Song Lyric Sunday – willowdot21

Song Lyric Sunday: Hip Hop Rap.

This week our host Jim Adams has asked us to sample some Hip Hop Rap for Song Lyric Sunday.... Well I do have eclectic tastes but today is one of my least favourite genres. That is not to say I dislike it but I can live with it or without it. So what is Hip Hop Rap?

Hip hop music or hip-hop music, also known as rap music and formerly known as disco rap, is a genre of popular music that originated in the Bronx borough of New York City in the early 1970s by African Americans, and it had been around for years prior before mainstream discovery. This genre of music originated as anti-drug and anti-violence, while consisting of stylized rhythmic music (usually built around drum beats) that commonly accompanies rapping, a rhythmic and rhyming speech that is chanted. According to the professor Asante of African American studies at Temple University, “hip hop is something that blacks can unequivocally claim as their own “. It was developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, and graffiti art. Other elements include sampling beats or bass lines from records (or synthesized beats and sounds), and rhythmic beatboxing. While often used to refer solely to rapping, “hip hop” more properly denotes the practice of the entire subculture. The term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music; the genre may also incorporate other elements of hip hop culture, including DJing, turntablism, scratching, beatboxing, and instrumental tracks.

So lets go back to the late eighties and Salt and Pepa….. They made great dance music and although lyrics are my first love dancing does come a close second . So first choice is Push it !

“Push It” is a song by American hip hop group Salt-N-Pepa, who originated in Queens. It was released as the B-side of the “Tramp” single in 1987. It peaked at number 19 on the US Billboard Hot 100 in early 1988 and, after initially peaking at number 41 in the UK, it re-entered the charts after the group performed the track at Nelson Mandela‘s 70th birthday concert, eventually peaking at number two in the UK in July 1988. The song has also been certified platinum by the Recording Industry Association of America (RIAA). The song is ranked number 446 on Rolling Stone‘s list of the 500 Greatest Songs of All Time and was ranked number nine on VH1‘s 100 Greatest Songs of Hip Hop.

The song quotes a line from “You Really Got Me” by The Kinks, with the word “girl” replaced with “boy”: “Boy, you really got me goin’/You got me so I don’t know what I’m doin’.” (For this, Ray Davies received a songwriting credit for “Push It.”) It also quotes “Pick up on this” from “I’m a Greedy Man” and “There it is” from “There It Is“, both by James Brown. The whispered “Push it” is sampled from a 1977 recording called “Keep on Pushin'” by the band Coal Kitchen. This song is written in the key of A minor.

Salt-N-Pepa (sometimes stylized as Salt ‘N’ Pepa) is an American hip hop group formed in New York City in 1985, that comprised Salt (Cheryl James), Pepa (Sandra Denton), and DJ Spinderella (Deidra Roper).

Salt-N-Pepa have sold over 15 million records worldwide, making them one of the best selling rap acts of all time. Their success in rap and hip hop culture has earned them the honorific title “The First Ladies of Rap”

more information here.

Ah, push it

Ooh, baby, baby, baby, baby
Ooh, baby, baby, ba-baby, baby
Get up on this

Ah, push it
Ah, push it
Ah, push it
Get up on this
Ah, push it
Get up on this
Ow! Baby!

Salt-N-Pepa’s here
Salt, Salt-Salt, Salt-N-Pepa’s here
Salt-Salt-Salt-Salt, Salt-n-Pepa’s here
Salt-n-Pepa, Salt-n-Pepa, Salt-n-Pepa’s here
Salt-Salt-Salt, Salt-n-Pepa’s here

Now, now, now, wait a minute y’all
This dance ain’t for everybody
Only the sexy people
So all you fly mother’s, get on out there and dance
Dance, I said

Salt-n-Pepa’s here, and we’re in effect
Want you to push it back
Cooling by day, then at night, working up a sweat
C’mon girls, let’s go show the guys that we know
How to become number one in a hot party show
Now push it

push it good
(Ah, push it) push it real good
(Ah, push it) push it good
(Ah, push it) p-push it real good

Ow!
Push it good
Ooh, baby, baby, baby, baby
Ooh, baby, baby, ba-baby, baby

Push it good
Push it real good
Ah, push it

Ah, push it

Yo, yo, yo, yo, baby-pop
Yeah, you! Come here, gimme a kiss
Better make it fast or else I’m gonna get pissed
Can’t you hear the music pumping hard? Like I wish you would
Now push it

Push it good
Push it real good
Push it good
P-push it real good
Ah, push it

Get up on this
(Uh) get up on this
(Uh, uh) get up on this
(Ha) get up on this
(Hit it)

Boy, you really got me going
You got me so
I don’t know what I’m doing
Ah, push it
Ah, push it

Ah
Ah, push it
Push-push-push-push it, push it
Push it
Push, push, push, push it, push it
Push it, push it
Push it, push it, pushit
Push it, push it
Push it, push it, push it

Source: Musixmatch

Songwriters: Herby Azor / Raymond Davies

Push It! (TMW Remix) lyrics © Wb Music Corp., Sons Of K-oss Music Inc., Edward Kassner Music Co. Ltd, Sons Of K-oss Music Inc

Now as a contrast a favourite of mine by Fat Boy Slim who is a favourite of my eldest son. Weapon of choice!

“Weapon of Choice” is a song by English big beat musician Fatboy Slim from his third studio album, Halfway Between the Gutter and the Stars. It features American funk musician Bootsy Collins. It was released as a double A-side single with “Star 69” on 23 April 2001, as well as a standalone single release, and a 2010 re-release with remixes. The single peaked at No. 10 on the UK Singles Chart

I love: The music video, directed by Spike Jonze, features actor Christopher Walken dancing around a deserted hotel lobby. It won multiple awards at the 2001 MTV Video Music Awards and won the 2002 Grammy Award for Best Music Video.

