Bruce Springsteen - Tougher Than the Rest and the History of the Song

Tougher Than The Rest Lyrics
Songwriters: BRUCE SPRINGSTEEN
Tougher Than The Rest lyrics © Downtown Music Publishing

Well it's Saturday night
You're all dressed up in blue
I been watching you awhile
Maybe you been watching me too
So somebody ran out
Left somebody's heart in a mess
Well if you're looking for love
Honey I'm tougher than the rest

Some girls they want a handsome Dan
Or some good-lookin' Joe, on their arm
Some girls like a sweet-talkin' Romeo
Well 'round here baby
I learned you get what you can get
So if you're rough enough for love
Honey I'm tougher than the rest

The road is dark
And it's a thin thin line
But I want you to know I'll walk it for you any time
Maybe your other boyfriends
Couldn't pass the test
Well if you're rough and ready for love
Honey I'm tougher than the rest

Well it ain't no secret
I've been around a time or two
Well I don't know baby maybe you've been around too
Well there's another dance
All you gotta do is say yes
And if you're rough and ready for love
Honey I'm tougher than the rest
If you're rough enough for love
Baby I'm tougher than the rest

"Tougher Than the Rest" is a song by Bruce Springsteen from his 1987 Tunnel of Love album. It was released as a single in some countries, following "Brilliant Disguise" and the title track, but was not released as a single in the United States.^[1] It reached as high as No. 3 on the Swiss charts, and also reached the Top 20 in the United Kingdom, the Netherlands and Austria.

History

Like much of the Tunnel of Love album, "Tougher Than the Rest" was recorded in Springsteen's home studio, called Thrill Hill East, between January and May 1987 with several members of the E Street Band. On this song, Springsteen played several instruments and is backed by Danny Federici on organ and Max Weinberg on percussion. Although it was originally written as a rockabilly song, the final version has a slower and more methodical rhythm.

On the Tunnel of Love album, "Tougher Than the Rest" is the second song, following the acoustic "Ain't Got You", and introduces the sound that will permeate the remainder of the album.The synthesizer sound is layered and melodic and the drum sound is moody, heavy and menacing^[ Springsteen's vocal is also menacing and boastful as he sings the simple but elegant lyrics detailing his infatuation.

At least one of the singer and the woman he is singing to appear to be on the rebound from prior relationships. The singer recognizes that he is not a "handsome Dan" or a "sweet talking Romeo" and admits that he has "been around a time or two". He is not bothered with the possibility that the woman may have "been around too."Although the singer knows how messy and rough love can be, he claims that he is ready for it, but insists that the woman must also be equally tough and willing to take chances. The song is in some ways reminiscent of Springsteen's earlier song "Thunder Road", in which the singer wants to take the woman away, even though he tells her that "you ain't a beauty but hey you're alright". But unlike the earlier song, in this song the singer's goals are more realistic – rather than looking to run away with the woman, here he just wants to ask the woman to dance.^[ In the context of this song the phrase, 'There's another dance, all you have to do is say yes,' is an allusion to taking a chance and falling in love. This is echoed in the song 'Girls in their Summer Clothes' which includes the line 'Love's a fools' dance, I ain't got no sense, but I've still got my feet.'

The music video features live concert footage interspersed with vignettes of couples made at venues on his "Tunnel of Love Express" tour. The video includes both gay and lesbian pairs interspersed with heterosexual couples as representatives of the artist's fans. Springsteen included this explicitly homosexual imagery with neither fanfare nor exploitation. Like several other music videos from the Tunnel of Love album, including "Brilliant Disguise", "Tunnel of Love" and "One Step Up", the video for "Tougher Than The Rest" was directed by Meiert Avis. The video was later released on the VHS and DVD Video Anthology / 1978-88.

Live performance history
"Tougher Than the Rest" has been reasonably popular in live performances. Next to Brilliant Disguise and the title track, this song is third and only other song from the album to receive several appearances live. From the Tunnel of Love Express Tour (where it typically opened the second set) that supported the initial release of the album through July 2005, the song received 98 live performances in concert.[13] A live version of the song, recorded on April 27, 1988 at Los Angeles Memorial Sports Arena was released on the EP Chimes of Freedom. That version runs 6:39.

