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Taylor Swift - Out Of The Woods

Taylor Swift - Out Of The Woods Youtube Music Videos and Lyrics

Album: 1989
Released: 2014

Out Of The Woods Lyrics

Looking at it now, it all seems so simple
We were lying on your couch, I remember
You took a Polaroid of us
Then discovered (then discovered)
The rest of the world was black and white
But we were in screaming color
And I remember thinking

Are we Out Of The Woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good.
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good.
Are we out of the woods?

Looking at it now, last December
We were built to fall apart, then fall back together
Your necklace hanging from my neck,
The night we couldn't quite forget
When we decided (We decided)
To move the furniture so we could dance
Baby, like we stood a chance
Two paper airplanes flying, flying, flying
And I remember thinking

Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good

Are we out of the woods?

Remember when you hit the brakes too soon
Twenty stitches in a hospital room
When you started crying
Baby, I did too
But when the sun came up
I was looking at you
Remember when we couldn't take the heat
I walked out, I said, I'm setting you free
But the monsters turned out to be just trees
When the sun came up
You were looking at me

You were looking at me
Oh!
You were looking at me.
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods? (I remember)
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet? (Oh, I remember)

Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods yet?
Are we out of the woods?
Are we in the clear yet?
Are we in the clear yet?
Are we in the clear yet?
In the clear yet, good

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

Out Of The Woods Song Chart

The second single from Taylor Swift's 1989 album, the song was written and produced by the singer with fun.'s Jack Antonoff. "One of the goals I set out to accomplish when I wanted to make this album is I wanted to make sure that these songs sounded exactly the way that the emotions felt when I felt them," said Swift in a video. "This song is about the fragility and kind of breakable nature of some relationships. This was a relationship where it was kind of living day-to-day, wondering where it was going, if it was gonna go anywhere, if it was gonna end the next day. It was a relationship where you never feel like you're standing on solid ground."

"And that kind of a feeling brings on excitement, but also extreme anxiety, and kind of a frantic feeling of wondering," she continued. "Endless questions. And this song sounds exactly like that frantic feeling of anxiety and questioning, but it stresses that, even if a relationship is breakable and fragile and full of anxiety, it doesn't mean that it isn't worthwhile, exciting, beautiful and all the things that we look for."

Fans have speculated the song could be about Swift's brief fling with One Direction's Harry Styles. She told Rolling Stone it's the tale of a relationship where, "every day was a struggle. Forget making plans for life – we were just trying to make it to next week."

Swift recounts in the lyric an unreported incident when she and her then-boyfriend went to the ER after getting into a snowmobile accident

Remember when you hit the brakes too soon
Twenty stitches in a hospital room

Swift told Rolling Stone that her ex lost control of the snowmobile and wrecked it so badly that she saw her life flash before her eyes. Both of them had to go to the hospital, although Swift wasn't as hurt as her boyfriend.

Swift built up a lot of anticipation for this song by talking about it at media appearances (including Good Morning America) and using her Instagram and Twitter accounts to tease it. The campaign paid off when the song shot to #1 on the iTunes chart soon after it was released at midnight on Monday, October 13, 2014.

Speaking to Billboard magazine about the track, Jack Antonoff said: "There's a frantic feeling in the song. What's interesting about 'Out Of The Woods' is that it doesn't really let up. It starts with a pretty big anthemic vocal sample that's me, and then there's a drum sample that kicks in that's kind of huge, and then you don't really know how you're going to get any bigger but then the chorus hits and it just explodes even larger. And then the bridge hits, and it gets even more huge."

The song has a strong '80s feel, which according to Antonoff, was influenced by the work of one of the decade's most popular filmmakers: "We were talking about John Hughes movies, and a lot of the music that inspired [them], and just this general culture of sound in that time period that was really larger-than-life in an anthemic, positive way," he said. "These songs could be at the end of films that were really, really beautiful and said a lot."

A further lyrical clue that Harry Styles is the subject of this song lies in the lines:

Your necklace hanging round my neck
The night we couldn't quite forge
When we decided
To move the furniture so we could dance
Two paper airplanes flying, flying

While the duo were rumored to be together, Taylor and Harry were both seen wearing identical silver necklaces each with a paper plane shaped symbol.

This was the first time that Swift wrote a song to an existing track. "I came up with that melody, the verse and chorus, in about 30 minutes and sent it back to him," Swift told USA Today. "Both of us were just freaking out."

Regarding the instrumentation, Antonoff mixed 1980s and contemporary elements, especially when it came to the synthesizers. "I used a Yamaha DX7 a lot on that song, which is so uniquely '80s, but then countered it with a super-distorted Minimoog Voyager in the chorus," he told USA Today. "That sounds extremely modern to me. It's that back-and-forth."

According to Taylor Swift, the main snare is "a combo of white noise" that Jack Antonoff got "from blowing out the EMI board, clapping his hands, and, no joke, dropping his gear bag. He mic-d that up on the floor."

