We Will Rock You Lyrics Download [NEW]

"We Will Rock You" is a song written by Brian May and recorded by British rock band Queen for their 1977 album News of the World.[3] Rolling Stone ranked it number 330 of "The 500 Greatest Songs of All Time" in 2004,[4] and it placed at number 146 on the Songs of the Century list in 2001. In 2009, "We Will Rock You" was inducted into the Grammy Hall of Fame.[5][6]

Notice the lyrics say "local kid gets down", and not "new kid gets down". This is reflecting upon the town, meaning the town is conservative and this song is not about a new kid fitting in, but rather a local kid. "They say, you coulda least faked it, boy", means you could at least try to act like a normal person acts in our town.

We Will Rock You Lyrics Download

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So we have a kid that parties and doesn't come home, and is getting poor grades, in a conservative town where this behavior is not normal. No wonder the cradle is rocking! What significance is the cradle, you ask? A cradle is slang for someone's home.

I think this song nailed my ( gen x ) generation perfectly . The van halen boys are boomers so it gave Dave a good perspective . In short i think every generation is looking for something more but the older generation has their set ways they want you to follow. I dont think Dave was making it " cool " to be lofty and lost . His lyrics are quite dark in this . When the kid " hits the streets and winds up tied with who he meets " ...is a perfect line . It could be the guy that finally got a drudgery job and got hooked up with a girl or the rebellious kid screwing around with girls and finally gets one knocked up . Either way , the worn path will capture you . The term " cradle will rock " is basically that you will wind up being a father in the end if that path captures you as it does many .

This song is from the late 70's and is about a teenager misbehaving and ignoring his parents rules while running around smoking pot and listening to rock music. Have you seen JRs grades? Because the kids grades have plunged now that he is partying all the time.

"It's kinda frightenin' how this younger generation swings." refers to the hard-drug-using adolescents of the 70's."It's more than just a new sensation. Well, the kid is into losin' sleep and he don't come home for half the week... Rock on..."This is alluding to cocaine, which induces insomnia and addiction. The term "rock" is commonly used in classic rock songs to refer to cocaine because the substance's form resembles white rocks; see, "Let's Get Rocked" by Def Leppard."It's more than just an aggravation." - It's a lifestyle, one that is damaging to the body.Alas, the subtle glorification of an addictive, dangerous drug via the music industry at the will of TPTB for experimentation and exploitation.

@carewser, Shows how much you know. Cocaine is often pressed into chunks that users have to chop up in order to use. erowid.org/chemicals/show_image.php

There's crack rock, and there's coke rock. My song interpretation is totally right.

"My Back Pages" is a bad poem. But it is a good song, supported by amemorable refrain. The music softens our demands, the importance ofwhat is being said somehow overbalances the flaws, and Dylan'sdelivery--he sounds as if he's singing a hymn at a funeral--adds aportentous edge not present just in the words. Because it is a goodsong, "My Back Pages" can be done in other ways. The Byrds' versiondepends on intricate, up-tempo music that pushes the words into thebackground. However much they mean to David Crosby, the lyrics--exceptfor that refrain--could be gibberish and the song would stillsucceed. Repeat: Dylan is a songwriter, not a poet. A few of his mostperfect efforts--"Don't Think Twice," or "Just Like a Woman"--aretight enough to survive on the page. But they are exceptions.

Not much better is the self-indulgence of the Doors' JimMorrison. "Twentieth Century-Fox," "Break on Through," "People AreStrange" and "Soul Kitchen," listed in ascending order of difficulty,all pretty much succeed. But Morrison does not stop there. He ruins"Light My Fire" with stuff like "our love becomes a funeralpyre"--Ugh! what does that mean? Nothing, but the good old romanticassociation of love and death is there, and that's all Morrisonwanted--and noodles around in secondhand Freud in "The End." Morrisonobviously regards "The End" as a masterwork, and his admirers agree. Iwonder why. The music builds very nicely in an Oriental kind of way,but the dramatic situation is tedious stuff. I suppose it is redeemedby Morrison's histrionics and by the nebulousness that passes fordepth among so many lovers of rock poetry.

Paul Simon's lyrics are the purest, highest, and most finely wroughtkitsch of our time. The lyrics I've been putting down are notnecessarily easy to write--bad poetry is often carefully worked, thedifference being that it's easier to perceive flaccidly--but the laborthat must go into one of Simon's songs is of another order ofmagnitude. Melodies, harmonies, arrangements are scrupulouslyfitted. Each song is perfect. And says nothing.