Best Of Carole King I Feel The Earth Move

I feel the earth move under my feet
I feel the sky tumbling down
I feel my heart start to trembling
Whenever you're around

Ooh, baby, when I see your face
Mellow as the month of May
Oh, darling, I can't stand it
When you look at me that way

I feel the earth move under my feet
I feel the sky tumbling down
I feel my heart start to trembling
Whenever you're around

Ooo, darling, when you're near me
And you tenderly call my name
I know that my emotions
Are something I just can't tame
I've just got to have you, baby, uh huh huh uh huh huh yeah

I feel the earth move under my feet
I feel the sky tumbling down, a'tumbling down
I feel the earth move under my feet
I feel the sky tumbling down, a'tumbling down
I just lose control
Down to my very soul
I get hot and cold, all over, all over, all over, all over
I feel the earth move under my feet
I feel the sky tumbling down, a'tumbling down
I feel the earth move under my feet
I feel the sky tumbling down, a'tumbling down,
A'tumbling down, a'tumbling down, a'tumbling down, a'tumbling down, tumbling down!Carole King (born Carol Joan Klein, February 9, 1942) is an American composer and singer-songwriter. She is the most successful female songwriter of the latter half of the 20th century in the USA, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. King also wrote 61 hits that charted in the UK,making her the most successful female songwriter on the UK singles charts between 1952 and 2005.
King's career began in the 1960s when she and her first husband, Gerry Goffin, wrote more than two dozen chart hits for numerous artists, many of which have become standards. She has continued writing for other artists since then. King's success as a performer in her own right did not come until the 1970s, when she sang her own songs, accompanying herself on the piano, in a series of albums and concerts. After experiencing commercial disappointment with her debut album Writer, King scored her breakthrough with the album Tapestry, which topped the U.S. album chart for 15 weeks in 1971 and remained on the charts for more than six years.

King has made 25 solo albums, the most successful being Tapestry, which held the record for most weeks at No. 1 by a female artist for more than 20 years. Her most recent non-compilation album was Live at the Troubadour in 2010, a collaboration with James Taylor that reached number 4 on the charts in its first week and has sold over 600,000 copies. Her records sales were estimated at more than 75 million copies worldwide.

She has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting. She is the recipient of the 2013 Library of Congress Gershwin Prize for Popular Song, the first woman to be so honored. She is also a 2015 Kennedy Center Honoree.

King was born Carol Joan Klein in February 1942 in Manhattan, to a Jewish family. Her mother, Eugenia (née Cammer), was a teacher, and her father, Sidney N. Klein, was a firefighter for the New York City Fire Department,Sidney, a chemistry major, and Eugenia, an English and drama major, met in an elevator when they were students at Brooklyn College, in 1936.

They married in 1937, during the end of the Great Depression. Eugenia dropped out of college to run the household; Sidney also quit college and briefly took a job as a radio announcer. With the economy struggling, he then took a more secure job as a firefighter in New York. After King was born, they remained in Brooklyn, and eventually were able to buy a small two-story duplex where they could rent out the upstairs for income..

Eugenia had learned how to play piano as a child and, after buying a piano, would sometimes practice. Carol had an insatiable curiosity about music in general from the time she was about three years old, so her mother began teaching her some very basic piano skills, but did not give Carol actual lessons.When Carol was four years old, her parents discovered she had developed a sense of absolute pitch, which enabled her to often name a note correctly by just hearing it. Sidney enjoyed showing off his daughter's skill to visiting friends: "My dad's smile was so broad that it encompassed the lower half of his face. I enjoyed making my father happy and getting the notes right."

Carol's mother then began giving her real music lessons when Carol was four years old. Carol would climb up on the stool and be raised even higher by sitting on a phone book.With her mother sitting alongside her, Carol was taught music theory and elementary piano technique, including how to read notation and execute proper note timing. King wanted to learn as much as possible: "My mother never forced me to practice. She didn't have to. I wanted so much to master the popular songs that poured out of the radio."

Carol began kindergarten when she was four years old, but after her first year she was promoted directly to second grade because she had an exceptional facility with words and numbers.[12]:16 In the 1950s, she went to James Madison High School. She formed a band called the Co-Sines, changed her name to Carole King, and made demo records with her friend Paul Simon for $25 a session.[16] Her first official recording was the promotional single "The Right Girl", released by ABC-Paramount in 1958, which she wrote and sang to an arrangement by Don Costa.

