Songs Lyrics and YT- Youtube Music Videos

Betty Who - Heartbreak Dream

Betty Who - Heartbreak Dream Lyrics and Youtube Music Videos

Album: Slow Dancing
Released: 2014

Heartbreak Dream Lyrics

It's you and me
It's slow dancing to anything playing
It's us colliding
It's never finding when we should say when

I-I-I can feel it
When I look in your eyes so clearly
I-I can see that you need me
And all that we were
I-I can taste it
All the days that you've been wastin'
I-I know that you can't face them
And all that we were

In a moment
You were everything to me
In this moment
We're living in a Heartbreak Dream
We're living in a heartbreak dream

It's holding hands
It's makin' plans that we're never keeping
It's silent drivin'
It's always finding reasons to sleep in

Ah, ah, when you're near me
I'm yelling and you can't hear me
Can you feel me, and all that we were?
I-I can taste it
All the days that we've been wastin'
I know that you can't face them
And all that we were

In a moment
You were everything to me
In this moment
We're living in a heartbreak dream

In a moment
You were everything to me
In this moment
We're living in a heartbreak dream
We're living in a heartbreak dream

When you hold me, it feels like you don't know me
We are worlds apart
When you kiss me, I know you haven't missed me
You keep breaking my heart
You keep breaking my heart
You keep breaking my heart

In a moment
You were everything to me
In this moment
We're living in a heartbreak dream
We're living in a heartbreak dream

We're living in a heartbreak dream
We're living in a heartbreak dream

Writer/s: BETTY WHO, PETER THOMAS
Publisher: SONY ATV MUSIC PUB LLC, CYPMP
Lyrics licensed and provided by LyricFind

Heartbreak Dream

Who told Spin magazine that despite its title, this isn't a breakup song. She explained: "It's more about the kind of relationship that you probably should end but for some reason neither of you can - nobody's happy, nothing good is happening, you complain about it all the time, but you just don't end it."

She added: "A lot of my songs are like that, looking at complicated relationships rather than just being about being in love and being happy."

This song is a musical dichotomy: a lyric about pouring one's heart out over upbeat instrumentation. This was a conscious decision for Betty Who. "I didn't want to write songs that would always make you want to slit your wrists in the bathtub. I spent a lot of time writing those songs, I think those are the ones that come most naturally to me, How dark is that?" she told Radio.com . "So I have always loved the fact that I can sing music that's about [pain], but makes you dance, makes you feel good."

Who wrote this with her producer Peter Thomas in his bedroom in Los Angeles, after telling him about an ex-boyfriend of hers.

Rage Against the Machine - Renegades Of Funk

Rage Against the Machine - Renegades Of Funk Lyrics and Youtube Music Videos
Album: Renegades
Released: 2000

Renegades Of Funk Lyrics

No matter how hard you try, you can't stop us now
No matter how hard you try, you can't stop us now

We're the renegades of this time and age
This is the time and age of renegades
Renegades of this time and age
This is the time and age of renegades

Since the Prehistoric ages and the days of ancient Greece
Right down through the Middle Ages
Planet earth kept going through changes
And then no renaissance came, and times continued to change
Nothing stayed the same, but there were always renegades
Like Chief Sitting Bull, Tom Paine
Dr. Martin Luther King, Malcom X
They were renegades of their time and age
The mighty renegades

We're the Renegades Of Funk
We're the renegades of funk
We're the renegades of funk
We're the renegades of funk

From a different solar system many many galaxies away
We are the force of another creation
A new musical revelation
And we're on this musical mission to help the others listen
And groove from land to land singin' electronic chants like
Zulu nation

Revelations
Destroy all nations
Destroy all nations
Destroy all nations
Destroy all nations
Destroy all nations
Destroy all nations

Now renegades are the people with their own philosophies
They change the course of history
Everyday people like you and me
We're the renegades we're the people
With our own philosophies
We change the course of history
Everyday people like you and me

C'mon
We're the renegades of funk
We're the renegades of funk
We're the renegades of funk
We're the renegades of funk

We're poppin', sockin', rockin' puttin' a side of hip-hop
Because where we're goin' there ain't no stoppin'
Poppin', sockin', puttin' a side of hip-hop
Because where we're goin' there ain't no stoppin'
Poppin', sockin', rockin' puttin' a side of hip-hop
'Cause we're poppin', sockin', rockin' puttin' a side of hip-hop
Poppin', sockin', rockin' puttin' a side of hip-hop

We're the renegades of funk
We're the renegades of funk
We're the renegades of funk
We're the renegades of funk

We're teachers of the funk
And not of empty popping
We're blessed with the force and the sight of electronics
With the bass, and the treble the horns and our vocals
'Cause every time I pop into the beat we get fresh

There was a time when our music
Was something called the Big Street beat
People would gather from all around
To get down to the big sound
You had to be a renegade those days
To take a man to the dance floor

[Repeat: x2]
Say jam sucker (jam sucker)
Say jam sucker (jam sucker)
Say move sucker (move sucker)
Say groove sucker (move sucker)
Say dance sucker (dance sucker)
Say dance sucker (dance sucker)
Now move sucker (move sucker)
Now move sucker (move sucker)

A weh weh weh weh woer
We're the renegades of funk
We're the renegades of funk

A weh weh weh weh woer
We're the renegades of funk
We're the renegades of funk

A weh weh weh weh woer
We're the renegades of funk
We're the renegades of funk

A weh weh weh weh woer
We're the renegades of funk
We're the renegades of funk

Writer/s: WILLIAMS, ELLIS / MILLER, JOHN B / ALLEN, ROBERT DURRELL / ROBIE, JOHN / BAKER, ARTHUR HENRY / BAMBAATAA, AFRIKA
Publisher: Warner/Chappell Music, Inc., DOWNTOWN MUSIC PUBLISHING LLC
Lyrics licensed and provided by LyricFind

Renegades Of Funk Song Chart

This is a tribute to various revolutionary American leaders, including Martin Luther King, Jr. and Malcolm X.

Pioneering rap group Afrika Bambaataa & the Soulsonic Force wrote this song and were the first to record it. They released it as a single in 1984.

This was the first single from Renegades, which also contains covers of songs by The Stooges, The Rolling Stones, MC5, and Devo.

This was released on election day: November 7, 2000.

The radio version is shorter than the CD version, running 3:46 vs. 4:35.

M.I.A. - Warriors

M.I.A. - Warriors Lyrics and Youtube Music Videos

Album: Matangi
Released: 2013

Warriors Lyrics

Om

I tick tick tick I collected my ticks
Top dog even though I didn’t speak no English
Guess I got grit 'cause I suffer for my shit
Guess I came from the sticks and moved to the bricks
You can’t fix this 'cause I’m in the same mix
Guess I’m in the air you can smell me like Vicks
This chicks bringing back this
It’s my last wish
One snare one kick oh look at this

I freak in minds like
Giddy up giddy up giddy up
Come take a ride
Light the city up city up city up
You’ve got me fired up
Sound boy got me back up
I keep my head downbeat it up beat it up beat it up

M.i.a
Warriors in the dance
Warriors in the dance
Gangsters bangers were puttin' 'em in a trance
Put them in a trance

Om

We’re putting em in a trance
Warriors in a dance
W-w-w-warriors in a dance
W-w-w-warriors in a dance
Warriors in a dance
W-w-w-warriors in a dance
W-w-w-warriors in a dance
I tick tick tick I collected my ticks

Top dog even though I didn’t speak no English
Guess I got grit 'cause I suffer for my shit
Guess I came from the sticks and moved to the bricks
You can’t fix this 'cause I’m in the same mix
Guess I’m in the air you can smell me like Vicks
This chicks bringing back this
It’s my last wish
One snare one kick oh look at this

M.I.A.
Warriors in the dance
Warriors in the dance
Gangsters bangers were puttin 'em in a trance
Put them in a trance

Om

We're putting them in a trance

Warriors in the dance
Warriors in the dance

Om

M.I.A. murda middle finger
Fuck 'em other bitches that try to be my ringer
This time I come as singer
Next time ill come as pain
I ain't talking money
But I can make it rain
Bitches try to get me with
Their witches on cocaine
Snitches turn to dust
And I wash em down the drain
Vitamins for your brain
Protein for your weight gain
Warriors in the dance
This is how we train!

