“I Got Rhythm” was composed by George Gershwin with lyrics by Ira Gershwin and it was published in 1930. The song came from the musical Girl Crazy, and has been sung by many jazz singers since. It was originally written as a slow song for Treasure Girl (1928) and found another, faster setting in Girl Crazy. Ethel Merman sang the song in the original Broadway production. The song melody uses four notes of the five-note pentatonic scale, first rising, then falling. A rhythmic interest in the song is that the tune keeps behind the main pulse, with the three "I got" phrases syncopated, appearing one beat behind in the first bar, while the fourth phase "Who could" rushes into the song. The song's chorus is in a 34-bar AABA form. Its chord progression (although often reduced to a standard 32-bar structure for the sake of improvised solos) is known as the "rhythm changes" and is the foundation for many other popular jazz tunes. The song was used as the theme in Gershwin's last concert piece for piano and orchestra, Variations on "I Got Rhythm", written in 1934. The song has become symbolic of the Gershwin's, of swing and of the 1920s.
The song is also featured in the 1951 musical film An American in Paris. Gene Kelly sang the song and tap-danced, while French-speaking children whom he had just taught a few words of English shouted the words "I got" each time they appeared in the lyrics. An American in Paris was an enormous success, garnering eight Academy Award nominations and winning six including Best Picture.
Jerry Mulligan is a struggling American painter in Paris, who is discovered by an influential heiress with an interest in more than Jerry's art. Jerry in turn falls for Lise, a young French girl already engaged to a cabaret singer. Jerry jokes, sings and dances with his best friend, an acerbic would-be concert pianist, while romantic complications abound.
Milo Roberts notices Jerry displaying his work in Montmartre. She buys two paintings, then brings Jerry to her apartment to pay him. Jerry accepts an invitation to her dinner party for that evening, and on the way home, he sings "I Got Rhythm" with some local children.
Gene Kelly was an American dancer, actor, singer, director and choreographer. He was known for his energetic and athletic dancing style and sought to create a new form of American dance accessible to the general public, which he called "dance for the common man". He starred in, choreographed, and co-directed with Stanley Donen some of the most well-regarded musical films of the 1940s and 1950s. Kelly is best known for his performances in An American in Paris, which won the Academy Award for Best Picture, Singin' in the Rain, which he and Donen directed and choreographed, and other musical films of that era such as Cover Girl and Anchors Aweigh, for which he was nominated for an Academy Award for Best Actor.
I got rhythm
I got music
I got my gal
Who could ask for anything more?
I got daisies
In green pastures
I got my gal
Who could ask for anything more?
“These first two verses both have the same rhythm to them, that being the first three lines having a gap between them before rushing into the fourth line. When saying each line he also addresses a different kid, letting them start the line. With me performing this by myself however, I will act like I'm addressing different people for each line but sing the line in its entirety by myself.”
Old Man Trouble
I don't mind him
You won't find him 'round my door
“Sung right after the last verse, still singing to all the kids.”
I got rhythm
I got music
I got my gal
Who could ask for anything more ?
Who could ask for anything more ?
“This is also performed like the first two verses with the first three lines being sung with a gap between the lines and then the fourth line rushing in after the third line, but we end up repeating the fourth line again.”
J'ai du rhythme
J'ai du musique
J'ai ma chérie
Who could ask for anything more ?
J'ai de daisies
J'ai green pastures
J'ai ma chérie
Who could ask for anything more?
“This is the same as the first two verses again but partly sang in French”
Old Man Trouble
I don't mind him
You won't find him
Hangin' 'round my door
“Same as before but empathise the “Hangin’ round my door” bit more”
I got rhythm
I got music
I got my gal
Who could ask for anything more ?
Who could ask for anything more ?
“Sing/ speak the “I Got” bits louder, and emphasising the “who could ask for anything more” bit more and finishing off the song on a high note. I am also going to end the song there due to lack of space to dance around and people to work off from.”
