Joe Cocker & Jennifer Warnes – Up Where We Belong

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Bird/Cat/Dog/Fish/Pet.

From the 1982 movie soundtrack An Officer and a Gentleman. The song peaked at #3 on Billboard’s Hot 100 chart on October 29, 1982.

From Songfacts

This was written for the movie An Officer And A Gentleman, which won the Oscar for Best Original Song in 1983. The film is known for its closing scene, where Richard Gere, dressed in his Navy uniform, comes into the factory where Debra Winger is working, gets hot and heavy with her, then carries her out as her co-workers cheer. It’s perhaps the most famous “sweeps her off her feet” archetype in film.

The movie ends with a still frame of Winger in Gere’s arms as the credits roll and “Up Where We Belong” plays.

The entire process – from idea to inclusion in the movie and release – took only 30 days. Will Jennings wrote the lyrics. He’s responsible for the words to many famous songs, including “My Heart Will Go On,” “Looks Like We Made It,” and many of Steve Winwood’s hits. Jennings told us:

“Joel Sill, who was head of the music department of Paramount, asked me to consider writing a song for this film. I watched a rough cut, loved the film and I heard enough parts to make up a song. I asked Joel to send me the work track and I stitched together the verse, chorus, and bridge of the song and wrote the lyrics… Joel sent it to Stewart Levine, a fine music producer, and Stewart and I talked the song over on the phone and he went in to the studio and cut the hit track with Joe Cocker and Jennifer Warnes.”

Will Jennings told us about coming up with the words to this song: “I am a working class person and these people in the film trying to make it, they are my people. The mountain imagery is about striving for the top – people often don’t hear the lyric right – it is ‘Where eagles cry, on a mountain high’ instead of ‘Where eagles fly, on a mountain high’ – if you have ever heard an eagle cry, the power and beauty of it and all the wild freedom of it, you will get the distinction. As far as “All I know is the way I feel…’ well, if you have nothing else to tell you what to do in your life, you have to go with the way you feel… if you are lost, you have only your instinct and passion to guide you.”

Up Where We Belong

Who knows what tomorrow brings
In a world few hearts survive
All I know is the way I feel
When it’s real, I keep it alive
The road is long
There are mountains in our way
But we climb a step every day
Love lift us up where we belong
Where the eagles cry
On a mountain high
Love lift us up where we belong
Far from the world below
Up where the clear winds blow
Some hang on to used to be
Live their lives looking behind
All we have is here and now
All our lives, out there to find
The road is long
There are mountains in our way
But we climb a step every day
Love lift us up where we belong
Where the eagles cry
On a mountain high
Love lift us up where we belong
Far from the world we know
Where the clear winds blow
Time goes by
No time to cry
Life’s you and I
Alive today
Love lift us up where we belong
Where the eagles cry
On a mountain high
Love lift us up where we belong
Far from the world we know
Where the clear winds blow
Love lift us up where we belong
Where the eagles cry
On a mountain high
Love lift us up where we belong
 
Source: LyricFind
Songwriters: Jack Nitzsche / Buffy Saint-Marie / Will Jennings

Melissa Etheridge – Bring Me Some Water

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Fiancé/Husband/Lover/Wife

From her 1988 self-titled album. The song peaked at #10 on Billboard’s Mainstream Rock chart on September 23, 1988.

From SongfactsAn aching song about an overwhelming feeling of jealousy, Etheridge wrote “Bring Me Some Water” after entering an open relationship with her girlfriend. Even though Etheridge agreed to the arrangement, she found herself tormented by the idea of her lover in the embrace of another woman.

In our interview with Etheridge, she said: “It was very painful. It was very true. It was awful.”

Etheridge often writes songs about turbulent relationships, some more personal than others. She frames them in a way that she could be singing about either a man or a woman, and since this song was released five years before Etheridge came out as gay, most listeners assumed she was singing about a man.

This was nominated for a Grammy Award in the category Best Female Rock Vocal Performance, losing to Tina Turner’s Tina Live in Europe. Etheridge performed the song at the ceremony.

