Helix – Deep Cuts The Knife

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Canadian music.

From their 1985 album, Long Way to Heaven. The song reached #20 on the Mainstream US Rock chart and #66 on the Canadian Singles Chart in 1985.

From Wikipedia

Helix were formed in 1974 for a battle of the bands contest in Kitchener, Ontario, Canada by drummer Bruce Arnold. They were originally a six-piece, consisting of Arnold, lead vocalist Brian Vollmer, guitarists Ron Watson and Rick “Minstrel” Trembley, keyboardist Don Simmons, and bassist Keith “Bert” Zurbrigg, who always wore his trademark tuxedo on stage. Their original name was The Helix Field Band, soon shortened to simply Helix. Trembley left after a few months, making the band a five-piece. Soon after, Helix scored some crucial shows as Del Shannon‘s backing band on some Canadian dates. However, the original lineup dissolved by 1976, and three new members entered the fold. Replacing Simmons, Watson and Arnold were guitarists Brent “The Doctor” Doerner and Paul Hackman, who would both remain with Helix through the 1980s, and drummer Brian Doerner, Brent’s twin brother. Brian Doerner only stayed four years, but returned as a member and a guest several times before joining Saga in 2005.

With new management under Kitchener’s William Seip, Helix released two independent albums on their own H&S Records, entitled Breaking Loose and White Lace & Black Leather, in 1979 and 1981 respectively. During the sessions for Breaking Loose, Helix recorded a cover of the Del Shannon hit “Thinkin’ It Over”, unreleased until the 1999 Helix CD B-Sides. Their second album, White Lace & Black Leather, brought more lineup changes with drummer Leo Niebudek taking over for Brian Doerner. Michael J. Fox auditioned to replace bassist Keith Zurbrigg but the job ultimately went to Mike Uzelac. With Zurbrigg gone, Brian Vollmer was now the last remaining original member.

Changing their image from that of a standard bar band to a more image-conscious metal band, Helix finally signed to Capitol Records after being rejected by them three times. In 1983, they released No Rest for the Wicked, with Greg “Fritz” Hinz (ex-Starchild) on drums. This album featured Canadian hit video “Heavy Metal Love”, which featured their new look. Under Seip’s advice, Helix dropped their T-shirts and jeans in favour of leather clothing in order to stay current. The tour for this album cycle was not without drama. Mike Uzelac, whose drug use had become problematic, left the band to be replaced by a bass player named Peter Guy from London, Ontario. Guy was unable to travel to the United States due to a previous drug conviction, and Uzelac came back to finish the tour. When Uzelac had fulfilled his commitment, Mark Rector of Kitchener was hired on bass. He was let go at the conclusion of the tour. With the addition of bassist Daryl Gray completing the band’s classic 1980s lineup, they released Walkin’ the Razor’s Edge in 1984. It sold over 100,000 copies in Canada, and over 400,000 internationally. The album also included their best known song “Rock You” and a cover of A Foot in Coldwater‘s “(Make Me Do) Anything You Want”.

In 1985, Helix released their fifth album Long Way to Heaven, featuring the singles “Deep Cuts the Knife” and “The Kids Are All Shakin'”. The album allowed the band to tour Sweden, becoming the first Canadian rock band to do an extensive Swedish tour. The result was a No. 1 album in that country. The following year, their song “It’s Too Late” was featured in the movie Iron Eagle and its soundtrack album (this was a completely different song than the track “It’s Too Late” that appeared on their second album).

