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David Bowie - Young Americans

David Bowie - Young Americans Youtube Music Videos and Lyrics

Album: Young Americans
Released: 1975

Young Americans Lyrics

They pulled in just behind the bridge
He lays her down, he frowns
Gee my life's a funny thing, am I still too young?
He kissed her then and there
She took his ring, took his babies
It took him minutes, took her nowhere
Heaven knows, she'd have taken anything, but

All night
She wants the young American
Young American, young American, she wants the young American
All right
She wants the young American

Scanning life through the picture window
She finds the slinky vagabond
He coughs as he passes her Ford Mustang, but
Heaven forbid, she'll take anything
But the freak, and his type, all for nothing
Misses a step and cuts his hand, but
Showing nothing, he swoops like a song
She cries where have all Papa's heroes gone?

All night
She wants a young American
Young American, young American, she wants the young American
All right
She wants the young American

All the way from Washington
Her bread-winner begs off the bathroom floor
"We live for just these twenty years
Do we have to die for the fifty more?"

All night
He wants the young American
Young American, young American, he wants the young American
All right
He wants the young American

Do you remember, your President Nixon?
Do you remember, the bills you have to pay
For even yesterday?

Have you have been an un-American?
Just you and your idol singing falsetto 'bout
Leather, leather everywhere, and
Not a myth left from the ghetto
Well, well, well, would you carry a razor
In case, just in case of depression?
Sit on your hands on a bus of survivors
Blushing at all the afro-Sheilas
Ain't that close to love?
Well, ain't that poster love?
Well, it ain't that Barbie doll
Her heart's been broken just like you have

All night
All night was a young American
Young American, young American, you want the young American
All right
All right you want the young American

You ain't a pimp and you ain't a hustler
A pimp's got a Cadi and a lady got a Chrysler
Black's got respect, and white's got his Soul Train
Mama's got cramps, and look at your hands ache
(I heard the news today, oh boy)
I got a suite and you got defeat
Ain't there a man you can say no more?
And, ain't there a woman I can sock on the jaw?
And, ain't there a child I can hold without judging?
Ain't there a pen that will write before they die?
Ain't you proud that you've still got faces?
Ain't there one damn song that can make me
Break down and cry?

All night
I want the young American
Young American, young American, I want the young American
All right
I want the young American, young American whoa whoa

Young American, young American
I want what you want
I want what you want
You want more
I want you
You want I
I want you
I want what you want
But you want what you want
You want I
I want you
And all I want is a young American
Young American

Writer/s: BOWIE, DAVID
Publisher: EMI Music Publishing, BMG RIGHTS MANAGEMENT US, LLC, TINTORETTO MUSIC
Lyrics licensed and provided by LyricFind

Young Americans Song Chart

Bowie never was a young American - he was born and raised in England. Bowie said that this was the result of cramming his "whole American experience" into one song.

This was recorded between tour dates at Philadelphia's Sigma Sound Studios, which was the capital of black music in the area. The Soul influence had a very obvious effect on Bowie's style. He even completely redesigned the stage for the rest of his Diamond Dogs tour.

Over the course of about eight very creative days, Bowie recorded most of the songs for Young Americans at Sigma Studios. He usually recorded his vocals after midnight because he heard that's when Frank Sinatra recorded most of his vocals, and because there weren't so many people around.

Sigma had a staff of very talented producers and musicians (known as MFSB - the same folks who had a #1 hit with "TSOP (The Sound of Philadelphia)"), but Bowie used his own people - Tony Visconti produced this track.

The line near the end, "I heard the news today, oh boy," is a reference to the Beatles song "A Day In The Life." John Lennon worked with Bowie on "Fame" and also Bowie's cover of "Across The Universe." Both songs are on this album.

The lead instrument in this song the saxophone, which was played by American Jazz player David Sanborn, who was just starting to get noticed when Bowie brought him in to play on this.

Bowie hired Luther Vandross, who had yet to establish himself as a solo artist, to sing backup and create the vocal arrangements on the Young Americans album.

Near the end of the song, Bowie sings, "Black's got respect and white's got his soul train." Soul Train is an American TV show targeted to a black audience that started in 1970. The show features lots of very expressive dancing as well as a musical guest, and in November 1975, Bowie became one of the first white singers to perform on the show, something he was very proud of. The "Young Americans" single was released in February 1975, so Bowie performed "Fame" and "Golden Years," which was his current single.

Young Americans was the first Bowie album that guitarist Carlos Alomar played on. Bowie first saw Alomar playing in the house band at the Apollo Theatre in Harlem, and convinced him to play on this album and join the tour. Alomar became a major contributor, playing on several of Bowie's albums and coming up with guitar riffs for songs like "Fame" and "Golden Years."

The album was going to be called "Dancin'" before Bowie decided to name it after this track.

