Hunters and Collectors Album thread

Discussion in 'Music Corner' started by mark winstanley, Jun 10, 2018.

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  1. oboogie

    oboogie Forum Resident

    Location:
    U.S.A.
    Fantastic song... I remember hearing it in an Aussie movie. From that point on, I was hooked on Hunters & Collectors.
     
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  2. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    It really is a great song. Even Crowded House played that song live on occasion and it's not like Neil Finn couldn't write a good song
     
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  3. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    I always liked this as a bit of fun. I don't know if anyone in the U.S. knows Dame Edna Everage (Barry Humphries) but he/she was quite a funny comedian back in the seventies and eighties in oz. I think the Brits know Him/Her

    Crowded House with a slightly tongue in cheek version of Throw You Arms Around Me
     
    Last edited: Jun 19, 2018
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  4. Mylene

    Mylene Senior Member



    Probably the first cover version of TYAAM
     
  5. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Doug anthony all stars = classic
     
  6. Mylene

    Mylene Senior Member

    There was another cover version on Used and Recovered By (a RRR compilation) by Mary Jo Starr who was Paul Kelly's wife at the time in 1990. From then on the song became a standard.
     
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  7. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

  8. Would someone explain 'Hunna' meaning, please.
     
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  9. Summer of Malcontent

    Summer of Malcontent Forum Resident

    It's drunk Australian for "Hunter."
     
  10. Thank you. Carry on, everyone...
     
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  11. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    You started my day with a smile, thank you :)
     
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  12. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Throw Your Arms Around Me

    [​IMG]

    1984 single cover
    Single by Hunters & Collectors
    from the album Human Frailty
    A-side "Throw Your Arms Around Me"
    B-side "Unbeliever"
    Released November 1984
    Format CD
    Recorded John & Paula's Hardware St. Studio, October 1984
    Genre Australian rock
    Length 3:29
    Label Mushroom
    Songwriter(s) John Archer, Geoffrey Crosby, Douglas Falconer, Jack Howard, Robert Miles, Mark Seymour, Michael Waters
    Producer(s) Hunters & Collectors

    "Throw Your Arms Around Me" is a song by Australian rock band Hunters & Collectors first released as a single in November 1984 by White Label for Mushroom Records.[1] A re-recorded version of the song would later appear on the band's 1986 album Human Frailty. Written by bass guitarist John Archer, keyboardist Geoffrey Crosby, drummer Douglas Falconer, trumpet player Jack Howard, recorder/mixing engineer Robert Miles, vocalist/lead guitarist Mark Seymour and trombone player Michael Waters.[2][3] The song captures the intensity of sensual love at the same time portraying its fleeting nature with lyrics including "And we may never meet again, So shed your skin and let's get started".


    Hunters & Collectors had formed in 1981 with Mark Seymour (guitar, Vocals), John Archer (bass guitar), Doug Falconer (drums) Geoff Crosby (keyboards), Greg Perano (percussion), Ray Tosti-Guerra (guitar), and Robert Miles, their sound engineer and art director.[1] Miles was credited as an equal part of the band's output and stayed with the band throughout their career. Tosti-Guerra was later replaced by Martin Lubran, then by Barry Palmer. Seymour is the older brother of bassist Nick Seymour of Crowded House. Hunters & Collectors signed to White Label, an offshoot of Mushroom Records, and by 1985 the line-up was Seymour, Archer, Falconer, Crosby and Miles with Jack Howard on trumpet and Michael Waters on trombone. They recorded the first version of "Throw Your Arms Around Me" for a single-only release in 1984, with "Unbeliever" as its B-side; all members were credited as the songs' writers.[2][3][4] A live version of "Throw Your Arms Around Me" appeared on their 1985 album The Way to Go Out. Their breakthrough commercial success in Australia came in 1986, with the release of the album Human Frailty, which featured another recording of the single "Throw Your Arms Around Me", as well as "Say Goodbye" and "Everything's on Fire". In 1990 a slower, more acoustically introspective version of the single was recorded and released from their compilation album Collected Works. The promotional video was a mosaic of all their previous videos.

