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Jack White - That Black Bat Licorice

Jack White - That Black Bat Licorice Youtube Music Videos and Lyrics

Album: Lazaretto
Released: 2014

That Black Bat Licorice Lyrics

That Black Bat Licorice

The Lazaretto album was named after a word for a quarantine hospital island.

The title was inspired by this personal song, which finds White talking about being a confined prisoner in a hospital. "That really is me, personally," he told NPR. "My sort of fantasy that I have is, I wish that some other forces, some powers that be, would push me into this scenario for a month and lock me somewhere, instead of me doing it to myself all the time. I'm always imposing restrictions on myself. And so I guess my fantasy is, it would be so nice to be in a quarantine hospital, but not to die from it - just to know that I had to stay here for two months and I can't do anything else. That's why I named the album Lazaretto."

The song finds White virtually rapping the lyrics as he references a fast black hearse, Nietzche, Freud and Horace in the same couplet:

She's built for speed like a black castrum doloris
Good for the needy like Nietzche, Freud and Horace

"That's basically a hip-hop song," White told Jam! Music . "I wasn't going for it but I just found myself in the middle of it. I think I've done that a lot in my career and people haven't noticed. 'Icky Thump' is a hip-hop track. 'Freedom at 21' on the last album was a hip-hop track but I don't think anyone really categorizes that."

The "three-in-one" interactive video features a live action clip directed by White himself, an animated version helmed by James Blagden, and a "headbang" edition shot by Brad Holland. Viewers can switch between the three visuals by holding down the '3' or 'B' keys on their keyboard.

Nirvana - Frances Farmer Will Have Her Revenge On Seattle

Nirvana - Frances Farmer Will Have Her Revenge On Seattle Youtube Music Videos and Lyrics

Album: In Utero
Released: 1993

Frances Farmer Will Have Her Revenge On Seattle Lyrics

It's so relieving to know that you're leaving as soon as you get paid
It's so relaxing to hear you're asking wherever you get your way
It's so soothing to know that you'll sue me, this is starting to sound the same
I miss the comfort in being sad
In her false withness, we hope you're still with us,
To see if they float or drown
Our favorite patient,
A display of patience, disease-covered Puget Sound
She'll come back as fire, to burn all the liars,
And leave a blanket of ash on the ground
I miss the comfort in being sad

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

Frances Farmer Will Have Her Revenge On Seattle

Frances Farmer was an actress who starred in several popular films in the '30s and '40s, but developed a reputation for being very difficult on the set. In 1942 she was arrested for drunk driving and made the mistake of going to Mexico, which violated her parole. When she returned, she was put in a mental institution where she reportedly underwent shock treatments and a lobotomy. She was released in 1950 and began a comeback in 1958, starring in the film The Party Crashers and getting her own TV show called Frances Farmer Presents. In 1970, Farmer died of cancer at age 56.

In this song it appears Kurt Cobain is likening himself to Frances Farmer. While Frances was almost infamous for her difficulty to work with and her battle with her movie studio, which forced her into bad roles. She demanded much and later all she got for it was a series of mental collapses and a failed battle with alcoholism. Kurt related Farmer's battles against her contracts with corporate Hollywood with his difficulty with his record label, which he felt was holding him back and stifling his art, making him release poppy stuff he was never satisfied with. Farmer was born in Seattle, but Kurt had a lot more to do with the city than she did, which leads me to believe this is not a musical biography... not Kurt's style. (thanks, Jason - Cincinnati, OH)

Cobain and Courtney Love have a daughter named Frances Bean, but she was named after Frances McKee, of The Vaselines, who were a Scottish punk band from the early '90s. (thanks, call me folgers - salem, NY)

Jennifer Lopez - Booty

Jennifer Lopez - Booty Youtube Music Videos and Lyrics

Album: A.K.A.
Released: 2014

Booty Lyrics

Big, big Booty, what you got a big booty
Big, big booty, what you got a big booty
Big, big booty, what you got a big booty
Big, big booty, what you

(Ain’t that a freak)

Big, big booty, what you got a big booty (My baby, uh)
You're gorgeous
I mean you’re fine
You’re sexy
But most of all
You are just absolutely booty-full

Have you seen her
On the dance floor
She got the boom, shake the room
That’s the lightning and the thunder
You wanna meet her
You wanna touch her
See the light in her eyes
And it starts to make you wonder

All the sexy girls in the party
Go and grab a man, bring him to the dance floor
Go on let them jeans touch you while you're dancing
It’s his birthday, give him what he ask for
(Let me show you how to do it)

Big, big booty, what you got a big booty (work)
Big, big booty, what you got a big booty (shake that)
Big, big booty, what you got a big booty (go work)
Big, big booty, what you