At a performance at Giants Stadium, Bowie stopped after singing the line, "Ain't there one damn song that can make me...", and dropped to the stage, where he stayed for 10 minutes. The crowd went nuts, but got concerned after a while. Bowie did it to see what kind of reaction he would get.

The Cure did a version of this in appreciation of Bowie, their long time friend. The lyrics "Do you remember President Nixon?" were changed to "...President Clinton?" The Cure's version was originally released on a British radio demo CD only, but can now be found on various bootlegs.

Ariana Grande - Love Me Harder

Ariana Grande - Love Me Harder Youtube Music Videos and Lyrics

Album: My Everything
Released: 2014

Love Me Harder Lyrics

Love Me Harder Song Chart

This song finds Ariana pairing up with Toronto R&B singer The Weeknd, who is best known for penning explicit tunes about his sexual exploits. The two singers trade verses about keeping the girl happy by loving her harder.

The song was produced by Max Martin who supplies a throbbing soundscape. The Swedish hitmaker also worked with Grande on her hit singles "Problem" and "Break Free."

The music video was directed by Hannah Lux Davis, who also helmed the clip for Grande's joint single "Bang Bang." The promo features The Weeknd helping Grande get the love she desires. "Our visuals are really about this tug of war of just loving harder and the compromise of giving in and needing more and wanting more," Hannah Lux Davis explained. "Just honesty."

The Weeknd recalled to Rolling Stone receiving a demo sung by labelmate Ariana Grande. "It was a great song," he said, "but it was a little generic. I couldn't hear myself on it. So I changed it and made it dark."

The Weeknd rewrote the lyrics and sent them back to Max Martin. It was a turning point for the Canadian R&B singer - his first hit single. "It was kind of like the label giving me an alley-oop," he said. "I think that's where the stars aligned for me. When I see an opening, I penetrate it."

Steppenwolf - Magic Carpet Ride

Steppenwolf - Magic Carpet Ride Youtube Music Videos and Lyrics

Album: Steppenwolf The Second
Released: 1968

Magic Carpet Ride Lyrics

Writer/s:
Publisher:
Lyrics licensed and provided by LyricFind

Magic Carpet Ride Song Chart

The group wrote this based on the bass line their bass player, Rushton Moreve, came up with. The only words he had written for it were, "I like my job, I like my baby." Lead singer John Kay wrote the rest of the lyrics. He got inspired when he put the demo tape in a home stereo system he bought with the royalties from their first album. That's where he came up with the line, "I like to dream, right between my sound machine."

This was the second big hit for Steppenwolf. "Born To Be Wild" was released a few months earlier. They were on different albums, with "Born To Be Wild" on their first and this on their second, although this was released well before their second album came out.

John Kay of Steppenwolf teamed up with Grandmaster Flash and the Furious Five to do a 1988 rap-rock remake of this song. It was similar to the Run-D.M.C./Aerosmith mash-up of "Walk This Way," which was released in 1986.

This song first appeared in a 1968 movie called Candy by the French director Christian Marquand. It starred Ewa Aulin, Marlon Brando, Richard Burton, Ringo Starr and Charles Aznavour. It's an extremely strange movie, definitely of it's time and kind of gives context to the song, intended or not. The movie was based on a popular counterculture novel. (thanks, Hugh - Dunstable)

In 2004, this was used in the "America Revolution" series of Chevy car commercials. (thanks, Joe - Los Angeles, CA)

Breach - The Key

Breach - The Key Youtube Music Videos and Lyrics

Album: Single Release Only
Released: 2014

The Key Lyrics

The Key Song Chart

Breach teamed up with Kelis for this song. The tune originated as a remix of Kelis's Food track "Rumble" before the American singer went into the studio with the English house producer to revamp it for a proper single release.

The music video was directed by Oliver Hadlee Pearch, who has also filmed several music clips for the London modern soul musical collective Jungle.

Tom Petty & the Heartbreakers - Breakdown

Tom Petty & the Heartbreakers - Breakdown Youtube Music Videos and Lyrics

Album: Tom Petty and The Heartbreakers
Released: 1977

Breakdown Lyrics

It's alright if you love me
It's alright if you don't
I'm not afraid of you runnin' away honey
I've got this feeling you won't

There is no sense in pretending
Your eyes give you away
Something inside you is feeling like I do
We said all there is to say

Baby, Breakdown, go ahead and give it to me
Breakdown, honey take me through the night
Breakdown now I standin' here can't you see
Breakdown, it's all right
It's all right
It's all right

Breakdown, go ahead and give it to me
Breakdown, honey take me through the night
Breakdown now I standin' here can't you see
Breakdown, it's all right
It's all right
It's all right

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

Breakdown Song Chart

When the band first recorded this song, it was 7 minutes long, with an extended guitar solo at the end.