Deep Cuts The Knife

Lately, all the nights seem all the same
Since you said goodbyeI’m all alone
The only voice is my ownCan you hear me, are you near me
Did you know that I hurt this badDid you love me, did you need me
Or were you just a dream I hadThis memory haunts me foreverBetter run for my life
Hide from the light
Dark is the night
Deep Cuts The Knife
No way, I’ll get away
Memories here to stay
Deep Cuts The KnifeLately, I see your face in everything I do
Sleepless nights I lie in bed just thinkin’ of youI can’t pretend
That I don’t need you back againDid you love me, did you need me
Well, alright, but what’s so wrongThis memory haunts me foreverBetter run for my life
Hide from the light
Dark is the night
Deep Cuts The Knife
No way, I’ll get away
Memories here to stay
Deep Cuts The KnifeI am your slave
Got no defender
You flash the blade
I can’t escape, I can’t surrenderRun for my life
Hide from the light
Dark is the night
Deep Cuts The Knife
No way, I’ll get away
Memories here to stay
Better run for my life
Hide from the light
Dark is the night
Deep Cuts The Knife
No way, I’ll get away
Memories here to stay
Deep Cuts The KnifeDeep cuts, Deep Cuts The Knife
Deep Cuts The Knife
Better run, better run for my life
Deep Cuts The Knife
Deep Cuts The Knife
Deep Cuts The Knife
Memories here to stay, it won’t go away
Deep Cuts The KnifeI am your slave

Source: Musixmatch Songwriters: Bob Halligan Jr. / Paul Hackman

Aerosmith – The Other Side

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Contrasts

From their 1989 album, Pump. The song reached #22 on Billboard’s Hot 100 chart on August 17, 1990.

From Wikipedia

The live footage was filmed during part of the band’s swing through the south. Clips from their shows in Tallahassee, Jackson, New Orleans, and Shreveport were used in the video.

Additionally, the song reached #1 on the Mainstream Rock Tracks chart, the third single from Pump to do so.

It was used in Tony Scott‘s 1993 film True Romance, with Christian Slater and Dennis Hopper.

The Other Side

Mm, mm, mm, mm, mm, mm
Mm, mm, mm, mm mm, mm, mm mmCome on
Lovin’ you has got to be (Take me to the other side)
Like the devil in the deep blue sea (Take me to the other side)
Forget about your foolish pride (Take me to the other side)
Oh take me to the other side (Take me to the other side)My mama told me there’d be days like this
And man she wasn’t foolin’
‘Cause I just can’t believe the way you kiss
You opened up your mouth with bated breath
You said you’d never leave me
You love me, you hate me, I tried to take the loss
You’re cryin’ me a river but I got to get acrossLovin’ you has got to be (Take me to the other side)
Like the devil in the deep blue sea (Take me to the other side)
Forget about your foolish pride (Take me to the other side)
Oh take me to the other side (Take me to the other side)I’m lookin’ for another kind of love
Oh lordy, how I need it
The kind that likes to leap without a shove
Oh honey, best believe it
To save a lot of time and foolish pride
I’ll say what’s on my mind, girl
You love me, you hate me, you cut me down to size
You blinded me with love and, yeah, it opened up my eyesLovin’ you has got to be (Take me to the other side)
Like the devil and the deep blue sea (Take me to the other side)
My conscience got to be my guide (Take me to the other side)
Oh honey, take me, take me, take, take, take, takeTake me to the other side
I’m lookin’ for another kind of love
Oh, lordy, how I need it
The kind that likes to leap without a shove
Honey, you best believe it
Now I ain’t one for saying long goodbyes
I hope all is forgiven
You loved me, you hate me, I used to be your lover
You know you had it coming, girl
So take me to the other sideLovin’ you has got to be (Take me to the other side)
Like the devil and the deep blue sea (Take me to the other side)
My conscience got to be my guide (Take me to the other side)
Oh honey, take me to the other side (Take me to the other side)Lovin’ you has got to be (Take me to the other side)
Like the devil in the deep blue sea (Take me to the other side)
Forget about your foolish pride (Take me to the other side)
Oh take me to the other side

Source: LyricFindSongwriters: Lamont Dozier / Brian Holland / Edward J Holland / Steven Tyler / James Douglas VallanceDulcimer Stomp / The Other Side lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, BMG Rights Management

DOROTHY – Wicked Ones

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Cruel/Evil/Horrible/Monster/Wicked.

From their 2014 self-titled EP. The song did not make the Billboard charts but did do well on the HypeMachine chart.