Writer/s: HOLLIS, CHAUNCEY A. / ARULPRAGASAM, MATHANGI
Publisher: Universal Music Publishing Group, IMAGEM U.S. LLC
Lyrics licensed and provided by LyricFind

Warriors

The Middle Eastern influenced beat for this song was supplied by Hit-Boy. It's one of several tracks that he did for Matangi, though only three made the final tracklisting (the other two were "Boom Skit" and "Sexodus"). The producer is most famous for his work on "Niggas in Paris" by Jay-Z and Kanye West, and Kendrick Lamar's "Backseat Freestyle," but he was enthusiastic about the tracks he produced for M.I.A. "I just did seven songs on her new album," he told CBS. "We just locked in the studio and just vibed and we did seven incredible records."
He added: "She's just like really creative. She's doing exactly what comes to her. That's why we were able to crank out that many songs."

The sample that bookends the track is taken from Spanish dance artist Chimo Bayo's "Así Me Gusta a Mí (X-Ta Sí, X-Ta No)." It is a 1991 tune that was a major hit in Spain, Greece and South America as well as reaching #1 in Japan, Israel and several other countries.

Rascal Flatts - Payback

Rascal Flatts - Payback Lyrics and Youtube Music Videos

Album: Rewind
Released: 2014

Payback Lyrics

Front of the line, straight past the bouncer
Lookin' so fine that the band announced ya
Gotcha tight jeans on and your hair done right
All your girlfriends say we throwin' down tonight
Let me guess, somebody done you wrong
And you're lookin' for a way to get your feel good on
Get some pictures on the Instagram and show him what he's missin'
Straight no chaser, girl on a mission

Mmm, baby I could be your Payback
Hey, gonna help you get your sway back
Take ya to the dance floor, I'ma lean ya way back
Yeah, I'ma lean ya way back

Gonna have a real good time
Don't worry 'bout your tab, girl, put it on mine
We can show him what he can't have
If you wanna play that game
Yeah, baby I can be your payback

Da da da da da da da da da da da da da da
Da da da da da da da da da da da da da da

I bet he's sittin' at home all alone in the dark
Probably textin' like mad, wants to know where you are
'Cause he didn't even know what he had 'til he lost it
Should have known runnin' around was gonna cost him
No way that girl is as pretty as you
I never even seen her but I know that it's true
If he was even half a man he wouldn't have blown it
Thinkin' 'bout it that way feels good don't it

Mmm, baby I could be your payback
Hey, gonna help you get your sway back
Take ya to the dance floor, I'ma lean ya way back
Yeah, I'ma lean ya way back

Gonna have a real good time
Don't worry 'bout your tab, girl, put it on mine
We can show him what he can't have
If you wanna play that game
Yeah, baby I can be your payback

Da da da da da da da
Let me be your payback
Da da da da da da da
Gonna help ya get your sway back
Da da da da da da da
Da da da da da da da
He's gonna hate that
I can be your p-p-p-p-payback
I can be your p-p-p-p-payback
I can be your p-p-p-p-payback
I can be your p-p-p-p-payback
Woo yeah, woo, ah yeah

Writer/s: ESHUIS, AARON / HURD, RYAN / MASON, NEIL D.
Publisher: Warner/Chappell Music, Inc., Universal Music Publishing Group, NETTWERK MUSIC GROUP
Lyrics licensed and provided by LyricFind

Payback

This Aaron Eshuis, Neil Mason and Ryan Hurd penned lighthearted track finds Gary LeVox singing of a girl trying to make her boyfriend jealous. "It's a fun little revenge tune that's awesome and I think the girls are going to love that one," keyboardist Jay DeMarcus told Radio.com . "We didn't write the song, we found the song, or it found us. It's revenge driven in a funny way. What he's saying is basically, 'Let's dance together at this club tonight. We'll take some pictures and put them out on the Internet and he'll see it and it'll piss him off and he'll wonder.'"

Chuck Berry - Carol

Chuck Berry - Carol Lyrics and Youtube Music Videos

Album: Chuck Berry Is On Top
Released: 1958

Carol Lyrics

Oh Carol, don't let him steal your heart away
I'm gonna learn to dance if it takes me all night and day

Climb into my machine so we can cruise on out
I know a swingin' little joint where we can jump and shout
It's not too far back off the highway, not so long a ride
You park your car out in the open, you can walk inside
A little cutie takes your hat and you can thank her, ma'am
Every time you make the scene you find the joint is jammed

Oh Carol, don't let him steal your heart away
I'm gonna learn to dance if it takes me all night and day

And if you want to hear some music like the boys are playin'
Hold tight, pat your foot, don't let 'em carry it away
Don't let the heat overcome you when they play so loud
Oh, don't the music intrigue you when they get a crowd
You can't dance, I know you wish you could
I got my eyes on you baby, 'cause you dance so good

Oh Carol, don't let him steal your heart away
I'm gonna learn to dance if it takes me all night and day

Don't let him steal your heart away
I've got to learn to dance if it takes you all night and day
Oh Carol

Writer/s: ADENOT, PIERRE / ADENOT, PIERRE
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Carol Song Chart

This song is about a boy who must learn to dance or risk losing Carol to other men.

The Rolling Stones covered this on their first album in 1964. They were the first to bring this and many other R&B songs to a white audience.

Chuck Berry got the name Carol from the daughter of Clyde McPhatter's girlfriend's daughter. McPhatter was popular R&B singer who fronted The Drifters for a time. (thanks, Bertrand - Paris, France)

The English Beat - Tears of a Clown

The English Beat - Tears of a Clown Youtube Music Videos and Lyrics

Album: What is Beat?
Released: 1979

Tears of a Clown Lyrics

Say oh yeah baby baby
Now if there's a smile on my face
It's only there tryin' to fool the public
But when it comes down to foolin' you
Well, now honey that's quite a different subject

So don't let my glad expression
Give you the wrong impression
'Cause really I'm sad (so sad sad)
Oh I'm sadder than sad (so sad sad)
Look I'm hurt and I want you so bad (so sad sad)
Like a clown I appear to be glad

Ooh yeah
There's some sad things known to man
But ain't too much sadder than
The Tears of a Clown
When there's no one around

Say oh yeah baby baby baby
Oh yeah baby baby baby

Now if I appear to be carefree
It's only to camouflage my sadness
And honey to shield my pride I try
To cover this hurt with a show of gladness
So don't let my show convince you
That I've been happy since you decided to go
Oh I need you so
Look I'm hurt and I want you to know
Just for others I put on a show

Ooh yeah
There's some sad things known to man
But ain't too much sadder than
The tears of a clown
When there's no one around
So just like Pagliacci did
I'm gonna keep my surface hid
Hiding in my room I try
But in this lonely room I cry
The tears of a clown
When there's no one around

Now if there's a smile on my face
Don't let my glad expression
Give you the wrong impression
Don't let this smile I wear
Make you feel that I don't care
The tears of a clown (tears of a clown)
The tears of a clown (tears of a clown, tears of a clown)
I'm going down de town
I'm going downtown
Tears of a clown

Writer/s: WONDER, STEVIE/ROBINSON, SMOKEY/COSBY, HENRY
Publisher: EMI Music Publishing, Sony/ATV Music Publishing LLC
Lyrics licensed and provided by LyricFind

Tears of a Clown

The citizens of Britain are to thank for the success of the song "The Tears of a Clown," which was first recorded by Smokey Robinson & The Miracles in 1967 but not released as a single until 1970, when it was issued in the UK and went to #1. It was subsequently issued in America, topping the chart there a few months later. In 1976, the song was re-released in the UK, this time going to #34. A favorite of The Beat (as they're known in their homeland), the group took the song back to the UK charts with their 1979 cover. This version was released as "Tears of a Clown," omitting the the in the original title.

