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Needtobreathe - Difference Maker

Needtobreathe - Difference Maker Lyrics and Youtube Music Videos

Album: Rivers In the Wasteland
Released: 2014

Difference Maker Lyrics

Yeah, isn't it amazing how a man can find himself alone
Call into the darkness for an answer that he's never known
Yeah, isn't it amazing how God can take a broken man
Yeah, let him find a fortune, let him ruin it with his own two hands

And he climbs on up the hill on the rock on which he stands
He looks back at the crowd
He looks down at his hands and he says
I am a Difference Maker

Oh, I am the difference maker
Oh, I am the only one who speaks to him
I am the friendliest of friends of God

Yeah, isn't it amazing how a man can find himself alone
Call into the darkness for an answer that he's never known
Yeah, isn't it amazing how God can take a broken man
Yeah, let him find a fortune, let him ruin it with his own two hands

He walks on up the hill to the rock on which he stands
He looks back at the crowd
He looks down at his hands and he says
I am a difference maker

Oh, I am the difference maker
Oh, I am the only one that speaks to him
And I am the friendliest of friends of God

I am on the fence about nearly everything I've seen
And I have felt the fire be put out by too much gasoline
And we're all strangers passing through a place and time afternoon
Life is but a vision in a window that we're peeking through

A helpless conversation with a man who says he cares a lot
It's a passive confrontation about who might throw a punch or not
We are all transgressors, we're all sinners, we're all astronauts
So if you're beating death then raise your hand but shut up if you're not

'Cause I am the difference maker
Oh, I am the only one that speaks to him
And I am the friendliest of friends of God

I am the difference maker
Oh, I am the only one that speaks to him
And I am the friendliest of friends of God

Writer/s: NATHANIEL RINEHART, WILLIAM RINEHART
Publisher: BLUEWATER MUSIC CORP.
Lyrics licensed and provided by LyricFind

Difference Maker

Needtobreathe singer Bear Rinehart told Billboard magazine about this song: "It's really about walking that line of humility and how that really makes you a difference maker," he said. "Maybe none of us should be an authority on too many things. I don't think that's our place especially as musicians. I feel like we can easily get on our soapbox. I think we wrote that song really to ourselves."

The song is Rinehart's story of trying to understand his role in God's plan. He explained to NewReleaseTuesday : "We were on tour with a secular artist, Taylor Swift, playing to 20,000 and even 50,000 people per night. We felt like we were doing what we were supposed to be doing. Despite our efforts, I didn't feel like we were having the impact we are called to have."

"I think God was asking us at this time, 'What are you doing this for? Are you doing it for Me?,' he continued. "And, I think that's where this song was birthed. That confusion is almost a good thing. The bridge says 'I am on the fence about nearly everything I've seen.' I meant that in how the whole band was going through a 'we surrender to God' kind of way."

"We don't need to be concerned about what happens after we've given up this gift we have to God," Rinehart added. "That was really powerful for us. We had ambition and let that take too much of a priority in things that led us down a road that wasn't good. I think that in trying to re-prioritize, God wants us to sacrifice those things, those idols in our lives. Some idols for us were wondering what the outcome was going to be, that we had the upper hand or maybe we were the best band out there, or we thought we were the most clever at it."

"I feel like the beginning of the song is us asking ourselves are we really difference makers," he concluded. "How valuable are we, really? Towards the end of the song it comes around that God makes us a part of what He does, which is so crazy. It starts with us realizing that we don't get to make the rules. We don't control it, and we don't get to say what the timing is. It's not because of our talents. He doesn't need that. He needs our willing hearts."

Local H - Hands On The Bible

Local H - Hands On The Bible Lyrics and Youtube Music Videos

Album: Here Comes The Zoo
Released: 2002

Hands On The Bible Lyrics

Hands On The Bible

This song slams fundamentalist Christians. Scott Lucas sings the song in a mocking manner.

The solo was played on an electric violin.

