Hannah Reid - London Grammar - Strong Official Video Song with Lyrics - Story of Hannad Reid

Artist: London Grammar

Album: If You Wait

Released: 2013

Lyrics

Excuse me for a while
While I'm wide-eyed
And I'm so damn caught in the middle
I excused you for a while
While I'm wide-eyed
And I'm so damn caught in the middle

And a lion, a lion roars, would you not listen?
If a child, a child cries, would you not forgive them?

Yeah I might seem so strong
Yeah I might speak so long
I've never been so wrong
Yeah I might seem so strong
Yeah I might speak so long
I've never been so wrong

Excuse me for a while
Turn a blind eye
With a stare caught right in the middle
Have you wondered for a while?
I have a feeling deep down
You're caught in the middle

If a lion, a lion roars, would you not listen?
If a child, a child cries, would you not forgive them?

Yeah I might seem so strong
Yeah I might speak so long
I've never been so wrong
Yeah I might seem so strong
Yeah I might speak so long
I've never been so wrong

Excuse me for a while
While I'm wide-eyed
And I'm so damn caught in the middle
Have you wondered for a while?
I have a feeling deep down
You're caught in the middle

Yeah I might seem so strong
Yeah I might speak so long
I've never been so wrong
Yeah I might seem so strong
Yeah I might speak so long
I've never been so wrong

______________________________________________________________________________________________

Hannah Reid from London Grammar discovered two

important lessons from Chris Martin.

Three years ago, Hannah Reid contemplated permanently ending her musical career. Since 2013, when the British three-piece, who met at Nottingham University, reached No. 2 with their debut album If You Wait, her band, London Grammar, has been on the road nonstop. Following a flurry of TV appearances, festivals, and awards, including two coveted Ivor Novellos, the follow-up, Truth Is A Beautiful Thing, went straight to No. 1 in 2017, while selling more than a million concert tickets globally.

After a protracted illness that was later identified as fibromyalgia, Reid was overworked, weary, and informed her bandmates Dan Rothman and Dominic "Dot" Major that she didn't think she could finish the second album tour in 2018. The band's third album, Californian Soil, which was released today, has the second song that she wrote, "America." Following a challenging period with his health, Reid explains, "[It's about] my path of letting go of the past and learning how to write music again. I say farewell to things that I no longer need by using the concept of the American Dream.

After playing "America" to Rothman and Major, it became the unexpected beginning point for this new album, which explicitly addresses Reid's experiences with misogyny in the music industry and is, in Reid's words, "a feminist record." The writing process was cathartic. Reid says she is in a terrific place right now, living in West London with her partner and their French bulldog, having set limits for herself, and the band is in charge of their schedule.

Reid spoke with Chris Martin through Zoom from her house to celebrate the release of Californian Soil. She discussed everything from her crippling stage nervousness to the life-changing advice Chris Martin gave her while supporting Coldplay.

She further explains her fear of the stage; the first performance we gave after getting a record deal and recording the album. It took place in front of roughly 500 people at Electrowerkz. I've never been more afraid in my entire life, and I had no idea how I was going to get through it. I was so terrified that I couldn't even comprehend how my life would go on after. Since we didn't handle the beginning of our career very well, it's hard to say why I've [had quite a deal of stage anxiety. 

Looking back, I'm unsure of how much of it was simply a result of my extreme exhaustion and hoarse voice, which left me unable to function. Due to the fact that we make sure we have the energy to complete the tasks at hand, I feel much calmer about performing in front of an audience now.

Story Behind Scars ...... R.H.C.P - Scar Tissue - Official Music Video with Lyrics

 

About Anthony Kiedis

The band's lead singer, released his autobiography, Scar Tissue, in 2004. He clarified some of the lyrics in the book: "Sarcastic Mr. Know-it-all" is Dave Navarro, whom Anthony refers to as "the King of sarcasm." "With the birds, I'll share this lonely perspective," Anthony claims, was inspired by birds he spotted when singing outside of Flea's house, and the line also refers to how he felt like an outsider looking in. Anthony was introduced to marijuana at the age of 12, but he initially got high at the age of four. He and his father were strolling down the street when his father blew cannabis smoke in his face.