    Mark Seymour described writing for Human Frailty:

    I was in a relationship with a woman I was very much in love with and she was the inspiration. I wrote virtually all the lyrics on Human Frailty about my relationship with her [...] Throw Your Arms Around Me was the first song I wrote that wasn't angry. And because it was so out of the square, we didn't record it particularly well. [...] One time, we played it at The Palace, to about 2000 people who just went off. We finally got it right, so we recorded it again. I think we did about four versions of it.[5]

    — Mark Seymour


    A shortened version was performed by Crowded House (a band whose members include Mark Seymour's brother Nick) at their Farewell To The World concert in 1996, and was also earlier covered by the band on MTV Unplugged.

    The song has also been covered by Australian musical comedy act, Tripod, famous for their work on the Triple J radio Australian network. The song was later covered by Pearl Jam, with the lyric "I will kiss you in four places" changed to "I will kiss you in 155 places" by vocalist Eddie Vedder. Neil Finn attributes this change to Vedder's having heard one of Crowded House's many cover versions of the song before hearing the original.[6] Finn typically changes the number each time he performs it.

    The comic trio Doug Anthony All Stars performed acoustic versions of this song at many of their performances, and recorded a promotional CD. In 2007 Kate Ceberanorecorded a version for her Nine Lime Avenue album.

    Canadian musician Allison Crowe recorded the song for release on her 2010 album Spiral.

    The song was frequently performed in concert by Canadian band Spirit of the West,[7] although they never released a studio cover.

    Former Yellow Wiggle, Greg Page, recorded a version of the song on his album of the same name. In 2013 a cover version Vedder and Finn as a duo appeared on the tribute album, Crucible – The Songs of Hunters & Collectors

    "Throw Your Arms Around Me" remained one of the most popular songs in Australia for years, being voted number 2, 2 and 4 on the Triple J Hottest 100 in 1989, 1990 and 1991. Prior to 1992, songs from any year were eligible for inclusion in the hottest 100. It placed 2nd in Triple J's Hottest 100 Of All Time in 1998.[9] In May 2001 the Australasian Performing Right Association (APRA), as part of its 75th Anniversary celebrations, named "Throw Your Arms Around Me" as one of the Top 30 Australian songs of all time.

    The song is a familiar lyric to many Australian generation X-ers, and is often performed or played at the end of concerts and parties alike.[citation needed] In 1996, the song was used in the Australian soap opera Home and Away during the death scene of popular character, Shane Parrish. It was also used in a climactic scene of the 2008 film Unfinished Sky.
    ----------------------------------------------------
    To say this was an important song for the band would be an understatement. There isn't too much to add in light of the wealth of information about the song. It isn't my favourite song on the album by any means, but its significance can't be overlooked.


    Lyrics
    I will come for you at nighttime
    I will raise you from your sleep
    I will kiss you in four places
    As I go running along your street
    I will squeeze the life out of you
    You will make me laugh and make me cry
    And we will never forget it
    You will make me call your name
    And I'll shout it to the blue summer sky
    And we may never meet again
    So shed your skin and let's get started
    And you will throw your arms around me
    Yeah, you will throw your arms around me
    I dreamed of you at nighttime
    And I watched you in your sleep
    I met you in high places
    I touched your head and touched your feet
    So if you disappear out of view
    You know I will never say goodbye
    And though I try to forget it
    You will make me call your name
    And I'll shout it to the blue summer sky
    And we may never meet again
    So shed your skin and let's get started
    And you will throw your arms around me
    Yeah, you will throw your arms around me
    Oh, yeah
    Oh yeah
    You will throw your arms around me
    Yeah, you will throw your arms around me

     
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  13. SpudOz

    SpudOz Forum Resident

    One of the greatest Australian songs ever written and one of those songs that has only grown in stature over the years, as indicated above by the plethora of cover versions that have been done. Yet, strangely, also one of those songs that was not a huge hit on the charts when released as a single (multiple times).
     