This is the first track on Here Comes the Zoo, the first Local H album with new drummer Brian St. Clair. (thanks, James - La Crosse, WI, for all above)

Nina Nesbitt - Mr. C

Nina Nesbitt - Mr. C Lyrics and Youtube Music Videos

Album: Peroxide
Released: 2014

Mr. C Lyrics

You must be blind, you're blind, you're blind
Or maybe I'm unkind, unkind, unkind
You're the rich boy from my town, my town, my town
But that can't win me round, me round, me round
Oh you and all your people
You think I like you cause you bought me a drink
But I'm just short of cash and able to wink

Excuse me Mr. C
Who you tryna kid?
I'll take the drink, but if you think
You're coming home with me
Who you tryna kid?
Oh you're so vain

When you're under the lights, the lights, you're alright
But conversation's dry, you're dry, you're dry
Just trying to boast about your parents' house in the south of France
And I'm laughing at the way you dance
You're gone, you're gone, you're all gone
Oh you and all your people
I've come to conclusion you're quite fit
But I'm under no illusion you're a dick

Excuse me Mr. C
Who you tryna kid?
I'll take the drink, but if you think
You're coming home with me
Who you tryna kid?
Oh you're so vain, I can't believe it

I, I never meant to hurt or make you cry
Your mum's outside, she's waiting for you in her new X5
I'm sure she'll dry those eyes

Excuse me Mr. C
Who you tryna kid?
I'll take the drink, but if you think
You're coming home with me
Who you tryna kid?
Oh you're so vain, I can't believe it

Excuse me Mr. C (excuse me Mr. C)
Excuse me Mr. C (one more champagne please)
Excuse me Mr. C (and a strawberry daiquiri)
Excuse me Mr. C (excuse me Mr. C)

Writer/s: COOPER, LILY ROSE BEATRICE / MAC, STEVE / NESBITT, NINA / POOLE, KAREN ANN
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Mr. C

This song finds Nina railing against men who try to impress her by boasting how successful they are. "It's about going out to clubs in Edinburgh and London," the singer told The Daily Record. "A lot of guys can be quite rude. They think they just need to buy you a drink or tell you wonderful things about themselves and you will go out with them."

"I'm also paranoid about my drink getting spiked so I keep an eye on my drink and never leave it," Nina added. "I don't usually take drinks from random people and if I do, I watch the drink being poured. I'm very careful that way."

Bonnie Tyler - Holding Out For A Hero

Bonnie Tyler - Holding Out For A Hero Lyrics and Youtube Music Videos

Album: Footloose Soundtrack
Released: 1984

Holding Out For A Hero Lyrics

Where have all the good men gone
And where are all the gods?
Where's the streetwise Hercules to fight the rising odds?
Isn't there a white knight upon a fiery steed?
Late at night I toss
And I turn
And I dream of what I need.
I need a hero. I'm Holding Out For A Hero 'til the end of the night.
He's gotta be strong
And he's gotta be fast

And he's gotta be fresh from the fight.
I need a hero. I'm holding out for a hero 'til the morning light.
He's gotta be sure
And it's gotta be soon

And he's gotta be larger than life!
Larger than life.
Somewhere after midnight
In my wildest fantasy

Somewhere just beyond my reach
There's someone reaching back for me.
Racing on the thunder and rising with the heat

It's gonna take a superman to sweep me off my feet.
I need a hero. I'm holding out for a hero 'til the end of the night.
He's gotta be strong
And he's gotta be fast

And he's gotta be fresh from the fight.
I need a hero. I'm holding out for a hero 'til the morning light.
He's gotta be sure
And it's gotta be soon

And he's gotta be larger than life.
I need a hero. I'm holding out for a hero 'til the end of the night.
Up where the mountains meet the heavens above

Out where the lightning splits the sea

I could swear there is someone
Somewhere
Watching me.
Through the wind
And the chill
And the rain

And the storm
And the flood

I can feel his approach like a fire in my blood.
I need a hero. I'm holding out for a hero 'til the end of the night.
He's gotta be strong and he's gotta be fast

And he's gotta be fresh from the fight.
I need a hero. I'm holding out for a hero 'til the morning light.
He's gotta be sure
And it's gotta be soon

And he's gotta be larger than life.
I need a hero. I'm holding out for a hero 'til the end of the night.

