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The Chiffons - Sweet Talkin' Guy

The Chiffons - Sweet Talkin' Guy Youtube Music Videos and Lyrics

Album: Sweet Talkin' Guy
Released: 1966

Sweet Talkin' Guy Lyrics

Sweet talking guy, talking sweet kinda lies
Don't you believe in him, if you do he'll make you cry
He'll send you flowers and paint the town with another girl
He's a Sweet Talkin' Guy
(Sweet talkin' guy)
But he's my kind of guy
(Sweet talkin' guy)

Sweeter than sugar, kisses like wine
(Oh he's so fine)
Don't let him under your skin, cause you'll never win
(No you'll never win)
Don't give him love today, tomorrow he's on his way
He's a sweet talkin' guy
(Sweet talkin' guy)
But he's my kind of guy
(Sweet talkin' guy)

Why do I love him like I do

He's a sweet talkin'
(Sweet talkin')
Sweet talkin'
(Sweet talkin') guy

Stay away from him, stay away from him, don't believe his lyin'
(Stay away from him)
No, no, no you'll never win, no you'll never win, loser's in for cryin'
(No you'll never win)
Don't give him love today, tomorrow he's on his way
He's a sweet talkin'
(Sweet talkin')
Sweet talkin'
(Sweet talkin')
Sweet talkin'
(Sweet talkin')
Sweet talkin'
(Sweet talkin') guy

Stay away from him
(Sweet sweet, sweet talkin' guy)
No no no you'll never win
(Sweet sweet, sweet talkin' guy)

Writer/s: BAER, BARBARA J / SCHWARTZ, ROBERT MICHAEL / MORRIS, DOUG / GREENBERG, ELIOT
Publisher: Sony/ATV Music Publishing LLC, HOMEFIELD MUSIC, SONY ATV MUSIC PUB LLC, SPIRIT MUSIC GROUP
Lyrics licensed and provided by LyricFind

Sweet Talkin' Guy

This was written by Doug Morris in 1966, who had joined Laurie Records as a songwriter and producer the previous year. He eventually became vice president and general manager of Laurie Records, before starting his own label, Big Tree Records, which was acquired by Atlantic Records in 1978. Morris went on to become one of the most respected and influential executives in the global music industry playing an integral role in making Atlantic the leading company in the Warner Music Group before becoming Chairman and CEO of Sony Music Entertainment in 2011.

Morris recalled the story of the song to Billboard magazine: "I was working in A&R for Laurie Records, the label Dion was on, when I wrote 'Sweet Talkin' Guy.' I wrote it in the office. It was very heavily influenced by one of the Supremes songs, I forget which one. The song came pretty easily and I probably finished it in a week. At the time, I was about 24 or 26 and living in Seaford, Long Island."

"I was writing it for the Chiffons, so lyrically it would have to be something that they were interested in," he continued. "They loved it and did a great live take on it."

"I produced the session, which was at Allegro Sound Studios in New York, with Elliot Greenberg, who was one of the owners for Laurie Records, along with Gene and Bob Schwartz," Morris added.  "I wrote it, but back then the owners of the record labels also got the writing credit so that's why Elliot Greenberg and Bob Schwartz and Barbara Baer got credit."

This was the last of five Top 40 hits for The Chiffons in the US. The song originally peaked at #31 in the UK in 1966. Re-released six years later, it climbed to #4 on the UK singles chart.

Helen Reddy - I Am Woman

Helen Reddy - I Am Woman Youtube Music Videos and Lyrics

Album: I Don't Know How To Love Him
Released: 1971

I Am Woman Lyrics

I Am Woman, hear me roar
In numbers too big to ignore
And I know too much to go back an' pretend
'Cause I've heard it all before
And I've been down there on the floor
No one's ever gonna keep me down again

[Chorus:]
Oh yes I am wise
But it's wisdom born of pain
Yes, I've paid the price
But look how much I gained
If I have to, I can do anything
I am strong (strong)
I am invincible (invincible)
I am woman

You can bend but never break me
'Cause it only serves to make me
More determined to achieve my final goal
And I come back even stronger
Not a novice any longer
'Cause you've deepened the conviction in my soul

[Chorus]

I am woman watch me grow
See me standing toe to toe
As I spread my lovin' arms across the land
But I'm still an embryo
With a long long way to go
Until I make my brother understand

Oh yes I am wise
But it's wisdom born of pain
Yes, I've paid the price
But look how much I gained
If I have to I can face anything
I am strong (strong)
I am invincible (invincible)
I am woman
Oh, I am woman
I am invincible
I am strong

I am woman
I am invincible
I am strong
I am woman

Writer/s: BURTON, RAY / REDDY, HELEN
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

I Am Woman

Helen Reddy wrote this when she couldn't find enough songs to include on her first album, I Don't Know How To Love Him. She was looking for songs that reflected a positive self-image that she felt that she had gained from her participation in the women's liberation movement.

Included on the 1971 album, Reddy didn't like the way this version came out and neither did her producer (he thought she sounded "too butch"), but they put it on the album anyway. Another producer DID like it. Movie producer Mike Frankovitch wanted to use it in his "feminist comedy" Stand Up And Be Counted. Reddy agreed on two conditions: That she would re-record the song, and that he would donate $1000 each to Women's Centers in Chicago, New York, and Los Angeles.

