Singer ASHLEY MAHER (her surname, pronounced the real Irish way, rhymes wit… Read Full Bio ↴Singer ASHLEY MAHER (her surname, pronounced the real Irish way, rhymes with “star”) is an original. Against all odds, she has created and safeguarded the kind of personal style that seems to elude so many musical artists – including many of the best in the world – when they take liberties across genre boundaries, or explore musical traditions into which they have not been born.
Anything but facile, Maher’s music approaches the gold standard set by the likes of Paul Simon, Peter Gabriel, or Youssou N’Dour for an engagement with “world music” at once challenging, thoughtful, respectful, and exuberant.
Born in Canada to British parents who relocated to Los Angeles when she was five, Maher has, as a performer and songwriter, been truly at home within African popular music traditions for many years, dating back even further than her intense exposure to those traditions through her label-mates Gabriel and N’Dour at Virgin Records in the late 1980’s, when she was living in London.
Maher had grown up listening to a wide range of music – American and British rock and pop, classical music, and a variety of Latin and especially Brazilian styles. Having begun formal vocal training at sixteen, she was soon singing jazz, choral music, and medieval music in school. She later concentrated on opera in Italy for an entire year, but although her voice was well-suited to the classical repertoire, she says her soul was not transported by it. Then, while still an undergraduate at the University of California, Berkeley, she happened upon on a class led by C.K. Ladzekpo, a master drummer from Ghana. “I felt as though I had been hit by lightening. Every cell in my body lit up like a candle,” she remembers. “In that doorway, it was an epiphany. I felt I had found my life’s path.” Maher studied polyrhythms with Ladzekpo for two years, feeling her way into expressing sounds and rhythms that had felt uncannily natural to her from day one.
Upon graduating from Berkeley, Maher embarked upon a pilgrimage to London’s flourishing music scene. She joined a pan-African/jazz band called Backlash (formed with members of the iconic Afro-rock band Osibisa), while also collaborating with other resident and touring African musicians. While Maher cites N'Dour, Baaba Maal, Salif Keita, King Sunny Ade, and Nusrat Fateh Ali Khan as artists who have most influenced her own style, Simon, Gabriel, Sting, and Joni Mitchell have also inspired her. Her first demos (recorded with one of London’s premier dance and drumming ensembles, Adzido) reflected this creative duality. They featured Ghanaian drums interwoven with her trademark, scat-laced vocals and silky harmonies. These demos led to bids from five labels and she ultimately signed with Virgin. She went on to release a pair of well-received albums for Virgin –“hi” (1990) and “Pomegranate” (1992) – solidifying her reputation as an eclectic, warmly inclusive musical thinker and a singer of rare empathy.
When EMI bought Virgin, Maher left the label and continued to record and perform in Europe. She sang back-up on recordings by Youssou N'Dour, Myriam Mursal, and The Afro-Celt Sound System. Her third, independently-produced CD, “The Blessed Rain” (1997), featured the same roster as “Pomegranate” and kept her fans on notice that hers was a continuing voyage of discovery.
After twelve years in London, Maher relocated to Los Angeles to nurse her mother through her final illness. Since her mother’s passing, she has been busy working and performing with the city’s bourgeoning community of West African and Latin musicians, dancers, and drummers. Her fourth CD, “Flying Over Bridges” (2006), was produced by Cameroon’s Andre Manga and features a stellar assembly of world jazz players from Cameroon, Senegal, Brazil, Venezuela, Uruguay, and the United States.
Maher’s profound artistic involvement with the diverse musical cultures of Senegal was kindled by her decades-old friendship with Youssou N’Dour and but has recently grown into a vital nourishing component of her musical personality. In 2007, N’Dour released a song Maher co-wrote, “Boul Bayekou”, on his Nonesuch Records/Warner Music CD “Rokku mi rokka (Give and Take)”. As a remarkably accomplished Senegalese sabar dancer, Maher has since shared the stage with N’Dour both in Dakar and at N’Dour’s “Great African Ball” at Paris’ Bercy Arena.
