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Rush - Red Barchetta

Rush - Red Barchetta Youtube Music Videos and Lyrics

Album: Moving Pictures
Released: 1981

Red Barchetta Lyrics

My uncle has a country place
That no one knows about
He says it used to be a farm
Before the Motor Law
And now on Sundays I elude the eyes
And hop the turbine freight
To far outside the wire where my
White-haired uncle waits

Jump to the ground as the turbo slows
To cross the borderline
Run like the wind as excitement shivers
Up and down my spine
But down in his barn
My uncle preserved for me
An old machine
For fifty-odd years
To keep it as new
Has been his dearest dream

I strip away the old debris
That hides a shining car
A brilliant Red Barchetta
From a better vanished time
We'll fire up the willing engine
Responding with a roar
Tires spitting gravel
I commit my weekly crime

Wind
In my hair
Shifting and drifting
Mechanical music
Adrenaline surge

Well-oiled leather
Hot metal and oil
The scented country air

Sunlight on chrome
The blur of the landscape
Every nerve aware

Suddenly ahead of me
Across the mountainside
A gleaming alloy air-car
Shoots towards me two lanes wide
Oh, I spin around with shrieking tires
To run the deadly race
Go screaming through the valley
As another joins the chase

Ride like the wind
Straining the limits
Of machine and man
Laughing out loud with fear and hope
I've got a desperate plan

At the one-lane bridge
I leave the giants stranded
At the riverside
Race back to the farm
To dream with my uncle
At the fireside

Writer/s: NEIL PEART, GEDDY LEE WEINRIB, ALEX LIFESON
Publisher: OLE MEDIA MANAGEMENT
Lyrics licensed and provided by LyricFind

Red Barchetta

This is a futuristic song about a farmer who keeps a Red Barchetta in his barn even after motors are outlawed (Before the Motor Law). The kid comes, takes the car for ride and ends up being chased by Gleaming Alloy Air car (Police is assumed). He outruns and ditches the law and returns to the barn, hides the car and goes to dream with his uncle by the fireside. During the Moving Pictures Tour, Rush used a video to bring the story to life. (thanks, Mike - Sturges, PA)

The Barchetta is a classic example of a car built for speed, a hot rod, made by Ferrari. For more information on the car, including some photos of a red one, check out the Song Image .

This was the second song from Rush's best selling album to date, Moving Pictures.

This was inspired by the story A Nice Morning Drive, written by Richard S. Foster. (thanks, Jeff - Haltom City, TX, for above 3)

The harmonics in the intro were played by guitarist Alex Lifeson. (thanks, Chris - Brookfield, CT)

According to the book The Complete Ferrari by Godfrey Eaton, the name of the car is pronounced "Barketta." Geddy Lee admitted that he had incorrectly pronounced the word after an Italian friend pointed out the correct pronunciation. (thanks, Stuart - Suffolk, England)

Alex Lifeson ("In The Studio" for Moving Pictures): "That was the intention with Red Barchetta - to create a song that was very vivid, so that you had a sense, if you listen to it and listen to the lyrics, of the action. It does become a movie. I think that song really worked with that in mind; it was successful with that intention. It's something that I think we've tried to carry on-- become a little more visual with our music, since then. But that one in particular was very satisfying. It was always one of my favorites. I think it's probably my favorite from that album. I like the way the parts knit together. I like the changes. I like the melody of the song. I love the dynamics of it, the way it opens with the harmonics and creates a mood, then gets right into the driving, right up to the middle section where it's really screaming along, where you really feel like you're in the open car, and the music's very vibrant and moving. And then it ends as it began with that quiet dynamic, and lets you down lightly. So it picks you up for the whole thing and drops you off at your next spot." (thanks, Mike - Mountlake Terrace, Washington)

There is a 1981 movie starring Lee Majors and Burgess Meredeth called The Last Chase, which was inspired by the same story. The movie left a lot to be desired, but the final showdown scene is straight out of "Red Barchetta." (thanks, Mike - San Francisco, CA)

On the Exit Stage Left DVD, guitarist Alex Lifeson says, "Well it seems to me that a car has been one of the standard metaphors and volumes have been written about the sociological and cultural impact of the car and what it represents, but, it also has a very fundamental, sensual appeal, and it's a metaphor for sexuality and for freedom." (thanks, Jamin King - Puyallup, WA)

The Clash - Know Your Rights

The Clash - Know Your Rights Lyrics and Youtube Music Videos

Album: Combat Rock
Released: 1982

Know Your Rights Lyrics

This is a public service announcement
With guitar
Know Your Rights
All three of them

Number one
You have the right not to be killed
Murder is a crime
Unless it was done
By a policeman
Or an aristocrat
Oh, know your rights

And number two
You have the right to food money
Providing of course
You don't mind a little
Investigation, humiliation
And if you cross your fingers
Rehabilitation

Know your rights
These are your rights
Hey, say, Wang

Oh, know these rights

Number three
You have the right to free speech
As long as
You're not dumb enough to actually try it

Know your rights
These are your rights
Oh, know your rights
These are your rights
All three of 'em
Ha!
It has been suggested in some quarters
That this is not enough
Well

Get off the streets
Run
Get off the streets

Writer/s: HEADON, TOPPER / JONES, MICK / SIMONON, PAUL / STRUMMER, JOE
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Know Your Rights

The lyrics to "Know Your Rights" are a very sarcastic look at oppression of the poor and working classes via limiting their human rights. Joe Strummer likely wrote them as a sarcastic response to a series of public service announcements in poor areas reminding the civilians of their basic human rights - this would certainly explain the "This is a public service announcement... WITH GUITARS!" introductory line.

According to the lyrics, people only have three human rights:

1) The right not to be killed, unless it is done by a policeman or an aristocrat (perhaps referencing two recent incidents, the deaths of Sunderland boxer Liddle Towers (see also The Angelic Upstarts' "The Murder Of Liddle Towers") and New Zealand schoolteacher Blair Peach in incidents involving police brutality).

2) The right to food money - as long as you don't mind "a little investigation, humiliation, and if you cross your fingers, rehabilitation," a possible reference to the stricter tests and investigations one had to pass in order to receive welfare payments in the UK at the time.

3) The right to free speech - "as long as you're not actually dumb enough to try it!"

The song was written in August/September 1981 at the Ear Studios, and was an obvious choice for both opening song on the Combat Rock record and leadoff single from the album, peaking at #43 on the UK Charts with the B-side "First Night Back in London." It became a popular live song from 1982 to 1984 with it's heavy drums and Rockabilly guitar breaks. A representative version recorded in Boston in September 1982 features on the From Here to Eternity live compilation.

The song has been covered numerous times, most famously by Pearl Jam, who regularly perform a live cover, as well as by General Soup Kitchen, The Cowans, The Frisk and Primal Scream.

The Rolling Stones - Everything Is Turning to Gold

The Rolling Stones - Everything Is Turning to Gold Lyrics and Youtube Music Videos

Album: Sucking in the Seventies
Released: 1981

Everything Is Turning to Gold Lyrics

I don't care if your love grows cold
Found love in someone else's home
Don't like standin' in the snow

Everything's turning to gold
Everything's turning to gold
Everything's turning to gold

You used to know me long ago
Was so lost and way down low.
Now that the love juice starts to flow,
Now that the love juice starts to flow,
Everything's turning to gold
Everything's turning to gold

Everything's turning, everything's turning
Everything's turning, everything's turning to gold

I'm tired, I'm tired of doing what I'm told.
Things are moving way too slow.
I got no problems, I got no problems, child.
It ain't my business, it ain't my business, ain't my style.
Now that the love juice starts to flow,
Now that the love juice starts to flow.

