Rick James – You And I

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…I/Me/Them/Us/You/We.

From his 1978 album, Come Get It. The song reached #13 on Billboard’s Hot 100 chart on September 22, 1978.

You And I

You and I, we fit together like a glove on a hand
That’s right, don’t you know
That I would gladly take you anywhere you wanted to go.
You and me are as close as three part harmony, wouldn’t you agree?
And in the chance our romance ended it would surely be the end of me.
Some people might say I’m infatuated, I don’t care
‘Cause they really don’t know
They’ll never see or hear the things I do with you.
So far as I’m concerned they all can go to hell.
Woh, woh, woh, woh baby cakes, now swing it sugar.
Do, do, do, do, do, just swing it baby,
You and I, will be together until the six is nine, that’s right.
When you need me I never hesitate,
I always come, it’s so much fun. Yeah!
You and I, although we’re poor our love has brought
More wealth than Hughes, himself
And if by chance there is an afterlife when we die
You and I, I’ll spend it with you
Some people might say I’m infatuated, I don’t care
‘Cause they really don’t know
They’ll never see or hear the things I do with you.
So far as I’m concerned they all can go to hell.
Woh, woh, woh, woh, baby cakes, now swing it sugar.
Do, do, do, do, do, just swing it baby, Can’t take it baby
You and I, you and me are going to be together eternally
You and I, you and me are going to be together eternally
You and I, you and me are going to be together eternally
Yeah, yeah, yeah
You and I, you and me
Dance girl, ev’rybody on the floor, ev’rybody dance on the floor
Dance on the floor, ev’rybody dance on the floor, hey, you over there
Ev’rybody dance on the floor, ev’rybody dance on the floor
Now shake it on down.
Ev’rybody dance on the floor, ev’rybody dance on the floor
Shake your bootie now, ev’rybody shake your bootie now.
ev’rybody shake your bootie now.
Do, do do do do do do do do do do
Ev’rybody dance on the floor, dance ya’ll
Ev’rybody dance on the floor, come on baby, all right
Dance, dance, dance and shout, let’s dance and shout
Get on the floor ya’ll, dance and shout, don’t just stand there yeah!
Dance and shout, don’t just stand there, yeah!
Dance ya’ll, dance and shout
The latest groove so you can move on the floor
Ev’rybody dance on the floor
The latest groove so you can move on the floor
Ev’rybody dance on the floor
The latest groove so you can move on the floor
Ev’rybody dance on the floor
Ev’rybody lay your bootie down, ev’rybody shake your bootie now.
Can’t hear you, shout, ev’rybody shake your bootie now
Ev’rybody shake your bootie now, ev’rybody shake your bootie now.
Shake it on down, shake your bootie now
Ev’rybody dance on the floor, do, do, do,

Source: LyricFind

Songwriters: Rick James

Peter Frampton – Baby, I Love Your Way

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Babe/Cutie/Doll/Honey/Sweetie.

From his 1976 album, Frampton Comes Alive. The song reached #12 on Billboards Hot 100 chart on August 27, 1976.

From Songfacts

This is a very romantic love ballad. Frampton is telling his girl that he loves everything about her and wants to be with her day and night.

This went nowhere when Frampton first released it as a single in 1975. The next year, he included it on his live album, Frampton Comes Alive, and it helped the album become a huge hit. The live version was the second single released from the album, after “Show Me The Way” and before “Do You Feel Like We Do.”

Lisa Bonet sings this in the 2000 movie High Fidelity. John Cusack’s character hates the song until he hears her sing it.