At first, the distinctive guitar lick, courtesy of Heartbreaker Mike Campbell, was only used at the end of the song. A singer named Dwight Twilley came by the studio when Petty was playing it back and suggested they use it throughout the song. Petty liked the idea, and called the band back to the studio in the middle of the night to re-record it. Twilley, who had a hit in 1975 with "I'm On Fire," was signed to the same label as Petty, and was on the same career path for a while. Petty sang on some of Twilley's songs, including his 1984 hit "Girls."

This was Petty's first single. When it was first released in January 1977 it went nowhere, but after months of touring, it was re-released in October and made it to #40 in the US.

This was featured in the 1978 movie FM. About a radio station in California, the movie was the basis for the TV show WKRP in Cincinnati. This was also included on the soundtrack.

Florida Georgia Line - Sun Daze

Florida Georgia Line - Sun Daze Youtube Music Videos and Lyrics

Album: Anything Goes
Released: 2014

Sun Daze Lyrics

I'm gonna wear my flip-flops and
I'm gonna play some flip-cup and
Rock a little bit of hip-hop and Haggard and Jagger
And throw a 20 on the corn hole game
If I'm lucky yeah I might get laid
The way that it's going, the keg gon' be floating

All I wanna do today is wear my favorite shades and get stoned
Work a little less, play a little more
That's what this day is for
And all I wanna do is lace my J's and lace some Jack in my Coke
Work on my laid back, ain't nothin' wrong
With gettin' my Sun Daze on, gettin' my sun daze on

Girl you know you're the life of my party
You can stay and keep sippin' Bacardi
Stir it up as we turn on some Marley
If you want you can get on Harley
I sit you up on a kitchen sink
Stick the pink umbrella in your drink
The way that we're feeling we gone by this evening

But all I wanna do today is wear my favorite shades and get stoned
Work a little less, play a little more
That's what this day is for
And all I wanna do is lace my J's and lace some Jack in my Coke
Work on my laid back, ain't nothin' wrong
With gettin' my sun daze on, gettin' my sun daze on

All I wanna do today is wear my favorite shades and get stoned
Work a little less, play a little more
That's what this day is for
And all I wanna do is lace my J's and lace some Jack in my Coke
Work on my laid back, ain't nothin' wrong
With gettin' my sun daze on, gettin' my sun daze on
Gettin' my sun daze on

Writer/s: BRIAN KELLEY, JESSE FRASURE, SARAH BUXTON, TYLER HUBBARD, CARY BARLOWE
Publisher: MAJOR BOB MUSIC, INC.
Lyrics licensed and provided by LyricFind

Sun Daze Song Chart

This feel-good track kicks off with some whistling, before Tyler Hubbard and Brian Kelley start singing lyrics about wearing flip flops and getting high over an island vibe. The FGL duo penned the song with Nashville songwriters Cary Barlowe (Lady Antebellum's "American Honey"), Sarah Buxton (Keith Urban's "Stupid Boy") and musician Jesse Frasure who played keys on TobyMac's Eye On It album.

The FGL duo sing on the hook:

All I wanna do today is wear my favorite shades and get stoned
Work a little less, play a little more
That's what this day is for.

Brian Kelley told Rolling Stone Country that he woke up one morning with the chorus and, "literally wrote that in my phone."

Hubbard told Radio.com how the song fell out of the sky while FGL were on tour with Nelly. "We had just finished writing another song called 'Good Good' that is a song on the album. We were just messing around with this different beat [and] all of a sudden it just started happening," he recalled. "It's just one of those songs that BK says it best, 'You gotta thank the songwriting gods for that one.' It hit us and we wrote it real quick, finished it on Sunday. Just one of those songs we can't stop listening to."

The FGL pair have a Christian background, having met through worship services in college. But such lyrics as this tune's reference to getting stoned portray a lifestyle the church would probably not approve of. Asked outright during an interview with Billboard magazine if they smoked, Hubbard didn't hesitate. "Yeah. Oh, yes," he replied, as a publicist tried to stop him. "We're professional partiers."

The single release changes "get stoned" to the more radio-friendly "stay home" in the chorus.

Hubbard sings in the second verse, "If you want, you can pet on my Harley." That is a reference to his pet dog, a golden retriever named Harley.