Writer/s: JAGGER, MICK/RICHARDS, KEITH/WOOD, RON
Publisher: EMI Music Publishing, Sony/ATV Music Publishing LLC, BMG RIGHTS MANAGEMENT US, LLC, SONY ATV MUSIC PUB LLC
Lyrics licensed and provided by LyricFind

Everything Is Turning to Gold Song Chart

Written by Jagger, Richards and Ron Wood, this was recorded between October and December 1977 at Pathé Marconi Studios, in Paris, France, and released in June 1978 in the US as a single as the B-side to "Shattered." Stones guitarist Ron Wood explained: "I came up with the chorus when my son Jesse was born. It was inspired by him. I basically wrote the whole thing. Mick wrote the verses - there's few verses actually, and the whole song relies on the choruses."

This features Mel Collins on saxophone and Sugar Blue on harmonica. Collins was a popular horn player throughout the 1970s and '80s, recording with the likes of Humble Pie, Uriah Heep, Bad Company and Bryan Ferry. (thanks, Bertrand - Paris, France, for above 2)

Bill Haley - Rock Around The Clock

Bill Haley - Rock Around The Clock Youtube Music Videos and Lyrics

Album: Greatest Hits
Released: 1955

Rock Around The Clock Lyrics

One, two, three o´clock, four o´clock, rock
Five, six, seven o´clock, eight o´clock, rock
Nine, ten, eleven o´clock, twelve o´clock, rock
We´re gonna Rock Around The Clock tonight

Put your glad rags on and join me, hon
We´ll have some fun when the clock strikes one
We´re gonna rock around the clock tonight
We´re gonna rock, rock, rock, ´til broad daylight
We´re gonna rock, gonna rock, around the clock tonight

When the clock strikes two, three and four
If the band slows down we´ll yell for more
We´re gonna rock around the clock tonight
We´re gonna rock, rock, rock, ´til broad daylight
We´re gonna rock, gonna rock, around the clock tonight

When the chimes ring five, six and seven
We´ll be right in seventh heaven
We´re gonna rock around the clock tonight
We´re gonna rock, rock, rock, ´til broad daylight
We´re gonna rock, gonna rock, around the clock tonight

When it´s eight, nine, ten, eleven too
I´ll be goin´ strong and so will you
We´re gonna rock around the clock tonight
We´re gonna rock, rock, rock, ´til broad daylight
We´re gonna rock, gonna rock, around the clock tonight

When the clock strikes twelve, we´ll cool off then
Start a rockin´ round the clock again
We´re gonna rock around the clock tonight
We´re gonna rock, rock, rock, ´til broad daylight
We´re gonna rock, gonna rock, around the clock tonight

Writer/s: MYERS, JAMES / FREEDMAN, MAX
Publisher: Sony/ATV Music Publishing LLC, ROBERT W. CINQUE, ESQ.
Lyrics licensed and provided by LyricFind

Rock Around The Clock Song Chart

There is some dispute over what was the first rock song ever recorded (The Rock and Roll Hall of Fame says it's Rocket 88, which Haley covered in 1951), but this is indisputably the first rock song to top the charts, and generally considered the beginning of the "Rock Era," at least for chart purposes.

At the time, Billboard magazine compiled charts in three different categories: Best Sellers in Stores, Most Played By Disc Jockeys, and Most Played in Juke Boxes - many songs like "Rock Around The Clock" topped all three and were a consensus #1. Elvis had his first chart-topper in 1956 with "Heartbreak Hotel," and rock music made steady gains from there, but to give you some idea of what the charts looked like before Haley hit the pinnacle, the 1955 #1s that hit before Haley were by Joan Weber, The Fontane Sisters, The McGuire Sisters, Bill Hays, Perez Prado, Georgia Gibbs and Les Baxter.

This was written in 1953 by a Philadelphia songwriter named named Max Freedman (who was nearly 60 years old), and by James Myers, who was a local musician and song publisher, who published it under the name "Jimmy De-Knight." In addition to owning half the composer credit on the song, Myers had 100% of the publishing. Haley wanted to record the song, but Dave Miller, who owned his label Essex Records, refused because of a dispute over the publishing. Myers then placed the song with a veteran Country act called Sonny Dae and His Nights, and their version was released in 1953 to little acclaim. In 1954, Myers helped Haley leave Essex records and sign with Decca; as part of their agreement, one side of every single Haley recorded had to be a song from Myers' catalog, and the first one they picked was "Rock Around The Clock," which was originally released as the B-side of a Dickie Thompson song called "Thirteen Women," which was about a nuclear bomb that leaves just one man and 13 women alive.

"Rock Around The Clock" first appeared on the charts on June 3, 1953, selling 75,000 copies and convincing Decca to pick up Haley's option. Haley then recorded a successful cover of the Big Joe Turner song "Shake, Rattle And Roll," and on March 25, 1955, "Rock Around The Clock" was featured in the movie Blackboard Jungle, which gave it a surge in popularity and prompted Decca to re-release the single. This time, the song surged to the top of the charts, entering the Top 40 on May 14, 1955 and hitting #1 on July 9, where it stayed for eight weeks.

Haley first recorded this song on April 12, 1954 at his first session for Decca Records. Haley went to New York to cut his first Decca session. Musicians were: Billy Williamson on steel guitar, Johnny Grande on piano, Joey d'Ambrosio on tenor sax, Danny Cedrone on lead guitar and Marshall Lytle on bass. A session drummer, named Billy Gussack played on this recording. Haley recorded the song a few other times, but this recording was the original single.

The term "Rock 'n' Roll" was a relatively new way of describing music when this came out. A lot of early "Rock" was based on the blues, and was far too racy for most white listeners. Many white singers made careers out of sanitizing R&B records for pop appeal, but Haley added a country/swing element to his covers that kept a lot of the edge. When Elvis came along, he did the same thing, transforming R&B songs like "Hound Dog" without sucking the life out of them.

Many listerners had never heard of "rock and roll" when this was released, so the record company had a hard time describing the song. The label on the single called it a "Novelty Foxtrot."

Haley's guitarist Danny Cedrone played pretty much the same solo on "Rock Around The Clock" that he did on Haley's 1952 cover of the Jimmy Preston "Rock The Joint," which was a big break for Haley, selling over 150,000 copies, and established the swinging blues style he would use on his famous hit.

This was the original opening theme song for the TV show Happy Days . The song was re-released in 1974 to capitalize on its new popularity, and charted at #39 in the US. In 1976 theme was changed to "Happy Days."

In the UK, this was the biggest-selling single of the '50s.

Elton John took a swipe at this in his song "Crocodile Rock." Elton thought this was kind of overrated, so he put a line in about how they were doing the Crocodile Rock while the other kids were "Rocking 'round the clock."

Haley was never able to duplicate the massive success of "Rock Around The Clock," but he did have a few more hits in the '50s, including "See You Later Alligator" and "The Saints Rock 'N Roll." Haley is a key figure in the evolution of rock music, helping transform the sound out of Country music, but he couldn't sustain his early success. Elvis stole his thunder, and Haley recorded many substandard songs because wanted to cut tracks owned by his publishing company. He remained somewhat popular overseas, but lawsuits and financial problems took their toll on the singer, and he died in 1981 at age 55. Bill Haley and His Comets were inducted into the Rock and Roll Hall of Fame in 1987.

