The All-American Rejects - Someday's Gone (Kids in the Street)

February 2, 2012

The All-American Rejects - Someday's Gone (Kids in the Street)

The All-American Rejects - Someday's Gone (Kids in the Street)

 

 

Lyrics:

  

1 2 3 4!
Da da da da da da da da da

[Verse 1]
What makes you so damn sure
That you're perfect, huh?
I can't explain you
Just like a nightmare
I can't remember
What makes you so damn sure
That you're worth it huh?
You're just a bad trip

I can't come back from since last December
I walk into the room and you steal everyone
I see you walk into the room
And you kill everyone, cause I know

[Chorus]
My someday's gone now
Bye bye
My someday's gone now
Bye bye
Just let it go

[Verse 2]
How did you figure that I let you cut me down
Right at the knees
I fall like a dead man out of the airplane
How do you figure that I let you drag me around, huh?
You got my number draw me a story tell me a picture I walk into the room and
You've had everyone
And then you walked into the room and so said everybody already knows

[Chorus]
My someday's gone now
Bye bye
My somedays gone now
Bye bye just let it go

[Bridge]
Even when I live, a piece of me will
Die win some lose some she won't bare deny
Maybe when I sleep,
I'll feel you in my dreams
Forget about it one day the day
I'm not gonna
See you walk into the room and you f-ck-d everyone
And then you walked into the room well so what everyone already knows

[Chorus]
My someday's gone now
Bye bye
My someday's gone now
Bye bye

My someday's gone now bye bye

Let it go
Let it go
Let it go
Let it go
Let it go

About:

The All-American Rejects began writing their fourth studio album in mid 2010. During this time the band's songwriters Nick Wheeler and Tyson Ritter went on numerous retreats to secluded parts of the United States; a writing strategy used for their previous albums. Recording began in April 2011 and wrapped up in June, with mixing commencing the following August and concluding in early September. According to lead singer Tyson Ritter, the album will be very different to their past releases - including [When the World Comes Down], which was already a more experimental sound for the band.

During an interview with MTV in October 2011, Ritter confirmed that the band's fourth album will be released on February 7, 2012. "It’s going to be the year of the Rejects," he teased. "[Our album release] is going to coincide with the Mayan end of the world thing, so the last song you’ll die to will be one of ours." The band later announced the title of their fourth album, Kids in the Street, on December 16, 2011 and that the album's release date had been pushed back to March 27, 2012.

“[The] music climate has changed so much for bands, especially bands with guitars in their hands… our contemporaries, our colleagues, have burnt themselves out, it seems,” frontman Tyson Ritter told Billboard Magazine during an interview on the set of the music video shoot for “Beekeeper’s Daughter.” “The great thing about our position as a rock band on a major label, we’ve had this confused place for so long, that 10 years later, we’re still sort of making people scratch their heads going, ‘Why am I still loving this band?’”

The entire album was produced by Grammy-nominated producer Greg Wells, who is known for his work with Adele, Katy Perry, and OneRepublic, among many others. “Greg was the first producer we’ve worked with who really spoke my language, which translated into the sound of the album,” Ritter commented. “If you really want to know what Kids in the Street sounds like, it sounds like The All-American Rejects finally got their shit together and wrote a record that was going to keep them around.”

On December 3, 2011, The All-American Rejects shot a music video for the album's opening track "Someday's Gone" as a promotional song and released it two days later on December 5, along with the offer to download the song for free from their official website. The band quoted "We wanted to give fans an early candy cane for the holidays and this song is the teeth of the record."

The first single "Beekeeper's Daughter" premiered in the plenitude episode of the fourth series of American teen drama 90210 and featured an appearance from the band as themselves playing the song, before being digitally released on the same day.

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January 31, 2012

Van Halen - Tattoo "A Different Kind of Truth"

 Tattoo, tattoo
I got elvis on my elbow
And when I flex elvis talks
I got hula girls on the back of my leg
And she hulas when I walk

Speak in cherry red
Screaming electric green
Purple mountain's majesty really talk to me
Talk to me babe

Swap-meet sally
Tramp-stamp cat
Mousewife to momshell in the time it took to get that new tattoo
Tattoo-tattoo

(Tattoo, tattoo)
Show me your dragon magic
(Tattoo, tattoo)
So autobiographic!

