UNDAVCOVA (LP) -- DJ RON NELSON
- 01. IT’S LIKE THAT — Run-DMC (1983)
- 02. I NEED A FREAK — Sexual Harassment (1983)
- 03. 606-0842 — The B-52s (1983) (from the album “Whammy!”)
- 04. BEEF — KRS-One (1993) (from the album “Return of the Boom Bap”)
- 05. CHILDREN’S STORY — Slick Rick (1989)
- 06. ANOTHER BRICK IN THE WALL II — Pink Floyd (1979)
- 07. IS YOU IS, OR IS YOU A’INT MY BABY — Louis Jordan (1943)
- 08. CAN’T STAND LOSING YOU — The Police (1978)
- 09. WE’RE NOT GONNA TAKE IT — Twisted Sister (1984)
- 10. DELILAH — Tom Jones (1968)
01. IT'S LIKE THAT (RUN-DMC 1983 Original)
RUN-DMC marked the beginning of my love—and addiction—to rap music. They were the most impactful group of my lifetime, and it was a blessing to pay tribute to them musically. It’s Like That was a powerful and socially conscious statement, and even if some of us missed the message, we were drawn in by the skeletal
READ MORE
beats rawness and simplicity of it all when the 12” when it dropped in 1983. It was one of the first records to give us a true hip-hop identity and signaled the birth of a new era in rhyme, rhythm, and style.
Run-DMC emerged out of Hollis, Queens in 1983 and quickly became one of the most influential and pioneering groups in hip-hop history. Comprised of Joseph “Run” Simmons, Darryl “DMC” McDaniels, and Jason “Jam Master Jay” Mizell, they revolutionized the genre with their hard-hitting beats, no-frills delivery, and street-smart style—trading in flashy costumes for black hats, Adidas sneakers, and leather jackets. Their debut single, It’s Like That, released in 1983 on Profile Records, was a stark, socially aware track that addressed issues like poverty and unemployment with a raw urgency.
The B-side of that single was Sucker M.C.’s, a stripped-down, battle-rap anthem that helped define the minimalist sound of early hip-hop and became equally iconic. The impact of this release was immediate—it helped usher in the new school era and laid the foundation for countless artists to follow. Over their career, Run-DMC would go on to become the first hip-hop act to earn a gold album, a platinum album, and later be inducted into the Rock and Roll Hall of Fame in 2009, cementing their legacy as trailblazers who changed the sound—and the image—of rap music forever.
IT’S LIKE THAT — RUN-DMC (Lyrics)
Unemployment at a record high
People coming, people going, people born to die
Don’t ask me, because I don’t know why
But it’s like that, and that’s the way it is
People in the world tryin’ to make ends meet
You try to ride car, train, bus, or feet
I said you got to work hard, you want to compete
It’s like that, and that’s the way it is Huh!
Money is the key to end all your woes
Your ups, your downs, your highs and your lows
Won’t you tell me the last time that love bought you clothes?
It’s like that, and that’s the way it is
Bills rise higher every day
We receive much lower pay
I’d rather stay young, go out and play
It’s like that, and that’s the way it is Huh!
Wars going on across the sea
Street soldiers killing the elderly
Whatever happened to unity?
It’s like that, and that’s the way it is
Disillusion is the word
That’s used by me when I’m not heard
I just go through life with my glasses blurred
It’s like that, and that’s the way it is Huh!
You can see a lot in this lifespan
Like a bum eating out of a garbage can
You noticed one time he was your man
It’s like that (what?) and that’s the way it is
You should have gone to school,
You could’ve learned a trade
But you laid in the bed where the bums have laid
Now all the time you’re crying that you’re underpaid
It’s like that (what?) and that’s the way it is Huh!
One thing I know is that life is short
So listen up homeboy, give this a thought
The next time someone’s teaching why don’t you get taught?
It’s like that (what?) and that’s the way it is
If you really think about it times aren’t that bad
The one that flexes with successes will make you glad
Stop playing start praying, you won’t be sad
It’s like that (what?) and that’s the way it is Huh!