The music video was filmed in the lobby of the Marriott Hotel (now the L.A. Grand Hotel Downtown) in Los Angeles in December 2000. Directed by Spike Jonze, it features actor Christopher Walken, who trained as a dancer in musical theatre before his acting career. Walken had asked Jonze to film his dancing, and Jonze suggested that he participate in the video. Fatboy Slim had originally been scheduled to have a cameo in the video, replacing Walken in the harness shots, but was unavailable that weekend because his wife was giving birth.

In the video, Walken is relaxing in a chair in a deserted hotel lobby, when he hears the song being played from a cleaning cart nearby. He begins to dance around the hotel, then gets in an elevator, leaps off the balcony, and flies around the mezzanine before returning to the chair and sitting back down.

The “Weapon of Choice” video won six awards at the 2001 MTV Video Music Awards. Walken was awarded one of MTV’s “Moonmen” for Best Choreography. The clip was also ranked number one in a list of the top 100 videos of all time by VH1 in April 2002 compiled from a music industry survey. The Swedish actor Mikael Persbrandt has also danced in a version of the video directed by Malik Bendjelloul. In 2012, British comedian and presenter Rowland Rivron also won charity TV show Let’s Dance for Sport Relief with his reenactment of the video’s choreography.

Walken has cited admiration for Jonze as one of his main reasons for appearing in the video, which he also welcomed as a chance to do “something different”. He also noted that as a trained tap dancer, dancing to electronic music suited him well. More information here.

You could blow with this
You could blow with that
You could blow with this
You could blow with that
You could blow with this
You could blow with that
You could blow with this
You could blow with that

(repeat twice more)

You could blow with this

That

This

That

You could blow with this
You could blow with that
You could blow with this
You could blow with that
You could blow with this
You could blow with that
You could blow with this
You could blow with that

(repeat five times more)

Source: Musixmatch

Songwriters: Norman Cook / Andres Titus / Sylvester Stewart / Bootsy Collins / William Mclean / Ashley Slater

Weapon of Choice enhanced video lyrics © Polygram Music Publishing Ltd. Gb, Peep Bo Music, Mijac Music, Mashamug Music, Polygram Int. Publishing, Inc.

Happy Sunday Everyone 💜💜💜

Uptown Disco Nights.

Good morning everyone it’s Sunday again and time for another Song Lyric Sunday. This week our host Jim Adams has give us Disco music as our prompt.

Disco is a genre of dance music and a subculture that emerged in the 1970s from the United States’ urban nightlife scene. Its sound is typified by four-on-the-floor beats, syncopated basslines, string sections, brass and horns, electric piano, synthesizers, and electric rhythm guitars read more here

Having read Jim’s introduction I discovered that it started much earlier and to my surprise in Paris… well we live and learn …that’s the whole point of SLS.

My first thought was D.I.S.C.O. BY Ottawan. So I decided bto stick with it. It was released in 1979.

These were the years at the hight of hubby’s and mine Disco days! .. I would get a baby sitter for a Friday or Saturday night. I’d put on my glitter and a ton of make up, a tiny dress, and boots! Hubby his non work suit or pasley shirt and bellbtoms. We’d go to the Top Rank in Reading and dance.

D.I.S.C.O.” is a song by the French band Ottawan, written by Daniel Vangarde and Jean Kluger and produced by Daniel Vangarde. Ottawan originally recorded it in French.

It was first released in 1979 and reached number two in the UK Singles Chart the following year.

The song’s name is an acronym and comes from the lyrics in its chorus, in which a woman is described as “D.I.S.C.O.”. In other words, each letter of the word standing for a certain quality, except “O”, which simply leads to singing “oh-oh-oh” (“She is D, delirious / She is I, incredible / She is S, superficial / She is C, complicated / She is oh-oh-oh”).more information here.

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We used to go to the Top Rank whenever we could get a baby sitter. That reminds me of this song ….our signature tune.

“Uptown Top Ranking” is a song by Jamaican teenage singers Althea Forrest and Donna Reid, recorded when they were 17 and 18 years old respectively. Released in 1977, the song comprises the girls ad-libbing to deejay track “Three Piece Suit” by Trinity. The lyrics were written by the duo and Errol Thompson. It was produced by Joe Gibbs, using a re-recording of the riddim of the 1967 Alton Ellis song “I’m Still in Love”, which had already been re-popularised in the 1970s by Marcia Aitken‘s cover “I’m Still in Love With You Boy”, and “Three Piece Suit” by Trinity, to which “Uptown” was an “answer record”

The record was initially recorded as a joke. It was accidentally played by BBC Radio 1 DJ John Peel resulting in numerous requests for additional plays. With early championing by Peel and a performance on Top of the Pops, it soon became a surprise hit, reaching number one on the UK Singles Chart in February 1978. The track spent a total of 11 weeks in the charts. Althea & Donna became the youngest female duo to reach the number-one spot on the UK chart.

