Songs Lyrics and YT- Youtube Music Videos

Nina Nesbitt - Hold You

Nina Nesbitt - Hold You Lyrics and Youtube Music Videos

Album: Peroxide
Released: 2014

Hold You Lyrics

You're far away tonight
Haven't seen you in a while
It always feels like a climb
On this never ending hill

And I keep saying wait just one more day
But days slowly drift away
And I can hold to the memories
But they won't hold me in the same way, as you

And this distance between us has come and cut us clean as
A sharp blade
And this distance between us has made my heart as weak as
Silk that's frayed

And I just wanna hold ya, hold ya, hold ya, now
You're the one that keeps me, keeps me, on the ground
I just wanna hold ya, hold ya, hold ya, now
Can we turn this knife the blunt way around

I feel empty my eyes are closed
It's getting dark and I'm alone
And I sleep next to my window
In case you decide to come home

And I keep saying wait just one more day
But days slowly drift away
The memories I have begin to fade
'Cause you're so far away

This distance between us has come and cut us clean as
A sharp blade
And this distance between us has made my heart as weak as
Silk that's frayed

And I just wanna hold ya, hold ya, hold ya, now
You're the one that keeps me, keeps me, on the ground
I just wanna hold ya, hold ya, hold ya, now
Can we turn this knife the blunt way around

And I can only stay
One more day
It's like waiting on the rain
In a warm summer haze

And this distance between us has come and cut us clean as
A sharp blade
And this distance between us has made my heart as weak as
Silk that's frayed

And I just wanna hold ya, hold ya, hold ya, now
You're the one that keeps me, keeps me, on the ground
I just wanna hold ya, hold ya, hold ya, now
Can we turn this knife the blunt way around, now

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

Hold You

This song finds Nina collaborating with the Irish band Kodaline ."They were great," she told HMV.com . "I played some gigs with them and we made friends and they asked me to feature on their 'Brand New Day' EP and I then asked them to feature on the record."

This is one of the oldest tracks on Nina's Peroxide album. She wrote the tune at the age of 16.

Donna Summer - Love To Love You Baby

Donna Summer - Love To Love You Baby Lyrics and Youtube Music Videos

Album: Love To Love You Baby
Released: 1975

Love To Love You Baby Lyrics

I Love To Love You Baby
I love to love you baby
I love to love you baby
I love to love you baby
I love to love you baby

When you're laying so close to me
There's no place I'd rather you be than with me

I love to love you baby
I love to love you baby
I love to love you baby

Do it to me again and again
You put me in such a awful spin, in a spin

I love to love you baby
I love to love you baby
I love to love you baby

Lay your head down real close to me
Soothe my mind and set me free, set me free

Uh, love to love you baby
Uh, love to love you baby
Uh, love to love you baby
Uh, love to love you baby
Uh, love to love you baby
Uh, love to love you baby

When you're laying so close to me
There's no place I'd rather you be than with me

I love to love you baby
I love to love you baby
I love to love you baby

Do it to me again and again
You put me in such a awful spin, in a spin

I love to love you baby
I love to love you baby
I love to love you baby
I love to love you baby
I love to love you baby
I love to love you baby
I love to love you baby

Writer/s: SUMMER, DONNA / MORODER, GIORGIO / BELLOTTE, PETE
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Love To Love You Baby

Summer wrote this with the help of European producers Giorgio Moroder and Pete Bellotte. It was the first big hit for Moroder, who went on to great success as a songwriter and producer. Among his accomplishments: Summer's "Hot Stuff" and "On The Radio"; scores for many movies, including Scarface, Midnight Express and American Gigolo; and many songs used in movies, among them "Take My Breath Away" (used in Top Gun) and "Call Me" (used in American Gigolo).

This was Summer's first hit, and one of the first disco hits. Disco gained popularity in gay dance clubs where they used DJs instead of bands. Eventually, the music spread to mainstream clubs and made it's way onto radio stations and movies like Saturday Night Fever. Summer had many hits and became known as the "Queen of Disco," but before "Love To Love You Baby," she was more of a folk-pop artist, and before that, she performed in musicals and recorded show tunes. This was the song that set her on the path to disco divadom.