Writer/s: PITCHFORD, DEAN / STEINMAN, JIM
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Holding Out For A Hero

This was featured in the movie Footloose, starring Kevin Bacon as a young man who comes to a small town where dancing in public is not allowed. The screenplay for the movie was written by Dean Pitchford , who also wrote the lyrics to the nine songs used in the film. This one appears in a scene where Bacon is playing chicken on tractors with a local. He becomes a "hero" when he wins - not by force of will, but because his shoelace gets caught on a pedal, and he can't jump off (yes, he couldn't get hit Foot Loose).

In putting together songs for his movie Footloose, Dean Pitchford used seven different co-writers and eight different artists, since he wanted a variety of styles. On this song, he wrote with the mercurial Jim Steinman, who wrote most of Meat Loaf's hits, including "Paradise By the Dashboard Light" and "I'd Do Anything For Love (But I Won't Do That)." In our interview with Dean Pitchford, he told us how this one came together: "We decided that we were going to go after Bonnie Tyler, who was not even really happening at the time. I had fallen in love with Bonnie Tyler because she'd sung 'It's a Heartache,' and the song 'Total Eclipse Of The Heart' was a hit in Australia when I heard it, but it had not broken in the United States yet. But when we went to try to find her, nobody at Columbia Records knew who had signed her and where she was. We finally tracked her A&R rep down to Nashville, because in the United States she had been signed as a country act, and that was where 'It's A Heartache' had first broken. But in order to get to Bonnie Tyler and to get her to sing something for us, I was going to work with Jim Steinman. And I'd known Jim Steinman's work from all of his Meat Loaf days. So I sat down and listened to a lot of Jim Steinman. And I came up with 'Where have all the good men gone and where are all the gods? Where's the streetwise Hercules to fight the rising odds?' I wrote that lyric with an ear toward snaring Jim Steinman, and it worked. He looked at the lyric and he immediately knew what to do with it because it was so much in a style that he was familiar with. So in every case I tried to write a lyric that was in the style of the artist I was working with or the writer that I knew I would have to write with. Bill Wolfer, for instance, was a producer for Shalamar, and I knew what I needed to do in order to snare his involvement. And 'Dancing in the Sheets' is different than 'Holding Out For A Hero' is different than 'Almost Paradise.' So every one of those represented a different head set, a mindset."

Jim Steinman literally bled for this song when he demoed it for the Footloose director. Dean Pitchford told us the story: "I remember bringing in a girl to sing 'Holding Out For A Hero' with Jim Steinman pounding the crap out of the keyboard. When we were done, I looked over and there was blood on the keys. That's the kind of 'DUN DUN DUN DUN DUN da DON DON DON da DA DUN.' He was just pounding the s--t out of the keyboard. Everybody was just grooving along as he's pounding and this girl's singing, singing, singing. And at the end of the whole thing I looked over and there was blood up and down the keyboard. It cut his fingers."

The introduction to this song was originally used by Jim Steinman on the song "Stark Raving Love" from his 1981 solo album Bad For Good. (thanks, Kelley - Hickory, KY)

Ella Mae Bowen recorded this for the 2011 remake of the Footloose movie. Bowen, who was just 14 when she recorded the song, came up with a stripped down, countrified arrangement with her producer Seth Bolt. The movie's director, Craig Brewer, chose her version from many submissions.

A version by Jennifer Saunders was featured in the 2004 movie Shrek 2. It was also used in the climactic scene from the movie Short Circuit 2. (thanks, Gerry - Trinity, AL)

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.