This was the first single recorded and released by The English Beat, a group that would soon be instrumental in the UK Ska revival movement, borrowing its sounds from early '60s Jamaican music. Dave Wakeling, who was a guitarist and singer in the band, told us how they came to record this song: "When we first started rehearsing the songs, the drummer (Everett Morton) thought our songs were a bit weird. We had rehearsed the songs, and it would go okay for a minute, and then we would all veer off on our own little tangents and we'd lose the groove on it again. And so Everett said, 'Why don't we find a song that we all know and learn that one by ourselves, come back next Tuesday, and we'll play that song and get a groove with that one. And then we'll go back and play one of your weird songs, like that mirror thing.' And so that's what we did, we'd play 'Tears Of A Clown,' then we'd play 'Mirror in the Bathroom,' then we'd play 'Tears Of A Clown.' We'd play 'Twist And Crawl,' and we'd play 'Tears Of A Clown,' 'Big Shot,' 'Tears Of A Clown,' 'Click Click,' 'Tears Of A Clown.' And by the time we got five or six songs together that would hold together, David Steele, the bass player, said, 'Let's do a show. We should do a concert.' We're like, 'We've only got six songs.' He said, 'Yes, but one concert is worth a thousand rehearsals.' Because you can sit around and be pretentious in rehearsals as long as you like. So we started doing shows, and in order to have seven songs instead of six, we put 'Tears Of A Clown' in the set. We'd practiced that song more than any of the others, it turned out. Because it was our magnet, our training model for all the other tunes.

We took all and any sort of gigs, some were punk gigs, some were reggae gigs, some were working men's clubs, some were pubs that were trying to get some business going midweek, we'd take anything. And sometimes the punky songs went well, sometimes the reggae songs went well, and sometimes neither of them would go down well, but everywhere we went, every time, 'Tears Of A Clown' always went down fantastic. So Jerry Dammers came to us, told us about 2-Tone and came and saw the band. He said, 'Would you like to do a single for 2-Tone,' and we said yes, we'd love to, thanks. And he said, 'We really liked that 'Mirror In The Bathroom' song.' And we said, 'That's probably our best song. Yeah, that would be a good one.' Then he came back a week or so later and he said, 'Oh, Chrysalis says you can do 'Mirror In The Bathroom,' they like it, but they would own the rights to it for five years.' We're like, 'No.' I said, 'You know, that's our best tune. We'd want it on our album. But so long as we can bring it out on our album, that would be fine, you can have it as a single.' So he went off again and he came back and he said, 'No, Chrysalis said if it's the single it can't be on your first album.' So we said, 'Well, tell them to f--k themselves.' and we said, 'We'll do 'Tears Of A Clown' then.' Because that always goes down great. And you can tell the fellows at Chrysalis they can argue with Stevie Wonder and Smokey Robinson about whose song it is. And so we just insisted, and as luck would have it, our song came out in October, and by December 6 it was #6 in the charts, and it was the runaway dance party hit of the Christmas of '79. It was on every jukebox and every turntable for every Christmas party. So I think it probably worked out really well, because I don't know if 'Mirror In The Bathroom' would have been that cheery as a Christmas single." (Read the full Dave Wakeling interview.)

The 2-Tone label was started by The Specials, another prominent band in the Ska movement, and Jerry Dammers was The Specials keyboard player. The song was not included on an album until the 1983 greatest hits collection What is Beat?.

In the US, this was never released as a single.

Lee Brice - Drinking Class

Lee Brice - Drinking Class Youtube Music Videos and Lyrics

Album: I Don't Dance
Released: 2014

Drinking Class Lyrics

We're up when the rooster crows
Clock in when the whistle blows
Eight hours ticking slow
And then tomorrow we'll do it all over again

I'm a member of a blue collar crowd
They can never, nah they can't keep us down
If you gotta, gotta label me, label me proud

I belong to the Drinking Class
Monday through Friday, man we bust our backs
If you're one of us, raise your glass
I belong to the drinking class

We laugh, we cry, we love
Go hard when the going's tough
Push back, come push and shove
Knock us down, we'll get back up again and again

I'm a member of a good timing crowd
We get rowdy, we get wild and loud
If you gotta, gotta label me, label me proud

I belong to the drinking class
Monday through Friday, man we bust our backs
If you're one of us, raise your glass
I belong to the drinking class

We all know why we're here
A little fun, a little music, a little whiskey, a little beer
We're gonna shake off those long week blues
Ladies, break out your dancing shoes
It don't matter what night it is, it's Friday
It's Saturday and Sunday
I just want to hear you say
I just want to hear you sing it
Y'all sing it with me

We belong to the drinking class
Monday through Friday, man we bust our backs
If you're one of us, raise your glass
We belong to the drinking class

Yeah, we belong to the drinking class
Monday through Friday, man we bust our backs
And if you're one of us, raise your glass
We belong to the drinking class

Writer/s: FRASIER, DAVID R / KEAR, JOSH / HILL, ED
Publisher: Warner/Chappell Music, Inc., ROUND HILL MUSIC, DO WRITE MUSIC LLC
Lyrics licensed and provided by LyricFind

Drinking Class Song Chart

This song finds Brice paying tribute to the hard-working man who gets up early and works hard every day. "We had a bunch of production going on that wasn't right," he told Billboard magazine. "It was too new and hip, and had too much electronic stuff going on."

"It hit me one day that the song isn't about drinking, but it's about working class folks," Brice continued. "Working class, to me, seems like it needs to be organic - hands clapping, boots stomping, and it needs to sound like people humming along or whistling while they're working. And, literally, a sledge hammer hitting a railroad tie. So that's what we did. We went back in and took all that stuff out, and created those organic sounds to make it feel like the steel mills or the shipyards. When we got done, we felt we had gotten it right."

"Drinking Class" was penned by regular collaborators Josh Kear, David Frasier and Ed Hill. The working-class anthem came about when the trio were discussing current events and Kear threw out the title to his co-writers. "We know each other so well, any time we get together, we talk about life," Hill told Taste of Country .

"There's hardly any middle class anymore," he lamented. "You have super-rich people, the half-percent, that when they make a billion dollars they just can't seem to think that that's enough. They go and make another billion dollars, and then you have this big Grand Canyon, and you have everybody on the other side. And that's all of us, trying to scrap out a living."

"It's not really a drinking song," Hill added. "It's about people. It just happens to have drinking in the title."

Destiny's Child - Bootylicious

Destiny's Child - Bootylicious Youtube Music Videos and Lyrics

Album: Survivor
Released: 2001

Bootylicious Lyrics

Kelly, can you handle this?
Michelle, can you handle this?
Beyoncé, can you handle this?
I don't think they can handle this!

Barely move, we've arrived
Lookin' sexy, lookin' fly
Baddest chick, chick inside
DJ, jam tonight
Spotted me a tender thang
There you are, come on baby
Don't you wanna dance with me
Can you handle, handle me

You gotta do much better if you gone dance with me tonight
You gotta work your jelly if you gone dance with me tonight
Read my lips carefully if you like what you see
Move, groove, prove you can hang with me
By the looks I got you shook up and scared of me
Hook up your seat belt, it's time for takeoff

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too Bootylicious for yo babe

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

Baby, can you handle this?
Baby, can you handle this?
Baby, can you handle this?
I don't think you can handle this!

