mickey mouse ♥ (˘⌣˘)ε˘`)

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Taio Cruz Ft. Travie McCoy - Higher

Now I know how to get down on the floor
Experience the moves you can't ignore
But something 'bout this beat that's got me hooked
Come over here and take a closer look

'Cause I can't get enough, I can't get enough
I can't stay on the ground
Whoa, I can't get enough, I can't get enough
This is taking me now

It's taking me higher, higher
Higher off the ground
It's taking me higher, higher
Higher off the ground

I do this just for kicks, just for the thrill
I got this high without taking a pill
This move has got me way over the sun
I'm dancing like I am the only one

'Cause I can't get enough, I can't get enough
I can't stay on the ground
Whoa, I can't get enough, I can't get enough
This is taking me now

It's taking me higher, higher
Higher off the ground
It's taking me higher, higher
Higher off the ground

The music's got me going higher
I feel like I can touch the sky

It's taking me higher, higher
Higher off the ground
It's taking me higher, higher
Higher off the ground

It's taking me higher, higher
Higher off the ground
It's taking me higher, higher
Higher off the ground

Judas Lady GaGa

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GaGa 
Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GaGa 

[Lady Gaga - Verse 1] 
When he comes to me, I am ready 
I'll wash his feet with my hair if he needs 
Forgive him when his tongue lies through his brain 
Even after three times, he betrays me 

I'll bring him down, bring him down, down 
A king with no crown, king with no crown 

[Chorus] 
I'm just a Holy fool, oh baby he's so cruel 
But I'm still in love with Judas, baby 
I'm just a Holy fool, oh baby he's so cruel 
But I'm still in love with Judas, baby 

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GaGa 

[Lady Gaga - Verse 2] 
I couldn't love a man so purely 
Even darkness forgave his crooked way 
I've learned love is like a brick, you can 
Build a house or sink a dead body 
I'll bring him down, bring him down, down 
A king with no crown, king with no crown 


[Chorus] 
I'm just a Holy fool, oh baby he's so cruel 


But I'm still in love with Judas, baby 
I'm just a Holy fool, oh baby he's so cruel 
But I'm still in love with Judas, baby 

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

EW 

[Bridge] 
In the most Biblical sense, 
I am beyond repentance 
Fame hooker, prostitute wench, vomits her mind 
But in the cultural sense 
I just speak in future tense 
Judas kiss me if offensed, 
Or wear ear condom next time 

I wanna love you, 
But something's pulling me away from you 
Jesus is my virtue, 
Judas is the demon I cling to 
I cling to 

[Chorus] 
I'm just a Holy fool, oh baby he's so cruel 
But I'm still in love with Judas, baby 
I'm just a Holy fool, oh baby he's so cruel 
But I'm still in love with Judas, baby 

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

Oh-oh-oh-ohoo 
I'm in love with Juda-as, Juda-as 

Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GAGA

Out Of Goodbyes MAROON5 ft LADY ANTEBELLUM

You tell me actions, speak louder
But there’s something about her words that hurt

Closing up its so late and
I’m the last one, still waiting for you to unlock the door

On our way home I realize
There’s some kind of storm brewing in his eyes, only veiled by a thin disguise

And now that I’ve done my time
I, I need to move on and I need you to try
Cuz we’re out of goodbyes, we’re out of goodbyes, out of goodbyes

Never asked you to change, but sadly you don’t feel the same about me
I wonder does your man, still shudder when you touch his hand, like this man

And on our way home I realize
There is some kind of storm brewing in his eyes,
Only veiled by a thin disguise

Now that I’ve done my time, I, I need to move on
And I need you to try
Cuz we’re out of goodbyes, we’re out of goodbyes, we’re out of goodbyes