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  14. SpudOz

    SpudOz Forum Resident

    H&C is probably the band that I have seen live the most over the years. I think I first saw them live in 1986 when I started college at RMIT whilst studying there and from that point saw them many, many, many times over the ensuing years. Always a great live act and non-apologetically Australian in their attitude and no compromise approach. This distinctive "Aussie" pub rock style saw them become huge locally on the live scene but it held not only the Hunnas back, but also most other iconic Australian pub rock bands from the 70s/80s era that Mark has begun threads on (The Angels, Cold Chisel, Midnight Oil and others) from achieving either initial or ongoing international success. Most of these acts made the majority of their music as they wanted it to be heard rather than "soften" or "pretty" it up in an effort to pander to a far larger international (especially US) market. INXS went the opposite route and did everything possible to make it in the US market.

    Human Frailty is the album that first got me into H&C and it is also one of the finest Australian albums ever released. There isn't a dud track on it. Human Frailty was the album that broke them into the Australian market and from there on, some of their songs and subsequent albums (especially Fate) were tarted up to appeal to a wider audience though not on an always successful basis. Getting ahead of the thread there anyway.

    The Jaws of Life was a crossover album for them as they moved from an "arty" to a more conventional sound and had a lot of great tracks on it that would go on to be concert favourites for the duration of the band's career. Considering that 42 Wheels, The Way to Go Out, I Believe, Betty's Worry or The Slab and Carry Me became live staples for the following 14 years reinforces that despite not being a commercial success, The Jaws of Life had some great songwriting and performances on it.

    H&C deserved a lot more commercial success than what they got but I will always remember them fondly for the great live band that they were.
     
  15. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Well summed up mate. Agree wholeheartedly. Most of our seventies and eighties bands staying true to who they were was a beautiful thing to me, but it also makes me sad that they didn't get acknowledgement from much in the way of overseas markets.
    I would put all those bands up against any band there has ever been, especially in a live scenario.
     
  16. Mylene

    Mylene Senior Member

    Supposedly the version of TYAAM on Human Frailty was recorded for the US version of the album but came out so good they put it on the Australian album even though the song had been previously released as a single and was on The Way to Go Out. Lots of interviews refer to a US version but it seems to be the same as the Aussie album version.

    Blurb for the original single

    “Throw Your Arms Around Me” must surely be the dubbed the most emotive Hunters & Collectors song to date.

    Mark Seymour, lead vocalist and composer, openly gives to music of himself – what we hear is what he felt.

    It is also undoubtedly nearest to the commercial edge of their work. A love ballad of seemingly simple proportions but beholden with so much lyrical warmth and musical depth that it lingers on an on in the memory…. maybe a song for time in everyone’s life.

    The recording importance of “Throw Your Arms Around Me” is singled out by the fact that it was recorded on a digital two track, produced by Hunters & Collectors. Producing as a collective has always been their aim and services to enhance their unity as a band.

    It was recorded in Melbourne’s Hardware Street, in a small factory with carpeted walls and heaps of atmosphere.

    The B side, “Unbeliever”, was recorded at Melbourne’s Venue along with the video footage. It is a track full of fire and soul.

    The current album, “Jaws Of Life”, was released in Europe on September 3rd through Epic Records and in Japan on November 1st through CBS.

    In the U.S. the album was released on October 17th. For the U.S. Hunters & Collectors are signed to the prestigious Slash Label and are the first non American band to be added to their ranks.

    Next year will see the band touring in these territories.

    Hunters & Collectors have just resigned to White Label for Australia and New Zealand.

    The first fruit from this agreement will be a live album to be released in January ’85. It will be realistically priced at $9.99 and will compliment the long play video, which will incorporate both live and concept footage.

