The Housemartins were an English indie pop band that was active in the 1980s. Many of the Housemartins' lyrics were a mixture of Marxist politics and Christianity, reflecting singer Paul Heaton's beliefs at the time (the back cover of London 0 Hull 4 contained the message, "Take Jesus - Take Marx - Take Hope").
The band was formed in late 1983 by Paul Heaton (vocals) and Stan Cullimore (guitar), and they initially performed as a busking duo. Note that throughout his tenure with the band, Heaton idiosyncratically billed himself as "P.d. Heaton".
The Heaton/Cullimore duo recorded a demo tape with Ingo Dewsnap of Les Zeiga Fleurs, which brought them to the attention of Go Discs. They then expanded by recruiting Ted Key (bass), former guitarist with The Gargoyles, and Justin Patrick [drummer on loan from Udomsuksa!] who was then replaced by Chris Lang. The band's membership changed considerably over the years. Key left at the end of 1985 and was replaced by Norman Cook (the future Fatboy Slim). Drummer Chris Lang was replaced by Hugh Whitaker, former drummer with The Gargoyles, who in turn was replaced with Dave Hemingway.
Walter Brown ("Brownie") McGhee (November 30, 1915 - February 16, 1996) was a Piedmont blues singer and guitarist, best known for his collaborations with the harmonica player Sonny Terry.
Brownie McGhee was born in Knoxville, Tennessee and grew up in Kingsport, Tennessee. As a child he had polio, which incapacitated his leg. His brother Granville "Sticks" or "Stick" McGhee was nicknamed for pushing young Brownie around in a cart. His father, George McGhee, was a factory worker known around University Avenue for playing guitar and singing. Brownie's uncle made him a guitar from a tin marshmallow box and a piece of board. McGhee spent much of his youth immersed in music, singing with local harmony group the Golden Voices Gospel Quartet and teaching himself to play guitar. A March of Dimes-funded leg operation enabled McGhee to walk.
At age 22, Brownie McGhee became a traveling musician, working in the Rabbit Foot Minstrels and befriending Blind Boy Fuller, whose guitar playing influenced him greatly. After Fuller's death in 1941, J. B. Long of Columbia Records had McGhee adopt his mentor's name, branding him "Blind Boy Fuller No. 2." By that time, McGhee was recording for Columbia's subsidiary Okeh Records in Chicago, but his real success came after he moved to New York in 1942, when he teamed up with Sonny Terry, whom he had known since 1939 when Sonny was Blind Boy Fuller's harmonica player. The pairing was an overnight success; as well as recording, they toured together until around 1980. As a duo, Sonny Terry and Brownie McGhee did most of their work from 1958 until 1980, spending 11 months of each year touring, and recording dozens of albums.
Peter "Pete" Seeger (born May 3, 1919) is an American folk singer and an iconic figure in the mid-20th-century American folk music revival. A fixture on nationwide radio in the 1940s, he also had a string of hit records during the early 1950s as a member of The Weavers, most notably their recording of Lead Belly's "Goodnight, Irene", which topped the charts for 13 weeks in 1950. Members of The Weavers were blacklisted during the McCarthy Era. In the 1960s, he re-emerged on the public scene as a prominent singer of protest music in support of international disarmament, civil rights, and environmental causes.
As a song writer, he is best known as the author or co-author of "Where Have All the Flowers Gone?", "If I Had a Hammer (The Hammer Song)", (composed with Lee Hays of The Weavers), and "Turn, Turn, Turn!", which have been recorded by many artists both in and outside the folk revival movement and are still sung throughout the world. "Flowers" was a hit recording for The Kingston Trio (1962); Marlene Dietrich, who recorded it in English, German and French (1962); and Johnny Rivers (1965). "If I Had a Hammer" was a hit for Peter, Paul & Mary (1962) and Trini Lopez (1963), while The Byrds popularized "Turn, Turn, Turn!" in the mid-1960s, as did Judy Collins in 1964, and The Seekers in 1966. Seeger was one of the folksingers most responsible for popularizing the spiritual "We Shall Overcome" (also recorded by Joan Baez and many other singer-activists) that became the acknowledged anthem of the 1960s American Civil Rights Movement, soon after folk singer and activist Guy Carawan introduced it at the founding meeting of the Student Nonviolent Coordinating Committee (SNCC) in 1960. In the PBS "American Masters" episode Pete Seeger: The Power of Song, Seeger states it was he who changed the lyric from the traditional "We will overcome" to the more singable "We shall overcome".
On the inside...
My deepest thoughts, my highest high
Were part of you like sun and sky
My darkest hour, my closest friend
You gave me power to reach the end
Love will come, hold you again
Love will come, wipe away the pain
Hear my heart, call out your name
Driven worlds apart, picture in a frame
On the inside...
