Rock and Roll History: The 90's!!! (Part 2) [Archive] - Page 9 - Sitcoms Online Message Boards

ABlairican Pie

11-13-2006, 02:16 AM

One the eve of their Farewell Tour (the first apparently of many), The Who released It's Hard, the second album since drummer Keith Moon's death which featured new drummer Kenny Jones. The album's title was interpreted to either be a commentary on the tense political climate of the times, or of the band's struggles over the years. The band had fulfilled their record contract and were free to disband. The album, however, drew mixed reviews from critics, very good according to some while very poor according to others.

The first single released was "Athena", which was originally going to be called "Theresa", for actress Theresa Russell, with whom Pete Townshend fell in love. Though she turned him down, he wrote the song for her but changed the name to hide her identity. The standout track on the album was
"Eminence Front" which featured very strong bass work by John Entwistle.
The album cover featured a young person playing a video game, a nod to the band's past hit "Pinball Wizard". The image reflected the changing times where leisure activities of the past were being supplanted by new ones.

Athena

Athena, I had no idea how much I'd need her
In peaceful times I hold her close and I feed her
My heart starts palpitating when I think my guess was wrong
But I think I'll get along
She's just a girl - she's a bomb
She's just a girl - she's a bomb

Athena, all I ever want to do is please her
My life has been so settled and she's the reason
Just one word from her and my troubles are long gone
But I think I'll get along
She's just a girl - she's a bomb
She's just a girl - she's a bomb

Just a girl just a girl
Just a girl just a girl
Just a girl just a girl
She's just a girl

Athena, my heart felt like a shattered glass in an acid bath
It felt like one of those flattened ants you find on a crazy path
I'd have topped myself to give her time she didn't need to ask
Was I a suicidal psychopath?
She's just a girl - she's a bomb
She's just a girl - she's a bomb

Consumed, there was a beautiful white horse I saw on a dream stage
He had a snake the size of a sewer pipe living in his rib cage
I felt like a pickled priest who was being flambed
You got me requisitioned blondie
She's just a girl - she's a bomb
She's just a girl - she's a bomb

I'm happy, I'm ecstatic
Just a girl just a girl
Just a girl just a girl
Just a girl just a girl
She's just a girl

Look into the face of a child
Measure how long you smiled
Before the memory claimed
How long would children remain
How long could children remain

Athena, you picked me up by my lapels and screamed "leave her"
I felt like waking up in heaven on an empty meter
And now you're stuck with a castrated leader
And I hate the creep, I didn't mean that
She's a bomb
I just said it
She's a bomb
I didn't mean
She's a bomb

Athena, I had no idea how much I need her
My life has been so settled and she's the reason
Just one word from her and my troubles are long gone
Ooh, but I get along
She's just a girl, she's a bomb
She's just a girl, she's a bomb

Eminence Front

The sun shines
People forget
The spray flies as the speedboat glides
People forget
Forget they're hiding
The girls smile
People forget
The snow packs as the skier tracks
People forget
Forget they're hiding.

Behind an eminence front
Eminence front - It's a put-on.
It’s an eminence front
It’s an eminence front – It’s a put-on
An eminence front
Eminence front - put-on
Eminence front
It’s an eminence front
I’ts an eminence front – It’s a put-on
It’s a put-on
It’s a put-on
It’s a put-on

Come and join the party
Dress to kill
Won't you come and join the party
Dress to kill.

The drinks flow
People forget
That big wheel spins, the hair thins
People forget
Forget they're hiding
The news slows
People forget
The shares crash, hopes are dashed
People forget
Forget they're hiding.

Behind an eminence front
An eminence front - it's a put-on
It is an eminence front
Eminence front – It’s a put-on
An eminence front
An eminence front - put-on
Eminence front
It’s an eminence front - it's a put-on
It’s a put-on
It’s a put-on
It’s a put-on

Come and join the party
Dress to
Come and join the party
Dress to
Come on join the party
Dress to
Come and join the party
Dress to kill

Dress yourself to kill.

:guitar:

ABlairican Pie

11-13-2006, 08:52 AM

Led Zeppelin released one more official studio album in 1982, Coda, their only album for a number of years, after the tragic death of John Bonham in 1980. The album was simply a collection of out-takes that never made it on previous albums, as well as a few live performances.

Track listing

"We're Gonna Groove" (Bethea, King) – 2:40
"Poor Tom" (Page, Plant) – 3:01
"I Can't Quit You Baby" (Dixon) – 4:17
"Walter's Walk" (Page, Plant) – 4:31
"Ozone Baby" (Page, Plant) – 3:35
"Darlene" (Bonham, Jones, Page, Plant) – 5:06
"Bonzo's Montreux" (Bonham) – 4:17
"Wearing and Tearing" (Page, Plant) – 5:31
Four bonus tracks were added to the album on the edition included in the career-spanning box set Complete Studio Recordings:

"Baby Come on Home" (Berns, Page, Plant) – 4:30
"Traveling Riverside Blues" (Johnson, Page, Plant) – 5:11
"White Summer/Black Mountain Side" (Page) – 8:01
"Hey Hey What Can I Do" (Bonham, Jones, Page, Plant) – 3:55
All the four bonus tracks had appeared before on the boxed sets series: "Baby Come on Home" was first released earlier that year (1993) on the Boxed Set 2, and the other three were on the Boxed Set (1990).

Bonzo's Montreaux was a drum solo by Bonham in 1976 which featured electronic effects added by Jimmy Page. The instrumental was later added to later versions of Moby Dick on their 1990 box set, and included by itself on the 1993 second box set.

Much speculation about Bonham's death remained, as some even claimed the his death was due to Page's interest in the occult which may have brought back some sort of "bad karma" from beyond, a claim at which Page and the other members scoffed. Interestingly, in the latest issue of Guitar World (Nov. '06), there is an article about Page's involvement with controversial filmmaker Kenneth Anger, who was heavily involved in the occult in the band's heyday, and shared Page's interest in the works of famed British occultist Alister Crowley. Page collaborated with him on a film in the 70's called Lucifer Rising, where Page provided some of the music. However, after a public feud with Page, Anger used only part of the music, instead using more of the music by Bobby Beausoleil, one of the killers associated with the Charles Manson family who was doing time for a murder not related to the Tate-LaBianca killings. Anger seems to have some sort of curse on musicians he was associated with, such as Mick Jagger--his collaboration with the Stones preceded the death of Brian Jones and the bloodshed at Altamont. Even stranger still was when a young man by the name of Mark David Chapman approached him and handed him a set of bullets. "These are for John Lennon", he told Anger. Shortly afterward, rock's greatest tragedy occured, and Anger's movie was finally released. Was there a satanic curse on rock's royalty? Not likely, but the coincidences were uncanny. Anger even claims that Page had too much "negative energy" which would not only affect Bonham's fate but would greatly diminish Page's playing ability. One thing for certain, that in spite of the musical climate of the early 80's, fans' interest in the mighty Led Zeppelin was far from diminished.

Page was like many devotees of magick who was not a "satanist" but a person who looked at figures like Crowley as a sort of "liberator" from stifling Victorian morals and urged his followers to not exercize moderation in human pursuits. That truly resonated with Page and Led Zeppelin in a big way.

ABlairican Pie

11-13-2006, 09:16 AM

One supergroup made up of band members from prominent 70's bands attempted to enter into the 80's with the perfect arena-rock sound, Asia, which featured guitaristSteve Howe formerly of Yes, drummer Carl Palmer of Emerson, Lake, and Palmer,
bassist John Wetton who had played with bands such as Roxy Music, King Crimson and others, and vocalist/keyboardist Geoffrey Downes. Their debut album from 1982 featured the hit "Heat of the Moment", as well as "Soul Survivor", "Only Time Will Tell", and "Here Comes the Feeling". This was the second chance for prog-rock titans to achieve relevance in the 80's, with a streamlined, radio-friendly version of their collective talents, without the bloated epic songwriting and musicianship which glutted their records in the 70's. Though their tour that year was very successful, many critics still sniffed at them as being all muscle and no substance. Would they be able to match their initial success in their second album? Only time would tell.

The album's cover was painted by Yes' illustrator Roger Dean.

Heat of the Moment

I never meant to be so bad to you
One thing i said that i would never do
One look from you and i would fall from grace
And that would wipe this smile right from my face

Do you remember when we used to dance
And incidence arose from circumstance
One thing lead to another we were young
And we would scream together songs unsung

{chorus}
It was the heat of the moment
Telling me what your heart meant
Heat of the moment shone in your eyes

And now you find yourself in 82
The disco hotspots hold no charm for you
You can't concern yourself with bigger things
You catch the pearl and ride the dragon's wings

{chorus}

And when your looks are gone and you're alone
How many nights you sit beside the phone
What were the things you wanted for yourself
Teenage ambition you remember well

{chorus x2}

This is a great track:

Soul Survivor

When i ran from the hounds of hell
Twist my foot, i nearly fell
I was lucky i was alive
One look back i could have died

{chorus}
I was the sole survivor
Sole survivor
Sole survivor
Solitary fighter

When i saw it i was amazed
One time glory right in my gaze
I saw the sorrow, i saw the joy
Right in the darkness none could destroy

{chorus}

And from the wreckage i will arise
Cast the ashes back in their eyes
See the fire, i will defend
Just keep on burning right to the end

{chorus}

:guitar:

http://ec1.images-amazon.com/images/P/B000000OMB.01._SS500_SCLZZZZZZZ_V1115628271_.jpg

ABlairican Pie

11-13-2006, 10:30 PM

Only Time Will Tell

You're leaving now
It's in your eyes
There's no disguising it
It really comes as no surprise
To find that you planned it all along

I see it now
Becomes so clear
Your insincerity
And me all starrey-eyed
To think that i would have know by now

{chorus}
Now, sure as the sun will cross the sky
This lie is over
Lost, like the tears that used to tide me over

{only time will tell}
One thing is sure
That time will tell
{only time will tell}
If you were wrong
The brightest ring around the moon
Will darken when i die

{chorus}

{repeat first verse}
{repeat second verse}
{chorus}

{only time will tell}
You're on your own
Inside your room
{only time will tell}
You're claiming victory
You were just using me
And there is no one you can use now

{only time will tell}
One thing is sure
That time will tell...

Time Again

Fate looks certain but there's nothing guaranteed
Want for nothing, but is nothing what you need?
Always pushing but you're never satisfied
I did believe you 'til i found out that you lied

{chorus}
Time and time again
Time and time again again

For what i give you i get nothing in return
Can't forgive you watching all your bridges burn
All day long i sat and watched you do it wrong
Have to say that's how you did it all along

{chorus}

But others wouldn't see things you could only see
And someone showed you, then why was it always me
You knew the limit you were always out of bounds
How could i trust you when i caught you messing 'round

{chorus}

Here Comes the Feeling

All through the winter i thought i'd never see you again
Oh god where were you when i needed you
I know that you, no, you would never have betrayed me
I thought i'd die, why? all the reasons still evade me
But you're back

{chorus}
Now i can see you
Now i can feel you
Now that i want you
Now i can touch you
Next to me
Here it comes

Here comes the feeling
Here comes that same old feeling
Here comes the feeling
Here comes that same old feeling

This is for real, i never felt so good before
I see the world through different eyes
Now that you're back, nothing in the least can overcome me
Misery gone, plus all the doubt that overran me
But you're back

{chorus}

{repeat first verse}
{chorus}

:guitar:

Geoffrey Downes better be careful not to lean too far back! :eek: :lol:

Cactus Jack

11-13-2006, 10:32 PM

Ever see The 40 Year Old Virgin? LOL the Asia stuff reminded me

ABlairican Pie

11-13-2006, 10:53 PM

Jethro Tull was another 70's prog-rock giant not immune to the changes in music at the turn of the 80's. Their 1980 album, simply titled A, was originally intended to be a solo album for Ian Anderson (hence the initial A). The album became a band affair which incorporated more synthesizers and less folk-rock flourishes, which disappointed many fans who wished the band did not cop out to prevailing trends. On 1982's Broadsword and the Beast, the band returned to their trademark sound though with synthesizers. Fans once again flocked to their concerts which featured one of their last theatrical remnants of their 70's-style stages, a huge Viking ship while the band dressed in medieval attire.

Beastie

From early days of infancy, through trembling years
of youth, long murky middle-age and final hours
long in the tooth, he is the hundred names of terror ---
creature you love the least. Picture his name before
you and exorcise the beast.

He roved up and down through history --- spectre
with tales to tell. In the darkness when the
campfire's dead --- to each his private hell. If you look
behind your shoulder as you feel his eyes to feast, you
can witness now the everchanging nature of the beast.

Beastie

If you wear a warmer sporran, you can keep the foe at
bay. You can pop those pills and visit some
psychiatrist who'll say --- There's nothing I can do
for you, everywhere's a danger zone. I'd love to help
get rid of it, but I've got one of my own.

There's a beast upon my shoulder and a fiend upon
my back. Feel his burning breath a heaving, smoke
oozing from his stack. And he moves beneath the
covers or he lies below the bed. He's the beast upon
your shoulder. He's the price upon your head. He's
the lonely fear of dying, and for some, of living too.
He's your private nightmare pricking. He'd just love
to turn the screw. So stand as one defiant --- yes, and
let your voices swell. Stare that beastie in the face
and really give him hell.

The Clasp

We travellers on the endless wastes in single orbits,
gliding cold-eyed march towards the dawn behind
hard-weather hoods a-hiding.
Meeting as the tall ships do, passing in the channel
afraid to chance a gentle touch ---
afraid to make the clasp.

In high-rise city canyons dwells the discontent of ages.
On ring roads, nose to bumper crawl
commuters in their cages. Cryptic signals flash
across from pilots in the fast lane. Double-locked
and belted in --- too late to make the clasp.

Let's break the journey now on some lonely road.
Sit down as strangers will, let the stress unload.
Talk in confidential terms, share a dark unspoken fear.
Refill the cup and drink it up. Say goodnight and
wish good luck.

Synthetic chiefs with frozen smiles holding unsteady courses.
Grip the reins of history, high on their battle horses.
And meeting as good statesmen do before the T.V.
eyes of millions, hand to hand exchange the lie ---
pretend to make the clasp.

:wizard:

ABlairican Pie

11-13-2006, 11:47 PM

After the band had peaked creatively and commercially in 1979 with Breakfast In America, Supertramp found itself at the end of the road by 1982. Vocalist Roger Hodgson and keyboardist Rick Davies squabbled over the creative direction of the band; Hodgson wanted to sack the other members, while Davies insisted on their right to stay in the band. What complicated matters even worse was that Hodgson's wife and Davies' wife did not get along at all--and this, perhaps even more than his own feud with Davies, convinced Hodgson to leave the band. Hodgson wanted to stay at home with his wife and young daughter, though he planned for a solo album in the coming year.

It's Raining Again

Oh, it's raining again
Oh no, my love's at an end.
Oh no, it's raining again
and you know it's hard to pretend.
Oh no, it's raining again
Too bad I'm losing a friend.
Oh no, it's raining again
Oh, will my heart never mend.

You're old enough some people say
To read the signs and walk away.
It's only time that heals the pain
And makes the sun come out again.
It's raining again
Oh no, my love's at an end.
Oh no, it's raining again
Too bad I'm losing a friend.

La, la, la, ...

C'mon you little fighter
No need to get uptighter
C'mon you little fighter
And get back up again.

It's raining again
Oh no, my love's at an end.
Oh no, it's raining again
Too bad I'm losing a friend.
Oh!Oh!

La, la, la, ...

C'mon you little fighter
No need to get uptighter
C'mon you little fighter
And get back up again
Oh, get back up again
Oh, fill your heart again ...

(It's raining, it's pouring)
(The old man is snoring)
(He went to bed and bumped his head)
(And he couldn't get up in the
morning)

ABlairican Pie

11-14-2006, 12:42 AM

The Iron Maiden camp had decided that it was time to fire vocalist Paul Di'Anno for his out-of-control substance abuse problems which were hampering the band's chances of success. Searching for a new lead singer, they found a perfect match, the former lead singer of NWOBHM Saxon, Bruce Dickinson, known as Bruce Bruce in that group, who had a perfect powerful voice which could sing and shriek in very high register. Bruce had long wanted to sing for the band, and now here was his chance. Once the lineup was complete, it was time to work on a new album.

Bassist Steve Harris was plagued by dreams of the Antichrist rising from the wilderness, urging people in a secret ceremony to accept the number of the Beast, as foretold in the Book of Revelation in the Bible. This became the catalyst for what would become the band's most popular song, as Iron Man was for Black Sabbath over ten years before, and even more fearsome. The title track to the new album, The Number of the Beast, which hit the U.K. charts at #1, brought controversy in America. The conservative Christian brigades, not understanding the band's message, simply accepted the band as another "Satan-worshipping group" and burned their albums en masse. They did not even consider than the band was doing the church a favor by doing their job of warning people about the End Times ruler prophesied in the days of old. Bruce told them, "If anyone considers us a 'satanic' band may as well forget it, because we're not interested."

The band summoned the vocal talents of veteran actor Patrick McGoohan, famous for his role on the imaginative cult classic t.v. show The Prisoner, which told a fascinating tale of a British diplomat who angrily resigns from his post. At home, he is rendered unconscious and wakes up in a strange Kafka-esque village where he finds no escape and every attempt is made to learn of his reasons for resigning. He is known as simply "Number 6", to which he insists, "I am not a number, I am a free man!" The dialogue to this verbal exchange is heard on the song "The Prisoner". McGoohan also lent his vocal talents to the title track, but manager Ron Smallwood was reticent to contact him at his home in Los Angeles, since he was rather reclusive and was not particularly known to be a rock and roll fan. Regardless, he called him up and asked him if he would like to participated in adding a monologue to an Iron Maiden album.

McGoohan: "What did you say the name of the band was again?"
Smallwood: "Iron Maiden"
McGoohan: "A rock band, you say..."

After a moment of thought, McGoohan shouted, "DO IT!!" and slammed the phone down. And so the man known simply as "Number 6" reintroduced himself to a new generation of fans on one of the greatest heavy metal albums of all time.

McGoohan's intro to "The Number of the Beast" commenced thusly:

The Number of the Beast

"Woe to you, Oh Earth and Sea, for the Devil sends the
beast with wrath, because he knows the time is short...
Let him who hath understanding reckon the number of the
beast for it is a human number, its number is Six hundred and
sixty six."

I left alone my mind was blank
I needed time to think to get the memories from my mind

What did I see can I believe that what I saw
that night was real and not just fantasy

Just what I saw in my old dreams were they
reflections of my warped mind staring back at me

'Cos in my dream it's always there the evil face that twists my mind
and brings me to despair

The night was black was no use holding back
'Cos I just had to see was someone watching me
In the mist dark figures move and twist
Was this all for real or some kind of hell
666 the number of the beast
Hell and fire was spawned to be released

Torches blazed and sacred chants were praised
As they start to cry hands held to the sky
In the night the fires burning bright
The ritual has begun Satan's work is done
666 the number of the beast
Sacrifice is going on tonight

This can't go on I must inform the law
Can this still be real or just some crazy dream
But I feel drawn towards the evil chanting hordes
They seem to mesmerise me ... can't avoid their eyes
666 the number of the beast
666 the one for you and me

I'm coming back I will return
And I'll possess your body and I'll make you burn
I have the fire I have the force
I have the power to make my evil take i's course

McGoohan first added his vocals to the spoken-word intro on the song "The Prisoner" where first an interrogator speaks:

"We want information! Information! Information!"

--"Who are you?"

"The new Number Two."

--"Who is Number One?"

"YOU ARE NUMBER SIX!"

--"I AM NOT A NUMBER! I AM A FREE MAN!!"

(laughs) HAHAHAHAHAHAHA!!!!!!!!!

The Prisoner

I'm on the run, I kill to eat
I'm starving now, feeling dead on my feet
Going all the way, I'm natures beast
Do what I want and do as I please

Run - Fight - To breathe - It's tough
Now you see me now you don't
Break the walls I'm coming out

Not a prisoner I'm a free man
And my blood is my own now
Don't care where the past was
I know where I'm going ...out!

If you kill me it's self defense
And if I kill ya' then I call it vengeance
Spit in your eye I will defy
You'll be afraid when I call out your name

Run - Fight - To breathe - It's gonna be tough
Now you see me now you don't
Break the walls I'm coming out

Not a prisoner I'm a free man
And my blood is my own now
Don't care where the past was
I know where I'm going

I'm not a number I'm a free man
Live my life where I want to
You'd better scratch me from your black book
Coz' I'll run rings around you

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-14-2006, 01:10 AM

The artist responsible for creating the distinctive Eddie on the Iron Maiden album covers was Derek Riggs, who, though would go on to work with other bands, had his reputation forever linked with his work with the Maiden.

The next song is their second most popular:

Run To the Hills

White man came across the sea
He brought us pain and misery
He killed our tribes killed our creed
He took our game for his own need

We fought him hard we fought him well
Out on the plains we gave him hell
But many came too much for Cree
Oh will we ever be set free?

Riding through dustclouds and barren wastes
Galloping hard on the plains
Chasing the redskins back to their holes
Fighting them at their own game
Murder for freedom the stab in the back
Women and children are cowards attack

Run to the hills, run for your lives
Run to the hills, run for your lives

Soldier blue in the barren wastes
Hunting and killing their game
Raping the women and wasting the men
The only good Indians are tame
Selling them whiskey and taking their gold
Enslaving the young and destroying the old

Run to the hills, run for your lives
[repeat to end]

Children of the Damned

He's walking like a small child
But watch his eyes burn you away
Black holes in his golden stare
God knows he wants to go home
Children of The Damned [x3]

He's walking like a small child
But watch his eyes burn you away
Black holes in his golden stare
God knows he wants to go home
Children of The Damned

He's walking like a dead man
If he had lived he would crucified us all
Now he's standing on his last step
He thought oblivion well it beckons us all
Children of The Damned [x3]

Now it's burning his hands he's turning to laugh
Smiles as the flame sears the flesh
Melting his face screaming in pain
Peeling the skin from his eyes
Watch him die according to plan
He's dust on ground what did we learn

You're Children of The Damned
Your back's against the wall
You turn into the light
You're burning in the night
You're Children of The Damned
Like candles watch them burn
Burning in the light
You'll burn again tonight
You're Children of The Damned

22 Acacia Avenue

If you're feeling down depressed and lonely
I know a place where we can go
22 Acacia Avenue meet a lady that I know
So if you're looking for a good time
And you're prepared to pay the price
Fifteen quid is all she asks for
Everybody's got their vice

If you're waiting for a long time for the rest to do their piece
You can tell her that you know me and you might even get it free
So any time you're down the East End don't you hesitate to go
You can take my honest word for it she'll teach you more than you can know

Charlotte can't you get out from all of this madness
Can't you see it only brings you sadness
When you entertain your men don't you know the risk of getting disease

Some day when you're reaching the age of forty
I bet you'll regret the days when you were laying
Nobody then will want to know
You won't have any beautiful wares to show any more

22 the avenue that's the place where we all go
You will find it's warm inside the red light's burning bright tonight

Charlotte isn't it time you stopped this mad life
Don't you ever think about the bad times
Why do you have to live this way
Do you enjoy your lay or is it the pay

Sometimes when you're strolling down the avenue
The way you walk it makes men think of having you
When you're walking down the street
Everybody stops and turns to stare at you

22 the avenue that's the place where we all go
You will find it's warm inside the red light's burning bright tonight

Beat her mistreat her do anything that you please
Bite her excite her make her get down on her knees
Abuse her misuse her she can take all that you've got
Caress her molest her she always does what you want

You're running away don't you know what you're doing
Can't you see it'll lead you to ruin
Charlotte you've taken your life and you've thrown it away
You believe that because what you're earning
Your life's good don't you know that you're hurting
All the people that love you don't cast them aside
All the men that are constantly drooling
It's no life for you stop all that screwing
You're packing your bags and you're coming with me

This song was included in later re-issues of the album:

Total Eclipse

Cold as steel the darkness waits its hour will come.
A cry of fear from our children worshipping the sun.
Mother natures' black revenge on those who wasted her life.
War babies in the garden of Eden,
Shall turn our ashes to ice.

Sunrise has gone, freezing up the fires.
Sunrise has gone, numbing our desires.

Around the world the people stop,
With terror stricken eyes.
A shadow cast upon them all,
To crush them like a fly.
In the icy rain and whiplashed seas,
There's nowhere left to run.
The hammer blows of winter fall like a hurricane.

Sunrise has gone, freezing up the fires.
Sunrise has gone, numbing our desires.

Around the world the nations wait,
For some wise word from their leading light.
You know it's not only madmen who listen to fools.
Is this the end, the millions cried,
Clutching their riches as they died.
Those who survive must weather the storm.

Gone are the days when man looked down.
They've taken away his sacred crown.
To be set free, it took so long.
It's not journey's end, it's just begun.

This remains one of their most popular songs, one that has remained in their set list to this day:

Hallowed Be Thy Name

I'm waiting in my cold cell when the bell begins to chime
Reflecting on my past life and it doesn't have much time
'Cuase at 5 o'clock they take me to the Gallows Pole
The sands of time for me are running low

When the priest comes to read me the last rites
I take a look through the bars at the last sights
Of a world that has gone very wrong for me

Can it be there's been some sort of an error
Hard to stop the surmounting terror
Is it really the end not some crazy dream

Somebody please tell me that I'm dreaming
It's not easy to stop from screaming
But words escape me when I try to speak
Tears they flow but why am I crying?
After all am I not afraid of dying
Don't believe that there never is an end

As the guards march me out to the courtyard
Someone calls from a cell "God be with you"
If there's a God then why has he let me die?

As I walk all my life drifts before me
And though the end is near I'm not sorry
Catch my soul 'cause it's willing to fly away

Mark my words believe my soul lives on
Don't worry now that I have gone
I've gone beyond to see the truth

When you know that your time is close at hand
Maybe then you'll begin to understand
Life down there is just a strange illusion

Yeah, yeah, yeah,
Hallowed be Thy name
Yeah, yeah, yeah,
Hallowed be Thy name

:rock: :guitar: :guitar: rock:

That big, eh, Bruce? ;) :lol:

ABlairican Pie

11-14-2006, 08:56 AM

Ever see The 40 Year Old Virgin? LOL the Asia stuff reminded meI got that DVD for Christmas last year!! It's great!! :lol:

ABlairican Pie

11-14-2006, 09:14 AM

After the disappointment of Point of Entry, Judas Priest decided to get tough and release an album that showed their sonic strengths. They flew to the island of Majorca to a secluded recording studio to create their magnum opus,
Screaming For Vengeance. The song "Take These Chains" was initially chosen for the first single, but it was for the relentlessly driving "You've Got Another Thing Coming" that became another metal anthem alongside Maiden's
"Number of the Beast". Another hugely popular track, "Electric Eye", preceded
by the searing opening instrumental "The Hellion", hinted at the approaching year of Big Brother in George Orwell's book '1984', a vision which was becoming true every moment with satellites that watched everyone's private lives from orbit and provide authorities with incriminating information about anyone. The album became Priest's biggest so far.

The Hellion

(instrumental)

Electric Eye

Up here in space
I'm looking down on you.
My lasers trace
Everything you do.
You think you've private lives
Think nothing of the kind.
There is no true escape

I'm watching all the time.
I'm made of metal
My circuits gleam.
I am perpetual
I keep the country clean.

I'm elected electric spy
I protected electric eye.
Always in focus
You can't feel my stare.
I zoom into you
You don't know I'm there.
I take a pride in probing all your secret moves
My tearless retina takes pictures that can prove.

Electric eye, in the sky
Feel my stare, always there
's nothing you can do about it.
Develop and expose
I feed upon your every thought
And so my power grows.
Protected. Detective. Electric eye.

Take These Chains

I move away it don't do me no good
Three thousand miles don't help like I thought it would.
Help me, I'm beggin' you please.
You've got the power down on my knees
Give me some kind of life.
Leave me be.
Take these chains off
Take 'em off of my heart

Reach out to me, as if from the grave
I tried to run but I'm tied to you like a slave.
It's my fault for loving you so
You were so precious, how could I know.
You turned mean overnight
Poor poor me.

I don't owe you anything
Why don't you get out of my life.
Through it all the memories cling
And I can't sleep at night.

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-14-2006, 09:20 AM

The band enters thrash territory on this song:

Screaming For Vengeance

Hey listen don't you let them get your mind
Fill your brain with orders and that's not right.
They're playing at a game that draws you closer
Till you're living in a world that's ruled by fear.
Always takin' baby out that's o.k.
What they're givin' maybe it's out of phase with me.
Told you one you're never gonna win the race
Same old no tomorrow kicked in the face.
We are screaming, screaming for vengeance
The world is a manacled place.

Screaming, screaming for vengeance
The world is defiled in disgrace.
Tie a blindfold all around your head
Spin you 'round in the torture before the dread.
And then you're pushed and shoved into every corner
Then they lead you out into the final slaughter.

As the sweat is runnin' down your neck
All your praying for's to stop your body breakin' up.
Oh your heart is pumpin' gonna soon explode
Got to fight the horror of this mental load.

So you wait it out and bide your time
Rip off that straight jacket gotta break that line.
Everyone who wins in the great escape
Leaves a thousand more who suffer in their wake.

I don't talk about it but that's alright
Table's turned now there's a revenge in sight.
If it takes forever babe I tell ya I can wait
Send them screaming back through their hell's own gate.

You've Got Another Thing Coming

One life I'm gonna live it up
I'm takin' flight said I'll never get enough.
Stand tall I'm young and kinda proud
I'm on top as long as the music's loud.
If you think I'll sit around as the world goes by
You're thinkin' like a fool 'cause it's a case of do or die.
Out there is a fortune waitin' to be had
If you think I'll let it go you're mad
You've got another think comin'.

That's right here's where the talkin' ends
Well listen this night there'll be some action spent.
Drive hard I'm callin' all the shots
I got an ace card comin' down on the rocks.

If you think I'll sit around while you chip away my brain
Listen I ain't foolin' and you'd better think again.
Out there is a fortune waitin' to be had
If you think I'll let it go you're mad
You've got another think comin'.
In this world we're livin' in we have our share of sorrow
Answer now is don't give in aim for a new tomorrow.

Oh so hot no time to take a rest yeah
Act tough ain't room for second best.
Real strong got me some security
Hey I'm a big smash I'm goin' for infinity yeah.

Devil's Child

Hypnotize me
Mesmerize me
Feel my willpower slip.
Light my fire
With cold desire
Losing all my grip.
Eat my diamonds
Drinkin' all my gin
Feast your eyes on
A whole lotta sin.
On no you're so damned wicked
You got me by the throat
Oh no got your claws stuck in my
You never let me go
I believe you're the devil
I believe you're the devil's child.

Took my dreams
And now it seems you're nothing but a liar
Smash and grab at all I had
Build my funeral pyre.
Stop pretendin'
Got me growin' old
Your tormentin's
Fit to snap my soul.

You took my heart
And left it blown to smithereens.
I gave my body as a slave
You cut my flesh
And drank my blood that poured in streams
I'm left here broken and ashamed.
Goin' under
Hear the thunder
Death defying grace.
Your condition breeds ammunition
Shoots me in the face.
Vivious talkin'
Stabs me like a knife
Scratched and bruised, so abused
I'm a human sacrifice.

:rock: :guitar: :guitar: :rock:

Steve M.

11-14-2006, 07:40 PM

On the lighter side of things, Crosby Stills and Nash released Daylight Again in 1982.

http://www.earthwaverecords.com/Pictures/AlbumImg/C/A0061093.jpg

The trio's first album in five years, Daylight Again was actually cobbeld together from a project Stephen Stills and Graham Nash had begun without David Crosby because he was taking way too many drugs, and also from Crosby's attempt at a second solo album that went nowhere. . . because he was taking way too many drugs. Two songs Crosby recorded - only one of which he actually wrote - were added to the Stills and Nash tracks, and they recorded their harmonies on each other's work. Well, almost. Stills and Nash had gotten Art Garfunkel, Timothy B. Schmit, and others to sing three-part harmony in place of Crosby on a couple of tunes and Crosby wouldn't redo them becuase they were already so good.

While not a true group effort, Daylight Again was still a sales success, not just with Baby Boomers but with the post-Boomers as well, who would become known by a single letter a decade earlier. These kids had no interest in the New Wave and New Romantic bands that were already beginning to clog up MTV, and they preferred that was played more traditionally, with respect for acoustic arrangements and meaningful lyrics. "Wonder who turned them on to us?" Crosby always asked regarding the new gneration of fans.

Many CSN fans to young to remember Woodstock or Bobby Kennedy complained that current artists weren't making "good music" anymore. And that was in 1982. It was about to get far, far worse! :eek:

I mentioned Daylight Again in the 80's thread without posting song lyrics from it, so I'll correct that situation now. Here's a song Nash wrote that was subliminally about his friendship with Crosby and Stills. "Wasted On the Way" was a big hit for CSN.

Wasted On The Way - Crosby, Stills & Nash

(Nash)

Look around me,
I can see my life before me
Running rings around the way
It used to be.
I am older now,
I have more than what I wanted,
But I wish that I had started
Long before I did.

(CHROUS)
And there's so much time to make up
Everywhere you turn,
Time we have wasted on the way.
So much water moving
Underneath the bridge,
Let the water come and carry us away.

Oh when you were young,
Did you question all the answers?
Did you envy all the dancers
Who had all the nerve?
Look round you, now,
You must go for what you wanted.
Look at all my friends who did and got what they deserved.

(CHORUS)

(SECOND CHORUS)
And there's so much love to make up
Everywhere you turn,
Love we have wasted on the way.
So much water moving
Underneath the bridge. . .
Let the water come and carry us away.
Let the water come and carry us away.

Steve M.

11-14-2006, 07:58 PM

Stephen Stills co-wrote this song with a country rock duo called the Curtis Brothers. Richard and Michael Curtis had originally written a song called "Seven League Boots," but Stills reworked it with them and tunred it into a seafaring song called "Southern Cross," a song about escpaing the aftermath of his divorce.

Southern Cross - Crosby, Stills and Nash

(Stills - R. Curtis - M.Curtis)

Got out of town on a boat goin' to southern islands.
Sailing a reach before a followin' sea.
She was makin' for the trades on the outside
And the downhill run to Papeete.

Off the wind on this heading lie the Marquesas
We got eighty feet of waterline, nicely making way.
In a noisy bar in Avalon I tried to call you
But on a midnight watch I realized why twice you ran away .

Think about,
Think about how many times I have fallen.
Spirits are using me, larger voices callin'.
What heaven brought you and me
Cannot be forgotten.
I have been around the world
Lookin' for that woman-girl
Who knows love can endure.
And you know it will.

When you see the Southern Cross for the first time
You understand now why you came this way.
'Cause the truth you might be runnin' from is so small,
But it's as big as the promise, the promise of a comin' day.

So I'm sailing for tomorrow, my dreams are a dyin',
And my love is an anchor tied to you, tied with a silver chain.
I have my ship, and all her flags are a flyin'.
She is all that I have left, and Music is her name.

Think about,
Think about how many times I have fallen.
Spirits are using me, larger voices callin'.
What heaven brought you and me
Cannot be forgotten.
I have been around the world
Lookin' for that woman-girl
Who knows love can endure.
And you know it will.

And you know it will.

So we cheated and we lied and we tested.
And we never failed to fail, it was the easiest thing to do.
You will survive being bested.
Somebody fine will come along
Make me forget about loving you
At the Southern Cross.

"Delta" was the last song David Crosby would write until he kicked coke in prison in 1986. In 1980, he met up with Jackson Browne and played him fragments of a song he had started. Browne took him to Warren Zevon's house and made Crosby finish composing it at Zevon's piano. Every time Crosby wanted to stop for a freebasing break, Browne stopped him and said, "David. . . . Finish the song or I'll break your arms."

The tough love worked. "Delta" is indeed a fine song, and Crosby is still grateful to Browne for making him finish writing it.

Delta - Crosby, Stills and Nash

(Crosby)

Waking stream of consciousness,
On a sleeping street of dream.
Thoughts like scattered leaves,
Slowed in midfall to the streams.

Of fast running rivers
Of choice and chance,
And time stops here
On the delta
While they dance,while they dance.

I love the child who steers this riverboat,
But lately he's crazy for the deep.
The river seems dreamlike in the daytime,
Someone keeps thinking in my sleep.

Of fast running rivers
Of choice and chance,
And time stops here
On the delta
While they dance, while they dance. . .
While they dance.

http://www.mtv.com/shared/media/images/amg_covers/200/drg300/g367/g36746cjij9.jpg

(CSN from their 1982 tour.)

Steve M.

11-14-2006, 08:09 PM

The title song of Daylight Again was written about the Civil War, and how it did not change much in America. Both sides lost the war, as far as Stills was concerned. The South lost militarily, and the North lost blood and treasure, but all Americans lost the war on one ground. "We still have racism, don't we?" Stills pointed out.

Stills joined it to "Find The Cost of Freedom," a 1970 song originally recorded as the B-side for CSNY's "Ohio." It was this song - along with "America (My Country 'Tis of Thee)," that CSN played on "The Tonight Show" a week after the 9/11 attacks. :(

Daylight Again/Find The Cost of Freedom - Crosby, Stills and Nash

(Stills)

Daylight again,
Following me to bed,
I think about a hundred years ago,
How my fathers bled.

I think I see a valley
Covered with bones in blue,
All the brave soldiers that cannot get older,
Been asking after you.

Hear the past a' calling
From Armageddon's side,
When everyone's talking and no one is listening.
How can we decide?

Do we find the cost of freedom
Buried in the ground. . . .
Mother Earth will swallow you,
Lay your body down.

http://www.painetworks.com/photos/ew/ew0675.JPG

(Two cannons rest at the Civil War battlefield of Shiloh near Pittsburg Landing, Tennessee.)

Cactus Jack

11-14-2006, 09:46 PM

I got that DVD for Christmas last year!! It's great!! :lol:
LOL awesome! Yeah I LOVE it!

ABlairican Pie

11-15-2006, 12:09 AM

In 1982, Motorhead released Iron Fist, an album which, though reached #6 on the UK charts, was not regarded as one of their best songs, though the title track was about as strong as "Ace of Spades" with the same breakneck tempo. But what left fans really scratching their heads was Lemmy's duet with the Plasmatics' Wendy O' Williams on a cover of Tammy Wynette's classic "Stand By Your Man"???!!!! :eek: :confused: Guitarist Fast Eddy Clark liked Wendy O' Williams' personally, but the single was horrible! Clarke felt that Motorhead had compromised their musical intent with the track, which featured a B-side with both Motorhead and The Plasmatics covering each others' songs. Perhaps the only reason why anyone would want to buy it was for the salacious cover with Wendy and Lemmy, but other than that, the move was a total embarrassment. Clarke decided to leave the band and form his own, to be replaced by Brian Robertson. In the coming year, Clarke would find his own brief brush with fame.

Iron Fist

Dark night nothing to see
Invisible hand in front of me
Scared to death there's someone near
Scared to move but you can't stay here
You know me, evil eye
You know me, prepare to die
You know me, the snakebite kiss
Devil's grip, the Iron Fist

Flying horse don't make a sound
Flying hooves don't touch the ground
Walk in circle lose you track
Can't go on but you can't go back
You know me etc.

Moon eclipse and you know why
Ghost rider in the sky
Beast of evil devil's hound
Tooth and claw they pull you down
You know me etc.

:rock: :guitar: :guitar: :rock:

In an interview, Lemmy did admit that he was intimate with Wendy O' Williams. Which means they weren't standing. ;) :grineyes:

Iron Fist; Wendy O./Lemmy single; Motorhead live 1982; Fast Eddy Clarke:

ABlairican Pie

11-15-2006, 01:44 AM

The Scorpions had a brief scare when vocalist Klaus Meine had to undergo surgery on his vocal chords and faced the possibility that he would never sing again. Fortunately he rebounded and took vocal lessons from Don Dokken, who was in an American band transplanted to Germany which bore his last name, Dokken. Meine recovered and began to rehearse for the Scorpions' next album, Blackout in 1982, which became the band's biggest seller so far with songs such as "No One Like You" and the title track.

Guitarist Rudolf Schenker played the character on the album cover in the video for the song, as indicated by the photo below.

No One Like You

Girl, it's been a long time that we've been apart
Much too long for a man who needs love
I miss you since I've been away
Babe, it wasn't easy to leave you alone
It's getting harder each time that I go
If I had the choice, I would stay

There's no one like you
I can't wait for the nights with you
I imagine the things we'll do
I just wanna be loved by you
No one like you
I can't wait for the nights with you
I imagine the things we'll do
I just wanna be loved by you

Girl, there are really no words strong enough
To describe all my longing for love
I don't want my feelings restrained
Ooh, babe, I just need you like never before
Just imagine you'd come through this door
You'd take all my sorrow away

There's no one like you
I can't wait for the nights with you
I imagine the things we'll do
I just wanna be loved by you
No one like you
I can't wait for the nights with you
I imagine the things we'll do
I just wanna be loved by you
No one like you

Can't Live Without You

You stand in front of the band
With all those scarves in your hands
I see you play imaginary guitars
You people shaking your heads
Right till the end of the set
You really turn me on wherever we are

Can't live, can't live without you
Can't live, can't live without you
Can't live, can't live without you
Can't live, can't live without you

Put your hands in the air
So I can see you are there
I wanna see all your lights shining on
Want you to stand up and dance
Gonna leave you no chance
To take a breath between each single song

Can't live, can't live without you
Can't live, can't live without you
Can't live, can't live without you
Can't live, can't live without you

Stand up and shout
We're ready to rock, we're ready to roll
Stand up and shout
Are you ready, are you ready
Come on and get it!

Can't live, can't live without you
Can't live, can't live without you
Can't live, can't live without you
Can't live, can't live without you

China White

Sometimes it seems the good times
Never will return
A lot has changed, babe
'Cause evil rules the world
You said you're looking for a place
Where there's no hate
Oh, babe, it really makes no sense
To escape

How long will it take
To make the world a flaming star
How long will it take
Till they stop their senseless wars
How long will it take
Till everybody will understand
That we need to fill our hearts with love again
The only future we've got
Exists right now
Let's take the time, babe
As long as the world is turning 'round

How long will it take
To make the earth a fireball
How long will it take
Till no more life exists at all
How long will it take
Till everybody will understand
That we need to fill our hearts with love again
It's up to you
To fight the evil in your mind

It's up to you
The more love you give, the more you'll find
The more love you give, the more you'll find
Don't make the world a flaming star
Stop, stop all these senseless wars
How long will it take
Till everybody will understand
That we need to fill our hearts with love again

Arizona

Arizona really was a gas
I was screwed up in a total mess
Mindblowing all the way, you know
Just out of sight

Some girl stopped me in the street at night
Ooh, what a knockout and she felt so right
Ooh, yeah she took my breath away
Just out of sight

Loved her in her car
Took me to the stars
Babe, we went nuts all the way
Loved her on the moon
Morning came too soon
She got me high ...

Blackout

I realize I missed a day
But I'm too wrecked to care anyway
I look around and see this face
What the hell have I lost my taste
Don't want to find out
Just want to cut out

My head explodes, my ears ring
I can't remember just where I've been
The last thing that I recall
I got lost in a deep black hole
Don't want to find out
Just want to cut out

Blackout
I really had a blackout
Blackout
I really had a blackout
Blackout
I really had a blackout
Blackout
I really had a blackout

I grab my things and make my run
On the way out, another one
Would like to know before I stop
Did I make it or did I flop
Don't want to find out
Just want to get out

Blackout
I really had a blackout
Blackout
I really had a blackout
Blackout
I really had a blackout
Blackout
I really had a blackout
Don't want to find out
Just want to get out
Blackout
I really had a blackout!

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-15-2006, 09:22 AM

Meanwhile, in the smoggy skylines of L.A., a new band was launching their careers in crue-deness, Motley Crue. Bassist Nikki Sixx had left the band London, which he had formed after he had been fired from future W.A.S.P. frontman Blackie Lawless' band Sister. London also featured future Guns N' Roses guitarists Slash and Izzy Stradlin and future Cinderella drummer Fred Coury, the first band for the three. Drummer Tommy Lee came from the band Suite 19 with a guitarist named Greg Leon, who would become Randy Rhoads' replacement for a time after the future Ozzy guitarist left Quiet Riot. Both Nikki and Tommy met a guitarist named Bob Alan Deal through an ad which read "Loud, rude, aggressive guitarist available." Deal would change his name to Mick Mars. When they first met Mick, Nikki's first reaction was, "I can't believe it! Here's another one like us!", and Tommy Lee later said in interviews that Mars "came in looking like Cousin Itt from The Addams Family." Mick's equipment was quickly set up and shortly after, he was playing the opening riff to "Stick to Your Guns". Mars proceeded to, according to Tommy Lee, "play the **** out of his guitar." After getting drunk and jamming for an hour, Sixx and Lee hired Mars, and Mick fired the band's guitarist, who was a musician known only as Robin (a "pansy" according to Lee).

Mick Mars came up with the name after a member of his former band came in and called the new group a "motley looking crew". Mars wrote down the comment with an altered spelling, "cru", and gave it to his new bandmates. They even suggested the band be named Christmas (though the band looked more like something from Halloween! :lol: ). According to Nikki in the band's VH1 "Behind The Music" episode, it was his suggestion, thinking that a familiar, popular word for a name would attract fans by itself. The band agreed on the name Motley Crue instead.

Tommy asked his friend former schoolmate Vince Neil (who dropped his surname Wharton) to join the band, but Neil was in another band Rock Candy and turned the Cruesters down. When Rock Candy broke up, Neil agreed to join Motley Crue. The band became an instant hit on the Sunset Boulevard club circuit with their sleazy glam-punk image. Nikki Sixx was a huge fan of simple straight-forward pop-rock glam oriented bands such as Sweet back in the 70's, which he used to see in concert then. Motley Crue's first single was
"Stick To Your Guns" b/w "Toast of the Town", released on the band's own
Leathür Records, which also released the band's first album Too Fast For Love. The band eventually signed with Elektra Records as they became a huge draw. At Elektra's insistence, the debut album was then re-mixed by producer Roy Thomas Baker and re-released on August 20, 1982, two months after its Canadian WEA release using the original Leathür mixes, to coincide with the tour. The Canadian jaunt had the desired effect as national headlines were the result of the band being arrested at Edmonton International Airport for trying to enter the country wearing their spiked stage gear, and Edmonton Police being called for a "bomb on the stage" hoax arranged by the band's management assistant Eric Greif. The band was well on its way to making headlines and creating an buzz across the continent.

The band's signing with Elektra could not have come at a much more needed time for the label. The once-powerful label, home to huge acts such as The Doors and The Eagles, was facing serious doldrums in the early 80's and losing business. Elektra president Bob Krasnow saw the band's growing fan base and noteriety, and though he was no fan of heavy metal, knew that young people were and having the band on the label would generate sales. It was a smart move economically, and the band's debut album began to climb the charts. Motley Crue claimed that they were the band that saved Elektra.

Nikki Sixx' real name was Franklin Carlton Feranna Jr., born in 1958 in San Jose. During his youth his family, minus his estranged father, moved across the country and into Mexico, before relocating to El Paso, Idaho, and Seattle.
While living in Idaho he was arrested for burglary and selling drugs. He picked up the bass after selling his first guitar which he had stolen. After leaving the band Sister, he wanted to form the ultimate theatrical band, heavy on the
makeup.

Tommy Lee, full name Tommy Lee Bass, was born in Greece. His mother, Vassilikki "Boula" Papadimitriou, was Miss Greece in 1963, and his father was David Lee Thomas Bass, a Welsh Army sergeant. They moved to California after he was born, and at the age of four, Lee received his first drum kit. He showed great talent on his instrument, even dropping out of school to focus on his musical career.

Mick Mars, born Bob Alan Deal in Terre Haute, Indiana in 1951, was a huge fan of blues and country artists while growing up. When his career as a blues musician failed to take off in the 70's, he placed an ad in the Recycler in L.A. as a tough, aggressive guitarist available for a band. He knew he was not in the league of Hendrix or Van Halen, but he didn't care. He played what sounded good to him. He was a bluesman at heart in the world of heavy metal. He would later balk at comparisons between him and KISS' Ace Frehley.

Live Wire

Plug me in
I'm alive tonight
Out on the streets again
Turn me on
I'm too hot to stop
Something you'll never forget
Take my fist
Break down walls
I'm on top tonight

[Pre Chorus]
No, no
You better turn me loose
You better set me free

Cause I'm hot, young, running free
A little bit better than I use to be

[Chorus]
Cause I'm alive
Live Wire
Cause I'm alive
I'm a Live Wire
Cause I'm alive
Live Wire
Cause I'm alive
I'm a Live Wire

I'll either break her face
Or take down her legs
Get my ways at will
Go for the throat
Never let loose
Goin' in for the kill
Take my fist
Break down walls
I'm on top tonight

[Pre Chorus]
[Chorus]

Come on baby
Gotta play with me
Well I'm your live wire
You better lock your doors
I'm on the prowl tonight
Well be mine tonight

[Chorus]

Come on be may baby
Come on tonight
Come on be may baby
Come on tonight
I'll give you everything
You want inside
Plug me in, plug me in
I want you
Come on tonight

Come On and Dance

Took my love
Into overdrive
Custom pink
Tonight you'll pay the price
When she's hot
Well, damn she's hot
Electric love
Like Sandra Dee

Should have seen her dance

[Chorus]
Come on and dance
Come on baby
Come on and dance
[2]
Fast and slick
Well she's cool and clean
In a pepsi sheen
She's a leather tease
When she's on top
Well, you can't be stopped
Watch her scream
Watch her suck you clean
And you should've seen her dance

[Chorus]
[1]
[Chorus]

You should've seen her dance
Come-on-and
Come on and dance

Take Me To the Top

Don't you know, know, know
It's a violation
I still hear you saying
Such a perfect, perfect night
No, no, no fight all temptation
Well, in a black hearted alley fight
I'm screaming
Take me to the heights tonight
Take me to the top
Take me to the top . . . [repeat]
Too many times
Victim accusation
No, you don't have to take it like that
A sheer, sheer heart attack
No, no noit's no realization
I never had a way with you
But I still hear you saying
Take me to the top
Take me to the top . . . [repeat]

Take me to the top
To the top and throw me off . . . [repeat]

Take me to the top

Too Fast For Love

Oh no, oh no
Oh. no oh no
Oh no, oh no
Living on a jet
Making love to someone else's dreams
Say it again
She puts her leg up
Well, calls it good luck
Do you know what I mean?
Do you remember?
Well I remember
Oh no, oh no
Dream machine
So damn cool she can turn on the night
The more she gets

Well, the more that she needs
Do you know what I mean?
Do you remember?
Well I remember Oh no, oh no

[Chorus]
Too fast
Too fast for love
Too fast
You're too fast for love [repeat]

Oh no, oh no
She's a streamline queen
On a sex craved movie screen
Say it again
She'll use her time up
Have nothing to show
Well mark my words
Do you remember?
Well I remember
Oh no, oh no

[Chorus]

You're too fast
You're too fast for love

Stick To Your Guns

Get a grip on yourself,
get in shape for tonight

Take a look at yourself or your dreams
you're losing sight
It just ain't right. It just ain't right

Hey man, look at me, I'm screaming
Are you watching me bleed, are you beleiving'

You got to stick to your guns
What's right for you, ain't right for everyone
Ain't right for everyone
You got to stick to your guns
What's right for you, ain't right for everyone
Ain't right for everyone

Too much too soon. too much for you
Everyday has a hero, don't it though
Don't let it go
You got to fight, it just ain't right Hey man, look at me, I'm screaming
Are you watching me bleed, are you beleiving'

You got to stick to your guns
What's right for you, ain't right for everyone
Ain't right for everyone
You got to stick to your guns
What's right for you, ain't right for everyone
Ain't right for everyone

Hey man, look at me, I'm screaming
Are you watching me bleed, are you beleiving'
You got to stick to your guns
What's right for you, ain't right for everyone
Ain't right for everyone
You got to stick to your guns
What's right for you, ain't right for everyone
Ain't right for everyone
Come along

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-16-2006, 12:23 AM

From New York came another band reveling in the same sleazy image as their West Coast counterparts in Motley Crue, the ugliest pretty band in the world, Twisted Sister, fronted by charismatic frontman Dee Snider. The band actually began in 1973 at the height of the glam era when guitarist Jay Jay French, using the name Johnny Heartbreaker, changed the name of his band Silverstar to Twisted Sister at the urging of the band's first lead singer Michael Valentine. French, who had even auditioned for Wicked Lester before they became KISS, agreed to this and even shared vocal duties as well. They were joined by French's friend Eddie "Fingers" Ojeda on vocals and second guitar, and the band slugged it out on the club scene in the Big Apple, heavily influenced by the New York Dolls, Mott the Hoople, David Bowie and Humble Pie, with limited success until 1976, when Snider replaced Valentine. At this point the band began to move in a heavier direction, with Snider becoming a fearsome, formidable frontman. They retained their glam image while absorbing such music as Black Sabbath, AC/DC, Alice Cooper, and Led Zeppelin. Glam was no longer in vogue, but the band began to play for huge audiences in clubs for this gender-bender band who played heavy rock, eventually forming a fan base dubbed S.M.F.F. O.T.S. (Sick Motherf:censored:ing Fans of Twisted Sister).

The band found no label to support them so they released their own single "I'll Never Grow Up Now" / "Under the Blade" under their own label Twisted Sister Records. But as their reputation grew, the band had to contend with shifting lineup changes. Bassist Kenny Neil left the band to become a born again Christian, so the band endured various replacements over the next few years. Finally the classic lineup formed, with Mark "The Animal" Mendoza, formerly of The Dictators, and A.J. Pero on drums. The band decided to relocate to Britain where there was a thriving metal scene, where they would find a huge measure of success. In 1982, the band released Under the Blade, which became a surprise hit overseas. The album was considered an underground classic and landed the band an opening spot for Motorhead on some dates. The band decide to adopt a glam-band-on-steroids, looking more hideous than ever before, with their music losing none of its rawness in the process. It was favorably compared with Iron Maiden's Number of the Beast album and other groundbreaking metal albums of that time.

In the next few years, they would become so popular that the album's title track would not escape unnoticed by a certain political figure in the United States goverment.

Under the Blade

a glint of steel
a flash of light
you know you're not going home tonight
be it jack or switch
doctor's or mind
nowhere to run, everywhere you'll find
you can't escape
from the bed you've made
when your time has come, you'll accept the blade!

you're cornered in the alley way
you know you're all alone
you know it's gonna end this way
the chill goes to the bone
now here it comes that glistening light
it goes into your side
the blackness comes
tonight's the night
the blade is gonna ride

'cause you're under the blade
ohhh
you're under the blade

it's not another party head
this time you cannot rise
your hands are tied, your legs are strapped
a light shines in your eyes
you faintly see a razor's edge
you open your mouth to cry
you know you can't
it's over now
the blade is gonna ride

'cause you're under the blade
ohhh
you're under the blade

a glint of steel
a flash of light
you know you're not going home tonight
be it jack or switch
doctor's or mind
nowhere to run, everywhere you'll find
you can't escape
from the bed you've made
when your time has come, you'll accept the blade!

you've tried to make it to the front
you're pinned against the side
a monster stands before you now
its mouth is open wide
the lights go on, the night explodes
it tears into your mind
when the night does end, you'll come again
the blade is gonna ride

'cause you're under the blade
ohhh
you're under the blade
here it comes baby
whoaaaaaaahhhh...
you're goin' down, down, down,
down, down, down, down, down, down, down, down, down, down...

Tear It Loose

there ain't no way i'm gonna wait for sathurday night
i worked all day, i slaved away
i gotta set it right
gonna hit the streets, cruise around
i gotta find some action
ain't gonna stop until i drop or get some satisfaction!

gonna tear it, gonna tear it loose
gonna shout it from the roof
blast my way into the night
i'm gonna live my dream
shout and scream!
i'm gonna
tear it loose
tear it loose
tear it loose
tear it loose
come on now
tear it loose
tear it loose
tear it loose
tear it loose

i've been brutalized, computerized
punched in and punched out
now here comes the night and it just ain't right
to be shut in or shut out
so i'm breaking down the barricades
gonna slow the hands of time
cause to waste away the rest of the day
is such a f**king crime!

gonna tear it, gonna tear it loose
gonna shout it from the roof
blast my way into the night
i'm gonna live my dream
shout and scream!
i've got to
tear it loose
tear it loose
tear it loose
tear it loose
you've got to
tear it loose
tear it loose
tear it loose
tear it loose

i'll keep grabbin' hold of all the gold
in this old world of trash
long as there's light breakin' through the night
i'm never gonna crash
and if i'm down and out one day
i won't throw in the deuce
i'll just kick it out, thrash about
till i tear it loose, oh!
gonna tear it, gonna tear it loose
gonna shout it from the roof
blast my way into the night
i'm gonna live my dream
shout and scream!
we've got to
tear it loose
tear it loose
tear it loose
tear it loose
all right let's
tear it loose
tear it loose
tear it loose
tear it loose

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-16-2006, 01:36 AM

Meanwhile, as Twisted Sister was transplanting their influence overseas, a young Danish drummer by the name of Lars Ulrich, from Norwalk, California, was introducing his love for New Wave of British Heavy Metal onto the West Coast. The son of a tennis pro and music critic, young Lars was frustrated with being forced by his father to embrace the love of rackets when there was an even greater, more lucrative racket to be found in heavy metal. Weaned on a steady diet of Black Sabbath and Deep Purple (his father Torbin took him to see his first concert Deep Purple years before), he decided he wanted to play drums for a living. His father embraced his son's musical aspirations, and let him fly to England to join with the NWOBHM scene, even touring with an up-and-coming band Diamond Head. Lars absorbed the vibrant, fanatical thriving metal scene, idolizing such bands as Iron Maiden and Motorhead. But when he returned, he was discouraged to find that the radio airwaves were glutted with the sounds of Journey, Styx, and REO Speedwagon being touted as "metal". This was unacceptable. He wanted to form a band with members who shared his love for the fast crushing brand of metal churning over in Britain.

He found guitarist James Hetfield through a Recycler newspaper ad, who was dealing with his own version of teen angst and frustration. His Christian Scientist mother, who was dying of cancer but refused treatment and hid her illness from her children, forbade him from attending health classes and would have him excused from lessons involving learning about the human body. He reacted against her overreaching control with heavy metal, playing in a series of bands before falling in with Lars. The two were joined their friend Ron McGovney on bass, and eventually a guitarist from the band Panic, Dave Mustaine on guitar. It was difficult for James to sing, so they tried to remedy the problem by asking future Armored Saint vocalist John Bush to sing for them, which he declined.

The band was in a quandary as to what to call themselves. A friend offered a few suggestions as to what to call his own band, and Lars suggested taking
one nifty fast-car type name for his friend's band--while choosing the
"rejected" name for themselves:

METALLICA!!!!!!!!!!!!!!!!!!

The name just said it all. They were simply metal. Their love for NWOBHM made them play fast, loud, and fierce. As they moved into the clubs of L.A.,
many listeners more in tune with the rising glam scene could not handle this obnoxious band. They were "too punk"!!! "This was metal??" It wouldn't go anywhere. They were kicked out of every club they played in Hollywood. However, the band recorded a demo single called "Hit the Lights", followed by
their No Life Till Leather demo which received a wide following on the underground tape trading circuit. This black market was the greatest way for new metal talent to be heard, regardless of the quality of the demos, and fans were ecstatic over the countless band names that passed hands.

They then heard about a bassist who floored them by the name of Cliff Burton from the band Trauma, they simply needed him. Ron McGovney was simply a temporary bassist before the "real thing" came along, and Cliff had the attitude and playing ability. Cliff told him that he would only consider joining Metallica if they moved up to San Francisco. They decided to do just that, seeing that L.A. was just a scene full of glam poseurs who wouldn't know metal if it bit them on their spandex-covered ass. When Ron McGovney heard he was about to be replaced, he left the band in a huff.

The band made a huge impact greater than a San Andreas earthquake on the Bay Area scene. It was home to thousands of screaming metal fans who had more in common with NWOBHM than the "makeup-and-Max Factor 'metal'" of Hollyweird. The band toured all around, building up a massive following who ate up their aggressive brand of cutting edge metal.

Metallica with Ron McGovney; with Cliff Burton; Dave and James drinking:

ABlairican Pie

11-16-2006, 08:53 AM

While the metal minions in the Bay Area were banging their heads to the sounds of Metallica in 1982, the current hitmakers from that location were Journey, whose album Escape topped the charts in the fall of 1981 and
winter of 1982. The album was the first to feature keyboardist Jonathan Cain, who had replaced longtime member Gregg Rolie. The album featured such hits as "Don't Stop Believin'", "Who's Cryin' Now", "Stone In Love", "Open Arms", and "Still They Ride". The album became their biggest seller, though critics remained unconvinced of the band's credibilty. The 1983 Rolling Stone Record Guide gave all their albums only one star, saying "Journey was a dead end for San Francisco area rock ... utter triviality ... banality ... reek[s] of exploitative cynicism." Fairly or not, critics often lumped Journey together with other one-word-named "corporate rock" bands such as Boston, Foreigner, Asia, Survivor and so forth. The band's polished sound, fronted by Perry's distinctive and soon-to-be widely imitated voice, became a popular radio presence.

In particular, "Don't Stop Believin'" showcased how well Perry's soaring tenor could interlace with Cain's full piano chords and Schon's dynamic guitar work, while "Open Arms" — which spent six weeks at No. 2 on the charts — helped establish Perry as the standard for 1980s arena rock power ballad vocals.

The band contributed two tracks ("Only Solutions" and "1990's Theme") to the Disney feature film Tron, one of the first films to extensively use computer generated images and graphics (CGI's). Tthe group also became the first rock band to inspire a video game - or, more precisely, two: the Journey arcade by Bally/Midway, and Journey Escape by Data Age for the Atari 2600.

Don't Stop Believin'

Just a small town girl, livin' in a lonely world
She took the midnight train goin' anywhere
Just a city boy, born and raised in south Detroit
He took the midnight train goin' anywhere

A singer in a smokey room
A smell of wine and cheap perfume
For a smile they can share the night
It goes on and on and on and on

(Chorus)
Strangers waiting, up and down the boulevard
Their shadows searching in the night
Streetlight people, living just to find emotion
Hiding, somewhere in the night

Working hard to get my fill,
everybody wants a thrill
Payin' anything to roll the dice,
just one more time
Some will win, some will lose
Some were born to sing the blues
Oh, the movie never ends
It goes on and on and on and on

(Chorus)

Don't stop believin'
Hold on to the feelin'
Streetlight people

Don't stop believin'
Hold on
Streetlight people

Don't stop believin'
Hold on to the feelin'
Streetlight people

Who's Cryin' Now

It's been a mystery and still they try to see
Why somethin' good can hurt so bad
Caught on a one-way street, the taste of bittersweet
Love will survive somehow, some way

One love feeds the fire
One heart burns desire
I wonder, who's cryin' now
Two hearts born to run
Who'll be the lonely one
I wonder, who's cryin' now

So many stormy nights, so many wrong or rights
Neither could change their headstrong ways
And in a lover's rage, they tore another page
The fightin' is worth the love they save...

(chorus)

Only so many tears you can cry
'Til the heartache is over
And now you can say your love
Will never die

(chorus)

Stone In Love

Those crazy nights, I do remember in my youth
I do recall, those were the best times, most of all
In the heat with a blue jean girl
Burnin' love comes once in a lifetime
She found me singing by the rail road track
Took me home, we danced by moonlight

Those summer nights are callin',
stone in love
Can't help myself I'm fallin'
stone in love

Old dusty roads, led to the river
Runnin' slow
She pulled me down, and in clover
We'd go 'round
In the heat with a blue jean girl
Burnin' love comes once in a lifetime
Oo the memories never fade away
Golden girl, I'll keep you forever.

(chorus)

Open Arms

Lying beside you, here in the dark
Feeling your heart beat with mine
Softly you whisper, you're so sincere
How could our love be so blind
We sailed on together
We drifted apart
And here you are by my side

So now I come to you, with open arms
Nothing to hide, believe what I say
So here I am with open arms
Hoping you'll see what your love means to me
Open arms

Living without you, living alone
This empty house seems so cold
Wanting to hold you, wanting you near
How much I wanted you home

But now that you've come back
Turned night into day
I need you to stay.

(chorus)

Still They Ride

Jesse rides through the night
Under the Main Street light
Ridin' slow

This ol' town, ain't the same
Now nobody knows his name
Times have changed, still he rides.

Traffic lights, keepin' time
Leading the wild and restless
through the night

Still they ride, on wheels of fire
They rule the night
Still they ride, the strong will survive
Chasing thunder

Spinning 'round, in a spell
It's hard to leave this carrousel
'Round and 'round
And 'round and 'round

(chorus)

:guitar:

ABlairican Pie

11-16-2006, 09:18 AM

One of the biggest bands in 1982 was none other than Massachusetts' own J. Geils Band, whose Freeze Frame album featured such party-worthy hits as "Centerfold" and the title track. Their concert tour that year was a huge success. But at the peak of their popularity, lead vocalist Peter Wolf decided to leave for a solo career the following year when he and the band had differences as to whether to continue in their blues-rock tradition that they were known for, or to adopt the new commercially accessible style that put them on MTV. They were still the same old fun-loving rock and roll band,
but after over a decade of thrilling audiences with their honest music, MTV had given them a new life and opened them up to a younger audience. But of course, in order to stay popular on MTV, one had to concede to whatever made them popular on the music channel in the first place, even if it meant altering their time-honored sound. Ties to the past were often severed or blurred with MTV.

Centerfold

Does she walk?
Does she talk?
Does she come complete?
My homeroom homeroom angel always pulled me from my seat
She was pure like snowflakes, no one could ever stain
The memory of my angel could never cause me pain
Years go by, I'm looking through a girlie magazine
And there's my homeroom angel on the pages in between

(Chorus)
My blood runs cold, my memory has just been sold
My angel is a centerfold
Angel a centerfold
(2x)

Slipping notes, under the desk
While I was thinking about her dress
I was shy, I turned away, before she caught my eye
I was shakin' in my shoes whenever she flashed those baby blues
Something had a hold on me when Angel passed close by
Those soft fuzzy sweaters, too magical to touch
To see her in that neglige is really just too much

(Chorus)

Nah nah nah nah nah nah
Nah nah nah nah nah nah nah nah (3x)

Now listen:
It's okay, I understand
This ain't no never-never land
I hope that when this issue's gone
I'll see you when your clothes are on
Take your car, yes we will,
We'll take your car and drive it
Take it to a motel room and take 'em off in private
A part of me has just been wrecked
The pages from my mind are stripped
Oh no I can't deny it
Oh yeah, I guess I got to buy it

(Chorus)

Nah nah nah nah nah nah
Nah nah nah nah nah nah nah nah

Alright!
Alright!
1,2,3,4

Nah nah

Freeze Frame

I could see it was a rough-cut Tuesday
Slow-motion weekdays stare me down
Her lipstick reflex got me wound
There were no defects to be found
Snapshot image froze without a sound

Thursday morning was a hot flash-factor
Her face still focused in my mind
Test-strip proof-sheet love is hard to find
Friday night we'll dance the spotlight grind
Stop-time heart for me if she's not mine

CHORUS:

Freeze-Frame! (Freeze-Frame!) (REPEAT TWICE)
Freeze-Frame! Now Freeze!
Now I'm lookin' at a flashback Sunday
Zoom lens feelings just won't disappear
Close-up darkroom sweet-talk in my ear
Her hot-spot love for me is strong
This freeze-frame moment can't be wrong
CHORUS (repeat once)
Freeze frame...

FADE

:guitar: :banana: :mango

Steve M.

11-16-2006, 07:30 PM

ABlairican Pie

11-16-2006, 10:51 PM

That was Dave Marsh writing in the 1983 Rolling Stone Record Guide. He later dubbed Escape to be one of the worst top-ten-charting albums of all time. All time! :eek:

Regarding "Don't Stop Believin'": Detroit doesn't have a south side. The boy from South Detroit would either have had to have been born in the river across the river in Canada, in Windsor, Ontario, which used to be called South Detroit. A small-town girl fooling around with a Canadian guy? Un-American!

Some are born to sing the blues, Steve, but you never were. :pI wonder if Mr. Perry was taking a bit of creative license, even though geographically it made no sense!! :lol:

I remember seeing this old PBS show about 1980 with Journey, they were doing blues-type songs, "going back to their roots", etc., but Steve Perry does NOT have the voice of Stevie Ray Vaughan!

ABlairican Pie

11-17-2006, 12:49 AM

One artist who didn't have to worry about not being photogenic enough for MTV was Pat Benatar. Her 1982 album Get Nervous featured the hit "Shadows of the Night".

Shadows Of the Night

We're running with the Shadows Of The Night
So baby take my hand, it'll be all right
Surrender all your dreams to me tonight
They'll come true in the end
You said - oh girl, it's a cold world
When you keep it all to yourself
I said you can't hide on the inside
All the pain you've ever felt
Run to my heart, but baby don't look back
Cause we got nobody else

Chorus:

We're running with the Shadows of the Night
So baby take my hand, it'll be all right
Surrender all your dreams to me tonight
They'll come true in the end

You know that sometimes, it feels like
It's all moving way too fast
Use every alibi and words you deny
That love ain't meant to last
You can cry tough baby, it's all right
You can let me down easy, but not tonight

We're running with the Shadows of the Night
So baby take my hand, you'll be all right
Surrender all your dreams to me tonight
They'll come true in the end

We're running with the Shadows of the Night
So baby take my hand, it'll be all right
Surrender all your dreams to me tonight
They'll come true in the end

And now the hands of time are standin' still
Midnight angel, won't you say you will

(Repeat Chorus Three Times)

:guitar:

ABlairican Pie

11-17-2006, 01:35 AM

One artist covered by Pat Benatar was John Cougar Mellencamp, whose first hit "I Need a Lover" made it into Benatar's songlist. Born in 1951 in Indiana, Mellencamp suffered from spinal bifida at birth which was corrected with surgery when he was only three weeks old. As a youngster, he got in trouble with the law, and decided that music would be his way out.
In the late 60's, he covered 60's rock and soul hits before going glam in the early 70's. Under the name Johnny Cougar, he signed with a record label which released an album with cover songs called Chestnut Street Incident against his knowledge and consent. The album stiffed commercially, and left him without a contract. In 1978 he released next album A Biography which was followed the next year by his self-titled album, which featured his first major single, "I Need a Lover" which was covered on Pat Benatar's In the Heat of the Night Album in 1979. In 1980, he released with Nothin' Matters And What If It Did? which managed to yield the Top 40 singles "This Time" and "Ain't Even Done With The Night," the latter of which was one of the most distinct songs Mellencamp had written to date. But it was not until 1982 when he came out with American Fool, which broke him into a wide audience with songs such as "Hurts So Good", "Jack and Diane", and "Hand to Hold Onto". Fans loved his straightforward down-home rock and roll as he became a top concert draw.

I Need a Lover

I've been walking the streets in the evening
Racing through the human jungle at night
I'm so confused, my mind is indifferent
Hey, I'm so weak won't somebody turn off the light
Electricity runs through the video
As I watch from this hole I call home
All the stony's are dancin' to the radio
And I got the world calling me up here tonight on the phone

I need a lover that won't drive me crazy
Some girl to thrill me and then go away
I need a lover that won't drive me crazy
Some girl that knows the meaning of
Hey hit the highway

Well I'm not wiped out of this poolroom life I'm living
Gonna quit this job, go to school, or head back home
Well I'm not asking to be loved or be forgiven
I just can't face shaken in this bedroom one night alone

I need a lover that won't drive me crazy (2x)
Some girl that knows the meaning of
Hey hit the highway

Ain't Even Done With the Night

Well our hearts beat like thunder
I don't know why they don't explode
You got your hands in my back pockets
And Sam Cooke's singin' on the radio
You say that I'm the boy who can make it all come true
Well I'm tellinya that I don't know if I know what to do

Chorus:
You say that's all right, hold tight
Well I don't even know if I'm doin' this right
Well all right, hold tight
We can stay out all day or we can run around all night
Well all night, all night
Well it's time to go home
And I ain't even done with the night

Well I don't know no good come-ons
And I don't know no cool lines
I feel the heat of your frustration
I know it's burnin you up deep down inside
You say that I'm the boy who can make it all come true
Well I'm tellin ya that I don't know if I know what to do

Chorus

Hurts So Good

When I was a young boy,
Said put away those young boy ways
Now that I'm gettin' older, so much older
I love all those young boy days.
With a girl like you,
With a girl like you,
Lord knows there are things we can do, baby,
Just me and you.
Come on and make it

CHORUS:
Hurt so good.
Come on baby, make it hurt so good.
Sometimes love don't feel like it should.
You make it hurt so good.