This kind of mindless craft reaches a peak in Simon's supposedmasterpiece, "The Dangling Conversation," which uses all the devicesyou learn about in English class--alliteration, alternating concretionand abstraction, even the use of images from poetry itself, a favoriteploy of poets who don't know much of anything else--to mourn wistfullyabout the classic plight of self-conscious man, his Inability toCommunicate. Tom Phillips of the New York Times has called thissong "one of Paul Simon's subtlest lyrics . . . a pitiless vision ofself-consciousness and isolation." I don't hear the same song, Iguess, because I think Simon's voice drips self-pity from everysyllable (not only in this song, either). The Mantovani strings thatreinforce the lyric capture its toughness perfectly. If Simon werejust a little hipper, his couple would be discussing the failure ofcommunication as they failed to communicate, rather thanpsychoanalysis or the state of the theatre. But he's not a littlehipper.

It is by creating a mood that asks "Why should this mean anything?"that the so-called rock poets can really write poetry--poetry that notonly says something, but says it as only rock music can. For onceMarshall McLuhan's terminology tells us something: rock lyrics are acool medium. Go ahead and mumble. Drown the voices in guitars. Ifsomebody really wants to know what you're saying, he'll take thetrouble, and in that trouble lies your art. On a crude level thispermits the kind of one-to-one symbolism of pot songs like "AlongComes Mary" and "That Acapulco Gold." "Fakin' It" does other thingswith the same idea. But the only songwriters who seem really to havemastered it are John Phillips and Lennon-McCartney.

Perhaps you are one of those people who plays every new LP with thetreble way up and the bass way down so you can ferret out all thesecret symbolic meanings right away. Personally I think that spoilsthe fun, and I suspect any record that permits you to do that isn'tfulfilling its first function, which pertains to music, or, moregenerally, noise. The Mamas and Papas' records are full ofdiversions--the contrapuntal arrangements, the idiot "yeahs," theorchestral improvisations, the rhyme schemes ("If you're entertainingany thought that you're gaining by causin' me all of this pain andmakin' me blue . . .") and Phillips' trick of drawing out a few wordswith repetitions and pauses. Perhaps this isn't conscious. In songslike "California Dreamin'," "12:30" and many others, Phillips isobviously just a good lyricist (with a lot of tender respect for thefantasy world of pure pop that critics like Hayakawa derogate soeasily). But his lyrics are rarely easily to understand. Maybe it'sjust me, but I wonder how many of you are aware that a minor track onthe second album, "Strange Young Girls," is about LSD. No secret aboutit--there it is, right out in the open of the first stanza:". . . Walking the Strip, sweet, soft, and placid/ Off'ring theiryouth on the altar of acid." But you don't notice because there's somuch else to listen to.

Phillips achieves rock feel with his arrangements. The lyricsthemselves are closer to traditional pop--Rodgers and Hart's "My HeartStood Still," on the second album, sounds less out of place than BobbyFreeman's "Do You Wanna Dance?" on the first. Lennon-McCartney do itwith diction. Their early work is all pure rock--the songs are merelyexcuses for melody, beat and sound. Occasionally it shows a flash ofthe subtlety to come, as in the sexual insinuation of "Please PleaseMe" or the premise of "There's a Place." . . . More often it is pure,meaningless sentiment, couched in the simplest possible terms. By thetime of A Hard Day's Night the songs are more sophisticatedmusically, and a year later, in Help!, the boys are becomingpop songwriters. Help! itself is a perfect example. Words like"self-assured" and "insecure" are not out of rock diction, nor is theline: "My independence seems to vanish in the haze." This facet oftheir talent has culminated (for the moment) in songs like "PaperbackWriter," "A Little Help From My Friends," and "When I'm Sixty-four,"which show all the verbal facility of the best traditional pop andnone of the sentimentality, and in deliberate exercises like"Michelle" and "Here, There and Everywhere," which show both.

Lennon and McCartney are the only rock songwriters who combine highliteracy (as high as Dylan's or Simon's) with an eye for concision anda truly contemporary sense of what fits. They seem less and lessinclined to limit themselves to what I have defined as rock diction,and yet they continue to succeed--the simultaneous lushness andtightness of "Lucy in the Sky With Diamonds," for instance, is nothingshort of extraordinary. They still get startling mileage out of thebanal colloquial--think of the "oh boy" in "A Day in the Life," or therepeating qualifications in "Strawberry Fields Forever." But they havealso written two songs which are purely colloquial--"She Said SheSaid," and "All You Need Is Love." 2351a5e196