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2011: Lyrics & Poems


Copyright 2019 Andrew Robert Chapman

Published by Andrew Robert Chapman at Smashwords

Edition 2019.3.7


This book is available in print at most online retailers.


Smashwords Edition License Notes

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Table of Contents

Preface

Preamble

Proem

(At Her) Feet

(You) Intoxicate Me

A Busch Too Much

A Handful Of Dust

Absolute Zero

Again

Ain't No Such Thing As Too Young (Original)

Angels - Write My Programs In SAS

Better Than Sex

Big Bad Dog

Big Girls

Blondie

Both Barrels

Breakin' The Seal

Come on and show me your crutch

Die Like A Man

DTs

Feeling Old

Fight Back

Flying Solo

Goin' Bald

Gray

Happy With You

Heartache

Heavenly Body

I Met A Porn Star

Infected

Jezebel

Live Dangerously (Original)

Mesmereyes

Missing Out

Misunderstood

Must Be Fake

My Best Friend

No More Mr. Nice Guy

Not That Kind Of Girl (Original)

One Track {chaste}

One Track {lewd}

Out On The Town

Programming SAS With Busch

Randy

She's Going Down

She's Like

She's Not Mine

Should've Lied

So Many Times (Mixed Duet)

Special Forces

Through The Night Again

We Are England

What Have You Seen?

Where're We Heading?

Wild Nights

Without You - Original

Wrong

You Were Right

Song background information

(At Her) Feet

A Busch Too Much

Ain't No Such Thing As Too Young (Original)

Angels - Write My Programs In SAS

Both Barrels

Breakin' The Seal

Come on and show me your crutch

DTs

Flying Solo

Goin' Bald

Gray

Heartache

Heavenly Body

Live Dangerously (Original)

No More Mr. Nice Guy

One Track {chaste}

One Track {lewd}

Programming SAS With Busch

She's Going Down

She's Like

Special Forces

Through The Night Again

We Are England

Without You - Original

Wrong

Song breakdown/explanation

Both Barrels

Feeling Old

Flying Solo

Heavenly Body

She's Going Down

Great American Song Contest Evaluation

DTs

Goin’ Bald

About the author

Other books by the author

Contacts and Links

QR-CODE Links



Preface

History


My late, great-aunty Jean was an avid fan of literature, language and especially poetry. Nevertheless, despite her persistence, cajoling and seemingly endless off-by-heart recitals from her many favourite and famous bard’s literary masterpieces, and although I did possess an unhealthy interest and certain talent for English language and literature in school, I always considered my sister the more gifted poet and artist and myself more adroit in the (especially then new computer) sciences.

Sure, in my late school years and youth I’d occasionally pen a poem, compose a clerihew or write a rhyme, but always for specific purposes: love letters in the main but also a couple of songs for a “my” schooldays band “Guillotine”. But, as demands from career and life’s many other interests and distractions gained the upper hand, my literary efforts were restricted to computer program documentation. But there was always a book burning away in the back of my head and, after several aborted attempts at fiction, I decided around 1998 that I’d be best writing about something I know, which resulted in two self-published technical books in 2003 and 2008.

These tomes combined with (too) many years of unsuccessfully trying to master the German language, resulted in me falling heavily back in love with my native tongue. As essays are not my forte and technical reference books a labour of four or five years, I began writing poems and rhymes for my own pleasure and therapy.

My jottings and ideas were randomly scattered about various electronic devices, books and scrap pieces of paper and, in 2010, I stumbled across the term blogging and specifically WORDPRESS and decided the free application was also a perfect, practical and localized way to store and work on all my poems and lyrics.

In 2012, and quite coincidentally to my personal rhyming efforts on WORDPRESS, I was asked, solely because of my native English skills, if I was capable of writing lyrics to original songs melodies. Luckily for me I decided to blow my own trumpet and confidently replied that I could. I thus found myself writing lyrics for several band projects, one of which was to lead to the formation of the rock band WildScreW and culminate with the production of a studio CD, “Writing On The Wall”*, at the end of 2016 with myself as vocalist.

Furthermore, the CD’s title song was to become a finalist in the 19th Great American Song Contest in 2018.


*Paperback readers must navigate themselves manually to the hyperlinks embedded directly in the eBOOK by referring to the “Contacts and Links” section, or use the QR codes, where all relevant hyperlinks can be found, including the location of any audio files.