When Swift introduced a stripped-down version of the song during a performance at the Grammy Museum, she discussed the uneasy relationship it was based on, saying, "The number one feeling I felt in the whole relationship was anxiety, because it felt very fragile, it felt very tentative. And it always felt like, 'OK, what's the next road block? What's the next thing that's going to deter this? How long do we have before this turns into just an awful mess and we break up? Is it a month? Is it three days?'"

"I think a lot of relationships can be very solid and that's kind of what you hope for, for it to be solid and healthy but that's not always what you get," Swift continued. "And it doesn't mean that it's not special and extraordinary just to have a relationship that's fragile and somehow meaningful in that fragility."

The visually stunning music video for "Out of the Woods" showcases Swift surviving harsh and demanding circumstances in nature. The director, Joseph Kahn, took to Twitter after the release of the video to praise Swift's commitment to the project. He wrote a series of tweets saying, "Taylor was so dedicated to making this video. I was wrapped in snow gear. She was in a dress. She suffered for her art." He continued, "Taylor chose to stay in the mud for hours to keep the shoot moving. No in and out. Just gangstered it. She is bad ass."

Shot on location in New Zealand, the video was filmed in November 2015, when Swift was in the Auckland area as part of her 1989 World Tour. The shoot was not without controversy, as Swift and her team were accused by local conservationists of flouting filming regulations on Bethells Beach .

The scenic clip finds Swift experiencing several adventures. It starts with her being chased by a pack of wolves before leaping off a cliff to escape and we also see her crawling through mud in the middle of a lightning storm, braving a snowy mountain in her blue dress and dealing with some clingy vines.

The video concludes with the empowering line, "She lost him. But she found herself. And somehow that was everything," which originally was part of the secret messages in the lyric-booklet of Swift's 1989 record.

Kahn said: "The entire video is Taylor suffering through an emotional landscape. It's a metaphor, being done practically on location."

Swift opened the Grammy Awards in 2016 with a performance of this song.

Van Morrison - Have I Told You Lately

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Van Morrison - Have I Told You Lately Youtube Music Videos and Lyrics

Album: Avalon Sunset
Released: 1989

Have I Told You Lately Lyrics

Have I Told You Lately Song Chart
Have I told you lately that I love you
Have I told you there's no one above you
Fill my heart with gladness
Take away my sadness
Ease my troubles, that's what you do

Oh the morning sun in all its glory
Greets the day with hope and comfort too
And you fill my life with laughter
You can make it better
Ease my troubles that's what you do

There's a love that's divine
And it's yours and it's mine
Like the sun
At the end of the day
We should give thanks and pray to the One

Have I told you lately that I love you
Have I told you there's no one above you
Fill my heart with gladness
Take away my sadness
Ease my troubles, that's what you do

There's a love that's divine
And it's yours and it's mine
And it shines like the sun
At the end of the day we will give thanks and pray to the One

Have I told you lately that I love you
Have I told you there's no one above you
Fill my heart with gladness
Take away my sadness
Ease my troubles, that's what you do

Take away my sadness
Fill my life with gladness
Ease my troubles that's what you do
Fill my life with gladness
Take away my sadness
Ease my troubles that's what you do

Writer/s: MORRISON, VAN
Publisher: Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Volbeat - Ecotone

Volbeat - Ecotone Youtube Music Videos and Lyrics

Album: Outlaw Gentlemen & Shady Ladies
Released: 2013

Ecotone Lyrics

I'm the wilderness that eats your bones
You crossed the mark from your civil zone
I might be narrow I might be wide
We share the same line at the same time

Alienized that's how I feel
One foot here and another there
And in between I'll find a name
But what I see is all the same

When you think you are alone
I'm right by your side
Well they call me Ecotone
The cold boundary knife

I'm the second when the lights go out
Caught in between there's no way out
The edge effect that what it is
But still in the center of the place

Changing colors right in front of you
Even though we are one in two
Sharing the balance of the ecotone
Makes the alien breathe no more

Well you thought you were alone
But it was right there by your side
Still they call me the ecotone
The boundary knife

Writer/s: MICHAEL POULSEN
Publisher: EMI Music Publishing
Lyrics licensed and provided by LyricFind

Ecotone Song Chart

Vocalist Michael Poulsen explained the song's meaning to Artist Direct : "If you Google 'Ecotone,' you'll get a really explanation about it," he said. "It's where if you're in the wilderness and you walk around, there will be a certain line where civilization and the wilderness meet exactly. However, there is a difference. You can plant a flower on one side of the line, and it will blossom. Fifteen centimeters away from that line, you won't be able to grow anything, it will die. It's a balance of a center where you almost are at the same place, but the differences are huge. It's where civilization actually meets the wilderness somehow. It's a very interesting subject."

"I took that and thought, "What if 'Ecotone' was something you had in your own system as a human being?" I made a lyric out of it," Poulsen continued. "It's a sensation area between two environments. It's where two communities meet and integrate. Imagine you're building new technology on one side, and the next second you're attacked by a tiger. It's definitely a cool subject."

