| Motörhead – Too Late, Too Late Lyrics | 10 years ago |
| Yeah I was born on 1987 | |
| Lamb of God – Redneck Lyrics | 11 years ago |
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Generally, it's not about any one person in particular. It's about people in the music industry whose egos become needlessly inflated and they show it. It's a general song. It's applicable to anyone in their life. If a fan thinks, "Oh, well, this guy is a prick," go ahead and take it and make it yours. Randy Blythe |
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| Lamb of God – Pariah Lyrics | 11 years ago |
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" 'Pariah' was written about a certain individual who used to live in my beloved city, the former capital of the Confederacy, who I did not get along with too well. He was a fucking heroin junkie and was just an awful person. I had a couple of unpleasant run-ins with him and he was just a real shitbag, basically. I despised him so much that I wrote a song about him." Randy Blythe |
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| Level 42 – The Sun Goes Down Lyrics | 11 years ago |
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"The Sun Goes Down (Living It Up)" is a single released in 1983 by the musical group Level 42. It is one of the few songs by the group which featured Mike Lindup on lead vocals (although Mark King did contribute as lead vocalist on this track). After the success of The Chinese Way, and of the album The Pursuit of Accidents, this song featured on the newly released Standing in the Light album. The first single from the album, "Out Of Sight, Out Of Mind", did not obtain the expected success for the recording and for the members of the band, leaving the whole expectation for the second single, The Sun Goes Down. The song was outstanding in the career of the band, and it became a classic. Reaching No. 10 in the UK charts in the summer of 1983, it became their first single to reach the top ten. It was included later in the collection Level Best, and features on other compilation albums released by the band. |
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| Fall Out Boy – I Don't Care Lyrics | 11 years ago |
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"I Don't Care" is a song by American rock band Fall Out Boy and the lead single from their fifth studio album Folie à Deux in 2008. It was first available for listening on the band's website and mozes.com on September 3, 2008. The song was released to iTunes on September 8, 2008. It is its album's best known song, being certified platinum by the Recording Industry Association of America (RIAA), denoting shipments of one million units. In the United States, the song reached No. 21 the Billboard Hot 100, 19 places lower than the No. 2 lead single, "This Ain't a Scene, It's an Arms Race", of the band's previous 2007 album Infinity on High. It received radio play at Modern Rock and Pop stations, charting at No. 21 on Billboard's Hot Modern Rock Tracks and No. 22 on the defunct-Pop 100 chart. The song has been described as a very political track by Patrick Stump, the lead vocalist and guitarist of the band, but not political in the traditional sense; more about the politics of a relationship. Stump has said that this song is about the superficiality and selfishness that is associated with pop culture. The song was ranked No. 68 on Rolling Stone's list of the 100 Best Songs of 2008 "Like the chorus says, 'I don't care what you think as long as it's about me.' It's that pop culture thing again, where people don't care about anything but the superficial, and I think there's something so tragic about that. I also thought there was something so ironically anthemic about the chorus, where it's not something you want to sing along to, because it's vacuous and empty. So I wanted something really anthemic underneath it, like something you'd hear at sports games or whatever, because I wanted people to hear it and be confronted with how empty that is. I didn't want anything to be superficial on this record unless the point was to point out superficiality." -- Patrick Stump on the song's message. Wentz referred to "I Don't Care" as a "narcissist's anthem", further commenting that "To me, it's like a YouTube anthem for the YouTube generation, just about how our attention span is about seven seconds it asks, 'Why can't we get people to pay attention for two minutes and 35 seconds The music video was released exclusively on iTunes on September 25, 2008. It was then uploaded to YouTube the next day by Fall Out Boy on their official YouTube channel. The video was directed by Alan Ferguson. Guns N' Roses alum Gilby Clarke opens the video by greeting the band members as they enter the green room of a French-language talk show. They sit down, then Clarke turns to a companion and blurts out, "What the hell happened to rock and roll? Eyeliner? Energy drinks? And no guitar solos? I've taken shits with bigger rock stars than them!" As the video progresses, the band members are then shown in various scenes causing trouble on the streets of Los Angeles -- harassing street performers, shoplifting disguised as nuns, pelting people with water balloons, urinating in the street–interspersed with clips of the band performing. During this footage, a graphic of a cat eating spaghetti appears abruptly, alluding to an incident on The Morning Show with Mike and Juliet, where producers used the same graphic to censor out obscene gestures by a guest.[4] The rapper Tyga appears in the video. Near the end of the video, the band members are exposed as imposters, as all of them remove their masks to reveal their true identities: Andy Hurley turns out to be Mark Hoppus, Patrick Stump is Pharrell, Joe Trohman is Gabe Saporta, and Pete Wentz is Spencer Pratt. Meanwhile, a hustling woman celebrity shown earlier in the video pulls off her mask and shows herself to be Pete in a dress. Viewers are returned to the green room, where Clarke, still mocking the band, tears off his mask and reveals himself as possibly Sarah Palin. "Palin" gives her trademark wink to the audience as the video ends. When asked about his view on the video, Wentz replied: It's a series of vignettes, and in the end, the joke is: Everyone in the world who is famous is just a WWE character. And some of you are Hulk Hogan, and some of you are The Undertaker, and it's awesome. It's just as great to come out to the boos. This one is about portraying the band, too, because there's been videos where it's been about individual characters, and this one is really a band-based video. Everyone has really equal face time, and there's a communist aspect to the video in the imagery, but we're also trying to [make] something that's equal. |
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| Nick Kershaw – Wouldn't It Be Good Lyrics | 11 years ago |
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"Wouldn't It Be Good" is a song written and recorded by singer Nik Kershaw for his 1984 studio album Human Racing. The song has been covered by numerous artists since, including Placebo, Danny Hutton Hitters, Cascada, and Soulwax. The second single from Kershaw's debut solo album Human Racing, it was among his more popular singles spending three weeks at #4 in the UK charts and becoming a hit throughout Europe. It is also the song with which he is most closely associated in the U.S., where it narrowly missed going Top 40. Kershaw performed this song at Live Aid in London's Wembley Stadium, in July 1985. Kershaw's prior single, his debut, had failed to be a major hit, and it was on the strength of this record's success that the earlier single, "I Won't Let the Sun Go Down on Me", was promoted for a re-release. This time the single went all the way to #2 in the UK, becoming his highest-charting single there to date. "Wouldn't It Be Good" was released in a single version and an extended 12" version. The main synth tune was produced using a combination of PPG Wave 2.2 and a Yamaha DX7. A remix by Simon Boswell, clocking in at 7:20, appears on the album Retro:Active 4: Rare & Remixed. Nik Kershaw's "Wouldn't It Be Good" plays in the background of a scene from Gotcha!, an action film released in 1985. It also features in Grand Theft Auto: Vice City Stories on the radio station "Flash FM" set in 1984 in a metropolitan area patterned after Miami, Florida. The song was also featured in two Ricky Gervais projects, Episode 6 Season 2 of the British TV comedy "Extras" and the "Living With Ricky" special feature on his DVD Politics. In 2009, VH1 listed the song as #88 among their 100 Greatest One-Hit Wonders of the '80s. It also appeared on the "Pretty in Pink" soundtrack. This song was first covered by Danny Hutton's Hitters for the 1986 John Hughes film Pretty in Pink, starring Molly Ringwald. This song was also covered by American girl group She Moves on their 1997 debut album Breaking All The Rules. A Eurotrance group called Pure Pressure also covered the song in a 2002 release by the Zeitgeist label. In 2002, the song was covered by the second season finalists of the French Star Academy program on the album Star Academy fait sa boum, sung by Nolwenn Leroy and Georges-Alain Jones. In 2008, a version by Tina Arena was released on the album Songs of Love & Loss 2. Alternative rock band Placebo features a cover as the B-side to their June 2009 single "For What It's Worth". Soulwax covered "Wouldn't It Be Good" on their album Much Against Everyone's Advice in 1997. German singer Juliane Werding covered the song with a German text in 1984. German gothic rock act ASP released a cover of the song as a bonus track on the deluxe edition of their 2011 album Fremd. |
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| Nick Kershaw – I Won't Let The Sun Go Down On Me Lyrics | 11 years ago |
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"I Won't Let the Sun Go Down on Me" is a song by singer Nik Kershaw, first released on his hit debut album Human Racing. The song was written during the latter part of the Cold War period when nuclear war between the two superpowers of the USSR and USA was still a very real concern, and the lyrics reflect a satirical view of politics and the threat of war with lines such as: "old men in stripey trousers, rule the world with plastic smiles", and: "forefinger on the button, is he blue or is he red?" "I Won't Let the Sun Go Down on Me" only reached number 47 in the UK charts when first released. However, the follow-up single from the same album, "Wouldn't It Be Good", reached the top five and on the back of that success "I Won't ..." was re-released and soared to number two. It was also subsequently a major hit in several other countries and was responsible for bringing Nik Kershaw to greater public attention. In Kershaw's version, the synth tune was produced with an Oberheim OB-8 played by Paul Wickens (Wix). |