Don't have to be so exiting.
Just tryin' to give myself a little bit of fun, yeah.
You always look so invitin'
You ain't as green as you are young
Hey baby, its you.
Come on, girl, now, its you.
Sink your teeth right through my bones, baby.
Let's see what we can do.
Come on and make it

Chorus

I ain't talkin' no big deals
I ain't made no plans myself.
I ain't talkin' no high heels
Maybe we could walk around all day long,
walk around all day long.

Chorus twice

Hey, hey

Jack and Diane

Little ditty bout Jack and Diane
Two American kids growin up in the heartland
Jacky's gonna be a football star
Diane debutante backseat of Jacky's car

Suckin' on chili dogs outside the Tastee Freeze
Diane's sittin' on Jacky's lap
He's got his hand between her knees
Jacky say Hey Diane lets run off
Behind a shady tree
Dribble off those Bobby Brooks
Let me do what I please.
And Jacky Say

Oh yeah life goes on
Long after the thrill of livin is gone
Oh yeay say life goes on
Long after the thrill of livin is gone, they walk on

Jacky sits back reflects his thoughts for the moment
Scratches his head and does his best james dean.
Well you know diane, we oughtta run of the city
Diane says Baby, you aint missin' no-thing
Jacky say a

Oh yeah life goes on
Long after the thrill of livin is gone
Oh yeay say life goes on
Long after the thrill of livin is gone

Gonna let it rock
Let it roll
Let the Bible Belt come down
And Save My soul
Hold on to 16 as long as you can
Changes come around real soon
Make us women and men

Oh yeah life goes on
Long after the thrill of livin is gone
Oh yeay say life goes on
Long after the thrill of livin is gone

Little ditty about Jack and Diane
Two american kids doing the best they can

Hand to Hold On To

You can laugh and joke and make fun of your friends
Spin in the middle when the troubles begin
Take it nice and easy and always pretend
That you're cool, so cool, so cool

Say I'm alone and I'm wild and I will not be tamed
Talk like a jerk or an educated brain
Be an old girl drivin' the young boys insane
Be a joker, a preacher, it does not matter

Chorus:
Every one needs a hand to hold on to
Every one needs a hand to hold on to
Don't need to be no strong hand
Don't need to be no rich hand
Every one just needs a hand to hold on to

Havin' good luck with your financial situation
Play the ponies, be president of the United Nations
Go to work and be a Hollywood stud
Drive your four-wheel drive right into the mud, yeah

(repeat chorus)

And then those hours when you're alone
And there's no body there except yourself
I know it, you wanna pick up the phone
And say, "Talk to me, talk to me
Somebody please talk to me"
yeah...ah...ah...ahhh

Oh, yeah...ah
(repeat chorus 3 times

:guitar: :banana: :mango

http://ec1.images-amazon.com/images/P/B000001F54.01._SS500_SCLZZZZZZZ_V1115545814_.jpg

ABlairican Pie

11-17-2006, 08:44 AM

The Go-go's followed up their hugely successful Beauty and the Beat album with 1982's Vacation which featured the hit title track. But beneath the happy facade of the album cover, cracks began to show within the cameraderie of the band as infighting erupted between the girls as well as drug addictions. The band also courted controversy by posing in their underwear for a cover of Rolling Stone that year. :grineyes:

Vacation

Can't seem to get my mind off of you
Back here at home there's nothin' to do
Now that I'm away
I wish I'd stayed
Tomorrow's a day of mine that you won't be in

When you looked at me I should've run
But I thought it was just for fun
I see I was wrong
And I'm not so strong
I should've known all along that time would tell

A week without you
Thought I'd forget
Two weeks without you and I
Still haven't gotten over you yet

CHORUS
Vacation
All I ever wanted
Vacation
Had to get away
Vacation
Meant to be spent alone

A week without you
Thought I'd forget
Two weeks without you and I
Still haven't gotten over you yet

CHORUS

:guitar: :banana: :mango

ABlairican Pie

11-17-2006, 09:08 AM

From Australia came Men At Work, whose 1982 debut Business As Usual set a record number of weeks being at #1 for a first time band. The album featured such hits as "Who Can It Be Now?", "Be Good Johnny", and "Down Under", which many misinterpret as just a joyful, comic song about Australians travelling the world with confidence in the virtues of their country. Said frontman Colin Hay,"The chorus is really about the selling of Australia in many ways, the over-development of the country. It was a song about the loss of spirit in that country. It's really about the plundering of the country by greedy people. It is ultimately about celebrating the country, but not in a nationalistic way and not in a flag-waving sense. It's really more than that." The song was commercially successful in many countries, including the UK, where it reached No. 1 (and became their only Top 20 entry in that country). It was re-released as an unofficial theme song during Australia's successful 1983 America's Cup challenge, and has become an unofficial national anthem.

In America, the song would be overplayed on the radio to the point where at some point some stations issued a "Down Under"-free day. It was ironic, an unofficial national anthem criticizing its own policies. While the song's real message would be lost on people taken by its happy, upbeat sound, it would take another Australian band in the following years to drive home that same message.

Who Can It Be Now?

Who can it be knocking at my door?
Go 'way, don't come 'round here no more.
Can't you see that it's late at night?
I'm very tired, and I'm not feeling right.
All I wish is to be alone;
Stay away, don't you invade my home.
Best off if you hang outside,
Don't come in - I'll only run and hide.

Who can it be now?
Who can it be now?
Who can it be now?
Who can it be now?

Who can it be knocking at my door?
Make no sound, tip-toe across the floor.
If he hears, he'll knock all day,
I'll be trapped, and here I'll have to stay.
I've done no harm, I keep to myself;
There's nothing wrong with my state of mental health.
I like it here with my childhood friend;
Here they come, those feelings again!

Who can it be now?
Who can it be now?
Who can it be now?
Who can it be now?

Is it the man come to take me away?
Why do they follow me?
It's not the future that I can see,
It's just my fantasy

Oh...Who can it be now?
Oh...Who can it...Who can it...
Yeah yeah yeah

Down Under

Traveling in a fried-out Kombie
On a hippie trail, head full of zombie
I met a strange lady, she made me nervous
She took me in and gave me breakfast
And she said,

"Do you come from a land down under?
Where women glow and men plunder?
Can't you hear, can't you hear the thunder?
You better run, you better take cover."

Buying bread from a man in Brussels
He was six-foot-four and full of muscles
I said, "Do you speak-a my language?"
He just smiled and gave me a vegemite sandwich
And he said,

"I come from a land down under
Where beer does flow and men chunder
Can't you hear, can't you hear the thunder?
You better run, you better take cover."

Lyin' in a den in Bombay
With a slack jaw, and not much to say
I said to the man, "Are you trying to tempt me
Because I come from the land of plenty?"
And he said,

"Do you come from a land down under?
Where women glow and men plunder?
Can't you hear, can't you hear the thunder?
You better run, you better take cover."
Yeah!

Living in a land down under
Where women glow and men plunder
Can't you hear, can't you hear the thunder?
You better run, you better take cover!

Living in a land down under
Where women glow and men plunder
Can't you hear, can't you hear the thunder?
You better run, you better take cover!

Be Good Johnny

Skip de skip, up the road
Off to school we go
"Don't you be a bad boy Johnny
Don't you slip up
Or play the fool"
"Oh no Ma, Oh no Da,
I'll be your golden boy
I will obey ev'ry golden rule"
Get told by the teacher
Not to day-dream
Told by my mother:

Be good Be good
Be good be good be good
Be good be good be good be good (Johnny)
Be good be good
Be good be good be good
Be good be good be good
Be good be good be good
Be good (Johnny)
Be good be good.

"Are you going to play football this year, John?"
"No!"
"Oh, well you must be going to play cricket this year then,
are you Johnny?"
"No! no! no!"
"Boy, you sure are a funny kid, Johnny, but I like you! So tell me,
what kind of a boy are you, John?"

I only like dreaming
All the day long
Where no one is screaming

Be good be good
Be good be good be good
Be good be good be good be good (Johnny)
Be good be good
Be good be good be good
Be good be good be good
Be good be good be good
Be good be good be good
Be good be good be good
Be good be good be good
Be good be good be good
be good be good be good
be good be good be good
be good be good be good
Johnny!

:guitar: :banana: :mango

ABlairican Pie

11-18-2006, 12:22 AM

Jumping back to J. Geils Band for a moment, one album that captured the full impact of the band was their in-concert performance on 1972's Live Full House album, which featured such dynamite hits as "Whammer Jammer/Hard Drivin' Man", "First I Look at the Purse", and "Serves You Right To Suffer".

http://images.amazon.com/images/P/B000002J69.01.LZZZZZZZ.jpg

ABlairican Pie

11-18-2006, 12:32 AM

J. Geils Band also released Nightmares...and Other Tales From the Vinyl Jungle in 1974, which featured the hit live track "Musta Got Lost".

Musta Got Lost

(Spoken)
Hold on this song has a little introduction to it
It's ain’t supposed to be sad though you might feel it that way
It's a song about desperation,
Every now and then we do get desperate

This is a song about L-O-V-E,
and if you abuse it yer goin to lose it
and if you lose it yer goin to abuse and
if you abuse it you aint going to be able to choose it
cuz you aint going to have it further on down the line
and things aint going to be so fine
and yer going to be sitting there on your little machine
tryin to look and keep it clean and
You’re going to be home playing bingo all night all alone
and that's why your sittin there by the telephone
and you know that she aint goin to call you!

So you put on the TV and you're watchin Johnny Carson
segueing right into the Tomorrow show
but that don't got the go so you turn it off ya turn on the radio,
the radio don’t' seem to get the click so you say
"Hey Man, I can't lickety split"
You start to open up a little book
and there's somethin there you got to overlook
and you say "BABY, you know there's somethin on my mind!
"You say "Baby there's somethin on my mind -
I know that you're home and I know you aint all alone! "

So you start walking over to her house
and you get over to her house
and you walk over to her door and
you start poundin on her door and you say
"Open up the door bitch!”
This is the wooba gooba with the green teeth, let me in!!"

Well, she opens up the door
and then you just kinda walk up to her and say
"Baby", (say Baby!) you look up way up at her green mascara
and you say "Oh my darling,
you know her and me was at the party as friends -
do not believe what they say
that's only gossip that they tellin ya -
a wise crack of lies!"
You say Darling!!!

Take your big curls and squeeze them down Rotumba -
What's the name of the chick with the long hair?
(Rapunzle!) Hey Rapunzle!
Hey Raputa! Raputa the Buta!
Hey Raputa the Buta flip me down your hair let me climb
up to the ladder of your love!!
Because this is the wooba gooba sayin to ya
"Love comes once and when it comes
you better grab it fast cuz sometimes the love
you grab aint going to last and
I believe I musta,
You know I think I musta,
You know baby I think I musta,
You know I think I musta,
I musta got lost!!!!!!!

1…2….3…

(Sung)
Never thought about tomorrow
Seemed like a long time to come
How could I be so blind, baby
Not to see you were the one

I let ya slip on from me baby
I let ya walk on by,
Shoulda loved, you told me
I refused to love, I let it die

Musta got lost, musta got lost, musta got lost
Somewhere down the line
Musta got lost, musta got lost
Give away the day you were mine

Don't know why I let you leave me
Honey I don’t know
See its hard to see lovin' comin baby
But I have a way to see it go

Musta got lost, musta got lost, musta got lost
Somewhere down the line
Musta got lost, I got lost
Give away the day you were mine

Love can be a sweet thing
girl I just don't understand
made a game outta lovin' you
now I hold a loose hand

Musta got lost, musta got lost, musta got lost
Somewhere down the line
Musta got lost, I got lost girl
Give away the day you were mine

I just don't understand it
I just don't understand it
I just don't understand it

And I musta got lost, musta got lost, musta got lost
Somewhere down the line, hey
Musta got lost, baby, I got lost girl
Give away the day you were mine

Musta got lost, I got lost, musta got lost
somewhere down the line
Musta got lost, I got lost girl
Give away the day you were mine

C’mon
Oh, I got lost, double-crossed
Your lovin, give it to me all night long

(Instrumental Break)

I said your love got me higher,
than I ever been lifted before

I said your love got me higher,
than I ever been lifted before…….

Somewhere……………………..

:guitar: :banana: :mango

ABlairican Pie

11-18-2006, 12:53 AM

Going back to 1982, Wall of Voodoo was another aspiring new wave band fronted by vocalist Stan Ridgeway whose album Call of the Wild featured the hit song "Mexican Radio". But while
many would think of the band as another quirky one-hit wonder with geeky vocals offered by Ridgeway (who would later sound similar to Primus' Les Claypool), the album was a series of cautionary tales of ordinary people who flocked to the find the fabled American dream in the Southwestern states in places such as Los Angeles and Las Vegas, and ending up losing. Some of the songs featured a sort of Western music theme with a heavy synth backing.

Mexican Radio

I feel a hot wind on my shoulder
And the touch of a world that is older
I turn the switch and check the number
I leave it on when in bed I slumber
I hear the rhythms of the music
I buy the product and never use it
I hear the talking of the DJ
Can't understand just what does he say?

I'm on a mexican radio
I'm on a mexican radio

I dial it in and tune the station
They talk about the U.S. inflation
I understand just a little
No comprende, it's a riddle

I'm on a mexican radio
I'm on a mexican radio

I wish I was in Tijuana
Eating barbequed iguana
I'd take requests on the telephone
I'm on a wavelength far from home
I feel a hot wind on my shoulder
I dial it in from south of the border
I hear the talking of the DJ
Can't understand just what does he say?

I'm on a mexican radio
I'm on a mexican radio
I'm on a mexican radio
I'm on a mexican radio

Radio radio...
What does he say

:guitar: :banana: :mango

ABlairican Pie

11-18-2006, 01:15 AM

In 1982, one of modern rock's promising new bands turned in a completely different direction at the height of their popularity: XTC, who had decided to retire from live performances, like The Beatles earlier, and become strictly a studio band. With XTC, however, a dramatic set of circumstances forced the band to make such a decision. The band had just released their latest album English Settlement that winter. On March 18, 1982, while performing in Paris, frontman Andy Partridge suffered a severe nervous breakdown due to stage fright. Partridge's breakdown, which manifested itself as uncontrollable stage fright, was reportedly precipitated by his wife throwing away his supply of Valium. According to the band's biography, Andy had become dependent upon the drug after it was prescribed to him as a teenager during his parents' divorce. He reportedly was never withdrawn from the drug and became dependent on it, although many fans were surprised that the group's frenetic early output was produced by a man who was addicted to benzodiazepines.

Concerned about her husband's dependence on the drug, Partridge's wife ill-advisedly threw his tablets away — without seeking medical advice — just before the Paris concert. Not surprisingly, Partridge suffered anxiety attacks of such severity that he was soon forced to withdraw from touring permanently. The European and British dates were cancelled and after one show in San Diego the whole US leg was also abandoned. Since then, XTC has been exclusively a studio band, although they have given occasional live-to-air performances from radio stations, and have made a handful of TV appearances as well.

Due to Partridge's breakdown which forced the band to play only in the studio, drummer Terry Chambers left the band a year later when he found that he could no longer make money playing live on the road.

The album featured the hit "Senses Working Overtime", an apt title for a song which would later describe Partridge's condition.

Senses Working Overtime

Hey, hey,
The clouds are whey.
There's straw for the donkeys,
And the innocents can all sleep safely,
All sleep safely.

My, my,
Sun is pie.
There's fodder for the cannons,
And the guilty ones can all sleep safely,
All sleep safely.

And all the world is football-shaped
It's just for me to kick in space
And I can see, hear, smell, touch, taste
And I've got one, two, three, four, five
Senses working overtime
Trying to take this all in.
I've got one, two, three, four, five
Senses working overtime
Trying to taste the difference
'Tween a lemon and a lime
Pain and the pleasure
And the church bells softly chime.

Hey hey,
Night fights day.
There's food for the thinkers,
And the innocents can all live slowly,
All live slowly.
My, my,
The sky will cry
Jewels for the thirsty,
And the guilty one's can all die slowly ,
All die slowly.

And all the world is biscuit-shaped,
It's just for me to feed my face,
And I can see, hear, smell, touch, taste,
And I've got one, two, three, four, five,
Senses working overtime
Trying to take this all in.
I've got one, two, three, four, five,
Senses working overtime
Trying to taste the difference,
'Tween a lemon and a lime,
Pain and the pleasure,
And the church bells softly chime,

And birds might fall from black skies,
And bullies might give you black eyes,
And busses might skid on black ice,
But to me it's very, very beautiful ˇ
(England's glory!)
Beautiful ˇ
(A striking beauty!)

And all the world is football-shaped,
It's just for me to kick in space,
And I can see, hear, smell, touch, taste,
And I've got one, two, three, four, five,
Senses working overtime
Trying to take this all in
I've got one, two, three, four, five
Senses working overtime
Trying to tell the difference
'Tween the goods and grime
Turds and treasure
And there's one, two, three, four, five
Senses working overtime
Trying to take this all in
I've got one, two, three, four, five
Senses working overtime
Trying to taste the difference
'Tween a lemon and a lime
Pain and the pleasure,
And the church bells softly chime.

Ball and Chain

What can I say?
Why do we starve a thing thats near extinction?
From day to day,
These weeds of fear,
Are choking our conviction,
Life's like a jig-saw,
you get the straight bits,
But there's something missing in the middle.

All of a sudden,
We find the cupboard's bare.
All of a sudden,
We find heaven's not there.
All of a sudden,
We find the sun's gone cold.
All of a sudden
We find we're more than old.
All of a sudden,
We find that we've lost love,
So please don't push or shove because,
It's too late,
It's too late,
In all your hurry you've accidentally locked the gate

What can we do?
Trying to stem the flow of sand is useless.
It's up to you start holding hands,
And watch the balance redress,
Life's like a firework,
You're only lit once,
And you must stand and radiate correctly.

All of a sudden,
We find the cupboard's bare.
All of a sudden,
We find heaven's not there.
All of a sudden,
We find the sun's gone cold.
All of a sudden
We find we're more than old.
All of a sudden,
We find that we've lost love,
So please don't push or shove because,
It's too late,
It's too late,
In all your hurry you've accidentally locked the gate

Love's not a product you can hoard or pack a suitcase with,
It's more a way you have to give.

All of a sudden,
We find the cupboard's bare.
All of a sudden,
We find heaven's not there.
All of a sudden,
We find the sun's gone cold.
All of a sudden
We find we're more than old.
All of a sudden,
We find that we've lost love,
So please don't push or shove because,
It's too late,
It's too late,
In all your hurry you've accidentally locked the gate your hurry you've accidentally locked the gate.

:guitar: :banana: :mango

ABlairican Pie

11-18-2006, 08:52 AM

In May of 1982, Duran Duran released Rio in the UK, where it hit #2 on the charts. The album's American released was delayed until November, but when it came out, it stayed on the charts for two and a half years, or 129 weeks, going double platinum. Duran-demonium had finally hit our shores. The album featured such hit tracks as "Hungry Like the Wolf", "Save a Prayer", "My Own Way", and the title track. Interestingly, when the album was released in America, the band was still unknown here. They were promoted as a New Romantics band as they were in the UK, but most Americans were unfamiliar with the British trend. The sound quality of the album was mediocre, and the label had a hard time with how to promote the band. The band found a unique solution to the problem--release a full video album of each song, young people were hooked on videos from MTV, that would no doubt work. The band hired directory Russell Mulcahy and travelled to Sri Lanka in the Indian Ocean and Antigua in the Caribbean to film them. Unfortunately, during the filming guitarist Andy Taylor contracted malaria and was flown back to England for hospitalization, which delayed the tour behind the album. But the videos worked, every girl in America could not get enough of them on MTV.

The album was re-released with improved sound quality and with different versions of their songs. Their female fans, "Durannies", ensured their success in teen magazines on a monthly basis at this point.

Hungry Like the Wolf

(Ha ha!)

Dark in the city, night is a wire
Steam in the subway, earth is a fire
Do-do do do, do do do, do do do, do do do, do do
Woman you want me, give me a sign
And catch my breathing even closer behind
Do-do do do, do do do, do do do, do do do, do do

In touch with the ground
I'm on the hunt I'm after you
Smell like I sound, I'm lost in a crowd
And I'm hungry like the wolf
Straddle the line, in discord and rhyme
I'm on the hunt I'm after you
Mouth is alive with juices like wine
And I'm hungry like the wolf

Stalked in the forest, too close to hide
I'll be upon you by the moonlight side
Do-do do do, do do do, do do do, do do do, do do
High blood drumming ony our skin it's so tight
You feel my heat, I'm just a moment behind
Do-do do do, do do do, do do do, do do do, do do

In touch with the ground
I'm on the hunt I'm after you
Scent and a sound, I'm lost and I'm found
And I'm hungry like the wolf
Strut on a line, it's discord and rhyme
I howl and I whine I'm after you
Mouth is alive all running inside
And I'm hungry like the wolf

(Hungry like the wolf
Hungry like the wolf
Hungry like the wolf)

Burning the ground I break from the crowd
I'm on the hunt I'm after you
I smell like I sound, I'm lost and I'm found
And I'm hungry like the wolf
Strut on a line, it's discord and rhyme
I'm on the hunt I'm after you
Mouth is alive with juices like wine
And I'm hungry like the wolf

Burning the ground I break from the crowd
I'm on the hunt I'm after you
Scent and a sound, I'm lost and I'm found
And I'm hungry like the wolf

Strut on a line, it's discord and rhyme
I howl and I whine I'm after you
Mouth is alive all running inside
And I'm hungry like the wolf...

Rio

Moving on the floor now babe you're a bird of paradise
Cherry ice cream smile I suppose it's very nice
With a step to your left and a flick to the right
You catch the mirror way out west
You know you're something special and you look like you're the best.

Her name is Rio and she dances on the sand
Just like that river twisting through a dusty land
And when she shines she really shows you all she can
Oh Rio Rio dance across the Rio Grande

I've seen you on the beach and I've seen you on TV
Two of a billion stars, it means so much to me -
Like a birthday or a pretty view
But then I'm sure that you know it's just for you.

Her name is Rio and she dances on the sand
Just like that river twisting through a dusty land
And when she shines she really shows you all she can
Oh Rio Rio dance across the Rio Grande

(bridge)

Hey now (woooo), look at that.
Did he nearly run you down?
At the end of the drive, the lawmen arrive,
You make me feel alive, alive, alive
I'll take my chance, 'cause luck is on my side
Or something, I know what you're thinking
I tell you something, I know what you're thinking

Her name is Rio and she dances on the sand
Just like that river twists across the dusty land
And when she shines she really shows you all she can
Oh Rio Rio dance across the Rio Grande

Her name is Rio, she don't need to understand
And I might find her if I'm looking like I can
Oh Rio Rio hear them shout across the land
From mountains in the north down to the Rio Grande

Save a Prayer

You saw me standing by the wall, corner of a main street
And the lights are flashing on your window sill
All alone ain't much fun, so your looking for the thrill
And you know just what it takes and where to go

Don't say a prayer for me now, save it 'til the morning after
No, don't say a prayer for me now,save it 'til the morning after

Feel the breeze deep on the inside, look you down into the well
If you can, you'll see the world in all his fire
Take a chance(like all dreamers can't find another way)
You don't have to dream it all, just live a day

Don't say a prayer for me now, save it 'til the morning after
No, don't say a prayer for me now, save it 'til the morning after

Pretty looking road, I try to hold the rising floods that fill my skin
Don't ask me why I'll keep my promise, I'll melt the ice
And you wanted to dance so I asked you to dance
But fear is in your soul
Some people call it a one night stand
But we can call it paradise

Don't say a prayer for me now, save it 'til the morning after
No don't say a prayer for me now, save it 'til the morning after
Save it 'til the morning after
Save it 'til the morning after
Save it 'til the morning after
Save it 'til the morning after

Save a prayer 'til the morning after

My Own Way

(I saw)
I saw you at the airrace yesterday,
April showers get out of my way.
Fear of flying no not me.

I'm never bothered what you say
Someone's kid just lives for today
It ain't your problem anyway

'Cos I've got my own way
I can find my own way
'Cos I've got my own way
Hay yay yay yay yay ya-hay

(chrous)

(No. 1)
Public figure, what a pain
Just puts another rattle in your brain
Take another green but it's not the same

Now you're on the sandlane everyday
Dancing with the bulls in any old way
Running like a fox to keep up with me.

(chorus) (chorus)

I'm on 45th, between 6th & Broadway
7UP, between 6th & Broadway

(chorus) (chorus)

Yeh Yeh Yeh Yeh Yeh Yeh Yeh
Hey now, be there
Hmmm busy
This is how I like it
Yes, settle down
Yes, come on, 6th & broadway
Say the words, come coolin down.

:guitar: :banana: :mango

Rio covers: 1982, and 2001 re-release, both illustrated by Patrick Nagel:

ABlairican Pie

11-19-2006, 01:36 AM

In 1982, the one band most influential in spawning the rise of New Romantics and the vast majority of British new wave bands, Roxy Music, finally called it a day with an album named after the final resting place of King Arthur, Avalon. The kings of art rock, whose impact outlasted the bloated prog rock of Yes and Emerson, Lake, and Palmer, closed their careers with a record quite different from their quirky, experimental efforts from the past ten years, an album that featured frontman Bryan Ferry's leanings into r & b and adult contemporary, and remaining suave and accessible to most new wave fans. The album was not a total surprise musically; bands such as their musical descendents in Duran Duran, ABC, Icehouse and others adopted a lighter r & b pop groove which was very successful in Britain. The farewell album was one of their biggest, and introduced many listeners a little too late to the collective efforts of Ferry, guitarist Phil Manzanera, and saxaphonist Andy McKay, the remaining core members of the seminal new wave band.

The opening track, the mesmerizing "More Than This", was covered by 10,000 Maniacs.

More Than This

I could feel at the time
There was no way of knowing
Fallen leaves in the night
Who can say where they're blowing
As free as the wind
Hopefully learning
Why the sea on the tide
Has no way of turning

More than this you know there's nothing
More than this tell me one thing
More than this ooh there is nothing

It was fun for a while
There was no way of knowing
Like a dream in the night
Who can say where we're going
No care in the world
Maybe I'm learning
Why the sea on the tide
Has no way of turning

More than this you know there's nothing
More than this tell me one thing
More than this no, there's nothing

More than this nothing
More than this
More than this nothing

The Space Between

The way I see it
This relationship ain't right
The space between us
Better close it up tonight
The space between us
Close it up tonight

The way I see it
This relationship ain't right
The space between us
Listen here listen, listen here listen
We better
Close it up tonight

Avalon

Now the party's over
I'm so tired
Then I see you coming
Out of nowhere
Much communication in a motion
Without conversation or a notion
Avalon

When the samba takes you
Out of nowhere
And the background's fading
Out of focus
Yes the picture's changing
Every moment
And your destination
You don't know it
Avalon

When you bossanova
There's no holding
Would you have me dancing
Out of nowhere
Avalon ...

:guitar: :banana: :mango

ABlairican Pie

11-19-2006, 01:48 AM

Take a Chance With Me

As they say, two can play
But keep that song away from me
In my time, too much love
Has made me sad for so long

I was lost, can't you see?
Through the long lonely night
Heaven knows, I believe
Won't you take a chance with me?

Sometimes, I get so blue
People say I'm just a fool
All the world, even you
Should learn to love the way I do

I was blind, can't you see?
Through the long lonely night
Heaven knows, I believe
Won't you take a chance with me?

To Turn You On

I could show you in a word
If I wanted to
A window on a world
With a lovely view
From close up inside a single room
With an open book aside
Like you read in school
It's so easy, believe me
When you need fun
I'd do anything to turn you on
Anything to turn you on

It's raining in New York
On Fifth Avenue
And off Broadway after dark
Love the lights, don't you
I could walk you through the park
If you're feeling blue
Or whatever
Spring Summer whenever
Winter through Fall
I'd do anything to turn you on
Anything to turn you on

I could leave you as you were
If I wanted to
Then I wonder is it fair
Now you're on your own
Who cares about you
Except me, God help me
When things go wrong
I'd do anything to turn you
Must phone me, you know me
When things go wrong
I'd do anything to turn you on

True To Life

So it gets to seven
And I think of nothing
But living in darkness
And the diamond lady
Well she's not telling
I don't even know her name
It's amazing
Times have changed
In days of old
Imagination'd leave you standing
Out in the could
Dancing city
Now you're talking
But where's your soul
-You've a thousand faces
I'll never know
There are complications
And compensations
If you know the game
Agitated in Xenon nightly
I'll take you home again
Travel way downtown
In search of nothing
But the sky at night
And the diamond lady
Well she's not talking
But that's alright
So I turn the pages
And tell the story
From town to town
People tell me
Be determined
Poor country boy
Too much luck
Means too much trouble
Much time alone
But arm in arm
With my seaside diamond
I'll soon be home

:banana: :mango

ABlairican Pie

11-19-2006, 03:04 AM

On the polar opposite of Roxy Music's smooth sounds, Black Flag was a band not afraid to take punk to the next level. The band formed in 1976 with guitarist Greg Ginn who took punk's raw energy and added elements of noise, atonality, and tempo changes into the mix. In 1978, Ginn formed SST Records to promote the band's albums. They were the prime examples of the DIY (do it yourself) ethic and aesthetic, with not only creating their own sound but creating their own market for the music, something totally free from corporate control of a major label. The band's shows and output were immensely popular with the musical underground, who would spread the band's efforts largely through word of mouth and underground fanzines.

When the band began in the late 70's, initially under the name Panic, Ginn instructed the band to rehearse for several hours a day. When this became too cumbersome for several members, Ginn and the remaining band members would rehearse after others left, often without a bassist. The name 'Black Flag' denoted both the anarchist symbol, the insect spray of the same name, and was reminiscent of the British heavy metal group, Black Sabbath. Ginn suggested that he was "comfortable with all the implications of the name." The name was suggested by Ginn's brother, Raymond Pettibon, who also designed the band's logo: A stylized black flag represented as four black bars. The band spray painted the simple, striking logo all over Los Angeles, gaining attention from potential supporters, and thoroughly irritating police. Pettibon also created much of their cover artwork. The band found it hard to find gigs in their native Los Angeles, since they came from outside the city limits, so they played wherever they could, building up their fan base in the process. They soon found a steady bassist with Chuck Dukowski who acted as both a manager and spokesperson for the band. The band went through a few lineup changes as well as a few career highs (such as selling out the 3,500-seat Santa Monica Civic Auditorium) and lows (dealing with the L.A.P.D. at their shows as violence got out of control) in the early days. They had a vocalist by the name of Dez Cadena who lasted with them briefly, until his voice failed him and had to be replaced. Cadena wanted to play guitar with the band instead, and the band found a suitable vocalist to fill his place. The new singer's name was a fan from the East Coast named Henry Rollins.

Impressed with Rollins' charismatic stage presence, the band saw that the new singer incorporated elements of East Coast go-go and funk into their extreme punk sound. His lyrics had a blistering social commentary as well. On the band's Damaged album, released in December 1981, the band featured such satirical songs of apathy and substance abuse as "T.V. Party".
The band was criticized as being "unmusical" and "anti-parent" on the album, though it would become one of the most important West Coast punk albums of all time. The band's popularity would be secure when none other than John Belushi tried to get the band to appear on Saturday Night Live, but since SNL producers had trouble with punk bands such as Fear before, the band was declined.

T.V. Party

T.V. party tonight!
T.V. party tonight!
T.V. party tonight!
T.V. party tonight!

We're gonna have a T.V. party tonight! party:

Alright!

We're gonna have a T.V. party alright!

Tonight!

We've got nothing better to do
Than watch T.V. and have a couple of brews

All our friends are gonna hang out here tonight

Alright!

We're gonna pass out on the couch alright

Tonight!

We've got nothing better to do
Than watch T.V. and have a couple of brews :cheers:

Don't talk about anything else
We don't wanna know!
We're dedicated
To our favorite shows!

Saturday Night Live! Monday Night Football!! That's Incredible! Hill Street Blues! The Jeffersons!

We sit glued to the T.V. set all night
And every night!
Why go into the outside world at all?
It's a fright!

We've got nothing better to do
Than watch T.V. and have a couple of brews

T.V. news shows what it's really like out there
It's a scare!

You can go out if you want
I wouldn't dare!

We've got nothing better to do
Than watch T.V. and have a couple of brews

Don't talk about anything else
We don't wanna know!
We're dedicated
To our favorite shows!

I wouldn't be without me T.V. for a day
Or even for a minute!

Don't even bother to use my brain anymore
There's nothing left in it!

Wait a minute! My T.V. set doesn't work! It's broken!
What are we gonna do tonight? This isn't fair!
We're hurtin'

We've got nothing left to do
With no T.V. and just a couple of brews

What are we gonna talk about?
I don't know!
We're gonna miss our favorite shows!
NO T.V. PARTY TONIGHT! :crying: :tv:

Rise Above

Jealous cowards try to control
Rise above, we're gonna rise above
They distort what we say
Rise above, we're gonna rise above
Try and stop what we do
Rise above, we're gonna rise above
When they can't do it themselves
Rise above, we're gonna rise above
We are tired of your abuse
Try to stop us, it's no use

Society's arms of control
Rise above, we're gonna rise above
Think they're smart, can't think for themselves
Rise above, we're gonna rise above
Laugh at us behind our backs
Rise above, we're gonna rise above
I find satisfaction in what they lack
Rise above, we're gonna rise above
We are tired of your abuse
Try to stop us, but it's no use

We are tired of your abuse
Try to stop us, it's no use

We're born with a chance
Rise above, we're gonna rise above
I am gonna have my chance
Rise above, we're gonna rise above
We are born with a chance
Rise above, we're gonna rise above
And I am gonna have my chance
Rise above, we're gonna rise above
We are tired of your abuse
Try to stop us, it's no use

Rise above
Rise above
Rise above
We're gonna rise above
We're gonna rise above
We're gonna rise above

:rock: :guitar:

ABlairican Pie

11-19-2006, 11:03 AM

In 1982, Australian band Icehouse released the followup to their self-titled debut ( the album Icehouse, whose title track was more reminescent of Pink Floyd than anything new wave), Primitive Man, which saw the band move into a more synth-pop direction. The album featured such hits as "Hey Little Girl" and "Uniform". Lead singer Iva Davies' vocals sounded identical to those of Bryan Ferry of Roxy Music, a band by whom they no doubt were heavily influenced. After the success of "Hey Little Girl", the album was later re-released in Britain with the title Love In Motion.

Hey Little Girl

(Hey hey) When everything goes wrong sometimes it makes no sense
(Hey hey) There once was a time, I should have known better then
(Hey hey) Although you may try, it won't come your way again

Hey, little girl, where will you hide? Who can you run to now?
Hey, little girl, where will you go? Who can you turn to now?

(Hey hey) So why should I care, if somebody let you down
(Hey hey) That's nothing new, I know just what that can mean
(Hey hey) Well, the way that they talk, the talk is all over town

Hey, little girl, where will you hide? Who can you run to now?
Hey, little girl, where will you go? Who can you turn to now?
(Who can you turn to now?)

(Hey hey) And if it all works out fine, you know we’ll be all right
(Hey hey) only you and I, we know that it's not too late
(Hey hey) and it's no surprise, little girls hurt sometimes

Hey little girl, where will you hide? Who can you run to now?
Hey little girl, where will you go? Who can you turn to now?

(Hey hey) When everything goes wrong sometimes it makes no sense
(Hey hey) Hey, little girl
Should have known better, have known better then (Hey hey)

(Who can you run to now?)
Hey little girl, where will you go? Who can you turn to now?
Hey little girl, where will you go? Who can you turn to now?
Hey little girl, where will you go? (little girl)
Who can you turn to now?

Uniform

Well you want to be in the gang, and you've got, got to join the team
To be on the team, you must play to win
You play to win (to win, to win, to win), you may not make it home

Up the hill, down again, you're the one, you're the one
Everybody wears the badge, uniform, uniform

Soldier boys! We've got plans for you
A brand new game, we call it "mass control"
When you grow up, it's not so obvious
Dirt on your face (your face, your face, your face)
Holding your broken toys

Up the hill, down again, you're the one, you're the one
Everybody wears the badge, uniform, uniform

(This is the mass control acknowledgement heading. Mass dealing ignitions. Mass dealing this time. Yeah, I know this one! Everyone with it! Hey you with it! Guys! Ignitions! Mass dealings with this ones! Guys! Guys! Guys! Guys!)

Up the hill, down again, you're the one, you're the one
Everybody wears the badge, uniform, uniform
Up the hill, down again, you're the one, you're the one
Everybody wears the badge, uniform, uniform

Uniform...Uniform...Uniform...Uniform...

:guitar: :banana: :mango

http://eil.com/newgallery/Icehouse-Hey-Little-Girl-18643.jpg

ABlairican Pie

11-19-2006, 12:17 PM

One of the reasons that Roxy Music broke up is that Bryan Ferry wanted to pursue a solo career. During his days with the band in the 70's, he released a series of solo albums, including:

These Foolish Things from 1973, was strictly an album full of cover songs, featuring:

"A Hard Rain's A-Gonna Fall" (Bob Dylan) – 5:19
"River of Salt" (Ketty Lester) – 1:48
"Don't Ever Change" (The Crickets) – 2:15
"Piece of My Heart" (Erma Franklin) – 3:06
"Baby I Don't Care" (Elvis Presley) – 1:50
"It's My Party" (Lesley Gore) – 2:00
"Don't Worry Baby" (The Beach Boys) – 4:13
"Sympathy for the Devil" (The Rolling Stones) – 5:50
"The Track of My Tears" (Smokey Robinson and the Miracles) – 3:04
"You Won't See Me" (The Beatles) – 2:32
"I Love How You Love Me" (Paris Sisters) – 3:02
"Loving You Is Sweeter Than Ever" (Four Tops) – 3:06
"These Foolish Things" (Dorothy Dickson) – 5:41

Another Time, Another Place from 1974, also featured covers:

1. The 'In' Crowd
2. Smoke Gets In Your Eyes (Smokey Robinson)
3. Walk A Mile In My Shoes
4. Funny How Time Slips Away
5. You Are My Sunshine
6. (What A) Wonderful World
7. It Ain't Me Babe (Bob Dylan)
8. Fingerpoppin'
9. Help Me Make It Through The Night
10. Another Time, Another Place

Let's Stick Together from 1976, followed the first disbandment of Roxy Music. The album was more of a collection of B-sides, related singles, and re-makes of Roxy Music songs. The album featured the hit title track, considered Ferry's signature song was well as the hit cover of the Everly Brother's "The Price of Love", a heavy, up-tempo version of the song with a thumping bass. Ferry's then-girlfriend Jerry Hall, who appeared on the cover of 1975's Siren album, made an appearance in the video to "Let's Stick Together".

All songs written by Bryan Ferry except where noted.

"Let's Stick Together" (Wilbert Harrison) – 3:00
"Casanova" – 2:45
"Sea Breezes" – 6:10
"Shame, Shame, Shame" (Jimmy Reed) – 3:15
"2HB" – 3:50 (originally on the first Roxy Music album)
"The Price of Love" (Don & Phil Everly) – 3:25
"Chance Meeting" – 3:35
"It's Only Love" (John Lennon, Paul McCartney) – 3:45
"You Go to My Head" (Haven Gillespie, J. Fred Coots) – 2:50
"Re-Make/Re-Model" – 2:40 (originally on the first Roxy Music album)
"Heart on My Sleeve" (Benny Gallagher, Graham Lyle) – 3:30

In Your Mind from 1977, was a more straightforward rock album. The songs featured on the album included:

1. This Is Tomorrow
2. All Night Operator
3. One Kiss Listen
4. Love Me Madly Again
5. Tokyo Joe
6. Party Doll
7. Rock Of Ages
8. In Your Mind

The Bride Stripped Bare from 1978, was recorded after his split with Jerry Hall, who had left him for Mick Jagger (she had been seeing him on the side). The album title is based on the name of a work by influential modern artist Marcel Duchamp, "The Bride Stripped Bare By Her Bachelors". The album was not well received by critics, but one song from the album was featured on Roxy Music's live EP The High Road in 1983. The songs included were:

"Sign Of The Times" (Ferry) – 2:28
"Can't Let Go" (Ferry) – 5:14
"Hold On (I'm Coming)" (Hayes/Porter) – 3:37
"Same Old Blues" (J.J. Cale) – 3:21
"When She Walks In The Room" (Ferry) – 6:28
"Take Me To The River" (Green/Hodges) – 4:29
"What Goes On" (Reed) – 4:11
"Carrickfergus" (Trad. arr. Ferry) – 3:46
"That's How Strong My Love Is" (Jamison) – 3:17
"This Island Earth" (Ferry) – 5:06

Ferry had been known to go out with a number of beautiful women, including
singer and model Amanda Lear, who was both a companion of both surrealist artist Salvador Dali and David Bowie, and was featured on the cover of Roxy Music's For Your Pleasure album in 1973. She was also rumored to be a transsexual, due to her low baritone vocals (a rumor which may have been a publicity stunt by Dali and Bowie). More famously was his disastrous relationship with model Jerry Hall, who shared a home with him in England and in Los Angeles. When she had a dual relationship with Mick Jagger, he broke up with her, and refused to discuss his relationship with her to the press, especially in light of her own revelations in a tell-all book. Hall had problems after posing for the Siren album when the blue dye applied to her skin wouldn't wash off! :eek: :lol: Serves her right!

Bryan Ferry has had a close eye on fashion, being one of the most well-dressed men in music (even though he once admitted he bought his clothes at K-Mart! :lol: ).

Let's Stick Together

And now the marriage vow is very sacred
The man has put us together now
You ought to make it stick together
Come on, come on, lets stick together

You know we made a vow to leave one another never
But now you never miss your water til your well runs dry
Come on now baby give our love a try
Let´s stick together, c´mon c´mon let´s stick together

You know we made a vow to leave one another never
Then if you´re stuck for a while consider our child
How can it be happy without its ma and pa
Let´s stick together, c´mon c´mon let´s stick together
You know we made a vow to leave one another never

The Price of Love

Wine is sweet and gin is bitter
Drink all you can but you won´t forget her
You talk too much, you laugh too loud
You see her face in ev´ry crowd
That´s the price of love, the price of love
A debt you pay with tears and pain

The price of love, the price of love
It costs you more when you´re to blame

Kiss one girl - kiss another
Kiss them all, but you won´t recover
You´re dancing slow, you´re dancing fast
You´re happy now, but that won´t last

That´s the price of love, the price of love
A debt you pay in tears and pain
The price of love, the price of love
It costs you more when you´re to blame

:banana: :mango

Steve M.

11-19-2006, 07:19 PM

I wonder if Mr. Perry was taking a bit of creative license, even though geographically it made no sense!! :lol:

I remember seeing this old PBS show about 1980 with Journey, they were doing blues-type songs, "going back to their roots", etc., but Steve Perry does NOT have the voice of Stevie Ray Vaughan!

One other thing. . . I recently heard a seventies song by the group Pilot (their big American hit was "It's Magic") with an opening piano riff that sounded a lot like the opening pinao riff in "Don't Stop Believin'" Since the Pilot songs wasn't a hit here, I'm thinking the guys in Journey ripped off its piano riff thinking they'd get away with it because no one in America heard the Pilot song! :eek:

ABlairican Pie

11-19-2006, 09:40 PM

Toward the end of 1983, Duran Duran released Seven and the Ragged Tiger, an album which showed the band trying to expand into different musical directions. Unfortunately, the album sounded slick but not necessarily as catchy as its predecessor, as incredible pressure was on the band to replicate Rio's success. The end product was a mixed bag, with the band trying hard to venture into more rocking, harder edged territory in some parts while retaining their polished pop on others. The lyrics on some songs, such as "Union of the Snake" seemed rather cryptic, but the song is generally interpreted as a symbol of evil ("the snake") taking over a person, hence the ominous tone of the song with the horn lead resembling that of an Indian snake charmer. Others interpreted as the dark forces of militarism rising in the world, as was becoming clearer in the first quarter of the 80's. Interestingly, the band caused shock waves by deciding to release the video on MTV a week before radio stations received the single. Would people clamor more for the video and ignore the single on the air? Would the success of the video ruin the chances of the single being a hit on the air? This was the precarious position of the over-reaching success of MTV.

Princess Di did say that Duran Duran was her favorite band. Prior commitments from their recording at Monserrat in the Caribbean, and later at AIR Studios in London, brought the band back to the UK in the summer of 1983, including a July charity gig playing in front of Charles, Prince of Wales and Diana, Princess of Wales at the Birmingham football grounds at Villa Park. It was later revealed that the Irish Republican Army had plotted to plant a bomb at the concert in order to injure Charles and Diana, but the IRA member sent to carry out the plot, Sean O'Callaghan, was in fact an informer working for the Irish Government and successfully helped to pull the plug on the operation. :eek:

Simon Le Bon said the album "is an adventure story about a little commando team. The Seven is for us -- the five band members and the two managers -- And The Ragged Tiger is success. Seven people running after success. It's ambition. That's what it's about." Nick Rhodes described the sound as "barely controlled hysteria, scratching beneath the surface." Apart from the three hit singles and a number of interesting set pieces - most notably the instrumental "Tiger Tiger" - fans and critics alike had a difficult time coming to grips with tracks like "(I'm Looking For) Cracks In The Pavement" or the band's move to rockier territory with "Of Crime And Passion".

"Restores danger and menace to a band that was veering dangerously close to the insipid." (Melody Maker)

"Pathetic, useless, no good. It's pretentious, pompous and possibly the first chapter in their decline." (Record Mirror)

"It's apparent that Seven and the Ragged Tiger's content has the band moving ever so slightly into a danceclub arena, with the songs leaning more toward their ability to produce a sexier sound through electronics and instrumentation than through a firm lyrical and musical partnership. Even the unreleased tracks trade Duran Duran's handsome edginess for a shinier sound, heard mainly on "I Take the Dice" and "Cracks in the Pavement." It's here that Lebon and Taylor's personalities begins to get overshadowed by the demand to produce a more synth-snazzy and fashionable style of music." (Mike DeGagne, All Music Guide Review: Seven and the Ragged Tiger)

"The Reflex" became their first #1 hit in America, preceded by the hit "New Moon on Monday". The band, frought with tension over the recording of the album and the onslaught of their newfound stardom which they medicated with substance abuse, embarked on a world tour which took them to stadiums in America. The tour was filmed for a music documentary by Russell Mulcahy titled Sing Blue Silver, which was released the following year.

I actually bought a ticket to Duran Duran's concert in Seattle in the spring of 1984! :eek: It was because Black Sabbath had cancelled their show earlier, and I was trying to find a suitable replacement concert. ohno: Hmmm, Duran Duran over Sabbath.... One of the girls at Seattle Pacific University had heard I had a ticket and were DESPERATE for me to sell it. I did, seeing that they were bigger fans than I would ever be. So I got some money for it. :D A while later I did go to the Yes concert at the Coliseum in Seattle!

The Union of the Snake

Telegram force and ready
I knew this was a big mistake.
There's a fine line drawing my senses together,
And I think it's about to break.

If I listen close I can hear them singers, oh oh oh...
Voices in your body coming through on the radio, ho,ho...

The union of the snake is on the climb..
Moving up, it's gonna race, it's gonna break through the, borderline

Nightshades on a warning
Give me strength at least give me a light.
Give me anything even sympathy
There's a chance you could be right.

If I listen close I can hear them singers, oh oh oh...
Voices in your body coming through on the radio, ho,ho...

The union of the snake is on the climb..
Moving up, it's gonna race, it's gonna break through the, borderline
The union of the snake is on the climb..
Moving up, it's gonna race, it's gonna break through the, borderline

If I listen close I can hear them singers, oh oh oh...
Voices in your body coming through on the radio, ho,ho...

The union of the snake is on the climb..
Moving up it's gonna race, it's gonna break through the borderline.

The union of the snake is on the climb..
It's gonna race it's gonna break -
Gonna move up to the borderline..

The union of the snake is on the climb..
Moving up it's gonna race, it's gonna break through the borderline.

The union of the snake is on the climb
It's gonna race it's gonna break -
Gonna move up to the borderline..

New Moon on Monday :mooner:

Shake up the picture the lizard mixture
With your dance on the eventide
You got me coming up with answers
All of which I deny.

I said it again but could I please re-phrase it
Maybe I can catch a ride
I couldn't really put it much plainer
But I'll wait till you decide

Send me your warning siren
As if I could ever hide
Last time La Luna,
I light my torch and wave it for the...

New moon on Monday
And a firedance through the night
I stayed the cold day with a lonely satellite

(chorus)

Breaking away with the beast of both worlds
A smile that you can't disguise
Every minute I keep finding
Clues that you leave behind.
Save me from these reminders
As if I'd forget tonight
This time La Luna,

I light my torch and wave it for the...

(chorus) (chorus)

I light my torch and wave it for the...

(chorus) (chorus) (chorus) (chorus)

New moon on Monday
And a firedance though the night...

The Reflex

You've gone too far this time
But I'm dancing on the valentine
I tell you somebody's fooling around
With my chances on the dangerline
I'll cross that bridge when I find it
Another day to make my stand, oh woah
High time is no time for deciding
If I should find a helping hand, oh woah

Why don't you use it
Try not to bruise it
Buy time don't lose it

Why don't you use it
Try not to bruise it
Buy time don't lose it

The reflex is an only child, who's waiting by the park
The reflex is in charge of finding treasure in the dark
And watching over lucky clover.. isn't that bizarre
And every little thing the reflex does leaves you answered with a question a?

I'm on a ride and I want to get off
But they won't slow down the roundabout
I sold the Renoir and the TV set
Don't want to be around when this gets out

So why don't you use it
Try not to bruise it
Buy time don't lose it

Why don't you use it
Try not to bruise it
Buy time don't lose it

The reflex is an only child he's waiting in the park
The reflex is in charge of finding treasure in the dark
And watching over lucky clover isn't that bizarre
And every little thing the reflex does leaves you answered with a question a?

So why don't you use it
Try not to bruise it
Buy time don't lose it

Why don't you use it
Try not to bruise it
Buy time don't lose it

The reflex is an only child who's waiting by the park
The reflex is in charge of finding treasure in the dark
And watching over lucky clover isn't that bizarre
And every little thing the reflex does leaves me answered with a question a?

Oh, the reflex what a game he's hiding all the cards
The reflex is in charge of finding treasure in the dark
And watching over lucky clover.. isn't that bizarre
And every little thing the reflex does leaves you answered with a ?

:banana: :mango

ABlairican Pie

11-20-2006, 12:42 AM

In 1983, as people in the West were beginning a mad love affair with all things
Australian, one band from Down Under began making a few waves that would soon hit American shores, Midnight Oil. Fronted by tall shaven-headed lead vocalist Peter Garrett, a surfer, the band began in their home country as a progressive rock band in 1973 until the aggression of punk in mid-decade took over, with the band playing to surf clubs in Sydney. Releasing their self-titled debut in 1978, they began a slow climb to the top with songs featuring urgent, socially aware, left-of-center politically chaged lyrics about issues facing their native land. Alternative radio championed them there, but they were virtually ignored by mainstream radio in their own country. They were widely praised for their refusal to compromise to prevailing trends and opinions in music, especially with the popular ABC (Australian Broadcasting Corporation) t.v. show Countdown in the early 80's, a powerful show with a wide viewing audience. They never got a chance to appear on the show due to their arriving late for rehearsals. When they were told they would not be allowed to perform due to their tardiness, the band steadfastly declared they would never appear on the show. In spite of their absence on the show, they went on to become one of Australia's biggest bands.

Their other albums included 1979's Head Injuries, 1980's Bird Noises, and 1981's Place Without a Postcard. The band also included, in addition to Garrett, and Martin Rotsey and Jim Moginie who both played on guitars, Rob Hirst on drums, and Peter Gifford on bass. Their manager Gary Morris was a tough on any critic, who usually got into for free to an Oils show, who wrote anything negative about his band. One such miscreant was critic Bruce Elder, who described The Oils's music as "narrow and xenophobic" :mad:--he was banned permanently! :applaud:

Gifford remained with the band between 1980 and 1987, when he left and was replaced by bassist Bones Hillman. Gifford currently runs a company called Wicked Weasel, a business specializing in very naughty, very skimpy, and very sheer bikini swimwear!! :grineyes: :drool:

Garrett was known to be a charismatic and outspoken frontman, though onstage he could look rather frightening. Their major Australian breakthrough and their first international recognition came in 1982, with the release of 10, 9, 8, 7, 6, 5, 4, 3, 2, 1, which included the singles "Power and the Passion" and "Read About It"; their classic denunciation of American military interference in foreign affairs in "US Forces"; and their lamentations of various oppressive governmental actions throughout history in "Short Memory". Their ascendance was signalled by a series of landmark concerts at Sydney's Capitol Theatre, one of which was filmed and recorded, and which has recently been released on DVD. The band also played their first shows outside Australia.

The Power and the Passion

People, wasting away in paradise
Going backward, once in a while
Takin' your time, give it a try
What do you believe, what do you believe
What do you believe is true
Nothing they say makes a difference this way
Nothing they say will do

Take all the trouble that you can afford
At least you won't have time to be bored

Oh the power and the passion, oh the temper of the time
Oh the power and the passion
Sometimes you've got to take the hardest line

Sunburnt faces around, with skin so brown
Smiling zinc cream and crowds, Sundays the beach never a cloud
Breathing eucalypt, pushing panel vans
Stuff and munch junk food
Laughing at the truth, cos Gough was tough til he hit the rough
Uncle Sam and John were quite enough

Too much of sunshine too much of sky
It's enough to make you want to cry

Oh the power...

I see buildings, clothing the sky, in paradise
Sydney, nights are warm
Daytime telly, blue rinse dawn
Dad's so bad he lives in the pub, it's a underarms and football clubs
Flat chat, Pine Gap, in every home a Big Mac
And no one goes outback, that's that
You take what you get and get what you please
It's better to die on your feet than to live on your knees

Oh the power...

Read About It

The rich get richer, the poor get the picture
The bombs never hit you when you're down so low
Some got pollution, some revolution
There must be some solution but I just don't know
The bosses want decisions, the workers need ambitions
There won't be no collisions when they move so slow
Nothing ever happens, nothing really matters
No one ever tells me so what am I to know

You wouldn't read about it, read about it
Just another incredible scene, there's no doubt about it

Hammer and the sickle, the news is at a trickle
The commissars are fickle but the stockpile grows
Bombers keep acoming, engines softly humming
The stars and stripes are running for their own big show
Another little flare up, storm brewed in a tea cup
Imagine any mix up and the lot would go
Nothing ever happens...

You wouldn't read about it, read about it
One unjust ridiculous steal, ain't no doubt about it
You wouldn't read about it, read about it
Just another particular deal, there's no doubt about it

U.S. Forces

US Forces give the nod, it's a setback for your country
Bombs and trenches all in rows, bombs and threats still ask for more
Divided world the CIA, say who control the issue
You leave us with no time to talk, you can write your own assessment

Sing me songs of no denying, seems to me too many trying
Waiting for the next big thing

Will you know it when you see it, high risk children dogs of war
Now market movements call the shots, business deals in parking lots
Waiting for the meat of tomorrow

Sing me songs...

Everyone is too stoned to start emission
People too scared to go to prison
We're unable to make decisions
Political party line don't cross that floor
L.Ron Hubbard can't save your life
Superboy takes a plutonium wife
In the shadow of Ban The Bomb we live

Sing me songs...

:guitar:

ABlairican Pie

11-20-2006, 08:53 AM

The Fixx was a British band fronted by vocalist Cy Curnin who released their first single, "Lost Planes" in 1981 under the name The Fix, but changed the spelling of their name to avoid confusion with a band with a similar name. Their first album, 1982's Shuttered Room, featured two popular tracks hinting of international tensions and nuclear war, "Stand or Fall" and "Red Skies at Night" (the leading title misquoting the popular expression "Red skies at night, sailor's delight, red skies in morning, sailors take warning"--omens of either good or bad weather, but this could all depend on one's interpretation in the context of the song). The album reached only just below the Top 100 on the charts, but their followup, 1983's
Reach the Beach hit #8 with the hit "One Thing Leads to Another" which featured an innovative video to the song. They also recorded a song, "Deeper and Deeper", for the 1983 movie 'Streets of Fire'. The group is one of the few to have enjoyed significant success outside their country of origin, yet remain almost unknown in their home land.

In 2002 "One Thing Leads To Another" appeared in popular videogame Grand Theft Auto: Vice City, playing on Pop radio station Flash FM.That same year the Fixx performed an all-new cover version of Nancy Sinatra's 1960s classic "These Boots Are Made for Walking" for a special album called "When Pigs Fly", which featured unique remakes of songs from the 1960s through the 1990s. Some of 14 remakes performed on this album included Don Ho singing Peter Gabriel's "Shock the Monkey", Hermans' Hermits doing a remake of Billy Idol's "White Wedding", AC/DC's "Dirty Deeds Done Dirt Cheap" sung by Lesley Gore, Kansas' "Carry On Wayward Son" performed by the Oak Ridge Boys and Billy Preston singing Duran Duran's "Girls on Film". "These Boots Are Made for Walking" is also included as a bonus track on the group's Twentyfifth Anniversary Anthology CD.

Stand or Fall

Crying parents tell their children
If you survive don't do as we did
A son exclaims there'll be nothing to do to
Her daughter says she'll be dead with you
While foreign affairs are screwing us rotten
Line morale has hit rock bottom
Dying embers stand forgotten
Talks of peace were being trodden

Stand or fall state your peace tonight
Stand or fall state your peace tonight

Is this the value of our existence
Should we proclaim with such persistence
Our destiny relies on conscience
Red or blue what's the difference

Stand or fall state your peace tonight
Stand or fall state your peace tonight

An empty face reflects extinction
Ugly scars divide the nation
Desecrate the population
There will be no exaltation

Its the euro theatre
Its the euro theatre
Its the euro theatre

Stand or fall state your peace tonight
Stand or fall state your peace tonight

Its the euro theatre
Its the euro theatre
Its the euro theatre
Its the euro theatre

Red Skies

Red skies at night, red skies at night
Wo oh, wo oh oh oh oh oh oh oh
Red skies at night, red skies at night
Wo oh, wo oh oh oh oh oh oh oh

Should have taken warning
It's just, people mourning, running, hiding, lost
You can't find, find a place to go
So it's red skies at night, red skies at night
Wo oh, wo oh oh oh oh

Should have taken warning
It's just, people mourning, running, hiding, lost
You can't find, find a place to go
So it's red skies at night, red skies at night
Wo oh, wo oh oh oh oh oh oh oh
Red skies at night, red skies at night
Wo oh, wo oh oh

Someone's taking over
And it looks like they're aiming right at you
Someone says, "We'll be dead by morning"
Someone cries, leaving

Red eyes at night, red eyes at night
Oh, wo oh oh oh oh oh oh oh

Red skies at night, red skies at night, red skies at night (4x)

Red {echo}
Skies {echo}
At {echo}
Night

Red skies at night, red skies at night
Wo oh, wo oh oh oh oh oh oh oh
Red skies at night, red skies at night
Wo oh, wo oh oh oh oh oh

One Thing Leads to Another

The deception with tact, just what are you trying to say?
You've got a blank face, which irritates
Communicate, pull out your party piece
You see dimensions in two
State your case with black or white
But when one little cross leads to shots, grit your teeth
You run for cover so discreet, why don't they:

Do what they say, say what you mean
One thing leads to another
You told me something wrong, I know I listen too long
But then one thing leads to another.

The impression that you sell
Passes in and out like a scent
But the long face that you see comes from living close
To your fears
If this is up then I'm up but you're running out of sight
You've seen your name on the walls
And when one little bump leads to shock miss a beat
You run for cover and there's heat, why don't they:

Do what they say, say what they mean
One thing leads to another
You told me something wrong, I know I listen too long
But then one thing leads to another
One thing leads to another

Then it's easy to believe
Somebody's been lying to me
But when the wrong word goes in the right ear
I know you've been lying to me
It's getting rough, off the cuff I've got to say enough's enough

Bigger the harder he falls
But when the wrong antidote is like a bulge on the throat
You runs for cover in the heat why don't they

Do what they say, say what they mean
One thing leads to another
You tell me something wrong, I know I listen too long
But then one thing leads to another
One thing leads to another (Repeat)

Saved By Zero

Maybe, someday
Saved by zero
I'll be more together
stretched by fewer
Thoughts that leave me
Chasing utter
My dreams disown me
Loaded with danger
Maybe I'll win
Saved by Zero
Holding onto
Wends that teach me
I will conquer
Space around me
Maybe I'll win
Saved by zero
Maybe I'll win
Saved by zero

Deeper And Deeper

Talking about stealing the show no one would know
Talking about stealing the show when they're all letting go
Take a look at the witch see the twitch in her eye tell me
what did she feel
Is this the way of the world take a boy and a girl show them
lying is real
Then I see t he edge I look I fall
Deeper and deeper
The more I see the more I fall there's no place to hide
you better take the call
Deeper and deeper
Is it the smell of the oil the sweat and the toil that makes
living unreal
The yuppie in the suit the man with a flute what did he steal
It's beginning to break there is a mistake nowhere to go
A fool and his blood in the wrong neighborhood what price
does he pay
The further I see
I see the edge I look I fall
The further I see the further I fall
There's no place to hide anymore

:guitar:

ABlairican Pie

11-20-2006, 09:18 AM

One British band which caused quite a bit of interest was Shriekback, which featured vocalist Barry Andrews, formerly of XTC who left due to musical differences with Andy Partridge, Dave Allen, former bassist with Gang of Four, Carl Marsh on guitar and vocals, and drummer Martyn Barker. The band was known for exploring dark, eerie themes in their music while incorporating a funkier, dance side to their brand of alternative rock. Their first release was 1982's Tench EP, which featured the hit "Sexthinkone", followed by 1983's full-length album Care, which contained the popular track "All Lined Up", a staple on new wave/alternative radio and in the clubs that year.

All Lined Up

Tired of all this crawling around
Realising the joke was on us
Reaching out to the obvious
Starting with an answer not a question
Our most acceptable businesses
All aligned in just one direction
Organised on the same lines
With one face - one side

We got all lined up
We got all lined up
We got all lined up
All lined up
All lined up

Back at the all night party
We're getting clearer all the time
Refined to one shape - frozen like crystal
It has the symmetry of perfect design
One line leads to another
They cross at the corners run straight at the sides
It reads the same way in any direction
Two red circles and a thick black spine

We got all lined up
We got all lined up
We got all lined up
All lined up
All lined up

Let it fall into place we could tie it to a tree
We could point it at you we could make it a habit
We could leave it outside or we could give it our food
Understand it or we could ignore it

Holding all our past in the one hand
We showed those people in a way they understand
Shiny little eyes on a big red bus
The ones we point at work for us
One sharp point between distinction
Going this way for X amount of time
Frame - line - and convergence
From the first to the final
This intention is mine

We got all lined up
We got all lined up
We got all lined up
All lined up
All lined up

(repeat chorus etc.)

:guitar: :banana: :mango

Cactus Jack

11-20-2006, 02:13 PM

Cactus Jack

11-20-2006, 02:16 PM

WIAT HOLD UP LESLEY GORE covered AC/DC??!?!?!? :rotflmao: Ok tell me Cap'n HOW BAD IS IT? Isi t worse than Celine Din covering it?

ABlairican Pie

11-20-2006, 11:56 PM

WIAT HOLD UP LESLEY GORE covered AC/DC??!?!?!? :rotflmao: Ok tell me Cap'n HOW BAD IS IT? Isi t worse than Celine Din covering it?I don't know, I've never heard the album of covers, this was one bit of information I found online that was worth sharing!
Leslie Gore doing AC/DC would have REALLY been interesting to hear! :lol:

ABlairican Pie

11-20-2006, 11:58 PM

Now,beacuse of oyu,I know The Fixx had more hits!

Only one Ive known all these years is One Thing Leads to Another.

There gowes my parody idea "The Fixx,A One Hit Wonder", just kiddin' I didnt really have that idea in mind.Actually they had even more hits after that, I don't know if they were "hits" with a capital H, but they were very popular songs. "Are We Ourselves?", "Secret Separation", and a few others.

ABlairican Pie

11-21-2006, 01:35 AM

Sex Pistols manager Malcolm McLaren decided to find another band to promote in the 80's, this one featuring former members of Adam and the Ants, named Bow Wow Wow, which featured a young precocious female lead singer named Annabelle Lwin. Born in London as Myint Myint Aye (Burmese for "Cool Cool High") to a mother from Burma and a British father, she changed her name to a more Anglicized name Annabelle Lwin when she auditioned for the band while still in her teens, as she was working at her parents' laundry when she was called to front the band.

Controversy ensued when she posed nude at the age of fifteen :eek: on the cover of See Jungle! See Jungle! Go Join Your Gang, Yeah! City All Over Go Ape Crazy, the band's first album in 1981 where Lwin's mother sought an investigation from Scotland Yard over her underage daughter's nude appearance on the cover. The cover was in fact a re-enactment of the Impressionist painting 'The Luncheon on the Grass' by Edouard Manet in 1862. Her parents tried to remove her from the band, but allowed her to remain as long as she was not promoted as a "sex kitten". The band was a mixture of international beats, traditional rock and roll, and New Romantic pop with a heavy drum and bass rhythm. The followup album, I Want Candy from 1982, featured the songs such as the hit title track, a cover of the 60's band The Strangeloves, "W.O.R.K.", and "Sexy Eiffel Tower", one of the first songs about masturbation (a few years before Cyndi Lauper did a song about similar subject matter on "She Bop"). The band's 1983 album When the Going Gets Tough, the Tough Get Going featured the hits "Do You Wanna Hold Me?" and "Aphrodisiac". After the release of the band, Lwin was ejected out of the band and the remaining members carried on as The Chiefs of Relief. Guitarist Matthew Ashman died in 1995 from diabetes, while drummer David Barbarossa, who played with Adam and the Ants, formed Republica. Bow Wow Wow later reformed in 1998 with the comeback album Wild In the U.S.A.

I Want Candy

I know a guy who's tough but sweet,
he's so fine, he can't be beat
He's got everything that I desire,
sets the summer sun on fire

I want candy, I want candy

Go to see him when the sun goes down,
ain't no finer boy in town
You're my guy, you walked up to water,
so sweet, you make my mouth water

I want candy, I want candy - yeah

Candy on the beach, there's nothing better
But I like candy when it's wrapped in a sweater
Some day soon I'll make you mine,
then I'll have candy all the time

I want candy, I want candy
I want candy, I want candy

Hey, hey, hey, hey, hey

Do You Wanna Hold Me

Children, I wanna warn ya, 'cos I've been to California
Where Mickey Mouse is such a demon, where Mickey Mouse is as big as a house

Life is wasted on illusion, Tom and Jerry's no solution
Evil games for cartoon demons, Pinocchio's the real boy, look around

And I cry all night, do you wanna hold me, hold me tight
Do you wanna hold me, oh yeah, do you wanna hold me, hold me there

Children, you got to hear me, you've just got to understand me
Love and death ain't no physical thing
'Cos Mickey Mouse he don't wanna know

And I cry all night, do you wanna hold me, hold me tight
Do you wanna hold me, oh yeah, do you wanna hold me, hold me there
Do you wanna

And I cry all night, do you wanna hold me, hold me tight
Do you wanna hold me, oh yeah, do you wanna hold me, hold me there

And I cry all night, there ain't no more confusion in the night
There's someone there to tell me what is right
Do you wanna hold me, hold me tight

And I cry all night, there's only one solution to this life
Is someone there to tell me what it's like
Do you wanna hold me, oh yeah, do you wanna hold me, oh yeah
Do you wanna hold me, hold me there

Do you wanna hold me, oh yeah... (repeats out)

Aphrodisiac

He's a man I ain't never seen, but I choose it's only so
He's a man with cash in his hand, he's my baby, my baby, oh no

If I ain't alight, and I'm feeling alright
I'm so ready to go, and my baby, oh no

Chorus:
But my baby, oh no, you make me lose my self-control
I'll go crazy, whoah, if baby oh no doesn't show

Hard and mean, he's a rhythm machine, he can move it fast or slow
Man's got style, he don't never smile, he's my baby, my baby, oh no

My head's in a mess and I've torn my best dress
But I ain't like the rest, gonna make him say yes

chorus

I want him, I need him, I want him, I need him
He can move it, he can groove it, he's a rhythm machine
He can take me, he can break me, he's so hard and so mean
He's my lover, he's my hero, take it fast, take it slow
My baby, my baby, my baby oh no

My head's in a mess and I've torn my best dress
But I ain't like the rest, gonna make him say yes

chorus repeats out

:guitar: :banana: :mango

http://www.newwavephotos.com/BowWowWow/19810906_031BowWowWow.jpg

ABlairican Pie

11-21-2006, 09:17 AM

In 1979, after releasing several albums with varying degrees of success, Sparks found themselves at a career standstill: they had played out the rock format and found their sound stagnating. They needed to revitalize themselves, when they expressed their fondness for producer Giorgio Moroder, who worked on Donna Summer's hit "I Feel Love", to a German journalist who happened to know him personally. They teamed up with Moroder to record a turning point in the band's music, Number 1 In Heaven, which saw the band exploring dance and electronic music as they stripped down their band lineup. This would become a major influence on other artists as one of the precursors of synth-pop. Their 1980 album Terminal Jive featured the song "When I'm With You" which became a huge hit in France. The band stayed for a year in that country to promote and tour behind the album. After the Mael brothers returned to a full band outfit in the early 80's, they released Angst In My Pants in 1982, which featured the popular track "I Predict". followed by their biggest chart success, 1983's In Outer Space, which featured a duet with The Go-go's Jane Wiedlin on the song "Cool Places".

Sparks also appeared in the 1976 movie Rollercoaster when KISS declined the role.

Discography up to 1983:

1971 Sparks/Halfnelson Bearsville
1972 A Woofer in Tweeters Clothing Warner Bros
1974 Kimono My House
1974 Propaganda
1975 Indiscreet
1976 Big Beat
1977 Introducing Sparks
1979 No. 1 In Heaven
1980 Terminal Jive
1981 Whomp That Sucker
1982 Angst in My Pants
1983 In Outer Space

Angst In My Pants

I hope it doesn't show
It'll go 'way
It's just a passing phase
It'll go 'way

You can dress nautical
Learn to tie knots
Take lots of Dramamine
Out on your yacht
But when you're all alone
And nothing bites
You'll wish you stayed at home
With someone nice
But when you think you made it disappear
It comes again, "Hello, I'm here" and
I've got angst in my pants

You can be smart as hell
Know how to add
Know how to figure things
On yellow pads
Answer so no one knows
What you just said
But when you're all alone
You and your head
What's the computer say, it's mumbling now
It says "hey Joe"
It's spelled it out and
"You've got angst in your pants"
"You've got angst in your pants"

But when you think you've made it disappear
You're sure you made it disappear
And you've still got angst in your pants

I hope it doesn't show
It'll go 'way
It's just a passing phase
It'll go 'way
I hope it doesn't show
It'll go 'way
Give it a hundred years
It won't go 'way
And I've got angst in my pants
I've got angst in my pants

I Predict

You're gonna take a walk in the rain
And you're gonna get wet
(I predict)

You're gonna eat a bowl of chow mein
And be hungry real soon
(I predict)
Are my sources correct
(I predict)

They're gonna find the Queen is a man
But that Philip don't care
(I predict)
Lassie will prove that Elvis and her
Had a fleeting affair
(I predict)
Are my sources correct
Are my sources correct
Yes I know they're corect
(I predict)

Men, if you say your prayers
You'll never lose your hair

L.A. is safe
Ain't gonna quake
Ain't gonna quake
(I predict)

And somebody's gonna die
But I can't reveal who
Cold beer will cure a cold
Cold beer and pretzels, takes care of cancer
Moscow will march to France
They'll do the Can-Can Dance
Don't worry, it'll work out
Maxim's will throw them out

They're gonna stop Saturday night
So you better have fun now
(I predict)
They're gonna stop having the sun
So you better get tan now

And this song will fade out
And this song will fade out
And this song will fade out
(I predict)

Mickey Mouse

Can you raise both your hands and clap 'em
Can you say, "sure, I'll always try"
Can you make friends among people and animals
Basically, everything is easy
Give it a try, you'll see I'm right
Cause if a mouse can be special, well so can you

Chorus:

And my name is Mickey Mouse
To my right is Minnie Mouse
And we own a little place in Disneyland, California

Let's have a party and be happy
Can we invite our closest friends
We can ask Donald Duck, Pluto, and all the gang

Chorus

Well, you should try to smile, dear
Get yourself a pet deer
dog
cat
bird
pig
lamb
horse
cow
fox
wolf
snake
ox
fish
goldfish
mouse

Chorus

Did you raise both your hands and clap 'em
Did you say, "sure, I'll always try"
Cause you look hesitant, wary, or am I wrong
You can go off and be a loner
Maybe you can't believe a mouse
But when you feel the need, come back
I'm here...for...you...and you

Chorus

Eaten By the Monster of Love

(Don't let it get me, don't let it get me, etc.)