Best believe that need will hurt you
Best deceive these true colors that follow one of your false virtues

Here's a secret to make you think
Why is the crazy stuff we never said poetry in ink
Speak in day-glow red
Explodo paint
Purple mountain's majesty show me you, I'll show you me

Swap-meet sally
Trampstamp cat
Mousewife to momshell in the time it took to get that new tattoo,
Tattoo-tattoo

Woo!
(Tattoo, tattoo)
Sexy dragon magic
(Tattoo, tattoo)
So very autobiographic!
(Tattoo, tattoo)
Got a hold on me
(Tattoo, tattoo)
You put a spell on meee!

Uncle danny had a coal tattoo
He fought for the unions
Some of us still do
On my shoulder is a number of the chapter he was in
That number is forever like the struggle here to win

Everybody!
Swap-meet sally
Trampstamp cat
Mousewife to momshell in the time it took to get that new tattoo,
Tattoo-tattoo
Tattoo
Ta-too!

(Tattoo, tattoo)
Sexy dragon magic
(Tattoo, tattoo)
So very autobiographic!
(Tattoo, tattoo)
You got a hold on me
(Tattoo, tattoo)
You put a spell on me
(Tattoo, tattoo)
I'm in love with you
(Tattoo, tattoo)
Show me, show me your
(Tattoo, tattoo)
Look at me, look at you!
(Tattoo, tattoo)
Whoa!

A Different Kind of Truth is the upcoming 12th studio album by American hard rock band Van Halen, scheduled for release on February 7, 2012 through Interscope Records. It is the band's first album of completely new material since 1998's Van Halen III, as well as the first since 1984's 1984 to feature David Lee Roth on lead vocals, and the first to feature Wolfgang Van Halen on bass guitar. It will also be Van Halen's first album on their new label Interscope Records.

Many of the songs are based on demos and unrecorded lyrics done by the band in the 1970's. For instance, "She's the Woman" was on the 1976 demo that warranted Van Halen a deal with Warner Bros. Records. The new version of this song (featuring new melody and lyrics, middle section and solo) was played in its entirety at the band's intimate press show at the Cafe Wha? on January 5, 2012.

A 30-second sample of the new single "Tattoo" was uploaded online on January 6, 2012.

90-second samples of "Blood and Fire", "Stay Frosty" and "China Town" were uploaded online on January 25 and 27, 2012.

A deluxe version of the album will be released, containing a bonus Acoustic DVD called The Downtown Sessions, which will contain acoustic versions of "Panama", "You and Your Blues (Intro)", "You and Your Blues" and "Beautiful Girls".

A Tour Collector's Edition vinyl album will be released. This double gatefold LP vinyl includes all thirteen songs on two LPs plus custom LP artwork.

The first single from the album, "Tattoo", was released on January 10, 2012. One day after its release to iTunes, it was the #1 selling rock song in the US, Canada, Finland and the Netherlands, while charting in Sweden, Belgium, Germany and the UK.It also received over two million YouTube hits in its first week of release.

As of January 23, 2012 "Tattoo" is ranked #1 on Billboard’s Hard Rock Singles chart, the #1 most played song at classic rock radio in its first week and #1 most added song at mainstream and active rock radio.

On January 29, 2012, 90-second samples for all thirteen songs off of A Different Kind of Truth were posted online.

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 January 30, 2012

Paul McCartney - My Valentine (Kisses On The Bottom)

 What if it rained?  

We didn't care  

She said that someday 

soon the sun was gonna shine.  

And she was right,  

this love of mine,  

My Valentine

 
As days and nights,  

would pass me by  

I tell myself that I was waiting for a sign  

Then she appeared,  

a love so fine,  

My Valentine

 
And I will love her for life  

And I will never let a day go by  

without remembering the reasons why  

she makes me certain that I can fly

 
And so I do,  

without a care  

I know that someday soon 

the sun is gonna shine  

And she'll be there  

This love of mine  

My Valentine

What if it rained?  

We didn't care.  

