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Lush Life
by Zara Larsson
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
It was a crush
But I couldn’t, couldn’t get enough
It was a rush
But I gave it up
It was a crush
Now I might have went and said too much
But that’s all it was
So I gave it up
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
It was a crush
I kept saying I’mma stay in touch
But that thing went bust
So I gave it up, ooh
No tricks, no bluff
I’m just better off without them cuffs
Yeah the sun won’t set on us
Went low, went high
Still waters run dry
Gotta get back in the groove
I ain’t ever worry
Went low, went high
What matters is now
Getting right back in the mood
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
Lyrics © Kobalt Music Publishing Ltd.
Written by: Fridolin Walcher, Emanuel Fredrik Abrahamsson, Linnea Sodahl, Christoph Bauss, Markus Sepehrmanesh, Iman Ellinor Conta Hulten
Lyrics Licensed & Provided by LyricFind
by Zara Larsson
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
It was a crush
But I couldn’t, couldn’t get enough
It was a rush
But I gave it up
It was a crush
Now I might have went and said too much
But that’s all it was
So I gave it up
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
It was a crush
I kept saying I’mma stay in touch
But that thing went bust
So I gave it up, ooh
No tricks, no bluff
I’m just better off without them cuffs
Yeah the sun won’t set on us
Went low, went high
Still waters run dry
Gotta get back in the groove
I ain’t ever worry
Went low, went high
What matters is now
Getting right back in the mood
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
I live my day as if it was the last
Live my day as if there was no past
Doin' it all nite, all summer
Doin' it the way I wanna
Yeah I’mma dance my heart out ’til the dawn
But I won’t be done when morning comes
Doin' it all nite, all summer
Gonna spend it like no other
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
Now I've found another crush
The lush life's given me a rush
Had one chance to make me blush
Second time is one too late
Lyrics © Kobalt Music Publishing Ltd.
Written by: Fridolin Walcher, Emanuel Fredrik Abrahamsson, Linnea Sodahl, Christoph Bauss, Markus Sepehrmanesh, Iman Ellinor Conta Hulten
Lyrics Licensed & Provided by LyricFind
Watch artist interviews here.
African
"Traditional African music is symbolic, an expression and validation of psychic energy."
W. Komla Amoakua
In traditional Africa, music is an integral part of life and is linked with the worldview of the society in which it is produced. It has social, ritual, and ceremonial functions as well as some purely recreational purposes. Traditional art forms, including music, are rooted in mythology, legends, and folklore, and are associated with gods, ancestors and heroes. Read Full Bio"Traditional African music is symbolic, an expression and validation of psychic energy."
W. Komla Amoakua
In traditional Africa, music is an integral part of life and is linked with the worldview of the society in which it is produced. It has social, ritual, and ceremonial functions as well as some purely recreational purposes. Traditional art forms, including music, are rooted in mythology, legends, and folklore, and are associated with gods, ancestors and heroes. Musical activities are ritualized and intended to link the visible world with the invisible. Dancing is often an important part of the ritual and spiritual aspect of music.
Percussion instruments are the most popular instrument in African societies. Rattles, friction sticks, bells, clappers, and cymbals are popular. Many groups also use the sansa and xylophones. Numerous types of drums are also used. Various wind instruments are made out of tusks, horns, conch shells, wood or gourds. Styles of vocal music vary from area to area. This is due partly to the different languages spoken in different areas. Most African languages are tonal languages which are reflected in the singing.
Traditional African music does not have a written tradition. This makes it difficult to notate the music using the Western staff. The pitches and subtle differences in intonation do not translate easily. The Western scale patterns that relate most closely to African music are tetratonic, pentatonic, hexatonic or heptatonic arrangements. Melodic patterns are affected by intonation patterns of the language.
The rhythmic aspect of African music unites the music of various groups and areas. Rhythm is made of patterns; similar patterns are found throughout all of Africa. Harmonization is typically created through singing in thirds, fourths and fifths, parallel to the main melody.
While drumming is very popular in Africa and is more important than melodic music in some societies, melodic music is important in others. The mbira is one of the most popular melodic instruments in Africa. Different cultures use the mbira in different ways. Also, the mbira exists in different forms in different cultures. Some mbira are used for entertainment and others for religious ceremonies. Often, the people who can own and play the mbira are restricted to chiefs or other important people, especially when it is being played for religious purposes.
W. Komla Amoakua
In traditional Africa, music is an integral part of life and is linked with the worldview of the society in which it is produced. It has social, ritual, and ceremonial functions as well as some purely recreational purposes. Traditional art forms, including music, are rooted in mythology, legends, and folklore, and are associated with gods, ancestors and heroes. Read Full Bio"Traditional African music is symbolic, an expression and validation of psychic energy."
W. Komla Amoakua
In traditional Africa, music is an integral part of life and is linked with the worldview of the society in which it is produced. It has social, ritual, and ceremonial functions as well as some purely recreational purposes. Traditional art forms, including music, are rooted in mythology, legends, and folklore, and are associated with gods, ancestors and heroes. Musical activities are ritualized and intended to link the visible world with the invisible. Dancing is often an important part of the ritual and spiritual aspect of music.
Percussion instruments are the most popular instrument in African societies. Rattles, friction sticks, bells, clappers, and cymbals are popular. Many groups also use the sansa and xylophones. Numerous types of drums are also used. Various wind instruments are made out of tusks, horns, conch shells, wood or gourds. Styles of vocal music vary from area to area. This is due partly to the different languages spoken in different areas. Most African languages are tonal languages which are reflected in the singing.
Traditional African music does not have a written tradition. This makes it difficult to notate the music using the Western staff. The pitches and subtle differences in intonation do not translate easily. The Western scale patterns that relate most closely to African music are tetratonic, pentatonic, hexatonic or heptatonic arrangements. Melodic patterns are affected by intonation patterns of the language.
The rhythmic aspect of African music unites the music of various groups and areas. Rhythm is made of patterns; similar patterns are found throughout all of Africa. Harmonization is typically created through singing in thirds, fourths and fifths, parallel to the main melody.
While drumming is very popular in Africa and is more important than melodic music in some societies, melodic music is important in others. The mbira is one of the most popular melodic instruments in Africa. Different cultures use the mbira in different ways. Also, the mbira exists in different forms in different cultures. Some mbira are used for entertainment and others for religious ceremonies. Often, the people who can own and play the mbira are restricted to chiefs or other important people, especially when it is being played for religious purposes.
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