To coincide with the movie's release, the song was issued as a single in 1972, which slowly rose to #1 in America. Reddy's second album was subsequently titled I Am Woman and included this new version of the song.

When this song got a makeover in 1972, the arrangement was changed, as were some lyrics ("I can face anything" became "I can do anything"), and a verse was added. These tweaks helped the song become a huge hit.

The Australian Ray Burton co-wrote the song with Helen Reddy. Burton's contribution was writing the music to go with Helen Reddy's lyrics and editing her lyrics to fit his musical structure. Burton's other hits have included the songs "Too Hard To Handle" and "Paddington Green." He has performed, toured, and/or recorded with The Who, Billy Joel, Jimmy Webb ("MacArthur Park"), Queen, America, The Spencer Davis Group, Small Faces, Procol Harum, Little River Band, Dave Mason , and Joan Armatrading . He was a founding member of the band Ayers Rock.

He also worked at LA's world-famous Record Plant, alongside recording-session heavyweights Lee Sklar (bass), Russ Kunkel (drums), and Joe Osborn (bass). He has written music and songs for movies, including Rabbit Run, My Best Friend's Wedding, and Airport 75. He has also written advertising jingles for Coca Cola, Revlon Cosmetics and many other national brand-name products. His catalog includes more than 200 songs.

"I first wrote the song in August 1970," explained Burton. "It was first released by Capitol Records in late 1970 as an album track on Helen Reddy's first album. It was what they call a 'sleeper' in the music industry. In other words, it sat on the album doing nothing for two years and then as the women's liberation movement gathered momentum, Capitol Records released it as a single. The women's liberation movement then adopted it as their anthem and the rest is history."

This song was a cultural touchstone in America, as it underscored the feminist movement. Like the movement, the song proved divisive, generally split along gender lines with women loving the song (or at least appreciating its message) and some men hating it.

This trope played out in an episode of the TV show Married With Children when the show's patriarch, Al Bundy, enters a state of distress when his wife sings it (Katey Segal, who played the wife, is actually a professional singer - she sang it in a purposefully grating way on the show).

The song also found its way into an episode of The Simpsons when Homer sings it while dressed as a girl. Other media appearances include the TV shows Doogie Howser, M.D. and Cold Case, and the movies My Best Friend's Wedding and Sex and the City 2.

Reddy is Australian, and this song became the first Hot 100 #1 by an Australian-born artist. Some of her other hits include "Leave Me Alone (Ruby Red Dress)," "Angie Baby," "Ain't No Way To Treat A Lady" and "Delta Dawn."

Burton explained to Songfacts how he - a male - came to co-write one of the leading feminist anthems of all time: "It all started out by me being the only male [that I knew about] ever invited to Helen's get-togethers with her female friends at her house in the Hollywood Hills," he said. "I forget the name of the street now but I remember that it was just off Mulholland Drive and she was married to Jeff Wald at the time. Jeff (her husband/manager) was at his office when these meetings went down. From memory I only ever attended two or three of them. I felt quite out of place among all of these gung ho women's lib females but I could see the commercial potential because these women were SERIOUS! I suggested to Helen that if she felt so strongly about women's rights she should get some words down on paper and I would then take them away and construct a song from them.

A week or so later she gave me some words written out in part prose, part poetry form on a notepad size piece of paper. I proceeded to write the melody, but during the course of the melody writing I had to delete words here and add words there so that the lyrics fitted my melody rhythmically so as to fall into song form. So I wrote all of the melody and I guess I wrote some of the lyrics as well. But giving credit where credit is due, Helen wrote the majority of the lyrics and I just re-shaped and re-organized them. From the time Helen handed me her words to the completion of the song took me about 12 hours.

(Helen and I) didn't realize at the time that the song would become so huge a hit. I had a gut feeling about the potential of the song because with my commercial savvy I could sense the women's liberation movement bubbling up and just about ready to come to the boil. I was a couple of years out in my predictions though and it started to happen in 1972.

When Capitol Records released the song as a single in 1972 to coincide with the Stand Up And Be Counted movie I knew right then that it would always remain Helen's biggest song. When the song hit number one the feeling was amazing! I felt proud as an Australian songwriter trying to conquer the massive American market. I felt that I had finally cracked it for the 'Big Time.'

Being primarily an R&B, soul, country, rock type singer/songwriter/guitar player, a lot of my peers asked me what the hell I thought I was doing writing a song like that. I would tell them that it was a commercial venture and I was in the business of songwriting not only for the love of the art but to make some respectable money during the standard show business 15 minutes of fame. Here today and gone tomorrow as they say. I would also tell people that the song had nothing to do with my own musical style. It was purely a song written for a lady on a mission and I had my own race to run.

Hey everyone has a cross to bear and it could be worse right? At least I have a giant hit song under my belt that still gets played 30 plus years later. I get ribbed about it all the time by some of the guys I know but not all of them. The fact is I DO believe in equality for all. I wouldn't mind my own little dose of equality though... Helen refuses to mention me in any of her interviews on TV, on radio or in text, and claims that she wrote the songs. This is incredibly annoying but I DO see her reasoning. It just wouldn't make her look good to her female fans if a male had anything to do with the song; her credibility would be shot down in flames.

