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Paul McCartney: Run Devil Run

 A l b u m   D e t a i l s


Label: MPL Communications Inc.
Released: 1999.10.05
Time:
 40:39
Category: Pop/Rock
Producer(s): Paul McCartney, Chris Thomas
Rating: *******... (7/10)
Media type: CD
Web address: www.paulmccartney.com
Appears with: The Beatles
Purchase date: 2002.01.22
Price in €: 6,99



 S o n g s ,   T r a c k s


[1] Bluejean Bop (Levy/G.Vincent) - 1:57
[2] She Said Yeah (L.Williams) - 2:05
[3] All Shook Up (R.Blackwell/E.Presley) - 2:04
[4] Run Devil Run (P.McCartney) - 2:35
[5] No Other Baby (J.Bishop/T.Watson) - 4:17
[6] Lonesome Town (R.Knight) - 3:29
[7] Try Not to Cry (P.McCartney) - 2:40
[8] Movie Magg (C.Perkins) - 2:11
[9] Brown Eyed Handsome Man (Ch.Berry) - 2:27
[10] What It Is (P.McCartney) - 2:23
[11] Coquette (H.Green/R.Kahn/F.Lombardo) - 2:41
[12] I Got Stung (J.Hill/A.Schroeder) - 2:39
[13] Honey Hush (J.Turner) - 3:07
[14] Shake a Hand (F.Morris) - 3:50
[15] Party (R.Robinson) - 2:37

 A r t i s t s ,   P e r s o n n e l


PAUL MCCARTNEY - Percussion, Bass Guitar, Electric Guitar, Vocals

DAVID GILMOUR - Electric & Steel Guitar, Background Vocals
MICK GREEN - Electric Guitar
DAVE MATTACKS - Percussion, Drums
IAN PAICE - Percussion, Drums
PETE WINGFIELD - Piano, Hammond Organ, Wurlitzer
CHRIS HALL - Accordion

GEOFF EMERICK - Engineer
PAUL HICKS - Engineer
STEVE ROOKE - Mastering
NORMAN HATHAWAY - Design
RICHARD HAUGHTON - Photography
MIKE OWEN - Photography
KLAUS VOORMAN - Drawing
ALEEN TOROYAN - Drawing

 C o m m e n t s ,   N o t e s


1999 LP EMI 522351
1999 CD Capitol 22351
1999 CS Capitol 22351

Notes from the booklet

The sound of Run Devil Run is the rock'n'roll that boomed across every fairground you went to as a kid. The smell is candyfloss and fried onions, toasting out over the teenage night. And the feel is the bright beckoning future that every teenager dreams of. Run Devil Run is the sound of the past and the promise of the future. It is Paul McCartney looking forward by leaning back. This is the music that inspired him as a teenager, that made him pick up a guitar.

Rock 'n' roll is edging up to its first half century; nearly 50 years since a young truck driver sauntered into Sun Studios in Memphis and unleashed a revolution. Like millions of other starstruck teenagers, when he first heard Elvis, opportunity rocked for James Paul McCartney of Allerton, Liverpool.

The memory of that first seismic shockwave has always stayed with him. Take a moment to flick back through those early Beatle records - and along with the hundreds of familiar Lennon & McCartney compositions, just check those other composer credits: Carl Perkins, Buddy Holly, Chuck Berry, Larry Williams, Little Richard ... No wonder Bob Dylan honoured The Beatles for reminding Americans of their rock 'n' roll heritage, by calling his landmark 1965 album Bringing It All Back Home.

So in March 1999 Paul hand-picked a small band and repaired to Studio 2, Abbey Road. In a week, working flat out, Paul McCartney (bass, guitar, vocals) - accompanied by David Gilmour (guitar), Mick Green (guitar), Ian Paice (drums), Pete Wingfield (keyboards), Dave Mattacks (drums) and Geraint Watkins (keyboard) - recreated that golden age of rock 'n' roll.

"The week before, Ian asked co-producer Chris Thomas 'Any idea what songs we're going to do, just so I can do a bit of homework?' I said no: 'No homework on this project. I really wanted this to be fresh - like it was at the Cavern."

