson Songwriter 1962 - 1969 , that he and Carl Wilson would play guitars every day after school, and one day Carl brought home the album Chuck Berry Is On Top. They loved the album and introduced Berry's sound to Brian Wilson, who loved the rhythm parts and put together "Surfin' U.S.A." based on that sound. Brian changed the lyrics and added a hook, but it is basically a rewrite of Berry's "Sweet Little Sixteen."

Many of the early Beach Boys' songs were about surfing. Dennis Wilson was the only Beach Boy who actually surfed, but surfing was a very popular at the time, especially with teenagers who bought records. For The Beach Boys, the surfing subculture gave them an opportunity to write songs about adventure and fun while exploring vocal harmonies and new production techniques. And while the majority of Americans didn't surf, the songs represented California, which was considered new and modern and a great place to be. Surfing, and California by extension, became more about a state of mind.

This is a very early Beach Boys song, following up their first hit "Surfin' Safari." Brian Wilson was gaining confidence as a producer, and this song marks the emergence of what would become the Beach Boys signature sound over the next few years. Wilson got the most of 1963 studio technology, and managed to create a sound with bright guitars and sophisticated background vocals - something he accomplished with double-tracking. Brian also used his falsetto vocals in the chorus to offset Mike Love 's lead.

Carl Wilson came up with the guitar intro, which is reminiscent of Duane Eddy's "Moving and Grooving." Wilson explained: "On 'Surfin' U.S.A.,' Brian wanted an opening lick and I just did this Duane Eddy riff. I was worried that it had been on another record, but what the hell. That was the first time we were aware we could make a really powerful record. For the first time, we thought the group sounded good enough to be played with anything on the radio."

Leif Garrett, who was not a surfer, but a skateboarder, recorded this in 1977 and took it to #20 in the US. Garrett was a teen idol who acted in some popular movies in the '60s and '70s, including Bob & Carol & Ted & Alice, but got hooked on drugs and fought a heroin addiction. In 2006, after one of his arrests for heroin possession, Garrett's mother told the New York Daily News that rock stars like The Rolling Stones were a bad influence on him and led him to drugs.

Guitarist David Marks played guitar on the Beach Boys first five albums. He recalled to ilikemusic.com laying down this track: "The energy on the Surfin' USA session was very upbeat and happy. That's where that chemistry thing kicks in again… there was a certain energy on that track that was a one-of-a-kind happening. It wasn't perfect in a technical sense, but the vibe was something special that had a lasting effect."

This was re-released in the US in 1974. It went to #36.

Comedic Canadian rock band Jason performed a spoof of this called "Bowlin' USA". The band's lead singer was Steve Smith, who later achieved fame and fortune playing his character Red Green on the cult Canadian comedy series The Red Green Show. (thanks, Brett - Edmonton, Canada)

You+Me - Break The Cycle

You+Me - Break The Cycle Youtube Music Videos and Lyrics

Album: Rose Ave
Released: 2014

Break The Cycle Lyrics

Circles and cycles and seasons
For everything there's always reason
But it's never good
Never turns out as it should
No one ever held you
No single moment of truth
But if you were mine
I would've looked into those eyes
And you said

Tell me the words
You long to hear
And I'll sing them loud and clear
Let me heal the wounds you've held on to for all these years
Break The Cycle
Break the chains
Cause love is louder than all your pain
Than all your pain

Is it all truly broken
You let a few mistakes
Let's take our time
Don't we have to try
Too many missing pieces
That's always been your reason to justify
How you feel alive
I wish you'd take

Tell me the words
You long to hear
And I'll sing them loud and clear
Let me heal the wounds you've held on to for all these years
Break the cycle
Break the chains
Love is louder than all your pain
Break the cycle
Break the chains
Love is louder than all your pain
Than all your pain

Writer/s: MOORE, ALECIA / GREEN, DALLAS
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Break The Cycle Song Chart

This is the second single by the folk music duo You+Me, who consist of Alecia Moore (better known as Pink) and Dallas Green, who has released a series solo albums under the City and Colour moniker. Moore wrote this song as a letter to her mother. "We were at the bar talking and I really wanted to write a song about my mom," she told The Huffington Post . "It didn't turn out to be quite the love song I thought it would be, but it's very honest and came out to be so much more."