David Bowie - Fame

David Bowie - Fame Youtube Music Videos and Lyrics

Album: Young Americans
Released: 1975

Fame Lyrics

Fame makes a man take things over
Fame lets him loose, hard to swallow
Fame puts you there where things are hollow (fame)
Fame, it's not your brain, it's just the flame
That burns your change to keep you insane (fame)

Fame, (fame) what you like is in the limo
Fame, (fame) what you get is no tomorrow
Fame, (fame) what you need you have to borrow Fame
Fame, (fame) it's mine, it's mine, it's just his line
To bind your time, it drives you to crime (fame)

Is it any wonder I reject you first?
Fame, fame, fame, fame
Is it any wonder you are too cool to fool? (fame)
Fame, bully for you, chilly for me
Got to get a rain check on pain (fame)

Fame
Fame, fame, fame
Fame, fame, fame
Fame, fame, fame, fame
Fame, fame, fame, fame
Fame, fame, fame
Fame, what's your name?
Fame

Writer/s: LENNON, JOHN/BOWIE, DAVID/ALOMAR, CARLOS
Publisher: Sony/ATV Music Publishing LLC, Universal Music Publishing Group, BMG RIGHTS MANAGEMENT US, LLC, TINTORETTO MUSIC, UNIDISC MUSIC, SONY ATV MUSIC PUB LLC
Lyrics licensed and provided by LyricFind

Fame Song Chart

This song is about what it is like to be famous. Bowie gave his thoughts on the subject in a 2003 interview with Performing Songwriter magazine: "Fame itself, of course, doesn't really afford you anything more than a good seat in a restaurant. That must be pretty well known by now. I'm just amazed how fame is being posited as the be all and end all, and how many of these young kids who are being foisted on the public have been talked into this idea that anything necessary to be famous is all right. It's a sad state of affairs. However arrogant and ambitious I think we were in my generation, I think the idea was that if you do something really good, you'll become famous. The emphasis on fame itself is something new. Now it's, to be famous you should do what it takes, which is not the same thing at all. And it will leave many of them with this empty feeling. Then again, I don't know if it will, because I think a lot of them are genuinely quite satisfied. I know a couple of personalities over in England who are famous for being famous, basically. They sort of initially came out of the pop world, but they're quite happy being photographed going everywhere and showing their kids off and this is a career to them. A career of like being there and turning up and saying, 'Yes it's me, the famous girl or guy' (laughs). It's like, 'What do you want?' It's so Warhol. It's as vacuous as that. And that to me, is a big worry. I think it's done dreadful things to the music industry. There's such a lot of rubbish, drivel out there."

John Lennon helped write this song - he came up with the title and also sang the background "Fame" parts in the high voice. They started working on the song when Bowie invited Lennon to the studio, and Lennon played rhythm guitar on a jam session that resulted in this track. Bowie met Lennon less than a year earlier at a party thrown by Elizabeth Taylor. Lennon was one of Bowie's idols, and they became good friends.

Bowie often had conversations with Lennon about how fame took away parts of their lives. In the same interview, Bowie said: "We'd been talking about management, and it kind of came out of that. He was telling me, 'You're being shafted by your present manager' (laughs). That was basically the line. And John was the guy who opened me up to the idea that all management is crap. That there's no such thing as good management in rock 'n' roll, and you should try to do it without it. It was at John's instigation that I really did without managers, and started getting people in to do specific jobs for me, rather than signing myself away to one guy forever and have him take a piece of everything that I earn. Usually, quite a large piece, and have him really not do very much. So, if I needed a certain publishing thing done, I'd bring in a person who specialized in that area, and they would, on a one-job basis, work for me and we'd reach the agreed fee. And I started to realize that if you're bright, you kind of know you're worth, and if you're creative, you know what you want to do and where you want to go in that way. What extra thing is this manager supposed to do for you? I suppose in the old days, it was [in a hokey New York voice] 'Get you breaks!' (laughs). I don't quite know what managers are supposed to do, even. I think if you have even just a modicum of intelligence, you're going to know what it is you are and where you want to go. Once you know that, you just bring in specific people for specialist jobs. You don't have to end up signing your life away to some fool who's just there kind of grabbing hold of the coattails."

Bowie's guitarist Carlos Alomar came up with the guitar riff. It was based on a song called "Foot Stompin'" by The Flares, which Bowie had been performing on tour. "In funk music, what you want to do is put down a lot of holes," Alomar recalled to Mojo magazine of the song's instrumentation, "leaving a little space for someone to be able to dance in. Lennon played acoustic guitar and we reversed it and that's the suction sound you hear at the beginning."

"Then we put up big reverb upon David's riff," he continued. "Like going to a recreation centre when it's empty, taking your amplifier and your guitar – and filling that room."

This was Bowie's first big hit in America, and also his first to do better in the US than the UK. He had a few UK hits before this, including "Rebel Rebel," "Life On Mars," and "Diamond Dogs."

Bowie: "Fame can take interesting men and thrust mediocrity upon them."

This was recorded at the Sigma Sound studios in Philadelphia, where many soul classics of the '70s were made. Bowie wanted the album to have a rhythm & blues feel, and he called the sound he created "Plastic Soul."

Bowie whispers something at the end. It is rumored to be either "Brings so much pain" or "Feeling so gay, feeling gay."

Bowie performed this on Soul Train. He is one of only a few white performers to appear on the show. Bowie allegedly got drunk before the performance to calm his nerves.