The Impossible Dream (The Quest) was composed by Mitch Leigh with the lyrics written by Joe Darion. The song is the most popular song from the 1965 Broadway musical Man of La Mancha and is also featured in the 1972 film of the same name starring Peter O'Toole. The complete song is first sung by Don Quixote as he stands vigil over his armour, in response to Aldonza (Dulcinea)'s question about what he means by "following the quest". It is reprised partially three more times – the last by prisoners in a dungeon as Miguel de Cervantes and his manservant mount the drawbridge-like prison staircase to face trial by the Spanish Inquisition. Man of La Mancha is a 1965 musical with a book by Dale Wasserman, It is adapted from Wasserman's non-musical 1959 teleplay I, Don Quixote, which was in turn inspired by Miguel de Cervantes and his 17th-century novel Don Quixote. It tells the story of the "mad" knight Don Quixote as a play within a play, performed by Cervantes and his fellow prisoners as he awaits a hearing with the Spanish Inquisition. The original 1965 Broadway production ran for 2,328 performances and won five Tony Awards, including Best Musical. The musical has been revived four times on Broadway, becoming one of the most enduring works of musical theatre.
Peter Seamus O'Toole was an English stage and film actor. He attended the Royal Academy of Dramatic Art and began working in the theatre, gaining recognition as a Shakespearean actor at the Bristol Old Vic and with the English Stage Company. In 1959 he made his West End debut in The Long and the Short and the Tall, and played the title role in Hamlet in the National Theatre's first production in 1963. In 1972, he played both Miguel de Cervantes and his fictional creation Don Quixote in Man of La Mancha, the motion picture adaptation of the 1965 hit Broadway musical, opposite Sophia Loren. The film was a critical and commercial failure, criticised for using mostly non-singing actors. His singing was dubbed by tenor Simon Gilbert, but the other actors did their own singing. O'Toole and co-star James Coco, who played both Cervantes's manservant and Sancho Panza, both received Golden Globe nominations for their performances.
To dream the impossible dream
To fight the unbeatable foe
To bear with unbearable sorrow
To run where the brave dare not go
“This song is somewhat sung in a spoken manner, building up as it goes along. The character doesn’t move much just standing singing to Aldonza”
To right the unrightable wrong
To love pure and chaste from afar
To try when your arms are too weary
To reach the unreachable star
“Building up on the last line, singing the “star” louder”
This is my quest to follow that star
No matter how hopeless, no matter how far
To fight for the right without question or pause
To be willing to march into hell for a heavenly cause
“Sung as a bit of a belt, and acted as if he’s getting really into it and passionate about what he’s saying”
And I know if I'll only be true to this glorious quest
That my heart will lie peaceful and calm
When I'm laid to my rest
“Calms down his singing as if he’s accepting his fate”
And the world will be better for this
That one man, scorned and covered with scars
Still strove with his last ounce of courage
To fight the unbeatable foe
To reach the unreachable star
“The song builds up with each line, especially on the last line with it building to a belt with “Star” holding on the note for several seconds”
Bye Bye Birdie is a stage musical with music by Charles Strouse and lyrics by Lee Adams, based upon a book by Michael Stewart. Bye Bye Birdie is set in 1958. The play's book was influenced when Elvis Presley was drafted into the Army in 1957. The rock star character's name, "Conrad Birdie", is a word play on the name of Conway Twitty. Twitty later had a long career as a country music star, but in the late 1950s he was one of Presley's rock 'n' roll rivals. The original 1960–1961 Broadway production was a Tony Award–winning success. It spawned a London production and several major revivals, a sequel, a 1963 film, and a 1995 television production. The show also became a popular choice for high school and college productions due to its variable cast size and large proportion of ensemble numbers.
Richard Wayne Van Dyke is an American actor and comedian. His career has spanned over seven decades in film, television, and stage. Van Dyke is the recipient of a Golden Globe, Tony, Grammy, a Daytime Emmy, and four Primetime Emmys. He was inducted into the Television Hall of Fame in 1995 and the Hollywood Walk of Fame in 2012. He was honoured with the Screen Actors Guild Life Achievement Award in 2013, the Kennedy Center Honors in 2021, and was recognized as a Disney Legend. He played the lead role of Albert Peterson in Bye Bye Birdie, which ran from April 14, 1960, to October 7, 1961. Van Dyke starred alongside Chita Rivera, Barbara Doherty, and Paul Lynde. The production received mixed reviews from critics including from Brooks Atkinson of The New York Times who praised Van Dyke as "likeable" but opined, "As a production it's neither fish fowl nor good musical comedy. It needs work." Despite this the musical won four Tony awards including for Van Dyke who won the Tony Award for Best Featured Actor in a Musical, in 1961. Van Dyke began his film career by playing the role of Albert J. Peterson in the film version of Bye Bye Birdie (1963). Despite his unhappiness with the adaptation, its focus differed from the stage version in that the story now centred on a previously supporting character. The film was a success. The film starred Ann-Margret, Janet Leigh, and Maureen Stapleton with Van Dyke and Lynde reprising their roles. Variety wrote of Van Dyke's performance, "Van Dyke displays a showbiz know-how far more extensive than his television outings communicate".
