Most of the songs I write about here are ones that I enjoyed from the first listen. However, that is not always the case, and this is one of those songs.
Accidents Will Happen–at least to me–wasn’t as catchy and memorable as some of Elvis Costello’s other work that I had heard before, but it grew on me over time, and now I think it’s a great song.
From tunemeister over at SongMeanings:
Elvis talked about the meaning behind this song on a VH1 Storytellers episode. It’s about his first marriage, but he hid the fact when he recorded the song. What he REALLY had in mind with the chorus was a subtly but critically different verse:
Accidents will happen, I only hit and run,
I used to be your victim: Now you’re not the only one.So he was seeing himself as both victim and assailant in the relationship while acknowledging that his wife was not “the only one” for him anymore.
You can listen to the song below.
And of course, the lyrics:
Oh I just don’t know where to begin
Though he says he’ll wait forever
It’s now or never
But she keeps him hanging on
The silly champion
She says she can’t go home
Without a chaperone
Chorus:
Accidents will happen
We only hit and run
He used to be your victim
Now you’re not the only one
Accidents will happen
We only hit and run
I don’t want to hear it
‘Cause I know what I’ve done
There’s so many fish in the sea
That only rise up in the sweat and smoke like mercury
But they keep you hanging on
They say you’re so young
Your mind is made up but your mouth is undone
(Chorus)
And it’s the damage that we do
And never know
It’s the words that we don’t say
That scare me so
There’s so many people to see
So many people you can check up on
And add to your collection
But they keep you hanging on
Until you’re well hung
Your mouth is made up but your mind is undone
(Chorus)
I know, I know… (repeat)
A Party is a pretty cool song about Africa–and specifically South Africa–before the end of Apartheid. There are many references to colonization, the Boer War, the ineffectiveness of USA for Africa and the Sun City debacle, and the general conditions after years of domination by British and Dutch settlers taking over.
It’s also got a cool beat and a pretty neat dance hall bit towards the end.
You can listen to the song below.
And of course, the lyrics:
Li-li-lion, lion’s in a jungle
Jungle’s in a cage
Tra-tra-trouble, trouble in the homelands
Trouble in the homelands makes front page
Zu-zu-lu come out to play
Bongo drums said today
Front page caption read like this
Natives dress as terrorists
Tribal war a perfect plan for the one that damned the land
Since that ain’t you or me tribal war continually
Mountain milk for mount nutrition send us some more ammunition
Never buy me ivy trade, let’s go plug a hand granade
Thank you boss for Red Cross
Apreciate good will
No no no, stomach for our loss
Yeah yeah yeah, I feel quite ill
I-I-I`d rally round the flag
Rally round the flag, but we got so many
I guess that’s why, why you act
Like we ain’t got any
Tarzan has come home again, heard the news diamond vein
Had to split no room to swing, Sun City wanted him to sing
Easy to see no unity, masses ruled by minority
When these guys come on the scene, ruined a good blues party
“I know I’ve heard the tune before”
I thought as I was kicked through the door
Something ’bout admission fee
But I was sure, house belong to me
They told us to go in stereo
Machine guns ‘gainst spear and bow
Egged on by TV cameraman
Someone called the teargas van
White knight write our wrongs, lyrics for the protest song
Number one top of the charts, rock ‘n’ roll bleeding hearts
They offer us a special patch, knew there had to be a catch
Family tree pulled at the root, they still bear that old strange fruit
Plenty reason, plenty reason to be glum
Living by the gun down in a slum
Stake your claim blow by blow
Saw my pals go flying through the window
Li-li-lion, lion’s in a jungle
Jungle’s in a cage
Tra-tra-trouble, trouble in the homelands
Trouble in the homelands, bosses in a rage
I know mister if it was you, it would be cut down like a flower
Some things never change, corporate crime gets free range
Only out for personal gain, grab the land and sieze the power
What’s all this about big game, don`t you know the lions tame?
This is one of the all time great dance songs, at least in my estimation. It’s a fun song about–well, about sex. Nothing wrong with that.
There’s tons of information about the song at Wikipedia.
And of course, the lyrics:
Oh oh
Wellllll now!