From Wikipedia

“Wicked Ones” became the band’s most successful single thus far. It was the number-one trending indie rock song on SoundCloud, peaked at number four on the HypeMachine chart, and was selected by Skullcandy to lead a national ad campaign with James Harden.

Wicked Ones

This night ain’t for the faint of heart
For the faint of heart, for the faint of heart
This night ain’t for the faint of heart
‘Cause the faint of heart gonna fall apart
This night ain’t for the holy man with the holy plan
For the promise land
This night we got the evil hand
And the evil hand gonn’ raise the dead
Ain’t no sleep when the wicked play
All we do is get laid, uuh uh uuh uuh
Ain’t no love when the wicked run
All we do is try to lay off, lay off, lay off
We’re the wicked ones, wicked ones
This night ain’t for the faint of heart
For the faint of heart, for the faint of heart
This night ain’t for the faint of heart
‘Cause when the train wreck comes gonna leave them out
Ain’t no sleep when the wicked play
All we do is get laid, uuh-uh uuh uuh
Ain’t no love when the wicked run
All we do is try to lay off, lay off, lay off
We’re the wicked ones, wicked ones
Ain’t no sleep when the wicked play
All we do is get laid, uuh uh uuh uuh
Ain’t no love when the wicked run
All we do is try to lay off, lay off, lay off
We’re the wicked ones, wicked ones
Source: LyricFind
Songwriters: Mark A. Jackson / Dorothy Martin / Ian Brendon Scott

Sammy Hagar – Two Sides Of Love

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Above/Below/Between

From his 1984 album, VOA. The song peaked at #5 on Billboard’s Mainstream Rock Songs chart on August 3, 1984.

 

Two Sides Of Love

You never hear about it
It’s not the thing you talk over with friends
You never see it comin’ until it begins
But something stepped in between us
It’s taken all of our time alone
In a heart broken maze
But it still is shown
So why does she cry herself to sleep at night
Why do I have to work so hard to make things right
To fall in love came nat’rally
To make it last is so hard you see
I’m caught in between the two sides of love
A kiss goodbye, a kiss hello
You wonder why she gets lonely
You’ve got to show her no doubt
She’s your one and only, yeah
A kiss goodbye, a kiss hello
You wonder why she gets lonely
You’ve got to show her no doubt
She’s your one and only, yeah
We make promises, promises
And late at night you make big plans
Someday we’ll run away
And leave the love demands, yeah
Two sides of love
Two sides of low
Two sides of love
Source: LyricFind
Songwriters: Sammy Hagar

Lone Justice – Shelter

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Clear/Dark/Light

The title track from their 1986 album. The song did not chart. The song was written by lead singer Maria McKee and Steven Van Zandt from Bruce Springsteen’s E Street Band.

 

 

Shelter

Well all right you gave it all up for a dream
Fate proved unkind
To lock the door and leave no key
You’re unsure
Well baby I’m scared too
When the world crushes you
Let me be you’re shelter shelter
From the storm outside
Let me be your shelter shelter
From the endless tide
Disillusion has an edge so sharp
It tears at your soul
And leaves a stain upon your heart
I need you to wash mine clean
You’ve felt it too
And you need me
Let me be you’re shelter shelter
From the storm outside
Let me be your shelter shelter
From the endless tide
Your struggle with darkness has left you blind
I’ll light the fire in your eyes
Let me be you’re shelter shelter
From the storm outside
Let me be your shelter shelter
From the endless tide
Your struggle with darkness has left you blind
I’ll light the fire in your eyes
Let me be your shelter shelter shelter shelter shelter
Source: LyricFind
Songwriters: Maria Louisa Mckee / Steven Van Zandt

Will Hoge – Midway Motel

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…A song with a harmonica

From his 2020 album, Tiny Little Movies. The song has not charted.