According to Rolling Stone in their "100 Greatest Guitar Songs" issue, Comets guitarist Danny Cedrone was paid $21 for his work on this track, which became a classic rock solo. Unfortunately, he died in a fall months after he recorded it. (thanks, Bertrand - Paris, France)

There is a different snare drum pattern on each verse. (thanks, Greg - Barking, England)

In 1956, Bill Haley and the Comets starred as themselves in a low-budget movie called Rock Around The Clock, where they performed nine songs. The film was far from scandalous, but was targeted to teenagers and caused a stir among theater owners who feared bad behavior. Possibly spurred on by these reports, there were incidents of dancing in aisles and other breaches in etiquette that helped fuel the perception among many adults that rock music would lead to mayhem in America's youth.

The Kingsmen - Louie Louie

The Kingsmen - Louie Louie Lyrics and Youtube Music Videos

Album: Louie Louie: The Kingsmen In Person
Released: 1964

Louie Louie Lyrics

Louie Louie, oh no
Me gotta go
Aye-yi-yi-yi, I said
Louie Louie, oh baby
Me gotta go

Fine little girl waits for me
Catch a ship across the sea
Sail that ship about, all alone
Never know if I make it home

Louie Louie, oh oh no
Me gotta go, oh no
Louie Louie, oh baby
I said we gotta go

Three nights and days I sail the sea
Think of girl, constantly
On that ship, I dream she's there
I smell the rose in her hair.

Louie Louie, oh no
Me gotta go
Aye-yi-yi-yi, I said
Louie Louie, oh baby
Me gotta go
Okay, let's give it to 'em, right now!

See Jamaica, the moon above
It won't be long, me see me love
Take her in my arms again
I tell her I'll never leave again

Louie Louie, oh no
Me gotta go
Aye-yi-yi-yi, I said
Louie Louie, oh baby
Me gotta go

I said we gotta go now
Let's take it on outta here now
Let's go!!

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

Louie Louie Song Chart

This was written by an R&B singer named Richard Berry in 1955. With his group The Pharaohs, he was also the first to record it, and it got some airplay in some cities in the Western US when it was released in 1957. Various garage bands heard it and started covering the song, until it became a phenomena with the Kingsmen's 1964 version. While much of the song's notoriety comes from the indecipherable lyrics, in Berry's original version words are quite clear: the song is about a sailor who spends three days traveling to Jamaica to see his girl.

Dwight Rounds, author of The Year The Music Died, 1964-1972 , writes: "The words to 'Louie Louie' are almost impossible to understand, and are rumored to be obscene. No question that this added significantly to the sales of the single. There was probably a leak somewhere that the lyrics were obscene; otherwise no one would have realized it. This was the most ingenious marketing scheme ever. The FBI tried to track down Richard Berry, The Kingsmen, and various record company executives. They were never able to determine the actual lyrics used. The Kingsmen insisted they said nothing lewd, despite the obvious mistake at the end of the instrumental, where Jack Ely started to sing the last verse one bar too soon, and can be heard yelling something in the background. Ely also said that he sung far away from the microphone, which caused the fuzzy sound, and that the notoriety was initiated by the record company. The words sound much more like the official version seen below, especially the word "rose" instead of "bone." The lyrics rumor was a sham. The official lyrics are listed below in plain print, with one of the many alternative versions in italics.

Chorus: "Louie, Louie, oh no. Me gotta go. Aye-yi-yi, I said. Louie Louie, oh baby. Me gotta go."

"Fine little girl waits for me. Catch a ship across the sea. Sail that ship about, all alone. Never know if I make it home."

"Three nights and days, I sail the sea." Every night and day, I play with my thing.
"Think of girl, constantly." I f--k you girl, oh, all the way.
"Oh that ship, I dream she's there. On my bed, I'll lay her there.
"I smell the rose in her hair." I feel my bone, ah, in her hair.

"See Jamaica, the moon above." Hey lovemaker, now hold my thing.
"It won't be long, me see my love." It won't take long, so leave it alone.
"Take her in my arms again." Hey, senorita, I'm hot as hell.
"Tell her I'll never leave again." I told her I'd never lay her again.

The FBI launched an extensive investigation into this song after Indiana governor Matthew Welsh declared it "Pornographic" in early 1964 and asked the Indiana Broadcasters Association to ban it. The investigation spanned offices in several states, with technicians listening to the song at different speeds trying to discern any obscene lyrics. None were found; the FBI eventually figured out what happened when they contacted the FCC. The report details this correspondence:

"She explained that for approximately two years her company has been receiving unfounded complaints concerting the recording of 'Louie Louie.' She advised that to the best of her knowledge, the trouble was started by an unidentified college student, who made up a series of obscene verses for 'Louie Louie' and then sold them to fellow students. It is her opinion that a person can take any 45 r.p.m recording and reduce its speed to 33 r.p.m. and imagine obscene words, depending upon the imagination of the listener."

Many bands in the Northwest US played this at their concerts. The Kingsmen lifted their version from The Wailers, a Seattle band who missed out on the song's success.

This song was prominently featured in the film Animal House, starring John Belushi, despite the fact that it wasn't actually recorded until almost two years after the period of time in which the movie is set (1962). (thanks, Sam - Lincoln, NE)

This cost $50 to record. The Kingsmen went to the studio after a radio station executive in Portland saw them perform it live and suggested they record it.

Paul Revere and The Raiders, also on the Northwest touring scene, recorded their version the day after The Kingsmen at the same studio. Their version was superior musically, but was just regional hit as they could not generate the publicity The Kingsmen did.

This was the only Kingsmen song with lead vocals by Jack Ely. Before this became a hit, he quit when band leader Lynn Easton assumed vocals and ordered Ely to drums. When this became a hit, Easton would lip-sync to Ely's vocals on TV performances.

Ely later tried to capitalize on the success of "Louie Louie" by releasing similar songs on his own, including "Louie Louie 66," "Love That Louie," and "Louie Go Home."

In the FBI report, the alleged dirty lyrics were submitted by some concerned citizens, which the agency compared against the copyrighted published lyrics. The offensive lyrics FBI lab workers were listening for were:

Lou-ai Lou-ai Oh, no
Grab her way down low
This line least clear

There is a fine little girl waiting for me
She is just a girl across the way
When I take her all alone
She's never the girl I lay at home
(chorus)

Tonight at 10 I'll lay her again
We'll f--k your girl and by the way
And... on that chair I'll lay her there
I felt my bone... in her hair
(chorus)

She had a rag on, I moved above
It won't be long she'll slip it off
I held her in my arm and then
And I told her I'd rather lay her again
(chorus)

This became a national hit when a disc jockey in Boston played it and declared that it was the worst song he ever heard.

According to lead singer Jack Ely, the studio had a 19-foot ceiling with a microphone suspended from it. Ely claims that was the cause of the "garbled" lyrics, but Paul Revere and the Raiders recorded their version of "Louie Louie" in the same studio the day after the Kingsmen's session, and their partly ad-libbed lyrics are clearly heard.

On August 24, 2003, 754 guitarists played this at "Louie Fest" in Tacoma, Washington. The event was held to raise money for music programs. Dick Peterson from The Kingsmen was one of the guitarists.