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| Fear Factory – Descent Lyrics | 11 years ago |
| As he wakes up and looks to the sky he realizes that his life is worth the effort, so he keeps going | |
| Radiohead – 2 + 2 = 5 (The Lukewarm) Lyrics | 11 years ago |
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The song's title recalls the symbol of unreality from George Orwell's novel Nineteen Eighty-Four. In the book, inhabitants of an authoritarian future state are made to engage in doublethink, replacing their own conscience and beliefs with those imposed from above. The 'Thought Police' in the novel coerce self-aware citizens into admitting that two plus two equals five to prove the point that even though two plus two does not logically equal five, logic does not matter when no one else is willing to agree that two plus two equals anything else, under threat of pain or death. Hail to the Thief lists subtitles, or alternative titles, for each of its songs. The alternative title for "2 + 2 = 5" is "The Lukewarm.". Singer Thom Yorke has mentioned it as a reference to the works of Dante Hail to the Thief's opening track is a rock song that builds to a loud climax. Its title references the slogan "two plus two equals five" from George Orwell's Nineteen Eighty-Four. The song's subtitle was taken from Dante's Inferno; Yorke explained that, according to Dante, the "lukewarm" are "the people who don't give a fuck ... The lukewarm are on the edge of the Inferno, cruising around near the gates but they can't actually get out. They're like, 'What are we doing here? We didn't do anything at all.' And in Dante's eyes it's, 'That's exactly why you're here. You did fuck all. You just let it happen.'"[ |
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| Radiohead – Sulk Lyrics | 11 years ago |
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One of Thom's earliest creations, this song was inspired by a ruthless and unexplained killing spree conducted by a lone gunman in Hungerford, England, in 1987. Although its original concluding lyrics were "just shoot your gun," these were changed when the song was recorded in late 1994. This was because the death of Kurt Cobain was still weighing heavily on people's minds while the Hungerford killings were not; Thom chose to change the lyrics so that no one would think the song was about the late Nirvana leader. "Sulk" is rarely heard live: the band played it in concert a few times in 1994, even less often in 1995, and never again after that. Not a lot of people think much of this track. I mean, it's good, but no one ever thinks its all that great. I reckon it's quite a classy track, myself. The guitars towards the end are excellent, and the way Thom sings the chorus is great. |
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| Fear Factory – Descent Lyrics | 11 years ago |
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Fade from black to the same monitor as before. Already flashing across the screen are multiple images of violence, depravity, and despair. These are auditory illusions that will relate to mechanisms normally enhancing accuracy of perception. EDGECRUSHER is alone. He has grown tired, and appears worn out. He has been running for so long from the grasp of SMASHER/DEVOURER, and evading the scope of SECURITRON. His situation is looking bleak, and the stress and angst wear on his face heavily. He ponders his own outcome, calculating every living moment of his life with the variables of his own actions. He dwells upon his life, and what it actually amounts to. He asks himself if he is merely becoming a repetition in the overall machine. Has his quest for freedom become a meaningless descent into oblivion? EDGECRUSHER stops in an abandoned building to rest himself. As he falls to sleep on a cold, flat floor, he repeats the same words as he does every night: |
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| Fear Factory – Resurrection Lyrics | 11 years ago |
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Among the shadows, EDGECRUSHER witnesses the entire event. The unnecessary maximization of injudicious power. He thinks to himself: "How weak... where did our humanity disappear to? Where does the soul of man reside now? Locked away inside the fear, the machine that perpetuates ignorance? In order to save humanity, we must first give a damn! We must respect ourselves as a free-thinking culture and procreate compassion for one another. Without compassion, man will certainly become obsolete. A vague reflection of a long dead existence..." As he eludes the enforcers, he unknowingly enters an abandoned building. It is dark, cold, and deserted. There is a ray of light piercing the darkness from a window high above. The light exposes rows of old, wooden seats. One row on either side. In the shadows, behind the ray of light, he sees a statue of a man, hanging vertically with his arms spread out side to side. He has seen this image before, but a very long time ago. Almost like a faded memory. He contemplates whether it was a myth or a legend. As he walks up to the figure, he views the colored glass on the walls, and the paintings of man with glowing orbs around their heads. Now standing adjacent to the statue, he extends his arm with a curious hand to touch the tired-looking face of the forgotten man. |
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| The Boomtown Rats – Diamond Smiles Lyrics | 11 years ago |
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"Diamond Smiles" was the second single from The Boomtown Rats' album The Fine Art of Surfacing. It was the follow-up to their successful single "I Don't Like Mondays" and also peaked at a respectable Number 13 in the UK Charts. The band has suggested that it might have fared better had it not been for a strike of lighting technicians on the powerful UK TV programme Top of The Pops at the time that the record was released and rising in the charts Dealing with death, as had "I Don't Like Mondays", the song tells the story of a glamorous debutante ('Diamond') who commits suicide and is remembered only for her low-cut dress The song also featured as one of four songs on an Australian EP called Surface Down Under that also featured past hits "Rat Trap", "Looking After No.1" and "Like Clockwork". |
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| The Boomtown Rats – Rat Trap Lyrics | 11 years ago |
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"Rat Trap" was a single by The Boomtown Rats which reached #1 in the UK singles chart for two weeks in November 1978, the first single by a punk or new wave act to do so. It is a rock ballad telling the tale of a boy called Billy who feels the depressing town he lives in is a "Rat Trap". It was written by Bob Geldof and produced by Robert John "Mutt" Lange. It replaced "Summer Nights", a hit single for John Travolta and Olivia Newton-John from the soundtrack of Grease, at number one in the UK charts after Summer Nights' seven week reign at the top. When the band performed the song on Top of the Pops (which is also mentioned in the song) in 1978, the band members began by tearing up pictures of Travolta and Newton-John. Alan Homes did not appear; Geldof mimed the saxophone part on a candelabra, a jest referring to the TOTP practice of bands miming to a backing track. In the music video, various members of the band are seen reading copies of the novel "Rat Trap" by Welsh author Craig Thomas, although the book has no connection to the song. The lyric about "puss and grime..." was changed to "blood and tears pour down the drains and the sewers". One of the more popular Boomtown Rats songs, it was performed by them at Live Aid and is still performed by Geldof to this day. In 1996 Geldof recorded a self-mocking cover version of the song with Dustin The Turkey. |
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| Reynolds Girls – I'd Rather Jack Lyrics | 11 years ago |
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Golden oldies, Rolling Stones - they didn't want them back because they would rather have jacked than listen to Fleetwood Mac... Ah....what is there to say about The Reynolds Girls that hasn't been said already? Quite a lot actually! 18-year-old Linda Reynolds and her 16-year-old sister Aisling first burst into the pop charts in 1989 with the Stock, Aitken and Waterman-penned 'I'd Rather Jack'. The song spent twelve weeks in the charts - peaking at No.8 - and earned the girls their small but perfectly formed place in pop history. Shortly afterwards the girls parted company with their famous hitmakers and a follow-up song 'Get Real' failed to chart. The girls may have rapidly returned to obscurity, however, just like that wine stain from the party you had as a teenager, their memory refuses to fade and 'I'd Rather Jack' sounds as fresh today as it first did back in 1989. Whether you love them or hate them, it's unlikely that you've forgotten The Reynolds Girls. They may still be hoisted up by some as the text-book example of everything that is wrong with manufactured pop but for three and a half minutes back in 1989 they brightened up the charts with their stripey leggings and shiney red tops and for this we salute them. And yes actually, I would rather jack than listen to Fleetwood Mac... |
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| Reynolds Girls – I'd Rather Jack Lyrics | 11 years ago |