"I had a big manilla envelope with all the lyrics, and I'd flick through them on a Monday morning ... Ricky Nelson, mm ... Searchin ... and then I'd think that's it, that's the spirit I want, and I'd pull it out. I'd say to the guys 'Anybody know She Said Yeah?' They'd say no, because they were slightly obscure choices, I'd say okay, this is how it goes. We'd take five or 10 minutes - and that's how we did it in The Beatles - because how many times can you go through a song without everyone getting bored?"

"We'd spend 15, 20 minutes top whack, and everyone's go yeah, got it. Then we'd go to our instruments, I'd go to bass and singing, and we'd just try it. It's a bit ropey at first; second take it gets better. We'd do a couple of takes and say okay, that's it. Then we'd leave it, not even listen to it. Yeah, right; next song .... and I'd go back to my envelope. 'Anyone know No Other Baby?' No, right, here's how it goes ... and as we were doing it, I thought God, I haven't done this since I was 14. And I got the same feeling back."



When Paul McCartney returned to the studio a year after his wife Linda's death, he wanted to cut loose and have a good time. He gathered a bunch of friends, most notably guitarist David Gilmour, with the intention of cutting a collection of rock & roll oldies with minimal rehearsal and a handful of takes. On the surface, that makes Run Devil Run like Choba B CCCP, but there are subtle differences that make Devil a far superior effort. This time around, there's a real freshness to the performances. Gilmour, in particular, amazes, turning in some of his finest playing in years. Similarly, McCartney is invigorated, leaving behind his vocal schtick, laying back and rocking out with a set of fairly unfamiliar oldies. Only three songs — "All Shook Up," "Lonesome Town," and "Brown Eyed Handsome Man" — are radio staples; and while "I Got Stung," "Blue Jean Bop," "She Said Yeah," "Honey Hush," and "Movie Magg" are known by aficionados, they're not ubiquitous standards. This leaves room for a few more obscure numbers, such as Little Richard's "Shake a Hand," the Vipers' "No Other Baby," and the Fats Domino B-side "Coquette," plus three terrific new songs from McCartney: "Run Devil Run", a fantastic Chuck Berry-styled narrative; "Try Not to Cry", a strong bluesy pop number; and "What It Is", a catchy uptempo shuffle. Best of all, McCartney and co-producer Chris Thomas create an appealingly out of time production — heavily compressed sound, yes, but cleaner than '50s recordings and livelier, grittier than most '90s albums. It all adds up to a dynamic, loose, carefree, and utterly infectious record, one of his best solo albums.

Stephen Thomas Erlewine, All-Music Guide, © 1992 - 2001 AEC One Stop Group, Inc.



Whenever Paul McCartney's storied life has hit personal or professional hard times, he's wisely returned--figuratively and literally--to his musical foundations. In the Beatles' final, troubled days, it was Get Back, the aborted return-to-roots project salvaged as Let It Be, and during his late-'80s solo doldrums it was the '50s rave-up CHOBA B CCCP (a.k.a. the "Russian Album"). In the wake of Linda's passing, McCartney "gets back" to a motley dozen '50s hits, B-sides, and obscurities, and pens three surprising originals that neatly fit their mold. Using a band of seasoned British vets (including Pink Floyd's Dave Gilmour and Mick Green from Johnny Kidd & the Pirates on guitars, and Deep Purple's Ian Paice on drums) whose own unbridled affection for this music radiates from every track, McCartney tackles the familiar (Gene Vincent's "Blue Jean Bop," Elvis Presley's "All Shook Up") and unfamiliar (the Vipers' UK skiffle hit "No Other Baby," Carl Perkins's "Movie Magg") alike with enthusiasm, if not slavish devotion, as witnessed by his nifty zydeco revamp of Chuck Berry's "Brown Eyed Handsome Man." The Mac originals "Try Not to Cry" and "What It Is" (and the choice of Ricky Nelson's "Lonesome Town") seem to deal not-so-obliquely with his love and loss, yet are delivered with an upbeat confidence that seem to belie his mourning. In the end, Run Devil Run may be as much personal exorcism as it is loving musical recapitulation, and McCartney is in peak vocal form throughout.