Method


Before I started to marry my lyrics to musical melodies I used to take an inordinate amount of time fettling my rhymes so that, at least to my mind, the metre, the rhythm, the pace, the meaning, everything which I considered vital to the flow and comprehension, was as close to perfection as I could engineer.

I was effectively writing poems.

I was quickly to learn, however, that as soon as a poem is put to music, the strict rules which applied to it can be relaxed or even completely ignored. The poem’s words, which now wrap themselves around a musical melody, can, indeed sometimes must, be shortened or lengthened by the articulation of the vocalist in such a way which can only be conveyed to a reader by linking the words to sheet music. A poem’s written form alone is not enough to convey this, although I sometimes attempt to highlight such areas (to myself) by breaking up words with hyphens or compressing them to phonetics. Furthermore music producers and studio requirements place further demands on a song’s structure, which often force the songwriter to perform last minute lyrical rewrites and polishing.

Thus it was I decided, after my experience with WildScreW, that I would purposely leave all my poetic efforts in a much rawer and less-polished state. Should the occasion arise that such a poem be put to music, then that would be the time to go the extra mile and invest the final effort refining, polishing and honing the words.

Over the years I have also discovered that it is best to literally dump to (digital) paper what ever words and ideas are coursing through one’s mind: Effectively not applying a filter. When I started writing poetry I too often thought of reasons why I didn’t want to progress with whatever idea had pushed its way to the front of my mind. For myself that invariably led to a writer’s block, as my work on a different idea would be hindered with interfering thoughts about the themes of the poem I’d decided not to progress with. By starting (although not necessarily finishing) any ideas which come into my head, my mind appears to find closure and is free to move unencumbered onto the next idea.

The downside of my method is there will be a certain tally of my poems which are in (sometimes dire) need of polish, fettling and some which even contain unfinished words, lines or rhymes.


Why this book?


When I starting compiling this book’s content I was asked for whom I was writing it.

I replied “Myself.”

Contrary to all advice concerning writing eBOOKs, my motivation is not to appeal to a wide audience, achieve international fame nor make a fortune, large or small. The song lyrics in this book were written with the hope and intention that they one day achieve immortality on a professionally produced studio CD, but their number has swollen to the extent that any such plan is hopelessly unrealistic.

Thus, instead of them languishing hidden, unread and unheard of, I formulated a plan to make them accessible to the world via a self-published eBOOK. Should just a single word, line, stanza or refrain from the book’s lyrics move you to tears or raise a smile, give you pause for thought or even manage to inspire, then my time and effort have been more than worthwhile and rewarded.



Preamble



On the 19th of November 2010 I began using WORDPRESS as “digital paper” to centrally store and edit my rhymes and I promptly digitized nine of my poems which had managed to survive till that point.

“Jezebel” was one of those rhymes, written originally as “Live Dangerously” several years earlier (probably around 2007) but which, amazingly, managed to find its way onto a rock CD almost ten years later. “Without You” was also adopted for a WildScreW guitar melody and also found its way onto the CD with the title “On My Own” and “Ain't No Such Thing As Too Young” was also the basis for the CD title “Stung!”.

I sang “She’s Like” to a beautiful Thomas Wild guitar melody but, unfortunately in my opinion, the song remained nothing more than a WildScreW ALPHA. At the end of 2018 I decided to enter it into the 2018 Great American Song Contest for judging.

But truthfully, back in 2011, I was cutting my teeth with song lyric writing and none of the many other efforts were to find themselves selected for ALPHAs, although some of the lines and ideas found in these earlier poems are recognizable in later lyrics. Many of my poems from this year were written to loosely fit existing commercial song melodies. There were also a handful of lyrics which were variations on existing, or completely new, lyrics (sometimes a parody in the style of Wierd Al Yankovic) for a popular song.

In hindsight I believe this exercise was a good way to gain experience in song lyric structure and rhyming.

Several of the rhymes were sent to the Great American Song Contest for appraisal and the results can be found later in this book.



Proem



Until the day arrives when the songs are recorded in a professional music studio and cast in the digital stone which is a music CD, my work on polishing the lyrics is ongoing.