In her new book I am very briefly mentioned as 'a guitarist from Australia.' If you read my biography you will see that I am a lot more than simply 'a guitarist from Australia.' I am a well-known multi-talented musical pioneer, somewhat of a legend in the music industry and highly respected by all of my musical peers. In fact, I have just been made an offer for my song catalogue from a major publishing company and at my age I am very proud of that fact because nobody gets a very long run in this business unless you are considered exceptional. I guess I am destined to keep writing songs 'til I drop. Ha ha."

Burton offered the following advice to those who aspire to be professional songwriters: "Don't do it! No seriously you must keep at it, make writing a regular ritual, discipline yourself to do it for a couple of hours every day. If you don't have it already you MUST develop a passion for it or quit now because you are wasting your time. Remember the old adage "practice makes perfect?" Well, it does. It's like anything else, the more you practice it the better you get. Always keep your eyes open and your ears to the ground and be ready to pounce on any new trend that you see developing because it is certain to need a song to go with it. Be like a surfer: you can only ride the wave while it's there, not after it has already gone ashore. If your ship hasn't come in yet, swim out to it. Read a lot and never lose the power of the written word. Don't rely on some other person's visualizations/movies to tell you the story. Create your own mind images in pictures, words and melody, then write them down. Copyright all of your work immediately and get yourself a great music business lawyer. Go fishing alone and think your new ideas through while you are doing it. Write down your affirmations and goals and read them aloud everyday. Practice daily! Of course there are many more songwriting practice rituals and philosophies but here you have a few to get you started." (Thanks to Ray Burton for speaking with us about this song. For more, visit his website at rayburtonmusic.com.)

This was replaced at #1 by "Me And Mrs. Jones," a song by Billy Paul about marital infidelity.

This was used in commercials for Burger King to promote their Double Whopper sandwich. The song was changed to "I Am Man," and explained that the burger was perfect to satisfy a man's appetite. Here's the clip . (thanks, Bertrand - Paris, France)

Reddy won the Grammy award for Best Pop Vocal Performance, Female for this song. In her acceptance speech, she thanked "God, because She makes everything possible."

Echo & the Bunnymen - Nothing Lasts Forever

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Echo & the Bunnymen - Nothing Lasts Forever Youtube Music Videos and Lyrics

Album: Evergreen
Released: 1997

Nothing Lasts Forever Lyrics

Nothing Lasts Forever

The first single released to be released after Ian McCulloch, Will Sergeant and Les Pattinson reformed Echo & the Bunnymen in 1997 after a four year hiatus, this gently epic ballad reached #8 on the UK Singles Chart.

McCulloch (from Uncut magazine August 2014): "I'd had that song since 1990 in various forms. The others were very negative – Will said, 'It's a bit pretty' and I thought, 'You f---ing idiot, that's like calling 'The Killing Moon' a bit beautiful.'"

"To me it's the most important song I've ever written, because it takes me back to being taken seriously, and it's one of the best songs of all time."

The song got an extra boost from uncredited backing vocals by Oasis' Liam Gallagher. McCulloch recalled: "Oasis were in the studio next door doing Be Here Now. Liam came in and listened to 'Nothing Lasts Forever,' and he had ideas for tambourine and a backing vocal and we thought, 'Yeah, we're having that.' He was spot on, it really made that song great. With the lineage of frontmen through the years, having him on it made sense for me."

The Alan Parsons Project - Old and Wise

The Alan Parsons Project - Old and Wise Youtube Music Videos and Lyrics

Album: Eye in the Sky
Released: 1982

Old and Wise Lyrics

As far as my eyes can see
There are Shadows approaching me
And to those I left behind
I wanted you to Know
You've always shared my deepest thoughts
You follow where I go

And oh when I'm Old and Wise
Bitter words mean little to me
Autumn Winds will blow right through me
And someday in the mist of time
When they asked me if I knew you
I'd smile and say you were a friend of mine
And the sadness would be Lifted from my eyes
Oh when I'm old and wise

As far as my Eyes can see
There are shadows surrounding me
And to those I leave behind
I want you all to know
You've always Shared my darkest hours
I'll miss you when I go

And oh, when I'm old and wise
Heavy words that tossed and blew me
Like Autumn winds that will blow right through me
And someday in the mist of time
When they ask you if you knew me
Remember that You were a friend of mine
As the final curtain falls before my eyes
Oh when I'm Old and wise

As far as my eyes can see

Writer/s: PARSONS, ALAN / WOOLFSON, ERIC
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Old and Wise

Alan Parsons wrote this song with his partner in the group, Eric Woolfson. The song is about a man approaching death, addressing those he knew with fond remembrance, as he now has no time for bitter memories.

The Alan Parsons Project used a variety of vocalists, and on this one, Zombies lead singer Colin Blunstone sings lead. Parsons and Blunstone had known each other for quite a while, as Parsons was an engineer on the 1968 Zombies album Odessey and Oracle, which was recorded at Abbey Road Studios in London, the same place the Eye in the Sky sessions were held. Blunstone got to know Eric Woolfson through Parsons.

In our interview with Blunstone , he talked about how this song came together. Said Blunstone: "I was talking to Eric one night in Abbey Road and he said, 'I'd like to play you this song' and we walked into a deserted Studio Three - Alan Parsons usually used Studio Two, which is the same studio The Beatles used most of the time – but we walked into Studio Three, which is where The Zombies recorded 'Time Of The Season.' Eric sat down and played me that song on the piano, and I thought, 'That's a wonderful song.' He said, 'Well, we'd like you to have a go at putting a vocal on it.' And that's what happened.