"The words of the chorus is the loving, nurturing part," Green added. "I did not expect this song to turn out the way it did and it's so good."

Shaggy - Boombastic

Shaggy - Boombastic Youtube Music Videos and Lyrics

Album: Boombastic
Released: 1995

Boombastic Lyrics

Mr. Boombastic
What you want is some boombastic romantic
Fantastic lover, Shaggy
Mr. Lover Lover, Mmm, Mr. Lover lover, Sha
Mr. Lover lover, Mmm, Mr. Lover lover

[Chorus]
She call me Mr. Boombastic
Say me fantastic touch me on the back
She says I'm Mr. Ro
Mantic, say me fantastic
Touch me on the back, she says I'm Mr. Ro

Smooth, just like the silk
Soft and cuddly hug me up like a quilt
I'm a lyrical lover
No take me for no filth
With my sexual physique, jah know me well-built
Oh me oh my, well well
Can't you tell
I'm just like a turtle crawling out of me shell
Gal you captivate my body put me under a spell
With your couscous perfume
I love your sweet smell
You are the only young girl who can ring my bell
And I could take rejection, so you tell me go to hell

[Chorus: x2]

Gee wheeze, baby please
Let me take you to an island of
The sweet cool breeze
You don't feel like drive well baby hand me the keys
And I will take you to a place to set your mind at ease

Don't you tickle my foot bottom ha ha, baby please
Don't you play with my nose 'cause I might ha-choo sneeze
(bless you)
Well, you a the bun and me a cheese
And if me a the rice well maybe you a the peas

[Chorus: x2]

[Repeat: x2]
I say
Give me your loving, gal your loving well good
Want your loving
Gal you need like you should

Now remember that
Would you like to kiss and caress
Rub down every strand of hair on my chest
I'm boombastic
Rated as the best, the best you should get
Nothing more, nothing less
Give me your digits, jot down your address
I'll bet you confess when you put me to the test
That I'm

[Chorus: x2]

Gal, your admiration it's a-licked me from the start
With some physical attraction, gal, you know
To feel the spark
I want a few words, nogah tell you no sweet talk
Nogha lover, lover, lover
Nogha chat pure f

I'll get straight to the point
Like an arrow arrow dart
Come lay down in my jacuzzi and get some bubble bath
Only sound you will hear is the beating of my heart
And we will hm hm, and have some sweet pillow talk

[Chorus: x2]

Smooth

Writer/s: FLOYD, KING / BURRELL, ORVILLE N / LIVINGSTON, ROBERT N
Publisher: Peermusic Publishing
Lyrics licensed and provided by LyricFind

Boombastic Song Chart

This was the first US hit for Shaggy. "Oh Carolina" was popular in England two years earlier, but not in the US.

This uses a sample from "Baby Let Me Kiss You," a 1971 song by the New Orleans soul singer King Floyd.

A popular claymation commercial for Levi's jeans used this throughout the spot.

The album won a Grammy in 1996 for Best Reggae Album.

A$AP Rocky - Multiply

A$AP Rocky - Multiply Youtube Music Videos and Lyrics

Album: single release only
Released: 2014

Multiply Lyrics

Multiply Song Chart

This hard-hitting anthem about living life to the trillest, finds Rocky dissing streetwear labels Been Trill and Hood by Air, which he has supported in the past ("S--t is weak, you can keep that") and announcing the return of A$AP Mob ("We don't ever die, we just multiply").

Rocky pays tribute to the late Pimp C of the Texas based rap group, UGK on the hook, ("Even in my will, keep it trill, to the day I peel"). It was the Southern rapper who coined the adjective "trill," a word describing someone who is considered to be well respected that Rocky frequently uses.

A$AP Rocky debuted the track during his set at Coachella on April 11, 2014.

The song features a guest appearance from Juicy J, who introduces the track and also raps the outro.

Directed by A$AP Rocky and his regular collaborator Shomi Patwary, the video shows the Harlem native and his A$AP Mob colleagues hitting the streets of New York City. Juicy J makes a brief cameo at the beginning of the clip.

