Songs With Dirty Filthy Lyrics Thread XXX
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    Default Songs With Dirty Filthy Lyrics Thread XXX

    I was just listening to Nazareth & noticed certain lyrics popped out & really caught my attention for the first time. In one of my favorite tunes titled " Gone Dead Train " from the 1977 album Expect No Mercy. I've heard this tune countless times but clearl wasn't really paying close attention to the lyrics before.

    I'm thinking dynamite sleazy sexual innuendo wordplay executed brilliantly.

    I know it's not a highly known tune but thought it might be a fun idea for a rock fan chit chat thread to post about songs you think are highly suggestive in lyrical content.

    I'm thinking Ted Nugent & Scorpions might take the cake off the top of my head.

    I also know there are many good clean wholesome honest hard working proud religious folks who surf the site here with strong family morals & values so wonder if there's any rock tunes that stick out as being just too much so far as sexual descriptive lyrical content.

    If something springs to mind post it.

    ( Just another song list thread for fun)


    Here's the lyrics to Nazareth's, Gone Dead Train...

    I don't think the printed lyrics include the lyrics I heard in the song that prompted me to look up the lyrics in the first place. So give the tune a listen and see if you can spot what I believe to be one of the absolute filthiest lyrics I've ever noticed.


    Gone Dead Train
    Song by Nazareth

    It's a gone dead train
    Yes, it's a gone dead train

    My engine was pumpin' steam
    And I was grindin' at you hard and fast
    Burnin' down the rails, tryin' to heat the way
    Haulin' ass and ridin' up the track
    And I laughed at the conductor who was tellin' me my coal
    It would never last
    But then the fire in my boiler
    Up and quit before I came
    Ain't no empty cellar
    Like a gone dead train

    Once was at a time when I could
    Mama shave 'em dry
    And raise a fever ice-down chill
    Waitin' at the station
    With a heavy loaded sack
    Savin' up and holdin' just to spill
    Shootin' my supply through my demon's eye
    Instead of holdin' my time, I hope I will
    But then the fire in my boiler
    Up and quit before I came
    There ain't no empty cellar
    Needs a gone dead train
    Yes it's a gone dead train

    I'm gonna teach it to learn now, now
    It's a gone dead train
    Yes it's a gone dead train
    I'm gonna teach it to learn now, now
    It's a gone dead train
    Gonna teach it, gonna teach it to learn
    There ain't no easy day
    When your daily run's a downhill pull
    And there ain't no easy way
    Wishin' for some jelly roll
    There ain't no switch been made
    To make your juicy lemon find
    A spring to run a dry well full
    But then the fire in my boiler
    Up and quit before I came
    Ain't no empty cellar
    Needs a gone dead train
    Yes it's a gone dead train
    I'm gonna teach it to learn

    You know it's a gone dead train
    Gonna teach it, gonna teach it to burn
    It's a gone dead train
    It's a gone dead train, you gotta learn
    It's a gone dead train
    Gonna teach it, gonna teach it, gonna teach it to burn.

    Source: LyricFind
    Songwriters: Jack Nitzsche / Russ Titelman
    Gone Dead Train (2010 - Remaster) lyrics Warner Chappell Music, Inc, Universal Music Publishing Group



    Last edited by Heisenberg; 04.28.20 at 12:04 AM.

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    https://www.nytimes.com/1985/10/13/a...sanitized.html





    Lowell George of the 1970's rock band Little Feat was probably kidding when he sang, ''Some contend that rock and roll/is bad for the body and bad for the soul/bad for the heart, bad for the mind/bad for the deaf and bad for the blind.'' Yet with an elaborate media campaign that culminated last month in a day of Senate hearings and stern, if vague, admonitions from Commerce Committee members to America's record companies, some parents have upset the record business.

    The Parents Music Resource Center (a Washington, D.C., organization that includes the wives of 10 Senators, 6 Congressmen and a Cabinet secretary) and the national Parent-Teacher Association, with five million members, have demanded that pop record albums carry warnings about potentially offensive song lyrics - preferably an ''X'' label. The parents' group has sponsored a touring slide show of excerpts from rock songs dubbed ''The Filthy 15.'' The topics cited are sex, violence, the occult and encouragement of drug or alcohol useting, some major record companies had agreed to put warning labels on albums that included certain specific words - not the topic-by-topic warnings advocated by the national P.T.A. or the broader ratings demanded by the parents' group. While representatives of the parents' group say they do not advocate censorship, many retailers have said they would not carry a record with an ''X'' rating. Through the years, however, many rock albums (such as Prince's ''Dirty Mind,'' which has been cited by the parents' group) have been packaged with stickers noting that some listeners might find the content offensive.