She said that someday soon  

the sun was gonna shine  

and she was right  

This love of mine,  

My Valentine

  Kisses On The Bottom is a collection of standards Paul grew up listening to in his childhood as well as the two new McCartney compositions "My Valentine" and "Only Our Hearts." With the help of Grammy Award-winning producer Tommy LiPuma and Diana Krall and her band--as well as guest appearances from Eric Clapton and Stevie Wonder, McCartney's new album is a deeply personal journey through classic American compositions that, in some cases, a young Paul first heard his father perform on piano at home. The full track listing reveals that Paul has been both reverent and adventurous in his song choices.

The phrase `Kisses On The Bottom,' comes from the album's opener `I'm Gonna Sit Right Down And Write Myself A Letter'. Originally made a big hit by Fats Waller in 1935, the song opens with the lines "I'm gonna sit right down and write myself a letter and make believe it came from you. I'm gonna write words oh so sweet. They're gonna knock me off of my feet. A lot of kisses on the bottom, I'll be glad I got `em."

As authentic and daring a musical statement as he could make, this is the album Paul has been thinking about making for more than 20 years - and probably the last thing his fans are expecting. "In the end it was 'Look, if I don't do it now, I'll never do it'," he says. In short, Paul believes it is about time "the songs me and John based quite a few of our things on" received the recognition they deserve. Moreover, the record also features a couple of new original McCartney compositions in the spirit of those classics.

"When I kind of got into songwriting, I realized how well structured these songs were and I think I took a lot of my lessons from them," Paul explains. "I always thought artists like Fred Astaire were very cool. Writers like Harold Arlen, Cole Porter, all of those guys - I just thought the songs were magical. And then, as I got to be a songwriter I thought it's beautiful, the way they made those songs."

Determined to approach the record in a new and unique manner, Paul enlisted the help of LiPuma and Krall and her band-who delivered ultra-high quality musicianship and were completely in tune with Paul's restraint and feel for the music. In the studio, the recording of this album was also a new challenge for Paul who, for the first time ever, performed exclusively in the vocal booth without an instrument - no guitar, no bass, no piano - which led to a vocal performance like no other in his career.

He adds, "It was very spontaneous, kind of organic, which then reminded me of the way we'd work with The Beatles. We'd bring a song in, kick it around, when we found a way to do it we'd say 'Okay, let's do a take now' and by the time everyone kind of had an idea of what they were doing, we'd learnt the song. So that's what we did, we did the take live in the studio."

"It was important for me to keep away from the more obvious song choices so, many of the classic standards will be unfamiliar to some people. I hope they are in for a pleasant surprise."

The album was recorded at the legendary Capitol Studios in Los Angeles, New York and London throughout 2011. 

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January 29, 2012

Leonard Cohen - Old Ideas "Going Home"

Poem & Lyrics: Going Home
by Leonard Cohen

(Note: The words sung in the audio recording differ from the words printed on the Poetry page.  I’ve indicated the variations by entering words that were sung that were not in the poem in red. The words  they replaced, if any, are printed in blue.  I’ve also indented the penultimate and antepenultimate verses to indicate they are sung by the chorus.)

I love to speak with Leonard
He’s a sportsman and a shepherd
He’s a lazy bastard
Living in a suit

But he does say what I tell him
Even though it isn’t welcome
He will never/just doesn’t have the freedom
To refuse

He will speak these words of wisdom
Like a sage, a man of vision
Though he knows he’s really nothing
But the brief elaboration of a tube/tune

Going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it’s better
Than before

Going home
Without my burden
Going home
Behind the curtain
Going home
Without the costume
That I wore

 

He wants to write a love song
An anthem of forgiving
A manual for living with defeat

A cry above the suffering
A sacrifice recovering
But that isn’t what I want/need him to complete

I want to make him/him to be certain
That he doesn’t have a burden
That he doesn’t need a vision

That he only has permission
To do my instant bidding
That/Which is to SAY what I have told him
To repeat

Going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it’s better
Than before

Going home
Without my burden
Going home
Behind the curtain
Going home
Without the/this costume
That I wore

I’m going home
Without my sorrow
Going home
Sometime tomorrow
Going home
To where it’s better
Than before

Going home
Without my burden
Going home
Behind the curtain
Going home
Without this costume
That I wore

 

I love to speak with Leonard
He’s a sportsman and a shepherd
He’s a lazy bastard
Living in a suit

-Leonard Cohen's Old Ideas is 'more of the stuff that has made Cohen indispensable for six decades: desire, regret, suffering, misanthropy, love, hope, and hamming it up'.