From Rollingstone.com

Hoge doesn’t shy away from challenging himself on Tiny Little Movies. He poses existential questions about where he’s landed in his own life, at 47. On “Maybe This Is OK,” he wonders if he’s at peace with the way things turned out for him. (He is.) “It’s a funny thing to say,” he sings, “but maybe this is OK.” While Hoge remains ambitious and dedicated to expanding his audience — he won over crowds opening for SoCal punks Social Distortion on their 2018 tour — he’s not about to repeatedly ram his head into Nashville’s wall.

“If I feel like I’m a failure every time I do something, then there’s not a point in doing it. It’s been an interesting couple years of realizing that,” Hoge says. “There are bands that I love and admire that have changed the way that I play music or think about the world, and they drive their own van and never played a venue that’s bigger than 300 people. I got into this because I wanted to try and write great songs and make great records and play great shows.”

Midway Motel

I’m not alone, there’s a bible and a telephone
And a tv that keeps flashing off and on
Yeah, it’s as broken as the world outside
Down the hall, there’s a bar with no last call
Mrs. Jenkins pours the drinks that that make me fall
When I want to stumble back again

At the Midway Motel
Just a mile down Highway 5
Everybody’s got a story they’re trying to tell
You can run away or hold on
You can buy or you can sell
You get what you want
At the Midway Motel

Corner booth, there’s a girl out looking for the truth
With a pain in her eyes that could make you cry
Yeah I wish we could go back in time
Look at him, no scars and a crooked grin
Thinking that the world is his
Who am I to try to change his mind?

At the Midway Motel
Just a mile down Highway 5
Everybody’s got a story they’re trying to tell
You can run away or hold on
You can buy or you can sell
You get what you want at the Midway Motel

I keep a key that opens up 203
It’s got everything that I need
When I want to leave it all behind

At the Midway Motel
Just a mile down Highway 5
Everybody’s got a story they’re trying to tell
You can run away or hold on
You can buy or you can sell
You get what you want at the Midway Motel

Written by Will Hoge and Ricky Young.

Billy Idol – Rebel Yell

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Acquire/Collect/Gather/Secure.

The title song from his 1983 album. The song peaked at #9 on Billboard’s Hot 100 chart on January 20, 1984.

From Songfacts

Billy Idol got the title for this song from the Rebel Yell brand of bourbon whiskey, which has been around since 1936. On an episode of VH1 Storytellers, Idol explained that he was at an event where Mick Jagger, Keith Richards and Ron Wood of The Rolling Stones were taking swigs of Rebel Yell straight from the bottle. This gave him the idea for the title, and he wrote the song around it.

Idol wrote this song with his guitarist, Steve Stevens, who came up with some unique sounds on the track. The ray-gun effect on the solo he created using a Lexicon PCM 41 digital delay processor, but he later figured out a way to get a more distinctive sound using an actual ray-gun. By tweaking a toy ray-gun, he was able to hold it to his pickups and generate these strange sounds. His “ray gun guitar” became one of the most popular spots of a Billy Idol concert.

The video was directed by Jeff Stein, whose previous work included The Who documentary The Kids Are Alright. It was shot at the Capitol Theater in New Jersey with the audience made up of kids they bussed in from New York City. In the book I Want My MTV, Stein said: “We had lots of beer and wine on the busses, which nowadays you could not do. Everyone was well soused. I put the hot looking girls with the big tits up front.”

Sounds of the crowd cheering and singing along were added to the video version of the song, which captured the live energy of this anthemic song. The clip was a huge hit on MTV, but it almost missed its premiere slot – Stein says MTV made them edit out a shot of a kid holding a beer, and the tape made it to the network just minutes before air.