When you feel you fail sometimes it hurts
For a meaning in life is why you search
Take the bus or the train, drive to school or the church
It’s like that, and that’s the way it is
Here’s another point in life you should not miss
Do not be a fool who’s prejudiced
Because we’re all written down on the same list
It’s like that (what?) and that’s the way it is Huh!
You know it’s like that, and that’s the way it is
Because it’s like that, and that’s the way it is
02. I Need A Freak (Sexual Harassment + Egyptian Lover inspired)
I’ve always loved Egyptian Lover‘s songs and the way the 12″ singles were pressed — do much earth -shaking bass and superb drum-machine programming. I Need A Freak was without doubt the best of all of songs released by Egyptian Lover, even though credit for the song it’s original form goes to Sexual Harassment.
READ MORE
I Need A Freak, just like It’s Like That, was up high in the beats-per-minute tempo but this didn’t stop early b-boys and b-girls from dancing, just not disco-dancing. Although in Canada and in the East Coast, the success of It’s Like That was superseded by it’s B-side, Sucker MC’s, not the case for Egyptian Lover, whose music would now help cement and establish a new Electro-Beat sound coming from the West Coast.
Egyptian Lover, born Greg Broussard, is a pioneering West Coast DJ, producer, and rapper who helped define the electro-hip-hop sound of the early 1980s. Known for blending old-school rap with electronic funk, heavy 808 beats, and a distinctively futuristic style, he became a staple of the underground scene with hits like Egypt, Egypt and I Need A Freak His sound was heavily influenced by early funk, Kraftwerk, and the emerging breakdance culture.
I Need a Freak, originally released in 1983 by the group Sexual Harassment, was a provocative electro-funk track created by producer Lynn Tolliver. The song became a cult classic, known for its raw, minimal beat and sexually charged lyrics. Egyptian Lover later remade and incorporated I Need a Freak into his own sets and recordings, giving the track new life within the electro-rap scene. His version paid homage while adding his signature West Coast flair, further cementing the song’s status as a foundational influence on the fusion of electronic music and hip-hop.
LYRICS | I NEED A FREAK (Boitch Mix)
In these times
Of hate and pain
I need a remedy
To take us from the rain
Jealousy,
A little greed
I’ve been thinking
About what I need
I need my bitch
To hold me tight
I need my bitch
Every day and every night
I need my bitch
To kiss me wet
I need my bitch
To be my home computer set
I need my bitch
With curly hair
When I need my bitch
I need her to be there
I need my bitch
With fine curves
I need my super bitch
To calm my nerves (Yo, yo)
I need my bitch
With long, long hairI need my freaky bitch
In underwear
I need my bitch
To treat me right
I need my bitch
Every day and every night
I need my bitch,
Exclusively
So that she’ll only come
To satisfy me
I need my bitch
I really do
I need my bitch
One who acts
And looks like you
I need my bitch
Hear what I say?
I need my bitch
To get me through the day
I need my bitch
To treat me right
I need my bitch
Every day and every night
I need my bitch
To hold me tight
I need my bitch
Every day and every night
I need my bitch
With curly hair
When I need my bitch
I need her to be there
I need my bitch
To treat me right
I need my bitch
Every day and every night
I need my bitch,
I really do
I little kinky
She’s got her bitches too
I need my bitch,
Hear what I say?
I need my bitch
To get me through the day
I need my bitch
To treat me right
I need my bitch
Every day and every night
I need my bitch
To hold me tight
I need my bitch
Every day and every night
Told you I ain’t no bitch
Why you be calling me a bitch?
That’s disrespectful
Well if you stop acting
Like a bitch
I won’t have to call you one
03. 6060-842 (B52's original)
The B-52’s were an obsession for me in my early years of High School. Their debut album was a work I enjoyed in it’s entirety, and I listened to it a lot, played it loud. My favourite tracks were Planet Claire, Rock Lobster and the underground classic, 6060-842. I loved new-wave music at this time, this song captured that
READ MORE
feeling for me, made me want to dance each time I heard it. Remaking 6060-842 was a wonderful challenge, and I’m totally pleased witht he results.