I'm about to break you off
H-town goin' hard
Lead my hips, slap my thighs
Swing my hair, square my eyes
Lookin' hot, smellin' good
Groovin' like I'm from the hood
Look over my shoulder, I blow you a kiss
Can you handle, handle this

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

Move your body up and down (whoo!)
Make your booty touch the ground (whoo!)
I can't help but wonder why (whoo!)
Is my vibe too vibealacious for you, babe

I shake my jelly at every chance
When I whip with my hips you slip into a trance
I'm hoping you can handle all this jelly that I have
Now let's cut a rug while we scat some jazz

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for yo babe

I don't think you ready for this jelly
I don't think you ready for this jelly
I don't think you ready for this
'Cause my body too bootylicious for you babe

Writer/s: FUSARI, ROB / MOORE, FALONTE / STINSON, DANA / KNOWLES, BEYONCE / ELLIOTT, MELISSA
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc., Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Bootylicious Song Chart

Group leader Beyoncé Knowles came up with the title and helped write this song. She got the idea when she heard the media's sometimes unpleasant comments about her weight and physique. She wanted to write a song that celebrated a curvy, voluptuous figure. (thanks, Micki - Houston, TX)

The group says that despite the title, this is a tasteful song. It is about having confidence and knowing you are beautiful.

This samples the guitar riff from "Edge Of Seventeen" by Stevie Nicks, and Nicks appears in the video. There's not much crossover between their fans, but the Fleetwood Mac singer and the girls of Destiny's Child share a mutual admiration. They met through a chance encounter: Nicks was at 30 Rock (NBC Studios) promoting her Trouble In Shangri-La album on The Rosie O'Donnell Show when she ran into Destiny's Child, who were rehearsing for their appearance on Saturday Night Live. After a chat, they asked Stevie to appear in the video, which she did.

Nicks has never been accused of bootyliciousness, but she is a visionary songwriter/performer and an independent woman who embodies the confidence Destiny's Child projects in this song. Having Stevie in the video implied her endorsement, which helped appease any of Stevie's fans who objected to the sample.

Beyoncé came up with the line "I don't think you're ready for this jelly" when the group was on a plane trip to Japan. She sang it to the other Destiny's Children as a joke, but they loved it and insisted she use it in the song.

She claims that on this same flight she heard "Edge Of Seventeen," and thought the guitar riff sounded like a voluptuous woman.

Destiny's Child performed this at halftime of Game 4 of the 2001 NBA Finals between the Lakers and Sixers. They were booed after the performance by the crowd in Philadelphia, who were also upset because their team was losing.

The trio got a much better reception when they performed it at the Super Bowl halftime show in 2013. After Beyoncé opened the show with a few of her hits, Kelly Rowland and Michelle Williams blasted out from under the sage and joined her for this song, "Independent Women Part I," and "Single Ladies (Put a Ring on It)." it was the group's first appearance since their split in 2006.

Rockwilder and Missy Elliott remixed this as a slower version that was used on the soundtrack to the movie Carmen.

Destiny's Child performed this at two Michael Jackson tribute concerts at Madison Square Garden in September, 2001.

In 2003, Soulwax created a comical mashup of this with Nirvana's "Smells Like Teen Spirit" called "Smells Like Booty." (thanks, Ekristheh - Halath)

Kelly Rowland told the Daily Mail January 4th 2008, "I'm so proud of everything that we did in Destiny's Child. In Destiny's Child, we showed that we could carry ourselves as powerful women, and there was more to us than just our bodies. Some people thought a song like 'Bootylicious' was about being sexy, but it was more about having confidence in your own skin."

This was not the first time the word "bootylicious" was used in the lyrics of a recorded song. Snoop Dogg rapped on "F--k Wit Dre Day," a track on Dr. Dre's debut 1992 album The Chronic: "Your bark was loud, but your bite wasn't vicious, and them rhymes you were kickin' were quite bootylicious."

The first use of the word "bootylicious" in the media was on the US TV show A Different World in 1993. "Bootylicious" was added to the revised, third edition of the Oxford English Dictionary Online in 2004. It defines the word as: "bootylicious adjective orig US 1. A term of commendation of rap lyrics. 1992-. 2. Very sexually attractive. 1994-. (Blend of booty buttocks and delicious.)" (thanks, Bertrand - Paris, France)

Beyoncé told the February 2013 edition of GQ magazine: "Even the silliest little thing that you hear on the radio, it comes from something deeper. 'Bootylicious' was funny, but it came from people saying that I had gained weight and me being like, 'I'm a southern woman, and this is how southern women are.' My motivation is always to express something or to heal from something or to laugh and rejoice about something."

Madonna - Bitch I'm Madonna

Madonna - Bitch I'm Madonna Lyrics and Youtube Music Videos

Album: Rebel Heart
Released: 2014

Bitch I'm Madonna Lyrics

Oohohohoh
Oohohohoh
(You're gonna love this)
Oohohohoh
(You can't touch this)
Oohohohoh
('Cause I'm a bad bitch)

We hit the elevator right up to the rooftop
The bass is pumping
Make me wanna screw the top off
Yeah, we'll be drinking, and nobody's gonna stop us
And we'll be kissing anybody that's around us

I just wanna have fun tonight
(Blow up this shit tonight)
Pull me out of the flashing light
Ohh ohh ohh ohh
Let me blow up this house tonight
(Gonna blow up!)

We go hard or we go home
We gon do this all night long
We get freaky if you want
Na na na na
We go hard or we go home
We gon do this all night long
We get freaky if you want
Bitch I'm Madonna (Bitch I'm Madonna) (Bitch I'm Madonna)

We're jumping in the pool and swimming with our clothes on
I brought a pee-wee to my show and got my freak on
The neighbors pissed and says he's gonna call the Five-O
If that's your weapon we are gon' give a good show

I just wanna go hard tonight
Pull me out of the flashing light
Ohh ohh ohh ohh
Let me blow up this house tonight
(Gon blow up)

We go hard or we go home
We gon do this all night long
We get freaky if you want
Na na na na
We go hard or we go home
We gon do this all night long
We get freaky if you want
Bitch I'm Madonna (Bitch I'm Madonna) (Bitch I'm Madonna)

Who do you think you are?
You can't miss this, this lucky star
Ohh ohh ohh ohh
Who do you think you are

Pulled up with my nose up
And that rose up in that thanga
I'm froze up, but my stove up
'Cause he eatin' like this his dinner
I run shit, I don't fall back
'Cause I'm on track, I'm a sprinter
I'm bossed up, I got em all struck
It's not a toss up, I'm the winner
Beep beep, bitch move
'Fore I bang bang with that Uz
That's Miu Miu on my shoes
Ain't got a thing left for me to prove
It's that bottle service all night
It's that poppin' urban just right
It's that go hard or go home zone
Bitch, I'm Madonna, these hoes know

We go hard or we go home
We gon do this all night long
We get freaky if you want
Na na na na
We go hard or we go home
We gon do this all night long
We get freaky if you want
Bitch I'm Madonna

Ohh ohh ohh ohh
(We do it like this)
Ohh ohh ohh ohh
(You're gonna love this)
Ohh ohh ohh ohh
(You can't touch this)
Ohh ohh ohh ohh
('Cause I'm a bad bitch)

Who do you think you are?
('Cause I'm a bad bitch)

Who do you think you are?
('Cause I'm a bad bitch)

Who do you think you are?
('Cause I'm a bad bitch)

Who do you think you are?

Go hard or go home zone, bitch
I'm Madonna, these hoes know

Writer/s: MCDONALD, MAUREEN / MINAJ, NICKI / PENTZ, THOMAS / RECHTSHAID, ARIEL / MADONNA / LONG, SAMUEL / GAD, TOBIAS
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Bitch I'm Madonna Song Chart

This spunky girl-power track finds Madonna collaborating with Nicki Minaj and thumbing her nose at naysayers. The Queens rapper previously had two features on Madonna's MDNA set: "Give Me All Your Luvin'" and "I Don't Give A."