See me in me heels and ting
Dem check, sey we hip and ting
True dem no know an’ting
We have dem going and ting

Nah pop no style, I strictly roots
Nah pop no style, I strictly roots

See me ‘pon de road, I ‘earin’ you call out to me
True you see me in m’pants and ting
See me in me ‘alter back
Sey me gi’ you ‘eart attack
Gimme little bass, make m’wine up m’waist
Uptown top ranking

See me in m’Benz and ting, oh
Drivin’ tru Constant Spring
Dem check sey me come from Cosmo Spring
But a true dem no know an’ting
Dem no know sey we top rankin’, oh
Uptown top rankin’

Shoulda see me and de rankin’ dread, oh
Check ‘ow we jammin’ and ting
Love is all I bring
Inna m’khaki suit and ting

Nah pop no style, I strictly roots
Nah pop no style, I strictly roots

Watch ‘ow we chuck it and ting
Inna we khaki suit and ting
Love is all I bring
Inna m’khaki suit and ting

Nah pop no style, I strictly roots
Nah pop no style, I strictly roots

Love inna you ‘eart, dis a bawl out fe me
When you see me in m’pants and ting, oh
See me in me ‘alter back
Sey me gi’ you ‘eart attack
Gimme little bass, make m’wine up m’waist
Uptown top rankin’, oh

See me ‘pon the road and ‘earin’ you call out to me
True you see me in m’pants and ting, oh
See me inna me ‘alter back
Sey me gi’ you ‘eart attack

Gimme little bass, make m’wine up m’waist
Gimme little bass, make m’wine up m’waist
Love is all I bring
Inna m’khaki suit and ting

Nah pop no style, I strictly roots
Nah pop no style, I strictly roots

You shoulda see me and de rankin’ dread, oh
Check ‘ow we jammin’ and ting
Love is all I bring
Inna m’khaki suit and ting

Me nah pop no style, dat true, I strictly roots

Source: Musixmatch

Songwriters: Errol Thompson / Donna Reid / Joe Gibbs / Althea Forrest / Neamian Ellis Alton

Uptown Top Ranking 2001 lyrics © Keep On Kicking Music Inc., Jack Russell Music Limited, Carlin Music Corp

Happy days I remember them well.

HAPPY SUNDAY EVERYONE 💜💜💜

From the Caribbean to Egypt.

Good morning it’s Sunday and our host Jim Adams has asked to use Girl Bands, Groups as our Song Lyric Sunday prompt. Well I am going from the sublime to the ridiculous…I love both the groups I have chosen .

The Beverley Sisters (MBE) were an English female close harmony pop vocal and light entertainment trio, consisting of three siblings from London. They were most popular during the 1950s and 1960s, and became well-known through their radio and television appearances. They also toured the cabaret circuit. They were also known for their matching outfits, which they wore both on- and off-stage.

YOU WILL SEE THAT THEY WERE ALL BORN ON 5TH May Joy 1924 and the twins 1927 ! How’s that for a coincidence?

The Beverleys consisted of eldest sister Joy (born Joycelyn Victoria Chinery, 5 May 1924 – 31 August 2015), and twins Teddie (born Hazel P. Chinery, 5 May 1927) and Babs (born Babette Patricia Chinery, 5 May 1927 – 28 October 2018)

Their style was loosely modelled on that of their American counterparts, The Andrews Sisters. Their notable successes included the Irving Berlin-penned “Sisters” and the Christmas songs “I Saw Mommy Kissing Santa Claus“, “Little Donkey“, and “Little Drummer Boy“, while in the United States they charted with a version of Greensleeves.

Song Lyrics Sunday …but then they grow up.

Good Sunday morning everyone this week for Song Lyric Sunday our galant host Jim Adams has set us the prompt of Boy Bands.

A boy band is loosely defined as a vocal group consisting of young male singers, usually in their teenage years or in their twenties at the time of formation. Generally, boy bands perform love songs marketed towards girls and young women. Many boy bands dance as well as sing, usually giving highly choreographed performances. South Korean boy bands usually also have designated rappers.Some such bands are formed on their own, often evolving out of church choral or gospel music groups. In contrast, others are created by talent managers or record producers who hold auditions. Being vocal groups, most boy band members do not play musical instruments, either in recording sessions or on-stage. They are similar in concept to their counterparts known as girl groups. The popularity of boy bands has peaked three times: first in the 1960s to 70s (e.g., with the Jackson 5 and the Osmonds); the second time it peaked during the late 1980s, the 1990s and the 2000s, when acts such as New Kids on the Block, Take That, Backstreet Boys, NSYNC, Boyzone, Five, A1, O-Zone and Westlife dominated global pop charts; and last time in the 2010s up to the present, with the emergence of groups such as One Direction, The Wanted, Big Time Rush, The Vamps, Ballinciaga and K-pop acts such as BTS, Exo, Ateez, and Cravity. More information here at Wikipedia

So I chose the Vamps for no reason other than I like the song and they are a great fit for the genre.

The Vamps are a British pop band consisting of Brad Simpson, James Brittain-McVey, Connor Ball and Tristan Evans.They formed in 2012 and signed to Mercury Records (now Virgin EMI Records) in the November of the same year.

In 2017, they had their first number 1 on the UK Albums Chart with Night & Day (Night Edition). Their first two albums, Meet The Vamps and Wake Up are both certified Gold in the UK. The Vamps have also launched their own record label, Steady Records, and they are working in partnership with EMI/Universal. The first act signed was American band The Tide.

In 2018, guitarist McVey participated in the eighteenth series of I’m a Celebrity…Get Me Out of Here! and finished in fifth place. They have continuously toured worldwide since their debut in 2012, and they are the first band to headline London’s O2 Arena five years in a row. Information from Wikipedia

I’ve been up all night, no sleep
‘Cause I feel like I’m always dreaming
All night, no sleep
‘Cause I feel like I’m always dreaming

‘Cause I feel like I’m always dreaming

Sometimes I tend to lose myself
When I’m out here on my own
I never seem to get it right
But I guess that’s how it goes
Ever since you came around
Can’t nobody hold me down
You showed me how to find myself when I needed it the most

I been up all night, no sleep
‘Cause I feel like I’m always dreaming
All night, no sleep
‘Cause I feel like I’m always dreaming
Wide awake, that’s okay, as long as I’m with you
I’ll be up all night, no sleep
‘Cause I feel like I’m always dreaming

‘Cause I feel like I’m always dreaming

I’m never gonna find my way
If I don’t learn to let go
The past is the past, today is today
And there’s things I can’t control
The circles underneath my eyes
Tell the truth that I’ve been trying to hide
I’ve been waiting for you way too long
Won’t you come and take me home
Oh I, I’m praying this ain’t all a dream
Can you, you, wake me up before you leave?

