Life can be so fair, let it go on and on
I got loose for good and you got that cherry bomb
Blow out that cherry bomb for me
We lost it long ago, you and me
Now you know your way back from the spirit farm
Brush your teeth for bed, blow out that cherry bomb
Blow out that cherry bomb for me
You've got to know it's on your sleeve
Know it's on your sleeve
Know it's on your sleeve (c'mon)
It was the longest day that I've ever known
I watched you start that drive alone
Blow out that cherry bomb for me
It's gonna burn right up your sleeve
Burn right up your sleeve
Oh so there you go again out in your dressing gown
Get yourself to bed, blow out that cherry bomb
Oh, life can be so fair, let it go on and on
I got paid and my hand on your cherry bomb
Oh, life can be so fair, let it go on and on
I got paid and my hand on your cherry bomb
Those weren't so bad.
I found a cool interview on eMusic where Britt Daniel explains some of the songs on the new album. About You Got Yr. Cherry Bomb he said:
That central image of the "cherry bomb" came naturally. Sometimes lines just come to you while you’re singing, and you’re not sure where they came from. I came up with the cherry bomb being representative of a need to blow out this romantic flame. Breaking up — or being broken up with — can be pretty devastating. This song is saying “You need to blow out that flame, we lost it long ago.” It’s actually a really sad song.
We tried this one I don’t know how many different ways. We recorded it three times, and it was one of those songs we really struggled with. At one point we had a kind of “space rock” arrangement — which is a cool version and the people who heard it were like “Ah, I still like that version better,” but this is the one that seemed to work best for me.
That consistent drum beat that runs through the whole song — Jim’s smart like that. Sometimes what a song needs is just a very steady rhythm. Jim’s got a real musician’s point of view about songs. I don’t mean to slander most drummers, but sometimes the drummer’s way of looking at a song is “get your rocks off.” Jim is more about what’s right for the song. One of the first things I noticed about Jim: we met in a recording studio and, after going through a song once, he remembered where all the stops were. He had a real sense for what was going on in the song, which was a very different experience for me.
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Life can be so fair, let it go on and on I got loose for good and you got that cherry bomb Blow out that cherry bomb for me We lost it long ago, you and me
Now you know your way back from the spirit farm Brush your teeth for bed, blow out that cherry bomb Blow out that cherry bomb for me You've got to know it's on your sleeve Know it's on your sleeve Know it's on your sleeve (c'mon)
It was the longest day that I've ever known I watched you start that drive alone Blow out that cherry bomb for me It's gonna burn right up your sleeve Burn right up your sleeve
Oh so there you go again out in your dressing gown Get yourself to bed, blow out that cherry bomb Oh, life can be so fair, let it go on and on I got paid and my hand on your cherry bomb
Oh, life can be so fair, let it go on and on I got paid and my hand on your cherry bomb
Those weren't so bad.
I found a cool interview on eMusic where Britt Daniel explains some of the songs on the new album. About You Got Yr. Cherry Bomb he said:
That central image of the "cherry bomb" came naturally. Sometimes lines just come to you while you’re singing, and you’re not sure where they came from. I came up with the cherry bomb being representative of a need to blow out this romantic flame. Breaking up — or being broken up with — can be pretty devastating. This song is saying “You need to blow out that flame, we lost it long ago.” It’s actually a really sad song.
We tried this one I don’t know how many different ways. We recorded it three times, and it was one of those songs we really struggled with. At one point we had a kind of “space rock” arrangement — which is a cool version and the people who heard it were like “Ah, I still like that version better,” but this is the one that seemed to work best for me.
That consistent drum beat that runs through the whole song — Jim’s smart like that. Sometimes what a song needs is just a very steady rhythm. Jim’s got a real musician’s point of view about songs. I don’t mean to slander most drummers, but sometimes the drummer’s way of looking at a song is “get your rocks off.” Jim is more about what’s right for the song. One of the first things I noticed about Jim: we met in a recording studio and, after going through a song once, he remembered where all the stops were. He had a real sense for what was going on in the song, which was a very different experience for me. .