Thin Lizzy - Black Rose lyrics (1979)

1. Do Anything You Want To
2. Toughest Street In Town
3. S & M
4. Waiting For An Alibi
5. Sarah
6. Got To Give It Up
7. Get Out Of Here
8. With Love
9. Róisín Dubh (Black Rose) A Rock Legend

Non album track:

Just The Two Of Us

 

 

 

 

 

Do Anything You Want To
(Phil Lynott)

There are people that will investigate you.
They'll insinuate, intimidate and complicate you.
Don't ever wait or hesitate to
state the fate that awaits those who
try to shake or take you.
Don't let them break you.

You can do anything you wanna do.
It's not wrong what I sing, it's true.
You can do anything you wanna do.
Do what you want to.

People that despise you, will analyse then criticize you.
They'll scandalize and tell lies, until they realize
you are someone they should have apologized to.
Don't let these people compromise you,
be wise too.

You can do anything you wanna do.
It's not wrong what I sing, it's true.
You can do anything you wanna do.
Do what you want to.

Hey you, you're not their puppet on a string.
You can do everything.
It's true, if you really want to,
you can do anything you want.

Just like I do.

You can do anything you wanna do.
It's not wrong what I sing, it's true.
You can do anything you wanna do.
Do what you want.

Hey you.
No, can't do.
Hoah.

Hey you.
Yes, you.
Elvis is dead.
King of rock'n roll is dead.
Elvis is dead.

I said one for the money,
two for the show.

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Toughest Street In Town
(Phil Lynott/Scott Gorham/Gary Moore)

Outside the window
the neon flashes in the morning light.
Down on the sidewalk
there's a woman with a problem,
she don't know how to fight.

She's destitute and broken down.
She softly whispers "Is there no one around?"
And no one hears the sound.
Her knees give way and hit the ground.

This is the toughest street in town.
This is the toughest street around.
This is the toughest street in town.
This is the toughest.

Like a rat in a pack,
it attacks from the back.
Through a crack you take a track,
and you take a smack.

And Jack has had a hard day.
No one told him it would be like this.
He's had to score the hard way,
and there's that trick he'll always miss.

This is the toughest street in town.
This is the toughest, it's tough stuff.
This is the toughest street around.
This is the toughest,
don't you do down there.

It's just another black spot
where far too many people have died.
It's just another graveyard,
and there's not too many people left alive.

This is the toughest, are you tough enough?
This is the toughest, are you rough enough?
This is the toughest, can you bluff enough?

Just a minor misdemeanour,
didn't mean no harm.
But it's there as a constant reminder,
and it's there to warn.

Outside the window,
the neon is still flashing in the morning light.
Down on the sidewalk
that woman was blown away, out of sight.

All across the city no one gives a damn.
All across the city no one seems to understand.

This is the toughest.
This is the toughest street in town.
This is the toughest street around.

This is the toughest,
are you rough enough?
This is the toughest.
If I were you, I wouldn't come around here.

This is the toughest
This is the toughest street.
This is the toughest,
are you tough enough?

This is the toughest.
Don't you go down there.
This is the toughest.
Clear Jack, you wanna see some pictures?
This is the toughest.

This is the toughest street in town.
This is the toughest street around.
This is the toughest, and the beat goes down.
This is the toughest, when the sun come up.

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S & M
(Phil Lynott/Brian Downey)

She walked out of the shady motel
into the arms of a sugar daddy.
She'd been havin' a good time.
Oh, but she loved her daddy madly.

She said "Daddy what can I do?"
"I wanna spend my time makin' love to you."
But her daddy had to run, hit and run.
Now he's gone.

S & M.

This customer was shady,
he kept a rubber hose.
He liked to beat the ladies.
There's nothing wrong with that, I suppose. (yes, there is)

He made them wanna shout "Ouch!"
This time you better watch out.
He kicked her.
Oh, and he beat her and he whipped her.

S & M.
He beat her black and blue.

Now, he just liked the violence,
said it made him tough.
Now, he just liked the violence,
and she couldn't get enough,
couldn't get enough.
Hohha.

Smack.

S & M.
He beat her like a drum.

This fetish could be foolish.
It could lead to something dangerously reckless.
To hold your lover helpless
could lead to something cruel,
unless you like to be tacky and kinky,
sleazy and slinky.
To make'em wanna shout "Ouch!"
Fight back and scratch out.

S & M.
Do it again.

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Waiting For An Alibi
(Phil Lynott)

Valentino got a booky shop.
And what he takes he gives for what he's got.
And what he's got
he says he has not stole from anyone.