Maher calls her new album release, “Amina” (her fifth, also produced by Andre Manga), “my love song to Senegal.” It is, by any measure , one of the most graceful attempts ever by a Western musician to enter the Senegalese musical ethos and confront it on its own terms. “Amina” is the work of a mature artist passionate about applying her lyrical gifts (in English) to rhythms, harmonies, and colors inimitably Senegalese in just the perfect ways, and compassionate about the delicacy of the task. This – and her rare skills as a singer and songwriter – allowed her to carry out the task with verve.
Today's popular music in Senegal, known in the Wolof language as mbalax, developed as a blend of the country's traditional griot percussion and praise-singing with the Afro-Cuban arrangements and flavors which made “the return trip” from the Caribbean to West Africa in the 1940’s, 1950’s and 1960’s and have flourished in West Africa ever since. Beginning in the mid-1970’s the resulting mix was modernized with a gloss of more complex indigenous Senegalese dance rhythms, roomy and melodic guitar and saxophone solos, chattering talking-drum soliloquies and, on occasion, Sufi-inspired Muslim religious chant. This created a new music which was at turns nostalgic, restrained and stately, or celebratory, explosively syncopated and indescribably funky.
The Ashley Maher of “Amina” is, in all ways that should matter, an important inheritor of the mbalax tradition, even as she is obviously an innovator, extending the tradition beyond any previous boundaries. For years an ardent student of the intricate polyrhythmic vocabularies of Senegalese percussion and dance (both contemporary and traditional), Maher’s dance sensibilities have afforded her a sure hand in the overall composition of “Amina” and producer Manga’s sympathetic touch never overpowers the mbalax heartbeat running through nearly the entire album. Key members of N’Dour’s legendary Super Etoile band were on hand for Maher’s critical recording sessions in Dakar, including guitarist Jimi Mbaye and three of the Super Etoile percussionists –talking drummer Assane Thiam, bougarabou (sabar) drummer Thio Mbaye, and trap drummer Abdoulaye Lo.
Significantly, the response to Maher’s daring effort with “Amina” in Senegal itself (and in the burgeoning worldwide Senegalese Diaspora) has already begun to raise eyebrows and garner for Maher the respect she deserves. Senegalese radio personality Badou Boussou considers “Amina” one of the best mbalax-based albums “in a long, long time,” and believes “it is going to be good for mbalax as a whole.” Over the past decade, says Boussou, “mbalax has been dominated and plagued by overproduced marimba-filled offerings lacking proper harmony and inspiration. ‘Amina’ will be a wake-up call for mbalax artists and producers, and they will be compelled to go back to the roots of the music. Mbalax artists used to make ballads like [Maher’s] ‘Amazing Grace’ [the lead track on ‘Amina’], with well-arranged percussion parts, like [Youssou N’Dour’s] ‘Africa Remembers’, but now that seems to be passé. I hope ‘Amazing Grace’ changes that. What ‘Amina’ does, in addition to being world-open but mbalax-specific, is take mbalax back to its core, although not noting the jazz undertones in ‘Amina’ would be rather unpardonable.”
In addition to her live cameos with Youssou N’Dour, Ashley Maher has performed extensively both in America and internationally and has a long history of playing live. She has opened for Mali’s Salif Keita, Senegal’s Baaba Maal and Orchestra Baobab, Zap Mama, South Africa’s Vusi Mahlasela, and Côte d’Ivoire’s Dobet Gnahore, among other African music luminaries. A “cult figure for a discerning few,” as one British critic has called her, Maher is hoping to see, with the release of “Amina”, a swell in the ranks of her fans worldwide, particularly if recognition in Senegal is as forthcoming as the early signs would indicate.
Ashley Maher is revealing herself as an artist to watch in African music.
Anything but facile, Maher’s music approaches the gold standard set by the likes of Paul Simon, Peter Gabriel, or Youssou N’Dour for an engagement with “world music” at once challenging, thoughtful, respectful, and exuberant.
Born in Canada to British parents who relocated to Los Angeles when she was five, Maher has, as a performer and songwriter, been truly at home within African popular music traditions for many years, dating back even further than her intense exposure to those traditions through her label-mates Gabriel and N’Dour at Virgin Records in the late 1980’s, when she was living in London.