The way she moves
I know you want her
She light the fire, get you right
That’s the lightning and the thunder
You wanna meet her
You gotta touch her
Hold on tight for the ride
'Cause you know you wanna love her

All the sexy girls in the party
Go and grab a man, bring him to the dance floor
Go on let them jeans touch you while you're dancing
It’s his birthday, give him what he ask for
(Let me show you how to do it)

Big, big booty, what you got a big booty (work)
Big, big booty, what you got a big booty (shake that)
Big, big booty, what you got a big booty (go work)
Big, big booty, what you a big booty

Booty, booty, booty, booty, booty everywhere
Look at her booty, stop, stare
They love that booty, hell yeah
The way she twerk it, not fair
She got a booty, that’ll swallow a thong
And if you do it better do it dirty all night long
Booty, toot it, boot it, you know the plan
So much booty, she could supply the demand
I wanna take that big ‘ol booty shopping at the mall
I wanna pick it up and put that booty in my car
Baby your booty is a movie star
Oscar award winner of them all, now give me that

Mesmerized by the size of it
You can fight it if you like take your time
I can guarantee you’ll have the time of your life
Throw up your hands if you love a big booty

Big big big big big big booty, what you
Big big big big big big booty, what you
Big big big big big big, big big big
(Let me show you how to do it)
(Work)
(Shake that)
(Go to work)

Big, big booty, what you got a big booty
Big, big booty, what you got a big booty
Big, big booty, what you got a big booty
Big, big booty, what you got a big booty (shake that)

Writer/s: PEREZ, ARMANDO CHRISTIAN / KELLY, AMETHYST AMELIA / JEAN, SAMUEL / PENTZ, THOMAS WESLEY / GITTUS, LEWIS / BRYANT, ASIA / BROWN, CHRIS / WILSON, TEDRA RENEE / OMERHODIC, DANNY
Publisher: Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Booty

This song has an all-star pedigree. The bouncy tune was written by Chris Brown and Diplo and it features Lopez' fellow Hispanic Pop star and frequent collaborator Pitbull ("Fresh Out the Oven," "On The Floor," "Live It Up," "Dance Again" and "We Are One (Ole Ola)").

Lopez has always been known for her curves, but was initially shy about recording this floor filler that celebrates her infamous backside. However, the star was won over by her six-year-old twins Max and Emme.

"At first I said 'Never in my life will I do a song called Big Booty,'" she explained during an appearance on Jimmy Kimmel Live. "But then I was in the car with my twins and as soon as they heard Big Booty they went crazy. They loved this song and because of that I recorded it."

Lopez explained the song's meaning on Hot 97's The Angie Martinez Show. "'Big Booty' is a song I did with Diplo," she said. "It's a fun song and it's about owning everything about you and who you are and embracing that."

The song finds Lopez poking fun at her celebrated rear. "I've always strayed from embracing all these different parts of myself as a person and as an artist, but this time I was like, 'I am all these different things,'" she told Billboard magazine. "I can be silly, I can make fun of myself, but I can also be deathly serious and way too deep and introspective sometimes. I think people have so many more sides to themselves than just one. We're much more colorful than that."

Jennifer Lopez teamed up with Iggy Azalea for the remix, which finds the Australian rapper shouting out one of J-Lo's old hits. "The last time the world seen a booty this good was on 'Jenny From The Block,'" she spits. "I want to tell all my ladies to get up on the floor and shake it, shake it!"

Pitbull's verse was completely replaced by Iggy's on this new version.

The music video was shot on August 23, 2014 and directed by Hype Williams. It features plenty of booty twerking from Lopez and Azelea as well as a number of cheek-to-cheek moments from the pair. Azalea admitted to Access Hollywood she didn't realize how raunchy the clip would be.

"I didn't know how much booty it would be because I was in the little box with JLo," she said about the confined space they filmed in. "And then I left her to her own devices. She really got things kind of like fired up when I was gone with her dancing and stuff. I think it took it to another level, but I enjoyed it."

Brewer & Shipley - One Toke Over The Line

Brewer & Shipley - One Toke Over The Line Youtube Music Videos and Lyrics

Album: Tarkio
Released: 1970

One Toke Over The Line Lyrics

One Toke Over The Line sweet Jesus
One toke over the line
Sittin' downtown in a railway station
One toke over the line

Awaitin' for the train that goes home, sweet Mary
Hopin' that the train is on time
Sittin' downtown in a railway station
One toke over the line

Whoooo do you love, I hope it's me
I've bin a changin', as you can plainly see
I felt the joy and I learned about the pain that my momma said
If I should choose to make a part of me, surely strike me dead
Now I'm one toke over the line sweet Jesus
One toke over the line
Sittin' downtown in a railway station
One toke over the line
I'm waitin' for the train that goes home sweet Mary
Hopin' that the train is on time
Sittin' downtown in a railway station
One toke over the line

