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Song of the Day: Falling In Love (by Aerosmith)

Posted on by Arleigh

Alright, let’s talk about a seriously underrated gem from Aerosmith’s later years: Falling In Love (Is So Hard On The Knees). If you only know the band from their big power ballads, you’re missing out on this side of them. This track is pure, unapologetic fun, and it’s the perfect example of why they’re rock legends. It’s got that classic, bluesy swagger that just makes you want to crank up the volume and strut around the room. Forget the sappy love songs; this is Aerosmith reminding everyone that they are, first and foremost, a rock and roll band that knows how to have a good laugh. The groove alone is so dirty and infectious that you’ll be nodding your head before Steven Tyler even opens his mouth.

And speaking of Tyler, the genius of this song is how it takes the emotional rollercoaster of love and just turns it on its head with a massive dose of humor. He isn’t crooning about a broken heart here; he’s basically throwing his hands up and saying, “This whole love thing is ridiculous!” The title itself is a killer metaphor—love literally brings you to your knees, both physically and emotionally—but the real gold is in the wordplay. Check out the double entendre in lines like “I major in love, but in all minor keys,” which is a clever nod to both musical theory and the melancholy that often comes with romance. And then there’s the absolute classic, “Don’t give me no lip, I’ve got enough of my own,” which works as both a sassy put-down and a sly wink at, well, using your lips for other things in a relationship. It’s self-deprecating, surprisingly clever, and makes light of the universal struggle of romance without ever sounding whiny.

You also have to see the music video, which was directed by none other than Michael Bay, and it is absolutely bonkers in the best way possible. It’s a surreal, chaotic masterpiece of 90s MTV, filled with wild imagery like a man literally chained up, leashed by his tongue, and being tormented by gorgeous women. It’s weird, it’s funny, and it’s a perfect visual match for the song’s chaotic energy. The video won a Moonman for Best Rock Video, and honestly, you watch it once and you’ll never forget it. It takes the playful, masochistic vibe of the lyrics and turns it into a visual feast that amplifies every wink and nudge Tyler throws out in the verses.

Now, set your watch for around the 2:05 mark, because that’s when Joe Perry steps out and absolutely takes over. The solo runs from about 2:05 to 2:25 and honestly, those 25 seconds are worth the price of admission alone. He comes in hot — not showy for the sake of it, but mean and deliberate, like every note has a purpose. There’s this gritty, almost bluesy bite to it that reminds you Perry is not just a rock guitarist, he’s a feel guitarist. He bends notes in ways that sound almost vocal, like he and Tyler are having a conversation, and then he just rips into this run toward the end that’ll make you hit rewind before you even realize you’ve done it. It’s compact, it’s nasty in the best way, and it’s over before you want it to be — which honestly is the mark of a truly great solo.

Look, I’ll be honest—I was late to the Aerosmith party. For the longest time, I only knew them from their Walk This Way collab with Run-DMC, which I loved, but I stupidly figured that was their only trick. It wasn’t until I randomly heard Cryin’ and Amazing on the radio one summer that something clicked, and I dove headfirst into their 90s output. That era—Get a Grip, Nine Lives, Permanent Vacation—absolutely hooked me with its mix of grit, melody, and pure swagger. And once I was in, I never looked back… well, except to go binge Toys in the Attic and Rocks and realize what I’d been missing all those years. So if you’re like me and you’ve slept on this band, do yourself a favor: put Falling In Love (Is So Hard On The Knees) on, pay close attention to the lyrical gymnastics, and just let it put a smile on your face. Trust me, you won’t regret it.

Falling In Love (Is Hard On The Knees)

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

You think you’re in love
Like it’s a real sure thing
But every time you fall
You get your ass in a sling
You used to be strong
But now it’s ooh baby please
‘Cause falling in love is so hard on the knees

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

We was making love when you told me that you loved me
I thought ol’ cupid he was taking aim
I was believer when you told me that you loved me
And then you called me someone else’s name

There ain’t gonna be no more beggin’ you please
You know what I want
And it ain’t one of these
You’re bad to the bone
And your girlfriend agrees
That falling in love is so hard on the knees

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

Chip off the old block
Man you’re so much like your sister
My fantasize it must be out of luck
My old libido has been blowing a transistor
I feel like I have been hit by a fuck

Yeah

I’m Jonesin’ on love
Yeah I got the DT’s
You say that we will
But there ain’t no guarantees

I’m major in love
But in all minor keys
Cause falling in love is so hard on the knees