This was remixed as a Techno version for the Pretty Woman soundtrack. It was re-titled "Fame '90." This version was also included on the album Changesbowie when it was re-issued.

At the end of this song, "Fame" is repeated 23 times, each "Fame" being a different note. The repetitions of "Fame" span an amazing four octaves. (thanks, Annabelle - Eugene, OR)

In one of Bowie's first US TV appearances, he performed this on The Cher Show in 1975. (thanks, Bertrand - Paris, France)

At the time this song was written, Bowie was under contract with MainMan Records and Tony DeFries. Money was mismanaged after several tours, leaving Bowie broke from having to pay back expenses owed. Bowie wrote this song in response to the whole financial ordeal. Not too long after, Bowie fired DeFries at John Lennon's suggestion. (thanks, Thomas - Marion, IN)

Jason Aldean - Sweet Little Somethin'

Jason Aldean - Sweet Little Somethin' Youtube Music Videos and Lyrics

Album: Old Boots, New Dirt
Released: 2014

Sweet Little Somethin' Lyrics

Just what I had in mind
Thinking about the weekend
Standing by the Yeti with the party lights plugged in
Got a jug of feel good, going around
There's just one thing missing, baby, right about now

I need a Sweet Little Somethin' like you got
Standing there red hot, tied up little tank top
Looking like you must be straight out of the country
Honey, what I wouldn't do for a sweet little somethin' like you

I see you dancing over there with your girlfriends
Got your fine self showing off that sun tan
You keep smiling that smile at me
Like you're reading my mind, and you know

I need a sweet little somethin' like you got
Standing there red hot, tied up little tank top
Looking like you must be straight out of the country
Honey, what I wouldn't do for a sweet little somethin' like you

I need a sweet little somethin' like you, girl
Sliding into my world
Yeah, I've been needing it all night
Slow kinda just right
Honey suckle sweet little somethin'

I need a sweet little somethin' like you got
Standing there red hot, tied up little tank top
Looking like you must be straight out of the country
Honey, what I wouldn't do for a sweet little somethin'

Sweet little somethin' like you got
Standing there red hot, tied up little tank top
Looking like you must be straight out of the country
Honey, what I wouldn't do for a sweet little somethin' like you

I wanna ride you round in my old truck
Keep you out until the sun comes up
Girl, you got some serious
Sweet little somethin' like you

The way you slide that across the seat
Looking so damn good to me
Hey little girl right now
I need a sweet little somethin' like

I wanna ride you round in my old truck
Keep you out until the sun comes up
Girl, you got some serious
Sweet little somethin' like you

The way you slide that across the seat
Looking so damn good to me
Hey little girl right now
I need a sweet little somethin' like you

Writer/s: GREEN, MARV / HAYSLIP, BEN / MURPHY, DAVID LEE
Publisher: Warner/Chappell Music, Inc., WARNER CHAPPELL MUSIC INC, CAROL VINCENT & ASSOC LLC
Lyrics licensed and provided by LyricFind

Sweet Little Somethin' Song Chart

This country-meets-EDM rocker urges listeners to head to the dance floor. Aldean said he tried to incorporate some of his favorite styles and sounds into the Old Boots New Dirt album. "Just because I'm a country artist doesn't mean I don't hear things in other forms of music that I think are really cool and could work for what we're doing here," he explained.

Speaking with Entertainment.ie , Jason Aldean recalled his reaction when he first heard this song's demo: "'Sweet Little Somethin' is written by David Lee Murphy," he said. "He was one of the writers on it who has written a ton of stuff for us in the past, so when I heard that song for the first time, I was actually on the way out to my farm, and I had a CD of songs I was listening to. And I put it in; hadn't heard it yet, and so it was like a two lane road going out to my farm; 50 mile hour zone. I'm cruising down there doing about 75 in a 50, so I figured that was a pretty good sign for the song. It made me want to drive faster which is usually a good sign when you're listening to the tempo."

"It was something we definitely needed for the record; tempos are always the hardest thing to find for any album. When you find one that's cool you want to lock on it pretty quick and go 'yes' because they are diamonds in the rough- you don't find them a lot," Aldean continued. That's why 'Sweet Little Somethin' or 'She's Country' or 'My Kinda Party' songs like that...when you hear those songs it's almost like thank you it was a gift because they don't come around pretty often."