I bin away a country mile,
Now I'm returnin' showin' off a smile
I met all the girls and loved myself a few
Ended by surprise like everything else I've been through
It opened up my eyes and now I'm
One toke over the line sweet Jesus
One toke over the line
Sittin' downtown in a railway station
Don't you just know I waitin' for the train that goes home sweet Mary
Hopin' that the train is on time
Sittin' downtown in a railway station
One toke over the line

Don't you just know I waitin' for the train that goes home sweet Mary
Hopin' that the train is on time
Sittin' downtown in a railway station
One toke over the line

I want to be
One toke over the line sweet Jesus
One toke over the line
Sittin' downtown in a railway station
One toke over the line
Don't you just know I waitin' for the train that goes home sweet Mary
Hopin' that the train is on time
Sittin' downtown in a railway station
One toke over the line
Sittin' downtown in a railway station
One toke over line
One toke, one toke over the line

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

One Toke Over The Line

This song is about drugs, especially marijuana. A "Toke" is a puff from a marijuana cigarette or pipe. Tom Shipley explained: "When we wrote 'One Toke Over the Line,' I think we were one toke over the line. I considered marijuana a sort of a sacrament... If you listen to the lyrics of that song, 'one toke' was just a metaphor. It's a song about excess. Too much of anything will probably kill you."

Mike Brewer and Tom Shipley were folk singers in Los Angeles. This was their only hit.

Brewer says of the song's origin: "We wrote that one night in the dressing room of a coffee house. We were literally just entertaining ourselves. The next day we got together to do some picking and said, 'What was that we were messing with last night?' We remembered it, and in about an hour, we'd written 'One Toke Over the Line.' Just making ourselves laugh, really. We had no idea that it would ever even be considered as a single, because it was just another song to us. Actually Tom and I always thought that our ballads were our forte." (quotes from brewerandshipley.com )

Jerry Garcia of The Grateful Dead was brought in to play played steel guitar on the Tarkio sessions. He didn't play on "One Toke Over The Line," but did appear on the B-side, "Oh Mommy' (I Ain't No Commie)."

The incident that sparked this song happened at the Vanguard in Kansas City, Missouri. The band was playing the show because, in seeking to escape the LA music scene, they started a tour of their Midwest homelands. Shipley reports that he was given a block of hash and told to take two hits. He ignored the advice and instead took three. Shipley recounts in The Vinyl Dialogues, "I go out of the dressing room - I'm also a banjo player, but I didn't have one, so I was playing my guitar - and Michael (Brewer) came in and I said, 'Jesus, Michael, I'm one toke over the line.' And to be perfect honest, I don't remember if Michael was with me when I took that hit or not. I remember it as 'not'; I think Michael remembers it as 'yes.' And he started to sing to what I was playing, and I chimed in and boom, we had the line."

Brewer also remembers the occasion. "I just cracked up," he said. "I thought it was hysterical. And right on the spot, we just started singing, 'One toke over the line, sweet Jesus,' and that was about it; then we went onstage."

Some radio stations refused to play this song because of the drug references, but not everyone got this meaning. In 1971 the song was performed on the Lawrence Welk Show by the wholesome-looking couple Gail Farrell and Dick Dale, who clearly had NO clue what a toke was. Welk, at the conclusion of the performance of the song, remarked, without any hint of humor, "there you've heard a modern spiritual by Gail and Dale."

Brewer and Shipley spent 35 years trying to find the performance. They finally found a woman in Branson, Missouri who had one. Shipley posted the clip to his Youtube account in 2007, and ever since that moment, he says he's been trying to find a way to stop the automatic notifications that come in every time a comment is left on the video's page. "It just keeps filling up my email (inbox). But at the same time, I'm reticent to pull it down because so many folks like it."

This appears on numerous compilation albums, making its way onto albums with songs about drugs, hits of the '70s, and one hit wonders. It remains a major source of income for Brewer and Shipley.

Joshua Scott Jones - Just How A Heart Breaks

Joshua Scott Jones - Just How A Heart Breaks Youtube Music Videos and Lyrics

Album: The Healing
Released: 2014

Just How A Heart Breaks Lyrics

Just How A Heart Breaks

This poignant love ballad was written by Jones at the piano. It is one of several lovelorn tracks on The Healing inspired by his relationship with his former Steel Magnolia partner/girlfriend Meghan Linsey. "It's like opening an old wound, and that makes me nervous," Jones admitted to Rolling Stone Country of revisiting their split through his music. "But it made for an honest record that's straight from the heart."