Baby, I Love Your Way

Shadows grow so long before my eyes
And they’re moving across the page
Suddenly the day turns into night
Far away from the city but don’t hesitate
‘Cause your love won’t wait hey
Ooh baby I love your way every day
Want to tell you I love your way every day
Want to be with you night and day

Moon appears to shine and light the sky
With the help of some fireflies
I wonder how they have the power shine shine shine
I can see them under the pines
But don’t hesitate ’cause your love won’t wait hey
Ooh baby I love your way every day
Want to tell you I love your way every day
Want to be with you night and day uh yeah

But don’t hesitate ’cause your love won’t wait
I can see the sunset in your eyes
Brown and grey and blue besides
Clouds are stalking islands in the sun
Wish I could dry one out of season
But don’t hesitate ’cause your love won’t wait hey
Ooh baby I love your way every day
Want to tell you I love your way uuhh
Want to be with you night and day
Ooh baby I love your way every day
Want to tell you I love your way uuhh
Want to be with you night and day

Writer/s: Peter Kenneth Frampton

Chris Norman & Suzi Quatro – Stumblin’ In

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

The song was released as a single in January 1979. The song peaked at #4 on Billboards Hot 100 chart on May 11, 1979.

From Songfacts

This song, which Quatro performed as a duet with Chris Norman, the frontman for Smokie, was a departure from her hard rock sound, as the pair sing about stumbling into love with someone they never expected to be with. This song turned out to be by far the biggest American hit for both performers. >>

This was written and produced by the team of Mike Chapman and Nicky Chinn, who were responsible for the lion’s share of hits for both Smokie and Suzi Quatro. Smokie had cut ties with the team, but in 1978 Chapman was producing Quatro’s album If You Knew Suzi, which they were recording in Cologne, Germany. In a spell of serendipity, Smokie received an award in nearby Dusseldorf at this time, and after the ceremony, Quatro and Chapman joined them at a party where music broke out. Chapman sang a medley of the hits he wrote with Chinn, and later, Quatro took the stage with Chris Norman. As Quatro played bass, Norman put his arm around her, and Chapman got an idea.

The next day when he was working with Quatro, he came up with the line “our love is alive” and started hashing out the song “Stumblin’ In,” which he pitched to Quatro as a duet with Norman. She loved the idea.

Chapman finished writing the song with Chinn, and the duet was included on Quatro’s

album.

Quatro’s biggest cultural impact in America was her role as Leather Tuscadero on the TV show Happy Days from 1977-1979.

Stumblin’ In

Our love is alive, and so we begin
Foolishly laying our hearts on the table
Stumblin’ in

Our love is a flame, burning within
Now and then firelight will catch us
Stumblin’ in

Wherever you go, whatever you do
You know these reckless thoughts of mine are following you
I’ve fallen for you, whatever you do
‘Cause, baby, you’ve shown me so many things that I never knew
Whatever it takes, baby, I’ll do it for you

Our love is alive, and so we begin
Foolishly laying our hearts on the table
Stumblin’ in

Our love is a flame, burning within
Now and then firelight will catch us
Stumblin’ in

You were so young, ah, and I was so free
I may have been young, but, baby, that’s not what I wanted to be
Well, you were the one
Oh, why was it me?
‘Cause, baby, you show me so many things that I never see
Whatever you need, baby, you’ve got it from me

Our love is alive, and so we begin
Foolishly laying our hearts on the table
Stumblin’ in

Our love is a flame, burning within
Now and then firelight will catch us
Stumblin’ in

Stumblin’ in, stumblin’ in
Foolishly laying our hearts on the table
Stumblin’ in

Ah, stumblin’ in, mmmh, stumblin’ in
Now and then firelight will catch us
Stumblin’ in

Oh, stumblin’ in, ah, I was stumblin’ in
Foolishly laying our hearts on the table
Stumblin’ in

Oh, stumblin’ in
Ah, stumblin’ in
I was stumblin’ in
We were stumblin’ in Writer/s: MICHAEL DONALD CHAPMAN, NICHOLAS BARRY CHINN

Tom Petty and the Heartbreakers – Swingin

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Tom/Dick/Harry

From their 1999 album, Echo. The song reached #17 on Billboards Mainstream Rock Songs chart on September 17, 1999.