The B-52’s are an iconic new wave band formed in Athens, Georgia, in 1976, known for their quirky style, retro-futuristic sound, and playful energy. With founding members Fred Schneider, Kate Pierson, Cindy Wilson, Ricky Wilson, and Keith Strickland, the group broke out with their 1979 self-titled debut, which featured cult classics like Rock Lobster and set the tone for their offbeat, danceable blend of surf rock, punk, and pop. Over the decades, they became synonymous with a vibrant, campy aesthetic and a fiercely original sound that earned them a devoted following.
6060-842, also from the B-52’s debut album, is a fast-paced, tongue-in-cheek track built around the frustration of dialing a phone number that never picks up—blending humor, absurdity, and heartache in a way that only the B-52s could pull off.
LRYICS |6060-842
Tina went to the Lady’s room
Saw written on the wall
“If you’d like a very nice time
Just give this number a call”
It was 6060-842
606 and I’m waitin’ for you
6060-842
606 and I’m waitin’ for you
Tina reached in her pocketbook
Pulled out a thin dime
Dropped it in the phone slot
Prayin’ she’d get the line
It was 6060-842
606 and I’m waitin’ for you
6060-842
606 and I’m waitin’ for you
Dial the number to call
Get no answer at all
Dime’s in the slot
Ready to trot
Uh, 6060-842
I’ve been tryin’ all day
And I’m makin’ no headway
Operator, what’s wrong?
I dial stupid number all day long
Operator said,
Your number’s been disconnected
Your number’s been disconnected
Your number’s been disconnected
Your number’s been disconnected
Hello?
I’m sorry
Hello?
I’m sorry
Hello?
I’m sorry
04. BEEF (KRS-One 1993 original)
KRS-One proves that he is a gifted and blessed songwriter with Beef. As a radio dee-jay, this was of one of my best finds, a song so well crafted people would have to listen to lyrics, like them or not, spitting in their face. KRS-One, known as “The Teacha,” is a legendary Bronx-born rapper and one of hip-hop’s most
READ MORE
respected lyricists, best known for his work with Boogie Down Productions and his powerful, socially conscious messages. His song Beef, from the 1990 album Edutainment, showcases his brilliance as a lyricist, using sharp wordplay and metaphor to critique the meat industry and its ethical, health, and environmental impacts—a topic rarely touched in hip-hop. The track stands out for its bold subject matter and educational approach, reinforcing KRS-One’s reputation as a pioneer of “edutainment.” While not a commercial hit, Beef remains critically acclaimed and is often cited as an example of hip-hop’s potential for thought-provoking, activist-driven content.
LYRICS | 6060-842!
Beef,
What a relief
When will this poisonous product cease?
Another Public Service announcement
You can believe it or doubt it
Let us begin now with the cow
The way it gets to your plate and how
The cow doesn’t grow fast enough for man
So through his greed he makes a faster plan
He’s got drugs make cow grow quicker
Through the stress cow gets sicker
Twenty one different drugs are pumped
Into the cow in one big lump
So just before it dies it cries
In the slaughterhouse full of germs and flies
Off with the head, they pack it, drain it, and cart it
And there it is, in your local supermarket
Red and bloody, a corpse, neatly packed
And you wonder about heart attacks?