Lyrics

Scar tissue that I wish you saw

Sarcastic mister know-it-all

Close your eyes and I'll kiss you, 'cause

With the birds I'll share

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely viewin'

Push me up against the wall

Young Kentucky girl in a push-up bra

Fallin' all over myself

To lick your heart and taste your health 'cause

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely view

Blood loss in a bathroom stall

A southern girl with a scarlet drawl

I wave goodbye to ma and pa

'Cause with the birds I'll share

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely viewin'

Soft spoken with a broken jaw

Step outside but not to brawl and

Autumn's sweet, we call it fall

I'll make it to the moon if I have to crawl and

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely view

Scar tissue that I wish you saw

Sarcastic mister know-it-all

Close your eyes and I'll kiss you, 'cause

With the birds I'll share

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely viewin'

With the birds I'll share this lonely view

________________________________________________________________________________________________

While behind Narcotic Challenges of Red Hot Chili Peppers' "Scar Tissue"

The Red Hot Chili Peppers' "Scar Tissue" video opens with the band, a depraved band of Mad Max-ian misfits, blistering beneath the Mojave sun, bleeding, bruised, and damaged, speeding down the desert highway in a beat-up, dusty 1967 Pontiac Catalina open-top convertible. The Red Hot Chili Peppers' 1999 album Californication contains several more melodic songs, including "Scar Tissue," one of them. However, the song's deeper meaning more closely resembles the post-apocalyptic imagery of the video, which was directed by Stéphane Sednaoui, and is lyrically filled with darker metaphors of drug addiction and the struggles before one can come out on the other side, sober.

In RHCP's "Scar Tissue,"

Frusciante's melodic guitar introduction sets the song's contemplative mood. The lyrics' larger context reflects on the struggles that most people carry about and make an effort to conceal but that nevertheless stand out like scars.

Scar tissue that I wish you saw

Sarcastic mister know-it-all

Close your eyes and I’ll kiss you, ’cause

With the birds I’ll share

Despite the fact that drug addiction is not explicitly mentioned in the song, in the case of the band, their "scar tissue" resulted from substance abuse and the other degenerative activities that went hand in hand with heroin and other addictions, from shooting up in bathroom stalls and risky sexual behaviour to the ultimate loss of innocence—Blood loss in a bathroom stall / A southern girl with a scarlet drawl / I wave goodbye to ma and pa.

The song "Scar Tissue" explicitly addressed both the band members' individual experiences with drug and alcohol abuse as well as singer Anthony Kiedis' own battle with heroin addiction, which is detailed in his novel Scar Tissue. The chorus, "With the birds I'll share this lonely viewin'," reads as a metaphor for the relapses addicts frequently have prior to sobriety and the moments of loneliness that appear during the process.

According to Kiedis' memoir, when he was developing the Californication song "Scar Tissue," "it comes dusting down from outer space when you open up the top of your mind." "Rick Rubin, the producer of 'Californication,' and I had been discussing sarcasm a lot. According to a hypothesis Rick had read, this type of comedy is extremely harmful and saps its supporters' spirits. We pledged to try to be hilarious without resorting to sarcasm because we had a reputation for being sarcastic dicks. I suppose Dave Navarro, who was the king of sarcasm and was quicker and smarter than the ordinary bear, also sprang to mind.

All those concepts were floating around until John began playing this guitar riff, and I knew right away what the song was about, Kiedis continued. It had a lighthearted, "I'm so glad I'm still alive" feeling. With that music playing in the background, I raced outside with my portable tape recorder and began singing the song's chorus in its entirety. I'll never forget getting a dose of Jonathan Livingston Seagull when gazing up at the sky over the garage and out toward Griffith Park with the birds soaring overhead. I truly felt like an outsider forever, taking on the perspective of those birds.

Soft spoken with a broken jaw

Step outside but not to brawl and

Autumn’s sweet, we call it fall 

I’ll make it to the moon if I have to crawl and

With the birds I’ll share this lonely viewin’

With the birds I’ll share this lonely viewin’

With the birds I’ll share this lonely view

Shkoon - Ala Moj Al Bahr (JAVID Remix) Weekend Vibes - Top Video Songs

About Shkoon

In December 2019, Shkoon, a German Syrian band, released their long-awaited first album "Rima," which was followed by a massive album tour. Their music sends a message about the importance of cultural diversity. The band, however, is more than just a German-Syrian stage act with Arabic lyrics.