Well, it's Saturday night and I'm still free
And I ain't never gonna be
Eaten by the monster of love

It's hard to fight it off much more
I hear it drooling by the door
Eaten by the monster of love

It ain't a pretty sight to see the way it leaves 'em
It chews them up and spits out creatures with those
Goo-goo-ey eyes
Sick sickly smiles
It just isn't right

And my father said "don't worry, son"
But look at him, he should have run
Eaten by the monster of love

Well, it's worse than war, it's worse than death
There ain't too many left who ain't been
Eaten by the monster of love

Buy a dog and that might help
Sometimes, though, a dog gets grabbed and
Eaten by the monster of love

Eaten by the monster of love
Let it huff, let it puff
Eaten by the monster of love
I hate to gripe, but I just ain't the type

(Don't let it get me, don't let it get me, etc.)

I know some really good, good people
Overcome, and piece by piece they were
Eaten by the monster of love

Sometimes it takes a nip at me
But I'm too quick to ever be
Eaten by the monster of love

Cool Places

I wanna go to cool places with you
I wanna take you cool places tonite
I wanna go where nobody's a fool
And no one says uh, "hey girl, need a light?"
I want to move like this and that
A minimum of chit chat
I never wanna cool down, cool down, cool, cool, cool
Cool places tonite

I gotta tell you, you're lookin' real good
They let us in so I'm feelin' all right
I like to go where sometimes they refuse
Yeah, I remember last Saturday nite
But I'm feeling cooler now
And they could tell we're cooler now
It's obvious we're cooler now, cooler now, cool, cool, cool
Cool places tonite

I wanna go, I wanna go, etc.

I want to go to cool places tonite
I wanna go to cool places with you
And after that we'll slip out for a bite
A coffee shop, and toast, coffee and juice
And then we'll sleep 'til 5 P.M.
And start it up all over again
I never want to cool down, cool down, cool, cool, cool

I wanna go, I wanna go, etc

All You Ever Think About Is Sex

Think about the places we've had our little fun
In the church at Christmas, busted by that nun
Then in that museum, beneath the Mastodon
Stating our positions on the White House lawn

Chorus:

All you ever think about is sex
All you ever think about exclusively
All you ever think about is sex, all right with me

Say, do you remember the Dodgers and the Mets
50,000 people saw us and turned red
I'm still not recovered from Saturday's faux pas
When your father came home, saw us, and dropped dead

Chorus

In a world of lovers, we don't love each other much
Fact is, we're too busy to love each other much

Chorus

:banana: :mango

ABlairican Pie

11-22-2006, 08:37 AM

Simple Minds was one New Romantics band whose success was slow catching on in America. Fronted by vocalist Jim Kerr, the band began as a Lou-Reed influenced punk outfit Johnny and the Self-Abusers in the late 70's, which later changed their name to Simple Minds from a lyric in David Bowie's "The Jean Genie". In 1979, the band released their first album, Life In a Day, which was heavily influenced by post-punk band Magazine as well as The Cars, which was poised for commercial appeal. When the album failed to take off, the band went on with their second album Real to Real Cacophony, released later that year, with a darker sound and more new wave exploration. Their third release, Empires and Dance from 1980, found them exploring more Kraftwerk, Euro-style electronic rock, but was not heavily promoted by their label. Switching to the Virgin label, the band released a double album--two separate albums in one set, 1981's Sons and Fascination and Sister Feelings Call, which had more prog-rock leanings in a new wave context.
Peter Gabriel was so impressed by the band that he had them open for his concerts on a few European dates, which exposed them to a bigger audience.

But it was not until the release of 1982's New Gold Dream (81-82-83-84) that the band's success began to turn. They were then lumped in the New Romantics movement, while some of their hits from the album were criticized as "commercially selling out" by some detractors. Though some songs such as "Someone Somewhere In Summertime" were pop, other songs such as their other strong hit, "Promised You a Miracle", still continued in their experimental dance vein. Jazz keyboardist Herbie Hancock even performed a synth solo on the closing track, "Hunter and the Hunted".

According to rock journalist Steve Turner, the album cover to New Gold Dream also was indicative of British bands' embracing of religious themes and motifs in their songs akin to U2, who had several Christian members. Bands such as Simple Minds and Echo and the Bunnymen, though using "religious" lyrics, had no specific spiritual pursuasion, if any. Such lyrics and images were intended to evoke a sense of hope and positivity while disavowing any organized religious commitment.

This song was a hit in Europe in 1981:

Love Song

In coats of many colour
Reptile man drop
Stay below it
Stay below it
Stay below it
Stay below it
Temperature drop

America's a boyfriend
Untouched by flesh of hand
Heartbeat under
Heartbeat under
Heartbeat under
Heartbeat under
Some promised land

Love song
Love song
Love song
Love song

On and on and

On and on and

Flesh of heart
Heart of steel
So well so well
I cut my hair
Paint my face
Break a finger
Tell a lie
So well so well

America's a boyfriend
Untouched by flesh of hand
Stay below it
Stay below
In glory days that come and go
Some promised land

Love song
Love song
Love song
Love song

And on and on and
On and on and
On and on and

Stay below
Shout below
Flesh of heart
Heart of steel
Flesh of heart
Heart of steel
Flesh of heart
Heart of steel
Flesh of heart
Heart of steel
Love song
Love song
Love song
And love song

Stay below
Shout below
In glory days that come and go
Stay below
Shout below
In glory days that come and go

Love song
Love song
Love song
On and on and
On and on and
On and on and

Someone Somewhere In Summertime

Stay, I'm burning slow
With me in the rain, walking in the soft rain
Calling out my name
See me burning slow

Brilliant days, wake up on brilliant days
Shadows of brilliant ways will change all the time
Memories, burning gold memories
Gold of day memories change me in these times

Somewhere there is some place, that one million eyes can't see
And somewhere there is someone, who can see what I can see

Someone, Somewhere In Summertime
Someone, Somewhere In Summertime
Someone, Somewhere In Summertime

Moments burn, slow burning golden nights
Once more see city lights, holding candles to the flame
Brilliant days, wake up on brilliant days
Shadows of brilliant ways will change me all the time

Somewhere there is some place, that one million eyes can't see
And somewhere there is someone, who can see what I can see

Someone, Somewhere In Summertime
Someone, Somewhere In Summertime
Someone, Somewhere In Summertime
Someone, Somewhere In Summertime

Colours Fly and Catherine Wheel

"Belle"
Never turn your back
Great times attack
Inexpensive thrills

And I said Belle
Of all the friends who care
Some should be seen
But never heard

Colours Fly and Catherine Wheels
Poor girls cry
In the beauty of both worlds

Catch a boy Fell Falling
Fall in love Fell Falling
Catch a boy Fell Falling
Fall in love Fell Falling
Catch a boy Fell Falling
Out of the Sky

"Belle"
When the pulses rise
Love will tranquilize
Just before it kills

And I said Belle
You turn them on
With your reflection
I know so well

Colours Fly and Catherine Wheels
Poor girls cry
In the beauty of both worlds

Catch a boy Fell Falling
Fall in love Fell Falling
Catch a boy Fell Falling
Fall in love Fell Falling
Catch a boy Fell Falling
Out of the Sky

Catch a boy Fell Falling
Fall in love Fell Falling
Catch a boy Fell Falling
Fall in love Fell Falling
Catch a boy Fell Falling
Out of the Sky
Out of the Sky

Colours Fly and Catherine Wheels
Some girl cry
Over her boyfriend
When Colours Fly and Catherine Wheels

So when the colours fly

Promised You a Miracle

Promised you a miracle
Belief is a beauty thing
Promises promises
As golden days break wondering
Chance as love takes a train
Summer breeze and brilliant light
One love she sees
He controls on love
Love sails to a new life

Promised you a miracle
Belief is a beauty thing
Promises promises
As golden days break wondering
Only love she sees
He controls on love
Life mirrors a cure
Everything is possible
With promises
Everything is possible
Oh no

I promised you a miracle
Belief is a beauty thing
Promises promises
As golden days break wondering
Chance reflects on them a while
Love screams so quietly
Slipping back on golden times
Breathing with sweet memories

Promised you a miracle
Belief is a beauty thing
Promises promises
As golden days break wondering

Only love she sees
He controls on love
Life mirrors a cure
Everything is possible in the game of life
Everything is possible
Oh no

Chance lost pearls of great price
Take care of family
Only aches for love
Love waits for fame
In chance in chance they'll see

I promised you a miracle
Belief is a beauty thing
Promises promises
As golden days break wondering

Only love she sees
He controls on love
Life throws a cure
Everything is possible in the game of life
A burning dream
You can be Queen

Glittering Prize

Shine On, Shine the Light on me,
In all of my Life so that much more I see
In the Light of his Love
In the Light of reflection
Oh what a world
Or sometimes oh so it seems
Eyes in the skies
In that silver gift friendship
A Glittering Prize
Is it the prize of lost loves
They can remember quiet sides of midnight
They can remember the attraction of fame
Like a Glittering Prize
I saw up on a clear day
First taking hearts
Then our last breath away

Always came a time - time was on our side
We were spending time - we were staring out
Catch me in a dream - Captured all in heart
We were spending time - we were staring out
Could there ever be - ever more than one
It's called an act of Love
Can you you never stop?

Shine On, Shine the Light on me,
In all of my Life
So much more I see
Like a Glittering Prize
I saw you up on a clear day
First taking heart then our last breath away
Only on a clear day coming into our lives

See it in the eye - satellite skies
We were spending time - we were staring out
Take in, Take in more - The Endless breath away
We were spending time - we were staring out
Could there ever be - ever more than one
It's called an act of Love
Can you you never stop?

Always on a clear day
Crashing into our lives
Is it the Price of Love
Like a Glittering Prize
Always on a clear day
Crashing into our lives
With your love

:guitar: :banana: :mango

ABlairican Pie

11-22-2006, 09:10 AM

Not to be confused with Britain's New Romantics movement, America's own The Romantics, from Detroit, played a catchy, melodic style of rock with combined elements pop, new wave and punk, and traditional rock in a style known as power-pop. The band chose their name due to their having formed on Valentine's Day in 1977. The band released their self-titled debut album in 1980, which featured the hit "What I Like About You". The next two albums, 1981's National Breakout and Strictly Personal were commercial disappointments, but 1983's In Heat album put them back on track with the huge hit "Talking In Your Sleep". It also didn't hurt that the band wore skin-tight red leather lounge outfits and high hair. :D

Even though in later years, "What I Like About You" was all over t.v. commercials and everywhere else (against the band's knowledge or consent), it was absolutely disappointing that when the song title was used for the title of the hit sitcom featuring Jenny Garth and Amanda Bynes, they changed it from a hip rocking theme song to the bogus HIP-HOP version of the tune!! :mad: ohno:

What I Like About You

Hey, uh huh huh
Hey, uh huh huh

What I like about you, you hold me tight
Tell me I'm the only one, wanna come over tonight, yeah

You're whispering in my ear
Tell me all the things that I wanna to hear, 'cause that's true
That's what I like about you

What I like about you, you really know how to dance
When you go up, down, jump around, think about true romance, yeah

You're whispering in my ear
Tell me all the things that I wanna to hear, 'cause that's true
That's what I like about you
That's what I like about you
That's what I like about you

Wahh!

Hey!

What I like about you, you keep me warm at night
Never wanna' let you go, know you make me feel alright, yeah

You're whispering in my ear
Tell me all the things that I wanna to hear, 'cause that's true
That's what I like about you
That's what I like about you
That's what I like about you
That's what I like about you (whispered)
That's what I like about you (whispered)
That's what I like about you (whispered)
That's what I like about you (whispered)

Hey, uh huh huh, hey hey hey
Hey, uh huh huh, brrr
Hey, uh huh huh, hey

Talking In Your Sleep

When you close your eyes
And go to sleep
And it's down to the sound
Of a heartbeat
I can hear the things
That you're dreamin' about
When you open up your heart
And the truth comes out

You tell me that you want me
You tell me that you need me
You tell me that you love me
And I know that I'm right
'Cause I hear it in the night

I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep

When I hold you in my arms at night
Don't you know you're sleeping in the spotlight
And all your dreams that you keep inside
You're telling me the secrets
That you just can't hide

You tell me that you want me
You tell me that you need me
You tell me that you love me
And I know that I'm right
'Cause I hear it in the night

I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep

When you close your eyes
And you fall asleep
Everything about you is a mystery

You tell me that you want me
You tell me that you need me
You tell me that you love me
And I know that I'm right
'Cause I hear it in the night

I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep
I hear the secrets that you keep
When you're talking in your sleep

Rock You Up

You know you look a little lonely
Well, I can keep you company
You wanna make it with somebody
Baby won't you make it with me

CHORUS
Wanna have a good time-it's alright
Baby whatcha doing later on tonight
I wanna rock you up
Rock you up
Rock you up
Rock you up

You wanna do a little dancing
Well music never let you down
But if you're ready for romancing
Honey better hang around

CHORUS

You know you look a little lonely
Well I can keep yuu company
When I see you move your body
Don't you know you put me in heat

CHORUS

One In a Million

Something about you makes me want to keep on loving you.
when I'm without you, I feel I need you back in my heart.
I get a sensation I feel whenever I'm around you,
you're my inspiration and I'm so glad I found you.
chorus
one in a million,baby you're the one
one in a million,and you're second to none
one in a million,a million to one
you're one in a million

when I first saw you I had a feeling right from the start,
in love I was falling, you seemed to do things to my heart
your love and affection is all I need to keep me satisfied,
you leave an impression and baby I never want to leave you

chorus

something about you, makes me want to keep on loving you,
when I'm without you I feel I need you back in my heart.
I get a sensation I feel whenever I'm around you,
You're my inspiration and I'm so glad I found you.

chorus

you're one in a million one in a million and you're second to none one in a million,
WOW! one in a million baby you know you are ooonnneee

:guitar: :banana: :mango

ABlairican Pie

11-23-2006, 10:52 AM

Indiscreet; Propaganda; The Big Beat; and Kimono My House, which we have already seen:

ABlairican Pie

11-23-2006, 11:57 AM

Though Oingo Boingo hit their popularity in 1983 with their album Good For Your Soul, the band had been playing for eleven years as The Mystic Knights of the Oingo Boingo. Originally a musical theater troupe from Los Angeles formed by future film director Richard Elfman,they had taken their name a fictional secret society on the Amos 'n' Andy TV series called "The Mystic Knights of the Sea." Most of the members performed in whiteface and clown makeup; a typical show would contain music ranging from the 1890s to the 1950s, in addition to original material. This version of the band employed as many as fifteen musicians at any given time, playing over thirty instruments, including some instruments built by band members. Few recordings from this period exist, although they did produce a novelty record about kidnapped heiress Patty Hearst, "You've Got Your Baby Back." As Richard's interest shifted to filmmaking, he passed leadership of the band to younger brother Danny Elfman, who had recently returned from spending time in Africa playing violin and studying percussion music. They gained a following in Los Angeles, and appeared as contestants on The Gong Show, winning the show with 24 points out of 30 without getting gonged. :cool:

By 1980 the band shortened their name and had shifted from the cabaret-style music into a more pop-rock format, and were featured on Richard Elfman's cult film 'Forbidden Zone', which captured the essence of the band's live perfomances. Filmed in black and white with a cast mostly made up of band members and friends, the movie's music and visuals elaborated on the spirit of the Mystic Knights' concerts. In one scene Danny, as Satan, sings a version of alloway's "Minnie the Moocher" with modified lyrics integrated into the plot of the film. In another Richard sings the 1920s novelty song "The Yiddishe Charleston." The movie attained cult status, captured the essence of the Mystic Knights, and provided a springboard for the film and music careers of Richard and Danny.

Around this time the band decided to forego the theatrics and concentrate on being a full band, incorporating the new sounds of ska and new wave. Following their self-titled EP, their 1981 debut and single Only a Lad was a big hit on the L.A. station KROQ, which had changed into a new wave station, a format which was unique for its time. The band may have been categorized as "new wave", but their sound was very radical and different with its eclectic styles and tempo changes. !982 saw the release of Nothing To Fear, which featured their hit "Gray Matter", as well as "My Private Life" and "Wild Sex (In the Working Class)". They then released Good For Your Soul in 1983, which featured "Nothing Bad Ever Happens", "Who Do You Want to Be", and "Wake Up (It's 1984)", a song recorded just in time for the new year prophecied by British author George Orwell.

The cover of the self-titled Oingo Boingo EP was painted by British artist Louis Wain, known for his various illustrations of comical cats in the early 20th century. In the last half of his life he began to suffer from schizophrenia and was committed to a mental ward for a time, during which time his images of cats took on a very bizarre, colorful nature.

Only a Lad

Johnny was bad, even as a child everybody could tell
Everyone said if you don't get straight
You'll surely go to hell

But Johnny didn't care
He was an outlaw by the time that he was
Ten years old
He didn't wanna do what he was told
Just a prankster, juvenile gangster

His teachers didn't understand
They kicked him out of school
At a tender early age
Just because he didn't want to learn things
(Had other interests)
He liked to burn things

The lady down the block
She had a radio that Johnny wanted oh so bad
So he took it the first chance he had
Then he shot her in the leg
And this is what she said
Only a lad
You really can't blame him
Only a lad
Society made him
Only a lad
He's our responsibility
Only a lad
He really couldn't help it
Only a lad
He didn't want to do it
Only a lad
He's underprivileged and abused
Perhaps a little bit confused

His parents gave up they couldn't influence his attitude
Nobody could help
The little man had no gratitude

And when he stole the car
Nobody dreamed that he would
Try to take it so far
He didn't mean to hit the poor man
Who had to go and die
It made the judge cry

Only a lad
He really couldn't help it
Only a lad
He didn't want to do it
Only a lad
He's underprivileged and abused
Perhaps a little bit confused

It's not his fault that he can't believe
It's not his fault that he can't behave
Society made him go astray
Perhaps if we're nice he'll go away
Perhaps he'll go away
He'll go away

(Repeat chorus)

Hey there Johnny you really don't fool me
You get away with murder
And you think it's funny
You don't give a damn if we live or if we die
Hey there Johnny boy
I hope you fry!

Here is one of the greatest songs ever recorded:

Gray Matter

They say you're stupid
That you're too young to vote
They say you'll swallow anything
That they shove down your throat

They say that you can't think
That you haven't got a brain
That you're just there to listen
That you're just being trained

CHORUS
There's something inside your head
There's something inside your head
There's something inside your head
There's something inside your head

They say you lost the ability to even think
That your tiny little brain
Slipped down the kitchen sink

They say that you'll buy anything
That they turn your way
That you'll listen to anything
That they decide to play

CHORUS
Grey matter grey matter ooh . . .
Grey matter grey matter ooh . . .
Grey matter grey matter ooh . . .
Grey matter grey matter ooh . . .

BRIDGE
I think you like it--like it
To be told what to do--isn't that true
I think you're better--better--better off
Stone cold dead--without your head

They say you're stupid
That you're too young to vote
They say you'll swallow anything
That they shove down your throat

If they say--lie down--don't do it
If they say--buy it now--don't do it
If they say--turn around--don't do it
If they say--hit the ground--don't do it
If they say--bite the big weenie--don't do it
If they say--wasn't that good--don't do it
If they say--bend over baby--don't do it
If they say--take it and like it--don't do it

CHORUS

Private Life

This is my private life
I have no friends to fear
I've got no problems no cross to bear
If you can find me
come and get me out of here

This is my private place, Everythig is neatand clean,
The skeletons are hidden in the closet,
This is my private place, come & get me out of here

CHORUS
This is my private life
This is my private life
This is my private life . . .

These are my private things
There they are against the wall
The dirty pictures, religious objects
These are my private things
come and get them out of here

This is my private bed
This is where I lie at night
Staring at a light bulb hanging on the ceiling
Waiting for a dream to
come and get me out of here

BRIDGE
Here in my humble room at night
I often wonder what goes on out there
What makes them runs so scared
I often stare at the people passing by
But they can't see me through my window shades
Just like I'm not even there

CHORUS
This is my private life
This is my private life
This is my private life
There's something dangerous I like

This is my private life
I know my problems aren't your fault
What I really want to know
Has it always been this way

This is my private life
This is my private life
This is my private life
Come and get me out of here

Wild Sex (In the Working Class)

I work so hard trying to make a few buck
I pass the hours in a dream
The sweat keeps rolling off the tip of my nose
There's only one thing keeps me on my feet

BRIDGE
I may be greasing the wheels in a noisy factory
I may be hunched over metal machines
Watching the gears as they move
just reminds me
of bodies in motion
The sweat and the sound

CHORUS
Wild sex in the working class
After five it's a gas
Wild sex in the working class
Counting minutes gonna get home fast

Thinking of your warm skin
While I touch cold steel
The days go by to the pounding beat
My back is aching so bad
But I'm grinning inside
Thinking of you keeps me on my feet

BRIDGE

CHORUS
I work so hard I'm thinking of you
I work so hard but I'm thinking of you
I work so hard

CHORUS

Who Do You Want To Be

CHORUS
Who do you want to be today?
Who do you want to be?
Who do you want to be today?
Do you want to be just like someone on T.V.?

Oh boredom is so terrible, it's like a dread disease
Nothing could be worse
than when there's nothing on T.V.
I'd rather be a cowboy than to stare blank at the walls
I've been reborn so many times
I can't remember them all
(And I say)

CHORUS

Just like someone on T.V.!

I think I'll be a teddy boy, I think I'll be a hunk
I think I'll be a tough guy and I think I'll be a punk
I might just be a fashion star
All dressed in frilly rags
Or perhaps I'll cross the other side
and walk around in
Drag!

CHORUS

Just like somebody on T.V.!

Do you like to be just like a rock
in the middle of the sea
Do you want to suffer by yourself
in a pool of blissful misery
Do you want to feel like a saint in artists' clothes
With a rosary in your hand
Do you wanna be crazy like Van Gogh like a
stranger in a
Strange, strange land

Would you rather push the buttons
And be feared by all humanity
Or perhaps you'd like to be a bum
Do you wanna be stupid, just like me

CHORUS

Just like somebody on T.V.!
Who do you want to be . . . . . . .

Nothing Bad Ever Happens

Nothing bad ever happens to me
Nothing bad ever happens to me
Why should I care?

A man broke into my neighborhood
He threatened the family with a loaded gun
He tied them all up and beat 'em real good
He took everything and he got away clean
And I can't believe that anyone would
Wanna do such a terrible thing
But why should I care?

Did ya hear about Fred, he's unemployed
They threw him away like a useless toy
He went down the drain after 20 long years
No warning, no pension and nobody's tears
And I can't believe that anyone would
Wanna do such a terrible thing
But why should I care?
Why should I care?

Every time I look around this place
I see them scream but I hear no sound
And the terrible things happen down the road
To someone else that I don't even know

CHORUS
Nothing bad ever happens to me
Nothing bad ever happens to me
Nothing bad ever happens to me
Nothing bad ever happens to me
Why should I care?

Have you heard about the Joneses, my, my, my
It happened so quick and no one knows why
Their teenage son, he seemed O.K.
But his suicide ruined everyone's day
And I can't believe that anyone would
Wanna do such a terrible thing
But why should I care?

CHORUS

(Nothing bad ever happens to me)
Nothing bad ever happens to me

Wake Up (It's 1984)

Wake up! won't you listen to me
Wake up! won't you listen to me
won't you listen to me
Wake up! won't you listen to me
Wake up! won't you listen to me
won't you listen to me

Big brother's watching, we watch him back
We see right through his disguise
He tries to scare us, with angry words
But we all know that they're lies
Whole world is waiting
Just see the fear in their eyes

Whole world is watching, observing every move
Is it beginning or the end?
Just like a chess game, but so intense
That I just don't understand
Anticipation
It's much to big to pretend

CHORUS
(Wake up), it's 1984
(Wake up), but we've been here before
(Wake up), it's 1984
(Wake up), but we've been here before, (here before)

Big brother's screaming but we don't care
Cause he's got nothing to say
Think of the future, think of the prophecy
Think of the children of today
Big brother's marching
So we all stand in his way
Open your eyes, sisters and brothers
Neatly disguised, so far away
Open your heart, try to remember
Two worlds apart, but so close

(Wake up), it's 1984
But we've been here before
(Wake up), it's 1984
But we've been here before
All our lives leading up to this day, watching and waiting

Wake up! Wake up!
Wake up! Wake up!

Open your eyes, sisters and brothers
Neatly disguised, so far away
Open your heart, try to remember
Two worlds apart, but so close

CHORUS

Whole world is watching
Anticipating
Big brother's marching
Is it beginning or the end?

CHORUS

:guitar: :banana: :mango

ABlairican Pie

11-23-2006, 03:00 PM

Of course new wave was not the only thing taking L.A. by storm, history was made when Metal Health by metal band Quiet Riot hit #1 on the charts in 1983, routing Synchronicity by The Police from the top spot. This threw wide open the floodgates for every "hair" metal band from the Hollywood Sunset Strip scene to ascend the charts and glut MTV for the rest of the decade. Their mascot on the cover was one of the most distinctive, along with Iron Maiden's Eddie and others of that era.

Quiet Riot in fact began in the mid-70's as The Katzenjammer Kids with future Ozzy Osbourne guitarist Randy Rhoads and bassist Kelly Garni, who left later and was replaced by bassist Rudy Sarzo. Vocalist Kevin Dubrow fronted the band, who at the time were an over-the-top glam outfit with marginal talent, except for Rhoads, who gained a reputation of being one of the most proficient guitarists on the block in Burbank. They changed their name to Quiet Riot after hearing a radio interview with Richard Parfitt of British band Status Quo in which Parfitt said he'd like to name a band "Quite Right". And of course, the fixation with 70's British glam bands did not end there. The band was signed to CBS but was only allowed to release their first two albums
for the label in Japan. Afterwards, at the advice of future Slaughter bassist Dana Strum, Rhoads decided to leave the band and audition for former Black Sabbath singer Ozzy Osbourne, who was looking to start a new band. From there Rhoads' place in rock and roll history was secure, while Quiet Riot struggled to gain their own place. Sarzo had even joined Ozzy's band for the Diary of a Madman album, and was a witness to the horrific plane crash which
took Rhoads' life on March 19, 1982. Sarzo returned to Quiet Riot when Dubrow reformed the band with guitarist Carlos Cavaso and
drummer Frankie Banali. Producer Spencer Proffer suggested to CBS that they be signed to the American label. The band released Metal Health in 1983, and the label found that it had a huge hit album on their hands. Before it was unthinkable that metal would have a huge hit on the charts, but Quiet Riot had done it. The band released an updated version of Slade's 1973 hit "Cum On Feel the Noize", which Dubrow never really liked, but most likely changed his tune when the song brought home the bacon. The band would have done wise to be careful with their newfound fortunes, because lightning was not going to strike twice for the band. To say that Kevin "the Mouth" Dubrow was outspoken was an understatement, to put it lightly. He was a little confident of his success, and would feel threatened of the other L.A. metal bands which followed in Quiet Riot's wake. He was merciless in his verbal thrashing of them, accusing
them of being poseurs who were latching onto the success of Quiet Riot. He badmouthed the press and even their own record label later on, which soured
fans on the band.

Metal Health

Well I'm an axegrinder Piledriver
Mother says that I never never mind her
Got no brains I'm insane
Teacher says that I'm one big pain
I'm like a laser, 6-string razor
I got a mouth like an alligator
I want it louder
More power
I'm gonna rock ya till it strikes the hour

[CHORUS 1:]
Bang your head! Metal Health'll drive you mad
Band your head! Metal Health'll drive you mad

Well I'm frustrated
Outdated, I really want to be over-rated
I'm a finder and I'm a keeper
I'm not a loser and I ain't no weeper
I got the boys to make the noise
Won't ever let up
Hope it annoys you
Join the pack
feel the crack
Well now you're here
There's no way back

Bang your head! Metal Health'll drive you mad
Bang your head! Metal Health'll drive you mad

Metal Health'll cure your crazy
Metal Health'll cure your mad
Metal Health is what we all need
It's what you have to have

[Solo]

Bang your head
Wake the dead
We're all metal mad
It's all you have
So bang your head
And raise the dead
Oh yeah!
Metal Health
It'll drive you mad
Mad ,Mad

[CHORUS:]
Oh get your straight-jackets on tonight Oh
Bang your head! Metal health'll drive you mad
The bad boys are gonna set you right Rock on Rock on Rock on
Bang your head! Metal health'll drive you mad
Bang your head!

Cum On Feel the Noize

Come on feel the noise
Girls rock your boys
We'll get wild, wild, wild!
Wild, wild, wild!

So you think I got an evil mind,
I'll tell you honey
I don't know why
I don't know why

So you think my singing's out of time,
it makes me money
I don't know why
I don't know why, anymore
Oh no

So come on, feel the noise
Girls rock your boys
We'll get wild, wild, wild
Wild, wild, wild

Come on, feel the noise
Girls rock your boys
We'll get wild, wild, wild,
Baby

So you see I got a funny face,
I got no worries
And don't know why
I don't know why

Oh i gotta sing with some disgrace,
I'm in no hurry
And I don't know why
I don't know why, anymore
no, no, no

Come on, feel the noise
Girls rock your boys
We'll get wild, wild, wild,
wild, wild, wild

Come on, feel the noise
Girls rock your boys
We'll get wild, wild, wild,
Baby
Come on

Well you think we have a lazy time,
You should know better
I don't know why
I don't know why

So you say I got a dirty mind,
I'm a mean go getter
I don't know why
I don't know why, anymore
Oh no

Come on feel the noise
Girls rock your boys
We'll get wild, wild, wild,
Wild, wild, wild

Come on, feel the noise
Girls rock your boys
We'll get wild, wild, wild
Baby

Come on (come on) feel it
Girls rock your boys (girls rock it)
We'll get wild, wild, wild
We're gonna get wild (wild,wild,wild)

We're gonna get rocked tonight (come on feel the noise)

Rock it tonight (girls rock your boys)
We'll get wild, wild, wild
OH YEAH!!

Ah, ah, ah (wooooo)
Ah, ah, ah

Come on, feel the noise
Girls rock your boys
We'll get wild, wild, wild

Ah, ah, ah
Ah, ah, ah.

Slick Black Cadillac

Ooooo, Just a big black set of wheels
Is what it takes to get me off
I'm gonna drive all night
Spin my wheels all night
It feels all right
It feels all right

I don't need no drivers license
I'm too reckless to survive
It's like a carburetor instigator
Feels all right
Feels all right

Drivin' in a Slick Black Cadillac
It's got solid gold hubcaps
It makes me feel like a king
I only need one thing
And that's a Slick Black Cadillac (get up)

You know I got a fully equipped rock 'n' roll machine
At speeds that take me high, high, high
At dead man's curve
I only hear one word drive, drive, drive
Drive, drive, drive

My machine is making headlines
It gives me love and everything
It's like an institution of revolution
It feels all right
Feels all right

Drivin' in a Slick Black Cadillac
It's got solid gold hubcaps
It makes me feel like a king
I only need one thing
And that's a Slick Black Cadillac (pull over, woooo)

I got the coppers on my tail
Just for me an A.P.B.
The sirens spinnin'
Though it's me who's winnin'
There're after me
There're after me

Before they know just what happened
I disappeared to their surprise
I got a Cadillac monkey on my back
And I don't mind
No, I don't mind

Drivin' in a Slick Black Cadillac
It's got solid gold hubcaps
It makes me feel like a king
I only need one thing
And that's a Slick Black Cadillac (hold on)

Slick Black Cadillac
It's got solid gold hubcaps

Slick Black Cadillac

I lay it down, spin wide and get laid in back, oh yeah

Drivin' in a Slick Black Cadillac
It makes me feel like a king, alright!

Run For Cover

Watch out!

You better get yourself runnin'
I got hurricane comin'
No warning surprise

I'm gonna take my leave
I wanna plant my seed
Don't let it shock you hold tight, hold tight

You better run for cover
I'm a hit-n-run lover
Run for cover tonight (get ready!)

So you think it's easy
Try to be this sleazy
Well I'll tell you it's nice (ha ha)

We're gonna make a name
Ain't gonna play no games
You'd better take the first flight tonight

You better run for cover
I'm the hit-n-run lover
Run for cover tonight

Find some shelter and hide
No survivors tonight, hold tight, tonight (yeah watch out!)

You better get yourself runnin'
I got hurricane comin'
No warning surprise

I'm gonna take my leave
I wanna plant my seed
Don't let it shock you hold tight, hold tight

Run for cover
I'm the hit-n-run lover
You better run for cover tonight (yeah)

Run for cover
I'm the hit-n-run lover
Run for cover tonight
Look out
Watch out
Get out
Hold out

Run for cover tonight

Run for cover! Woo!

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-23-2006, 03:00 PM

Interesting how Quiet Riot is considered the first "hair metal" band to make it big in the 80's that Kevin Dubrow has been suffering from male pattern baldness!! :lol:

Have to mention that in 1983, I got a chance to talk to the guys of Quiet Riot on the phone during a radio interview on KISW!! I told them I was really into their videos and a concert I had seen them do on a live concert on ABC. :rock:

Even though Kevin Dubrow's mouth got him into trouble, it could not be denied that he had a very strong singing voice. :cool:

Let's Get Crazy

Oh yeah!!!

Lookin' for some action, want a mean machine
Gettin' hot 'n' nasty, climbin' in-between

I'm-a rockin' in the mornin' and in the night
I'm gonna find a mama makes me feel right

Get down
Let's get crazy
Right now
Let's get crazy (alright)

Wanna kiss your lips, not the ones on your face
Your innocent jive is really out of place (yeah)
In need of assistance
A dog for my bone
Ain't no way tonight I go home alone

Get down
Let's get crazy
Right now
Let's get crazy (hahahahahahaha)

Oh rock on!
Oh!!!

Get crazy

Intoxication runnin' through my veins
A shot of the past keep runnin' in my brain wave

I'm rockin' in the mornin' and in the night
I'm gonna find a rocker makes me feel right

Get down
Let's get crazy
Right now
Let's get crazy (ah come on get down to business)

Get down (ha)
Let's get crazy
Right now
Let's get crazy (crazy)
Oh right now

Get down (oh come on)
We're gonna get crazy (we're gonna rock on tonight)
Right now (ooh yeah)
Let's get crazy (hoohoohoohoohoo)

Get down (well well well well well well)
Let's get crazy (get insane)
Right now (oh sometime tonight)
Let's get crazy (CRAZY!)

Get down

Love's a Bitch

Oh!...oh!

Love's got me by the ass again
I've been alone since I don't know when
I keep on runnin' and I don't know why
Love's givin' me a crock of lies
Out of breath and I'm out of time
Misery is a rough fight

Love's a bitch, baby
Love's a bitch, yes it's crazy
Love's a bitch, baby
Love's a bitch, yeah it's crazy
Love's a bitch!

Like a cat with diamond eyes
Love's power it can hypnotize
Done me in (ha)
More than twice
She'll make you think that it's over night
Your all alone in a room that's wrong
Your body shakes
Your feet are cold

Love's a bitch, baby
Love's a bitch, yeah it's crazy
Love's a bitch, baby
Love's a bitch, yes it's crazy
Love's a bitch! (whoa, ooh ooh, yes it is)
(Oh, oh, oh)

Such a bitch (oh)

Don't you wait, don't stand still
Gotta keep on movin' or you'll pay the bill
Go by car, go by train
You gotta keep on runnin' or you'll feel the pain
Keep on runnin', keep on runnin'

Love's a bitch, baby
Love's a bitch, yes it's crazy
Love's a bitch, bitch, bitch, baby
Love's a bitch, it's crazy
Love's a bitch! (NO!)
It's a bitch!!!!

:rock: :guitar: :guitar: :rock:

Clips of the Randy Rhoads-era of Quiet Riot:

Steve M.

11-23-2006, 07:29 PM

Roger Chapman somehow managed to release three solo albums in 1982 and 1983, all of them live and/or cover albums.

The Riffburglar Album (alo known as The Funny Cider Sessions) was an album of rock and roll stndards, from Chuck Berry's "Havana Moon" and Larry Williams's "Slow Down" to Cream's "Strange Brew." The backing band was a strange brew of pseudonymous credits, as the names od the palyters were Reverend Stovepipe, Big George Heartburn, Suede Soupspoon, Ramblin' Ray Rubble, Sonny Spider, Lips O'Gonnagen, Big Boy Doomy, and Slakskin Klauter.

Mr. Spider was also the producer. :eek: :lol:

Steve M.

11-23-2006, 07:30 PM

Chappo followed up the first album from himself and the Riffburglars (a group of guys who looooooved covering the oldies!)with He Was, She Was, You Was, We Was, a double live set. It was Chapman's first live solo album, and the set list from this performance was a mix of oldies and originals from the first three years of his solo career. The track list is as follows:

Higher Ground (Roger Chapman/Poli Palmer)

Ducking Down (Roger Chapman/Geoff Whitehorn)

Making The Same Mistake (Roger Chapman/Geoff Whitehorn)

Blood And Sand (Roger Chapman/Geoff Whitehorn)

King Bee (Slim Harpo)/That Same Thing (Waters)/Face Of Stone (Roger Chapman/ Robert Tench)

Hyenas Only Laugh For Fun (Roger Chapman/Tim Hinkley/Geoff Whitehorn)

Night Down (Roger Chapman)

Prisoner (Roger Chapman/Tim Hinkley/Geoff Whitehorn)

Slow Down (Larry Williams)/Common Touch (Roger Chapman)

Juke Box Mama No. 3 (Chapman/Seals)

Poli Palmer (another Family alumnus) and King Crimson/Bad Company veteran Boz Burrell were among the players on this record. :)

Steve M.

11-23-2006, 07:44 PM

After turning forty and rocking out with a cover album and a live double release, what was Roger Chapman going to do next? How about record another album with those mysterious musical mateys of his, the Riffburgulars? :lol: Their 1983 release, Swag, featured covers of Randy Newman's "Mama Told Me (Not To Come), Marvin Gaye's "I Heard It Through The Grpaevine," and a very strange medley of Bo Diddley's "Who Do You Love" with Henry Mancini's them from "Peter Gunn!" :eek:

Once again, "Sonny Spider" was the producer. ;)

Steve M.

11-23-2006, 07:57 PM

In the early eighites, Roger Chapman kept going like the Energizer bunny. In 1983, with five studio albums and two live albums in four years already behind him, he released the punningly titled Mango Crazy, which featured his first batch of original songs in two years, including the title tune, "I Read Your Your File," and the anthemically titled "Turn It Up Loud." :rock:

Mango Crazy - Roger Chapman

Mango
Sitting in the park ready to munch
A tuna fish salad that's ready to crunch
A flock of wild geese overhead in a bunch
That ain't mayonnaise that lands on your lunch

Mango crazy- me go here me go there
Mango crazy- me go amigo everywhere

Mango
Senorita whistling by
Promising all with the flash of an eye
She's just thirteen she afterwards sighs
For one pretty face you get two years inside

Mango crazy- amigo here me go there
Mango crazy- me go crazy everywhere

'Cos there's so many ways in these dangerous days
To be caught unaware by the curls
Be walking the street, everything sweet
Then it's P O W that's the end of the world

Mango crazy -amigo here amigo there
Mango crazy -amigo me go everywhere

Mango
Where ever you go there's some jeopardy
People get mugged begging coins in the street
Sit on a bench you're stuck to the seat
You're watching TV, another repeat

So mango crazy- me go here amigo there
Mango crazy- amigo here and everywhere
Mango crazy- amigo here me go there
Mango crazy- me go crazy everywhere

I Read Your File - Roger Chapman

I know you're cool, you're nobodies fool
You're razor blade sharp; you go straight for the heart
I seen deep in your eyes, you know I don't lie
And I'll prove it to you, so easy to do
With your particular style, width of your smile
I read your file

I know your face studied someplace
Peculiar grin, on your chinny chin chin
It's pointless to hide, know that you tried
And I'll prove it to you, so easy to do
Your particular style, width of your smile
I read your file

I can do better without private eyes
Government central super cool spies
Got all the facts case you disappear
"History intact": that's what it says here

Even your smell
Sure wrings a bell
Your particular style, width of your smile
I read your file

The white of your eyes you know they don’t lie
I read your file
Smile
I read your file

It's easy to do,
I read your file. . .
On your chinny chin chin.

Turn It Up Loud - ROger Chapman

It’s crazy insane to put up with the pain
Can't call on no money or means
Hearts full of hope maybe pig in a poke
Existing on heads full of dreams

Trucks in the rain out of gas once again
Promoter ran off with your pay
Whose daughter got laid by the band in the break
On the stairs by the side of the stage

We're pushy we're proud
We turn it up louder
We laugh and we scream
With the noise
Firing it up and shouting it out to
Turn it up loud with the boys

Audition once more getting angry and sore
Some d:censored:k saying, "Turn down the noise!"
You head for the door oh you’d rather stay poor
And turn it up loud with the boys

Tonight we're supporting a superstar band
Whose records we always did hate
A one hour spot on a real one night stand
Let's hope they remember our name

We're pushy we're proud
We turn it up louder
We laugh and we scream
With the noise
Firing it up and shouting it out to
Turn it up loud with the boys! :guitar:

(All three songs written by Roger Chapman and Geoff Whitehorn.)

Steve M.

11-23-2006, 08:10 PM

After leaving Fairport Convention in the early seventies, Richard Thompson got musically involved with his wife Linda, and the duo released a string of acclaimed albums together. In 1982, they released what became regarded as the greatest record of their collaboration, Shoot Out the Lights.

Shoot Out the Lights was a dark, moody album that explored Richard Thompson's obsession with the danger implied in mixing British folk with American rock. The public, too enamored with Toto IV to care, largely ignored it, but Shoot Out the Lights became a cult hit anyway, largely on the strength of the title song, which was later covered by Los Lobos.

Sadly, the Thompsons dissolved their musical - and marital - partnership shortly thereafter. :(

Shoot Out the Lights - Richard and Linda Thompson

(Richard Thompson)

In the dark who can see his face?
In the dark, who can reach him?
He hides like a child,
He hides like a child.
Keeps his finger on the trigger,
He can't stand the day.
Shoot out the lights,
Shoot out the lights.

Keep the blind down on the window,
Keep the pain on the inside.
Just watching the dark,
Just watching the dark.
And he might laugh but you won't see him,
As he thunders through the night.
Shoot out the lights,
Shoot out the lights.

In the darkness, the shadows move.
In the darkness, the game is real.
Real as a gun,
Real as a gun.
As he watches the streets of the city,
And he moves through the night.
Shoot out the lights.
Shoot out the lights,
Shoot out the lights.

ABlairican Pie

11-24-2006, 02:43 AM

If Quiet Riot were the biggest thing in L.A. in 1983, then Motley Crue were the baddest thing from there. The band was quickly building a reputation of being the evil-est, sleaziest, slimiest bunch of bad boys from Tinseltown. Stories emerged from the camp that the band used, abused, and went through groupies, preferably "fat ugly ones" according to the band themselves, like couch potatoes went through Bud Light six packs--and the girls loved it. Drugs ran rampant through the band, there was nothing the dudes wouldn't try. The band was living fast at a fever pitch, Vince Neil even bragged that he crashed a Porsche into a tree at 70 mph--and only escaped with a banged-up shoulder. While other bands perfected the "bad boy" image, the Crue succeeded at being the bad boys of rock and roll--violence, decadence and indulgence flowed like wine in everything they did. They claimed to have been banned in Vancouver, Canada, for reportedly being "Satan worshippers"--as the cover of their latest album Shout At the Devil indicated--as well as being "child molesters". In its original cover design, it featured a transparent inverted pentagram used in satanism circles on an all-black field. It was later replaced by the large band photo used below. As far as the "child molesting" accusation went, of course there was no proof of that, but knowing the Crue, it was not something you would put past them. ohno: If anything like that happened, most likely it was because some girls were awfully good at lying at their ages or forging fake ID's in order to be willfully pillaged by Motley Crue.

The band may have not been "Satanists", but the story goes that Vince Neil and his girlfriend at the time Lita Ford had dabbled in their fair share of the occult and black magic at the time. Neil claims to have picked up some "very negative energy" from this--according to occult experts, if a person has a bad vibe, then the magic will pick up on negative forces in and around them--while Ford was so shaken by the experience that she left Neil. As far as the title track goes, the title was not about "The Big D" himself, but in fact an anti-devil song--whether that devil happened to be cop, teacher, boss, or any other hated authority figure. "This album has absolutely nothing to do with the devil. We're about as anti-Satan as you can get" Neil explained. "We're trying to say that the devil is any authority that tells you what you can do and what you can't do. It can be your parents, it can be your teachers, or it can be your boss. We're saying shout at that f:censored:er - don't let 'em get you down. That's our philosophy. It's got "absolutely nothing to do with the devil- believe me."

Other big songs from the album included one of their biggest songs, "Looks That Kill", as well as "Too Young To Fall In Love", "Ten Seconds To Love", a cover of The Beatles' "Helter Skelter", and "Knock'em Dead Kid", about physically fighting both cops and rival bands in Hollywood. One incident included the band threatening to "kick the ass" of one detractor who called the band a bunch of "girls". The man apologized profusely, saying that he was drunk at the time. The band did little to alter their appearance to anything more masculine, and it would become more feminized over time. The band even had some unlikely supporters, such as Metallica's James Hetfield, in spite of the thrash band's distaste for makeup metal. On their latest album, the band was just about the heaviest thing to come out of the Sunset Strip and their image was real. The makeup also influenced such "satanic" bands as Slayer, who, in their early days wore makeup to effect a more sinister look, but when they were told they sounded "heavier" without it, they said they took it off and gave it back to Motley Crue! :lol:

Even the band's headbanger jewelry and effects caused concern up north of the border. They said that in Edmonton, Alberta, their metal studded armbands and wristbands, etc., were confiscated by police as "deadly weapons". No one would give metal a break. :rolleyes: But with Motley Crue, their nasty image preceded them. In the following year, however, an incident would occur that made people's concerns and fears about the band justified.

In the Beginning

In the beginning
Good always overpowered the evils
Of all man's sins...
But in time
The nations grew weak
And our cities fell to slums
While evil stood strong
In the dusts of hell
Lurked the blackest of hates
For he whom they feared
Awaited them... Now many many lifetimes later
Lay destroyed, beaten, beaten down,
Only the corpses of rebels
Ashes of dreams
And blood stained streets
It has been written
"Those who have the youth
Have the future"
So come now, children of the beast
Be strong
And Shout at the Devil

Shout At the Devil

He's the wolf screaming lonely in the night
He's the blood stain on the stage
He's the tear in your eye
Been tempted by his lie
He's the knife in your back
He's rage
He's the razor to the knife
Oh, lonely is our lives
My heads spinnin' round and round
But in the seasons of wither
We'll stand and deliver
Be strong and laugh and

[Chorus:]
Shout-shout-shout
Shout at the devil
He'll be the love in your eyes
He'll be the blood between your thighs
And then have you Cry for more
He'll put strength to the test
He'll put the thrill back in bed
Sure you've heard it all before
He'll be the risk in the kiss
Might be anger on your lips
Might run scared for the door
But in seasons of wither
We'll stand and deliver
Be strong and laugh and

[Chorus:]

Now listen up
She's razor sharp
If she don't get her way
She'll slice you apart
Now she's a cool, cool black
Moves like a cat
If you don't get her game
You might not make it back

[Pre chorus:]
She's got the looks that kill
That kill
She's got the looks that kill
That kill

[Chorus:]
She's got the looks that kill
Now she's bulletproof
Keeps her motor clean
And believe me, you
She's a number thirteen
The church strikes midnight
She's lookin' louder and louder
She's gonna turn on our juice, boy
So she turns on the power

[Pre chorus:]
She's got the looks that kill

[Chorus:]

[Solo:]
[Verse:]
[Pre chorus:]
[Chorus: ]

Helter Skelter

When I get to the bottom I go back to the top of the slide
Where I stop and I turn and I go for a ride
Till I get to the bottom and I see you again.

Do you, don't you want me to love you
I'm coming down fast but I'm miles above you
Tell me tell me tell me come on tell me the answer
You may be a lover but you ain't no dancer.

Helter skelter helter skelter
Helter skelter.

Will you, won't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer.

Look out helter skelter helter skelter
Helter shelter
Look out, cause here she comes.

When I get to the bottom I go back
to the top of the slide
And I stop and I turn and I go for a ride
And I get to the bottom and I see you again

Well do you, don't you want me to make you
I'm coming down fast but don't let me break you
Tell me tell me tell me the answer
You may be a lover but you ain't no dancer

Look out helter skelter helter skelter
Helter skelter
Look out helter skelter
She's coming down fast
Yes she is
Yes she is

Red Hot

Fight for the black shark
See what evil brings
Can't you see we're out for blood
Love from a shotgun
License to kill
Can't you see we're out for blood

[Pre chorus:]
The kids scream in fright through the night
Loving every bite with delight
And we blow out our minds with your truth
And together we stand for the youth

[Chorus:]
Red Hot, Red Hot
To the top, we are
Red hot Shout at the devil
We've laughed at your wars
Can't you see we're out for blood
Run with the pack, now
Always ask for more
Can't you see we're out for blood

[Pre chorus:]

[Chorus:]

[Solo:]

[Chorus:]

Too Young To Fall In Love

You say our love
Is like dynamite
Open your eyes
'Cause it's like fire and ice
Well you're killing me
Your love's a guillotine
Why don't you just set me free

[Chorus:]
Too young to fall in love

Run for the hills
We're both sinners and saints
Not a woman, but a whore
I can just taste the hate
Well now I'm killing you
Watch your face turning blue
Not yet a man
Just a punk in the street

[Chorus:]

[Solo:]

You say our love
Is like dynamite
Well its no surprise
Cause you've got one-way eyes
Well you're killing me
Your love's a guillotine
Not yet a man
Just a punk in the street

A song about sex in an elevator which preceded Aerosmith's future hit by several years:

Ten Seconds To Love

Here I come
My mind is set
Get ready for love
You're my ten second pet

[Verse:]
Touch my gun
But don't pull my trigger
Let's make history
In the elevator
Or lock the door
Shine my pistol some more
Here I cum
Just ten seconds more

[Chorus:]
Ten seconds to love
Ten seconds lo love
Pull my trigger
My guns loaded with your love
Ten seconds to love
Ten seconds to love
Just wait honey
Till I tell the boys about you

Bring a girlfriend
Maybe bring two I got my camera
Make a star outta you
Let's inject it
Photograph it
Down to the subway
Let the boys have it

[Chorus:]

Talk:
Reach down low
Slide it in real slow
I wanna hear your engine roar
Before I'm in the door

[Solo:]

[Talk:]
You feel so good
Do you want some more
I got one more shot
My guns still warm

[Chorus:]

[Talk:]
Was it hot for you
Did you fire this round
The second I'm through
I'll be leaving this town

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-24-2006, 01:13 PM

One of the biggest success stories of 1983 was Def Leppard's Pyromania album, which was held off at the #1 spot on the charts only by Michael
Jackson's "Thriller" album. But in music videos, the band knocked off Jacko's "Beat It" from the Most Requested Video position on MTV. The band were pleased with producer Mutt Lange's work on their previous album High N' Dry, but since that album only sold moderately well, Lange wanted to improve their performance on the followup. Lange cracked the whip on the band, forcing them to work harder, and making vocalist Joe Elliot sing harder and with greater vocal range than he ever had--and the band were simply exhausted and drained from his demanding regimen. Also what was needed was a lineup change: guitarist Pete Willis was ejected from from the band due to his excessive alcohol consumption which ruined his vocals for the album. He was replaced by guitarist Phil Collen who established a strong bond with the band.

When the album was released, it became one of the must-have albums for every rocker dude in America, selling 6 million albums here in the States. Strangely, it was largely ignored in Britain and Europe. Though Def Leppard was considered a founding NWOBHM band along with Iron Maiden, and had a huge following in their own country in the early years, the band soon fell out of favor with their British fan base when they thought the band was trying too hard to appeal to American musical tastes (as evidenced by the song
"Hello America" from 1980's On Through the Night album). The audience even threw trash at the band while they played at the Reading Festival! :eek: Had Def Leppard sold out? Were they becoming too commercial, "too pop-metal", by ignoring British fans in favor of American listeners? The band admitted they did enjoy playing Seattle. :cool: What was considered metal in Britain did not necessarily translate what was considered metal in Top-40-oriented America.

The band started their American tour by opening for Billy Squier, who hated the fact that he was being upstaged by the band. He demanded that they keep off the ramp that he used in his own stage act, but they ignored this request.

As a testament of the band's popularity at the time, a US Gallup poll in 1984 saw Def Leppard voted in as favorite rock band over peers such as the Rolling Stones, AC/DC and Journey. Conversely, the band could not be any less popular in their native United Kingdom, a fact that greatly bothered them.

I still wish I did have my Union Jack t-shirt, like Joe Elliot used to wear, from back then, it was popular when I went to SPU! :D

Rock! Rock! (Till You Drop)

Hold onto your hat, hold onto your heart
Ready, get set to tear this place apart
Don't need a ticket, only place in town
That'll take you up to heaven and never bring you down
Anything goes, anything goes

Women to the left, women to the right
There to entertain and take you thru the night
So grab a little heat and come along with me
Cause your mama don't mind what your mama don't see
Anything goes, anything goes

I said rock rock till you drop
Rock rock never stop
Rock rock till you drop
I say rock rock to the top

Ridin' into danger, laughin' all the way
Fast, free and easy, livin' for today
Gotta lip service, get it while you can
Hot, sweat 'n' nervous love on demand
Anything goes, anything goes
All night long

I said rock rock till you drop
Come on rock rock never stop
You gotta rock rock till you drop
I say rock rock to the top

Rock rock give it to me
It's what I got goin' thru' me
Don't ever stop do it to me
Yeah, rock rock you really move me

Here we go
Rock rock till you drop
Rock rock never stop
Come on and rock rock till you drop
We gonna rock until you drop
Gonna take you to the top

Rock rock till you drop
Rock rock never stop
Come on, come on, come on

Hold on, hold on, hold tight
We're gonna rock tonight
Too right
Too loud man, too loud

Photograph

I'm outa luck, outa love
Gotta photograph, picture of
Passion killer, you're too much
You're the only one I wanna touch
I see your face every time I dream
On every page, every magazine
So wild and free so far from me
You're all I want, my fantasy

Oh, look what you've done to this rock 'n' roll clown
Oh oh, look what you've done

Photograph - I don't want your
Photograph - I don't need your
Photograph - All I've got is a photograph
But it's not enough

I'd be your lover, if you were there
Put your hurt on me, if you dare
Such a woman, you got style
You make every man feel like a child, oh
You got some kinda hold on me
You're all wrapped up in mystery
So wild and free so far from me
You're all I want, my fantasy

Oh, look what you've done to this rock 'n' roll clown
Oh oh, look what you've done

Photograph - I don't want your
Photograph - I don't need your
Photograph - All I've got is a photograph
You've gone straight to my head

Oh, look what you've done to this rock 'n' roll clown
Oh Oh, look what you've done
I gotta have you

Photograph - I don't want your
Photograph - I don't need your
Photograph - All I've got is a photograph
I wanna touch you

Photograph
Photograph - Your photograph
Photograph -
Photograph - I need only your
Photograph - I'm outa love
Photograph - I'm outa love
Photograph - You're the only one
Photograph - I wanna touch

The opening phrase of this next song, spoken by Rick Allen, was later used in The Offspring's "Pretty Fly For a White Guy":

Rock Of Ages

Gunter glieben glauchen globen
Alright
I got something to say
Yeah, it's better to burn out
Yeah, than fade away
All right
Ow
Gonna start a fire
C'mon!

Rise up! Gather round
Rock this place to the ground
Burn it up let's go for broke
Watch the night go up in smoke
Rock on! (rock on!)
Drive me crazier, no serenade
No fire brigade, just Pyromania, c'mon

What do you want? What do you want?
I want rock'n'roll, yes I do
Long live rock'n'roll

Oh let's go, let's strike a light
We're gonna blow like dynamite
I don't care if it takes all night
Gonna set this town alight, c'mon

What do you want? What do you want?
I want rock'n'roll, alright!
Long live rock'n'roll, oh yeah

Rock of ages, rock of ages
Still rollin', keep a-rollin'
Rock of ages, rock of ages
Still rollin', rock'n'rollin'

We got the power, got the glory
Just say you need it and if you need it
Say yeah!
Ooh yeah
Heh heh heh heh

Now listen to me
I'm Burnin', burnin', I got the fever
I know for sure, there ain't no cure
So feel it, don't fight it, go with the flow
Gimme, gimme, gimme, gimme one more for the road

What do you want? What do you want?
I want rock'n'roll, You betcha
Long live rock'n'roll

Rock of ages, rock of ages
Still rollin', keep a-rollin'
Rock of ages, rock of ages
Still rollin', rock'n'rollin'

We got the power, got the glory
Just say you need it and if you need it
Say yeah!
Say yeah!
We're gonna burn this damn place down, woo hoo
Down to the ground

Heh heh heh heh heh heh heh heh heh heh heh heh

Foolin'

Lady luck never smiles
So lend your love to me awhile
Do with me what you will
Break the spell take your fill
On and on we rode the storm
The flame has died and the fire has gone
Oh, this empty bed is a night alone
I realized that long ago

Is anybody out there, anybody there
Does anybody wonder, anybody care

Oh, I just gotta know
If you're really there and you really care
Cause baby I'm not

F-F-F-foolin', ah F-F-foolin'
F-F-F-foolin', ah F-F-foolin'
Won't you stay with me awhile

Close your eyes don't run and hide
Easy love is an easy ride
Just wakin' up from what we had
Could stop good love from going bad

Is anybody out there, anybody there
Does anybody wonder, anybody care

Oh, I just gotta know
If you're really there and you really care
Cause baby I'm not

F-F-F-foolin', ah F-F-foolin'
F-F-F-foolin', ah F-F-foolin'

Oh, I just gotta know
If you're really there and you really care
Cause baby I'm not

F-F-F-foolin', ah F-F-foolin'
Not F-F-F-foolin', ah F-F-foolin'

I'm not foolin' myself
I'm not foolin' myself
I'm not foolin' myself
I'm not foolin' myself

Too Late For Love

Somewhere in the distance I hear the bells ring
Darkness settles on the town as the children start to sing
And the lady 'cross the street she shuts out the night
There's a cast of thousands waiting as she turns out the light

But it's too late, too late, too late
Too late for love
Yes it's too late, too late, too late
Too late for love

London boys are gazing as the girls go hand in hand
With a pocket full of innocence, their entrance is grand
And the queen of the dream stands before them all
She stretches out her hand as the curtains start to fall

But it's too late, too late, too late
Too late for love
Yes it's too late, too late, it's too late
Too late for love

Standing by the trapdoor aware of me and you
Are the actor and the clown they're waiting for their cue
And there's a lady over there she's acting pretty cool
But when it comes to playing life she always plays the fool

But it's too late, too late, it's too late
Too late for love
It's too late, it's too late, too late
Too late for love

Is it all too late
Much too late
Can't you see it's all too late
It's too late

But it's too late, too late, it's too late
Too late for love
It's too late, it's too late, too late
Too late for love

Billy's Got a Gun

Billy's got a gun, he's on the run
Confusion in his mind, the blind leads the blind
Oh, Billy's got a gun, he's gonna shoot ya down
He's got evil in his eyes, got a reason to despise
There's danger in the air

Can you feel it in the air
There's danger in the air, danger
Such a strange emotion
Can you feel it in the air

Oh he was locked inside a room without a door
His innocence he suffered for
In a world of black and white, they were wrong and he was right
Just looking for a clue, it's a nightmare come true
He's going underground to track that danger down
Oh Billy, hey why you got that gun?

Can you feel it in the air
There's danger in the air, danger
Such a strange emotion
Can you feel it in the air
Oh Billy

Never give him an even break
Gettin' caught is the chance you take
It could be your last mistake
You could be so helpless
As a bird with a broken wing
Like a sheep in a lion's den
Gonna fall but you won't know when
He's gonna get you

You hear footsteps in the night, see shadows on the wall
And the ghostly sound of silence, as the mist begins to fall
Then a scream rang out like thunder, but the lightning was too late
As the rain came down on the crimson ground
It was the hand of fate
And a crowd of people gathered round, but Billy couldn't wait

Can you feel it in the air
There's danger in the air, danger
Such a strange emotion
Can you feel it in the air?
Yeah, Billy's on the run

Oh, you better run
Never gave him an even break, better run
Gettin' caught is the chance you take, you better run
It could be your last mistake
Yeah Billy's got a gun
As a bird with a broken wing, oh Billy
Like a sheep in a lion's den, oh Billy
Gonna fall but you won't know when, yeah Billy's out
He's gonna get you

Bang bang

:rock: :rock: :guitar: :guitar: :rock:

ABlairican Pie

11-24-2006, 02:38 PM

Of course, the band that epitomized British metal was none other than Iron Maiden, who could always be counted on to have a fiercely loyal fan base in Britain. The band saw the release of their followup to Number of the Beast, 1983's Piece of Mind, which featured their new drummer Nicko McBrain, who played with such bands as Streetwalkers, Pat Travers, and Trust in the late 70's and early 80's. He became the new drummer after Maiden's original drummer Clive Burr left the band due to scheduling and personal conflicts. Nicko's real name was Michael Henry McBrain, born in 1952 in London, and was nicknamed after "Nicholas the bear", a stuffed teddy bear he carried around everywhere as a child. While his parents called him Nicky, he dubbed himself Nicko while meeting with management heads at CBS and keyboardist Billy Day, who introduced him as "My Italian drummer – His name’s “Neeko”’.

Piece of Mind was an album which displayed the band's deep interest in film and literary themes, on such songs as:

The Flight of Icarus was based on the tale in Greek mythology where the craftsman Daedalus and his son Icarus were imprisoned on the island of Crete. Daedalus designed two pairs of wings out of feathers and wax and instructed his son not to fly too high, or else the sun would melt the wings. According to the story, Icarus ignored his father's advice and flew too high, plummeting into the sea to his death as the sun's heat disintegrated his wings. Iron Maiden recreated the story as one where his father set up his son for betrayal with faulty wings.

The Trooper, one of their biggest songs, was based on Alfred Lord Tennyson's
Charge of the Light Brigade, about events in the Crimean War in 1854.

Revelations featured a quote from the famous hymn writer G.K. Chesterton in the opening lyrics, even containing some lines influenced by the writings of noted occultist Aleister Crowley.

To Tame a Land was one of the more contemporary literary references taken from Frank Herbert's science fiction novel Dune, and were about to name the song Dune, including a spoken part taken from the book but since the author was not a heavy metal or rock and roll fan, he would not grant permission to the band to name the song after his famous book. Herbert's agent sternly responded to bassist Steve Harris' request with a harsh "No. Because Frank Herbert doesn't like rock bands, particularly heavy rock bands, and especially rock bands like Iron Maiden!" This statement was backed up with a legal threat, so Harris changed the title of the song. Ironically, for Herbert's distaste for rock bands, this did not prevent Sting of the Police, in his role as an actor, from appearing in the 1984 movie version of the book (bare-chested in an atrocious sort of codpiece, it might be added).

Where Eagles Dare was based on the film and novel by Alistair McLean.

Sun and Steel was based on the story of samurai legend Miyamoto Musashi.

The album was about to named Food For Thought, hence the band picture on the back cover which featured a platter with a brain! :eek: :lol: The band decided to rename the album to something catchier. The band decided to place a Biblical quote as well on the album, from The Book of Revelation, Chapter 21, Verse 4, though with a little different wording:

"And God shall wipe away all tears from their eyes; and there shall be no more Death. Neither sorrow, nor crying. Neither shall there be any more Brain; for the former things are passed away."

The band cleverly replaced the actual word "pain" with "Brain".

The band also decided to play a joke on offended Christian activists who accused them of "devil worship" with an "actual" backwards masking message:

McBrain performed a backward message which was placed at the start of the track "Still Life" as a kind of internal joke. Reverse this track, and you will hear drummer McBrain clearly saying "Hmm, Hmmm, what ho sed de t'ing wid de t'ree bonce. Don't meddle wid t'ings you don't understand", followed by a belch. McBrain later admitted this to be his "famous" impression of Idi Amin Dada. It translates to the following: "'What ho,' said the monster with the three heads, 'don't meddle with things you don't understand.'"

Speaking of other religious goings-on, during the Number of the Beast tour the
previous year, producer Martin Birch was involved in a car accident with a group of church-goers. Coincidentally, the bill for the repair came to £666, a figure which Birch refused to pay, instead opting for a higher amount! :eek2: :lol:

Where Eagles Dare

It's snowing outside the rumbling sound
of engines roar in the night,
The mission is near the confident men
are waiting to drop from the sky.

The Blizzard goes on but still they must fly
No one should go where eagles dare.

Bavarian alps that lay all around
they seem to stare from below,
The enemy lines a long time passed
are lying deep in the snow.

Into the night they fall through the sky
No one should fly where eagles dare.

They're closing in the fortress is near
it's standing high in the sky,
The cable car's the only way in
it's really impossible to climb.

They make their way but maybe too late
They've got to try to save the day.

The panicking cries the roaring of guns
are echoing all round the valley,
The mission complete they make to escape
away from the Eagles Nest.

They dared to go where no one would try
they chose to fly where eagles dare.

Revelations

"O God of Earth and Altar,
Bow down and hear our cry,
Our earthly rulers falter,
Our people drift and die,
The walls of gold entomb us,
The swords of scorn divide,
Take not thy thunder from us,
But take away our pride."
(G.K. Chesterton: English Hymnal)

Just a babe in the black abyss,
No reason for a place like this,
The walls are cold and souls cry out in pain,
An easy way for the blind to go,
A clever path for the fools who know
The secret of the Hanged Man - the smile of his lips.

The light of the Blind - you'll see,
The venom that tears my spine,
The Eyes of the Nile are opening - you'll see.

She came to me with a serpent's kiss,
As the Eye of the Sun rose on her lips,
Moonlight catches silver tears I cry,
So we lay in a black embrace,
And the Seed is sown in a holy place
And I watched, and I waited for the Dawn.

The light of the Blind - you'll see,
The venom that tears my spine,
The Eyes of the Nile are opening - you'll see.

Bind all of us together,
Ablaze with Hope and Free,
No storm or heavy weather
Will rock the boat you'll see.
The time has come to close your eyes
And still the wind and rain,
For the one who will be King
Is the Watcher in the Ring.
It is You.

Flight of Icarus

As the sun breaks, above the ground,
An old man stands on the hill.
As the ground warms, to the first rays of light
A birdsong shatters the still.

His eyes are ablaze,
See the madman in his gaze.

Fly on your way, like an eagle,
Fly as high as the sun,
On your way, like an eagle,
Fly and touch the sun.

Now the crowd breaks and young boy appears
Looks the old man in the eye
As he spreads his wings and shouts at the crowd
In the name of God my father I fly.

His eyes seem so glazed
As he flies on the wings of a dream.
Now he knows his father betrayed
Now his wings turn to ashes to ashes his grave

Fly, on your way, like an eagle,
Fly as high as the sun,
On your way, like an eagle,
Fly as high as the sun.

Die With Your Boots On

Another Prophet of Disaster
Who says the ship is lost,
Another Prophet of Disaster
Leaving you to count the cost.
Taunting us with Visions,
Afflicting us with fear,
Predicting War for millions,
In the hope that one appears.

No point asking when it is,
No point asking who's to go,
No point asking what's the game,
No point asking who's to blame,
'Cos if you're gonna die, if you're gonna die,
'Cos if you're gonna die, if you're gonna die,

If you're gonna die, die with your boots on,
If you're gonna try, just stick around,
Gonna cry, just move along,
If you're gonna die, if you're gonna die.

In 13 the Beast is Rising,
The Frenchman did surmise,
Through earthquakes and starvation,
The Warlord will arise,
Terror, Death, Destruction,
Pour from the Eastern sands,
But the truth of all predictions,
Is always in your hands.

If you're gonna die, die with your boots on,
If you're gonna try, just stick around,
Gonna cry, just move along,
If you're gonna die, if you're gonna die.

The Trooper

You'll take my life but I'll take yours too
You'll fire your musket but I'll run you through
So when you're waiting for the next attack
You'd better stand there's no turning back.

The Bugle sounds and the charge begins
But on this battlefield no one wins
The smell of acrid smoke and horses breath
As I plunge on into certain death.

The horse he sweats with fear we break to run
The mighty roar of the Russian guns
And as we race towards the human wall
The screams of pain as my comrades fall.

We hurdle bodies that lay on the ground
And the Russians fire another round
We get so near yet so far away
We won't live to fight another day.

We get so close near enough to fight
When a Russian gets me in his sights
He pulls the trigger and I feel the blow
A burst of rounds take my horse below.

And as I lay there gazing at the sky
My body's numb and my throat is dry
And as I lay forgotten and alone
Without a tear I draw my parting groan.

Still Life

Take a look in the pool and what do you see
In the dark depths there faces beckoning me
Can't you see them it's plain for all to see
They were there oh I know you don't believe me.

Oh.....I've never felt so strange
But.....I'm not going insane.

I've no doubt that you think I'm off my head
You don't say but it's in your eyes instead
Hours I spend out just gazing into that pool
Something draws me there I don't know what to do.

Oh.....they drain my strength away
Oh.....they're asking me to stay.

Nightmares.....spirits calling me
Nightmares.....they won't leave me be.

All my life's blood is slowly draining away
And I feel that I'm weaker every day
Somehow I know I haven't long to go
Joining them at the bottom of the pool.

Now.....I feel they are so near
I.....begin to see them clear

Nightmares.....coming all the time
Nightmares.....Will give me peace of mind.

Now it's clear and I know what I have to do
I must take you down there to look at them too
Hand in hand then we'll jump right into the pool
Can't you see not just me they want you too.

Oh.....we'll drown together
It.....will be forever.

Nightmares.....forever calling me
Nightmares.....Now we rest in peace.

:rock: :guitar: :guitar: :guitar:

ABlairican Pie

11-24-2006, 02:48 PM

Any questions about the previous bands Nicko McBrain played in before Iron Maiden? ;)

Another interesting fact about Nicko McBrain: he uses a single bass drum in his kit, he always felt that the double-bass-drum configuration, which was very popular with many heavy metal drummers back in the 80's, was "too complicated" and "un-drummer-ish". :drummer:

ABlairican Pie

11-24-2006, 07:56 PM

Metallica released their live demo Metal Up Your Ass in the fall of 1982 at a San Franciso show where another Bay Area thrash band Exodus was opening for them. During that time, problems with Dave Mustaine had reached a breaking point. He nearly caused some serious crashes due to his alcohol consumption, came close to electrocuting former bassist Ron McGovney by pouring beer onto his bass which catipulted him across the room when he turned it on, and kicked James Hetfield's dog. Mustaine was clearly out of control when he drank. All the other members of Metallica drank a lot, but Mustaine was a different animal altogether when drunk. It came to the point where the band got into fistfights with him and saw that he needed to be replaced. Secretly they consulted Exodus guitarist Kirk Hammett, who was feeling musically confined in the very band he started, and asked him if he would like to join Metallica. He jumped at the chance. But the band had to act quick. They had to get Mustaine out of the picture before Hammett arrived to audition, and they had little time. Finally, the band woke up Mustaine that morning and told him, they decided he was no longer in the band. Mustaine responded, "So when does my plane leave?" They slapped a Greyhound bus ticket into his hands and sent him out the door. It was only a matter of hours between Dave's departure and Kirk's entrance. The band worried, would the new guy make it okay in the band? What if he wasn't what they were looking for? They would have dragged him across the country (they were in Chicago at the time) for nothing. Fortunately, not only was his playing top-notch and fit in exactly with what the band was looking for, but they were impressed by his extensive comic book and horror movie knowledge. The band was complete.