This is one of Etheridge’s most famous songs, but you wouldn’t know it by its chart performance. Etheridge was an unknown artist when the song was released, and it never cracked the Hot 100 (it did make #10 on the Mainstream Rock chart – her first song to appear on any Billboard chart). As she built a following, the song got a lot more attention and a fair amount of airplay. It is also one of her concert staples, which has helped keep it alive.

Bring Me Some Water

Tonight I feel so weak
But all in love is fair
I turn the other cheek
And I feel the slap and the sting of the foul night air
And I know you’re only human
And I haven’t got talking room
But tonight while I’m making excuses
Some other woman is making love to you

Somebody bring me some water
Can’t you see I’m burning alive
Can’t you see my baby’s got another lover
I don’t know how I’m gonna survive
Somebody bring me some water
Can’t you see it’s out of control
Baby’s got my heart and my baby’s got my mind
But tonight the sweet devil, the sweet devil’s got my soul

Will this aching pass
Will this night be through
Wanna hear the breaking glass
I only feel the steel of the red hot truth
And I’d do anything to get it out of my mind
I need some insanity that temporary kind
Tell me how will I ever be the same
When I know that that woman is whispering your name

Somebody bring me some water
Can’t you see I’m burning alive
Can’t you see my baby’s got another lover
And I don’t know how I’m gonna survive
Somebody bring me some water
Can’t you see it’s out of control
Baby’s got my heart and my baby’s got my mind
But tonight the the sweet devil, the sweet devil’s got my soul

Oh-huh,oh yeah
Got my soul
Uh-huh, ooh yeah

Somebody bring me some water
Can’t you see I’m burning alive
Can’t you see my baby’s got another lover
And I don’t know how I’m gonna survive
Somebody bring me some water
Can’t you see it’s out of control
Baby’s got my heart and my baby’s got my mind
But tonight the sweet devil, the sweet devil’s got my soul
Oh yeah, oh, oh
Baby’s got my heart, my baby’s got my mind
Tonight the sweet devil, the sweet devil’s got my soul

Writer/s: MELISSA ETHERIDGE

Halestorm – Jump The Gun

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Begin/End/Finish/Start.

From their 2015 album, Into The Wild Life. The song did not chart.

From Crypticrock.com

The deluxe version of Into the Wild has two bonus tracksThe first of the bonus material is  “Jump the Gun” which is is a bar slinging swing rocker of plucky guitars, funky drumbeats, and sliding piano work while Lzzy throws it down.

Jump The Gun

Boot on the start line
Pistol in the air
‘Quila in the glass and a cold dead stare
Two minutes in baby make your move
If you won’t do it I’ll do it for you
I ain’t waitin’ on you, no
I ain’t waitin’ for youI jump the gun
Oh here I go again
I’m the one
Don’t know when to say when
Here for fun I wasn’t looking for a friend
Now we’re kissing under covers and it’s all
Just because I jumped the gunCheckers on the flag
Time to pay the tab
Hoppin’ in a cab
It’s time to be bad
Cigarette smoke, lipstick on your face
My place or yours
I’m good either way
Oh babe my meter’s runnin’
Oh baby are you coming?I jump the gun
Oh here I go again
I’m the one
Don’t know when to say when
Here for fun I wasn’t looking for a friend
Now we’re kissing under covers and it’s all
Just becauseI jump the gun
Oh here I go again
I’m the one
Don’t know when to say when
Here for fun I wasn’t looking for a friend
Now we’re kissing under covers and it’s all
Just because I jumped the gunWoke up in the morning pounding in my head
Three empty bottles no sheets on the bed
Baby rolled over and this is what he said
He said, “babe I think I love you”Oh babe jump the gun
Oh here I go again
I’m the one
Don’t know when to say when
Here for fun I wasn’t looking for a friend
Now we’re kissing under covers and it’s all
Just because IJumped the gun
Oh, here I go again
I’m the one
Don’t know when to say when
Here for fun I wasn’t looking for a friend
Now we’re kissing under covers and it’s all
Just because
I couldn’t keep in my pocket
Lit the fuse to the rocket
And I’m sinnin’ while I’m winnin’
Now it’s end and a beginning
And we’ll see the rising sun
Because I jumped the gunI jumped the gun (whoa whoa)Boot on the start line
Pistol in the air
‘Quila in the glass, oh here I go again

Source: LyricFind Songwriters: Jaren Johnston / Lizzy Hale / Scott Stevens / Joe Hottinger

The Boomtown Rats – I Don’t Like Mondays

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Days of the Week.