What are you looking for
It’s got to be hard core
Must be some kind of nouveau riche

Is this your only chance
Or some hypnotic trance
Let’s get you on a tighter leash

Own it own it own it

[guitar solo @2:05]

You’re so bad you’re so bad you’re so
You’re so bad you’re so bad

You ain’t that good
Is what you said down to the letter
But you like the way I hold the microphone
Sometimes I?m good but when I’m bad
I’m even better
Don’t give me no lip
I’ve got enough of my own

There ain’t gonna be no more beggin’ you please
You know what I want
And it ain’t one of these
You’re bad to the bone
And your girlfriend agrees
That falling in love is so hard on the knees

I’m Jonesin’ on love
Yeah I got the DT’s
You say that we will yeah
But there ain’t no guarantees
I’m major in love
But in all minor keys
‘Cause falling in love is so hard on the knees

Great Guitar Solos Series

Song of the Day: Any Way You Want It (by Journey)

Posted on by Arleigh

Okay, so you’ve probably heard Any Way You Want It by Journey at a sports game, a movie, or blasting from someone’s car with the windows down. And yeah, it’s a classic rock anthem, but let me tell you why you need to actually listen to it like it’s your new favorite song. First off, that opening riff? Pure adrenaline. It kicks in with this chugging, joyful energy that doesn’t let up. Steve Perry’s vocals are famously sky-high and smooth, but the real secret weapon here is how the whole band locks into this unstoppable groove. It’s not complicated—it’s just fun. If you’re in a bad mood, hit play. I guarantee you’ll be tapping your steering wheel by the ten-second mark.

Now, let’s talk about the guitar solo, because that’s where Neal Schon earns his legend status. It starts at 1:34, right after the second chorus when the song pulls back just for a breath. And then—bam. Schon doesn’t waste time with flashy nonsense. He comes in with this biting, melodic line that feels like a conversation. It’s not about showing off speed (though he’s got plenty); it’s about attitude. The solo builds with these perfect bends and a little wah pedal flavor, then climbs higher and higher until it just explodes into a fiery run that hands the energy right back to Perry for the final chorus. From 1:34 to about 2:00, it’s pure rock and roll perfection.

What I love most is how the solo doesn’t overpower the song—it serves it. So many guitar heroes try to steal the spotlight, but Schon is playing like he’s part of a team. You can hear him weaving in and out of the rhythm section, almost dancing with the bass and drums. And that tone? Crisp, a little overdriven, but never muddy. It’s the sound of someone who knows exactly when to let a note ring out and when to smash into the next one. If you’ve ever thought Journey was just a “ballads band,” this solo will change your mind fast.

Bottom line: Any Way You Want It is a shot of pure joy, and the guitar solo from 1:34 to 1:45 is the heart of the whole thing. Put on headphones, crank the volume, and just focus on how Schon makes his guitar sing, shout, and then whisper all in under thirty seconds. Then hit replay, because I promise you’ll miss something the first time. Give it two listens—one for the vocals, one for the solo—and you’ll wonder how you ever slept on this track. It’s not deep, it’s not complicated. It’s just perfect. Any way you want it, that’s the way you’ll need it. Trust me.

Any Way You Want It

Any way you want it
That’s the way you need it
Any way you want it

She loves to laugh
She loves to sing
She does everything
She loves to move
She loves to groove
She loves the lovin’ things

Ooh, all night, all night
Oh, every night
So hold tight, hold tight
Ooh baby, hold tight

Oh, she said
Any way you want it
That’s the way you need it
Any way you want it
She said, any way you want it
That’s the way you need it
Any way you want it

I was alone
I never knew
What good love could do
Ooh, then we touched
Then we sang
About the lovin’ things

Ooh, all night, all night
Oh, every night
So hold tight, hold tight
Ooh baby, hold tight

Oh, she said
Any way you want it
That’s the way you need it
Any way you want it
I said, any way you want it
That’s the way you need it
Any way you want it

[guitar solo]

She said ohh, hold on, hold on, hold on
Oh, she said any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

She said any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it
Any way you want it

Any way you want it
That’s the way you need it

Great Guitar Solos Series

Song of the Day: Shake You Down (by. Gregory Abbott)

Posted on by Arleigh

There’s something instantly recognizable about Gregory Abbott’s “Shake You Down.” From that opening synth line to the smooth, almost whispered vocals, it feels like pure ’80s romance bottled into four silky minutes. This wasn’t a loud song — it didn’t need to be. Abbott’s voice doesn’t demand attention; it draws you in with that gentle charm that made it the perfect track for dimly lit gym floors, disco balls spinning, and teenagers swaying in slow circles, trying not to step on each other’s shoes.