It was rumored that Summer sang her very convincing orgasmic-sounding vocals on the studio floor while simulating a sex act. The rumor was partly true - after trying to record her vocal the traditional way, her producer Giorgio Moroder had her sing on the studio floor while lying on her back with the lights out, since she didn't want the guys working on the album looking at her when she sang it. She explained that she was indeed touching herself during the vocal: she had her hand on her knee. Her boyfriend Peter served as her fantasy inspiration.

Donna Summer had had a Christian upbringing and was an unlikely writer of such a sexual song. She told Time magazine December 1975 that to write the lyrics, "I let go long enough to show all the things I've been told since childhood to keep secret." She added in an interview with the Telegraph Magazine: "So I took on this character and eventually it just fitted me."

Donna had a hard time listening back to the song after she recorded it and was concerned about what the song did to her image, but she learned to embrace it and made it a centerpiece of her subsequent tour, putting on a stage show that Madonna would later crib from, complete with dancers simulating sexual positions and Summer squatting over an array of guys.

According to a tally by Time magazine, Summer could be heard enjoying 22 orgasms in this number. In Britain the BBC banned the song. In the US, the Reverend Jesse Jackson attacked her. Summer told the Telegraph Magazine: "They were afraid of what it would perpetrate among the youth. And I don't disagree with them on this end of it as a mother. I would not have chosen that specific song to open my career with. But I accept that's what happened. And I tried my best to parlay the success of that record into something else and get away from that imagery as soon as I could."

Summer explained to the Telegraph Magazine why she stopped performing this song at her concerts. "If I were to do that song like I did it in the old days, the fire department would have to be at the show," she said. "Seriously. Riots broke out in, like, Argentina and Italy. I was in a tent in Italy, 5,000 men, almost no women, and I was doing 'Love to Love You, Baby' and I was fairly scantily clad - I was fairly young, and the guys got so wrapped up that they began to push the stage back. And I had to run off the stage, to my trailer out the back. And they came to the trailer and started to rock it. Five thousand guys in a little village in Italy! I just thought, 'I'm going to die today, I'm not going to get out of here.' It's not the kind of song you just want to throw out there."

Summer's record label, Casablanca Records, made a huge push to promote their new artist, and in a classic example of record company excess, had a life-sized cake sculpted in her image that was flown from Los Angeles to New York on two first class airline seats. The cake made it's way to a disco on December 31, 1975, where Summer performed in celebration of the release of this single and her birthday (this story is recounted in the book Love Saves the Day by Tim Lawrence). Summer did a variety of press press parties to promote the song and her upcoming tour. The reception wasn't always good, but it did get her lots of attention. When this song was played at the parties, Summer said, "The audience was groaning worse than I was."

The full version of this song (found on the album) runs 16:50. The single version is cut down to 4:57. It was extended after Summer's label boss, Neil Bogart, called Giorgio Moroder up after he'd sent him a three-minute version. The Italian producer recalled to Redbull Music Academy : "He called me at 3 a.m., and asked me to extend the song. He said that he had a party at his house and he was playing the single version and that people wanted to hear it over and over again. He thought that was a great idea – and so did I. That was the key element for the song to become a hit."

Summer explained during a 1977 interview with Black Music magazine how plans for this song were laid during a 1975 meeting with Moroder. "Giorgio remarked that Jane Birkin and Serge Gainsbourg's 'Je T'Aime' had been re-released and was again doing well," she recalled. "Then he asked me what I thought of the idea of recording that sort of song. I reckoned it was worth a try so we went ahead… we had to create the atmosphere we wanted by turning the studio lights down and keeping people out."

According to Giorgio Moroder, the bass guitarist didn't do a good job on the original short version of the song. He told Redbull Music Academy: "When it came if you hear the first part of it, the bass sounds good. But if you hear it soloed, it's terrible. Absolutely terrible. Two weeks later we did the longer version and, in the meantime, the bass player learned the song better. So the bass in the second part is much better. If you hear it with all the other instruments, though, you don't notice. It's quite good."