    From the live video three tracks are currently being aired on Australian television. They are “The Slab”, “Carry Me” and “Throw Your Arms Around Me”. “The Slab” incorporates a part of the original concept clip and has great humour in it. The atmosphere of the performance has been immaculately captured in this film by three of Australia’s best known film makers – Andrew de Groot, Ray Argall and Macgregor Knox.

    In the U.S. “The Slab” has been added to the 24 hour MTV Network – a considerable achievement considering the massive amount of submitted, and consequently rejected, material.
     
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  17. Mylene

    Mylene Senior Member

    Track by Track

    Say Goodbye

    I had a loose chord progression and lyric – the song was inspired by the conversation of a guy and girl I heard through a wall. They’d just come back from overseas and she said that (“You don’t make me feel like I’m a woman any more”) to him. I found that particularly perverse because of the state of my own relationship at the time, so I wanted to structure a pop song around it.

    I said to Doug, “Let’s get a very up, aggressive tom-tom rhythm’, then we worked out the bassline, with John putting in those little clicks to give the rhythm tension.

    We played on that for a while, tried going up to the D, and then we got that gap in the song. Jack worked out the brass intro, then the really aggressive percussive brass in the middle. It all came together very quickly, in about two days.

    Q. It maintains the big sound well on radio…

    Gavin mixes through the transistor radio – a normal AM radio which is hooked up to the monitors and the music goes right through the radio circuitry and speaker. So the mix sounds like it would being broadcast. This was the final test for each round mix.

    John overdubbed the bass, as I said, to accentuate the percussive aspects; I whispered by own vocal lines again beneath the main vocal to give it that sibilance.

    Verdict: It’s great, a really good song. The thing about Hunters’ songs is that they never come out the way I want them to. And that’s great. The only part of this that turned out as I expected was the opening rave.

    Is There Anybody In There?

    This is a pretty simple lyric. The music began with John doing a wacking E-G riff – where he bends the string almost off the neck – and a really solid backbeat. We wanted the backbeat to sound interesting because Doug doesn’t like doing them otherwise. Then Jack introduced one of this unusual chord progressions – semitone key chances, which we’ve never used before. The instrumentation of this is basically Jack’s.

    Q. That ascending vocal section (“better cover it over”) sounds like a 60’s thing…

    Yeah, there’s a Roy Orbison song that uses that ascending harmony, it’s a bit like Twist and Shout too.

    We put glockenspiel in the brass break and the guitars are quite artificial, very studio. I used a super-clean Sheik sort of sound, which I don’t use live. I regret it a bit, but it has a better sound through small speakers when it is clean like that.

    Q. Guitar takes up so much space on records…

    Yeah. Gavin was really good at rationalising that.

    Verdict: I was disturbed by that clinical guitar, but I don’t think I would change it. This is one of our big songs live. No, there’s nothing I would change.

    Throw Your Arms Around Me

    We’ve recorded this song three times. First was the two-track single, and the production wasn’t good enough; next time we got a better feel. But it’s such a strong melody and strong optimistic sentiment that we thought it was worth recording again.

    Q. This song sounds different to the others, from another time?

    It inspired a lot of the other lyrics, and it was like a touchstone for a new direction of the band. It sounds difference because I basically wrote it on an acoustic guitar. I don’t often take such a complete song to the band. It’s a definitive, folky love song.

    We double-tracked acoustic guitars, put acoustic harmonies on the electric guitar parts. We really went to town on this – real strings. At the end we just invented all these vocal harmonies in the studiol the whole band is singing there.

    Verdict: It’s great, one of the best things we’ve ever done. I just wish we’d recorded it like this the first time.

    Everything’s on Fire

    Q. My criticism of this is that, at the end where it really opens out with the brass, the drums are too pedestrian.

    Yeah. I think the main problem is that it is too long at the end; if we had shortened it, that wouldn’t have been so prominent. We really did sit on that groove, longer, I think, than the interest level can be sustained.