The eBOOK song titles are all hyperlinked to the current internet version of the lyrics on my WORDPRESS site SONGANDVERSE. The internet versions of my lyrics use a colour code to optically highlight the various song parts. Thus the simply typed PRE-CHORUS and CHORUS serve to reflect the text contained in their equally colour coded counterparts at the start of the song. BRIDGE and PARLANDO parts of a song are also uniquely coloured, in order to visually separate them from the other song parts.

For eBOOK compatibility, all text has been coloured black/automatic.


The songs are presented chronologically in the order they were written and copyrighted.



Jezebel



Sweet! Hell yeah! Here she comes!

Watch out boys! She’ll eat you alive! You have been warned!


Some say this woman’s on the level,

some think they’re seeing eye to eye, (haha)

Before you know what’s going on, it’s too late! You’re mesmerised.

She’s no dumb blonde, she can use her head mmmm…

can you hear a scream?

A shiver bolts blue down your spine. Is it pleasure? Is it fear?


She’s: T.N.T., always lookin’ dynamite!

Light up your life, like a – fork-lightning strike.

High octane, pure adrenaline!

Dangerous, exciting, beautiful and mean.


Jezebel – a blonde bombshell.

Jezebel – she’s sweet as hell.

Jezebel – can’t you tell she is

Jezebel – Jez – eb – el!


Intoxicated by her hot lips,

bewitched you’re in her spell.

Ain’t no stairway to heaven, you’re on a highway to hell.

Gonna have to slave and work hard

to pay off all your debt, oh yeah!

She ain’t bin satisfied, by anybody yet (‘cept me!)


She’s: A U.X.B., tick-ticking in the dark.

A venomous snake, a hungry tiger-shark.

Russian roulette, a tsunami!

Sin wrapped in a nightmare all inside of a dream.


Jezebel – a femme fatale!

Jezebel – she’s hot as Hell!

Jezebel – whole lotta love to sell.

Jezebel – Jez – eb – el!


SOLO


Left ya stricken with a tortured conscience:

Confused, guilty and cold.

The fallen Angel that slept by your side, flew silent with your soul. Oh!

But in your heart of hearts you wouldn’t want it

any other way.

Unforgettable times with that wicked temptress and lived to tell the tale.


(Yeah!) She’s: R.D.X., blow your mind apart.

A parachute jump without a rip-cord.

A run away train, high velocity!

A dream wrapped in a nightmare – now you know what I mean.


Jezebel – red hot hell’s belle!

Jezebel – cries with a rebel yell!

Jezebel – (she’ll) steal your heart as well!

Jezebel – Jez – eb – el!


Copyright 19.11.2010 Andrew Robert Chapman



Live Dangerously (Original)



This woman’s on your level,

you’re seeing eye to eye.

‘fore you know what’s going on,

too late, you’re paralysed.


Moves her head to speak to you,

whispers soft but clear.

A sudden chill runs down your spine:

Is it pleasure, is it fear?


She’s a barrel of cordite, waiting for a spark.

She’s an overloaded circuit, a hungry tiger-shark.

She’s a natural disaster, a tsunami,

and she’s gonna show you how to: Live dangerously


After you’ve tasted her kiss,

you’re snared within her spell.

Ain’t no stairway to heaven,

it’s a highway to Hell.


You’re gonna have to work hard,

to pay off all your debt.

She ain’t bin satisfied boys,

by anybody yet.


CHORUS


You’re woken by your conscience,

confused, aching, and cold.

The Angel that you slept with,

fled silent with your soul


You wouldn’t want to have it

any other way.

Spent one night with that temptress,

and lived so dang’rously.


CHORUS

and she sure showed you how to: Live dangerously


Copyright 19.11.2010 Andrew Robert Chapman



Again



To see her again, I just close my eyes,

her sex-me-now smile, body repose and lithe.

Ready an’ willin’, our spirits are free,

but she’s the pris’ner, in my fantasy.


So despite my silent footsteps, she already knows I’m there.

Her sky-blue eyes piercing thru’ gold-brown locks of hair.

Then she beckons, mouth half-open, and I know it’s gonna be:

A night like ev’ry other, in my relived fantasy.


And the things that we do, are the things that we did.

Like a thief in the night, she takes all that I give.


Now I’m raising my standard, ‘cos she’s going down.

While she’s using her head, my mind’s spinning ‘round.

Gettin’ hot from her touch, I am losing control,

and lost in her kiss, I‘ve sold my soul.


So despite my drumming heartbeat, she already knows the score.