Gray skies are gonna clear up,
Put on a happy face;
Brush off the clouds and cheer up,
Put on a happy face.
Take off the gloomy mask of tragedy,
It's not your style
You'll look so good that you'll be glad
Ya' decide to smile!
“Sung like singing it to another person. The rhythm of the song is quite quick, having the second line coming in quick after the first. Sing with and smile. Sing/speak it”
Pick out a pleasant outlook,
Stick out that noble chin;
Wipe off that "full of doubt" look,
Slap on a happy grin!
And spread sunshine all over the place,
Just put on a happy face!
“Rhythm starts off like before, with the second last line being longer and the last line is dragged out a little longer”
And if you're feeling cross and bitterish
Don't sit and whine
Think of banana split and licorice
And you'll feel fine
I knew a girl so glooming
She'd never laugh or sing
She wouldn't listen to me
Now she's a mean old thing
“The “I knew a girl so glooming” line and the rest following are normally sung by a female singer, but as I'm just by myself I'll sing it.”
So spread sunshine all over the place
Just put on a happy face
So, put on a happy face
Company is a musical with music and lyrics by Stephen Sondheim. The original 1970 production was nominated for a record-setting 14 Tony Awards, winning six. Company was among the first book musicals to deal with contemporary dating, marriage, and divorce, and is a notable example of a concept musical lacking a linear plot. In a series of vignettes, Company follows bachelor Bobby interacting with his married friends, who throw a party for his 35th birthday. "Being Alive" appears at the end of act two and is sung by Robert, who realises being a lone wolf isn't all it's cracked up to be and he declares that he wants to take the chance, be afraid, get his heart broken or whatever happens when you decide to love and be loved. "Being Alive" was first recorded by Dean Jones, who originated the role of Robert on Broadway in 1970. After Jones's short tenure playing the role, his replacement Larry Kert also recorded the song, which has since been included as a bonus track on reissues of the original cast album. Company opened in Boston in out-of-town tryouts, receiving mixed reviews. Directed by Hal Prince, the musical opened on Broadway at the Alvin Theatre on April 26, 1970, and closed on January 1, 1972, after 705 performances and 12 previews.
Stephen Joshua Sondheim was an American composer and lyricist. Regarded as one of the most important figures in 20th-century musical theatre, he is credited with reinventing the American musical. With his frequent collaborations with Harold Prince and James Lapine, Sondheim's Broadway musicals tackled unexpected themes that ranged beyond the genre's traditional subjects, while addressing darker elements of the human experience. His music and lyrics were tinged with complexity, sophistication, and ambivalence about various aspects of life. He began his career by writing the lyrics for West Side Story and Gypsy. He transitioned to writing both music and lyrics for the theatre, with his best-known works including A Funny Thing Happened on the Way to the Forum, Company, Follies, A Little Night Music, Sweeney Todd: The Demon Barber of Fleet Street, Merrily We Roll Along, Sunday in the Park with George, Into the Woods, and Passion.
STOP!
What do you get?
“Shouted in frustration. And then spoken to the audience”
Someone to hold you too close,
Someone to hurt you too deep,
Someone to sit in your chair,
To ruin your sleep.
“Spoken/ sung. Acted as if searching for reasons to not get in a relationship, not liking the ideas he gives”
PAUL: That's true, but there's more to it than that.
SARAH: Is that all you think there is to it?
HARRY: You've got so many reasons for not being with someone, but
Robert,
you haven't got one good reason for being alone.
LARRY: Come on, you're on to something, Bobby. You're on to something.
ROBERT:
Someone to need you too much,
Someone to know you too well,
Someone to pull you up short
And put you through hell.
“Same as before, sung and acted as if searching for reasons”
DAVID: You see what you look for, you know.
JOANNE: You're not a kid anymore, Robby. I don't think you'll ever
be a kid again, kiddo.
PETER: Hey, buddy, don't be afraid it won't be perfect. The only thing
to be afraid of really is that it won't be.
JENNY: Don't stop now. Keep going.
ROBERT:
Someone you have to let in,
Someone whose feelings you spare,
Someone who, like it or not,
Will want you to share
A little, a lot.