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The Reynolds Girls were a British vocal duo composed of sisters Linda (born in 1971) and Aisling (born in 1973). They are best known for their hit single "I'd Rather Jack" which peaked at number 8 on the UK Singles Chart in April 1989. It remained on the chart for 12 weeks.The sisters were signed to the PWL record label after giving Pete Waterman a demo tape. Their single was produced by Stock Aitken and Waterman. The sisters grew up in Litherland, a suburb of Sefton, Liverpool and were of Irish descent. The duo's younger sister Debbie played the original Katie Rogers, in Brookside, from 1987-1989. "I'd Rather Jack" started out as a response to music critics who ignored the younger pop acts in the UK at the time, and to radio DJs who continued to play older bands on their playlists rather than Stock Aitken and Waterman songs. It was also a response to a perceived snub at the Brit Awards, where SAW acts lost out to more "mature" acts such as Enya and Steve Winwood. After their one hit, The Reynolds Girls were dropped by the label. A second single, "Get Real", was released but this failed to chart and the duo disappeared into obscurity. In a public poll conducted by Channel 4 in 2003, "I'd Rather Jack" was voted number 91 in a list of the 100 Worst Pop Records of All Time |
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| Traffic – John Barleycorn Lyrics | 11 years ago |
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"John Barleycorn" is an English folk song. The character of John Barleycorn in the song is a personification of the important cereal crop barley and of the alcoholic beverages made from it, beer and whisky. In the song, John Barleycorn is represented as suffering attacks, death and indignities that correspond to the various stages of barley cultivation, such as reaping and malting. Scholar Kathleen Herbert draws a link between Beowa (a mythical figure stemming from Anglo-Saxon paganism that appears in early Anglo-Saxon royal genealogies whose name means "barley") and the figure of John Barleycorn. Herbert says that Beowa and Barleycorn are one and the same, noting that the folksong details the suffering, death and resurrection of Barleycorn, yet also celebrates the "reviving effects of drinking his blood." Barleycorn, the personification of the barley, encounters great suffering before succumbing to an unpleasant death. However, as a result of this death alcohol can be produced; therefore, Barleycorn dies so that others may live. Finally his body will be drunk as the alcohol. A popular hymn, "We Plough the Fields and Scatter", is often sung at Harvest Festival to the same tune. On the other hand, in their notes to the Penguin Book of English Folk Songs (London, 1959), editors A L Lloyd and Ralph Vaughan Williams ponder whether the ballad is "an unusually coherent folklore survival" or "the creation of an antiquarian revivalist, which has passed into popular currency and become 'folklorized'". It is in any case, they note, "an old song", with printed versions dating as far back as the sixteenth century. Countless versions of this song exist. A Scottish poem with a similar theme, Quhy Sowld Nocht Allane Honorit Be, is included in the Bannatyne Manuscript of 1568 and English broadside versions from the 17th century are common. Robert Burns published his own version in 1782, and modern versions abound. Burns's version makes the tale somewhat mysterious and, although not the original, it became the model for most subsequent versions of the ballad. Burns's version begins: Wikisource has original text related to this article: John Barleycorn There was three kings into the east, Three kings both great and high, And they hae sworn a solemn oath John Barleycorn should die. An early English version runs thus: There was three men come out o' the west their fortunes for to try, And these three men made a solemn vow, John Barleycorn must die, They ploughed, they sowed, they harrowed him in, throwed clods upon his head, And these three men made a solemn vow, John Barleycorn was dead. Earlier versions resemble Burns's only in personifying the barley, and sometimes in having the barley be foully treated or murdered by various artisans. Burns' version, however, omits their motives. In an early seventeenth century version, the mysterious kings of Burns's version were in fact ordinary men laid low by drink, who sought their revenge on John Barleycorn for that offence: Sir John Barley-Corn fought in a Bowl, who won the Victory, Which made them all to chafe and swear, that Barley-Corn must dye. Another early version features John Barleycorn's revenge on the miller: Mault gave the Miller such a blow, That from his horse he fell full low, He taught him his master Mault for to know you neuer saw the like sir. Many versions of the song have been recorded, most notably by Traffic, whose 1970 album John Barleycorn Must Die is named after the song. The song has also been recorded by Fire + Ice, Gae Bolg, Bert Jansch, The John Renbourn Group, Pentangle, Finest Kind, Martin Carthy, Roy Bailey, Martyn Bates in collaboration with Max Eastley, the Watersons, Steeleye Span, Jethro Tull, Joe Walsh, Fairport Convention, The Minstrels of Mayhem, Galley Beggar, Donnybrook Fair, Oysterband, Frank Black, Chris Wood, Quadriga Consort, Maddy Prior, Heather Alexander, Leslie Fish, Tim van Eyken, Barry Dransfield and many other performers. Jack London gave the title John Barleycorn to his 1913 autobiographical novel that tells of his struggle with alcoholism. The song is also a central part of Simon Emmerson's The Imagined Village project. Martin and Eliza Carthy perform the song alongside Paul Weller on The Imagined Village album. Billy Bragg sang in Weller's place on live performances. Rock Guitarist Joe Walsh covered the song live in 2007 as a tribute to Jim Capaldi. In the 1973 horror film The Wicker Man (1973 film), a Scottish Policeman played by Edward Woodward searches for a missing child on the west Scottish island of Summerisle, which is populated by modern-day Pagans who engage in various Celtic rituals, one of which is the baking of barley bread into the figure of a man known as John Barleycorn, who is referred to by the baker as "The life of the fields". |
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| Paul McCartney – Freedom Lyrics | 11 years ago |
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"Freedom" is a song written and recorded by Paul McCartney in response to the September 11 attacks in 2001. McCartney was in New York City at the time of the attacks, and actually witnessed the destruction while sitting in a plane, which was parked on the tarmac at New York's John F. Kennedy Airport McCartney, who said the attacks affected him emotionally, wrote the song the day after the attack. In the song, the narrator declares freedom to be a "right given by God" that he will "fight for." The lyrics were thus in seeming contradiction with the antiwar sentiment associated with McCartney's former act, The Beatles.But at The Concert for New York City where he first played the song live, McCartney explained to the crowd, "It's about freedom. That's one thing these people don't understand. That's worth fighting for.In a later interview McCartney commented, "to me it's a 'We Shall Overcome.' That's sort of how I wrote it. It's like, 'Hey, I've got freedom, I'm an immigrant coming to America, give me your huddled masses.' And that's what it means to me, is, 'Don't mess with my rights, buddy. Because I'm now free.'"In mentioning God in his lyrics, McCartney joined former Beatles bandmates John Lennon and George Harrison in writing a song referencing God. |
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| Type O Negative – September Sun Lyrics | 11 years ago |
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"September Sun" is a single by gothic metal band Type O Negative from the 2007 album Dead Again. The song lasts 4½ minutes in single version, but lasts nearly ten minutes in album version. The single was released on January 14, 2008, ten months after the album's release on March 13, 2007. Peter Steele dreamed about what would happen if he's haunted in bright sunshine, so he proposed the song titled "September Sun." He began writing this song featuring melancholy lyrics about the dead, doom, and sadness, beginning the first line of lyrics with the song title. The song and the lyrics give inspiration about being depressed without being dark, which gives way to hope and reminisce, like experiencing the first sunset after sorrow or bereavement.After a loved one died in inspiration of this song, a dead person goes to heaven where he/she celebrates Halloween, hence the next song on the track, "Halloween in Heaven." Josh Silver plays the piano to begin the song while Peter Steele sings. This melody would sound similar to songs featured on another Type O Negative album October Rust, hence the third line of lyrics beginning with 'October Rust.'Kenny Hickey sings the next chorus while he plays the guitar to begin a high-pitch melody. After that, the song plays first two choruses again, but with different lyrics in the piano session.Then the song goes to the next chapter featuring powerful and repeated riffs, sung by Steele. During the last quarter of this song, it plays a military-like chorus of emotional riffs.The last chorus is sung by Silver. Johnny Kelly also plays the drums except for the piano session while Steele plays the bass in addition to singing |
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| Into Eternity – Sandstorm Lyrics | 11 years ago |
