21 | Mar | 2021 | willowdot21

It’s Sunday again and time for Jim Adams to prompt us for Song Lyric Sunday. This week it’s HOP/JUMP/LEAP/POUNCE/SPRING.

“Jump (For My Love)” is a song by American vocal group the Pointer Sisters, released by the Planet label on April 11, 1984 as the third single from their tenth studio album Break Out (1983). Remade as “Jump” (with no subtitle) the song would afford Girls Aloud a 2003-04 international hit.

“Jump (For My Love)” was co-written by regular collaborators Marti Sharron, Gary Skardina and Stephen Mitchell. Skardina and Mitchell were responsible for the chord progressions, melody and arrangement while Sharron’s focus was on the lyrics and melody. According to Sharron the instrumental track for the demo of “Jump” was completed before the lyrics: on first hearing the playback of the instrumental track in the studio (Marti Sharron quote:) “My partners and I…were so happy with the results we jumped up and down” which led to the song being completed to be entitled “Jump”. (The subtitle “For My Love” was eventually added to differentiate the song from the Van Halen #1 hit “Jump“.) Sharron recalls phoning Richard Perry, who was producing the Pointer Sisters’ upcoming album, and telling him: “I have the album’s big hit” and – although Perry considered giving the song to Julio Iglesias, Perry being a contributing producer to the singer’s 1100 Bel Air Place album – “Jump” did become the final song slated for the Pointer Sister’s 1983 album release Break Out.

Despite typifying the overall sound of Break Out, “Jump (For My Love)” was passed over as the album’s lead single in favor of the ballad “I Need You,” which Perry felt would reinforce the Pointer Sisters’ presence at R&B radio, and although originally scheduled as the album’s second single, “Jump…” was superseded by another Break Out track: “Automatic“, which had enjoyed heavy radio and dance club airplay as an album cut.”Automatic” returned the Pointer Sisters to the Pop Top Ten after a three-year absence; however, “Jump…” became the most successful US single off of Break Out upon its release as the album’s third single in April 1984. The song ascended to a peak of #3 on both the Hot 100 and R&B chart in Billboard magazine that July, with the track also charting on Billboard’s adult contemporary chart at #11.

“Jump (For My Love)” would afford the Pointer Sisters an international hit, charting in Belgium (#3 on the Flemish chart), West Germany (#20), Ireland (#2), the Netherlands (#9), New Zealand (#3), Switzerland (#13), and the UK (#6). In Australia, “Jump…” was issued as the lead single off Break Out in December 1983 and peaked at #79: reissued after “Automatic,” it would reach an Australian chart peak of #8 in September 1984.The Australian single release of “Jump” was also unique in featuring as B-side the Break Out track “Operator” with Anita Pointer on lead; in other territories, “Heart Beat”, a track with Ruth Pointer on lead introduced on the Pointer Sisters previous album So Excited!, was utilized as the B-side of “Jump (For My Love).” Released prior to the 1984 Summer Olympics, the song’s video featured footage of athletes competing in track and field events, as well as NBA stars Julius Erving and Magic Johnson.

The Pointer Sisters were awarded the 1985 Grammy Award for Best Pop Performance by a Duo or Group with Vocal for “Jump…”, and co-writer Stephen (Steve) Mitchell received his nomination for the Grammy Award for Best Pop Instrumental Performance in 1985 for his musical performance as the principal musician on the song’s recording.

At the 1985 ASCAP Pop Awards, “Jump (For My Love)” received “Most Performed Song” honors for songs in the ASCAP repertory during the 1984 ASCAP Survey Year.^{[citation needed]}

“Jump (For My Love)” is published by Sony/ATV Music Publishing, Anidraks Music, Inc., and Stephen Mitchell Music, Inc.

At the 1985 ASCAP Pop Awards, “Jump (For My Love)” received “Most Performed Song” honors for songs in the ASCAP repertory during the 1984 ASCAP Survey Year.^{[citation needed]}

“Oh Carolina” was recorded by Jamaican musician Shaggy and released as the lead single from his 1993 debut album, Pure Pleasure. Produced by Sting International, it became an international hit. In the United Kingdom, it became the first of Shaggy’s four chart-topping singles, spending two weeks at the summit of the UK Singles Chart in March 1993. The song fared less well in the United States, peaking at number 59 on the Billboard Hot 100. The song received major crossover airplay on American alternative rock radio, and as a result the song peaked at number 14 on the Billboard Modern Rock Tracks chart. Shaggy’s version also appeared on the soundtrack of the 1993 film Sliver.