The "See" in the lyrics "See Jamaica" comes in one line too early and is repeated.

This was used in the movie Down Periscope with Kelsey Grammer. As a submarine captain in a series of war games, Grammer and his crew sing this song loudly to confuse their pursuer's radar into thinking that they were a fishing trawler full of drunk fishermen. (thanks, Brandon - Peoria, IL)

Iggy Pop recorded a version with new lyrics for his 1993 album American Caesar. His band The Stooges would often play the song and change the words to the supposedly offensive lyrics. This version of the song was the last one they played at their February 9, 1974 show at the Michigan Palace, which would be their last until a reunion in 2003. (thanks, Bertrand - Paris, France)

According to Kenny Vance, who was the musical director on Animal House, John Belushi sang in a garage band that used to perform this song at fraternities. Belushi would sing his version of the dirty lyrics, which he did in the studio while recording his vocals for the movie. Sadly, the tape of Belushi singing his dirty version of the song was lost in 2012 when Hurricane Sandy wiped out Kenny's home in Queens. (Read more in our interview with Kenny Vance.)

In the 1990 movie Coupe de Ville, Patrick Dempsey, Arye Gross and Daniel Stern star as brothers who have an argument over the meaning of this song. They debate if it is about lovemaking, or if it is a sea shanty. (thanks, Gordon - Jacksonville, FL)

In 1966, The Sandpipers took this song to #30 in the US. Another notable cover: the West Coast punk band Black Flag recorded this in 1981 and released it on their album The First Four Years.

Vangelis - Chariots of Fire - Titles

Vangelis - Chariots of Fire - Titles Youtube Music Videos and Lyrics

Album: Chariots of Fire Soundtrack
Released: 1982

Chariots of Fire - Titles Lyrics

Chariots of Fire - Titles Song Chart

This is a piano piece written and performed by Greek composer Evangelos Papathanassiou. "Vangelis" was a lot easier to pronounce.

Prior to his work on "Chariots of Fire," Vangelis was best-known for his work with Aphrodite's Child (a band that also featured the "singing sofa" Demis Roussos) and the duo Jon and Vangelis ("Jon" was Jon Anderson of Yes). (thanks, Geoff - Morecambe, England)

On the original release, the name of the song was "Titles." Two months later, the name was changed to "Chariots of Fire - Titles" (thanks, Brad Wind - Miami, FL)

This was written for the 1981 movie about two runners in the 1924 Olympics. It was used in a classic scene where they are running in slow motion. The scene has been spoofed many times, usually with this music used to complete the joke.

Not long after the soundtrack's release, Vangelis admitted his total inability to read or write music. He wrote this one literally playing by ear. (thanks, S.D. - Denver, CO)

Porcupine Tree - Last Chance To Evacuate Planet Earth Before It Is Recycled

Porcupine Tree - Last Chance To Evacuate Planet Earth Before It Is Recycled Lyrics and Youtube Music Videos

Album: Lightbulb Sun
Released: 2000

Last Chance To Evacuate Planet Earth Before It Is Recycled Lyrics

If you fall asleep with me
You can dream and drowse
The minutes turn to hours

We could climb a tree or two
And watch the sun go down
Upon our sleepy town

After all the time I spent with you
Summer went away
And we just weren't the same

It's just you and me alone
Not grown ups but not kids
You kissed me on the lips

Last Chance To Evacuate Planet Earth Before It Is Recycled

Writer/s: WILSON, STEVEN JOHN
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Last Chance To Evacuate Planet Earth Before It Is Recycled

This contains a sample from a man known as Do. He was the leader of the religious cult called "Heaven's Gate." The sample used is his last speech, recorded on video tape before he and his cult committed suicide. "Last Chance to Evacuate Planet Earth Before it is Recycled" are the last lines on the video tape.

The song is separated into two parts. The first part is named "Winding Shot (Summer 1981)." The second part is named "Last Chance to Evacuate Planet Earth Before it is Recycled" and is instrumental.

Olivia Newton-John - Physical

Olivia Newton-John - Physical Youtube Music Videos and Lyrics

Album: Physical
Released: 1981

Physical Lyrics

I'm sayin' all the things that I know you'll like
Making good conversation I gotta handle you just right, you know what I mean
I took you to an intimate restaurant, then to a suggestive movie
There's nothing left to talk about 'less it's horizontally

Let's get Physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk
Let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk

I've been patient, I've been good, try'n to keep my hands on the table
It's gettin' hard this holdin' back, you know what I mean
I'm sure you'll understand my point of view, we know each other mentally
You've gotta know that you're bringin' out the animal in me

Let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk
Let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk

Oh let's get physical, physical, I wanna get physical, let's get into physical
Let me hear your body talk, your body talk, let me hear your body talk
Let's get animal, animal, I wanna get animal, let's get into animal
Let me hear your body talk, your body talk, let me hear your body talk
Let me hear your body talk, let me hear your body talk

Writer/s: KIPNER, STEPHEN / SHADDICK, TERRY
Publisher: Sony/ATV Music Publishing LLC, TERRY SHADDICK MUSIC
Lyrics licensed and provided by LyricFind

Physical Song Chart

You know how at the end of the movie Grease Olivia Newton-John transforms from a chaste good girl into a leather-clad vixen? She was definitely in vixen mode for this song, which if you are at all paying attention to the lyrics, is blatantly about sex: "There's nothin' left to talk about unless it's horizontally."

Olivia's real life image was far more modest than what she portrays in this song, and she was concerned about how she would be perceived. Her managers talked her into recording it, as they knew they had a huge hit on their hands.

Songwriters Steve Kipner and Terry Shaddick came up with this song, which was originally titled "Let's Get Physical." Instead of writing about the emotions of love, they decided to write this about the physical side, which many listeners found very refreshing in a pop song. Other songs Kipner helped write include "Hard Habit To Break" by Chicago and "Genie in a Bottle" by Christina Aguilera.

The song was released about a month after MTV went on the air, so the video got a lot of spins on the new channel. In the clip, Newton-John is shown teasing fat men as they try to exercise in some kind of locker room/gym. The whole idea of the video as to distract from the fact that the song is about sex, and fat guys working out accomplished that goal.

Aerobics was just gaining popularity when the song came out, and the video jumped on the trend and included some scenes where Olivia leads a cardio routine the guys can't handle. Eventually, the fat guys are replaced by fit, muscular men who ignore Olivia and pair off, indicating that they are gay. Despite the lascivious themes, the video was a huge commercial and critical hit - it won the Grammy for Video of the Year.

This was a #1 hit in the US for an amazing 10 weeks. The only song to that point that stayed at #1 longer was Elvis Presley's "Hound Dog." In America, it was the best-selling single of the '80s.

For 9 of the 10 weeks that this song topped the charts, "Waiting For A Girl Like You" by Foreigner was the runner-up. When "Physical" did finally fall, it was replaced at #1 by "I Can't Go For That (No Can Do)" by Hall & Oates. The #2 song that week: "Waiting For A Girl Like You" for the 10th consecutive week.

A few radio stations in conservative communities (including Salt Lake City, Utah) refused to play this song because of its veiled sexual content. This just added to the song's popularity and didn't hurt Olivia's reputation as one of the least offensive women in music.

After this was released, Newton-John appeared on a US TV special called Olivia Newton-John: Let's Get Physical, which featured this and other songs from her album, along with little skits where we got to know her better. Olivia did a great job of using her acting talents to promote her music, and these TV specials got a huge audience in the days when there weren't a lot of viewing options.