Jeff Buckley - Hallelujah

Jeff Buckley - Hallelujah Lyrics and Youtube Music Videos

Album: Grace
Released: 1994

Hallelujah Lyrics

Well I've heard there was a secret chord
That David played and it pleased the Lord
But you don't really care for music, do you?
Well it goes like this:
The fourth, the fifth, the minor fall and the major lift
The baffled king composing Hallelujah

Hallelujah
Hallelujah
Hallelujah
Hallelujah

Well your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew ya
She tied you to her kitchen chair
And she broke your throne and she cut your hair
And from your lips she drew the Hallelujah

Hallelujah
Hallelujah
Hallelujah
Hallelujah

But baby I've been here before
I've seen this room and I've walked this floor
You know, I used to live alone before I knew ya
And I've seen your flag on the marble arch
And love is not a victory march
It's a cold and it's a broken Hallelujah

Hallelujah
Hallelujah
Hallelujah
Hallelujah

Well there was a time when you let me know
What's really going on below
But now you never show that to me do ya
But remember when I moved in you
And the holy dove was moving too
And every breath we drew was Hallelujah

Hallelujah
Hallelujah
Hallelujah
Hallelujah

Maybe there's a God above
But all I've ever learned from love
Was how to shoot somebody who outdrew ya

And it's not a cry that you hear at night
It's not somebody who's seen the light
It's a cold and it's a broken Hallelujah

Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah
Hallelujah

Hallelujah

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

Hallelujah

Arguably Buckley's most famous work, this was originally written and recorded by Leonard Cohen in 1984 on his album Various Positions. Cohen's rendition was released as a single in Spain and the Netherlands, but got little attention in the United States.

Jeff Buckley heard the song in the early '90s and began performing it at his shows in and around New York City. He included it on his 1994 debut album Grace, but the song didn't gain widespread attention until after Buckley's death in 1997, which sparked renewed interest in his work. Many artists took note of "Hallelujah" and recorded their own versions of the song. Many of these covers found their way into movies and TV shows, popularizing the song across a wide audience.

The song is about love which has soured and gone stale. Cohen used a lot of religious imagery, including references to some of the more notorious women in the bible. Here's some lyric analysis:

"You saw her bathing on the roof, her beauty and the moonlight overthrew you" - Bathsheba, who tempted the king to kill her husband so he could have her.

"She tied you to her kitchen chair, she broke your throne and she cut your hair" - Delilah, who cut off Sampson's locks that held his superhuman strength.

"But remember when I moved in you and the holy dove was moving too" - This could be a reference to the divine conception and Mary.

The lines referring to the immaculate conception can also be interpreted as having a sexual connotation: "And every breath we drew was hallelujah."

Leonard Cohen explained: "Hallelujah is a Hebrew word which means 'Glory to the Lord.' The song explains that many kinds of Hallelujahs do exist. I say: All the perfect and broken Hallelujahs have an equal value. It's a desire to affirm my faith in life, not in some formal religious way but with enthusiasm, with emotion." (thanks, Roderick - Qingdao, China)

Regarding the line, "The fourth, the fifth, the minor fall and the major lift," to which the chords played are: F - G - Am - F:

It is clever the way that not only the chords line up in the lyrics and in the music, but also because the connotations themselves of "major" and "minor" add to the meaning of the song. The "fourth" is a major chord based on the fourth of the key Buckley is playing in. Likewise the fifth is the major chord based on the fifth tone of the key. The "Minor Fall" corresponds to Buckley playing a minor chord based on the sixth of the key. "Major Lift" corresponds to playing the major chord on the fourth again. (thanks, Gol - Gainesville, FL)

The Bible makes reference to King David communing with the Lord and learning that certain types of music were more pleasing. The chords mentioned in the lyrics (that "David played and it pleased the lord) are often used in hymns. (thanks, Mike - Perth, Australia)

Leonard Cohen recalls singing this song to Bob Dylan the morning after Dylan's concert in Paris on July 1, 1984. Cohen says they sat down at a café and traded lyrics, and that Dylan especially liked the last verse of the song (Cohen often tells the story of comparing songwriting technique with Dylan at this meetup: while "Hallelujah" took him years to write, Dylan told Cohen that he wrote "I and I" in 15 minutes).

Dylan would later perform the song, singing it at two shows in 1988.

The melody has become a favorite in churches across America, where instrumental versions are often played by organists and bell choirs. Musically, it fits right in with traditional hymns, but the lyrics, although filled with religious imagery (especially the title), are rarely appropriate in this setting, since it is definitely not a worship song.