From their 1979 album, The Fine Art of Surfacing. The song reached #73 on Billboard’s Hot 100 chart and #1 on the UK’s singles chart.

From Songfacts

This is about Brenda Spencer, a 16-year-old high school student who lived across the street from Cleveland Elementary School in San Diego, California. On Monday, January 29, 1979, she opened fire on the school with a rifle her father had given her for Christmas, killing two adults (including the principal) and injuring nine children before going back to her home. Police surrounded her home and waited for seven hours until she gave herself up. In that time, she spoke with a reporter on the phone. When asked why she did it, she replied, “I just started shooting, that’s it. I just did it for the fun of it. I just don’t like Mondays. I just did it because it’s a way to cheer the day up. Nobody likes Mondays.”

This was #1 hit in 32 different countries, but it flopped in America, probably because the subject matter hit too close to home. Gun violence is a big problem in America.

At a basic level, this is often heard as a song lamenting the beginning of the work week. Some radio stations play it every Monday at a certain time.

Group leader Bob Geldof wrote this. He went on to organize charity efforts Band Aid, Live Aid and Live 8, earning a KBE (the equivalent of knighthood given to people born outside of England) for his efforts. The Boomtown Rats played this as part of their set at Live Aid.

While in Atlanta touring, Bob Geldof heard the news story about Brenda Spencer. Geldof composed the song on the spot, originally as a reggae number. Back in Los Angeles after the tour, a studio demo was recorded with grand piano and vocals. By the time ‘I Don’t Like Mondays’ was introduced onstage in Loch Lomond, Scotland, the song had been transformed dramatically.

 

I Don’t Like Mondays

The silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s going to make them stay at home
And daddy doesn’t understand it
He always said she was as good as gold
And he can see no reason
‘Cause there are no reasons
What reason do you need to be sureOh, oh, oh tell me why
I don’t like MondaysTell me why
I don’t like MondaysTell me why
I don’t like Mondays
I want to shoot
The whole day downThe Telex machine is kept so clean
As it types to a waiting world
And mother feels so shocked
Father’s world is rocked
And their thoughts turn to their own little girl
Sweet sixteen ain’t that peachy keen
Now, it ain’t so neat to admit defeat
They can see no reasons
‘Cause there are no reasons
What reason do you need oh, woahTell me why
I don’t like MondaysTell me why
I don’t like MondaysTell me why
I don’t like Mondays
I want to shoot
The whole day down
Down, down
Shoot it all downAll the playing’s stopped in the playground now
She wants to play with her toys a while
And school’s out early and soon we’ll be learning
And the lesson today is how to die
And then the bullhorn crackles
And the captain tackles
With the problems and the how’s and why’s
And he can see no reasons
‘Cause there are no reasons
What reason do you need to die, dieOh, oh, oh and the silicon chip inside her head
Gets switched to overload
And nobody’s gonna go to school today
She’s going to make them stay at home
And daddy doesn’t understand it
He always said she was as good as gold
And he can see no reason
‘Cause there are no reasons
What reason do you need to be sureTell me why
I don’t like Mondays
Tell me whyI don’t like Mondays
Tell me whyI don’t like, I don’t like, I don’t like Mondays
Tell me why
I don’t like, I don’t like, (tell me why) I don’t like Mondays
Tell me why
I don’t like Mondays
I want to shoot, the whole day down, uh, uh, uh

Source: LyricFindSongwriters: Bob Geldof

Halestorm – Dear Daughter

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

From their 2015 album, Into The Wild Life. The song did not chart.

From Songfacts

The origins of this heartfelt ballad in a conversation Lzzy Hale was having with her mom, when Beth Hale asked her daughter if she did a good job raising her. The idea for the track was bouncing around in the singer’s head and she asked fans on social media about things they wished their parents had said to them while they were growing up. A lot of inspiration for this song’s lyrics came from their replies.

Guitarist Joe Hottinger recalled to TeamRock: “When we started trying to turn all of these lyrics and ideas into music, Lzzy started hitting these pianos chords and it just flowed. So she went into the church and sat down at the piano. She had a microphone in front of her. I think what you hear on the song is actually the second take.”

