Just For You Lasswell Mp3 Download Lyrics

Thank you for posting the lyrics. My native language is German, and I did not understand every single word. Interesting facts which you found out. I thought the words were those of some weird preacherman, but I did not guess they are more or less taken from the bible.

I think this song is about someone who lost someone, and their friend is trying to help them through it, however this person (who lost the person) just can't get over whoever they loved that died. I also think the song could be about someone who's lover broke up with them and their struggling to get over their love.

Just For You Lasswell Mp3 Download Lyrics

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Look around you you're the only one dragging this out (with the relationship idea this would be about the lover, for he/she would be dragging out what ever is left of their relationship, however with the loss of a loved one, it would be similar, with the person dragging out the memory of the person, and carrying or dragging the baggage of the person's memory around with them everywhere, and instead of remembering the happy times they would just stay attached to the sadness. )

Now! To address this line: "it's the blaze across your nightgown/ it's the phone's ring"I believe that the "blaze" is the passion that Greg and she shared (this assumption only comes with the mention of the word "nightgown"). From this, Greg's refering to their passion as his calling her, aka he still has feelings for her (but because of the closet line, I'm still assuming that he just wants to make things clear before he even thinks of moving on).

This is a beautiful song. Its one of those songs that can just make you cry in an instant. I dont know what the song is about. But in my point of view, it reminds me of someone who is thinking of a loved one who has pass. And they cant get over them. Im sure i might be wrong but for some reason everytime i hear this song it remind me of death and love.

The original song by Kristen Hersh says, "Blaze across my nightgown."

Before I knew it was a cover I thought that meant the girl he was singing about died in a fire but since the lyrics are the above... It's a bit cryptic.

She may have meant like... A flash of light at night while she walks. It reminds her of the person she lost. It's like a flashback I guess. I dunno though.

The rest of the song is pretty obvious though.

This was used at the end the Dollhouse episode "A Love Supreme". Two characters were struggling with the loss and the remnants of their loved ones. So arod, your description isn't off at all. Certainly a common interpretation.And I agree - it's one of those songs that just draws out the tears and doesn't stop.

After listening to this song on repeat for a few days, and falling in absolute LOVE with the lyrics and melody, I personally draw my own conclusion as to what it means. I think it's about someone calling someone who is now with another person. The person their with, answering the phone, and going off on the guy. I believe he was calling for closure, "I can't drink this coffee, till I put you in my closet" and doesn't want to hang up without that "Let him shoot me down, and let him call me off," the lover obviously not being civil about it. Anyway, that's just my interpretation. Beautiful song despite what you get out of it.

Laswell released his first solo album Good Movie in 2003. It was self-funded and self-released on his own label All the Rest Records, and won the award for Best Local Recording by the San Diego Music Awards in 2004.[5] Following the album's success, Laswell signed to Vanguard Records, and then recorded and released his second studio album Through Toledo in July 2006. The album was written during Laswell's divorce from his wife; he stated: "It's basically a breakup album...but the biggest surprise has been when you resurface out of the dark little studio. On this tour, people have been coming up to me and telling me about what they've been going through. It has nothing to do with anything that I originally wrote about. So it's become a full circle, healing thing. I'm just lucky to be in the loop."[5]

This one is second on the crap list only because my parents refused to walk out at intermission with me; they liked the singing. This is the only other musical I've ever walked out on. There's a really good reason why this thing flopped on Broadway and lost millions of dollars: It sucks. No, it doesn't just suck; it hoovers. The concept was bad (covering the whole Civil War in two hours?); the execution was asinine (imagine a story about the Civil War where the only historical names mentioned are Lincoln, Jefferson Davis, and Frederick Douglass); the choreography was either ultra-stupid or nonexistent (don't get me started); the songs were the blandest kind of MOR pop and country garbage; there are more mentions of "God" in the lyrics than in all the other musicals I've been to combined, except for Les Miz; there was little attempt at providing costumes (often the actors looked like they'd just walked in off the street) or even making a visual distinction between Union and Confederate soldiers; and the "actors" were just singers (obvious from their inability to sway in time together, much less perform even the slightest coordinated motions with competence). Granted, some of the singers had very nice voices, but I spent that agonizing first act wishing I could rescue them from this piece of shit and put them into something more worthy of their voices--though in retrospect it would have been wasted effort, given that they were hardly Broadway actors. According to my parents, the ending consisted of giving the Confederate flag equal status with the U.S. one--a big insult in many ways, and possibly added because of the presence of good ol' Southern boy Larry Gatlin, who I believe partially financed this miserable tour.