Madonna - Like A Prayer

Madonna - Like A Prayer Youtube Music Videos and Lyrics

Album: Like A Prayer
Released: 1989

Like A Prayer Lyrics

Like A Prayer Song Chart

This was the first song by a major artist to be used in a commercial before being released to stores or radio stations. With the cola wars heating up, Pepsi signed Madonna to a $5 million endorsement deal, which included a two-minute commercial that would debut this song. The spot, overseen by Pepsi's ad agency BBDO, was called "Make A Wish ," and showed Madonna watching an 8-year-old version of herself and doing some jubilant street dancing.

The commercial was promoted in a 30-second spot that aired during the Grammy Awards on February 22, 1989 (yes, a commercial for a commercial). Then on March 2, it aired on prime time television worldwide, including in America where it was seen on The Cosby Show. The Pepsi people claimed that 250 million viewers saw the ad, and that they were clearly the choice of the younger generation, as their partnerships with Whitney Houston, Michael Jackson, and now Madonna, demonstrated. The commercial was clever and innocent, and the song was also a winner, clearly destined for #1 with such an auspicious debut.

The song was released the next day and instantly added to radio playlists around the world. It was also added on MTV, but instead of creating a video that was an extension of the commercial, Madonna hijacked it. Instead of an 8-year-old girl at a birthday party, we see Madonna witness a brutal crime and take refuge in a church. She shares an interracial kiss, gets stigmata on her hands, and dances in front of burning crosses. Predictably, religious groups were outraged, with the American Family Association and The Vatican condemning it. Pepsi, facing a boycott, dropped Madonna and never again aired the commercial.

Madonna and MTV were the big winners here. Those who thought she came off as a recalcitrant priss tended to be older, conservative folks who were far outside of her target audience, and the kind of authority figures her fanbase (the same ones Pepsi was going after) despised. In defying her corporate suitor, Madonna showed that her art was more important than their money. Pepsi got the song for a day, but MTV (always a Madonna stronghold), got the rest of the run and benefited from the controversy as viewers tuned in to see what the fuss was about.

Pepsi had two more commercials planned and was going to sponsor her Blonde Ambition tour, but they dropped all association with Madonna, who got to keep the $5 million.

Madonna wrote this with Patrick Leonard, who she teamed with for many of her hits in the late '80s. Madonna explained to Rolling Stone why her relationship with Leonard has proved to be so successful: "We're both from the Midwest, and deep down at our core, we're both geeks. He's melancholic, and he is a classically trained musician with an incredible sense of melody. We just hit it off from the start. We always come up with something interesting. We usually don't write frivolous songs, although we've done that, too. There's something magical about our writing."

The Andrae Crouch gospel choir sang on this, but they refused to appear in the video.

Worldwide, this is Madonna's most popular song. In the US, it debuted at #38 the week of March 18, 1989 and jumped to #1 five weeks later, making it the fastest trip to the top since Michael Jackson's "Bad " in 1987.

The song also became a chart-topper in several other countries.

This won the Viewer's Choice Award at the 1989 MTV Video Music Awards.

The video was shot in California and directed by Mary Lambert, who had worked on videos for "Borderline," "Like A Virgin" and "Material Girl." The commercial was shot in Arizona and directed by Joe Pytka, who had previously worked with Pepsi on a Michael Jackson commercial.

Madonna had recently divorced actor Sean Penn when this was released. The cover of the single was drawn by her brother, Christopher, and contained the letters "MLVC", with a "P" falling away. They represented Madonna's initials, "Madonna Louise Veronica Ciccone," with the "Penn" falling away.

The album was released in March 1989. It was eagerly anticipated by Madonna's fans, since her last album, the remix collection U Can Dance, came out in November 1987.

Madonna's original idea for the video was to have her and the black saint-figure shot in the back.

In 1990, this was remixed by Shep Pettibone and included on Madonna's first greatest hits compilation, The Immaculate Collection. At the time, dance remixes were usually just extended versions of a song, but Pettibone put in a completely revamped backing track, something that became popular in years to come, especially among Hip-Hop artists.

The actor in the video who played the black saint is Leon Robinson, who played Derice Bannock, the main character in the movie Cool Runnings. (thanks, Brandon - Peoria, IL)

This appears on the soundtrack of the 1999 Drew Barrymore movie Never Been Kissed.

Madonna and Pat Leonard originally envisioned this song with a Latin flair, complete with bongos and Latin percussion, but quickly scrapped the idea in favor of religious elements like a church organ and choir.