You will sometimes hear versions of the song with the lyrics altered for church performance. One such rendition was recorded by The Osmonds in 2015. It begins:

I heard about this baby boy
Who comes to Earth to bring us joy
And I just want to sing my song to ya

Larry Holder, the composer of "More Than a Child" and other worship songs, gave us his thoughts on the subject. Said Holder: "While there is Biblical imagery, it is not a worship song, in the common understanding. The music by itself is very moving, so I can understand someone wanting to use it instrumentally, although to me, it would tend bring to mind the lyrics (in my case, I'd start thinking about Shrek) which would actually be a distraction from worship.

It is interesting how someone came up with alternate lyrics for what the Osmonds sang, and that would definitely fit within a musical program at church at Christmas time in particular. (I have to presume permissions were obtained for such a derivative work to be written for such public use). I have heard that many of the hymns that Martin Luther penned actually used common melodies heard in the pubs of his day, so setting worship lyrics to secular melodies already well known has some logic to it.

There has been a lot of change in worship style, just in the past decade or so. I am a bass player in a praise band, in a church that not so many years ago was pretty much just choir, piano, organ (we actually have two services now, one traditional, one contemporary, which is not uncommon). It is easy to see how something contemporary but not purely originally worship music can become adapted and adopted into a contemporary worship setting. We sometimes walk a fine line between leading true worship and merely providing entertainment."

John Cale, who founded The Velvet Underground, recorded this song for the 1991 Leonard Cohen tribute album I'm Your Fan, and also included it on his 1992 solo album Fragments Of A Rainy Season. Jeff Buckley started covering the song after hearing Cale's version.

Cale shaped his own interpretation after Cohen faxed him 15 pages of lyrics for the song, claiming that he "went through and just picked out the cheeky verses." Cale's version also appears in the 1996 movie Basquiat and on its soundtrack.

Buckley always closed his live shows with this song. Remarkably, his revved-up crowds became extremely silent. (thanks, Kristy - La Porte City, IA)

Cohen started work on this song five years prior to recording it on his 1984 Various Positions album, by which time he had 80 verses to choose from - he picked the best four.

Rufus Wainwright recorded this for the 2001 movie Shrek. Wainwright did not sing on the version used in the film (John Cale did), but his version is on the soundtrack. Wainwright recorded for Dreamworks, which also distributed the movie, and he had an album coming out a few weeks after Shrek was released.

When the song appeared in Shrek, it was introduced to a very young audience, greatly expanding its appeal. (thanks, Andy - Indiana, PA)

Rufus Wainwright is the gay father of Leonard Cohen's granddaughter. Don't worry, we'll explain. Rufus is the son of the famous recording artist Loudon Wainwright III and Kate McGarrigle. Loudon is a bit younger than Leonard but the two are spiritual twins in the unique folk-poetry they're both known for. Kate McGarrigle, originally from Quebec, has herself crafted brilliant work both before and after meeting and marrying Loudon. Kate gave birth to Rufus in 1973 and died from cancer in 2010. Still, before and after Kate's death the Wainwright family was and is very close with Leonard Cohen and his daughter, Lorca. The Cohens and Wainwrights are both nothing short of Canadian folk music royalty (Loudon is from the States but his marriage to Kate made him an honorary Canuck).

In 2011, Rufus had a child with Leonard's daughter and the little girl, Viva Katherine Wainwright Cohen, is being raised by the trio of Lorca, Rufus, and Rufus' lover John Weisbrodt. You can call it an unconventional setup, but one thing is certain: Viva most definitely has a long history of Canadian folk talent coursing through her veins.

A stark, a cappella version of this song by Imogen Heap plays during the season finale of the show The O.C. in 2006, accompanying a scene where the character Marissa dies.

Other notable uses of this song on TV shows:

Without A Trace on the first season finale episode.

The Fox series House, where It was used on the second season premiere episode "Acceptance."

The final episode of the third season of The West Wing. The president and staff were attending an opera when CJ Craig's (Press Secretary) secret service guard (and new love interest) was gunned down trying to stop a robbery.

This plays at the end of the movie The Edukators (Die fetten jahre sind vorbei), which got the Award Of The Public in Cannes, 2004. The main characters by then lost some faith in humanity, start an open relationship and continue to fulfill their revolutionary dreams. (thanks, Chris - Wageningen, Netherlands)

This appears in the final minutes of the 2005 Nicolas Cage movie Lord Of War. (thanks, Sandy Currin - lillington, NC)

In March 2008, Irish singer-songwriter Damien Rice performed this song during Leonard Cohen's induction into the Rock and Roll Hall of Fame. Afterwards he told Billboard magazine what made this track so special for him. Rice said: "There's an amazing connection between sex and spirituality, and it's something Leonard Cohen hints at in that song. It's almost like a Buddhist master giving you a hint, but not the whole story. You have to take that hint and go sit with it."