So the first time I heard it was Eric playing the song live in its entirety in Studio Three in Abbey Road. I just thought it was a wonderful song. Still do."

Engelbert Humperdinck - The Last Waltz

Engelbert Humperdinck - The Last Waltz Youtube Music Videos and Lyrics

Album: Greatest Hits
Released: 1967

The Last Waltz Lyrics

I wondered should I go or should I stay,
The band had only one more song to play.
And then I saw you out the corner of my eye,
A little girl, alone and so shy.

I had The Last Waltz with you,
Two lonely people together.
I fell in love with you,
The last waltz should last forever.

But the love we had was going strong,
Through the good and bad we get along.
And then the flame of love died in your eye,
My heart was broke in two when you said goodbye.

I had the last waltz with you,
Two lonely people together.
I fell in love with you,
The last waltz should last forever.

It's all over now, nothing left to say,
Just my tears and the orchestra playing.

La la la la la la la la la,
La la la la la la la la la.

I had the last waltz with you,
Two lonely people together.
I fell in love with you,
The last waltz should last forever.

La la la la la la la la la.

Writer/s: REED, LES / MASON, BARRY
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

The Last Waltz

This was one of Engelbert Humperdinck's biggest hits, spending five weeks at #1 on the UK Singles Chart and also reaching the Top 40 of the Hot 100. It was the standard closing anthem at discos and dance halls for many years.

The song was penned by Les Reed and Barry Mason, who were one of the leading British songwriting partnerships of the 1960s penning hits for the likes of Tom Jones ("Delilah") and The Fortunes ("Here It Comes Again").

Les Reed recalled the story of the song in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: "When I was a little kid, my father was in the army and my mother and her sisters used to go to a dance every Friday evening at the local YMCA. We could hear the band just across the allotment and I used to wait for the last waltz which was 'I'm Taking You Home Tonight', and as all the men were in the army, the women were dancing together and I knew that when the last waltz came, I would be getting my supper within ten minutes. Mum would just walk across the allotment and get our supper. This would be about half past nine or ten and it was during the war."

"I relayed this story to Barry Mason," Reed continued, "and he said, 'Why don't we write a last waltz'. I was very influenced by Burt Bacharach, so I gave Barry a tape of a melody with a Bacharach type feel to it. When he came back, it was nothing like the story I related to him, but in retrospect he was right to do something more universal. Simplicity came through. It has now taken the place of the last waltz that I used to listen to, in whatever country."

French chanteuse Mireille Mathieu recorded a French-language version, "La Derniere Valse," with lyrics translated by Hubert Ithier. Her cover spent three weeks at #1 in the French pop charts, and also was a hit in Britain, reaching #26.

Petula Clark also recorded the "La Derniere Valse" version, reaching #2 in the French charts in 1968 but not charting in the UK.

Kiss - Beth

Kiss - Beth Youtube Music Videos and Lyrics

Album: Destroyer
Released: 1976

Beth Lyrics

Beth I hear you calling
But I can't come home right now
Me and the boys are playing
And we just can't find the sound

Just a few more hours
And I'll be right home to you
I think I hear them calling
Oh Beth what can I do
Beth what can I do

You say you feel so empty
That our house just ain't our home
I'm always somewhere else
And you're always there alone

Just a few more hours
And I'll be right home to you
I think I hear them calling
Oh Beth what can I do
Beth what can I do

Beth I know you're lonely
And I hope you'll be alright
'Cause me and the boys will be playing all night

Writer/s: CRISS, PETER / EZRIN, BOB / PENRIDGE, STANLEY
Publisher: Warner/Chappell Music, Inc., Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Beth

This song dates back to a band called Chelsea, which future Kiss drummer Peter Criss was in with the guitarist Stan Penridge from 1970-1972. Criss and Penridge came up with a song called "Beck," which was about the wife of their guitarist Mike Brand, whose name was Becky. She was constantly interrupting their band practices asking when Mike was coming home, and the song was a joke directed at him.

In August 2000, less than a year before Penridge died at age 50, he explained to the KissFAQ : "'Beck' was written, almost word for word, from Mike Brand's responses to his wife's constant calls that interrupted our rehearsals. It got to the point where I wrote down his remarks over a period of three or four days in what I called my 'wizard book.' It was merely a small notebook I carried to jot down silly sayings, sketch in, to save ideas. If you look at the lyrics and view them as a hen-pecked hubby's remarks to his nagging wife you'll see what I mean. Just pause after every sentence and pretend there's a bitch at the other end of the line. You'll catch it - I'm sure. Absolutely not responsible at all. Another poorman's copyright by me in '70."

Penridge and Criss recorded a demo of "Beck" but never released the song. In 1976, after Criss joined Kiss, he and Penridge revived the song and with the help of producer Bob Ezrin, they changed the title to "Beth" and made it more sentimental, changing the end of the first verse from:

"I know you love complaining, but Beck what can I do?"
to
"I think I hear them callin', Oh, Beth what can I do?"

A piano ballad not typical of Kiss' sound, this was released as the B-side of "Detroit Rock City," which was the third single from the album, following "Shout It Out Loud" and "Flaming Youth." These three first single releases were hard-driving anthems in the style of Kiss' previous hit "Rock And Roll All Nite," but the song that got the most attention was "Beth." Radio stations began playing the song, and the record company responded by flipping the sides of the single, with "Beth" becoming the A-side about six weeks later. It became the biggest hit for Kiss, and their only their only song to get significant airplay on Top 40 radio and even - gasp - Adult Contemporary formats.