Fans initially were appalled by Mustaine's dismissal. They loved his between-song rants: "How many bands in L.A. use makeup? How would you like to go down and kick those f:censored:ers' asses?" But once they saw Kirk Hammett blaze away on guitar, they took to him immediately. Hammett was in fact a student of Bay Area shred guitar virtuoso Joe Satriani. The band quickly recorded their first album they wanted to name Metal Up Your Ass, after the live demo, with the infamous knife-in-the-toilet image, but the record label balked at this, thinking it was "too controversial". Frustrated by the name brouhaha, bassist Cliff Burton sneered, "Aw, kill'em all!" The band lit up, finally discovering a perfect name. Perhaps not as controversial as the first name, but the cover art certainly drove home the point. Kill'em All took
everything from the NWOBHM and distilled it into one potent package of blisteringly fast, loud thrash on tracks such as "Hit the Lights", "The Four Horsemen" (originally written by Dave Mustaine as a song titled
"Mechanix"), "Motorbreath", "Jump In the Fire", Cliff Burton's bass solo
"Anesthesia (Pulling Teeth)", "Whiplash", "Phantom Lord", "No Remorse", "Seek and Destroy", and "Metal Militia", including two cover songs, "Blitzkrieg" by Blitzkrieg and "Am I Evil?" by Diamond Head, which became one of the band's most popular songs. The album was raw, beautifully unpolished, and attracted a huge fan base all over. The album, while not a huge seller in the beginning, laid the groundwork for thrash and speed metal in the years to come, becoming one of the most influential metal albums of all time.

Meanwhile, as Mustaine sadly sat in the back of the Greyhound bus heading back home, he mourned his loss of being in Metallica, and plotted his comeback...

Hit the Lights

No life till leather
We are gonna kick some ass tonight
We got the metal madness
When our fans start screaming
It's right well alright
When we start to rock
We never want to stop again

Hit the lights
Hit the lights
Hit the lights

You know our fans are insane
We are gonna blow this place away
with volume higher
Than anything today the only way
When we start to rock
We never want to stop again

Hit the lights
Hit the lights
Hit the lights

With all our screaming
We are gonna rip right through your brain
We got the lethal power
It is causing you sweet pain Oh sweet pain
When we start to rock
We never want to stop again

Hit the lights
Hit the lights
Hit the lights

So who were the Four Horsemen? None other than Metallica themselves!

The Four Horsemen

By the last breath of the fourth winds blow
Better raise your ears
The sound of hooves knocks at your door
Lock up your wife and children now
It's time to wield the blade
For now you have got some company

The Horsemen are drawing nearer
On the leather steeds they ride
They have come to take your life
On through the dead of night
With the four Horsemen ride
or choose your fate and die

You have been dying since the day
You were born
You know it has all been planned
The quartet of deliverance rides
A sinner once a sinner twice
No need for confession now
Cause now you have got the fight of your life

The Horsemen are drawing nearer
On the leather steeds they ride
They have come to take your life
On through the dead of night
With the four Horsemen ride
or choose your fate and die

Time
has taken its toll on you
The lines that crack your face
Famine
Your body it has torn through
Withered in every place
Pestilence
For what you have had to endure
And what you have put others through
Death
Deliverance for you for sure
There is nothing you can do

So gather round young warriors now
and saddle up your steeds
Killing scores with demon swords
Now is the death of doers of wrong
Swing the judgment hammer down
Safely inside armor blood guts and sweat

The Horsemen are drawing nearer
On the leather steeds they ride
They have come to take your life
On through the dead of night
With the four Horsemen ride
or choose your fate and die

The title to this song appears to be taken both from the name Motorhead as well as a line from "Metal Gods" by Judas Priest:

Motorbreath

Living and dying laughing and crying
Once you have seen it you will never be the same
Life in the fast lane is just how it seems
Hard and it's heavy, it's dirty and mean

Motorbreath
It's how I live my life
I can't take it any other way
Motorbreath
The sign of living fast
It is going to take
Your breath away

Don't stop for nothing it's full speed or nothing
I am taking down you know whatever is in my way
Getting your kicks as you are shooting the line
Sending the shivers up and down your spine

Motorbreath
It's how I live my life
I can't take it any other way
Motorbreath
The sign of living fast
It is going to take
Your breath away

Those people who tell you not to take chances
They are all missing on what life is about
You only live once so take hold of the chance
Don't end up like others the same song and dance

Motorbreath
It's how I live my life
I can't take it any other way
Motorbreath
The sign of living fast
It is going to take
Your breath away

With the exception of this song, Metallica never really got into the whole
"satanic" imagery, feeling that it had all been done before:

Jump In the Fire

Down in the depths of my fiery home
The summons bell will chime
Tempting you and all the earth
to join our sinful kind
There is a job to be done and I'm the one
You people make me do it
Now it is time for your fate and I won't hesitate
to pull you down into this pit

So come on
Jump in the Fire
So come on
Jump in the Fire

With hell in my eyes and with death in my veins
The end is closing in
Feeding on the minds of man
and from their souls within
My disciples all shout to search out
And they always shall obey
Follow me now my child not the meek or the mild
But do just as I say

So come on
Jump in the Fire
So come on
Jump in the Fire

Jump by your will or be taken by force
I'll get you either way
Trying to keep the hellfire lit
I am stalking you as prey
Living your life as me I am you you see
There is part of me in everyone
So reach down grab my hand walk with me through the land
Come home where you belong

So come on
Jump in the Fire
So come on
Jump in the Fire

Whiplash

Late at night all systems go
You have come to see the show
We do our best You're the rest
You make it real you know
There is a feeling deep inside
That drives you ****in' mad
A feeling of a hammerhead
You need it oh so bad

Adrenaline starts to flow
You're thrashing all around
Acting like a maniac
Whiplash

Bang your head against the stage
Like you never did before
Make it ring Make it bleed
Make it really sore
In a frenzied madness
with your leather and your spikes
Heads are bobbing all around
It is hot as hell tonight

Adrenaline starts to flow
You're thrashing all around
Acting like a maniac
Whiplash

Here on the stage the Marshal noise
is piercing through your ears
It kicks your ass kick your face
Exploding feeling nears
Now is the time to let it rip
To let it f:censored:in' loose
We are gathered here to im and kill
Cause this is what we choose

Adrenaline starts to flow
You're thrashing all around
Acting like a maniac
Whiplash

The show is through the metal is gone
It is time to hit the road
Another town Another gig
Again we will explode
Hotel rooms and motorways
Life out here is raw
But we will never stop
We will never quit
cause we are Metallica

Adrenaline starts to flow
You're thrashing all around
Acting like a maniac

:rock: :guitar: :guitar: :rock:

http://eil.com/newgallery/Metallica-Metal-Up-Your-Ass-354859.jpg

ABlairican Pie

11-24-2006, 08:21 PM

Unfortunately, Metallica later encountered a brush with anti-rock hysteria when two young men murdered the parents of 'Dallas' actor Patrick Duffy, during a robbery of the couple's bar in Montana in November 1986. The two young men, Kenneth Miller and Sean Wentz, who were sentenced to 180 years in prison, claimed that their inspiration came from the Kill'em All album by Metallica. ohno:

Phantom Lord

Sound is ripping through your ears
The deafening sound of metal nears
Your bodies waiting for his whips
The taste of leather on your lips

Hear the cry of War
Louder than before
With his sword in hand
to control the land
Crushing metal strikes
on this frightening night
Fall onto your knees
For the Phantom Lord

Victims falling under chains
You hear them crying dying pains
The fists of terrors breaking through
Now there's nothing you can do

Hear the cry of War
Louder than before
With his sword in hand
to control the land
Crushing metal strikes
on this frightening night
Fall onto your knees
For the Phantom Lord

The leather armies have prevailed
The Phantom Lord has never failed
Smoke is lifting from the ground
The rising volume metal sound

Hear the cry of War
Louder than before
With his sword in hand
to control the land
Crushing metal strikes
on this frightening night
Fall onto your knees
For the Phantom Lord

Fall to your knees
and bow to the Phantom Lord

No Remorse

No mercy for what we are doing
No thought to even what we have done
We don't need to feel the sorrow
No remorse for the helpless one

War without end
No remorse No repent
We don't care what it meant
Another day Another death
Another sorrow Another breath
No remorse No repent
We don't care what it meant
Another day Another death
Another sorrow Another breath

Blood feeds the war machine
as it eats its way across the land
We don't need the feel the sorrow
No remorse is the one command

War without end
No remorse No repent
We don't care what it meant
Another day Another death
Another sorrow Another breath
No remorse No repent
We don't care what it meant
Another day Another death
Another sorrow Another breath

Only the strong survive
No one to save the weaker race
We are ready to kill all comers
Like a loaded gun right at your face

War without end
No remorse No repent
We don't care what it meant
Another day Another death
Another sorrow Another breath
No remorse No repent
We don't care what it meant
Another day Another death
Another sorrow Another breath

Attack
Bullets are flying
People are dying
with madness surrounding all hell's breaking loose
Soldiers are hounding
Bodies are mounting
cannons are shouting to take their abuse
With war machines going
Blood starts to flowing
No mercy given to anyone hear
The furious fighting
Swords are like lighting
It all becomes frightening to you
Know death is near
No remorse

Seek and Destroy

We are scanning the scene
in the city tonight
We are looking for you
to start up a fight
There is an evil feeling
in our brains
But it is nothing new
you know it drives us insane

Running,
On our way
Hiding,
You will pay
Dying,
One thousand deaths
Running,
On our way
Hiding,
You will pay
Dying,
One thousand deaths
Searching,
Seek and Destroy
Searching,
Seek and Destroy
Searching,
Seek and Destroy
Searching,
Seek and Destroy

There is no escape
and that is for sure
This is the end we won't take any more
Say goodbye
to the world you live in
You have always been taking
but now you're giving

Running,
On our way
Hiding,
You will pay
Dying,
One thousand deaths
Running,
On our way
Hiding,
You will pay
Dying,
One thousand deaths
Searching,
Seek and Destroy
Searching,
Seek and Destroy
Searching,
Seek and Destroy
Searching,
Seek and Destroy

Our brains are on fire
with the feeling to kill
And it won't go away
until our dreams are fulfilled
There is only one thing
on our minds
Don't try running away
`cause you're the one we will find

Running,
On our way
Hiding,
You will pay
Dying,
One thousand deaths
Running,
On our way
Hiding,
You will pay
Dying,
One thousand deaths
Searching,
Seek and Destroy
Searching,
Seek and Destroy
Searching,
Seek and Destroy
Searching,
Seek and Destroy

Metal Militia

Thunder and lightning the gods take revenge
Senseless destruction
Victims of fury are cowardly now
Running for safety
Stabbing the harlot to pay for her sins
Leaving the virgin
Suicide running as if it were free
Ripping and tearing

On through the mist and the madness
We are trying to get the message to you
Metal Militia
Metal Militia
Metal Militia

Chained and shadowed to be left behind
nine and one thousand
Metal militia for your sacrifice
iron clad soldiers
Join or be conquered the law of the land
What will befall you
The metallization of your inner soul
twisting and turning

On through the mist and the madness
We are trying to get the message to you
Metal Militia
Metal Militia
Metal Militia

We are as one as we all are the same
fighting for one cause
Leather and metal are our uniforms
protecting what we are
Joining together to take on the world
with our heavy metal
Spreading the message to everyone here
Come let yourself go

On through the mist and the madness
We are trying to get the message to you
Metal Militia
Metal Militia
Metal Militia

Am I Evil?

My mother was a witch, she was burned alive.
Thankless little bitch, for the tears I cried.
Take her down now, don't want to see her face
All blistered and burnt, can't hide my disgrace.

Twenty-seven, everyone was nice.
Gotta see 'em make 'em pay the price.
See their bodies out on the ice.
Take my time.

Am I evil? Yes I am.
Am I evil? I am man, yes I am.

As I watched my mother die, I lost my head.
Revenge now I sought, to break with my bread.
Taking no chances, you come with me.
I'll split you to the bone, help set you free.

Twenty-seven, everyone was nice.
Gotta see 'em make 'em pay the price.
See their bodies out on the ice.
Take my time.

Am I evil? Yes I am.
Am I evil? I am man, yes I am.

On with the action now, I'll strip your pride.
I'll spread your blood around, I'll see you ride.
Your face is scarred with steel, wounds deep and neat.
Like a double dozen before ya, smells so sweet.

Am I evil? Yes I am.
Am I evil? I am man.

I'll make my residence, I'll watch your fire.
You can come with me, sweet desire.
My face is long forgot, my face not my own.
Sweet and timely whore, take me home.

Am I evil? Yes I am.
Am I evil? I am man.

My soul is longing for, await my heir.
Sent to avenge my mother, sweep myself.
My face is long forgot, my face not my own.
Sweet and timely whore, take me home.

Am I evil? Yes I am.
Am I evil? I am man.

Am I evil? Yes I f:censored:ing am.
Am I evil? I am man, yeah.

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-25-2006, 01:51 AM

After Ronnie James Dio left Black Sabbath, due to accusations and finger-pointing over doctoring the mixes on the 1982 Live Evil album, he formed his own self-titled band Dio with guitarist Vivian Campbell , Jimmy Bain on bass, drummer Vinny Appice, with whom he brought over from Sabbath. The band recorded Holy Diveron 1983 with Ronnie singing and playing keyboards, though he hired keyboardist Claude Schell so he wouldn't have to hide behind a keyboard while on stage. The album, which featured huge tracks as "Rainbow In the Dark", "Stand Up and Shout", "Don't Talk to Strangers", and the title track. The album quickly caught on with metal fans and took Dio from playing small theaters to arenas in a short period of time. The album contained some of his best-known songs and eventually hit platinum status as he became one of the most popular metal figures of the 80's. This album and his followup in 1984 were the biggest of the band's career, the beginning of what was called "Dungeons and Dragons metal" with his fantasy themes in the lyrics.

The album cover merits a bit of explanation, as some religious persons have accused Ronnie and the band of "attacking the church" with the image of a shackled priest submerged in a pool of water with a demon hovering over him (another familiar 80's metal mascot). Dio, who has embraced more of an Eastern, Taoist beliefs, explains it thusly: "How do we know that the priest is not the demon? And that the demon above him is not the priest?" The roles were reversed--Dio points out, especially in this day and age of the scandal of pedophile priests in the Catholic church, that the drowning priest on the cover could be the culprit. It was perfectly in keeping with his view of the deceptive nature of good and evil, as evidenced on his song with Black Sabbath, "Heaven and Hell". Of course, the church brigades had their hands full in those days burning record albums they found "offensive" and consequently creating more of a mystique for the artists they were condemning. Another rumor was that his logo, when inverted, spells "devil", but Dio disputes this bizarre claim.

Ronnie James Dio released Holy Diver Live in 2006.

Rainbow In the Dark

When there's lightning
You know it always brings me down
Cause it's free and I see that it's me
Who's lost and never found
I cry up a mountain
I feel it dancing in the light
It was cold, lost my hold
To the shadows of the night

No sign of the morning comming
You've been left on your own
Like a Rainbow in the Dark
A Rainbow in the Dark

Do your demons
Do they ever let you go
When you've tried do they hide deep inside
Is it someone that you know
You're just a picture
Just an image caught in time
We're a lie you and I
We walk on without a ride

There's no sign of the morning coming
You've been left on your own
Like a Rainbow in the Dark
Just a Rainbow in the Dark

(Lead/Instrumental)

When I see lightning
You know it always brings me down
Cause it's free and I see that it's me
Who's lost and never found
Feel the magic
I feel it floating in the air
But it's fear and you'll hear it calling you beware
Look Out!

There's no sight of the morning coming
There's no sign of the day
You've been left on your own
Like a Rainbow
Like a Rainbow in the Dark Yeah . . .
Your a Rainbow in the Da a a a a ark
Just a Rainbow in the Dark
No sign of the morning
Just a Rainbow in the Dark

Holy Diver

Holy Diver
You've been down too long in the midnight sea
Oh what's becoming of me

Ride the tiger
You can see his stripes but you know he's clean
Oh don't you see what I mean

Gotta get away
Holy Diver

Got!
Shiny diamonds
Like the eyes of a cat in the black and blue
Something is coming for you

Race for the morning
You can hide in the sun 'till you see the light
Oh we will pray it's all right

Gotta get away-get away

Between the velvet lies
There's a truth that's hard as steel
The vision never dies
Life's a never ending wheel

Holy Diver
You're the star of the masquerade
No need to look so afraid

Jump on the tiger
You can feel his heart but you know he's mean
Some light can never be seen

[Repeat verse 1]

Stand Up and Shout

It's the same old song
You've gotta be somewhere at sometime
They never let you fly

It's like broken glass
You get cut before you see it
So open up your eyes

You've got desire
So let it out
You've got the fire
Stand up and shout-shout

You've got wings of steel
But they never really move you
You only seem to crawl

You've been nailed to the wheel
But never really turning
You know you've got to want it all

You've got desire
So let it out
You've got the fire
Stand up and shout

You are the strongest chain
And not just some reflection
So never hide again

You are the driver
You own the road
You are the fire go on explode

You've got desire
So let it out
You've got the power
Stand up and shout

Don't Talk To Strangers

Don't talk to strangers
Cause they're only there to do you harm
Don't write in starlight
Cause the words may come out real
Don't hide in doorways
You may find the key that opens up your soul
Don't go to Heaven cause it's really only Hell
Don't smell the flowers
They're an evil drug to make you lose your mind
Don't dream of women cause they'll only bring you down

Hey you you know me you've touched I'm real
I'm forever the one that lets you look and see and
Feel me I'm danger - I'm the stranger

I I'm darkness I'm anger I'm pain
I am master
The evil song you sing inside your brain
Drive you insane
Don't talk
Don't let them inside your mind yeah
Run away run away go

No no don't let them in your mind
Protect your soul

Don't dance in darkness
You may stumble and you're sure to fall
Don't write in starlight
Cause the words may come out real

Don't talk to strangers
Cause they're only there to make you sad
Don't dream of women
Cause they'll only bring you down

Yeah
Run away run away

:rock: :guitar: :guitar: :rock: :wizard:

ABlairican Pie

11-25-2006, 07:33 AM

Meanwhile, as Dio began his assault on arenas across America, the members of Black Sabbath began to search for a replacement for their departed singer, their second in less than five years after dismissing Ozzy. The new vocalist was a bit of a surprise for even the replacement singer himself--Ian Gillan, formerly of Deep Purple, with whom Black Sabbath had a friendly rivalry back in the 70's as the heavy metal contenders in Britain. According to Gillan, "I had no plans to join Black Sabbath. I went out with Geezer and Tony and we got drunk, and I found out the next day that I agreed to join the band. And they're such nice guys. It was great fun and it paid the bills, I had a lovely year with them and that was it."

The band's original drummer Bill Ward also returned briefly after Vinny Appice left with Dio, but health problems forced him out again. ELO drummer Bev Bevan joined the band for the upcoming tour behind the latest album Born Again in 1983, which featured a huge set replicating the rock monoliths of Stonehenge, but the enormous blocks were so huge that they could not fit them through the doors and on the stage often, so the band ended up leaving them on a dock. The difficulty with the Stonehenge props is assume to be the inspiration behind one of the most memorable scenes in the 1984 rockumentary comedy 'This Is Spinal Tap', but in fact the Stonehenge scene in the movie was included during the filming in 1982. Regardless, this was a definite "Spinal Tap moment" for the band. :lol:

The album cover was appalling to many, some Christian anti-rock activists accused the band of using an "aborted fetus" on the cover, superimposed with demonic images. :rolleyes: The truth in fact was that a live baby's photo was used, of course with images of demonic fangs and claws superimposed, but still, many were not happy with the image, including vocalist Gillan. The album cover was designed by Steve Joule. The deliberately lurid design was submitted by illustrator Joule in a vain attempt to be rejected from this design commission, as he was also retained on a lucrative contract by Ozzy Osbourne's organisation for his sleeve designs. To Joule's horror and surprise, Tony Iommi and Geezer Butler approved the image for the album. Gillan and Ward were not present when the decision was made, though they later noted that they hated the finished cover. Joule reports that he was drunk and high on speed when he drew the finalized designs for the album. The cover is hated by many fans, but also has a cult following (much as the album itself), most notably with Max Cavalera of Sepultura and Soulfly and Glen Benton of Deicide both stating that it is their favorite album cover.

The band was at this time managed by Don Arden, the estranged father of Sharon Arden, who was now Sharon Osbourne, Ozzy's wife. Both the band and Ozzy, as well as managerial father and daughter had a rivalry brewing at this point. There was no question that the one-time pioneering giants of metal in the 70's were now living in the shadow of the now-powerful Ozzy, and the lineup changes the band were undergoing were undermining the band's reputation. Arden insisted the band come up with the heaviest album they could ever do, to put Ozzy to shame and prove Sabbath the once and future kings of metal. Tony Iommi put out some blazing guitar work on the album, but the intended heaviness was lost in the disappointing production by bassist Geezer Butler. The guitars ended up buzzing ;ike saws rather than retain the familiar Sabbath crunch. The album did feature a few standout tracks such as "Trashed", "Zero the Hero", "Digital Bitch", "Disturbing the Priest", and the title track. The album hit high on the UK charts at #4, while the album hit the Top 30 in America, but most fans were very unhappy with the album. Over time the album has been a become a favorite for many, with even Ozzy allegedly claiming it is one of their best. Unfortunately, the Gillan lineup dissolved by the next year.

The band even performed "Smoke On the Water" on the tour.

During the recording of the album, a visit by a vicar led to the song "Disturbing the Priest". Gillan said about the meeting, "We were in loud playback mode, with the door open...When the track ended I was surprised to see a nervous vicar standing in the doorway. He explained how wonderful he thought the music was, but they were having choir practise in the adjacent village church and so would we mind closing the door…? I apologised immediately, we got hold of his schedule and never worked again during those times. The following evening I had a few beers with the vicar and signed some autographs for the choir. It was Geezer who came up with the title as we were laughing about the story some days later."

The song "Trashed" about Gillan racing about the recording studio parking lot in Bill Ward's car at unsafe speeds.

Many thought that the song "Digital Bitch" was a veiled reference to Sharon Arden/Osbourne, but Gillan explains, "I remember exactly who inspired this story, but the only thing I can reveal about her identity is that neither she, nor her father, had anything to do with computers."

This album still contains some of Tony Iommi's best guitar work. :cool:

Trashed

It really was a meeting
The bottle took a beating
The ladies of the manor
Watched me climb into my car and
I was going down the track about a hundred and five
They had the stop-watch rolling
I had the headlights blazing I was really alive
And yet my mind was blowing
I drank a bottle of tequila and I feel real good
I had the tape deck roaring
But on the twenty-fifth lap at the canal turn
I went of exploring
I knew I wouldn't make it the car just wouldn't make it
I was turning tires burning
The ground was in my sky
I was laughing the bitch was trashed
And death was in my eye

I had started pretty good and I was feeling my way
I had the wheels in motion
There was Peter and the Green fly laughing like drains
Inebriation
The crowd was roaring I was at Brands Hatch
In my imagination
But at the canal turn I hit an only patch
Inebriation

Ooh Mr. Miracle you saved me from some pain
I thank you Mr. Miracle I won't get trashed again
Ooh can you hear my lies
Don't you bother with this fool just laugh into my eyes

So we went back to the bar and hit the bottle again
But there was no tequila
Then we started on the whisky just to steady our brains
'Cos there was no tequila
And as we drank a little faster at the top of our hill
We began to roll
And as we get trashed we were laughing still
Well bless my soul

Disturbing the Priest
Let's try getting to the sky
Hang on or you're going to die
Sour life can turn sweet
It's laying at your feet
Sweet child with an innocent smile
Watched closely all the while
Don't be fooled when he cries
Keep looking at the eyes

Good life is contradiction
Because of the crucifixion
If you're ready and have the need
I will take your soul and plant my seed

You just gotta listen to the night at the ending of the day
You just gotta listen to the night as safety slips away
Moving out of sight are the things you need to see to feel
And as they slip away becoming so unreal unreal
You just gotta listen to the night as you're going up stairs
You just gotta listen to the night and don't forget to say your prayers
And as you lose control to the eyes in dark disguise
And icy fingers fan electric lies

We're disturbing the priest
Won't you please come to our feast
Do we mind disturbing the priest
Not at all not at all not in the least

The force of the devil is the darkness the priest has to face
The force of the night will destroy him but will not disgrace
To get into his mind and to his soul you gotta set a light
The flames of doubt so deep inside inside
The devil and the priest can't exist if one goes away
It's just like the battle of the sun and the moon and the night and day
The force of the devil that we're all told to fear
Watched out for religion when he gets too near too near

Zero the Hero

Accept the fact that you're second rate life is easy for you
It's all served up on a gold plated plate
And we don't even have to talk to you
Your face is normal that's the way you're bred
And that's the way you're going to stay
Your head is firmly nailed to your TV channel
But someone else's finger's on the control panel

What you gonna be brother - Zero the hero
Don't you wanna be brother - Zero the hero
When you gonna be brother - Zero the hero
Impossibility impissibolity mother really a hero

You sit there watch it all burn down
It's easy and breezy for you
You play your life to a different sound
No edge no edge you got no knife have you
Your life is a six lane highway to nowhere
You're going so fast you're never ever gonna get down there
Where the heroes sit by the river
With a magic in their music as they eat raw liver

You stand there captain we all look
You really are mediocre
You are the champion in the Acme form book
But I think you're just a joker
Your freedom life ain't so much of a pity
But the luv-a-duckin' way you're walkin' around
The city with your balls and your head full of nothing
It's easy for you sucker but you really need stuffing

Digital Bitch

She wears her leather just to satisfy
She really throws it around
There ain't one thing she can't afford to buy
She's the richest bitch in town

Her big fat daddy was a money machine
He made a fortune from computers
She's got more money than I've ever seen
But she's a greedy emotional looter

Keep away from the digital bitch
She's so rich the digital bitch

She's got five rollers and a fine estate
A big house upon hill
She throws parties just to celebrate
Her life is just one ginormous thrill

She buys poor people just to have around
She has a trophy for each lover
The bitch is rich but baby pound for pound
She's got a lot more to discover

Maybe she could please me if I saw beneath her veil
But she's just imitation woman up for sale

She got so famous that she's on TV
She's got a professional smile
But I switch over 'cos she ain't for me
She disturbs me all the while

She looks so happy but she's got it wrong
She's always going faster
She sings her life to such a different song
She needs a loving and dominant master

Born Again

As you look through my window
Deep into my room
At the tapestries all faded
Their vague and distant glories
Concealed in the gloom
The icy fingers of forgotten passions
Softly brushing my lips
At the tips of my primitive soul

As you look through my door
Deep into my room
Can you feel the mighty wall of power
It's waiting waiting in the glow
The distant shadows of forgotten champions
Those who live in me still
And will rise when we challenge and kill

Born again
You'll be born again

Look at this prince of evil
Fighting for your mind
Fighting all priests of shame
For the thrust of my challenge is aimed
At the hearts of mutant gods
Who think we're all the same
They're controlling our minds
And they use us for fortune and fame

As you look through my window
Deep into my room
At your future and freedom
The grey and plastic retards all floating in circles
And as you taste the fruits of new sensations
Softly brushing your lips
As we rise when we challenge and kill

Born again
You'll be born again

If you want to be a king for a day
Just do what I say

Everybody's got to think like a hunter
Just search for your pray

Be alive through the night and the day
Just do it my way

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-25-2006, 11:55 AM

1983 also saw the rise of the polar opposite of makeup-and-Max Factor metal
a rise so firm, so full, that it could be only one thing:

MANOWAR!!!!!!!!!

They were a band so hard, so heavy, massive and macho in their skin-tight leathers, rippling muscles and well-oiled MANLY chests that all cowered who dared to treadeth on their holy rocking ground. They were MANLY, bravehearted MEN, who had steam wafting off their beefcake biceps. No time for all that girlie-"man" sissy "metal" from L.A., these MEN would eat Poison then spit them out since hair-eth spray tasteth goodeth not. puke:

Manowar began in 1980 in New York when bass tech/pyrotechnic for Black Sabbath Joey DeMaio met with guitarist Ross the Boss, who played in Shakin Street, who opened for Black Sabbath. Eric Adams joined on vocals along with drummer Donnie Hamzik, and together as Manowar, they began to create epic themes in metal, in a new subgenre known as power metal, or true metal, with lyrics of heroism, bravery, conquest, and tales of yore in an earlier, medieval time. Their first album, Battle Hymns from 1982, featured actor Orson Welles doing spoken narration on the song "Dark Avenger".

The band's 1983 album, Into Glory Ride, featured new drummer Scott Columbus, who played his drums so violently that regular kits fell apart! :drummer: Since he would regularly pound his drums into splinters, special custom stainless steel kits had to be built just for him.

In 1984, the band would enter the Guinness Book of World Records for a rather impressive feat (not for being the MANLIEST band on record, which they are, of course. :notworthy ). More to follow. For now, the wenches awaiteth to be pillaged-eth, and our steeds must take wing--er, HOOF!

"-"Avast, fellow Manowarrior, is that a mace in thine codpiece, or art thou just pleased-eth to seeth me?" :lol:

Manowar

We met on English ground
in a backstage room
We heard the sound
And we all knew what we had to do

We called the high command
Requested leave to make a stand
And in the field we grew
And we all knew

Soon the time would come
For us to fight,
Destination
now in sight

Oooh, Manowar
Born to live forever more
The right to conquer every shore
Hold your ground and give no more

Our fight will never end
So we called on partisans
To raise your hands
And take our stand

Look sharp
when duty calls
Where we march
cities fall
And the strong survive
And take our side

Dark Avenger

He broke the laws of the elders
So they plucked out his eye,
Took his land and fortune,
Left him to die

Bound on the shoreline,
Left for the tide,
Sees his life blood leaving...
Circling lower the vultures fly

These bones may be broken
But the spirit can't die
And the Gods see his anguish
And give him a sign

From the floor of the ocean
The ship of the lost souls rise
And they take him where no one sleeps
while the undead cry
Where no one sleeps while the undead cry

And in the world above
The elders sing,
On his land they live
Let death's bell ring

He was met at the gate of Hades
By the Guardian of the Lost Souls,
The Keeper of the Unavenged
And He did say to him:
"Let ye not pass Abbadon but return to the world from whence ye came
And seek payment not only for thine own anguish
But to vindicate the souls of the Unavenged"

And they placed in his hands a sword made for him called Vengeance
Forged in brimstone and tempered by the woeful tears of the Unavenged

And to carry him up on his journey back to the upper world
They brought forth their Demon horse called Black Death
A grim steed so fearsome in might and black in colour
That he could stand as one with the darkness
Save for his burning eyes of crimson fire

And on that night they rode up from Hell
The pounding of his hooves did clap like thunder

Burning, death, destruction raping the daughters and wives
In blood I take my payment in full with their lives

No one can escape me on Black Death I ride
When kissed by the sword of Vengeance
Your head lays there by your side
I take the lives of all that I once knew
The torn flesh of a slow death waits for you

Burning, death, destruction raping the daughters and wives
In blood I take my payment in full with their lives

I spare not land or servants my wake is slow death there
I take their wives and daughters
They stand there watching, watching
Hoping to get my life but when I'm through they know they must pay

Burning, death, destruction raping the daughters and wives
In blood I take my payment in full with their lives
With their lives!
With their lives!

Battle Hymn

By moonlight we ride ten thousands side by side
With swords drawn held high our whips and armour shine
Hail to thee our infantry still brave beyond the grave
All sworn the eternal vow the time to strike is now

Kill Kill ooooh
Kill Kill oooh
Kill Kill ooooh
Kill Kill ooooh
Gone are the days when freedom shone now blood and steel meet bone
In the light of the battle’s way the sands of time will shake
How proud our soldiers stand with mace and chain in hand
Sound of charge into glory ride over the top of their vanguished pride

Victory Victory oooh
Victory Victory oooh
Victory Victori oooh
Victory Victory oooh

To the battle we ride we crossed a starlit sky
No space no time we’ll catch the wind
Strange losses, men died we crossed a starlit sky
And still no space and time we’ll catch the wind

Sound of charge into glory ride over the top of their vanguished pride
By moonlight we ride ten thousands side by side

Secret of Steel

Atop the mountain, where the river of steel flows
Black is the forest, white was the snow.
There as children, how could children know?
One without name or number soon would show.

There stood he, on his chariot made of gold
He did reveal the trinity of secrets old.

A sceptre of iron could mercy bring.
A shield of gold, the Creator and king,
And the great sword of steel.

Sons of destiny shall wield.
Hear Wisdom's voice.
Rise, know the strength that you feel.
Hold in your heart, but never reveal
You were called by the Gods, their powers to wield.
Guard well the secret of steel.

A sceptre of iron could mercy bring.
A shield of gold, the Creator and King,
and the great sword of steel.

Sons of destiny shall wield.
Hear Wisdom's voice.
Rise, know the strength that you feel.
Hold in your heart, but never reveal.
You were called by the Gods, their powers to wield.
Guard well the secret of steel.

Gloves of Metal

Hear the pounding army of the night
The call of metal summons us tonight.
And gather we on this site
To behold the power and the might.
We wear leather, we wear spikes, we rule the night.

Off with the lights, hear the screams
See the banging heads awaken to their dreams.
The sound of metal so loud it cracks the beams
Played by warriors called the Metal Kings.

A hero's welcome for those who heed the call.
We are together, we are all.
With hands high fists fill the air
Against the world we stand.
Hands high forever we'll be there.
Gloves of Metal rule tonight. Yea.

A hero's welcome for those who heed the call.
We are together, we are all.
With hands high fists fill the air
Against the world we stand.
Hands high forever we'll be there,
Gloves of Metal rule tonight.

Leather, Metal, Spikes and Chains
Gloves of Metal raised to show the brave.
Into the darkness march the armies of the night.
Bound by metal we live the fight.
We wear leather, we wear spikes, we rule the night
With hands high fists fill the air
Against the world we stand.
With hands high forever we'll be there,
Gloves of Metal rule tonight!

Gates of Valhalla

Valhalla the gods await me
Open wide thy gates embrace me.
Great hall of the battle slain
With sword in hand.
All those who stand on shore
Raise high your hands to bid a last
farewell to the Viking land.

Death's chilling wind blows through my hair
I'm now immortal, I am there
I take my place by Odin's side
Eternal army in the sky.

I point my hatchet to the wind
I guard the gates and all within
Hear my sword sing as I ride across the sky
Sworn by the sacred blood of Odin onward ride.

Valhalla the gods await me
Open wide thy gates embrace me
Great hall of the battle slain
With sword in hand.

Behold the kingdom of the kings
Books of spells and magic rings
Endless knowledge, endless time
I scream the final battle cry.

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-25-2006, 03:23 PM

Over from Switzerland came Krokus who had a string of hit albums in their native land since the mid-70's when they began to crack the American market with 1982's One Vice At a Time. The band resembled
Bon Scott-era AC/DC in both the vocal and musical department on songs such as "Long Stick Goes Boom". The followup album, 1983's Headhunter, which featured the band's biggest hit "Screaming In the Night" as well as the populalr cover of Bachman-Turner Overdrive's "Stayed Awake All Night", went platinum in America.

The band featured Marc Storace on vocals, Fernando Von Arb on lead guitar, Chris Von Rohr on bass and percussion, Steve Pace on drums, and Mark Kohler on rhythm guitar.

Long Stick Goes Boom

Y'all know about sixty-nine
Burnin' bones and bedside time
Once again we meet tonight
Get that touch of a magical light

We're gonna hit it
We're gonna kick it
We're gonna break out through the ice
You give us fever
You give us sweat
You're gonna make us live it twice
Tonight long stick goes boom
Tonight long stick goes boom

The time is right for a ride tonight
To be with you I'd risk a fight
My stick is tight, my blood is hot
Let's do it here, right on the spot

We're gonna hit it
We're gonna kick it
We're gonna break out through the ice
You give us fever
You give us sweat
You're gonna make us live it twice
Tonight long stick goes boom
Tonight long stick goes boom

Screaming In the Night

Sons of vengeance, can you rescue me
They got me tied up to a woe tree
They had me screamin' and alone in the night
I'm beginning to see what's wrong and what is right
What is wrong and what is right, oh, what is wrong and what is right

The gates was gettin' rusty, as we sailed into the dark
The stars were out and shinin' against the moonlit hour
The wolves were out and howlin', most of the time
And I was cold and shiverin' and bleedin' in the night
Bleedin' in the night, oh, bleedin' in the night

Screaming in the night, fighting for my life, I'd die for you
I knew it all along, headed for the sun, our love was true (our love was true)
Screaming in the night, fighting for my life, I'd die for you
I knew it all along, headed for the sun, our love was true, oh

In the corner of the valley, we took him by surprise
The sound of steel rang loud, above the battle cries
I found her lying lifeless, dagger through her heart
I picked her up, and held her high, and I swore to be avenged
Swore to be avenged, oh swore to be avenged, oh

Screaming in the night, fighting for my life, I'd die for you
I knew it all along, headed for the sun, our love was true (our love was true)
Screaming in the night, fighting for my life, I'd die for you
I knew it all along, headed for the sun, our love was true, oh
Screaming in the night, fighting for my life, I'd die for you, oh
I knew it all along, headed for the sun, our love was true (our love)
Screaming in the night, fighting for my life, I'd die for you, oh
I knew it all along, headed for the sun, our love was true, oh

Stayed Awake All Night

In the cool cool cool of the morning
That's when I'm coming home
In the cool cool cool of the morning
That's when I'm coming home

Stayed awake all night
(Stayed awake all night)
Stayed awake all night night long
(Stayed awake all night)
Stayed awake all night
(Stayed awake all night)
Stayed awake all night night long
(Stayed awake all night)
Stayed awake all night
Stayed awake all night
Stayed awake all night
Stayed awake all night

In the cool cool cool of the ev'ning
I'm hitched up and ready to ride
In the cool cool cool of the ev'ning
I'm hitched up and ready to ride

Gonna truck all night
(Gonna truck all night)
Gonna truck all night night long
(Gonna truck all night)
Gonna truck all night
(Gonna truck all night)
Gonna truck all night night long
(Gonna truck all night)
Stayed awake all night
Stayed awake all night
Stayed awake all night
Stayed awake all night

In the cool cool cool of the morning
That's when I'm coming home
In the cool cool cool of the morning
That's when I'm coming home

Stayed awake all night
(Stayed awake all night)
Stayed awake all night night long
(Stayed awake all night)
Stayed awake all night
(Stayed awake all night)
Stayed awake all night night long
(Stayed awake all night)
Stayed awake all night
Stayed awake all night
Stayed awake all night
Stayed awake all night

Stayed awake all night
(Stayed awake all night)
Stayed awake all night
(Stayed awake all night)
Stayed awake all night
(Stayed awake all night)
Stayed awake all night
(Stayed awake all night)
Stayed awake all night
Stayed awake all night
Stayed awake all night
Stayed awake all night

Stayed awake stayed awake
All night
Stayed awake stayed awake
All night
Stayed awake stayed awake
All night
Stayed awake

And the music goes round and round
And the music goes round and round
And the music goes round and round
And the music goes round and round
Stayed awake all night

Eat the Rich

I've been down, I've been beat
I've been tossed into the street
Beggin' nickels, beggin' dimes
Just to get my bottle of wine

Some say life she's a lady
Kinda soft, kinda shady
I can tell you life is rich
She's no lady, she's a bitch

1.They suck my body out
But friend there is no doubt
I'm gonna pay the devil his dues
Cause I'm sick of being abused

Eat the rich, eat the rich
Don't you know life is a bitch
Eat the rich, eat the rich
Out of the palace and into the ditch

Steal my money, steal my car
Took my woman and my old guitar
Runnin' crazy, runnin' wild
Blind alley in my mind

Just can't fight the temptation
It's become my inspiration
Gonna get myself an axe
Break some heads, break some backs

Repeat 1

Chorus

Don't stop me

Chorus

Chorus

Out of the palace and into the ditch

They suck my body out

:rock: :guitar: :guitar: :rock:

Cactus Jack

11-25-2006, 06:37 PM

I didnt realize Danny Elfman was THE JOKER. LOL or IS that him?

And I had no clue Rick Allen said that line in that song, always wondered who did.

ABlairican Pie

11-25-2006, 07:38 PM

I didnt realize Danny Elfman was THE JOKER. LOL or IS that him?

And I had no clue Rick Allen said that line in that song, always wondered who did.That's Danny Elfman as the Devil in the cult movie Forbidden Zone in 1980. He wouldn't get to direct the film score for 'Batman' until 1989. :cool:

I thought it was Joe Elliot at first. Or some German guy. :lol: Btw, I also read that Thomas Dolby (who had the hit "She Blinded Me With Science" back in 1982) played synths and keyboards on the Pyromania album, but was uncredited because it would have gone against the band's image to have him listed on the album. You know, "geeky", "nerdy" Thomas Dolby, the new wave guy on the cool album by the kick-ass British rocker dudes. :rock: New wavers and metal rocker dudes didn't get along back then. :smash:

ABlairican Pie

11-25-2006, 08:41 PM

Alcatrazz was a band fronted by ex-Rainbow/Michael Schenker Group Graham Bonnett, which also featured the talents of a young Swedish guitar shredder named Yngwie Malmsteen. The band also featured two ex-members of late 70's/early 80's band New England, bassist Gary Shea and keyboardist Jimmy Waldo and former Alice Cooper drummer Jan Uvena. The band debut in 1983 with No Parole From Rock and Roll. Bonnett described the band's music as "thinking man's metal", however, the music was a little too pop to convey the weight of the lyrical subject matter, such as one of their best-known songs "Island In the Sun" about Devil's Island, the tropical penal colony off the coast of French Guiana in South America, used from 1852 to 1946, where French prisoners were detained in grueling temperatures and rampant disease with little chance of escape. Another song, "Hiroshima Mon Amour", detailed the impact of the atomic bomb on contemporary history.

Island In the Sun

They named it the rock, land of the living dead
A repose for the rich and famous
All the infamous would tell each other's lies
Why did they want to tell the truth

[Chorus]
On an island in the sun
Cool Pacific winds blow

Most were poets and they wrote in basic prose
On the walls of their sunset blvd.
In their nine by five rooms, became inspired
By the silence in sight of the city

[Full chorus]
On an island in the sun
Cool Pacific winds blow
Just across the bay
Battered by the waves

[Solo]

[Full chorus] - Key change
Two Sailawena's
[Full chorus]

General Hospital

I awoke in a room that was occupied by those about to die
For my sleep was disturbed by the sound of old mens cries for help
What's this place what the hell am I doing here
What's happened to me and I'm wondering what kind of state my mind and body's in

[Bridge]
Be calm please lay back
We will help you rest for a while

[Chorus]

And I yelled "No you don't I'm not going to sleep"
I'm just gonna get my body out of here
I pushed the bottle down away from my face
But felt the needle stab like a spear

As my legs started shaking
The room revolved around my aching head
And the floors rushing up just to greet me
Laying there on my back as the ceiling flies away and from me
Was I finally losing my hold on reality

[Bridge]
Be calm take this pill
We will help you rest for a while

[Chorus]

Hiroshima Mon Amour

It was newborn and ten feet tall,
But they called it little boy,
And C7, H5, O6, N3 they called him
T-N-T.

The fireball would dim the sun,
Promising death in its cruelest form.

Hiroshima Mon Amour
As we beg to be forgiven do you spit,
In our face and curse us all.

The fireball that shamed the sun,
Burning the shadows on the ground,
As the rain falls to dry the land,
Leaving desert for the thirsty man.

They all said it would end the war,
And we thanked Christ for the bomb,
And the priests and witches all agreed,
They should die to keep them free.

The fireball that shamed the sun,
Burning the shadows on the ground,
As the rain falls to dry the land,
Leaving the desert for the thirsty man.

HIROSHIMA!!!

:rock: :guitar:

ABlairican Pie

11-25-2006, 09:22 PM

1983 also saw the debut of one of the biggest bands on the L.A. Sunset Strip scene, Ratt, who began in the late 70's under the name Mickey Ratt. The earliest incarnation of the band, based at the time in San Diego, featured vocalist Stephen Pearcy along with future Ozzy Osbourne guitarist Jake E. Lee. The band lineup at that time also featured guitarist Chris Hagar, bassist Matt Thorr, and drummer John Turner, who all left with Lee in 1982 to form another popular L.A. band Rough Cutt. The band did manage to get a song called "Tell the World" on the first Metal Massacre record, which also featured Metallica's first song "Hit the Lights". In 1980, the band also gave away copies of their first single "Dr. Rock"/"Driving On E" at clubs where they played. By 1982, the band's lineup was complete with Pearcy, Robbin Crosby on guitar, Warren DeMartini on lead guitar, former Dokken bassist Juan Croucier , and Bobby Blotzer on drums.

In 1983, the band recorded their self-titled EP which featured the legs of actress Tawny Kitaen on the front, with white rats climbing up her stockings. The band's EP also featured such songs as "You Think You're Tough", "Sweet Cheater", and an early version of "Back For More", and gained the band huge attention in Los Angeles. The video to "You Think You're Tough" was filmed and released after the band's huge followup Out Of the Cellar the next year (and features clips of their videos from that album), and featured none other than Ozzy hilariously performing in drag! :lol:

The EP is out of print and remains a highly sought-after collector's item.

Currently, Tawny Kitaen has a few more problems these days than rats climbing up her legs (such as *monkeys* on her back). ;)

And now, one of the greatest videos of all time: "YOU THINK YOU'RE TOUGH"!!!!

http://www.youtube.com/watch?v=4H1ofBOP3F4

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-26-2006, 01:45 AM

From up north of the border, Triumph came blazing down with a number of hit albums under their belt. The band was a power trio along the lines of Rush, and constant comparisons were made with them, but the band did not indulge in epic songwriting, but remained strictly a hard rock band with a pop influence. Guitarist Rik Emmett was a very talented player along the lines of Alex Lifeson, and had high vocals similar to those of Geddy Lee, but there the comparisons ended. The band also featured drummer Gil Moore and bassist Mike Levine. The band played in their native Canada during the mid-70's and released a few albums, such as 1978's Rock and Roll Machine, which were not seen nor heard much outside of their home country. Perhaps due to the growing popularity of fellow Canadians Rush, the band had their biggest hit in America with their album Just a Game in 1979, which featured the top track "Lay It On the Line" as well as the ballad "Hold On". The vinyl LP version of the album featured an interesting concept - a sleeve that folded open to reveal a board game! :cool: The band caught on with fans in spite of critics' ragging on the band and their powerful brand of rock
(they did not consider themselves metal), and Rik Emmett was a charming figure to many who drew many comparisons to Eddy Van Halen around that time. Another attraction to Triumph's concerts lay in their lavish fireworks displays, courtesy of Gil Moore, a pyrotechnics expert in his own right. Because their stage show proved too large for a support act, Triumph essentially began in 1977 as a U.S. headliner at San Antonio, which remained a popular venue for the trio.

1980's Progressions of Power, however, was a rather disappointing musical and commercial effort, though the tour behind the album was a success. In 1981, the band rebounded with their hugely successful Allied Forces album, which featured the hits "Magic Power", "Fight the Good Fight", and "Say Goodbye". Triumph took on more social and political overtones, possibly from the influence by Rush, on their 1983 album Never Surrender. The album featured the song "A World of Fantasy" as well as the title track. The band even appeared at the Us Festival in the spring of that year.

Rock and Roll Machine

Tonight's the night everybody's at the show
The girls and boys come to
Hear the rocket blow
You can't stop when the Rocket's playin'
Everybody jump and shout
Let's rock and reel it anyway you feel it
That's what this is all about

CHORUS:
Rock and Roll Machine
Faster than you ever seen
Rock and Roll Machine
All those eyes just lookin' at you

Ooh baby you're crazy
If you try to steal the show
Get set, get ready time to watch the Rocket go
Rock and Roll Machine plays faster
East as ringin' a bell
A fireball steamer, heavy metal screamer
Playin' licks hotter than hell

CHORUS

Lay It On the Line

It's the same old story all over again
You turn a lover into just another friend
I wanna love you
I wanna make you mine
Won't you lay it on the line

I'm tired of playin foolish games
I'm tired of all your lies makin me insane
I don't ask for much the truth will do just fine
Won't you lay it on the line

Chorus:
Lay it on the line
Lay it on the line
Lay it on the line
Don't waste my time

You got no right to make me wait
We better talk girl before it gets too late
I never ever thought you could be so unkind
Won't you lay it on the line

Chorus

You know I love you, you know it's true
It's up to you, girl,now what've I got to do
Don't hold me up, girl, don't waste my precious time
Won't you lay it on the line

Chorus

Hold On

Music hold the secret,
To know it can make you whole
It's not just a game of notes,
It's the sound inside your soul
The magic of the melody
Runs through you like a stream
The notes the play flow through your head
Like a dream
Like a dream
Like a dream

I sing this song for the common man
For the people in despair
I bring my song into the world
And I sing it everywhere
The simple truth lies waiting here
For everyone to share
So hold on, and I will take you there
Hold on and I will take you there

The daily routine takes your soul,
Lost without a trace
It hold you down and turns you 'round
And puts you in your place
Another day, another dollar
Another pretty face
Another chance to lose yourself
In the endless race

CHORUS

Hold on, hold on to your dreams
Hold on, even though it seems
Everyone around you has their little schemes
Listen to your heart and hold on to your dreams

Can't you feel the magic
Feel it everywhere
Can't you hear the music
There's something in the air
There's a celebration
Deep within a song
Celebrate this feeling,
You know it can't be wrong

CHORUS

Caught up in routine,
You got to break it
Time won't wait for us,
We got to make it
Fate gives you the chance
You've got to take it
Take it

Hold on

I Can Survive
from Progressions of Power

My teacher told me, "Boy, you're no good
Just because you don't do what you should
You better shape up, or you're gonna fail."
But I said, "I'm leavin', cuz this is a jail."
An' I know what you're thinkin'
But don't pity me, oh no
I'll be better off out on my own

CHORUS:
I can survive
I can survive just fine
I can survive
I can survive on my own

They tried to tell me, they tried to sell me
Play music like this, if you want to be smart
But I said, "Listen, here's what you're missin'
Music's got to have a heart."
They put me through many changes
Faces and names are clear
But I'll just leave my music
Ringin' louder in their ears

CHORUS

Now you should know just what to do
Don't let other people take advantage of you now
Don't think twice, no don't hesitate
Shoot for the top, you gotta deal with fate
And I know that you'll understand
You got the power, baby, in your hands, yeah

CHORUS

Magic Power

Somethin's at the edge of your mind, you don't know what it is
Somethin' you were hopin' to find but your not sure what it is
Then you hear the music and it all comes crystal clear
The music does the talkin' says the things you want to hear

CHORUS:
I'm young, I'm wild and I'm free
I got the magic power of the music in me

She climbs into bed, pull the covers overhead and turns her little radio on
She's has a rotten day so she hopes the DJ's gonna play her favorite song
It makes her feel much better, brings her closer to her dreams
A little magic power makes it better that it seems

She's young now, she's wild now, she wants to be free
She gets the magic power of the music in me

If you're thinkin' it over but you just can't sort it out
Do you want someone to tell you what they think it's all about
Are you the one and only who's sad and lonely, reachin' for the top
Well the music keeps you goin' and it's never gonna stop

The world is full of compromise, the infinite red tape
But the music's got the magic, it's your one chance for escape
So turn me on - turn me up - it's your turn to dream
A little magic power makes it better than it seems

CHORUS

Fight the Good Fight

The days grow shorter and the nights are getting long
Feels like we're running out of time
Every day it seems much harder tellin' right from wrong
You got to read between the lines

Don't get discouraged, don't be afraid, we can
Make it through another day
Make it worth the price we pay

The Good Book says it's better to give than to receive
I do my best to do my part
Nothin' in my pockets I got nothin' up my sleeve
I keep my magic in my heart

Keep up your spirit, keep up your faith, baby
I am counting on you
You know what you've got to do

CHORUS:
Fight the good fight every moment
Every minute every day
Fight the good fight every moment
It's your only way

All your life you've been waiting for your chance
Where you'll fit into the plan
But you're the master of your own destiny
So give and take the best that you can

You think a little more money will buy your soul some rest
You'd better think of something else instead
You're so afraid of being honest with yourself
You'd better take a look inside your head

Nothing is easy, nothing good is free
But I can tell you where to start
Take a look inside your heart
There's an answer in your heart

CHORUS

Say Goodbye

Got a lot on my mind I want to tell you
I don't know where to start
You're gettin' way outta line I want to tell you
You're actin' too damn smart
This little game you're playin'
Has lost its fun somehow
You had me goin' but I figured it out
An' I'm not playin', I'm not playin' now

CHORUS:
Say goodbye, I'll be leavin' in the mornin'
Nothin' you can do to make me stay
Say goodbye, I'll be leavin' in the mornin'
Say goodbye, it's the only thing to say
Then I'll be on my way

Little girl, dressed to kill
I see through your disguise
You wanna be big time but you never will
Cuz I see through all your lies
You say you're somethin' special
Well you talk a real good game
But now the party's over
An' you just don't sound
You just don't sound the same

CHORUS

Don't say you love me
Don't say you need me

CHORUS

A World of Fantasy

I was out on my own in a great big world
Thought I'd seen it all
Then along comes a woman - a fantasy
And I took the fall

I was chasing a dream, I was fancy free
I was so naive
You were all wrapped up in a mystery
You looked good to me

And I needed love I wanted it desperately
But oh, real love, you never came to me

CHORUS:
I was lost in your world of fantasy
I was caught in your game of make-believe
I was lost in your world of fantasy

Lost in your world of fantasy
Look what you've done to me

You were drawin' me in to a spider's web
With your hungry eyes
I was under your power I was in your spell
I was hypnotized

And oh sweet love: you wore such a strange disguise
So neat love: the way I fell for your lies

CHORUS

All the times you lied
And all the times I cried
I'm never gonna be the same again

Lost in your world of fantasy
Look what you've done to me

:rock: :guitar: :guitar: :rock:

ABlairican Pie

11-26-2006, 01:52 AM

For everyone who can't get enough of Triumph:

Cactus Jack

11-26-2006, 02:02 AM

That's Danny Elfman as the Devil in the cult movie Forbidden Zone in 1980. He wouldn't get to direct the film score for 'Batman' until 1989. :cool:

I thought it was Joe Elliot at first. Or some German guy. :lol: Btw, I also read that Thomas Dolby (who had the hit "She Blinded Me With Science" back in 1982) played synths and keyboards on the Pyromania album, but was uncredited because it would have gone against the band's image to have him listed on the album. You know, "geeky", "nerdy" Thomas Dolby, the new wave guy on the cool album by the kick-ass British rocker dudes. :rock: New wavers and metal rocker dudes didn't get along back then. :smash:
LOL I know,but he really does look like The Joker wihtout make up

Ah wow,I had no clue! LOL She Blinded Me With Def Leppard? Ok that just made it even funnier for some reason Blinded...Def...Leppard LOL, thanks for the info!

ABlairican Pie

11-26-2006, 02:58 AM

In the early 80's, the members of Kansas struggled to deal with the fact that two of its members, guitarist Kerry Livgren and now bassist Dave Hope strongly identified themselves as born again Christians. Vocalist Steve Walsh had grown frustrated with the changes in the band and of Livgren's
"moralizing" in the song lyrics, and left to form the band Streets before 1982's Vinyl Confessions was released. The band was surprised, and Livgren and Hope delighted, to find that Walsh's replacement, John Elefante, was a Christian himself. The rest of the band felt outnumbered. The band seemed to be playing into the hands of contemporary Christian music, who insisted on Christian "crossover" bands playing by their set of rules and write "preachy" lyrics. It was understandable for Livgren and Hope to insist things be done according to their "Christian" way, they were relatively new Christians and wanted to continue on in that new direction. Their born again epiphany had a profound impact on them, which was not shared with the band as a whole. The band found their newfound faith awkward, and as Christians young in the faith, there were many missteps and a tendency toward things such as legalism and devotion to God, albeit excessive--but the band found they were no longer on the same page as Livgren and Hope. Ironically, the band found that they were the #1 band on the charts in Contemporary Christian Music magazine--and half of the members were decidedly not Christian. Violinist Robbie Steinhardt, uncomfortable with the band's new "Christian" affiliation, left the band after the tour. What was especially disturbing to the band was that born again Christians were using the band's lyrics in tracts and passing them out after the band's shows. Did Kansas intend to become an evangelistic band?

It was around this time that pressures were on from their record label to produce something more commercial. Most of their peers in prog-rock had gone on to record more radio-accessible material, and the band was urged to do the same. The result was 1983's Drastic Measures, an album which was personally disappointing to Livgren. The band was venturing off into a sound similar to pop bands such as Loverboy and Foreigner. Any time the band achieved commercial success was largely without their intention to create commercially successful tunes. But now the band was forced to create something create more hits, and the results were mixed. Livgren even wrote a song for the album called "Mainstream" which expressed his frustration with the direction the band was being forced to take, as well as the music scene in general. Livgren decided to hold back some of his more overt Christian lyrics and instead wrote lyrics of a more implicitly Christian nature for the album. Most Christians, who were used to hearing obvious references to their Savior and all things of a "religious" nature in pop songs, were disappointed and confused by the new songs, as well as with the album cover. The album was a huge disappointment. The band was fed up at this point with their reversal of fortunes. Livgren decided it was time to record second solo album, his first since 1980's Seeds of Change album, realizing that it was the end of his tenure in Kansas, and the beginning of his solo career. He and Hope would leave at the end of the year after the band's last concert of the tour.

John Elefante also left the band to become a noted Christian producer and solo performer in Christian music.

This song was the hit:

Fight Fire With Fire

There's a hole in the wall
With a light shining in
And it's letting me know to get up
It's time to begin

Oh there is nothing to lose
'Cause it's already lost
In a runaway world
Of confusion
I'm not gonna take it

(Chorus)
That's why I fight fire with fire
Oh I'm burning inside and my heart is a-cryin'
Fire with fire
I don't want to lose this flamin' desire
Standing alone
In a crowded room
I can feel a chill in the air
I'm shakin'

I'm miles away
I want to cry out loud
I want to fight till the end
I won't let 'em take me alive

(Chorus)
And you know I'll fight fire with fire
Oh I'm burning inside and my heart is a-cryin'
Fire with fire
'Cause I'm never gonna lose this flamin' desire

Everybody's My Friend

Someone calls out my name
They ask me how I've been
So what's it like in the big time?
Will you be my friend

Have you met Mick Jagger?
Ringo, George or Paul?
Do you have my number?
Will you give me a call?

4 o'clock in the morning
I hear the telephone ring
It's the voice of a stranger saying
I like the way you sing

(Chorus)
They all want to know
Do you make a lot of money?
They all want to know
Will you change your name?
They all want to know
What's it like to be a rock star?
Everybody wants to know if they can hang around

Everybody's my friend, hello, hello
Everybody's my friend, hello, hello

Everybody wants to have a little piece of the action
Everybody wants to get into the show
Everybody falls in love with the main attraction
Everybody wants to know if they can hang around

Everybody's my friend, hello, hello
Everybody's my friend, hello, hello

Some people they that I'm changing
They say I'm not the same
But they don't understand me
There's so much more to flame

(Chorus)

My friends at SPU in 1983 accused this song of being "sexually ambiguous", of having "gay overtones": :rolleyes:

Andi

Andi won't dance
Andi won't sing
Andi won't play
She sits in her room, hiding away, hiding away

She hasn't a friend
They think she's a boy, they leave her alone
But what they don't know
Andi has dreams, all of her own

Yea, she wants to be a lady
Can anyone see?
That's she's trapped inside a little boy's body
She's waiting
For the dream of her life
To be a lady
That's all she wants to be

(Chorus)
Andi you're not just anyone
Don't be ashamed
Open the door, don't hide away
Your dreams will awaken

Andi you're not just anyone
Don't take the blame
Though you're scared and all alone
You'll be there someday
Oh Andi, you're old enough to know
Don't ask me why
The leaves they fall down from the trees
But in the spring, they come again
Yes, they come again
Oh Andi, don't be afraid
Oh Andi

Andi can you hear me?
Will you come out on your own?

Oh the voice in the distance
Saying don't be afraid, Andi
I will make you somebody
I will make you a lady
The dream of your life
A lady, is what you will be

(Chorus)

Mainstream

Overkill, have you had your fill
Come to expect it
Off the wall, too short or too tall
System rejects it
Lost the handle, what's it all been for?
Tired of trying, seeing so much more

(Chorus)
It's so predictable and everybody judges by the numbers that you're selling
Just crank 'em out on the assembly line and chart 'em higher (higher, higher)
Just keep it simple boys it's gonna be alright as long as you're inside the
Mainstream, are we moving too far away
Is it worth it if it doesn't pay
The centerline is status quo, it's
Mainstream

If you stay within the tried and true
You'll remain among the chosen few
Survive another year

The market is dead, accounts in the red
Media saturation
We're deep in a rut, the arteries cut
Sensory deprivation
Really loved it, didn't earn a cent
No one's buying your experiment

(Chorus)

For the masses in Consumerland
Give 'em everything that they demand
Survive another year

Corporate mold, packaged and sold, 16 to 30
Jobbers and racks, they're movin' in stacks
Tactics are dirty
We're in business, what else is it for?
Profit motive, welcome to the war

(Chorus)

Just be careful not to rearrange
And don't let 'em catch you getting strange
Survive another year

:guitar:

ABlairican Pie

11-26-2006, 03:15 AM

The Doors received a bit of new life with the use of the song "The End" in Francis Ford Coppola's movie 'Apocalypse Now' in 1979, introducing the band's music to a new generation of fans. 1983 saw the release of a live album, Alive, She Cried, the title taken from a lyric in the song "When the Music's Over". The album's best-known track is the provocative cover of "Gloria" by 60's band Them. John Sebastian even joined the band on harmonica on the Stones cover "Little Red Rooster".

Gloria

Yeah, right.
Did you hear about my baby? She come around,
She come round here, her head to the ground?
Come round here just about midnight,
She makes me feel so good, make me feel all right.
She come round my street, now
She come to my house
Knock upon my door
Climbing up my stairs--one, two, three
Come on baby

Here she is in my room, oh boy
Hey what's your name?
How old are you?
Where'd you go to school?
Well, now that we know each other a little bit better,
Why don't you come over here and make me feel all right!

Chorus: Gloria--g-l-o-r-i-a
Gloria--g-l-o-r-i-a
Gloria--g-l-o-r-i-a
Gloria--g-l-o-r-i-a

You were my queen and I was your fool,
Riding home after school.
You took me home
To your house.
Your father's at work,
Your mama's out shopping around.
Check me into your room.
Show me your thing.
Why'd you do it baby?
Getting softer--slow it down, etc.
Now you show me your thing.
Wrap your legs around my neck,
Wrap your arms around my feet,
Wrap your hair around my skin.
I'm gonna huh--all right, ok, yeah.
It's getting harder--It's getting too darn fast, etc.
Come on, now, let's get it on.
Too late, too late, too late, too late, too late,
Make me feel all right!

Chorus
Keep the whole thing going, baby!

:guitar: peace:

ABlairican Pie

11-26-2006, 03:53 AM

Laura Branigan, born in 1957 in New York, was another big singer from the 80's with hits such as "Gloria" and "How Am I Supposed to Live Without You", which was covered by many artists. She studied at the American Academy of Dramatic Arts in New York City and worked as a waitress while in school. She eventually got a job singing back-up vocals for Leonard Cohen, touring throughout Europe. In 1979 she was signed by Ahmet Ertegun to Atlantic Records, but the label was at first unsure how to categorize Branigan, given the singer's strong dramatic voice with a four octave range. Her first album, simply titled Branigan in 1982, featured her infectious pop hit "Gloria", which was originally recorded in Italian by Umberto Tozzi in 1979, and originally a hit only in Tozzi's native Italy. The song was not very big on American airwaves at first, the song's combination of American and European sound predated the imminent second "British Invasion" of popular music by several months. Embraced by dance clubs, especially gay clubs, it eventually won over American radio stations and propelled the song to become one of the biggest hits of the decade. The album went gold, as well as the single, and then platinum. Her vocal performance of "Gloria" was nominated for a Grammy award, her first of four nominations. The strength of "Gloria" established her as a major rising female artist, as did other songs from the album such as "Please, Stay, Go Away", "I Wish We Could Be Alone", and "Living A Lie".

In 1983, she recorded Branigan 2, which featured the hit "How Am I Supposed to Live Without You", which would later become a hit for Michael Bolton and others, as well as the English version of the French hit "Solitaire". "Don't Show Your Love" was another dance hit, and she also included a cover of The Who's "Squeeze Box" on the album as well.

Gloria

Gloria
You're always on the run now
Runnin' after somebody
You've gotta get him somehow
I think you've got to slow down
Before you start to blow it
I think you're headin' for a breakdown
So be careful not to show it
You really don't remember
Was it something that he said?
Or the voices in your head calling, Gloria?

Gloria
Don't you think you're falling?
If everybody wants you
Why isn't anybody calling?
You don't have to answer
Leave them hanging on the line
Calling Gloria

Gloria
I think they got your number
I think they got the alias
That you've been living under
But you really don't remember
Was it something that they said?
Or the voices in your head calling, Gloria?
Gloria
How's it gonna go down?
Will you meet him on the main line?
Or will you catch him on the rebound?
Will you marry for the money?
Take a lover in the afternoon?
Feel your innocence slipping away
Don't believe it's coming back soon
And you really don't remember
Was it something that he said?
Or the voices in your head calling, Gloria?

Gloria
Don't you think you're falling?
If everybody wants you
Why isn't anybody calling?
You don't have to answer
Leave them hanging on the line
Calling Gloria

Gloria
I think they got your number
I think they got the alias
That you've been living under
But you really don't remember
Was it something that they said?
Or the voices in your head calling, Gloria?

How Am I Supposed to Live Without You

I could hardly believe it
When I heard the news today
I had to come and get it straight from you
They said you were leaving
Someone swept your heart away
From the look upon your face I see it's true
So tell me all about it
Tell me about the plans you're makin'
Then tell me one thing more before I go

Tell me how am I supposed to live without you
Now that I've been lovin' you so long
How am I supposed to live without you
And how am I supposed to carry on
When all that I've been livin' for is gone

Didn't come here for cryin'
Didn't come here to break down
It's just a dream of mine is comin' to an end
How can I blame you
When I built my world around
The hope that one day
We'd be so much more than friends
And I don't wanna know
The price I'm gonna pay for dreamin'
I need you now
It's more than I can take

Tell me how am I supposed to live without you
Now that I've been lovin' you so long
How am I supposed to live without you
And how am I supposed to carry on
When all that I've been livin' for is gone

And I don't wanna know
The price I'm gonna pay for dreamin'
Now that your dream has come true

Tell me how am I supposed to live without you
Now that I've been loving you so long
How am I supposed to live without you
And how am I supposed to carry on
All that I've been livin' for is gone
Without you
After I've been lovin' you so long
How am I supposed to live without you
And how am I supposed to carry on
When all that I've been livin' for... is gone [fade out]

Living a Lie

You've been callin' and there's no answer
Now you're wondering why
How'd you get in this situation?
Now it's your turn to cry

You're living a lie, you're wasting your time
Caught in a dream, you're living a lie
You're living a lie, you're wasting your time
Caught in a dream, you're living a lie

You keep wonderin' where she's goin'
Just to find where she's been
Could it be she no longer loves you?
Could it be it's the end?

You're living a lie, you're wasting your time
Caught in a dream, I said you're living a lie
You're living a lie, you're wasting your time
Caught in a dream, you're living a lie

Somebody better help this boy
He's chasing rainbows in the sky
But there's a fool in every boy
The things you never question why

You're living a lie, you're wasting your time
Caught in a dream, you're living a lie
You're living a lie, you're wasting your time
Caught in a dream, I said you're living a lie

You're living a lie, you're wasting your time
Caught in a dream, are you living a lie
You're living a lie, you're wasting your time
Caught in a dream, you're living a lie
You're living a lie, you're wasting your time
[fade out]

:banana: :mango

ABlairican Pie

11-26-2006, 04:44 AM

As Laura Branigan began a meteoric rise to the top of the charts, one girl band also showed that women could indeed rock--Angel and the Reruns, who sang a delightful, yet sad song about the tragic passing several years before in 1976 of Anissa Jones, the little girl who played Buffy (no, not that Buffy, the Sarah Michelle Gellar of Vampire-Slaying fame) on the heartwarming 60's hit 'Family Affair'. As a teenager, Jones was tired of being typecast in future roles as the cute kid on the show and apparently tried to prove how "grownup" she was, by overdosing on cocaine, angel dust, methaqualone and Seconal. The coroner who examined Jones reported that she had died from one of the most severe drug overdoses he had ever seen. :eek: :crying:

In 1983, according to legend, Angel, a female inmate of a jail who had a minor run-in with the law was incarcerated where she *saw the light*--no, not religion, but the light of television which showed old sitcoms and made her wish for kinder, simpler, happier times. From there she assembled a group of
60's-style doo-wop female backup singers and became a girl group of the 80's as Angel and the Reruns. "Buffy Come Back to Me" became a hit, along with the flipside track "Beaver Cleaver Fever".

In actuality, Angel and the Reruns was formed by Hillary Carlip as a parody act, who fabricated the whole story of her being in jail, which apparently was believed by many. This led to many t.v. and film appearances, such as on the movie "Bacchelor Party".

The main chorus of the song went, "Buffy, Buffy come back to me/why'd ya hafta go and OD?/what about Uncle Bill, Jody, and Cissy?'

:banana: :mango

ABlairican Pie

11-26-2006, 12:21 PM

In other media/entertainment related events of that year, no one seemed to be too thrilled with the sequel to Saturday Night Fever, 1983's 'Staying Alive', which for many critics, aptly described one-time star John Travolta's acting career. He reprised his role as Tony, who by this time was six years older. The disco scene had long fizzled out, and he had moved to Manhattan to endure dirt-poor conditions while trying to become a dancer for a Broadway production. Other persons auditioning for the role resent his attempts to get the part in this highly competitive environment. He gets the role as a scantily clad dancer in a production called "Satan's Alley", which does not go well with his mother, who finds it racy and tawdry. Apparently so did many viewers who found the movie lacking the heart of the original and in poor character development. The movie was even directed by Sylvester Stallone, which basically led many to believe this was simply a rehashing of his famous 70's character, now dubbed "Rocky In Tights".
Most viewers could not stomach Travolta in this role as a glorified Chippendale's dancer, and the movie, dubbed "the worst sequel of all time", began a downward spiral in Travolta's career.

Fortunately, in several years, he would strongly rebound with the comical "Look Who's Talking" movies as well as in Quentin Tarantino's "Pulp Fiction" in an amazing comeback move.

ABlairican Pie

11-26-2006, 12:40 PM

But who cared about John "Revolta" when you had..........

THE 'SOLID GOLD' DANCERS!!!!!!!!!!!!!!

The hit Top 40 show hosted by the likes of Marilyn McCoo and Billy Davis Jr. and Rex Smith and Dionne Warwick would feature bands and songs as well as the hottest dance troupe in the world!!!!! :grineyes: :eyes: Including Pam Rossi!!

ABlairican Pie

11-26-2006, 04:19 PM

Now we're cooking with PAM!!!! :eyes:

ABlairican Pie

11-26-2006, 04:28 PM

LESLIE!!!!

ABlairican Pie

11-26-2006, 04:31 PM

GIGI!!!