What made “Shake You Down” stand out wasn’t just the melody but how effortlessly seductive it was without ever being explicit. The song oozes quiet confidence — cool, easy, and slightly shy — the way the best R&B hits of the era did. It’s the kind of tune that made every listener feel like they were starring in their own movie moment: that hesitant glance, that first slow dance, that unspoken “this might be something” energy. Even now, it triggers a rush of nostalgia for a more innocent kind of intimacy.

Decades later, it’s no wonder “Shake You Down” still sneaks its way into prom playlists and retro nights. It doesn’t chase trends or rely on flashy production — it’s just a solid, soulful groove that makes you want to close your eyes and sway. For anyone who grew up in the ’80s or ’90s, hearing those first notes is like being transported back to a simpler time when a slow song at the end of the night could mean everything.

Shake You Down

Girl, I’ve been watching you
From so far across the floor, now, baby
That’s nothing new, I’ve watched you
So many times before, now, baby
I see that look in your eyes (look in your eyes)
And what it’s telling me
And you know, ooh girl, that I’m not shy
I’m glad you picked up on my telepathy, now, baby

You read my mind (you know you did)
Girl, I wanna shake you down (oh well, oh well)
I can give you all the lovin’ you need
(I’m gonna love you)
Come on, let me take you down (oh, baby)
We’ll go all the way to Heaven
Ooh, I been missing you
And the way you make me feel inside
What can I do? I can tell you’ve got your pride now, baby
Come to me (oh well, oh well)
Let me ease your mind (oh babe)
I’ve got the remedy, yes I do
Now give me just a little time

I wanna rock you down
(I can give you all the lovin’ you need)
I’m gonna love you
(Come on, let me take you down)
Oh well, oh well
(We’ll go all the way to Heaven)

Girl, I’ve been missing you
And you know, it’s funny
Every time I get to feelin’ this way
I wish I had you near me
I wanna reach out and touch you

I can’t stop thinking of the things we do
The way you call me “baby” when I’m holding you
I shake and I shiver when I know you’re near
Then you whisper in my ear (oh baby, well, well)

Oh baby
(I can give you all the lovin’ you need)
I’m gonna love you
(Come on, let me take you down)
Oh well, oh well
(We’ll go all the way to Heaven)

Eeny-meeny-miny-mo (you read my mind)
Come on, girl, let’s shock the show (girl, I wanna shake you down)
(I can give you all the lovin’ you need)
Roses are red and violets are blue
I’m gonna rock this world for you
Hey baby
(We’ll go all the way to Heaven)
(You read my mind)
Girl, I wanna shake you down
I can give you all the lovin’ you need
Come on, let me take you down
We’ll go all the way to Heaven

Song of the Day: Open Arms (by Journey)

Posted on by Arleigh

There’s something about nostalgia that hits differently. It gets a bad rap sometimes—mostly because it can make us label anything from our past as a “classic” just because it’s tied to some fond memory. But when it’s genuine, nostalgia can feel like stepping back into a moment you never wanted to end.

That’s exactly what today’s “Song of the Day” does—it stirs up those feelings of the past and reminds me why some songs never lose their magic. I’m talking about one of the all-time great power ballads: Journey’s “Open Arms.”

Released in 1982 on Journey’s seventh album, Escape, the song was an instant hit, both on the radio and in their arena shows. “Open Arms” quickly became the rock power ballad—the one all others get compared to. Like any good ballad, it’s about losing love and finding it again. Honestly, I don’t know anyone—no matter their music taste—who hasn’t slow danced to this song at least once.

It wasn’t exactly the go-to tune at my high school dances, but I definitely heard it plenty once I was older—at weddings, anniversaries, and other celebrations. The song’s staying power comes from more than just its lyrics—it’s Steve Perry’s voice. His delivery is powerful without feeling overdone or corny. There’s this sincerity in his singing, like he’s sharing something deeply personal, and that’s what gives the song its timeless emotional pull.