She attended Queens College, where she met Gerry Goffin, who was to become her songwriting partner. When she was 17, they married in a Jewish ceremony on Long Island in August 1959 after King had become pregnant with her first daughter, Louise. They quit college and took daytime jobs, Goffin working as an assistant chemist and King as a secretary. They wrote songs together in the evening.

Neil Sedaka, who had dated King when he was still in high school, had a hit in 1959 with "Oh! Carol". Goffin took the tune and wrote the playful response, "Oh! Neil", which King recorded and released as a single the same year. The B-side contained the Goffin-King song "A Very Special Boy". The single was not a success.After writing The Shirelles' Billboard Hot 100 #1 hit "Will You Love Me Tomorrow", the first No.1 hit by a black girl group, Goffin and King gave up the daytime jobs to concentrate on writing. "Will You Love Me Tomorrow" became a standard.

I Feel The Earth Move

The most sexual song on the album, this piano-driven cut is the first track on Carole King's classic Tapestry album, which spent nearly six years on the album charts, thanks in large part to women who bought the album en masse. While the song had a sexual feel, King never used sex appeal in her marketing, which earned her a great deal of respect with women who could relate to her songs and outlook.

The earthquake metaphor can be seen as King's coming out, opening her album with confidence and setting the stage for a new sound. With a piano hook and very forthright lyrics, it certainly made a statement.

There is some confusion over whether this song was a #1 hit. The facts are that given its upbeat nature, King's record label selected "Earth Move" as the A-side to Tapestry's first single. However, after a few weeks of continuous airplay many DJs began to give the slower, lamenting B-side "It's Too Late," an equal amount of spin. Soon, it came to the point where "It's Too Late," dominated and ended up topping the charts by May of 1971. Billboard has since declared the record a double A-side and it is generally listed as such in books and articles that both songs reached #1 on the Hot 100 chart.

This was used in the movie Terms of Endearment. It was also used in an episode of the TV show Eli Stone.
The pop singer Martika covered this as her follow up to her #1 hit "Toy Soldiers." Her dance/rock version reached #25 on the pop charts in the U.S. and #7 in the UK. It also charted high in Australia, Japan and Spain and a number of other countries.

70's Classic Hits - 70s Greatest Hits Playlist

Barry Gibb, Robin Gibb, Maurice Gibb and Andy Gibb of the Bee Gees at the 1977 billboard Music Awards.

One family dominated the Billboard Hot 100 in the '70s: The Gibbs. The three brothers in the Bee Gees landed three of the top 20 hits of the decade, and Andy Gibb -- another brother -- had two more as a solo artist. The Gibb Brothers single-handedly account for 25 percent of the top twenty in the '70s. They didn't start in disco, but they changed with the times, and as a white group embracing the disco sound, they became an unstoppable commercial juggernaut. (Walter Murphy & the Big Apple Band's "A Fifth of Beethoven," which appeared on the Saturday Night Fever soundtrack alongside the Bee Gees mega-hits, also made it onto the top 20 list.) The Bee Gees weren't the only act to have success with disco -- so did Chic, Donna Summer, the Emotions, and Gloria Gaynor -- meaning that the genre accounted for at least half of the decade's biggest songs.

The '70s saw a lot more women on the upper reaches of the charts. While only one woman landed a top twenty hit in the '60s top twenty recap, seven ladies achieved that status in the '70s. Some of these were disco frontwomen, but more were balladeers: Debby Boone, Barbra Streisand, Carly Simon, and Roberta Flack. In contrast to the previous decade, there weren't many big rock hits; The Knack and Paul McCartney's Wings were the only two, and Wings' "Silly Love Songs" featured a pronounced bass groove that is basically disco. (The former Beatle had a fondness for that genre; see also his 1979 single "Goodnight Tonight.")

Speaking of Paul McCartney, he's one of very few singers to appear in the top 20 in two consecutive decades. He made the list twice with the Beatles in the '60s and appeared on it again in the '70s with Wings. Marvin Gaye was the only singer to match McCartney's feat, with "I Heard It Through the Grapevine" in the '60s and his sensual classic "Let's Get It On" in the '70s.

Check out the Spotify playlist of the top 20 below and read on to see when each hit peaked.  

