Tag: Blondie

Max Picks …songs from 1979

1979

I hate that it’s the last year of the seventies. A great decade for music and a lot of cool things. Now the eighties are coming…

A masterpiece. I was 12 when this was released and it sounded timeless even then. It was a great song in 1979 and will be great in 2079. Not only are the words inventive but this was most people’s introduction to Mark Knopfler. I wasn’t a guitar player when I was 12 but I knew he was something special.

I’ve heard this one at what seems like a thousand times but I’ll always turn it up when it comes on the radio.

Blondie members Debbie Harry and Chris Stein wrote the first version of this song in early 1974, shortly after they first met. They didn’t have a proper title for the song, and would refer to it as “The Disco Song.”

Evidently finding words to rhyme to “glass” that fit in a song were… a pain in the ass. American radio at that time frowned on that rhyme. To ensure airplay stations were sent an edited version with the offending line replaced with “soon turned out I had a heart of glass.”

This was the first song I ever knew by the Clash when I heard it on the radio in 1980. The song is credited to Mick Jones and Joe Strummer like most Clash songs. Mick Jones takes the lead vocals in this one.

They started off as a punk band but The Clash, unlike some other Punk bands, could really play and sing well…, especially Mick Jones. He is was probably the best pure musician in the band.

This song was released in 1979  was one of many signs a change was coming in music.  Gary Numan on the inspiration of the song. “A couple of blokes started peering in the window and for whatever reason took a dislike to me, so I had to take evasive action. I swerved up the pavement, scattering pedestrians everywhere. After that, I began to see the car as the tank of modern society.”

Numan has stated that he has Asperger syndrome, which is a mild form of autism, but until he was diagnosed, he had a lot of trouble relating to other people.

I was never a huge disco fan but this song always meant a lot to me. I’m a huge baseball fan and my Dodgers really sucked in 1979. The Pirates on the other hand had a 39-year-old Willie Stargell leading them to a World Series championship and this is the song that will be forever linked to that year, team, and World Series. Here’s to Pops…Willie Stargell.

…

Doors – Moonlight Drive ….Sunday Album Cut

As a teen, when I first heard these lyrics I liked it right away. Let’s swim to the moon, Let’s climb through the tide…pretty heavy stuff for a 13-year-old. This was released as the B-side of “Love Me Two Times.” The lyrics got to me and also the slide guitar that Robby Krieger played…it is hypnotic.

Jim Morrison wrote the lyrics while he was living on a rooftop in Venice Beach, California. At night everything was clear, so he would look into people’s windows, study what they were doing, and watch their TV sets.

When Jim Morrison first met Ray Manzarek this was the poem that Morrison recited for him that he wrote. Manzarek remembered Morrison from the UCLA film school. He liked the poem so much that he convinced Morrison to form a band.

They first tried to record this song as a straight blues song but it didn’t work as well so Manzarek suggested a “rock tango. This was the first song recorded by The Doors. It was left off their first album because they felt their performance wasn’t good enough. It appeared on their second Strange Days album released in 1967.

The Doors would continue to play this song for years live. It was a song that Morrison could improvise on and he did. Some of the live versions reveal a link to a sort of death by drowning – whether murder, suicide or simply going too far. Morrison sings in live performances, referring to “fishes for your friends” and “pearls for your eyes.”

There were bootlegs of Blondie covering this song circulating in the 70s…a live version but not a studio version. The studio version was released on the box set Against the Odds 1974–1982 which was just released in August of this year.

Robby Krieger: I played with the Doors, the first song we rehearsed was Moonlight Drive. I played the slide, and they all loved it; that’s probably why I ended up being in the band. John had brought Jim over to my house one day and I played some slide for them. Then we all got together the next day at this guy named Hank’s house. I had this old Magnatone amp which was really cool.
It was like a Twin, but really funky, and it had a great growl to it. I think one of the speakers was blown. It was kind of like having built-in distortion.

There are two versions of Moonlight Drive on The Doors Box Set. One is the original demo, which I didn’t even play on, and the other version is the very first recording we ever did as the Doors. That version was supposed to be on our debut album, but we ended up not using it, and a different arrangement was recorded for the second album. I always liked that first version! The funny thing is, we lost track of it for years. We finally found it when we were compiling material for the box set.