On March 4, 2008, American Idol competitor Jason Castro performed this song to rave reviews by the judges. Randy Jackson and Simon Cowell both said that they considered the Jeff Buckley version the best. As a result, Buckley's "Hallelujah" hit #1 on Billboard's Digital Downloads chart the next week. In the UK the renewed interest in this song created by Jason Castro resulted in the song returning to the UK singles chart at #74. It also reached the Top 20 of the World Singles chart. (thanks, Bertrand - Paris, France)

Kasabian - (Shiva)

Kasabian - (Shiva) Youtube Music Videos and Lyrics

Album: 48:13
Released: 2014

(Shiva) Lyrics

(Shiva)

This space-age instrumental makes for a fittingly cinematic introduction to Kasabian's 48:13 album. Songwriter and guitarist Serge Pizzorno described it as the "opening titles" of the record, inspired by the works of film director Stanley Kubrick. (thanks to The Kasabian Wiki .)

An extended version was used as background music for one of Aitor Throup's fashion shows in January 2013.

The album was named for its running time, which is a total of 48 minutes and 13 seconds.

Tool - Disgustipated

Tool - Disgustipated Youtube Music Videos and Lyrics

Album: Undertow
Released: 1993

Disgustipated Lyrics

Disgustipated

The strange story told at the very end of this song was left on lead singer Maynard James Keenan's answering machine by his landlord. The credits on the album read: "phone message: bill the landlord."

The last song on Undertow, this comes up as track 69 on American copies of the CD - tracks 10-68 are just a second or two of nothing. Here's the breakdown of the song:
Percussion/Animal sounds - 0:00 - 1:10
Preacher - 1:11 - 2:32
Disgustipated - 2:33 - 6:45
Crickets - 6:46 - 13:50
Phone message - 13:51 - 15:47

The term "Disgustipated" was first coined in a Popeye comic book in the 1930's and was used to express a combined feeling of disgust and exasperation with a situation involving Olive Oyl. Since the situation was obviously resolved by Popeye eating spinach, we can conclude that this song was intended to promote vegetarianism. Or, it could just be a cool song with a funny title. (thanks, Robert - Houston, TX)

Kasabian - (Mortis)

Kasabian - (Mortis) Youtube Music Videos and Lyrics

Album: 48:13
Released: 2014

(Mortis) Lyrics

(Mortis)

This Ennio Morricone-inspired Spaghetti Western instrumental interlude features a sample of guitarist Serge Pizzorno's grandfather, Wilf Dillon, reciting some Latin. He says "in mortis ora incerta est," which translates as, "the hour of death is uncertain."

Pizzorno told BBC: "There's something powerful about a 94-year-old man saying that."

Blondie - Maria

Blondie - Maria Youtube Music Videos and Lyrics

Album: No Exit
Released: 1999

Maria Lyrics

She walks like she don't care.
Smooth as silk, cool as air.
Ooh, it makes you wanna cry.

She doesn't know your name and your heart beats like a subway train.
Ooh, it makes you wanna die.

Ooh, don't you wanna take her?
Wanna make her all your own?

Maria.
You've gotta see her!
Go insane and out of your mind.
Latina.
Ave maria.
A million and one candle lights.

Ive seen this thing before.
In my best friend and the boy next door.
Fool for love and fool of fire.

Wont come in from the rain.
Sees oceans running down the drain.
Blue as ice and desire.

Don't you wanna make her?
Ooh, don't you wanna take her home?

Maria.
You've gotta see her!
Go insane and out of your mind.
Latina.
Ave maria.
A million and one candle lights.

Ooh, don't you wanna break her?
Ooh, don't you wanna take her home?

She walks like she don't care.
You wanna take her everywhere.
Ooh, it makes you wanna cry.

She walks like a she don't care.
Walking on imported air.
Ooh, it makes you wanna die.

Maria.
You've gotta see her!
Go insane and out of your mind.
Latina.
Ave maria.
A million and one candle lights.

Maria.
You've gotta see her!
Go insane and out of your mind.
Latina.
Ave maria.
A million and one candle lights.

Maria.
You've gotta see her!
Go insane and out of your mind.
Regina.
Ave maria.
A million and one candle lights.

Maria.
You've gotta see her!
Go insane and out of your mind.
Latina.
Ave maria.
A million and one candle lights.

