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horrorshow - 1979 {live at the wireless} كلمات الأغنية

[spoken: solo]
alright, next up we’re gonna play a cover for you guys of a very cl-ssic australian song. some of you guys might not know this song, but it’s—it’s by a little band from adelaide from the hilltop hoods. yeah, you might of heard of ’em. this is the song that got me into hip-hop in the first place when i was like thirteen. see, i used to watch video hits and sh-t and just see all the stuff on the tv: all the gangsters, and the booty shaking hoes, and the drugs, and the violence. and i never really understood hip-hop, and then my brother played me this song. and, you know, the rest goes without saying. it goes like this

[verse 1: solo]
you’re so fake, it’s plain to see who you truly are
looking less like a b-boy, more like a movie star
‘get the funk and go hook up those disco breaks
sit down punk, take a look at what you make
it’s not hip-hop, nothing more sad, sick and seedy
what’s popping that coochie got to do with graffiti?
and your r&b dance-steps, what about finger-popping?
b-boy electric shocking, windmills, body rocking
now body-body rock, body-body rock, take it back
break your back, realise b-boys aren’t faking that
funk that you’ve forgotten hoe, how could you have gotten so
far gone that you could never stop and go
back to the roots, nineteen-seventy-nine
birthplace of the scratch, birthplace of the rhyme
feel it in your spine like your first taste of wine
we’ll make it back; it’ll just take some time

[chorus: solo]
‘member kangol hats, fat laces and lino mats
kids spinning on their backs to the sugarhill wax
now the sugar hills collapsed and the sweets turned sour
money’s walking my culture through its darkest hour
now i wanna take you back, walk along through time
i was two-years-old in nineteen-seventy-nine
it’s a time that i miss; you ask “what’s the difference?”
hip-hop was then a culture, now hip-hop’s a business

[scratches (sampled): dj next]
“the—the music—the—the—the music
the—the—the music—the—the—the music
the—the—the music—the—the—the music
the music of our youth
from—from nineteen—from—from—from nineteen
nine—nine—nineteen-seventy-nine
nine—nineteen-seven—nineteen-sev—
nineteen-sev—sev—seventy-nine

[verse 2: solo]
zulu’s started b-boying as a form of expression
to channel youths stress and their aggression, now through the suggestion
of record companies mc’s are pumping these
problems back into your section, and isn’t it ironic?
but not the sort that makes you laugh
’cause mc’s are building futures by raping the past
taking a gl-ss of chardonnay and putting it to your lips
i’d rather take a razor blade and put it to my wrist
than sell records on the basis that i have to promote
sniffing and selling c-ke, toting guns and smoking dope
you’re all weaving the rope that you’ll hang yourself with
my only consolation is within the hip-hop nation is
b-boy elements that could still get me open
graff mags from berlin, mixtapes from oakland
breakers from rock steady, plus anything from tribe
and old school new york that’s still got the vibe

[scratches (sampled): dj next]
“the—the music—the—the—the music
the—the—the music—the—the—the music
the—the—the music—the—the—the music
the music of our youth
from—from nineteen—from—from—from nineteen
from—from nineteen—from—from—from nineteen
nine—nineteen-seven—nineteen-sev—
nineteen-sev—sev—seventy-nine

[spoken: solo]
ladies and gentleman, make some noise if you love australian hip-hop. that’s the foundation of that sh-t right there

- horrorshow

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