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There was a surreal aura over the aftermath of the so-called raid that claimed the life of America’s most recent boogieman Osama Bin Laden. The mystique that was injected into it via media propaganda and the maddened celebratory pomp of thousands upon thousands of flag waving idiots was impossible to miss, even for a reclusive wretch like myself who never watches televised news anymore and is constantly flirting with canceling his useless cable subscription. It was the same sort of mindlessness that was on display when the scum of D.C. congratulated themselves for enshrining such fascistic abominations as The Patriot Act, the NDAA and other associated bills into law that destroyed what little fragments of habeas corpus rights we still enjoy from the days when governments were treated with the suspicion and distrust they are perpetually worth of. Nevertheless, the appeal of propaganda is largely so because often there are brilliant artists propping it up and an unlikely flock of Canadians, who dabble in a strange, yet enticing middle ground between Children Of Bodom and Cynic did so with the subject of Bin Laden’s death. Such a dramatic turn of events can often inspire creativity in the midst of writer’s block, and Into Eternity had been suffering from a good 3 years of studio silence and questions regarding their lead vocalist’s commitment to the band. Besides, you can still disagree with the writer’s premise and still be impressed with the work that has been put together. “Sandstorm” is something of a prototypical melodeath song, focusing on a principle melody that’s all but directly extracted from Iron Maiden’s “Fear Of The Dark” and translated into a violent mixture of blasting drum lines and technical guitar showmanship. It comes in two different vocal versions, of which the Stu Block one offers a more intricate display of toneless and melodic vocal mixes, but for some reason the Tim Roth version comes off as slightly more honest. Something about the idea of the chief songwriter taking on the role of front man is appealing, and though his singing voice lacks Block’s versatility, it makes up for it with a more subtle charm that one might find in a plainer sounding voice trading slots with a pervasive bark supplied by Rob Doherty, who sadly passed on just recently. But the main draw of this song is the guitar work, and Roth’s fancy leads dominate most of this fairly short yet highly compressed opus, showing off a smattering of Malmsteen and Vai influences while maintaining an underlying vocal tendency in line with Iron Maiden’s non-shredding instrumental breaks. So, for lack of a better explanation, I like this song a good bit and listen to it fairly often even a year after its release, in spite of my problems with the version of reality that it tends to portray. It’s not for me to assume any political bias on Roth’s part, as he’s largely mirroring the reaction that the majority of people tuned into the mainline news had. It’s a solid work that should be a welcome treat to tide over any fan of the band who has been sitting on edge waiting for the next album to come. It won’t change the minds of any detractors of the band’s highly modernistic take on this style of metal, nor would it for any band that tends to stick to what they do best. |
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| Into Eternity – Fukushima Lyrics | 11 years ago |
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The track was written about the Fukushima Daiichi, Japan nuclear disaster, a series of equipment failures, nuclear meltdowns, and releases of radioactive materials at the Fukushima I Nuclear Power Plant following the Tohoku earthquake and tsunami on March 11, 2011. The song talks about the struggles involved, and the amazing ability of the Japanese people to overcome such a tragedy. |
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| Chumbawamba – R.I.P. RP Lyrics | 11 years ago |
| About the decreasing influence of 'standard' RP pronunciation of British English. The phonetician Jack Windsor Lewis noted the irony that the song was sung in an RP accent | |
| Megadeth – Whose Life (Is It Anyways?) Lyrics | 11 years ago |
| Although Mustaine has not publicly spoke about the meaning of the song, it is speculated that the song is about Mustaine's sister's husband whom he lived with. Mustaine's brother-in-law disagreed with his interested in heavy metal and didn't allow it. "You hate the way I wear my clothes", "You think you know what's best for me", "You hate everything you've seen in me" are lines quoted from the song showing the anger Mustaine felt about the issue. | |
| TestAmenT – True American Hate Lyrics | 11 years ago |
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The lyrics are pointed in both directions. On one side, the U.S. is an aggressor both without and from within. Between actions that can be perceived as imperialistic and the divisive nature of its citizens, hate has become ingrained as part of the culture that has served as beneficiary and cancerous. On the other hand, other nations have looked at the U.S. as both an archetype and an adversary. Remember, this is Testament. Lyrics have always been critical and deeper than face value. They said this song was supposed to be about people in the Middle East who have grown to hate America, something like that. I think it works both ways though. This song could just as easily be about hate from within America as without. Certainly, there is little difference between hateful, ignorant Muslim extremists, and the hateful, ignorant Christian extremists in our own country. The only real difference, is that we have laws that make it so our crazies can't as easily act out. |
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| TestAmenT – True American Hate Lyrics | 11 years ago |
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The lyrics are pointed in both directions. On one side, the U.S. is an aggressor both without and from within. Between actions that can be perceived as imperialistic and the divisive nature of its citizens, hate has become ingrained as part of the culture that has served as beneficiary and cancerous. On the other hand, other nations have looked at the U.S. as both an archetype and an adversary. Remember, this is Testament. Lyrics have always been critical and deeper than face value. They said this song was supposed to be about people in the Middle East who have grown to hate America, something like that. I think it works both ways though. This song could just as easily be about hate from within America as without. Certainly, there is little difference between hateful, ignorant Muslim extremists, and the hateful, ignorant Christian extremists in our own country. The only real difference, is that we have laws that make it so our crazies can't as easily act out. |
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| Fat Les – Vindaloo Lyrics | 11 years ago |
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"Vindaloo" is a song by British band Fat Les. The music was written by Blur bassist Alex James and the lyrics were written by comedian Keith Allen. It was released as a single in 1998 and recorded for the 1998 FIFA World Cup. The song was originally written as a parody of football chants, but was adopted as one in its own right and became a cult classic. Much of the song consists of the phrase "nah nah nah" and the word "vindaloo" repeated over and over by a mixed group, occasionally interspersed with lines such as "And we all like vindaloo" and "We're England; we're gonna score one more than you". The song has brief verses, spoken/sung by Keith Allen (in a voice sounding remarkably similar to that of the late Ian Dury) with a tune that owed much to Max Wall's "The Walk" routine. The song's name comes from the vindaloo, a type of very spicy Goan curry. It is often eaten by football supporters in the United Kingdom (and other nations) accompanied by large quantities of lager, after matches or as part of a "lads' night out". The song reached number two in the UK Singles Chart in June 1998; it was beaten by "Three Lions '98" by David Baddiel and Frank Skinner and Lightning Seeds, a re-release of football anthem "Three Lions" from 1996 with slightly altered lyrics. When the song was performed on Top of the Pops, Professor Colin Pillinger played a drum in the group. The song sounded a little too much like a "hooligan's anthem" for some observers, but from the point of view of the BBC (who commission the official UK Music Chart) the band were deliberately waking the ghost of an earlier incident on the BBC TV programme The Late Show. Guest Keith Allen got into an extremely heated row with the panel over his view that comedy was now being hamstrung to appease rules of political correctness. Just before storming off the live broadcast, Allen stormed at an Asian member of the panel that "It's not a chip you've got on your shoulder, it's a fucking vindaloo!". He later explained to press reporters that a vindaloo is as faux ethnic (this piece of Goan cuisine actually originated from Portugal) as those who masquerade as self-appointed spokespeople for ethnic minority communities' rights in order to censor arts and culture according to their own pet prejudices.[citation needed] The music video for the song is a parody of the video for "Bitter Sweet Symphony" by The Verve, which was itself inspired by the music video for "Unfinished Sympathy" by Massive Attack.[3] The video is recorded in the same street, and features comedian Paul Kaye as a Richard Ashcroft lookalike forcing his way down the street. Unlike the original video, in which Ashcroft is alone, Kaye gradually gathers a large crowd which includes Fat Les members Keith Allen, Alex James, and artist Damien Hirst, further on Rowland Rivron (as the drumming Queens guard), Edward Tudor-Pole, Matt Lucas, David Walliams, a young Lily Allen, and the late Malcolm Hardee, sumo wrestlers, French maids, a French mime artist, a Max Wall lookalike (as Professor Wallofski), a priest, women dressed as girls from St Trinian's and many others who dance around him, some brandishing bags of curry. By the end, Kaye has joined in celebrating with the rest of the crowd. The song is used as the opening music at Peter Noone's concerts as he takes the stage. It is also used as entrance music for English professional wrestlers Doug Williams and Nigel McGuinness when they team together in Pro Wrestling Noah and various independent promotions. In addition, it is also used as the walk on for Professional Darts Corporation darts player James Richardson. |
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| The Jam – Down In The Tube Station At Midnight Lyrics | 12 years ago |