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

Maria

This was written by Blondie keyboard player Jimmy Destri, who when asked what this song was about replied: "Desire. Teenage desire because I have a teenage daughter and she's pretty beautiful and I watch all these boys gawk at her. I put myself in their shoes thinking about what I used to do with girls back then. I wasn't a very forward guy at all, I was like from afar and I'd go home and write a poem about her - I was really a sad little bastard. It sounds cute but you don't get any attention that way. So 'Maria' is about desire and the whole idea of using the Ave Maria thing is a way of saying she's on a pedestal, she's almost holy. It's not a religious thing at all, I don't believe in religion really." (from the official Blondie website - thanks, Simon - welling, England)

This was Blondie's comeback song - their lead singer Debbie Harry was 53 when it was released. The band re-formed in 1998 for a tour and album after breaking up in 1982. The new version of the band was made up of original members Chris Stein (guitar) and Deborah Harry (vocals) as well as former members Jimmy Destri (keyboards) and Clem Burke (drums) along with two new members. The band was gone for about a generation, which meant there were a lot of new fans who were just discovering Blonde and hearing their earlier hits for the first time.

When this hit #1 in the UK, Blondie became the first act to have #1s in the UK in the '70s, '80s and '90s.

This may seem like a great Karaoke choice, but it's more challenging to sing than many people think. Says Debbie Harry, "It has undone many a Karaoke singer. And me."

Kasabian - Glass

Kasabian - Glass Youtube Music Videos and Lyrics

Album: 48:13
Released: 2014

Glass Lyrics

We are going nowhere fast
Are we made of Glass?
No one knows, no one knows

Play out at the highest level
Something never sung before
Stalk by, human interaction
Keep them in their corners

We can start and turn off everything
It's all the same, don't say I'll laugh again

Save me
Oh, come on and save me
From this world
Tell me
'Cause I need to know
I'm not alone

We are taught to watch the puppets
Not the hands controlling
Do you think if we pull out the rug
The world would stop revolving?

We can start and turn off everything
It's all the same, don't say I'll laugh again

Save me
Oh, come on and save me
From this world
Save me
Oh, come on and save me
From this world

Tell me
'Cause I need to know
I'm not alone

We are going nowhere fast
Are we made of glass?
No one knows, no one knows

A wise man told me that we are born with wings
But never taught to fly
Doesn't that make you wonder why
Is it to prevent us from falling out of the sky
Or is it to stop us from soaring too high
So let me ask you this
Are you running around in a circle, going nowhere fast?
'Cause when you look at the man in the mirror
He's made of nothing but glass
You're never aware that mountains don't move themselves
Tectonic plates make them shift
That all it took was a staff to part the Red Sea
All it took was a bus to Montgomery
A single woman who refused to give up her seat
We fought an entire army with a bouquet of flowers back in the '70's
But now you're taught to remain without will until you run out of energy
Afraid that if you strive for an ideal you end up like a Kennedy
It's like being on a treadmill every day but never losing any weight
'Cause to see success the food before you digest has to change
We're stressed and high, get depressed and die
But still afraid to question why
One of the biggest criminals I ever met wore a suit and tie
When did we stop believing? When did we stop marching?
When did we stop chanting?

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

Glass

Kasabian songwriter and guitarist Serge Pizzorno told NME about this ambient shuffle: "This comes from the idea that if the people joined as a collective we could do so much damage. It's like when they blocked the petrol stations and we didn't have petrol for three days. There is power in that."

Pizzorno told the BBC about the inspiration for the song: "I went in a train carriage and I looked from one end to the other, and everyone was on their phone or looking at glass screens," he said. "I understand it. I've done it myself. But people used to look out the window and imagine. Boredom is such an important energy. That's when you think of new things, that's when you start creating. When did it happen that we stopped caring about what's going on around us? We're happy to get lost inside an infinite distraction machine."

Street poet Suli Breaks closes the track with a semi-rap about achieving our dreams if we all work together. It's an example of the Hip-Hop element that shows up in many Kasabian songs. Serge Pizzorno told Digital Spy : "Production-wise it's always been way more in that camp than rock music. I've never been much inspired by indie rock at all."

Missy Elliott - Work It

Missy Elliott - Work It Youtube Music Videos and Lyrics

Album: Under Construction
Released: 2003

Work It Lyrics

DJ, please pick up your phone
I'm on the request line

This is a Missy Elliott one-time exclusive (Come on)
Is it worth it, let me Work It
I put my thing down, flip it and reverse it
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I

If you got a big, let me search it
And find out how hard I gotta work ya
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I
I'd like to get to know ya so I could show ya
Put the pussy on ya like I told ya
Gimme all your numbers so I could phone ya
Your girl actin' stank then call me over
Not on the bed, lay me on your sofa
Phone before you come, I need to shave my chocha
You do or you don't or you will or won't ya
Go downtown and eat it like a vulture
See my hips and my tips, don't ya
See my ass and my lips, don't ya
Lost a few pounds and my whips for ya
This the kinda beat that go ra-ta-ta
Ra-ta-ta-ta-ta-ta-ta-ta-ta-ta
Sex me so good I say blah-blah-blah
Work it, I need a glass of water
Boy, oh, boy, it's good to know ya