‘Cause I feel like I’m always dreaming

Source: Musixmatch

Songwriters: Justin Franks / John Mitchell / Tristan Evans / Bradley Simpson / Connor Ball / James Mcvey / Daniel Majic / Tom Lagergren

All Night lyrics © Artist Publishing Group West, J Franks Publishing, Artist 101 Publishing Group, These Are Songs Of Pulse, Danny Majic Music Publishing, Global Talent Publishing Ltd, Kmr Ii Gt Publishing Limited

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Well I just couldn’t do a post on Boy Bands without including the Boy Band that in my opinion are the kings of the genre! They are men now and only three of them still together but they are still brilliant. From their first song dreadful video! But the talent is there.

Do what you like, do what you like
Sugar sweet, if only they all knew
Jam, can’t spread no more you’ve took my bread
Energy, just work, no rest or play
Me, myself I’d rather be alone again

So you can do what you like, do what you like
No need to ask me, do what you want
Do what you like, do what you like
No need to tell me, do what you want

Cherry pie, you’re not as cute as me
Ice, could never be as cold as you
Recipe, you stir me up inside
Me, myself I’d rather be alone again

So you can do what you like, do what you like
No need to ask me, do what you want
Do what you like, do what you like
No need to tell me, do what you want

So you can do what you like, do what you like
No need to ask me, do what you want
Do what you like, ooh
No need to tell me, no need to tell me

Oh ho, maybe, maybe, oh
Do what you like
Do what you want
Do what you like
Do what you want

Me, myself I’d rather be alone again
So you can do what you like, do what you like
No need to ask me, do what you want
Do what you like, do what you like
No need to tell me, do what you want
Do what you like, do what you want
No need to ask me, do what you want
Do what you like

Source: LyricFind

Songwriters: Gary Barlow / Ray Hedges

Do What U Like lyrics © Sony/ATV Music Publishing LLC

To Brilliance in 2011 and their still going now.

Take That are an English pop group formed in Manchester in 1990. The group currently consists of Gary Barlow, Howard Donald and Mark Owen. The original line-up also featured Jason Orange and Robbie Williams. Barlow is the group’s lead singer and primary songwriter, with Owen and Williams initially providing backing vocals and Donald and Orange serving primarily as dancers.

The group have had 28 top-40 singles and 17 top-5 singles on the UK Singles Chart, 12 of which have reached number one, including “Back for Good”, “Never Forget”, “Patience” and “Greatest Day”. They have also had eight number-one albums on the UK Albums Chart. Internationally, the band have had 56 number one singles and 39 number-one albums. They have received eight Brit Awards—winning for Best British Group and Best British Live Act. In 2012 they received an Ivor Novello Award for Outstanding Contribution to British Music. According to the British Phonographic Industry (BPI), Take That has been certified for 14 million albums and 11.4 million singles in the UK. More information from Wikipedia

The Flood”

Standing on the edge of forever
At the start of whatever
Shouting love at the world
Back then we were like cavemen
But we map the moon and the stars
Then we forgave them

We will meet you where the lights are
The defendants of the faith we are
When the thunder turns around they’ll run so hard we’ll tear the ground away

You know no one dies
In these love drowned eyes
Through our love drowned eyes
We’ll watch you sleep tonight

Although no one understood
We were holding back the flood
Learning how to dance the rain
We were holding back the flood
They said we’d never dance again

Bleeding, but none of us leaving
Watch your mouth son
Or you’ll find yourself floating home

Here we come now on a dark star
Seeing demons, not what we are
Tiny minds and eager hands will try to strike but now will end today

There’s progress now
Where there once was none
Where there once was none
Then everything came along

Although no one understood
We were holding back the flood
Learning how to dance the rain
There was more of them than us
Now they’ll never dance again
Although no one understood
There was more of them than us
Learning how to dance the rain
We were holding back the flood
They said we’d never dance again

We will meet you where the lights are
The defendants of the faith we are
When the thunder turns around they’ll run so hard we’ll tear the ground away

Although no one understood
There was more of them than us
Learning how to dance the rain
(Learning how to dance the rain)
There was more of them than us
Now they’ll never dance again
Now we’ll never dance again

Happy Sunday Everyone 💜💜💜

Happy Clappy Song Lyric Sunday.

This week Jim Adams has asked us for Gospel Music for Song Lyric Sunday.

Gospel music is a traditional genre of Christian music, and a cornerstone of Christian media. The creation, performance, significance, and even the definition of gospel music varies according to culture and social context. Gospel music is composed and performed for many purposes, including aesthetic pleasure, religious or ceremonial purposes, and as an entertainment product for the marketplace. Gospel music is characterized by dominant vocals and strong use of harmony with Christian lyrics. Gospel music can be traced to the early 17th century

Hymns and sacred songs were often repeated in a call and response fashion, heavily influenced by ancestral African music. Most of the churches relied on hand-clapping and foot-stomping as rhythmic accompaniment. Most of the singing was done a cappella. The first published use of the term “gospel song” probably appeared in 1874.

The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. Gospel music publishing houses emerged. The advent of radio in the 1920s greatly increased the audience for gospel music. Following World War II, gospel music moved into major auditoriums, and gospel music concerts became quite elaborate.