ABlairican Pie

11-26-2006, 04:36 PM

BEVERLY!!!

ABlairican Pie

11-26-2006, 04:40 PM

BEVERLY FOREVER!!!!

ABlairican Pie

11-26-2006, 05:06 PM

LEZLIE WITH A Z!!!

ABlairican Pie

11-26-2006, 05:11 PM

JAMILAH!!!

ABlairican Pie

11-26-2006, 05:16 PM

MORE JAMILAH!!!

ABlairican Pie

11-26-2006, 05:19 PM

DEBORAH!!!

ABlairican Pie

11-26-2006, 05:23 PM

CHELSEA!!!

ABlairican Pie

11-26-2006, 05:26 PM

ANDREA!!!

ABlairican Pie

11-26-2006, 05:30 PM

JANEEN!!!

ABlairican Pie

11-26-2006, 05:34 PM

EILEEN!!!

ABlairican Pie

11-26-2006, 05:39 PM

STILL MORE EILEEN!!!

ABlairican Pie

11-26-2006, 05:43 PM

YET EVEN MORE EILEEN!!!

ABlairican Pie

11-26-2006, 09:02 PM

AUDREY!!!

ABlairican Pie

11-26-2006, 09:07 PM

KAHEA!!!

ABlairican Pie

11-26-2006, 09:13 PM

NICOLE!!!

ABlairican Pie

11-26-2006, 09:17 PM

MORE NICOLE!!!

ABlairican Pie

11-26-2006, 09:22 PM

GAYLE!!!

ABlairican Pie

11-26-2006, 09:27 PM

MORE GAYLE!!!

ABlairican Pie

11-26-2006, 09:33 PM

DARCEL!!!

ABlairican Pie

11-26-2006, 09:41 PM

MORE DARCEL!!!

ABlairican Pie

11-26-2006, 09:46 PM

STILL MORE DARCEL!!!

ABlairican Pie

11-26-2006, 09:51 PM

BETSY!!!

Steve M.

11-26-2006, 09:53 PM

So, uh, where are they now? Making pizzas? :lol:

ABlairican Pie

11-27-2006, 12:36 AM

Group pix!!!

ABlairican Pie

11-27-2006, 01:38 AM

MORE PIX!!!

ABlairican Pie

11-27-2006, 01:44 AM

LOTS MORE DARCEL!!!

ABlairican Pie

11-27-2006, 01:52 AM

LOTS MORE PAM!!!

ABlairican Pie

11-27-2006, 01:59 AM

LOTS MORE DEBORAH!!!

ABlairican Pie

11-27-2006, 02:04 AM

LOTS MORE GAYLE!!!

ABlairican Pie

11-27-2006, 02:15 AM

LOTS MORE NICOLE!!!

ABlairican Pie

11-27-2006, 02:18 AM

LOTS MORE LEZLIE!!!

ABlairican Pie

11-27-2006, 02:21 AM

MORE EILEEN!!!

ABlairican Pie

11-27-2006, 02:26 AM

LOTS MORE JAMILAH!!!

ABlairican Pie

11-27-2006, 08:23 AM

Beverly, Paula, Helene, Gigi, Betsy, and Audrey!!!

ABlairican Pie

11-27-2006, 08:31 AM

Aerobics was hot in the 80's, but the Solid Gold Dancers in their own aerobics
videos were HOTTER!!! :grineyes: Here's some of Pam:

ABlairican Pie

11-27-2006, 08:37 AM

One more of Pam, and some of Kahea:

ABlairican Pie

11-27-2006, 08:41 AM

Some of Chelsea:

ABlairican Pie

11-27-2006, 08:46 AM

Some of Darcel:

ABlairican Pie

11-27-2006, 08:50 AM

Some of Gayle:

ABlairican Pie

11-27-2006, 08:55 AM

Some of Deborah:

ABlairican Pie

11-27-2006, 09:02 AM

Still more of Deborah, some from a workout video with Lou Ferrigno:

ABlairican Pie

11-27-2006, 09:07 AM

Some of Darcel:

ABlairican Pie

11-27-2006, 09:11 AM

Still more of Darcel:

ABlairican Pie

11-27-2006, 09:15 AM

Final ones of Darcel:

Steve M.

11-27-2006, 08:43 PM

One more of Darcel - just for good measure! :D

ABlairican Pie

11-28-2006, 08:51 AM

One of the items posted below is a poster of the all Solid Gold Dancers from the '83 season which came in specially marked boxes of Post Super Sugar Crisp cereal!! Happy eating, kiddies!! :liplick: :eat: Like Sugar Bear would sing,
"Can't get enough of that Sugar Crisp!!!" :dance:

On one episode, one of the male dancers made a silly joke about "reader mail",
including goofy comments allegedly made by Ayatollah Khomeini (being a "crazy cross-dresser") and Chuck and Di (who were currently *enjoying their honeymoon* in a hotel), which I thought were corny and pandering, but he finished with a letter from a very distressed Jerry Falwell, who was upset about the scantily clad female dancers, whom he thought were "possessed by the devil" to cause such sinful thoughts in viewers!! :eek: If he could, he said he would like to come over to meet the dancers and *lay hands on them* to pray out these demonic afflictions Now THAT was funny!!! :lol: :rofl:
:rotflmao: :brent

ABlairican Pie

11-28-2006, 09:00 AM

More group pix:

ABlairican Pie

11-28-2006, 09:14 AM

Many of the Solid Gold Dancers did appear in movies:

Photos below:

Chelsea Field in "Masters of the Universe"; and "Dust Devil";

Pam Rossi in "The Running Man";

Deborah Jenssen and Darcel Wynne in "Xanadu" (which starred Olivia Newton-John) in 1980.

ABlairican Pie

11-28-2006, 03:49 PM

Leslie Cook (with Dolly Parton) in "The Best Little Whorehouse In Texas";

Some of the dancers from the 87'-'88 season in the movie "Scrooged";

Darcel Wynne even appeared in the movie version of "Jesus Christ Superstar" in 1973.

ABlairican Pie

11-28-2006, 03:58 PM

Chelsea Field in "Skin Deep", and "Flipper" with Paul Hogan (Crocodile Dundee);

Kahea Bright in "Deadly Dancer".

ABlairican Pie

11-28-2006, 04:35 PM

One of the male Solid Gold Dancers, Tony Fields, was a hit in the movie "A Chorus Line" as well as the ghoulish undead rocker Sammi Curr in the 1986 movie "Trick Or Treat", co-starring Mark Price ("Skippy" from Family Ties), Ozzy Osbourne as an anti-rock preacher, and Gene Simmons as a DJ. He also had various t.v. and film roles.

Tony Fields died in 1995 from AIDS-related lung cancer. :crying: :rip: He was remembered as hard-working, lovable friend and dancer.

ABlairican Pie

11-28-2006, 04:45 PM

Pics of Beverly:

ABlairican Pie

11-28-2006, 04:53 PM

A few of Deborah, one with Pam:

ABlairican Pie

11-28-2006, 04:58 PM

One of Kahea:

ABlairican Pie

11-28-2006, 05:05 PM

Two of dancer Pam, who was on the longest (1980-86).

ABlairican Pie

11-28-2006, 10:12 PM

1984 was not only the year that Big Brother began his long-awaited arrival, but one where little sisters, in the musical sense, made a huge dent in the charts. One such all-female band from Los Angeles, The Bangles, released their debut album, All Over the Place which featured such impressive songs as "Hero Takes a Fall", "Tell Me", and "Going Down To Liverpool". The album was full of power-pop hooks played on jangly Rickenbacker guitars courtesy of lead vocalist/rhythm guitarist Suzanna Hoffs with lead guitarist Vickie Peterson. Her sister Debbi Peterson played drums while Michael Steele, a female bassist, replaced original bass player Annette Zilinskas in 1983. The band originally called themselves The Supersonic Bangs, but when a band with a similar name, The Bangs, threatened to sue, the band changed the name to The Bangles. It also appeared to have a catchy connection to 60's rock: Just as The Beatles were simply a "Beat" with "-les" on the end (their name was in fact in homage to Buddy Holly and the Crickets), The Bangles were a "Bang" with "-les" on the end. Intentional? :idea:

"Hero Takes a Fall" hit the charts just outside the Top 40, but "Going Down to Liverpool" did win them a BPI Award, the British equivalent of a Grammy. Though the album would be eclipsed by the popularity of their future albums, its potential reached the ears of such persons as Cyndi Lauper and Huey Lewis and the News, who had the band open for them on tour. Another artist, a familiar of rock *royalty* known for his colorful attire, found the band appealing and wished to work with them.

Hero Takes a Fall

The hero is exposed when
His crimes are brought to the light of day
Won't be feeling sorry, sorry, sorry
On the judgement day

Wasn't it me who said
There'll be a price to pay

And I won't feel bad at all
When the hero takes a fall
When the hero takes a fall
(Hero takes a fall) oh no

Your mother told you stories
You substitute with girls who tell you more
Suddenly your sycophants
Are chanting slogans at your door

We're seeing through you now
I saw it all before

And I won't feel bad at all
When the hero takes a fall
When the hero takes a fall
(Hero takes a fall) oh no

Oh oh, oh oh, oh oh
Oh oh, oh oh, oh oh
Oh oh, oh oh, oh oh

Emotion is a virtue
For you it is the one fatal flaw
Sitting on your throne and drinking
Thinking she'll return your call

Every story's got an ending
Look out, here it comes, here it comes

And I won't feel bad at all
When the hero takes a fall
When the hero takes a fall
(Hero takes a fall) oh no

Oh oh, oh oh, oh oh
Oh oh, oh oh, oh oh
Oh oh, oh oh, oh oh

Tell Me

Threw away the things you loved
Now you want me to forgive you
Surprise surprise, I'm moving on,
Yeah, I'm moving on

What a shock it is to see
That I can walk away so easily
Isn't it funny how hard it's turned out
This time I'm moving on

Tell me, te ll me
While I still have the time
Are you gonna find a love
That’s truer than mine

One, two, three abandon me
Eight, nine, ten, you’re back again
Well too bad baby, this time you lose,
'Cause I'm moving on.

Tell me, tell me
While I still have the time
Are you gonna find a love
That’s truer than mine

One, two, three abandon me
Eight, nine, ten, you’re back again
Well too bad baby, this time you lose
'Cause I'm moving on,
I'm moving on

Going Down to Liverpool

Hey now
Where you going with that load of nothing in your hand
I said, hey now
All through this green and pleasant land.

I'm going down to Liverpool to do nothing
I'm going down to Liverpool to do nothing
I'm going down to Liverpool to do nothing
All the days of my life
All the days of my life

Hey there
Where you going with that UB40 in your hand
I said, hey there.
All through this green and pleasant land

I'm going down to Liverpool to do nothing
I'm going down to Liverpool to do nothing
I'm going down to Liverpool to do nothing
All the days of my life
All the days of my life.

Hey now
Where you going with that UB40 in your hand
I said hey now
All through this green and pleasant land

I'm going down to Liverpool to do nothing
I'm going down to Liverpool to do nothing
I'm going down to Liverpool to do nothing
All the days of my life
All the days of my life

:guitar: :banana: :mango

ABlairican Pie

11-29-2006, 01:03 AM

1984 was also the year which saw the rise of another female talent, Cyndi Lauper. Born in 1953 in Ozone Park, New York, Lauper dropped out of high school and moved to Canada before returning to her home state to play in local cover bands in the late 70's. Unfortunately, she damaged her vocal chords and spent a year off taking lessons from a vocal coach. The next year, she joined a band called Blue Angel and performed her own songs. The band recorded a critically acclaimed self-titled debut album which "went lead", in her words. The band broke up and she filed for bankruptcy and had to work at a thrift store and other retail outlets to put food on the table, and continued to sing cover songs.

In 1981, her future manager David Wolff heard her sing and got her signed to a major record label. Her first solo album, She's So Unusual, was recorded in December 1983 and hit the charts the following year. The idiosyncratic, infectious and zany new wave-y teen-pop style tunes were a runaway hit and made her known all over. She captured everyone's heart with her Betty-Boop vocals on the song and video for "Girls Just Want to Have Fun", which was hailed as a female-empowering anthem. Young fans were enthralled by her wacky, punky fashion sense. Other songs included the ballad "Time After Time", which was written by Rob Hyman of The Hooters, a band which would hit it big in 1985, "Money Changes Everything", "All Through the Night", and "She-Bop", which would raise the eyebrows of more than a few members of the church brigades (including a cetain Tennessee senator's wife) of a *different* form of female empowerment and *taking things well in hand*. ;)

"Time After Time" was covered a number of artists in the years since its release. By the end of the year, she was the first female to have four consecutive Billboard Hot 100 top-five hits from one album. Needless to say, Cyndi Lauper never needed to worry about working back at Screaming Mimi's thrift store for a good long time.

Girls Just Want To Have Fun

I come home in the morning light
My mother says when you gonna live your life right
Oh mama dear we're not the fortunate ones
And girls they want to have fun
Oh girls just want to have fun

The phone rings in the middle of the night
My father yells what you gonna do with your life
Oh daddy dear you know you're still number one
But girls they wanna have fun
Oh girls just wanna have--

That's all they really want
Some fun
When the working day is done
Oh girls-- they wanna have fun
Oh girls just wanna have fun

Some boys take a beautiful girl
And hide her away from the rest of the world
I want to be the one to walk in the sun
Oh girls they wanna have fun
Oh girls just wanna have--

That's all they really want
Is some fun
When the working day is done
Oh girls--they wanna have fun
Oh girls just wanna have fun,

They just wanna, they just wanna,
They just wanna, they just wanna
Oh girls-- girls just wanna have fun

They just wanna, they just wanna,
They just wanna, they just wanna
Oh girls-- girls just wanna have fun

When the working-- when the working day is done
Oh, when the working day is done
Oh girls-- girls just wanna have fun

They just wanna, they just wanna,
They just wanna, they just wanna
Oh girls-- girls just wanna have fun

When the working-- when the working day is done
Oh, when the working day is done
Oh girls-- girls just wanna have fun

All Through the Night

All through the night
I'll be awake and I'll be with you
All through the night
This precious time when time is new
Oh, all through the night today
Knowing that we feel the same without saying

We have no past we won't reach back
Keep with me forward all through the night
And once we start the meter clicks
And it goes running all through the night
Until it ends there is no end

All through the night
stray cat is crying so stray cat sings back
All through the night
They have forgotten what by day they lack
Oh under those white street lamps
There is a little chance they may see

We have no past we won't reach back
Keep with me forward all through the night
And once we start the meter clicks
And it goes running all through the night
Until it ends there is no end

Oh the sleep in your eyes is enough
Let me be there let me stay there awhile

We have no past we won't reach back
Keep with me forward all through the night
And once we start the meter clicks
And it goes running all through the night
Until it ends there is no end
Keep with me forward all through the night
And once we start the meter clicks
And it goes running all through the night
Until it ends there is no end

Time After Time

Lying in my bed I hear the clock tick,
And think of you
Caught up in circles confusion
Is nothing new
Flashback warm nights
Almost left behind
Suitcases of memories,
Time after

Sometimes you picture me
I'm walking too far ahead
You're calling to me, I can't hear
What you've said
Then you say go slow
I fall behind
The second hand unwinds

If you're lost you can look and you will find me
Time after time
If you fall I will catch you I'll be waiting
Time after time

If you're lost you can look and you will find me
Time after time
If you fall I will catch you I'll be waiting
Time after time

After my picture fades and darkness has
Turned to gray
Watching through windows you're wondering
If I'm OK
Secrets stolen from deep inside
The drum beats out of time

If you're lost you can look and you will find me
Time after time
If you fall I will catch you I'll be waiting
Time after time

You said go slow
I fall behind
The second hand unwinds

If you're lost you can look and you will find me
Time after time
If you fall I will catch you I'll be waiting
Time after time

If you're lost you can look and you will find me
Time after time
If you fall I will catch you, I will be waiting
Time after time

Time after time
Time after time
Time after time

She Bop

We-hell-I see them every night in tight blue jeans--
In the pages of a blue boy magazine
Hey I've been thinking of a new sensation
I'm picking up--good vibration--
Oop--she bop--

Do I wanna go out with a lion's roar
Huh, yea, I wanna go south n get me some more
Hey, they say that a stitch in time saves nine
They say I better stop--or I'll go blind
Oop--she bop--she bop

She bop--he bop--a--we bop
I bop--you bop--a--they bop
Be bop--be bop--a--lu--she bop,
I hope He will understand
She bop--he bop--a--we bop
I bop--you bop--a--they bop
Be bop--be bop--a--lu--she bop,
Oo--oo--she--do--she bop--she bop

(whistle along here)...

Hey, hey--they say I better get a chaperone
Because I can't stop messin' with the danger zone
No, I won't worry, and I won't fret--
Ain't no law against it yet--
Oop--she bop--she bop--

She bop--he bop--we bop...

Money Changes Everything

She said I'm sorry baby I'm leaving you tonight
I found someone new he's waitin' in the car outside
Ah honey how could you do it
We swore each other everlasting love
She said well yeah I know but when
We did--there was one thing we weren't
Really thinking of and that's money--

Money changes everything
Money, money changes everything
We think we know what we're doin'
That don't mean a thing
It's all in the past now
Money changes everything

They shake your hand and they smile
And they buy you a drink
They say we'll be your friends
We'll stick with you till the end
Ah but everybody's only
Looking out for themselves
And you say well who can you trust
I'll tell you it's just
Nobody else's money--

Money changes everything
Money changes everything
We think we know what we're doin'
We don't pull the strings
It's all in the past now
Money changes everything

Money changes everything
Money changes everything
We think we know what we're doing
We don't know a thing
It's all in the past now

Money changes everything
Money changes everything
Money changes everything

:guitar: :banana: :mango

Included below is a clip from the She Bop video, where the actors have *gone blind* apparently from following the song's instructions. Lauper intended young people to think of the song as simply a dance song (the title "She Bop" sounds like "Be Bop a Lula") and figure out the real meaning later. She never spelled out the song's real meaning in order for it to gain airplay, which it did. But the morality militia was on to her in a heartbeat. A year later she would be on someone's "Filthy Fifteen list". It was not hard to figure out, with the set of a fast food restaurant with the sign "self-service", among other things The song was in the Top 5 in many countries including America.

ABlairican Pie

11-29-2006, 09:22 AM

While there were a number of new faces cropping up on the music scene in 1984, an older face re-appeared who would in fact be a new one to many: Tina Turner, who had gained fame back in the late 60's and 70's as the focal point of the duo Ike and Tina Turner. Having divorced from Ike for the past several years for extreme spousal abuse, she began to rebuild her career as a solo artist. She was a huge hit touring the stages of Europe, but record company heads in America felt her music would not catch on here. She proved them wrong with her 1984 album Private Dancer, whose title track was written by Dire Straits' Mark Knopfler, and featured such songs as her #1 hit "What's Love Got to Do With It?", and "Better Be Good To Me". The album sounded fresh and current, and as the success of the album rapidly escalated, she soon went from small theater venues to arenas in no time.

Tina Turner was born Anna Mae Bullock in Brownsville, Tennessee in 1939. At an early age, she and her sister were abandoned by both parents but reunited later with them in St. Louis in 1956. During that time, she met Ike Turner, known as perhaps the writer of the first rock and roll song ("Rocket 88", in 1951, the first song known to have used a primitive form of guitar distortion with an amplifier speaker that was slightly jarred when dropped), whome she asked if she could sing in his group. He turned her down but later
took her under his wing when she insisted. He gave her a new stage name, Tina Turner in 1958, several years before they actually married in 1962. She became the star attraction of his soul revue act, Ike Turner and the Kings of Rhythm. When Tina jumped in the studio to record a popular r & B song, "A Fool In Love", when the original singer failed to show up, the single became a hit on the r &b charts and crossed over into the Top 30 on the American pop charts. The success of the song made Ike change the name of the group to
Ike and Tina Turner. They became huge stars in the years to follow, and his backup singers, the Ikettes, would thrill audiences as well with their elaborate
dance routines, influencing such performers as Mick Jagger, who had the group open for them on The Stones' 1969 tour. Ike and Tina Turner recorded a string of hits in the 1960s and early 1970s, including "A Fool In Love," "It's Gonna Work Out Fine," "I Idolize You," "Nutbush City Limits," and "River Deep - Mountain High" with producer Phil Spector in his Wall of sound style. They also carved out a successful niche for themselves by covering songs made popular by other artists, such as "Come Together", "Honky Tonk Woman" and "I Want to Take You Higher". In fact, their signature hit became their high-energy cover version of Creedence Clearwater Revival's 1968 "Proud Mary". "Proud Mary" was the duo's greatest commercial successes, peaking at number four in March 1971. One notices Ike's deep baritone background vocals while Tina sings a spirited lead lyrics.

In the late 60's and early 70's, it was not unheard of for the group to go from
a supper club in the South one night and onto a major arena the next. They also wowed many on television, as the group was widely praised by many big names in the music industry, such as Elvis, David Bowie, Cher, Sly Stone, Janis Joplin, James Brown, Elton John and others. But as their star rose, Tina's personal life began to fall into decline as Ike, the manager of the group
as well as its founder and musical leader, began to call the shots and ran it like a dictatorship. His control intensified and worsened as one pitfall of fame entered the picture: drugs, and while under the influence, he would beat, abuse, control and humiliate his wife Tina. His erratic behavior caused the group to undergo a revolving-door lineup change, while Tina was stuck in a loveless marriage marred by violence and isolation. Ike refused to accept outside managerial influence, convinced of his own abilities which were hampered by drug-influenced judgement. Consequently, the group began to founder, and in spite of Tina's success on The Who's movie "Tommy" as the Acid Queen, Ike blamed her for the group's decline.

On the night before they were scheduled to perform for the Bicentennial 4th of July, 1976, in Dallas, Ike had beated her badly that Tina decided that she had had enough. She fled out the door with nothing more than thirty-six cents and a gas-station credit card. She spent the next few months hiding from Ike by staying with various friends and relying on food stamps to exist.
Tina credits her newfound Buddhist faith with giving her the courage to eventually strike out on her own. Legally, by walking out on Ike in the middle of a tour, she learned she was liable for sizable damages to the tour promoters. Needing to earn a living, Tina decided to strike out on her own as a solo performer, pulling a lounge act together and supplementing her income with TV appearances on shows like The Hollywood Squares, Donny and Marie, The Sonny & Cher Comedy Hour and even the The Brady Bunch Hour.

Tina finalized her divorce in 1978 after 18 years of marriage, accusing Ike of years of severe spousal abuse and rampant drug addiction in her autobiography I, Tina, which was later made into the film What's Love Got to Do with It?. To put the marriage (and Ike) behind her, Tina left the marriage with no money or property, asking for and retaining only the use of the stage name Ike had given her, and assuming responsibility for the huge debts incurred by the cancelled tour, as well as a significant IRS lien.

In the years that followed, her career was at a standstill until she covered The Temptations' "Ball of Confusion" and Al Green's "Let's Stick Together" in 1982. Because of her previous legal and personal troubles over her abandoning the Ike and Tina act in mid-tour, she was considered unmarketable in America, but as record company executives saw that she had a very strong following in Europe where she toured regularly, they decided to give her a second chance, which led to the release of Private Dancer. Not only did she win four Grammies for the album, but it established her as a major sex symbol with her sizzling legs. :grineyes:

Better Be Good To Me

A prisoner of your love
Entangled in your web
Hot whispers in the night
I'm captured by your spell
Oh yes I'm touched by this show of emotion
Should I be fractured by your lack of devotion
Should I, should I?

You better be good to me
That's how it's gotta be now
Cause I don't have no use
For what you losely call the truth
You better be good to me

I think it's also right
That we don't need to fight
We stand face to face
And you present your case
And I know you keep telling me that you love me
And I really do wanna believe
But did you think I'd just accept you in blind faith
Oh sure babe, anything to please you

You better be good to me
That's how it's gotta be now
Cause I don't have the time
For your over loaded lines
You better be good to me

And I really don't see why it's so hard to be good to me
And I don't understand what's your plan that you can't be good to me
What I can't feel I surely cannot see, why can't you be good to me
And if it's not real I do not wish to see, why can't you be good to me

What's Love Got To Do With It?

You must understand how the touch of your hand
Makes my pulse react
That it's only the thrill of boy meeting girl
Opposites attract
It's physical
Only logical
You must try to ignore that it means more than that

What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken

It may seem to you that I'm acting confused
When you're close to me
If I tend to look dazed I've read it someplace
I've got cause to be
There's a name for it
There's a phrase that fits
But whatever the reason you do it for me

What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken

I've been taking on a new direction
But I have to say
I've been thinking about my own protection
It scares me to feel this way

*(What's love got to do, got to do with it
What's love but a second hand emotion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken

What's love got to do, got to do with it
What's love but a sweet old fashioned notion
What's love got to do, got to do with it
Who needs a heart when a heart can be broken) *

Private Dancer

All the men come in these places
And the men are all the same
You don't look at their faces
And you don't ask their names
You don't think of them as human
You don't think of them at all
You keep your mind on the money
Keeping your eyes on the wall

I'm your private dancer, a dancer for money
I'll do what you want me to do
I'm your private dancer, a dancer for money
And any old music will do

I want to make a million dollars
I wanna live out by the sea
Have a husband and some children
Yeah, I guess I want a family
All the men come in these places
And the men are all the same
You don't look at their faces
And you don't ask their names

I'm your private dancer, a dancer for money
I'll do what you want me to do
I'm your private dancer, a dancer for money
And any old music will do

Deutch marks or dollars
American Express will do nicely, thank you
Let me loosen up your collar
Tell me, do you wanna see me do the shimmy again?

:banana: :mango

ABlairican Pie

11-30-2006, 08:45 AM

1984 was also the year that saw Tina Turner engaged in other projects than her own solo career, such as recording a duet with Bryan Adams for his 1985release "It's Only Love", as well as acting in Mel Gibson's fantasy adventure movie 'Mad Max Beyond Thunderdome' which was also released the following year. The movie featured the Grammy-winning song sung by Turner, "We Don't Need Another Hero".

We Don't Need Another Hero

Out of the ruins
Out from the wreckage
Can't make the same mistake this time
We are the children
the last generation
We are the ones they left behind
And I wonder when we are ever gonna change it
Living under the fear till nothing else remains

We don't need another hero
We don't need to know the way home
All we want is life beyond the thunderdome

Looking for something we can rely on
There's got to be something better out there
Love and compassion, their day is coming
All else are castles built in the air
And I wonder when we are ever gonna change it
Living under the fear till nothing else remains
All the children say

We don't need another hero
We don't need to know the way home
All we want is life beyond the thunderdome

So, what do we do with our lives
We leave only a mark
Will our story shine like a light
Or end in the dark
Give it all or nothing

ABlairican Pie

11-30-2006, 09:22 AM

As some musicians such as Tina Turner were turning to acting, other actresses were turning to music. One such performer brought attention to her solo album released in the summer of 1984, a beautiful young woman hiding behind a facade of ditzy shallowness and self-importance, one whom many knew on a weekly basis known as the real*Material Girl*:

LISA WHELCHEL: ROCK GODDESS!!!!!!!!!!!

The girl who played rich, attractive, and egotistical Blair Warner on The Facts of Life released her album titled All Because of You that year, which made many young fans aware of another side of her talents. The album was a collection strong contemporary Christian pop, very upbeat and heartfelt, a sound reminescent of The Go-go's and Cyndi Lauper, as well as one other female artist (*coughcoughshewhowould giveuscandleboxcoughcough*) who would make waves that year.

Lisa Whelchel was born in 1963 in Littlefield, Texas, and became a Christian what she describes as a very profoundly moving born again experience when she was ten. Her family were Christians, but not practicing much, but Lisa and one of her friends, who liked to dress up, decided to go to a place where
she would be noticed for her ritzy dressing: church. She went to a Sunday school which had doughnuts and orange juice and enjoyed it, but was left with one strong impression in her life. She became more acquainted with Jesus, and that there was something about him that made her want to change her life and embrace something....something which made her feel good, something that made her feel loved. Something that was much bigger than herself. The more she attended, the more she wanted. She responded to an alter call to embrace being born again, and when she did, a deep sense of peace and acceptance flooded her to where she began crying, she could not understand why. Her father and Sunday school teacher explained that she was now born again in Jesus, that God was in her life. The experience was so strong and powerful that it left an indelible impression on her. She told all her friends and when she came back to school that fall, she had an opportunity during Show and Tell time to tell her class what had happened to her at church. She then closed her statements with an invitation to her classmates that if they wanted to become born again in Jesus, too, to meet her after school and she would pray with them! :)

In this day and age, that would NOT be possible at school. :rolleyes:

Her first song from the album was one of the greatest songs ever written. She was so enthused that she made you feel what she was singing!

Love Believer

When you look for other people's love
Do you ever feel it's not enough?
And when you look for a friend who cares
Would it help to know the Lord is there?

He really loves you
Just start believin' it's true
He really wants you to be a--

Love Believer
So take the love He's given to you
Love Believer
'Cause everything He's promised is true
Love Believer
Listen to the song that I sing
You are a child of the King

Are you really glad to be yourself
Or do you wish that you were someone else
You know you really ought to keep in mind
That you're exactly what the Lord designed

(pre-chorus)
(chorus)

(pre-chorus)
Just trust Him, and you will be a--

Love Believer...
(chorus)

Now you know His will
Let your life be filled
Love Believer
Now the blessings start
Open up your heart
Love Believer
You are a Love Believer

:guitar: :banana: :mango

With George Clooney and with Miss Piggy!!! :lol:

Steve M.

11-30-2006, 07:52 PM

As mentioned in the eighties thread, Bob Seger began the decade with his 1980 release Against The Wind - an ironic title, because it was his most mainstream album to date.

Critics - who regarded Seger as an esteemed artist - slammed the album for being too conservative and too much in the vein of laid-back LA rock. Even worse was the rampant sexism in several songs. "Her Strut" sounded like a Kiss song with its putdowns of a woman for being "totally committed to major independence," and "Betty Lou's Gettin' Out Tonight" was a song about wanting to gang-bang a town flirt. :eek: "Fire Lake" imagined "bronzed beauties" who "lay you down so fast." Rock journalist Dave Marsh was partiucuarly peeved at what he considered a sellout by Seger to West Coast country rock, which he blamed the Eagles for. Glenn Frey was a Seger crony, and he, Don Henley, and Timothy B. Schnmit appeared on Against The Wind. Marsh went as far to claim that the Eagles influence was responsible for their sexist lyrics, although the Eagles were far more focused in their sexism towards specific females rather than towards women in general. Some folks defended Seger's gambit as an artistic risk, but Marsh, finding no artistic value in late-seventies West Coast rock, would have none of it. "What Seger does," he declared, "is risk his credibility, and that he does accidentally."

Nevertheless, Against The Wind still became Seger's bestselling album ever. And critics and longtime Seger fans did agree on one thing - the title song was great one, even if the rest of the album was disposable.

Against the Wind - Bob Seger and the Silver Bullet Band

(Seger)

It seems like yesterday,
But it was long ago.
Janey was lovely, she was the queen of my nights
There in the darkness with the radio playlng low,
And the secrets that we shared,
The mountains that we moved
Caught like a wildfire out of control
Till there was nothing left to burn and nothing left to prove.

And I remember what she said to me,
How she swore that it never would end.
I remember how she held me oh so tight,
Wish I didnt know now what I didnt know then.

Against the wind,
We were runnin' against the wind.
We were young and strong, we were runnin'
Against the wind.

And the years rolled slowly past,
And I found myself alone,
Surrounded bv strangers I thought were my friends.
I found myself further and further from my home,
And I guess I lost my way,
There were oh so many roads.
I was living to run and running to live,
Never worried about paying or even how much I owed.
Moving eight miles a minute for months at a time
Breaking all of the rules that would bend
I began to find myself searchin',
Searching for shelter again and again.
Against the wind,
A little something against the wind.
I found myself seeking shelter against the wind.

Well those drifters days are past me now,
Ive got so much more to think about.
Deadlines and commitments,
What to leave in, what to leave out.

Against the wind
Im still runnin' against the wind.
Well Im older now and still runnin'. . . .
Against the wind.

Against the wind. . .
See the young man run
Watch the young man run
See the young man running,
He'll be running against the wind.

Let the cowboys ride!
Ahhhhhhhhh. . . .
Let the cowboys ride!
They'll be riding against the wind.
Against the wind. . . .

Steve M.

11-30-2006, 08:11 PM

If Bob Seger surprised longtime admirers from his Detroit days by going Hollywood, his next move was equally surprising. After Against The Wind, Seger got around to realizing that living on the West Coast, as he was doing then, didn't make him a West Coast rocker. He returned to his Motor CIty roots for The Distance his 1983 album. There were still touches of West Coast production here and there - Seger had an affinity for LA rock he wouldn't erntirely abandon - but The Distance sounded more like the records he used to make back when he was a star in Michigan and nowhere else.

The Distance started out as a concept album about the emotional distance between men and women, but it became much more. It ws an album about ordinary people trying to make the most out of the adversity of the times. Many of the themes Seger explored on the record would be revisited to greater effect by Bruce Springsteen a year later on Born In the U.S.A. Except that Seger is the better singer.

"Even Now" was a popular rocker, and Seger dispalyed his ability to sing ballads - and harmonize with old buddy Glenn Frey - by covering Rodney Crowell's "Shame On the Moon."

Even Now - Bob Seger and the Silver Bullet Band

(Seger)

There's a highway, a lonesome stretch of gray,
It runs between us, and takes me far away.
Out in the distance, always within reach,
There's a crossroad, where all the victims meet.
I close my eyes, and see her face,
It's all I want to see.
And deep inside, it still amazes me. . .

Even now
She's all that I want
She's all that I need
Even now
She's givin' it all
She's givin' it free
Even now
When everything's right
When everything's wrong
Even now
She's keepin' me straight
She's keepin' me strong
She gets to me, somehow,
Even now.

And through the darkness, through all the endless days,
Through all the changes, the pointless one act plays,
I can still make it, I can still stand tall,
Cause I've got my girl, to get me through it all.
Through all the doubt, and all the fear
And all that I can't say,
Still somehow she'll help me find my way.

Even now
She's still in my heart
She's still in my soul
Even now
She's still on my mind
Wherever I go
Even now
Through all of my days
And all of my nights
Even now
She's keepin' it real
She's keepin' it right
She gets to me, somehow
Even now
Ahhh
She's all that I want
She's all that I need
Even now
She's givin' it all
She's givin' it free
When everything's right
When everything's wrong
She's keepin' it real
She's keepin' it strong
Even now.

Shame On the Moon - Bob Seger and the Silver Bullet Band

(R. Crowell)

Until you've been beside a man,
You don't know what he wants.
You don't know if he cries at night,
You don't know if he don't
When nothin' comes easy,
Old nightmares are real.
Until you've been beside a man,
You don't know how he feels.

Once inside a woman's heart,
A man must keep his head.
Heaven opens up the door
Where angels fear to tread.
Some men go crazy,
Some men go slow,
Some men go just where they want,
Some men never go.

Oh, blame it on midnight.
Ooh, shame on the moon.

Everywhere its all around,
Comfort in a crowd.
Strangers' faces all around,
Laughin' right out loud.
Hey watch where your goin',
Step light on old toes.
'Cause until you've been beside a man
You don't know who he knows.

Oh blame it on midnight.
Ooh shame on the moon.
Oh blame it on midnight.
Ooh shame on the moon.

Steve M.

11-30-2006, 08:30 PM

Unlike Springsteen, Bob Seger really did work in a factory. And being from Detroit, the factory he worked in obviously made cars. "Makin' Thunderbirds," his paean to the American autoworker at a time when the Japanese car comapnies commenced the act of to eating Detroit for lunch (still in progerss!). The song wasn't completely autobiographical - it was about the original 1955 T-Bird, and Seger was ten years old when that car debuted - but it captured the spirit of a generation of working class heroes who had seen better days.

"Makin' Thunderbirds," featuring Bonnie Raitt on backing vocals, was released as a single off The Distance in 1983. Ironically, its release coincided with that of the radical new '83 T-Bird, which was designed in the style of a German sport coupe (specifically, a BMW 6-series) in what auto magazines claimed was the most daring car from Ford since the original '55 'Bird - or at least since a rear seat was added in 1958.

Makin' Thunderbirds - Bob Seger and the Silver Bullet Band

(Bob Seger)

The big line moved one mile an hour
So loud it really hurt,
The big line moved so loud,
It really hurt.
Back in '55
We were makin' Thunderbirds.

We filled conveyors,
We met production,
Foremen didn't waste words.
We met production,
Foremen didn't waste words.
We were young and proud,
We were makin' Thunderbirds.

We were makin' Thunderbirds,
We were makin' Thunderbirds,
They were long and low and sleek and fast,
They were all you ever heard,
Back in '55
We were makin' Thunderbirds.

Now the years have flown and the plants have changed,
And you're lucky if you work.
The big line moves but you're lucky if you work.
Back in '55
We were makin' Thunderbirds

We were makin' Thunderbirds,
We were makin' Thunderbirds,
They were long and low and sleek and fast,
They were classic in a word.
Back in '55
We were makin' Thunderbirds.
We were young and proud,
We were makin' Thunderbirds.
We were young and sure.
We were makin' Thunderbirds.

(Below: the original 1955 Thunderbird, and below that, the swoppy 1983 model. Incidentally, the video for this single was filmed in a Ford plant - but one that produced Mustangs, as many car fans noted upon seeing what the assembly line workers in the video were makin.')

http://www.musclecarclub.com/musclecars/ford-thunderbird/images/ford-thunderbird-1955a.jpg

Steve M.

11-30-2006, 08:47 PM

When it came to music video, Bob Seger was old school. Although several American and British rock veterans have made promotional videos for singles by 1983, Seger was reluctant to do so. When he finally succumbed to the video age, he chose to show himself as a musician playing the song, not a character invented by the video director, and he would use clips like that from the Ford factory to emphasize the lyrics of his songs.

Like any other artiste, Seger made videos for current singles. But thanks to a hot movie starring then-unknown actor Tom Cruise, a Seger hit from five years earlier became so popular - because of Cruise vamping and lip-synching to the song in his underwear in the movie - that Seger made a video for it that interspersed clips of himself and the Silver Bullet Band with clips from the movie. The movie was Risky Business; the song was "Old Time Rock and Roll." :)

I posted the lyrics for this song in the seventies thread, so I won't repeat myself. :D

http://images.amazon.com/images/P/0790732203.01._SCLZZZZZZZ_.jpg

(A poster for the movie Risky Business, which, for better or for worse, made Tom Cruise a star.)

ABlairican Pie

12-01-2006, 12:59 AM

Through her early teen years, Lisa felt isolated, alone, "nerdy" in school. She felt shy and awkward, as most teen girls do. Her mother Ginny suggested she take acting lessons to overcome her shyness. She did, and one thing led to another--soon she was taking parts in theater and stage groups in downtown Fort Worth. She then found out in TV Guide that Disney was holding auditions for a new version of The Mickey Mouse Club, the show that brought stars such as Annette Funicello and Tim Considine into the limelight in the 50's. Knowing Disney to produce wholesome entertainment which best reflected her values, she bombarded the entertainment giant with letters, but was turned down, they replied they already had completed the auditions. Desparate, she wrote another letter, pleading to give her just one chance to audition, since Disney was the company which best exemplified her morals and provided quality entertainment. They listened, and asked her over. She took a long bus ride from Texas to Los Angeles to stay with her grandmother there She aced the audition with playing a song on guitar as well using a ventriloquist doll act (her puppet was named "Arthur"). They were so impressed with her audition that they put her on the cast of the show!

You'll never guess who she had just beat out for the part on the New Mickey Mouse Club in 1977. Don't worry, we'll hear more about her in the 90's. And never stop hearing about her since! ohno: :lol: Wouldn't we just *love* to know! ;)

The New Mickey Mouse Club lasted a few seasons, but only went down as the show with "the forgotten Mouseketeers". No one other than Lisa, with the exception of her future Facts of Life castmate Julie Piekarski, would achieve any level of noteriety. The show was cool in that it was in color, but lame for "disco-fying" the original theme song. She says she did have fun getting paid to fling pies into other cast members' faces.

She chafed under her diet of dry toast and grapefruit, not being allowed to eat anything else on the show, in order to keep her weight down, but one Christmas her mother sent her favorite food: Life cereal!! :liplick:

This song was energetic, reminescent of Olivia Newton-John's "Living In Desparate Times":

Just Obey

Now here this--obedience
We can show we are His
Do His will, obedience
You will know peace revealed

You may be scared that you can't
You can't unless you take the chance
God will not fail you

chorus:
If you will only just obey
He will make a way
If you will just obey
You will hear Him say
"You have loved Me
Come and join Me"
Just obey

I'm aware obedience
Can be hard, seem unfair
Don't ask why, obedience
Why waste time, time can fly

He will never ask you to do
something that's too hard for you
He will not fail you

Jesus left His high station
His place of exaltation
To take on human form and breath
He bought us redemption
When He fulfilled His mission
He was obedient unto death

chorus

:guitar: :banana: :mango

Lisa and Erin Moran ("Happy Days") in the 1982 movie 'Twirl', about two girls competing in a baton twirling contest; a few New Mickey Mouse Club photos, including one of her as the Queen of Hearts from Alice In Wonderland; and a few from The Facts of Life:

http://www.geocities.com/phxprods/lisa4.jpg

Steve M.

12-01-2006, 08:09 AM

Well, we know the source of your SO handle now, don't we, Greg? :lol:

ABlairican Pie

12-01-2006, 08:14 AM

Well, we know the source of your SO handle now, don't we, Greg? :lol: :yeahthat :nod: THAT'S RIGHT!!!! :D :lol:

ABlairican Pie

12-01-2006, 09:09 AM

After the show ended in 1978, Lisa appeared on a few t.v. sitcom episodes such as The Mary Tyler Moore Show and Family, as well as a few movies such as the mystery "The Double McGuffin" and "The Magician of Lublin", a movie at which she cringes due to to the racy nature and nudity of some parts, something not in keeping with the image she wished to present. Fortunately, according to her, the movie bombed. She also did appear in a Disney movie, "Shadow of Fear".

Soon, she was offered a role for a new t.v. sitcom which needed a young girl, NBC's Hello Larry, an indirect spinoff of "Diff'rent Strokes" which starred the late McLean Stevenson, formerly of M*A*S*H* as a talk show host at a radio station in Portland, Oregon. She turned it down (which was a wise move, as the show lasted for only over a year) in favor of another actual spinoff of "Diff'rent Strokes", a teen-oriented sitcom called "The Facts of Life", which starred the Drummonds' housekeeper Mrs. Garrett as a housemother for a private girls' school in upstate New York. Lisa auditioned for the role as a rich fast-talkin' Texan gal with an accent, but when she read her role, the producers were very impressed with her delivery as a "pragmatic", pompous, stuffy and self-absorbed "all that" kind of rich kid (minus the Texan drawl). Not only did her reading of the lines hit the mark, but one of the producers later said in an E! Hollywood True Story interview that Lisa was "the most beautiful teen girl he had ever seen"! :eyes:

Thus, Blair Warner was born.

This next song was nominated for a Grammy in 1984 in the Best Inspirational Song (but didn't win). It was the song on Christian radio that got me interested in her music, it was so beautiful:

How High, How Deep, How Wide

Soft as the rain Your love showers down
Warm as the morning You shine
Lord You love each child
Each fingerprint, each smile
The measure of Your heart
Defies the human mind

chorus:
Lord, how high, how deep, how wide
Is this love of Yours
For our minds can't measure
Treasure You hold in store
Lord, how high, how deep, how wide
Does Your love extend
Just as high and deep and wide
As Your love which has no end

There is no way that You'll love us less
No way You could love us more
Lord what can defeat
A love that's so complete
For though this world will fade
Your ageless love endures

chorus

(instrumental break)

repeat chorus

One of the pics below includes Lisa with Julie Piekarski ("Sue Ann" in the first FOL season) as well as one with as Nancy McKeon ("Jo");

Steve M.

12-01-2006, 07:20 PM

The New Mickey Mouse Club lasted a few seasons, but only went down as the show with "the forgotten Mouseketeers". No one other than Lisa, with the exception of her future Facts of Life castmate Julie Piekarski, would achieve any level of noteriety.

I remember Anita and Mindy, they were my favorites. Especially Anita - or Nita, whatever it was. Wonder what happened to them? :confused:

Steve M.

12-01-2006, 07:42 PM

When Kiss released Lick It Up, the first album from their "unmasked years," President Reagan oredered the invasion of Grenada to get rid ofthe communist govenrment there for. . . no apparent reason. Gene Simmons and Paul Stanley were very upset with Reagan's treigger-happy foreign policy, and they wanted to protest the invasion. But they couldn't do it as Kiss, because they didn't want to alienate the politcially apathetic stoners who were their fan base. So they resurrected their original group. . .

PSYCHIC TOMATO!!

With session lead guitarist George Stephanopoulos and session drummer Jim Belushi, Psychic Tomato recorded an antiwar song "You say Grenada, I Say Granada, "Let's Call the Whole War Off." As soon as it was out, though, the war was over and the Americans won. To show their soildarity with the Grenadian people, Psychic Tomato palyed a benefit concert in the capital, St. George's, and taped it for MTV.

Unfortunately, Defense Secretary Caspar Weinberger confiscated the videotape. Due to U.S government restrictions, cameras were not allowed on the island. :D

http://www.bbc.co.uk/threecounties/community/carnival/carnival_gallery/images/carnival_people1.jpg
(Psychic Tomato in Grenada, 1983. From left, Gene Simmons, Paul Stanley, George Stephanopoulos, and Jim Belushi.)

P.S. The only things true about this post were a) the 1983 release of Lick It Up, the invasion of Grenada, and the camera ban. :lol:

Steve M.

12-01-2006, 08:05 PM

In 1983, Paul Simon and Art Garfunkel followed up their historic Central Park concert of two years earlier with a U.S. tour. They had hoped to make the reunion permanent, recording an album to be called Think Too Much to be released after the tour. But continuing disagreements with each other caused Simon to erase Garfunkel's harmonies from the master tape and rename the album after another song on the record - Hearts and Bones.

Simon did, though, invite Garfunkel to his wedding to actress Carrie Fisher.

Hearts and Bones was released to universal critical acclaim, but record buyers too busy buying Michael Jackson records couldn't care less. Simon's marriage to Carrie Fisher was just as big a flop. But the record produced a lot of fine songs, including the title song and "Train In the Distance."

Hearts and Bones - Paul Simon

(Simon)

One and one-half wandering Jews,
Free to wander wherever they choose,
Are travelling together
In the Sangre de Cristo,
The Blood of Christ Mountains
Of New Mexico.
On the last leg of the journey
They started a long time ago
The arc of a love affair,
Rainbows in the high desert air,
Mountain passes slipping into stones.
Hearts and bones,
Hearts and bones,
Hearts and bones.

Thinking back to the season before,
Looking back through the cracks in the door,
Two people were married.
The act was outrageous.
The bride was contagious,
She burned like a bride.
These events may have had some effect
On the man with the girl by his sid.e
The arc of a love affair,
His hands rolling down her hair,
Love like lightning shaking till it moans.
Hearts and bones,
Hearts and bones,
Hearts and bones.

And whoa whoa whoa
She said:
"Why,
Why don't we drive through the night?
We'll wake up down in Mexico.
Oh I,
I don't know nothin' about nothin' about
No Mexico.
And tell me why
Why won't you love me,
For who I am
Where I am?"
He said:
"'Cause that's not the way the world is baby,
This is how I love you, baby,
This is how I love you, baby."

One and one-half wandering Jews
Return to their natural coasts
To resume old acquaintances
Step out occasionally
And speculate who had been damaged the most
Easy time will determine if these consolations
Will be their reward.
The arc of a love affairm
Waiting to be restored.
You take two bodies and you twirl them into one,
Their hearts and their bones
And they won't come undone.
Hearts and bones,
Hearts and bones,
Hearts and bones,
Hearts and bones.

Train In the Distance - Paul Simon

(Simon)

She was beautiful as southern skies
The night he met her.
She was married to someone,
He was doggedly determined that he would get her.
He was old, he was young,
From time to time hed tip his heart
But each time she withdrew.
Everybody loves the sound of a train in the distance,
Everybody thinks it's true.

Well eventually the boy and the girl get married,
Sure enough they have a son.
And though they both were occupied
With the child she carried,
Disagreements had begun
And in a while they fell apart
It wasn't hard to do.
Everybody loves the sound of a train in the distance,
Everybody thinks its true.

Two disappointed believers,
Two people playing the game,
Negotiations and love songs
Are often mistaken for one and the same.

Now the man and the woman
Remain in contact,
Let us say its for the child.
With disagreements about the meaning
Of a marriage contract,
Conversations hard and wild.
But from time to time
He makes her laugh,
She cooks a meal or two.
Everybody loves the sound of a train in the distance
Everybody thinks it's true.
Everybody loves the sound of a train in the distance
Everybody thinks it's true.

What is the point of this story
What information pertains,
The thought that life could be better
Is woven indelibly
Into our hearts
And our brains.

This song, debuted live in 1981, is really depressing. :(

The Late Great Johnny Ace - Paul Simon

(Simon)

I was reading a magazine
And thinking of a rock and roll song.
The year was 1954
And I hadn't been playing that long.
When a man came on the radio
And this is what he said,
He said "I hate to break it
To his fans,
But Johnny Ace is dead."
Well, I really wasn't
Such a Johnny Ace fan,
But I felt bad all the same.
So I sent away for his photograph,
And I waited till it came.
It came all the way from Texas
With a sad and simple face,
And they signed it on the bottom
From the Late Great Johnny Ace.

It was the year of The Beatles,
It was the year of The Stones,
It was 1964.
I was living in London
With the girl from the summer before.
It was the year of The Beatles,
It was the year of The Stones,
A year after J.F.K.
We were staying up all night
And giving the days away,
And the music was flowing,
Amazing,
And blowing my way.

On a cold December evening
I was walking through the Christmas tide
When a stranger came up and asked me
If I'd heard John Lennon had died.
And the two of us
Went to this bar
And we stayed to close the place
And every song we played
Was for The Late Great Johnny Ace.

ABlairican Pie

12-02-2006, 12:22 AM

I remember Anita and Mindy, they were my favorites. Especially Anita - or Nita, whatever it was. Wonder what happened to them? :confused:I'm looking up their bios, and I've found that two of the Mouseketeers are no longer with us. Angel Florez died in 1995, and Scott Craig died in 2003. :( I'm trying to find out the causes.

Oddly, I don't really recall Lisa on the show, but I do remember a cute blonde named Kelly. :D

ABlairican Pie

12-02-2006, 02:12 AM

The first season of The Facts of Life was filled with fun with a set of new girls
to act with: Julie Piekarski (Lisa's co-star from The New Mickey Mouse Club) as Sue Ann, Blair's competition in the hottie department; Julie Anne Haddock as Cindy Webster, the campus tomboy athlete; Felice Schacter as Nancy Olson, the boy crazy girl who constantly talked about a mysterious "Roger"--in fact, she was the first girl chosen to be in the show; future 80's star Molly Ringwald as Molly Webber, campus folk singer in the vein of a teen Joan Baez; Mindy Cohn, the plus-sized "Magic Marker" of a girl always known to come up with clever ideas and witty insights to smooth out problems (this was before Blair popularized her catch-phrase, "I've just had another one of my brilliant ideas!!"); and Kim Fields as Dorothy "Tootie" Ramsey, an African-American girl always on roller skates (to improve her height though some complained it was a "racially insensitive" prop) who was strangely much younger than the other girls and did not seem to fit in a setting with high school-age girls--for this reason she was always trying to act "grown-up" though she was the campus tattletale and busybody.

The first season of the show was rather risque, as the girls traded (subtle) sexual banter and dressed rather provocatively--we ALL remember the hot pants and short shorts!! :grineyes: :drool: This was still done in a day and age where there was a bit of innuendo and a bit of provocativeness. The girls weren't trying to be gratuitous, though Blair was known to do things as smoke a cigarette in the first episode (to show her "bad girl" side, though she now regrets it), as well as promote herself as a "tease" (while not actually having "done" anything with a guy--but enjoyed the reputation of being someone who could have). Lesbianism was implied in the first episode where Blair accused tomboy Cindy of showing "too much" affection and enthusiasm with other girls. This was the only time where Blair was able to show her "wild" side. She was sexy, flirtatious, beautiful, and assertive all the way, for a girl of only seventeen, the daughter of a rich textile magnate in Texas (though officially Blair was a "New Yawkah"). The first season contained some of its most controversial episodes such as the one where Blair's friends, including Helen Hunt long before "Mad About You" aired, participate in a club which used pot. Another episode showed Blair, after a sex ed class taught by Mrs. Garrett, attempted to force herself on a guy in a Chevy van, with no success. Blair was depicted as a "bad girl" all the way that in the seasons which followed, it was going to be hard to think of Blair as the same girl. Lisa was growing up quickly from the ranks of the Mousketeers to the halls of Eastland, into a new mature role.

While on the set of The Facts of Life, Lisa did graduate high school by correspondence course. Unfortunately, by the end of the first season, the producers felt changes needed to be made in the show. The show lacked focus, as there were too many girls on which to center a decent story line. Some girls had to be dropped: Nancy, Sue Ann, Cindy, and Molly were written out, though they would have brief recurring parts in the next few seasons, while Blair, Natalie, and Tootie would remain. Plus, by the next season, there would be a very impressive newcomer.

Lisa admitted that she really loved the music of Doobie Brothers vocalist Michael McDonald. In some of the episodes of the second and third seasons, if you see a photo of a bearded man over her bed, that's Michael McDonald. In fact, his influence is felt in the following song on her album, similar to "What a Fool Believes":

Real Possibility

Was He Living Water
Heavenly Bread
Born in a stable
Raised from the dead

Was He everything He claimed to be
All that He said
Ooh ooh ooh
That's a real possibility

It's a real possibility
Real possibility
That the Man who walked through Galilee
Was everything He claimed to be
So turn your eyes to the King of Kings
And look away from the other things
Let Him fill your heart and then you'll see
How real His love can be
For He's the only real possibility

Was He fully spirit
Totally man
Foretold by the prophets
The key to God's plan
Does He hold the universe
Right in His hand
Ooh ooh ooh
That's a real possibility

(chorus)

Faith is believing the things we can't see
It's positive hope for the way things will be
It's finding the Kingdom, turning the key
To the real possibility

(chorus)

:banana: :mango

Pics from FOL and one from Twirl, center right:

Steve M.

12-02-2006, 01:36 PM

Back a little further for another Paul Simon album we missed. . .

After his credible turn as Tony Lacey in Woody Allen's Annie Hall, Paul Simon took his acting career to the next level in 1980 by starring in his own movie, One-Trick Pony. Our hero played Jonah Levin, a once-popular singer-songwriter who tries to make a comeback. The film also starred Blair Brown, Harry Shearer and, as a cynical record producer, Lou Reed. :lol:

The movie got mixed reviews, as did Simon's acting, but the movie did not click with filmgoers. But - and this is an important point - erveryone agreed Simon's songs for One-Trick Pony (on the soundtrack LP of the same name) were excellent, including his big hit single "Late In the Evening."

As the eighties unfolded, One-Trick Pony proved to be ironically titled, as Simon proved himself adept at everything from folk and rock to South African "township jive" and Brazilian rhythm music. "Late In the Evening," in fact was Latin salsa right out of the barrio, with a great bass line. (Dmm dm dm dm. . .)

(One-Trick Pony was released on video in the aftermath of the Graceland album's success. Siskel and Ebert gave it two thumbs up. :) )

Late In the Evening - Paul Simon

(Simon)

The first thing I remember, I was lying in my bed,
I couldnt've been no more than one or two.
And I remember there's a radio coming from the room next door,
My mother laughed the way some ladies do.
Well it's late in the evening, and the music's seeping through.

The next thing I remember, I am walking down a street,
I'm feeling alright, I'm with my boys and with my troops, yeah.
Down along the avenue some guys are shootin' pool,
And I heard the sound of a capella groups, yeah.
Singin' late in the evening, and all the girls out on the stoops, yeah.

Then I learned to play some lead guitar,
I was underage in this funky bar,
And I stepped outside to smoke myself a J. ;)
When I come back to the room, everybody just seemed to move,
And I turned my amp up loud and I began to play.
It was late in the evening, and I blew that room away!

First thing I remember when you came into my life,
I said "I wanna get that girl, no matter what I do."
Well I guess I've been in love before, and once or twice have been on the floor,
But I've never loved no one the way that I love you.
And it was late in the evening, and all the music's seeping through.

:banana: :mango :bouncers :drummer:

Steve M.

12-02-2006, 01:38 PM

I'm looking up their bios, and I've found that two of the Mouseketeers are no longer with us. Angel Florez died in 1995, and Scott Craig died in 2003. :( I'm trying to find out the causes.

Gee that's sad. I remember both. :(

ABlairican Pie

12-03-2006, 01:24 AM

In the next few seasons, the updated Facts Of Life, with a tough newcomer Jo, played by Nancy McKeon, brought a definite change to the show. The storylines were tighter, the identities of the characters stood out, and Blair, ever the rich, arrogant, beautiful fluffhead, faced a serious challenge with roommate Jo, a former gang member from the streets of the Bronx. Jo was hard as nails, practical, and built a shell to hide her insecurities, as Blair did with her makeup and ditzy laughter. In real life, Nancy McKeon impressed the Facts producers with a tearjerker Hallmark commercial with the future "Jo" getting emotional and weepy over a heartfelt gift. Deep down inside, Blair and Jo were pretty much like any girl in similar circumstances at that age, hiding behind the usual facades and trappings to conceal deep-rooted traumas and crying out for love and acceptance. The one success of The Facts of Life was its ability to be real and honest about teen conflicts in the 80's. Issues such as suicide, adoption, race, censorship, and even skin complexion were discussed on the show. Strangely, as the girls' real problems became a weekly fixation for many youngsters on Wednesday nights (and the show was facing serious competition from shows such as Dynasty) on NBC, the image of Blair as simply being "arrogant and self-obsessed" became more of her trait than Jo's being "tough and thick-skinned". Was Blair's character inconsistent with who Lisa was in real life? It appeared time for a little damage control and a disclaimer....

Around this time, Lisa also appeared in a few movies such as "Skyward", "Twirl" with Erin Moran, and "The Wild Women of Chastity Gulch", a made-for-t.v. period piece about women from a bordello during the Civil War who attempt to fend off the attacks of a marauding general. It was during this time also that Lisa faced a very real and noticeable problem: she had gained weight on her time off during the actors' strike of 1982. She went back home for a while to have fun with her friends and go out for pizza and goodies. When she came back, she was not quite the slim and slender Blair of the previous year. She felt lonely and homesick when she went back to L.A. Perhaps her stress from missing family and friends may have increased her appetite and became her method of coping, but it was clear she needed serious intervention. She noted during an NBC stars' parade when she was on one float, one young man shouted to her, "Hey, Blair, you're getting fat!!" :mad: ohno: :nonono: NOT the thing to say to a girl!! But it was true, she had to lose weight in a hurry, as her character depended on it. She was not the wild woman of the first season, but acted more like a well-meaning schoolgirl. Lisa credits reading the Bible, "the bread of life", or spiritual food, as helping her lose cravings--for a while it seemed to displace the food she ordinarily would be taking in. She also began attending a very popular church in L.A. as well, The Vineyard.

The next song was written by her friend and label-mate Steve Taylor, one of the first official Christian new wave artists. This was her foray into new wave or "punk" territory. It had a very uptempo, punky beat with heavy synth. It may have not been the most cutting edge music in the world, but for 1984, it was about as "cutting edge" as one could get and still sound reasonably mainstream. Lisa said that she got into character before recording the song by hopping around the house, "not knowing how to dance punk" (not knowing how, but going what you feel IS punk!!), but getting into it anyway, entertaining her brother Cody in the process. She imagined herself as the girl in the song--and in some way appeared to have more in common than she may have realized. Even a good Christian like Lisa could "follow all the rules" and miss the point of unconditional love she addressed in the song. That was a common problem with Christians in those times.

Good Girl

She's in her freshman year
But she still wears a little girl's dress
She's turning sweet sixteen
But her daddy still calls her Little Princess
"Dear daughter, don't run with the crowd
You know that makeup's not allowed"
The girls all ask her "Why so straight?"
The boys aren't asking for a date

(chorus)
Be a good girl (Why be a good girl?)
Be a good girl (Why be a good girl?)
She is a see-saw seeing if it matters
She is a game of Chutes and Ladders
Be a good girl (Why be a good girl?)
Be a good girl (Why be a good girl?)
She's on the outside begging for admission
She needs a love without condition

She's got her ear to the phone
And her toe in a 'Seventeen' mag
She's got her nails on hold
and her nylons in a cellophane Glad bag
Her parents look the other way
She doesn't hear a word they say
She's slipping out, she's almost there
I think she's running out of air

She had her pedal to the floor
She was late to the Hollywood Bowl
"It was my daddy's car,"
She explains to the Highway Patrol
And now her fast-lane buddies hitch a ride
While she's waiting for the cop
She could have seen right through them
If she'd taken those wrap-around shades off
Back to square one, you're all alone
Your folks are ready to disown
The good-time girls, they're not around
You're going dizzy with the sound

Be a good girl (Why be a good girl?)
Be a good girl (Why be a good girl?)
She is a see-saw seeing if it matters
She is a game of Chutes and Ladders
Be a good girl (Why be a good girl?)
Be a good girl (Why be a good girl?)
She needs the one who wrote the definition
Of a love without condition
Be a good girl

:guitar: :banana: :mango

ABlairican Pie

12-03-2006, 12:26 PM

While Blair had implied early in the show that she was the kind of girl who would live a little in fast lane, in later episodes as her visibility grew, Lisa became very consciencious as to what she would allow her character to do. In the "Dope Show" episode with Helen Hunt in the first season, for example, Blair hung out with an exclusive group of students who smoked marijuana, but we never saw her use it. It was made to appear that she simply endorsed those who did in order to be part of the "in crowd". However, in a later episode in 1982, the producers introduced an episode where Blair was going to sleep with her boyfriend. Lisa was shocked--the character of Blair could do a lot of "bad" things, but for Lisa, premarital sex was crossing the line. She wanted to do parts that reflected her moral stance as a Christian (smoking, dressing in skimpy short shorts, and hanging with potheads notwithstanding), and agonized over the episode written for her. It could be simply just what she had read in her Bible that made her think opposite of what the prevailing attitude about sex was (though critics might say "that was just your religious belief"), but on a practical level, she said she didn't want to make the decision for young people and have them do it just because "they saw
Blair do it". Sex was a big step loaded with possible consequences, she understood. Trembling, she went to the producers to ask them to drop the episode. At first they replied, "everyone does it"--Lisa and others she knew didn't. She explained that she didn't believe in premarital sex and didn't want to encourage others to do it on the show, this was not her purpose in coming to Hollywood. The producers agreed and the planned episode was shelfed. For now.

In 1982, Lisa and her friends went to a concert featuring singer B.J. Thomas, who was not only one of her favorite artists, but a fellow Christian as well (though at times had a very difficult, exasperating time making the transition into Christian music as his earlier "secular" material was not widely embraced by narrow-minded "Christians" who felt his singing of them was "selling out" at his Christian concerts). She did things like trying to get to his home and even gave a camera to the stage crew member with the intention of drawing him out from backstage. She never got the camera back, but she did manage to meet her idol. One thing from their meeting led to another, as big names in the Christian music scene approached her about the possibility of recording an album. Lisa cringed at this--she felt reluctant to sing with her "squeaky" Dolly Parton-esque voice. She felt she was not a strong singer. But the more she thought about it, she realized it would be a great ministry tool for when she made Christian speaking appearances. Her young fans on the show would also enjoy it. She teamed up with a vocal coach (who became her boyfriend) and had many popular names in the Christian scene write music and lyrics for her. The album was titled All Because of You, refering to her success and everything in her life was all due to the Lord.

By 1984, many changes were taking place on the show, as well as with the Christian scene of which Lisa was a part. Blair and Jo had graduated, but the four of them continued to remain together by working for Mrs. Garrett in her new gourmet food shop in downtown Peekskill, New York. School uniforms were now longer mandatory, and by the fall of 1984, the girls had become totally hip and wore regular, fashionable clothes. The Christian scene had undergone a major makeover as well: many artists, such as female ones as Lisa, Amy Grant, Leslie Phillips (later known as Sam Phillips), as well as new wave artist Steve Taylor, DA (Daniel Amos), Stryper, Petra, and others adopted new music and fashion styles. Streamlined synth rock was in, with more polish and MTV-friendly hooks and visuals. The new look to Christian music was also present no doubt to the rising stardom of fellow Christians in U2. Many born again artists got into the big hair and dayglow spandex as the
original cutesy countrified gospel look and sound was way out of the picture. However, as the hip new look and sound had changed, the uber-conservative views and mores had not--the country had moved even farther to the right in the year that had re-elected Reagan. The religious right still had no idea how to deal with the new wavers and holy hair metal-ers in Christian bookshops.

This next song was patterned after the then-current dance hit "Let the Music Play" by r & b singer Shannon. This one by Lisa has more of an upbeat, lighter tone:

Shelter

Time doesn't stop when the sun goes down
Swiftly with wings it just spins around

Where do the days go?
Quickly they keep flowing by, they fly
Going and coming
I'm rushing and running through doors, Lord--

Give me shelter
Away from the world that surrounds me
Give me shelter
A place where Your arms are around me

Here amidst the maddening throng
Cover me and keep me strong

Give me shelter
I need shelter

All things are tied to the hands of time
Maintain the pace or you fall behind

That's what they tell you
That's what they're selling you on, they're wrong
While they are racing
I seek a break from the storm, Lord

Give me shelter, oh Lord
I need shelter

:guitar: :banana: :mango

Lisa in opening show credits, as well as a shot of her in front of the Eiffel Tower in The Facts of Life Goes to Paris:

ABlairican Pie

12-03-2006, 03:57 PM

The album not only charted at a surprising #17 on the Billboard Christian charts, but was also nominated for a Grammy for Best Inspirational Song, "How High, How Deep, How Wide" (but lost to "Forgive Me" by Donna Summer). Lisa even toured at churches and Christian music festivals to sing from her album and speak. I even tried to go out to see her perform in Eastern Washington in 1987, but couldn't hitch a ride fast enough when I was out there, even though the show was several miles away!! :wallbang
Unfortunately, there has been no followup to the album, but not only did she sing as part of the chorus on 1985's charity single "Do Something Now" by the CAUSE (Christian Artists United to Save Ethiopia), a Christian version of Band Aid and USA For Africa, but she did a duet on the song "Above All Else" by Debby Boone on her Friends For Life in 1987.

We've got to e-mail her and CONVINCE her to make a new album!! She recently wrote lyrics for a song and posted them on her site. There's still hope!! :rock: The time is so right for her comeback!!

Set Me Free

As a child
I came to You with a song in my heart
As I grew
I never knew that the joy could depart

Now I hunger for that feeling
I desire to light the fire
That once burned in me

Set me free
Lord turn the book back a page
Set me free
I'm like a bird in a cage
Break the chains on me
Set me free

There's a light
I've seen it shine as an answer to prayer
And I know
That with Your grace I can walk with You there

In my trials I know You see me
Lord I pray for life the way
It used to be

Set me free
Lord take me back to that time
Set me free
Untie the shackles that bind
Break the chains on me
Set me free

:guitar: :banana: :mango

Shine

12-03-2006, 09:39 PM

Those are some great Lisa pictures!!!!!!!!! :rock:

ABlairican Pie

12-03-2006, 09:40 PM

As soon as Lisa turned 18, she found that she needed no guardian and was free to live on her own. (Woo-hoo!!! No supervision!!!! :woohoo: Appropriate
Judas Priest song here: "We don't need, no--no, no, no, Parental Guidance here!! :rock: ) But seriously, in actuality, she felt herself alone and realized she needed a strong home church. She went to the popular Vineyard Christian Fellowship which had been undergoing a youth-oriented "Jesus Movement" revival for over a decade and the church was filled with young people. The church was different from anything she expected at her home Southern Baptist church in Texas, she found that the hymns were more contemporary Christian praise and worship songs to which she found she had more of a personal connection. She felt that she had a more intimate connection with God in the worship service. She found herself with a new group of friends who would ground her in a new approach to faith. The people at this new church were full of enthusiasm in their Christian life and serious in their desire to share. Lisa found the whole vibe very infectious and exciting. These friends became the social center of her life when she wasn't on the set. She only saw her family during the holidays, and while she was in L.A., had a new "family" of believers to sustain her. She also found help in her own Christian counsellor who used Spirit-filled Christian methods and techniques at solving personal problems and inner healing. She was so impressed with the role of a Christian counsellor in those days that she says that after the show ended, she felt that she was going to be a Christian counsellor herself. She was very interested in Christian psychology in these times.

This song, originally by Christian singer Bruce Hibbard, is so beautiful, it has me in tears when I hear it: :crying:

Cover Me

Here I am once again
Standing before You with empty hands
Feeling so unprotected from the things that hurt me most
I know it was me
I left Your side
I know that I am to blame
But like an eagle spread your wings and cover me

Cover me Lord
Just like before
Hold me close
Protect me from the storm
And though I don't deserve Your care
Every time I stumbled You were there
To cover me

I don't know why You never turned me down
So many times I've hit the ground
And I finally see I'm wrong
I expect You to be gone
But just like the sky
stretched out above me
Your love is always there
Like an eagle spread Your wings and cover me

Cover me Lord
Just like before
Hold me close
Protect me from the storm
And though I don't deserve Your care
Every time I stumbled You were there
To cover me

Cover me

Cover me

LOVE that big hair!! :eyes: Makes me just want to smother my face in it!!! :bighug: Also, pics of her and her grandmother Velma "Nanny" French going for hot dogs in New York City; some of her Christian friends at the Vineyard; with her Christian counsellor there named Pam Rice:

Steve M.

12-03-2006, 10:21 PM

While Lisa Whelchel was committing herself to Jesus, Bob Dylan was rediscovering his Jewish consciousness after four years as a born-again Christian.

Infidels, released in 1983, was a collection of songs exploring the Judaic importance of human conduct on earth (as opposed to the evangelical Protestant obsession with the hereafter) and Israel's relationship to the rest of the world. "Sweetheart Like You" was the first single off the album, followed by "Jokerman." "Neighborhood Bully" was a somewhat left-handed defense of Israel, and "Don't Fall Apart On Me Tonight," which closed Infidels was a tender ballad that Aaron Neville covered a decade later.

Infidels featured Mark Knopfler and Burning Spear bassist Robbie Shakespeare in Dylan's band.

Jokerman - Bob Dylan

Standing on the waters casting your bread
While the eyes of the idol with the iron head are glowing.
Distant ships sailing into the mist,
You were born with a snake in both of your fists while a hurricane was blowing.
Freedom just around the corner for you
But with the truth so far off, what good will it do?

Jokerman dance to the nightingale tune,
Bird fly high by the light of the moon,
Oh, oh, oh, Jokerman.

So swiftly the sun sets in the sky,
You rise up and say goodbye to no one.
Fools rush in where angels fear to tread,
Both of their futures, so full of dread, you don't show one.
Shedding off one more layer of skin,
Keeping one step ahead of the persecutor within.

Jokerman dance to the nightingale tune,
Bird fly high by the light of the moon,
Oh, oh, oh, Jokerman.

You're a man of the mountains, you can walk on the clouds,
Manipulator of crowds, you're a dream twister.
You're going to Sodom and Gomorrah
But what do you care? Ain't nobody there would want to marry your sister.
Friend to the martyr, a friend to the woman of shame,
You look into the fiery furnace, see the rich man without any name.

Jokerman dance to the nightingale tune,
Bird fly high by the light of the moon,
Oh, oh, oh, Jokerman.

Well, the Book of Leviticus and Deuteronomy,
The law of the jungle and the sea are your only teachers.
In the smoke of the twilight on a milk-white steed,
Michelangelo indeed could've carved out your features.
Resting in the fields, far from the turbulent space,
Half asleep near the stars with a small dog licking your face.

Jokerman dance to the nightingale tune,
Bird fly high by the light of the moon,
Oh. oh. oh. Jokerman.

