R&b Lyrics Quotes

When there's music in your soul, there's soul in your music.

MOST DAYS MY LIFE CAN BE SUMMED UP IN MOVIE QUOTES AND HIP HOP AND R&B LYRICS

You see, there's some blues for folks ain't never had a thing, and that's a sad blues ... but the saddest kind of blues is for them that's had everything they ever wanted and has lost it, and knows it won't come back no more. Ain't no sufferin' in this world worse than that; and that's the blue we call 'I Had It But It's All Gone Now.

Dylan's voice was awful, an aged quaver that sounded nothing like the deep-throated or silky R&B that Dad took as gospel. But the lyrics wore him down, until he played Dylan in that addicted manner of college kids who cordon off portions of their lives to decipher the prophecies of their favorite band. Dad heard poetry, but more than that an angle that confirmed what a latent part of him already suspected. This was was bullshit.

For Dylan, this electric assault threatened to suck the air out of everything else, only there was too much radio oxygen to suck. “Like a Rolling Stone” was the giant, all-consuming anthem of the new “generation gap” disguised as a dandy’s riddle, a dealer’s come-on. As a two-sided single, it dwarfed all comers, disarmed and rejuvenated listeners at each hearing, and created vast new imaginative spaces for groups to explore both sonically and conceptually. It came out just after Dylan’s final acoustic tour of Britain, where his lyrical profusion made him a bard, whose tabloid accolade took the form of political epithet: “anarchist.” As caught on film by D. A. Pennebaker’s documentary Don’t Look Back, the young folkie had already graduated to rock star in everything but instrumentation. “Satisfaction” held Dylan back at number two during its four-week July hold on Billboard’s summit, giving way to Herman’s Hermits’ “I’m Henry the Eighth, I Am” and Sonny and Cher’s “I Got You Babe” come August, novelty capstones to Dylan’s unending riddle. (In Britain, Dylan stalled at number four.) The ratio of classics to typical pop schlock, like Freddie and the Dreamers’ “I’m Telling You Now” or Tom Jones’s “It’s Not Unusual,” suddenly got inverted. For cosmic perspective, yesterday’s fireball, Elvis Presley, sang “Do the Clam.” Most critics have noted the Dylan influence on Lennon’s narratives. Less space gets devoted to Lennon’s effect on Dylan, which was overt: think of how Dylan rewires Chuck Berry (“Subterranean Homesick Blues”) or revels in inanity (“Rainy Day Women #12 & 35”). Even more telling, Lennon’s keening vocal harmonies in “Nowhere Man,” “And Your Bird Can Sing,” and “Dr. Robert” owed as much to the Byrds and the Beach Boys, high-production turf Dylan simply abjured. Lennon also had more stylistic stretch, both in his Beatle context and within his own sensibility, as in the pagan balalaikas in “Girl” or the deliberate amplifier feedback tripping “I Feel Fine.” Where Dylan skewed R&B to suit his psychological bent, Lennon pursued radical feats of integration wearing a hipster’s arty façade, the moptop teaching the quiet con. Building up toward Rubber Soul throughout 1965, Beatle gravity exerted subtle yet inexorable force in all directions.

I miss you like the melodies and love-driven lyrics of old R&B. I miss you like a long, lost love that I’ll never get back again. I miss you like I miss you – like only I could miss you.

Then Barry came up with our opening line: “You never close your eyes anymore when I kiss your lips.” MANN: My heart had been broken a few times before I met Cynthia, so it wasn’t a stretch to feel that lyric.

In its April 1955 story about the new music – typified as rock ’n’ roll rather than R&B – Life magazine observed the growing controversy created by the adoption of this Black musical form by white teenagers: ‘In New Haven, Conn, the police chief has put a damper on rock ’n’ roll parties and other towns are following suit. Radio networks are worried over questionable lyrics in rock ’n’ roll. And some American parents, without quite knowing what it is their kids are up to, are worried that it’s something they shouldn’t be . . . But hardly a teen-ager afoot had time to listen.