In an interview with Billboard magazine, Leonard remembers the first, somewhat off-the-cuff rehearsal with Andrae Crouch: "He gets the choir together and they sort of wing it. He knows what he's going to tell them... but I know he's making it up as he goes along. He's listened to it in his car and he's thought about what he's going to do. It's very inspired."

Madonna had the vision for this song's controversial video long before Pepsi released its cutesy dancing-in-the-streets version. She told Interview magazine: "Originally, when I recorded the song, I would play it over and over again, trying to get a visual sense of what sort of story or fantasy it evoked in me. I kept imagining this story about a girl who was madly in love with a black man, set in the South, with this forbidden interracial love affair. And the guy she's in love with sings in a choir. So she's obsessed with him and goes to church all the time. And then it turned into a bigger story, which was about racism and bigotry... Then Mary Lambert got involved as the director, and she came up with a story that incorporated more of the religious symbolism I originally wrote into the song."

Madonna credits ex-husband Sean Penn for helping her address personal issues and bring more of herself to her music: "He was extremely influential in encouraging me to reveal that side of myself," she told Interview magazine in 1989.

By 2016, any lingering hostility between Madonna and Pepsi was forgotten as her song "Express Yourself" featured in a commercial that aired during the Super Bowl . In the spot, Janelle Monáe dances through different scenes representing music through the generations and how Pepsi was a part of it.

Ben Howard - I Forget Where We Were

Ben Howard - I Forget Where We Were Youtube Music Videos and Lyrics

Album: I Forget Where We Were
Released: 2014

I Forget Where We Were Lyrics

Oh hey,
I wasn't listening
I was watching serial
Blinded by the sunshine strip
You, you were in the kitchen
Oh your mind was marked and wounded with the wounders whip
And that's how summer passed oh your,
Great divide and range of green green grass
Oh, maybe it was peace at last, who knew

Hello love, my invincible friend
Hello love, the thistle and the burr
Hello love, for you I have so many words
But I, I Forget Where We Were

Oh hey,
I wasn't listening,
I was stung by all of us
The blind leading up the wall
And as per usual,
You were skipping and laughing eyes at the bedroom door

Don't take it so seriously, no
Only time is ours
The rest we'll just wait and see
Maybe you're right, babe, maybe

Oh no, and that's how summer passed
Oh your, great divide
And range of green green grass
Oh, maybe I hold on fast, to you

Hello love, my invincible friend
Hello love, the thistle and the burr
Hello love, for you I have so many words
But I, I forget where we were

I, I forget where we were
I forget where we were
I forget where we were,

Oh no, and that's how summer passed
Oh your, great divide
And range of green green grass
Oh, maybe it was peace at last, who knew

Writer/s: HOWARD, BENJAMIN JOHN
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

I Forget Where We Were Song Chart

This is the title track of Ben Howard's second album. The record was produced by Howard and his drummer Chris Bond at Start Point Farm Studios, Devon. Howard explained to DIY magazine the set's title was influenced by themes that arose in the wake of his first LP. "It's kind of about being aware of what is current and what is now after spending so much time in the music world," he said. "No-one really has a clue what's going on musically or anything like that really, and it's only with hindsight that you start to realize what has happened and what were the definitive moments in your life or in what's going on around you."

"That was one side of it, but the other was my complete lack of understanding for anything over the winter," Howard continued. "I struggled with a lot of stuff and just sort of lost my mind a little bit, so it felt like a fitting title and a kind of glimpse of madness."

At 04:41, this is one of the shorter songs on the disc. Speaking to XFM's Danielle Perry, Howard said that the decision to record longer songs for his sophomore release prompted a minor crisis of confidence. "I didn't think too much about it. Then there were times when I thought WAY too much about it. I was kind of supremely confident then racked with indecision for the whole the winter. The whole record's really skitty and undecided - it feels like I've kind of lost my brain a bit!"

"All the songs are really long, it might just get tiring for people!," he added. "I'll probably do a short pop record next time. But it seemed like the right thing to do."

The video co-stars illustrator Tatiana Kartomten and artist Danny Fox spending a day at a surreal beach. It finds Howard making his debut as a video director. He told The Sun: "I'm a perfectionist and when I have a vision or idea. It's hard to explain it to someone else. That's why I decided to make the video myself."

"I needed to match the visuals in my head to the music," Howard added. "I see images when I play and they form photographs in my mind."