I saw this one on its sixth trip through Denver. Nice voices, but Jesus, the sheer melodrama and pretention of this production made me want to gag. Every emotion isn't just conveyed, it's announced and repeated and drawn out until you're clawing at the armrests with frustration. The music is bombastic, poppish, uninvolving, and repetitive--it makes me crazy when people claim Sondheim is cold and emotionless and then slobber all over this manipulative tripe. I can't remember a thing about the lyrics except that they didn't contain a shred of wit, and they mentioned religious matters much too frequently. Broadway is traditionally a humanistic medium, bursting with songs about raising oneself up, relying on oneself and one's friends to get things done; it's VERY RARE to have characters who passively accept whatever fate God has in store for them. By the end of the show, when [what's-his-name] is singing about dying and taking a damn long time to do it, I wanted to shout, "Hurry up and die already so I can get out of here!"

I managed to piss off several of my gay friends by not liking this show, but oh, there are so many better gay musicals out there! My dad hated Rent because it glorified "ne'er-do-wells," and while that wasn't the main reason I hated it, it didn't help. I mean, I can deal with "ne'er-do-wells" as sympathetic characters, but NOT when they DELIBERATELY live that way--I recall that at least two of the characters blew off opportunities so they could continue to live in squalor and "be themselves," and after that I had no sympathy for them whatsoever. (In my entire life I've only met one artist-type person, a writer, who actually bought into that purity-of-starving-artist crapola. Not only was he a pompous idiot, he was also a lousy writer.) But my main problems with the show were: annoying and overloud rock music in the score that drowned out the lyrics; many musical moments obviously ripped off from prior musicals; useless love songs between the heterosexual couple (the two gay couples were much more interesting); baffling plot points (e.g., why did the rich young slum lord allow the kids to stay in the building in the second act when in the first act he had locked them out?), and an infuriating and dishonest ending that resurrected the comatose AIDS girl, who got up and walked around as if she'd never been ill. Maybe La Boheme was like this--if so, it's also stupid. There were a few good moments in the show, such as the "Maureen Tango" (though I later found out that that scene probably ripped off the tango scene from Follies) and the love affair between Angel and Collins--these moments kept me from walking out. But this was an amazingly overrated show.

Admittedly, our lousy seats didn't help my impression of this one: my parents and were crammed into three very narrow seats in the back of the balcony, so that not only was the chandelier scene a complete joke to us, but we were also in a lot of physical pain because we couldn't stretch our legs out. Also, we couldn't hear most of the lyrics, though much of the fault there lay with the singers and the music rather than our distance from the stage--the singers simply weren't enunciating carefully enough, and sung-through musicals are hard to understand at the best of times. But this was the first musical I'd been to where the set was much more important than the music or the plot, and wow, yeah, it was cool to see X, Y, and Z, but if I cared that much about special effects I'd go to the movies, not the theater. As is standard with ALW music, it was completely unmemorable and even stupid at times (face it, he's a pop composer, not a Broadway one), and we probably didn't miss much by not hearing the lyrics. And lately I've heard that he ripped off huge chunks of The Girl of the Golden West to insert into Phantom, which lowers my estimation of him even less, if that's possible.

tag_hash_120_____________. This musical used to be my favorite, but since my tastes have expanded in the last few years, its status with me has dropped dramatically--I wouldn't even put it in my top thirty now, and I'd probably downgrade it further given a review of my collection. I've seen it more often than any other musical by far (four times, I believe, plus the crummy movie). The last time I saw it, a few years ago, I was struck by how dated the show was--not so much the themes as the lyrics and the dancing. I can't put my finger on why, but every move just screamed "1970s." If any show is in desperate need of a tune-up, it's this one. 006ab0faaa