Madonna told Rolling Stone that it's an equal partnership when she collaborates with Nicki Minaj. "Whenever we work together she always sits with me and listens to the song, and says 'tell me what this song is about to you,'" she explained. "She's very methodical in her thinking. We talk about it, she writes down words that I say describing what the song's about and the sentiment that I'd like her to get out there, and then she goes away and she works on it. She writes it, she comes back. She does a version of it, we talk about it. It's a back and forth until she gets it right. It's a total collaboration."

Rebel Heart finds Madonna using the b-word a lot (one of the other tracks is titled "Unapologetic Bitch"). Asked by Billboard magazine about her use of the offensive slang pejorative, Madonna replied: "The word 'bitch' means a lot of different things. Everything is about context. When I first moved to England and heard the word 'c--t,' I was horrified. People were calling each other c--ts! And then I realized that, in that culture, it was different - they slapped each other on the back and said, 'Who's the c--t, right, you're my best mate!'"

"The word 'f--k' doesn't just mean sexual intercourse," she continued. "I mean, 'You're a stupid f--k,' 'Are you going to f--k with me?' 'F--k off!' (Laughs.) Sex has nothing to do with any of those expressions, and the same goes for 'bitch.' If I say to you, 'I'm a badass bitch,' I'm owning myself, I'm saying, 'I'm strong, I'm tough, and don't mess with me.' If I say, 'Why are you being such a bitch to me?,' well, that means something else."

The song was produced by Diplo, one of seven tracks they wrote and recorded together for Rebel Heart. Diplo told Mojo magazine: "I hadn't really listened to her recent albums but I knew her classic material. We wrote a lot of things - like seven or eight songs together. She said, 'Give me something crazy,' and that's when we made Bitch I'm Madonna."

The song's music video was directed by Madonna's longtime collaborator Jonas Akerlund and styled by his wife B. Škerlund. The epic clip was filmed on the top floors of the Standard Hotel in Manhattan and finds Madonna dancing her way from room to room.

The Queen of Pop opened her Rolodex to surround herself with famous names for the clip. She passes by other party goers, which includes such familiar faces as producer Diplo, designer Alexander Wang, singer Rita Ora and comedian Chris Rock. There are also a number of pre-recorded clips featuring Kanye West, Beyonce, Miley Cyrus, Katy Perry and Nicki Minaj while Madonna's sons, Rocco and David Banda, are also seen dancing.

Jonas Škerlund, who also shot Madonna's "Ghosttown" video told Entertainment Weekly filming the clip was a totally unique experience. "Madonna called me about 'Ghosttown,'" he recalled. "We hadn't worked for a while because of different circumstances so when I heard all the songs [on Rebel Heart], I was very excited about 'Ghosttown.' I connected to it creatively. And, yeah, we enjoyed working together. I was supposed to start something else right after and that got pushed and she asked me to do 'Bitch I'm Madonna.' I saw it being so completely different from 'Ghosttown,' something a little bit less serious, just fun and crazy."

Škerlund detailed how he managed his crew, which was comprised of 100 people. "It was fun! That's the only way to do it really," he said. "But it was technical. Everybody needed to be on their place and do their job. Everyone had cues and everyone was ready. And when we left the shoot, we thought, 'If the video feels half as good as we feel, then it's a homerun.'"

The song was Madonna's first Hot 100 hit since "Give Me All Your Luvin'" peaked at #10 in 2012. However, there was one previous composition prior to the Queen of Pop's cut with "Madonna" in its title that charted. An outfit called The Beatles (you may have heard of them) peaked at #4 with "Lady Madonna" in 1968. In addition Robbie Williams had a Top 20 hit in the UK with the Per Shop Boys-featuring "She's Madonna" in 2006.

This features production work from the British electronic musician Sophie, who has worked closely with artists from the London PC Music label. "I think Madonna's manager was like, 'Who is this person?' and I was like, 'Trust me, this is very cool to have him be part of this song,'" Diplo recalled to Time. "PC Music is a really post-modern attempt at pop. It's something the kids are generating because everything is so clean as far dance music [is concerned]."

2 Chainz - Used 2

2 Chainz - Used 2 Lyrics and Youtube Music Videos

Album: B.O.A.T.S II: Me Time
Released: 2013

Used 2 Lyrics

I still f*** 'em like I used too
I need to put that s*** on Youtube
'Cause you know we got that dance floor crazy
Single ladies come and have my baby
I still f*** 'em like I used too
I need to put that s*** on Youtube
'Cause you know we got that dance floor crazy
Hey my n**** come and grab your lady

Yeah I'm the n**** yeah, don't forget it yeah
Gold neck Tity yeah, Lamborghini yeah
Man in my city yeah, they call me Tity yeah
Bad b**** with me yeah, she's sadidty yeah
Got her hair fixed yeah, kinda thick yeah
Shawty known to strip yeah, for the rent yeah
Tryna do a split yeah, oh s*** yeah
Can you do a split yeah, on a dick yeah
You can't do it with a dick, can you?
You can't do it like that with a dick, can you?
You can't do it with a dick, can you?
You can't do it like that with a dick, can you?
B****!

I still f*** 'em like I used too
I need to put that s*** on Youtube
Cause you know we got that dancefloor crazy
Single ladies come and have my baby
I still f*** 'em like I used too
I need to put that s*** on Youtube
Cause you know we got that dancefloor crazy
Hey my n**** come and grab your lady

One time grab her yeah, I'ma stab her yeah
Put it in her body yeah, don't compare me yeah
Flyin' out to Cali yeah in my ballys yeah,
We go to Miami yeah, that my family yeah
ATL my hood yeah, understood yeah
Shout out to New Orleans yeah, it's all good yeah,
Watch how I do yeah, I'm a fool yeah,
Shawty want that wood yeah, that p**** good yeah
Lemme see you twerk it, lemme see if you can twerk it
Lemme see you twerk it, lemme see if you can twerk it
Lemme see you twerk it, lemme see if you can twerk it
Lemme see you twerk it, lemme see if you can twerk it
B****!

I still f*** 'em like I used too
I need to put that s*** on Youtube
Cause you know we got that dancefloor crazy
Single ladies come and have my baby
I still f*** 'em like I used too
I need to put that s*** on Youtube
Cause you know we got that dancefloor crazy
Hey my n**** come and grab your lady

Get, low, like this
Get, low, like this!
Uh, do it, uh, shake it
Wipe down, outfit
I get money like I used to
Ch-chains on, I use two
Guns on me if I used to
I'll f*** ya a** on YouTube

A million views!

I still f*** 'em like I used too
I need to put that s*** on Youtube
Cause you know we got that dancefloor crazy
Single ladies come and have my baby
I still f*** 'em like I used too
I need to put that s*** on Youtube
Cause you know we got that dancefloor crazy
Hey my n**** come and grab your lady

Writer/s: THOMAS, BYRON O. / EPPS, TAUHEED
Publisher: Universal Music Publishing Group, RESERVOIR MEDIA MANAGEMENT INC
Lyrics licensed and provided by LyricFind

Used 2

2 Chainz borrows the flow from Juvenile's 1998 Hip-Hop classic tune "Back That Thang Up" for this song. Drake previously interpolated some of the lyrics of Juvenile's explicit cut on his Take Care track "Practice."

"Back That Thang Up" was produced by former Cash Money in house producer Mannie Fresh and the veteran New Orleans native also supplied the beat for this song, which uses his home city's bounce music as its backbone.

2 Chainz traveled to New Orleans' 7th Ward section for the Marc Klasfeld directed video. The clip reunites the Hot Boys members Lil Wayne, Juvenile and Turk whom we see partying with the Big Easy locals. The only member missing from the hip hop group is B.G., who is serving a 14-year sentence for weapons possession, though his presence is felt with the "Free B.G." T-shirt that the Atlanta rhymer is wearing.