MAROON5

Adam and Jesse and I started playing music together in junior high, under the sway of Nirvana, Pearl Jam, and their ilk. We generally played in Jesse’s garage in Malibu or David Richman’s basement in Brentwood. A few players came and went, most notably Adam Salzman, Amy Wood, and Jesse Nicita, until finally we scored Ryan Dusick as our drummer in 1994 and the unfortunately-monikered Kara’s Flowers was born. We considered Ryan’s membership quite a coup, as he was older by a couple years and one of the best musicians at our school. Ryan had also been writing music, and his collaborations with Adam made up the core of our material at the time, which is best described as “heavy” and “brooding”. The lyrics could be characterized as “nonsense”. After a year or so of this, our tastes were changing, as they so often do at that tender age, and we entered a phase of massive, obsessive Beatlemania that culminated in some ill-advised matching suits and big, bright pop songs with loud guitars. These are the songs that got us signed to Warner Brothers and to a fancy Hollywood management company. We made a record, hemorrhaged money, went on a couple really weird tours, and sold about a thousand records. The following couple years were spent regrouping, reshuffling, writing songs in the vein of “classic rock” and folk, and coming dangerously close to throwing in the towel. Adam and Jesse went on their Long Island adventure, driving cross-country at a breakneck pace and spending a semester at Five Towns College, purportedly studying music but mostly coming up with colorful nicknames for their classmates and listening to soul, gospel, R & B, and hip-hop. So, in fine Kara’s Flowers fashion, we abandoned the songs that we’d been playing for the prior year and started fresh upon Adam and Jesse’s return. Around this time the songs that ended up on Songs About Jane began to be written, and over the following year or so we’d written about half the record and recorded the demos that eventually got us signed yet again, this time to a plucky young upstart label called Octone, which was attached to the plucky young upstart behemoth J Records, which was in turn attached to the not-so-young, leviathan, venerated BMG. James had moved from Nebraska to LA around the time that we recorded those demos, and we met him and his bandmates in Square through mutual friends. So when we needed a guitar tech for those sessions, we called in James for his expertise in string-changing and guitar-tuning. When we needed another guitarist, as Jesse was making the transition from six strings to eighty-eight, we called in James for his expertise at actually playing the guitar. With the addition of a new member and a fresh spate of songwriting, we changed our name to Maroon 5 to solidify the feeling that we were beginning anew. As to the origin of the name, it’s a secret, and aside from the five of us only Billy Joel knows its provenance (true story). We then wrote Songs About Jane, recorded it in LA with Matt Wallace producing and Mike Landolt engineering, ate a lot of fast food and a lot of prescription speed, finished the record, totally thought we’d missed the mark, put it out, played a release party at Tower Records Sunset (R.I.P.) on January 25, 2002, went on tour, had a blast, played Starkville, MI a few times, reconfigured the seating in vans to accommodate us more comfortably, traveled in one very inhospitable RV that smelt of piss, looked in awe upon our first bus, met the Boss and Jay-Z within five minutes of each other, went platinum on our tenth anniversary as a band, kept touring, won a Grammy (!), made a lot of friends along the way, wrote a new song here and there, won another Grammy (wtf), opened for the Stones, saw a lot of the western world and a bit of the eastern, and toured some more. Sadly, the accumulated physical strain the travel and the shows really did a number on Ryan, and he hurt his arm so badly that he had to stop performing. For some time, we imagined this to be temporary, but the months came and and went and no reasonable diagnosis was made as to his ailment. Matt Flynn came in at the last minute and saved our asses in a time of need, having, over the course of a couple nights, learned the drum parts on our record inside and out. He ended up touring with us until we finally hung up our “on-the-road” boots and put on the recording ones. After a year and a half playing with Matt, and with Ryan’s condition still hindering him, we faced the most brutal decision we had yet to encounter. So we moved into a new phase with Matt officially in the band, and thankfully he, by being a monstrously great player and a generally great guy, made the transition much easier for us than it could have been. After taking about a month off following our last few shows, we moved into the Houdini mansion in Laurel Canyon to write our next record. James and Jesse actually lived in the house, as the rest of us came and went daily, recording jams, building songs, and releasing the pent-up creativity that had amassed over years of playing the same batch of songs nightly. Jason Lader, an old friend who had engineered the demos of This Love and Harder to Breathe, was our comrade and co-producer on these sessions. That house