Ray Manzarek: “I knew instantly we had found ‘it,’ that indefinable, transcendent something that Kerouac refers to, I remember showing Robby the chord changes for a simple ‘G’ progression. He pulled out his bottleneck and said, ‘I’ve got an idea for this, something sort of liquid-like.’ A lot of The Doors music came to be like that – water-y. That came from living on the beach. We were actually there, whereas even The Beach Boys, for instance, didn’t really live on the beach.”

Moonlight Drive

Let’s swim to the moon, uh-huh
Let’s climb through the tide
Penetrate the evenin’ that the
City sleeps to hide
Let’s swim out tonight, love
It’s our turn to try
Parked beside the ocean on our
Moonlight drive

Let’s swim to the moon, uh-huh
Let’s climb through the tide
Surrender to the waiting worlds
That lap against our side
Nothin’ left open and no
Time to decide
We’ve stepped into a river on our
Moonlight drive

Let’s swim to the moon
Let’s climb through the tide
You reach your hand to hold me
But I can’t be your guide
Easy, I love you as I
Watch you glide
Falling through wet forests on our
Moonlight drive, baby
Moonlight drive

Come on, baby, gonna take a little ride, down
Down by the ocean side, gonna get real close
Get real tight
Baby gonna drown tonight
Goin’ down, down, down

Blondie – Heart Of Glass

Off all the Blondie songs I’ve covered I never touched this one…I thought I would correct that today.  It’s probably their biggest hit…it peaked at #1 in the Billboard 100, Canada, the UK, and New Zealand.

The song did cause some problems for the band. The rock crowd thought they sold out and the disco crowd thought they were punks. For a while they were outcasts from both crowds.

Blondie members Debbie Harry and Chris Stein wrote the first version of this song in early 1974, shortly after they first met. They didn’t have a proper title for the song, and would refer to it as “The Disco Song.”

Evidently finding words to rhyme to “glass” that fit in a song were… a pain in the ass. American radio at that time frowned on that rhyme. To ensure airplay stations were sent an edited version with the offending line replaced with “soon turned out I had a heart of glass.”

John Lennon was a fan of the song. He wrote Ringo Starr a postcard advising him to write more songs like “Heart of Glass.” Debbie Harry found out about that and said “It was totally wonderful knowing that.”

Debbie Harry : “Lyrically, it was about a stalker who was pursuing me, and Chris saved me from him.”

Debbie Harry: “When we did Heart Of Glass it wasn’t too cool in our social set to play disco. But we did it because we wanted to be uncool. It was based around a Roland Rhythm Machine and the backing took over 10 hours to get down.”

Keyboardist Jimmy Destri:“These new wave kids think they know everything about rock and roll, but they won’t accept anything else. They should listen to the album and realize that we haven’t changed our direction that radically. We haven’t become the Bee Gees.”

An early version of this song called “Once I Had a Love (aka The Disco Song)” was included in the 2001 reissue of the Parallel Lines album…I have it below in one of the videos.

From Songfacts

It wasn’t until they recorded this song in 1978 that Stein came up with the title “Heart Of Glass.” He didn’t know that it was also the title of a 1976 German movie directed by Werner Herzog.

According to Rolling Stone magazine’s Top 500 Songs, Harry and Stein wrote the song in their dingy New York apartment and keyboardist Jimmy Destri provided the synthesizer hook. The result brought punk and disco together on the dance floor. Said Destri, “Chris always wanted to do disco. We used to do ‘Heart Of Glass’ to upset people.”

Chris Stein added, “We didn’t expect the original to be that big. We only did it as a novelty item to put more diversity into the album.”

Blondie re-recorded this in 1978 in a reggae style, but their producer Mike Chapman suggested reggae didn’t sell in America. As Harry and Stein had a fascination with the disco sound that was then sweeping the country, so they adopted a sound that was an amalgamation of their New Wave background and Eurodisco.

In the last chorus, following “Once I had a love and it was a gas,” Debbie Harry takes a different tack, singing “Soon turned out to be a pain in the ass.” This is a key line in the song, since the singer has now realized that this relationship is more trouble than it’s worth, and that her heart of glass might be more durable than she thought.

The sound of the CR-78 drum machine was merged with that of drummer Clem Burke’s real drums, which was no easy task in the analog age. Burke took his inspiration from the groove of one of his favorite songs: The Bee Gees’ “Stayin Alive.”

The song’s lyric turns the traditional heartbreak theme on its head. Debbie Harry explained in Q magazine: “I was tired of hearing girl singers write or sing about being beaten by love. So I said, Well listen, there are also a lot of girls who just walk away.”