If long-term music fandom teaches you anything, it is that the value of your investments can go down as well as up. Your idols can develop feet of clay and ears of cloth. And then there's idols like Leonard Cohen. The Montreal poet found an acoustic guitar thrust into his hand in the mid-Sixties, the better to prostitute his art via the medium of pop. It is not wild hyperbole to say that he might be the finest master of his craft alive today, with a body of work on the human condition told in riddles and coated in tar. "Hallelujah" is one of his that has, itself, been prostituted widely. Even Cohen's latterday works (Ten New Songs, Dear Heather) maintain a high pleasure-to-piffle ratio.

In our hero, we also have an ordained Buddhist who would have sat out his twilight years up a mountain, smiling down upon our worldly foibles were it not for the fact that a former confidant made off with his pension pot . He is 77 – not the sort of age when a monk can easily give up non-violence. So the sage has swapped robes for natty suits, come down off the mountain, toured the world for two years, sired a grandchild, and made one more album for the road.

"I've got no future, I know my days are few," he rumbles cretaceously on "The Darkness", the album's pre-release taster. "I thought the past would last me, but the darkness got that too." The guitar parts and piano are just as exquisite as the lyrics. "Going Home" opens Old Ideas with a self-deprecating address setting the album's tone: dark, with twinkles; an implacable higher power just offstage.

Old Ideas is not all about death, betrayal and God, juicy as these are. As the title suggests, it is more of the stuff that has made Cohen indispensable for six decades: desire, regret, suffering, misanthropy, love, hope, and hamming it up (here's a line from "Banjo": "There's a broken banjo bobbing on a dark infested sea"). So sepulchral is Cohen's famous baritone on the devotional "Show Me The Place" that it's hard to suppress a giggle.

If you have to find fault, Cohen's pleas for reparation ("Come Healing") can never quite skewer you as comprehensively as his bleaker material. But anywhere you dip your net, you catch some depth. "Crazy To Love You" is vintage Cohen, prostrating himself (before some woman, or is it his song-craft?), referencing his own "Tower Of Song", throwing out glittering runes: "I'm tired of choosing desire/I've been saved by a blessed fatigue/The gates of commitment unwired/And nobody trying to leave." But for the weight of experience, the simple guitar accompaniment takes you right back to his first albums.

The musicianship throughout is uncluttered and swinging – a relief for those still rueing Cohen's lengthy synth phase. A bodyguard of angelic female voices (longtime collaborator Sharon Robinson, the Webb Sisters) wafts about, adding to songs like "Different Sides", and not distracting overmuch elsewhere.

No fan would ever have wished Cohen's misfortune upon him. But his loss has undoubtedly been our gain. This is no hasty hackwork, aimed at shoring up the bank balance, but a work of wry righteousness. Updates of "Hallelujah" are conspicuous by their absence.

(from http://www.guardian.co.uk/music/2012/jan/22/leonard-cohen-old-ideas-review )

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October 29, 2011

Steve Cole "Moonlight"

 

 -CD, 2011 release from saxophonist Steve Cole.

"Windy City saxophonist Steve Cole, who released his debut CD in 1998, has been a steady force on the smooth-jazz charts and touring scene for more than a decade. He’s also a member of the Sax Pack, an in-the-pocket trio with fellow saxophonists Jeff Kashiwa and Kim Waters. It seemed about time for Cole to attempt something different, and he’s done it here with a rich collection of old and new American standards backed by the lush sounds of the Millennium Chamber Players of Chicago.

Mixing traditional standards like “Moonlight” and the close-your-eyes beautiful “(I’m Afraid) The Masquerade Is Over” with new versions of the Guess Who’s “Undun” and James Taylor’s “You Can Close Your Eyes” was the right move. (The latter is an album highlight and features Cole’s soprano and a folksy guitar arrangement.) Although I’m not sure if another arrangement of “The Look of Love” was necessary, listening to Sarah McLachlan’s “Angel” and the Beatles “The Long and Winding Road” in fresh ways is a delight.