Relax don’t do it
When you want to go to it
Relax don’t do it
When you want to come
Relax don’t do it
When you want to come
When you want to come
Relax don’t do it
When you want to to go to it
Relax don’t do it
When you want to come
Relax don’t do it
When you want to suck to it
Relax don’t do it
When you want to come
Come — oh oh oh
But shoot it in the right direction
Make making it your intention — ooh yeah
Live those dreams
Scheme those schemes
Got to hit me
Hit me
Hit me with those laser beams
I’m coming
I’m coming — yeah
Relax don’t do it
When you want to go to it
Relax don’t do it
When you want to come
Relax don’t do it
When you want to suck to it
Relax don’t do it (love)
When you want to come
When you want to come
When you want to come
Come — huh
Get it up
The scene of love
Oh feel it
Relax
Higher higher
Hey
Pray
Yes, I konw there’s no actual band called the Soggy Bottom Boys, but it is the best known version of this song. It’s a very nice song as well–the harmonies and the guitar really make it all work.
From Wikipedia:
“Man of Constant Sorrow” is a traditional American folk song first performed by Dick Burnett, a partially blind fiddler from Kentucky. The song was originally recorded by Burnett as “Farewell Song” printed in a Richard Burnett songbook, c. 1913. An early version was recorded by Emry Arthur in 1928 (Vocalion Vo 5208).
And of course, the lyrics:
(chorus) In constant sorrow through his days
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.
(chorus) 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.
(chorus) 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.
(chorus) 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.
(chorus) 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.
(chorus) He’ll meet you on God’s golden shore
London’s Burning is a cool late 1970’s punk song. A simple tune with a tongue in cheek lyric that actually points out a greater evil–namely the problems of mass unemployment and racial tension in the UK–it’s also a nice little rocking tune. It’s got a great hook, it’s a good sing-a-long song, and it’s easy to relate to in many ways for many people in the years between 18-21.
And of course, the lyrics:
London’s burning! London’s burning!
All across the town, all across the night
Everybody’s driving with full headlights
Black or white turn it on, face the new religion
Everybody’s sitting ’round watching television!
London’s burning with boredom now
London’s burning dial 99999
I’m up and down the Westway, in an’ out the lights
What a great traffic system - it’s so bright
I can’t think of a better way to spend the night
Then speeding around underneath the yellow lights
London’s burning with boredom now
London’s burning dial 99999
Now I’m in the subway and I’m looking for the flat
This one leads to this block, this one leads to that
The wind howls through the empty blocks looking for a home
I run through the empty stone because I’m all alone
London’s burning with boredom now…
London’s burning dial 99999
Somehow I missed this one when it first came out, but it’s a great song. I was actually introduced to it by a Mazda commercial some years ago, then later heard it somewhere and loved it instantly.
I can’t really say it’s anything more than what it seems. Whether the women are made up or real, it’s very hard to say. Still, it’s got a nice groove, the humming is cool, and I just like the way it sounds.
And of course, the lyrics:
Deborah was a Catholic girl, she held out till the bitter end.
Carla was a differnt type, she’s the was one who put it in.
Mary was a black girl and I was afraid of a girl like that.
Susan painted pictures sitting down like the Buddah sat.
[humming]
Reno was an aimless girl, a geographic memory.
Cathy was a Jesus freak, she liked that kind of misery.
Vicky had a special way of turning sex into a song.
Camala who couldn’t sing, kept the beat and kept it strong.
[humming]
Zilla was an archetype, the voodoo queen, the queen of wrath
Joan thought men were second best to masturbating in the bath.
Sheri was a feminist, she really had that gift of gab.
Kathleen’s point of view was this, “Take whatever you can grab.”
[humming]
Seattle was another girl who left her mark upon the map.
Karen liked to tie me up and left me hanging by a strap.
Jeanie had this night club walk that made grown men feel underage.
Mary Ellen who had a son said, “I must go.” but finally stayed.
[humming]
Gloria, the last taboo was shattered by her tongue one night.
Mimi brought the taboo back and held it up for the light.
Marilyn who knew no shame, was never ever satisfied.
Julie came and went so fast, she didn’t even say goodbye.