Come on now man let’s be for real
You are what you eat is the way I feel
See those Food-Drug Administrations
Tell you meat is the perfect combination
But cows live under fear and stress
Trying to think what’s gonna happen next
Fear – stress can become a part of you
In your cells and blood this is true
So when the cow is killed, believe it
You preserve those cells you freeze it
Thaw it out with the blood and season it
Then you sit down and u begin eating it
In your body, it’s structure becomes your structure
All the fear and stress of another
Any drug is addictive by any name
Even drugs in meat they are the same
Canada America strung out
With drugs in beef no doubt
So if you think that what I say
Is a bunch of crock
Tell yourself you’re gonna try and stop
Eatin’ meat and you’ll see you can’t compete
It’s the number one drug on the street
Not crack
Cause that was made for just blacks
But brown beef for all American-Canadian teeth
Life brings life and death brings death
Keep on eatin the dead and what’s left
Absolute disease and negative
Read the book
How to Eat to Live
By Elijah Muhammad
It’s a brown paperback
For anybody
either white or black
See how many cows
must be pumped up fatter
How many rats
gotta fall in the batter
How many chickensq
that eat shit you eat
How much high blood pressure
you get from pig feet
See you’ll consume,
the FDA could care less
They’ll sell you
Donkey meat and say it’s Fresh!
For 2025, you Suckers!
05. CHILDREN'S STORY (Slick Rick 1989 original)
Slick Rick was appealing to me when he collaborated with Doug E. Fresh on the huge 1984-85 hit La-Di-Da-Di. The British-English twang would get acceptance and success in hip-hop because Slick Rick represented a new avenue in terms of what hip hop artists could do despite where they were from. Slick Rick, born in
READ MORE
London and raised in the Bronx, brought a distinct English twang and theatrical flair to hip-hop, making him one of the genre’s most original voices. His 1988 track “Children’s Story,” from the acclaimed album The Great Adventures of Slick Rick, marked his most significant solo hit since the legendary “La Di Da Di,” his breakout collaboration with Doug E. Fresh. With its smooth cadence, British-inflected style, and vivid narrative, “Children’s Story” became an instant classic—clever, cautionary, and endlessly quotable—cementing Slick Rick’s reputation as hip-hop’s master storyteller.
LYRICS | CHILDREN’S STORY
Once upon a time not long ago
When people wore pajamas and lived life slow
When laws were stern and justice stood
And people were behavin’ like they ought to good
There lived a little boy who was misled
By another little boy, and this is what he said
“Me and you, tonight we’re gonna make some cash
Robbin’ old folks and makin’ the dash”
They did the job, money came with ease
But one couldn’t stop it’s like he had a disease
He robbed another and another and a sister and a brother
Tried to rob a man who was a D.T. undercover
The cop grabbed his arm he started acting erratic
He said, “Keep still, boy, no need for static”
Punched him in his belly and he gave him a slap
But little did he know the little boy was strapped
The kid pulled out a gun, he said, “Why’d you hit me?”
The barrel was set straight for the cop’s kidney
The cop got scared, the kid, he starts to figure
“I’ll do years if I pull this trigger”
So he cold dashed and ran around the block
Cop radios in to another lady cop
He ran by a tree, there he saw this sister
Shot for the head, he shot back but he missed her
Looked ’round good and from expectations
So he decided he’d head for the subway stations l
But she was coming and he made a left
He was runnin’ top speed til he was outta breath
Knocked an old man down and swore he killed him (Sorry)
Then he made his move to an abandoned building
Ran up the stairs up to the top floor
Opened up the door there, guess who he saw? (Who?)
Dave, the dope fiend shootin’ dope
Who don’t know the meaning of water nor soap
He said, “I need bullets, hurry up, run”
The dope fiend brought back
Think it wa a spanking shotgun
He went outside but there was cops all over
Then he dipped into a car, a stolen Nova
Raced up the block doing eighty-three
Crashed into a tree near university
Escaped alive though the car was battered
Rat-a-tat-tatted, and all the cops scattered
Ran out of bullets and he still had static
Grabbed a pregnant lady and pulled out the automatic
Pointed at her head, he said the gun was full of lead
He told the cops, “Back off,or honey here is dead”
Deep in his heart he knew he was wrong
So he let the lady go and he starts to run on (Uh-huh)
Sirens sounded, he seemed astounded
And before long the little boy got surrounded
He dropped his gun, so went the glory
And this is the way I have to end this story
He was only seventeen, in a madman’s dream
The cops shot the kid, I still hear him scream
This ain’t funny so don’t you dare laugh (Uh-huh)
Just another case about the wrong path (Uh-huh)
Straight and narrow or your soul gets cast
Good night
06. ANOTHER BRICK IN THE WALL PT 2 (Pink Floyd original)
Pink Floyd is one of my favourite rock groups, I have spent mega-time happily consuming every song on their classic albums, WISH YOU WERE HERE being at the top of the list. The Wall album was very enjoyable and as a recording studio engineer I can appreciate it even more for it’s concept,
READ MORE
consistency, originality, brave and creative production elements. It’s a true honour to be able to cover this song, Another Brick In The Wall Part 2, in any capacity.