The video was directed by Brian Grant, whose experience was mostly on British TV shows. It was his idea to make fun of the overtly sexual lyrics by setting the video in a gym, and the gay reveal at the end (long before "Call Me Maybe"), was also his idea. The choreographer on the shoot was Kenny Ortega, who had worked with Newton-John on the movie Xanadu.

A slow and sultry version was recorded by Kylie Minogue for the movie Moulin Rouge, but it was cut by director Baz Luhrmann. Minogue as the Green Fairy was to have performed this song in the movie. (thanks, Ross - Brisbane, Australia)

In 1999 remixed versions of the song, (titled "Physical '99: Single Edit," "Neutron Bomb Mix," "Mustard Deep Dub," & "Mustard Full Vocal") with different vocals and an added vocal bridge, were to be released in the UK, but the single was pulled at the last minute.

On her Fall 2002 "Heartstrings Tour," Olivia performed an unplugged/Bosa-Nova style version of this that was a true crowd pleaser. Due to popular demand by her fans, Olivia recorded this version of the song and included it as an unlisted "bonus" track on her Australian duets album (Nov 2002) called 2. (thanks, James - Minneapolis, MN, for above 2)

This was used in a Tropicana Light advertisement that featured oranges exercising. (thanks, Tiffany - Dover, FL)

In a survey by Billboard magazine based on each song's performance on the Hot 100 chart, this was named the #1 Sexiest Song Of All Time. The runner-up was Rod Stewart's "Tonight's The Night," followed by Boyz II Men's "I'll Make Love To You" in third place.

Billy Joel - Say Goodbye To Hollywood

Billy Joel - Say Goodbye To Hollywood Lyrics and Youtube Music Videos

Album: Turnstiles
Released: 1976

Say Goodbye To Hollywood Lyrics

Bobby's driving through the city tonight
Through the lights
In a hot new rent a car
He joins the lover in his heavy machine
It's a scene down on Sunset Boulevard

Say Goodbye To Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Johnny's taking care of things for awhile
And his style is so right for troubadours
They got him sitting with his back to the door
Now he won't be my fast gun anymore

Say goodbye to Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Moving on is a chance that you take every time
You try to stay together
Say a word out of line and you find
That the friends you had are gone
Forever, forever
So many faces in and out of my life
Some will last, some will just be now and then
Life is a series of hellos and goodbyes
I'm afraid it's time for goodbye again

Say goodbye to Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Moving on is a chance that you take every time
You try to stay together
Say a word out of line and you find
That the friends you had are gone
Forever, forever
So many faces in and out of my life
Some will last, some will just be now and then
Life is a series of hellos and goodbyes
I'm afraid it's time for goodbye again

Say goodbye to Hollywood
Say goodbye my baby
Say goodbye to Hollywood
Say goodbye my baby

Writer/s: JOEL, BILLY
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Say Goodbye To Hollywood Song Chart

Joel wrote this with Ronnie Spector in mind, which he talked about on The Howard Stern Show, where he also explained that it's written in a high key and challenging to sing - he had an easier time hitting those notes when he wrote the song. As for Spector, he was a big fan of her and loved the girl-group sound she exemplified. He met her a few times over the years, but only after he wrote the song.

Joel had recently moved from Los Angeles to New York, which helped inspire this song. He is from Long Island, and did not like life on the West Coast.

This was released in the US as the B-side to "I've Loved These Days" a month before it was put out as an A-side. Neither song charted, but in 1981, a live version recorded at the Milwaukee Arena was released on Joel's Songs In The Attic album and hit #17 in the US. Songs In The Attic was the first digitally-recorded live album.

Ronnie Spector, who was the inspiration for this song and leader of the popular girl-group, The Ronettes, recorded this song in 1977. She said at the time: "In a way it's my life story 'cause I was married in Hollywood, I lived in Hollywood, my life fell apart in Hollywood and now I am saying goodbye to Hollywood."
Spector's version was produced by Little Steven Van Zandt, who she met while singing backup for Bruce Springsteen in 1976. Springsteen's E-Street Band played backup for her.

Foreigner - Urgent

Foreigner - Urgent Youtube Music Videos and Lyrics

Album: 4
Released: 1981

Urgent Lyrics

You're not shy, you get around
You want to fly, don't want your feet on the ground
You stay up, you won't come down
You want to live, you want to move to the sound
Got fire in your veins, burning hot, but you don't feel the pain
Your desire is insane, you can't stop until you do it again

But sometimes I wonder, as I look in your eyes
Maybe you're thinking of some other guy
But I know, yes I know how to treat you right
That's why you call me in the middle of the night, you say

It's Urgent, so urgent, so urgent, just wait and see
How urgent my love can be, it's urgent

You play tricks on my mind, you're everywhere, but you're so hard to find
You're not warm, you're sentimental
You're so extreme, you can be so temperamental

But I'm not looking for a love that'll last
I know what I need and I need it fast
Yeah there's one thing in common that we both share
That's our need for each other anytime, anywhere

It gets urgent, so urgent, you know it's urgent
I want to tell you it's the same for me
So urgent, just wait and see, how urgent my love can be, it's urgent

You say it's urgent, make it fast, make it urgent
Do it quick, do it urgent, gotta run, make it urgent
Wait it quick, want it urgent, urgent, emergency, urgent, urgent, emergency
Urgent, urgent, emergency, urgent, urgent, emergency
So urgent, emergency

Writer/s: JOHNSON, LARRY CURTIS
Publisher: Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Urgent Song Chart

The group wanted a "Junior Walker-style" sax solo for this record. When they took a break from recording, one of the members read in New York newspaper The Village Voice that Walker was performing that night mere blocks from the recording studio. Walker accepted their offer to play, and the recording of the sax solo was swift and without a hitch.

Written by the Foreigner songwriting team of Mick Jones and Lou Gramm , this was the first single from 4, one of the best-selling albums of the '80s.

With an R&B sound, the song was a musical departure for the band; many listeners didn't recognize it as Foreigner when they first heard it. "A few people were trapped into liking it before they found out who it was," Jones told Sounds.

Before recording this album, two members of the group left, trimming the band from six members to four. This, along with the fact that it was their fourth album, explains the title, 4. (thanks, Jared - Meadville, PA)

Foreigner's guitarist Mick Jones produced the 4 album with Mutt Lange, who is known as a very meticulous producer with a tremendous work ethic. Jones told us: "We locked horns at the beginning, both pretty strong-minded about what we wanted to achieve, and we gradually discovered that it was the same thing. He drew a lot out of me. He was the first person that insisted on listening to every single idea I had on every single cassette tape, or any ideas I had anywhere, down on paper or lyrically, phonetically, instrumentally. He pulled songs like 'Urgent' out of that, and contributed a lot to 'Juke Box Hero.' It ended up being a great relationship." (Check out our interview with Mick Jones.)