    It came about with me, John and Doug playing a Stones sort of feel. We wanted to write a soul sort of song. It’s had a mercurial life; we’ve played with it and dropped it at various times.

    I re-did all the guitars to get a crisper rhythm, keeping them cleaner and back in the mix. It will be edited for a single.

    Relief

    We wrote this about a year ago. It had a turgid backbeat rhythm – grungy, and I had this meandering guitar line under the vocal. It wasn’t working for me and we dropped it.

    When we came to recording we were able to stand back from it; the bass and drums went down as they are live, and we were able to give it more colour. Then I worked out with Gavin, a three-chord melody under the voice for guitar and organ, and clean slide guitar and organ, and clean slide guitar sound. This lifted the song out.

    We put piano at the end with guitar and brass.

    Verdict: The recording of this has taught us how to play it live. It’s been a surprise, this song. I really like playing it now and it’s probably one of the strongest songs on the record.

    The Finger

    Q. An odd song, very claustrophobic…

    That’s good, because that’s what it’s about. This and Throw Your Arms are the oldest songs on the record. Here I was trying to describe coming in from the landscape to a tiny little room. It’s the closest to our old style.

    We started with a slow rhythm and just two notes and I wanted an elegant melody, which came from trumpet and guitar. It’s a real jam song.

    We didn’t do that much to it, we tried other riffs on piano and guitar and they didn’t work.

    Verdict: I’m not that curious about this song; it’s not quite as fresh as the others. It’s the least successful in translation.

    The 99th Home Position

    We wrote this in the studio. It started with the drums. I’d been harping on about having an up-tempo song and John started playing this tom-tom rhythm and a few songs later we had the bassline. We wrote the whole thing in about three hours.

    I’d found a book on square dancing, published in the 50’s, and one of the terms they use is ‘Home Position’, the position the couple always comes back to. It said the man must bring the woman back to his home position because if the woman goes to hers there will be a heap of trouble. That’s actually what the book said – a very ’50’s way of looking at relationships. The whole thing was a metaphor for courtship, so I thought I would write a lyric about Home Position, such that no matter what happens in life the man and the woman always have to come back together again.

    To keep it simple we kept this song as a three-piece – John, Doug and me. I used my straight Fender sound and treated it.

    Verdict: The guitar could be a bit louder. It’s my second favourite track.

    Dog

    At soundchecks John had been playing a riff on the E string – it sounded like a 3/4 rhythm but it resolved. I had a lyric and when we went into the studio I asked him to play that riff. Then Doug added the soul rhythm with that anticipated kick beat at the beginning of every second bar, and I played like an ACDC guitar – a straight chord over a root note, which is a traditional rock ‘n’ roll device, but because of the tug in the rhythm, it sounded like Hunters underneath.

    We were listening to ACDC a lot at this time – liking the really simple tension between guitars and drums in their music. And, the fact that their songs are so skeletal.

    We were going to bring the bass in but decided to keep it as a three-piece which was a good idea.

    Lyrics-wise, I tried to get tuned into being an animal, really subservient to someone.

    Q. It sounds like it’s played live but lacks the ambience you would get in that situation…

    Yeah… I could have used some high bell-type guitar sounds to get that. But we didn’t think of it at the time, so…

    Verdict: It’s the most successful lyrically, from my point of view.

    Stuck on You

    Music and lyrics by Ian and Stephanie Rilen (ex-Sardine, Ian still plays with X). We wanted to do a cover version; it keeps us on our toes. It allows us to define what our approach to music is, and puts our interpretive power to the test because we can look at our version relative to the original.

    It doesn’t sound like our kind of melody but it gives a different perspective to the band.

    We wrote the middle section. Their version is not as heavy in the bottom-end, and our vocals are harsher (though if we recorded it again I might do them softer). We cut it up and made it more of a pop arrangement with lots of guitar parts, and we used a raw viola to get a similar effect to the Farfisa organ sound Stephanie had used on the original.

    Verdict: I’d like to do a softer vocal.