The sweetest dream, the coldest tear
Still haunt the room like you were here
A ghost of love, a ghost of hate
The heart forgives, the mind can't wait
Love will come, call out your name
Love will come, hold you again
Hear my heart, call out your name
Driven worlds apart, picture in a frame
Love will come, call out your name
Love will come, I hold you again
Hear my heart, call out your name
Light a light before this
Right in front of me
I need to tell you
You'll see
Mmm, call your name out loud now
Call just to see
I call out to tell you to listen for me
Then I stand on your shoulders
I see the way
Oh, and just beyond the brickers
Yeah, just me and my dad
We found a way to find a way
To be glad, oh
And then I stand on your shoulders
I see the way another time over
I'll see you again
Again, oh, again
And then I stand on your shoulders
I see the way another time over, yeah
I stand on your shoulders
I see the way, yeah
And now you
And now you
Oh you love it,
You like to see me when I'm down,
Oh you love it,
You like to see me on the ground,
For cryin' out loud,
Oh you love it,
You like to see me running wild,
Oh you love it,
You like to see this broken smile,
'Cause all the while,
The lights are on,
You can see it for miles,
And it's warming, and it's warming me,
The lights are on,
So just come on in,
In this contrary,
Is what I believe now,
See I trust in family,
And if I can't make it,
I know you would be around now,
And if someone's faking,
I know you I can rely on,
Oh you love it,
You like to see me when I'm down...
And it's good to know, it's good to know
that, well it's good to know, it's good to
known that you'll be waiting for me.
Am I mistaken,
Or maybe just high,
To miss your sad face,
To see you walk by,
See I'm busy but I,
I don't bat an eye,
I'll tell you now though,
Maybe I'll try,
You're still in the light,
You're still in my eyes,
So don't say goodbye love,
You see me in sight,
Don't try to hide it, well,
Am I mistaken,
Or maybe just high,
I'd kiss your sad face,
To stop you from crying,
I'm sure you don't expect this,
'Cause I can be unexpected,
I'd shout the whole world down,
Just to tell you,
Just to say I see you now,
Am I mistaken,
To the side is where I'd hang my hat,
Up the stairs where you lay,
Over there in the well lit hall,
Over there where you're saying,
Get out get out,
Boy you know you've made a mess here,
You try you try but it's over,
Get up get up now you're stalled out in the doorway,
Get out get out it's a cold year,
Over there is where I'd lay my head,
Over there where it ends,
'Round teh bend just to get some air,
'Round the bend again,
Hi there
Here are the lyrics
To sorry again
In this serious debate I'm
Caught low and disarmed
And I never mean
To make you cry
But this smoke
Rings alarms
Chorus:
'Cause I would walk straight
Into the thundering
Just to prove
That I am still a man
In this serious debate I'm
Well I'm sorry again
Yeah, you're just the same
The likes of you
Oh, I've set it off
Again now
Maybe my mistake
For judging you
Maybe now
I'll say I'm wrong
(Chorus)
Well I'm sorry again
Well I'm sorry again
You wait
A night like this
Kept you wishing
For a night like this again
So i'll take your hand
And set you falling into the air
And oh, love
Take this night and
All it's stars well
Could it be anyone else with you?
No no no
Take this time now
And all this charm well
Could it be anyone else here?
Oh someone
Tripped you up
And sent you reeling, right into me
So come along now
Let me see what i've got here for you oh
And oh love
Take this night and
All it's stars well
Could it be anyone else with you?
No no no
Take this time now
And all it's charm well
Could it be anyone else?
It's alright
So close your eyes and hold tight
Cause a night like this
Kept you wishing
For a night like this again
Take this night and
All it's stars well
Could it be anyone else with you?
No no no
Take this time now
And all it's charm well
Could it be anyone else with you here right now ya
Take this night and
All it's stars well
Could it be anyone else with you?
No no no
Take this time now
And all it's charm well
Could it be anyone else?
Listen Isa, don't you cry
I can tell you've seen a fight
All that's hurt is just your pride
It's not a matter of which side I'm on
And not for all the bottles
Or the million dollars
Would I ever trade my fire?
Listen brother, don't be mad
Isa's scared, she's lost the boy that she once had
You know she's proud that you're her dad
It must be hard with all the changes
And not for all the bottles
Or the million dollars
Would I ever trade my fire? Oh, no
And if it came tomorrow
I would give my cold soul
Just to see you smile again
Listen Isa, don't you cry
Listen Isa, don't you cry
What did I say?
I said I'm out of fear
She said where will you go?
Out there on your own
And hey, will you be alright?
If I leave you alone?
Do you need to
Someone to make you home?
Wait until morning
Wait until morning
Wait 'till the sun comes up
Wait for the day, just don't wait for me
Was it something I said to make you mad?
No, you just wanted more of me
But all I had, in this chance to be strong now
To be alone, so I'll hit the ground running
Sorry, so
Wait until morning
Wait until morning
Wait 'till the sun comes up
Wait for the day, yeah, just don't wait for me
I make this more than ordinary, yeah
So we can forget, yeah
We'll keep this thing open wide, yeah
Unless there's no regrets
Yeah, oh, wait until morning
Wait until morning
Wait 'till the sun comes up
Wait for the day, yeah, yeah, yeah
Just don't wait for me
No, don't wait for me
No, don't wait for me, yeah, yeah
Don't wait for me