Tommy James & the Shondells - Mony Mony

Tommy James & the Shondells - Mony Mony Youtube Music Videos and Lyrics

Album: Mony Mony
Released: 1968

Mony Mony Lyrics

Here she come down, say Mony Mony
Well, shoot 'em down, turn around come home, honey
Hey, she gimme love an' I feel alright now
Everybody! You got me tossin' turnin' in the night
Make me feel alright

I say yeah, (yeah), yeah, (yeah)
Yeah, (yeah), yeah, (yeah), yeah

Well you make me feel Mony, Mony
So Mony, Mony
Good Mony, Mony
Yeah, Mony, Mony
So good, Mony, Mony
Oh, yeah, Mony, Mony
Come on, Mony, Mony
All right, baby Mony, Mony
Say yeah, (yeah), yeah, (yeah)
Yeah, (yeah), yeah, (yeah) , yeah (yeah), yeah

Break 'dis, shake 'dis, Mony, Mony
Shot gun, get it done, come on, honey
Don't stop cookin', it feels so good, yeah
Hey! well don't stop now, hey, come on Mony,
Well come on, Mony

I say yeah, (yeah), yeah, (yeah)
Yeah, (yeah), yeah, (yeah), yeah, (yeah)

Well you make me feel Mony, Mony
So Mony, Mony
Good Mony, Mony
Yeah, Mony, Mony
Oh, yeah, Mony, Mony
Come on, Mony, Mony
So good, Mony, Mony
All right, Mony, Mony

I say yeah, (yeah), yeah, (yeah)
Yeah, (yeah), yeah, (yeah), yeah, (yeah)

Oh, I love your Mony, moan, moan, Mony (so good)
Oh, I love your Mony, moan, moan, Mony (so fun)
Oh, I love your Mony, moan, moan, Mony
Oh, I love your Mony, moan, moan, Mony

Yeah, (yeah), yeah, (yeah)
Yeah, (yeah), yeah, (yeah), yeah, (yeah)

Come on! Mony, Mony
Come on! Mony, Mony
Come on! Mony, Mony
Everybody, Mony, Mony
All right, Mony, Mony
Mony, Mony
Mony, Mony

Writer/s: BLOOM, BOBBY / GENTRY, BO / CORDELL, RITCHIE / JAMES, TOMMY
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Mony Mony Song Chart

In our interview with Tommy James, he explained: "Originally, we did the track without a song. And the idea was to create a party rock record; in 1968 that was pretty much of a throwback to the early '60s. Nobody was making party rock records really in 1968, those big-drum-California-sun-what-I-sing-money-type songs. And so I wanted to do a party rock record. And we went in the studio, and we pasted this thing together out of drums here, and a guitar riff here. It was called sound surgery, and we finally put it together in probably a month. We had most of the words to the song, but we still had no title. And it's just driving us nuts, because we're looking for like a 'Sloopy' or some crazy name – it had to be a two-syllable girl's name that was memorable and silly and kind of stupid sounding. So we knew what kind of a word we had, it's just that everything we came up with sounded so bad. So Ritchie Cordell, my songwriting partner and I, are up in my apartment up at 888 Eighth Avenue in New York. And finally we get disgusted, we throw our guitars down, we go out on the terrace, we light up a cigarette, and we look up into the sky. And the first thing our eyes fall on is the Mutual of New York Insurance Company. M-O-N-Y. True story. With a dollar sign in the middle of the O, and it gave you the time and the temperature. I had looked at this thing for years, and it was sitting there looking me right in the face. We saw this at the same time, and we both just started laughing. We said, 'That's perfect! What could be more perfect than that?' Mony, M-O-N-Y, Mutual of New York. And so we must have laughed for about ten minutes, and that became the title of the song. When we made the record, we had our usual studio band, but we also dragged in people off the street, we had secretaries come downstairs. This was in the 1650 Broadway Building, the basement of 1650 was a big music industry building. All the writers and publishers were there, so we invited them all downstairs, and it was really a party that got captured on tape."

Amphetamines and the Mafia played a surprising role in this Bubblegum classic. Roulette Records was run by The Mob, as James explains in our interview. As for the drugs, Kenny Laguna, a producer who played keyboards and sang with The Shondells, told us: "We used to do a lot of amphetamines, they were very popular with people trying to succeed, so we'd spend all day and night 'up' making records, and not worrying about getting paid. It was perfect for the record companies, who would supply us with amphetamines." James added: "The record company didn't have anything to do with that. That was probably us. That was our decision, that wasn't their decision."

Two versions were put together to form the song. The part that goes, 'I love you Mony, Mo Mo Mony...' was Bobby Bloom, who was also working for Roulette Records (Bloom sang "Montego Bay," which was a hit in 1970). The rest of it was written by James with producers Bo Gentry and Ritchie Cordell.

When they were recording this, it was considered a throwaway B-side. They had no idea it would become a huge hit.

Kenny Laguna told us more about the recording of this song. Says Laguna: "There was no drummer, so the recording engineer went out there, but he could only get through 2 bars. So before there were loops or anything else, we copied the 2 bars of drums 44 times and spliced them together, and that's the track of 'Mony Mony.' It was like an early loop before there was looping. If you listen carefully, you can hear just 2 bars of the drum track." He added: "When it came time to make it sound like it was a big party, it was lunch time. We went up to Broadway and talked all these strangers into coming down to the studio and going 'Mony, Mony!' There were all these serious guys out there having lunch, and we said, 'You want to sing on a Tommy James record?'"