Critical reception

AllMusic editor Alex Henderson described the song as an “infectious interpretation” in his review of the Pure Pleasure album. Larry Flick from Billboard commented, “Gruff toasting and chanting are balanced by a clanging shuffle-beat.” He added that it is “poised for instant pop radio success”.Chuck Eddy from Entertainment Weekly called it “joyous”, noting “the lusty humor” of the song.Tom Ewing from Freaky Trigger stated that Shaggy‘s take on the song “acknowledges its debt to the past right away – sampling the intro from the Folkes Brothers‘ 1960 original. Not just a nod of respect, it’s a canny move, as the crackling, wheezing shanty-town piano sounded like nothing else on 1993 radio, giving “Oh Carolina” instant cut-through.” Dave Sholin from Gavin Report called it “an exciting original creation which can’t help but bring excitement to radio.”Christina Pazzanese from Vibe wrote that “with its familiar, brassy Peter Gunn riff and goofy singalong lyrics, it’s an instant favourite with even the most unwavering of dancehall-haters and seems destined to be the music’s next breakthrough American smash.”

“Oh Carolina (Radio Edit)”

Carolina, wine your body gal
Make dem know say you have it fi mad dem

Oh Carolina (Prowl off, jump an prance)
Oh Carolina (Prowl off, jump an prance)
Oh Carolina gal prowl off
Gal yuh fi jump an prance (Prowl off, jump an prance)

Carolina come bubble ‘pon me
Oh watch how she groove
Carolina come wine ‘pon me
Oh watch how di gal groove

Oh Carolina (Prowl off, jump an prance)
Oh Carolina (Prowl off, jump an prance)
Oh Carolina gal prowl off
Gal yuh fi jump an prance (Prowl off, jump an prance)

Oh Carolina is a girl
She dey pon top a di world
An now she rock her body
Anna move just like a squirrel
I say young baby girl
I said I love how yuh move
Yuh just a rock to di riddim anna riddim anna move
An now yuh know di girl

Oh Carolina (Prowl off, jump an prance)
Oh Carolina (Prowl off, jump an prance)
Oh Carolina gal prowl off
Gal yuh fi jump an prance (Prowl off, jump an prance)
Oh Carolina (Prowl off, jump an prance)
Oh Carolina (Prowl off, jump an prance)
Oh Carolina gal prowl off
Gal yuh fi jump an prance (Prowl off, 1 -2 – 3 !)

Carolina come bubble ‘pon me
Oh watch how she groove
Carolina come wine ‘pon me
Oh watch how di gal groove
Oh Carolina (Prowl off, jump an prance)
Oh Carolina (Prowl off, jump an prance)
Oh Carolina gal prowl off
Gal yuh fi jump an prance (Prowl off, jump an prance)

Well how me love how she shock
Watch how she rock
Model it a swing
Like mi grandfather clock
Gal, move yuh body
Make man dem drop
Bumper jus’ a move
It jus’ a cause roadblock

Oh Carolina (Prowl off, jump an prance)
Oh Carolina (Prowl off, jump an prance)
Yes, Oh Carolina (Prowl off, jump an prance)
Carolina, Carolina, Oh Carolina (Prowl off, jump an prance)
All di Brooklyn gal dem
Dem know fi jump an rock
(I say) Di Flatbush Gal dem
Know how fi get up and rock (Get up an rock)

Lyrics AtoZ

“Waiting for the Great Leap Forwards” is a 1988 song by English singer/songwriter Billy Bragg. The song was released as an advance single from the album Workers Playtime on August 22, 1988. Bragg was accompanied on the original recording by Martin Belmont, Bruce Thomas, Cara Tivey, Mickey Waller and Bragg’s long-standing roadie Wiggy, with backing vocals by Michelle Shocked^{and Phill Jupitus among others.[6] The recording was produced by Joe Boyd with Wiggy. The single had two songs on the b-side: a re-recording of Bragg’s “Wishing the Days Away” featuring Tivey, and a cover of the Flying Burrito Brothers’ “Sin City” featuring Hank Wangford, both produced by John Porter and Kenny Jones.[7]}

Written after the disillusionment of the 1987 general election, Bragg describes “Great Leap Forwards” as “my way of owning up to the ambiguities of being a political pop star while stating clearly that I still believed in Sam Cooke‘s promise that a change was gonna come”.According to Bragg’s biographer Andrew Collins, the song “pulls off the difficult trick of boiling down the whole pop-and-politics-don’t-mix argument”,one that Bragg, as a left-wing singer/songwriter would often have had. The first two verses mention the “Camelot” of the John F. Kennedy administration, post-revolution Cuba, the Soviet Union and Robert Oppenheimer. The “Cheese Pavilion” where Bragg is interviewed by a fanzine writer in the third and fourth verses is at the Royal Bath and West Showground near Shepton Mallet, where Bragg had played on 1 February 1987.The remainder of the song describes the day-to-day business of political activism: fundraising, distributing pamphlets, risking unemployment, culminating in the tongue-in-cheek rallying cry of “the revolution is just a t-shirt away!” Collins credits the song as “featuring some of Billy’s most memorable lines”.