Her nymph-like fingers stroking, I need her more and more.

Then she beckons, mouth half-open, and I know it’s gonna be:

A night like all the others, in my relived fantasy.


And the games that we play, are the games that we played.

When you’re playing with this girl, you’re gonna get slayed.


The fire of the passion makes it still seem so real.

But it happened, it’s over, what’s left I can’t feel.

Now the mem’ry’s receding, the colours are greyed.

The more I try to keep them, the faster they fade.


And despite the greying colours, I know she’ll be there.

The picture out of focus, her scent fading to air.

Then she beckons, mouth half-open, we know it’s gonna be:

A night like all the others, a night of ecstasy.


And the fun that we had, is the fun that we shared.

Got to stop, but I can’t, I took more than I dared.


I’m alone in a dark place, empty and cold.

With no-one to dream of, to love and to hold.

Trapped in my own mind, she drove me insane.

I just close my eyes tight, gotta see her again.


Copyright 19.11.2010 Andrew Robert Chapman



One Track {chaste}


(to AC/DC’s score: Rocker)


A six foot angel with the name of Nell

fell from heaven, to raise all hell.

Body of Venus, but there’s one catch,

she’s a real tease boys, it’s a hard sad fact.

She gets you hot, but she stay’s ice cool,

get you acting like a God damn fool!


Got long, long legs, hour-glass waist,

can’t get enough of her pretty face


Nelly. Nelly! Babe you drive me crazy!


Big Latino ass, grab-and-pull-me hair!

Deep brown eyes drowning all my cares.


(solo)


Got kiss-me lips, Playboy bits,

gyrating, shaking shimmy-hips


Nelly. Nelly! Tease and please me baby!


Yeah Nelly, Nelly, and tell me I’m your man.


Oh yeah, come on!


Nelly, you’re a Goddess.

Nelly, divine temptress.

Nelly, you’re a diva.

Nelly, gotta see ya.

Nelly, just please me.

Please, please me.


Nelly, you’re my wet dream.

Nelly, best girl I’ve seen.

Nelly, with whipped cream.

Nelly, I’ll make ya scream.

Nelly, just please me.

Please, please me.


Wanna try me honey?

Come on.

Cover you in cream.

O yeah, yeah!

Gotta have you Nelly.

No other.

Just you babe.

So don’t leave me alone.


Copyright 19.11.2010 Andrew Robert Chapman



One Track {lewd}


(to AC/DC’s score: Rocker)


A sexy angel with the name of Nell

fell from heaven, to raise all hell.

Body of Venus, but there’s one catch,

she’s a prick tease boys, it’s a real sad fact.

She gets you hot, but she stay’s ice cool,

get you acting like a God damn fool!


Got long, long legs, hour-glass waist,

got to cum on her pretty face


Nelly. Nelly! Babe you drive me crazy!


Got a hold-tight-ass, grab-and-pull-me hair,

deep brown eye sultry sexy stares


(solo)


Got kiss-me lips, playboy tits,

gyrating, shaking shimmy-hips


Nelly. Nelly! Tease and please me baby!


Yeah Nelly, Nelly, and tell me I’m your man.


Oh yeah, come on!


Nelly, you’re a Goddess.

Nelly, divine temptress.

Nelly, you’re a diva.

Nelly, gotta see ya.

Nelly, just please me.

Please, please me.


Nelly, you’re my wet dream.

Nelly, best girl I’ve seen.

Nelly, with whipped cream.

Nelly, I’ll make ya scream.

Nelly, just please me.

Please, please me.


Wanna try me honey?

Come on.

Cover you in MY cream.

O yeah, yeah!

Gotta have you Nelly.

No other.

Just you babe.

Lemme give ya ma bone.


Copyright 19.11.2010 Andrew Robert Chapman



She’s Not Mine



We’re out together – party again,

She’s lookin’ divine, but we’re just friends.

Should I confide my aching for more?

Risk destroying all that which we are?


‘Cos

SHE’S NOT MINE, SHE’S NOT MINE.

SHE’S SO FINE, BUT NOT MINE.

SHE’S NOT MINE, SHE’S NOT MINE, SHE’S NOT MINE.

SHE’S TRUE TO HIM.


And so we talk and laugh as friends might.

Behind a veil my feelings disguised.

She talks. I yearn; imbibe her beauty.