[humming]
Well, Rhonda had a house in Venice, lived on brown rice and cocaine.
Patty had a house in Houston, shot cough syrup in her veins.
Linda thought her life was empty, filled it up with alcohol.
Catherine was much too pretty, she didn’t do that shit at all.
Uh uh, not Catherine.
[humming]
Pauline thought love was simple, turn it on and turn it off.
Jean-Marie was complicated, like some French film maker’s plot.
Jeanna was the perfect lady, always kept her stockings straight.
Jackie was a rich punk rocker, silver spoon and a paper plate.
[humming]
Sarah was a modern dancer, lean pristine transparancy.
Janet wrote bad poetry, in a crazy kind of urgency.
Tonya, Turkish, liked to fuck while wearing leather boots.
Brenda’s strange obession was for certain vegetables and fruit.
[humming]
Rowena was an artist’s daughter, the deeper image shook her up.
Dee Dee’s mother left her father, took his money and his truck.
Debby Ray had no such problems, perfect Norman Rockwell home.
Nina sixteen, had a baby, left her parents, lived alone.
Bobbie joined a new wave band and changed her name to Bobbie-Socks.
Eloise who played guitar, she sang songs about whales and cocks.
Terry didn’t give a shit, was just a nihilist.
Robin was much more my style, she wrote songs just like this.
Jezabel went forty days drinking nothing but Perrier.
Dinah drove her Chevrolet into the San Francisco Bay.
Judy came from Ohio, she’s a Scientologist.
Amaranda, here’s a kiss, I chose you to end this list.
You Be Illin’ is kind of a weird little song, one that hearkens back to the earlier days of hip-hop. I like it because it’s funny, and also because even though it’s a dis song, it’s not really mean. You could almost imagine them just going back and forth on the stoop, just having fun coming up with silly situations.
And of course, the lyrics:
(One) day when I was chillin’ in Kentucky Fried Chicken
Just mindin’ my business, eatin’ food and finger lickin’
This dude walked in lookin’ strange and kind of funny
Went up to the front with a menu and his money
He didn’t walk straight, kind of side to side
He asked this old lady “Yo, yo, um…is this Kentucky Fried?”
The lady said “Yeah” smiled and he smiled back
He gave a quarter and his order “small fries, Big Mac!”
You be illin’
(To)day you won a ticket to see Doctor J
Front row seat (in free!) no pay
Radio in hand, snacks by feet
Game’s about to start, you kickin’ popcorn to the beat
You finally wake up, Doc’s gone to town
Round his back, to the hoop, and you scream “Touchdown!”
You be illin’
The other day around the way I seen you illin’ at a party
Drunk as skunk you illin’ punk and in your left hand was Bacardi
You went up to this fly girl and said “Yo, yo, can I get this dance?”
She smelt your breath and then she left you standin’ in your illin’ stance
You be illin’
(For) dinner, you ate it, there is none left
It was salty, with butter and it was def
You proceeded to eat it cuz you was in the mood
But holmes you did not read it was a can of dog food!
You be illin’
I Need You is one of those slap-in-the-face songs that wakes you up and makes you take notice. Annie Lennox’s sarcastic vocals and the biting lyrics really push this over the top, particularly coupled with the simple acoustic guitar work from Dave Stewart. Another thing I like about this song is the coffee-shop atmosphere in the background. You can just imagine some guy with a guitar waiting his turn to sing “This Land Is Your Land” for the 5 millionth time.
And of course, the lyrics:
I need you to pin me down
Just for one frozen moment.
I need someone to pin me down
So I can live in torment.
I need you to really feel
The twist of my back breaking
I need someone to listen
To the ecstacy I’m faking.
I need you you you
I need you to catch each breath
That issues from my lips
I need someone to crack my skull
I need someone to kiss.
So hold me now
And make pretend
That I won’t ever fall
Oh hold me down
I’m gonna be your baby doll
I need you you you…
Is it you I really need?
I do I do I do
I really do
I need you…
Me and My Charms is just one of those cool songs. In my opinion, it’s basically about a woman who’s had a child with a man who’s abandoned her, despite all she has to offer. There’s additional speculation at SongMeanings.