Well, the rifleman's stalking the sick and the lame,
Preacherman seeks the same, who'll get there first is uncertain.
Nightsticks and water cannons, tear gas, padlocks,
Molotov cocktails and rocks behind every curtain,
False-hearted judges dying in the webs that they spin,
Only a matter of time 'til night comes steppin' in.

Jokerman dance to the nightingale tune,
Bird fly high by the light of the moon,
Oh, oh, oh, Jokerman.

It's a shadowy world, skies are slippery gray,
A woman just gave birth to a prince today and dressed him in scarlet.
He'll put the priest in his pocket, put the blade to the heat,
Take the motherless children off the street
And place them at the feet of a harlot.
Oh, Jokerman, you know what he wants,
Oh, Jokerman, you don't show any response.

Jokerman dance to the nightingale tune,
Bird fly high by the light of the moon,
Oh, oh, oh, Jokerman.

Sweetheart Like You - Bob Dylan

Well, the pressure's down, the boss ain't here,
He gone North, for a while,
They say that vanity got the best of him
But he sure left here inn style
By the way, that's a cute hat,
And that smile's so hard to resist
But what's a sweetheart like you doin' in a dump like this?

You know, I once knew a woman who looked like you,
She wanted a whole man, not just a half,
She used to call me sweet daddy when I was only a child,
You kind of remind me of her when you laugh.
In order to deal in this game, got to make the queen disappear,
It's done with a flick of the wrist.
What's a sweetheart like you doin' in a dump like this?

You know, a woman like you should be at home,
That's where you belong,
Watching out for someone who loves you true
Who would never do you wrong.
Just how much abuse will you be able to take?
Well, there's no way to tell by that first kiss.
What's a sweetheart like you doin' in a dump like this?

You know you can make a name for yourself,
You can hear them tires squeal,
You can be known as the most beautiful woman
Who ever crawled across cut glass to make a deal.

You know, news of you has come down the line
Even before ya came in the door.
They say in your father's house, there's many mansions
Each one of them got a fireproof floor.
Snap out of it, baby, people are jealous of you,
They smile to your face, but behind your back they hiss.
What's a sweetheart like you doin' in a dump like this?

Got to be an important person to be in here, honey,
Got to have done some evil deed,
Got to have your own harem when you come in the door,
Got to play your harp until your lips bleed.

They say that patriotism is the last refuge
To which a scoundrel clings.
Steal a little and they throw you in jail,
Steal a lot and they make you king.
There's only one step down from here, baby,
It's called the land of permanent bliss.
What's a sweetheart like you doin' in a dump like this?

Neighborhood Bully - Bob Dylan

Well, the neighborhood bully, he's just one man,
His enemies say he's on their land.
They got him outnumbered about a million to one,
He got no place to escape to, no place to run.
He's the neighborhood bully.

The neighborhood bully just lives to survive,
He's criticized and condemned for being alive.
He's not supposed to fight back, he's supposed to have thick skin,
He's supposed to lay down and die when his door is kicked in.
He's the neighborhood bully.

The neighborhood bully been driven out of every land,
He's wandered the earth an exiled man.
Seen his family scattered, his people hounded and torn,
He's always on trial for just being born.
He's the neighborhood bully.

Well, he knocked out a lynch mob, he was criticized,
Old women condemned him, said he should apologize.
Then he destroyed a bomb factory, nobody was glad.
The bombs were meant for him. He was supposed to feel bad.
He's the neighborhood bully.

Well, the chances are against it and the odds are slim
That he'll live by the rules that the world makes for him,
'Cause there's a noose at his neck and a gun at his back
And a license to kill him is given out to every maniac.
He's the neighborhood bully.

He got no allies to really speak of.
What he gets he must pay for, he don't get it out of love.
He buys obsolete weapons and he won't be denied
But no one sends flesh and blood to fight by his side.
He's the neighborhood bully.

Well, he's surrounded by pacifists who all want peace,
They pray for it nightly that the bloodshed must cease.
Now, they wouldn't hurt a fly. To hurt one they would weep.
They lay and they wait for this bully to fall asleep.
He's the neighborhood bully.

Every empire that's enslaved him is gone,
Egypt and Rome, even the great Babylon.
He's made a garden of paradise in the desert sand,
In bed with nobody, under no one's command.
He's the neighborhood bully.

Now his holiest books have been trampled upon,
No contract he signed was worth what it was written on.
He took the crumbs of the world and he turned it into wealth,
Took sickness and disease and he turned it into health.
He's the neighborhood bully.

What's anybody indebted to him for?
Nothin', they say. He just likes to cause war.
Pride and prejudice and superstition indeed,
They wait for this bully like a dog waits to feed.
He's the neighborhood bully.

What has he done to wear so many scars?
Does he change the course of rivers? Does he pollute the moon and stars?
Neighborhood bully, standing on the hill,
Running out the clock, time standing still,
Neighborhood bully.

Don't Fall Apart on Me Tonight - Bob Dylan

Music Just a minute before you leave, girl,
Just a minute before you touch the door.
What is it that you're trying to achieve, girl?
Do you think we can talk about it some more?
You know, the streets are filled with vipers
Who've lost all ray of hope,
You know, it ain't even safe no more
In the palace of the Pope.

Don't fall apart on me tonight,
I just don't think that I could handle it.
Don't fall apart on me tonight,
Yesterday's just a memory,
Tomorrow is never what it's supposed to be
And I need you, yeah.

Come over here from over there, girl,
Sit down here. You can have my chair.
I can't see us goin' anywhere, girl.
The only place open is a thousand miles away and I can't take you there.
I wish I'd have been a doctor,
Maybe I'd have saved some life that had been lost,
Maybe I'd have done some good in the world
'Stead of burning every bridge I crossed.

Don't fall apart on me tonight,
I just don't think that I could handle it.
Don't fall apart on me tonight,
Yesterday's just a memory,
Tomorrow is never what it's supposed to be
And I need you, oh, yeah.

I ain't too good at conversation, girl,
So you might not know exactly how I feel,
But if I could, I'd bring you to the mountaintop, girl,
And build you a house made out of stainless steel.
But it's like I'm stuck inside a painting
That's hanging in the Louvre,
My throat start to tickle and my nose itches
But I know that I can't move.

Don't fall apart on me tonight,
I just don't think that I could handle it.
Don't fall apart on me tonight,
Yesterday's gone but the past lives on,
Tomorrow's just one step beyond
And I need you, oh, yeah.

Who are these people who are walking towards you?
Do you know them or will there be a fight?
With their humorless smiles so easy to see through,
Can they tell you what's wrong from what's right?

Do you remember St. James Street
Where you blew Jackie P.'s mind?
You were so fine, Clark Gable would have fell at your feet
And laid his life on the line.

Let's try to get beneath the surface waste, girl,
No more booby traps and bombs,
No more decadence and charm,
No more affection that's misplaced, girl,
No more mudcake creatures lying in your arms.
What about that millionaire with the drumsticks in his pants?
He looked so baffled and so bewildered
When he played and we didn't dance.

Don't fall apart on me tonight,
I just don't think that I could handle it.
Don't fall apart on me tonight,
Yesterday's just a memory,
Tomorrow is never what it's supposed to be
And I need you, yeah.

(All songs by Bob Dylan.)

http://991.com/newgallery/Bob-Dylan-Infidels-256621.jpg

ABlairican Pie

12-04-2006, 01:11 AM

By the way, speaking of which, did you know that Lisa, OUR Lisa, Lisa Whelchel the born again Christian, came THIS CLOSE to becoming a Jewish person?? :eek: It's true, she will tell you. Her vocal coach, a guy by the name of Roger Love, was in fact Jewish, and abided by certain customs to which Lisa became familiar. She was still a practicing Christian, but the more she got involved with him, she really liked the good times, his sense of humor and everything about him. Who knew if she would ever convert? But, it was not meant to be. As hard as it was to let go of him, she made a choice between him and her faith, and chose her faith instead.

As the lyrics in the above song "Good Girl" will attest, Lisa was very much like that girl in the song, where "the boys aren't asking for a date". She felt lonely at times, she was available, where were all the guys? (This was before Roger.) Was it because she was Blair Warner, who seemed to have all the prime cut beefcake boys on the side? Were guys afraid that they were out of her league? She stated in the April '83 issue of CCM that her lifestyle was rather simple: she liked jeans and pizza, not fancy ballroom gowns and caviar. She was not really much at all like her character on the show. But soon, the guys in her life came in--and went...She was going out with such performers as Christian singer Billy Crockett (a Michael Jackson voiced singer on an acoustic guitar who played pop tunes), and others. Soon she went to a new church down in the San Fernando Valley, a Foursquare Gospel charismatic church called the Church on the Way, which had a dynamic pastor named Jack Hayford who, those seemed "verbose" in his sermons, was very intelligent and articulately expressed deep Christian truths to his wide congregation. It was one of the biggest churches in the area which had a wide impact not only on the community, but on the Christian scene as well. Many famous Christians attended there such as Debbie Boone, Charlene Tilton, and Dean Jones of Disney movie fame. There was also a young man, a few years older than her, who became a sort of mentoring, protecting figure of sorts, named Steve Cauble, an associate pastor at the church, with whom she developed a close relationship--but strictly platonic. She still saw a few guys on the side, but felt that he was a close friend.

It was interesting how Lisa succeeded in the business of Hollywood where so many other child stars had failed. Many of them, such as almost the entire teen cast of the show which spawned The Facts of Life, "Diff'rent Strokes", faced personal turmoil, nosediving careers and various acts of noteriety. Fallen actress Dana Plato was one such tragic example of such disaster: a beautiful actress who played the daughter on the show, Plato was written off after she became pregnant by her boyfriend/husband who played in a rock band. It did not reflect the "wholesome" image they needed her to portray. For the next several years, she played in B-movies which went nowhere, including a few porn flicks in a vain attempt to update her "cutting edge" image. She briefly returned to the show, but after it ended, she was adrift, and died after overdosing in 1999 while visting her parents in Oklahoma. The Hollywood industry is rife with horror stories of teen stars who became rich and famous at an early age before they were able to handle such responsibility. Lisa handled it simply by not being part of the Hollywood "scene"; she was purely grounded in her faith as a Christian and did not pursue Hollywood in order to become a "star" at any cost, but only acted on the opportunities God had given her. She later appeared on "Lifestyles of the Rich and Famous" in 1987, where she seemed rather despondent and distressed on the camera as she listlessly played her piano. Was she not having fun on the show? She did not seem comfortable at all. Lisa did also appear on another Facts of Life movie, The Facts of Life Down Under, with newcomer veteran actress Cloris Leachman, Mrs. Garrett's replacement, where she and Jo became part of a jewel heist caper, racing about the streets of Sydney. She also played a new wife on a European cruise episode of The Love Boat in 1985, who tried to convince her new husband not to participate in the Tour de France bicycle race (most likely because of what we know bicycle seats are known to do, especially for a honeymoon... :eek: ;) ).

In the lyrics below, co-written by Lisa and Bruce Hibbard, she asks the question about the character of Blair Warner on the t.v. screen, "Is that the person I'm supposed to be?" It may be obvious to her and others who have followed her adventures in faith, that the question may be answered with a resounding "NO!" However, for most of us who follow The Facts of Life, the opposite is true: It is undeniable that Blair Warner committed many a faux pas during her years at Eastland and Langley College. But we were seeing a person in transition, a girl who was learning, like many of us, that beauty and monetary influence and other such devices could only achieve so much in the real world. Beneath all the pretense that Blair hid behind, there was a truly beautiful person whose good side could come out and shine when it was necessary. One episode, where Blair's mother faced breast cancer, featured a subplot where Jo was upset about not being hired for a job at an auto mechanic shop. Instead of her usual condescending attitude toward Jo, she offered words of comfort and encouragement to her rival, which helped a great deal. Blair was in fact pretty much an Everyperson, just one who happened to be rich and beautiful, but ultimately would never forget that she shared much in common with the other common persons as herself. The quips and anecdotes about her being so "on top of it all" were just one aspect of her character, as was the heart of gold she shared at the right moments. It was easy to play on the "bad" part of Blair, in order for Lisa to promote her goodness as a Christian, while ignoring the good that Blair did and was in the process of becoming.

All Because of You

Looking at the screen
Who's that staring back at me
Is that the person I'm supposed to be?
Many think they know me well, few who really do
Lord let the whole world see the light that shines
through me is You

Everything I am is all because of You
You brought life and
Your love keeps me every day
With a heart that's turned to You in praise

Just a little girl seems so long ago
When I gave my heart, my life to You
Little did I know back then when I gave You
all my dreams,
You'd keep them safe for me
And wrap them up inside Your love

chorus

:banana: :mango

Some earlier pics of Lisa, including one with her grandmother Velma, and one with her brother Cody, as well as with her ventriloquist doll Arthur:

ABlairican Pie

12-04-2006, 01:31 AM

More pics from over the years: A candid photo in the kitchen with her brother Cody; one taken from the time of The Double McGuffin in 1979 (the beginnings of big hair); a pic from 1983; 1984; and 1988:

ABlairican Pie

12-04-2006, 09:23 AM

The show continued for another three seasons after the release of her album
(September 1984 to February 1988). The girls had grown up and were changing. After a few seasons of living and working at Edna's Edibles, the scene changed to a new novelty gift shop called Over Our Heads. Mrs. Garrett, the girls' long-time advice-giver and guardian, decided to leave and get married and move to Africa to work in the Peace Corps with her new husband (in actuality Charlotte Rae got burned out on the show and decided to quit the series), and was replaced by her sister Beverly Ann Stickle, played by comedic actress Cloris Leachman for a few more seasons. Some viewers were dismayed by the change and oddly, the series faced a "jump-the-shark" scenario, especially with the introduction of the character of Australian foreign exchange student Pippa, played by Sherry Krinn (later Sherry Austin, who went on to become a popular country singer). The character of Pippa reflected the newfound infatuation that Americans had with all things Australian (such as Crocodile Dundee and....Yahoo Serious??
:confused: :lol: ). It was common knowledge that when a popular series adds a superfluous extra charater whose only role is to provide cuteness and laughs, it's a point of desparation for the show to keep ratings up while story ideas run thin. Fortunately, I saw several episodes filmed at that time!! :D

While The Facts of Life was undergoing a creative setback, the final season, however, did manage to come up with some of its most memorable--and controversial--episodes. A discarded storyline from several seasons back, that of Blair losing her virginity, was introduced, though another girl would be chosen for the part. Mindy Cohn jumped at the chance to be the first of the four to go through that particular rite of passage, where Natalie was to go to bed with her boyfriend Snake (played by Robert Romanus from Fast Times At Ridgemont High). Lisa was appalled at this decision to include this storyline and refused to take part in it. It went against her beliefs as a Christian (was it more of a decision based on her own personal beliefs that not many other people shared, than on the view that condoning premarital sex was not safe or practical, especially when young people would be contemplating an act which might have life-changing consequences?). The producers decided that the character of Blair could be in the episode and express the "safe sex or abstinence" position, but Lisa knew that since the episode would ultimately end up advocating the pro-premarital sex view, she declined. She figured, what would have been the point? The show was given a pre-credits Mature Audiences warning, and the episode in fact won critical praise for its straightforward discussion of sex. The episode dealt with the aftermath of Natalie's decision to sleep with Snake, and when he abruptly leaves, she begins to feel pangs of guilt and worry. Had she driven him off by sleeping with him? Jo insisted that it was not her fault, that sex did weird things to people, that having sex did not make her a "bad" person. It was Snake's problem, not hers, that he left. He comes back and tells her he loves her, but wants to take the relationship a little more slowly. So all is well that ends with a good critical review.

Another episode that became one of The Facts' most memorable was when Blair crashes her car in the show and ends up in the hospital with a huge open wound on her forehead. She is devastated that her beautiful looks, her prized asset, are ruined. She is horrified to let her boyfriend Casey, played by
comic Paul Provenza, know about this. But she is told that plastic surgery can repair it, but she still worries that she will be "damaged goods". Ultimately, his love remains for her and in later episodes, Blair's face appears as if nothing so traumatic ever happened. In the final episodes, when Jo gets married, she and Casey debate the whole question of whether she should live together with him--she's against, wants that big fancy wedding, he's for, doesn't need a piece of paper to love her, but the discussion is left hanging. The show ends on a possible spinoff show that never took off, where Blair bought Eastland and was about to become its new headmistress, while the school went co-ed. The spinoff was cancelled before it began.

So The Facts of Life ended, just as Lisa's wedded life to Steve Cauble began.
In that year prior, she felt her life move ahead so fast before she had time to assess the situtation. Was she ready? It seemed to be a crisis situation where all things were go before she was. But in the summer of 1988, they married and had three beautiful children, though Lisa would retire from acting
and venture into being a bestselling author. She has acted in a few pictures since then such as Where the Red Fern Grows Part 2 in 1992 and The Facts of Life Reunion in 2001 where one of her daughters has a small bit part. Her teenage son Tucker is also involved in music, playing guitar in a band and being guitar tech for Christian band The Newsboys.

This final song on the album was written by female Christian vocalist Kelly Willard. It is a gentle, touching closing track to an excellent pop record. I get misty-eyed when hearing it. :crying: :blush:

He Sings Me To Sleep

As I lay here on my bed
With pictures racing through my head
Memories that should be gone
Of things I've said and things I've done
I can't erase them from my mind
I thought I left them all behind
I don't know if I'll ever find
A way to cross this bridge of time

But if You will sing to me
I will listen carefully
To the words and melody
I could sing the harmony
And if You will heal my heart
Come replace the missing part
Then my soul is Yours to keep
Come and sing Your song of love to me
And lay me down to sleep

I'm on the run, I've learned to hide
The feelings that I keep inside
Traces of a cruel scheme
The chase of love's elusive dream
Of mornings after reckless nights
A haunting backdrop of my life
Telling me there is no way
To leave this place called yesterday

But if You will sing to me
I will listen carefully
To the words and melody
I could sing the harmony
And if You will heal my heart
Come replace the missing part
Then my soul is Yours to keep
Come and sing Your song of love to me
And lay me down to sleep

He sings me to sleep
His strong hands brush my brow
Wiping all my fears away
I feel His love right now
His words are soft and sweet
Full of comfort and cheer
All my troubles seem so far away
When my Lord is near

But if You will sing to me
I will listen carefully
To the words and melody
I could sing the harmony
And if You will heal my heart
Come replace the missing part
Then my soul is Yours to keep
Come and sing Your song of love to me
And lay me down to sleep

Yer Cap'n Pie and Lisa in Eugene, Oregon in 2002!!! :rock:

Shine

12-04-2006, 01:06 PM

Steve M.

12-04-2006, 08:40 PM

She hasn't changed one iota! :)

ABlairican Pie

12-04-2006, 11:02 PM

You actually had your picture taken with Lisa! :cool: From this point on you are me hero. :notworthy I have to say, and I don't mean this as an insult, but you look quite a bit different then I expected. I guess I was expecting you to have really long hair. :lol:
:thanks: I actually have long hair now, but I'm wishing my Minoxidyl would kick in soon!! I was thinking of cutting it, but I don't know. Would Lisa LIKE it long? :lol:

ABlairican Pie

12-04-2006, 11:04 PM

She hasn't changed one iota! :)She's only changed slightly, her hair's a little slightly cropped these days, but I wanted to post some more pictures above to give an idea. This has been the funnest part of the rock and roll history thread so far!!! I'll bet she'd love reading it!!! :D

ABlairican Pie

12-05-2006, 12:15 AM

Lisa made an appearance on Steve Taylor's "Meltdown (At Madame Tussaud's)" video in 1984, posing as a newscaster (newscastress? ;) ) reporting a story of a mysterious incident at the famed wax museum in London....

http://www.youtube.com/watch?v=AyawtDc2M4g

In other musical events, Lisa did appear with one of the greatest bands of all time, Sexy Lingerie, who did a duet with El DeBarge in a 1985 Facts episode, as well as with the 60's girl group, The Sha La La, La La La, La La La La La La's in a 1986 episode. Interestingly, Beverly Ann reminesced about the 60's as being the decade of Bobby Rydell and Fabian, as well as the girl-groups. What??? I thought the 60's were all about The Beatles, the Stones, the Animals, the Kinks, the Who, the Yardbirds, Bob Dylan, Joan Baez, Jefferson Airplane, the Doors, the Grateful Dead, Country Joe and the Fish, Simon and Garfunkel, Steppenwolf, the Chambers Brothers, Iron Butterfly, Cream, Jimi Hendrix, Janis Joplin, Otis Redding, Sly and the Family Stone, Creedence Clearwater Revival, Syd Barrett-era Pink Floyd, Blue Cheer, Crosby, Stills, Nash & Young, the Byrds, and Family!!! peace: peacesign:

Lisa also appeared in one fantasy episode of The Facts with her hair colored green, playing drums with the girls in a heavy metal band. It would have been cool to see Lisa on guitar. A Gibson Flying V. Can't get much more metal than that. :nod:

Lisa also sang "I'll Be Home For Christmas" on one episode.

Steve Taylor was not only one of the first Christian artists to play new wave (while at a Christian music camp in the late 70's/early 80's, he claims that London Calling by The Clash was the album that saved his life, musically), but also used humorous, satirical lyrics to make social commentary about Christian
hypocrisy and evangelical foibles.

Meltdown (At Madame Tussaud's)
by Steve Taylor
from the 1984 album Meltdown

Meltdown at Madame Tussaud's--the queen is losing face
meltdown at Madame Tussaud's--a national disgrace
it's the middle of the night at the London shrine
could have been the janitor, could have been divine
someone said the thermostat never did work
now we've got the temperature going berserk

Meltdown at Madame Tussaud's--the queen is losing face
meltdown at Madame Tussaud's--a national disgrace
celebrities, statesmen, history's elite
they're dripping in the hallways, they're starting to secrete
they're pouring out the pores, they're shrinking on the spot
someone take a photograph--get 'em while they're hot

Meltdown at Madame Tussaud's--the president looks alarmed
meltdown at Madame Tussaud's--a general's been disarmed
feverish at Fleet Street--story of the year
"Get the Facts--House of Wax Photo Souvenir"
"Shameful" Says the Times. "Maybe Done By Vandals"
panic on Wall Street--put your stock in candles

I thought I heard a ghost say
"had my hands in my pockets on the Judgment Day
nobody told me there's fire in the hole
had the world by the tail but I lost my soul"

Meltdown at Madame Tussaud's--a rock & roll hotel
meltdown at Madame Tussaud's--they're blending very well
Elvis and the Beatles have seen a better day
better off to burn out than to melt away
Dylan may be fillin' the puddle they designed
is it gonna take a miracle to make up his mind?

Meltdown at Madame Tussaud's--athletes on the floor
meltdown at Madame Tussaud's--they're running out the door
bad boy McEnroe couldn't keep his cool
now he's with the rest of 'em, wading in the pool
"Howard Hughes--Billionaire" says the written guide
pity that his assets have all been liquefied

"Celebrity status only got in the way
had my hands in my pockets on the Judgment Day
you can't take it with you--there's fire in the hole
had the world by the tail but I lost my soul"

Meltdown at Madame Tussaud's--the queen is losing face
meltdown at Madame Tussaud's--a national disgrace
down in the dungeon--the Chamber of Horrors
look at all the criminals soften to the cores
they're mixing with the head of state floating down the lane
good, bad, there they go down the same drain

:guitar: :banana: :mango

Recent photos of Steve Taylor:

ABlairican Pie

12-05-2006, 12:46 AM

Some more pics of Lisa and her family!!!

Pics from People magazine 1998; some of her family and of her dog Donut; her son Tucker rocking out on an Epiphone sunburst Les Paul; and an issue of Shine magazine from 2003:

ABlairican Pie

12-05-2006, 01:10 AM

Another main character from The Facts of Life, Kim Fields, who played Tootie, also released a 7-inch single that year, which did not hit the same level on the charts as Lisa's album did. The single, "He Loves Me, He Loves Me Not", was featured on Dick Clark's American Bandstand in the spring of 1984, with Kim not only singing the song but also saying that she was a born again Christian. Ironically, in the times I have heard Lisa speak, she said never knew anything about any of the other girls being born again Christians (Mindy Cohn is Jewish, and Nancy McKeon is Catholic), and if Kim was herself a Christian, it appears that she and Lisa never discussed it.
:confused: This doesn't sound like something that Lisa would have missed.

Kim did make a foray into rap and R & B later on, but pretty much stuck with acting.

Here are some pics of Kim, one where she seems rather grown up--in more ways than one... :eek: :drool: :grineyes: A loooooooong way from Mrs. Butterworth's syrup.

ABlairican Pie

12-05-2006, 08:57 AM

While younger faces were springing up in the new wave of rock, other such music veterans were going solo, such as David Gilmour of Pink Floyd, who had dissociated himself from working further with bassist Roger Waters. The collapse of Pink Floyd, as far as Roger Waters' involvement was concerned, was final. Gilmour took the time to record an impressive solo album, About Face, which featured the songs "All Lovers Are Deranged" and "Murder". Both songs received substantial airplay on rock radio.

All Lovers Are Deranged

It takes a fool to phone a fool
When both have said it all
We make the rule, bemoan the rule
That neither one should call
But love that was
Is love that is
Demands to always be unchanged
But then all lovers are deranged.

We walk away with memories
And clutch them to our hearts
We're disembodied entities
We move in fits and starts
For burning wine
Intoxicates,
And takes all caution in its flames
All lovers are deranged.

You know that you don't really fall in love
Unles you're seventeen
The break of day will make your spirits fly
But you can't know what it means
Unless you're seventeen.

It takes a fight to start a fight
And differences remain
We have the right to think we're right
We're addicts feigning shame
For love recalled
Is love reborn
We're determined to relive the pain
But then lovers are deranged

Murder

Some of them standing, some were waiting in the line
As if there was something that they thought they might find
Taking some strength from the feelings that always were shared
And in the background, the eyes that just stared

What was it brought you out here in the dark?
Was it your only way of making your mark
Did you get rid of all the voices in your head?
Do you now miss them and the things that they said?

On your own admission you raised up the knife
And you brought it down ending another man's life
When it was done you just threw down the blade
While the red blood spread wider like the anger you made

I don't want this anger that's burning in me
It's something from which it's so hard to be free
But none of the tears that we cry in sorrow or rage
Can make any difference, or turn back the page

:guitar:

ABlairican Pie

12-05-2006, 09:23 AM

Less successful than Gilmour's effort was Roger Waters' first post-Floyd solo album The Pros and Cons of Hitchhiking. The album at first glance seemed to have a typically "sexist" cover, but the album art reflected the record's stream-of-consciousness theme of a man's dreams and night thoughts. Part of Waters' dreams behind the record involved a nude woman hitchhiking and approaching him in one nocturnal scenario. There happened to be a few more deeper things than just the obvious. Regardless the record label slapped an irritating "black bar" over the cover model Linzi Drew's features.

Actually, Pros and Cons was in fact recorded during sessions for The Wall several years earlier, but the band decided to stick with releasing The Wall instead, much to popular acclaim. Fans who had heard the music from the proposed Pros and Cons sessions then chose The Wall as well. When it was finally released in 1984, listener response was muted (though the original cover was most likely a huge hit). The album received mixed reviews, with Kurt Loder describing Pros And Cons Of Hitch Hiking in Rolling Stone as a "strangely static, faintly hideous record," adding that "Waters sounds like the kind of guy who'd bring Hershey bars and nylons along on a first date." (Loder gave the album one star out of five, though user ratings have averaged four out of five). On the other end of the spectrum, Mike DeGagne of the All Music Guide praised the album for its "ingenious symbolism and his brilliant use of stream of consciousness within a subconscious realm," rating it four out of five stars. The album also featured surrealistic themes of confronting terrorists and other assorted folks while touring in Europe. Many found it to be an intriguing album as well.

5:01 The Pros and Cons of Hitchhiking

An angel on a Harley
Pulls across to greet a fellow rolling stone
Puts his bike up on it's stand
Leans back and then extends
A scarred and greasy hand...he said
He said, how ya doin bro?
Where ya been?
Where ya goin'?
Then he takes your hand
In some strange Californian handshake
And breaks the bone
[Whiny person:] "Have a nice day, hehe"

A housewife from Encino
Whose husband's on the golf course
With his book of rules
Breaks and makes a 'U' and idles back
To take a second look at you
You flex your rod
Fish takes the hook
Sweet vodka and tobacco in her breath
Another number in your little black book

These are the pros and cons of hitchhiking
These are the pros and cons of hitchhiking
Oh babe, I must be dreaming

I'm standing on the leading edge
The Eastern seaboard spread before my eyes
Jump, says Yoko Ono
I'm too scared and too good looking, I cried
Go on, she says
Why don't you give it a try?
Why prolong the agony all men must die
Do you remember Dick Tracy?
Do you remember Shane?
[Child:] "And mother wants you."
Could you see him selling tickets
Where the buzzard circles over
[Child:] "Shane."
The body on the plain
Did you understand the music Yoko
Or was it all in vain?
[Child:] "Shane..."
The bitch said something mystical
(Herro)
So I stepped back on the kerb again

These are the pros and cons of hitchhiking
These are the pros and cons of hitchhiking
Oh babe, I must be dreaming again
These are the pros and cons of hitchhiking
These are the pros and cons of hitchhiking
These are the pros and cons of hitchhiking
These are the pros and cons of hitchhiking

:guitar:

ABlairican Pie

12-05-2006, 09:35 AM

Rush attempted to duplicate the heaviness of Moving Pictures with 1984's Grace Under Pressure, which featured darker lyrics and excellent guitar.

Distant Early Warning

An ill wind comes arising
Across the cities of the plain
There's no swimming in the heavy water
No singing in the acid rain
Red alert
Red alert

It's so hard to stay together
Passing through revolving doors
We need someone to talk to
And someone to sweep the floors
Incomplete
Incomplete

Chorus
The world weighs on my shoulders
But what am I to do?
You sometimes drive me crazy
But I worry about you
I know it makes no difference
To what you're going through
But I see the tip of the iceberg
And I worry about you...

Cruising under your radar
Watching from satellites
Take a page from the red book
Keep them in your sights
Red alert
Red alert

Left and rights of passage
Black and whites of youth
Who can face the knowledge
That the truth is not the truth?
Obsolete
Absolute

Chorus

Absalom, Absalom, Absalom

:guitar:

Shine

12-05-2006, 01:43 PM

:thanks: I actually have long hair now, but I'm wishing my Minoxidyl would kick in soon!! I was thinking of cutting it, but I don't know. Would Lisa LIKE it long? :lol:

She might. :lol:

Shine

12-05-2006, 01:44 PM

Steve M.

12-05-2006, 07:37 PM

At the beginning of the 1980's, several seventies acts put out greatest-hits compilations, and Queen was one of them.

http://myspot.neteze.com/~space/cds/gifs/qr/queen_gh.jpg

For American fans, their collaboration with David Bowie, "Under Pressure," was added as a bonus. From 1973 to 1981, Queen put out one-and-a-half good songs - "Crazy Little Thing Called Love," and the Bowie half of "Under Pressure!" :lol:

The video for this song was made up of clips of old movies. :confused:

Under Pressure - Queen/David Bowie

Pressure pushing down on me, pressing down on you, no man ask for,
Under pressure, that burns a building down,
Splits a family in two, puts people on streets.

It's the terror of knowing what this world is about
Watching some good friends screaming... let me out!
Pray tomorrow, takes me higher
Pressure on people, People on streets

Chipping around, kick my brains 'round the floor,
These are the days, it never rains but it pours,
People on streets, People on streets

It's the terror of knowing, what this world is about
Watching some good friends screaming... let me out!
Pray tomorrow takes me higher, higher, higher,
Pressure on people, people on streets.

Turned away from it all, Like a blind man,
Sat on a fence, but it don't work.
Keep coming up with love, But it's so slashed and torn. . . .
Why, why, why?
Love, love, love, love. . . .

Insanity laughs under pressure we're cracking. . . .
Can't we give ourselves one more chance?
Why can't we give love that one more chance?
Why can't we give love, give love, give love?
Give love, give love, give love, give love, give love?

Cos' love's such an old fashioned word,
And love dares you, to care for people on the edge of the night,
And love dares you, to change our way of caring about ourselves.
This is our last dance, this is our last dance,
This is ourselves, under pressure.
Under pressure, pressure.

Steve M.

12-05-2006, 07:54 PM

No doubt about it: the seventies were over. The Eagles, Led Zeppelin, Steely Dan, and the Doobie Brothers broke up, Jackson Browne was recording movie soundtrack songs to stay relevant, Linda Ronstadt couldn't get arrested, Elton John all but disappeared (so it seemed, at first), and the Allman Brothers were as passe as their number-one fan, James Earl Carter of Plains, Georgia (who moved back there after an unhappy four-year lease agreement on a mansion in Washington).

Proof the seventies were dead came not from the performers that disappeared, but those who were still around. Convinced that they still had an audience, Queen issued Hot Space in 1982. Ittunred out they they still indeed had a loyal and large audience that would buy anything with their name on it. . . in Europe. In America, ehh, not so much! :lol:

Despite heavy MTV airplay for the videos to their singles "Body Language" and "Calling All Girls," Queen's Hot Space went cold in the U.S. of A., a mere two years after "Another One Bites the Dust" topped the charts there. Even Weird Al Yankovic didn't think parodying these songs was worth it.

Hot Space couldn't have been released at a worse time for Queen. Not only were seventies artistes on the outs, 1982 was a recession year in America, when few people bothered to buy records. Also, it was at a time when the record industry was in a bigger slump than the rest of the economy because they were relying on aging acts whose time had passed.

Kind of like Queen. :lol:

Body Language - Queen

Give me, body, give me, body, body
Give me, your body
Don't talk, don't talk, don't talk, don't talk
Baby, don't talk

Body language, body language, body language
Give me your body, Just give me, yeah, your body
Give me, yeah, your body
Don't talk

Body language, huh, huh
Body language, body language

You got red lips, snakes in your eyes
Long legs, great thighs
You got the cutest ass I've ever seen
Knock me down for a six any time
Look at me, I gotta case of body language
Look at me, I gotta case of body language
Look at me, I gotta case of body language
Look at me, I gotta case of body language
Of body language, of body language

Yeah, sexy, body, sexy, sexy body
I want your body, Baby you're hot
Body language, body language, body language
Body language, body language, body language
Body language, body language, body language.

Calling All Girls - Queen

(Roger Taylor)

Calling all boys, calling all girls
Calling all people on streets
Around the world
Take this message a message for you
This message is old yeah
This message is true this message is
This message is this message is this message is

Love, take a message of love
Far and near
Take a message of love for all to hear,
For all to hear.

Some sleepless nights in wait for you
Some foreign presence you feel
Comes seeping through
Some stream of hope
The whole world through
Spread like some silent disease
You'll get yours too
This message is this message is
This message is this message is

Love take a message of love
Far and near
Take a message of love for all to hear
For all to hear

Love take a message of love
Far and near
Take a message of love for all to hear
For all to hear

Calling all boys calling all girls
Calling all boys calling all girls
Calling all girls.

http://991.com/newgallery/Queen-Hot-Space-25924.jpg

ABlairican Pie

12-06-2006, 12:00 AM

One of my all time favorite Rush albums. :rock: :rock: :rock: :rock:I didn't have time earlier to say more about it. Even though this album was posted earlier in my 80's thread, we'll look at it again, because it is a great album.

Musically, Alex Lifeson wanted to compensate for the lack of guitar space he had on the Signals album, which was rather synth-heavy. Grace Under Pressure brought back a balance to the three-piece lineup, placing equal importance on both guitars and Geddy Lee's synths, as it was on Moving Pictures. Another big change was Neil Peart's use of electronic drums and percussion. Musically, the band explored ska and reggae themes on the album, while the lyrical themes touched on social commentary about the Cold War. The opening track "Distant Early Warning" focused on America building detectors of Soviet missiles into Canadian airspace, which was apparently an intrusion into Canada's sovereignty, and "Red Lenses" further touched on Soviet/American relations with a heavy dance beat. One standout song, "Red Sector A" was based on Geddy Lee's mother's tragic stories of her internment in the Bergen-Belsen concentration camp during World War II and of its liberation. "The Enemy Within", the ska-rock number, was the first installment of The Fear Trilogy, which began on the Moving Pictures album with Part 3, "Witch Hunt", and followed with Part 2, "The Weapon" on Signals.
One huge synth-heavy song was the album's closer, "Between the Wheels".

The album was initially going to be produced by U2 producer Steve Lillywhite, but he pulled out at the last minute, claiming that he did not feel right for the album. The album was eventually produced by Peter Henderson. The album went #10 on the Billboard charts and received Platinum status.

Does anyone else think that Lisa may do a good Geddy Lee vocal?

:lol:

Red Sector A

All that we can do is just survive
All that we can do to help ourselves
Is stay alive...

Ragged lines of ragged grey
Skeletons, they shuffle away
Shouting guards and smoking guns
Will cut down the unlucky ones

I clutch the wire fence
Until my fingers bleed
A wound that will not heal ---
A heart that cannot feel ---
Hoping that the horror will recede
Hoping that tomorrow ---
We'll all be freed

Sickness to insanity
Prayer to profanity
Days and weeks and months go by
Don't feel the hunger --- too weak to cry

I hear the sound of gunfire
At the prison gate
Are the liberators here ---
Do I hope or do I fear?
For my father and my brother --- it's too late
But I must help my mother
Stand up straight...

Are we the last ones left alive?
Are we the only human beings
To survive?...

The Enemy Within

Things crawl in the darkness
That imagination spins
Needles at your nerve ends
Crawl like spiders on your skin

Pounding in your temples
And a surge of adrenaline
Every muscle tense ---
To fence
The enemy within...

I'm not giving in
To security under pressure
I'm not missing out
On the promise of adventure
I'm not giving up
On implausible dreams ---
Experience to extremes ---
Experience to extremes

Suspicious-looking stranger
Flashes you a dangerous grin
Shadows across your window ---
Was it only trees in the wind?

Every breath a static charge ---
A tongue that tastes like tin
Steely-eyed outside ---
To hide
The enemy within...

To you -- is it movement or is it action?
It is contact or just reaction?
And you -- revolution or just resistance?
Is it living, or just existence?
Yeah, you -- it takes a little more persistence
To get up and go the distance...

The Body Electric

One humanoid escapee
One android on the run
Seeking freedom beneath
A lonely desert sun

Trying to change its program
Trying to change the mode ---
Crack the code
Images conflicting
Into data overload

1-0-0-1-0-0-1
S.O.S.
1-0-0-1-0-0-1
In distress
1-0-0-1-0-0

Memory banks unloading
Bytes break into bits
Unit one's in trouble
And it's scared out of its wits

Guidance systems break down
A struggle to exist ---
To resist ---
A pulse of dying power
In a clenching plastic fist...

It replays each of the days
A hundred years of routines
Bows its head and prays
To the mother of all machines...

Between the Wheels

To live between a rock
And a hard place
In between time ---
Cruising in prime time ---
Soaking up the cathode rays

To live between the wars
In our time ---
Living in real time ---
Holding the good time ---
Holding on to yesterdays...

You know how that rabbit feels
Going under your speeding wheels
Bright images flashing by
Like windshields towards a fly
Frozen in the fatal climb ---
But the wheels of time ---
Just pass you by...

Wheels can take you around
Wheels can cut you down

We can go from boom to bust
From dreams to a bowl of dust
We can fall from rockets' red glare
Down to "Brother can you spare ---"
Another war --- another waste land ---
And another lost generation...

It slips between your hands
Like water
This living in real time
A dizzying lifetime
Reeling by on celluloid

Struck between the eyes
By the big-time world
Walking uneasy streets ---
Hiding beneath the sheets ---
Got to try and fill the void...

:guitar:

ABlairican Pie

12-06-2006, 12:06 AM

This is an earlier one. Lisa, Lisa, Lisa, you've GOTTA lay off the caffeine!!!!
:eek2: :nonono:

:rotflmao:

ABlairican Pie

12-06-2006, 12:12 AM

Okay, here are some more current ones (hopefully without that coffee buzz gaze :joke:, even though she is a major Starbucks addict):

ABlairican Pie

12-06-2006, 12:51 AM

Jethro Tull was another band which attempted to make the transition into more streamlined, synth-rock music by the mid-80's. In 1984, they released Under Wraps, which, while being rather reviled among fans, was guitarist Martin Barre's favorite album. The album did not even feature a live drummer, but only used a drum machine instead. In spite of fans' scorn of the album, it did manage to feature a popular radio tune, "Lap of Luxury". However, while on tour, vocalist Ian Anderson developed throat problems which prevented the arrival of a new album from Tull for the next three years.

Lap of Luxury

The money won't last forever ---
rent man called twice today.
I hope some day you'll find me
in the lap of luxury.

Searched for a new apartment
but they don't grow on trees.
Just want to lay my head
in the lap of luxury.

Stepped out on a new horizon ---
felt a new spring in my feet.
Found a job, it could set me up
dangling in the lap of luxury.

And the gaffer is a man of substance ---
drives a jag and takes high tea.
Lives beyond the industrial wasteland,
laughing in the lap of luxury.

I need money, now, to soothe my heart!

Buy me a Datsun or Toyota ---
get the tax man to agree
all expenses I can muster
from the lap of luxury.

:guitar: :banana: :mango

ABlairican Pie

12-06-2006, 01:40 AM

One band which championed the influence of Jethro Tull in their music was Iron Maiden, who actually recorded a cover of Tull's "Cross-Eyed Mary", released in 1984. Also that year, the Maiden released Powerslave, one of the band's strongest efforts, which featured some of their biggest songs, "Aces High", "2 Minutes to Midnight", the title track, and their longest, epic track "Rime of the Ancient Mariner", based on the poem by Samuel Taylor Coleridge. Maiden was at the peak of their popularity, and undertook a grueling year-long World Slavery tour which took them all over the world, even behind the Iron Curtain to Poland. Soviet authorities allowed the band to play there, while denying John Denver the opportunity, saying, "He is no good capitalist American-ski!!" :lol: Rock-starved young people were enthralled by the band's performance there, no doubt finding many Iron Maiden albums on the black market there. In spite of the success of the long tour, Maiden vowed they would never do such a tiring tour of that size ever again, it was much too draining for the seasoned road warriors.

Speaking of size, the tour was memorable for its use of its Ancient Egypt theme, where the set featured Eddy as a gigantic Pharoah, and other colossal
motifs from the land of the pyramids on the Nile.

The opening song, "Aces High", touched on one of Maiden's favorite themes, aerial warfare by the RAF in World War II against the German Luftwaffe, while the following song, "2 Minutes to Midnight", based on the ticking down of the seconds of the atomic clock before a nuclear war, became one of their best-loved songs, as well as one with the most gripping lyrics about the devastation of war.

Aces High

There goes the siren that warns off the air raid
Then comes the sound of the guns sending flak
Out for the scramble we've got to get airborne
Got to get up for the coming attack.

Jump in the cockpit and start up the engines
Remove all the wheel blocks
there's no time to waste
Gathering speed as we head down the runway
Gotta get airborne before it's too late

Running, scrambling, flying
Rolling, turning, diving, going in again
Run, live to fly, fly to live, do or die
Run, live to fly, fly to live, Aces high

Move in to fire at the mainstream of bombers
Let off a sharp burst and then turn away
Roll over, spin round and come in behind them
Move to their blindsides and firing again

Bandits at 8 o'clock move in behind us
Ten ME-109's out of the sun
Ascending and turning out spitfires to face them
Heading straight for them I press my guns.

Rolling, turning, diving
Rolling, turning, diving, goin' again
Run, live to fly, fly to live, do or die
Run, live to fly, fly to live, Aces high.

2 Minutes to Midnight

Kill for gain or shoot to maim
But we don't need a reason
To Golden Goose is on the loose
And never out of season
Some blackened pride still burns inside
This shell of bloody treason
Here's my gun for a barrel of fun
For the love of living death

The killer's breed or the Demon's seed,
The glamour, the fortune, the pain,
Go to war again, blood is freedom's stain
But don't you pray for my soul anymore.

2 minutes to midnight,
The hands that treaten doom.
2 minutes to midnight,
To kill the unborn in the womb.

The blind men shout "Let the creatures out
We'll show the unbeliverers."
The napalm screams of human flames
Of a prime time Belsen feast ... yeah!
As the reasons for the carnage cut their meat and lick the gravy
We oil the jaws of the war machine and feed it with our babies.

The killer's breed or the Demon's seed,
The glamour, the fortune, the pain,
Go to war again, blood is freedom's stain
But don't you pray for my soul anymore.

2 minutes to midnight,
The hands that treaten doom.
2 minutes to midnight,
To kill the unborn in the womb.

The body bags and little rags of children torn in two
And the jellied brains of those who remain to put the finger right on you
As the madmen play on words and make us all dance to their song
To the tune of starving millions to make a better kind of gun.

The killer's breed or the Demon's seed,
The glamour, the fortune, the pain,
Go to war again, blood is freedom's stain
But don't you pray for my soul anymore.

2 minutes to midnight,
The hands that treaten doom.
2 minutes to midnight,
To kill the unborn in the womb.

Midnight
Midnight
Midnight
It's all night

Midnight
Midnight
Midnight
It's all night

This apparently is a another reference to the show The Prisoner:

Turn the spotlights on the people
Sitch the dial and eat the worm
Take your chances, kill the engine
Drop your bombs and let it burn

White flags shot to ribbons,
The truce in black and burned.
Shellshock in the kitchen.
Tables overturned

[Chorus:]
Back in the village again
In the village,
I'm back in the village again.

Throwing dice now, rolling loaded
I see sixes all the way,
In a black hole and I'm spinning
As my wings get shot away.

Questions are a burden
And answers are a prison for oneself
Shellshock in the kitchen
Tables start to burn.

[Chorus:]
Back in the village again
In the village,
I'm back in the village again.

No breaks on the inside,
Paper cats and burning barns,
There's fox among the chickens,
And a killer in the hounds.

Questions are a burden
And answers are a prison for oneself
Shellshock in the kitchen
Tables start to burn.

[Chorus:]
Back in the village again
In the village,
I'm back in the village again.

But still we walk into the valley
And others try to kill the inner flame
We're burning brighter and before
I don't have a number, I'M A NAME!

Back in the village again
In the village
I'm back in the village again
Back in the village again
In the village

I'm back in the village
Back in the village
Back in the village again.

Powerslave

Into the Abyss I'll fall - the eye of Horus
Into the eyes of the night - watching me go
Green is the cat's eye that glows -
In this Temple
Enter the risen Osiris - risen again.

[Chorus:]
Tell me why I had to be a Powerslave
I don't wanna die, I'm a God,
Why can't I live on?
When the Life Giver dies,
All around is laid waste,
And in my last hour,
I'm a Slave to the Power of Death.

When I was living this lie - Fear was my Game
People would worship and fall -
Drop to their knees.
So bring me the blood and
Red wine for the one to succeed me,
For he is a man and a God -
And He will die too.

[Chorus:]

Now I am cold but a ghost lives in my veins,
Silent the terror that reigned -
Marbled in stone
A Shell of a man God preserved -
From thousand ages,
But open the gates of my hell -
I'll strike from the grave

[Chorus:]
Tell me why I had to be a Powerslave
I don't wanna die, I'm a God,
Why can't I live on?
When the Life Giver dies,
All around is laid waste,
And in my last hour,
I'm a Slave to the Power of Death.
Slave to the Power of Death...
Slave to the Power of Death...

Rime of the Ancient Mariner

Hear the rime of the Ancient Mariner
See his eye as he stops one of three
Mesmerises one of the wedding guests
Stay here and listen to the nightmares
of the Sea

And the music plays on, as the bride passes by
Caught by his spell and
the Mariner tells his tale.

Driven south to the land of the snow and ice
To a place where nobody's been
Through the snow fog flies on the albatross
Hailed in God's name,
hoping good luck it brings.

And the ship sails on, back to the North
Through the fog and ice and
the albatross follows on

The mariner kills the bird of good omen
His shipmates cry against what he's done
But when the fog clears, they justify him
And make themselves a part of the crime.

Sailing on and on and North across the sea
Sailing on and on and North 'till all is calm

The albatross begins with its vengeance
A terrible curse a thirst has begun
His shipmates blame bad luck on the Mariner
About his neck, the dead bird is hung.

And the curse goes on and on at sea
And the curse goes on and on for them and me.

"Day after day, day after day,
we stuck nor breath nor motion
As idle as a painted ship upon a painted ocean
Water, water everywhere and
all the boards did shrink
Water, water everywhere nor any drop to drink."

[SAMUEL TAYLOR COLERIDGE (1798-1834)]

There, calls the mariner
there comes a ship over the line
But how can she sail with no wind
in her sails and no tide.

See... onward she comes
Onwards she nears, out of the sun
See... she has no crew
She has no life, wait but there's two

Death and she Life in Death,
they throw their dice for the crew
She wins the Mariner and he belongs to her now.
Then ... crew one by one
They drop down dead, two hundred men
She... She, Life in Death.
She lets him live, her chosen one.

[NARRATIVE]
"One after one by the star dogged moon,
too quick for groan or sigh
Each turned his face with a ghastly pang
and cursed me with his eye
Four times fifty living men
(and I heard nor sigh nor groan),
With heavy thump, a lifeless lump,
they dropped down one by one."

[SAMUEL TAYLOR COLERIDGE (1798-1834)]

The curse it lives on in their eyes
The Mariner he wished he'd die
Along with the sea creatures
But they lived on, so did he.

And by the light of moon
He prays for their beauty not doom
With heart he blesses them
God's creatures all of them too.

Then the spell starts to break
The albatross falls from his neck
Sinks down like lead into the Sea
Then down in falls comes the rain.

Hear the groans od the long dead seamen
See them stir and they start to rise
Bodies lifted by good spirits
None of them speak
and they're lifeless in their eyes

And revenge is still sought, penance starts again
Cast into a trance and the nightmare carries on.

Now the curse is finally lifted
And the Mariner sights his home
Spirits go from the long dead bodies
Form their own light and
the Mariner's left alone

And then a boat came sailing towards him
It was a joy he could not believe
The Pilot's boat, his son and the hermit
Penance of life will fall onto Him.

And the ship it sinks like lead into the sea
And the hermit shrieves the mariner of his sins

The Mariner's bound to tell of his story
To tell his tale wherever he goes
To teach God's word by his own example
That we must love all things that God made.

And the wedding guest's a sad and wiser man
And the tale goes on and on and on.

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=JqU4-GhahcE

http://www.youtube.com/watch?v=KnwaaiFHYi4

ABlairican Pie

12-06-2006, 09:09 AM

One Canadian band that was as musically and lyrically as deep as Rush--at least in the hormonal department ;)--was Helix, fronted by singer Brian Vollmer, guitarists Brent Doerner and Paul Hackman, bassist Keith Zurbrigg and drummer Brian Doerner. Coming from Ontario in the mid-70's, the band hit it big on rock radio with songs such as "Heavy Metal Love" from their 1983 album No Rest For the Wicked, followed by
1984's Walkin' On the Razor's Edge which featured one of their biggest hits, "Rock You", as well as the song and voloptuous video "Gimme Gimme Good Lovin'". Helix were one band to be counted on for a good times with bad women in their videos. :grineyes: The band opened for KISS, Rush, Aerosmith, Motley Crue and other major groups in the 80's.

Sadly, guitarist Paul Hackman died in 1992 when his van rolled down a 40-foot embankment and crashed after a Vancouver show. :( The band recorded
a song and video, "That Day Is Gonna Come", in his memory. The band still records and tours to this day.

Heavy Metal Love

Got me a baby she's hard as nails
She's my heavy metal love
She plays guitar just like a ringin' the bell
She's my heavy metal love
Leather and lace, you know what I've found
She's my heavy metal love
When the lights go up, she gets down
She's my heavy metal love

Chorus

I like the caress of steel
It's the hard edge that I feel
Heavy metal love
She's my heavy metal love
Ooh yeah heavy metal love
She's my heavy metal love

She's not the kind of girl
You bring home to mom
She's my heavy metal love
She's dirty and mean
But she's lots of fun
She's my heavy metal love

Chorus

Heavy metal love
She's my heavy metal love
Ooh yeah heavy metal love
She's my heavy metal love

Yeah!
Heavy metal love
She's my heavy metal love
Ooh yeah heavy metal love
She's my heavy metal love

Heavy metal love
She's my heavy metal love
Ooh yeah heavy metal love
She's my heavy metal love

ROCK You

Gimme an R (R!)
O (O!)
C (C!)
K (K!)
Whatcha got? (Rock!)
And whatcha gonna do? (Rock you!)

Gimme an R (R!)
O (O!)
C (C!)
K (K!)
Whatcha got? Rock!
And whatcha gonna do? Rock you!

Hot as a pistol
Loaded like a gun
Ready for action
Gotta have my fun

Don't just sit there
Come on get up and move
If you want to
Tell you what we're gonna do

Rock you (Rock you)
Rock you (Rock you)

I've been waiting
For so long
Gonna play it loud
Gonna play it strong

Well don't just sit there
Come on get up and move
If you want to
Tell you what we're gonna do

Rock you (Rock you)
Rock you (Rock you)
Rock you (Rock you)
Rock you (Rock you)

Gimme an R (R!)
O (O!)
C (C!)
K (K!)
Whatcha got? (Rock)
And whatcha gonna do? (Rock you)

Gimme an R (R!)
O (O!)
C (C!)
K (K!)
Whatcha got? (Rock)
And whatcha gonna do? (Rock you)

Tell me
Rock you

Don't just sit there
Come on get up and move
If you want to
Tell you what we're gonna do

Rock you (Rock you)
Rock you (Rock you)
Rock you (Rock you)
Rock you (Rock you)

Rock you (Rock you)
Yeah rock you (Rock you)
Rock you (Rock you)
Rock you (Rock you

Gimme Gimme Good Lovin'

From Atlanta Georgia
To the Great Lake waters
To Californ i a
Gonna spend my time
Pumping night and day
So
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Every night

To the girls in New York
To the girls in Frisco
To the girls in Tex-Ar-Can
Gotta understand
Honey I'm your man
So
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night

Gimme, gimme, gimme good lovin'
Gimme, gimme, gimme good lovin'
Gimme, gimme, gimme good lovin'
Gimme, gimme, gimme good lovin'
Gimme, Gimme Good Lovin' every night

Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night
Gimme, Gimme Good Lovin' every night

:rock: :guitar: :guitar: :rock:

http://www.noolmusic.com/blogs/YouTube_Music_Videos_80s_90s_Rock_Pop_-_Helix_-_Heavy_Metal_Love.shtml

http://www.youtube.com/watch?v=gCcrI_W1Pxg&mode=related&search=

http://www.youtube.com/watch?v=U_oBjinZQ7k

ABlairican Pie

12-06-2006, 09:24 AM

From Grace Under Pressure:

http://www.youtube.com/watch?v=qGBN48CPTUs

http://www.youtube.com/watch?v=11vlmjvxxdw

ABlairican Pie

12-07-2006, 12:39 AM

Foreigner's 1984 album, Agent Provocateur, was a concept album of sorts, about a spy who sees life from both sides of his role, inside and outside his secret work. The album featured their only #1 hit, "I Want to Know What Love Is", which featured a gospel choir as well. It would be their last hit for a while. Though the album did not measure up to the success of "4", their previous release, the 1984 album had gone triple platinum by 2000.

I Want to Know What Love Is

I gotta take a little time
A little time to think things over
I better read between the lines
In case i need it when i'm older

Now this mountain i must climb
Feels like a world upon my shoulders
I through the clouds i see love shine
It keeps me warm as life grows colder

In my life there's been heartache and pain
I don't know if i can face it again
Can't stop now, i've traveled so far
To change this lonely life

I wanna know what love is
I want you to show me
I wanna feel what love is
I know you can show me

I'm gonna take a little time
A little time to look around me
I've got nowhere left to hide
It looks like love has finally found me

In my life there's been heartache and pain
I don't know if i can face it again
I can't stop now, i've traveled so far
To change this lonely life

I wanna know what love is
I want you to show me
I wanna feel what love is
I know you can show me

I wanna know what love is
I want you to show me
And i wanna feel, i want to feel what love is
And i know, i know you can show me

Let's talk about love
I wanna know what love is, the love that you feel inside
I want you to show me, and i'm feeling so much love
I wanna feel what love is, no, you just cannot hide
I know you can show me, yeah

I wanna know what love is, let's talk about love
I want you to show me, i wanna feel it too
I wanna feel what love is, i want to feel it too
And i know and i know, i know you can show me
Show me love is real, yeah
I wanna know what love is...

That Was Yesterday

I thought i knew you well
But all this time i could never tell
I let you get away
Haunts me every night and every day

You were the only one
The only friend that i counted on
How could i watch you walk away
I'd give anything to have you here today

But now i stand alone with my pride
And dream that you're still by my side

But that was yesterday
I had the world in my hands
But it's not the end of my world
Just a slight change of plans

That was yesterday
But today life goes on
No more hiding in yesterday
'cause yesterday's gone

Love, my love i gave it all
Thought i saw the light
When i heard you call
Life that we both could share
Has deserted me
Left me in despair

But now i stand alone with my pride
Fighting back the tears i never let myself cry

But that was yesterday
Love was torn from my hands
But it's not the end of my world
Just a little hard to understand

That was yesterday
But today life goes on
You won't find me in yesterday's world
Now yesterday's gone

Goodbye yesterday
Now it's over and done
Still i hope somewhere deep in your heart
Yesterday will live on

Tooth and Nail

I'm tired of all this cheap talk
When you walk next to me
They say i ain't good enough for you
Why don't they come and tell me
When they see us out in the night
They can't wait to tear us apart
Now i hear them saying lovin' you ain't right
Well they'd better be ready 'cause honey i'll be there

I will fight tooth and nail
Count on me, i will not fail you
I will fight tooth and nail

They say i'm always breaking promises
And i'm just fooling with you
Then they try and come between the two of us
Man, that's a bad thing to do
I can say i had more than enough
But i ain't gonna take it too hard
I said hey, they want to play rough
Well let's see who backs down when the trouble starts

I will fight tooth and nail
Count on me, i will not fail you
I will fight tooth and nail

Come on try me, i won't give in
They take advantage, but they can't win
I'll be your man, baby, wait and see
Ain't nobody, nobody take your love from me

I will fight tooth and nail
I was wrong, i will not fail you
I will fight tooth and nail

I'll be your man, baby, wait and see
Ain't nobody, nowhere take your love away from me

I will fight tooth and nail
Count on me, i will not fail you
I will fight tooth and nail

Right now, tooth and nail
I am waiting for the fight
Tooth and nail
Right now, c'mon, tooth and nail
Right now, tooth and nail
C'mon, tooth and nail
Ah fight
Tooth and nail
Right now, c'mon, tooth and nail
C'mon, right now, tooth and nail

:guitar:

ABlairican Pie

12-07-2006, 12:59 AM

Paul McCartney's 1984 album and movie, Give My Regards to Broad Street, was certainly nowhere in the league of The Beatles' 60's classic movies "Help!" and "A Hard Day's Night", but it did manage to yield the successful single "No More Lonely Nights". The movie, a commercial bomb at the box office, told the fictional story of McCartney's master tapes to a record being stolen by a shady character, only to be found at a railroad station in London's Broad Street where they are held hostage by this same desparate individual. David Gilmour of Pink Floyd also plays guitar on the hit song.

No More Lonely Nights

I can wait another day until I call you
Youve only got my heart on a string and everything a flutter
But another lonley night (and another, and another)
Might take forever(and another, and another)
Weve only got each other to blame
Its all the same to me love
cause I know what I feel to be right
No more lonely nights
No more lonely nights
Youre my guiding light
Day or night Im always there

May I never miss the thrill of being near you
And if it takes a couple of years
To turn your tears to laughter
I will do what I feel to be right

No more lonely nights
Never be another
No more lonely nights
Youre my guiding light
Day or night Im always there
And I wont go away until you tell me so
No Ill never go away

Yes I know what I feel to be right
No more lonely nights
Never be another
No more lonely nights
Youre my guiding light
Day or night Im always there
And I wont go away until you tell me so
No Ill never go away
I wont go away until you tell me so
No Ill never go away
No more lonely nights, no no ...

:guitar:

ABlairican Pie

12-07-2006, 01:40 AM

1984's 'Beverly Hills Cop' was not only one of the biggest comedy movies which turned Saturday Night Live regular Eddie Murphy into a huge movie star, but also featured an impressive selection of music:

Rockie Robbins - "Emergency"
Shalamar - "Don't Get Stopped in Beverly Hills"
The System - "Rock and Roll me Again"
Junior - "Do you really want my love"
Harold Faltermeyer - "Axel F"
Glenn Frey - "The Heat Is On"
Danny Elfman - "Gratitude"
Patti LaBelle - "New Attitude" and "Stir It Up"
Pointer Sisters - "Neutron Dance"

The Heat Is On
by Glenn Frey

The heat is on, on the street
Inside your head, on every beat
And the beat's so loud, deep inside
The pressure's high, just to stay alive
'Cause the heat is on

Oh-wo-ho, oh-wo-ho
Caught up in the action I've been looking out for you
Oh-wo-ho, oh-wo-ho
Tell me can you feel it
Tell me can you feel it
Tell me can you feel it
The heat is on, the heat is on, the heat is on
The heat is on, oh it's on the street, the heat is...on

The shadows are on the darker side
Behind those doors, it's a wilder ride
You can make a break, you can win or lose
That's a chance you take, when the heat's on you
When the heat is on

CHORUS

It's on the street
The heat is on, the heat is on, the heat is on
Yeah, it's on the street
The heat is on

Neutron Dance
by The Pointer Sisters

I don't want to take it anymore
I'll just stay here locked behind the door
Just no time to stop and get away
'Cause I work so hard to make it everyday

Whoo oooh
Whoo oooh

There's no money falling from the sky
'Cause a man took my heart and robbed me blind
Someone stole my brand new Chevrolet
And the rent is due, I got no place to stay

Whoo oooh
Whoo oooh

(Chorus: )
And it's hard to say
Just how some things never change
And it's hard to find
Any strength to draw the line
I'm just burning doin' the neutron dance
I'm just burning doin' the neutron dance

Industry don't pay a price that's fair
All the common people breathing filthy air
Roof caved in on all the simple dreams
And to get ahead your heart starts pumping schemes

Chorus

Whoo oooh
Whoo oooh
I'm on fire
I'm on fire

Chorus

I know there's a pot of gold for me
All I got to do is just believe
I'm so happy doin' the neutron dance
And I'm just burning doin' the neutron dance
I'm so happy doin' the neutron dance
I'm just burning doin' the neutron dance

:banana: :mango

ABlairican Pie

12-07-2006, 02:11 AM

Also in 1984, 'Star 80', producer Bob Fosse's cinematic treatment of the tragic death of Playboy Playmate of the Year 1980, Dorothy Stratten, was released. Mariel Hemingway starred as the fallen heroine, while Eric Roberts played her estranged husband/promoter Paul Snider. The movie was largely based on the Village Voice article "Death of a Playmate" in 1980, which painted a damning picture (by a typically ultra-feminist author) of the "sexist" Playboy Empire and of its founder Hugh Hefner, who, in the movie was played by Cliff Robertson (who went on the play Uncle Ben in "Spider-Man"). While the movie avoided overt political posturing over the reasons for her murder, the movie oddly focused on the bizarre relationship with Stratten almost solely from the murderer Snider's point of view. Eric Roberts was a natural for the role, as he evoked a sleazy sort of persona in Snider, who from day one was a frustrated loser who sought to make a star out of himself by cashing in on Dorothy Stratten's beauty. When Stratten's career took off without him, his jealous rage turned against her, and ultimately himself. Supporters of Playboy insisted that it was not the magazine nor the lifestyle which lead to her death, but Snider's own controlling, violent temper.

The movie was named after the personalized license plate that Snider had made for her new car he had bought for her in 1980. Hemingway seemed like an unlikely choice for the role, as she had not the willowy figure of Stratten, but she had breast implants to improve her physique. She pleaded with Fosse to let her be in the starring role until he agreed. Unbelievably, the final murder/suicide scene was in fact filmed in the exact same bedroom in West Hollywood where the murders actually occurred only three years before! :eek2: The movie brought mixed reviews, as the darkness of Roberts' Snider overshadowed the light of Hemingway's Stratten. The film score featured songs such as Steppenwolf's "Sookie Sookie", music by The Band, and Glen Miller's "Pennsylvania 3000" in the rollerskating scene. The movie was rather depressing, heartbreaking, but also gave a glimpse into the lifestyle of the late 70's in Southern California.

ABlairican Pie

12-07-2006, 08:39 AM

One movie which turned to distant past for inspiration was 'Amadeus' in 1984, based on a play written by Aleksandr Pushkin about the rivalry between gifted composer Wolfgang Amadeus Mozart (1756-1791) and the mediocre composer Antonio Salieri (1750-1825). The title role was played by Tom Hulce while Salieri was played by F. Murray Abraham. It was a story told mostly from the point of view of Salieri, a lifelong Catholic who wanted to use his musical gifts for the glory of God, until he heard the stunningly beautiful music of Mozart. Recognizing that God had indeed blessed Mozart with such phenomenal genius, Salieri wishes to meet the young prodigy--until he sees him engaged in loutish behavior and vulgar talk with a young woman. Salieri is appalled: How could God bless this scoundrel with such awesome talent? Salieri was a man of God whose talents paled in comparison. In time, Salieri renounces his faith in God and plots to destroy Mozart in a lingering fit of insane jealousy.
He never succeeded, though Mozart did die from an illness that remains under speculation by historians.

Steve M.

12-07-2006, 10:20 PM

Between 1977 and 1982, Elton John wrote the occasional song with Bernie Taupin, but with Elton living in England and Bernie living in California, regular songwriting sessions between them were rare. Thanks to the magic of technology, though, they were able to reunite on a full-time basis, with Bernie supplying the lyrics by cable, then by fax, and finally by e-mail and Elton writing the music.

1983's Too Low For Zero, its titles spelled out in rebus form on the cover, was the first all-Taupin/John album since 1976's Blue Moves. Though the album didn't exactly zoom up the charts as in the old days, it produced three hit singles: "I'm Still Standing," about Bernie's liberating dissociation from his first wife (though it was also about Elton's comeback), "Kiss The Bride," in which Bernie fantasizes about busting up a wedding, and "I Guess That's That's Why They Call It The Blues," a song Bernie wrote about new wife Toni - Rene Russo's sister! :) - with Stevie Wonder on harmonica. Suddenly, it seemed like the seventies were back again. . . . :D

I'm Still Standing - Elton John

You could never know what it's like,
Your blood, like winter, freezes just like ice.
And there's a cold and lonely light that shines from you.
You'll wind up like the wreck you hide behind that mask you use.

And did you think this fool could never win?
Well look at me, I'm coming back again.
I got a taste of love in a simple way,
And if you need to know, while I'm still standing, you just fade away.

Don't you know I'm still standing better than I ever did,
Looking like a true survivor, feeling like a little kid.
I'm still standing after all this time,
Picking up the pieces of my life without you on my mind.

I'm still standing, yeah yeah yeah.
I'm still standing yeah yeah yeah.

Once I never could hope to win,
You starting down the road and leaving me again.
The threats you made were meant to cut me down.
And if our love was just a circus, you'd be a clown by now.

Don't you know I'm still standing better than I ever did,
Looking like a true survivor, feeling like a little kid.
I'm still standing after all this time,
Picking up the pieces of my life without you on my mind.

I'm still standing yeah yeah yeah.
I'm still standing yeah yeah yeah. . . .

Kiss The Bride - Elton John

Well she looked a peach in the dress she made
When she was still her mama's little girl
And when she walked down the aisle everybody smiled
At her innocence and curls
And when the preacher said, "Is there anyone here,
Got a reason why they shouldn't wed?". . .
I should have stuck up my hand,
I should have got up to stand.
And this is what I should have said:

I wanna kiss the bride, yeah!
I wanna kiss the bride, yeah!
Long before she met him,
She was mine, mine, mine.
Don't say "I do."
Say "Bye, bye, bye."
And let me kiss the bride, yeah!

Underneath her veil I could see a tear
Trickling down her pretty face.
And when she slipped on the ring, I knew everything
Would never be the same again.
But if the groom would have known, he'd have had a fit
About his wife and the things we did.
And what I planned to say
Yeah, on her wedding day.
Well I thought it, but I kept it hid.

I wanna kiss the bride, yeah!
I wanna kiss the bride, yeah!
Long before she met him
She was mine, mine, mine.
Don't say "I do."
Say "Bye, bye, bye."
And let me kiss the bride, yeah!

I wanna kiss the bride, yeah!
I wanna kiss the bride, yeah!

I Guess That's That's Why They Call It The Blues - Elton John

Don't wish it away,
Don't look at it like it's forever.
Between you and me I could honestly say
That things can only get better.

And while I'm away,
Dust out the demons inside.
And it won't be long before you and me run
To the place in our hearts where we hide.

And I guess that's why they call it the blues,
Time on my hands could be time spent with you.
Laughing like children, living like lovers,
Rolling like thunder under the covers.
And I guess that's why they call it the blues.

Just stare into space,
Picture my face in your hands.
Live for each second without hesitation
And never forget I'm your man.

Wait on me, girl,
Cry in the night if it helps.
But more than ever, I simply love you
More than I love life itself.

And I guess that's why they call it the blues
Time on my hands could be time spent with you
Laughing like children, living like lovers
Rolling like thunder under the covers
And I guess that's why they call it the blues

(REPEAT BOTH VERSES)

Laughing like children, living like lovers,
And I guess that's why they call it the blues.

Laughing like children, living like lovers,
And I guess that's why they call it the blues,
And I guess that's why they call it the blues.

All songs by Elton John (music) and Bernie Taupin (lyrics), (C) 1983 Big Pig Music, Ltd. :)

ABlairican Pie

12-08-2006, 12:03 AM

Another interesting anecdote, Lisa remembers, is when she and her mother saw Elvis in one of his last concerts. Lo and behold, Elvis himself came down from the stage and kissed Lisa, then only in her early teens, on the cheek! :eek: He then handed her a scarf and wrapped around her! :faint:

Unfortunately, some months later, Lisa was rummaging through her family's garage, and happened to find that same scarf, torn up and covered in grease!! :eek: ohno: :wallbang "Can you believe it??!!" she said. What a way to treat an heirloom from the King himself!! Apparently, no one knew where it came from! :elvis:

But, it's a good sign when you're kissed by ELVIS!!! Got a little bit of that Elvis in you, as Mojo Nixon would say!! :D

ABlairican Pie

12-08-2006, 08:41 AM

Chris de Burgh was another rising artist in 1984 who had a pop rock hit with "Don't Pay the Ferryman". Born in 1948 in Buenos Aires, Argentina, to both a British diplomat and an Irish secretary, de Burgh travelled
around to numerous countries in his early years before returning to Ireland at the age of twelve where his father bought Bargy Castle and converted it into a hotel. He recorded a number of albums in the 70's when he released 1982's The Getaway, which featured one of his biggest hits, "Don't Pay the Ferryman", about death. His Man On the Line album from 1984 featured the hit, "High On Emotion", but it was not until another two years when he released what would become his biggest hit, which had an interesting tale behind it.

Don't Pay the Ferryman

It was late at night on the open road, speeding like a man on the run
A lifetime spent preparing for the journey.
He is closer now and the search is on, reading from a map in the mind:
Yes there's that ragged hill and there's a boat on the river.

And when the rain came down, he heard a wild dog howl
There were voices in the night
(Don't do it!)
Voices out of sight
(Dont't do it!)
Too many men have failed before, whatever you do;

Don't pay the ferryman!
Don't even fix a price!
Don't pay the ferryman
Until he gets you to the other side.

In the rolling mist, then he gets on board, now there'll be no turning back
Beware that hooded old man at the rudder.
And then the lightning flashed and the thunder roared,
and people calling out his name,
And dancing bones that jabbered-and-a-moaned on the water.

And then the ferryman said "There is trouble ahead,
So you must pay me now."
(Don't do it!)
"You must pay me now."
(Don't do it!)
And still that voice came from beyond, whatever you do;

Don't pay the ferryman!
Don't even fix a price!
Don't pay the ferryman
Until he gets you to the other side.