    No matter how the battle over labeling is resolved, however, the issue is unlikely to disappear soon.



    Why has the content of rock music come under fire in 1985, nearly 30 years after such eyebrow-raising songs as ''Good Golly Miss Molly,'' and a year in which rock musicians have raised some $100 million for hunger relief? One reason is the current conservative political climate. Another is that the record business may feel particularly vulnerable even to implied Congressional pressure, since the industry organization, the Recording Industry Association of America, has been lobbying for a tax on blank tape and tape recorders that would bring millions of dollars to copyright holders, notably record companies.

    A third - and major - catalyst is television. Music video clips have made rock performers widely visible as they brandish their pointed guitars, shake their fists and, sometimes, wear as little clothing as a Ziegfeld Follies chorus girl. Studded leather outfits, spiky haircuts, extreme makeup and the kind of hip-wiggling that got Elvis Presley censored on the Ed Sullivan show in the 1950's are accessible to every television watcher.


    Madonna's come-hither glances and other performers' rebellious styles may threaten some viewers every bit as much as motorcycle jackets or bikinis threatened their parents. But while video clips have helped spark the current debate, those clips (which are carefully reviewed by the stations that air them, and generally would qualify for a PG movie rating) are not at issue now -only lyrics.

    In the current battles, however, few of the disputants have limited their comments to the words on the records. Susan Baker of the Parents Music Resource Center (the wife of the Secretary of the Treasury, James A. Baker 3d) has said that Madonna teaches young girls how to be ''a porn queen in heat''; the group has also objected to a video clip of Twisted Sister's song ''We're Not Gonna Take It,'' in which a parent is thrown out a window.

    A recent cover story in People magazine suggested a connection between the so-called ''Night Stalker'' murders in Los Angeles and the alleged perpetrator's fondness for the rock group AC/DC - a connection that the Los Angeles district attorney finds far-fetched. Although Mrs. Baker believes that only 8 percent of all rock lyrics are offensive, parents who have been following the media coverage might well begin to worry that their childrens' record collections could incite them to frightening behavior.

    The rhetoric should not obscure the lyrics themselves. An average rock song, particularly in the crude, heavy-metal rock most often cited by the parents' group, contains perhaps 250 or, for a particularly literary effort, 300 words. Since it's difficult to tell a story in 300 words (including a repeating chorus), rock songwriters inevitably pare down lyrics. Since most songwriters also want to reach the widest possible audience, they also make lyrics open-ended; if more people identify with a song, more people are likely to buy it. For similar commercial reasons, very few songs use outright profanity, since Federal Communications Commission guidelines prohibit the broadcast of some words.


    Unlike movies, in which sexual and violent acts are seen directly on the screen, song lyrics don't necessarily deliver the same message to everyone who hears them. What worries the record business and music fans, as well as defenders of First Amendment free speech guarantees, is that the meanings of songs are filled in by listeners, and a hostile listener can supply broad interpretations.

    One excerpt the parents' group cites is from ''Under the Blade'' by Twisted Sister: ''Your arms are strapped/Your legs are tied/You're going under the blade.'' Does this signify violent sex, as members of the parents' group believe; is it about surgery, as its author, Dee Snider, says; or is it a perils-of-Pauline scenario, sawmill whirring in the background? Is the Jacksons' ''Torture,'' another song cited, sadomasochistic, or is it simply hyperbole, a metaphor for unrequited love?



    The parents' group has also cited Bruce Springsteen's ''I'm On Fire'' as obscene. While ''fire'' is virtually the only four-letter word in the lyrics, it would be sophistry to suggest that the song is not about lust. It is also clear, from Mr. Springsteen's delivery, that the character in the song is utterly miserable about the state he's in. Even if the song were unequivocally, joyfully lusty, should all songs about lust bear warnings?

    Most of the example cited by the parents' group come from heavy-metal rock, a determinedly abrasive musical form consumed almost exclusively by teen-age boys. Among the few non-obscure groups cited are Motley Crue, whose song ''Live Wire'' on the album ''Too Fast for Love'' includes this verse: ''I'll either break her face/ Or take down her legs/Get my ways at will/ Go for the throat/Never let loose/Goin' in for the kill.'' Six lines of a 38-line lyric, admittedly vulgar - but even execrable taste is protected by the First Amendment.