Rod Stewart - Da Ya Think I'm Sexy?

Rod Stewart - Da Ya Think I'm Sexy? Youtube Music Videos and Lyrics

Album: Blondes Have More Fun
Released: 1978

Da Ya Think I'm Sexy? Lyrics

She sits alone, waiting for suggestions
He's so nervous, avoiding all the questions
His lips are dry, her heart is gently pounding
Don't you just know exactly what they're thinking?

If you want my body and you think I'm sexy
Come on, sugar, let me know
If you really need me, just reach out and touch me
Come on, honey, tell me so

He's acting shy, looking for an answer
Come on, honey, let's spend the night together
Now, hold on a minute before we go much further
Give me a dime so I can phone my mother
They catch a cab to his high-rise apartment
At last he can tell her exactly what his heart meant

If you want my body and you think I'm sexy
Come on, sugar, let me know
If you really need me, just reach out and touch me
Come on, honey, tell me so

His heart's beating like a drum
'Cause at last he's got this girl home
Relax, baby. Now we're all alone

They wake at dawn, 'cause all the birds are singing
Two total strangers, but that ain't what they're thinking
Outside it's cold, misty, and it's raining
They got each other. Neither one's complaining
He says, I'm sorry, but I'm out of milk and coffee
Never mind, sugar. We can watch the early movie

If you want my body and you think I'm sexy
Come on, sugar, let me know
If you really need me, just reach out and touch me
Come on, honey, tell me so

Writer/s: STEWART, ROD / HITCHINGS, DUANE / APPICE, CARMINE JR
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Da Ya Think I'm Sexy? Song Chart

Stewart was known for his soulful blues and folk ballads, but this song was a disco departure, and it gave him a new look. He attracted many new fans, but alienated many of his old ones, who had no interest in disco and fondly remembered Rod as a member of The Faces, where he earned a reputation as hard-rocking party animal. Reflecting on the song in the May 1995 issue of Mojo magazine, Stewart said: "I think it's one of those songs that everyone can remember what they were doing in that particular year. It was one of the 10 songs that summed up that whole dance/disco period. And that's what music's about surely, to bring back memories."

Speaking in Esquire in 2012, he said: "I used to be embarrassed to sing 'Da Ya Think I'm Sexy,' but people love it. So it's in the show."

Most of the music for this song was written by drummer Carmine Appice, who had recently joined Stewart's band. Appice told us: "We were in the studio and 'Miss You' by The Rolling Stones was a big hit. Rod was always a guy that used to listen to what was going on around him. He was always looking at the charts and listening. He was a big fan of The Rolling Stones, so when they came out with "Miss You," disco was really big at the time, so he wanted to do some kind of disco-y song, something like 'Miss You,' nothing like Gloria Gaynor.

With the band, he would always tell us, 'I want a song like this' or 'I want a song like that,' so I went home and I came up with a bunch or chords and a melody. I presented it to him via a friend of mine, Duane Hitchings, who is a songwriter who had a little studio. We went in his studio with his drum machines and his keyboards, and he made my chords sound better. We gave Rod a demo of the verses and the bridge, and Rod came up with the chorus. We played it with the band many, many ways before we got the correct arrangement with Tom Dowd. Unfortunately, they put so much stuff on it that it dwarfed the sound of the band. It made the band sound smaller because it had strings and two or three keyboard players, congas, and drums. When we were doing it, we thought it was going to be more like The Rolling Stones with just the band playing it. It came out and went to #1 everywhere."

The distinctive riff came from an instrumental song called "Taj Mahal" by a Brazilian musician named Jorge Ben. When Ben filed suit, Stewart agreed to give proceeds from the song to UNICEF. He later recalled in his book, Rod: The Autobiography: "I held my hand up straight away. Not that I'd stood in the studio and said, 'Here, I know we'll use that tune from Taj Mahal as the chorus. The writer lives in Brazil, so he'll never find out.' Clearly the melody had lodged itself in my memory and then resurfaced. Unconscious plagiarism, plain and simple."

There is a blues guitarist named Taj Mahal who made his own version of the song using this same riff. The title, and also the only lyrics in the song, is "Jorge Ben."

Co-writer Carmine Appice told us: "If you look at the lyrics, it was a story. Rod told stories in his songs: 'The Killing Of Georgie' was a story, 'Tonight's The Night' was a story. Any of his songs are like little mini-stories. This was a story of a guy meeting a chick in a club. At that time, that was a cool saying. If you listen to the lyrics - 'She sits alone, waiting for suggestions, he's so nervous...' - it's the feelings of what was going on in a dance club. The guy sees a chick he digs, she's nervous and he's nervous and she's alone and doesn't know what's going on, then they end up at his place having sex, and then she's gone."

Stewart claims this song is not about him, as it is sung in the third person.

Stewart used the title as the name of his 1978 tour. He would wear tight spandex and gyrate on stage. When he sang the title line, hoards of women would scream back, "Yes!"