Swingin
Well, she was standing by the highway
In her boots and silver spurs
Gonna hitchhike to the yellow moon
When a Cadillac stopped for her
And she said, “Hey, nice to meet you, are you goin’ my way?”
Yeah, that’s when it happened
The world caught fire that day

And she went down swingin’
Yeah, she went down swingin’

Well, she was over twenty-one
In trouble with the law
And it didn’t faze her none
She called her mother-in-law
And said I need a little money
I knew I could count on you
After that night in Vegas
And the hell that we went through

We went down swingin’
Like Benny Goodman
Yeah, we went down swingin’

Moonlight on the interstate
She was ‘cross the Georgia line
Looked out the window feeling great
Yeah, it had to come in time
And she said I’m never goin’ back
She said at last I’m free
I wish ma could see me now, she’d be so proud of me

She went down swingin’
Like Glenn Miller
Yeah, she went down swingin’
Like Tommy Dorsey
Yeah, she went down swingin’
Like Sammy Davis
She went down swingin’
Like Sonny Liston

The Cardigans – For What It’s Worth

From their 2003 album, Long Gone Before Daylight. It’s really hard to believe but the song never charted in the U.S. but did chart in other countries.

From Wikipedia

“For What It’s Worth” is the first single from The Cardigans‘s fifth studio album Long Gone Before Daylight. It was released on 17 February 2003, reaching number eight in the band’s native Sweden, number 31 in the United Kingdom, number 37 in Ireland, and number 98 in the Netherlands.

For What It’s Worth

One, two, three, four
Hey baby come round
Keep holding me down
And I’ll be keeping you up tonight.
The four letter word got stuck in my head
The dirtiest word that I’ve ever said
It’s making me feel alright.
For what it’s worth I love you
And what is worse I really do
Oh what is worse I’m gonna run run run
‘Til the sweetness gets to you
And what is worse I love you!
Hey please baby come back
There’ll be no more loving attack
And I’ll be keeping it cool tonight.
The four letter word is out of my head
Come on around get back in my bed
Keep making me feel alright.
For what it’s worth I like you
And what is worse I really do
Things have been worse
And we had fun fun fun
‘Til I said I love you
And what is worse I really do!
For what it’s worth I love you
And what is worse I really do.
Oh
For what it’s worth I love you
And what is worse I really do.
Oh
For what it’s worth I love you
And what is worse I really do

Source: LyricFind

Songwriters: Nina Persson / Peter Anders Svensson

Dorothy – Down To The Bottom

This is my contribution to Song Lyric Sundayfor Jim Adams’s blog. This week’s prompt…Bottom/End/Middle/Side/Top

The song was released as a single on November 8, 2019.

From Blabbermouth

DOROTHY has released its newest single, “Down To The Bottom”, a stomp-worthy, hard-rock anthem dripping with soul and attitude. Co-written by Dorothy Martin, Mark Jackson, Ian Scott and the legendary Linda Perry (Adele, Alicia Keys, Cristina Aguilera), the track’s lyrics and production combined with front-woman Dorothy Martin‘s powerhouse vocals are nothing short of adrenaline-inducing.

“Working with Linda Perry on ‘Down To The Bottom’ was an amazing experience because she pulls the truest songwriter out of each artist,” Dorothy Martin says. “Plus she plays every instrument under the sun and is just a total badass!”

Down To The Bottom

Baby I need light, I need fire
I need to know, that I’m alive
I need love, baby I need love
I need love

Take me down everybody down
Take me down down to the bottom
Take me down everybody down
Take me down down to the bottom

Baby I need hale, she calls my name
Out in the desert, I pray for rain
I need love, baby I need love
I need love

Take me down everybody down
Take me down down to the bottom
Take me down everybody down
Take me down down to the bottom

Way down
Way down
Way down
Way down

Take me down everybody down
Take me down down to the bottom
Take me down everybody down
Take me down down to the bottom

I need love, I need your love
Hey, yeah, yeah
Hey, I, I, I, oh

Source: LyricFind

Songwriters: Dorothy Martin / Ian Brendon Scott / Linda Perry / Mark A. Jackson

AC/DC – Shoot To Thrill

From their 1980 album, Back in Black. The song reached #60 on Billboards Hot 100 chart on April 11, 1981.