Pink Floyd is a legendary British rock band known for their groundbreaking soundscapes, philosophical lyrics, and concept-driven albums. One of their most iconic tracks, Another Brick in the Wall, Part 2, comes from their 1979 rock opera The Wall, a powerful exploration of isolation, trauma, and rebellion. The song, driven by its unforgettable chorus—“We don’t need no education”—became a global anthem of resistance, blending progressive rock with disco-influenced beats and featuring a children’s choir that added to its haunting impact. It topped charts worldwide and remains one of Pink Floyd’s most commercially successful and politically charged releases, encapsulating the album’s themes of emotional alienation and societal control.
ANOTHER BRICK IN THE WALL (PART 2)
We don’t need no education
We dont need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!
All in all it’s just another brick in the wall
All in all you’re just another brick in the wall
We don’t need no education
We dont need no thought control
No dark sarcasm in the classroom
Teachers leave them kids alone
Hey! Teachers! Leave them kids alone!
All in all it’s just another brick in the wall
All in all you’re just another brick in the wall
07. IS YOU IS, OR IS YOU A’INT MY BABY (Louis Jordan 1943 original)
Is You Is Or is You Ain’t My Baby is a song I first heard on an all blues & jazz album called Jumping’ Jive. I bought the album chiefly because of this song — I had heard on the radio a long time ago. Later, I would discover that Is You Is Or is You Ain’t My Baby is an original Louis Jordan release, first popular back in 1943!
READ MORE
Is You Is or Is You Ain’t My Baby is a classic jump blues tune originally recorded by Louis Jordan in 1944. Blending jazz, swing, and early rhythm and blues, Jordan’s version became a major hit, reaching No. 1 on the R&B charts and crossing over to the pop charts during a time when few Black artists did. The song’s clever wordplay, laid-back groove, and smooth vocal delivery helped cement Jordan’s reputation as one of the pioneers of modern R&B and a major influence on the development of rock and roll.
Decades later, in 1981, British singer-songwriter Joe Jackson covered Is You Is Or is You Ain’t My Baby on his album Jumpin’ Jive, a tribute to the swing and jump blues artists of the ‘40s. Jackson’s version brought renewed attention to the classic, introducing it to a new wave and punk-era audience while staying faithful to the original’s playful spirit. While it wasn’t a major chart hit, Jackson’s cover earned critical praise and helped spark a brief revival of interest in swing-era music among younger listeners.
I’m gonna walk up to her gateAnd see if I can get it straight‘Cause I want herI’m gonna ask her
Is you is, or is you ain’t, my babyThe way you’re acting lately makes me doubtYou is still my baby, babySeems my flame in your heart’s done gone out
A woman is a creatureThat has always been strangeJust when you’re sure of one you findShe’s gone and made a change
Is you is, or is you ain’t my babyMaybe baby’s found somebody newOr is my baby still my baby true
08. CAN'T STAND LOSING YOU (The Police 1978 original)
The Police were a British rock trio formed in the late 1970s, blending punk energy with reggae rhythms and pop sensibilities to create a distinctive, genre-defying sound. Fronted by Sting, with Andy Summers on guitar and Stewart Copeland on drums, they rose to prominence with their sharp songwriting and infectious
READ MORE
grooves. Can’t Stand Losing You, one of their early hits from their 1978 debut album Outlandos d’Amour, captured the band’s raw, emotional edge and reggae-infused style. The song, dealing with themes of heartbreak and obsession, showcased Sting’s knack for turning personal turmoil into catchy, provocative lyrics, helping establish The Police as a force in the emerging new wave scene.hearing it. Almost every radio station was playing Can’t Stand Losing You in high rotation during ’78-79.