Check out the video for this song. There weren't a lot of places to show music videos in 1968, but James thought it was important to have one. He told us: "We wanted to do videos. And 'Mony' was the very first video we had ever done. And to me it seemed very sensible to make a film of your hit record. And I couldn't figure out why nobody was doing it. You'd find things would run sometimes on television, there'd be like a movie with a song in it, and they'd take the film clip and run it. But nobody was really making videos. And so we hired a film company, went in and did a video of 'Mony.' We actually did a video of 'Ball of Fire,' and we did a video of 'She' as well. But we couldn't get them played anywhere. So 'Mony' was one of the first videos made. It was 13 years before MTV. And we couldn't get it played anywhere in the United States. TV would not play video made by musicians, they just wouldn't do it. So the only place we could get our video played was over in Europe in the movie theatres. In between double features, they played 'Mony Mony.' And the reason you see it in black-and-white is because it was shown on the Beat Club in England, and it was a film of a film. And it was shown in black-and-white. So when they shipped it back to the United States it was in black and white. But the original video was in color. And so it was me and Daffy Duck for a long time. (laughing) And Daffy wanted to close. So I had problems with Daffy."

There's a story floating around that The Beatles wrote a song for Tommy James & the Shondells, and they turned it down. Tommy clears this up: "What happened was 'Mony Mony' became the biggest-selling single in Britain up to that point. And it was actually bigger in England than it was here. Apple (Records) originally started out as a publishing company and a production company before it was a record company. And their idea was that they were going to write songs for other acts, and publish them, and in some cases produce them. So George Harrison was working with a group called Grapefruit, and George and these fellas wrote a bunch of these songs for us that they sent over to my manager, Lenny Stogel. We were very flattered, but they all sounded like 'Mony Mony.' And we had by that time made the decision that we were gonna go with 'Crimson And Clover,' and really change our style. So we never did these songs. Some of them were really good. There was a whole tape full of them. And we were very flattered and very honored. One of my great regrets is that I never got a chance to thank George for doing that, and I should have, I should have made a bigger fuss. But because we had changed our style with 'Crimson and Clover,' we never went back to the 'Mony Mony' style of party rock."

This was a #1 hit for Billy Idol in 1987. It brought the song to a new generation who had never heard the original. When Idol released his version, it became popular for kids to shout "hey, hey, what, get laid, get f--ked" during the instrumental break in the chorus. Anyone who went to a prom when this was popular can verify this, although the origin of the chant remains a mystery.

Idol first released his version as a single in 1981, his first as a solo artist after leaving the band Generation X, and included it on his 4-song EP Don't Stop the same year. He released a live version in 1987 which became his biggest hit, going to #1 US and #7 UK. When asked why recorded the song, Idol would often tell a story about how it was playing when he lost his virginity in a park. In later years, he implied that it had more to do with publishing rights and financial interests.

When Idol's version of "Mony Mony" hit #1 in the US, it knocked off another Tommy James cover - Tiffany's version of "I Think We're Alone Now," which was a hit for James in 1967. Another James song that got new life as a cover was "Crimson And Clover," which Joan Jett recorded in 1982 as her follow-up to "I Love Rock And Roll." Jett's version was produced by Kenny Laguna, who has worked with her since she started as a solo artist.

Weird Al Yankovic wrote a parody based on Billy Idol's 1987 recording called "Alimony," about a guy who gets divorced and has to pay his ex alimony payments, but is broke from it. It is on his 1988 album Even Worse. (thanks, Steph - SoCal, CA)

Jennifer Hudson - He Ain't Going Nowhere

Jennifer Hudson - He Ain't Going Nowhere Youtube Music Videos and Lyrics

Album: JHUD
Released: 2014

He Ain't Going Nowhere Lyrics

He ain't goin' nowhere

You should listen to the shit your boyfriend says
Searched high and low inside his dirty mind,
Then concentrate on making his heart race
Find your treasure, make it last forever now

Get what you want in more pleasure
Leave no one y'all come together
Whisper in his ear it makes it hotter
And don't wipe off sweat it makes it better
Get him whatever he wants,
Don't hit him with questions
Ask my other girls
Trust me girl don't stress him

He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere

There's so much to learn from what your boyfriend says
Take advantage when he thinks you're not listening
And ? In tune with his pleasure triggers
Love that he will backfire, that's your mission

Get what you want in more pleasure
Leave no one y'all come together
Whisper in his ear it makes it hotter
And don't wipe off sweat it makes it better
Get him whatever he wants,
Don't hit him with questions
Ask my other girls
Trust me girl don't stress him