The success of “Heart of Glass” launched Parallel Lines and Blondie into mainstream success, but it caused a lot of friction with some of their original fan base, which felt Blondie had sold out.

In a 1979 Los Angeles Times piece, Richard Cromelin observed, “‘Death To Disco’ T-shirts weren’t an uncommon sight among the new wave audience that formed Blondie’s first base of support. But, as it turns out, it’s disco that’s given life to Blondie.”

Blondie guitarist Chris Stein responded, “We probably have alienated some of that original audience, but I really don’t have sympathy for anybody that says we’ve sold out.”

Miley Cyrus performed a cover of the song at the 2020 iHeartRadio Music Festival on September 19, 2020. Her version impressed fans and colleagues alike and an audio recording of the live performance was released to streaming services 10 days later.

Blondie’s official Twitter account re-tweeted a video of Cyrus’ iHeartRadio performance and wrote, “We think Miley Cyrus nailed it. Check it out.”

Cyrus’ version returned the song to the UK Top 40.

Heart Of Glass

Once I had a love and it was a gas
Soon turned out had a heart of glass
Seemed like the real thing, only to find
Mucho mistrust, love’s gone behind

Once I had a love and it was divine
Soon found out I was losing my mind
It seemed like the real thing but I was so blind
Mucho mistrust, love’s gone behind

In between
What I find is pleasing and I’m feeling fine
Love is so confusing there’s no peace of mind
If I fear I’m losing you it’s just no good
You teasing like you do

Once I had a love and it was a gas
Soon turned out had a heart of glass
Seemed like the real thing, only to find
Mucho mistrust, love’s gone behind

Lost inside
Adorable illusion and I cannot hide
I’m the one you’re using, please don’t push me aside
We coulda made it cruising, yeah

Yeah, riding high on love’s true bluish light

In between
What I find is pleasing and I’m feeling fine
Love is so confusing there’s no peace of mind
If I fear I’m losing you it’s just no good
You teasing like you do

Blondie – One Way Or Another

Let’s move from Christmas to Blondie…not a bad thing. I hope everyone had a great Christmas/Holiday.

Yet another great pop/rock single by Blondie. Blondie had a short window but they made the best of it. They had 4 number 1 hits, 4 top 10 hits, and 10 songs in the Billboard 100 total.

Lead singer Debbie Harry wrote this song with the group’s bass player, Nigel Harrison. Harry wrote the lyrics to Blondie’s songs, but composer credit for the music was generally given solely to whoever made the biggest contribution. This was often guitarist Chris Stein, who co-wrote “Rapture” and “Heart Of Glass.”

The song was on the Parallel Lines album and peaked at #24 in the Billboard 100 in 1979.

From Songfacts

This song is about a stalker. The lyrics are very dark and go into detail about a guy with evil intentions, but the music is very light and catchy, which masked the meaning of the song. According to Blondie lead singer Debbie Harry, it was inspired by real events. She told Entertainment Weekly: “I was actually stalked by a nutjob, so it came out of a not-so-friendly personal event. I tried to inject a little levity into it to make it more lighthearted. It was a survival mechanism.”

Harry says that the title and the idea for the song popped into her head during a rehearsal, and most of the song was hashed out on the spot.

This was featured on a 2011 episode of the TV show Glee in a mashup with “Hit Me With Your Best Shot.” The medley by the Glee Cast was released as a single and went to #86 in the US.

With radio-friendly songs like this one, Blondie was one of the first Punk bands to have Pop success. They played clubs like CBGB’s (stands for Country, BlueGrass, Blues) with bands like The Ramones and Television, but their songs were much lighter and led to mainstream acceptance. The Police and Talking Heads are other groups that came out of that scene.

In 2013 the UK boyband One Direction recorded a new version of this song, mashing it up with The Undertones’ “Teenage Kicks.” It was recorded to mark the 25th anniversary of the fundraising event Red Nose Day and was a hit in both the UK where it topped the chart and the US where it peaked at #13.

Kristen Bell sings this (quite well) at karaoke in the 2005 Veronica Mars episode “Clash Of The Tritons,” where she uses the song to alert a gang of her intentions.