Mike WiLL Made It - 23

Mike WiLL Made It - 23 Lyrics and Youtube Music Videos

Album: Est. In 1989 Pt. 3 (The Album)
Released: 2013

23 Lyrics

(Mike Will made it)
I'm in the club, high off purp', with some shades on
Tatted up, mini skirt, with my J's on

(In the club, high off purp' with some shades on)
(Tatted up, mini skirt and my J's on)

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

I be in the club standing on the couch
In them Wolf Greys like it's my house
Drinking out the bottle, I got no respect
Looking like a model, who just got a check
I back it up, cause I don't give a fuck
If you a lame, that's a shame you can't hang with us
I'm MC Hammer fly, you can't touch
J's so fly I should work at Flight Club

Put on my J's and dance the whole night away
I’m naughty by nature like I’m hip-hop hooray
My hands in the sky, I wave ‘em from side to side
My feet on the floor, I’m ’bout to turn up now

I'm in the club high off purp' with some shades on
Tatted up, mini skirt with my J's on

(In the club, high off purp' with some shades on)
(Tatted up, mini skirt and my J's on)

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

I be rockin' J's or
I be rockin' Taylor's
I got lots of flavors, my kick game is major
More kicks than the players, call me up I'm scorin'
Hit it like a free throw, tongue out like I'm Jordan
Smiley, Miley, come swing the thing right by me
Gotta a joint if you wanna get stoned, got choppers if they wanna try me
Pro athlete I'm not no wannabe
Waitress asked how many bottles? I said 23

Put on my J's and dance the whole night away
I’m naughty by nature like I’m hip-hop hooray
My hands in the sky, I wave ‘em from side to side
My feet on the floor, I’m ’bout to turn up now

I'm in the club high off purp' with some shades on
Tatted up, mini skirt with my J's on

(In the club, high off purp' with some shades on)
(Tatted up, mini skirt and my J's on)

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

I stay showin' out, my kick game is a beast
I got thirty pair of J's that ain't never been released
Flu game twelve, Space Jam 11
On the hype beast sick, they gon' need a paramedic
Turn up, turn up, turn up, I got trippy, I stay live
All this purple in my cup, match them grape 5's
I'm so high, I got three bitches that go bi
I'm so fly, I'm gettin' head like a blow dryer

Put on my J's and dance the whole night away
I’m naughty by nature like I’m hip-hop hooray
With my hands in the sky, I wave ‘em from side to side
My feet on the floor, I’m ’bout to turn up now

I'm in the club high off purp' with some shades on
Tatted up, mini skirt with my J's on

(In the club, high off purp' with some shades on)
(Tatted up, mini skirt and my J's on)

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

J’s on my feet
J’s on my feet
J’s on my feet
So get like me

Writer/s: Cameron Thomaz, Jordan Michael Houston, Michael Len Williams II, Miley Cyrus
Publisher: Warner/Chappell Music, Inc., Universal Music Publishing Group, BMG RIGHTS MANAGEMENT US, LLC
Lyrics licensed and provided by LyricFind

23

Producer Mike WiLL Made It's lead single from his Est. In 1989 Pt. 3 (The Album) longplayer features Miley Cyrus crooning alongside rapper Wiz Khalifa and Juicy J. Will also worked with Cyrus on her BANGERZ album and he told MTV News about this collaboration with the former Disney starlet. "I already had Juicy J and Wiz on there, and then we were working on 'We Can't Stop,' and I had a verse on there that was already laid down, but I wanted a girl to do it," he explained.

"But I didn't know who I was going to do it with, and this was first day meeting Miley, and we had just knocked out 'We Can't Stop.' And then I let her hear it, and she told me she liked it," Will added.

Will admitted telling Cyrus that he had some reservations about her contributing a rapped verse, but that didn't stop her. "She told my engineer, 'Turn the mike on,' and she went in the booth, then she laid down the verse, and she killed it," the producer explained. "[So I] left her on there. She killed it, all swagged up."

The song finds Will paying tribute to Michael Jordan. The title is a reference to the basketball legend's shirt number, which he wore as it was half (then rounded up) of his brother, Larry's number 45. When Michael was at high school, he believed that he only had half of Larry's skills and wanted to be at least half as good.

Cyrus told MTV News why she was so eager to get on the cut. "He had had this track '23' with Wiz and Juicy already, and it's just on some cool like old-school J s--t and that's what's really cool about it," she said. "And like people wouldn't expect me to be on a song about Jordan... right now all they really see of me and Juicy is me at his concert way too twerked up, they haven't seen what we can do when were together and when were together it's this crazy kind of vibe because it's not what people would really expect."

"I'm definitely not a rapper. It's my rapping," Cyrus added. "It's my own swag. I hate that word. But it's just the only way I can really describe it, it's just kind of my own thing where it's not really rapping, it's just kind of on my own thing it's just kind of on my own s--t."

The song's music video was filmed in Brooklyn on August 26, 2013 and directed by Hannah Lux Davis (Lil Wayne's "Love Me," Jason Derulo's "Marry Me").

Cyrus can be seen wearing at one stage the controversial foam finger she waved and gyrated against during her 2013 MTV Video Music Awards performance . Davis recalled to Billboard magazine that she saw Cyrus' more professional side. "She was there the whole day of shooting, even though she didn't need to be," said the director. "Her energy on set was great - so personable, so easy."

Mike WiLL Made It got a huge amount of flak at the time for working with a pop act. "All I hear is 'Yo, that s--t you're making ain't hip-hop,'" he told Billboard magazine. "People told me that Miley's '23' wasn't hip-hop. Let me tell you, she went in and owned that track. She smoked more weed in one week than most rappers I know. That song was not some far-fetched thing she had to reach for. She was ill as hell. When people question me about whether something is hip-hop, I ask them, 'Does it sound hard? Does it hit home? Is it raw and real?' If it is, I did my job. And you can call it whatever you want."

Whitney Houston - How Will I Know

Whitney Houston - How Will I Know Lyrics and Youtube Music Videos

Album: Whitney Houston
Released: 1985

How Will I Know Lyrics

There's a boy I know, he's the one I dream of
Looks into my eyes, takes me to the clouds above, mm mm
Oh I lose control, can't seem to get enough, uh huh
When I wake from dreaming, tell me is it really love, ooo

How Will I Know (Don't trust your feelings)
How will I know
How will I know (Love can be deceiving)
How will I know
How will I know if he really loves me

I say a prayer with every heart beat
I fall in love whenever we meet
I'm asking you what you know about these things
How will I know if he's thinking of me
I try to phone but I'm too shy (can't speak)
Falling in love is so bitter sweet
This love is strong why do I feel weak

Oh, wake me, I'm shaking, wish I had you near me now, uh huh
Said there's no mistaking, what I feel is really love, ooo tell me

How will I know (Don't trust your feelings)
How will I know
How will I know (Love can be deceiving)
How will I know

How will I know if he really loves me
I say a prayer with every heart beat
I fall in love whenever we meet
I'm asking you what you know about these things
How will I know if he's thinking of me
I try to phone but I'm too shy (can't speak)
Falling in love is so bitter sweet
This love is strong why do I feel weak

If he loves me, if he loves me not
If he loves me ooo, if he loves me not
If he loves me, if he loves me not

How will I know
How will I know
How will I know
Hey how will I know
How will I know

How will I know if he really loves me
I say a prayer with every heart beat
I fall in love whenever we meet
I'm asking you 'cause you know about these things
How will I know if he's thinking of me
I try to phone but I'm too shy (can't speak)
Falling in love is so bitter sweet
This love is strong why do I feel weak

How will I know
How will I know
How will I know
How will I know, ooo
How will I know, how will I know, hey how will I know, how will I know

Writer/s: NARADA MICHAEL WALDEN, GEORGE ROBERT MERRILL, SHANNON RUBICAM
Publisher: Warner/Chappell Music, Inc., Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

How Will I Know

This was written by George Merrill and Shannon Rubicam, who record as Boy Meets Girl and had a hit in 1988 with "Waiting For A Star To Fall." George and Shannon were a romantic couple, and secured a record deal with A&M Records after writing a batch of songs together and playing the Seattle club scene. They spoke with us about this song.