Members of the team are frantically prepping the venue for tonight's event. Khayer sits at a table laden with fruit alongside his bandmate, German producer Thorben Beeken, who is dressed entirely in black. Shkoon's third member, Syrian violinist Maher Al-Kadi, was unable to attend the London event due to illness. Khayer and Beeken's conversation alternates between Arabic, English, and German. Khayer evacuated Deir Ezzor in 2015 due to the escalating civil violence and sought sanctuary in Germany (having reportedly walked around 6,500 kilometers from the Greek island of Lesbos).

Shkoon's music is a mix of Western and Oriental elements, which aren't divided along continental lines within the band, which is understandable given the band's roots. For example, Palestinian composer and pianist Faraj Suleiman is a fan of Beeken. Meanwhile, Iraqi maqam singer Mohammad Al-Qubbanchi is Khayer's favourite Arab performer. Khayer is a major fan of the maqam, a type of melody with a rigorous structure that dates back at least 400 years. He says, "I love the Iraqis because they're different from Damascus and Egypt." "There are different schools.

Ameen arrived in Hamburg, Germany, after a hard journey from Syria, where he met Thorben. They were sitting in the kitchen one night when they began banging on the table and singing together. The initiative was born when the spark crossed over. Music was never a huge deal in Syria for Ameen until his skill was discovered in a kitchen someplace in Germany. Music has always been a part of Thorben's life, and he began with classical piano lessons as a child. He experimented with electronic music after passing through several stages and genres.

Ameen and Thorben created their unique sound, combining arabic melodies with traditional harmonic structures, as well as baselines and kicks. In oriental Slow-House, piano, synthesiser, drum machine, percussion, and vocals find a new home. The response was overwhelming. Since then, Shkoon has performed together at a number of prestigious festivals and clubs, including the Fusion Festival and Berlin's Kater Blau. They also perform at many political and cultural events to propagate their intercultural music concept.

"We enjoy jamming and performing live, and we love to spread positivity to show that there are no cultural barriers."

Lyrics: 

سوى هل قلب يا حلوة ما عنا
يبا حرام يطول عفراقكم عنا
قلب مجروح ويتنهد مع الناي
يبا ويشكي وحدتو طول الغياب
يا محلى الفسحة يا عيني
على راس البر
والقمر نور عيني عيني عيني على موج على موج البحر
على موج جوج البحر
حرام يطول عفراقكم عنا
على موج على موج البحر

قلي تعالي
يا شغلة بالي
قلي تعالي
يا شاغلة بالي
كوني حلالي على طول العمر
والقمر نور عيني عيني على موج على موج البحر
على موج على موج البحر
على موج البحر
يا محلى الفسحة يا عيني على راس البر
والقمر نور عيني عيني عيني
على موج على موج البحر
على موج على موج البحر

_______________________________________________________________________________________

The Arab world's underground music scene is changing because of Shkoon. They are one of the most intriguing and genuine bands in modern electronic music. 

Through their richly varied productions and dreamy track choices, the pair is bridging the gap between traditional Middle Eastern music and contemporary dance culture. They do this by serving to unify various populations and generations. They have won widespread praise and recognition on a global scale for their innovative live performances, breathtaking original creations, and contemporary renditions of well-known Arab classics.

With the release of FIRAQ, a poignant new live album, the German-Syrian electronica duo want to continue their productive 2022 form after the success of their remix for Ragheb Alama's Ya Rayt in March. In English, the word "FIRAQ" means "division" or "split," and it refers to a mesmerising and emotive piece of music that covers a staggering array of texture, intonation, and rhythm. It was captured during the pandemic, just a few days after a close family member passed away. FIRAQ is Shkoon's first studio album in its entirety since Rima was released in 2019. Another career-defining moment for an outfit whose combined inventiveness and artistry know no limitations, it's a masterfully orchestrated musical trip that develops over a heartbreaking mix of exhilarating electronica tunes.

FIRAQ is a project that is very dear to our hearts and it took on a lot of poignancy after a family member passed away. The album was recorded with a tonne of unfiltered passion, and it was an experience that will stick with both of us forever. In addition, our very great friend and designer, Hadeer Omar, used some of the deceased's previous drawings as inspiration for the artwork for the release.