I love her pleading vocals during the chorus, as I think you can really hear the desperation in her voice. I really think it sets the tone nicely.
You can listen to the song below.
And of course, the lyrics:
You can come back
When you want
Just know that I’ll be here
I haven’t left this step
And when the lights go out
I pick the angel up
I only have two hands
I she here?
Is she here right now?
Drive her off; don’t bother to call
I’m checking out today
Me and my charms
Me and my charms
When I kiss the angel
I have a taste of you
When I take the angel
I have a piece of you
I have a piece
You can come back
I haven’t left you yet
And when the lights go out
I pick the angel up
I only have two left feet
All I have in my hands
All I have in my hands
Me and my charms
Me and my charms
When I kiss the angel
I have a taste of me and my charms
Me and my charms down on the ground
You can’t leave me now
You can’t leave me now
I haven’t left you yet
All I have in my hands
Me and my charms
Me and my charms
When I kiss the angel
I have a taste of you
When I take the angel
I have a piece of you
I have a piece
As we all know, Madame Butterfly is a famous opera by Puccini. It’s also a song that was adapted by one-time punk pioneer Malcolm McLaren, infamous for managing the Sex Pistols and later Bow Wow Wow.
Actually, it’s questionable exactly how much McLaren had to do with it other than putting his name on the record and swiping a songwriting credit. There was certainly a lot of controversy surrounding credits for many of the artists he was involved with, as well as the contracts he executed with the record companies. Still, that doesn’t change how much this song grooves. The slow beat, combined with McLaren’s spoken word, the bits of opera and the mellow rap combines nicely with the airy synthesisers. It’s a really cool song.
And of course, the lyrics:
Back in Nagasaki I got married to Cho Cho San
That was her name in those days
And I was her man
I’m going back to visit her
She got a problem
She got a little Cho Cho
Cho Cho San was her name
And this is her tale of woe
Take it away Cho Cho
Today’s the day when I see clear
A tiny thread of smoke appears
Where blue skies fall upon the ocean
And shake this staid emotion
All the while I sing this song
I see a dot on the horizon
Growing bigger every second
Gleaming white in my direction
Who on earth can it be
Coming up the path for me?
What on Earth will he say?
Shall I run to him or run away?
Freaking out he’s come to get me
My feet are stuck but just won’t let me
Run to him, do I dare?
Madame Butterfly, don’t blow it
Calling Butterfly, Madame Butterfly
That’s the name he used to give me
He’s my man till the day I die
Oh, sweet Butterfly, so sweet Butterfly
She’s waiting
He’ll be back, I have faith in this love track
Pinkerton’s the name
Lieutenant Colonel Pinkerton, Sir
U.S. Navy
I’m a bounder
I married a Yankee girl
But I went back to visit old Japan
Where there she was, Cho Cho San
Gotta have something to believe in
My white honkey, I do miss him
Someday soon he’ll come around
Just to stop my nervous breakdown
Call me fool, call me stupid
Bend my arrow, kill this cupid
Say it with me
He’ll be back
I have faith in this love track
Calling Butterfly, Madame Butterfly
That’s the name he used to give me
He’s my man till the day I die
Oh, sweet Butterfly, so sweet Butterfly
She’s waiting
He’ll be back, I have faith in this love track
Cho Cho San
My little wife
My sweet butterfly
That’s the name I’ll give her
When I return
Little sweet, sweet butterfly
I hear him crowing faintly
He thinks I’m just still sweet sixteen
I guess I’ll tease him gently
Calling Madame Butterfly
His angel plucked right from the sky
Hide my baby in mystic places
I feel the fear that I might die
Right in his arms and embraces
Softly kissing my eyelashes
Got no right, no right to doubt it
Ain’t no doubt, no doubt about it
Call me fool, call me stupid
Bend this arrow, kill this cupid
I have faith, I’ll always pray
My white honkey’s here to stay
Calling Butterfly, Madame Butterfly
Butterfly, butterfly, have no fear
I’ll be back to wipe your tears
Oh, sweet Butterfly, so sweet Butterfly
She’s waiting
I’ll wait for him with unshakable faith
He’ll be back