Rebel Yell

Last night a little dancer came dancin’ to my door
Last night a little angel Came pumpin cross my floor
She said “Come on baby I got a license for love
And if it expires pray help from above”

In the midnight hour she cried more, more, more
With a rebel yell she cried more, more, more
In the midnight hour babe more, more, more
With a rebel yell more, more, more
More, more, more

She don’t like slavery, she won’t sit and beg
But when I’m tired and lonely she sees me to bed
What set you free and brought you to be me babe
What set you free I need you hear by me
Because

In the midnight hour she cried more, more, more
With a rebel yell she cried more, more, more
In the midnight hour babe more, more, more
With a rebel yell more, more, more

He lives in his own heaven
Collects it to go from the seven eleven
Well he’s out all night to collect a fare
Just so long, just so long it don’t mess up his hair

I walked the ward with you, babe
A thousand miles with you
I dried your tears of pain, babe
A million times for you

I’d sell my soul for you babe
For money to burn with you
I’d give you all, and have none, babe
Just, just, justa, justa to have you here by me
Because

In the midnight hour she cried more, more, more
With a rebel yell she cried more, more, more
In the midnight hour babe more, more, more
With a rebel yell she cried more, more, more
More, more, more

Oh yeah little baby
She want more
More, more, more, more, more

Oh yeah little baby
She want more
More, more, more, moreWriter/s: Billy Idol, Steve Stevens

MTV Launched 39 Years Ago Today

Well, it has now been 39 years.

Free Fallin'

We did not get cable in my area until a year or two after it launched so I never saw the beginning of the channel. Of course, I was crazy about it when we first got cable. It was like nothing else. They showed full concerts which I thought was great and of course the videos. But It also had it’s bad side because some of the artist or bands had hit songs only because of MTV that would have never made it on the radio. The very first video MTV showed was the Buggles Video Killed The Radio Star. It pretty much destroyed Billy Squier’s career because of a less than macho video he made. MTV nowadays is a big joke nothing but reality TV shows permeates the channel. For a day like today why don’t they let the original VJ’s take over the channel and we could have…

View original post 22 more words

John Waite – Change

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Different/Same.

From his 1982 album, Ignition and from the 1985 movie soundtrack Vision Quest. The song reached #54 on Billboard’s Hot 100 chart on April 05, 1985.

From Songfacts

This song was originally recorded by the band Spider, which featured future David Letterman Show band member Anton Fig on drums and Holly Knight on keyboards. The song was written by Knight, who went on to co-write many hits, including “The Best,” (Tina Turner) “Rag Doll” (Aerosmith) and “Obsession” (Animotion).

The song first appeared on Spider’s second (and last) album, Between The Lines, which was released in 1981 on Mike Chapman’s Dreamland Records. Knight told us the story behind “Change”: “I was thinking how important it was to keep things real when success starting happening for us. I had seen several musicians let the fame and success go to their head and I thought that all those things shouldn’t really change a person because what’s inside of you should remain the same. I think I’ve lived my life by that notion.”

This song was pitched to John Waite, who released it as the first single from his 1982 debut solo album, Ignition. Waite recorded the song because he liked the message, it fit his sound, and he thought it had lots of hit potential. Waite was going through a huge transformation at the time: his band The Babys had broken up and he had gotten married. Work on his solo album took him to New York City, where he was away from his wife and his home as he navigated the record industry as a solo act. It was rough waters, as the album – and this single – underperformed (Ignition peaked at #68 in the US and didn’t chart at all in the UK). Waite blamed his record company, Chrysalis, for failing to promote the song, and extricated himself from his contract to sign with EMI for his next album. He was vindicated when that next album, No Brakes, produced the hit “Missing You,” while “Change” became a fan favorite and found a home on many radio stations’ playlists.
This didn’t chart when Waite first released the song, but when it was used in the movie Vision Quest, it was re-released and made #54 in America. The soundtrack also featured the #1 Madonna hit “Crazy For You.”
The Spider album where this song first appeared contains another song that would also become a hit for another artist: “Better Be Good To Me,” which was later a hit for Tina Turner. Holly Knight also wrote that one, this time with help from Spider’s producer Mike Chapman.
John Waite changed a few of the verse lyrics from the original version of the song and slowed down the tempo a bit. Holly Knight, who wrote the song, told Songfacts: “I have to say that I much prefer John’s version. It’s much more guitar driven and I love his vocals.
Neil Giraldo, who is Pat Benatar’s guitarist, husband and producer, produced this track. Little did he know that the woman who wrote it would provide his wife’s most popular song: the next year, Benatar recorded “Love Is A Battlefield,” which was also written by Holly Knight.