Stan Penridge co-wrote and played guitar on most of the songs on Peter Criss' 1980 solo album Out of Control. Criss was best man at Stan's wedding (Ace Frehley was also in the bridal party) and they worked together for a few years after Criss left Kiss. In 2000, Penridge filed a lawsuit claiming he was owed money for some of the songs he wrote with Criss that Kiss recorded, including "Baby Driver," "Dirty Living," and "Baby, Don't You let me Down."

Peter Criss sang lead, as he did on several Kiss songs, including "Black Diamond" and "Hard Luck Woman." He was the only member of the band to perform on this song - Dick Wagner played the acoustic guitar and an orchestra was brought in. Wagner had toured with Lou Reed and Alice Cooper, but was living in New York and taking session work at the time. He wasn't credited on the album, but remembers also playing on the tracks "Sweet Pain" and "Flaming Youth."

Live performances of this song were a bit of a problem unless Kiss had an orchestra handy. When they didn't, Peter Criss would move to the front of the stage and sing it to a recorded backing track.

This song is a source of contention between Peter Criss and Kiss frontman Paul Stanley. Criss was fired from the band in 1980, and while he participated in reunion tours, he was replaced by other musicians: first Eric Carr and then Eric Singer (on later tours, Singer would sometimes sing this song like Criss used to).

As the co-writer/singer of Kiss' biggest hit, Criss stakes a solid claim to the band's legacy, but Stanley has maintained that Stan Penridge wrote just about all of "Beth," and Criss contributed very little to the song. "Peter had nothing to do with it," Stanley told Rolling Stone in 2014. "It was a lifeline that Peter hung on to validate himself, but it wasn't based on reality."

The rift between Criss and Stanley runs far deeper than a dispute over this song. When Kiss was inducted into the Rock and Roll Hall of Fame in 2014, Stanley and Gene Simmons refused to reunite with the original lineup and ultimately decided not to perform at the ceremony.

Sitcom writer Paul Simms named the obnoxious secretary character from NewsRadio Beth after this song. The character had "no last name." (thanks, Brett - Edmonton, Canada)

Peter Criss married his first wife, Lydia, in 1970. They were still together when this song became a hit, which lent some veracity to the lyric about coming home to see your girl. In 1978, their relationship turned rocky when Criss took up with Debra Jensen, who was Miss January in Playboy that year. Peter and Lydia divorced in 1979 (with Lydia getting a reported $1 million settlement), and Peter and Debra were later married.

In our interview with Lydia Criss , she claims credit for coming up with the name "Beth." According to Lydia, Gene Simmons didn't want to call it "Beck" to avoid confusion with the guitarist Jeff Beck. She says she suggested "Beth" because she was thinking about the woman Neil Bogart of Kiss' label Casablanca Records was married to: the former Beth Weiss. Like the original inspiration for the song, Becky Brand, Beth was also a twin.

Lydia also says that she provided the line "You say you feel so empty that our house just ain't our home." She explained: "I was working for six years of our marriage and supporting Peter. When I finally stopped working, I said, 'I feel so empty. I feel like this house isn't even my home.' And he put that in the song. Because I was used to paying the bills, and being a Scorpio, kind of controlling things. When I moved, I didn't have control anymore, so I felt a little empty, and they put it in a song."

This was used in a 2015 commercial for the Volkswagen Passat where a husband gets a call from his wife, Beth, that shows up on his car information system. He ignores it, and runs off to join their kids for some fun and adventure. Driving home with the kids asleep in the back seat, he tells the vehicle: "Text Beth: What can I do?" The reply: "Pick up milk."

Jesse McCartney - Back Together

Jesse McCartney - Back Together Youtube Music Videos and Lyrics

Album: Technicolor
Released: 2014

Back Together Lyrics

Lipstick on my cigarette
How you used to hug the bed
The little shit that I cant forget, I wonder where you are
Still got your apartment key, voicemails that I can't delete
Man I miss how it used to be, I wonder where you are
I reminisce with the stars tonight
And I think of how we knew them all by name
But they don't shine half as bright
Ever since you walked away

If we get Back Together
It'll be like when I met ya
Only better can I bet ya, baby
Let's get back together
Girl I swear you are the reasons
And it's something worth believing

Ooohh (When we get together) oooh (It'll be forever)
Oooh (When we get together) yeah

If we get back together
It'll be like when I met ya
Even better can I bet ya, baby

Last call at the troubadour
Late night meals after four
Stumbling through my front door, it just don't feel the same
Can't go to our lunch spot, or grab Joe from the coffee shop
Looking down in my phone a lot, but I don't see your name
I reminisce with the stars tonight
And I think of how we knew them all by name
But they don't shine half as bright
Ever since you walked away

If we get back together
It'll be like when I met ya
Even better can I bet ya, baby
Let's get back together
Girl I swear you all the reasons
Love is something worth believing

Ooohh (When we get together) oooh (It'll be forever)
Oooh (When we get together) yeah

If we get back together
It'll be like when I met ya
Even better can I bet ya, baby

If we get back together (It'll be better)
If we get back together (It'll be better than ever)
If we get back together
If we get back together (If we get back together)

I reminisce with the stars tonight
And I think of how we knew them all by name
But they don't shine half as bright
Ever since you walked away

If we get back together
It'll be like when I met ya
Even better can I bet ya, baby
Let's get back together
Girl I swear you all the reasons
Love is something worth believing

Ooohh (When we get together) oooh (It'll be forever)
Oooh (Oh better) yeah

If we get back together
It'll be like when I met ya
Even better can I bet ya, baby
Let's get back together!