It's not that he don't tell the truth,
or even that he misspent his youth.
It's just he holds the proof,
but you know something's wrong.

Waiting for an alibi. (waiting for an alibi)
Waiting for an alibi. (waiting for an alibi)

Valentino's in a cold sweat,
placed all his money on that last bet.
Against all the odds he smokes another cigarette.
Says it helps him to forget he's a nervous wreck.

It's not that he misses much,
or even that he lost his lucky touch.
It's just he gambles so much,
and you know that it's wrong.

Waiting for an alibi. (waiting for an alibi)
Waiting just to catch your eye.

Waiting for an alibi, (waiting for an alibi)
just to say I told you, I told you.

Waiting for an alibi.
Waiting just to get you.

Waiting for an alibi, (waiting for an alibi)
just to say I told you.

Waiting for an alibi.
Waiting for an alibi.
Oh, my mamma, my mamma,
my mamma, my mother.

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Sarah
(Phil Lynott/Gary Moore)

One, two,
one, two, three, four.

When you came in my life,
you changed my world, my Sarah.
Everything seem so right
my baby girl, my Sarah.

You are all I want to know,
you hold my heart, so don't let go.
You are all I need to live,
my love to you I'll give.
My Sarah.

When you begin to smile,
you change my style, my Sarah.
When I look in your eyes,
I see my prize, my Sarah.

You are all I want to know,
you hold my heart, so don't let go.
You are all I need to live,
my love to you I'll give.

You are all I want to know.
Oh, my Sarah.
Don't let go.
Oh no, my Sarah.

You are all I want to know,
you hold my heart, so don't let go.
You are all I need to live,
my love to you I'll always give.

You are all I want to know,
you hold my heart, so don't let go.
You are all I want to know.
Oh, my Sarah.

Yes, you change my style
with your baby smile, Sarah.
Childlike charms keep me warm
hold you in my arms, Sarah.

Change my world,
my baby girl, Sarah.
You're all I want to know,
don't let go.
No, no, no, no, no,
no, no, no, no.
Sarah,
Sarah Philomena.

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Got To Give It Up
(Phil Lynott/Scott Gorham)

I've got to give it up.
I've got to give it up, that stuff.
I've got to give it up.
I've got to give it up, that stuff.

Tell my mama and tell my pa,
that their fine young son didn't get far.
He made it to the end of a bottle,
sittin' in a sleazy bar.

He tried hard, but his spirit broke.
He tried until he nearly choked.
In the end he lost his bottle,
drinking alcohol.

Got to give it up,
I got to give it up, that stuff.
Got to give it up,
I got to give it up, that stuff.

Tell my brother I tried to write.
I put pen to paper, but I was frightened.
I couldn't seem to get the words out right,
write quite right.

Tell my sister I'm sinking slow.
Now and then I powder my nose.
But in the end I lost my bottle,
It's smashed in a casbah.

Got to give it up,
I got to give it up, that stuff.
Got to give it up,
I got to give it up, that stuff.

Got to give it up,
I got to give it up, that stuff.
Got to give it up,
got to give it up, that stuff.

Now, I've been messin' with the heavy stuff.
For a time I couldn't get enough.
But I'm wakin' up and it's wearin' off,
junk don't get you far.

Tell my mama I'm comin' home.
And in my youth I'm gettin' old.
And I think it's lost control.
Mama, I'm comin' home.

Got to give it up, give it up,
got to give it up, that stuff.
Got to give it up.
You know what I'm talking about.
Got to give it up, that stuff.

Got to give it up,
got to give it up, that stuff.
Got to give it up, give it up,
got to give it up, that stuff.
Aogh.

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Get Out Of Here
(Phil Lynott/Midge Ure)

Pack up,
I've had enough, that's it, I quit.
Give up,
you win, I lose, you win.
You choose,
you stay, I'll go, you stay.
I lose.

I used to be a dreamer,
but I realize that it's not my style at all.
In fact it becomes clearer,
that a dreamer doesn't stand a chance at all.

Get out of here.
Get out of here.
Get out of here.
Get out of here.

Get out!
Do I make myself clear?

No way,
I must go, can't stay, must run.
No chance,
I can't give a second chance.
No hope,
there's no hope for you now.
No romance,
no more romance.

No how,
no how could we stay together?
No need,
I have no need for you now.
No fear,
no fear of you no more.

Get out of here.
Get out of here.
Get out of here.
Get out of here.

Get out of here.
Get out of here.
Do I make it clear?