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"Down in the Tube Station at Midnight" was the second single taken from the album All Mod Cons by The Jam. Released on 21 October 1978, it charted at number 15[1] and was backed by a cover of the Who song "So Sad About Us", and "The Night", written by Bruce Foxton. The back of the record jacket displayed a photo of Keith Moon, former drummer of The Who, who had died of an overdose of prescribed medication intended to help his alcoholism the month prior to the single's release. Originally Paul Weller had wanted to exclude the track from the All Mod Cons album, on the grounds that the arrangement hadn't developed during the recording sessions.He was persuaded to include the track by the band's producer Vic Coppersmith-Heaven.The song suffered a BBC airplay ban The lyrics tell the story of an unnamed narrator, travelling home, who enters a London Underground station at midnight. He is carrying a take-away meal for himself and his wife. As he attempts to buy a ticket for his train, he is accosted by two thugs (who smell 'of pubs, Wormwood Scrubs' and 'too many right-wing meetings'), asking him whether he is carrying any money. When he replies that he has 'a little money', the thugs attack him, stealing everything, including his keys. The song ends with the narrator lying wounded or potentially dying ("And the last thing that I saw as I lay there on the floor") on the Tube Station floor, looking at graffiti and wall posters, reflecting on his life in contrast with the travel posters promising an enjoyable getaway, as he realises that the attackers now have the keys to his house. The song starts with the sounds of an Underground station then a tense, syncopated beat carried by the bass guitar. The lyrics are sentimental, contrasting the warmth of home and domestic life with the horror of urban decay and violence. The song has been recorded by Ade Edmondson's punk/folk band The Bad Shepherds for their album 'Yan, Tyan, Tethera, Methera!' which was released in 2009. It's also the B-side of the Carter USM single 'Do Re Me So Far So Good', released in 1992 on Chrysalis. |
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| Ol Dirty Bastard – Got Your Money Lyrics | 12 years ago |
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"Got Your Money" is a single by American hip-hop artist Ol' Dirty Bastard, taken from his second full length LP Nigga Please. Both the single and the album were released on Elektra Records in 1999. The song was produced by The Neptunes. It was also the only single released from Nigga Please. "Got Your Money" features a chorus sung by Kelis, who released her debut album Kaleidoscope a few months after being featured on this single. "Got Your Money" was later released in March 2008 on the Kelis compilation album "The Hits". She plays the part of a prostitute who is employed to ODB and is late paying some of her money. She is delivering his late payment. The song is initially dedicated exclusively to the world's population of attractive females, until ODB seems to have pangs of guilt for not including ladies who might be considered 'homely' or 'ugly,' so he decides to include them, with the encouraging words, 'to me, you pretty anyway, baby.' The artist begins the song by expressing his harsh disdain for women whom he meets, who initially appear to be interested in him, yet later express a reversal of opinion. He then transitions into a discussion about how women sometimes imply they are carrying one's child, although the DNA tests may not yet have come back conclusively. ODB then expresses some confusion with respect to the morality of the situation, but he is able to remedy this by presenting his Cristal brand of champagne, and urging the patrons to disarm themselves, because ODB does not approve of such violence. Continuing, it appears at first that there is some mutual attraction between “Dirty” (ODB) and the female patrons in the establishment; however, it soon becomes apparent to Dirty that the females only wish to use him for a shot at music video stardom. Despite his knowledge of their ulterior motives, ODB’s primary interest remains focused on dancing, and he tries to perpetuate his image as one who should not be taken lightly. He acknowledges a lack of intellectualism, although he claims that this is superseded by his natural charisma. The females in the establishment start admiring Dirty for his assets, which just causes Dirty to return to the situation at hand: his money. He asks for the females’ assistance in rectifying the situation, and subsequently asks them to expose their nether regions. Dirty finishes off the song with some nonsensical lyrics, that clearly imply his rising anger for the missing money. The music video for "Got Your Money" samples and references the 1975 blaxploitation film Dolemite The White Stripes once covered the song live in the middle of a rendition of their song “Little Bird”. Say Anything covered this song on Punk Goes Crunk. The Kleptones sampled most of this song in A Night at the Hip Hopera, on the track "Bite". The song is played during the end credits of the 2011 film 30 Minutes or Less. |
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| Dead Kennedys – California Über Alles Lyrics | 12 years ago |
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"California Ãœber Alles" was the first single by the Dead Kennedys. The record was released in June 1979 on Optional Music with "The Man with the Dogs" as the b-side. The title track was re-recorded for the band's first album, Fresh Fruit for Rotting Vegetables (1980), and the latest version that appeared on this single, as well as the single's b-side, and the video games: Tony Hawk's American Wasteland and the Rock Band series are available on the rarities album Give Me Convenience or Give Me Death (1987). The lyrics were written by Jello Biafra and John Greenway, and Biafra composed the music in one of his rare attempts at composing on bass. It is also sampled in a song by the dance-punk/big beat trio The Prodigy, "Dead Ken Beats". The song was also featured in the 2010 film The Social Network. The title is an allusion to the first (and no longer sung) stanza of the national anthem of Germany, which begins with the words "Deutschland, Deutschland über alles." (literally, "Germany, Germany above all.") The song focuses on Jerry Brown, the Governor of California 1975-1983 (and later 2011—present), and is sung from his perspective. An imaginary Brown outlines a hippie-fascist vision for America, in which his "suede denim secret police" kill un-cool people with "organic poison gas" chambers. Lines such as "Serpent's egg already hatched" (a reference to a line from William Shakespeare's play Julius Caesar) comment on the corrosive nature of power. The line "now it is 1984" refers to the totalitarian regime of George Orwell's novel Nineteen Eighty-Four, describing a future (from 1979) where Jerry Brown has become President Brown presiding over secret police and gas chambers. The song is an early example of the Kennedys' trademark use of menace and musical tension. It fades in with sinister military-styled drums, joined by an ominous bass riff. Biafra paints the scene in low, sneering tones before bursting in manic chanting chorus: "California Ãœber Alles [x2], Ãœber Alles, California [x2]". After two verses and choruses, the song shifts into a slower middle eight section set to a martial drum beat over which Jello Biafra imagines the nightmarish actions of Brown's SS-styled secret police ("Come quietly to the camp; you'd look nice as a drawstring lamp," a reference to the claim that lampshades were sometimes made from human skin during the Holocaust. The pace speeds up as it approaches the last iteration of the chorus, closing with a repeated chord sequence accompanied by a final burst of explosive drums. German-American author Gero Hoschek was inspired by the song to title a 1988 magazine piece about the "Golden State" in the prestigious German Zeit Magazin weekly titled "Kalifornia Ãœber Alles!" (sic), as well as a never produced screenplay. Biafra complained, got and liked a copy of the movie script, understood that there was no copyright violation, and used the same spelling for the song's 2004 remake with Melvins, "Kalifornia Ãœber Alles, 21st Century". |
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| Dead Kennedys – Holiday in Cambodia Lyrics | 12 years ago |
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"Holiday in Cambodia" was the second single by the American punk band Dead Kennedys. The record was released in May 1980 on Alternative Tentacles with "Police Truck" as the b-side. The title track was re-recorded for the band's first album, Fresh Fruit for Rotting Vegetables (1980), and the version that appeared on this single, as well as the single's b-side, are available on the rarities album Give Me Convenience or Give Me Death (1987). The cover picture of the single is taken from the 6 October 1976 Massacre in Thailand, and depicts a member of the rightist crowd beating the corpse of a student protester with a metal chair. The song attacks both Eastern totalitarianism and Western complacency. The song's lyrics offer a satirical view of young, self-righteous Americans (So you been to school/For a year or two/And you know you’ve seen it all/In daddy’s car/Thinkin’ you’ll go far...) and contrast such a lifestyle with a brutal depiction of the Pol Pot regime of Cambodia (Well you’ll work harder/With a gun in your back/For a bowl of rice a day/Slave for soldiers/Till you starve/Then your head is skewered on a stake). The re-recording of this song that appears on Fresh Fruit for Rotting Vegetables is different from the single version, being fifty-five seconds longer and featuring an extended guitar noise intro as well as an extended solo. While the original performance includes the satirically quoted word "niggers", subsequent performances by the reformed Dead Kennedys, and other artists listed here have substituted the word "brothers" in its place. Biafra, however, has often in the past and currently, replaced the word with "blacks". In October 1998, Jello Biafra was sued by former members of the Dead Kennedys. According to Biafra, the suit was a result of his refusal to allow "Holiday in Cambodia" to be used in a commercial for Levi's Dockers; Biafra opposes Levi's due to what he believes are their unfair business practices and sweatshop labor. However, the other members claimed that their royalties had been defrauded. "The record industry has been skimming royalties owed artists since the beginning," according to Dead Kennedys guitarist East Bay Ray. "This case is no different from blues musicians being taken advantage of in the twenties and thirties. Many people doubted the claims we made against our former record label back in 1998 but with this announcement there is no denying we were the victims here." Record Label Drops Legal Action |
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| Dead Kennedys – Jock-O-Rama Lyrics | 12 years ago |