Writer/s: OVERSTREET, NASH / FOLLESE, RYAN / MORALES, JAMES / MORALES, MATTHEW / RODRIGUEZ, JULIO DAVID / MCCARTNEY, JESSE
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Back Together

This song co-written with Nash Overstreet and Ryan Follese of Hot Chelle Rae gave the direction McCartney was looking for regarding his Technicolor album. He said: "We wrote a song that – somewhat accidentally – nailed a sound I was searching for for myself. It was retro, it was contemporary. I envisioned real horns, real instruments, syncopated and tight. That song 'Back Together,' was really the start of this album. After that, my direction was really clear to me and I knew exactly what I wanted."

The Calling - Could It Be Any Harder

The Calling - Could It Be Any Harder Youtube Music Videos and Lyrics

Album: Camino Palmero
Released: 2001

Could It Be Any Harder Lyrics

Fade away, fade away, fade away
Fade away, fade away
Fade away, fade away, fade away
Fade away, fade away, fade away

You left me with goodbye and open arms
A cut so deep I don't deserve
Well you were always invincible in my eyes
And the only thing against us now is time

Could It Be Any Harder to say goodbye and without you
Could it be any harder to watch you go, to face what's true
If I only had one more day
Fade away, fade away, fade away

I lie down and blind myself with laughter
Well a quick fix of hope is what I'm needin'
And how I wish that I could turn back the hours
But I know I just don't have the power, yeah

Could it be any harder to say goodbye and without you
Could it be any harder to watch you go, to face what's true
If I only had one more day

Well I'd jump at the chance, we'd drink and we'd dance
And I'd listen close to your every word
As if it's your last, but I know it's your last
'Cause today, you're gone

Could it be any harder
Yeah fade away, fade away, fade away
Could it be any harder
Yeah fade away, fade away, fade away
Oh yeah yeah, could it be any harder to live my life without you?
Could it be any harder? I'm all alone, I'm all alone

Like sand on my feet
The smell of sweet perfume
You stick to me forever baby
I wish you didn't go, I wish you didn't go
I wish you didn't go away

To touch you again
With life in your hands
It couldn't be any harder, harder

Fade away
Fade away
Fade away

Writer/s: BAND, ALEX / KAMIN, AARON KAMM
Publisher: Universal Music Publishing Group, BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Could It Be Any Harder

The Calling lead singer Alex Band, who wrote this song with their guitarist Aaron Kamin, says this song is "pretty much about someone you love, whether it's family or relationship wise, that pretty much leaves you, which is personal to me because when I was around 8 my mom left and moved to Germany."

La Roux - Silent Partner

La Roux - Silent Partner Youtube Music Videos and Lyrics

Album: Trouble in Paradise
Released: 2014

Silent Partner Lyrics

I've been living in the light of the shadows
Why won't you let me leave?
And I've been trying to find my way to the shallows
But the water's just too deep
Always something inside of me keeps dragging me down
I'm going deep below the undertow
And it won't let go
All I need is
Silence

There's a thumping that's filled with violence
And it creeps in through the walls at night when
When I can't see happy from sad, good or bad
All I need is silence
All I need is silence
Oh, I'm crying out for silence
You're not my partner, no you're not a part of me
I need
Silence

So tired of breathing in numbers
Trying to stop my racing heart
Oh, all I know is that I want it to stop
And I don't know where to start
Your always on my shoulder praying I won't try anymore
Conversations that begin to shout
Are you happy now?
All I need is
Silence

All I need is

Silence

There's a thumping that's filled with violence
And it creeps in through the walls at night when
When I can't see happy from sad, good or bad
All I need is silence
All I need is silence
Oh, I'm crying out for silence
You're not my partner, no you're not a part of me
I need
Silence
All I need is silence
Oh, I'm crying out for silence
You're not my partner, no you're not a part of me
I need
Silence

There's a thumping that's

Silence, all I need is silence
All I need is silence
Oh, I'm crying out for silence
You're not my partner, no you're not a part of me
I need
Silence

There's a thumping that's filled with violence (silence)
And it creeps in through the walls at night when (silence)
When I can't see happy from sad, good or bad
All I need is silence

All I need is silence
Oh, I'm crying out for silence
You're not my partner, no you're not a part of me
I need
Silence

There's a thumping that's filled with violence (silence)
And it creeps in through the walls at night when (silence)
When I can't see happy from sad, good or bad
All I need is silence

Writer/s: Sherwin, Ian Francis / Jackson, Elly
Publisher: Kobalt Music Publishing Ltd., BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Silent Partner

This song directly addresses Elly Jackson's issues with anxiety. She told NME: "Whenever I think about my anxiety, the word 'silence' comes in my head. You just want that voice in your head that's telling you you're s--t to stop, and you need to overcome it."