There’s another Knight hit-recipient on “Change” as well: Patty Smyth did the backup vocals on the track. With her band Scandal, Smyth had a hit with Knight’s song “The Warrior” in 1984. Says Knight: “That’s six degrees of separation working it’s magic right there.”

Change

People talking
And they’re saying that you’re leaving
So unhappy
With the way that you’ve been living
Oh oh oh
We always wish for money
We always wish for fame
We think we have the answers
Some things ain’t ever gonna change (change)
It doesn’t matter who you are
It’s all the same (change)
What’s in your heart will never change
Look in the mirror
And you see how you’ve been taken
You won’t surrender
But now your heart is breakin’
Oh oh oh
We always wish for money
We always wish for fame
We think we have the answers
Some things ain’t ever gonna change (change)
It doesn’t matter who you are
It’s all the same (change)
What’s in your heart will never change
Do you remember
When you got your lucky break
You’re looking back now
And it seems like a mistake
Oh oh oh
We always wish for money
We always wish for fame
We think we have the answers
Some things ain’t ever gonna change (change)
It doesn’t matter who you are
It’s all the same (change)
What’s in your heart will never change
It’s only change (change)
It doesn’t matter who you are
It’s all the same (change)
What’s in your heart will never change
It doesn’t matter who you are
It’s all the same (change)
What’s in your heart will stay the same
It doesn’t matter who you are
It’s all the same (what¹s in your heart)
It’s only
It’s only
It’s only change
Never (it doesn’t matter)
You ain’t gonna
You ain’t gonna change (what’s in your heart)
You ain’t gonna change
Doesn’t matter who you are

Dorothy – Ain’t Our Time To Die

From her 2018 album, 28 Days In The Valley. The song did not chart. It sounds a lot like Jefferson Airplane.

From musicexistence.com

“We recorded the old-school way like the Stones did,” shared Martin. “After writing, we did a good amount of pre-production and worked out the energy and vibe of the songs and then we went in and recorded live, usually in just a few takes. Nothing on this record is programmed. It’s raw and real and honest.”

 

Ain’t Our Time To Die

I’ve been obsessed
Seducing your mind
With all my inner demons
To prove that I’m fine
You’ve got to believe, baby (you’ve got to believe)
You’ve got to believe, (you’ve got to believe) baby
You’ve got to believe, baby (you’ve got to believe)
You’ve got to believe me, baby (you’ve got to believe)
It ain’t our time to die, oh whoa
It ain’t our time to die, ah ah
I talk to myself, ah ha
And it always sounds sweet
Ah, gaught up in the violence
It’s no good
And it rapes everything, oh
You’ve got to believe, baby (you’ve got to believe) yeah yeah
You’ve got to believe, (you’ve got to believe) baby
(You’ve got to believe)
You’ve got to believe me, baby (you’ve got to believe) oh oh
You’ve got to believe, (you’ve got to believe) baby
It ain’t our time to die
‘Cause when a heart
Gets warmer with wine, hm
Got mountains to move
So this better be, the last time
I’ve been bitter and angry, yeah
Can’t be like everyone else
So I hang on, hang on, to the bottom
‘Cause I go down, I go down by myself, no
You’ve got to believe, baby (you’ve got to believe)
You’ve got to believe, (you’ve got to believe) baby
You’ve got to believe me baby, (you’ve got to believe) yeah
You can believe me, baby (you’ve got to believe)
It ain’t our time to die, oh whoa
It ain’t our time to die, -ie
It ain’t our time to die
No, it ain’t our time to die, ah ah ah
You’ve got to believe me baby, oh
It ain’t our time to die, oh ho
You’ve got to believe me baby, oh oh yeah
You’ve gotta believe me, mm hm
Source: Musixmatch
Songwriters: Linda Perry / Dorothy Martin