Is it worth it, let me work it
I put my thing down, flip it and reverse it
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I

If you got a big, let me search it
And find out how hard I gotta work ya
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I
(Come on)

If you a fly gal get your nails done
Get a pedicure, get your hair did
Boy, lift it up, let's make a toast-a
Let's get drunk, that's gon' bring us closer
Don't I look like a Halle Berry poster
See the Belvedere playin' tricks on ya
Girlfriend want to be like me, never
You won't find a bitch that's even better
I make you hot as Las Vegas weather
Listen up close while I take it backwards
I'm not a prostitute, but I could give you what you want
I love your braids and your mouth full of floss
Love the way my ass go bum-bum-bum-bum
Keep your eyes on my bum-bum-bum-bum-bum
And think you can handle this gadong-a-dong-dong
Take my thong off and my ass go vroom
Cut the lights off so you see what I could do

Is it worth it, let me work it
I put my thing down, flip it and reverse it
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I [Repeat: x2]

If you got a big, let me search it
And find out how hard I gotta work ya
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I
(Come on)

Boys, boys, all type of boys
Black, white, Puerto Rican, Chinese boys
Why-thai,-thai-o-toy-o-thai-thai
Rock-thai,-thai-o-toy-o-thai-thai
Girls, girls, get that cash
If it's 9 to 5 or shakin' your ass
Ain't no shame, ladies do your thang
Just make sure you ahead of the game
Just 'cause I got a lot of fame supa
Prince couldn't get me change my name papa
Kunta Kinte a slave again, no sir
Picture black sayin', "Oh, yes a master"
Picture Lil' Kim dating a pastor
Minnie Me and Big Ren can out last ya
Who is the best, I don't have to ask ya
When I come out you won't even matter
Why you act dumb like "Uh, duh"
So you act dumb like "Uh, duh"
As the drummer boy go ba-rom-pop-pom-pom
Give you some-some-some of this Cinnabun

Is it worth it, let me work it
I put my thing down, flip it and reverse it
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I

If you got a big, let me search it
And find out how hard I gotta work ya
Ti esrever dna ti pilf nwod gniht ym tup I
Ti esrever dna ti pilf nwod gniht ym tup I
(Come on)

To my fellas
I like the way you work that
To my ladies
You sure know how to work that

Writer/s: PRATT, KENNETH EDWARD / JACKSON, ALONZO
Publisher: Universal Music Publishing Group, UNIVERSAL MUSIC PUB GROUP, BMG RIGHTS MANAGEMENT US, LLC, WARNER CHAPPELL MUSIC INC, MASS CONFUSION
Lyrics licensed and provided by LyricFind

Work It

Part of the chorus is backwards. There was a lot of speculation that she was hiding a dirty message, but when reversed, the lyrics were simply the other part of the chorus: "Put my thing down, flip it, and reverse it."

This samples Blondie's 1979 disco hit, "Heart Of Glass," and it also uses part of the 1984 Rock Master Scott and the Dynamic Three song "Request Line" at the beginning.

At the end, after Missy says, "To my ladies...." it goes into a beat taken from a song by Bob James called "Take Me To The Mardi Gras." That beat, featuring some distinctive bells, was popularized by Run-D.M.C. on their 1986 song "Peter Piper." The beat was manipulated by Run-D.M.C.'s DJ Jam Master Jay, and "Peter Piper" is his showcase song on their Raising Hell album. Shortly after this was released, Jay was shot and killed in his New York studio.

The video was directed by Dave Meyers, who also did "Lose Control" and "We Run This." It won Video of the Year at the 2003 MTV Video Music Awards. It also won for Best Hip Hop Video. At the beginning of the show, Missy, Madonna, Britney Spears and Christina Aguilera performed part of this. What most people will remember is Madonna kissing Spears and Aguilera before Missy came on stage.

This spent 10 weeks at #2 on the Billboard Hot 100 without ever managing to make that final leap to the top spot.

Missy Elliott performed part of this song at halftime of the 2015 Super Bowl. The star of the show, Katy Perry, joined Elliott on stage and acted as a hypewoman/backup singer during this section, gamely imploring the crowd ("let's go Super Bowl!") before disappearing for a costume change.

Elliott's appearance was a shot of hip-hop adrenaline after the bouncy pop of Perry's "Teenage Dream" and "California Gurls," which were performed in a beach scene with dancing palm trees.

The song returned to #35 on the Hot 100 in the week following Elliott's 2015 Super Bowl performance. "Get Ur Freak On" also re-entered the chart at #40. They marked Elliott's first appearances on the tally as a lead act since 2008.