Scarlett Johansson based her monologue on this song when she hosted Saturday Night Live on May 2, 2015. Johansson had her first child, a daughter named Rose, the previous year and was demonstrating how she sings "Love To Love You Baby" as a lullaby, apparently clueless as to the song's sexual connotation.

In a 2003 interview with NPR's Fresh Air Summer remembered coming up with the hook that inspired this song: "I had this idea at home one day, and I ran into the studio, and I said Giorgio, I have this idea. Would you - do you think you could write something to it? And I sort of sang it to him, and he kept saying it over, he says love to love you, I love to love you. He kept rubbing his chin and thinking like a little mad scientist, and then he went into the studio, and Giorgio had written this track."

Rev Theory - Red Light Queen

Rev Theory - Red Light Queen Lyrics and Youtube Music Videos

Album: Yet To Be Titled
Released: 2014

Red Light Queen Lyrics

Red Light Queen

The first single from Rev Theory's fourth album, this was the first new material to be heard from the New York band since their 2011 Justice set. Singer Rich Luzzi said, "'Red Light Queen' is three minutes of raw, in-your-face energy about the dark secrets of a society that glamorizes excess to the fullest."

Fleetwood Mac - Dreams

Fleetwood Mac - Dreams Lyrics and Youtube Music Videos

Album: Rumours
Released: 1977

Dreams Lyrics

Now here you go again, you say
You want your freedom
Well who am I to keep you down
It's only right that you should
Play the way you feel it
But listen carefully to the sound
Of your loneliness
Like a heartbeat drives you mad
In the stillness of remembering what you had
And what you lost, and what you had, and what you lost

Thunder only happens when it's raining
Players only love you when they're playing
Say women they will come and they will go
When the rain washes you clean, you'll know, you'll know

Now here I go again, I see the crystal visions
I keep my visions to myself, it's only me
Who wants to wrap around your Dreams and,
Have you any dreams you'd like to sell?
Dreams of loneliness,
Like a heartbeat, drives you mad
In the stillness of remembering, what you had,
And what you lost and what you had and what you lost

Thunder only happens when it's raining
Players only love you when they're playing
Women, they will come and they will go
When the rain washes you clean, you'll know

Thunder only happens when it's raining
Players only love you when they're playing
Say, women, they will come and they will go
When the rain washes you clean, you'll know
You'll know, you will know, you'll know

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

Dreams

During the sessions for Rumours, everyone in the band was going through a breakup (Stevie Nicks and Lindsey Buckingham with each other, John and Christine McVie with each other, Mick Fleetwood with his wife Jenny Boyd) and doing a lot of drugs. They were able to work together, but most of the songwriting was on an individual basis. Stevie Nicks wrote this in the studio next door, where Sly Stone was recording. He had a big, semicircular bed and red velvet all over the walls - a great vibe for a song about dreams.

The line "Players only love you when they're playing" was directed at Lindsey Buckingham. Stevie Nicks was not pleased when he brought "Go Your Own Way" to the sessions, which was clearly about her. Stevie told Q magazine June 2009: "It was the fairy and the gnome. I was trying to be all philosophical. And he was just mad."

This was Fleetwood Mac's only #1 hit in the US.

Stevie Nicks recalled to The Daily Mail October 16, 2009: "I remember the night I wrote 'Dreams.' I walked in and handed a cassette of the song to Lindsey. It was a rough take, just me singing solo and playing piano. Even though he was mad with me at the time, Lindsey played it and then looked up at me and smiled. What was going on between us was sad. We were couples who couldn't make it through. But, as musicians, we still respected each other - and we got some brilliant songs out of it."

In 1998 a Todd Terry re-mix of a cover by The Corrs peaked at #6 in the UK. The Irish group originally recorded the song for a Fleetwood Mac tribute album. Mick Fleetwood, who is a fan of The Corrs, had asked them to record it.

Christine McVie said in a 1997 interview with Q: "'Dreams' developed in a bizarre way. When Stevie first played it for me on the piano, it was just three chords and one note in the left hand. I thought, This is really boring, but the Lindsey genius came into play and he fashioned three sections out of identical chords, making each section sound completely different. He created the impression that there's a thread running through the whole thing."