Open Arms

Lying beside you
here in the dark
Feeling your heart beat with mine

Softly you whisper
you’re so sincere
How could our love be so blind
We sailed on together
We drifted apart
And here you are by my side

So now I come to you
with open arms
Nothing to hide
believe what I say
So here I am with open arms
Hoping you’ll see what your love means to me
Open arms

Living without you
living alone
This empty house seems so cold

Wanting to hold you
wanting you near

How much I want you home
But now that you’ve come back
Turned night into day
I need you to stay

So now I come to you
with open arms
Nothing to hide
believe what I say
So here I am with open arms
Hoping you’ll see what your love means to me
Open arms

Song of the Day: Faithfully (by Journey)

Posted on by Arleigh

Back in junior high in the early ’80s, Faithfully dropped in 1983 on Journey’s Frontiers album, and those haunting piano chords instantly hooked us during slow skates or late-night mix tapes. Steve Perry’s raw, soaring voice captured the ache of young love stretching across town, turning everyday pangs into something profound. Even by 1988, deep into high school, it had evolved into a staple power ballad at dances and teen parties, standing tall among the era’s anthems.

What elevated it to one of Journey’s all-time greatest was its blend of emotional depth and universal appeal—highways symbolizing distance, hearts straining but vowing “to be there faithfully,” all without the bombast of hair metal excess. It felt authentic, perfect for those fog-shrouded bus rides home, fueling dreams amid neon-lit awkwardness. Rock historians often hail it as the pinnacle of ’80s power ballads, outshining peers with its sincerity and that unforgettable guitar climb.

Hearing it today still transports me to cassette decks and feathered hair, a true time capsule of innocence. Journey mastered crafting songs that promised soul-deep connection against all odds, cementing Faithfully as their crown jewel and the era’s ballad benchmark.

Faithfully

Highway run into the midnight sun
Wheels go ’round and ’round, you’re on my mind
Restless hearts sleep alone tonight
Sendin’ all my love along the wire

They say that the road ain’t no place to start a family
Right down the line it’s been you and me
And lovin’ a music man ain’t always what it’s supposed to be
Oh, girl you stand by me, I’m forever yours, faithfully

Circus life under the big top world
We all need the clowns to make us smile
Through space and time, always another show
Wondering where I am lost without you

And bein’ apart ain’t easy on this love affair
Two strangers learn to fall in love again
I get the joy of rediscovering you
Oh girl, you stand by me, I’m forever yours, faithfully

Faithfully, I’m still yours
I’m forever yours, ever yours
Faithfully

Song of the Day: Cocaine Blues (by Johnny Cash)

Posted on by Arleigh

Johnny Cash’s “Cocaine Blues” rolling over Lucy gleefully mowing down the ghoul Elvis-faction is one of those perfectly twisted Fallout moments — absurd, violent, and darkly funny. The song’s tale of a killer singing about his own crimes while Lucy grins through the carnage gives the whole scene a warped playfulness. Cash’s deliberate rhythm, all swagger and doom, turns what could’ve been grim into something closer to a dance — a gunslinging ballet where the wasteland’s chaos feels almost celebratory. That contrast is what makes it pop.

In that moment, “Cocaine Blues” becomes more than just needle-drop nostalgia; it’s commentary on Lucy’s transformation. She’s still got that vault-born cheer in her step, but now there’s something unhinged behind it — she’s caught up in the thrill. The imagery of her gunning down rhinestoned ghouls to Cash’s steady beat blurs innocence and indulgence — she’s no longer reacting to the brutality around her, she’s participating in it with genuine abandon. The song’s tale of killing and comeuppance hangs over her like prophecy, reminding us that even the brightest smile in the wasteland can cast a long shadow.

As the gunfire fades and Cash’s voice trails off, the irony hangs in the dust. Fallout has always thrived on these juxtapositions — the sunny Americana soundtrack to utter moral decay. “Cocaine Blues” leaves the scene pulsing with contradictions: joy and violence, freedom and madness, music and mayhem. It’s the sound of Lucy crossing another invisible line while smiling all the way through it, and Cash is there to make sure we don’t miss the joke.

Cocaine Blues

Early one mornin’ while makin’ the rounds
Took a shot of cocaine and I shot my woman down
Went right home and I went to bed
I stuck that lovin’ 44 beneath my head

Got up next mornin’ and I grabbed that gun
Took a shot of cocaine and away I run
Made a good run, but ran too slow
They overtook me down in Juarez, Mexico

Laid in the hot joints takin’ the pill
In walked the sheriff from Jericho Hill
He said, “Willy Lee, your name is not Jack Brown
You’re the dirty hop that shot your woman down”

Said, “Yes, sir, yes, my name is Willy Lee
If you’ve got a warrant, just read it to me
Shot her down because she made me sore
I thought I was her daddy, but she had five more”

When I was arrested, I was dressed in black
They put me on a train and it took me back
Had no friends for to go my bail
They slapped my dried up carcass in that county jail

Got up next mornin’ ’bout a half past nine
Spied the sheriff coming down the line
Hopped and he coughed as he cleared his throat
He said, “Come on you dirty hop into that district court”

Into the courtroom, my trial began
Where I was handled by 12 honest men
Just before the jury started out
I saw that little judge commence to look about

In about five minutes in walked the man
Holding the verdict in his right hand
The verdict read in the first degree
I hollered, “Lordy, Lordy, have mercy on me”

The judge he smiled as he picked up his pen
99 years in the Folsom pen’
99 years underneath that ground
I can’t forget the day I shot that bad bitch down

Come on you hops and listen unto me
Lay off that whiskey and let that cocaine be

Song of the Day: Big Iron (by Marty Robbins)

Posted on by Arleigh

Marty Robbins’ “Big Iron” is one of those songs that instantly takes you back to the Old West. It’s simple but powerful—a ranger rides into town to face down an outlaw, and you just feel that quiet tension building with every verse. Robbins’ steady voice gives the story a calm, almost cinematic vibe, like a slow pan across a dusty street before the final showdown. It’s storytelling stripped to the bone: two men, one promise of justice, and the air thick with purpose.

What’s cool is how “Big Iron” hasn’t just stayed stuck in the past. It’s popped up everywhere—from memes to movies to, of course, Fallout: New Vegas. That game gave the song a second life as a kind of anthem for wanderers—loners crossing desolate landscapes where myths feel more real than history. There’s something timeless about its message: standing your ground, even when the whole world’s gone sideways.

So when “Big Iron” opens the first episode of Fallout Season 2, it feels like a perfect fit. The familiar twang instantly throws you into that classic Fallout energy—part Western, part apocalypse. It’s not just a fun musical nod; it sets the tone for everything that follows. The song reminds us that even in a broken world, we’re still drawn to stories about courage, justice, and lone figures walking into danger with purpose. Robbins’ ballad might be old, but in Fallout’s world, it feels right at home.

Big Iron

To the town of Agua Fria rode a stranger one fine day
Hardly spoke to folks around him, didn’t have too much to say
No one dared to ask his business, no one dared to make a slip
For the stranger there amongst them had a big iron on his hip
Big iron on his hip

It was early in the morning when he rode into the town
He came riding from the south side slowly lookin’ all around
He’s an outlaw loose and running came the whisper from each lip
And he’s here to do some business with the big iron on his hip
Big iron on his hip

In this town there lived an outlaw by the name of Texas Red
Many men had tried to take him and that many men were dead
He was vicious and a killer though a youth of twenty-four
And the notches on his pistol numbered one and nineteen more
One and nineteen more

Now the stranger started talking, made it plain to folks around
Was an Arizona Ranger, wouldn’t be too long in town
He came here to take an outlaw back alive or maybe dead
And he said it didn’t matter, he was after Texas Red
After Texas Red

Wasn’t long before the story was relayed to Texas Red
But the outlaw didn’t worry men that tried before were dead
Twenty men had tried to take him, twenty men had made a slip
Twenty-one would be the ranger with the big iron on his hip
Big iron on his hip

The morning passed so quickly, it was time for them to meet
It was twenty past eleven when they walked out in the street
Folks were watching from the windows, everybody held their breath
They knew this handsome ranger was about to meet his death
About to meet his death

There was forty feet between them when they stopped to make their play
And the swiftness of the Ranger is still talked about today
Texas Red had not cleared leather for a bullet fairly ripped
And the Ranger’s aim was deadly with the big iron on his hip
Big iron on his hip

It was over in a moment and the folks had gathered ’round
There before them lay the body of the outlaw on the ground
Oh, he might have gone on living but he made one fatal slip
When he tried to match the Ranger with the big iron on his hip
Big iron on his hip

Big iron, big iron
When he tried to match the Ranger
With the big iron on his hip
Big iron on his hip

Song of the Day: Black Magic Woman (by Carlos Santana)

Posted on by Arleigh

Carlos Santana’s song “Black Magic Woman” is a timeless tune that hooks you right from the start, but it’s that guitar solo that really makes it unforgettable and that is what make it our latest “Song of the Day.” The solo kicks in around 2 minutes and 24 seconds into the track. What’s great about Santana’s solo is how it feels like a conversation rather than just fast playing. His guitar almost sounds like it’s telling a story, with smooth, soulful notes that seem to sing. It’s not about shredding or showing off; it’s about playing each note with feeling and attitude, making you want to listen over and over.

What really stands out in the solo is how Santana uses bends and vibrato — which means he gently raises the pitch of the notes and adds a slight shake. This gives the solo a warm and emotional feel, almost like a human voice expressing deep feelings. The smooth back-and-forth flow between notes keeps it easy to follow, so even if you’re not a guitarist, you can feel the emotion. Plus, the mix of Latin rhythms shines through, giving the solo a unique flavor that sets Santana apart from other guitarists and adds some groove to the song.

The solo in “Black Magic Woman” is what really grabs listeners and keeps them hooked. It’s not about playing a million notes fast, but about making every sound count and really feeling the music. Santana’s guitar almost talks and sings with a warm, inviting voice that pulls you into the mood of the song. His unique blend of smooth, flowing notes with just the right amount of grit and emotion makes the solo stand out as something special and timeless. Instead of flashy showmanship, it’s the deep connection you feel through the guitar that keeps the solo memorable and moving for generations of listeners. This soulful approach is what turns a simple guitar solo into a truly magical moment in the song.

Black Magic Woman

Got a black magic woman
Got a black magic woman

I’ve got a black magic woman
Got me so blind I can’t see
That she’s a black magic woman
She’s tryin’ to make a devil out of me

Don’t turn your back on me, baby
Don’t turn your back on me, baby

Yes, don’t turn your back on me baby
Stop messin’ around with your tricks
Don’t turn your back on me baby
You just might pick up my magic sticks

[guitar solo]

Got your spell on me baby
Got your spell on me baby

Yes you got your spell on me baby
Turning my heart into stone
I need you so bad – magic woman
I can’t leave you alone

Great Guitar Solos Series

Song of the Day: Father Figure (by George Michael)

Posted on by Arleigh

george-michael

The year of 2016 has taken many of the music scene’s greatest. Prince, David Bowie and Glenn Frey just to name a few taken too soon. Now, George Michael joins his musical brethren as news of his passing on Christmas Day was announced and confirmed.

There’s not much to say other than any kid growing up during the late 80’s knew and listened to George Michael in some capacity or another. While he became famous as part of the British boy band WHAM! it was when he branched out on his own as a solo act that he hit megastar status. His solo debut album, Faith, would reach multi-platinum levels and each single released from the album and each video that ran in circulation on MTV would become instant hits.

My favorite song of his and this goes to his many excellent post-modern videos, would be the third single released from his debut album, “Father Figure.”.

Father Figure

That’s all I wanted
Something special, something sacred
In your eyes

For just one moment
To be bold and naked
At your side

Sometimes I think that you’ll never
Understand me (understand me)
Maybe this time is forever
Say it can be, woah

That’s all you wanted
Something special, someone sacred
In your life

Just for one moment
To be warm and naked
At my side

Sometimes I think that you’ll never
Understand me (understand me)
But something tells me together
We’d be happy, woah baby

I will be your father figure (oh baby)
Put your tiny hand in mine (I’d love to)
I will be your preacher teacher (be your daddy)
Anything you have in mind (it would make me)

I will be your father figure (very happy)
I have had enough of crime (please let me)
I will be the one who loves you
Till the end of time

That’s all I wanted
But sometimes love can be mistaken
For a crime

That’s all I wanted
Just to see my baby’s
Blue-eyed shine

This time I think that my lover
Understands me (understands me)
If we have faith in each other
Then we can be strong, baby

I will be your father figure
Put your tiny hand in mine (my baby)
I will be your preacher teacher
Anything you have in mind

I will be your father figure
I have had enough of crime
I will be the one who loves you
Till the end of time

If you are the desert, I’ll be the sea
If you ever hunger, hunger for me
Whatever you ask for, that’s what I’ll be

So when you remember the ones who have lied
Who said that they cared
But then laughed as you cried

Beautiful darling
Don’t think of me
Because all I ever wanted
It’s in your eyes
Baby, baby
And love can’t lie, no

(Greet me with the eyes of a child)
My love is always telling me so
(Heaven is a kiss and a smile)
Just hold on, hold on
And won’t let you go, my baby

I will be your father figure
Put your tiny hand in mine
I will be your preacher teacher
Anything you have in mind

I will be your father figure
And I have had enough of crime
So I am gonna love you
Till the end of time

(I will be your father) I will be your
(I will be your preacher) Father
(I will be your father) I’ll be your daddy, whoa
I will be the one who loves you
Till the end of time