Lzzy Hale discussed this song with Rocksverige.se: “This is a subject that… I mean, obviously, [Halestorm drummer Arejay and I] grew up with a very supportive mother,” she said. “We decided to start a rock band, and she actually said, ‘Yes! Do that! Go for it!’ So, for me, this was… We get to speak to a lot of young girls, and a lot of them do have those supportive parents, but a lot of them don’t. So I think this was my way – lyrically, at least – just passing that on… As in, like, if I were… if and when I were to have a daughter, I would be passing these words on to her… I don’t know… It’s a strange song.”

Bassist Josh Smith added: “It’s a strange song, but [with] a great message. And although it says ‘Dead Daughter’, that’s just great advice for anyone… be it a young kid, or anyone in a spot where they’re, like, ‘Man, I’m in just the pits right now. What the hell’s my life gonna be like in ten years?’ So it’s just good sound advice for anyone kind of trying to find their way.”

Lzzy Hale: “We started this band when I was 13, and my parents supported our decision to immerse ourselves completely in music. What they never let on was that they were terrified for their little girl, whom they wanted to protect from all the ups and downs they knew I’d have to face following my dream.”

“This song is not only an ode to my parents and their unwavering love and support, but it is a passing of the torch to all the young girls I meet and perform in front of every night. I’m living proof that you can do anything you want to in this life full of love, pain, hope and fear. Keep your head held high, and go for it at all costs. If anyone tries to tell you you can’t… Tell ’em to come talk to me!”

Dear Daughter

Dear daughter
Hold your head up high
There’s a world outside
That’s passing by
Dear daughter
Never lose yourself
Remember that
You’re like nobody else

Life throws you in
To the unknown
And you feel like you’re
Out there all alone

These are words
That every girl should have a chance to hear
There will be love
There will be pain
There will be hope
There will be fear
And through it all year after year
Stand or fall I will be right here
For you

Dear daughter
Don’t worry about those stupid girls
If they try to bring you down
It’s cause they’re scared and insecure
Dear daughter
Don’t change for any man
Even if he promises the stars
And takes you by the hand

Life throws you in
To the unknown
And you feel like you’re
Out there all alone

These are words
That every girl should have a chance to hear
There will be love
There will be pain
There will be hope
There will be fear
And through it all year after year
Stand or fall I will be right here
For you

Dear daughter
I was just like you
And just like me
You’re gonna make it through

These are words
That every girl should have a chance to hear
There will be love
There will be pain
There will be hope
There will be fear
And through it all year after year
Stand or fall I will be right here
And after all, I will be right here
For you

Writer/s: ELIZABETH HALE, JOSEPH HOTTINGER, DAVE BASSETT

Pat Benatar – Treat Me Right

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Ghost/Pumpkin/Trick/Treat/Witch.

From her 1980 album, Crimes Of Passion. The song reached #18 on Billboard’s Hot 100 chart on March 13, 1981.

From Wikipedia

Treat Me Right” is a single by Pat Benatar. Benatar released HER version December 29, 1980, as the third and final single released off her best-selling album, Crimes of Passion. Produced by Keith Olsen, the song was written by Doug Lubahn.

But it was released a year earlier than Benatar in 1979 by the band BULLSEYE. And never received wide radio play as her.

Treat Me Right

You want me to leave, you want me to stay
You ask me to come back, you turn and walk away
You want to be lovers, and you want to be friends
I’m losing my patience, you’re nearing the endOne of these days you’re gonna reach out and find
The one that you count on has left you behind
Don’t want to be no martyr, with no one, no say
Oh my, my baby, before it’s too lateTreat me right, treat me right
Open your eyes, maybe you’ll see the lightDo you think I’m a fool, well you better think twice
I’ve had enough baby, it’s time you realized
That you can’t have it both ways, it’s no way to live
You’ve done all the takin’, it’s your turn to giveOne of these days you’re gonna reach out and find
The one that you count on has left you behind
Don’t want to be no martyr, with no one, no say
Oh my, my baby, before it’s too lateTreat me right, treat me right
Open your eyes, maybe you’ll see the light
Oh, treat me rightYou want me to leave, you want me to stay
You ask me to come back, you turn and walk away
You want to be lovers, and you want to be friends
I’m losing my patience, you’re nearing the endTreat me right, treat me right
Open your eyes, maybe you’ll see the light
Oh, treat me rightTreat me right
Treat me right
Treat me right
Treat me right
Treat me right
Treat me right
Treat me right
Treat me right

Source: LyricFindSongwriters: Douglas Harden Lubahn

Ring Starr – NO-NO Song

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…No/Yes.