LYRICS | CAN’T STAND LOSING YOU
I guess you’d call it cowardiceBut I’m not prepared to go on like this
I can’t, I can’t, I can’t stand losingI can’t, I can’t, I can’t stand losingI can’t, I can’t, I can’t, I can’t stand losing youI can’t stand losing youI can’t stand losing youI can’t stand losing you
I see you sent my letters backAnd my L.P. records, and they’re all scratchedI can’t see the point in another dayWhen nobody listens to a word I sayYou can call it lack of confidenceBut to carry on living doesn’t make no sense
I can’t, I can’t, I can’t stand losingI can’t, I can’t, I can’t stand losingI can’t, I can’t, I can’t stand losingI can’t, I can’t, I can’t stand losingI can’t, I can’t, I can’t stand losingI can’t, I can’t, I can’t stand losing
I guess this is our last goodbyeAnd you don’t care
So I won’t cryBut you’ll be sorry when I’m deadAnd all this guilt will be on your headI guess you’d call it suicideBut I’m too full to swallow my pride
09. WE'RE NOT GONNA TAKE IT (Twisted Sister 1984 original)
The DJ Ron Nelson ‘cover’ single of We’re No Gonna Take It, the classic 1984 Twisted Sister Rock’n Roll anthem, has previously been released on Peace Posse Records, October 16th, 2024 to be exact Just like the previous release Cease Fire, We’re Not Gonna Take It is a politically driven tune, inspired by everything bad
READ MORE
that’s going on in the world and inside our own personal and local political circles. We’re No Gonna Take It features production by DJ Scam and new rap lyrics written by DJ Ron Nelson. This Rock turned hip-rock anthem is defiance statement that everyone will relate to.
Twisted Sister was a glam metal band from New York known for their outrageous style, rebellious attitude, and anthemic rock songs. Their 1984 hit We’re Not Gonna Take It, from the album Stay Hungry, became a defining track of the era—a loud, defiant anthem of teenage rebellion and nonconformity.
Fueled by catchy riffs and frontman Dee Snider’s snarling vocals, the song struck a chord with youth culture and became both a rock radio staple and a pop culture rally cry, complete with a famously over-the-top music video that helped cement Twisted Sister’s place in ‘80s rock history.
LYRICS | WE’RE NOT GONNA TAKE IT
We’re not gonna take it
No, we ain’t gonna take it
We’re not gonna take it
Anymore
We’re not gonna take it
No, we ain’t gonna take it
We’re not gonna take it
Anymore
We’ve got the right to choose
And there ain’t no way we’ll lose it
This is our life
This is our song
We’ll fight the powers that be, just
Don’t pick on our destiny, ’cause
You don’t know us, you don’t belong
We’re not gonna take it
No, we ain’t gonna take it
We’re not gonna take it
Anymore
We’re not gonna take it
No, we ain’t gonna take it
We’re not gonna take it
Anymore
We don’t take shit
We create shit
All they do is sit
Annihilate it
Marathon man
But I don’t stitch
I knew Crooks evil plan
But I don’t snitch
Stand for something
Their standing for nothing
Assassins, politicians
Hiding, they’re running
Think they’re cunning
They add up to nothing
Killing, bombing
Shooting, gunning
Or lives they get ruined
Like polar bears and bruins
I lose you, you clue in?
I’m so high, I flew in
Solutions in my song
Can we all just along
Picked you for the peace side
Y’all sing along
Freedom is our right
Leaders got it wrong
They’re playing war games
Like Chinese play ping-pong
Peace unrealistic?