He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere

What you know 'bout blowing 'bout twenty racks
Ain't worried 'bout coming back, if you're going now
Got him wrapped by my fingertips
I'm rock hard every time that he can't get his up
Make him wanna change it up
And I only feel forgiven if changes us ?
Bonnie and Clyde never strange to us
'Cause what's like if you never live dangerous?
And when it ain't much left and we get it right
And since love is a drug you won't get it light
I never been the kinda tug in a kitten animal
That take you wild until you go and get a sit her tight
Get it like this like that and all you want
Boy ain't tryina hear it when you're talking front
See I know your weak spots, so I always go there
And I bet that's the reason he's going nowhere, like uh (na girl, I told you)
(Girl he ain't goin' nowhere)

Get what you want in more pleasure
Leave no one y'all come together
Whisper in his ear it makes it hotter
And don't wipe off sweat it makes it better
Get him whatever he wants
Don't hit him with questions
Ask my other girls
Trust me girl don't stress him

He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere
He ain't movin', ah he ain't goin' nowhere

Writer/s: KELLY, AMETHYST AMELIA / WILLIAMS, PHARRELL
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

He Ain't Going Nowhere Song Chart

This upbeat song finds Jennifer Hudson teaming up with Iggy Azalea to share advice on how to keep a man keen. Hudson sings on the first verse:

You should listen to the s--t your boyfriend says
Search high and low inside his dirty mind
Then concentrate on making his heart race
Find your treasure
Make it last forever now

Pharrell Williams' production channels the late '70s and early '80s disco sound. Hudson told Buzzfeed : "We really worked to keep the sound relatable but the way the bass hits your chest and the guitar licks sort of tingle your ear really work well to transport you to a time in music history I just live for. It's the sort of track you can't listen to without moving and the fact that we were able to have Iggy join in on it was just what it needed."
"To be honest, I consider it one of the centerpieces of my album," she added, "because it captures all the things that inspire me so well."

Cold - Thirteen

Cold - Thirteen Youtube Music Videos and Lyrics

Album: 13 Ways to Bleed on Stage
Released: 2001

Thirteen Lyrics

Thirteen Song Chart

This was scheduled for release as a single on September 11, 2001, the day The World Trade Center was attacked by terrorists. They delayed the release a few days as a result.

Original title was "Bleed." After the events of September 11, radio stations were very skittish about playing anything that could be considered offensive, so they had to change the title to get it played. They renamed it "13" because it is the 13th song on the album.

Aaron Lewis, the lead singer from Staind, sang backup.

This was the 4th single from the album.

Jessie Ware - Kind of…Sometimes…Maybe

Jessie Ware - Kind of…Sometimes…Maybe Youtube Music Videos and Lyrics

Album: Tough Love
Released: 2014

Kind of…Sometimes…Maybe Lyrics

Do I get lonely at all?
No, cause Jamie and Johnny and Jack keep me warm
This wasn't my fault
I don't cry, God no, I don't cry
Could you just leave it alone?
You keep haunting my nights
You keep asking me twice
If I miss you at all
And I won't lie, though I try

Oh kind of, sometimes, maybe
Kind of, sometimes, maybe
Oh kind of, sometimes, maybe
Kind of, sometimes
Kind of, sometimes, maybe

I'm less afraid of the dark
No bright ideas, I keep the lights on
Are you wasting my time?
And your time, every time?
Why you're makin' it hard?
I won't show you my cards
But you came and you lost
Do I want you at all?
OK, just a bit, I hate to admit

Oh kind of, sometimes, maybe
Kind of, sometimes, maybe
Oh kind of, sometimes, maybe
Kind of, sometimes
Kind of, sometimes, maybe

I just sit here and I'm thinkin'
If I still want you?!

So why say

Kind of, sometimes, maybe
Kind of, sometimes, maybe
Kind of, sometimes, maybe
Kind of, sometimes, maybe
Kind of, sometimes, maybe

Writer/s: Levin, Benjamin / Ash, Ben / Pimentel, Miguel Jontel / Ware, Jessica Lois
Publisher: Kobalt Music Publishing Ltd., Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Kind of…Sometimes…Maybe Song Chart

This BenZel-produced track was co-penned by Jessie Ware with Miguel. It finds the English singer exploring her sexy side whilst the Los Angeles neo-soul crooner whispers sweet nothings in the background. She told Complex magazine: "This is all thanks to Miguel, the absolute king of sexy music and talking! There were moments where me and the BenZel boys didn't know where to look, he made it so steamy in the studio I swear to God."

"It was a really magic moment for me to work with someone whose album had been with me and replayed for so long," Ware added. "He was so generous and wonderful in the studio and now I think of him as extended family."

Ware told MTV UK how she recruited Miguel for this track: "I'd met him before when he'd done the UK release of 'Adorn' and he asked me to sing on it - which was totally unnecessary as it's the most perfect song," she said. "I asked him to return the favor and he did, and it felt a bit too good to be true."