 

1. "You Light Up My Life" - Debby Boone
Hot 100 Peak Position: 1, Peak Date: October 15, 1977

2. "Tonight's The Night (Gonna Be Alright)" - Rod Stewart
Hot 100 Peak Position: 1, Peak Date: November 13, 1976

3. "Le Freak" - Chic
Hot 100 Peak Position: 1, Peak Date: December 9, 1978

4. "How Deep Is Your Love" - Bee Gees
Hot 100 Peak Position: 1, Peak Date: December 24, 1977

5. "I Just Want To Be Your Everything" - Andy Gibb
Hot 100 Peak Position: 1, Peak Date: July 30, 1977

6. "Silly Love Songs" - Wings 
Hot 100 Peak Position: 1, Peak Date: May 22, 1976

7. "Let's Get It On" - Marvin Gaye
Hot 100 Peak Position: 1, Peak Date: September 8, 1973

8. "Night Fever" - Bee Gees
Hot 100 Peak Position: 1, Peak Date: March 18, 1978

9. "Tie A Yellow Ribbon Round The Ole Oak Tree" - Dawn Featuring Tony Orlando
Hot 100 Peak Position: 1, Peak Date: April 21, 1973

10. "Shadow Dancing" - Andy Gibb 
Hot 100 Peak Position: 1, Peak Date: June 17, 1978

11. "Stayin' Alive" - Bee Gees
Hot 100 Peak Position: 1, Peak Date: February 4, 1978

12. "Hot Stuff" - Donna Summer
Hot 100 Peak Position: 1, Peak Date: June 2, 1979

13. "You're So Vain" - Carly Simon
Hot 100 Peak Position: 1, Peak Date: January 6, 1973 

14. "Play That Funky Music" - Wild Cherry
Hot 100 Peak Position: 1, Peak Date: September 18, 1976

15."My Sharona" - The Knack
Hot 100 Peak Position: 1, Peak Date: August 25, 1979

16."Killing Me Softly With His Song" - Roberta Flack 
Hot 100 Peak Position: 1, Peak Date: February 24, 1973

17. "Best Of My Love" - The Emotions
Hot 100 Peak Position: 1, Peak Date: August 20, 1977

18. "The Way We Were" - Barbra Streisand
Hot 100 Peak Position: 1, Peak Date: February 2, 1974

19. "A Fifth Of Beethoven" - Walter Murphy & The Big Apple Band
Hot 100 Peak Position: 1, Peak Date: October 9, 1976

20. "I Will Survive" - Gloria Gaynor
Hot 100 Peak Position: 1, Peak Date: March 10, 1979

This top Billboard Hot 100 songs of each decade is ranked based on each title's performance on the Hot 100 through the chart dated Nov. 1, 2014. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits across multiple decades, time frames are weighted to account for fluctuating chart turnover rates due to different methodologies utilized.

70's Classic Hits - 70s Greatest Hits Playlist

The Top 20 Billboard Hot 100 Hits of the 1970s



Barry Gibb, Robin Gibb, Maurice Gibb and Andy Gibb of the Bee Gees at the 1977 billboard Music Awards.

One family dominated the Billboard Hot 100 in the '70s: The Gibbs. The three brothers in the Bee Gees landed three of the top 20 hits of the decade, and Andy Gibb -- another brother -- had two more as a solo artist. The Gibb Brothers single-handedly account for 25 percent of the top twenty in the '70s. They didn't start in disco, but they changed with the times, and as a white group embracing the disco sound, they became an unstoppable commercial juggernaut. (Walter Murphy & the Big Apple Band's "A Fifth of Beethoven," which appeared on the Saturday Night Fever soundtrack alongside the Bee Gees mega-hits, also made it onto the top 20 list.) The Bee Gees weren't the only act to have success with disco -- so did Chic, Donna Summer, the Emotions, and Gloria Gaynor -- meaning that the genre accounted for at least half of the decade's biggest songs.

The '70s saw a lot more women on the upper reaches of the charts. While only one woman landed a top twenty hit in the '60s top twenty recap, seven ladies achieved that status in the '70s. Some of these were disco frontwomen, but more were balladeers: Debby Boone, Barbra Streisand, Carly Simon, and Roberta Flack. In contrast to the previous decade, there weren't many big rock hits; The Knack and Paul McCartney's Wings were the only two, and Wings' "Silly Love Songs" featured a pronounced bass groove that is basically disco. (The former Beatle had a fondness for that genre; see also his 1979 single "Goodnight Tonight.")

