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George Harrison - I'd Have You Anytime

George Harrison - I'd Have You Anytime Youtube Music Videos and Lyrics

Album: All Things Must Pass
Released: 1970

I'd Have You Anytime Lyrics

Let me in here, I know I've been here
Let me into your heart
Let me know you, let me show you
Let me roll it to you

All I have is yours
All you see is mine
And I'm glad to hold you in my arms
I'd Have You Anytime

Let me say it, let me play it
Let me lay it on you
Let me know you, let me show you
Let me grow upon you

All I have is yours
All you see is mine
And I'm glad to hold you in my arms
I'd have you anytime

Let me in here, I know I've been here
Let me into your heart

Writer/s: GEORGE HARRISON, BOB DYLAN
Publisher: BOB DYLAN MUSIC CO
Lyrics licensed and provided by LyricFind

I'd Have You Anytime Song Chart

Harrison wrote this with Bob Dylan. Harrison covered Dylan's "If Not For You" for this album.

Along with Jeff Lynne, Roy Orbison, and Tom Petty, Dylan and Harrison worked together as The Traveling Wilburys in 1988. Harrison's pseudonym was Nelson Wilbury and Dylan's was Lucky Wilbury.

The first meeting between Dylan and Harrison was when Harrison was a member of the Beatles. It was at this meeting that Dylan supposedly introduced the band to marijuana.

Dylan would be one of the many performers at the Concert for Bangladesh, organized by Harrison. This was the first rock charity event.

When The Beatles broke up, Harrison had so much leftover material that he was able to make All Things Must Pass a triple album. When it was issued on CD, it fit on 2 discs. (thanks, Marvin - East Brady, PA)

Vance Joy - Georgia

Vance Joy - Georgia Youtube Music Videos and Lyrics

Album: Dream Your Life Away
Released: 2014

Georgia Lyrics

She is something to behold
Elegant and bold
She is electricity
Running to my soul, oh

And I could easily lose my mind
The way you kiss me will work each time
Calling me to come back to bed
Singing Georgia on my mind

And I, and I

Lips generous and warm
You build me up like steps
Eyes innocent and wild
Remind me what it's like, oh

And I could easily lose my mind
The way you kiss me will work each time
Pulling me back into the flames
And I'm burning up again, I'm burning up

And I, I never understood what was at stake
I never thought your love was worth it's wait
Well now you've come and gone
I finally worked it out, I worked it out

I never should have told you
I never should have let you see inside
Don't want it troubling in your mind
Won't you let it be

I never should have told you
I never should have let you see inside
Don't want it troubling in your mind
Won't you let it be

I never should have told you
I never should have let you see inside
Don't want it troubling in your mind
Won't you let it be

I never should have told you
I never should have let you see inside
Don't want it troubling in your mind
Won't you let it be

And I could easily lose my mind
The way you kiss me will work each time
Pulling me back into the flames
And I'm burning up again, I'm burning up

And I, I never understood what was at stake
I never thought your love was worth its wait
Well now you've come and gone
I finally worked it out, I worked it out, oh, ooh, oh

Writer/s: KEOGH, JAMES
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Georgia Song Chart

Vance Joy wrote this on January 1, 2014 following a period of struggling to come up with any songs. "The well doesn't dry up," he said. "Before 'Georgia,' I wasn't feeling particularly inspired, then that song came out of nowhere. I was on a high for five days. You can't force it, but it's nice to know that now you recognize when a song is coming."

This is Joy's favorite song from his Dream Your Life Away album to play live. He explained in an interview with 89.3 KPCC: "It's got a nice groove and it's slightly different in terms of the flavor and the instrumentation than the other songs on my album."

The song calls for Joy to commit hard when performing it. "I guess there's no way of singing it without giving a lot of yourself. You have to really bring it for the vocal, because the vocal is quite high, and there's a couple of moments where I really, it's just me and my voice, and there's no other instruments," he said. "In those moments, I guess they require you to push, push yourself. And it feels good, and I think the people can connect with that when they're watching you give everything. Hopefully they think it's real."

George Harrison - What Is Life

George Harrison - What Is Life Youtube Music Videos and Lyrics

Album: All Things Must Pass
Released: 1970

What Is Life Lyrics

What Is Life
George Harrison

What I feel, I can't say
But my love is there for you anytime of day
But if it's not love that you need
Then I'll try my best to make everything succeed

Tell me, what is my life without your love
Tell me, who am I without you, by my side

What I know, I can do
If I give my love now to everyone like you
But if it's not love that you need
Then I'll try my best to make everything succeed

Tell me, what is my life without your love
Tell me, who am I without you, by my side
Tell me, what is my life without your love
Tell me, who am I without you, by my side

What I feel, I can't say
But my love is there for you any time of day
But if it's not love that you need
Then I'll try my best to make everything succeed

Tell me, what is my life without your love
Tell me, who am I without you, by my side
Oh tell me, what is my life without your love
Tell me, who am I without you, by my side

What is my life without your love
Tell me, who am I without you, by my side

Oh tell me, what is my life without your love
Tell me who am I without you by my side

Writer/s: ABADI, AMIR / ALDUBB, / GERHARD, NINA
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

What Is Life Song Chart

Originally, Harrison wrote this for Billy Preston with sort of a gospel feel. After it ended up being a fast rocker, he decided it wouldn't be right for Preston and released it himself. Preston was one the early artists on the Beatles' Apple label (he released two albums), and he was present at the sessions that yielded "Get Back." (thanks, Larry - Ft. Worth, TX)

Harrison was writing many religious songs at the time, but this wasn't one of them. The lyrics are directed to a person, not God.