The Success of BE Svendsen - October Letters Page Two -

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Jeff Buckley - Hallelujah (Original Studio Version) - The Tragic Death of Jeff Buckley

Halleluja

ARTIST: Jeff Buckley 

ALBUM: Grace

RELEASED: 1994

GENRES: Folk Music, Alternative Rock 

This song was written by Canadian legend Leonard Cogen, it was originally released on his album VARIOUS POSITIONS in 1984,  this song acclaim popularity through a recording by John Cale and Jeff Buckley.  It is known as the baseline of secular hymns. 

in 2001 it gained more popularity in the film Sherk (2001). There are almost 300 versions of this song. After the death of Cohen in 2016 this song appeared on multiple international singles charts, including American Billboard Hot 10.

Lyrics

Well I've heard there was a secret chord

That David played and it pleased the Lord

But you don't really care for music, do you?

Well, it goes like this:

The fourth, the fifth, the minor fall and the major lift

The baffled king composing Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Well your faith was strong but you needed proof

You saw her bathing on the roof

Her beauty and the moonlight overthrew ya

She tied you to her kitchen chair

And she broke your throne and she cut your hair

And from your lips she drew the Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

But baby I've been here before

I've seen this room and I've walked this floor

You know, I used to live alone before I knew ya

And I've seen your flag on the marble arch

And love is not a victory march

It's a cold and it's a broken Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Well there was a time when you let me know

What's really going on below

But now you never show that to me do ya

But remember when I moved in you

And the holy dove was moving too

And every breath we drew was Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Maybe there's a God above

But all I've ever learned from love

Was how to shoot somebody who outdrew ya

And it's not a cry that you hear at night

It's not somebody who's seen the light

It's a cold and it's a broken Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

Hallelujah

_____________________________________________

Jeff Buckley's Death In The Mississippi River: A Tragic Story

Jeff Buckley, who is still remembered for his rendition of "Hallelujah," perished on May 29, 1997, at the age of barely 30 after wading into the Mississippi.

Nobody saw Jeff Buckley's passing. The musician, now well-known for his cover of Leonard Cohen's "Hallelujah," entered a Mississippi River channel while fully clothed on May 29, 1997, in Memphis, Tennessee. When his roadie, who was standing on the bank, turned his back to transfer a boombox away from the edge of the water, Buckley just vanished.

On June 4, Buckley was discovered dead. He had just six weeks left until turning 31. A passenger on the riverboat American Queen had discovered him. He had perished in the dangerous waters of the Mississippi River, ending a career as a talented soul singer who undoubtedly had a bright future in front of him.

But concerns persisted in the wake of Jeff Buckley's passing. Had Buckley been intoxicated or high when he disregarded his roadie's advice and dove into the water? Or had the pressure of creating a follow-up to his critically praised 1994 debut, Grace, caused him to stray dangerously far from land?

This is the real account of Jeff Buckley's death, ranging from tales of his erratic conduct prior to his death through the unexpected findings of his autopsy.

When Jeffrey Scott Buckley was born on November 17, 1966, music was in his blood. His mother, pianist Mary Guibert, had received classical training. His father, singer Tim Buckley, had his first of nine albums released the year before his son was born.

Although Jeff would continue in his father's footsteps, Tim's absence from his boyhood shaped Jeff. Tim left the family the year he was born.

In 1993, Jeff admitted to The New York Times, "I never knew him." When I was eight years old, I once had the opportunity to meet him. I didn't even get a chance to speak with him when we went to visit him because he was in his room working. The end was reached.

Tim passed away from a heroin, morphine, and alcohol overdose just two months after that meeting. As a result, Jeff was raised by his mother and stepfather, Ron Moorhead, and for a time even adopted the Moorhead surname. Before he turned ten, "Jeff Buckley" went by the name "Scott Moorhead."

Even Nevertheless, Jeff Buckley found it difficult to fully transcend his father's influence. He shared his parents' love of music and appeared to have musical talent. He experimented with many genres and went to the Los Angeles Musicians Institute. And Jeff Buckley accepted the invitation to perform in a Brooklyn, New York, concert honouring the life of his father.

Hill's statement was backed up by another acquaintance, Penny Arcade, who told the publication that Buckley "was really going through a lot of adjustments regarding the upcoming album, feeling a lot of pressure. He just turned 30 years old. I just want to be as good as my father, he added, looking shaken and unhappy.