has a few claims to fame, most notably that it is “haunted”, that it was home to the sessions for Blood Sugar Sex Magik, and that the board in the control room is the hallowed Hit Factory board on which Songs in the Key of Life, Born in the USA, Double Fantasy, and Emotional Rescue were recorded (along with countless other classics). The bulk of what would become our second record was written and demoed over the few months that we worked in Laurel Canyon. We began to cast about for producers, and after consideration we assembled the team of Mike Elizondo and “Spike” Stent, two totally brilliant guys who happen to be a pleasure to work with too. (By the way, if you look closely at the string section during the G’n’R performance of “November Rain” at the ‘92 VMA’s, you’ll see a 19 year old Elizondo playing double bass.) We spent a couple months at Conway Studios, a sentimental favorite of ours (and home to those sessions that got us signed to Octone), where we recorded the bulk of the record. After a short break, we regrouped in Burbank and finished phase one of the recording. For a few months, we sat with what we had recorded thus far, listening ad nauseum and eventually realizing that there were a few musical loose ends to be tied up. so we went in for two additional sessions, with Eric Valentine and Mark Endert, respectively, for fresh perspectives and fresh ears. Those sessions yielded “Can’t Stop”, “Makes Me Wonder”, “A Little of Your Time”, and “Back at Your Door”, along with some other odds and ends applied to previously recorded songs. The whole of the three distinct sessions became It Won’t Be Soon Before Long, and even before the release of the record (in May 2007), our touring life had kicked back into gear all over again. We spent almost two years on the road in support of the album. In 2008, we visited every continent on the globe barring Antarctica; we played in dozens of cities that hadn’t been on the SAJ tour itinerary, such as Capetown, Manila, Seoul, Buenos Aires, Caracas, Bordeaux, and Moscow (to list a mere handful of favorites).  Following that particularly mind-bending year of travel, we regrouped in Los Feliz, east of Hollywood, to spend some much needed time at home writing and attempting some semblance of domesticity and normality. Just as some new songs were starting to take shape, it came to our attention that Mutt Lange had expressed some interest in meeting us and discussing a possible collaboration.  After the initial round of pinching ourselves out of sheer disbelief and googling Mr. Lange’s name to marvel at his unparalleled track record of musical success extending far beyond the boundaries of genre and era, we were lucky enough to sit down with the man himself in an informal meeting.  Having heard the myriad stories of Mutt’s obsessive attention to detail and exacting perfectionism, and knowing just how fiercely he has protected his privacy over the years in order to maintain an essentially non-existent public image, we were unsure of what (or who) to expect from our meeting and more than a little intrigued. What none of us had anticipated was the extraordinarily warm, affable, low-key guy who arrived, professing an admiration for the band and a very humble desire for genuine collaboration to best realize the songs in recorded form.  His kind demeanor only made it easier for us to arrive at the conclusion (essentially a foregone one, from the moment Mutt had expressed interest in producing our music) that he was the man for the job. We decamped to Switzerland and to Mutt’s studio there, where we spent the better part of July, August and September recording the music that has become Hands All Over. Leaving our hometown to record was one of the better decisions the band has made; we found ourselves working seven day weeks, often up to 12 hours a day, isolated as we were from the outside world. The sheer beauty and pace of our Swiss environs made it easy to clear our heads if we hit a creative wall; in many ways, it is an ideal creative environment (Bowie, Nabokov, Freddie Mercury, Chaplin, and countless other luminaries all spent considerable time in that part of the world, and after spending the summer working there I easily see why). After so much sort of “short-term” traveling, during which we rarely experience a foreign city for more than a day or two at a time, to live in that tiny Swiss town for three months was a genuine privilege. It was also a privilege to work with Mutt and begin to understand why he has been so exceptional; while most producers have one area of expertise or a few areas of focus, Mutt excels as a musician, a singer, an arranger and a writer, yet he devotes as much time to sonic, technical, and engineering concerns as he does to purely musical ones (alongside the indispensable engineer and ProTools operator Olle Romo, the world’s most patient and focused man, as well as being a great musician in his own right).  I can speak for the band, as we find ourselves on the verge of releasing this closely-guarded music to the world, in saying that we are more proud of this record that any other, and as we start to dig into these songs at rehearsals, in anticipation of presenting them live, the excitement grows daily. See you out there.