One Way Or Another

One way or another, I’m gonna find ya
I’m gonna get ya, get ya, get ya, get ya
One way or another, I’m gonna win ya
I’m gonna get ya, get ya ,get ya, get ya
One way or another, I’m gonna see ya
I’m gonna meet ya, meet ya, meet ya, meet ya
One day, maybe next week, I’m gonna meet ya
I’m gonna meet ya, I’ll meet ya

I will drive past your house
And if the lights are all down
I’ll see who’s around

One way or another, I’m gonna find ya
I’m gonna get ya, get ya, get ya, get ya
One way or another, I’m gonna win ya
I’ll get ya, I’ll get ya
One way or another, I’m gonna see ya
I’m gonna meet ya, meet ya, meet ya, meet ya
One day, maybe next week, I’m gonna meet ya
I’ll meet ya, ah

And if the lights are all out
I’ll follow your bus downtown
See who’s hangin’ out

One way or another, I’m gonna lose ya
I’m gonna give you the slip
A slip of the hip or another, I’m gonna lose ya
I’m gonna trick ya, I’ll trick ya
One way or another, I’m gonna lose ya
I’m gonna trick ya, trick ya, trick ya, trick ya
One way or another, I’m gonna lose ya
I’m gonna give you the slip

I’ll walk down the mall
Stand over by the wall
Where I can see it all
Find out who ya call
Lead you to the supermarket checkout
Some specials and rat food
Get lost in the crowd

One way or another, I’m gonna get ya (where I can see it all, find out who ya call)
I’ll get ya, get ya, get ya, get ya
One way or another, I’m gonna get ya (where I can see it all, find out who ya call)
I’ll get ya, get ya, get ya, get ya
One way or another, I’m gonna get ya (where I can see it all, find out who ya call)
I’ll get ya, get ya, get ya, get ya
One way or another, I’m gonna get ya (where I can see it all, find out who ya call)
I’ll get ya, get ya, get ya, get ya
One way or another, I’m gonna get ya (where I can see it all, find out who ya call)
I’ll get ya, get ya, get ya, get ya
One way or another, I’m gonna get ya (where I can see it all, find out who ya call)
I’ll get ya, get ya, get ya, get ya

Blondie – Dreaming

Dreamin’, dreamin’ is free
In the late seventies early eighties for a short window, Blondie couldn’t lose. Blondie only had 10 songs in the top 100 but they made the best of it. Out of those 10 songs were four number one hits. This one wasn’t of the number ones but it’s a great song nonetheless. It peaked at #27 in the Billboard 100 in 1979.

Blondie guitarist Chris Stein wrote the music for this song and came up with the line “dreaming is free.” Lead singer Debbie Harry wrote the other lyrics to the songs like she did on their other songs.

When I think of Blondie the image of Debbie Harry comes to mind of course…but as a band, they were really good. Chris Stein was a very good musician but my favorite member…other than Debbie is the drummer Clem Burke who is exceptionally good. He is a huge Keith Moon fan and when Keith died he destroyed his drum kit in Keith’s honor. He also thanked Keith Moon and the Beatles at Blondie’s Rock and Roll Hall of Fame acceptance speech.

From Songfacts

The song starts out with a coherent story – Harry getting propositioned in a restaurant – but it quickly veers off in many directions, simulating a dream where one idea jumps to the next with no real rhyme or reason. It works well with the theme and with the track, including the bridge where Harry repeats the first word of each line:

Feet feet, walking a two mile
Meet meet, meet me at the turnstile

A similar structure can be heard in the 1982 Kim Wilde song “Kids In America.”

Chris Stein said this song was “pretty much a cop” of “Dancing Queen” by ABBA.

Perhaps is was just a convenient word to rhyme with “pleasure,” but when Harry sings “A movie or a measure,” the word “measure” could be interpreted a few different ways. It might mean a plan of action, as in taking some kind of trip, or possibly a measure in the musical sense, meaning the rhythm.

Dreaming

When I met you in the restaurant you could tell I was no debutante
You asked me what’s my pleasure, “A movie or a measure”?
I’ll have a cup of tea and tell you of my dreamin’
Dreamin’ is free
Dreamin’, dreaming is free

I don’t want to live on charity
Pleasure’s real or is it fantasy?
Reel to reel is living verite
People stop and stare at me, we just walk on by
We just keep on dreamin’

Beat feet, walking a two-mile
Meet me, meet me at the turnstile
I never met him, I’ll never forget him
Dream dream, even for a little while
Dream dream, filling up an idle hour
Fade away, radiate

I sit by and watch the river flow
I sit by and watch the traffic go
Imagine something of your very own, something you can have and hold
I’d build a road in gold just to have some dreamin’
Dreamin’ is free
Dreamin’, dreamin’ is free

Dreamin’, dreamin’ is free
Dreamin’, dreamin’ is free

Nerves – Hanging On The Telephone Line —Powerpop Friday

Although this was a big hit for Blondie in 1978, it was actually first recorded by The Nerves, who released it on their one and only EP, in 1976.  The song was written by the band’s guitarist Jack Lee.