Christine McVie played both a Hammond organ and a Fender Rhodes electric piano on this track.

St. Vincent - Rattlesnake

St. Vincent - Rattlesnake Lyrics and Youtube Music Videos

Album: St. Vincent
Released: 2014

Rattlesnake Lyrics

Follow the power lines back from the road
No one around so I take off my clothes
Am I the only one in the only world?
Oh oh, oh oh, oh oh, oh oh, whoa

I see the snake holes dotted in the sand
As if the Seurat painted the Rio Grande
Am I the only the one in the only world?
Oh oh, oh oh, oh oh, oh oh, whoa

Sweatin', sweatin'
No one is behind me
Sweatin' sweatin'
No one will ever find me

The only sound out here is my own breath
And my feet stuttering to make a path
Am I the only one in the only world?

Is that the wind finally picking up?
Is that a rattle sounding from the brush?
I'm not the only one in the only world
Oh oh, oh oh, oh oh, oh oh, whoa

Runnin', runnin'
Runnin' rattle behind me
Runnin', runnin'
No one will ever find me
Runnin', runnin'
Runnin' rattle behind me
Runnin', runnin'
No one will ever find me
Sweatin', sweatin'
Sweatin' rattle behind me
Runnin', runnin'
No one will ever find me
Sweatin', sweatin'
Sweatin' rattle behind me
Runnin', runnin'
No one will ever find me

Writer/s: ANNE ERIN CLARK
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Rattlesnake

The song documents a hot day in Texas, when St. Vincent's Annie Clark went for a walk on her own on a friend's ranch. "It was a beautiful day and no one was around, so I thought, 'I'm going to take all my clothes off to fully experience this,' she recalled to The Observer. "I was having this communion with nature when I saw this rattlesnake. I took off running and when I got home had a shot of tequila."

NME asked Clark if she had thoughts of mortality when she realized a snake was lurking nearby. "Yes I think about dying all the time," she said, "and that would have been an awesome way to die – like it would suck to choke on a chicken bone alone in your apartment, but dying by rattlesnake bite is cool – I was like, 'No, not this time.'"

Cast of Phantom of the Opera - The Phantom of the Opera

Cast of Phantom of the Opera - The Phantom of the Opera Lyrics and Youtube Music Videos

Album: The Phantom of the Opera
Released: 1986

The Phantom of the Opera Lyrics

The Phantom of the Opera

This song from Andrew Lloyd Webber's 1986 musical follows the title character's obsession with a beautiful young soprano at the Paris Opera House, where his deformity forces him to skulk in the shadows and hide behind a mask. The lyrics, written by Charles Hart and Richard Stilgoe, reflect how he woos her with his otherworldly voice and haunts her dreams.

Running for over 25 years, The Phantom Of The Opera is one of the most popular musical productions of all time, but its literary predecessor didn't fare as well. The story by French author Gaston Leroux was originally published as a serialization in the Le Gaulois newspaper from September 1909 to January 1910 but did not draw much attention. Its low sales even forced it out of print several times until it was adapted for film in 1925. Taglined as "The Greatest Horror Film of Modern Cinema," it starred Lon Chaney in the title role and Mary Philbin as his love, Christine.

Not long after this song was released, Webber was sued by a songwriter named John Brett, who claimed that Webber copied his 1985 composition "Farewell Song." Webber vigorously denied the accusation. He said that his song was written before Brett's, and that he even supervised a demo recording of "Phantom" sung by Mike Batt and Sarah Brightman in 1984. Brett dropped the case in 1991, at which time Webber stated: "It was monstrous that this matter was allowed to run and run for over five years. I am delighted my name has been cleared."

In 2004, Andrew Lloyd Webber wrote and produced his own version of Phantom for the big screen and picked Joel Schumacher, the brain behind the widely reviled Batman Forever and Batman & Robin, to direct. Webber said he chose Schumacher because he was impressed with his 1987 vampire flick The Lost Boys. He told Wild About Movies: "I thought it was extraordinary the way Joel used music with visuals. I thought that opening sequence, when you see the fairground, was genius."