Merrilee Rush - Angel of the Morning

Merrilee Rush - Angel of the Morning Youtube Music Videos and Lyrics

Album: Angel Of The Morning
Released: 1968

Angel of the Morning Lyrics

There'll be no strings to bind your hands
Not if my love can't bind your heart
And there's no need to take a stand
For it was I who chose to start
I see no need to take me home
I'm old enough to face the dawn

Just call me Angel of the Morning, (angel)
Just touch my cheek before you leave me, baby
Just call me angel of the morning, (angel)
Then slowly turn away

Maybe the sun's light will be dim
And it won't matter anyhow
If morning's echo says we've sinned
Well, it was what I wanted now
And if we're victims of the night
I won't be blinded by the light

Just call me angel of the morning, (angel)
Just touch my cheek before you leave me, baby
Just call me angel of the morning, (angel)
Then slowly turn away
I won't beg you to stay with me
Through the tears of the day, of the years
Baby, baby, baby
Just call me angel of the morning, (angel)

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

Angel of the Morning Song Chart

Evie Sands originally recorded this song in 1967. Her version was doing well, but two weeks after it was released, her record label, Cameo/Parkway, went bankrupt. Chip Taylor, who wrote the song, was devastated when he found out that the label could not promote it or even make more copies of the song. A few months later, Rush's version became a hit for another label.

According to Kent Kotal at Forgotten Hits , Chip Taylor came up with this song in about 20 minutes. Writes Kent: "After strumming any variety of chords for close to two hours and coming up with nothing, he says the complete lyrics 'There'll be no strings to bind your hands, not if my love can't bind your heart' flowed out of his mouth. His first thought was 'What is that? That's beautiful!' He then thought, 'Nobody actually TALKS like that!!! Where did those words come from?' Incredibly, in one sitting, spread out over no more than twenty minutes, he completed the entire song. He says that during the entire process, he never once thought, 'I'm gonna say this' or 'I'm gonna say that.' In fact, most of the time he was thinking 'I don't even know what this means!' In his own mind, he feels that he didn't so much as WRITE this song as that he DREAMED it... the way the lyrics flowed out, meshing perfectly with the series of chords he had been strumming - there just had to be some kind of divine intervention. 'I write melody and words at the same time and I hum nonsense things until something comes out. So I don't think about what I want to say... I just let the emotion carry me. In this song, the emotion just totally took over and carried me. It was magic.'"

This song is about premarital sex, and while the '60s were very permissive in some regards, it was still a taboo subject in the media.

Merilee Rush was born in Seattle, Washington, and got a break when fellow Pacific-Northwest musicians Paul Revere and the Raiders asked her to join their tour. They also hooked her up with producers Tommy Cogbill and Chip Moman, who produced this song, using lush orchestration and even a pedal steel guitar.

This tender ballad is surprisingly virtually the same song as the primitive rocker "Wild Thing." Chip Taylor, who wrote both songs explained to Mojo magazine September 2008: "I heard some guy playing 'Wild Thing' real slow on a guitar. It sounded nice. So I did the same, lifting one of my fingers off a chord to create a suspension. Then the words 'There'll be no strings to bind your hands, not if my love can't bind your heart' came out. It was as beautiful a love connection as I could ever feel." Taylor added that it was the producer who added the sweeping strings.

This was a crossover hit for country singer Juice Newton in 1981. Her version hit #4 on the US Hot 100, and a few months later, she had a bigger hit with "Queen Of Hearts." The song was also covered by Chrissie Hynde in 1994 for the soundtrack album of the TV show Friends, and in 2001, Reggae artist Shaggy sampled it for his hit song, "Angel."

In the UK, two competing versions were released in 1968: by Billie Davis and P.P. Arnold. It was Arnold who scored the hit, with her version reaching #29. The previous year, she became the first to record the song "The First Cut Is The Deepest."

Juice Newton's version can be heard during Drew Barrymore's first scene in the 2000 film Charlie's Angels.

The same version also plays during the violent opening scene of the 2016 superhero film Deadpool, providing an interesting contrast. "It completely made sense to me from the first time I read it [in the script]," the movie's director Tim Miller told Billboard magazine. "I loved the quirky contrast of having such a sweet and life-affirming song mixed up with all the crazy, abstract violence. I thought it was genius."

Alannah Myles - Black Velvet

Alannah Myles - Black Velvet Lyrics and Youtube Music Videos

Album: Alannah Myles
Released: 1989

Black Velvet Lyrics

Mississippi in the middle of a dry spell
Jimmy Rodgers on the Victrola up high
Mama's dancin' with baby on her shoulder
The sun is settin' like molasses in the sky
The boy could sing, knew how to move ev'rything
Always wanting more, he'd leave you longing for
Black Velvet and that little boy smile
Black velvet with that slow southern style
A new religion that'll bring her to your knees
Black velvet if you please
Up in Memphis the music's like a heat wave
White Lightnin' bound to drive you wild
Mama's baby's in the heart of ev'ry school girl
Love Me Tender leaves 'em cryin' in the aisle
The way he moved, it was a sin, so sweet and true
Always wanting more, he'd leave you longing for
Black velvet and that little boy smile
Black velvet and that slow southern style
A new religion that'll bring her to your knees
Black velvet if you please
Ev'ry word of ev'ry song that he sang was for you
In a flash he was gone, it happened so soon
What could you do?
Black velvet and that little boy smile
Black velvet in that slow southern style
A new religion that'll bring her to your knees
Black velvet if you please
Black velvet and that little boy smile
Black velvet in that slow southern style
A new religion that'll bring her to your knees
Black velvet if you please
If you please
If you please
If you please

Writer/s: TYSON, DAVID / WARD, CHRISTOPHER N
Publisher: OLE MM
Lyrics licensed and provided by LyricFind

Black Velvet

This song is about Elvis Presley. Here's some lyric analysis:

"Jimmy Rogers on the Victrola up high" - Jimmy Rogers, an early Blues singer, influencing Elvis (the baby) at an early age. The Victrola is the record player, played loudly.
"Mama's dancin' with baby on her shoulder" - Gladys Presley dancing with the infant Elvis.

"Black velvet and that little boy's smile" - You can buy a black velvet Elvis painting at any respectable yard sale. Early female fans were drawn to his "Little boy smile."

"Black velvet with that slow southern style" - Elvis delivered some of his songs with slow, undulating hips. Check out "Steamroller Blues" live.

"Up in Memphis the music's like a heatwave" - Sun Studios. The epicenter of early rock music and where Elvis recorded.
"White lightning, bound to drive you wild" - rock music and booze.

"Mama's baby's in the heart of every school girl" - A reference to the baby in the early part of the song, being loved by all the young girls.

"Love Me Tender leaves 'em cryin' in the aisle" - Love Me Tender was a huge hit for Elvis in 1956.

"The way he moved, it was a sin, so sweet and true" - Elvis' legendary hips swivel, the Pelvis.

"Every word of every song that he sang was for you. In a flash he was gone, it happened so soon, what could you do?" - Elvis died suddenly in 1977.

This was a Canadian production: the song was written by the Canadian musicians David Tyson and Christopher Ward, and Myles is from Toronto. Ward and Myles were a couple and also worked together - she sang on his 1981 solo album Time Stands Still. Teaming up with Tyson, Ward put together a demo tape for Myles which got her a deal with Atlantic Records.

Produced by Tyson and Ward, Alannah Myles was her first album, and it was a huge hit in Canada, becoming the top-selling debut album in Canadian history. "Black Velvet" was the first US single, and it was a massive hit, rising to #1 in March 1990, where it stayed for two weeks. The US follow-up single was another song written by Tyson and Ward, "Love Is." That song went to #36 and was her last chart entry in America. She did have several more hits in Canada.