Black and Southern gospel music are largely responsible for gospel’s continued presence in contemporary Christian music, with soul music by far the best-known popular music variant. The styles emerged from the African-American music and American folk music traditions and have evolved in various ways over the years, continuing to form the basis of Black church worship even today. It has also come to be used in churches of various other cultural traditions (especially within Pentecostalism) and, via the gospel choir phenomenon spearheaded by Thomas Dorsey, has become a form of musical devotion worldwide. Southern used all-male, tenor–lead–baritone–bass quartets. Progressive Southern gospel has grown out of Southern gospel over the past couple of decades. Christian country music, sometimes referred to as country gospel music, is a subgenre of gospel music with a country flair. It peaked in popularity in the mid-1990s. Bluegrass gospel music is rooted in American mountain music. Celtic gospel music infuses gospel music with a Celtic flair, and is quite popular in countries such as Ireland. British black gospel refers to Gospel music of the African diaspora produced in the UK. Read more here.

So I could be picking a song that many others might pick but it is my favourite Gospel song. Here are three versions all very different.

The Soweto Gospel Choir was formed in Soweto, South Africa, by David Mulovhedzi and Beverly Bryer, and producers Andrew Kay, David Vigo and Cliff Hocking in 2002. The more than 30-member ensemble blends elements of African gospel, Negro spirituals, reggae and American popular music. The group performed at the first of the 46664 concerts for Nelson Mandela and has since toured internationally several times. Read more here.

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Peter James Hollens (born March 4, 1980) is an American singer/songwriter, producer and entrepreneur. He has been involved with a cappella music since 1999 when he and Leo da Silva founded the University of Oregon’s a cappella group, On The Rocks, known as the first official collegiate acappella group in Oregon. He regularly releases new music videos to his YouTube channel. With over 5 million followers and 2.8 million subscribers, his content has received over a billion total views since 2011. Read more here

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Read about Celtics Pipes Rock here !

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“Amazing Grace” is a Christian hymn published in 1779 with words written in 1772 by English Anglican clergyman and poet John Newton (1725–1807). It is an immensely popular hymn, particularly in the United States, where it is used for both religious and secular purposes.

Newton wrote the words from personal experience; he grew up without any particular religious conviction, but his life’s path was formed by a variety of twists and coincidences that were often put into motion by others’ reactions to what they took as his recalcitrant insubordination. He was pressed into service with the Royal Navy, and after leaving the service, he became involved in the Atlantic slave trade. In 1748, a violent storm battered his vessel off the coast of County Donegal, Ireland, so severely that he called out to God for mercy. While this moment marked his spiritual conversion, he continued slave trading until 1754 or 1755, when he ended his seafaring altogether. Newton began studying Christian theology and later became an abolitionist. Read more here.

Amazing grace how sweet the sound
That saved a wretch like me
I once was lost, but now I’m found
Was blind but now I see

‘Twas grace that taught my heart to fear
And grace my fears relieved
How precious did that grace appear
The hour I first believed

Through many dangers, toils, and snares
I have already come
This grace that brought me safe thus far
And grace will lead me home

When we’ve been here ten thousand years
Bright, shining as the sun
We’ve no less days to sing God’s praise
Than when we first begun

Amazing grace how sweet the sound
That saved a wretch like me
I once was lost, but now I’m found
Was blind but now I see

Source: Musixmatch

Songwriters: Traditional

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And one for the road.

Sister Act is a 1992 American comedy film directed by Emile Ardolino and written by Paul Rudnick (as Joseph Howard). It stars Whoopi Goldberg as a lounge singer forced to join a convent after being placed in a witness protection program. It also features Maggie Smith, Kathy Najimy, Wendy Makkena, Mary Wickes, and Harvey Keitel.

Hail holy Queen enthroned above
Oh, Maria
Hail Mother of Mercy and of love
Oh, Maria

Triumph all ye cherubim
Sing with us ye seraphim
Heaven and earth resound the hymn
Salve, salve, Salve Regina

Hail holy Queen enthroned above
Oh, Maria
Hail Mother of Mercy and of love

Triumph all ye cherubim
Sing with us ye seraphim
Heaven and earth resound the hymn
Salve, salve, Salve Regina

Our life, our sweetness here below
Oh, Maria
Our hope in sorrow and in woe
Oh, Maria

Triumph all ye cherubim
(Cherubim)
Sing with us ye seraphim
(Seraphim)
Heaven and earth resound the hymn
Salve, salve, Salve Regina

Alleluia

Mater amata intemerata
Sanctus sanctus dominus
Virgo respice, mater respice
Sanctus sanctus dominus

Ave Maria
(Alleluia)

Our life, our sweetness here below
Oh, Maria
Our hope in sorrow and in woe
Oh, Maria

Triumph all ye cherubim
(Cherubim)
Sing with us ye seraphim
(Sweet Seraphim)
Heaven and earth resound the hymn
Salve, salve, Salve Regina
Salve Regina, Salve Regina

lyrics at

HAPPY CLAPPY SUNDAY 💜💜

Dreadlocks Beats.

Hi everyone it’s Sunday again and this week for Song Lyric Sunday Jim Adams has asked us to find Reggae Music. Firstly what is Reggae?

Reggae is a music genre that originated in Jamaica in the late 1960s. The term also denotes the modern popular music of Jamaica and its diaspora. A 1968 single by Toots and the Maytals, “Do the Reggay“, was the first popular song to use the word reggae, effectively naming the genre and introducing it to a global audience. While sometimes used in a broad sense to refer to most types of popular Jamaican dance music, the term reggae more properly denotes a particular music style that was strongly influenced by traditional mento as well as American jazz and rhythm and blues, and evolved out of the earlier genres ska and rocksteady. Reggae usually relates news, social gossip, and political commentary. It is instantly recognizable from the counterpoint between the bass and drum downbeat and the offbeat rhythm section. The immediate origins of reggae were in ska and rocksteady; from the latter, reggae took over the use of the bass as a percussion instrument.