In his three-star review, Roger Ebert was kinder to the film than he was to the Broadway smash that inspired it. He wrote: "Schumacher has bravely taken aboard this dreck and made of it a movie I am pleased to have seen." The movie starred then-unknown Gerard Butler and Emmy Rossum (At the first whispers of a possible film version years before, Michael Jackson lobbied hard for the title role and visited Webber several times).

Webber remembers picking up the novel at a book fair and being intrigued by the dark romance. He tells Piers Morgan: "I just wanted to write a high romance, and I thought this is high, Gothic stuff." When he started writing the music, he envisioned the title theme as "sort of a dark rock song."

This song was originally performed onstage by Sarah Brightman (Webber's wife at the time) and Michael Crawford, the first Christine and Erik/Phantom. It appears twice in the show - in Act I between "Angel of Music" and "Music of the Night," and in Act II at the end of "Notes/Twisted Every Way."

Webber came under fire for another alleged plagiarism when Pink Floyd's bassist and co-lead vocalist Roger Waters claimed he stole the riff to the band's 1971 song "Echoes." He told Q magazine: "Yeah, the beginning of that bloody 'Phantom' song is from 'Echoes.' DAAAA-da-da-da-da-da. I couldn't believe it when I heard it. It's the same time signature - it's 12/8 - and it's the same structure and it's the same notes and it's the same everything. Bastard. It probably is actionable. It really is! But I think that life's too long to bother with suing Andrew f--king Lloyd Webber."

Waters did take a dig at Webber, though, in "It's a Miracle" from his 1992 solo album Amused to Death. He sang:

"We cower in our shelters with our hands over our ears,
Lloyd Webber's awful stuff runs for years and years and years.
An earthquake hits the theater but the operetta lingers,
Then the piano lid comes down and breaks his f--king fingers,
It's a miracle…"

Rufus Wainwright borrowed the theme for the end of "Between My Legs" from his Release the Stars album in 2007.

Webber wrote a solo male version of this song for X Factor(UK) finalist Rhydian Roberts in 2007. Roberts wowed the judges with his performance and he eventually finished as runner-up to Leon Jackson.

St. Vincent - Prince Johnny

St. Vincent - Prince Johnny Lyrics and Youtube Music Videos

Album: St. Vincent
Released: 2014

Prince Johnny Lyrics

Prince Johnny you're kind but you're not simple
By now I think I know the difference
You wanna be a son of someone

Remember the time we went and snorted
That piece of that berlin wall that you extorted
And we had such a laugh of it
Prostrate on my carpet

You traced that andes with your index
And brag of when and where and who you're going to bed next
Oh we're sons of someone's
Oh we're sons of someone's

I saw you pray to, oh oh oh oh oh, to make you a real boy
Saw you pray to oh oh oh oh oh, to make you a real boy

Prince Johnny you're kind but do be careful
By now I know just when to stand clear
When all your friends and acolytes
Holding quiet in bathroom stalls
Where you pray to, oh oh oh oh oh, to make you a real boy
Saw you pray to oh oh oh oh oh, to make you a real boy

But honey, don't mistake my affection
For another spit in penny style redemption.
Cause we're all sons of someone's
We're all sons of someone's
I'll mean more than I mean to you
I'll mean more than I meant to him

So I pray to, oh oh oh oh oh, to make me a real girl
So I pray to, oh oh oh oh oh, to make me a real girl
So I pray to, oh oh oh oh oh, oh oh oh oh oh, oh oh
Oh oh oh, oh oh oh oh oh

Writer/s: ANNE ERIN CLARK
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Prince Johnny

St. Vincent's Annie Clark hopes against hope to make the poor, precocious subject matter of this song, "a real boy." She told NME that the tune is a, "love letter to a tragic character and the New York downtown freak, weirdo, queer scene."

The titular character hangs out in bathroom stalls and tries to affirm himself through having sex with famous people, but is safe in the city's embrace. "It's that kind of story you don't get from New York City when you're still clutching your purse on the subway," Clark told NME. "It's the kind you get when you've proven your devotion to the city. Then she lets you in her arms."