The Calling - Adrienne

The Calling - Adrienne Youtube Music Videos and Lyrics

Album: Camino Palmero
Released: 2001

Adrienne Lyrics

I've been thinking about you, my love
And all the crazy things that you put me through
Now I'm coming around, throwing it back to you
Were you thinking of me when you kissed him?
Could you taste me when you licked his skin?
All the while I showered you with trust and promises

What I'm needing now is some sweet revenge
To get back all that I lost then
I gave you all I had to give, but I could never reach you

Oh, Adrienne, I thought I knew you
Once again, you used me, used me
Adrienne, I should have left you
Long before you used me, used me up

Spent my money, drove my car, I treated you like a shining star
But in my sky all burnt out you are
And I'll have the last laugh, when I see you walking with some other guy
'Cause I know you're gonna end up all alone

So take these words, some good advice
All you've done gonna come back twice
You never cared how much it hurt, I really need to tell you

Oh, Adrienne, I thought I knew you
Once again, you used me, used me
Adrienne, I should have left you
Long before you used me, used me up
You used me up

What I'm needing now is some sweet revenge
To get back all that I lost then
I gave you all that I had to give, and I could never reach you

Oh, Adrienne, I thought I knew you
Once again, you used me, used me
Adrienne, I should have left you
Long before you used me, used me

Adrienne, long before, Adrienne
Oh Adrienne, Adrienne, oh yeah

Writer/s: BAND, ALEX / KAMIN, AARON KAMM
Publisher: Universal Music Publishing Group, BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Adrienne

Lead singer Alex Band has said that Adrienne is not a real person. We all have an Adrienne in our lives - someone who is not worth going for who spends your money and uses you, yet you still can't get over them no matter how much you try. (thanks, Liz - Patterson, CA)

The video was filmed in an abandoned military base in LA and was directed by Nigel Dick. Alex Band wanted the video to have a "domino effect," which is what you see in the video with various people singing the lyrics and falling down in the end. (thanks, Britney - Calabasas, CA)

Milky Chance - Stolen Dance

Milky Chance - Stolen Dance Youtube Music Videos and Lyrics

Album: Sadnecessary
Released: 2013

Stolen Dance Lyrics

I want you by my side
So that I never feel alone again
They’ve always been so kind
But now they’ve brought you away from here
I hope they didn’t get your mind
Your heart is too strong anyway
We need to fetch back the time
They have stolen from us

And I want you
We can bring it on the floor
You’ve never danced like this before
We don’t talk about it
Dancin' on do the boogie all night long
Stoned in paradise, shouldn’t talk about it

And I want you
We can bring it on the floor
You’ve never danced like this before
We don’t talk about it
Dancin' on do the boogie all night long
Stoned in paradise, shouldn’t talk about it

Shouldn't talk about it

Coldest winter for me
No sun is shining anymore
The only thing I feel is pain
Caused by absence of you
Suspense is controlling my mind
I cannot find the way out of here

I want you by my side
So that I never feel alone again

And I want you
We can bring it on the floor
You’ve never danced like this before
We don’t talk about it
Dancin' on do the boogie all night long
Stoned in paradise, shouldn’t talk about it

And I want you
We can bring it on the floor
You’ve never danced like this before
We don’t talk about it
Dancin' on do the boogie all night long
Stoned in paradise, shouldn’t talk about it
Shouldn’t talk about it

And I want you
We can bring it on the floor
You’ve never danced like this before
We don’t talk about it
Dancin' on do the boogie all night long
Stoned in paradise, shouldn’t talk about it

And I want you
We can bring it on the floor
You’ve never danced like this before
We don’t talk about it
Dancin' on do the boogie all night long
Stoned in paradise, shouldn’t talk about it
Shouldn’t talk about it

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

Stolen Dance

Milky Chance is a pop-rock duo comprising vocalist Clemens Rehbein and DJ Philipp Dausch. Both originate from the German town of Kassel and are signed to Kassel-based label Lichtdicht Records in their home country.

This along with the other songs on Sadnecessary this one was recorded and mixed by the pair in a home studio. Released on April 5, 2013 as Milky Chance's debut single, the folk/pop/electronic mélange peaked at #2 in their home country and quickly became a European hit, topping the chart in Austria, Belgium (Wallonia), Czech Republic, France, Hungary, Luxembourg, Poland and Switzerland. It took a little to catch on in America: the song didn't reach its US chart peak of #39 until 21 months after it was first released.

In this song Milky Chance use an addict who is craving drugs to fuel his habit as a metaphor for someone missing their former lover. Clemens Rehbein explained to Artist Direct : "You want to spend time with a person but you can't because of some bad circumstances. It describes a feeling you have and expressing the aching for that person and perhaps the hope to see her again. You're hoping for good things."

Rehbein told Nylon magazine the story of the song: "I wrote the chorus two or three years ago, and then the verse a few years later," he said. "The whole song took a few years. I always have so many ideas in my head and so I'm always trying to find pieces to fit together and stick together. It's kind of puzzling, and that's the special thing about it. In general it takes a week or so to write a song, but sometimes you have ideas and don't know how to continue. Then you have to put them away and come back to them later, which is what I did."

The words 'stolen' and 'dancing' both appear in the song's lyrics, but separately. The title doesn't feature in the song.