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"Jock-O-Rama" (subtitled "Invasion of the Beef Patrol" in the liner notes) is Track 6 of the 1985 Dead Kennedys album Frankenchrist. With lyrics by lead singer Jello Biafra, it is an indictment of high school organized sports, focusing specifically on the win-at-all-costs mentality placed upon the players of American football. It is also an admonishment of what Biafra feels is the forced conformity which is placed upon all high school adolescents. After a pep rally, which Biafra compares to a religious cult, the coach advises his team members to "Get out there/And snap the other guy's knee". The star quarterback ends up breaking his neck, likely paralyzed for life. The mourning for him is short-lived, however, as the other team members and fans, in Biafra's words, "go get wasted" to "party all night and party some more". Some of the team members get caught drunk driving when their Trans Am "wrap[s] itself around a telephone pole". The officer, realizing their status, letting them go because "we were that way when we were young". |
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| Black Flag – TV Party Lyrics | 12 years ago |
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TV Party is an EP by the American hardcore punk band Black Flag. It was released in July 1982 through SST Records. The sardonic lyrics of the lead track describe a group of friends who have "nothing better to do than watch TV" and have some beers. TV-watching is satirically attacked as breeding stupidity, and the names of several TV-shows that were popular during the recording of the song (such as That's Incredible!, Quincy, Dallas, ABC's sketch show Fridays, and Hill Street Blues) are called out in the lyrics. The original version of the song appeared on the band's debut studio album Damaged in 1981, and a third version was included on the soundtrack of the film Repo Man in 1984. It was also featured in the Futurama episode "Bender Should Not Be Allowed on TV", which also featured a cover performed by the cast of the series and featured in the end credits. |
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| Alan Jackson – Where I Come From Lyrics | 12 years ago |
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"Where I Come From" is the title of a country music song written and recorded by American singer Alan Jackson. Released in July 2001, it was the third single from his 2000 album When Somebody Loves You. In November 2001, the song became Jackson's eighteenth Number One hit on the Billboard country charts. The song is a moderate up-tempo which finds the narrator, a truck driver, traveling across the United States and finding himself in various situations that make him think about how life in other places is different from his Southern lifestyle. The first verse finds him pulled over by a police officer, who says that he "don't know about that accent". In the second verse, the narrator stops at a diner to have a barbecue dinner, which he claims "ain't like Mama fixed it". He is stopped in the third verse after losing his universal joint, when he is met by a lady who asks if "he has plans for dinner", and finally, in the last verse, he is asked on the CB radio if he is from Tulsa. After each verse comes a chorus where the narrator explains how the road life is different. |
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| Alan Jackson – Where Were You (When the World Stopped Turning) Lyrics | 12 years ago |
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"Where Were You (When the World Stopped Turning)" is a song written and recorded by American country music artist Alan Jackson. Written in the wake of the September 11 attacks, it was introduced at the Country Music Association's annual awards show on November 7, 2001. It was then released in late November 2001 as the lead single from the album, Drive, and reached the top of the U.S. Billboard country charts Jackson wanted to write a song expressing his thoughts and emotions, but he found it hard to do so for many weeks."I didn't want to write a patriotic song", Jackson said. "And I didn't want it to be vengeful, either. But I didn't want to forget about how I felt and how I knew other people felt that day." Finally, on the Sunday morning of October 28, 2001, he woke up at 4 a.m. with the melody, opening lines and chorus going through his mind. He hastily got out of bed, still in his underwear, and sang them into a hand-held recorder so he wouldn't forget them.Later that morning, when his wife and children had gone to Sunday school, he sat down in his study and completed the lyrics. The verses focused on others' reactions in the form of questions. One verse asks, "Did you lay down at night and think of tomorrow?/Go out and buy you a gun?/Did you turn off that violent old movie you're watchin'/And turn on I Love Lucy reruns?" In between, he asks about the locations of people when the tragedy played out, "Out in the yard with your wife and children?/Or workin' on some stage in LA?" In the chorus, Jackson tries to sum up his own feelings, first by calling himself merely "a singer of simple songs", and "not a real political man", and finally by paraphrasing the Biblical New Testament's first letter of Paul to the Corinthians, chapter 13, verse 13: "Faith, hope and love are some good things He gave us/And the greatest is love." Initially, he felt squeamish about recording it, much less releasing it, because he disliked the idea of capitalizing on a tragedy.But after he played it for his wife Denise and for his producer, Keith Stegall, and it met with their approval, Jackson went into the studio to record "Where Were You" that week. On Stegall's advice, Jackson played the finished track for a group of executives at his record label. "We just kind of looked at one another", RCA Label Group chairman Joe Galante said later. "Nobody spoke for a full minute. Jackson was scheduled to perform at the Country Music Association's annual awards ceremony on November 7, 2001, to be aired on CBS. Originally, he planned to perform "Where I Come From", which at the time was the #1 hit on the Billboard country charts.But mere days before the awards show, Jackson's manager, Nancy Russell, played a recording of "Where Were You" for four of the CMA's top executives. All four were crying by the time the song ended. The day before the show, CMT had a brief note on its web site that Jackson would be introducing the new song during the awards telecast.he next night, after an introduction from the show's host, Vince Gill, Jackson performed "Where Were You" seated on a stool, with an orchestra and backing singers behind him. At the conclusion of the five-minute-long song, the audience gave him an immediate standing ovation. This performance, along with the Vince Gill introduction, is used as the song's music video. The next morning, many stations already were playing Jackson's new song after taking it from the broadcast.Several pop-oriented stations, including one in New York, started to play it as well.Based almost entirely on that unsolicited airplay, "Where Were You" debuted at #25 on the Billboard country chart the week ending November 24, 2001, the highest debut since "The Thunder Rolls" by Garth Brooks debuted at #19 in 1991.A week later, with Arista finally having serviced a promotional single to radio, it jumped to #12. On the December 29 country singles chart, "Where Were You (When the World Stopped Turning)" was the #1 song. It had taken only six weeks to get there, the fastest rise to the top in four years. The song spent five weeks at the top,and it also became a Top 40 pop hit, peaking at #28.At the time, it was Jackson's biggest country and pop hit. Jackson's record label determined that it could not manufacture a commercial single fast enough to meet demand.Instead, Arista pushed up the release date for the new CD, Drive, from May to January 15. Arista also chose to include both the studio version and the live CMA Awards version on the new CD. The pent-up demand for "Where Were You" helped propel the album to the top of both the Billboard country and pop album charts, becoming Jackson's first #1 on the main album chart. It spent four weeks at the top. In 2011 hit music artist Taylor Swift covered this song (September 11, 2011) accompanied by an acoustic guitar at a concert in Vancouver at Rogers Arena as a tribute to the people who died in the 9/11 attacks. Critical response to the single was largely positive. Deborah Evans Price (with Billboard) remarked "A multitude of songs have been written and recorded in the wake of September 11, but none captures the myriad emotions unleashed by the terrorist attacks on an unsuspecting nation more perfectly than Jackson's eloquent ballad"Stephen Thomas Erlewine of the All Music Guide remarked, "Given the enormity of the subject-- it's simply not something that can be summarized in song-- it's a surprisingly effective and moving tune".Later in 2001, "Where Were You" won both the Academy of Country Music and CMA honors for "Song of the Year" and "Single of the Year". In 2003, "Where Were You (When the World Stopped Turning)" earned Jackson his first Grammy award, for "Best Country Song". It was also nominated in the overall "Song of the Year" category, a rarity for a pure country song, but it lost to "Don't Know Why", written by Jesse Harris and a hit for Norah Jones.It was also ranked 28th on CMT's list of the "100 Greatest Country Songs". Jackson's reaction to "Where Were You (When the World Stopped Turning)" was this: "I think it was Hank Williams who said, 'God writes the songs, I just hold the pen.' That's the way I felt with this song." Dan Milliken of Country Universe rated the song #7 on his list of the 201 Greatest Singles of the Decade. He stated that the song "cannot travel forward into the future the way other songs on this countdown can; its full impact will remain locked in the memories of those of us who lived through September 11th, 2001, and will never be experienced quite so deeply ever again." |
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| Weird Al Yankovic – Stop Draggin' My Car Around Lyrics | 12 years ago |
| The lament of an otherwise "cool guy" forced to repeatedly save his 1964 Plymouth car from impoundment due to illegal parking, shame, and non-payment. | |
| Soundgarden – Outshined Lyrics | 12 years ago |