The best known song about New York's queer scene is undoubtedly Lou Reed's, "Walk On The Wild Side," which introduced us to Holly, Candy, Little Joe, Sugar Plum Fairy, and Jackie.

Clark told HMV.com that this song began with the lyrics, "then I just had to sort of step back and go 'OK, well, what does this short story sound like? What could this possibly be in a musical sense?'"

Clark described this to Q magazine as "a fairly literal story." She added: "We all have friends, we love dearly, who are charming and hopelessly self-destructive and you intersect at some point. Prince Johnny is a friend. It's about those fabulous New York nights you only get with the kind of people flee their home towns and come to this place and reinvent themselves."

Nirvana - Floyd The Barber

Nirvana - Floyd The Barber Lyrics and Youtube Music Videos

Album: Bleach
Released: 1989

Floyd The Barber Lyrics

Bell on door clanks, come on in
Floyd observes my hairy chin
Sit down chair, don't be afraid
Steamed hot towel on my face

I'm ashamed [x3]

Barney ties me to the chair
I can't see, I'm really scared
Floyd breathes hard, I hear a zip
Pee-pee pressed against my lips

I was shamed [x3]

I sense others in the room
Opie, Aunt Bee, I presume
They take turns and cut me up
I die smothered in Andy's clutch

I was shamed [x3]

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

Floyd The Barber

This song is about a small American town where everyone has become a mass murderer. A man goes into a barber shop for a haircut and (in a more detailed way) gets a hot towel put over his face, tied to the chair, is forced to suck Floyd's privates and is cut up and slashed to death by the other people he sensed in the room. (thanks, Jeff - La Pine, OR)

The people mentioned in this song are all based on characters from The Andy Griffith Show. Kurt Cobain wrote the song thinking, "What if all these people were mad, sadistic, killers?" The guy in the song went into the barber shop for a shave, but instead gets urinated on by Floyd, cut up by Opie and Aunt Bea, and suffocated by Andy Griffith. (thanks, Jarrett - Somewhere, Canada)

The band was known as Skid Row when they first started playing this in 1987. They recorded it for the first time at KAOS, the student-run radio station of Evergreen State College in Olympia, Washington.

St. Vincent - Digital Witness

St. Vincent - Digital Witness Lyrics and Youtube Music Videos

Album: St. Vincent
Released: 2014

Digital Witness Lyrics

Get back, to your seat
Get back, gnashing teeth
Ooh, I want all of your mind

People turn the TV on, it looks just like a window, yeah
People turn the TV on, it looks just like a window, yeah

Digital Witnesses, what's the point of even sleeping?
If I can't show it, if you can't see me
What's the point of doing anything?
This is no time for confessing

I want all of your mind

People turn the TV on, it looks just like a window, yeah
People turn the TV on, it looks just like a window, yeah

Digital witnesses, what's the point of even sleeping?
If I can't show it, if you can't see me
Watch me jump right off the London Bridge
This is no time for confessing

People turn the TV on and throw it out the window, yeah
Get back to your stare
I care, but I don't care
Oh oh, I, I want all of your mind
Give me all of your mind
I want all of your mind
Give me all of it

Digital witnesses, what's the point of even sleeping?
If I can't show it, if you can't see me
What's the point of doing anything?
What's the point of even sleeping?
So I stopped sleeping, yeah I stopped sleeping
Won't somebody sell me back to me?

Writer/s: ANNE ERIN CLARK
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Digital Witness

This song finds St. Vincent's Annie Clark tackling her frustration that the Internet is leaving us incapable of living without documenting everything. It is the most vitriolic of several tracks on the St. Vincent album where Clark shares her concerns about the world seen through screens. She sings:

"If I can't show it
If you can't see me
What's the point of doing anything?"

Clark told Uncut magazine: "A lot of the record touches on this digital reality of total connection, and total lack of connection, where it feels like every day is an episode of Black Mirror. This record is me trying to figure out how to navigate that malaise."

Clark described her songwriting process during a Reddit Ask Me Anything as such: "I collect ideas, words, melodies when I'm on the road. When it's time to write an album, I go to work every day. 10-7. Day job!"