Jerry McCulley, Amazon.com



Wann immer auch Paul McCartney persönlich oder beruflich harte Zeiten durchmachte, hat er sich -- im übertragenen Sinne und auch in Wirklichkeit -- klugerweise zurückgezogen auf seine musikalischen Grundlagen. In der Schlußphase der Beatles war dies z.B. "Get Back", dieses fehlgeschlagene "Zurück zu den Wurzeln"-Projekt, bekannt geworden als Let It Be. Als seine Solokarriere Ende der 80er Jahre stagnierte, brachte er CHOBA B CCCP (auch bekannt als "Russisches Album") mit Titeln aus den 50ern heraus. Nach dem Tode von Linda wendet sich McCartney nun abermals einem Dutzend buntgemischter Hits, B-Seiten und Raritäten aus den 50er Jahren zu. Dazu komponierte er noch drei neue Nummern, die sich überraschend gut einfügen. Mit einer Formation aus leicht angejahrten britischen Rockgrößen (darunter Pink Floyds Dave Gilmour und Mick Green von Johnny Kidd & the Pirates an den Gitarren, dazu Ian Paice von Deep Purple am Schlagzeug), verbreitet jede Nummer seine ungezügelte Musikleidenschaft. McCartney bringt Bekanntes, wie Gene Vincents "Blue Jean Bop" und "All Shook Up" von Elvis, weniger Vertrautes ("No Other Baby", ein britischer Skiffle-Hit der Vipers, oder Carl Perkins' "Movie Magg") gleichermaßen begeistert, manchmal gar zu hingebungsvoll, wie die feine Cajun-artige Neufassung von Chuck Berrys "Brown Eyed Handsome Man" bezeugt. Pauls Eigenkompositionen "Try Not to Cry" und "What It Is" (sowie die Wahl von Ricky Nelsons "Lonesome Town"), scheinen sich unverhohlener mit seinem Verlustschmerz zu beschäftigen, dennoch kommen sie so flott und selbstsicher daher, als wollten sie seine Trauer Lügen strafen. Vielleicht kann man Run Devil Run sowohl als sehr persönliche Teufelsaustreibung als auch als liebevolle musikalische Zusammenfassung ansehen -- mit einem McCartney, der durchweg in stimmlicher Höchstform ist.

Jerry McCulley, Amazon.de



Nachdem McCartneys Ambitionen als Komponist zuletzt eher in Richtung Klassik gingen, überraschte die Ankündigung um so mehr, Paul würde noch vorm Jahrtausendwechsel mit einem richtigen Rock´n´Roll-Album aufwarten. ---Rund zwei Dutzend Songs stellte er zusammen, Stücke von Elvis, Gene Vincent, Ricky Nelson, Chuck Berry, Carl Perkins und der englische Skiffleband The Vipers. Dazu schrieb er drei neue Kompositionen, die sich nahtlos in die entstaubten Klassiker aus der Mottenkiste einreihen ließen. Anderhalb Stunden pro Song, eingespielt von Cracks wie Dave Gilmour und Ian Paice, das ganze Album in fünf Tagen - man hört der Platte das Unangestrengte und Spontane an. Der Spaß sei ihm gegönnt. Ex-Beatle Paul McCartney (57) klingt hier stimmlich wie ein junger Hirsch von 18

Detlev Kinsler - 01/00
© HIFI-Test



Take a second and ask yourself a question. Why do you buy Paul McCartney records? Seriously. Why? Do you like him because he used to write Beatles songs? Do you like him because you like silly love songs? Or do you like him for his early work in rock, blues, and skiffle?

If you answered "yes" to the last question, you’re gonna be thrilled with Macca's new Run Devil Run CD, a 15-song anthology of some of his favorite rock-&-roll songs, performed with a marvelous handpicked band.

Recorded as briskly as it sounds at Abbey Road in just a week's time, Run Devil Run is the glorious sound of our favorite Hofner bass player returning to his rock and roll band roots. And what a band it is: Pink Floyd's David Gilmour on lead guitar, Deep Purple drummer Ian Paice, former bandmate Mick Green on second guitar, and Pete Wingfield on piano. Together they kick up an outstanding racket worthy of the material McCartney dug up from his past.

He reaches down deep for the screaming vocal line on his own "Run Devil Run" and bounces across the blues rock notes of another original, "What it is" like an 18-year-old singing in his garage. He rips into Little Richard's "Shake a Hand," takes a big bite out of Elvis' crunchy "I Got Stung" and gives Chuck Berry's "Brown-Eyed Handsome Man" a thrilling zydeco spin. He also tackles a great, sprawling rocker called "Honey Hush," originally recorded by bluesman Big Joe Turner in the early '40s. The spirit across this recording is immense and wonderful, marked by Macca's sparkling vocals and his band's stellar, spontaneous performances.