    That ugly verse should be put in context. Unlike the fully visualized violence of the movie ''Rambo'' or the television series ''The A-Team,'' both of which have been seen by more people than were ever exposed to Motley Crue, ''Live Wire'' doesn't involve three-dimensional characters and doesn't last for very long. And while Rambo and the A-Team are presented as heroes, Motley Crue members dress like clowns. Heavy-metal bands are the bad boys of current rock; they package themselves as outlaws, not role models.

    One argument made by the parents' group is that an album is marketed by a relatively tasteful single but also contains other, more offensive songs. There is, of course, a simple solution: Buy the single, not the album. Or avoid both. But that private choice would not affect whether a store stocks the record. A ratings label, which would taint the whole album for perhaps one verse of one song, would warn potential consumers that a song could be interpreted as offensive; the parents' groups say that the issue is truth in packaging.




    A look at the album cover of Motley Crue's ''Too Fast for Love'' - a photograph of the singer Vince Neil from navel to thigh, wearing leather, handcuffs and enough chrome studs to set off an airport metal detector -might suggest a certain aggressiveness in the group's music. Heavy-metal bands make no secret of their message; similarly, Madonna and Prince dress in coy states of undress.

    In current rock, no one is selling Henry Miller in the guise of ''Rebecca of Sunnybrook Farm.'' The kinds of style that alarm some parents - the lingerie, the tight pants, titles like ''Shout at the Devil'' or ''Invasion of Your Privacy,'' group names like Ratt or Judas Priest - signify clearly that a band plans to be openly rude. At the Senate hearings, the musician Frank Zappa said, ''I would say that a buzzsaw blade between the guy's legs on the album cover is a good indication that it's not for little Johnny.''

    What heavy-metal bands unabashedly deliver is shock value - a taste of noisy, authority-threatening, vulgar thrills. They are an outlet for the feelings of rebellious adolescents. In that, they fulfill a function - public bad taste - that has always been served by some kind of popular culture, from bear-baiting to burlesque.

    Since the days of Plato, there have been arguments over whether art should be disturbing; in the modern era, however, shocking art and cultural artifacts - Picasso's ''Guernica,'' William Burroughs's ''Naked Lunch,'' Albert Ayler's ''Bells,'' the Rolling Stones's ''Gimme Shelter'' -are facts of life. The Parents Music Resource Center itself knows the uses of shock value; a touring presentation called ''The Clean 15'' wouldn't make the evening news.


    Rock, the parents' groups argue, reaches a young, impressionable audience. It is true that the 8 percent of lyrics that the parents' group considers dangerous are occasionally heard by children, in an information barrage that also includes television, radio, movies, newspapers, books, classes in school, conversations with friends, time with parents and, perhaps, religious instruction.

    Can a few rock songs overwhelm all that?

    So far, there appears to be no reputable scientific evidence to support such fears. ''A lot of people have studied rock lyrics,'' said Dr. Roger Desmond, a visiting fellow at the Yale department of psychology who specializes in children and the media, ''and they haven't been able to find any effects at all - no effects on socialization, for instance. In one study, it was found that if you ask a high-school student to tell you the story of his favorite song, he can't. What they're listening to is the beat, just like they said on 'American Bandstand.' ''

    Even if all segments of American society were to agree that all entertainment should be sanitized to a child's level - and don't forget to ban those violent Grimm's fairy tales -rock lyrics would be an odd place to start the process. They are not as immediately accessible as the genuine violence on the evening news and simulated mayhem on prime-time television; they are not as graphic as a typical PG-13 film; even when they can be deciphered amid guitars and drums, they are clearly figments of the imagination. They are only words. Yet in the current controversy, they are being treated as deeds.
    Last edited by Heisenberg; 04.28.20 at 12:29 AM.

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    Not the worst words but the creepiest is this


    This band and song has the subtly of Sammy Hagar. However they helped created the PMRC

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    Every Steel Panther song.

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    Ted Nugent - "Wang Dang Sweet Poontang" - especially if you include Ted's stage banter from Double Live Gonzo
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    "It's so lonely at the top because it's so crowded at the bottom" - Diamond David Lee Roth

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    Darling Nikki is so good


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