This went along with the Hollywood lifestyle Stewart had adopted. He moved from England to Los Angeles in 1975 and quickly fit in with the glamorous crowd. Dating blonde models was his specialty.

This was promoted by an unusual "video-within-a-video." It showed people watching him perform this on a "television screen." The concert footage was taped first - whenever Stewart forgot the lyrics, he'd turn his face away from the camera.

Stewart was ahead of his time from a marketing standpoint. Not only did he make a video for this song before MTV was even a glimmer, but he also released a limited edition 12" version, which was guaranteed to be a collector's item because only 300,000 were made. The album was also released as a limited edition picture disc, which contained graphics printed directly on the vinyl as well as a cardboard pull-out of Stewart's face. 100,000 copies were pressed.

A Chicago disc jockey named Steve Dahl released a parody of this called "Do You Think I'm Disco?" which became a weapon in the war to rid the world of disco music.

Disco Demolition Night took place at Comiskey Park in Chicago on July 12, 1979. Between games of a doubleheader between the Chicago White Sox and Detroit Tigers, radio personality Steve Dahl blew up a box of disco records in the outfield. Fans were given reduced admission for bringing unwanted disco records to the game, resulting in a huge crowd that was there for the mayhem rather than the baseball. Chaos ensued as the crowd rushed the field, tearing up the grass and making the second game unplayable.

Paris Hilton recorded this in 2006 on her first album.

This was used in an animated TV commercial for Chips Ahoy! where a cartoon cookie sings.

The string line came from the Bobby Womack song "If You Want My Love, Put Something Down On It." Said Stewart: "I told Bobby and he thought that was real cute - 'cos you can nick string lines without breaching copyright."

Stewart was slagged by critics for the song's provocative lyrics and for a promotional drive featuring him in a skin-tight Spandex outfit. He writes in his book, Rod: The Autobiography, "Music critics... wrote off 'Da Ya Think I'm Sexy?' as the work of a terrible show-off. It was only a pop record, but you'd have thought I'd poisoned the water supply... It didn't help that the marketing campaign for the single had me stretched out in full Spandex-clad glory beneath the slogan 'Da Ya Think I'm Sexy?'"

This seems like a song that would become dated quickly, but it remained a crowd favorite throughout Stewart's career. He played it on tours in every decade, fully aware of the camp factor. At concerts in 2015, a quote from his younger days would appear on the video screen when he performed the song: "I don't want to be singing 'Da Ya Think I'm Sexy?' at age 50 and be a parody of myself."

Years & Years - Desire

Years & Years - Desire Youtube Music Videos and Lyrics

Album: Y & Y EP
Released: 2014

Desire Lyrics

I must be tough
I must behave, I must keep fighting
Don't give it up
I want to keep us compromising

Open your arms and pray
To the truth that you're denying
Give in to the game
To the sense that you've been hiding

Where are you taking me?
I can't be blamed
I want you to want me again

Is it Desire
Or is it love that I'm feeling for you
I want desire
'Cause your love only gets me abused

Give me that rush
I want to show you what you've been missing
Am I enough
To keep your other lovers hidden

Where are you taking me?
I can't be blamed
I want you to want me again

Is it desire
Or is it love that I'm feeling for you
I want desire
'Cause your love only gets me abused

Is it desire (is it desire)
Or is it love that I'm feeling for you
I want desire
I wanna see what you're willing to lose

You know that you've got me
You've locked me down
You tell me you want me
You need it now
You know that you've got me
You've locked me down
You tell me you want me now

Is it desire? (Is it desire)
Or is it love that I'm feeling for you
I want desire (I want desire)
'Cause your love only gets me abused

Is it desire? (Is it desire)
Or is it love that I'm feeling for you? (That I'm feeling for you)
I want desire
I wanna see what you're willing to lose (ooh what you're willing to lose)

Writer/s: HULL, THOMAS EDWARD PERCY / JEFFERIES, ANTHONY PAUL / DALEY, DANIEL ANTHONY BEAUCLERC / CHIN, MITCHUM KHAN / WARE, JESSICA
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Desire Song Chart

Years & Years are a soulful electronic pop trio who formed in 2010. Their vocalist Olly Alexander is also a successful actor having featured in a number of films including Tormented, Enter the Void, and Great Expectations as well as also playing Jakob in the TV series Skins. He joined the band after guitarist Mikey Goldsworthy heard him singing in the shower.

This is the third single released by the band. "We started writing the chorus first, which isn't usually how we write, as 'desire' became the hook and statement," Alexander explained. "The track reminded us of those big '90s house tunes, which we took a lot of inspiration from, including Chicago house, so we wanted to keep that same energy and pace throughout."

The song's music video was directed by Sing J Lee (Gorgon City's "Ready For Your Love," Charli XCX's "Boom Clap"). "After getting hooked on the track, the boys sent a note through about the meaning of the song, a cyclical conflict of being a slave to desire and the blurring between the lines of lust and love," Lee explained.

"This in mind, I wanted to create something sensual and surreal, and it felt right that we should visit a strange world set within an apartment block and fleetingly peer into the lives of characters as they voyeuristically and hungrily fantasize over watching each other," he added, "with Olly playing the enigmatic raconteur."

