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The Heart Part 4 Lyrics: Don't tell a lie on me / I won't tell the truth 'bout you / Don't tell a lie on me / I I said it's like that, dropped one classic, came right back Just know, the next game played I might slap the shit out you.
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David Sylvian's mannered baritone with its odd vibrato is like ripples of dark water flooding around and between the ghostly swells of keyboard. The synths are suspended in space, not latched down by any percussion. The "ghosts" are frailties that chain us to the past -- things we cannot escape.

It's an apt term because we can be haunted by memories that are intrinsically linked with who we are. There is a theatrical grandeur about it, an otherworldliness. The bare-bones arrangement was a brilliant and brave approach -- it's easy to imagine this song, with its strong melodic hook, in a more traditional pop approach, but thankfully Sylvian stuck with his vision. Lydon's drawls "anger is an energy" repeatedly in his semi-deranged voice, exhorting the oppressed to harness that power and rise up against their persecutors.

Then he wishes them the best of luck with a recitation based on an Irish benediction, "May the road rise with you. Vai isn't the only virtuoso musician that Lydon brought in for the recording: Swedish bassist Jonas Hellborg is known primarily for his work with jazz fusion master John McLaughlin, and drummer Tony Williams is a highly respected jazz percussionist who worked with Miles Davis.

Epic in scope, brilliantly conceived and performed, "Rise" reached 11 in the UK and became popular on college radio in America. It's a surprisingly accessible and melodic tune from an artist who's spent much of his career making music that isn't exactly easy to digest. Although it wasn't a Top 40 hit, "Never Say Never" is their signature tune. The great Debora Iyall delivers a wicked vocal performance, deadpanning the lyrics with vulnerability hidden under a tough veneer. Musically "Never Say Never" is a ferocious machine, with ratcheting guitar, propulsive bass and wildly frenetic sax by Benjamin Bossi that forms the main instrumental hook between the verses, and sometimes explodes into free-form firestorms over the manic percussion.

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The shorter single version is on the band's excellent album Benefactor. Romeo Void's only Top 40 hit came two years later, when the controversial "A Girl in Trouble is a temporary thing ", an arch reference to abortion, reached They re-recorded a more commercially viable version for the soundtrack to the John Hughes film which shares its name and with which it will forever be associated. The version almost became the band's first first Top 40 hit in America, peaking at 41 on 31 May It's actually a rather sad and pointed song about a young woman named Caroline who's frankly a bit of a mess.

She sleeps around to help with her low self-esteem and as a result she thinks that she's kinda riding high while her so-called friends are really just laughing behind her back. Richard Butler raspy and strangely aristocratic vocals are dripping with irony and empathy when he sings, "Pretty in pink… isn't she? Scottish trio the Blue Nile released the dazzling "Downtown Lights" as the first single from their album Hats.

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The band should take pride in their own production work -- it's exquisite. The arrangement is languid and slow-building, with a lush bed of synthesizers and a pulsing rhythm. Its soaring beauty is riddled with palpable loneliness and pain. It's about about an elderly lady suffering from dementia, inspired by Costello's own grandmother. Parts of "Veronica" are sunny and upbeat, as much a celebration of a life as it's a portrait of a woman lost in her own mind.

He portrays Veronica as suddenly having vivid flashes of memory amidst the fog, singing with wrenching emotion, "she spoke his name out loud again! Costello's deeply personal performance is rich with genuine emotion. Veronica's story deserves to be told, and Elvis Costello does so with grace and passion.

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We can only hope our stories will be told so well, sometime. Bauhaus were goth pioneers whose most famous single, "Bela Lugosi's Dead", was released in It was the primary single from Burning On The Inside, the band's final album before disbanding. As one would expect from Bauhaus, there's a thick layer of gloom infusing the song like smoke. Peter Murphy's highly stylized vocal sits atop some crafty musicianship. David J's bass is a propulsive force, and Daniel Ash's razor-wire guitar slashes brightly through the murk. Everywhere you go it's a different act.