Well my first thought was U.B.40 and Kingston Town. So first I decided to look up the song and here we go.

“Kingston Town” is a 1970 song by Lord Creator released as a single on producer Clancy Eccles‘ Clandisc label.

Lord Creator (born Kentrick Patrick, circa 1940, San Fernando, Trinidad and Tobago) is a calypso, R&B, ska and rocksteady artist. Alongside Cuban-born Roland Alphonso, BarbadianJackie Opel and fellow Trinidadians Lynn Taitt and Lord Brynner, Lord Creator was an important and positive “outside” influence during the early development of the Jamaican music scene.

It was also recorded in 1989 by reggae group UB40 and was released as the second single from their album Labour of Love II, reaching number four on the UK Singles Chart and number one in France and the Netherlands.

information from Wikipedia.

HAPPY SUNDAY EVERYONE 💜 💜

Song Lyric Sunday. Alternative Rock.

Good Sunday people, this week our host for Song Lyric Sunday, Jim Adams has given us the prompt of Alternative Rock, not mainstream.

Alternative rock (also known as alternative music, alt-rock, or simply alternative) is a category of rock music that emerged from the independent music underground of the 1970s and became widely popular in the 1990s. “Alternative” refers to the genre’s distinction from mainstream or commercial rock or pop music. The term’s original meaning was broader, referring to musicians influenced by the musical style or independent, DIY ethos of late-1970s punk rock.

Traditionally, alternative rock varied in terms of its sound, social context, and regional roots. Throughout the 1980s, magazines and zines, college radio airplay, and word of mouth had increased the prominence and highlighted the diversity of alternative rock’s distinct styles (and music scenes), such as noise pop, indie rock, grunge, and shoegaze. In September 1988, Billboard introduced “alternative” into their charting system to reflect the rise of the format across radio stations in the United States by stations like KROQ-FM in Los Angeles and WDRE-FM in New York, which were playing music from more underground, independent, and non-commercial rock artists.

Initially, several alternative styles achieved minor mainstream notice and a few bands, such as R.E.M. and Jane’s Addiction, were signed to major labels. Most alternative bands, however, remained signed to independent labels and received relatively little attention from mainstream radio, television, or newspapers. With the breakthrough of Nirvana and the popularity of the grunge and Britpop movements in the 1990s, alternative rock entered the musical mainstream, and many alternative bands became successful.

Bands such as the White Stripes and the Strokes found success in the early 2000s, influencing an influx of new alternative rock bands that drew inspiration from garage rock, post-punk and new wave found commercial success in the early and mid 2000s, establishing the garage rock revival and post-punk revival movements. So much more information here.

So Alternative Rock has been around under different guizes forever. So around 1994 the older boys were in their early twenties and our youngest lad was eleven years old so the music I was listening to was quite varied music and that’s when I first heard Placebo and that was it I was hooked! So I have chosen The Bitter End as my track today.

The Bitter End” is a song by British alternative rock band Placebo. It was released as the lead single from their fourth studio album, Sleeping with Ghosts (2003), on 10 March 2003. The song is based on the novel Nineteen Eighty-Four by George Orwell. There are several references to it throughout the song, one of the most noticeable being the reference to 2 May – the date on which the two main characters, Winston and Julia, first spend the night together. “The Bitter End” and “Every You Every Me” are the two most often played songs in the Placebo’s live shows.

Critics generally praised the single upon its release. Reviewing Sleeping with Ghosts, BBC.co.uk‘s rock/indie reviewer Dan Tallis described “The Bitter End” as “a good pop tune”, having “just the right amount of dark, gothic atmosphere to please their fans and enough radio friendly guitars to please the new generation of indie kids.” The Times thought the song “ramped up the energy level to devastating effect.” Information Wikipedia.

Since we’re feeling so anesthetized
In our comfort zone
Reminds me of the second time
That I followed you home
We’re running out of alibis
On the second of may
Reminds me of the summertime
On this winters day

See you at the bitter end
See you at the bitter end

Every step we took that synchronized
Every broken bone
Reminds me of the second time
That I followed you home
You showered me with lullabies
Had you walking away
Reminds me that its killing time
On this fateful day

See you at the bitter end
See you at the bitter end
See you at the bitter end
See you at the bitter end

From the time we intercepted
Feels a lot like suicide
Slow and sad, getting sadder
Arise a sitting mine (see you at the bitter end)

I love to see you run around
And I can see you now
Running to me
Arms wide out
See you at the bitter end
Reach inside
Come on just gotta reach inside
Heard your cry
Six months time
Six months time (see you at the bitter end)
Prepare the end

Source: LyricFind

Songwriters: Brian Molko / Stefan Olsdal / Steven Hewitt

Happy Sunday everyone 💜

Song Lyric Sunday: Mind the Bins it’s Grunge!

This week Jim Adams our host for Song Lyric Sunday has given us the promp Grunge Music.

Grunge (sometimes referred to as the Seattle sound) is an alternative rock genre and subculture that emerged during the mid-1980s in the American Pacific Northwest state of Washington, particularly in Seattle and nearby towns. Grunge fuses elements of punk rock and heavy metal, but without punk’s structure and speed. The genre featured the distorted electric guitar sound used in both genres, although some bands performed with more emphasis on one or the other. Like these genres, grunge typically uses electric guitar, bass guitar, drums and vocals. Grunge also incorporates influences from indie rock bands such as Sonic Youth. Lyrics are typically angst-filled and introspective, often addressing themes such as social alienation, self-doubt, abuse, neglect, betrayal, social and emotional isolation, addiction, psychological trauma and a desire for freedom. Information Wikipedia

Well I am going for UK Grunge with a band I like because they are forever evolving.