Rod Stewart - Maggie May

Rod Stewart - Maggie May Youtube Music Videos and Lyrics

Album: Every Picture Tells A Story
Released: 1971

Maggie May Lyrics

Wake up, Maggie I think I got something to say to you
It's late September and I really should be back at school
I know I keep you amused, but I feel I'm being used
Oh, Maggie, I couldn't have tried any more
You led me away from home
Just to save you from being alone
You stole my heart, and that's what really hurts

The morning sun, when it's in your face really shows your age
But that don't worry me none in my eyes, you're everything

I laughed at all of your jokes
My love you didn't need to coax
Oh, Maggie, I couldn't have tried any more

You led me away from home
Just to save you from being alone
You stole my soul, and that's a pain I can do without.

All I needed was a friend to lend a guiding hand
But you turned into a lover, and, mother, what a lover you wore me out
All you did was wreck my bed
And, in the morning, kick me in the head
Oh, Maggie, I couldn't have tried any more
You led me away from home
'Cause you didn't want to be alone
You stole my heart, I couldn't leave you if I tried

I suppose I could collect my books and get on back to school
Or steal my daddy's cue and make a living out of playing pool
Or find myself a rock 'n' roll band
That needs a helping hand
Oh, Maggie, I wish I'd never seen your face
You made a first-class fool out of me
But I'm as blind as a fool can be
You stole my heart, but I love you anyway

Maggie I wish that I'd never seen your face
I'll get a ride home one of these days

Writer/s: QUITTENTON, MARTIN / STEWART, ROD
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Maggie May Song Chart

This song is about the woman who deflowered Stewart when he was 16. In the January 2007 issue of Q magazine, Stewart said: "Maggie May was more or less a true story, about the first woman I had sex with, at the Beaulieu Jazz Festival. It nearly got left off because the label said it didn't have a melody. I said, 'Well, we've run out of time now, these are all the tracks we've recorded. They said, Alright, then, bring it on."

The name "Maggie May" does not occur in the song; Rod borrowed the title from a Liverpool folk song about a Lime Street prostitute.

Stewart liked the play on words the title created, sometimes introducing the song by saying, "This is 'Maggie May' - sometimes she did, sometimes she didn't."

In his memoir Rod: The Autobiography, Stewart provided details of the experience that led to this song. Wrote Stewart: "At 16, I went to the Beaulieu Jazz Festival in the New Forest. I'd snuck in with some mates via an overflow sewage pipe. And there on a secluded patch of grass, I lost my not-remotely-prized virginity with an older (and larger) woman who'd come on to me very strongly in the beer tent. How much older, I can't tell you - but old enough to be highly disappointed by the brevity of the experience."

Remarkably, there is video of Stewart at the festival .

Stewart's record company didn't think this was a hit, so they released it as the B-side of "Reason To Believe." Disc jockeys liked "Maggie" better, so they played it as the single instead. The first station to flip the single and play it as the A-side was WOKY in Milwaukee.

Every Picture Tells A Story was Stewart's third solo album, and the one that made him a superstar. It was recorded at Morgan Sound Studios in Willesden with drummer Mickey Waller, guitarist Martin Quittenton, and Stewart's Faces mate Ronnie Wood among the musicians.

Stewart got the idea for the song during a US tour with the Faces. He completed the song with Quittenton, who came up with the intro and wrote the chords. The song came together quickly in the studio, helped along by the Ray Jackson mandolin contribution - Jackson had been hired to perform on the song "Mandolin Wind," which is why he was available. Stewart asked Jackson to play something they might use to end the song, which he improvised on the spot.

Quittenton, who is listed as the song's co-writter along with Stewart, told the Daily Mail: "We didn’t think it was very good. Never in anyone’s wildest dreams was it a Pop standard."

Quittenton said that when the song became a hit, he was working in a record shop for £7 a week. His royalties for the song would eventually amount to about £25,000 a year. He declined Stewart's offer to join the Faces, and left the music business a short time later after suffering a nervous breakdown. Quittenton also co-wrote Stewart's hit "You Wear It Well."

This became a huge hit in England and America, topping both the UK and US charts at the same time. Every Picture Tells A Story was also the #1 album on both sides of the Atlantic, making him the first artist to have the #1 song and album in both the US and UK simultaneously. Stewart's success in the UK was expected, as he had a following there as a member of The Faces, but he was little known in America before "Maggie May" took off.

Stewart was the lead singer of The Faces when this was released. He put out solo albums while he was with the band because of contract obligations. When this became a hit, Faces shows were billed as "The Faces with Rod Stewart." He became the focus of the group.

Ray Jackson, a British musician who played in the band Lindisfarne, played the mandolin on this song and a few others for Stewart. In 2003, Jackson threatened legal action against Stewart, claiming he deserved a writing credit for his contribution. Jackson, who says he made just the standard £15 session fee for his work, stated: "I am convinced that my contribution to Maggie May, which occurred in the early stages of my career when I was just becoming famous for my work with Lindisfarne, was essential to the success of the record."