Soundgarden - Spoonman

Soundgarden - Spoonman Youtube Music Videos and Lyrics

Album: Superunknown
Released: 1994

Spoonman Lyrics

Feel the rhythm with your hands
Steal the rhythm while you can, Spoonman
Speak the rhythm on your own
Speak the rhythm all alone, Spoonman

Spoonman, come together with your hands
Save me, I'm together with your plan
Save me

All my friends are Indians
All my friends are brown and red, Spoonman
All my friends are skeletons
They beat the rhythm with their bones, Spoonman

Feel the rhythm with you hands
Steal the rhythm while you can, Spoonman

Thank you, good night people

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

Spoonman

This song is about a street artist named Artis the Spoonman, who played the spoons on the streets of Seattle, where Soundgarden formed. Artis played his spoons on the song, and is credited on the album (Spoons: Artis The Spoonman). He is also featured in the video.

When we spoke with Artis in 2013 , he said that he earned a flat fee of $1,000 for performing on the song, and another $7,000 to appear in the video. Describing how Soundgarden contacted him, he said: "In 1992, they had me do a tweener (a performance between acts) between them and Melvins. And their manager at the time, Susan Silver, she told me Chris is writing a song, 'Spoonman,' and would I like to record on it when it's done. And so in '93, almost a year and a half later, they called me and we went in the studio that day and recorded it. Went through four takes and that was that. Two hours. That was the recording session."

Pearl Jam guitarist Jeff Ament came up with the title. Pearl Jam was in the 1992 movie Singles, and Ament made a fake tape as a prop in the movie with names of songs on it that he made up. One of them was "Spoonman," and when Soundgarden lead singer Chris Cornell saw the tape, he liked the title and decided to use it for a song. Ament is credited on the album for coming up with the title.

Cornell was in the group Temple Of The Dog ("Hunger Strike") with Ament and Stone Gossard, who went on to form Pearl Jam.

Cornell hadn't yet met Artis when he wrote the song.

This won the 1995 Grammy for Best Metal Performance. (thanks, Adrian - Brookings, SD)

This song is often credited with turning Artis the Spoonman into a bit of a celebrity, but he was already done some high profile gigs, including some performances with Frank Zappa in 1981. When we asked him how this song changed his life, Artis replied: "You know, it's kind of embarrassing. It's not weird, though. It was an honor. I do believe in luck, but even that's got some science. It wasn't luck for me. I'd been playing already 25 years. When they asked me to do that, I had already done the Letterman show, I'd been to Japan, England, Germany. I was in Australia, Bali, Singapore - I'd been places all over the world performing, I'd been called and paid and brought there to those places and doing national TV and stuff.

So it wasn't anything like Soundgarden making the Spoonman. What Soundgarden did was another bump. I'd already gotten a hell of a lot of national coverage and I'd played a lot of national gigs and all over the country. But that bump was tremendous, a huge honor."

This would certainly be the most famous song about a street performer if it wasn't for the 1970 hit "Mr. Bojangles," which is about a street dancer the songwriter Jerry Jeff Walker met in jail. "Spoonman," however, features a performance by its subject. As Artis the Spoonman tells us: "There's nothing ever to regret about 'Spoonman.' That's unusually incredible, remarkable. Elvis didn't have a Grammy Award-winning song featuring him about him. Nobody did. Nobody at all. There isn't anybody. Not even that dancer, Bojangles. So it's a huge honor, what's happened to me."

Talking about what he's trying to convey about Artis in this song, Chris Cornell said it was "about the paradox of who he is and what people perceive him as."

"He's a street musician, but when he's playing on the street, he is given a value and judged completely wrong by someone else," Cornell continued. "They think he's a street person, or he's doing this because he can't hold down a regular job. They put him a few pegs down on the social ladder because of how they perceive someone who dresses differently. The lyrics express the sentiment that I much more easily identify with someone like Artis."

Soundgarden used this to open many of their live shows between 1996 and 1997.

Bassist Ben Shepard sang backup vocals, like the lines, "They beat the rhythm with their bones." His voice was sent through Fender Twin Reverb. It's his favorite song on the album.

This was the first single from the album, which went on to sell over five million copies. The B-side on the single is "Fresh Tendrils." A special remix is included as the B-side on the singles for "Black Hole Sun" and "My Wave."

Artis the Spoonman didn't get rich off this song for four reasons:
1) He got just a small flat fee for performing on the song and appearing in the video, so he didn't get any royalties from the song (the only songwriter credited on it is Chris Cornell).

2) He was very particular about where he would perform and who he would shill for. He refused to play bars or any other venues where the audience wasn't there specifically to see him. He did do some commercials for Dairy Queen, but that was his only corporate association.

3) He didn't pursue opportunities, as he avoids self-promotion. "It's embarrassing for me to pursue a show," he told us.

4) He wasn't shrewd financially. "I'd take funds for a show that I said yes to, but I just take what they pay me. I took what they paid me and I didn't have a lawyer or anything," he said.

Like the Beatles' "All You Need Is Love" and Pink Floyd's "Money," parts of this song are in 7/4 time. Soundgarden frequently used odd time signatures in their songs. (thanks, Adrian - Gettysburg, PA)

Chris Cornell wrote a rough version of this song during the filming of Singles that can be heard in the movie in a scene where a Citizen Dick poster is being put up on a telephone pole.

This song appeared in the Playstation 2 game ATV: Offroad Fury. You are able to listen to it while racing. (thanks, John - Madison, WI)