If you're looking for an album of McCartney's typically lovable, cloyingly cute, customarily levelheaded solo work, bypass this one and pick up a Wings reissue. If you're curious, though, how a grown man sounds tearing through true-blue rock and roll, and you're interested in the journey of a legend who traveled a long way to get back to his roots, Run Devil Run is a fabulously rough and ready record worth investigating.

Bob Gulla - October 4, 1999
Copyright © 1994-2001 CDnow Online, Inc. All rights reserved.



If you love the Beatles from their earliest, American-bred rock 'n' roll, and you've been fed up with Paul McCartney's Too-cute solo work over the years - the recent "Flaming Pie" excepted - you're gonna be thrilled with the new Run Devil Run, a 15-song anthology of his favorite oldies performed with a marvelous band. Recorded in a week at Abbey Road, in the same brisk way the Beatles laid songs down in the early days, the record features everyone's favorite Hofner bass player returning to his initial pop persona. And what a return it is. When Paul reaches deep for the yowling vocal on his own "Run Devil Run" and leans into another original, "What It Is," he sounds like an 18-year-old struggling to impress his friends. He rips through Little Richard's "Shake a Hand," growls with good affect on Elvis's "I Got Stung" and gives the Chuck Berry classic "Brown-Eyed Handsome Man" a zesty zydeco twist. The spirit across this recording is immense, juiced by Paul's impulsive vocals and the band's spontaneity. By the way, it's a band that includes Pink Floyd's David Gilmour on lead guitar, Deep Purple drummer Ian Paice, former colleague Mick Green on second guitar, and Pete Wingfield on piano. Together these oldsters push McCartney all the way back to his glory days. Here's hoping he stays there for a while.

VH1 Online - © 1999 Viacom International Inc. All Rights Reserved.



Some of the greatest rock rock concerts I ever witnessed were Paul McCartney sound checks. Few touring artists get loose like the former Fab, who warms up for his slick stadium and arena shows with long sets of rock and R&B standards -- material that recaptures some of the Beatles' Hamburg-club-era roughness. Over the years, McCartney has repeatedly revisited his musical roots (perhaps most notably on his Choba B CCP act of musical glasnost). Now, in the wake of personal tragedy, having lost the love of his life, McCartney seems to have found some solace in his earliest passions.

The resulting album is a vivid reminder of McCartney's massive natural charm and innate musicality. It's impossible not to be affected by the intimate way in which he invests himself in these primal songs of loss and love, especially "No Other Baby," a minor hit for Chad and Jeremy, and Ricky Nelson's "Lonesome Town." McCartney also successfully tackles two Elvis gems, "All Shook Up" and "I Got Stung." This is timeless teen music performed with youthful abandon but with added adult resonance. Other offerings don't require any context whatsoever -- just an open ear -- such as his delicious, Cajun-flavored cover of "Brown Eyed Handsome Man" and a tough take on "She Said Yeah." It's a testament to the quality of McCartney's three original songs -- the title track, "Try Not to Cry" and "What It Is" -- that they don't sound out of place with these short but sweet chestnuts.

Run Devil Run -- produced by McCartney with Chris Thomas and featuring backing by, among others, Pink Floyd guitarist David Gilmour and Deep Purple drummer Ian Paice -- is simultaneously heartbreaking and life affirming. It's a hint that the upbeat optimism that has caused this man to so often be critically undervalued is tied to the same strength that is seeing him through. As for the rest of us, we get a great, unpretentious rock & roll record into the bargain.

DAVID WILD - RS 824
© Copyright 2001 RollingStone.com
 

 L y r i c s


BLUE JEAN BOP

bluejean baby with your big blue eyes,
don't want you looking at other guys.
got to make you give me one more chance,
i can't keep still so, baby, let's dance.

well, the bluejean bop is the bop for me,
it's the bop that's done in the dungaree.
you dip your hip, you free your knee,
well, wiggle on your baby, one, two, three.

well, bluejean bop, bluejean bop a baby,
bluejean bop, bluejean bop a baby,
bluejean bop, baby, won't you bop with me?

yeah!

well, bluejean baby when i hop with you,
well, my heart starts a-hoppin' like a kangaroo.
my feet do things they've never done before,
well, bluejean baby, give me more, more, more

bluejean bop, a-bluejean bop a baby,
bluejean bop, bluejean bop a baby,
bluejean bop, baby, won't you bop with me?
yeah, rock me again!

well, bluejean bop, bluejean bop a baby,
bluejean bop, bluejean bop a baby,
bluejean bop, baby, won't you bop with me?

yeah, bluejean bop, bluejean bop a baby,
bluejean bop, bluejean bop a baby,
bluejean bop, baby, won't you bop with gene?