George: "They asked us to write for Janet Jackson's next record, so Shannon and I went to work and came up with our song How Will I Know, which was sent to Janet Jackson's people. They passed on it because it wasn't right for her at the time - she was in the midst of doing her Control album.

Shannon: "It wasn't right for that, but then our publishing company played it for Gerry Griffith when he was in Los Angeles gathering material for the unknown Whitney Houston. He loved it, sent it to Clive (Davis), and Clive said, 'We must have it.' And we said, 'Whitney who? Clive who?'

George: "Shannon and I had our first record deal, so we were caught up in Boy Meets Girl land, and the idea of writing for other people, this is pre-Whitney Houston and pre- our understanding of songwriting for other people, so it was really a big deal when they wanted to hold onto this for Whitney Houston. Then we started checking into it and thought, well, this could be kind of a neat deal. Our good friends, brother team Alan and Preston Glass, called us where they were working with Narada Michael Walden. They were recording Whitney Houston on 'How Will I Know' and they said, 'Guys, you've got to hear this.' They played it over the phone, and I swear, her voice, hearing the first take of 'How Will I Know' on the phone we knew we were on to something special, too."

This is a very innocent song where Houston sings about trying to decide if a boy she likes will ever like her back. It went well with her wholesome image early in her career.

Shannon sang the demo, which was done in a sweet, light, R&B style suited for what Janet Jackson was recording before her Control album. Narada Michael Walden, who has also produced for Aretha Franklin, Mariah Carey and Lisa Fischer, went to work.

Shannon: "Narada added his very punchy track and he did some rearranging on it and got us involved in some writing on the song. So it really was far more powerful than the demo we did and it sounded gorgeous and fun."

George: "He had an idea for taking some of the music of the chorus and making a verse out of some of it, and as Shannon and I heard it, we thought that sounded like a cool idea, and Shannon jumped right in on the lyrics."

Walden almost didn't take the gig. He told us: "I got a call from Arista and I said, First of all, I'm right in the middle of making this album for Aretha. I can't take my attention off that. But they said, You've got to make time for this girl because she's going to be incredible. So they sent me the demo on 'How Will I Know.' I said, the song's only half done, will it be okay if I mess with it? Eventually, the writers said it would be okay. So I rewrote it and cut it on the same session as 'Freeway of Love.' It didn't come out until December, but it was a monster hit. And it was all because when I met her, she was just mind-blowing. All that range and power and beauty and sex appeal coming at you with a kind of confidence you've never known before. I said, oh my Lord, you are really too much. She said, yeah, I know. After that a bunch of things came down the pike." (Here's our full interview with Narada .)

The backing vocals are by Whitney's mother, Cissy Houston.

George and Shannon also wrote Houston's hit "I Wanna Dance With Somebody (Who Loves Me)." They describe what it's like writing for other artists:

Shannon: "When we're writing a song for other people, we tend to do more stringent editing. In some cases that's for the better, and in other cases it just ends up making the song sound a little too mental and not emotional enough. So I think that's just the thing that we keep an eye on when we're writing for other people, to not overthink it, really keep it emotional. Not really so much about what they're going to think, just feel how the song is going.

George: "You want to make sure that the idea is clear and that you haven't put every idea into one song."

George and Shannon continue their musical partnership and released an album in 2003 called The Wonderground. Learn more about Boy Meets Girl at www.boymeetsgirlmusic.com.

The video was directed by Brian Grant, who also did Olivia Newton-John's "Physical" and Donna Summer's "She Works Hard For The Money." Houston is playful and coy in the clip, where she is surrounded by energetic dancers.

Grant recalls Houston being very grounded, showing up at the shoot with just a friend and a rep from her record company. He told her to relax and have fun with it, which she did despite being apprehensive at first about the bevy of dancers popping out at her.

The choreographer was Arlene Phillips, who was later a judge on the British show Strictly Come Dancing. She and Grant were asked back to work on Houston's video for "I Wanna Dance With Somebody (Who Loves Me)," which had even more of a dance focus, this time with Houston doing some light hoofing.

Sam Smith recorded a slowed-down version of this song in 2014 that was featured on the Season 10 episode of Grey's Anatomy, "We Gotta Get Out of This Place."

Bee Gees - Stayin' Alive

Bee Gees - Stayin' Alive Lyrics and Youtube Music Videos

Album: Saturday Night Fever Soundtrack
Released: 1977

Stayin' Alive Lyrics

Well, you can tell by the way I use my walk
I'm a woman's man: no time to talk
Music loud and women warm, I've been kicked around
Since I was born
And now it's all right, it's OK
And you may look the other way
We can try to understand
The New York Times' effect on man

Whether you're a brother or whether you're a mother
You're Stayin' Alive, stayin' alive
Feel the city breakin' and everybody shakin'
And we're stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive

Well now, I get low and I get high
And if I can't get either, I really try
Got the wings of heaven on my shoes
I'm a dancin' man and I just can't lose
You know it's all right, it's ok
I'll live to see another day
We can try to understand
The New York Times' effect on man

Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And we're stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive

Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere, somebody help me, yeah

Well, you can tell by the way I use my walk
I'm a woman's man: no time to talk
Music loud and women warm
I've been kicked around since I was born
And now it's all right, it's ok
And you may look the other way
We can try to understand
The New York Times' effect on man

Whether you're a brother or whether you're a mother
You're stayin' alive, stayin' alive
Feel the city breakin' and everybody shakin'
And we're stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive, stayin' alive
Ah, ha, ha, ha, stayin' alive

Life goin' nowhere, somebody help me
Somebody help me, yeah
Life goin' nowhere, somebody help me, yeah
I'm stayin' alive

Writer/s: GIBB, BARRY ALAN/GIBB, MAURICE ERNEST/GIBB, ROBIN HUGH
Publisher: Warner/Chappell Music, Inc., Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Stayin' Alive

This plays over the opening credits of the 1977 movie Saturday Night Fever while John Travolta struts through the streets of New York City. The movie has come to represent the Disco era, and has made this the song most associated with Disco. The Bee Gees had been singing in a high-falsetto style since their 1975 hit "Jive Talkin'," which was also on the soundtrack, but they were very popular as a vocal harmony group in the late '60s and early '70s. Their contributions to Saturday Night Fever brought them huge success, but marked them as Disco singers.

In a 1989 interview with Q magazine, they talked about this stigma and why they didn't deserve it. "We were not disco," Robin Gibb said. "People who emulated us were disco. All you heard on the radio was that dooo! dooo! syn-drum sound. We never had a syn-drum on one of our records!"

This was one of five songs the Bee Gees wrote specifically for Saturday Night Fever. Like the film, the song is about much more than dancing and having a good time. It deals with struggle and aspiration; making your way in the world even after you've been kicked around. John Travolta's character in the movie is a young man working a dead-end job who feels alienated by his parents. Dancing is his form of expression, and weekends are his time to let loose.

Robert Stigwood, who produced Saturday Night Fever, is the one who asked The Bee Gees to write music for the film. Stigwood got the idea for the film from a New York Magazine article about the Brooklyn club scene. This may explain the rather random line in the song, "We can try to understand the New York Times' effect on man."