From his 1974 album, Goodnight Vienna, The song peaked at #3 on Billboard’s Hot 100 chart on April 5, 1975.

From Sonfacts

This was written by country music star Hoyt Axton and bass player David Jackson. The song takes a humorous look at someone who is constantly offered drugs and alcohol (marijuana from Columbia, cocaine from Majorca, moonshine from Nashville…) and keeps turning them down.

Axton struggled with drug abuse early in his career and was poking fun at himself in the song. Axton, who also wrote the Three Dog Night hit “Joy To The World,” had a talent for writing whimsical pop songs with a country flavor.

Ringo sings this with more than a hint of irony, as he was far from sober at the time. In interviews, he would cheekily refer to it as “an anti-drug song,” which it is, as the singer describes the consequences of his addictions (waking up on the floor). Ringo was not interested in giving up his habits at the time, but in 1988 he entered rehab with his wife, Barbara. He later described his years of addiction as being a very lonely time.

In a 2007 Time magazine interview, Ringo was asked about his most memorable guest artists in the studio. His reply: “Hoyt Axton was one of them on the Ringo album. We were doing ‘No No Song’ with the biggest spliff and a large bottle of Jack Daniel’s.”

At the very end of this song, Ringo very quietly speaks some dialogue in a drunken slur, which is made even less intelligible because different words are spoken in each channel. On the right channel, he says something like “I’ll just have another drink, have you got any brandy?” and on left, “Just put mine in the boot.”

This was first released in America as a double-sided single with “Snookeroo.” Ringo and his record company didn’t think radio stations would play “No No Song” because of the drug references, but they did, pushing the song to #3 and giving Ringo his seventh Top 10 hit Stateside. Unsurprisingly, the flip side, a song celebrating snooker, was largely ignored.

In the UK, “No No Song” wasn’t released as a single for fear that it would get banned. In 1976, it was used as the B-side of “Oh My My.”

Hoyt Axton released his own version of the song in 1975 after it became a hit for Ringo. His rendition was issued as a single and included on his album Southbound. The stoner comedians Cheech & Chong make an appearance on Axton’s version.

NO-NO Song

A lady that I know just came from Columbia
She smiled because I did not understand
Then she held out some marijuana, ha ha
She said it was the best in all the land

And I said
No, no, no, no, I don’t smoke it no more
I’m tired of waking up on the floor
No, thank you, please, it only makes me sneeze
Then it makes it hard to find the door

A woman that I know just came from Majorca, Spain
She smiled because I did not understand
Then she held out a ten pound bag of cocaine
She said it was the finest in all the land

And I said
“No, no, no, no, I don’t (sniff) it no more
I’m tired of waking up on the floor
No, thank you, please, it only makes me sneeze
And then it makes it hard to find the door”

A man I know just came from Nashville, Tennessee
He smiled because I did not understand
Then he held out some moonshine whiskey, oh ho
He said it was the best in all the land

And I said
No, no, no, no, I don’t drink it no more
I’m tired of waking up on the floor
No, thank you, please, it only makes me sneeze
And then it makes it hard to find the door

John Cougar Mellencamp – Hand To Hold On To

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Hold/Pause/Stop/Wait

From his 1982 album, American Fool. The song reached #19 on Billboard’s Hot 100 chart on January 21, 1983.