SHE SAID YEAH

dum diddle dee dum dum,
little girl, where did you come from?
you fine little thing, you make my heart sing,
come on, baby, let me buy the wedding ring.

baby, you drive me crazy, got my poor heart hazy
you got my senses reelin', ooh, baby, what a feelin'.
come on, baby, let me make love to you.

she said, "yeah!"
she said, "yeah!",
she said, "yeah, yeah, yeah!"
come on, baby, i'm gonna make love to you too.

oh, i got the feeling in my soul
you know i love no one above.
come on, baby, just let me love you, yeah.

she said, "yeah!",
she said, "yeah, yeah, yeah!"
come on, baby, i'm gonna make love with you too.

whoa! ah ha!

well, you got me crazy,
my love you've been saving
you see what i miss, i wanna kiss,
come on, baby, don't treat me like this

she said, "yeah!"
she said, "yeah!",
she said, "yeah, yeah, yeah!"
come on, baby, i'm wanna make love with you too, yeah.
she said, "yeah!"
she said, "yeah!",
she said, "yeah, yeah, yeah!"
come on, baby, i'm wanna make love to you too, yeah, yeah
come on, baby, i'm wanna make love to you too.


ALL SHOOK UP

well, a bless a my soul, what's wrong with me,
i'm itching like a man on a fuzzy tree.
my friends says i'm acting wild as a bug,
i'm in love, i'm all shook up
uh-huh-huh, uh-huh, yeah, yeah, yeah.

oh well, my hands are shaking and my knees asre week,
i can't seem to stand on my own two feet.
who do you thank when you have such luck?
i'm in love, i'm all shook up
uh-huh-huh, uh-huh, yeah, yeah, yeah.

well now, please don't ask what's on my mind,
i'm a little mixed up but i'm feeling fine.
when i met a girl that i love the best,
my heart beats so it scares me to death.

when she touched my hand what a chill i got,
her lips are like a volcano when it's hot.
i'm proud to say that she's my buttercup
i'm in love, i'm all shook up
uh-huh-huh, uh-huh, yeah, yeah, yeah!

well now, please don't ask me what's on my mind,
i'm a little mixed up but i'm feeling fine.
when i met a girl that i love best,
my heart beats so it scares me to death.

when she touched my hand what a chill i got,
her lips are like a volcano when it's hot.
i'm proud to say that she's my buttercup
i'm in love, i'm all shook up
uh-huh-huh, uh-huh, yeah, yeah, yeah,
uh-huh-huh, uh-huh, yeah, yeah,
uh-huh-huh, uh-huh, baby now, i'm all shook up!


RUN DEVIL RUN

run, devil, run, the angel's having fun,
making winners out of sinners, better leave before he's done.
when he gets through, he'll be coming after you.
listen what i'm saying to you - run -
run, devil, run.

by a swamp in alabama in the cold and damp,
sitting reading by the light of a kreosene lamp,
lives a holy roller with a mission on her mind
got to spread the word to anyone she can find.
you can hear her screaming any time of night or day
this is what she says to keep her demons away.

run, devil, run, the angel's having fun,
making winners out of sinners, better leave before he's done.
when he gets through, he'll be coming after you.
listen what i'm saying to you - run -
run, devil, run.

her brother and her sister said that she brought them down,
stepping on a bus that was heading for town.
there they started drinking, they got into a fight,
the sheriff introduced them to the jailhouse for a night.
when the holy roller came to town to pay the bill,
this is what she sang as she was leaving the jail.

run, devil, run, the angel's having fun,
making winners out of sinners, better leave before he's done.
when he gets through, he'll be coming after you.
listen what i'm saying to you - run -
run, devil, run, yeah.

well -

well, by the middle of the summer they were back at the shack,
picking cotton for a living, keepin' on the right track.
visiting the neighbours, trying to spread the good news,
singing gospel music with a hint of the blues.
all of them determined to deliver the goods,
man, you hear the music coming out of the woods.

run, devil, run, the angel's having fun,
making winners out of sinners, better leave before he's done.
when he gets through, he'll be coming after you.
listen what i'm saying to you - run -
run, devil, run.

a-you better run -
run, devil, run.
you better run -
run, devil, run.