It was picked up by Blondie, it reached #5 on the UK singles chart. It was Blondie’s second release from the Parallel Lines album on the Chrysalis label

When Debbie Harry rang asking Lee if she could record this song, Lee readily agreed and the rest was history. Jack Lee said the call couldn’t have come at a better time.  “I remember the day vividly,” he recalled. “It was a Friday. They were going to cut off our electricity at six o’clock, the phone too.”

From Songfacts

Lee regretted his own version was never a hit, but said he always knew it was a special song: “Even people who hated me – and there were plenty – had to admit it was great.”

The song has subsequently been covered by many acts. These include UK girl band Girls Aloud and Def Leppard, who in 2006, both released covers of the song, on a limited edition bonus disc to The Sound of Girls Aloud and on Yeah! respectively.

Hanging On The Telephone Line

I’m in the phone booth, it’s the one across the hall
If you don’t answer, I’ll just ring it off the wall
I know he’s there, but I just had to call

Don’t leave me hanging on the telephone
Don’t leave me hanging on the telephone

I heard your mother, now she’s going out the door
Did she go to work or just go to the store?
All those things she said, I told you to ignore
Oh, why can’t we talk again?
Oh, why can’t we talk again?
Oh, why can’t we talk again?

Don’t leave me hanging on the telephone
Don’t leave me hanging on the telephone

It’s good to hear your voice, you know it’s been so long
If I don’t get your calls, then everything goes wrong
I want to tell you something you’ve known all along

Don’t leave me hanging on the telephone

I had to interrupt and stop this conversation
Your voice across the line gives me a strange sensation
I’d like to talk when I can show you my affection
Oh, I can’t control myself
Oh, I can’t control myself
Oh, I can’t control myself

Don’t leave me hanging on the telephone

Hang up and run to me
Whoa, hang up and run to me
Whoa, hang up and run to me
Whoa, hang up and run to me
Whoa oh oh oh, run to me

Blondie – Call Me

Blondie only had 10 songs in the top 100 but they made the best of it. Out of those 10 songs were four number one hits. This song was made for the American Gigolo movie.

Call Me was written for Stevie Nicks to sing, I just can’t see Stevie pulling this off with the force that Debbie did. This was the most successful of all Blondie singles in the US, where it was the best-selling single of 1980.

European disco producer Giorgio Moroder wrote this with Blondie lead singer Debbie Harry, who became the first woman in British chart history to write three #1 hits. However, she wasn’t Moroder’s first choice. Moroder had originally wanted Stevie Nicks to provide vocals on the track but the Fleetwood Mac vocalist declined the offer. Debbie wrote most of the lyrics with Moroder.

Chris Stein, Blondie’s guitarist said that some of Moroder’s lyrics were sexually blatant and when Debbie started to rewrite it…she was much more subtle. The song was released on the American Gigolo soundtrack. In 2001 the song was included as a bonus track on the Autoamerican release.

Chris Stein: Debbie’s lyrics are much more subtle than the ones he wrote. His thing was very direct like saying I am a man and I go out and I f*** all the girls. Debbie’s lyrics are a lot more subtle and the movie in a way is not that blatant, it is sort of subtle.

From Songfacts

This song is about a prostitute. It was written for the film American Gigolo, where it plays in a scene where the lead character is “working.”

In 2002, The Box Tops recorded this for the compilation album When Pigs Fly: Songs You Never Thought You’d Hear. Cevin Soling, who was executive producer on the album, explains: “I got the Box Tops back together again, and that was a blast. That was so much fun working with the Box Tops. Especially with Alex Chilton there singing. I didn’t produce that. I was in the studio, but the producer on that one was a buy named Benji King, who was the keyboard player for the band Scandal. That studio experience was pretty funny, because he’s so full of energy. He’s always excited and always really into things. The Box Tops are each one degree more laid back to the next. Coming from the South, they’re all kind of very chill. Until you get to Alex Chilton, who’s practically catatonic. And so you have that contrast.” 