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n an interview, Cornell said, "I've never really been biographical in my lyrics, so when I wrote a line like "I'm looking California and feeling Minnesota" from "Outshined", it just felt refreshing."Cornell on the song: I don't know how everyone else feels but I definitely go through periods of extreme self-confidence, feeling like I can do anything. Perhaps a fan will sense that, like in a performance, and the hero image creeps out. But then someone will say something, however insignificant, or I'll get something in my head and, all of a sudden, I'm plummeting in the opposite direction, I'm a piece of shit, and I really can't do anything about it. That's where "Outshined" comes from, and why I'll never consider myself a hero. |
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| Venom – At War With Satan Lyrics | 12 years ago |
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The inspiration for writing a track comprising an entire side of the album came from Rush's 2112, one of bassist Conrad Lant's favourite albums of all time. The epic title track was actually never played live until bassist Conrad Lant rearranged it, shortening it by more than half, for his solo project Cronos. It has since then been played live several times by the reformed Venom. It's a monster of a track which moves from rumbling thrash to doomed-sounding slower riffs almost reminiscent of 'Heaven & Hell', and is a case of Cronos' bass sounding great throughout. He does pretty much the whole thing all the way through, a simple chug that colours the bottom end of the song, but the mix was good enough on this album that it really adds to the elegant carnage of Mantas' riffs. During the first half of the song Venom constantly switch up the tempo, racing at one moment before going back to slower sections with a better approximation of epic than is to be found possibly anywhere else in their catalogue, while the indulgent series of solos get the heart racing as if Satan himself was inside it. Of course, what with Piece of Mind and Holy Diver, epic, layered sounds were all the rage that year, but 'At War With Satan' can stand toe to toe with any of it and still look mean as shit. It does pretty much everything it possibly good in the runtime, atmospheric and sharp as nails at the same time. "At War With Satan" is an epic metal masterpiece of hellish proportions, a gore-soaked take of war between demons and angels. From the thunderous intro and gritty thrash riffs that intriduce the song, the feeling of tension begins to build. The frist scream emitted from the lungs of Cronos is like a murderous release. This is absolutely the most ambitious work ever composed by this blasphemous band. The lyrics could not be any more perfect and read like a fantastic story: "The warriors gather slowly around The sacred city, Hell Satan screams a vengance On the land as the angels fell" The atmosphere of the song becomes even more hellish and dark as things slow down and Cronos screams in demonic fury: "Lucifer's demonic laughter Assist our quest, Belial prays Free from Hell who serves the master Sound the charge on Sabbaths day" The song speeds up to a chaotic pace for some time, yet there is a definite structure present here that shows a band that has matured (to some degree) since Welcome To Hell. Cronos sounds absolutely possessed here and his bass is filled with doom and plague. As the song progresses, the fury of Hell is unleashed as Cronos screams, "Take to the skies!" The guitars are thrashy and unrestrained, yet with focus and determination toward a single goal: total and complete destruction. There are so many changes in riff and tempo that the song truly feels like a lengthy journey through the mists of the past. Venom really put everything that they had into this epic song and it shows. Sadly, there are a couple of brief moments where it seems like a riff is building and then never quite gets unleashed in the most satisfying way, but this is a minor concern for something so monstrous. The melodies and solos near the middle, right before the evil spoken word part, really show the NWOBHM sound at its finest, as much as Venom may have wanted to deconstruct this style. After about thirteen minutes, things get very quiet and eerie, leaving only an acoustic guitar and a bit of somber wailing in the distance before the guitars return to crush and kill all signs of life... as if, on a miserable journey through desolate wastelands, a sign of hidden beauty was found in the middle of this emptiness... You see something strange and foreign, so you gaze upon it with curiosity for a few brief moments before determining that it is utterly useless and stamping it out forever. Life, light and beauty have no place here. As the song continues, the instruments seem to be emitting random sounds as they burn at the fiery depths, while Cronos, demonically, tells the grim tale and a funeral bell chimes in the background. This is the culmination of the darkness and evil that Venom wished to convey and it is something that really has to be heard to be understood. No mere review could ever do this justice as this isn't just something to listen to; rather, it must be experienced. It cannot be unheard and the subconscious changes can never be undone. |
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| Lou Reed & Metallica – Junior Dad Lyrics | 12 years ago |
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When Lou Reed was a teenager, his father sent him to psychiatric help because he was bisexual, and he got electroshocks as "therapy" for his sexual orientation. I reckon this is quite enough to say that Lou Reed's father used to hate his son. Now, getting older, the son turned into a "Junior Dad", because he looks like his father, and Lou can see reflected in the mirror the same face of the man who despised him (his father's face). This is true "Psychic savagery". Kirk: "That song, I don’t really want to pinpoint exactly what the song is about, because it’s one of those songs that could mean a million different things to a million different people, but what it really meant to me, it had everything to do with the fact that my relationship with my father was just kind of, you know, very emotional. And that’s really what hit it. It pretty much touched up on my own relationship with my own father. It’s a hard one for me to talk about. Even now, bro." The lyrics that apparently got to the two metal men were "Say hello to junior dad/The greatest disappointment/Age withered and changed him." Hammett added, "[Reed] managed to take out both guitar players in METALLICA in one fell swoop, with his amazing poetic lyrics." James Hetfield's father abandoned his family when James was just 13, an experience that the singer/guitarist has spoken about at length in a new documentary called "Absent". |
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| Pantera – Piss Lyrics | 12 years ago |
| This song is the anthem to the ego of every douche bag bully ever encountered in public school, right down to the thug’s own sanctimonious sense of purpose in showing everybody what is what and how it’s his own god decreed duty to take out the trash. Suffice to say, in reality this sort of person is more often the culprit in inspiring somebody to shoot up their school rather than actually doing something worthwhile. | |
| Smiley Culture – Police Officer Lyrics | 12 years ago |
| "Police Officer", released towards the end of 1984. This was the supposedly autobiographical tale of how Emmanuel was arrested for the possession of cannabis, but then let off in return for an autograph when the police officer recognised him as a famous reggae artist.In spite of the subject matter — and possibly because mid 1980s radio station bosses in the UK did not understand the terms "ganja" and "sensimilla" — the single was a Top 20 hit, selling 160,000 copies, and earned Emmanuel two appearances on BBC Television's flagship music programme, Top of the Pops.The record, although humorous, did have a serious aspect, in that it highlighted the way black people believe they are unfairly treated by the police | |
| Smiley Culture – Cockney Translation Lyrics | 12 years ago |
| "Cockney Translation" (1984) was a Jamaican's guide to the East End dialect — "Cockneys have names like Terry, Arfur and Del Boy/We have names like Winston, Lloyd and Leroy." The song mixed cockney dialect with London's version of Jamaican patois, translating between the two.Simon Reynolds has often cited this song in his writings, arguing that it presaged the creation of a new hybrid accent in which white East Londoners would adopt many terms of black origin. The song's lyric was later used in schools as an example of how immigration has affected the English language.Smiley Culture popularized the 'fast chat' style of deejaying that had originated with Jamaican deejays such as Ranking Joe, and was developed further by British toasters, particularly those on the Saxon sound system such as Peter King. | |
| Funeral for a Friend – Welcome Home Armageddon Lyrics | 12 years ago |
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The Welsh rock band Funeral for a Friend's fifth studio album was named after this track. Explaining the album's title, vocalist Matt Davies-Kreye told CMU: "A friend of mine was mentioning how he felt that the best thing for the planet was for the human race to just drop dead and at times I can see and understand his way of thinking but a big part of me has this (probably) misguided faith in humanity to kind of steer the ship in the right direction for a change. So Welcome Home Armageddon is the idea of patiently waiting for the end to arrive at your doorstep and give you a nice big hug." Drummer Ryan Richards told Rock Sound magazine about this song: "Like 'Sixteen' this was one that Matt brought as an acoustic skeleton, it also changed a lot but kept the melody that attracted us all to the idea in the first place. As an album closer, it was always the clear choice - both for vibe and melodic content." |
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| Rizzle Kicks – Mama Do The Hump Lyrics | 12 years ago |