Get out of here.
Get out of here.
Pack up, give in, go home, get out!

I used to be a dreamer,
but I realize that it's not my style at all.
In fact it becomes clearer,
that a dreamer doesn't stand a chance at all.

And I've become bitter,
for I believe that this is better.
No matter, whatever, whenever,
we can never ever stay together.

Get out of here.
Get out of here.
Get out of here.
Get out of here.

Do I make myself plain?
I don't wanna ever see you again.
Get out of here.

Pack up, give in, get out of here.
Rev up, go away, get out of here.
Give in, go home, right away, get to.
Pack up, give in, give up, rev up.
Go away, out!

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With Love
(Phil Lynott)

It's a tedious existence, laying your love on the line.
Resistance is useless, she can leave at any time.
I must confess that in my quest I felt depressed and restless.
But this Casanova's roving days are over more or less.

With love, with love.
With love, with love.

She's broke my heart and made me sad.
She's broke my heart and made me sad.
She's broke my heart,
you foolish boy, you lost what you had.

With love,
she says she won't be back no more. (with love)
With love,
oh, she says goodbye, (with love)
ay-ay, ay-ay-ay, ay-ay-ay, ay-ay-ay.

My Mademoiselle, I will make my farewell.
You see, Senor, I know she don't want me no more.
I'd like to make that Fraulein mine, mein Fraulein.
So I'll depart my sweetheart, and leave you with this line.

With love,
with love she says she won't be back no more. (with love)
With love,
with love she says she's leaving for sure. (with love)

With love.
My Mademoiselle, I'll say farewell. (with love)
With love.
No matter where you are, Au Revoir. (with love)

Till we meet again, Auf Wiedersehen. (with love)
With love.
With love.
She wrote it on a letter,
but it didn't make him feel any better. (with love)
With love. (with love)
With love, with love.

She says goodbye, adios, farewell. (with love)
With love, with love.
With love, with love.

With love, with love.
(Repeat to end)

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Róisín Dubh (Black Rose) A Rock Legend
(Phil Lynott/Gary Moore)

Tell me the legends of long ago,
when the kings and queens would dance
in the realm of the Black Rose.
Play me their melodies, I want to know,
so I can teach my children, oh.

Pray tell me the story of young Cúchulain.
How his eyes were dark, his expression sullen.
And how he'd fight and always won,
and how they cried when he was fallen

Oh, tell me the story of the Queen of this land.
And how her sons died at her own hand.
And how fools obey commands.
Oh, tell me the legends of long ago.

Where the Mountains of Mourne come down to the sea.
Will she no come back to me?
Will she no come back to me?

Oh Shenandoah, I hear you callin'.
Far away you rolling river.
All down the mountain side.
All around the bloomin' heather.
Go, Lassy go.

Yiiah.

Oh, tell me the legends of long ago,
when the kings and queens would dance
in the realms of the Black Rose.
And play me their melodies, so that I might know,
and I can tell my children, oh.

My Róisín Dubh is my one and only true love.
It was a joy that Joyce brought to me.
While William Butler waits.
And Oscar, he's goin' Wilde.

Ah sure, Brendan where have you Behan?.
Lookin' for a girl with green eyes.
My dark Rosaleen is my colleen.
That Georgie knows Best.

Van is the man.
Starvation once again.
Drinkin' whiskey in the jar-o.
Synge's Playboys of the Western World.

As Shaw, Sean I was born and reared there.
Where the Mountains of Mourne come down to the sea.
It's such a long, long way from Tipperary.

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Just The Two Of Us
(Phil Lynott/Scott Gorham)

Just the two of us,
no one else to trust.
So let's not make a fuss of them, love.

We've got to take the bus,
throw for win of us.
All is lost unless we go.

It's not that I think it's right
to leave home in the darkest night.
But I don't think that it's wrong.
Gotta take you away from,
got to take you away from home.

If I had a second chance,
I'd make better plans.
But that's the way it stands
and that's the way it goes.

Waiting for the phone,
something's going wrong.
Like in the song,
I'm the last one to know.

It's not that I think it's right
to leave home in the darkest night.
It's not that I think it's wrong.
But I gotta take you away from,
I gotta take you away from home.

I can't cope, we must elope.

There's just the two of us,
there's no one else to trust.
So let's not make a fuss of them, no.

We got to take the bus,
got to win of us.
All is lost unless we go.

It's not that I think it's right
to leave home in the darkest night.
It's not that I think it's fair.
But I gotta take you away from,
I got to take you away from,
got to take you away from there.
Oh, I don't care.

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