The original song had piccolo, trumpet, and oboe parts that weren't used because Harrison didn't like the feel. They can be heard on the 2000 reissue of the album, where the original backing track is included as an extra song.

Phil Spector produced the album. Bobby Whitlock, who played keyboards at the sessions, had this to say about him in his Songfacts interview: "The real show in that whole place was Phil Spector - what a funny guy. He's not too funny now, but then, what he was doing in there and the way he was carrying on, I thought, they've got all these mics out here catching us jamming, where they need a mic is on the inside. He was a pretty colorful character to say the least. That was one of the highlights of it - listening to him and watching him and watching how he operated. I learned a lot just from being around him. He's just eccentric, he's real creative. I agree with his work ethic. I concur with him 100% when it comes to being creative in the studio - put 6 guitars on it if you need it. If it wasn't for Phil Spector, forget about The Righteous Brothers. There probably wouldn't be a lot of us here from 'You've Lost That Lovin' Feelin'' - you know how many babies were made to that?"

On the album, the "O'Hara-Smith" singers are credited as background vocalists. Whitlock explains: "That's Eric Clapton and me. If you listen, you can hear Eric and me wailing away." (For more on these sessions, check out our Bobby Whitlock interview)

This has been covered by Olivia Newton-John and the surf band The Ventures. A version by Shawn Mullins appeared on the Big Daddy soundtrack.

In the UK, this was released as the B-side to "My Sweet Lord." In the US, it was released as its own single, with "Apple Scruffs" as the B-side.

Frank Sinatra - I've Got You Under My Skin

Frank Sinatra - I've Got You Under My Skin Youtube Music Videos and Lyrics

Album: Songs for Swingin' Lovers
Released: 1956

I've Got You Under My Skin Lyrics

I've Got You Under My Skin
I've got you deep in the heart of me
So deep in my heart that you're really a part of me
I've got you under my skin

I'd tried so not to give in
I said to myself this affair never will go so well
But why should I try to resist when baby I know so well
I've got you under my skin

I'd sacrifice anything come what might
For the sake of having you near
In spite of a warning voice that comes in the night
And repeats, repeats in my ear
Don't you know little fool
You never can win
Use your mentality, wake up to reality
But each time that I do just the thought of you
Makes me stop before I begin
'Cause I've got you under my skin

I would sacrifice anything come what might
For the sake of having you near
In spite of the warning voice that comes in the night
And repeats how it yells in my ear
Don't you know, little fool
You never can win
Why not use your mentality
Step up, wake up to reality
But each time I do just the thought of you
Makes me stop just before I begin
'Cause I've got you under my skin
Yes, I've got you under my skin

Writer/s: PORTER, COLE
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

I've Got You Under My Skin Song Chart

Cole Porter wrote this classic pop standard in 1936, and it debuted when actress Virginia Bruce sang it in the MGM musical Born to Dance, starring Eleanor Powell and James Stewart, that same year. The song was nominated for an Academy Award for Best Original Song but lost to "The Way You Look Tonight," from the Astaire/Rogers film Swing Time.

Frank Sinatra began performing this song on his weekly radio show in 1946 but added his signature swagger when he recorded a big-band arrangement by Nelson Riddle for the album Songs for Swingin' Lovers ten years later.

Sinatra re-recorded this for the 1963 album of his favorite numbers, Sinatra's Sinatra. The trombone solo, originally played by Milt Bernhart in the '56 version, was performed by Dick Nash. He recorded it yet again in 1993 with U2 frontman Bono for the album Duets.

This became a fixture in Sinatra's set-list and can be heard on his 1966 live album, Sinatra at the Sands, where he is backed by Count Basie's orchestra.

While this was one of Sinatra's signature songs, he certainly was not the only one to record it. Among many others, it was covered by Peggy Lee, Ella Fitzgerald, Eartha Kitt, Sammy Davis Jr., Carly Simon, Michael Buble, Michael Bolton, and Deana Martin. The Four Seasons scored a Top-10 hit with the song in 1966, and Neneh Cherry's hip-hop version earned her the #25 spot on the UK chart.

Chad L. Coleman sang this on the TV series The Walking Dead in the 2013 episode "Infected."

Sound engineer John Palladino remembers the sessions for Songs for Swingin' Lovers as being particularly challenging because of the awkward setup of Capitol's Studio A - a small area made even smaller when it was crammed with musicians - and Sinatra's demands for perfection. Trombonist Milt Berhart learned this all too well on this song when he played full force, take after take, never quite hitting the crooner's mark.

"That was a dirty trick to play on Milt," Palladino told Sound on Sound. "He'd get in there early and practice the stuff, and then he had to play at full volume. We could have said to Frank, 'Why don't we intercut take one or two with Milt's solo?', but that never occurred to me. And besides that, Frank really didn't like editing. He was fastidious about capturing complete takes, and so I did very little editing on his recordings."

Sinatra held himself to the same standard of perfectionism as he did his musicians. Palladino remembers him running through this song with the musicians for 22 takes.

"Some of those takes could have been false starts where they got through a few notes and then stopped," he said. "I doubt there were more than four or five complete takes. Frank knew his own voice pretty well, and when he wasn't singing well, he'd walk out of a session. I've got to give him credit for that. In fact, I've got no criticism of Frank at all. His criticisms of the musicians' playing were really top-notch, because they locked in with what he was doing. He knew what he was doing, and he knew what he wanted the band to do."

Sinatra sang a ballad version of this song to honor the late Cole Porter during a two-hour tribute at the University of California on February 12, 1967.

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."