Stewart employed Jackson on subsequent recordings, but didn't hear about his beef with the composer credit until the '80s. Stewart's retort (through a spokesman): "As is always the case in the studio, any musical contributions he may have made were fully paid for at the time as 'work-for-hire.'"

Adding insult is Jackson's credit on the album notes, which reads: "The mandolin was played by the mandolin player in Lindisfarne. The name slips my mind."

Jackson never brought the case to court, but his threat did illuminate his contribution and help publicize his artistic endeavors.

In October 1971 Stewart became the first artist in history to hold all four #1 positions in the British and American singles and albums charts. While "Maggie May" topped the singles tally in both territories, Every Picture Tells A Story achieved the same feat on the album charts.

Stewart moved to America a few years after this came out. He was doing very well there, but also wanted to avoid the huge taxes England levied on high-income entertainers. This was around the same time The Rolling Stones left England for tax reasons. Their album Exile on Main St. is a reference to their "tax exile" status.

Yellowcard - My Mountain

Yellowcard - My Mountain Youtube Music Videos and Lyrics

Album: Lift a Sail
Released: 2014

My Mountain Lyrics

I am on My Mountain
I am there with her
I can see it all so clear
I am young again up here

I can't come back from where I've gone, but I'll be close
I've left myself in every song and every note
And if you need me, I will never be too far
I'm always with you, like the child in your heart
Yeah!

I have found my mountain
I can be with her
When I finally came across,
I recovered all I lost

I can't come back from where I've gone, but I'll be close
I've left myself in every song and every note
And if you need me, I will never be too far
I'm always with you, like the child in your heart
Yeah!

I can't come back from where I've gone, but I'll be close
I've left myself in every song and every note
And if you need me, I will never be too far
I'm always with you like the child in your heart

I am on my mountain
I am there with her
I have found my mountain
I can be with her
Be with her

Writer/s: RYAN MENDEZ, SEAN MACKIN, RYAN KEY
Publisher: RAZOR & TIE DIRECT LLC
Lyrics licensed and provided by LyricFind

My Mountain Song Chart

Yellowcard frontman Ryan Key wrote this about his grandfather, a poet who passed away in 2014. His dying wish was to have his ashes scattered on a family property in the Blue Ridge Mountains of North Carolina, next to one of his daughters. Key's lyrics imagine his grandfather looking out from his final resting place, "As my grandfather was passing, in hospice, he kept asking my mom if he was on the mountain yet," recalled the singer. "And my mom kept saying, 'You'll be there soon.'"

Yellowcard fans will know Key's grandfather as the voice reading a love letter to his wife on "Dear Bobbie" from 2007's Paper Walls.

Ozzy Osbourne - Crazy Train

Ozzy Osbourne - Crazy Train Youtube Music Videos and Lyrics

Album: Blizzard of Ozz
Released: 1980

Crazy Train Lyrics

All aboard! ha ha ha ha ha ha ha!

Ay, ay, ay, ay, ay, ay, ay

Crazy, but that's how it goes
Millions of people living as foes
Maybe it's not too late
To learn how to love
And forget how to hate

Mental wounds not healing
Life's a bitter shame
I'm going off the rails on a Crazy Train
I'm going off the rails on a crazy train

Let's go!
I've listened to preachers
I've listened to fools
I've watched all the dropouts
Who make their own rules
One person conditioned to rule and control
The media sells it and you live the role

Mental wounds still screaming
Driving me insane
I'm going off the rails on a crazy train
I'm going off the rails on a crazy train

I know that things are going wrong for me
You gotta listen to my words
Yeah

Heirs of a cold war
That's what we've become
Inheriting troubles I'm mentally numb
Crazy, I just cannot bear
I'm living with something' that just isn't fair

Mental wounds not healing
Who and what's to blame
I'm going off the rails on a crazy train
I'm going off the rails on a crazy train

Writer/s: O. OSBOURNE, R. DAISLEY, R. RHODES
Publisher: NEWMAN & COMPANY CHARTERED ACCOUNTANTS
Lyrics licensed and provided by LyricFind

Crazy Train Song Chart

In this song, Ozzy asks when we can all learn to love in a world gone mad. Ozzy wrote the song with guitarist Randy Rhoads and bass player Bob Daisley. In our interview with Daisley , he explained how it came together:

"Randy had the basic riff, the signature riff. Then we worked on music together. He needed something to solo on so I came up with a chord pattern and the section for him to solo over.

Before it was called 'Crazy Train,' before we even had a title, Randy and I were working on the music. He had his effects pedals, and coming through his amp was a weird kind of chugging sound. It was a phase-y kind of psychedelic effect, this chugging sound that was coming through his amp from his effects pedal.

Randy was into trains - he used to collect model trains and so did I. I've always been a train buff and so was Randy. So I said, 'Randy, that sounds like a train. But it sounds nuts.' And I said, 'A crazy train.'