 

After throwing away a number of tracks produced by Tom Verlaine, the singer ultimately made the decision to travel to Memphis, Tennessee to record his second album, which is now going by the working title My Sweetheart the Drunk.

Tragically, on the night his band was set to arrive, Jeff Buckley drowned in the Mississippi River.

U2 - One - The story Behind the Song

U2-1

ARTIST: U2

ALBUM: Achtung Baby

RELEASING DATE: 1991

GENRE: Rock

NOMINATIONS: Grammy Award for Best Pop Collaboration with

 

The famous song is also known as ''one'' it was by an Irish rock band U2 which was released in 1992 in their album Achtung Baby. while a recording of this song in Hasna Studios in Berlin, conflicts arose between the members of the band over the direction of sound quality. This conflicts resulted in the band members to separate until they achieved a breakthrough with this song ''ONE''. They took the inspiration from the Guitarist ''the Edge'', when he was playing the guitar in the studio and the chord progression, was the key which makes the hit to them.  Lyrics were also inspiration from the fractured relation of the band which was written by the lead singer Bono.

The song ONE took the top position in the Irish Singles Charts and US Billboard Album Rock Tracks and Modern Rock Track Charts. The band filmed several music videos for the promotion of the song.

After the release of the song, it was featured in polls of the greatest songs of all the time by the critiques.'' One'' is often used by bands to promote human rights and social justice causes and it helped to raise charity to Bono's charitable organisation, the ONE Campaign.

Lyrics

Is it getting better

Or do you feel the same?

Will it make it easier on you now?

You got someone to blame

You say, one love, one life (One life)

It's one need in the night

One love (one love), get to share it

Leaves you, darling, if you don't care for it

Did I disappoint you?

Or leave a bad taste in your mouth?

You act like you never had love

And you want me to go without

Well it's too late, tonight

To drag the past out into the light

We're one, but we're not the same

We get to carry each other

Carry each other

One, one

One, one

One, one

One, one

Have you come here for forgiveness?

Have you come to raise the dead?

Have you come here to play Jesus?

To the lepers in your head

Well, did I ask too much, more than a lot?

You gave me nothing, now it's all I got

We're one, but we're not the same

See we hurt each other, then we do it again

You say love is a temple, love is a higher law

Love is a temple, love is a higher law

You ask me of me to enter, but then you make me crawl

And I can't keep holding on to what you got, 'cause all you got is hurt

One love

One blood

One life

You got to do what you should

One life

With each other

Sisters and my brothers

One life

But we're not the same

We get to carry each other, carry each other

One, one

One, one

One

One love, one life

The story behind the Song U2 , ‘’One’’

On December 31, 1989, Bono took a moment during a hometown performance to air his band's unclean laundry. The boys were beyond worn out as U2 reached the home stretch of the Lovetown Tour, which had been started earlier that year to support the promotion of Rattle And Hum. The Edge's marriage to his high school sweetheart had begun to fall apart, and Bono's wife had given birth to the couple's first kid earlier that year. There were also artistic issues that showed themselves on Rattle And Hum and carried over into the current tour.

During an encore of "Love Rescue Me," Bono informed the fans, "This is simply the conclusion of something for U2 and that's why we're having these shows." It isn't a big deal. We simply need to stop here and start dreaming anew.

That was a subtle way of phrasing it. In all honesty, U2 were losing their mojo. Although Rattle and Hum was intended as a tribute to roots music, it was the group's clumsiest album since October and evidence that U2's interest in the American Midwest had peaked. Years later, Larry Mullen Jr. reflected on the tour, saying it was enjoyable but added to the criticism of the Rattle and Hum album and movie, which essentially said, "U2 go to America and discover the blues and are telling us everything about it, as if we didn't know."

The city was ecstatic. But when the Wall separating East and West Berlin came down, new walls were being erected between the four members of U2. Hip-hop, Madchester, and club music were good places to start when Bono and the Edge decided to experiment with new sounds. The only person with any actual nightclub experience, Adam Clayton, informed the others that they knew nothing about dance music. Mullen, meantime, objected to the drum machines that producers Daniel Lanois and Brian Eno had brought into the recording space. He wasn't supposed to play percussion for the band, was he?