Speaking of Paul McCartney, he's one of very few singers to appear in the top 20 in two consecutive decades. He made the list twice with the Beatles in the '60s and appeared on it again in the '70s with Wings. Marvin Gaye was the only singer to match McCartney's feat, with "I Heard It Through the Grapevine" in the '60s and his sensual classic "Let's Get It On" in the '70s.

Check out the Spotify playlist of the top 20 below and read on to see when each hit peaked.  

 

1. "You Light Up My Life" - Debby Boone
Hot 100 Peak Position: 1, Peak Date: October 15, 1977

2. "Tonight's The Night (Gonna Be Alright)" - Rod Stewart
Hot 100 Peak Position: 1, Peak Date: November 13, 1976

3. "Le Freak" - Chic
Hot 100 Peak Position: 1, Peak Date: December 9, 1978

4. "How Deep Is Your Love" - Bee Gees
Hot 100 Peak Position: 1, Peak Date: December 24, 1977

5. "I Just Want To Be Your Everything" - Andy Gibb
Hot 100 Peak Position: 1, Peak Date: July 30, 1977

6. "Silly Love Songs" - Wings 
Hot 100 Peak Position: 1, Peak Date: May 22, 1976

7. "Let's Get It On" - Marvin Gaye
Hot 100 Peak Position: 1, Peak Date: September 8, 1973

8. "Night Fever" - Bee Gees
Hot 100 Peak Position: 1, Peak Date: March 18, 1978

9. "Tie A Yellow Ribbon Round The Ole Oak Tree" - Dawn Featuring Tony Orlando
Hot 100 Peak Position: 1, Peak Date: April 21, 1973

10. "Shadow Dancing" - Andy Gibb 
Hot 100 Peak Position: 1, Peak Date: June 17, 1978

11. "Stayin' Alive" - Bee Gees
Hot 100 Peak Position: 1, Peak Date: February 4, 1978

12. "Hot Stuff" - Donna Summer
Hot 100 Peak Position: 1, Peak Date: June 2, 1979

13. "You're So Vain" - Carly Simon
Hot 100 Peak Position: 1, Peak Date: January 6, 1973 

14. "Play That Funky Music" - Wild Cherry
Hot 100 Peak Position: 1, Peak Date: September 18, 1976

15."My Sharona" - The Knack
Hot 100 Peak Position: 1, Peak Date: August 25, 1979

16."Killing Me Softly With His Song" - Roberta Flack 
Hot 100 Peak Position: 1, Peak Date: February 24, 1973

17. "Best Of My Love" - The Emotions
Hot 100 Peak Position: 1, Peak Date: August 20, 1977

18. "The Way We Were" - Barbra Streisand
Hot 100 Peak Position: 1, Peak Date: February 2, 1974

19. "A Fifth Of Beethoven" - Walter Murphy & The Big Apple Band
Hot 100 Peak Position: 1, Peak Date: October 9, 1976

20. "I Will Survive" - Gloria Gaynor
Hot 100 Peak Position: 1, Peak Date: March 10, 1979

This top Billboard Hot 100 songs of each decade is ranked based on each title's performance on the Hot 100 through the chart dated Nov. 1, 2014. Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. To ensure equitable representation of the biggest hits across multiple decades, time frames are weighted to account for fluctuating chart turnover rates due to different methodologies utilized.

Fred Astaire and Ginger Rogers - Let's Call The Whole Thing Off

Lyrics

Things have come to a pretty pass,
Our romance is growing flat,
For you like this and the other
While I go for this and that.
Goodness knows what the end will be;
Oh, I don't know where I'm at...
It looks as if we two will never be one,
Something must be done.

You say eether and I say eyether,
You say neether and I say nyther;
Eether, eyether, neether, nyther,
Let's call the whole thing off!

You like potato and I like potahto,
You like tomato and I like tomahto;
Potato, potahto, tomato, tomahto!
Let's call the whole thing off!
But oh! If we call the whole thing off,
Then we must part.
And oh! If we ever part,
Then that might break my heart!
So, if you like pajamas and I like pajahmas,
I'll wear pajamas and give up pajahmas.
For we know we need each other,
So we better call the calling off off.
Let's call the whole thing off!