High On Emotion

Oh my heart is spinning like a wheel,
Only she can see the way that I fell,
Eyes are holding right across the room,
High explosion coming out of the blue;

Well here we go again,
Living in a world that others cannot share,
Yea here we go again,
We are moving from a spark to a flame;

I am high on emotion, high again,
High on emotion, your love will find the way;

Oh my heart is burning like a fire,
Closer now and she is breathing desire,
Take my hand and give it all your light,
Take command I am your rhythm tonight;

Well here we go again,
Living in a world that others cannot share,
Yea here we go again,
We are moving from a spark to a flame;

I am high on emotion, high again,
High on emotion, your love will find the way;

I am high on emotion, high again,
High on emotion, your love will find the way;
High on emotion, high again,
High on emotion, your love will find the way;

:guitar:

http://www.poplife.info/bilder/243924.jpg

ABlairican Pie

12-08-2006, 09:00 AM

Former Eagles vocalist Don Henley released his second solo album Building the Perfect Beast in the fall of 1984, which charted the following year. The synth-heavy album was a radical departure from the countrified rock sound he had been known for in the 70's. Songs such as "Boys Of Summer" hearkened back to a simpler time with lyrics such as "Deadhead sticker on a Cadillac", indicating the younger days were over for many who lived through the wild 60's and freewheelin' 70's. The days when The Eagles ruled the charts were behind them as well, and Henley was one more artist who was successfully re-inventing himself for the synth-rock 80's.

Boys of Summer

Nobody on the road
nobody on the beach
I feel it in the air
the summer's out of reach
Empty lake,
empty streets
the sun goes down alone
I'm drivin' by your house
Though I know you're not home
But I can see you-
Your brown skin shinin' in the sun
You got your hair combed back and your
sunglasses on, baby
And I can tell you my love for you
will still be strong after the boys of
summer have gone
I never will forget those nights
I wonder if it was a dream
Remember how you made me crazy?
Remember how I made you scream?
Now I don't understand what's happened
to our love,
But baby when I get you back
I'm gonna show you what I'm made of
I can see you-
Your brown skin shinin' in the sun
I see you walkin' real slow and you're smilin' at everyone

I can tell you my love for you will still be strong
after the boys of summer have gone
Out on the road today I saw a DEADHEAD sticker
on a Cadillac
A little voice inside my head said, "Don't
look back. You can never look back."
I thought I knew what love was,
What did I know?
Those days are gone forever
I should just let them go but-
I can see you-
Your brown skin shinin' in the sun
You got that top pulled down and that radio on baby
And I can tell you my love for you will still be strong
after the boys of summer have gone
I can see you-
Your brown skin shining in the sun
You got that hair slicked back and
those Wayfarers on, baby
I can tell you my love for you will still be strong
after the boys of summer have gone

All She Wants to Do Is Dance

They're pickin' up the prisoners and puttin'
'em in the pen
And all she wants to do is dance, dance
Rebels been rebels since I don't know when
And all she wants to do is dance
Molotov cocktail-the local drink
And all she wants to do is dance, dance, dance
They mix 'em up right in the kitchen sink
And all she wants to do is dance
Crazy people walkin' round
with blood in their eyes
And all she wants to do is dance, dance
Wild-eyed pistol wavers
who ain't afraid to die
And all she wants to do is-
And all she wants to do is dance
and make romance
She can't feel the heat comin' off the street
She wants to party (oooo)
She wants to get down (oooo)
And all she wants to do is-
And all she wants to do is dance
Well, the government bugged the men's
room in the local disco lounge
And all she wants to do is dance, dance
To keep the boys from sellin'
all the weapons they could scrounge
And all she wants to do is dance
But that don't keep the boys
from makin' a buck or two
And all she wants to do is dance, dance
They still can sell the army
all the drugs that they can do
And all she wants to do is-
All she wants to do is dance
and make romance
Well, we barely made the airport
for the last plane out
As we taxied down the runway
I could hear the people shout
They said, "Don't come back here Yankee!"
But if I ever do-
I'll bring more money
'Cause all she wants to do is dance
and make romance
Never mind the heat comin' off the street
She wants to party (oooo)
She wants to get down (oooo)
All she wants to do is-
All she wants to do is dance
All she wants to do is dance
and make romance
All she wants to do is dance

Sunset Grill

Let's go down to the Sunset Grill
We can watch the working girls go by
Watch the "basket people" walk around and mumble
And stare out at the auburn sky
There's an old man there from the Old World
To him, it's all the same
Calls all his customers by name
Down at the Sunset Grill
Down at the Sunset Grill
Down at the Sunset Grill
Down at the Sunset Grill
You see a lot more meanness in the city
It's the kind that eats you up inside
Hard to come away with anything that feels
like dignity
Hard to get home with any pride
These days a man makes you somethin'
And you never see his face
But there is no hiding place
Down at the Sunset Grill
Down at the Sunset Grill
Down at the Sunset Grill
Down at the Sunset Grill
Respectable little murders pay
They get more respectable every day
Don't worry girl, I'm gonna stick by you
And someday soon we're gonna get in that
car and get outta here
Let's go down to the Sunset Grill
Watch the working girls go by
Watch the "basket people" walk around and mumble
And gaze out at the auburn sky
Maybe we'll leave come springtime
Meanwhile, have another beer
What would we do without these jerks anyway?
Besides, all our friends are here
Down at the Sunset Grill
Down at the Sunset Grill
Down at the Sunset Grill
Down at the Sunset Grill

Not Enough Love In the World

Sometimes I wonder where it is love goes
I don't know if even Heaven knows
But I know you had some dreams that didn't
quite come true
And now I'm not the one, little girl, who's
keeping you
I was either standing in your shadow or
blocking your light
Though I kept on trying I could not make
it right
For you girl-
There's just not enough love in the world
I know people hurt you so bad
They don't know the damage they can do,
and it makes me so sad-
How we knock each other down just like
children on a playground
Even after that ol' sun went down-
I was either standing in your shadow or
or blocking your light
Though I kept on trying I could not
make it right
For you girl-
There's just not enough love in the world
Oh darlin', this is still a shady little town
And sometimes it's so hard to smile-
For the world, for the camera-
And still have something left
You don't have to prove nothin' to nobody
Just take good care of yourself
I'm not easy to live with-
I know that it's true
You're no picnic either, babe
And that's one of the things I loved about you
But a time will come around when we need to settle down
Got to get off this merry-go-round
I was either standing in your shadow or
blocking you're light
Though I kept on trying I could not make
it right
For you girl-
There's just not enough love in the world

:guitar: :banana: :mango

ABlairican Pie

12-08-2006, 09:14 AM

In 1985, as many older fans were finding a more suitable niche for their musical tastes on outlets such as VH-1 and more adult alternative outlets, one artist, whom we've met in 1985, was singer/sognwriter Suzanne Vega, who put out a mature self-titled debut album which featured the song "Marlene On the Wall". Here is her album cover, for anyone who missed it the first time.

Marlene On the Wall

Even if I am in love with you
All this to say, what's it to you?
Observe the blood, the rose tattoo
Of the fingerprints on me from you

Other evidence has shown
That you and I are still alone
We skirt around the danger zone
And don't talk about it later

Marlene watches from the wall
Her mocking smile says it all
As she records the rise and fall
Of every soldier passing

But the only soldier now is me
I'm fighting things I cannot see
I think it's called my destiny
That I am changing

Marlene on the wall

Well, I walk to your house in the afternoon
By the butcher shot with the sawdust strewn
"Don't give away the goods too soon"
Is what she might have told me

And I tried so hard to resist
When you held me in your handsome fist
And reminded me of the night we kissed
And why I should be leaving

Marlene watches from the wall
Her mocking smile says it all
As she records the rise and fall
Of every soldier passing

But the only soldier now is me
I'm fighting things I cannot see
I think it's called my destiny
That I am changing

Marlene on the wall

Marlene watches from the wall
Her mocking smile says it all
As she records the rise and fall
Of every soldier passing

But the only soldier now is me
I'm fighting things I cannot see
I think it's called my destiny
That I am changing

Marlene on the wall

And even if I am in love with you
All this to say what's it to you
Observe the blood, the rose tattoo
Of the finger prints on me from you

Other evidence has shown
That you and I are still alone
We skirt around the danger zone
And don't talk about it later

And I tried so hard to resist
When you held me in your handsome fist
And reminded me of the night we kissed
And of why I should be leaving

Marlene watches from the wall
Her mocking smile says it all
As she records the rise and fall
Of every man who's been here

But the only one here now is me
I'm fighting things I cannot see
I think it's called my destiny
That I am changing, changing,
changing, changing, changing,

Marlene watches from the wall
Her mocking smile says it all
As she records the rise and fall
Of every soldier passing

But the only soldier now is me
I'm fighting things I cannot see
I think it's called my destiny
That I am changing

Marlene on the wall

Steve M.

12-08-2006, 07:58 PM

Continuing his eighties comeback, Elton John released his eighteenth studio album, Breaking Hearts, in 1984. Although his voice had dropped a couple of registers since the seventies, much of his singing here recalled his seventies-style vocal from his glory days. "Sad Songs (Say So Much)" was the big hit from this LP, along with keepers like "Restless," "Who Wears These Shoes" and "In Neon."

Sad Songs (Say So Much) - Elton John

Guess there are times when we all need to share a little pain,
And ironing out the rough spots
Is the hardest part when memories remain.
And it's times like these when we all need to hear the radio,
`Cause from the lips of some old singer
We can share the troubles we already know.

(CHORUS)
Turn them on, turn them on,
Turn on those sad songs.
When all hope is gone,
Why don't you tune in and turn them on?
They reach into your room, oh oh oh ah,
Just feel their gentle touch.
When all hope is gone,
Sad songs say so much.

If someone else is suffering enough to write it down,
When every single word makes sense,
Then it's easier to have those songs around.
The kick inside is in the line that finally gets to you,
And it feels so good to hurt so bad
And suffer just enough to sing the blues.

(CHORUS)

Sad songs, they say
Sad songs, they say
Sad songs, they say
Sad songs, they say so much

(CHORUS)

When every little bit of hope is gone,
Sad songs say so much.

Restless - Elton John

It's a hot summer night in the blackboard jungle,
Crime sits heavy on the city shoulder.
Can't get no work, I can't get a job,
I just sit and play my radio in the parking lot.

Well they're breaking down doors in foreign countries,
Everybody thinks somebody's hiding something.
There's talk on the street and the nation is worried,
But you can't talk back when you're dead, when you're dead and
buried.

And everybody's restless,
Everybody's scared.
Everybody's looking for something that just ain't there.
Everybody's restless.

Everybody's scared, they think we're all in danger,
Everyone's taking cover from someone else's anger.
The walls have ears, Big Brother's watching,
They tell us that we're poisoned from everything that we're
touching.

Well we could be children from the way we're acting,
We feed ourselves lies and then we scream for action.
We just breed and we lose our nerve,
And there's bombs going off in every corner of the world.

And everybody's restless
Everybody's scared
Everybody's looking for something that just ain't there
Everybody's restless,
Restless. . . .

Who Wears These Shoes - Elton John

There's a light on in your window,
There's a shadow on the street.
Two silhouettes tell me it's over,
The shadow knows the shadow's me.

I won't crawl or cause you trouble,
Well that's the last thing I'll ever do.
But before I leave your life completely,
Tell me who wears these shoes, darling?

Lord knows the days just get longer,
The nights grow cold with you on my mind.
And I feel like an old jukebox,
Playing the same song all the time.

If these crazy dreams don't kill me,
It's more than I can take from you.
Not knowing where or when I'll see you,
Not knowing, darling, who wears these shoes.

My friends all say don't got to pieces,
I say that's fine but if I lose.
I want to know who's in my footsteps,
I want to know who wears these shoes.

My friends all think I must be crazy,
I see the facts but if it's true.
I want to know who's in my footsteps,
I want to know who wears these shoes, darling. . .

Oh and it's a chilling feeling,
When I can't see him
What do I do,
When I face the two of you?

My friends all say don't got to pieces
I say that's fine but if I lose
I want to know who's in my foot steps
I want to know who wears these shoes.

In Neon - Elton John

Lipstick and lashes, the traces of stardom,
Lit up on a billboard so everyone sees them in neon.
Behind the counter she stares out the window,
Up at the billboard that's like a reminder in neon.

She hates how she feels but she hangs like a mirror,
Maybe a stranger could walk in and see her in neon.
For two cents of danger she'd trust anybody,
She'd smoke like a gun if it meant she might wind up.

In neon ,the dreams in the light of a promise that dies,
A shimmering city, a glimmer of hope and a lie,
In neon the name's gone there's no reason why anymore,
Trust them and wind up alone behind a locked door.

In neon, in neon. . . .

Pictures and patterns, the touches of glamour,
Cut into a fashion that flashes above them in neon.
A hot cup of coffee held in her fingers,
A perfect complexion that lingers above her in neon.

She hates how she feels but she hangs like a mirror,
Maybe a stranger could walk in and see her in neon.
For a shot at the title, she'd slip into something,
She'd smoulder like ashes if it meant she might wind up in neon.

In neon ,the dreams in the light of a promise that dies,
A shimmering city, a glimmer of hope and a lie,
In neon the name's gone there's no reason why anymore,
Trust them and wind up alone behind a locked door.

In neon. . . .

(All songs by Elton John [music] andBernie Taupin [lyrics].)

http://www.eltonjohn.ch/BreakingHearts.jpg

ABlairican Pie

12-09-2006, 02:01 AM

We've met Robert Palmer previously in our 80's thread, but we're seeing him again for the cool single cover to one of his most popular songs on his 1985hit album Riptide, the tune "I Didn't Mean To Turn You On".

Born in Yorkshire, England, in 1949, Palmer got into rock and soul music during his youth in the 60's and began recording in the 70's. His first solo album, Sneaking Sally Through the Alley, was recorded in 1974 in New Orleans with a heavy Little Feat influence, as it was produced by Little Feat's frontman Lowell George. His second album, Pressure Drop in 1975, was more successful for the cover with a nude girl on the front than for any of the actual songs. For the next few albums, he received very little chart action until 1978's "Every Kinda People" which became a huge favorite. But by 1979, his rocking song "Bad Case of Loving You (Doctor Doctor )" became his signature song. As Palmer entered the 80's, his music also took on a more new wave, techno flavor. His song "Johnny and Mary" would be used in commercials for Renault in 1982.

By 1985, his Riptide album became his biggest album, with songs such as "Addicted to Love" and 'I Didn't Mean to Turn You On". Palmer appeared to have that suave, man-about-town look popularized by Bryan Ferry of Roxy Music. Not only did he share in Ferry's love of classic r & b, but the women in his videos seemed to be pulled right from Roxy Music album covers, the beautiful-and-alluring-but-robotic looking femme fatales which also resembled those of the artwork of the late illustrator Patrick Nagel, who designed Duran Duran's Rio cover from 1982. These images remained the classic 80's woman.

I Didn't Mean To Turn You On

When I took you out
I knew what you were all about
But when I did
I didn't mean to turn you on

Now I bring you home
You tell me goodnight's not enough for you
I'm sorry, baby
I didn't mean to turn you on

Woah, baby, I didn't mean to turn you on

You read me wrong
I wasn't tryin' to lead you on
Not like you think
I didn't mean to turn you on

I know you
Expected a one-night-stand
When I refused
I knew you wouldn't understand

I'm sorry, baby
I didn't mean to turn you on

I told you twice
I was only tryin' to be nice
Only tryin' to be nice
Oh, I didn't mean to turn you on

Hey, now why should I
Feel guilty 'cause I won't give
Guilty 'cause I won't give in
I didn't mean to turn you on

Woah, baby, I didn't mean to turn you on

When I took you out
I knew what you were all about
But when I did
I didn't mean to turn you on

Woah, baby, I didn't mean to turn you on

:guitar: :banana: :mango

ABlairican Pie

12-09-2006, 09:08 AM

Robert Palmer's solo career wasn't the only thing that was casting him in the
limelight in 1985. That year, he teamed up to front The Power Station, which also featured Duran Duran guitarist and bassist Andy and John Taylor as well as CHIC drummer Tony Thompson.
At that point Duran Duran, which had gone on break after their big albums and concerts, splintered now into two factions, the members in Power Station who wanted to pursue a rhythm heavy side, while the remaining members wanted to explore the atmospheric synth-side of the band when they formed Arcadia. Power Station was originally going to use several different singers in a revolving lineup, but stuck with Robert Palmer instead.

The band debuted on Saturday Night Live in February of 1985, while their album was released the following month. Their first video for "Some Like It Hot" in fact featured a transsexual model named Caroline Cossey, aka Tula! :eek: The band's other hit single was a cover of "Bang a Gong (Get It On) by early 70's band T-Rex. The band was about to do a summer tour when Palmer decided to record his Riptide album, which ultimately took off and removed him from further Power Station projects. The band broke up later that year. Andy Taylor left Duran Duran for a solo career, and Tony Thompson was about to join a re-formed Led Zeppelin in 1986 on drums when he was nearly killed in a car accident. :(

The band regrouped ten years later with Bernie Edwards of CHIC on bass, replacing John Taylor, who was dealing with drug and alcohol addiction, but Edwards later died of pneumonia. Sales of their 1997 album Living In Fear were lukewarm, and the band broke up at that point.

Sadly, Robert Palmer and Tony Thompson both died in 2003. :(

Some Like It Hot

We want to multiply
are you gonna do it?
I know you qualify
are you gonna do it?
Don't be so circumscribe
are you gonna do it?
Just get yourself untied
are you gonna do it?

Feel the heat
pushing you to decide

Feel the heat
burning you up
ready or not.
Some like it hot and some sweat when the heat is on.
Some feel the heat and decide that they can't go on.
Some like it hot
but you can't tell how hot 'til you try.
Some like it hot
so let's turn up the heat 'til we fry.

The girl is at your side
are you gonna do it?
She wants to be your bride
are you gonna do it?
She wants to multiply
are you gonna do it?
I know you won't be statisfied until you do it!
Feel the heat
pushing you to decide

Feel the heat
buniing you up
ready or not.
Some like it hot and some sweat when the heat is on.
Some like it hot
some like it hot.

Feel the heat
pushing you to decide
. ..
Some like it hot
some like it hot.
Some like it hot
some like it hot.

Bang a Gong (Get It On)

Well you're dirty and sweet
Clad in black
Don't look back
And I love you
You're dirty and sweet oh yeah

Well you're slim and you're weak
You got the teeth
Of the hydra upon you
You're dirty sweet
And you're my girl

Get it on
Bang a gong
Get it on
Get it on
Bang a gong
Get it on

Well you're built like a car
You got a hubcap
Diamond star halo
You're built like a truck oh my

You're an untamed youth
That's the truth
With your cloak full of eagles
You're dirty sweet
And you're my girl

Get it on
Bang a gong
Get it on
Get it on
Bang a gong
Get it on

Well you're windy and wild
You got the blues
I'm your shoes and your stockings
You're windy and wild oh yeah

You're built like a car
You got a hubcap
Diamond star halo
You're dirty sweet
And you're my girl
(Repeat Chorus)

Get it on
Bang a gong

:guitar: :banana: :mango

ABlairican Pie

12-10-2006, 12:35 AM

The remaining faction of Duran Duran, Nick Rhodes, Simon Le Bon, and Roger
Taylor, did not wish to go in the rocking, bass-heavy direction of the other members in The Power Station. Instead, they wished to explore the more atmospheric, synthesizer side of the band's music, so they formed a one-time side project band called Arcadia. The band released their only album, 1985's So Red the Rose, which featured the song "Election Day". Singer Grace Jones, who was a huge name by this time, added spoken vocals to the track. Other songs included "Goodbye Is Forever", "The Promise", and 'The Flame". In direct contrast to Andy and John Taylor growing their hair out to mullet hair-metal length in The Power Station, the members of Arcadia dyed their hair black, kept it shorter, and took on a Goth look for their image. When Duran Duran got back together, who would they be? For the next few years, the answer remained unclear. Duran Duran would face a period of decline where no one was sure if they would ever come back. For many, the side projects indicated it was all over for the Fab Five.

Critics were even divided on the album. It was either "pretentious" or "the best album Duran Duran never made". The album would be their only one as Arcadia. The group never toured, but did make promotional appearances.

Election Day

Wild kind of look to the day, opening eyes impale neon flickers
She moon she turning away, the city's her slave but he's cheating his
mistress
She's moody and grey, she's mean and she's restless (so restless)
All over you as they say rumours or rivals yell at the strike force
Hi guys, by the way, are you aware you're being illegal
It's making your savior behaviour look evil
'scuse my timing but say, how d'you fit in with this flim, flam and judy

Maximum big suprise your smile is something new
I pull my shirt off and pray, we're sacred and bound to suffer the
heatwave
Pull my shirt off and pray we're coming up on re-election day

Don't even try to induce, In all my restrain there's no hesitation
All the signs on the loose 'cause sanity's rare this end of the hard day
(yeh)Shadows are crawling out of the subway
Any way that you choose in every direction just to confuse me

Maximum big suprise she knows something new
I pull my shirt off and pray, i'm saving myself to suffer the heatwave
Pull my shirt off and pray, we're coming up on re-election day

By roads and backways a lover's chance down a wind
Cut open murmurs and sounds be calm hands on skin
Carry further oh...entangled strands all sing
Saving some time to slip away we could dance oh..

Shouldn't be asking wild and scheming
Could be my election day

Stretching my back down the way
To your invitation stretching my body
Use your intuitive play
cause maybe we have more play time than money

Maximum big suprise you know something new
I pull my shirt off and pray, we're sacred and bound to suffer this
heatwave
Pull my shirt off and pray we're coming up on re-election day

Re-election day

The Promise

Those tears on a gaping voice
Who's stretching arms match the hunger of mine
There lips will they never join
But always draw me closer and further entwined

With a promise dealer understand all freedoms fade away
To a point of view where many different pathways meet
And we're standing on this precipice with nothing much to gain save
But the deep blue screams of falling dreams with our next mov

Heaven hide your eyes
Heaven's eyes will never dry

The shades of a thousand steel
Come flashing by my face in the fury of war
In desolation and abandoned fields
The hungry make their stand when they'll stand for no more

Hear the passion in their voices see the heaven in their eyes
Their hopes and schemes are waiting dreams of less than paradise
And sometimes we make promises we never mean to keep
For blackmail is the only deal a promise dealer sees

Heaven hide your eyes
Heaven's eyes will never dry

Goodbye Is Forever

Sometimes you have no choice
Sometimes you've got no voice to say
Say if you will the words--
Say if your world is so gray
We can decide this
There'll be no tears--
No tradgedy
Sure I wouldn't break and cry, if...
You walk away--
Believe me

Hey, goodbye
Goodbye is--forever
Hey, forever
Goodbye is--forever
And ever...

Sometimes it makes no sense,
This side of cruel coincidence
Caught up in our own barbed wire
To set us free
Belive this--

Hey, goodbye
Goodbye is--forever
Hey, forever
Goodbye is--forever
And ever

:banana: :mango

ABlairican Pie

12-10-2006, 06:37 AM

One of the most memorable movies of the 80's was 'The Breakfast Club', a John Hughes film which focused on a group of high school teens in detention on a Saturday morning for various offenses. The group included:

The sosh princess (played by former Facts of Life member Molly Ringwald, who became one of the biggest teen stars of the 80's);
The jock (Emilio Estevez);
The geek (Anthony Michael Hall);
The punk thug (Judd Nelson);
The freaky nutcase (Ally Sheedy).

Initially the five start out at odds with each other until after discussing their personal problems at home and at school, they learn to accept each other and depend on each other. The late Paul Gleason, who died this year due to asbestos-related illness, played the hardcore principal who hassles them.

Though the movie provided much laughs and a sense of empathy with the characters' inner turmoils, the film was criticized for its "glorification" of drug use, when the five characters indulged in smoking pot, which many felt would impress young viewers to partake as well. This scene also led many in Hollywood to force filmmakers to reconsider depictions of smoking in movies as well, fearing that young people would pick up a deadly, expensive habit.

The movie also was remembered for Simple Minds' biggest song in the soundtrack, "Don't You (Forget About Me)". Band vocalist Jim Kerr, who offered to write a song for the movie when Bryan Ferry declined, said that he "hated" the movie when he later saw it. The movie also opened with a quote from David Bowie's song "Changes": "And these children that you spit on/
As they try to change their worlds/Are immune to your consultations/
They're quite aware of what they're going through."

Don't You (Forget About Me)

Hey, hey, hey, hey
Ohhh...

Won't you come see about me?
I'll be alone, dancing you know it baby

Tell me your troubles and doubts
Giving me everything inside and out and
Love's strange so real in the dark
Think of the tender things that we were working on

Slow change may pull us apart
When the light gets into your heart, baby

Don't You Forget About Me
Don't Don't Don't Don't
Don't You Forget About Me

Will you stand above me?
Look my way, never love me
Rain keeps falling, rain keeps falling
Down, down, down

Will you recognise me?
Call my name or walk on by
Rain keeps falling, rain keeps falling
Down, down, down, down

Hey, hey, hey, hey
Ohhhh.....

Don't you try to pretend
It's my feeling we'll win in the end
I won't harm you or touch your defenses
Vanity and security

Don't you forget about me
I'll be alone, dancing you know it baby
Going to take you apart
I'll put us back together at heart, baby

Don't You Forget About Me
Don't Don't Don't Don't
Don't You Forget About Me

As you walk on by
Will you call my name?
As you walk on by
Will you call my name?
When you walk away

Or will you walk away?
Will you walk on by?
Come on - call my name
Will you call my name?

I say :

:guitar: :banana: :mango

ABlairican Pie

12-10-2006, 06:50 AM

A hit movie from 1985, 'Goonies', written by Steven Spielberg, was about a group of kids from Astoria, Oregon, who try to save their section of town called "The Goon Docks" from demolition by seeking a stash of buried treasure hidden by a mysterious pirate. The movie, which starred Sean Astin and Corey Feldman, featured the title song by Cyndi Lauper.

The Goonies 'R' Good Enough

Here we are
Hanging onto strains of greed and blues
Break the chain then we break down
Oh it's not real if you don't feel it
Unspoken expectations
Ideals you used to play with
They've finally taken shape for us.

What's good enough for you
Is good enough for me
It's good enough
It's good enough for me
Yeah yeah yeah yeah yeah

Now you'll say
You're startin' to feel the push and pull
Of what could be and never can
You mirror me stumblin' through those

Old fashioned superstitions
I find too hard to break
Oh maybe you're out of place

What's good enough for you
Is good enough for me
It's good enough
It's good enough for me
Yeah yeah yeah yeah yeah

(Good Enough) for you
Is good enough for me
It's good, it's good enough
It's good enough for me
Yeah yeah yeah yeah yeah

Old fashioned superstitions
I find too hard to break
Oh maybe you're out of place

What's good enough for you
Is good enough for me
It's good enough
It's good enough for me
Yeah yeah yeah yeah yeah

(Good Enough) for you
Is good enough for me
It's good, it's good enough
It's good enough for me
Yeah yeah yeah yeah yeah

(Scat)

:banana: :mango

ABlairican Pie

12-10-2006, 07:24 AM

Of course, one of the biggest films of that year, and of the 80's, was the Robert Zemeckis film Back To the Future', starring Michael J. Fox as a teen in a wacky time travel caper with Christopher Lloyd as a scientist who converts a DeLorean car into a time machine. After Lloyd's character is gunned down by a Lybian hit squad (a country with whom America was in hot water back then), Fox must travel back into time to the 50's in order to warn him. Along the way, he nearly alters the future by having his own mother, as a teen girl, fall for him!! :eek: :lol:

Along the way, Fox's character, Marty McFly, nearly "invents" rock and roll by
impersonating wild Jimi Hendrix moves on guitar to a stunned audience at a school dance, as well as torturing his future father, played by Crispin Glover, with Van Halen guitar solos! :eek: :lol: Van Halen of course was familiar to most listeners by this time, but imagine hearing them in 1955! :eek2:

The movie spawned two sequels: Back To the Future, Part II, in 1989, and Part III, in 1990, which did not do as well commercially in theaters. Part II featured McFly going into the future (2015) to find that his own future becomes altered, while Part III finds Marty going one hundred years into the past to save Doc Brown (Lloyd) from a premature death in the Old West.

One song by Huey Lewis featured on the movie made him a big name, though no major songs came from the sequels (except for Sammy Hagar's "I Can't Drive 55" being used in the first, and ZZ Top's "Double-Back" being used in the second).

The Power of Love

The power of love is a curious thing
Make a one man weep, make another man sing
Change a hawk to a little white dove
More than a feeling thats the power of love

Tougher than diamonds, rich like cream
Stronger and harder than a bad girls dream
Make a bad one good make a wrong one right
Power of love that keeps you home at night

Chorus 1 :
You dont need money, dont take fame
Dont need no credit card to ride this train
Its strong and its sudden and its cruel sometimes
But it might just save your life
Thats the power of love
Thats the power of love

First time you feel it, it might make you sad
Next time you feel it it might make you mad
But youll be glad baby when youve found
Thats the power makes the world goround

Chorus 2 :
And it dont take money, dont take fame
Dont need no credit card to ride this train
Its strong and its sudden it can be cruel sometimes
But it might just save your life

They say that all in love is fair
Yeah, but you dont care
But you know what to do
When it gets hold of you
And with a little help from above
You feel the power of love
You feel the power of love
Can you feel it ?
Hmmm

Chorus 3 :
It dont take money and it dont take fame
Dont need no credit card to ride this train
Tougher than diamonds and stronger than steel
You wont feel nothin till you feel
You feel the power, just the power of love
Thats the power, thats the power of love
You feel the power of love
You feel the power of love
Feel the power of love

:guitar: :banana: :mango

Now if we could go back in time and alter the past so that certain female musical figure from the 80's stayed in New York and would not give the world Candlebox. ;)

ABlairican Pie

12-10-2006, 07:34 AM

'St. Elmo's Fire' was another movie in 1985 to feature members of the cast of "The Breakfast Club", known now as The Brat Pack, in a story about college teens who face growing up and adulthood. The movie featured the hit
title track song, sung by John Parr, who previously did the song, "Naughty Naughty".

St. Elmo's Fire

Growin' up, you don't see the writing on the wall
Passin' by, movin' straight ahead, you knew it all
But maybe sometime if you feel the pain
You'll find you're all alone, everything has changed

Play the game, you know you can't quit until it's won
Soldier on, only you can do what must be done
You know in some way you're a lot like me
You're just a prisoner and you're tryin' to break free

Chorus:

I can see a new horizon underneath the blazin' sky
I'll be where the eagle's flying higher and higher
Gonna be your man in motion, all I need is a pair of wheels
Take me where my future's lyin', St. Elmo's Fire

Burning up, don't know just how far that I can go (just how far I go)
Soon be home, only just a few miles down the road
I can make it, I know I can
You broke the boy in me, but you won't break the man

(chorus)

I can climb the highest mountain, cross the wildest sea
I can feel St. Elmo's Fire burnin' in me, burnin' in me

Just once in his life a man has his time, and my time is now, I'm coming alive

I can hear the music playin', I can see the banners fly
Feel like you're back again, and hope ridin' high
Gonna be your man in motion, all I need is a pair of wheels
Take me where my future's lyin', St. Elmo's Fire

(chorus)

I can climb the highest mountain, cross the wildest sea
I can feel St. Elmo's Fire burnin' in me

Burnin', burnin' in me, I can feel it burnin'
Oooh, burnin' inside of me... (to fade)

:guitar: :banana: :mango

ABlairican Pie

12-10-2006, 07:49 AM

Another movie from 1985, 'To Live and Die In L.A.', starring William Peterson and Willem Dafoe, about a Secret Service Agent on the hunt for a dangerous counterfitter in Los Angeles, featured a title track which became one of the biggest hits for Wang Chung.

To Live and Die In L.A.

In the heat of the day
Every time you go away
I have to piece my life together
Every time youre away
In the heat of the day
In the dark of the night
Every time I turn the light
I feel that God is not in heaven
In the dark of the night
The dark of the night

I wonder why I live alone here
I wonder why we spend these nights together
Is this the room Ill live my life forever
I wonder why in la
To live and die in la
I wonder why we waste our lives here
When we could run away to paradise
But I am held in some invisible vice
And I cant get away
To live and die in la

If I let myself go
And for where I just dont know
Id maybe hit some cold new river
That led out to the sea
An unknown sea
I'd either swim or I'd drown
Or just keep falling down and down
I think it's that, that makes me quiver
Just to keep falling down
Down, down, down

I wonder why I live alone here
I wonder why we spend these nights together
Is this the way Ill live my life forever
I wonder why in L.A.
To live and die in L.A.

In every word that you say
I feel my freedom slip away
I feel the bars come down around me
And I can't get away
I can't get away

I wonder why I live alone here
I wonder why we spend these nights together
Is this the room I'll live my life forever
I wonder why in L.A. To live and die in L.A.
I wonder why we waste our lives here
When we could run away to paradise
But I am held in some invisible vice
And I can't get away
To live and die in L.A
I cant get away
To live and die in L.A.
I cant get away
To live and die in L.A.
I cant get away
To live and die in L.A.
I cant get away
To live and die in L.A.

ABlairican Pie

12-10-2006, 12:00 PM

Meanwhile, back in Hair-town, where the Sunset metal scene was certainly living and not dying, Ratt followed up their hugely successful Out Of the Cellar album with 1985's Invasion Of Your Privacy, which saw the band tone down their metal-esque sleaze-rock image with a more commercially palatable look. That year MTV announced plans to cut metal videos to a bare minimum, and Ratt and a few others were one of the few who had the right level of popularity and visual appeal to remain on the network. The band was huge at this point, and the new album prolonged their popularity with songs such as "Lay It Down", "You're In Love", and "What You Give Is What You Get". Critics were impressed with tbe band's abilities to write songs filled with decent pop hooks. Metal guitarists looked to Warren DeMartini as a new guitar god as well. The album also featured 1982Playboy centerfold Marianne Gravatte on the cover, who also appeared in the "Lay It Down" video.

Unfortunately, the fun-killers known as the P.M.R.C. cited the album cover as promoting "voyeurism and stalker behavior". :rolleyes:

Lay It Down

I know you don't really know me
I know you don't really care to see me
I'm into total affection
Not being scared if you never please me

You know you really want to lay it down
Right now
And how
I know you really want to lay it down
Right now

Lay it down
Lay it down
Lay it down
Lay it down

Under the sheets you will find me
I know that nothin's for free
You take what's good for your pleasin'
I'll take what's good for this crazy evening

You know you really want to lay it down
Right now
And how
I know you really want to lay it down
Right now

Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down

*And I know you only want romance."
* I'll give you all that I can."

If you give me just one chance
To prove myself
In love

Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Yeah yeah yeah

Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down
Lay it down

You're In Love

You take the midnight subway train
You're callin' all the shots
You're struck by lightning
You're in love

You take the evening one on one
You're only livin' to have fun
You want to use me, take me home tonight
I'll make you wish that you were mine

You're struck by lightning
You're in love

It's not worth fighting
You're in love

Well turn around
Remember me
I'm the one
Who's out and aimed to please

You're in love
You're in love

You make your livin' lovin' hot
You spin me like a top
You take the evening one on one (On one)
You're only livin' to have fun

You're struck by lightning
You're in love

It's not worth fighting
You're in love

Well turn around
Remember me
I'm the one
Who's out and aimed to please

You're in love (Yeah, yeah, yeah)
You're in love

Well turn around (Turn around)
Remember me (Remember me)
Well turn around (Turn around)
I'm the one
Who's out and aimed to please

You're in love
You're in love
You're in love
You're in love
You're in love
You're in love
You're in love
You're in love
(You take the midnight subway train)
You're in love
(You're callin' all the shots)
You're in love
(You take the evening one on one)
You're in love
(You're only livin' to have fun)
You're in love
(It's not worth fighting)
You're in love
You're in love
You're in love

What You Give Is What You Get

I make my moves
I make them right
I don't refuse
I keep it light
I take command
Of the scene
Because for me
There's no in-betweens

I keep holdin' on
Holdin' on through the night
I keep holdin' on
Holdin' on through the night

'Cause it's so easy to forget
What you give is what you get
It's so easy to forget
What you give is what you get (What you get)

I take my time
And I don't care
This love ain't right
What's fair is fair
If you just ask
You will receive
Give me the task
I aim to please

I keep holdin' on
Holdin' on through the night
I keep holdin' on
Holdin' on through the night

'Cause it's so easy to forget
What you give is what you get
It's so easy to forget
What you give is what you get (What you get)

'Cause it's so easy to forget
What you give is what you get (What you get)
It's so easy to forget
What you give is what you get (What you get)

It's so easy, yeah

'Cause it's so easy to forget
What you give is what you get (What you get is what you get)
It's so easy to forget
What you give is what you get (What you get)

'Cause it's so easy to forget
What you give is what you get (What you get)
It's so easy to forget
What you give is what you get (What you get)

:rock: :guitar: :guitar: :rock:

ABlairican Pie

12-10-2006, 12:26 PM

Kix was one popular band from Maryland who headed for L.A. in the mid-80's to become part of the growing hair scene down there (I get it, "growing hair"!! :rotflmao: :rofl: :brent ). They released their first self-titled album in 1981 album with a catch-phrase which combined two slogans from two popular General Mills cereals, KIX and Trix: "KIX are for kids!" The band had a string of popular live songs such as "Yeah Yeah Yeah", "Body Talk", and "For Shame". In 1985, they teamed up with producer Beau Hill and released Midnight Dynamite which featured songs such as "Cold Shower", and "Sex". Audiences at the clubs loved their simple commercial, bubblegum pop-metal with horny lyrics, as well as vocalist Steve Whiteman's onstage antics. Apparently, so did another rising group from that scene, Poison, whom the band accused of ripping off their stage schtick to fame, fortune, and fabulous follicles.

ABlairican Pie

12-10-2006, 12:55 PM

One band from L.A. that did not fit in with the fashionably correct funsters on the Sunset Strip was Slayer, who were one of the five main bands of the American thrash scene along with Metallica, Anthrax, Megadeth, and Exodus. After the band had built up a reputation of being "satanic" and "evil" with lyrics and imagery of the Evil Dude, hell, and other delightful topics on their first few albums, the band released 1985's Hell Awaits, which featured music heavily influenced by another "Satanic" Danish black metal band Mercyful Fate. The album featured longer tracks and more complex song structure and tempo changes. It would become a major influence on death metal bands, and fans took to the album like a vampire bat takes to a crashed ambulance, and found a perfect to the ozone-destroying hairspray metal scene glutting Los Angeles.

Interesting fact: Guitarist Kerry King left the band to briefly join ex-Metallica guitarist Dave Mustaine's new band Megadeth, but decided not to stay. King already felt committed to Slayer and that Megadeth took up too much of his time. Mustaine was not happy with King's departure, and his exit caused a long bitter rivalry between both bands for years.

At Dawn They Sleep

Awakened I have become
Light now slips away
Manipulate your mind
Darkness is my slave

Taste the sins of Hell
The blood that I so crave
The last thing that you see
Is the hunger in my eyes

[Chorus]
Blood sucking creatures of the night
Nocturnal spectre hiding from the light
Cries screaming out every fright
Eagerly awaiting plight
Apparitions from the pits of Hell
Death plagues the streets in which they dwell
Demented lust, the secrets they must keep
Addicted to your blood
At dawn they sleep

Unveil the hidden coffin
Lift the lid of terror
Feel the deadly cold
Freeze you from inside

Perceiving your intentions
To slay the phantom form
Raise the stake in malice
You cannot plunge it down

[Chorus]

[Lead - King, Hanneman]

Beware the image unseen
Stalks your soul
Your corpse's redeem

Eternal damnation you just reward
A servant of our Lord
By your accord

Admonish of the cruciform
Impalement
Immortality's scorned

Rise hold fast your faith
To lie dormant
Is certain Death

(Driven by the instinct of centuries of horror
Implanted along the brain of the sickening parasite
Linked together by one trait
The Hell-filled need to kill... kill... kill... kill... KILL)

Emerging from their Hellish tomb
Taking flight amidst the night
The evening skies are raining Death

Swooping down from shadowed skies
Taking simple human form
Shed their wings to stalk the mortal man

Lock their jaws into your veins
Satanic soldiers strike their prey
Leaving corpses waiting for the change

Blood dripping from the jaws of Death
Not enough to satisfy
They must drain your soul of life

:rock: :guitar: :guitar: :rock:

The cover is especially gruesome, I was shocked by it when I first saw it over
twenty years ago! :eek:

ABlairican Pie

12-10-2006, 04:37 PM

In 1985, another spinoff band emerged, this one from Anthrax, which centered around the mascot character that guitarist Scott Ian drew and wrote about, Sargent D. This obnoxious-yet-amusing character, a sort of heavy metal Archie Bunker on steroids, would spout word captions such as "I'm not racist, I hate everyone equally, so f:censored: you!" and "Speak English or die!" The character, which became a long-running joke, evolved into an actual band called Sargent D, which featured Anthrax drummer Charlie Benante, former Anthrax bassist Dan Lilker and Psychos vocalist Billy Milano. The band was renamed Stormtroopers Of Death, which was entirely a joke and had no Nazi leanings whatsoever, since Scott Ian himself was Jewish. The band recorded Speak English Or Die, with lyrics which were, in the words of Lilker, " never intended to be serious, just to piss people off." Lyrics such as on "Speak English Or Die" rag on immigrants, taunting them over perceived illiteracy of the Queen's mother tongue as well as the usual harangues of "job-stealing" and various customs. "Douche Crew" attacked hair metal poseurs and accused them of being women in disguise. "F:censored the Middle East" advocated bombing trouble spots in the center of the globe as a solution to the world's problems. ohno:

The band was different from most metal bands in that they were one of the few to combine both metal and hardcore punk, which at the time was considered anathema and verboten, and something that neither "real" metal bands or "real" punks did. However, the album became a groundbreaking record and influenced a future generation of extreme metal and punk fans and opened up a possible crossover of both genres, such as with bands as Discharge and Corrosion Of Conformity (C.O.C.). Generally, at hardcore crossover shows, metal and punk fans would fight and have concerts end up up in bloody melees, as neither got along. Other bands down the road tried to bring both camps together without violence.

The band would release a few more albums, though never remaining a solid unit. It was something done only on the side between Anthrax albums. Lilker would go on to play in such bands as thrashers Nuclear Assault.

Songs, even shorther than those by the Ramones, on the first album included:

Track listing
All tracks written by S.O.D.
"March of the S.O.D" – 1:27
"Sargent D & the S.O.D" – 2:23
"Kill Yourself" – 2:11
"Milano Mosh" – 1:32
"Speak English or Die" – 2:24
"United Forces" – 1:53
"Chromatic Death" – 0:43
"Pi Alpha Nu" – 1:09
"Anti-Procrastination Song" – 0:06
"What's That Noise" – 1:00
"Freddy Krueger" – 2:32
"Milk" – 1:54
"Pre-Menstrual Princess Blues" – 1:20
"P:censored: Whipped" – 2:14
"Fist Banging Mania" – 2:04
"No Turning Back" – 0:52
"F:censored: the Middle East" – 0:27
"Douche Crew" – 1:35
"Hey Gordy!" – 0:07
"Ballad of Jimi Hendrix" – 0:05
"Diamonds and Rust" (Extended Version) – 0:05

Due to the politically incorrect nature of the lyrics, you'll have to go out and buy the album and enjoy them. I heard Rush Limbaugh and Pat Buchanan are huge fans of the album. ;)

Steve M.

12-10-2006, 08:27 PM

Between 1977 and 1982, as noted, Elton John only composed the occasional song with Bernie Taupin, working mainly with other lyricists. One of those other lyiricsts was Gary Osborne.

Osborne cam along at a time when Elton's career had apparently hit the skids. His 1979 album Victim of Love, which was a stab at disco, was a flop, ending the seventies for Elton as dismally as wonderfully as it had begun. Osborne help Elton get his groove back with two significant hit singles. In 1980, Elton released his 21 at 33 album (so named because it was his twenty-first album, counting concert albums, greatest-hits compilations, and movie soundtracks - it was his fourteenth studio album - coming out after his thirty-third birthday), which featured the Osborne-copenned "Little Jeannie;" it hit number three in the U.S. After 1981's The Fox produced no big hits, Elton and Gary scored again with the ballad "Blue Eyes" from 1982's Jump Up! Ironically, Jump Up contained Elton and Bernie Taupin's John Lennon tribute, "Empty Garden (Hey Hey Johnny)," which reunited the two composers for good (well, except for Elton's occasional collaborations with Tim Rice). Though seen as a footnote to Elton's career, Osborne was instrumental in keeping Elton going at a time when folks were ready to write him off.

Little Jeannie - Elton John

Oh little Jeannie, you got so much love, little Jeannie,
And you take it where it strikes and give it to the likes of me.
Oh little Jeannie, she got so much love, little Jeannie,
So I see you when I can, you make me all a man can be,

And I want you to be my acrobat,
I want you to be my lover,
Oh there were others who would treat you cruel.
And oh little Jeannie, you were always someone's fool.

Little Jeannie, you got so much time, little Jeannie,
Though you've grown beyond your years, you still retain the fears of youth,
Oh little Jeannie, you got so much time, little Jeannie,
But you're burning it up so fast, searching for some lasting truth.

And I want you to be my acrobat,
I want you to be my lover,
Oh there were others who would treat you cruel.
But oh Jeannie, I will always be your fool.

And I want you to be my acrobat,
I want you to be my lover,
Oh there were others, and I've known quite a few.
But oh oh Jeannie, I'm still in love with you.

You stepped into my life from a bad dream
Making the life that I had seem suddenly shiny and new,
Oh, Jeannie, I'm so in love with you.

Blue Eyes - Elton John

Blue eyes,
Baby's got blue eyes.
Like a deep blue sea
On a blue blue day.
Blue eyes,
Baby's got blue eyes.
When the morning comes,
I'll be far away.
And I say. . .

Blue eyes holding back the tears,
Holding back the pain.
Baby's got blue eyes,
And she's alone again.

Blue eyes,
Baby's got blue eyes.
Like a clear blue sky
Watching over me.
Blue eyes. . .
Ooh, I love blue eyes,
When I'm by her side
Where I long to be.
I will see. . .

Blue eyes laughing in the sun,
Laughing in the rain.
Baby's got blue eyes,
And I am home, and I am home again.

Blue eyes laughing in the sun
Laughing in the rain
Baby's got blue eyes
And I am home. . . again.

(Both songs are by Elton John [music] and gary Osborne [lyrics].)

http://www.multinet.no/~jonarne/Hjemmesia/Favorittartister/elton_john/album/21_at_33.jpeg

http://991.com/newgallery/Elton-John-Jump-Up-232172.jpg

Steve M.

12-10-2006, 08:42 PM

Roger Chapman released The Shadow Knows in 1984, still keeping up a furious papce in the recording sstudio. AMopng the songs on this record were "Busted Loose," "Ready To Roll," and "Only Love Is In the Red,," the latter song co-written with former Fmaily bandmate Poli Palmer.

Busted Loose - Roger Chapman

It was a cruel turn of fate,
I spent three bitter years inside.
A friend of mine had set me up:
He was the one who got away with the money.

I swore tonight, would be the night,
This place wouldn't hold me no longer.
The rain was dancing in the yard:
The searchlight creeping down the wall.

The night it was so black outside,
I nearly jumped down in the wrong hole.
But when I landed in the street,
I saw the green light come shining.

(CHORUS)
Busted loose, I'm out on the run,
I'm so close your right in the sight of my gun.
Yes I'm nervous, out of control,
I can't stop the hurricane down in my soul.
Nobody can hide you,
I'm standing right beside you,
Watching everything you do, watching everything you do, watching everything you do.

I thought that I was strong enough
To take the screws at their own game.
But they got tricks they keep in store
For anyone thinking of beating the system.

They had me down upon my knees
Soon I was begging, "please have mercy;"
My girl, she said she'd stick it out,
She kissed my fingers through the grill.

She whispered she loved no-one else
Then she went off with some creep on the outside.
The night they passed my down the news:
That's when the fuse started burning.

(REPEAT CHORUS)

Ready to Roll - Roger Chapman

(Chapman-Whitehorn)

How much longer will you keep on stalling?
How much longer do you want me crawling?
You're freezing me cold -now I'm getting ready to roll!
You wanted to see me for reason's obscure
I've come over here my heart on the floor
Am I on parole? If so, I'm getting ready to roll.
You have the answer in the palm of your hand,
Talk to me tell me help me understand.
You're freezing me cold, now I'm getting ready to,
Oh I'm getting ready to,
Yes, I'm getting ready to roll.

(CHORUS)

And if you want to be my raven,
And if you want to be my cloak of a night,
You say you want my soul to live in.
How far do I have to crawl?
How long to you plan on stalling?
Stop freezing me cold, because I'm getting ready to roll How far do I have to crawl?
How long do you plan on stalling?
Stop freezing me cold, because I'm getting ready to roll.

Let me off the hook you dangle so well,
It's hot in this kitchen and I'm roasting like hell.
You've got to be told because I'm getting ready to roll.
Do you like to argue to put out my lights?
You throw me a line and cut me like ice!
You're freezing me cold, now I'm getting ready to
Oh, I'm getting ready to,
Yes, I'm getting ready to roll.

(REPEAT CHORUS)

Only Love Is In the Red - Roger Chapman

(Chapman - Palmer)

And bye, colour love,
There is no beauty in your pain.
Looking like a wounded dove,
A stranded baby in the rain.
There was envy, colour green,
So strong the innocense was seen.
Black rage fell down into the street. . .

But only love is in the red.

She sat in satin limousines,
Her beauty that has yet to wane.
Now she was hard, she was clean,
She never knew the driver's name.
A lonely amber statuette,
Smokey grey colour eyes,
And yellow hair down to her neck . . .

But only love is in the red.

I wandered in her crimson room,
Window flashing - neon blues.
She lay asleep, body pressed,
Her body twitching, her body dress,
I felt the need to slip unseen,
Become a colour to her dream,
See beyond perhaps what might have been. . .

But only love is in the red.

Steve M.

12-10-2006, 08:57 PM

Chappo followed up The Shadow Knows with 1985's [I]Zipper, which included "Running With the Flame," "Let the Beat Get Heavy," and - this is good advice - "Never Love a Rolling Stone." :lol:

Running with the Flame - Roger Chapman

Running with the flame,
An arm raised in greeting to another friendly face.
There may never be another,
Salute the brave - running with the flame.

Running with the flame,
A girl and boy are laughing down a sleepy lover's game
In an open Chevy.
Salute the brave - running with the flame.

Running with the flame,
Drifting out of focus like a sleepy lover's game.
Then waking to each other - two gentle hearts at play.
Salute the brave - running with the flame.

Run the jaguar, straining at the leash,
Ride a dolphin down to the bottom the deep.
In days of trouble, arrows of despair,
Take up the flame - hold it in the air.

Running with the flame,
A spirit lights a candle on an unmarked open grave.
It seems we've lost another.
Salute the brave - running with the flame.

Running with the flame,
A broken heart is shattered in a thousand different ways.
Where once there was a lover,
Salute the brave - running with the flame.

Running with the flame,
A baby cries, a mother dries its salty tears away.
Will there be a future -
Oh gentle heart, explain!
Salute the brave - running with the flame.

Let the Beat Get Heavy -Roger Chapman

Where the four winds gather, lonely pipers blow,
Touching naked heartbeats, forgotten long ago.
Schoolday shallows echo, lonely summertimes,
Sing a song of sixpence, pocket full of rye
So let the beat get heavy, let it open every door,
Let it fly on the wing of a sweet violin,
Let it sting to a guitar chord.

Sail the savage ocean, several houses tall,
From the knotted cypress, comes the sirens call.
Up on fever mountain, an eclectic storm,
An electric showdown, an acoustic war.
Let the beat get heavy, let the cello sweep away,
Let them rise to the moan of a sweet saxaphone,
Let the soul of the orchestra play.

Hey-hey people are you ready?
What you gonna do when the beat gets heavy?
Hey-hey people are you ready?
What you gonna do when the beat gets heavy?

Over green plaid valleys, synthesisers drone,
Soaking up the hillside, each and every stone.
Let the beat get heavy, let the woodwind quickly run,
Let the keyboard race to a stand up bass:
Bring the tambourine man on!

Hey-hey people are you ready?
What you gonna do when the beat gets heavy?
Hey-hey people are you ready?
What you gonna do when the beat gets heavy?

Never Love a Rolling Stone - Roger Chapman

In '63, they met when he
Was travelling with the fairs and country shows,
Come '69, what seemed the fourteenth time
He came to town with the Lone Star rodeo,
And stayed a week from that morning,
Then said he ought to move along.
She told him there and then
He shouldn't leave again,
She'd never love a rolling stone.
"Oh if you love me babe,
You'll miss the southbound train,
I'll never love a rolling stone."

She took a cup, and filled it up
With scalding coffee to the brim.
She looked away then looked at him.
Without a word she poured it down the sink,
"And so you're leaving here this morning."
Her voice betrayed an undertone
He'd seen it in her eyes.
Back in '75
She'd never love a rolling stone.
Yeh, she'd made up her mind.
Back in '79
She'd never love a rolling stone.

"Hey look at you, it's 1982,
You've come a long, long way since '63.
I've seen the news, all your reviews,
Saying where you are and where you're gonna be.
And here you are again this morning,
Three days from now and you'll be gone.
No don't take off your boots,
I told you it's no use.
No I'll never love a rolling srone."
He turned around to go
Then, she just whispered "No,
I'll never love a rolling stone
I'll never love a rolling stone.
I told you, it's no use."

( All songs: words & music, Roger Chapman. :rock: )

ABlairican Pie

12-10-2006, 10:07 PM

In 1985, it seemed unlikely that any band could succeed under the title of prog-rock, unless you happened to be one of those 70's prog-rockers who adjusted their sound for poppy radio-friendly airplay. British band Marillion was the exception. The band began as Silmarillion in 1979, after a book by J.R.R. Tolkien, but altered their name after Tolkien's estate threatened to sue. Combining elements of early Genesis, Van der Graaf Generator, Rush (specifically from the late '70s), and Yes, the band released a number of early albums which wove intricate musical pieces and soundscapes together along the poetic lyrics of vocalist Fish. Their first hit was "Market Square Heroes" prior to the release of their debut album, 1983's Script From a Jester's Tear. The album was considered a high point of the prog rock genre, as well as the band's finest album. The band followed up with 1984's Fugazi (not to be confused with the DIY hardcore punk band of the same name), with more of an electronic orientation, and a live album Real To Reel. From their inception, however, many critics accused the band of being a (Peter Gabriel-era) Genesis rip-off due to Fish's vocals, the band's song concepts and highly theatrical stage show. They were expected not to succeed in a definite anti-prog day and age.

In 1985, the band had huge commercial success with Misplaced Childhood, which featured the hit "Kayleigh", a song the record label did not initially wish to promote. The band was given creative freedom on the album, which featured a few songs in a commercial pop vein, and ultimately came out with an album that was consistent and mature. The album, which spoke of the dissipation of youth and of lost love, hit the U.K. charts at #1 while the song "Kayleigh" topped at #2. The album's traditional "jester" mascot was replaced by the young boy, named Robert Mead, on the cover who became the iconic "face" of the band, similar to U2's young friend Radar on the War album. Due to the deeply personal lyrics of the song, Fish insisted that the song not be about a former girlfriend named Kay, but altered her name to Kayleigh, as well as turn the song into a fictional composite of his previous girlfriends. The creative process for the album was done rather quickly over several bottles of alcohol, which became a bane to the vocalist, in the next few years, he would leave the band in 1988 due to problems with booze and fatigued by the rigors of touring and dealing with success, in addition to musical differences (a common cause to members' departures).

The band would continue with new vocals and a devoted fan base to this day. The band's members include Steve Hogarth (aka "h" )on vocals , Steve Rothery on guitar, Pete Trewavas on bass, Mark Kelly on keyboards, and Ian Mosley on drums. As of lately, the band has been influenced by other prog-oriented alternative bands as Radiohead and Coldplay.

Script For a Jester's Tear

So here I am once more
In the playground of the broken hearts
One more experience, one more entry in a diary, self-penned
Yet another emotional suicide
Overdosed on sentiment and pride
Too late to say I love you
Too late to restage the play
Abandoning the relics in my playground of yesterday

I'm losing on the swings
I'm losing on the roundabouts
I'm losing on the swings
I'm losing on the roundabouts
Too much, too soon, too far to go, too late to play
The game is over, the game is over

So here I am once more
In the playground of the broken hearts
I'm losing on the swings
I'm losing on the roundabouts
The game is over

Yet another emotional suicide
Overdosed on sentiment and pride
I'm losing on the swings
I'm losing on the roundabouts, roundabouts, the game is over

Too late to say I love you
Too late to restage the play
The game is over

I act the role in classic style
Of a martyr carved with twisted smile
To bleed the lyric for this song
To write the rites to right my wrongs
An epitaph to a broken dream
To exercise this silent scream
A scream that's born from sorrow

I never did write that lovesong
The words just never seemed to flow
Now sad in reflection did I gaze through perfection
And examine the shadows on the other side of morning
And examine the shadows on the other side of morning
Promised wedding now a wake
Promised wedding now a wake, awake

The fool escaped from paradise
Will look over his shoulder and cry
Sit and chew on daffodils and struggle to answer "Why?"
As you grow up and leave the playground
Where you kissed your prince and found your frog
Remember the jester that showed you tears, the script for tears

So I'll hold our peace forever when you wear your bridal gown
In the silence of my shame the mute that sang the sirens' song
Has gone solo in the game
I've gone solo in the game, but the game is over

Can you still say you love me
Can you still say you love me
Can you still say that you love me
Do you love me
Do you love me
Do you love me
Do you love me, the jester's tear

Can you still say you love me
Can you still say you love me
Can you still say that you love me?

The jester's tear, the jester's tear
Do you love me

Forgotten Sons

Armalite, street lights, nightsights
Searching the roofs for a sniper, a viper, a fighter
Death in the shadows he'll maim you, he'll wound you, he'll kill you
For a long forgotten cause
On not so foreign shores
Boys baptised in war
Boys baptised in war

Morphine, chill scream, bad dream
Serving as numbers on dogtags, flakrags, sandbags
Your girl has married your best friend, loves end, poison pen
Your flesh will always creep, tossing turning sleep
The wounds that burn so deep, burn so deep

Your mother sits on the edge of the world when the cameras start to roll
Panoramic viewpoint resurrect the killing fold
Your father drains another beer, he's one of the few that cares
Crawling behind a Saracen's hull from the safety of his living room chair
Forgotten Sons
Forgotten Sons
Forgotten Sons

And so as I patrol in the valley of the shadow of the Tricolour I must fear evil
For I am but mortal and mortals can only die
Asking questions, pleading answers from the nameless faceless watchers
That parade the carpeted corridors of Whitehall
Who orders desecration, mutilation, verbal masturbation in the guarded bureaucratic wombs
Minister, Minister care for your children
Order them not into damnation
To eliminate those who would trespass against you
For whose is the kingdom, the power, the glory for ever and ever
Amen
Amen
Amen
Amen
Amen
Amen
Amen

"Halt who goes there!" - " Death!!"
"Approach ... friend"
You're just another coffin on its way down the emerald aisle
When your children's stony glances mourn
Your death in a terrorist's smile
The bomber's arm placing fiery gifts on the supermarket shelves
Alley sings with shrapnel detonate a temporary hell
Forgotten Sons
Forgotten Sons

From the dolequeue to the regiment a profession in a flash
But remember Monday signings when from door to door you dash
On the news a nation mourns you unknown soldier count the cost
For a second you'll be famous but labelled posthumous

Ring-a-ring-o-roses, they all fall down
Ring-a-ring-o-roses, they all fall down
Ring-a-ring-o-roses
Ring-a-ring-o-roses
Ring-a-ring-o-roses, they all fall down

Forgotten Son
Forgotten Son
Forgotten Son
They're still forgotten, they're still still forgotten
Peace on earth and mercy mild, Mother Brown has lost her child
Just another Forgotten Son

Assassing

I am the assassin, with tongue forged from eloquence
I am the assassin, providing your nemesis

On the sacrificial altar to success, my friend
Unleash a stranger from a kiss, my friend
No incantations of remorse, my friend
Unsheathe the blade within the voice, my friend
My friend, my friend, my friend

I am the assassin

Who decorates the scarf with the fugi knot
Who camouflaged emotion in a thousand yard stare
Who gouged the notches from the family tree
Who hypnotised the guilt in career rhythm trance

Assassing, assassing, assassing, assassing
Listen to the blade, feel the blade!

Listen as the syllables of slaughter cat with calm precision
Patterned frosty phrases rape your ears and sow the ice incision
Adjectives of annihilation
Bury the point beyond redemption
Venomous verbs of ruthless candour
Plagiarise assassins fervour
Apocalyptic alphabet casting spell
The creed of tempered diction

My friend, your friend the assassin
My friend, your friend the assassin
A friend in need is a friend that bleeds
A friend in need is a friend that bleeds
Let bitter silence infect the wound
Let bitter silence infect the wound

I am the assassin, my friend
I am the assassin, my friend
I am the assassin, my friend

You were a sentimental mercenary in a free fire zone parading a Hollywood conscience
You were a fashionable objector with a uniform fetish
Pavlovian slaver at the cash till ring of success
A non com observer
I assassin the collector
Defector

So you resigned yourself to failure, my friend
And I emerged the chilling stranger, my friend
To eradicate the problem, my friend
Unsheathe the blade within the voice, within the voice
Within the voice, within the voice

And what do you call assassins who accuse assassins anyway, my friend?

Pseudo Silk Kimono

Huddled in the safety of a pseudo silk kimono wearing bracelets of smoke
Naked of understanding
Nicotine smears, long, long dried tears, invisible tears
Safe in my own words, learning from my own words
Cruel joke, cruel joke

Huddled in the safety of a pseudo silk kimono a morning may rise
In the starless shutters of my eyes
The spirit of a misplaced childhood is rising to speak his mind
To this orphan of heartbreak, disillusioned and scarred
A refugee, refugee

Kayleigh

Do you remember chalk hearts melting on a playground wall
Do you remember dawn escapes from moon washed college halls
Do you remember the cherry blossom in the market square
Do you remember I thought it was confetti in our hair
By the way didn't I break your heart?
Please excuse me, I never meant to break your heart
So sorry, I never meant to break your heart
But you broke mine

Kayleigh is it too late to say I'm sorry?
And Kayleigh could we get it together again?
I just can't go on pretending that it came to a natural end

Kayleigh, oh I never thought I'd miss you
And Kayleigh I thought that we'd always be friends
We said our love would last forever
So how did it come to this bitter end?

Do you remember barefoot on the lawn with shooting stars
Do you remember loving on the floor in Belsize Park
Do you remember dancing in stilettoes in the snow
Do you remember you never understood I had to go
By the way, didn't I break your heart?
Please excuse me, I never meant to break your heart
So sorry, I never meant to break your heart
But you broke mine

Kayleigh I just wanna say I'm sorry
But Kayleigh I'm too scared to pick up the phone
To hear you've found another lover to patch up our broken home

Kayleigh I'm still trying to write that love song
Kayleigh it's more important to me now you're gone
Maybe it will prove that we were right
Or ever prove that I was wrong

Childhood's End

And it was morning
And I found myself mourning, for a childhood that I thought had disappeared
I looked out the window
And I saw a magpie in the rainbow, the rain had gone I'm not alone
I turned to the mirror, I saw you, the child, that once loved
The child before they broke his heart
Our heart, the heart that I believed was lost

Hey you, surprised?
More than surprised, to find the answers to the questions, were always in your own eyes
Do you realize that you give it on back to her?
But that would only be retraced in all the problems that you ever knew
So untrue
For she's got to carry on with her life, and you've got to carry on with yours

So I see it's me, I can do anything
And I'm still the child
'Cos the only thing misplaced was direction
And I found direction
There is no Childhood's End
There is no Childhood's End
Cos' you are my childhood friend
Cos' you are my childhood friend
Oh lead me on

Hey you, you've survived
Now you've arrived, to be reborn in the shadow of the magpie
Now you realize, that you've got to get out of here
You've found the leading light of destiny, burning in the ashes of your memory
You want to change the world
You'd resigned yourself to die a broken rebel
But that was looking backward
Now you've found the light

You, the child that once loved
The child before they broke his heart
Our heart, the heart that I believed was lost
So it's me I see, I can do anything
I'm still the child
'Cos the only thing misplaced was direction, and I found direction
There is no childhood's end
There is no childhood's end
There is no childhood's end
I am your childhood friend
Oh, lead me on

:guitar:

ABlairican Pie

12-10-2006, 11:48 PM

As mentioned earlier in our 80's thread, many had thought Elton had become the perfect heterosexual after his marriage in Australia to his sound engineer Renate Blauel. She was a nice girl, enough to help dispel those nasty stories of his bisexuality about a decade back. In fact, Elton had recorded a song about another girl, a Russian one named "Nikita". Further proof of his being straight. Right?

Well, maybe not, when a more famous Nikita happened to be none other than the late Soviet primier Nikita ("We Will Bury You") Khrushchev, known for pounding his shoe during U.N. General Assembly meetings and bullying the United States!
:soapbox:

Nikita was a guy's name! :eek: :lol:

Of course, Elton's marriage to Blauel would last only four years when he knew he could no longer deny being gay. He had only married her in order to make a "compromise" in his sexuality.

Of course, the song was not about the deceased Soviet dictator. Maybe that was why Khrushchev was such a tyrant: he got picked on in Russia for having a "girlish" name! Like Johnny Cash's "Boy Named Sue"! :lol:

Nikita

Hey Nikita is it cold
In your little corner of the world
You could roll around the globe
And never find a warmer soul to know

Oh I saw you by the wall
Ten of your tin soldiers in a row
With eyes that looked like ice on fire
The human heart a captive in the snow

Oh Nikita You will never know anything about my home
I'll never know how good it feels to hold you
Nikita I need you so
Oh Nikita is the other side of any given line in time
Counting ten tin soldiers in a row
Oh no, Nikita you'll never know

Do you ever dream of me
Do you ever see the letters that I write
When you look up through the wire
Nikita do you count the stars at night

And if there comes a time
Guns and gates no longer hold you in
And if you're free to make a choice
Just look towards the west and find a friend

ABlairican Pie

12-11-2006, 01:28 AM

Contemporary Christian music was also on the upswing in 1985 due to the increased sophistication of the artists such as Lisa Whelchel, Steve Taylor, and others, as well as artists who had been popular for the past several years as Amy Grant, Michael W. Smith, and many more. Many older fans would have been surprised that even Debby Boone had re-invented herself for her dance-heavy, upbeat pop-rock 1985 album Choose Life, produced by Michael Omartian. She put miles between her and such pop-fluff as 1977's "You Light Up My Life" with very strong tracks as "The Time Is Now", "Pressure Points", "Heart Of the Matter", "Right For You", and the title track, which was about as close as she was going to get to doing anything metal.

ABlairican Pie

12-11-2006, 01:38 AM

In an event not quite related to rock and roll, popular music lost a famous bandleader and musical arranger when Nelson Riddle died on October 6, 1985 at the age of 64. He had been known for working with many famous names over the decades, as pictured below with Frank Sinatra, but was known in his later years for his work with Linda Ronstadt.

Nelson Riddle and Frank Sinatra in 1956:

ABlairican Pie

12-11-2006, 01:53 AM

One of the last albums Nelson Riddle worked on was Linda Ronstadt's 1983 album What's New, a collection of time-honored pop standards which was a clear departure from her more familiar countryfied California pop rock from the 70's. Her voice was a pure jewel, and she brought a warmth and intimacy to old classics. She did a few more albums of classics from a bygone era after that.

1. What's New
2. I've Got A Crush On You
3. Guess I'll Hang My Tears Out To Dry
4. Crazy He Calls Me Listen
5. Someone To Watch Over Me
6. I Don't Stand A Ghost Of A Chance With You
7. What'll I Do
8. Lover Man (Oh Where Can You Be)
9. Good-Bye

http://images.amazon.com/images/P/B000002H1F.01._SCLZZZZZZZ_.jpg

ABlairican Pie

12-11-2006, 02:01 AM

On February 28. 1985, rock lost another one of its gifted metal vocalists from the 70's when David Byron, the original singer for Uriah Heep, died of alcohol-related health issues. His addictions were primarily the cause of his dismissal from the band in 1976. Bryon, real name David Garrick, was born in 1947 in England and demonstrated a dynamic vocal range and awesome stage presence during his years with Uriah Heep.

ABlairican Pie

12-11-2006, 02:12 AM

One of the biggest movie events of the year was the release of 'Rambo: First Blood Part 2', the sequel to the initial 'First Blood' movie which introduced us to the character of John Rambo, played by Sylvester Stallone, as a lonely veteran drifter who steps into a rural Oregon town run by redneck cops and ends up having to fend for himself in the forest while enraged officers attempt to bring him in. In the sequel, Rambo goes on a mission overseas in Southeast Asia to help locate missing P.O.W.s, and goes above and beyond the call of duty. President Reagan claimed that the movie made one want to "go out and kill a commie". ohno: It was movies such as this which instilled America's new feeling of pride and patriotism into a new overblown sense of bravado and machismo. patriot:

What "commie-hating" America was going to do with sweeping changes across the world in the next several years, such as in Eastern Europe, was anyone's guess.

ABlairican Pie

12-11-2006, 08:28 AM

After Pat Benatar released 1984's Tropico, where she ventured away from hard rocking sounds into more adult contemporary music with a children's choir on "We Belong", she returned to form with Seven the Hard Way in 1985, with hard-edged tunes such as the hit "Sex As a Weapon", a denunciation of using women as sex objects in music, such as in videos and album covers, as she herself had been in the earlier days of her recording career.

We Belong

Many times I've tried to tell you
Many times I've cried alone
Always I'm surprised how well you
Cut my feelings to the bone

Don't want to leave you really
I've invested too much time
To give you up that easy
To the doubts that complicate your mind

Chorus:

We Belong to the light
We Belong to the thunder
We Belong to the sound of the words
We've both fallen under
Whatever we deny or embrace
For worse or for better
We Belong, We Belong
We Belong together

Maybe it's a sign of weakness
When I don't know what to say
Maybe I just wouldn't know
What to do with my strength anyway
Have we become a habit
Do we distort the facts
Now there's no looking forward
Now there's no turning back
When you say

(Chorus)

Close your eyes and try to sleep now
Close your eyes and try to dream
Clear your mind and do your best
To try and wash the palette clean
We can't begin to know it
How much we really care
I hear your voice inside me
I see your face everywhere
Still you say

(Chorus)

Ooh Ooh Song

Just when we think we conquered it
It seems we lose the fight again
But there's just no stoppin' it
It's like a bad dream that never ends
It puts up walls between us
That get harder, and harder, and harder, and harder, and harder
To remove
But we let it continue, like people in love always do
Ooh - Ooh
Ooh - Ooh
Ooh - Ooh

Lets not pretend that we're unique
Coz everybody's tasted loves illusion
We try to hide the fact that we
Got lost between the choas and confusion
And the love we feel
Is gettin' deeper, and deeper, and deeper, and deeper, and deeper
By the minute

But we let it slip away
Coz we don't know a good thing while we're in it

Ooh - Ooh
Ooh - Ooh
Ooh - Ooh

(Ending Background vocal:
"Y el amor que sentimos es mas profundo"
"The love that we feel is deeper")

Sex As a Weapon

You really do know how to strut that stuff (strut that stuff)
You really do know how to act tough (act tough)
Your body's just like a centerfold
A fantasy (a fantasy), anyone would want to hold
Chorus:

Stop using Sex As A Weapon
Stop using Sex As A Weapon
You know you're already my obsession
Stop (stop) using Sex As A Weapon
Love is more than a one way reflection
Stop (stop) using Sex As A Weapon

With looks that kill and a mind that's twisted (twisted)
I don't know why I can't resist it (resist it)
I tell myself look the other way (other way)
When you want me to (when you want me to)
I, I always stay

(Chorus)

You play with desire like it was a toy (toy)
How much affection can you destroy?
You wrap my heart around your little finger
Sex, Sex, Sex, Sex, Sex, Sex, Sex As A Weapon

Stop using Sex As A Weapon
Stop using Sex

(Chorus)

Stop using Sex As A Weapon
Stop using Sex As A Weapon
Stop using Sex
Stop using Sex As A Weapon
Stop using Sex (stop using sex, stop using sex)
Sex As A Weapon, As A Weapon

Invincible

This bloody road remains a mystery
This sudden darkness fills the air
What are we waiting for?
Won't anybody help us?
What are we waiting for?
We can't afford to be innocent
Stand up and face the enemy
It's a do or die situation
We will be Invincible

This shattered dream you cannot justify
We're gonna scream until we're satisified
What are we running for?
We've got the right to be angry
What are we running for?
When there's no where we can run to anymore

We can't afford to be innocent
Stand up and face the enemy
It's a do or die situation
We will be Invincible
And with the power of conviction
There is no sacrifice
It's a do or die situation
We will be Invincible

Won't anybody help us?
What are we running for?
When there's no where, no where we can run to anymore

We can't afford to be innocent
Stand up and face the enemy
It's a do or die situation
We will be Invincible
And with the power of conviction
There is no sacrifice
It's a do or die situation
We will be Invincible

yeah, yeah, yeah, ooh

We can't afford to be innocent
Stand up and face the enemy
It's a do or die situation
We will be Invincible

We can't afford to be innocent
Stand up and face the enemy
It's a do or die situation
We will be Invincible

:guitar:

Shine

12-11-2006, 02:35 PM

Shine

12-11-2006, 02:39 PM

Steve M.