I change the statistics
I march with a big stick
Rhyme like I’m spastic
Deadly, drastic
Stretch me like elastic
Still I’m the boombastic
Call me Mr. Fantastic
I’m ballistic, can’t fix it
The world’s on fire
Pioneer, Realistic
Dee-jays please remix it
Like Renaldo – he kicks it
Austin Matthews – sticks it
You wave it – I flag it
You want it – I have it
Fuck all the static
It’s time to Jam On It
If you’re dangerous and nucleus
Then It’s Automatic
We’re not gonna take it
We create it and we make it
We fight we never stop
And they hate it
Tick Tok wake up
The bomb was in the clock
Phone, pager, walkie-talkie
Blowing people up
Oh, you’re so condescending
Your call is never ending
We don’t want nothin’
Not a thing from you
Your life is trite and jaded
Boring and confiscated
If that’s your best
Your best won’t do
We’re not gonna take it
No, we ain’t gonna take it
We’re not gonna take it
Anymore
We’re not gonna take it
No, we ain’t gonna take it
We’re not gonna take it
Anymore
Break down the wall
Watch it fall
We’re right (yeah)
We’re free (yeah)
We’ll fight (yeah)
You’ll see (yeah)
We don’t take shit
We create shit
All they do is sit
Annihilate it
Marathon man
But I don’t stitch
I knew Crooks evil plan
But I don’t snitch
Written by TWISTED SISTER | All Additional (Rap) lyrics written by DJ Ron Nelson
10. DELILAH (Tom Jones 1968 original)
Tom Jones Delilah was one of the very first songs I remember hearing as a child growing up in Jamaica in the late ’60s and early ’70s. It stood out not just because of its melody, but because it was one of the first songs I could sing along to—I had the range to hit those high notes back then. Of course, I was
READ MORE
completely unaware of the song’s darker meaning at the time. Tom Jones was a staple on Sunday radio, with tracks like Green, Green Grass of Home, It’s Not Unusual, and of course, Delilah getting regular airplay. It’s always been a classic I’ve loved, which made it even more enjoyable to remake. Now, I’ll admit, the performance isn’t perfect—but that was kind of the point. I approached it with a raw, almost punk energy, inspired by the Sex Pistols’ version of My Way. It didn’t need to be polished—it just needed the right tone – exactly what I was going for.
Released in 1968, Delilah became one of Tom Jones’ most iconic songs, thanks to its dramatic storytelling and unforgettable chorus. The lyrics tell a dark tale of betrayal and vengeance, as the narrator discovers his lover’s infidelity and, in a moment of uncontrollable rage, takes her life. The final lines suggest he’s reflecting on his actions from behind prison walls, adding a haunting conclusion to the tragic narrative.
Despite its grim subject matter, Delilah was a massive commercial success. In the UK, it climbed to number two on the singles chart, while in the United States it reached number fifteen on the Billboard Hot 100. It also topped the charts in several European countries, further cementing Tom Jones’ global appeal at the height of his career.
Over time, Delilah became a staple of his live performances, loved by audiences for its theatrical flair and sing-along chorus. While it remains a fan favorite, the song has also sparked criticism for its depiction of violence and the way it frames the story. Still, Delilah‘s impact on pop music history is undeniable, and it continues to be remembered as a bold, emotionally charged classic in Tom Jones’ vast catalog.
READ MORE
Lyrics – “Delilah” by Tom Jones
I saw the light on the night that I passed by her window
I saw the flickering shadow of love on her blind
She was my woman
As she deceived me I watched and went out of my mind
My, my, my Delilah
Why, why, why Delilah
I could see, that girl was no good for me
But I was lost like a slave that no man could free
At break of day when that man drove away I was waiting
I crossed the street to her house and she opened the door
She stood there laughing
I felt the knife in my hand and she laughed no more
My, my, my Delilah
Why, why, why Delilah
So before
they come to break down the door
Forgive me Delilah
I just couldn’t take anymore
She stood there laughing
I felt the knife in my hand and she laughed no more
My, my, my Delilah
Why, why, why Delilah
So before they come to break down the door
Forgive me Delilah I just couldn’t take anymore
Forgive me Delilah I just couldn’t take anymore