You say laughter and I say lawfter,
You say after and I say awfter;
Laughter, lawfter, after, awfter,
Let's call the whole thing off!
You like vanilla and I like vanella,
You, sa's'parilla and I sa's'parella;
Vanilla, vanella, Choc'late, strawb'ry!
Let's call the whole thing off!
But oh! If we call the whole thing off,
Then we must part.
And oh! If we ever part,
Then that might break my heart!
So, if you go for oysters and I go for ersters
I'll order oysters and cancel the ersters.
For we know we need each other,
So we better call the calling off off!
Let's call the whole thing off!

"Let's Call the Whole Thing Off" is a song written by George Gershwin and Ira Gershwin for the 1937 film Shall We Dance, where it was introduced by Fred Astaire and Ginger Rogers as part of a celebrated dance duet on roller skates. The song is most famous for its “You like to-may-toes /təˈmeɪtoʊz/ and I like to-mah-toes /təˈmɑːtoʊz/” and other verses comparing their different regional dialects.

The differences in pronunciation are not simply regional, however, but serve more specifically to identify class differences. At the time, typical American pronunciations were considered less "refined" by the upper-class, and there was a specific emphasis on the "broader" a sound.[3] This class distinction with respect to pronunciation has been retained in caricatures, especially in the theater, where the longer a pronunciation is most strongly associated with the word "darling."

The song was ranked No. 34 on AFI's 100 Years...100 Songs.[5]

Notable recordings[

Billie Holiday – Lady Day: The Complete Billie Holiday on Columbia 1933–1944 (1937)

Sam Cooke – Tribute to the Lady (1959)

Ella Fitzgerald – on Ella Fitzgerald Sings the George and Ira Gershwin Songbook (1959),[6] on the 1983 Pablo release Nice Work If You Can Get It, and in a 1957 duet with Louis Armstrong on Ella and Louis Again.

Fred Astaire with Johnny Green & His Orchestra (1937)[7]

Brian Wilson – Brian Wilson Reimagines Gershwin (2010)

Uri Caine – Rhapsody in Blue (2013)

The song has been re-used in filmmaking and television production, most notably in When Harry Met Sally... – where it is performed by Harry Connick, Jr. – and The Simpsons. It was featured in the 2012 Broadway Musical Nice Work If You Can Get It.

 Ella Fitzgerald ( version) - Let's Call The Whole Thing Off  Lyrics 

Things have come to a pretty pass
Our romance is growing flat,
For you like this and the other
While I go for this and that,

Goodness knows what the end will be
Oh I don't know where I'm at
It looks as if we two will never be one
Something must be done:

You say either and I say either,
You say neither and I say neither
Either, either Neither, neither
Let's call the whole thing off.

You like potato and I like potahto
You like tomato and I like tomahto
Potato, potahto, Tomato, tomahto.
Let's call the whole thing off

But oh, if we call the whole thing off
Then we must part
And oh, if we ever part, then that might break my heart

So if you like pyjamas and I like pyjahmas,
I'll wear pyjamas and give up pyajahmas
For we know we need each other so we
Better call the whole thing off
Let's call the whole thing off.

You say laughter and I say larfter
You say after and I say arfter
Laughter, larfter after arfter
Let's call the whole thing off,

You like vanilla and I like vanella
You saspiralla, and I saspirella
Vanilla vanella chocolate strawberry
Let's call the whole thing off

• 
• 

But oh if we call the whole thing of then we must part
And oh, if we ever part, then that might break my heart

So if you go for oysters and I go for ersters
I'll order oysters and cancel the ersters
For we know we need each other so we
Better call the calling off off,
Let's call the whole thing off.

I say father, and you say pater,
I saw mother and you say mater
Pater, mater Uncle, auntie let's call the whole thing off.

I like bananas and you like banahnahs
I say Havana and I get Havahnah
Bananas, banahnahs Havana, Havahnah
Go your way, I'll go mine

So if I go for scallops and you go for lobsters,
So all right no contest we'll order lobseter
For we know we need each other so we
Better call the calling off off,
Let's call the whole thing off.