Well, that's when the title first was born. And then Ozzy was singing melodies and he was phrasing exactly how it ended up. And I started writing lyrics to it."

While many believe that this is yet another Ozzy song about insanity, it's actually about the Cold War. Evidence in the lyrics: "Millions of people living as foes," "One person conditioned to rule and control; The media sells it and you live the role," "Heirs of a cold war, that's what we've become. Inheriting troubles I'm mentally numb." The relevant acronym was "M.A.D." (Mutually Assured Destruction), a doctrine which basically amounts to "if they shoot their nukes at us, we'll shoot ours right back, and that would be the end of the world that nobody wants, so it won't happen... as long as we keep pointing nukes at each other." Hence, "crazy" is another word for "mad."

The M.A.D. logic actually extends from "Nash equilibrium", a concept of zero-sum strategy first theorized by game theory mathematician John Nash. You'll remember him as a character from the 2001 film A Beautiful Mind. The acronym M.A.D. was formulated by computer science pioneer John von Neumann, who had a taste for satirical humor. In fact, this concept, and the "Doomsday Device" idea behind it (coined by war strategist Herman Kahn), forms the entire basis for Stanley Kubrick's 1964 film Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb. The real-life version of the device is the "Dead Hand" control system deployed by the Soviets. Cold-War paranoia extended from the 1950s until the famous end to it in 1991. By the way, the actual term "Cold War" was coined by one George Orwell, in his essay "You and the Atomic Bomb."

Randy Rhoads was Ozzy's guitarist on this song - he was in Quiet Riot before joining Osbourne. Like most of the guitar solos he recorded with Ozzy, Rhoads had to "double" all his guitar parts. This means he had to play every note of this very difficult solo exactly the same way, twice. This is one reason why the solo on the recording sounds so unique. Rhoads was a very proficient and influential guitar player. (thanks, Dave - Marieta, GA)

This was the first single Ozzy Osbourne released after leaving Black Sabbath in 1978. He left the band after a particularly heated dispute with guitarist Tony Iommi, at which time Ozzy was painted as a substance-abusing layabout by his former bandmates. "Crazy Train" was a triumph for Ozzy in that he proved that he could succeed outside of the Sabbath shelter, albeit with lots of help.

Osbourne got his riffs from Randy Rhoads and his lyrics from Bob Daisley on Blizzard of Ozz, which was formed as a band, not a solo effort. The trio wrote the songs together, later adding drummer Lee Kerslake to complete the band. Their label, Jet Records (owned by Don Arden, Ozzy's future father-in-law), made the project look like a solo effort by putting Ozzy alone on the album cover and his name in big letters on top of the words "Blizzard of Ozz." The "Crazy Train" single had the band name in large print with Ozzy's name above it. This was as close as they would get to being billed as a band on their releases, even though promotional photos and reviews from the time show that Blizzard of Ozz was supposed to be the band name.

This appropriation was a sticking point for Rhoads, Daisley and Kerslake, but they stayed with Ozzy for his next album, Diary of a Madman, which when issued in 1981 was not just listed as an Ozzy solo album, but listed Rudy Sarzo and Tommy Aldridge on bass and drums instead of Daisley and Kerslake. Legal entanglement followed, and Rhoads died in 1982. In the end, Osbourne's post-Sabbath output was disproportionately attributed to Ozzy, and "Crazy Train" is generally considered his first solo single.

The 1987 live double-album Tribute contains a version of this which is a tribute to Randy Rhoads. Rhoads played on Ozzy's first two solo albums before he died in a plane crash while the band was touring in Florida in 1982. He was 25.

The sound at the end is a studio engineer saying "An Egg" through an oscillator. Ozzy had asked him what he had for breakfast that morning.

In America, "Crazy Train" bubbled under on the Hot 100, spending one week at #106. It's influence is far greater than its chart showing, as it became one of Ozzy's signature songs and helped the Blizzard of Ozz album sell over one million copies in the US over the next two years. It eventually would sell over 3 million in the US and launch Ozzy toward media domination in America, where with the help of his wife, Sharon, he would start a successful festival (Ozzfest) and get his own reality show on MTV. Not bad for a British Heavy Metal singer.

In 1999, this was used in Mitsubishi car commercials.

This was covered by Pat Boone, former gospel singer and Ozzy's old neighbor, for the album In a Metal Mood. His cover used a whistle and backup singers cooing "Choo, choo" as he sang it in a lazy, Las Vegas style. It gained popularity when it was used as the theme song for MTV's smash hit The Osbournes, and it was included on The Osbourne Family Album with a recording of Jack describing what a great neighbor Pat was. According to Jack, he dealt with everything you see on the show and more - logs flying through the window, constant yelling from the next house, etc.- and never complained once. Pictures exist showing Ozzy at Pat's house, in his garden, by his pool, etc. (thanks, Brett - Edmonton, Canada)

The instrumental of this song provided the beat to the Trick Daddy w/ Twista & Lil Jon track "Let's Go," which made #7 US in 2004. It was also interpolated on the Hollywood Undead song "Undead," which made #104 in 2009.