NO OTHER BABY

but i don't want no other baby but you,
i don't want no other baby but you,
'cause no other baby can thrill me like you do.

got a little woman, lives across the hall,
i got a little woman, she lives across the hall - mm-mm,
and most ev'ry evening she's asking me to call

but i don't want no other baby but you,
no, i don't want no other baby but you,
'cause no other baby can thrill me like you do.

but lots of other women say be my daddy do,
yeah, lots of other women say be my daddy do,
but i tell them i don't want no other baby like you.

i said, i don't want no other baby but you,
no, i don't want no other baby but you,
'cause no other baby can thrill me like you do.
oo-oo -


LONESOME TOWN

there's a place where lovers go
to cry their troubles away
and they call it lonesome town
where the broken hearts stay.

well, you can buy a dream or two
to last you all through the years,
and the only price you pay
is a heart full of tears.

going down to lonesome town
where the broken hearts stay,
going down to lonesome town
to cry my troubles away.

well now, in the town of broken dreams
the streets are filled with regrets.
maybe down in lonesome town
i can learn to forget.

going down to lonesome town
where the broken hearts stay,
yeah, i'm going down to lonesome town
to cry my troubles, cry my troubles away.

in the town of broken dreams
the streets are filled with regrets, yeah.
maybe down in lonesome town
i can learn to forget.

maybe down in lonesome town
i can learn to forget.


TRY NOT TO CRY

sometimes i'm right,
sometimes i'm wrong,
how can i help it
if i don't know the song?
all day i try to be a man,
help me to do it,
show me the plan.

try, try, try,
try not to cry, cry, cry,
cry over you-ou-ou,
over you.

yes, i try, try, try
try not to cry, cry, cry,
cry over you-ou-ou,
over you.

hah!

i want to enjoy
being alive,
don't wanna leave
before i arrive.
i like to sing,
i'll sing along
how can i do it
if i don't know the song?

try, try, try,
try not to cry, cry, cry,
cry over you-ou-ou,
over you.

yes, i try, try, try
i try not to cry, cry, cry,
cry over you-ou-ou,
over you.

ah -

baby, i try, try, try,
try not to cry, cry, cry,
cry over you-ou-ou,
over you.

yes, i try, try, try
i try not to cry, cry, cry,
cry over you-ou-ou,
over you.

yeah - yeah-yeah-yeah-yeah-yeah-yeah - oo -

yes, i try,
yes, i try,
oh, i try,
yes, i try,
yes, i try,
yes, i try.


MOVIE MAGG

now, let me take you to the movies, magg,
so i can hold your hand.
oh, it ain't that i don't like your house,
it's just that doggone man
and that double barrel behind the door
that waits for me, i know.
oh, climb upon old becky's back
and let's ride to the picture show.

i only see her once a week
and it's when my work is through.
i break new ground the whole week long
but my mind's set straight on you.
and i polished up my old horse beck,
and she looks good, i know.
so climb upon old becky's back
and let's ride to the picture show.

now won't you let me take you to the show
so i can hold your hand.
oh, it ain't that i don't like your house,
it's just that doggone man
and that double barrel behind the door
that waits for me, i know.
so climb upon old becky's back
and let's ride to the picture show.

doo-doo,
doo-doo,
doo-doo.

well, i break new ground all week long
with my mind's set straight on you.
and ev'ry time i try to smile
my heart it breaks in two.
i slick myself for saturday night
'cause there's one thing i know
i'm gonna take my maggie dear
to the western picture show.

now won't you let me take you to the show
so i can hold your hand.
and it ain't that i don't like your house,
it's just that doggone man
and that double barrel behind the door
that waits for me, i know.
oh, climb upon old becky's back
and let's ride to the picture show.