    This Morning

    Epic, the big one. This is an old song, written about a year ago. I had a melody idea and John put a simple blues progression bass under that, and we jammed for a while and realised we didn’t want it to be a straight ballad.

    So we disrupted the whole thing, going into a totally different mood with that semi-shuffle on the snare. We didn’t try to write it too quickly, left it for a while because when we got into that feel we had to figure out how to climax the song.

    After a few rehearsals it settled, but live it took a while to shift gear, make the changes positive.

    Q. You seem to have an easy control of it; having so many changes it still flows…

    We’ve shortened it a lot from the live version and I organised my guitar more clearly in the buildups. It was hard to get the backing track down; we really had to concentrate.

    Q. I like the part where Doug’s doing that tom rhythm and then goes down to doing that same rhythm on the sticks. It randomises it a lot…

    Yeah, that’s fantastic live. I think in this song we’ve galvanised the new Hunters.

    Verdict: It’s a really powerful recording – an overstatement of a simple idea. The strings helped to do that.

    With this whole record we’ve tried to bring everything down to its skeletal elements. It’s a very rational album.

    Q. Your cover symbol, what’s that about?

    It’s the symbol of healing – the surgeon’s knife and the snake in Greek mythology is the link between the physical and spiritual worlds. It’s a spiritual symbol really. Good music connects the listened with his or her own soul. That’s what this album is attempting to do. And also, I want to get a tattoo like that one day…
     
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  18. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    nice! cheers mate
     
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  19. Summer of Malcontent

    Summer of Malcontent Forum Resident

    Thanks for that. It reminds me what an amazingly solid album this is. Song for song, there's not a dud on it, and even the lesser tracks (e.g. '99th Home Position') provide necessary light and shade. In my opinion, the band's three best songs are all here: 'Say Goodbye', 'Throw Your Arms Around Me' and 'Dog'. The latter is lesser known, but it's absolutely electrifying, and might be the best band performance and arrangement they ever managed. Who'd have thought a line like "You've got fingers like ginger roots" could be so emotionally cathartic (and after all these years I still have no idea why, though Seymour's intense delivery is surely a key).

    There's a whole other album worth of b-sides and remixes on the album's singles, including some great, great songs ('Follow Me', 'Mind of an American') and a ludicrous studio-chatter throwaway ('Who's On Left?'). This is the track listing of a sister compilation (including the Living Daylights EP, which aligns more closely with this album than the following one, in my opinion) I made a couple of years ago:

    HUNTERS & COLLECTORS: THE HUMAN FRAILTY SINGLES

    SAY GOODBYE (EXTENDED MIX)
    FOLLOW ME
    - SAY GOODBYE, 1986

    WHEN THE TRUTH COMES OUT
    - THROW YOUR ARMS AROUND ME, 1986

    EVERYTHING’S ON FIRE (7” EDIT)
    THIS MORNING (ORCHESTRAL)
    MIND OF AN AMERICAN
    - EVERYTHING’S ON FIRE, 1986

    IS THERE ANYBODY IN THERE? (7” REMIX)
    HONEY IN THE JAR
    - IS THERE ANYBODY IN THERE?, 1986

    LIVING DAYLIGHT
    INSIDE A FIREBALL
    JANUARY RAIN
    - LIVING DAYLIGHT, 1987

    WHO’S ON LEFT
    - THROW YOUR ARMS AROUND ME, 1986

    SAY GOODBYE (EXTENDED DANCE MIX)
    - THROW YOUR ARMS AROUND ME US PROMO, 1986

    IS THERE ANYBODY IN THERE? (EXTENDED DANCE MIX)
    - IS THERE ANYBODY IN THERE?, 1986
     
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  20. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Obviously the singles are great but i think my three favourite songs are Dog, This morning and Stuck on you.
    It's an incredibly strong album and the three closers make it one of the best crescendos to finish an album ever
     
  21. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Dog
    I don't know why I thought this was the third last song yesterday ... I was at the dentist, so I am going to blame anxiety .... anyhow.
    This is my favourite song on this album. The lyrics, to me, as on most of this album are scarily accurate and reinforce to me that this is one of the best albums ever made when it comes to lyrics that are raw emotional relationship lyrics. I may be wrong, and please correct me if I am because I assume they are Seymour's lyrics, but Seymour's lyrics on this album step up and over anything he did before or after.
    I love this song and the way it perfectly describes many guys in terms of how they relate to the woman they love/lust.