I chose Comedown by Bush. .

Gavin Rossdale wrote the song about an ex-girlfriend, stating, “It was written in the context of half regret, half celebration and just being objective about the situation of coming down from that high and dealing with those intense emotions.” In 2017 he added:

“I liked the idea of euphoria. But having that euphoria has a comedown. It’s inside your brain and just says, ‘I’m having the greatest time, and I don’t want to stop.’ But most of the time, people lose that zone and it changes and you’re like, ‘No, I didn’t want this.’ And that’s such a common feeling. I watched it being sung every night – it’s one of the songs where I can step back and let the people sing. It’s the best feeling in the world as a songwriter.”

Drummer Robin Goodridge told music publication Modern Drummer that the bass line and drum grooves in “Comedown” were borrowed from a song by English band Massive Attack.

Of the 12 songs featured on Sixteen Stone, “Comedown” was the first to be written, and remains unchanged lyrically from its original form

Bush are an English rock band formed in London in 1992. Their current lineup consists of lead vocalist and rhythm guitarist Gavin Rossdale, lead guitarist Chris Traynor, bassist Corey Britz, and drummer Nik Hughes.

Bush have been described as grunge, post-grunge, alternative rock, and hard rock. One of the first bands to be described as post-grunge, Bush were labeled almost pejoratively as such. Matt Diehl of Rolling Stone described Bush as “the most successful and shameless mimics of Nirvana’s music”. In the book Fargo Rock City: A Heavy Metal Odyssey in Rural North Dakota, Chuck Klosterman wrote, “Bush was a good band who just happened to signal the beginning of the end; ultimately, they would become the grunge Warrant”. In the book Accidental Revolution: The Story of Grunge, Kyle Anderson wrote about Bush’s album Sixteen Stone, writing:

“The twelve songs on Sixteen Stone sound exactly like what grunge is supposed to sound like, while the whole point of grunge was that it didn’t really sound like anything, including itself. Just consider how many different bands and styles of music have been shoved under the “grunge” header in this discography alone, and you realize that grunge is probably the most ill-defined genre of music in history.”

Bush have noted Nirvana’s music as a key influence in their work, but remained insistent that their style is original. Talking to The Morning Call in February 1996, lead guitarist Nigel Pulsford remarked “Nirvana was a big influence. They acted as a catalyst, put the guitar band back in vogue and inspired us to perform”. Of the similarities in the music of the two acts, Gavin Rossdale told Rolling Stone that he “hoped” there was an element of Nirvana in Bush but also that felt he “had [his] own thing”. In 2011, Rossdale proclaimed Pixies as “the most influential band” to him. In addition, members of Bush have cited artists including The Beatles ,Big Black, David Bowie,Bob Dylan, PJ Harvey,Hole, Hüsker Dü, Jane’s Addiction, My Bloody Valentine, Led Zeppelin,Tom Petty, The_Replacements_(band), Sex Pistols, Smashing Pumpkins, Sonic Youth, Soul Asylum, Soundgarden, and Neil Young as influential or inspirational.
All information Wikipedia.

Love and hate, get it wrong
She cut me right back down to size
Sleep the day, let it fade
Who was there, take your place

No one knows, never will
Mostly me, but mostly you
What do you say, do you do
When it all comes down?

‘Cause I don’t want to come back down from this cloud
It’s taken me all this time to find out what I need again
I don’t want to come back down from this cloud
It’s taken me all this, all this time

There is no blame, only shame
When you beg, you just complain
More I come, more I try
All police are paranoid

So am I, so’s the future
So are you, be a creature
What do you say, do you do
When it all comes down?

‘Cause I don’t want to come back down from this cloud
It’s taken me all this time to find out what I need
Yeah, yeah, yeah
I don’t want to come back down from this cloud
It’s taken me all this, all this time

Shoot up, shoot up
Shoot up, you’re high

Love and hate, get it wrong
She cut me right back down to size
Sleep the day, let it fade
Who was there to take your place?

No one knows, never will
Mostly me, but mostly you
What do you say, do ya do
When it all comes down?

‘Cause I don’t wanna come back down from this cloud
It’s taken me all this time to find out what I need
Yeah, yeah, yeah
I don’t wanna come back down from this cloud
It’s taken me all this, all this time

Why did you, why did you, why did you, why did you
Why did you, why did you, why did you, why did you
Why did you
Come down?

I don’t wanna come back down from this cloud
This cloud, this cloud, this cloud, this cloud
This cloud, this cloud, this cloud, this cloud

Source: Musixmatch

Songwriters: Gavin Rossdale

Now to show their softer side here they are singing one of my favourite Fleetwood Mac songs…Stevie Nicks eat your heart out .

HAPPY SUNDAY EVERYONE 💜💜💜

Song Lyric Sunday: Blue Grass Good Old Boys.

Hi it’s Sunday and time for Jim Adams to bring us this week’s prompt for Song Lyric Sunday, which is Blue Grass Music .

Bluegrass music is a genre of American roots music that developed in the 1940s in the Appalachian region of the United States. The genre derives its name from the band Bill Monroe and the Blue Grass Boys. Like mainstream country music, it largely developed out of old-time string music, though in contrast, bluegrass is traditionally played exclusively on acoustic instruments and also has roots in traditional English, Scottish, and Irish ballads and dance tunes as well as in blues and jazz. Bluegrass was further developed by musicians who played with Monroe, including 5-string banjo player Earl Scruggs and guitarist Lester Flatt. Monroe characterized the genre as: “Scottish bagpipes and ole-time fiddlin’. It’s a part of Methodist, Holiness and Baptist traditions. It’s blues and jazz, and it has a high lonesome sound.”