12-11-2006, 10:39 PM

As mentioned earlier in our 80's thread, many had thought Elton had become the perfect heterosexual after his marriage in Australia to his sound engineer Renate Blauel. She was a nice girl, enough to help dispel those nasty stories of his bisexuality about a decade back. In fact, Elton had recorded a song about another girl, a Russian one named "Nikita". Further proof of his being straight. Right?

Well, maybe not, when a more famous Nikita happened to be none other than the late Soviet primier Nikita ("We Will Bury You") Khrushchev, known for pounding his shoe during U.N. General Assembly meetings and bullying the United States!
:soapbox:

Nikita was a guy's name! :eek: :lol:

Of course, Elton's marriage to Blauel would last only four years when he knew he could no longer deny being gay. He had only married her in order to make a "compromise" in his sexuality.

Of course, the song was not about the deceased Soviet dictator. Maybe that was why Khrushchev was such a tyrant: he got picked on in Russia for having a "girlish" name! Like Johnny Cash's "Boy Named Sue"! :lol:

Blame heterosexual Bernie Taupin for that, he wrote the lyrics. "Nikita" is the Ukrainian (not Russian) equivalent of Nicholas, but it does sound kind of girlish. :lol: Taupin must have remembered hearing the name somewhere, thought it was a girl's name, and wrote the song accordingly. Either that or he was overtly hinting at something! :eek:

Elton John declared himself bisexual in 1976, so this must have been his hetero side dominating at the time. By the way, the lyric "ice on fire" served as the title of Elton's 1985 LP, which included "Wrap Her Up" (with George Michael) and "Act Of War" (with Millie Jackson) as well. :D

ABlairican Pie

12-11-2006, 11:02 PM

Blame heterosexual Bernie Taupin for that, he wrote the lyrics. "Nikita" is the Ukrainian (not Russian) equivalent of Nicholas, but it does sound kind of girlish. :lol: Taupin must have remembered hearing the name somewhere, thought it was a girl's name, and wrote the song accordingly. Either that or he was overtly hinting at something! :eek:
That's right, it's incorrect that every Soviet dictator was strictly "Russian" since there were over fifteen different republics with various languages and ethnicities. Josef Stalin was in fact born in Georgia.

But no, he didn't sing "Ramblin' Man", "Statesboro Blues", or "Whipping Post" or anything like that. :lol:

ABlairican Pie

12-12-2006, 12:20 AM

Asia released their followup album to their successful debut, 1983's Alpha, to mixed reviews. Commercially, it was a not a strong album to match the success of the previous album, though it did feature enough radio-friendly hooks to get it significant airplay, on such songs as "Don't Cry" and the ballad "The Smile Has Left Your Eyes". Critics wrote off the album as over-produced fluff, while many fans preferred the new album over the original. Other noteworthy songs on the album included "Eye To Eye", "My Own Time", "Open Your Eyes" and "The Heat Goes On". Unfortunately, two of the band's most notable members, guitarist Steve Howe and drummer Carl Palmer, had very little creative input on the album to where their status in the band appeared to be that of merely session musicians.

In 1985, the band released Astra, another album which featured the dazzling surreal artwork of Roger Dean. However, the artwork for the cover seemed to be the only thing going for the album, as the sales for this album were even more dismal than the first two albums. Even more surprising was the band's replacement for the departed Steve Howe, who teamed up with Genesis guitarist Steve Hackett for GTR: Krokus guitarist Mandy Mayer was chosen to briefly replace him. The album featured the modest hit "Go", which featured a video of the futuristic female on the cover. In a more disappointing move, bassist/vocalist John Wetton was forced out of the band due to the lackluster sales of the album. It was a common problem in the 80's that many bands had few stable lineups, with a revolving door policy when the record label or band management felt inclined to replace a less productive member with a more suitable one. Bands appeared more like companies rather than people with a shared musical cameraderie.

After that, it appeared to be the end for Asia. Or was it?

Don't Cry

Hard times you had before you
I knew when I first saw you
You girl you’ve always been mistreated, cheated

So leave it all behind you
It took so long to find you
I know that we can last forever, ever and more, more, oh

Don’t Cry now that I’ve found you
Don’ Cry take a look around you
Don’t Cry it took so long to find you
Do what you want, but little darling please Don’t Cry

I knew I’d never doubt it
I was so sure about it
Don’t think of all that’s been before

I’ll hear you when you’re calling
I’ll catch you when you’re falling
Don’t worry I will always be there, like never before, or, oh

The Smile Has Left Your Eyes

I saw you standing hand in hand
But now you come to me the solitary man
And I know what it is that makes us live
Such ordinary lives
The where to go, the who to see
No one could sympathize
The smile has left your eyes
The smile has left your eyes

And I've become a rolling stone
I don't know where to go or what to call my own
But I can see that black horizon glooming
Ever close to view
It's over now it's not my fault
See how this feels for you
The smile has left your eyes
The smile has left your eyes

I never thought I'd see you
Standing there with him
So don't come crawling back to me

I saw you standing hand in hand
But now you come to me the solitary man
And I know what it is that makes us live
Such ordinary lives
The where to go, the who to see
No one could sympathize
The smile has left your eyes
Now it's too late you realized
Now there's now one can sympathize
Now that the smile had left your eyes
Now it's too late you realized
Now there's now one can sympathize
Now it's too late you realized
Now that the smile has left your eyes
The smile has left your eyes

The Heat Goes On

You walk tall, got your head in the clouds
You talk soft, but you’re thinking aloud
And you know, exactly what you want

You box shy, you’re hard to get
You got the face that I can’t forget
And I know, I know The Heat Goes On

I know that The Heat Goes On
I know that The Heat Goes On

You play tight, you’re nobody’s fool
You’re not cold, but I know that you’re cool
Look at you, I know The Heat Goes On

Now tell me, with your hand on you’re heart
That you knew, you were right from the start
And you’re sure, you felt it all along

You know that The Heat Goes On
You know that The Heat Goes On

Times to decide, times that I’ve lied
Problems will never be solved
Which way is wrong, which could be right?
This heat will always go on

You walk tall, got your head in the clouds
You talk soft, but you’re thinking aloud
And you know, exactly what you want

You box shy, you’re hard to get
You got the face that I’ll never forget
You and I know, we know The Heat Goes On

Go

Dig for victory, go for gold
I don't wanna die before I get old
And I wonder where I'm going to
There's some way out, there's some way through
But I'm lost, I'm lost, I'm down again
My direction is changing, which way,
Which way can I go...

Get up and go

You start me up, you slow me down
No one can deny you get around
When you're hot, you're cold, you're in between
Asking myself what does it mean?
And I walk that tightrope, you should know
I'm losing my balance, maybe,
Maybe I should go...

Get up and go

Face to face in sympathy
But now you turn your back on me
Turn a card and win, but you may lose
Fate only has that right to choose
If you're right, leave me here, I'll die alone
You've got the time, you've just got time
You got the time just go...

Get up and go
Go

Just go...

:guitar:

ABlairican Pie

12-12-2006, 01:46 AM

1986 was a year for big changes in rock and roll when heavy metal began its biggest resurgence, both on MTV and on the record shelves, due to one band with the perfect teased-hair looks:

BON JOVI!!!!!!!!!!

The band had two decent selling albums under their collective belt and now it was time to totally deliver. Their previous album 7800* Fahrenheit was a commercial disappointment. They needed a hit fast, so the band brought in accomplished songwriter Desmond Child to co-write new lyrics for the upcoming album. The collaboration paid off big time, as their new record, Slippery When Wet skyrocketed off the charts and turned the little band from Jersey into major superstars. As Cactus Jack asked, how did they get the name for the album?

How, indeed. ;)

Jon Bon Jovi insisted the album was named after highway warning signs for hazardous slick surfaces, but other band members had a more colorful explanation for the album: While recording up in Vancouver, B.C., Canada, the stripper capitol of the planet, the band was rather enthralled at the shows in many strip clubs where girls would do wet t-shirt contests, shower and soap themselves down for titillated customers. :grineyes: :drool: So enticing were these shows that the band decided to name the album Slippery When Wet, with a cover featuring a torn t-shirt barely containing a pair of ample breasts. But when the P.M.R.C. began to make their musical purge of all things considered "indecent", the band decided on a cover of a damp roadway instead.

The band became one of the biggest acts on the road, however, Jon Bon Jovi nearly fried his vocal cords from singing very high notes and came close to losing his voice. With the help of a vocal coach he recovered and has chosen to sing in a lower register.

Many metal purists have had trouble accepting Jon Bon Jovi as a metal performer. He has been derided as a pop-rock "hair farmer", but the public's desire for more harder-edged tunes with blazing guitars in mid-decade was because of him and his axe-slinger Ritchie Sambora. He had the look as well as the sound, the youthful appeal, and in those days, huge hair was commonplace and a necessity. Beneath the stardom, he had a middle class charm in much the same way fellow New Jerseyite Bruce Springsteen had. The band's lyrics, such as on "Livin' On a Prayer", touched a chord with many struggling young people wilting under economic and societal pressures and hardships in Reagan's America. Many other bands tried to find Bon Jovi's secret, from his songwriting style,from his musical equipment, from what he wore, what he used in his hair, and down to his brand of makeup, and when they were able to emulate his appeal, financial rewards would be sweet, and the women would be sweeter.

You Give Love a Bad Name

Shot through the heart
And you're to blame
Darling you give love a bad name

An angel's smile is what you sell
You promise me heaven then put me through hell
Chains of love got a hold on me
When passion's a prison you can't break free

Woah! You're a loaded gun(yeah)
Whoa! There's nowhere to run
No one can save me
The damage you've done

Shot through the heart
And you're to blame
You give love a bad name
I play my part and you play your game
You give love a bad name
You give love.. a bad name

You paint your smile on your lips
Blood red nails on your fingertips
A school boy's dream you act so shy
Your very first kiss was your first kiss goodbye

Woha! You're a loaded gun
Whoa! There's nowhere to run
No one can save me
The damage you've done

Shot through the heart
and you're to blame
You give love a bad name
I play my part and you play your game
You give love a bad name

Shot through the heart
and you're to blame
You give love a bad name
I play my part and you play your game
You give love a bad name
Shot through the heart
and you're to blame
You give love a bad name
I play my part and you play your game
You give love a bad name

You give love...
You give love...
A bad name
You give love...
You give love...
A bad name
You give love...
You give love...
A bad name

You give love...

Livin' On a Prayer

Once upon a time
Not so long ago
Tommy used to work on the docks
Union's been on strike
He's down on his luck...it's tough, so tough
Gina works the diner all day
Working for her man, she brings home her pay
For love - for love

She says: We've got to hold on to what we've got
'Cause it doesn't make a difference
If we make it or not
We've got each other and that's a lot
For love - we'll give it a shot

We're half way there
Livin' on a prayer
Take my hand and we'll make it - I swear
Livin' on a prayer

Tommy got his six string in hock
Now he's holding in what he used
To make it talk - so tough, it's tough
Gina dreams of running away
When she cries in the night
Tommy whispers: Baby it's okay, someday

We've got to hold on to what we've got
'Cause it doesn't make a difference
If we make it or not
We've got each other and that's a lot
For love - we'll give it a shot

We're half way there
Livin' on a prayer
Take my hand and we'll make it - I swear
Livin' on a prayer

We've got to hold on ready or not
You live for the fight when it's all that you've got

We're half way there
Livin' on a prayer
Take my hand and we'll make it - I swear
Livin' on a prayer

Wanted Dead Or Alive

It's all the same, only the names will change
Everyday it seems we're wasting away
Another place where the faces are so cold
I'd drive all night
Just to get back home

I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
Wanted dead or alive

Sometimes I sleep, sometimes it's not for days
And the people I meet always go their separate ways
Sometimes you tell the day
By the bottle that you drink
And times when you're alone and all you do is think

I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
Wanted dead or alive

I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
Wanted dead or alive

I walk these streets, a loaded six string on my back
I play for keeps, 'cause I might not make it back
I been everywhere, still I'm standing tall
I've seen a million faces
And I've rocked them all

I'm a cowboy, on a steel horse I ride
I'm wanted dead or alive
I'm a cowboy, I got the night on my side
I'm wanted dead or alive
Wanted dead or alive

Raise Your Hands

You - you got a nasty reputation
We're in a sticky situation - it's down to me and you
So tell me - is it true ... they say there ain't nobody better
Well now that we're together
Show me what you can do
You're under the gun
Out on the run
Gonna set the night on fire
You're out on the run
Under the gun
And playin' to win
Raise your hands
When you want to let it go
Raise your hands
when you want to let a feeling show
Raise your hands
From New York to Chicago
Raise your hands
From New Jersey to Tokyo
Raise your hands

I - I've been out on the front line
Where you'll go down if you waste time
They'll walk all over you
But I - I ain't here looking for surrender
I'll raise the flag if you'll defend her
It's up to you
You're under the gun
Out on the run
Gonna set the night on fire
You're out on the run
Under the gun
And playin' to win
Raise your hands
When you want to let it go
Raise your hands
When you want to let a feeling show
Raise your hands
From New York to Chicago
Raise your hands
From New Jersey to Tokyo
Raise your hands

Never Say Goodbye

As I sit in this smokey room
The night about to end
I pass my time with strangers
But this bottle's my only friend

Remember when we used to park
On Butler Street out in the dark
Remember when we lost the keys
And you lost more than that in my backseat

Remember when we used to talk
About busting out - we'd break their hearts
Together - forever

Never say goodbye, never say goodbye
You and me and my old friends
Hoping it would never end
Never say goodbye, never say goodbye
Holdin' on - we got to try
Holdin' on to never say goodbye

Remember days of skipping school
Racing cars and being cool
With a six pack and the radio
We didn't need no place to go

Remember at the prom that night
You and me we had a fight
But the band they played our favorite song
And I held you in my arms so strong

We danced so close
We danced so slow
And I swore I'd never let you go
Together - forever

Never say goodbye, never say goodbye
You and me and my old friends
Hoping it would never end
Never say goodbye, never say goodbye
Holdin' on - we got to try
Holdin' on to never say goodbye

I guess you'd say we used to talk
About busting out
We'd break their hearts
Together - forever

:rock: :guitar: :guitar: :rock:

http://eil.com/newgallery/Bon-Jovi-You-Give-Love-A-B-528.jpg
http://roxcalibur.com/pix/e3190.jpg

ABlairican Pie

12-12-2006, 09:15 AM

One band that was certainly helped by Bon Jovi's rise to success was Cinderella, who were friends with Jon Bon Jovi and Co. on the East Coast. Bon Jovi even appeared in the band's video, "Somebody Save Me".
The band initially featured vocalist Tom Kiefer and guitarist Eric Brittingham on bass, drummer Tony Destra, and guitarist Michael Smerick. Both Destra and Smerick left to join another Pennsylvania band, Britney Fox, and were replaced by guitarist Jeff Lebar and drummer Jim Dmec who played on the band's debut album Night Songs, but was replaced by former London drummer Fred Coury, who joined in time to be listed on the album's liner notes. The album, recorded in 1985, was released the following year, just as MTV rescinded its ban on heavy metal videos due to the hair-o-genic popularity of Bon Jovi, whom Cinderella opened for, and others, and the songs and videos for tracks such as "Shake Me", "Nobody's Fool", and "Somebody Save Me" became phenomenally successful. The band had some of the biggest hair in rock, but their songs contained such sleaze and swagger that impressed everyone. Like many bands whose mascots featured ghoulish figures, Cinderella's mascots were a pair of sexy "Wicked Stepsisters" who tried to weasel their way into the band's concerts.

Night Songs

Workin' this job ain't payin' the bills
Sick and tired rat race takin' my thrills
Kickin' down a road, not a dollar in my pocket
Nightime falls and i'm ready to rock it

I need a shot of gasoline
I hittin' one sixteen
I get so hot i see steam
Forget the day, cause we're gonna scream

Night songs
Howl into the light, singin'
Night songs
Makes the day right
Night songs
Raise your glass, take a bite
Night songs

Ridin' to the east and ridin' to the west
Sleepin' all day, but never get a rest
Lookin' at the time stand still it ain't right
Livin' for the moment, time to get it tight
I need a shot of gasoline
I hittin' one sixteen
I get so hot i see steam
Forget the day, cause we're gonna scream

Night songs
Howl into the light, singin'
Night songs
Makes the day right
Night songs
Raise your glass, take a bite
Night songs
Ohh, sing it

I need a shot of gasoline
I hittin' one sixteen
I get so hot i see steam
Forget the day, cause we're gonna scream

Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs
Night songs

Shake Me

Alright, yea
I met this girl around quarter to ten
We made it once, she said "make me again."
She wrapped her love around me all night long
In the mornin' we were still goin' strong

Now let me tell ya, it sure feels good
First time i saw that girl i knew it would
Now let me tell ya, it sure felt right
No pullin' teeth, she didn't want to fight, she said

Shake me, all night, she said
Shake me, shake it, don't break it baby
Shake me, all night, she said
All night long
All night long baby

Screamed and scratched and rolled out of the bed
I never really got her out of my head
And now and then she makes those social calls
Gives me a squeeze, gets me kickin' the walls

Now let me tell ya, it still feels tight
And we were shakin' after every bite
I feel her comin' in the middle of the night
Screamin' higher

Shake me, all night, she said
Shake me, shake it, don't break it baby
Shake me, all night, she said
Shake me, ooo yea

All night, keep the fire burnin', cause we're doin' all right
All night, come on and shake it right

Shake me
Shake me
Shake me
Shake me

Shake me all night, she said
Shake me, shake it, don't break it baby
Shake me, all night, she said
Shake me, ooo yea

Shake me
Shake me, yea
Shake me
Ooo come on baby baby
Shake me
Shake me

Nobody's Fool

I count the falling tears
They fall before my eyes
Seems like a thousand years
Since we broke the ties
I call you on the phone
But never get a rise
So sit there all alone
It's time you realize

I'm not your fool
Nobody's fool
Nobody's fool
I'm no fool
Nobody's fool
Nobody's fool
Never again, no, no

You take your road, i'll take mine
The paths have both been beaten
Searchin' for a change of pace
Love needs to be sweetened
I scream my heart out, just to make a dime
And with that dime i bought your love
But now i've changed my mind

I'm not your fool
Nobody's fool
Nobody's fool
I'm no fool
Nobody's fool
Nobody's fool
Never again, no, no
Nobody's fool
Nobody's fool
I'm no fool
Nobody's fool
Nobody's fool

I count the falling tears
They fall before my eyes
Seems like a thousand years
Since we broke the ties
Ohhh

I'm not your fool
Nobody's fool
Nobody's fool
I'm no fool
Nobody's fool
Nobody's fool
I'm no fool
Nobody's fool
Nobody's fool
I'm no fool
Nobody's fool
Nobody's fool

Nobody's fool
Nobody's fool
Nobody's fool
Nobody's fool

Nobody's fool
Nobody's fool
No, nobody's fool
Nobody's fool
No, nobody's fool
Nobody's fool
Nobody's fool

Somebody Save Me

When i was a young boy
They said you're only gettin' older
But how was i to know then
That they'd be cryin' on my shoulder
Put your money in a big house
Get yourself a pretty wife
She'll collect your life insurance
When she connects you with a knife

Somebody get the doctor
I'm feelin' pretty poor
Somebody get the stretcher
Before i hit the floor

Somebody save me
I lost my job, they kicked me out of my tree
Somebody save me
Save me

Everybody's got opinions
But nobody's got the answers
And that **** you ate for breakfast
Well it'll only give you cancer
We're runnin' in a circle
Runnin' to the morning light
And if ya ain't quite workable
It's been one hell of a night

Somebody get the doctor
I think i'm gonna crash
Never paid the bill
Because i ain't got the cash

Somebody save me
I lost my job, they kicked me out of my tree
Somebody save me
Save me
Look out

Save me
I lost my job, they kicked me out of my tree
Somebody save me, oh
Save me

Somebody save me
I'm goin' down for the last time, look out
Save me
Sa-a-a-a-a-a-ave me
Save me

Nothin' For Nothin'

When you see your face in the mirror
Does it seem the end is gettin' nearer
All your life you spent as a wheeler
Now the hole you dug, it gettin' deeper

You're talkin' words
But they don't make the rhyme
You'll lose it all
Cause you can't draw the line

You got nothin'
Nothin' for nothin'
You're hurtin' overtime
Nothin' for nothin'
And we don't need your kind
Nothin' for nothin'
Pushin', shovin', got no time
Nothin' for nothin'

When you see the day gettin' darker
You can run to yuor lies, run to your cover
When you feel the heat from a lover
You hit the highway lookin' for another

You made the grade
You left the hills behind
You take the the cake and eat it
You're so blind

You got nothin'
Nothin' for nothin'
You're hurtin' overtime
Nothin' for nothin'
And we don't need your kind
Nothin' for nothin'
Pushin', shovin', got no time
Nothin' for nothin', hey

Nothin' for nothin'
You're hurtin' overtime
Nothin' for nothin'
And we don't need your kind
Nothin' for nothin'
Pushin', shovin', got no time
Nothin' for nothin', hey

Nothin' for nothin'
You're hurtin' overtime
Nothin' for nothin'
And we don't need your kind
Nothin' for nothin'
Pushin', shovin', got no time
Nothin' for nothin', hey

Nothin' for nothin'
You're hurtin' overtime
Nothin' for nothin'
And we don't need your kind
Nothin' for nothin'
Pushin', shovin', got no time
Hey
You're hurtin' overtime

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=_c5fLED8pEc

http://www.youtube.com/watch?v=-UPF6rOXwt4

http://www.youtube.com/watch?v=xZwvsSxYvGg

Steve M.

12-12-2006, 07:44 PM

Elton John released his twentieth studio album, Leather Jackets, in 1986. Unlike most artistes, Elton continued to crank out one new album a year. Well. life begins at forty, and in 1986 Elton was 39. . . .

Unfortunately, people had had their fill of new Elton records for awhile by then, and Leather Jackets stiffed. However, his tour to support the record - which featured EJ in Bob Mackie outfits and foot-tall Mohawk wigs - was a success. Whenever he played a song from Leather Jackets, though, audiences either groaned or went on a beer run. (I was at his Madison Square Garden concert in 1986, so I should know.) For now, at least, Elton fans preferred to hear his oldies over his new stuff.

So they missed out on his '86 single, "Heartache All Over The World."

Heartache All Over The World - Elton John

(Elton John [music], Bernie Taupin [lyrics])

Well I'm running away
From this house on the hill,
There's a devil inside
sitting on the window sill.
And it's a wild Friday night,
And I'm all on my own.
I knocked on every door in town,
There ain't one little girl that's home.
And everybody's got a date,
And the ones that ain't are tired,
What the hell do you do on a weekend, honey,
When your heart's on fire?

And you can go from Tokyo to Rome,
Looking for a girl.
But it looks to me like the weekend means
Heartache all over the world.
Girls, girls, girls,
Have pity on me.
Oh it looks to me like the weekend means
Heartache, heartache all over the world.

He's got lipstick on his collar,
She's got fishnets on her legs.
I'm at home and I've got nothing,
Just a cold and aching head.
There must be something dirty,
Just blame it on the magazines.
Don't read that trash it'll drive you crazy,
`Cause the cops invade your dreams.
And everybody's got a date,
And the one's that ain't are tired.
What the hell do you do on a weekend, honey,
When your heart's on fire?

And you can go from Tokyo to Rome,
Looking for a girl.
But it looks to me like the weekend means
Heartache all over the world.
Girls, girls, girls,
Have pity on me.
Oh it looks to me like the weekend means
Heartache, heartache all over the world.

At his 1986 Madison Square Garden show, Elton introduced the following song as being from the new album, and everyone groaned. "Hey, we gotta play the new stuff!" he protested. He went ahead and played "Paris."

Paris - Elton John

(Elton John [music], Bernie Taupin [lyrics])

Nobody left in the airport lounge,
They cleaned the ashtrays,
TV's just wound down.
I've got to wait till morning,
I've got to last the night.
I've only got one book,
To see me through my flight.

But when I get to Paris,
We'll paint all our portraits
In brush-strokes of yellow
And christen the canvas.
The Left Bank is crying
For colour to crown it,
Like the roof of a palace.
We'll drink in the amber
When I get to Paris.

You were the best of Montmartre Street life,
You signed the tablecloth.
Art has its price.
It's so hard to hold on
To the ghost of your breed,
It takes ambition
To call the colours you need.

I've got to wait till morning,
I've got to last the night.
I've only got one book,
To see me through the flight.

But when I get to Paris,
We'll paint all our portraits
In brush-strokes of yellow
And christen the canvas.
The Left Bank is crying
For colour to crown it,
Like the roof of a palace.
We'll drink in the amber
When I get to Paris.

ABlairican Pie

12-13-2006, 12:26 AM

In the mid-80's, a group of musicians from Mechanicsburg, Pennsylvania, the same state which was the original home of Cinderella, headed west for the promise of fame, fortune, and foxy women. They would find it, boy, would they ever find it. The band found a home on the Sunset Strip club scene, and though the times were tough for the struggling band, they weren't
about to look the part of a struggling band sustaining themselves on food stamps. They dolled themselves up to where they made the hot chicks on the Strip jealous. They became known as....

POISON!!!!!!!!!!!!!!!

The band that would become the epitome of all that was 80's excess and fashion released their first album, Look What the Cat Dragged In, in 1986. No matter that the band barely knew how to play their instruments, that was the beauty of it all--they came from the East Coast which had a long history of bands who made up for lack of talent with hellacious image and sincerity: The New York Dolls, KISS, and others. Their music was simple and catchy, it didn't strive to be very deep--and it caught on. The band began in 1984 as Paris, which featured vocalist Bret Michaels, bassist Bobby Dall, drummer Rikki Rockett and guitarist Matt Smith, who had to leave the band as he was about to become a father. He was replaced by a young spunky, hyperactive guitarist named Cecil, or C.C., DeVille, who in fact played in a local L.A. band called Roxx Regime briefly, before that band underwent a religious conversion and became Stryper. The band lacked money for stage effects and simply placed car and Harley motorcycle parts, and dumped confetti on themselves onstage. They became a huge hit on the Sunset club scene, though they were later accused off ripping off the stage antics of rival band Kix.

Critics, including the band's producer, accused the band of being a "triumph of image over substance", though he did say that DeVille showed some promise and talent on guitar. Regardless, the band had a number of huge tracks from their first album, including "Talk Dirty To Me", "I Want Action", and "I Won't Forget You". The album hit over 2 million in sales, which was helped by the album cover which made many music fans say,

"WOW!!! THOSE CHICKS ARE HOT!!!!!!!" :grineyes: :drool: :eyes:

:lol:

Talk Dirty To Me

You know I never
I never seen you look so good
You never act the way you should
But I like it
And I know you like it too
The way that I want you
I gotta have you
Oh yes, I do

You know I never
I never ever stay out late
You know that I can hardly wait
Just to see you
And I know you cannot wait
Wait to see me too
I gotta touch you
Cause baby we'll be

Chorus:
At the drive-in
In the old man's Ford
behind the bushes
until I'm screamin' for more
Down the basement
lock the cellar door
And baby
Talk dirty to me

You know I call you
I call you on the telephone
I'm only hoping that you're home
So I can hear you
When you say those words to me
And whisper so softly
I gotta hear you
Cause baby we'll be

Chorus

C.C. pick up that guitar and talk to me

Solo,

Cause baby we'll be

Chorus

And babe, Talk dirty to me x2

Uh

Whoa

Im Slaying at you baby

Oh Yeah

I Want Action

I want action tonight
Satisfaction all night

I grab my hat and I
I grab my shoes
Tonight I'm gonna hit
the streets and cruise

Down the main strip and
check it out
With those schoolgirls
a hangin' around

Now I'm a sucker for a pretty face
I don't care if she's in leather or lace
cause I'm just lookin' for a little kiss

Chorus:
I want action tonight
satisfaction all night
You've got the love I need tonight

Long legs and short skirts
These girls hit me where it hurts

I can't wait to get my hands on them
I won't give up 'til they give in

Now I'm not lookin' for a love that lasts
I need a shot and I need it fast
If I can't have her, I'll take her and make her

Chorus, solo

Hey, sweetheart, slide on in here
No, not in the front, jump in the back
Why?
Cause there's something back there I want to show ya
I want action tonight
Satisfaction all night
Ah, come on honey, I wasn't that bad!
Oh, well

Chorus out

I Won't Forget You

Late at night I close my eyes
And think of how things could have been
And when I look back
I remember some words you had said to me

It's better to have lost at love
Then never to have loved at all

Chorus
I won't forget you baby
(I won't forget you)
Even though I could
I won't forget you baby
(I won't forget you)
Even though I should, yeah

Sometimes in my head
I can still see pictures of you
And I laugh to myself
When I think of all those crazy things that we used to do

Although miles come between us
Just between you and me

Chorus

I should let you fade away
But that just wouldn't be me
Oh, baby

Solo

Although miles come between us
Just between you and me

Chorus

I won't forget you baby
(I won't forget you)
Memories slowly fade
I won't forget you baby
(I won't forget you)
And all the plans we made

I won't forget you baby

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=dpyFXTaFUKU

http://www.youtube.com/watch?v=sv6pD_Jmzk8

ABlairican Pie

12-13-2006, 01:06 AM

By 1986, Ozzy Osbourne had completely transformed himself from being the one-time frontman of Black Sabbath to being the ultimate grandmaster of glam metal in his home in Los Angeles. His look had completely changed to where his hair was spiked and pouffed out, and his bejeweled outfits now resembled those of Stryper. His music was hard and heavy as ever, though with the Hollywood polish.

Jake E. Lee, Randy Rhoads' longterm replacement (who had been in Ratt and Rough Cutt previously), played guitar brilliantly, though he and Ozzy had a rough time in the previous years. Rhoads' death made it very difficult for Ozzy to communicate, and Lee was not comfortable with having to live under Randy's shadow. Lee could not deal with signs at concerts reading "We Want Randy", they made him very self-conscious, and though no one could really live up to Rhoads' standards and legendary status, Lee was confident of his own fine playing. For the new album, The Ultimate Sin, Ozzy and Lee were joined by new members bassist Phil Soussan and drummer Randy Castillo. The album featured such hits as "Shot In the Dark" and the title track, which featured Ozzy in a hilarious parody of the show "Dallas". However, Ozzy was not happy making that latter video. The album was his biggest seller to date. The title of the album was a reference to what he considered was the ultimate sin, the sin of nuclear war, as indicated by mushroom cloud in the cover art, and of the abuse of power. Of course, many church brigades, such as Tipper Gore and others, considered Ozzy himself to be the ultimate sin.

Also, many metal fans got their first taste on the tour behind the album of who would be the future of metal: METALLICA!!!! Many loved the band, while others did not consider this rather loud band to be metal at all! :eek: :confused: Others were confused by them, but one thing was certain, they had created a huge buzz at this point. People would not forget them. Ozzy was very pleased that this young band was opening for him, but he was puzzled as to why they were playing Black Sabbath tunes
during sound checks. "We're mad for Sabbath!!" they explained, they said they were major fans of his original band. Ozzy found it hard to believe that people still liked their music from the 70's.

Shot In the Dark

Out on the streets I'm stalking the night
I can hear my heavy breathing
Paid for the kill, but it doesn't seem right
Something there I can't believe in
Voices are calling from inside my head
I can hear them, I can hear them
Vanishing memories of things that were said
They can't try to hurt me now

But a shot in the dark
One step away from you
Just a shot in the dark
Always creeping up on you
All right

Taught by the powers that preach over me
I can hear their empty reasons
I wouldn't listen, I learned how to fight
I opened up my mind to treason
But just like the wounded, and when it's too late
They'll remember, they'll surrender
Never a care for the people who hate
Underestimate me now

But a shot in the dark
One step away from you
Just a shot in the dark
Nothing that you can do
Just a shot in the dark
Always creeping up on you
All right

But just like the wounded, and when it's too late
They'll remember, they'll surrender
Never a care for the people who hate
Underestimate me now

But a shot in the dark
One step away from you
Just a shot in the dark
Nothing that you can do
Just a shot in the dark
Always creeping up on you
All right

Just a shot in the dark
Just a shot in the dark
Just a shot in the dark
Just a shot in the dark

The Ultimate Sin

Overkill, enough is enough
There's nothing left of me to devour
You've had your fill, I'm all I have left
What can stop your hunger for power?

'Cos you took advantage
Of things that I said
Now the feeling is dead
And that's the ultimate sin
And that's the ultimate sin

Anyway I look at it now
The doors are closed and cannot be opened
Bury your anger and bury your dead
Or you'll be left with nothing and no one

There's no point in screaming
'Cos you won't be heard
Now the tables have turned
It was the ultimate sin
It was the ultimate sin
It was the ultimate sin
It was the ultimate sin

I warned you then and I'm warning you now
If you mess with me you're playing with fire
Winds of change that are fanning the flames
Will carry you to your funeral pyre

It's pulling you down
It's your final descent
It's too late to repent
When it's the ultimate sin
When it's the ultimate sin
When it's the ultimate sin
When it's the ultimate sin

When it's the ultimate sin

Lightning Strikes

Won't you listen 'cos I'm at it again
Lightning striking, and on that you can depend
They say that lightning never strikes the same place twice
Gods of thunder, sit and watch the event

You know I take no prisoners
My back's to the wall
You know I must be going
When destiny calls
Until I feel that thunder shattering my brain

I won't stop rockin' all night, rockin' all night
Until the lightning strikes again
Rockin' all night, rockin' all night
Until the lightning strikes again

Tell your mama that you're gonna be late
But not to worry, we'll just be rockin' all night
The lightning strikes before you hear the thunder roar
We're becoming the children of the night

I'm not aplogizing
I am what I am
There is no compromising
I don't give a damn
Until I feel the thunder boiling in my veins

I won't stop rockin' all night, rockin' all night
Until the lightning strikes again
Rockin' all night, rockin' all night
Until the lightning strikes again

Oh no, I've lost control
Here we go, it's only rock & roll

The silver light is flashing
As all turns to gold
In my head voices screaming
And I'm being told
If you will only listen, you will hear them too

I won't stop rockin' all night, rockin' all night
Until the lightning strikes again
Rockin' all night, rockin' all night
Until the lightning strikes again
You go rockin' all night, rockin' all night
Until the lightning strikes again
You go rockin' it all night, rockin' it all night
Until the lightning strikes again

Thank God For the Bomb

Like moths to a flame
Is man ever gonna change?
Time's seen untold aggression
And infliction of pain
If that's the only thing that's stopping war

Then thank God for the bomb
Thank God for the bomb
Thank God for the bomb
Thank God for the bomb
Nuke ya, nuke ya

War is just another game
Tailor made for the insane
But make a threat of their annihilation
And nobody wants to play
If that's the only thing that keeps the peace

Then thank God for the bomb
Thank God for the bomb
Thank God for the bomb
Thank God for the bomb
Nuke ya, nuke ya

Today was tommorow, yesterday
It's funny how time can slip away
The face of the doomsday clock
Has launched a thousand wars
As we near the final hour
Time is the only foe we have

When war is obsolete
I'll thank God for war's defeat
But any talk about hell freezing over
Is all said with tongue in cheek
Until the day the war drums beat no more

I'll thank God for the bomb
Thank God for the bomb
Thank God for the bomb
Thank God for the bomb
Nuke ya, nuke ya

Killer Of Giants

If none of us believe in war
Then can you tell me what the weapon's for?
Listen to me everyone
If the button is pushed there'll be nowhere to run

Giants, sleeping giants
Winning wars within their dreams
'Till they wake when it's too late
And in God's name blaspheme

Killer of giants threatens us all
Mountains of madness standing so tall
Marches of protest not stopping the war
Or the killer of giants
The killer of giants

Mother Nature, people state your case without its worth
Your seas run dry, your sleepless eyes are turning red alert

Killer of giants threatens us all
Mountains of madness standing so tall
Rising so proudly, it has nowhere to fall
This killer of giants
This killer of giants, yeah

Killer of giants threatens us all
Mountains of madness standing so tall
Marches of protest not stopping the war
Or the killer of giants
Oh, the killer of giants
Killer of giants
Killer of giants

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=nMw4ScUXCVU

http://www.youtube.com/watch?v=MEk38CJkdak

ABlairican Pie

12-13-2006, 02:05 AM

After Iron Maiden released their phenomenal Live After Death concert album in 1985, the band pondered their next move. They did not want to make the same album over and over, so they opted for a few changes. On Somewhere In Time in 1986, they began to experiment with synthesizers, a first for the band, as well as form a concept album of sorts loosely based around the idea of time travel, hence the character of Eddy on the front cover appearing as a Terminator-style humanoid assassin who has just blown away his intended target in the middle of a futuristic street setting. Guitarist Adrian Smith wrote most of the songs on the new album, which included
"Wasted Years", "Stranger In a Strange Land", and the epic history lesson "Alexander the Great".

Caught Somewhere In Time

If you had the time to lose
An open mind and time to choose
Would you care to take a look
Or can you read me like a book

Time is always on my side
Time is always on my side

Can I tempt you come with me
Be Devil may care fulfill your dream
If I said I'd take you there
Would you go would you be scared

Time is always on my side
Time is always on my side

Don't be afraid you're safe with me
Safe as any soul can be... honestly
Just let yourself go

[Chorus:]
Caught somewhere in time
Caught somewhere in time
Caught somewhere in time... oh oh
Caught somewhere in time
Caught somewhere in time
Caught somewhere in time... oh oh

Like a wolf in sheep's clothing
You try to hide your deepest sins
Of all the things that you've done wrong
And I know where you belong

Time is always on my side
Time is always on my side

Make you an offer you can't refuse
You've only got your soul to lose...
Eternally... let yourself go!

[Chorus:]
Caught somewhere in time
Caught somewhere in time
Caught somewhere in time... oh oh
Caught somewhere in time
Caught somewhere in time
Caught now in two minds!

Wasted Years

From the coast of gold, across the seven seas
I'm travellin' on, far and wide
But now it seems, I'm just a stranger to myself
And all the things I sometimes do, it isn't me but
someone else

I close my eyes, and think of home
Another city goes by in the night
Ain't it funny how it is, you never miss it 'til it's
gone away
And my heart is lying there and will be 'til my
dying day

[Chorus:]
So understand
Don't waste your time always searching for
those wasted years
Face up... make your stand
And realise you're living in the golden years

Too much time on my hands, I got you on my mind
Can't ease this pain, so easily
When you can't find the words to say it's hard to
make it through another day
And it makes me wanna cry and throw my
hands up to the sky

[Chorus:]

Stranger In a Strange Land

Was many years ago that I left home and came this way
I was a young man, full of hope and dreams
But now it seems to me that all is lost and
nothing gained
Sometimes things ain't what they seem
No brave new world, no brave new world
No brave new world, no brave new world

Night and day I scan horizon, sea and sky
My spirit wanders endlessly
Until the day will dawn and friends from home
discover why
Hear me calling, rescue me
Set me free, set me free
Lost in this place, and leave no trace

[Chorus:]
Stranger in a strange land
Land of ice and snow
Trapped inside this prison
Lost and far from home

One hundred years have gone and men again
they came that way
To find the answer to the mystery
They found his body lying where it fell that day
Preserved in time for all to see
No brave new world, no brave new world
Lost in this place, to leave no trace

What became of the man that started
All are gone and their souls departed
Left me here in this place
So all alone

[Chorus:]

What became of the man that started
All are gone and their souls departed
Left me here in this place
So all alone

[Chorus:]

Heaven Can Wait

Can't understand what is happening to me
This isn't real this is only a dream
But I never have felt, no I never have felt this
way before
I'm looking down on my body below
I lie asleep in the midst of a dream
Is it now could it be the Angel of Death has come for me
I can't believe that really my time has come
I don't feel ready there's so much left undone
And it's my soul and I'm not gonna let it get away

[Chorus:]
Heaven can wait / Heaven can wait
Heaven can wait / Heaven can wait til another day

I have a lust for the Earth below
And Hell itself is my only foe
'Cause I've no fear of dying
I'll go when I'm good and ready
I snatch a glimpse of the lights eternal rays
I see a tunnel I stand amazed
At all of the people standing there in front of me
Into the paths of rightness I'll be led
Is this the place where the living join the dead
I wish I knew this was only just a nightmare

[Chorus:]

Take my hand I'll lead you to the promised land
Take my hand I'll give you immortality
Eternal youth I'll take you to the other side
To see the truth the path for you is decided

My body tingles I feel so strange
I feel so tired I feel so drained
And I'm wondering if I'll ever be the same again
Is this in limbo or Heaven or Hell
Maybe I'm going down there as well
I can't accept my soul will drift forever
I feel myself floating back down to Earth
So could this be the hour of my rebirth
Or have I died or will I wake from dreaming?

[Chorus:]

Alexander the Great

"My son ask for thyself another
Kingdom, for that which I leave
is too small for thee"
(King Philip of Macedonia - 339 B.C.)

Near to the east
In a part of ancient Greece
In an ancient land called Macedonia
Was born a son
To Philip of Macedon
The legend his name was Alexander

At the age of nineteen
He became the Macedon King
And he swore to free all of Asia Minor
By the Aegian Sea
In 334 B.C.
He utterly beat the armies of Persia

[Chorus:]
Alexander the Great
His name struck fear into hearts of men
Alexander the Great
Became a legend 'mongst mortal men

King Darius the third
Defeated fled Persia
The Scythians fell by the river Jaxartes
Then Egypt fell to the Macedon King as well
And he founded the city called Alexandria

By the Tigris river
He met King Darius again
And crushed him again in the battle of Arbela
Entering Babylon
And Susa, treasures he found
Took Persepolis the capital of Persia

[Chorus:]
Alexander the Great
His name struck fear into hearts of men
Alexander the Great
Became a God amongst mortal men

A Phrygian King had bound a chariot yoke
And Alexander cut the 'Gordian knot'
And legend said that who untied the knot
He would become the master of Asia

Helonism he spread far and wide
The Macedonian learned mind
Their culture was a western way of life
He paved the way for Christianity

Marching on, marching on
The battle weary marching side by side
Alexander's army line by line
They wouldn't follow him to India
Tired of the combat, pain and the glory

Alexander the Great
His name struck fear into hearts of men
Alexander the Great
He died of fever in Babylon

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=x4K1SeiWtxQ

http://www.youtube.com/watch?v=V7EtiD8emXA

ABlairican Pie

12-13-2006, 08:51 AM

In similar manner as Iron Maiden, Judas Priest's 1986 album Turbo saw the band experimenting with synthesizers and offering a more streamlined, polished sound that was a clear departure from their roots. While the album became a big seller initially, fans were greatly disappointed with their attempts at trying to sound too "commercial"--this was not metal that one expected from the Priest. Synths were not considered a very "metal" instrument.

The band was initially going to record the record as a double-set called "Twin Turbos", but (thankfully) divided the intended project into two albums; 1986's Turbo, and 1988's Ram It Down, which would be heavier but still put off fans due to its use of synths. Sales of 1987's live album, their first since 1979's Unleashed In the East, would suffer as well. No doubt about it--Judas Priest had gone pop metal. ohno:

Didn't the song "Turbo Lover" sound like something you'd hear on a commercial for Mountain Dew? :rolleyes:

Turbo Lover

You won't hear me, But you'll feel me
Without warning, somethings dawning, listen.
Then within your senses,
You'll know you're defenseless
How your heart beats, when you run for cover
Your cant retreat I spy like no other.

Then we race together. We can ride forever
Wrapped in horsepower, driving into fury
Changing gear I pull you tighter to me

I'm your turbo lover
Tell me there's no other
I'm your turbo lover
Better run for cover

We hold each other closer, as we shift to overdrive
And eveyrthing goes rushing by, with every nerve alive
We move so fast it seems as though we've taken to the sky
Love machines in harmony, we hear the engines cry.

I'm your turbo lover
Tell me there's no other
I'm your turbo lover
Better run for cover

On and on we're charging to the place so many seek
In perfect synchronicity of which so many speak
We feel so close to heaven in this roaring heavy load
And then in sheer abandonment, we shatter and explode.

I'm your turbo lover
Tell me there's no other
I'm your turbo lover
Better run for cover

I'm your turbo lover
Tell me there's no other
I'm your turbo lover
Better run for cover

[fade]

This video was fun, but a little goofy. It made the Priest look more like Mad Max Beyond Thunderdome:

Locked In

I can't stand the way you move it
You drive me crazy with that walk
You get me so excited
I tremble and I shake
When you make the moves you make

You've got the key
The key to my heart
Go ahead and use it
Drag me in, slam the door
Then I'll be yours, for evermore

You've got me locked in
Locked inside your love
You've got me locked in
Locked inside your love

I can't take it when you touch me
Feels so good I could explode
You've got me in a frenzy
I tremble and I quake
When you shake the things you shake

You've got the key
The key to my heart
Go ahead and use it
Drag me in, slam the door
Then I'll be yours, for evermore

You've got me locked in
Locked inside your love
You've got me locked in
Locked inside your love
Locked in
Locked inside your love
You've got me locked in
Locked inside your love

You've got the key
The key to my heart
Go ahead and use it
Drag me in, slam the door
Then I'll be yours, for evermore

You've got me locked in
Locked inside your love
You've got me locked in
Locked inside your love
You've got me locked in, baby
Locked inside your love
You've got me locked in
Locked inside your love

You've got me locked in, baby
Locked inside your love
You've got me locked in
Locked inside your love
You've got me locked in
Locked inside your love
You've got me locked in
Locked inside your love

The band's statement against the PMRC:

Parental Guidance

You say I waste my life away
But I live it to the full
How would you know anyway
You're just mister dull
Why don't you get into the things we do today
You could lose twenty years right away
So we say

We don't need no
No no no
Parental guidance here
We don't need no
No no no
Parental guidance here

Every day you scream at me
To turn the music low
Well if you keep on screaming
You'll make me deaf you know.
You always chew me out, because I stay out late
Until your three-piece suit comes back in date
Get one thing straight

We don't need no
No no no
Parental guidance here
We don't need no
No no no
Parental guidance here

There's no communication
I'm tired of explanation
Is this message getting through
You went through the same thing too

Don't you remember what it's like to lose control
Put on my jacket for you get too old
Let's rock and roll

We don't need no
No no no
Parental guidance here
We don't need no
No no no
Parental guidance here
We don't need no
No no no
Parental guidance here
We don't need no
No no no
Parental guidance here

Oh no
One life
And I'm gonna live it up

This next one is a good song:

Out In the Cold

I'm layin' awake at night
I can't get you out of my mind
All I can hear is my heart beat
And a voice in the dark of some kind

Where are you now
The fears are comin' back to me once again
Oh, I wish you were here
Takin' good care of me
I want you
I feel as though I'm out in the cold

Out in the cold
Hear me calling
Cold
Out in the cold
Please rescue me

I know it was you I hurt
I didn't mean to hurt you
So much to forgive and forget
Can't take anymore of this hurt
On no, Oh no
There's so many things I regret

Where are you now
The fears are comin' back to me once again
Oh, I wish you were here
Takin' good care of me
I want you
I feel as though I'm out in the cold

Shut me out
Out in the cold
Where are you now
Hear me calling
I need you I'm so cold
Can't you hear my heart beat
Out in the cold
Please rescue me

Give me a chance baby
There's nothing I wouldn't do to make it alright
Just for one more chance baby
I need all your lovin' tonight

Where are you now
The fears are comin' back to me once again
Oh, I wish you were here
Takin' good care of me
I want you
I feel as though I'm out in the cold

Shut me out
Out in the cold
Where are you now
Hear me calling
I need you I'm so cold
Can't you hear my heart beat
Out in the cold
Please rescue me
Why don't you rescue me
Cold
Shut me out
Out in the cold
Where are you now
Hear me calling
I need you I'm so cold
Can't you hear my heart beat
Out in the cold
Please rescue me
Why don't you rescue me
I'm so cold
Shut me out
Out in the cold
Where are you now
Hear me calling
I need you I'm so cold
Can't you hear my heart beat
Out in the cold
Please rescue me

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=Vm4KHx1Ymw0

http://www.youtube.com/watch?v=7amidFHmRyg

http://www.youtube.com/watch?v=4zL0GYM9PYY

ABlairican Pie

12-13-2006, 09:21 AM

Stryper released To Hell With the Devil in 1986, which became their biggest selling album and clearly brought a new sense of sophistication to contemporary Christian music--those Christians could ROCK!!! :rock: The album became the biggest selling Christian album all time--One million copies with Platinum status. Of course, metal performers like James Hetfield of Metallica hated the album, which to thrashers was the ultimate of commercial sounding L.A. pop metal, but other metal fans loved it. Other church members balked at the original album cover which depicted the devil being cast into the abyss by angels, as was foretold in the Book of Revelation, so the band came out with a simpler, less imaginative cover. The band's ballad "Honestly" became their biggest song.

Bassist Tim Gaines left the band temporarily after the other members felt unhappy with his performance and was replaced briefly with Matt Hurich, but later returned to the fold.

To Hell With the Devil

Verse 1
Speak of the devil
He's no friend of mine
To turn from him is what we have in mind

Verse 2
Just a liar and a thief
The word tells us so
We like to let him know
Where he can go

Chorus
To hell with the devil
To hell with the devil

Verse 3
When things are going wrong
You know who to blame
He will always live
Up to his name

Verse 4
He's never been the answer
There's a better way
We are here to rock you
And to say...

Repeat Chorus

Calling On You

Verse 1
Inside of me there is a lonely place
Sometimes I just don't know it's there
But when I'm all alone
That's when I have to face...

Bridge
The part of me that needs someone
To be by my side that's when I call on...

Chorus
You, You make my life complete
You give me all I need
You help me through and through
I'm calling on you

Verse 2
I can't explain just what You do to me
My love grows stronger everyday
You give me love, You give me company
And when I have to face the rain
You bring sunshine into my life

Repeat Chorus
Solo
Repeat Chorus

Free

Verse 1
Free to turn away - say goodbye
Free to walk away - and deny
The gift waiting for you
Whispers a still small voice
It's your choice - you're..

Chorus
Free - Free to do what you want to
Choose your own destiny
Free to do what you want to
Free to open up - and believe
Free to simply ask - and receive
There's no better time than now
You've got the right to choose
You can't lose - you're...

Repeat Chorus

Honestly

Verse 1
Honestly, I believe in you
Do you trust in me
Patiently, I will stand by you
I will stand beside you faithfully

Bridge
And through the years
I will be a friend
For always and forever

Chorus
Call on me and I'll be there for you
I'm a friend who always will be true
And I love you can't you see
That I can say I love you honestly

Solo
Chorus 2
Call on me and I'll be there for you
I'm a friend who always will be true
And I love you can't you see
That I love you honestly
I will never betray your trust in me
And I love you can't you see
That I can say I love you honestly

Sing-Along Song

Verse 1
In a land of freedom
God has sent His grace
We're proud to live in such a place

Verse 2
With the right to sing
Song after song
This song's for you to sing along!

Chorus
Whoa-o-o-o Whoa ooo La, La
Whoa-o-o-o Whoa ooo La, La

Verse 3
Lift your voices higher
We want to hear you sing
Let's lift our voices to the King of Kings

Repeat Chorus

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=XM_wwO2RoQs

http://www.youtube.com/watch?v=BIkchk19GV8

http://eil.com/newgallery/Stryper-To-Hell-With-The-194185.jpg

Steve M.

12-13-2006, 08:22 PM

Bob Seger's followup to 1983's The Distance was late in coming, as Seger was recording less frequently as he got older. . . like most veteran rockers. The first single from the upcoming LP was "American Storm," a biting attack on the drug problem in the United States. Although uncomfortable with making promotional videos, Seger was proud of the video he made for "American Storm" because, like the song, it publicized how bad the drug problem was in Amerca and stirred folks into action. James Woods was one of the recgnizable faces who appeared in the video.

"American Storm" was to be the title song for Seger's new album until Seger decided that, if he called the LP by that name, people would thing it was a concept album about drugs. Another song title from the record was selected as the title of the LP. . . [I]Like A Rock.

"Like A Rock" was an excellent song about coming of age, written by a man having just turned forty - that is, Seger - looking back on his early adulthood. Six years later, he sold the advertising rights to Chevrolet so they could use the song to advertise their light truck line. Although Seger donated every penny from that deal to help struggling autoworkers and their families in his native Detroit, his fans were not very happy with such a powerful song being used to sell. . . pickup trucks. :eek: ohno:

American Storm - Bob Seger

(Seger)

Headin' out on some uncharted path,
You soon turn back.
It happens time and time again,
You never seem to reach the end.
Someone's out there on the street tonight,
When things go wrong ,
He'll guarantee to make them right
If the price is right.

Every time I look you're fallin' fallin',
Beaten by the wind ,
Every time I turn around he's there again.

It's like a full force gale,
An American storm.
You're buried far beneath a mountain of cold
And you never get warm.
It's like a wall of mirrors,
You charge `em at full speed,
You cover up - you hear the shattering glass,
But you never bleed.
You never feel the need.

Everybody casts a certain light,
A special gift.
It's theirs to use for wrong or right
When you face the night.
More and more we choose the easy way,
We take no risks.
We figure out which games to play,
And how to make 'em pay.

Suddenly the pressure's fallin' fallin',
Skies have all turned grey,
Suddenly the storm is heading straight your way.

It's like a full force gale
Atop a mountain of cold,
You tell your story again and again,
And it never gets old.
It's like a wall of mirrors,
You charge 'em at full speed,
You cover up - you hear the shattering glass,
But you never bleed.
You face a full force gale,
An American storm.
You're buried beneath a mountain of cold,
And you never get warm - no you never get warm.
You face a wall of mirrors,
You charge 'em at full speed.
You cover up - you hear the shattering glass,
But you never bleed.
You never feel the need.

Like A Rock - Bob Seger

(Seger)

Stood there boldly,
Sweatin' in the sun.
Felt like a million,
Felt like number one.
The height of summer,
I'd never felt that strong. . .
Like a rock.

I was eighteen,
Didn't have a care.
Working for peanuts,
Not a dime to spare.
But I was lean and
Solid everywhere. . .
Like a rock.

My hands were steady,
My eyes were clear and bright.
My walk had purpose,
My steps were quick and light.
And I held firmly
To what I felt was right. . .
Like a rock.

Like a rock, I was strong as I could be,
Like a rock, nothin' ever got to me,
Like a rock, I was something to see.
Like a rock.

And I stood arrow straight,
Unencumbered by the weight
Of all these hustlers and their schemes,
I stood proud, I stood tall,
High above it all.
I still believed in my dreams.

Twenty years now,
Where'd they go?
Twenty years,
I don't know. . .
I sit and I wonder sometimes. . .
Where they've gone.

And sometimes late at night,
When I'm bathed in the firelight.
The moon comes callin' a ghostly white,
And I recall. . .
I recall. . .

Like a rock. standin' arrow straight,
Like a rock, chargin' from the gate,
Like a rock, carryin' the weight,
Like a rock.
Oh. like a rock. . .

Lihe a rock, the sun upon my skin,
Like a rock, hard against the wind ,
Like a rock, I see myself again,
Like a rock.

(Below, the cover of Like A Rock. From left: Silver Bullet Band drummer David Teegarden, bassist Chris Campbell, Seger, saxophonist Alto Reed.)

DOPEY85xxx

12-13-2006, 08:31 PM

SPICE GIRLS!!!!!!!!!!!!!!!!!

Steve M.

12-13-2006, 08:32 PM

SPICE GIRLS!!!!!!!!!!!!!!!!!

You. . . cucumber! :eek:

ABlairican Pie

12-14-2006, 12:37 AM

Former Metallica guitarist Dave Mustaine resurfaced with Megadeth in 1985, and released their debut album, Killing Is My Business...And Business Is Good! Mustaine formed Megadeth with one goal, and one goal only: "I wanted blood--theirs!" refering to his ex-bandmates in Metallica. "I wanted to be faster, and heavier than them". Production-wise, the album could not compete with Metallica, but the intent was there.

Speaking of blood, there was a bit of bad blood between Megadeth and songwriter Lee Hazlewood, who wrote "These Boots Were Made For Walkin'" for Nancy Sinatra in the 60's. Hazlewood threatened to sue the band for the "violent and offensive" changes to the original lyrics when the band covered it for their first album. The band later deleted the song from future releases of the album after 1995, but Dave was curious? Why did Hazlewood wait to complain ten years after the song was originally released on the album, when he was earning royalties from Megadeth's version all that time? :confused: The song was restored with "bleeped" lyrics on the 2002 version of the album.

In 1986, the band released Peace Sells, But Who's Buying? on Combat Records, but, unhappy with the finished product, signed with Capitol Records and re-released it with better production. The album became one of the finest pieces of music in thrash metal, fast, crushing tempos enough to give Metallica a run for their "Master of Puppets" money, and the bass line to the title track was used for the theme music on MTV News. The cover art was a horrific masterpiece of the unthinkable: a totally obliterated United Nations building with military jets cruising overhead....and the band's mascot Vic Rattlehead selling the piece of property for dirt cheap. For whatever controversy the album art ever inspired, it would never happen, it was all completely fiction.

A clever piece of fiction. :nod:

Peace Sells

What do you mean, "I don't believe in God"?
I talk to him every day.
What do you mean, "I don't support your system"?
I go to court when I have to.
What do you mean, "I can't get to work on time"?
I got nothing better to do
And, what do you mean, "I don't pay my bills"?
Why do you think I'm broke? Huh?

[Chorus:]
If there's a new way,
I'll be the first in line.
But, it better work this time.

What do you mean, "I hurt your feelings"?
I didn't know you had any feelings.
What do you mean, "I ain't kind"?
I'm just not your kind.
What do you mean, "I couldn't be president, of the United States of America"?
Tell me something, it's still "We the people", right?

[Chorus: (repeat)]
If there's a new way
I'll be the first in line,
But, it better work this time.

Can you put a price on peace?
Peace,
Peace sells...,
Peace,
Peace sells...,
Peace sells...,but who's buying?
Peace sells...,but who's buying?
Peace sells...,but who's buying?
Peace sells...,but who's buying?
[n+1 times more]
No, peace sells...

Wake Up Dead

I sneak in my own house,
It's four in the morning,
I had too much to drink,
Said I was out with the boys,
I creep in my bedroom,
I slip into bed,
I know if I wake her,
I'll wake up dead,

[Chorus:]
I wonder, will she find out,
About the other, other lover,
Diana.

Wake up dead, you die,
Wake up dead, and buried,
Wake up dead, you die,
Wake up dead.

Bad Omen

Down fell the stars, as they
Splashed into the sea.
"Mi nomine Baphomet",
Come dance with me.
Sacrifice the virgins,
Spiritual rites.
Their master's time has come,
The moon is full tonight.

Drinking, dancing,
They worship, and toast
The devil, who's watching,
With demon's remote.
Fire, rising,
Racing in your blood.
Possessed, naive,
His service is done.

Bloody blasphemy.

Sinister's the word,
As the demon's take their fill.
An orgy's taking place,
Human blood will spill.
An act of worship,
As they conceive the ghouls.
Satan has their souls,
They sing pagan tunes.
The ceremony,
Is sure to be cursed.
They ask for his blessings,
But, down comes the worst.
Their bodies, soulless,
A corpse from the grave.
Their minds are helpless,
And, no-one can save [x 5],
No-one can save them (oh no). [x 2]

The next song gave the PMRC a few headaches, with lyrics about playing Russian Roullette: :eek:

My Last Words

My life's on time,
But again my sense is late.
Feel a might unsteady,
But still I have to play.
Six to one's the odds,
And, we have the highest stakes.
And, once again I gamble with my very life today.

Highly polished metal,
The oil makes it gleam.
Fill the terror chamber,
Your mind begins to scream.
Your life is like a trigger,
Never trouble till you're squeezed.
Now you crack a smile,
As you give the gun a tease.

Place the piston down,
Now give the gun a spin.
Soon as the spinning stops,
Oh no, the game starts in.
A hateful way of vengeance,
A bit of playful sin.
Load another bullet,
Now the second round begins.

A couple grains of powder,
A couple grams of lead.
A touch against the trigger,
A touch inside the head.
Take another drink, and
Raise the last bets.
Think about my last words,
They might be what I just said.
A click comes from the hammer,
That couldn't drive a nail.
Sense the numbing cold blue,
Or the red of Hades' grill.
A fraction of a second,
Do you lose, or maybe still,
Pass it to the left,
And collect your mighty kill.

Add another bullet,
The third round begins.
Soon as the spinning stops,
Oh no, the game starts in.
Please, no I.O.U.'s,
No markers for death.
Does anybody play? Anybody,
Somebody, anybody play.

You, you, next victim, you next to die.
You, you, next victim, you next [s: your turn] to die.
You, come on, next victim, your turn to die.
You, come on, next victim, your turn to die.

:rock: :guitar: :guitar: :rock:

http://www.youtube.com/watch?v=IHQ2O71jKTA

http://www.youtube.com/watch?v=4Aw5P1oba50

Guitarist Jeff Poland, Dave Mustaine, drummer Gar Samuelson, bassist Dave Ellefson, 1986:

ABlairican Pie

12-14-2006, 12:40 AM

SPICE GIRLS!!!!!!!!!!!!!!!!!That was 1996. We're revisiting 1986.

ABlairican Pie

12-14-2006, 01:30 AM

While the hair metal scene was abuzz down in L.A. and the thrash scene was pummeling in the Bay Area, something was brewing in the little town in the Northwest corner of the country: Seattle. Other than killer metal bands like Queensryche, Metal Church, and others from the Jet City, most people took little notice of a very different kind of sound churning in the clubs downtown.
A rather low-fi, garage rock sound that incorporated elements of metal, punk, and psychedelic rock, which was being promoted by such bands as Green River. Named after the winding murky river just south of Seattle and for the notorious serial murders which occurred there (the then-mysterious killer would dispose of their bodies in the woods surrounding the river in Auburn, Kent, and parts of Federal Way), the band featured vocalist/guitarist Mark Arm, guitarist Steve Turner, drummer Alex Vincent and bassist Jeff Ament. Guitarist Stone Gossard soon joined the band, but Turner was unhappy with the Gossard and Ament's progressive leanings and left to form another important band in the Seattle underground scene. The band's short-lived tours with such acts as Sonic Youth brought attention to the rising independent rock scene. The band was only together for a few short years from 1984 to 1988, releasing such albums and EPs as Rehab Doll, Come On Down, and Dry As a Bone, and putting out a single called
"This Town", which would become the first noted song for a new music scene that would later be called:

GRUNGE.

This Town

There's this town called heaven where
Someone makes everything seem all right
But ya have to stay there with her
For the rest of your life
I'm driving to the end of the road
I've been driven to the end of my rope
Passing your town I head
Straight to the junction for hell
I won't bother to pick you up
You'll get there all by yourself
I'm driving to the end of the road
I've been driven to the end of my rope
There's this place where the borders of each
town touch, I know that place all too well
If you stand just right, stand just right
One foot in heaven, one in hell
That's how I've lived my life
That's how I've lived my life
That's not how I wanna die
That's not how I wanna die
In my time of dying
There's this town called heaven
And there's this town called hell
Gonna keep on goin'
Won't stop 'till I find something else
I'm driving to the end of the road
I've been driven to the end of my rope

:guitar: :guitar:

ABlairican Pie

12-14-2006, 01:56 AM

The Bangles became one of the biggest acts in 1986 with Different Light, with a little help from Prince, which featured such songs as "Manic Monday"--which sounds very much like a song Prince would himself sing and perform. The band also released such hits from the album as "Walk Like an Egyptian", "Walking Down Your Street", and "If She Knew What She Wants". The album contained a bit more commercial polish than its predecessor.

Unfortunately, the music media had a fixation with focusing on guitarist/vocalist Susanna Hoffs as the central figure in the band while the other members were virtually ignored. This caused much tension in the band, which was helped little by Hoffs' budding acting career and the firing of their manager Miles Copeland, brother of Stewart Copeland of The Police. It was a common occurence in the music media to concentrate on one single performer
in a band as "the voice" or "the face" as if they spoke for all.

Manic Monday

Six o'clock already
I was just in the middle of a dream
I was kissin' Valentino
By a crystal blue Italian stream

But I can't be late
'Cause then I guess I just won't get paid
These are the days
When you wish your bed was already made

It's just another manic Monday
I wish it was Sunday
'Cause that's my funday
My I don't have to runday
It's just another manic Monday

Have to catch an early train
Got to be to work by nine
And if I had an air-o-plane
I still couldn't make it on time

'Cause it takes me so long
Just to figure out what I'm gonna wear
Blame it on the train
But the boss is already there

It's just another manic Monday
I wish it was Sunday
'Cause that's my funday
My I don't have to runday
It's just another manic Monday

All of the nights
Why did my lover have to pick last night
To get down
Doesn't it matter
That I have to feed the both of us
Employment's down

He tells me in his bedroom voice
C'mon honey, let's go make some noise
Time it goes so fast
When you're having fun

It's just another manic Monday
I wish it was Sunday
'Cause that's my funday
My I don't have to runday
It's just another manic Monday
I wish it was Sunday
'Cause that's my funday
It's just another manic Monday

Walk Like An Egyptian

All the old paintings on the tombs
They do the sand dance don't you know
If they move too quick (oh whey oh)
They're falling down like a domino

All the bazaar men by the Nile
They got the money on a bet
Gold crocodiles (oh whey oh)
They snap their teeth on your cigarette

Foreign types with the hookah pipes say
Ay oh whey oh, ay oh whey oh
Walk like an Egyptian

[The] Blonde waitresses take their trays
They spin around and they cross the floor
They've got the moves (oh whey oh)
You drop your drink then they bring you more

All the school kids so sick of books
They like the punk and the metal band
When the buzzer rings (oh whey oh)
They're walking like an Egyptian

All the kids in the marketplace say
Ay oh whey oh, ay oh whey oh
Walk like an Egyptian

Slide your feet up the street bend your back
Shift your arm then you pull it back
Life['s] hard you know (oh whey oh)
So strike a pose on a Cadillac

If you want to find all the cops
They're hanging out in the donut shop
They sing and dance (oh whey oh)
[They] Spin the clubs cruise down the block

All the Japanese with their yen
The party boys call the Kremlin
And the Chinese know (oh whey oh)
They walk the line like Egyptian

All the cops in the donut shop say
Ay oh whey oh, ay oh whey oh
Walk like an Egyptian
Walk like an Egyptian

If She Knew What She Wants

If she knew what she wants
(He'd be giving it to her)
If she knew what she needs
(He could give her that too)
If she knew what she wants
(But he can't see through her)
If she knew what she wants
He'd be giving it to her
Giving it to her

But she wants everything
(He can pretend to give her everything)
Or there's nothing she wants
(She don't want to sort it out)
He's crazy for this girl
(But she don't know what she's looking for)
If she knew what she wants
He'd be giving it to her
Giving it to her

I'd say her values are corrupted
But she's open to change
Then one day she's satisfied
And the next I'll find her crying
And it's nothing she can explain

Some have a style
That they work hard to refine
So they walk a crooked line
But she won't understand
Why anyone would have to try
To walk a line when they could fly

No sense thinking I could rehabilitate her
When she's fine, fine, fine
She's got so many ideas traveling around in her head
She doesn't need nothing from mine

Walking Down Your Street

Oooh, oh I've had sleepless nights
Toss and turn, wake up burning
For what you inspire

So I'm gonna walk right down your street
With a love that I can't hide
I've got one thing on my mind, yeah
I'll even sacrifice my pride
'Cause I want you...
Oooh, oh how I wish you would be mine
My pulse is weak, I'm blushing brighter
Than a Valentine

'Cause I've been walking down your street
With a love that I can't hide
I've got one thing on my mind, yeah
I'll even sacrifice my pride

'Cause I can't stop
The way I feel
So I keep walking on
'Cause I want you...

Walking down your street...

:guitar: :banana: :mango

http://www.youtube.com/watch?v=-Fg9gzaRBQE

Gawwwd, now I remember why this song was so popular: :eyes: :drool:

http://www.youtube.com/watch?v=bdRaLuKhobU

http://images.amazon.com/images/P/B00000264B.01.LZZZZZZZ.jpg

ABlairican Pie

12-14-2006, 02:08 AM

So looking back at our 1980's thread, the image for Peter Gabriel's album So magically disappeared, so here it is again.

So I hope everyone's happy. So?

So there.

So here are some videos that are so cool and creative. So no one's making you watch them.

So did anyone watch stuff like the first one in biology class?

:D

http://www.youtube.com/watch?v=NaPYQysTHtA

http://www.youtube.com/watch?v=ZcNFLSAuDgo

ABlairican Pie

12-14-2006, 08:37 AM

One of the biggest music-related movies in 1986 was 'Sid and Nancy', starring Gary Oldman and Chloe Webb as the tragic First Couple of punk, Sex Pistols' bassist Sid Vicious and his girlfriend Nancy Spungeon. In 1978, Vicious
allegedly murdered Spungeon (though this has been up to speculation) before dying of a heroin overdose in 1979. Director Alex Cox wanted not only to give audiences a look into the bizarre ill-fated relationship, but also make what he felt would be the greatest anti-drug advertisements of all time, as both Sid and Nancy were notorious heroin users whose lives were both completely distroyed by the dangerous drug. Gary Oldman lost much weight for the part. The movie featured a young actress who sought to gain the female title role--the future queen of the Seattle grunge scene, Courtney Love, who pleaded to Cox that she was meant for the role of Nancy. Cox declined, saying that they had already selected an actress with more experience for the part. He did however give Love a role as a minor character.

Though some critics felt the movie condoned drug use, Cox said about his punk rock Romeo and Juliet: "We wanted to make the film not just about Sid Vicious and punk, but as an anti-drugs statement, to show the degradation caused to various people is not at all glamorous." Unfortunately, that message would be later be lost on Miss Love. ohno:

One song in the opening credits was "Love Kills" by former Clash frontman
Joe Strummer:

Love Kills

Walking out of England thinking you were king taking on this world
On that bus that goes through Mexico a killer love finds a sweet Mexican girl

But in Mississippi we rushed into the room
Down in Dixie you were crying for dope

Down in Alabama they like home cooked fare yeah
So we're gonna strap you to the fryin' chair yeah

But I don't know what love is
Is there something else giving me the chills?
But if my hands are the color of blood
Then, I can tell ya
sure I can tell ya
Love kills
Love Kills
Love kills
Love Kills

Do you wanna hear all the sirens of the city drown the arguing?
We're on riker's island on a population board
They don't care about your fame

But I don't know what love is
Is there something else giving me the chills?
But if my hands are the color of blood
Then, I can tell ya
sure I can tell ya
Love kills
Love Kills
Love kills
Love Kills

On the Rio Grande they'll tie you to a tree
Ooh-oh-ohh x2
And you can't call the lawyers 'cause the whorehouse is asleep
Ohh-oh-ohh x2
You people will get weak
Ohh-oh-ohh x2
They'll throw you in a cell where you can barely breathe

But I don't know what love is
Is there something else giving me the chills?
But if my hands are the color of blood
Then, I can tell ya
sure I can tell ya
Love kills
Love Kills
Love kills
Love Kills
(fades out)

:guitar: