Love The King Of Emotion - Songlyrics (Seite 2104)
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....dem etwas unterrepräsentierten Soul, mal eine gehaltene Stange....
"Ball Of Confusion"
Temptations
http://www.atr.org/audiovisual/temptations_ball_of_confusion…
1, 2... 1, 2, 3, 4, Ow!
Eddie:
People moving out, people moving in.
Why, because of the color of their skin.
Run, run, run but you sure can`t hide.
An eye for an eye, a tooth for a tooth.
Vote for me and I`ll set you free.
Rap on, brother, rap on.
Dennis:
Well, the only person talking about love thy brother is the...(preacher.)
And it seems nobody`s interested in learning but the...(teacher.)
Segregation, determination, demonstration, intergration,
Aggravation, humiliation, obligation to our nation.
Ball of confusion.
Oh yeah, that`s what the world is today.
Woo, hey, hey.
Paul:
The sale of pills are at an all time high.
Young folks walking round with their heads in the sky.
The cities ablaze in the summer time.
And oh, the beat goes on.
Dennis:
Evolution, revolution, gun control, sound of soul.
Shooting rockets to the moon, kids growing up too soon.
Politicians say more taxes will solve everything.
Melvin:
And the band played on.
So, round and around and around we go.
Where the world`s headed, nobody knows.
[Instrumental]
Oh, great googalooga, can`t you hear me talking to you.
Just a ball of confusion.
Oh yeah, that`s what the world is today.
Woo, hey, hey.
Eddie:
Fear in the air, tension everywhere.
Unemployment rising fast, the Beatles new record`s a gas.
Dennis:
And the only safe place to live is on an indian reservation.
Melvin:
And the band played on.
Eve of destruction, tax deduction, city inspectors, bill collectors,
Mod clothes in demand, population out of hand, suicide, too many bills,
Hippies moving to the hills. People all over the world are shouting, `End the war.`
Melvin:
And the band played on.
[Instrumental]
Great googalooga, can`t you hear me talking to you.
Sayin`... ball of confusion.
That`s what the world is today, hey, hey.
Let me hear ya, let me hear ya, let me hear ya.
Sayin`... ball of confusion.
That`s what the world is today, hey, hey.
Let me hear ya, let me hear ya, let me hear ya, let me hear ya, let me hear ya.
Sayin`... ball of confusion.
Related:
The Temptations Lyrics
The group with "five lead singers" - David Ruffin (replaced by Dennis Edwards in 1968), Eddie Kendricks,
Paul Williams, Otis Williams, Melvin Franklin - the temptin` Temptations was the male vocal group of the ‘60s
and the early-`70s. Mellifluous harmonies, dynamic dance steps, and killer material provided primarily by
Smokey Robinson and Norman Whitfield (with co-writers Eddie Holland and Barrett Strong) yielded 43
Top Ten hits over 25 years, 36 of which are included on the spectacular new double-CD collection
My Girl: The Very Best of the Temptations.
After recording a series of unsuccessful singles with Motown beginning in 1962, the Tempt`s hooked up
with Smokey Robinson for their first smash "The Way You Do the Things You Do" in 1964. Smokey
and the group then cranked out hit after hit, including their signature tune, "My Girl." The intro is
instantly-recognizable genius: the three-note bass line repeated, the ascending guitar line that feels like
home, the swanky finger snaps, the drum break. Then David Ruffin enters with his greatest vocal -
a gospel-tinged reverie of private sunshine, warmth and honeyed music, hovering above a cushion of
Temptin` harmonies where "Under the Boardwalk" meets "I Only Have Eyes For You."
Robinson ended his run with the Temptations with the aggressive, even menacing "Get Ready" in `66:
chattering sax, a charging beat and Eddie Kendricks` falsetto soaring through a great chorus give his lover
fair warning that wildness awaits her upon his arrival.
Then Norman Whitfield entered the picture. Whitfield stands as the most adventuresome and funky of the
giant Motown songwriter/producers; his greatest work, including seven years of hits with the Temptations,
ranks among the finest pop music of the last fifty years.
Whitfield was born in Harlem in 1943 where he developed twin interests in music and billiards. Whitfield`s
family fortuitously ended up in Detroit when his father`s car broke down on the way back to New York
from an aunt`s funeral in California.
By the age of 18, Whitfield had already written and produced local hits for the Distants and the Synetics.
The persistent, observant youth could be found loitering about the Motown office, "always staring at something,
" Berry Gordy told Nelson George in Where Did Our Love Go?
Tall, thin and quiet, Whitfield somewhat creepily watched for a year before he was hired in 1962 by Gordy at $15
per week to listen to demos and rate them for future release as part of Motown`s mysterious Quality Control
department. Following two long years of rating and waiting, Whitfield finally wrote and produced his first songs
for Motown: the Velvelettes` "Needle In a Haystack," and the Marvelettes` "Too Many Fish In the Sea."
The mild success of these songs led a call up to the majors: The Temptations. Whitfield came into his own with
the classic "Ain`t Too Proud to Beg." Benny Benjamin`s crisp drum intro commands the listeners` attention as
David Ruffin`s abject first line is wrenched from his soul: "I know you want to leave me, but I refuse to let you go.
" The songs bounces along jauntily behind the fabulous Funk Brothers, the Motown house band, with the
Tempt`s twirling and gesturing as Ruffin pleads for his relationship, and perhaps, his life. His friends lend
concerned support on the chorus, but Ruffin`s regret strained voice tells us that he is ultimately alone -
so, so alone: the other side of the universe from the satisfied pop of "My Girl."
"Beauty Is Only Skin Deep," and the passionate "(I Know) I`m Losing You" and "I Wish It Would Rain"
also featured Ruffin on lead as the hits continued.
In the mid-to-late-`60s Sly Stone psychedelicized black music by combining peace, love and social conscience
with gospel melodies, funky beats and rock `n` roll. Whitfield wanted to follow him onto the new vibe with the
Temptations. When David Ruffin, always suspect as a team player, blew off a 1968 live performance, he was
fired and replaced by ex-Contour Dennis Edwards, whose gutbucket shout was perfect for Whitfield`s trip into
uncharted waters. Whitfield began to write and use the studio differently as his hair sprouted into a militant afro,
and the old Funk Brothers house band began to break up.
Uriel Jones replaced the ailing Benny Benjamin on drums. Bob Babbitt replaced James Jamerson on bass, while
Dennis Coffey and Wah-Wah Watson came in on guitar. Jones told Nelson George that "Cloud Nine"
began as a beat on the cymbal...He`d have you sit and play that two or three minutes by itself, and he`d tell
you to add a certain beat on the foot. Actually, what he`s doing is just listening to see what he wants to add
to it...A lot of times we`d just sit and play and just rap on the tune until somebody just opens up and does
something. We`d have as many as twelve or thirteen guys in there just grooving on the rhythm.
"Cloud Nine" experiments with structure, rough social commentary and vocal trade-offs in the context of a lyric
that accepts, or at least sympathizes with drug use. Many were stunned. The adrenaline rush, the funk, the freaky
instrumentation and the social realism that Whitfield and the Temptations strung out on "Cloud Nine,"
"Psychedelic Shack," "Ball of Confusion (That`s What the World Is Today)," and especially
"Papa Was a Rollin` Stone" directly influenced Isaac Hayes, Curtis Mayfield, Gamble and Huff, Barry White
and many others, and eventually led to the extended grooves and shameless hedonism of disco.
Gradually Whitfield`s experimentation with the Tempt`s yielded diminishing returns and he turned his attention
elsewhere. The Temptations hooked up with various other writer/producers and scored several more hits
including "Shakey Ground," "Power" and "Treat Her Like a Lady." They continue to this day as a viable
unit: the final song on My Girl, "Lady," was released just last year. My Girl is an astonishing testament to
the Temptations` unprecedented run.
"Ball Of Confusion"
Temptations
http://www.atr.org/audiovisual/temptations_ball_of_confusion…
1, 2... 1, 2, 3, 4, Ow!
Eddie:
People moving out, people moving in.
Why, because of the color of their skin.
Run, run, run but you sure can`t hide.
An eye for an eye, a tooth for a tooth.
Vote for me and I`ll set you free.
Rap on, brother, rap on.
Dennis:
Well, the only person talking about love thy brother is the...(preacher.)
And it seems nobody`s interested in learning but the...(teacher.)
Segregation, determination, demonstration, intergration,
Aggravation, humiliation, obligation to our nation.
Ball of confusion.
Oh yeah, that`s what the world is today.
Woo, hey, hey.
Paul:
The sale of pills are at an all time high.
Young folks walking round with their heads in the sky.
The cities ablaze in the summer time.
And oh, the beat goes on.
Dennis:
Evolution, revolution, gun control, sound of soul.
Shooting rockets to the moon, kids growing up too soon.
Politicians say more taxes will solve everything.
Melvin:
And the band played on.
So, round and around and around we go.
Where the world`s headed, nobody knows.
[Instrumental]
Oh, great googalooga, can`t you hear me talking to you.
Just a ball of confusion.
Oh yeah, that`s what the world is today.
Woo, hey, hey.
Eddie:
Fear in the air, tension everywhere.
Unemployment rising fast, the Beatles new record`s a gas.
Dennis:
And the only safe place to live is on an indian reservation.
Melvin:
And the band played on.
Eve of destruction, tax deduction, city inspectors, bill collectors,
Mod clothes in demand, population out of hand, suicide, too many bills,
Hippies moving to the hills. People all over the world are shouting, `End the war.`
Melvin:
And the band played on.
[Instrumental]
Great googalooga, can`t you hear me talking to you.
Sayin`... ball of confusion.
That`s what the world is today, hey, hey.
Let me hear ya, let me hear ya, let me hear ya.
Sayin`... ball of confusion.
That`s what the world is today, hey, hey.
Let me hear ya, let me hear ya, let me hear ya, let me hear ya, let me hear ya.
Sayin`... ball of confusion.
Related:
The Temptations Lyrics
The group with "five lead singers" - David Ruffin (replaced by Dennis Edwards in 1968), Eddie Kendricks,
Paul Williams, Otis Williams, Melvin Franklin - the temptin` Temptations was the male vocal group of the ‘60s
and the early-`70s. Mellifluous harmonies, dynamic dance steps, and killer material provided primarily by
Smokey Robinson and Norman Whitfield (with co-writers Eddie Holland and Barrett Strong) yielded 43
Top Ten hits over 25 years, 36 of which are included on the spectacular new double-CD collection
My Girl: The Very Best of the Temptations.
After recording a series of unsuccessful singles with Motown beginning in 1962, the Tempt`s hooked up
with Smokey Robinson for their first smash "The Way You Do the Things You Do" in 1964. Smokey
and the group then cranked out hit after hit, including their signature tune, "My Girl." The intro is
instantly-recognizable genius: the three-note bass line repeated, the ascending guitar line that feels like
home, the swanky finger snaps, the drum break. Then David Ruffin enters with his greatest vocal -
a gospel-tinged reverie of private sunshine, warmth and honeyed music, hovering above a cushion of
Temptin` harmonies where "Under the Boardwalk" meets "I Only Have Eyes For You."
Robinson ended his run with the Temptations with the aggressive, even menacing "Get Ready" in `66:
chattering sax, a charging beat and Eddie Kendricks` falsetto soaring through a great chorus give his lover
fair warning that wildness awaits her upon his arrival.
Then Norman Whitfield entered the picture. Whitfield stands as the most adventuresome and funky of the
giant Motown songwriter/producers; his greatest work, including seven years of hits with the Temptations,
ranks among the finest pop music of the last fifty years.
Whitfield was born in Harlem in 1943 where he developed twin interests in music and billiards. Whitfield`s
family fortuitously ended up in Detroit when his father`s car broke down on the way back to New York
from an aunt`s funeral in California.
By the age of 18, Whitfield had already written and produced local hits for the Distants and the Synetics.
The persistent, observant youth could be found loitering about the Motown office, "always staring at something,
" Berry Gordy told Nelson George in Where Did Our Love Go?
Tall, thin and quiet, Whitfield somewhat creepily watched for a year before he was hired in 1962 by Gordy at $15
per week to listen to demos and rate them for future release as part of Motown`s mysterious Quality Control
department. Following two long years of rating and waiting, Whitfield finally wrote and produced his first songs
for Motown: the Velvelettes` "Needle In a Haystack," and the Marvelettes` "Too Many Fish In the Sea."
The mild success of these songs led a call up to the majors: The Temptations. Whitfield came into his own with
the classic "Ain`t Too Proud to Beg." Benny Benjamin`s crisp drum intro commands the listeners` attention as
David Ruffin`s abject first line is wrenched from his soul: "I know you want to leave me, but I refuse to let you go.
" The songs bounces along jauntily behind the fabulous Funk Brothers, the Motown house band, with the
Tempt`s twirling and gesturing as Ruffin pleads for his relationship, and perhaps, his life. His friends lend
concerned support on the chorus, but Ruffin`s regret strained voice tells us that he is ultimately alone -
so, so alone: the other side of the universe from the satisfied pop of "My Girl."
"Beauty Is Only Skin Deep," and the passionate "(I Know) I`m Losing You" and "I Wish It Would Rain"
also featured Ruffin on lead as the hits continued.
In the mid-to-late-`60s Sly Stone psychedelicized black music by combining peace, love and social conscience
with gospel melodies, funky beats and rock `n` roll. Whitfield wanted to follow him onto the new vibe with the
Temptations. When David Ruffin, always suspect as a team player, blew off a 1968 live performance, he was
fired and replaced by ex-Contour Dennis Edwards, whose gutbucket shout was perfect for Whitfield`s trip into
uncharted waters. Whitfield began to write and use the studio differently as his hair sprouted into a militant afro,
and the old Funk Brothers house band began to break up.
Uriel Jones replaced the ailing Benny Benjamin on drums. Bob Babbitt replaced James Jamerson on bass, while
Dennis Coffey and Wah-Wah Watson came in on guitar. Jones told Nelson George that "Cloud Nine"
began as a beat on the cymbal...He`d have you sit and play that two or three minutes by itself, and he`d tell
you to add a certain beat on the foot. Actually, what he`s doing is just listening to see what he wants to add
to it...A lot of times we`d just sit and play and just rap on the tune until somebody just opens up and does
something. We`d have as many as twelve or thirteen guys in there just grooving on the rhythm.
"Cloud Nine" experiments with structure, rough social commentary and vocal trade-offs in the context of a lyric
that accepts, or at least sympathizes with drug use. Many were stunned. The adrenaline rush, the funk, the freaky
instrumentation and the social realism that Whitfield and the Temptations strung out on "Cloud Nine,"
"Psychedelic Shack," "Ball of Confusion (That`s What the World Is Today)," and especially
"Papa Was a Rollin` Stone" directly influenced Isaac Hayes, Curtis Mayfield, Gamble and Huff, Barry White
and many others, and eventually led to the extended grooves and shameless hedonism of disco.
Gradually Whitfield`s experimentation with the Tempt`s yielded diminishing returns and he turned his attention
elsewhere. The Temptations hooked up with various other writer/producers and scored several more hits
including "Shakey Ground," "Power" and "Treat Her Like a Lady." They continue to this day as a viable
unit: the final song on My Girl, "Lady," was released just last year. My Girl is an astonishing testament to
the Temptations` unprecedented run.
und noch einen: Scala 3
mit dem album Gefühl und Härte
haben sie eines der Slogans der neuen welle geliefert.
Ghetto Intern
bleiche wesen aus dem Dunkel
Schleichen durch den Gross-Stadt-Dschungel
Mutation aus Mensch und Ratten
kalte seelenlose Schatten
Letzte Zeugen einer Aera
Zerrbild einer Welt im Chaostaumel
Es ist an dir diese Zeit zu versteh´n
Es ist an dir in die Zukunft zu geh´n
Es ist an dir
zu leben, sterben
ohne Angst
mit dem album Gefühl und Härte
haben sie eines der Slogans der neuen welle geliefert.
Ghetto Intern
bleiche wesen aus dem Dunkel
Schleichen durch den Gross-Stadt-Dschungel
Mutation aus Mensch und Ratten
kalte seelenlose Schatten
Letzte Zeugen einer Aera
Zerrbild einer Welt im Chaostaumel
Es ist an dir diese Zeit zu versteh´n
Es ist an dir in die Zukunft zu geh´n
Es ist an dir
zu leben, sterben
ohne Angst
ach ja die 80er...
1. futurologischer kongress:
rote autos
die orange ist so gesund
und rund
und im wald ziemlich grün
wirklich grün
alle neger sind so schwarz
ich bin weiß
viel zu weiß
rote autos schwarz und weiß
grüne autos schwarz und weiß
unsere sonne ist so hell
viel zu grell
und der himmel himmelblau
wirklich blau
warum kann man in der karibik
keine neger essen
rote autos schwarz und weiß
grüne autos schwarz und weiß
1. futurologischer kongress:
rote autos
die orange ist so gesund
und rund
und im wald ziemlich grün
wirklich grün
alle neger sind so schwarz
ich bin weiß
viel zu weiß
rote autos schwarz und weiß
grüne autos schwarz und weiß
unsere sonne ist so hell
viel zu grell
und der himmel himmelblau
wirklich blau
warum kann man in der karibik
keine neger essen
rote autos schwarz und weiß
grüne autos schwarz und weiß
Tolle alte Neue Deutsche Lieder 
Heute ist mal wieder ein 60. Geburtstag zu feiern
Diana Ross & The Supremes - Stop In The Name Of Love
Stop! In the name of love
Before you break my heart
Baby, baby
I`m aware of where you go
Each time you leave my door
I watch you walk down the street
Knowing your other love you`ll meet
But this time before you run to her
Leaving me alone and hurt
(Think it over) After I`ve been good to you ?
(Think it over) After I`ve been sweet to you ?
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Think it over
Think it over
I`ve known of your
Your secluded nights
I`ve even seen her
Maybe once or twice
But is her sweet expression
Worth more than my love and affection ?
But this time before you leave my arms
And rush of to her charms
(Think it over) Haven`t I been good to you ?
(Think it over) Haven`t I been sweet to you ?
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Think it over
Think it over
I`ve tried so hard, hard to be patient
Hoping you`d stop this infatuation
But each time you are together
I`m so afraid I`ll be losing you forever
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Baby, think it over
Think it over, baby
Ooh, think it over baby...
Heute ist mal wieder ein 60. Geburtstag zu feiern
Diana Ross & The Supremes - Stop In The Name Of Love
Stop! In the name of love
Before you break my heart
Baby, baby
I`m aware of where you go
Each time you leave my door
I watch you walk down the street
Knowing your other love you`ll meet
But this time before you run to her
Leaving me alone and hurt
(Think it over) After I`ve been good to you ?
(Think it over) After I`ve been sweet to you ?
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Think it over
Think it over
I`ve known of your
Your secluded nights
I`ve even seen her
Maybe once or twice
But is her sweet expression
Worth more than my love and affection ?
But this time before you leave my arms
And rush of to her charms
(Think it over) Haven`t I been good to you ?
(Think it over) Haven`t I been sweet to you ?
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Think it over
Think it over
I`ve tried so hard, hard to be patient
Hoping you`d stop this infatuation
But each time you are together
I`m so afraid I`ll be losing you forever
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Stop! In the name of love
Before you break my heart
Baby, think it over
Think it over, baby
Ooh, think it over baby...
Trading Spotlight
sehnsucht keimt
beim hören
sehnsucht nach dem einen
...
IDEAL (NEONBABIES): BLAUE AUGEN
Ideal (Neonbabies) im TV
lassen mich völlig kalt,
und die ganze Szene
hängt mir aus´m Hals.
Da bleib ich kühl - kein Gefühl.
Grelle Sache aus´n Fifties, Sixties
alles hohl und hundsgemein.
Auf Skoda oder Fiorucci
flieg ich nicht mehr ein.
Da bleib ich kühl - kein Gefühl, kein Gefühl.
Doch deine blauen Augen
machen mich so sentimental,
wenn du mich so anschaust
wird mir alles andere egal.
Deine blauen Augen
sind phänomenal,
was ich dann so fühle
ist nicht mehr normal.
Das ist gefährlich, lebensgefährlich,
soviel Gefühl, nichts mehr kühl.
Die Insiderfeten, da schlaf ich ein,
ich will auch nicht in London sein.
Bei Sex und Drugs und Rock´n´Roll
ist das Maß an Stumpfsinn voll.
Ich bleib kühl, kein Gefühl, kein Gefühl.
Der ganze Hassl um die Knete
macht mich taub und stumm.
Für den halben Luxus
leg ich mich nicht krumm,
nur der Scheich ist wirklich reich.
Doch deine blauen Augen...
Das ist gefährlich...
Doch deine blauen Augen...
Das ist gefährlich
beim hören
sehnsucht nach dem einen
...
IDEAL (NEONBABIES): BLAUE AUGEN
Ideal (Neonbabies) im TV
lassen mich völlig kalt,
und die ganze Szene
hängt mir aus´m Hals.
Da bleib ich kühl - kein Gefühl.
Grelle Sache aus´n Fifties, Sixties
alles hohl und hundsgemein.
Auf Skoda oder Fiorucci
flieg ich nicht mehr ein.
Da bleib ich kühl - kein Gefühl, kein Gefühl.
Doch deine blauen Augen
machen mich so sentimental,
wenn du mich so anschaust
wird mir alles andere egal.
Deine blauen Augen
sind phänomenal,
was ich dann so fühle
ist nicht mehr normal.
Das ist gefährlich, lebensgefährlich,
soviel Gefühl, nichts mehr kühl.
Die Insiderfeten, da schlaf ich ein,
ich will auch nicht in London sein.
Bei Sex und Drugs und Rock´n´Roll
ist das Maß an Stumpfsinn voll.
Ich bleib kühl, kein Gefühl, kein Gefühl.
Der ganze Hassl um die Knete
macht mich taub und stumm.
Für den halben Luxus
leg ich mich nicht krumm,
nur der Scheich ist wirklich reich.
Doch deine blauen Augen...
Das ist gefährlich...
Doch deine blauen Augen...
Das ist gefährlich
aah man spricht deuts...
aus alten mauertagen:
was ich an dir mag
du hast ringe um die augen
und vorn fehl´n dir zwei zähne
aber was soll ich machen
ich hab dich so gerne
du tanzt flamencos
so wild wie eh
morgens um halb sieben
vor der kneipe im schnee
und brüllst dazu
die internationale
und scheißt auf die völker
und ihre signale
die man allmählich
näherkommen höhrt
vor´n steht polizei drauf
spiegelverkehrt
du weißt gleich zücken sie die knüppel
du weißt es wär besser zu geh´n
aber dann bleibst du doch
vielleicht wird´s nie wieder so schön
niemals weißer der schnee
niemals heller der tag
vielleicht ist es gerade das
was ich an dir mag...
aus alten mauertagen:
was ich an dir mag
du hast ringe um die augen
und vorn fehl´n dir zwei zähne
aber was soll ich machen
ich hab dich so gerne
du tanzt flamencos
so wild wie eh
morgens um halb sieben
vor der kneipe im schnee
und brüllst dazu
die internationale
und scheißt auf die völker
und ihre signale
die man allmählich
näherkommen höhrt
vor´n steht polizei drauf
spiegelverkehrt
du weißt gleich zücken sie die knüppel
du weißt es wär besser zu geh´n
aber dann bleibst du doch
vielleicht wird´s nie wieder so schön
niemals weißer der schnee
niemals heller der tag
vielleicht ist es gerade das
was ich an dir mag...
Spliff - Heut´ Nacht (1982)
Schau uns an die ganze Nacht ,heut´ Nacht
die Stadt schläft ,nur wir sind wach ,heut´ Nacht
du stehst an der Tür
deine Stimme Sandpapier
warum bleibst du nicht hier heut´ Nacht ?
Wir sind still und reden nicht viel ,heut´ Nacht
die Lust ist los ,die Liebe groß ,heut´ Nacht
diese Nacht gehört dir
doch du blickst zur Tür
warum bist du nicht hier ?
Küss mich bevor du gehst
küss mich bevor du gehst
küss mich bevor du gehst
heut´ Nacht
Schau uns an die ganze Nacht ,heut´ Nacht
die Stadt schläft und wir sind wach ,heut´ Nacht
ich hab dein Bild in der Hand
den letzten Satz in der Hand
und tausend Träume von dir
Küss mich bevor du gehst
küss mich bevor du gehst
küss mich noch mal bevor du gehst
heut´ Nacht
Küss mich bevor du gehst
küss mich bevor du gehst
küss mich noch mal bevor du gehst
heut´ Nacht
Küss mich bevor du gehst
küss mich bevor du gehst
Schau uns an die ganze Nacht ,heut´ Nacht
die Stadt schläft ,nur wir sind wach ,heut´ Nacht
du stehst an der Tür
deine Stimme Sandpapier
warum bleibst du nicht hier heut´ Nacht ?
Wir sind still und reden nicht viel ,heut´ Nacht
die Lust ist los ,die Liebe groß ,heut´ Nacht
diese Nacht gehört dir
doch du blickst zur Tür
warum bist du nicht hier ?
Küss mich bevor du gehst
küss mich bevor du gehst
küss mich bevor du gehst
heut´ Nacht
Schau uns an die ganze Nacht ,heut´ Nacht
die Stadt schläft und wir sind wach ,heut´ Nacht
ich hab dein Bild in der Hand
den letzten Satz in der Hand
und tausend Träume von dir
Küss mich bevor du gehst
küss mich bevor du gehst
küss mich noch mal bevor du gehst
heut´ Nacht
Küss mich bevor du gehst
küss mich bevor du gehst
küss mich noch mal bevor du gehst
heut´ Nacht
Küss mich bevor du gehst
küss mich bevor du gehst
@Iguana ...ich wollte Dir immer schon mal sagen dass ich diesen Thread sehr schön finde.... 
...NDW Special Revisited...(hatten wir ja schon mal vor einer weile)
IDEAL
SEX IN DER WÜSTE
Am Strand von Tanger
in der glühendheißen Sonne
liegen sie narkotisiert
am Rand der Wüste
Der Sand ist heiß
kein Schatten weit und breit
die Cola kocht
man liegt im eignen Schweiß
refrain:
Der Horizont rückt näher
und was keiner weiß
jeder denkt das eine
doch dafür ist´s zu heiß
Sex- Sex in der Wüste
Die Luft vibriert
die Sonne sticht die helle Haut
und nichts geschieht
nur ein Gefühl wird gestaut
Der Wind ist still
der Himmel endlos blau
die Leiber rotgebrannt
liegt man im Sand
Der Horizont...
iguana
IDEAL
SEX IN DER WÜSTE
Am Strand von Tanger
in der glühendheißen Sonne
liegen sie narkotisiert
am Rand der Wüste
Der Sand ist heiß
kein Schatten weit und breit
die Cola kocht
man liegt im eignen Schweiß
refrain:
Der Horizont rückt näher
und was keiner weiß
jeder denkt das eine
doch dafür ist´s zu heiß
Sex- Sex in der Wüste
Die Luft vibriert
die Sonne sticht die helle Haut
und nichts geschieht
nur ein Gefühl wird gestaut
Der Wind ist still
der Himmel endlos blau
die Leiber rotgebrannt
liegt man im Sand
Der Horizont...
iguana 
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