Robert Stigwood asked for a song called "Saturday Night," but the Bee Gees wanted nothing to do with that title, since many other songs, including a very popular one by the Bay City Rollers, had that name. Stigwood objected when he's heard the song was called "Stayin' Alive," but the group told him that if he didn't like it, they would just use the song on their own album.

This was the second of four US #1 hits from the Saturday Night Fever soundtrack, following "How Deep Is Your Love," which was released ahead of the film, which hit theaters December 14, 1977. "Stayin' Alive" was released one day before the movie, but many theatergoers had already heard the song in trailers for the film. It quickly climbed the charts, reaching the top spot on February 4, 1978 and staying there for four weeks.

The soundtrack was an unqualified success, winning the Grammy Award for Album of the Year and becoming the best-selling album ever until it was dethroned by Michael Jackson's Thriller. It remained the best-selling soundtrack of all time until it was surpassed by the soundtrack to The Bodyguard.

The Bee Gees recorded this in a French studio called the Chateau D'Herouville. Later, the group learned that many porno films were shot in those studios.

In 1983, The Bee Gees recorded songs for a sequel to Saturday Night Fever that was called Staying Alive. It was directed by Sylvester Stallone, and while it was a critical flop, it did very well at the box office, grossing about $64 million on a budget of only $8 million. The film came years after Disco had faded, and was released at a time when both John Travolta and The Bee Gees were at career ebbs. In 1987, The Bee Gees returned with a UK #1 hit called "You Win Again," while John Travolta stayed in a career funk until the 1989 movie Look Who's Talking. (We're kidding. His next good movie was actually Pulp Fiction in 1994.)

The set of Staying Alive was where Richard Marx , who was working on the soundtrack, first met Cynthia Rhodes, who was the female lead in the film. The couple were married in 1989; Marx wrote the song "Now And Forever" about her. (Thanks to Gary Ugarek)

Responding to a question about his song in a 1988 issue of Rolling Stone, the Gibb brothers stated: "We'd like to dress it up in a white suit and set it on fire."

The were referring to the deleterious effect the song had on their career and image.

This won a Grammy for Best Arrangement For Voices.

The Italian Dance group Eiffel 65 used the chorus from this in their song "Voglia Dance All Night." In 1995, the British electronic group N-Trance covered the song, taking it to #2 in the UK. Their version featured vocals by Viveen Wray and former KLF rapper Ricardo Da Force. (thanks, Mads - Sønderborg, Denmark)

A team from the University of Illinois medical school suggested that this would be an ideal song to listen to on an iPod while performing chest compressions on someone who has just suffered a heart attack. The American Heart Association has stated that the optimum tempo at which to perform CPR on someone who has just suffered a heart attack is 100 beats a minute. The research team highlighted this song as, at 103 beats per minute, it has almost the perfect rhythm to help jump-start a stopped heart. It happens that "Another One Bites The Dust" has a similar beat, but it was agreed that the Queen song doesn't seem quite as appropriate.

Dweezil Zappa recorded this for his album Confessions with Ozzy Osbourne on lead vocals. Ozzy's record company didn't want it released, so Donny Osmond's vocals were used instead. The Ozzy version can be found on some bootlegs.

Capital Cities recorded a cover of this song that they released online in 2013. Sebu Simonian of the duo told us: "The classic Bee Gees version of that song is universally loved and enjoyed, but I feel like it's such a great song that it can easily be performed in different ways and impart a different kind of emotion. And to our surprise, it was never really covered in a different way. When we cover songs, we like to pick songs that are great and timeless, but haven't really been covered much or haven't been covered in a new way. So that's what we decided to do with this one - give it a different emotional impact."

Robert Hays and Julie Hagerty dance to this song in a bar in the 1980 film Airplane!. (thanks, Ricky - Los Angeles, CA)

The Bee Gees were well aware that they were creating a heart-thumping rhythm. "We thought when we were writing it that we should emulate the human heart," Robin Gibb explained in Daniel Rachel's The Art of Noise: Conversations with Great Songwriters. "We got Blue Weaver who was the keyboard player at the time to lie on the floor and put electrodes on his heart and put it through the control room. Then we got the drummer to play the heartbeat. We were the first people in the world to do a drum loop based on that."

Don Henley - Dirty Laundry

Don Henley - Dirty Laundry Lyrics and Youtube Music Videos

Album: I Can't Stand Still
Released: 1982

Dirty Laundry Lyrics

I make my living off the evening news
Just give me something-something I can use
People love it when you lose,
They love Dirty Laundry

Well, I coulda been an actor, but I wound up here
I just have to look good, I don't have to be clear
Come and whisper in my ear
Give us dirty laundry

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em all around

We got the bubble-headed-bleach-blond
Who comes on at five
She can tell you 'bout the plane crash with a gleam in her eye
It's interesting when people die
Give us dirty laundry

Can we film the operation?
Is the head dead yet?
You know, the boys in the newsroom got a running bet
Get the widow on the set!
We need dirty laundry

You don't really need to find out what's going on
You don't really want to know just how far it's gone
Just leave well enough alone
Eat your dirty laundry

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're stiff
Kick 'em all around

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're stiff
Kick 'em all around

Dirty little secrets
Dirty little lies
We got our dirty little fingers in everybody's pie
We love to cut you down to size
We love dirty laundry

We can do "The Innuendo"
We can dance and sing
When it's said and done we haven't told you a thing
We all know that Kraft is king
Give us dirty laundry!

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Kick 'em when they're up
Kick 'em when they're down
Kick 'em when they're up
Kick 'em when they're down

Writer/s: HENLEY, DON/KORTCHMAR, DANNY
Publisher: Warner/Chappell Music, Inc., Cass County Music / Wisteria Music / Privet Music
Lyrics licensed and provided by LyricFind

Dirty Laundry Song Chart

This song is about unscrupulous newspeople doing anything for a story. Henley values his privacy, and hates it when reporters pry into his personal life. He had to deal with increased press attention when his girlfriend, Maren Jensen, came down with Epstein-Barr Syndrome. She recovered, but they broke up soon after.

Danny Kortchmar, who played on definitive albums by James Taylor, Linda Ronstadt and Jackson Browne, wrote this song with Henley. Kortchmar (sometimes listed on the credits with his nickname "Kootch") is a key contributor to Henley's solo work. In our interview with Kortchmar , he explained that Henley had the title and the idea for the lyrics, and the track came together when Danny came up with a riff on his Farfisa organ. Said Kortchmar: "One night I set it up, ran it into an Echoplex and started banging out that part that you hear on the record. I was up into the wee hours banging away on this thing. That's when I recorded it, and when I played it for Don the next day, I said, 'I think this is 'Dirty Laundry.'' He said, 'Yeah, that's it. Record it and let's go.'"

There are some very interesting guitar contributions on this song: Danny Kortchmar played the basic parts, Joe Walsh did the first guitar solo, and Steve Lukather did the second solo. According to Lukather, who is a member of the band Toto, he did his solo in one take and it's one of his favorites.

In November of 1980, Henley was charged with contributing to the delinquency of a minor and possession of marijuana, cocaine, and Quaaludes after paramedics treated a 16-year-old girl suffering from drug intoxication at his Los Angeles home. This incident was a big influence on the song. (thanks, Stevie Lee - WSFR, Louisville)

The lyrics make fun of news anchors who are more concerned with their looks than accurately reporting the news. Many local news stations have at least one "bubble headed bleach blond." The folks who work behind the scenes in local news are usually well aware of the superficial and vapid product they create, and many stations have used this song on their TV station blooper reels. Before YouTube, these local news bloopers lived on tapes tucked away in the dark corners of newsrooms.

This was Henley's first Top 40 hit as a solo artist, but it wasn't his first single. "Johnny Can't Read," which peaked at #42, was released first.

Henley didn't tour to support the I Can't Stand Still album. He went right to work on his second solo album, Building The Perfect Beast.