From Apple music

Though credited to John Cougar, 1982’s American Fool marks the moment when John Mellencamp began to assert his true identity as an artist. This is a scrappy version of classic rock ‘n’ roll, built around storytelling lyrics and guitar-centered tunes that harkened back to Dylan and the Stones. The playful “Hurts So Good” became the album’s first hit, but it was the small-town-romance theme of “Jack & Diane” that truly defined the album’s sensibility. Mellencamp’s raspy, Indiana-accented vocals breathe life into his tales of Middle American dreams, ambition and heartache. Tracks like “Hand to Hold Onto” and “Can You Take It” offer plenty of radio-friendly punch and attitude. Going deeper, “Weakest Moments” is indicative of the working-class balladry that would turn up on later albums. The album’s title cut — added to the remastered version of the album — is a good-natured declaration of independence. More than anything, it’s this sense of personal freedom that makes American Fool such a fun listen — for the first time, John is taking off his Cougar disguise and getting real.

Hand To Hold On To

You can laugh and joke and make fun of your friends,
Spin in the middle when your troubles begin,
Take it nice and easy and always pretend
That you’re cool…so cool…so cool.Say, “I’munna hold onto that a while and I will and I’ll be tame”,
Talk like a jerk on an educated brain,
Be an old girl drivin’ the young boys insane,
Be a joker, a preacher…it does not matter.Everyone needs a hand to hold on to
Everyone needs a hand to hold on to
Don’t need to be no strong hand
Don’t need to be no rich hand
Everyone just needs a hand to hold on toHavin’ good luck with your financial situation,
Play the ponies, be the president of the United Nation,
Go to work and be a Hollywood stand,
Drive your four wheel drive right into the mud, butEveryone needs a hand to hold on to
Everyone needs a hand to hold on to
Don’t need to be no strong hand
Don’t need to be no rich hand
Everyone just needs a hand to hold on toAnd in those hours when you’re alone,
And there’s nobody there except yourself,
I know it…you want to pick up the phone,
And say, “Talk to me, talk to me, somebody please
Talk to me!” Yeah!Ohh, yeah!Everyone needs a hand to hold on to
Everyone needs a hand to hold on to
Don’t need to be no strong hand
Don’t need to be no rich hand
Everyone just needs a hand to hold on to

Source: LyricFind Songwriters: John Mellencamp

Halestorm – Break In (feat. Amy Lee)

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…User Choice where you can go your own way, or do your own thing.

From Halestorm’s 2020 EP, Reimagined. The song reached #16 on Billboards Rock Digital chart on August 14, 2020. Recorded at Rock Falcon Studios in Nashville.

From Music.mxwdn.com

Halestorm have released a new track with Evanescence’s Amy Lee. “Break In” comes from Halestorm’s upcoming Reimagined EP, the following tracks set for a release on August 14. The track first appeared in Halestorm’s 2012 album, The Strange Case Of…, with several performances of Lee joining Halestorm’s frontwoman, Lzzy Hale, for the track leading to fan requests for a version of the song featuring Lee to be released.

Beginning with soft sounds of a piano, Hale’s voice flows over as she is occasionally joined by low strums and pings of the guitar and piano. Her voice soars as she reaches the chorus, rising and carrying heavy emotion before fading back down. Lee soon joins in, the two harmonizing for the second verse as faint clashes and shimmers dance in the background. Both powerfully sing the lyrics “You let me fall apart without letting go/ Then  you pick up the pieces and you make me whole/ I didn’t want to escape/ From the bricks that I laid down.” Hale’s voice buries underneath Lee’s, throughout the chorus, both swinging their voices up at various intervals and switching between high and low as they experiment with pitch.

Break In

Put your lighter in the air and lead me back home
When it’s all said and done and follow where the air goes
I hear you night after night calling out my name
And I’m finding myself running to meet you
I didn’t want to escape
From the bricks that I laid downYou are the only one
The only that sees me
That trusts me and believes me
You are the only one
The only one that knows me
And in the dark you show me
It’s perfectly reckless
Damn you leave me defenseless
So break in
Break inYou let me fall apart without letting go
Then you pick up the pieces and you make me whole
I didn’t want to escape
From the bricks that I laid downYou are the only one
The only that sees me
That trusts me and believes me
You are the only one
The only one that knows me
And in the dark you show me
It’s perfectly reckless
Damn you leave me defenseless
So break inAnd take everything I have
Until there is nothing left
Until it’s just your voice in my head
And when the lights come on
You see me as I am
You’re still inside meYou are the only one
The only that sees me
That trusts me and believes me
You are the only one
The only one that knows me
And in the dark you show me
It’s perfectly reckless
Damn you leave me defenseless
So break in
Break inPut your lighter in the air and lead me back

homeSource: LyricFindSongwriters: Robert Graves / Lizzy Hale / Mark Holman / Aimee Proal

The Struts – My Machine

This is my contribution to Song Lyric Sunday for Jim Adams’s blog. This week’s prompt…Brother/Sibling/Sister

From their 2014 debut album, Everybody Wants. The song did not chart.