Now I find Blue Grass a very interesting it spans many years and locations . It’s very easy on the ear …now that may not be quite true, it’s very easy on my ear it may not be everyone’s cup of tea or coffee. I have chosen a very old song by a comparatively modern group.

Man of Constant Sorrow by Home Free.

Home Free is an American country a cappella group of five vocalists: Austin Brown, Rob Lundquist, Adam Rupp, Tim Foust, and Adam Chance. Starting as a show group, they toured with approximately 200 shows a year across the United States. The group won the fourth season of The Sing-Off on NBC in 2013. They sang an arrangement of Hunter Hayes‘ “I Want Crazy” as their final competitive song, earning the group $100,000 and a recording contract with Sony. More information Wiki

“Man of Constant Sorrow” (also known as “I Am a Man of Constant Sorrow“) is a traditional American folk song first published by Dick Burnett, a partially blind fiddler from Kentucky. The song was originally titled “Farewell Song” in a songbook by Burnett dated to around 1913. A version recorded by Emry Arthur in 1928 gave the song its current titles.

There exists some uncertainty as to whether Dick Burnett is the original writer. In an interview he gave toward the end of his life, he was asked about the song:

Charles Wolfe: “What about this “Farewell Song” – ‘I am a man of constant sorrow’ – did you write it?” Richard Burnett: “No, I think I got the ballad from somebody – I dunno. It may be my song …

I am a man of constant sorrow
I’ve seen trouble all my day
I bid farewell to old Kentucky
The place where I was born and raised
(The place where he was born and raised)

For six long years I’ve been in trouble
No pleasures here on earth I found
For in this world I’m bound to ramble
I have no friends to help me now
(He has no friends to help him now)

It’s fare thee well my old lover
I never expect to see you again
For I’m bound to ride that northern railroad
Perhaps I’ll die upon this train
(Perhaps he’ll die upon this train)

You can bury me in some deep valley
For many years where I may lay
Then you may learn to love another
While I am sleeping in my grave
(While he is sleeping in his grave)

Maybe your friends think I’m just a stranger
My face, you’ll never see no more
But there is one promise that is given
I’ll meet you on God’s golden shore
(He’ll meet you on God’s golden shore)

Source: LyricFind

Songwriters: John Allen / Scott Mills / Traditional / Victor Carrera

HAPPY SUNDAY EVERYONE 💜💜

Song Lyric Sunday: Lets Go surfing .

Hi it’s Sunday again and time Jim Adams Song Lyric Sunday. This week our prompt is Surf Rock.

Surf music (or surf rock, surf pop, or surf guitar) is a genre of rock music associated with surf culture, particularly as found in Southern California. It was especially popular from 1958 to 1964 in two major forms. The first is instrumental surf, distinguished by reverb-heavy electric guitars played to evoke the sound of crashing waves, largely pioneered by Dick Dale and the Del-Tones. The second is vocal surf, which took elements of the original surf sound and added vocal harmonies, a movement led by the Beach Boys.

Surf music emerged in the late 1950s as instrumental rock and roll music, almost always in straight 4/4 (common) time, with a medium to fast tempo. The sound was dominated by electric guitars which were particularly characterized by the extensive use of the “wet” spring reverb that was incorporated into Fender amplifiers from 1963, which was meant to emulate the sound of waves. The outboard separate Fender Reverb Unit that was developed by Fender in 1961 (as opposed to reverb that was incorporated as a built-in amp feature) was the actual first “wet” surf reverb tone. This unit is the reverb effect heard on Dick Dale records, and others such as “Pipeline” by the Chantays and “Point Panic” by the Surfaris. It has more of a wet “drippy” tone than the “built in” amp reverb, due to different circuitry.

Guitarists also made use of the vibrato arm on their guitars to bend the pitch of notes downward, electronic tremolo effects and rapid (alternating) tremolo picking. Guitar models favored included those made by Fender (particularly the Jazzmaster, Jaguar and Stratocaster), Mosrite, Teisco, or Danelectro, usually with single coil pickups (which had high treble in contrast to double-coil humbucking pickups). Surf music was one of the first genres to universally adopt the electric bass, particularly the Fender Precision Bass. Classic surf drum kits tended to be Rogers, Ludwig, Gretsch or Slingerland. Some popular songs also incorporated a tenor or baritone saxophone, as on the Lively Ones’ “Surf Rider” (1963) and the Revels’ “Comanche” (1961). Often an electric organ or an electric piano featured as backing harmony.

Well I think most of this genre will be picked , Beach Boys , Jan and Dean and the like so I am going for an instrumental by the Ventures …..

The Ventures are an American instrumental rock band formed in Tacoma, Washington, in 1958, by Don Wilson and Bob Bogle. The band, which was a quartet for most of its existence, helped to popularize the electric guitar across the world during the 1960s. While their popularity in the United States waned in the 1970s, the group remains especially revered in Japan, where they toured regularly. The classic lineup of the band consisted of Wilson (rhythm guitar), Bogle (initially lead guitar, later bass), Nokie Edwards (initially bass, later lead guitar), and Mel Taylor (drums). Information Wikipedia

I chose Hawaii 5. 0 which was also the theme for a popular T.V. show and later a film, set in Hawaii

Hawaii Five-O is an instrumental album by the Ventures. It is named for the popular 1968 television series, and featured the theme song from the series composed by Morton Stevens as its title track. It was released in 1969 on Liberty Records LST-8061 and reached #11 on the Billboard Top LP chart, staying for 24 weeks. The album was certified gold by RIAA on July 21, 1971. The popularity of the album was propelled by the hit title track, which reached #4 on the Billboard Pop Singles chart. Information Wikipedia.

Below are the Ventures in person.