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"Mama Do the Hump" is a single by British hip hop duo Rizzle Kicks, from their debut studio album, Stereo Typical. The single was released in the United Kingdom on 16 December 2011 and was produced by Fatboy Slim. The song incorporates banjo themes. It peaked at number 2 in the UK Singles Chart on 22 January 2012 behind Jessie J's "Domino". A music video to accompany the release of "Mama Do the Hump" was uploaded to YouTube on 29 November 2011, at a total length of four minutes and fifteen seconds. It was directed by Jordan "Rizzle" Stephens and filmed by Jim Shreim. James Corden appears in the video. The video features Jordan's mother miming to the rapping. The reference listed here is incorrect, as Harley's mother is not in the video. |
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| Soundgarden – Hands All Over Lyrics | 12 years ago |
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To me this songs about we as humans take too much from the Earth like loads and loads of wood. The Ocean=The fountain Burning Eagle=Indian folklore Baby brother-fellow man Put your hands away before you kill your mother-as in killing mother earth Put your hands away/Hands all over=Stop taking trees down and taking animal's homes. I love her=I love the Earth stop killing it. My interpretation of the song. |
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| Killing Joke – The Raven King Lyrics | 12 years ago |
| Jaz Coleman:It's not a song about Paul Raven, it's about Raven's anger and things he felt passionately about. It's a song for Englishmen. It starts — "the raven has flown and left the tower / and Albion feels all abandoned / a desecrated cenotaph, surveillance state and waning choices / guided by warriors we knew, guided by ancestral voices". And then there is Raven's belief in the original idea of anarchy — "let flags of black and red unfurl / echoes of distant laughter / confederation of the dispossessed / fearing neither god nor master". Raven was a street guy. He believed in a confederation of like-minded individuals, so we tried to be as true to his ideas as we could. The last thing Raven said to me when he left Prague was "carpe nocturno", which is the last line. It touched me when I sang it and heard it back, and I was lost for words. | |
| Killing Joke – European Superstate Lyrics | 12 years ago |
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Jaz Coleman: That was a jam that we did in the studio. Youth's dad was there and he said 'this is great!' He started dancing with a glass of white wine and a cigarette in his hand. It ran very quickly from this. If you look at the song 'Europe' on our fifth album [Night Time 1985_] — Geordie's a passionate admirer of Rifkind and the European Dream, and we're all supporters of the European Ideal, I know Big Paul is and Geordie is passionately, so it's just a continuation of our convictions. The origins of the European Union are Jan Huss from Prague in the 1600s. His original idea is worth studying because it's based on the arts, it's based on spirituality. At that time Prague was a bastion of hermeticism and Rosicrucianism and alchemy against the Roman Catholic church, so it's worth looking at our roots there, and that's what we did with this track. It's quite prophetic when you look at the second verse — "why are the proud descendents of Plato paying off more debts accommodating NATO?" It's what we call the triple-headed head-dress of the jester — the 'Shin', as we call it — which is a prophetic current that runs through Killing Joke lyrics when they are accurate transmissions. |
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| Oasis – Wibbling Rivalry Lyrics | 12 years ago |
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"Wibbling Rivalry" is the title of a single released under the name "Oas*s" by the Fierce Panda record label in 1995. It is a recording of John Harris (working for NME at the time) interviewing brothers Noel and Liam Gallagher of Oasis in early 1994, on the verge of their commercial breakthrough. The musicians live up to their reputation as feuding siblings by getting sidetracked into a curse-laden argument over an incident that happened on a ferry. As such, the title is a portmanteau of the expression sibling rivalry and the word wibble. The single contains a 'Liam Track' featuring predominantly Liam's use of profanities and a 'Noel Track' featuring Noel. "Wibbling Rivalry" holds the record as the highest charting interview release in the UK, reaching number 52 on 25 November 1995. |
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| Desoulment – March of the Infidel Lyrics | 12 years ago |
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Ed Veter makes metal related videologs in Youtube under name InfidelAmsterdam. Desoulment wrote a song in his honor called 'March of the Infidel'. His face is also pictured on the release featuring the song, "The Final Demo". |
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| Was Not Was – Walk the Dinosaur Lyrics | 12 years ago |
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"Walk the Dinosaur" is a hit single recorded and released by the band Was (Not Was) in 1987, later featured on their hit 1988 album, What Up, Dog? The song features a tight, funky sound, punctuated by horns and cowbell, along with what sounds like cavepeople chanting in the background, while the lyrics relate to life in prehistoric times. When released in the UK in 1987, the song reached #10 on the charts, becoming the group's first Top 10 hit there. After the music video to the song (which featured four scantily clad cavewomen dancing to the song, a Flintstones-style TV playing clips from Daffy Duck and the Dinosaur, and then modern people dancing to the song in the "Everybody kill the dinosaur" part) received heavy rotation on MTV, the song reached #7 on the U.S. charts in 1989, two years after its UK success. The song is the biggest hit single for the band in their home country. George Clinton recorded a cover of "Walk the Dinosaur" which was the theme song for the 1993 film Super Mario Bros., with slightly modified lyrics to reference the film. This song appeared on the soundtrack of The Flintstones in 1994. "Walk the Dinosaur" featured in the soundtrack of 1989 comedy movie The Dream Team. Queen Latifah cut a cover version of the song for the Ice Age: Dawn of the Dinosaurs feature-length animated film (which also featured John Leguizamo, who previously appeared in Super Mario Bros., which the song appeared in). However, Queen Latifah's cover for the movie never made it onto the official soundtrack (also, the lyric "slave" was replaced with "friend" to make it more family-friendly). It was produced by Miami hitmakers Cool & Dre. Recently, samples of the song have been used at the end of commercial breaks on The Stephanie Miller Show, and also, a hint of the chorus was sampled by Tony Cha Cha and Sidney Samson for their 2009 song 'Get On The Floor'. Also, Matthew Wilkening of AOL Radio ranked the song at #61 on the list of the 100 Worst Songs Ever, warning the listeners to look out for a meteor, followed up with a "Boom! Boom! Aka-lacka-lacka-boom!" and the exaltation that the song "is knocked into extinction. Our ears are saved!" The song is used as background music in a shock site known as "Walk the Dinosaur" which depicts two dinosaurs in the 69 Position. In summer of 2011, a cover of Walk the Dinosaur was included in the animatronic show at Chuck E. Cheese's. The band members poked fun at the ambiguity of the name Was (Not Was). As of October 2011, the song can be heard in the prehistoric area of Disney's Animal Kingdom theme park. As well, a snippet of the tune can be heard during the Electrical Water Pageant float parade at Walt Disney World Resort in the Seven Seas Lagoon. |
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| Grace Jones – Private Life Lyrics | 12 years ago |
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The song was written by Chrissie Hynde, the leader and singer of The Pretenders, and included on band's eponymous 1979 debut album. The following year the track was covered by Grace Jones on her first post-disco album Warm Leatherette, recorded at the Compass Point Studios in the Bahamas with among others Sly and Robbie. In the liner notes to Island Records' 1998 compilation Private Life: The Compass Point Sessions Hynde is quoted as saying: Like all the other London punks, I wanted to do reggae, and I wrote "Private Life". When I first heard Grace's version I thought 'Now that's how it's supposed to sound!' In fact it was one of the highpoints of my career - what with Sly and Robbie being the masters, and Grace Jones with her scorching delivery. Someone told me it was Chris Blackwell's idea - thanks Chris! "Private Life" was released as the third single from the Warm Leatherette album but it became the single that marked a new era in Jones' career as she left her disco persona behind her and began exploring genres like reggae, rock and new wave, combined with an entirely different image. It in fact became Grace Jones' first ever chart entry in the UK, peaking at #17. The single's B-side was a non-album track; "She's Lost Control", originally recorded by Joy Division. Both tracks were remixed and re-edited for the 7" single with the 4:38 version of "Private Life", now available on the Spectrum/Universal Music for Girls Night Out compilation CD. The original 7" version of "She's Lost Control" is still yet to be released on CD. In the Netherlands the B-side was the French language "Pars" from the Warm Leatherette album. In Germany, "La Vie en rose" from 1977 Portfolio was re-issued as a follow-up single to "Private Life" whereas the UK and the Netherlands opted for "The Hunter Gets Captured by the Game", which had already been the lead single off Warm Leatherette on American market. Following the release of the compilation Island Life in 1985 the song was remixed and re-issued as a single in the UK, then with "My Jamaican Guy" as the B-side, and charted again. The original video for this song presented the famous Grace Jones mask for the first time. The entire video shows Grace's face in a close-up, her taking the mask off and on and off again, singing straight into the camera. The clip was filmed in just one take, without any cuts.The music video was directed by Mike Mansfield. Another music video for the song was produced, which was included in the program of the 1982 A One Man Show VHS release. It again presented Jones in a close-up, with her face partially covered with shadows, as well as posing in front of a white wall. |
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