While "Bela Lugosi's Dead" would certainly have been chosen if it came out one year later, "She's in Parties" isn't a bad consolation prize. Naturally it's steeped in a morose world outlook; it's almost defiantly grim in the face of a sweeping melody, orchestral grandeur, and Morrissey's smooth crooning voice. Morrissey makes his mordant observations with zero trace of irony. It's not just an act -- Morrissey is quite sincere in his regular repudiation of the world around him and us , and he's not shy about pointing out its shortcomings and ours, and his.

One wonders how he finds the motivation to keep going. He still performs "Everyday Is Like Sunday" regularly before crowds that sing along and wave their arms in the air as if it was an ode to peace, love and togetherness instead of a lushly beautiful expression of fatalistic pessimism.

The breakthrough single for Icelandic legends the Sugarcubes, "Birthday" is frighteningly good -- it sounds like absolutely nothing else ever created. There's an almost childlike simplicity in the evocative and pictorial lyrics. Since the Clash's most essential album, London Calling, was released at the very end of and was thus not eligible for consideration, we instead look to "Rock the Casbah", from their smash release Combat Rock. After a long slow climb up the Hot , "Rock the Casbah" spent four weeks at 8 in early , becoming the band's only Top 40 hit in America.

Drummer Topper Headon wrote and performed the rollicking piano section over his drums and bass, and Mick Jones added some jagged guitar to go along with Joe Strummer's searing vocal performance. Strummer's inventive lyrics were inspired by an incident in which Iranian citizens were flogged after being caught with a disco album. He parlays that into a sardonic parable about a bumbling Sharif who hates disco and tries to ban it, only to be stymied not only by his own people, but even by his military. A striking video was filmed with caricatures of an Arab and Jewish man driving around in a Cadillac listening to a boombox while the band plays the song in front of an oil well with an armadillo inexplicably wandering around the shot.

Manchester's Stone Roses helped popularize the so-called "Britpop" movement which dueled with "grunge" in the '90s for the title of most ubiquitously annoying and overused label in rock history. The Stone Roses' debut album was lavishly fawned over by critics, and is often considered one of the great debuts in rock history. There is no question that it was influential, as illustrated by the barrage of imitators that sprung up in its wake. It sounds like someone beamed back to and snatched it from a jukebox.

It's deliriously joyful. Even the lyrics sound like they were written around the time of the Monkees: "Have you seen her, have you heard? John Leckie's production work is exceptionally good, as usual. Florovsky pointed out, the world is redeemed on Golgotha, not on Tabor. Every gift of God is given for that purpose, by the way. Thomas: Sure. Just I want to make a little bit of a correction there about what you said and then deal with the second part. He who has a coat, get a cloak, too.

Everyone is called to one or another life, which means to take up the crosses that God actually gives to them. Of course, one of the great delusions of the devil is to make us want crosses other than our own: not to take the one that God gives us, but to want to have the one that the neighbor has.

Choose whichever one you want. Now, if you had asked the question: How do you know? How can you know? Just try not to sin where you are. Bear the crosses that you have. You have a job? Do it to the glory of God. You work with other people? Love them; forgive their sins. Just consecrate the life that God actually gives you.

And then if God wants to move you, he will, but then it will be him and not you. But the worst thing that you can do is to jump here, jump there, think this, think that, maybe this, maybe that, and then just the devil will play with you like a yo-yo. I always tell people that if I interview them for coming to the seminary. You live where you are.

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All we have to do is to say: Where am I now? Am I married to this person? Okay, stay married. Do your best. Be faithful to it. Say the honest word. For the 49,th time. Like Theophan the Recluse said, like a cow chewing its own cud. Anastasios of Sinai in The Philokalia said every sin comes from thought. I have a tough enough [time] getting through vigil tonight. Now, this is not fatalism.