All I could find was an album review.

From Allmusic.com

Originally released in 2014, the debut long player from the Derbyshire-based rockers is an unapologetic blast of earworm-heavy, modern rock/punk-pop in a neo-glam wrapper, and as cocksure as it is calculated. Imagine a Slade-crazed, real life version of Russell Brand‘s Infant Sorrow (the band from Get Him to the Greek) fronted by a man who delivers each and every “R” with a brazen alveolar trill in a voice that’s an amalgam of Freddie MercuryDee SniderNoddy Holder, and David JohansenEverybody Wants is not a subtle album. It’s all pomp, circumstance, bluster, and nasty, sugary goodness; an 11-track set (13 on the 2016 U.S. reissue) of hook-laden, radio-ready party songs that embrace both sleaze and cheese. Luke Spiller is a born frontman. He’s got the Jagger swagger, but where Mick‘s antics invoked the American south, Spiller is a purely East Midlands creation, and like the Darkness‘ Justin Hawkins, his flamboyant English delivery will likely be the barometer listeners use to gauge the duration of their stay. The songs themselves are largely formulaic, but delivered with such gusto that it’s easy to forgive the chicanery behind them. Bawdy, ballsy, silly, and sweet, standouts like “Could Have Been Me,” “Roll Up,” and “Kiss This,” not to mention a couple of new gems on the 2016 reissue — “These Times Are Changing” and “Ol’ Switcheroo” — will likely appeal to a wide range of pop enthusiasts. From the Buckcherry fan to the One Direction fan, there’s a little bit of something for everyone on the aptly named Everybody Wants.

My Machine

Start her up,
Here we go,
Engine hot,
Good to go,
She’s so keen,
Turn the key,
Here to satisfy you,Turning heads,
Looking right,
Always ready to ignite,
Turn her on,
Spark it up,
She’ll electrify you,Up a gear,
Road is clear,
So responsive when I steer,
There is nothing left to fear,
Hard to criticize you,I’m so happy you are mine,
Gonna buff you all the time,
Then your body’s gonna shine,
I was born to love you,Oh! You’ll never know, you’ll never ever know,
‘Cause when she breaks down,
No! It will be fine
Cause love is blindI’m gonna go for a ride,
I’m gonna get outside,
I’m gonna feel that grease,
Gonna slip inside,
Can you hear her scream,
She’s my machineI wanna make her new,
And paint her baby blue,
I’m gonna get inside,
Put the choke on you,
Can you hear her scream,
She’s my machine,Everybody thinks I’m mad,
Brother, sister, mum and dad,
She’s the best I’ve ever had,
She’ll make me turn against them,Check the mirror,
Looking trim,
Fill her up,
Let’s begin,
It’s a joy,
It’s a sin,
A weird infatuation,Oh! You’ll never know, you’ll never ever know,
‘Cause when she breaks down,
No! It will be fine
Cause love is blindI’m gonna go for a ride,
I’m gonna get outside,
I’m gonna feel that grease,
Gonna slip inside,
Can you hear her scream,
She’s my machine,I wanna make her new,
And paint her baby blue,
I’m gonna get inside,
Put the choke on you,
Can you hear her scream,
She’s my machine,I’m gonna go for a ride,
I’m gonna get outside,
I’m gonna feel that grease,
Gonna slip inside,
Can you hear her scream,
She’s my machine,I wanna make her new,
And paint her baby blue,
I’m gonna get inside,
Put the choke on you,
Can you hear her scream,
She’s my machine,Can you hear her scream,
She’s my machine,Can you hear her scream,
She’s my machine

Source: MusixmatchSongwriters: Ray Hedges / Nigel Butler / Luke Spiller / Adam Slack