Clark explained the St. Vincent artwork to NME: "On each of my records, an archetype starts to emerge. On Strange Mercy it was, like, housewife on barbiturates and white wine, and on this one it's near-future cult leader. So that was that visual directive, and I also reference one of my favorite films – The Holy Mountain, the Alejandro Jodorowsky movie. In design, I'm drawn to symmetry and patterns so I wanted to create a visual world that was analogous to the music – not just analogous, but an enhanced musical language."

The music video was nominated for three UK Music Video Awards. It was directed by Chino Moya, who also did the Marina and the Diamonds clip for "Froot."

Clark took her St. Vincent moniker from a line in the 2004 Nick Cave song "There She Goes, My Beautiful World" about St. Vincent's hospital in Manhattan's Greenwich Village, where a drunk Dylan Thomas passed away.

Seether - Broken

Seether - Broken Lyrics and Youtube Music Videos

Album: The Punisher soundtrack
Released: 2004

Broken Lyrics

I wanted you to know I love the way you laugh
I want to hold you high and steal your pain away
I keep your photograph, and I know it serves me well
I want to hold you high and steal your pain

'Cause I'm Broken when I'm lonesome
And I don't feel right when you've gone away
You've gone away,
You don't feel me here anymore

The worst is over now and we can breathe again
I want to hold you high, and steal my pain away
There's so much left to learn, and no one left to fight
I want to hold you high and steal your pain

'Cause I'm broken when I'm open
And I don't feel like I am strong enough
'Cause I'm broken when I'm lonesome
And I don't feel right when you're gone away

'Cause I'm broken when I'm open
And I don't feel like I am strong enough
'Cause I'm broken when I'm lonesome
And I don't feel right when you're gone away

'Cause I'm broken when I'm lonesome
And I don't feel right when you're gone away
You've gone away,
You don't feel me here anymore

Writer/s: DALE WILLIAM STEWART, SHAUN MORGAN WELGEMOED
Publisher: RESERVOIR MEDIA MANAGEMENT INC
Lyrics licensed and provided by LyricFind

Broken

Seether lead singer Shaun Morgan wrote this song, which deals with the pain of leaving someone behind. He explained in 2004: "I wrote it two-and-a-half years ago for my daughter, she was just born and I had to come to the States (from South Africa) and I wrote the lyrics for her, it's about leaving somebody behind, you know that is really painful to do, and ultimately you're looking to the future saying 'we'll see each other again and everything will be fine.'"

Seether originally recorded this on their 2002 CD Disclaimer. The hit version, which was released on the soundtrack to the movie The Punisher in 2004, featured Seether frontman Shaun Morgan's girlfriend at the time, Amy Lee, who was enjoying tremendous success with her band Evanescence. In addition to adding vocals, Lee helped arrange the orchestra on the new version.

In 2013, Morgan told us how he felt about the new version: "It wasn't really my idea to do that. We had done it as a duet live a couple of times, and it was always something that I was willing to try. Originally we were open to try that and end up doing the acoustic version, but having it sort of be a milder, more mellow version of what eventually became the single. And our label, obviously, they smelled dollars. So they sent us into the studio and we did that version.

There are times when I'm quite proud of that version, but other times when I feel like I should have just stuck with my guns and kept the original version of the way I prefer it. But in 2004 we didn't have any say at our record company, so it was mostly a lot of decisions were made for us and we just went with them.

But I wrote the string parts at the end of it, and I think that's great. So it was a little different for us. I don't think I ever imagined it to be quite so soundtrack, epic-y sounding. I would have preferred for it to be what the vulnerability that we wrote it with was. But it's done now." (Here's our full interview with Shaun Morgan .)

This song was a big breakthrough for Seether, but it didn't represent their sound, which is much more hard rock. In an April 2009 interview with Recoil , Morgan explained: "We made the mistake of being a band that has a gold album that collaborates with a band that has a ten-times platinum album. That’s a big mistake. We should have met up with somebody more on our level and seen what would happen. I don’t know. Obviously it’s done huge things for us and it was amazing for us. I think if we collaborate again it will be with someone who is on par with us rather than someone who is a megastar and we get to hear all the crap about how we used them for fame and glory."