In addition to the strings, the arrangements on this compelling CD include harp, woodwinds and tempered brass. The supporting rhythm section consists of Mike Logan on keyboards, Russell Ferrante on piano and Steve Rodby on bass. The string arrangements are provided by Michael Cunningham" 

(from jazztimes.com)

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October 29, 2011

Kasabian "Velociraptor!"

Kasabian "Velociraptor!"

CD, 2011 album from the award-winning British rockers. The follow-up to the acclaimed West Ryder Pauper Lunatic Asylum, Velociraptor! was recorded in Leicester and mixed in San Francisco - New: 9/22/2011 

"It’s been 15 or 16 years since the last truly classic album, but I think we’ve done it," Serge Pizzorno claims of Velociraptor!, which is exactly the kind of bullish boasting which, along with their boorish interviews and boozy gang attitude, have made it easy to pigeonhole Kasabian as the Leicestershire Oasis. This is unfortunate, as their actual music has always been much more interesting and eclectic. From the start, their ease with club beats and electronica suggested that – unlike the Gallaghers – they had some awareness of which decade they were in. And while Oasis became duller and more conservative with each new record, Kasabian have – so far – grown more adventurous.

June’s teaser single, Switchblade Smiles, certainly suggested that Velociraptor! would take up where 2009’s West Ryder Pauper Lunatic Asylum left off – completely out there, and completely off its face. A remarkably uncompromising opening salvo, it begins as a dreamily buzzing Eastern mantra, before a dinosaur-sized dance beat crashes in and the song spends the next few minutes zig-zagging wildly between club stomper and blissed-out space rock.

Fortunately for fans fearing Kasabian have completely left Planet Rock, the rest of the album plays it safer, shifting restlessly between growling garage and psychedelic reveries. Days Are Forgotten is built on a filthy delta blues riff, and boasts a trademark vowel-murdering, stadium-shaking chorus. For sheer catchiness, it’s only rivalled by the splendidly silly title-track, with its grimy guitars, absurd lyrics and air-punching chorus. Festival-goers should learn the words "Velociraptor / He gonna find ya / He gonna kill ya / He gonna eat ya" now: you’ll be hearing them a lot next year.

Of the slower songs, the meandering Acid Turkish Bath (Shelter from the Storm) revisits the Eastern influences of Switchblade Smiles but dredges up unpleasant memories of Kula Shaker, while Goodbye Kiss is agreeable but unremarkable, sounding like a cast-off from Alex Turner’s understated Submarine soundtrack. Far, far lovelier is the closing Neon Noon, a reverb-drenched slow-burner which intertwines analogue electro, acoustic guitars, sighing strings and a subdued, mournful melody. It may be the first genuinely moving Kasabian song, a truly welcome new development.

Velociraptor! is neither the classic Pizzorno insists it is, nor the numbskull stadium rock cynics will presume it is. It sounds like a band still uncertain of exactly where they want to be, but determined to make the way there interesting."

(from bbc.co.uk) 

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October 27, 2011

The Bats " Free all the Monsters"

The Bats

Free All The Monsters
CD, 2011 release from the legendary New Zealand act is classic Bats, instantly catchy and revealing ever more depths with each listen. The Bats are at the height of their powers, touring in their original lineup

-New: 10/20/2011

 "The last Bats' release on Flying Nun Records was 2000's Thousands of Luminous Spheres compilation, and a lot has happened since then.Given their long association, it's fitting they've been reunited for Free All the Monsters, which coincides nicely with the label's 30th anniversary.And better, it's The Bats' strongest effort in years.Although recorded in what's left of the notorious Seacliff Asylum on the coast north of Dunedin, the band's eighth album is permeated with the warmth of human relationships and experiences.That's long been the case of Robert Scott's songs, but his writing has become even more nuanced and well realised in recent years.It's surely no coincidence that Dale Cotton, who produced Scott's 2010 solo album Ends Run Together, also worked on Free All The Monsters. In Cotton, The Bats have found a producer with a sympathetic ear for the gentle melodies and simple but sweet arrangements they've long excelled in.From radiant opener Long Halls onwards it's immediately obvious this is a classic album from the band.

Other highlights include the title track, the melancholic See Right Through Me, In the Subway, which is redolent of past Bats' glories, and the utterly perfect Fingers of Dawn."

(from nzherald.co.nz)

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