- Mickey

Justin Bieber: Born To Be Somebody

There's a dream in my soul,
a fire that's deep inside me.
There's a me no one knows
waiting to be set free.

I'm gonna see that day;
I can feel it,
I can taste it.
Change is coming my way.

I was born to be somebody.
Ain't nothing that's ever gonna stop me.
I'll light up the sky like lightning,
I'm gonna rise above,
show 'em what I'm made of,
I was born to be somebody,
I was born to be,
and this world will belong to me.

This life can kick you around,
(woah)
this world can make you feel small.
(woah)
They will not keep my down.
(Woah)
I was born to stand tall.

I'm goin' all the way.
I can feel it, I believe it.
I'm here, I'm here to stay.

I was born to be somebody.
Ain't nothing that's ever gonna stop me.

[ From: http://www.metrolyrics.com/born-to-be-somebody-lyrics-justin-bieber.html ]

I'll light up the sky like lightning,
I'm gonna rise above,
show 'em what I'm made of,
I was born to be somebody,
I was born to be,
and this world will belong to me.

Feel it,
believe it,
dream it,
be it.

I was born to be somebody.
Ain't nothing that's ever gonna stop me.
I'll light up the sky like lighting,
I'm gonna rise above,
show 'em what I'm made of,
I was born to be somebody,
I was born to be,
and this world will belong to me.

Oh, oh,
oh, oh...

And this world will belong to me.

Ye-ah, ye-ah, ohh...

And this world will belong to me.

Taio Cruz Ft Ke$ha - Dirty Picture

I could dream of ways to see you
I could close my eyes to dream
I could fantasize about you
Tell the world what I believe
But whenever I'm not with you
It's so hard for me to see
I need to see a picture of you
A special picture just for me, yeah

So take a dirty picture for me
Take a dirty picture
Just take a dirty picture for me
Take a dirty picture
Just send the dirty picture to me
Send the dirty picture
Just send the dirty picture to me
Send the dirty picture

Snap.
Uh.

Whenever you are gone, I just wanna be wit ya
Please don't get me wrong, I just wanna see a picture

Take a dirty picture for me
Take a dirty picture
Take a dirty picture for me
Take a dirty picture

Whenever you are gone, I just wanna be wit ya
Please don't get me wrong, I just wanna see your picture

Take a dirty picture for me
Take a dirty picture
Take a dirty picture for me
Take a dirty picture

The dream of ways to see you
I could close my eyes to dream
Fantasize about this with you
But the way is never seen

Take a dirty picture for me
Take a dirty picture
Take a dirty picture for me
Take a dirty picture
Just send the dirty picture to me
Send the dirty picture
Send the dirty picture to me
Send the dirty picture

Snap
http://www.elyricsworld.com/dirty_picture_lyrics_taio_cruz_ft_ke$ha.html
Snap
Snap

Whenever you are gone, I just wanna be wit ya
Please don't get me wrong, I just wanna see your picture

Take a dirty picture for me
Take a dirty picture
Take a dirty picture for me
Take a dirty picture

When you're all alone boy, I got something to give ya
Will ya play along if I take a dirty picture

I'll take a dirty picture for ya
Take a dirty picture
I'll take a dirty picture for ya
Take a dirty picture

Take a dirty picture for me
Take a dirty picture
Take a dirty picture for me
Take a dirty picture
Just send the dirty picture to me
Send the dirty picture
Send the dirty picture to me
Send the dirty picture

Snap, uh
Snap
Snap
Click, click... snap