St. Vincent - Severed Crossed Fingers

St. Vincent - Severed Crossed Fingers Lyrics and Youtube Music Videos

Album: St. Vincent
Released: 2014

Severed Crossed Fingers Lyrics

When you're calling ain't calling back to you
I'll be side stage, mouthing lines for you
Humiliated by age, terrified of youth
I got hope but my hope isn't helping you

Spitting out guts from their gears
Draining our spleen over years
Found myself with crossed fingers in the rubble there

Wake up puddle eyed, sleeping in the suit
The truth is ugly, well I feel ugly too
We'll be heroes on every bar stool
Seeing double beats not seeing one of you

Spitting out guts from their gears
Draining our spleen over years
Found myself with crossed fingers in the rubble there
Well you stole the heart right out my chest
Changed the words that I know best
Found myself with crossed fingers in the rubble there

Spitting out guts from their gears
Draining our spleen over years
Found myself with crossed fingers in the rubble there
Well you stole the heart right out my chest
Changed the words that I know best
Found myself with crossed fingers in the rubble there

Writer/s: ANNE ERIN CLARK
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Severed Crossed Fingers

St. Vincent's Annie Clark told Uncut magazine she got the idea for this song from a phrase in a short story by a novelist she loves, Lorrie Moore. She added: "It was such a perfect image of some hope you have that ends up, for one reason or another, in a pile of rubble on the floor."

Lorrie Moore is an American fiction writer known mainly for her humorous and poignant short stories, which have long had a cult following. Her tale of a young child falling sick, People Like That Are the Only People Here, won the 1998 O. Henry Award, which is given to short stories of exceptional merit.

Annie Clark elaborated on the song to Mojo magazine: "Severed Crossed Fingers is a Lorrie Moore reference, from a short story about a woman who reads a story in the newspaper – they're sifting through a plane crash and find somebody's severed hand, but the fingers are still crossed, and I thought that was such a great, hilarious, bleak metaphor for life."

Reel Big Fish - Drunk Again

Reel Big Fish - Drunk Again Lyrics and Youtube Music Videos

Album: Cheer Up
Released: 2002

Drunk Again Lyrics

If I had a dollar bill for every time I've been wrong
I'd be a self-made millionaire and you'd still be gone
So hand me down my best dress shoes and my best dress shirt
'Cause I'm going out in style to cover the hurt
And all I want to do all day is spend it in bed
But that's bad for the body and even worse for my head
So I'll try and find a place where no one will ask me a thing
It'll help to forget and help me to sing

'Cause now I'm Drunk Again
The means to my end
And I'm scared of myself
Cause now it's the same the faces and names
And I'm scared of myself again

Have you ever wanted to wake up from your dreaming
Scared you so bad you couldn't control your heart or your breathing
Well walk out the door with me on the floor
You don't care how I'm feeling
I guess a weak and tired and frightened man is no longer appealing

Some people have a gift of reaching right into your soul
And finding the whole and making it bigger
Baby sometimes I think I catch ya crackin' cynical smiles
And in a short while you'll be my heart's grave digger
Well there's not much I can do
'Cause I'm at the mercy of you
So baby I guess we're through

'Cause now I'm drunk again
The means to my end
And I'm scared of myself
'Cause now it's the same the faces and names
And I'm scared of myself again
'Cause now it's all the same the faces and the names
So go walk out the door you don't believe me no more
And I'm scared of myself again

If I had a dollar bill for every time I been wrong
I'd be a self made millionaire and I wouldn't be singing

Writer/s: BARRETT, AARON / WONG, MATT / KLOPFENSTEIN, SCOTT ALLEN / REGAN, DAN / GARZA, CARLOS F.
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Drunk Again

This is about a breakup. The guy doesn't feel too good about it, he drinks his sorrows away. It seems as if he guessed wrong about their relationship, and she hurt him. He doesn't want to be hurt by it, but is anyway. He afraid of being drunk and without a girlfriend.

Trumpet player Scott Klopfenstein sang lead on this instead of the group's usual lead singer, Aaron Barrett. (thanks, Meg - Worcester, MA, for above 2)