From Wikipedia

When explaining his lyrical inspiration for the song, lead singer and then-songwriter Brian Johnson recalled reading a UK article about a neighborhood pusher who made daily rounds (almost like a milkman) throughout the London suburbs, selling narcotics to bored, lonely, depressed housewives. These substance-effected homemakers would then peruse the local clubs and bars, seeking out torrid, extra-marital relationships. The term “Shoot to thrill..” most likely refers to certain solutions such as diazepam (valium), which is often administered via injection to treat anxiety and depression.

Lead guitarist Angus Young has recently commented that the song’s ‘break-down’, which occurs soon after the main solo (a muted and repeating three chord sequence of A Major triad, G Major triad, and a D power-chord leading up to a bombastic outro-solo), was inspired by the trio gun-battle climax from Sergio Leone’s classic, Italian western ‘The Good, the Bad, and the Ugly”. In this seminal scene, gun-fighters Clint Eastwood, Lee Van Cleef, and Eli Wallach stare one another down in the center of a Civil-War cemetery for minutes-on-end to an eventual shoot-out. Young said this sequence in the song was designed to mirror the actual soundtrack selection ‘Il Triello’ by composer Ennio Morricone. Both compositions feature a slow quiet build-up, increasing in tension to a thunderous, cataclysmic finale.

Shoot To Thrill

All you women who want a man of the street
But you don’t know which way you want to turn
Just keep a coming and put your hand out to me
‘Cause I’m the one who’s gonna make you burn

I’m gonna take you down – down, down, down
So don’t you fool around
I’m gonna pull it, pull it, pull the trigger

Shoot to thrill, play to kill
Too many women with too many pills
Shoot to thrill, play to kill
I got my gun at the ready, gonna fire at will
Yeah

I’m like evil, I get under your skin
Just like a bomb that’s ready to blow
‘Cause I’m illegal, I got everything
That all you women might need to know

I’m gonna take you down – yeah, down, down, down
So don’t you fool around
I’m gonna pull it, pull it, pull the trigger

Shoot to thrill, play to kill
Too many women with too many pills
Shoot to thrill, play to kill
I got my gun at the ready, gonna fire at will
‘Cause I shoot to thrill, and I’m ready to kill
I can’t get enough, I can’t get the thrill
I shoot to thrill, play to kill
Yeah, pull the trigger
Pull it,

Pull it, pull it, pull the trigger

Oh
Shoot to thrill, play to kill
Too many women, with too many pills
I said, shoot to thrill, play to kill
I got my gun at the ready, gonna fire at will
‘Cause I shoot to thrill, and I’m ready to kill
And I can’t get enough, and I can’t get my thrill
Cause I shoot to thrill, play it again

Yeah

Shoot you down
Yeah
I’m gonna get you to the bottom and shoot you
I’m gonna shoot you
Oh hoo yeah yeah yeah

I’m gonna shoot you down yeah yeah
I’m gonna get you down
Yeah yeah yeah yeah
Shoot you, shoot you, shoot you, shoot you down
Shoot you, shoot you, shoot you down
Oh, oh, oh, oh, oh, oh, ooooooh

I’m gonna shoot to thrill
Play to kill
Shoot to thrill

Yeah, ooh yeah

Source: LyricFind

Songwriters: Brian Johnson / Angus Mckinnon Young / Malcolm Mitchell Young

Ben Harper – Diamonds On The Inside

The title song from his 2003 album. The song reached #31 on Billboards Adult Top 40 chart on December 12, 2003.