    Lyrics
    Come around in the morning, and I come around at night
    Sniff it in the air in the morning light, yeah
    Here's love and the world well lost...
    Learned how to bark and I learned how to bite

    When you start bleeding, you talk all night, yeah
    Here's the place where the scent got lost...
    Scratched at the gate and I scratched at the ground
    My hair stands up when the gate swings around, yeah

    It's all comin' out into the open
    And I'm lickin' your hand all over
    It's all comin' out into the open
    And I'm lickin' your hand all over...

    Come around in the morning and I come around at night
    Sniff it in the air in the morning light, yeah
    Here's love and the world well lost...
    Learned how to bark and I learned how to bite

    When you start bleeding you talk all night, yeah...
    Here's the place where the scent got lost
    Your name is Hazel, the hammer and tongs girl
    You've got fingers like ginger-roots

    Now it's, it's all comin' out into the open
    And I'm lickin' your hand all over
    They're all comin' out into the open
    And I'm lickin' your hand all over

    Here's love and the world well lost
    Here's love and the world well lost, yeah
    It's all comin' out into the open
    Lickin' your hand all over

    Lickin' your hand all over
    Lickin' your hand all over
    Lickin' your hand all over
     
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  22. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

    Everything's On Fire
    The band's horn arrangements by this stage of their career are excellent and colour the songs perfectly. Among the best use of horns in rock music to my ear, but each to their own.
    This is a great song and again digs deeply into the functioning of relationships so astutely that one can feel the tension climbing out of the audio waves. I always found the line "unburden the butcher in your heart" to be brilliant and harrowing at the same time.


    Lyrics
    If I don't come home before midnight
    And I call out your name in the dark
    You'll know that I've been tempted
    And I'll know that I've got no heart
    And I'll know I won't be expected
    And you'll think we're drifting apart
    And I might as well be blowing at the top of the world
    When my fingers find your body in the dark
    Everything's on fire
    Everything's on fire
    So if I don't come home before midnight
    And I can't find the keyhole in the dark
    Burn the place down
    Make it glow like christmas
    The tenderness that's burning in my heart
    Everything's on fire
    Everything's on fire...
    If you can't open your eyes in the morning

    If some maniac has been and left his mark
    I'll be round to sift through the cinders
    Lift the lid and take the thing apart
    Everything's on fire
    Everything's on fire
    Everything's on fire
    Everything's on fire...
    So to all you feelers and fumblers
    Waiting for the fireworks to start
    Do it now--blow it up yourself
    Unbutton the butcher in your heart
    And if I don't come home before midnight
    And I can't find the keyhole in the dark
    You'll know, you'll know that I've been tempted
    You'll know, you'll know we're drifting apart
    Everything's on fire
     
    oboogie likes this.
  23. bob_32_116

    bob_32_116 Forum Flaneur

    Location:
    Perth Australia
    You've got to hand it to Hunters & Collectors for achieving the feat of getting a whole pub full of sweaty half drunken macho men singing along to "You don't make me feel like I'm a woman any more".
     
  24. Summer of Malcontent

    Summer of Malcontent Forum Resident

    That is indeed a great lyric.

    So if I don't come home before midnight
    And I can't find the keyhole in the dark,
    Burn the place down.
    Make it glow like Christmas.


    Yikes!
     
    mark winstanley likes this.
  25. mark winstanley

    mark winstanley Certified dinosaur, who likes physical product Thread Starter

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