Christopher Ward got the idea for this song when he was a VJ for the Canadian music channel MuchMusic. He was sent to Memphis to cover the 10th anniversary of Elvis' death (August 16, 1987), which exposed him to many fervent Elvis fans. Inspired by their passion for the rocker, he took notes while he was working on the special (which was called Mecca in Memphis), writing lyrics based on what Elvis meant to his fans and what it must have been like for him growing up in the South.

Myles won a Grammy award for Best Female Rock Performance for this song, along with several Juno Awards. Additionally, this won a Diamond award for sales in excess of 1,000,000 in Canada, the only time an artist has won this for her debut record. ASCAP awarded the song a 'Millionaire Award' in 2005 for over 4 million radio plays in the USA.

According to the song's writer Christopher Ward, a key line in this song is "A new religion that will bring you to your knees." He says he got the idea for that line after realizing that Elvis' affect on fans was similar to what churchgoers would feel after being exhorted by Fundamentalist preachers.

The country singer Robin Lee, also signed to Atlantic Records, recorded a popular cover of this song on her 1990 album, which was also called Black Velvet.

Another popular cover of the song was by Crystal Bowersox, who performed the song when she was a contestant on season 9 of American Idol, where she finished second. Released as a single, her version bubbled under at #124 on the Hot 100.

In a CBC Newsworld interview, Myles revealed that she was cheated by her record company, which kept her from cashing in on this song. Myles said she received her first-ever royalty check for the song on April 1, 2008.

She signed that record deal when she was young and naive; the singer ended up paying $7 million on expenditures for her first three albums, all deducted out of her take. Myles said that when she should have been dining out on the success of this song and her other recordings, instead she had been living in poverty, at times struggling to pay her rent.

Townes Van Zandt - If I Needed You

Townes Van Zandt - If I Needed You Lyrics and Youtube Music Videos

Album: The Late Great Townes Van Zandt
Released: 1972

If I Needed You Lyrics

If I Needed You
Would you come to me,
Would you come to me,
And ease my pain?
If you needed me
I would come to you
I'd swim the seas
For to ease your pain

In the night forlorn
The morning's born
And the morning shines
With the lights of love
You will miss sunrise
If you close your eyes
That would break
My heart in two

The lady's with me now
Since I showed her how
To lay her lily
Hand in mine
Loop and Lil agree
She's a sight to see
And a treasure for
The poor to find

If I needed you
Would you come to me,
Would you come to me,
And ease my pain?
If you needed me
I would come to you
I'd swim the seas
For to ease your pain

Writer/s: TOWNES VAN ZANDT
Publisher: BUG MUSIC O/B/O KATIE BELLE MUSIC
Lyrics licensed and provided by LyricFind

If I Needed You

Townes Van Zandt introduced the song with the following statement at a private concert in Houston: "It came to me in a dream. I was living in Tennessee with Guy and Susanna Clark, and I was asleep, and I had a notepad by my mattress - I had a mattress on the floor. I was dreaming that I was a folk singer, and this was the song I played, and I happened to wake up, write it down, and went right back to sleep. The next morning I woke up, went to the room with all the guitars, picked up a guitar and played it through. It never has changed."

One of Van Zandt's most romantic love songs, many will know the tune from Emmylou Harris and Don Williams 1981 duet version. Released as the first single from Harris' album Cimarron, it topped the Canadian country chart as well as reaching #3 on the Billboard Hot Country Singles chart.

Guy Clark covered the song on his 2011 Songs & Stories album.

Actors Johan Heldenbergh and Veerle Baetens covered this as part of The Broken Circle Breakdown Bluegrass Band for the 2012 Belgian film The Broken Circle Breakdown.

Julia Roberts performed this in the 1998 movie Stepmom. It was also used in Off the Black (2006), starring Nick Nolte, and Crazy Heart (2009), starring Jeff Bridges.

In an episode of Austin Pickers in 1984, Van Zandt explained that he and the Clarks were all sick with the flu, which led to bizarre dreams like the one that inspired this song.

Joe "King" Carrasco & the Crowns - Party Weekend

Joe "King" Carrasco & the Crowns - Party Weekend Lyrics and Youtube Music Videos

Album: Party Weekend
Released: 1980

Party Weekend Lyrics

I said, a-hey, little girl, what do you do?
I've been a-waiting all week for something like you
Because it's Friday night, and everybody's in the streets
I say, come on, come on, come on with me
Hey

It's a Party Weekend
Gonna be some rock and rollin'
Everybody's gonna get you
It's a party, a party, party weekend

It's a party, it's a party, party
It's a party, a party, party weekend
It's a party, it's a party, party
It's a party, a party, party weekend

I go here, I go there
Wherever it is, I'm gonna get my share
Because I got three days, I got three nights
Ain't nothin' gonna stop my appetite
Hey

It's a party weekend
Gonna be some rock and rollin'
Everybody's gonna get you
It's a party, a party, party weekend

Hey

I said, a-hey, little girl, what do you do?
I've been a-waiting all week for something like you
Because it's Friday night, and everybody's in the streets
I say, come on, come on, come on with me
Hey

It's a party weekend
Gonna be some rock and rollin'
Everybody's gonna get you
It's a party, a party, party weekend

It's a party, it's a party, party
It's a party, a party, party weekend
It's a party, it's a party, party
It's a party, a party, party weekend

It's a party, it's a party, party
It's a party, a party, party weekend
It's a party, it's a party, party
It's a party, a party, party weekend

I said, a-hey, little girl, what do you do?
I've been a-waiting all week for something like you

Writer/s: JOHN KING CARRASCO, BRAD KIZER
Publisher: BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

Party Weekend

Joe "King" Carrasco wrote this song with the Crowns' bass player, Brad Kizer. The song is about looking forward to a fun-filled weekend, which is exactly what they were doing when they got the idea. In our interview with Carrasco , he explained that they were hanging out on Guadalupe Street in Austin, Texas when the inspiration struck. "It was a Friday night and I said, 'Brad, it looks like a party weekend,'" Carrasco said. "I went, 'Wow, that's a good song title.'"

Featuring Vox and Farfisa organs played by Kris Cummings, this song is a musical throwback to the organ-heavy dance songs of the '60s. The song Carrasco was trying to duplicate was "A Double Shot (Of My Baby's Love)" by The Swingin' Medallions. "Let's Dance" by Chris Montez was also an influence.

When MTV went on the air in 1981, they were desperate for fun videos by American artists, and the "Party Weekend" clip fit their criteria. The video was shot on South Padre Island in Texas when the band was there for a spring break performance. It was shot on the cheap by the sister of the band's manager, who captured the band and various spring breakers having a good time - exactly what the song is about.

The best we can tell, the clip marks the first appearance of crowd surfing in a music video, as we see Carrasco do a daring leap into the audience and go for a ride.

MTV would sometimes have artists customize songs for them, and they had Carrasco record this as "Party Christmas" for a 1982 Christmas video featuring the MTV staff.

Eve - Gangsta Lovin'

Eve - Gangsta Lovin' Youtube Music Videos and Lyrics

Album: Eve-Olution
Released: 2002

Gangsta Lovin' Lyrics

Gangsta Lovin'

Alicia Keys is the featured vocalist on this song. The part where she sings, "I just want to rock you" is sampled from a 1981 Yarbrough & Peoples song called "Don't Stop The Music."