BROWN EYED HANDSOME MAN

well, flying across the desert in a twa,
i saw a woman walkin' in the sand.
she'd be walking thirty miles en route to bombay
to meet a brown eyed handsome man,
her destination was a brown eyed handsome man.

way back in history three thousand years,
in fact ever since the world began,
there's been a whole lotta good women shedding tears
over a brown eyed handsome man,
a lot of trouble was a brown eyed handsome man.

well -

well, the milo de venus was a beautiful lass,
she had the world in the palm of her hand
she lost both her arms in a wrestling match
to win a brown eyed handsome man,
she fought and won herself a brown eyed handsome man.

well, a beautiful daughter couldn't make up her mind
between a doctor and a lawyer man.
her mother told her daughter go out and find yourself
a brown eyed handsome man,
just like your daddy was, a brown eyed handsome man.

well -

oh-ho!

well, a two, three the count with nobody home
he hit a hi'flyer into the stand.
a rounded third he was a-headin' for home
it was a brown eyed handsome man that won the game.
it was a brown eyed handsome man.

it was a brown eyed handsome man.


WHAT IT IS

you are what it is
that makes the world go around for me.
you are what i need
you make me feel good about myself.

you see, i love you so much,
i can never do without your touch.
i'm like a busy honey bee.

i'm always hungry for it,
how could anyone ignore it,
surely ev'rybody will agree.

that you are what it is
that makes the cloud roll around the sky.
oh yeah, you got what it takes
you make me proud to be who i am.

you see, i love you so much,
i can never be without your touch.
i'm like a busy honey bee.

i'm always hungry for it,
how could anyone ignore it,
surely ev'rybody must agree.

that you are what it is
that makes the world go around for me.
yeah, you got what i need
you make me feel good about myself.

oh-hoo-hoo!

yeah-yeah-yeah-yeah!

well, you are what it is
that makes the world go around for me.
yeah, you got what i need
you make me feel good to be myself.

you see, i love you so much,
i can never do without your touch.
i'm like a busy honey bee.

i'm always hungry for it,
how could anyone ignore it,
surely ev'rybody must agree.

that you are what it is
that makes the world go around for me.
you make the world go around for me,
yeah, you make the world go around, world go around,
world go around for me,
you're what it is!


COQUETTE

hear me, why you keep fooling, little coquette,
making fun of the one who loves you?

breakin' hearts you are rulin', little coquette, oo-oo,
true hearts tenderly dreaming of you.

someday you'll fall in love
as i fell in love with you.
maybe the one you love
will just be foolin' too.

and when you are alone with all your regrets, oo-oo,
you know, my little coquette, i love you.

mm, someday you'll fall in love
as i fell in love with you.
now, maybe the one you love
will just be foolin' too.

and when you are alone with all your regrets, oo-oo,
now, you know, my little coquette, i love you.


I GOT STUNG

holy smoke, landsakes alive,
i never thought this could happen to me.

a-ha-ha, yeah,
a-ha-ha, yeah.

i got stung by the sweet honey bee,
oh, what a feeling came over me.
well, it started in my eyes , crept up to my head,
flew into my heart 'til i was stone dead.
i'm done, a-ha, i got got stung, mm.

a-ha-ha, yeah,
a-ha-ha, yeah.

she got all that i wanted and more,
and i've seen honey bees before.
well, she started in my ear, buzzin' in my brain,
got stung all over but i feel no pain.
i'm done, a-ha, i got got stung.

well, don't think i'm complaining,
because i'm mighty pleased that we met.
but you give me one little peck on the back of my neck
and i break out in a cold, cold sweat.

if i live to be a hundred and two,
i won't let nobody sting me but you.
i'll be buzzin' round your hive ev'ryday at five,
never gonna leave once i arrive.
i'm done, a-ha, i got got stung.

i got stung, yeah,
i got stung, yeah.

well, don't think i'm complaining,
because i'm mighty pleased we met.
but you give me one little peck on the back of my neck
and i break out in a cold, cold sweat.

well, if i live to be a hundred and two,
i won't let nobody sting me but you.
i'll be buzzin' round your hive ev'ryday at five,
i'm never gonna leave once i arrive.
i'm done, a-ha, i got got stung, yeah,

i'm done, a-ha, i got got stung, yeah,
because i'm done, a-ha, i got got stung.

hey-ha-ha, yeah,
aha-ha, yeah,
aha-ha, yeah,
i got stung, yeah,
i got stung, yeah,
i got stung, yeah,
i got stung, yeah, yeah, yeah, yeah, yeah, yeah,
i got stung, yeah,
i got stung, stung, stung, yeah-yeah,
yeah, i got stung, stung, stung, stung, yeah
yeah, oh yeah, yeah, yeah, yeah, yeah-yeah