“Searching for reasons then getting passionate about it at the end”
SUSAN: And what does all that mean?
LARRY: Robert, how do you know so much about it when you've never
been there?
HARRY: It's much better living it than looking at it, Robert.
PETER: Add 'em up, Bobby. Add 'em up.
ROBERT:
Someone to crowd you with love,
Someone to force you to care,
Someone to make you come through,
Who'll always be there,
As frightened as you
Of being alive,
Being alive,
Being alive,
Being alive.
“Still not liking the idea at the start, but slowly starting to accept the idea and finally accepting it, building up the “being alive” from being quietly sung to being belted.”
AMY: Blow out the candles, Robert, and make a wish. *Want* something!
Want *something*!
ROBERT:
Somebody, hold me too close,
Somebody, hurt me too deep,
Somebody, sit in my chair
And ruin my sleep
And make me aware
Of being alive,
Being alive.
“Sung quietly, acted as if desperately wanting all of that to happen, realising that he was wrong earlier”
Somebody, need me too much,
Somebody, know me too well,
Somebody, pull me up short
And put me through hell
And give me support
For being alive,
Make me alive.
Make me alive
“Repeating what he said earlier but in a positive way instead. Fully into it now. Realising that he hasn’t been living his life to the fullest”
Make me confused,
Mock me with praise,
Let me be used,
Vary my days.
But alone is alone, not alive.
“Sung with power, Last line goes softer then for powerful on the “not alive””
Somebody, crowd me with love,
Somebody, force me to care,
Somebody, make me come through,
I'll always be there,
As frightened as you,
To help us survive
Being alive,
Being alive,
Being alive!
“Sung with passion and enthusiasm. “Being alive” starts soft and builds up again”
A New Brain is a musical with music and lyrics by William Finn and book by Finn and James Lapine. Though many of Finn's previous musicals are to some extent autobiographical, A New Brain deals directly with his own harrowing experience with an arteriovenous malformation and the healing power of art. The hero of the musical, Gordon Schwinn, worries that he may not live to complete his work. Finn wrote many of the songs soon after his release from the hospital. The musical premiered Off-Broadway in 1998 and has been revived in the U.S., England and elsewhere. A New Brain started as a series of songs that Bill Finn wrote after he left the hospital, with a concert of those songs produced at The Public Theatre. A fully staged workshop production was held in 1996 and again in 1997 and included contributions by Lapine. The musical was first produced Off-Broadway at the Mitzi E. Newhouse Theatre at Lincoln Centre, with previews beginning on May 14, 1998, and closed on October 11, 1998. Ben Brantley, in his review for The New York Times, wrote: "The problem is that for Mr. Finn (and probably, alas, for most people), happiness is definitely a blander muse than anxiety. A New Brain, which has been directed with wit and elegance by Graciela Daniele, has moments of captivating eccentricity. But watching it is often like passing a group of animated, slightly drunken revellers on the street: you're glad they have something to celebrate, but it's a private party, and you walk on by with a faint smile. Mr. Finn originally conceived what became A New Brain as a series of revue numbers, and it might have worked better in that format. As a story, shaped by Mr. Finn and his long-time collaborator, James Lapine, the show has a spliced-together feeling, a disjunctive quality at odds with the holistic spirit it seems to be aiming for.
William Alan Finn is an American composer and lyricist. He is best known for his musicals, which include Falsettos, for which he won the 1992 Tony Awards for Best Original Score and Best Book of a Musical, A New Brain (1998), and The 25th Annual Putnam County Spelling Bee (2005). Finn is a heavily autobiographical writer. He always writes his own lyrics. His topics have included the gay and Jewish experiences in contemporary America, and also family, belonging, sickness, healing, and loss.
[ROGER]
I'd rather be sailing
Yes, I would
On an open sea
I'd stand at the railing
If I could
Feeling wild and free
The sun is on my neck
The wind is in my face
The water's incredibly blue
“Sung to self, fascinating about the possibilities.”