Smokey Robinson - Love Bath

Smokey Robinson - Love Bath Youtube Music Videos and Lyrics

Album: Time Flies When You're Having Fun
Released: 2009

Love Bath Lyrics

Love Bath Song Chart

Black Sabbath - Sweet Leaf

Black Sabbath - Sweet Leaf Youtube Music Videos and Lyrics

Album: Master Of Reality
Released: 1971

Sweet Leaf Lyrics

Alright now.
Won't you listen?

When I first met you, didn't realize
I can't forget you, for your surprise
You introduced me, to my mind
And left me wanting, you and your kind

I love you, oh you know it

My life was empty, forever on a down
Until you took me, showed me around
My life is free now, my life is clear
I love you Sweet Leaf, though you can't hear

Come on now, try it out

Straight people don't know, what you're about
They put you down and shut you out
You gave to me a new belief
And soon the world will love you sweet leaf

Writer/s: FRANK IOMMI, WILLIAM WARD, TERENCE BUTLER, JOHN OSBOURNE
Publisher: T.R.O. INC.
Lyrics licensed and provided by LyricFind

Sweet Leaf Song Chart

This song is about marijuana, and makes little attempt to disguise it. The band did a lot of marijuana and many other drugs around this time.

This was the song that coined the phrase "Sweet Leaf" as slang for marijuana. They got the name from a pack of Irish Cigarettes that said "It's the sweet leaf." They thought that Sweet Leaf was a great description of marijuana, and the entire band wrote the song together. (thanks, Brett - Edmonton, Canada)

The sound at the beginning is Tony Iommi coughing after inhaling marijuana smoke from a bong.

Godsmack covered this on the 2000 Black Sabbath tribute album Nativity In Black II.

The guitar riff was taken from Frank Zappa & The Mothers of Invention's "Hungry Freaks, Daddy." This riff can also be heard at the end of the Red Hot Chili Peppers song "Give It Away" and is the basis for the song "Rhymin' and Stealin'" by The Beastie Boys. (thanks, mike - Asheville, NC)

A Sabbath tribute band from Denmark is named Sweet Leaf.

This has been covered by Next Step Up, Stock Mojo, Garbage, Ancient, Ugly Kid Joe, Butthole Surfers, Mogwai, Stereolab, Agent Steel, Pimpadelic, Cadaver, and Widespread Panic. (thanks, Brett - Edmonton, Canada)

O.A.R. - I Will Find You

O.A.R. - I Will Find You Youtube Music Videos and Lyrics

Album: The Rockville LP
Released: 2014

I Will Find You Lyrics

I Will Find You Song Chart

O.A.R. frontman Marc Roberge wrote this song with the band's drummer Chris Culos and a singer/songwriter from Chicago named Danny Chaimson. The last track on the album, the song is 9-minutes long.

As Marc Roberge explained in our 2014 interview , it took him about a year to come up with his lyric for this song. He had lots of notes and ideas, but nothing came together until he just scrapped everything he had and started singing. He recorded this spur-of-the-moment vocal in his home studio, and that ended up being used on the recording.

Black Sabbath - Fairies Wear Boots

Black Sabbath - Fairies Wear Boots Youtube Music Videos and Lyrics

Album: Paranoid
Released: 1970

Fairies Wear Boots Lyrics

Goin' home, late last night
Suddenly I got a fright
Yeah I looked through a window and surprised what I saw
A fairy with boots and dancin' with a dwarf,
All right now!

Yeah, Fairies Wear Boots and you gotta believe me
Yeah I saw it, I saw it, I tell you no lies
Yeah Fairies wear boots and you gotta believe me
I saw it, I saw it with my own two eyes,
Oh all right now!

Yeah, fairies wear boots and you gotta believe me
Yeah I saw it, I saw it, I tell you no lies
Yeah fairies wear boots and you gotta believe me
I saw it, I saw it with my own two eyes,
All right now!

So I went to the doctor
See what he could give me
He said Son, son, you've gone too far.
'Cause smokin' and trippin' is all that you do.

Writer/s: F. IOMMI, W. WARD, T. BUTLER, J. OSBOURNE
Publisher: T.R.O. INC.
Lyrics licensed and provided by LyricFind

Fairies Wear Boots Song Chart

This song is about Skinheads. At the time in England, Skinheads were not racists, but punks and anarchists. They usually wore boots, which is how Sabbath got the title. Regarding the rest of the words, guitarist Tony Iommi said, "We smoked a lot of dope, so that might be why some of the lyrics are a bit unusual."

The lyrics were inspired by an incident after a Sabbath concert in 1970. The band was attacked by a bunch of Skinheads after the show, injuring Tony Iommi and forcing them to cancel their next performance.

The intro is called "Jack The Stripper." It is listed as its own song on US versions of the album.

Floatsam and Jetsam, Phantom Blue, and Toilet Boys all covered this. (thanks, Brett - Edmonton, Canada)