The single reached number 52 on the UK singles charts on 10 September 1988. Go! Discs pressed a “DJ edit” promo with the first verse removed without Bragg’s prior knowledge and to his subsequent displeasure. As well as the UK release from Go! Discs there were releases in Australia and New Zealand on Liberation Records and in Germany on Line Records. Elektra Records in the USA produced a 12″ promo.

Waiting for the Great leap forward.

It may have been Camelot for Jack and Jacqueline
But on the Che Guevara highway filling up with gasoline
Fidel Castro’s brother spies a rich lady who’s crying
Over luxury’s disappointment
So he walks over and he’s trying
To sympathize with her but thinks that he should warn her
That the Third World is just around the corner
In the Soviet Union a scientist is blinded
By the resumption of nuclear testing and he is reminded
That Dr Robert Oppenheimer’s optimism fell
At the first hurdle
In the Cheese Pavilion and the only noise I hear
Is the sound of people stacking chairs
And mopping up spilt beer
And someone asking questions and basking in the light
Of the fifteen fame filled minutes of the fanzine writer
Mixing Pop and Politics he asks me what the use is
I offer him embarrassment and my usual excuses
While looking down the corridor
Out to where the van is waiting
I’m looking for the Great Leap Forwards
Jumble sales are organized and pamphlets have been posted
Even after closing time there’s still parties to be hosted
You can be active with the activists
Or sleep in with the sleepers
While you’re waiting for the Great Leap Forwards
One leap forwards, two leaps back
Will politics get me the sack?
Here comes the future and you can’t run from it
If you’ve got a blacklist I want to be on it
It’s a mighty long way down rock ‘n roll
From Top of the Pops to drawing the dole
If no one seems to understands
Start your own revolution, cut out the middleman
In a perfect world we’d all sing in tune
But this is reality so give me some room
So join the struggle while you may
The Revolution is just a t-shirt away

Source: Musixmatch

“At the Hop” is a 50s pop song written by Artie Singer, John Medora, and David White and originally released by Danny & the Juniors.The song was released in the fall of 1957 and reached number one on the US charts on January 6, 1958, becoming one of the top-selling singles of 1958. “At the Hop” also hit number one on the R&B Best Sellers list. Somewhat more surprisingly, the record reached #3 on the Music Vendor country charts. It was also a big hit elsewhere, which included a number 3 placing on the UK charts.

The song returned to prominence after it was performed by rock and roll revival act Sha Na Na at the 1969 Woodstock Festival and featured in the 1973 coming-of-age teen comedy American Graffiti. Musically, it is notable for combining several of the most popular formulas in 1950s rock’n’roll, the twelve-bar blues, boogie-woogie piano, and the 50s progression.

The original version by Danny & the Juniors was included in Robert Christgau‘s “Basic Record Library” of 1950s and 1960s recordings, published in Christgau’s Record Guide: Rock Albums of the Seventies (1981)

Mia Doi Todd (born June 30, 1975) is an American singer-songwriter. She was described by Dusted Magazine as “one of those artists that seem to function not just as creators in their own right, but as connecting links between other musicians.”

Todd started City Zen Records and released Zeroone, the follow-up album to Come Out of Your Mine, on the label in 2001.

She signed a contract with Columbia/SME Records and recorded The Golden State, culling songs from her previous albums. Mitchell Froom helped her produce it, and the album came out in 2002.

She released the fifth album, Manzanita, on Plug Research in 2005. Her debut album, The Ewe and the Eye, originally released in 1997, was reissued later that year.

Her 2006 compilation album, La Ninja: Amor and Other Dreams of Manzanita, included remixes from Dntel and Flying Lotus. It was followed by her studio album, Gea, in 2008.

In 2009, she released her first instrumental album, Morning Music, in collaboration with Andres Renteria.

She returned with the solo album, Cosmic Ocean Ship, in 2011. In 2014, she released Floresta on City Zen Records.

Take What You Can Carry (Scientist Dub One) is a song about the World War II Internment of Japanese Americans camp experience which affected her mother and grandmother. It was released on February 20, 2020 when California lawmakers passed a resolution to formally apologize to Japanese-Americans for the Legislature’s role in their incarceration.

She is married to Jesse Peterson and has a daughter.

Break all my bones
I’ll learn to walk again
Break all my bones
I’ll learn to dance again
Here comes the springtime
April rains bring May blooms
Here comes the timechange
Green lawns and long afternoonsWipe off all my charms
I’ll learn to fly again
Wipe off all my charms
I’ll learn to breathe underwater again
Here comes the springtime
Daffodils in Easter hats
Here comes the timechange
Spring forward, no more falling backLaugh at all my dreams
I’ll learn to see again
Laugh at all my dreams
I’ll learn to hope and to try again
Here comes the springtime
Bare branches give birth to leaves
Here comes the timechange
Holding a new hand, grateful for the breezeStill my swollen lips
I’ll learn to speak again
Still my swollen lips
I’ll learn to sing again