From Rolling Stone

Even as he invokes folks such as Bob Marley and Jimi Hendrix, Ben Harper turns rock cliches inside out until they mean something new again. The Black Crowes-damaged title track of Harper’s fifth studio album — a lush sweep of twelve-string and pedal steel guitars — is sweeter than ninety percent of the cock rock that it echoes. Often, when Harper seems to be singing about some spangly rock chick, he’s crooning about the Queen of Heaven — at least that’s the case with “When She Believes,” a lullaby that’s all accordions, harps and fuzzy-blanket chords.

Harper works out of a tradition that is older than rock: the African-American church and its more secular members’ tradition of blending gospel righteousness with pop grooves. “Brown Eyed Blues” is good wah-wah funk, but it’s Harper’s quavering, weak-with-lust vocal that makes it irresistible. He understands that pop music isn’t just a parade of brand-new things — it’s about reinvention, too.

Diamonds On The Inside

I knew a girl
Her name was truth
She was a horrible liar

She couldn’t spend one day alone
But she couldn’t be satisfied

When you have everything,
You have everything to lose
She made herself
A bed of nails
And she’s plannin’ on puttin’ it to use

‘Cause she had diamonds on the inside
She had diamonds on the inside
She had diamonds on the inside
Diamonds

A candle throws its light into the darkness
In a nasty world, so shines the good deed
Make sure the fortune, that you seek
Is the fortune you need

So tell me why, the first to ask, is the last to give, every time
What you say and do not mean
Follow too close behind

‘Cause she had diamonds on the inside
She had diamonds on the inside
She wore diamonds on the inside
Diamonds

Like a soldier standing long under fire
Any change comes as a relief
Let the giver’s name remain unspoken
For she is just a generous thief

But she had diamonds on the inside
‘Cause she had diamonds on the inside
She wore diamonds on the inside
She wore diamonds
Oh diamonds
She had diamonds
She wore diamonds
Diamonds

Source: LyricFind

Songwriters: Ben C. Harper

Pat Travers – I La La La Love You

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

From the 1983 Valley Girl soundtrack and from his 1982 album, Black Pearl. The song did not chart.

I La La La Love You

Want to tell you that I love you, baby
Don’t you know that I like it
From the bottom of my heart
Uh huh, uh huh, uh huh

I could never find another lover
Oh, who could love me like you did
From the very start, right from the heart

I la la la love you, oh

Ooh, you make me want to move on over
Oh, make a little room for you in my heart
Uh huh, uh huh, uh huh

Gave me lovin’ that was worth the gamble
Oh, you made me move together
From the very start
Right from the heart

I la la la love you
Right from the start
I la la la love you (I la la la love you)
Right from the start (right from the start)
I la la la love you (I la la la love you)
Right from the heart (right from the heart)

When I tell you that I love you, baby
Don’t you know that I like it
From the bottom of my heart
Right from the start

I la la la love you, oh

Source: LyricFind

Songwriters: Adrienne Follese / Adrienne J. Follese / Keith Follese / Keith Charles Follese / Tamara J. Hyler

Rolling Stones – Crazy Mama

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

From their 1976 album, Black and Blue. The song did not chart but it’s still a great deep cut.

Crazy Mama

Well you’re crazy Mama
With your ball and chain
And your sawn off shotgun
Blown out brains, yeah

You can scandalize me
Scorn my name
You can steal my money
And that don’t mean a doggone thing

Cause if you really think you can push it
I’m going to bust your knees with a bullet
Your crazy mama, ah yeah

Well your old time religion
Is just a superstition
You going to pay high prices
For your sacrificises

Well your blood and thunder
Sure can’t faze me none
If your going to keep on coming
I’m gonna take it all head on

If you don’t believe I’m going to do it
Just wait till you get hit by that bullet

Don’t think I ain’t thought about it
But it sure makes my shackles rise
And cold blood murder
Make me want to draw the line

Well your crazy mama
With your ball and chain
Plain psychotic
Plain insane

If you don’t think I’m gonna do it
Just wait for the thud of the bullet

Source: LyricFind

Songwriters: Mick Jagger / Keith Richards

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