HONEY HUSH

well, come into this house, stop all that yakety yak,
i said, come into this house, stop all that yakety yak,
'cause your sugar daddy don't want no talkin' back.

well, you keep on talkin', talkin' 'bout this and that,
yeah, you keep on talkin', talkin' 'bout this and that,
i got news for you, baby, you're nothin' but an alley cat.

oh yeah!

well, it's a hi ho, hi ho silver,
hi ho, hi ho silver,
hi ho, hi ho silver,
hi ho, hi ho silver,
hi ho, hi ho silver away-hey.

yeah!

turn off the waterworks, baby, they don't move me no more,
turn off the waterworks, baby, they don't move me no more,
well, believe me, baby, i ain't comin' back no more.

ah!

i said, come into this house, stop all that yakety yak,
yeah, come into this house, woman, stop all that yakety yak,
oh, don't make me nervous, i'm holding a baseball bat.

well, it's a hi ho, hi ho silver,
hi ho, hi ho silver,
hi ho, hi ho silver,
hi ho, hi ho silver,
hi ho, hi ho silver away-hey.


SHAKE A HAND

just leave it to me,
now don't you ever be changed,
just give me a chance
and i'll take care of ev'rything.

your troubles i share,
i'll let you know when i'll be there.
i'll take care, take care of you,
any place and ev'rywhere.

shake a hand, shake a hand,
a-shake a hand if you can.
shake a hand, shake a hand,
shake a hand if you can.

oo-oo-ho!

be truthful to me
and i'll be truthful to you.
but i'm in love, i'm in love with your soul,
and i don't now just what to do.

so let's call it a day,
i've said all i've gotta say
except, oh yeah, baby, you gotta learn how to pray
and shake a hand ev'ry day.

oo-hoo!

be truthful to me
and i'll be truthful to you.
but i'm in love, i'm in love with your soul,
and i don't now just what to do.

so shake a hand, shake a hand,
shake a hand if you can.
shake a hand, shake a hand,
shake a hand if you can.


PARTY
some people like to rock,
some people like to roll,
but movin' and a groovin'
gonna satisfy my soul.

let's have party,
let's have party,
send it to the store, let's buy some more,
let's have party tonight.

i've never kissed a bear,
i've never kissed a goon,
but i can shake a chicken
in the middle of the room.

let's have party,
let's have party,
send it to the store, let's buy some more,
let's have party tonight.

now, honky tonky joe
is knockin' at the door,
bring him in and fill him up
and set him on the floor.

let's have party,
yeah, let's have party,
send it to the store, let's buy some more,
let's have party tonight.

party! party!

well, i feel it in my leg,
feel it in my shoe,
tell me, pretty baby,
if you think you feel it too.

let's have party,
let's have party,
oh, i'm gonna send it to the store, let's buy some more,
let's have party tonight.

well, some people like to rock,
some people like to roll,
but movin' and a groovin'
gonna satisfy my soul.

let's have party,
yeah, let's have party,
oh now send it to the store, let's buy some more,
let's have party tonight.
we're gonna send it to the store, let's buy some more,
have party tonight.
oh yeah, we're gonna have ourselves a little party, yeah, yeah, tonight.

i'm not givin' in, man, i'm gonna have a party, yeah
party, party, yeah, i'm not goin' home yet,
send it to the store, let's buy some more,
we're gonna have a party tonight.
some people like to rock,
people like to roll,
but movin' and a groovin'
gonna satisfy my soul,
let's have a party - ooh!


FABULOUS

well, i always knew
i was crazy for you,
but how'd i know
you'd thrill me so.
if this is love, it's fabulous.

your lips close to mine,
i get chills up my spine
and when we touch,
i thrill so much
if this is love, well, it's fabulous.

i read in a book
about love and its charms
but i never knew,
till i held you in my arms.

oh, when i hold you tight,
i know, i know i'm right,
'cause only you can do what you do,
if this is love, it's fabulous.

yeah-ah!

well, i read in a book
about love and its charms
but i never knew,
till i held you in my arms.

well, i always knew
i was crazy for you,
but how'd i know
you'd thrill me so.
if this is love, it's fabulous.
if this is love, well, it's fabulous,
if this is love, it's fabulous.

 M P 3   S a m p l e s


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