Desiring. Coveting empathy.


But

CHORUS


She leaves my life, abrubtly alone

In hindsight reflect; I should’ve told

of my plans; my dreams; hopes that I dared.

Painted emotion; how much I cared.


So still

SHE’S NOT MINE, STILL NOT MINE.

SHE’S SO FINE, SO DIVINE but

SHE’S NOT MINE, SHE’S NOT MINE, SHE’S NOT MINE.

SHE’S STILL HIS.


Copyright 19.11.2011 Andrew Robert Chapman



Programming SAS With Busch


(to AC/DC’s score: Beating around the bush)


“I’ll have it ready for tonight.”

How you’ve kept on tellin’ us all those lies.

How’d you expect us to believe?

Adi we ain’t that naive!

Now we got our eyes on you.

Cause you do none o’ the things we ask you to.

Stop makin’ false promises!

We ain’t that wet behind the ears.


You can hack what you like, but it’s never, ever right.

Stayin’ late every night.

Programming SAS like Busch.


No one knows what’s on your mind.

All those bugs you’ve got to find.

Many a night spent all alone

Days talkin’ on the telephone

Trying to make the next release

Givin’ it some elbow-grease

Changing MACROs night and day

But if they’ll work you can’t say


Four weeks work, with your Formats,

and all for the cats!

Programming SAS like Busch.


You’re the biggest blagger we’ve ever known

Your SAS programs cause overload

Not sure what work you’ve done before

“You’ve done it all”: Yeah, for sure!

Bosses keep givin’ ya one more chance

Much to our ann-oy-ance.

Tell you daily, what you’ve to do

But you still ain’t got a clue


Y’ don’t know JCL, or z/OS very well

but that can go to hell.

Programming SAS like Busch.


No OPC, plan ’bout t’IT,

God please spare me!

From programming SAS with Busch.


Copyright 19.11.2010 Andrew Robert Chapman


Disclaimer: Any resemblance to persons living or dead is absolutely intentional.



A Busch Too Much


(to AC/DC’s score: A Touch Too Much)


It was late in the night

office light burning bright

Just made everything into a “view”

The job’s taking their time

CPUs start to fry

Nothing more operating could do.

The cache fit to burst

Machine on the thrash

Another eight hour nightly run!

So I sat down and cried

“Why, Adi, Why?”

But he knew not what he’d just done


We’ve got a Busch, a Busch too much

We’ve got a Busch, a Busch too much

Too much for this project

Too much to explain

His damn programs gonna drive you insane

We’ve got a Busch, a Busch too much


He has some face, tired old banter,

gift of the gab.

Talk your legs off or into a trance

Programs much stranger

Hacks it all in

Just to find out that it’s major pants

It can’t be his first

It should be his last

Programming style devil-may-care

We needed it right

And wanted it fast

But Adi Busch just didn’t care


We’ve got a Busch, a Busch too much

We’ve got a Busch, a Busch too much

Too much for this project

Too much to explain

His damn programs gonna drive you insane

We’ve got a Busch, a Busch too much


ADI!


Oh no!


SAS and Adi Busch (SAS and Busch)

You know that’s much too much, (much too much)

Don’t really want to hear him (talk too much)

Man you know you’re bullshitting (much too much)

Oh SAS from Adi Busch

It don’t really do that much

He don’t really do that much

Cause he talks too much too much too much


We’ve got a Busch, a Busch too much

We’ve got a Busch, a Busch too much

Given us a Busch, a Busch too much

IT’s got a Busch, a Busch too much

We’ve got a Busch, a Busch too much

A Busch too much

A Busch too much

A Busch too much

A Busch!

Don’t Adi Busch me!

Yeah!


Copyright 19.11.2010 Andrew Robert Chapman


Disclaimer: Any resemblance to persons living or dead is absolutely intentional.



Wild Nights


(Very loosely based on AC/DC’s score: There’s Gonna Be Some Rockin’)



Out for a wild time

with old mates of mine.

Like to flirt with the skirt,

gonna laugh til it hurts.

Drown our sorrows with drink,

we don’t care what ya think!

If you’re no-one we know,

then you’d better stay home.


Wild nights on the town..

Wild drinking, binge rounds

Wild nights on the town.

Wild fights and showdowns/knock downs.

Wild nights on the town.

Wild love, girl/babe go down.

Wild nights, wild nights,


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