And I'd rather be sailing
Yes, I'd wanna go sail
And then come home to you
“Acting as if Sailing is something they would prefer to do even though they also want to be with “you””
Sex is good but I'd rather be sailing
Food is nice but I'd rather be sailing
People are swell but I'd rather be sailing
Over the horizon
“Acted as if nothing is as good as sailing”
And I'd rather be sailing
Yes, I would
[GORDON]
He'd rather be sailing
[ROGER]
On an open sea
[GORDON]
On an open sea
[ROGER]
I'd stand there inhaling
If I could
[GORDON]
He'd stand there inhaling
[ROGER]
Feeling wild and free
[GORDON]
Feeling wild and free
[ROGER]
The sun is on my neck
The wind is in my face
[ROGER/GORDON]
The sea is incredibly blue
“Repeating the first verse again with a back up singer”
[ROGER]
And I'd rather be sailing
Yes, I'd wanna go sail
And then come home to you
I'd rather be sailing
Yes, I'd wanna go sail
And then come home to you
“Sung with more power before turning soft”
Aladdin is a 1992 American animated musical fantasy comedy film produced by Walt Disney. It is based on the Arabic folktale "Aladdin" from the One Thousand and One Nights. The film follows Aladdin, an Arabian street urchin, who finds a magic lamp containing a genie. With the genie's help, Aladdin disguises himself as a wealthy prince and tries to impress the Sultan of Agrabah in order to win the heart of his free-spirited daughter, Princess Jasmine, as the Sultan's evil vizier Jafar plots to steal the magic lamp for his own uses. Aladdin received positive reviews from critics. It was a commercial success, becoming the highest-grossing film of 1992, with an earning of over $504 million in worldwide box office. Upon release, it became the first animated feature to reach the half-billion-dollar mark and was the highest-grossing animated film of all time until it was surpassed by The Lion King (1994). Aladdin garnered two Academy Awards, as well as other accolades for its soundtrack, which had the first and only number from a Disney feature to earn a Grammy Award for Song of the Year, for the film's "A Whole New World", sung by Peabo Bryson and Regina Belle. Aladdin’s The musical score was composed by Alan Menken and was the third and final Disney film Alan Menken and Howard Ashman had collaborated on, with Tim Rice taking over as lyricist after Ashman had died in March 1991. Although fourteen songs were written for Aladdin, only seven are featured in the film, three by Ashman and four by Rice. Menken, Ashman, and Rice were praised for creating a soundtrack that is "consistently good, rivalling the best of Disney's other animated musicals from the 90s.
Alan Irwin Menken is an American composer, pianist, music director, and record producer, best known for his scores and songs for films produced by Walt Disney Animation Studios. Menken's music for The Little Mermaid, Beauty and the Beast, Aladdin and Pocahontas has each won him two Academy Awards. His accolades include winning eight Academy Awards and becoming the second most prolific Oscar winner in the music categories after Alfred Newman who has 9 Oscars. He has also won a Tony Award, eleven Grammy Awards, seven Golden Globe Awards, and a Daytime Emmy Award. Menken is one of nineteen people to have won an Emmy, a Grammy, an Oscar and a Tony, which is known as an “EGOT”. He is also known for his work in musical theatre. Some of these works are based on his Disney films, but other stage hits include Little Shop of Horrors (1982), A Christmas Carol (1994), and Sister Act (2009).
Oh, I come from a land, from a faraway place
Where the caravan camels roam
Where it's flat and immense and the heat is intense
It's barbaric, but hey, it's home
When the wind's from the east and the sun's from the west
And the sand in the glass is right
Come on down, stop on by
Hop a carpet and fly
To another Arabian night
“Sung with mystery, to an audience. “It’s barbaric” said in disgust.”
Arabian nights, like Arabian days
More often than not are hotter than hot
In a lot of good ways
Arabian nights, 'neath Arabian moons
A fool off his guard could fall and fall hard
Out there on the dunes
“Starts off powerful. Goes soft and quiet on “the dunes””
Tick tick boom is a musical by Jonathan Larson. It’s about an aspiring composer named Jon, who lives in New York City in 1990. Jon is worried he has made the wrong career choice to be part of the performing arts. According to Larson’s father the story is semi-autobiographical, in the liner notes of the cast recording Larson had been trying to establish himself in theatre since the early 1980s. Larson began to perform the piece as a solo work in 1990. After his death in 1996, it was revised by playwright David Auburn as a three-actor piece and premiered Off-Broadway in 2001. Since then, the show has had an Off West End production, a West End production, an American national tour, two Off-Broadway revivals, in 2014 and 2016, and numerous local and international productions. Tick tick boom was first performed as a workshop between September 6 and September 9 1990 by Jonathan Larson under the title Boho Days. Larson then revised the piece following the workshop, changing the title to “Tick, Tick... Boom!”, with him as the performer and performed the show in November 1991, and then again later in 1992 and 1993. Larson performed the show as a "rock monologue", which was a new form of theatre for the time. The performance attracted the attention of a young producer named Jeffrey Seller, who became a fan of Larson's work. In 1995, he saw the New York Theatre Workshop production of Larson's musical Rent and convinced his fellow producers to bring it to Broadway. After Larson's death in 1996, his college friend Victoria Leacock asked David Auburn, author of the Pulitzer Prize-winning play Proof, to reconfigure “Tick, Tick... Boom!”. He restructured the monologue into a three-actor musical, with one actor playing Jon and the other two actors playing Michael and Susan, as well as all the other roles in the show. Also, the script and score were streamlined and edited. This revised version of the piece premiered Off-Broadway at the Jane Street Theatre on May 23, 2001. Auburn received credit as "Script Consultant".