U2's future was uncertain, but "One" actually pulled the group back together. The Edge started writing a bridge for the song that would eventually become "Ultraviolet (Light My Way)" when he was working one evening at Hansa Studios, the creative hub for David Bowie and Eno's revolutionary collaboration in the 1970s. He played a few minor chords on the piano before coming up with a solution in a major key. A new song was created when he changed to the acoustic guitar and began to play the portions back-to-back. The other members of the band joined in, and Bono began to improvise lyrics after receiving an offer to attend a festival called Oneness from the Dalai Lama. The framework for "One" was finished in a matter of minutes.

"One" gets down to the heart of a relationship on an album full of irony, sensuality, and self-deprecation. Is it getting better? is a question that is posed in each stanza. Did I let you down? Have you come here seeking forgiveness? - without responding with any questions. Aiming his questions at his band, his spouse, the Edge's estranged wife, or perhaps none of the above, Bono keeps things purposefully unclear. The recipients are irrelevant. After all, "One" is about surrender, not love.

U2 by Neil McCormick quoted Bono as saying, "The tune is a little warped." According to U2, "I never understood why people wanted it at their weddings. I've met at least 100 people who said they experienced it at their weddings. I ask them, "Are you insane? It involves breaking up!

U2 didn't break up, though. They completed Achtung Baby, which transformed the band's sound, image, and audience, after tying up some loose ends in Berlin and flying back to Dublin. The God-fearing lads who had seemed so sincere and unabashedly self-righteous during the Rattle And Hum era had developed into intelligent, at ease men who could laugh at their own achievements. Finally embracing the "rockstar" persona that his profession allowed, Bono even started being goofy onstage while wearing leather jackets and huge sunglasses. The remainder of the band did the same.

The human pulse that beats between the flashy, industrial gloss of "Even Better Than The Real Thing" and "Until The End Of The World" is "One," though, and it is Achtung Baby's most exposed moment. Up until the final 30 seconds of the song, when Bono switches into a stunning falsetto, he sings the lyrics in a half-broken voice that sounds exhausted and sad. The Edge does the same approach here as he did when he closed "With Or Without You" with a straightforward guitar pattern rather than a traditional solo: he weaves ringing, slightly delayed quarter notes around Bono's vocals. The lyrics of the song ("We're one, yet we're not the same / We get to carry each other") may have served as inspiration for how the two parts support one another.

Although "One" may have been concocted in a frenetic half-hour of inspiration, it has a long shelf life. Since 1992, the song has been performed at each U2 concert. It was performed by Johnny Cash for American III: Solitary Man in 2000, and Mary J. Blige scored a success with her own rendition six years later, transforming the fragile song into a hymn for unification. Recently, "One" has also been associated with Bono's social activism, even serving as the inspiration for the name of the ONE Campaign.

People frequently credit U2's success to their capacity to innovate, evolve, and adapt while frequently staying one step ahead of the pack. The song "One," which broke through a decade's worth of self-important rock and roll and announced something different, was the group's first significant transition. Following these changes, U2 eventually went back to the anthems that had launched their career. However, Achtung Baby wouldn't exist without "One"... In addition, U2 would not exist without Achtung Baby.

  

Popular Songs and their Stories - Billie Jean Official Video and Song History

 

Billie Jean

This song of legendary singer and da- ncer Michael Jackson was written and composed by Jackson and it was produced with Quincy Jones. The track was released by Epic Records on January 18, 1983, in the album Thriller.

It became a trademark of Michael Music, the lyrics of this songs describes a woman, Billie Jean, who claims that the narrative is given by the father of her newborn son, which he denies. The song was alos nominated for the Grammy Award for song of the year.

 

Lyrics

She was more like a beauty queen from a movie scene

I said don't mind, but what do you mean, I am the one

Who will dance on the floor in the round

She said I am the one, who will dance on the floor in the round

She told me her name was Billie Jean, as she caused a scene

Then every head turned with eyes that dreamed of being the one

Who will dance on the floor in the round

People always told me be careful of what you do

And don't go around breaking young girls' hearts

And mother always told me be careful of who you love

And be careful of what you do 'cause the lie becomes the truth

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

She says I am the one, but the kid is not my son

For forty days and forty nights

The law was on her side

But who can stand when she's in demand

Her schemes and plans

'Cause we danced on the floor in the round

So take my strong advice, just remember to always think twice

(Don't think twice, don't think twice)

She told my baby we'd danced till three, then she looked at me

Then showed a photo my baby cried his eyes were like mine (oh, no!)