In 2009, Franz Ferdinand covered this song for the War Child Presents Heroes charity album.

This song was covered by the heavy metal band In This Moment on their 2008 album, The Dream.

Giorgio Moroder told Billboard magazine that his difficult experience of recording this song with Blondie taught him not to work with rock bands. “There were always fights,” he recalled. “I was supposed to do an album with them after that. We went to the studio, and the guitarist was fighting with the keyboard player. I called their manager and quit.”

Call Me

Color me your color, baby
Color me your car
Color me your color, darling
I know who you are
Come up off your color chart
I know where you’re comin’ from

Call me (call me) on the line
Call me, call me any, anytime
Call me (call me) my love
You can call me any day or night
Call me

Cover me with kisses, baby
Cover me with love
Roll me in designer sheets
I’ll never get enough
Emotions come, I don’t know why
Cover up love’s alibi

Call me (call me) on the line
Call me, call me any, anytime
Call me (call me) oh love
When you’re ready we can share the wine
Call me

Oh, oh, oh, oh, oh, he speaks the languages of love
Oh, oh, oh, oh, oh, amore, chiamami, chiamami
Oh, oh, oh, oh, oh, appelle-moi mon cherie, appelle-moi
Anytime, anyplace, anywhere, any way
Anytime, anyplace, anywhere, any day-ay

Call me (call me) my love
Call me, call me any, anytime
Call me (call me) for a ride
Call me, call me for some overtime
Call me (call me) my love
Call me, call me in a sweet design
Call me (call me), call me for your lover’s lover’s alibi
Call me (call me) on the line
Call me, call me any, anytime
Call me (call me)
Oh, call me, oh, oh, ah
Call me (call me) my love
Call me, call me any, anytime

Blondie – The Tide is High

I remember hearing this a lot in 1981. The Tide Is High,” a remake of an obscure 1967 song by the Jamaican group the Paragons (Very good version by the way). It was released in 1980 but peaked in 1981 at #1 in the Billboard 100, the UK and Canada. It was written by Jamaican DJ Duke Reid in the 1930s

This is interesting. Sean Lennon said: “My father had an old Wurlitzer in the game room of our house on Long Island. It was filled with 45s, mostly Elvis and The Everly Brothers. The one modern song I remember him listening to was ‘The Tide Is High’ by Blondie, which he played constantly. When I hear that song, I see my father, unshaven, his hair pulled back into a ponytail, dancing to and fro in a worn-out pair of denim shorts, with me at his feet, trying my best to coordinate tiny limbs.”

From Songfacts.

Blondie experimented with many different sounds. They were a punk/new wave band in their early years, making a name playing clubs like CBGB’s in New York. This song was their foray into reggae, but they played around with rap on “Rapture” and with disco on “Heart Of Glass.”

Debbie Harry in 1000 UK #1 Hits by Jon Kutner and Spencer Leigh: “I first heard ‘The Tide Is High’ on a compilation tape that someone had given me while we were in London. Chris (Stein) and I both fell in love with the song and decided it was too good to resist.”

Blondie wanted to give the song a Jamaican feel, so they hired three percussion players and created a new string and horn arrangement to give it an authentic sound. According to Chris Stein, the percussion includes “eight tracks of drum sticks tapping on a piano bench.”

 

The Tide is High

The tide is high but I’m holdin’ on
I’m gonna be your number one
I’m not the kind-a girl who gives up just like that, oh no

It’s not the things you do that tease and hurt me bad
But it’s the way you do the things you do to me
I’m not the kind-a girl who gives up just like that, oh no

The tide is high but I’m holdin’ on
I’m gonna be your number one, number one.

Ev’ry girl wants you to be her man
But I’ll wait my dear till it’s my turn
I’m not the kind-a girl who gives up just like that, oh no

The tide is high but I’m holdin’ on
I’m gonna be your number one, number one, number one

Ev’ry girl wants you to be her man
But I’ll wait my dear till it’s my turn
I’m not the kind-a girl who gives up just like that, oh no

The tide is high but I’m holding on
I’m gonna be your number one, number one, number one

The tide is high but I’m holding on
I’m gonna be your number one
The tide is high but I’m holding on
I’m gonna be your number one
The tide is high but I’m holding on
I’m gonna be your number one