The Kinks - You Really Got Me

The Kinks - You Really Got Me Lyrics and Youtube Music Videos
Album: The Kinks
Released: 1964

You Really Got Me Lyrics

Girl, You Really Got Me goin'
You got me so I don't know what I'm doin' now
Yeah, you really got me now
You got me so I can't sleep at night

Yeah, you really got me now
You got me so I don't know what I'm doin' now
Oh yeah, you really got me now
You got me so I can't sleep at night

You really got me
You really got me
You really got me

See, don't ever set me free
I always want to be by your side
Girl, you really got me now
You got me so I can't sleep at night

Yeah, you really got me now
You got me so I don't know what I'm doin' now
Oh yeah, you really got me now
You got me so I can't sleep at night

You really got me
You really got me
You really got me
Oh no

See, don't ever set me free
I always want to be by your side
Girl, you really got me now
You got me so I can't sleep at night

Yeah, you really got me now
You got me so I don't know what I'm doin' now
Oh yeah, you really got me now
You got me so I can't sleep at night

You really got me
You really got me
You really got me

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

You Really Got Me Song Chart

Ray Davies wrote this with the help of his brother (and Kinks guitarist) Dave. Ray played it for Dave on piano, and Dave tried it on guitar. Their first version was six-minutes long, but the final single release came in at just 2:20.

Dave Davies got the dirty guitar sound by slashing the speaker cone on his amp with a razor blade. The vibration of the fabric produced an effect known as "fuzz," which became common as various electronic devices were invented to distort the sound. At the time, none of these devices existed, so Davies would mistreat his amp to get the desired sound, often kicking it. The amp was a cheap unit called an Elpico.

In 2015, Ray Davies told Rolling Stone that the lyric was inspired by a night out when he was watching girls dancing in a club. "I just remembered this one girl dancing," he said. "Sometimes you're so overwhelmed by the presence of another person and you can't put two words together."

Before they released this, The Kinks put out two singles that flopped: a cover of "Long Tall Sally" and a Ray Davis composition called "You Still Want Me." If "You Really Got Me" didn't sell, there was a good chance their record label would have dropped them.

When The Kinks heard the first version they recorded of this song, they hated the results. It was produced by Shel Talmy, their manager at the time, and Ray Davies thought it came out clean and sterile, when he wanted it to capture the energy of their live shows.

Dave Davies' girlfriend backed them up, saying it didn't make her want to "drop her knickers." The Kinks' record company had no interest in letting them re-record the song, but due to a technicality in their contract, The Kinks were able to withhold the song until they could do it again. At the second session, Dave Davies slashed his amp and Talmy produced it to get the desired live sound. This is the version that was released.

Talmy thought the first version was good, and that it also would have been a hit if it was released. This first version was slower and had more of a blues sound.

The song was recorded on September 26, 1964 with Ray Davies on lead vocals, Dave Davies on guitar and Pete Quaife on bass.

The Kinks didn't have a drummer when they first recorded the song, so producer Shel Talmy brought in a session musician named Bobby Graham to play. When they recorded this the second time, Mick Avory had joined the band as their drummer, but Talmy didn't trust him and made him play tambourine while Graham played drums. One other session musician was used - Arthur Greenslade played piano.

Just before Dave Davies started his guitar solo at the second recording session, his brother yelled to encourage him. Dave got a little confused, but they had only three hours of studio time so he kept playing. He pulled off the solo despite the distraction.

The first line was originally "You, you really got me going." Ray Davies changed it to "Girl, you really got me going" at the suggestion of one of their advisers. The idea was to appeal to the teenage girls in their audience.

Dave Davies got the idea for the guitar riff from "Tequila" by The Champs.

This was the first hit for The Kinks. It gave them a lot of publicity and led to TV appearances, magazine covers, and two gigs opening for The Beatles. They didn't have an album out yet, so they rushed one out to capitalize on the demand. This first album contained only five originals, with the rest being R&B covers.

Ray Davies wrote this with the intention of making it big crowd-pleaser for their live shows. He was trying to write something similar to "Louie Louie," which was a big hit for The Kingsmen.

It was rumored that Jimmy Page, who was a session musician at the time, played guitar on this track, which the band stridently denied. According to a 2012 interview on Finding Zoso with producer Shel Talmy, Jimmy Page did not play the lead guitar on the song. However he did play rhythm as Ray Davies didn't want to sing and play guitar at the same time.

Ray Davies: "I made a conscious effort to make my voice sound pure and I sang the words as clearly as the music would allow."

Ray Davies was 22 when they recorded this; Dave Davies was 17.

A cover of this song was the first single for Van Halen in 1978. Eddie Van Halen would spend the next several years developing new guitar riffs, and like Davies, was known to manipulate his equipment to get just the right sound.

The powerful rhythm guitar riff was very influential on other British groups. The Rolling Stones recorded "Satisfaction," which was driven by the rhythm guitar, a year later.

According to Ray Davies, there was a great deal of jealousy among their peers when The Kinks came up with this song. He said in a 1981 interview with Creem: "There were a lot of groups going around at the time – the Yardbirds, the Kinks, the Rolling Stones – and nobody had really cracked with a sort of R&B #1 record. The songs were always sort of like The Beatles. When we first wanted to do a record, we couldn't get a recording gig. We were turned down by Decca, Parlophone, EMI and even Brian Epstein came to see us play and turned us down. So I started writing songs like 'You Really Got Me,' and I think there was a sheer jealousy that we did it first. Because we weren't a great group – untidy – and we were considered maybe a bit of a joke. But for some reason, I'd just had dinner, shepherd's pie, at my sister's house, and I sat down at the piano and played da, da, da, da, da. The funny thing is it was influenced by Mose Allison more than anybody else. And I think there was a lot of bad feeling. I remember we went to clubs like the Marquee, and those bands wouldn't talk to us because we did it first."

The Kinks' next single was "All Day And All Of The Night," which was basically a re-write of this song, but was also a hit.

This was used in the 2004 video game Battlefield Vietnam. (thanks, Agustin - Barcelona, Spain)

Jon Lord played the keyboard part on this track years before he became a member of Deep Purple. He recalled with a laugh to The Leicester Mercury in 2000: "All I did was plink, plink, plink. It wasn't hard."

Ray Davies recalled in an interview with NME how his brother Dave created the distortion effect on this song. Said Ray: "We stuck knitting needles in the speakers, or in Dave's case, he slit the speakers with a razor blade. In those days we played records on a radiogram so loudly that they all sounded fuzzy. We thought, 'That's a great sound,' without realizing the speakers were buggered. Everyone else was using really clean guitar sounds, so for 'You Really Got Me' we hooked a little speaker up to a clean amp and came up with thunderous, unaffected, pure power."

In a Rolling Stone interview, Ray said that they "evolved" the sound by putting knitting needles in the speakers when recording this song. That statement prompted a rebuttal from his brother Dave, who wrote in to explain: "I alone created the guitar sound for the song with my Elipico amp that I bought. I slashed the speaker with a razor blade, which resulted in the 'You Really Got Me' tone. There were no knitting needles used in making my guitar sound."

Ray Davies told The NME that the Van Halen version of this tune is his favorite Kinks cover. He explained: "It was a big hit for them and put them on a career of excess and sent them on the road. So I enjoyed that one."

Dave Davies is not a fan of the Van Halen cover. He told Rolling Stone: "Our song was working-class people trying to fight back. Their version sounds too easy."

The Who played this at many of their early concerts. Their first single was "I Can't Explain" and was also produced by Shel Talmy. The sound borrowed heavily from this, as Pete Townshend played a dirty guitar riff similar to what Dave Davies' recording.