'Cause we danced on the floor in the round, baby

People always told me be careful of what you do

And don't go around breaking young girls' hearts

She came and stood right by me

Just the smell of sweet perfume

This happened much too soon

She called me to her room

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

She says I am the one, but the kid is not my son

She says I am the one, but the kid is not my son

Billie Jean is not my lover

She's just a girl who claims that I am the one

But the kid is not my son

She says I am the one, but the kid is not my son

She says I am the one,

(You know what you did, (she says he is my son)breaking my heart babe)

She says I am the one

Billie Jean is not my lover

Billie Jean is not my lover

Billie Jean is not my lover

Billie Jean is not my lover (don't Billie Jean)

Billie Jean is not my lover

Billie Jean is not my love

Girl Behind the Song Billie Jean 

A girl who claimed Jackson was the father of her child is the subject of this song. Jackson drew inspiration from a woman who used to stalk him and send him letters describing a son she believed to be his. Jackson hardly ever mentioned this woman, but he found it difficult to handle the unwelcome attention and grew more reclusive as a result. He used the song as a means to convey his emotions without confronting her directly.

Jackson didn't provide many specifics about the real Billie Jean, but according to his producer Quincy Jones, Jackson once discovered the woman relaxing by his pool wearing only a bathing suit and sunglasses. She allegedly claimed that Jackson was the father of one of her twins, which Jones found to be quite amusing.

A musician recognises hit material, as Michael Jackson remarked about this song in Moonwalk. It must feel natural. Everything must feel comfortable. You feel satisfied and content when you do it. When you hear it, you can tell. I felt that way about "Billie Jean." While I started writing it, I already knew how popular it would be. That song really captured my attention. Nelson Hayes, who was working with me at the time, and I were travelling down the Ventura Freeway one day during a break in a recording session. I couldn't stop thinking about "Billie Jean," it was all I could think about.

When we were about to exit the freeway, a young boy on a motorcycle approached us and exclaimed, "Your car's on fire." When we stopped after noticing the smoke, we discovered that the entire bottom of the Rolls-Royce was on fire. Our lives were possibly spared by that boy. We might have perished if the car had detonated. However, I was so preoccupied with the song playing in my thoughts that I didn't even think about the terrible possibilities until much later.

The first black face to emerge on the network was Prince, and additional black faces quickly followed, including Michael Jackson's "Billie Jean" video. During this time, MTV came under fire for being racist, most notably from Rick James, whose "Super Freak" clip the network turned down. MTV was created by radio industry veterans who attempted to format it similarly to a rock radio station, however this was impossible due to a lack of rock music videos. What they did have were numerous, largely white, European bands with a long history of making music videos, such as Musical Youth.

The network might claim that there were no good black musicians videos that were deserving since record companies refused to budget for videos by their black artists because they believed MTV wouldn't show them. When Jackson created the shockingly avant-garde "Billie Jean" video, a forerunner to the video game Dance Dance Revolution, and certain parts showed Jackson performing his dance movements by walking on squares as they lit up, that argument was rendered moot.

MTV didn't air the video until the song had already reached the top of the charts, despite its high production value and Jackson's star power. Les Garland, the network's then-president, asserts that they showed the video as quickly as they could because they loved it, but discussions with officials at Jackson's record label and others with knowledge of the situation suggest otherwise. The network intended to run the "Beat It" video first since Eddie Van Halen played on it and the song fit their format, according to numerous persons who worked at MTV who were quoted in the book I Want My MTV. When Jackson's was signed to its subsidiary, Epic, Walter Yetnikoff, head of CBS Records, recalled threatening to remove all CBS videos off MTV if they didn't play "Billie Jean." He claims that after threatening to involve Jackson's producer Quincy Jones as well, the network agreed. The tape was first placed in medium rotation when it began airing on MTV, then when viewers began to enjoy it, it was moved up to heavy rotation. When "Beat Itvideo "'s was delivered, it too quickly gained popularity. Both films received consistent exposure for a two-month period in the summer of 1983, making Jackson a household name in the video industry. His subsequent video project, "Thriller," completely changed the format.