Jonathan David Larson was an American composer, lyricist and playwright most famous for writing the musicals Rent and Tick, Tick... Boom!, which explored the social issues of multiculturalism, substance use disorder, and homophobia. He received three posthumous Tony Awards and a posthumous Pulitzer Prize for Drama for Rent. After his death, Larson's family and friends started the Jonathan Larson Performing Arts Foundation to provide monetary grants to artists, especially musical theatre composers and writers, to support their creative work. The Jonathan Larson Grants are now administered by the American Theatre Wing, thanks to an endowment funded by the Foundation and the Larson Family. Rent played on Broadway at the Nederlander Theatre from its debut in April 1996 until September 7, 2008. It is the 11th longest running show in Broadway history. Jonathan is portrayed by actor Andrew Garfield in the biographical musical drama Tick, Tick... Boom! which was released on the streaming service Netflix on November 19, 2021. The film received generally positive reviews from critics, with high praise for director Lin-Manuel Miranda’s direction in his directorial debut, score, and musical sequences, and Garfield's performance garnering universal acclaim.
I feel bad, that you feel bad
About me feeling bad, about you feeling bad
About what I said, about what you said
About me not being able to share a feeling
“male singer Sat on chair facing the audience. Sung/ spoken. Hold the note on “share a feeling””
If I thought that what you thought
Was that I hadn't thought about sharing my thoughts
Then my reaction to your reaction, to my reaction
Would have been more revealing
“I come in also playing the female part sat in a chair next to me playing the male part, even though its about an argument they are having, I'm going to be smiling the whole time”
I was afraid that you'd be afraid
If I told you that I was afraid of intimacy
If you don't have a problem with my problem
Maybe the problem's simply co-dependency
“The pace is getting quicker. Back to male singer”
Yes, I know, that now you know
That I didn't know, that you didn't know
That when I said "No", I meant "Yes, I know"
And that now I know that you knew, that I knew you adored me
“Pace stays quicker. Back to female singer”
I was wrong to
Say you were wrong to
Say I was wrong about
You being wrong
When you rang to say that
The ring was the wrong thing to bring-
If I meant what I said
When I said, "Rings bored me"
“Sung with the male and female parts switching who sings on each line”
I'm not mad, that you got mad, when I got mad
When you said I should go drop dead
“Sang together”
If I were you and I'd done what I'd done
I'd do what you did
When I gave you the ring having said what I said
“Just the male singer”
I feel bad, that you feel bad (I feel badly)
About me feeling bad, about you feeling bad (about you)
About what I said, about what you said (feeling badly about me)
About me not being able to share a feeling (feeling badly about you)
“Female singer singing the lines inside the brackets. Male singing quick. Female, singing slower.”
I thought (if I thought that what you thought)
You thought (was that I hadn't thought about sharing my thoughts)
I reacted shallowly (then my reaction to your reaction, to my reaction)
When I reacted to you (would have been more revealing)
“Male singing slower. Female, singing faster.”
I'm not mad, that you got mad, when I got mad
When you said I should go drop dead
If I were you and I'd done what I'd done (if I were you)
I'd do what you did when I gave you the ring (but I'm not you)
Having said what I said (said what I said)
“First two lines are sung together. Then the male sings faster and the female sings slower. “Said what I said” sung in sync”
But now it's out in the open
Now it's off our chest
Now it's 4 a.m.
And we have therapy tomorrow
It's too late to screw
So let's just get some rest
“Male sings the first line, female sings the second line. Both sing the rest.”