Maher had grown up listening to a wide range of music – American and British rock and pop, classical music, and a variety of Latin and especially Brazilian styles. Having begun formal vocal training at sixteen, she was soon singing jazz, choral music, and medieval music in school. She later concentrated on opera in Italy for an entire year, but although her voice was well-suited to the classical repertoire, she says her soul was not transported by it. Then, while still an undergraduate at the University of California, Berkeley, she happened upon on a class led by C.K. Ladzekpo, a master drummer from Ghana. “I felt as though I had been hit by lightening. Every cell in my body lit up like a candle,” she remembers. “In that doorway, it was an epiphany. I felt I had found my life’s path.” Maher studied polyrhythms with Ladzekpo for two years, feeling her way into expressing sounds and rhythms that had felt uncannily natural to her from day one.
Upon graduating from Berkeley, Maher embarked upon a pilgrimage to London’s flourishing music scene. She joined a pan-African/jazz band called Backlash (formed with members of the iconic Afro-rock band Osibisa), while also collaborating with other resident and touring African musicians. While Maher cites N'Dour, Baaba Maal, Salif Keita, King Sunny Ade, and Nusrat Fateh Ali Khan as artists who have most influenced her own style, Simon, Gabriel, Sting, and Joni Mitchell have also inspired her. Her first demos (recorded with one of London’s premier dance and drumming ensembles, Adzido) reflected this creative duality. They featured Ghanaian drums interwoven with her trademark, scat-laced vocals and silky harmonies. These demos led to bids from five labels and she ultimately signed with Virgin. She went on to release a pair of well-received albums for Virgin –“hi” (1990) and “Pomegranate” (1992) – solidifying her reputation as an eclectic, warmly inclusive musical thinker and a singer of rare empathy.
When EMI bought Virgin, Maher left the label and continued to record and perform in Europe. She sang back-up on recordings by Youssou N'Dour, Myriam Mursal, and The Afro-Celt Sound System. Her third, independently-produced CD, “The Blessed Rain” (1997), featured the same roster as “Pomegranate” and kept her fans on notice that hers was a continuing voyage of discovery.
After twelve years in London, Maher relocated to Los Angeles to nurse her mother through her final illness. Since her mother’s passing, she has been busy working and performing with the city’s bourgeoning community of West African and Latin musicians, dancers, and drummers. Her fourth CD, “Flying Over Bridges” (2006), was produced by Cameroon’s Andre Manga and features a stellar assembly of world jazz players from Cameroon, Senegal, Brazil, Venezuela, Uruguay, and the United States.
Maher’s profound artistic involvement with the diverse musical cultures of Senegal was kindled by her decades-old friendship with Youssou N’Dour and but has recently grown into a vital nourishing component of her musical personality. In 2007, N’Dour released a song Maher co-wrote, “Boul Bayekou”, on his Nonesuch Records/Warner Music CD “Rokku mi rokka (Give and Take)”. As a remarkably accomplished Senegalese sabar dancer, Maher has since shared the stage with N’Dour both in Dakar and at N’Dour’s “Great African Ball” at Paris’ Bercy Arena.
Maher calls her new album release, “Amina” (her fifth, also produced by Andre Manga), “my love song to Senegal.” It is, by any measure , one of the most graceful attempts ever by a Western musician to enter the Senegalese musical ethos and confront it on its own terms. “Amina” is the work of a mature artist passionate about applying her lyrical gifts (in English) to rhythms, harmonies, and colors inimitably Senegalese in just the perfect ways, and compassionate about the delicacy of the task. This – and her rare skills as a singer and songwriter – allowed her to carry out the task with verve.
Today's popular music in Senegal, known in the Wolof language as mbalax, developed as a blend of the country's traditional griot percussion and praise-singing with the Afro-Cuban arrangements and flavors which made “the return trip” from the Caribbean to West Africa in the 1940’s, 1950’s and 1960’s and have flourished in West Africa ever since. Beginning in the mid-1970’s the resulting mix was modernized with a gloss of more complex indigenous Senegalese dance rhythms, roomy and melodic guitar and saxophone solos, chattering talking-drum soliloquies and, on occasion, Sufi-inspired Muslim religious chant. This created a new music which was at turns nostalgic, restrained and stately, or celebratory, explosively syncopated and indescribably funky.
The Ashley Maher of “Amina” is, in all ways that should matter, an important inheritor of the mbalax tradition, even as she is obviously an innovator, extending the tradition beyond any previous boundaries. For years an ardent student of the intricate polyrhythmic vocabularies of Senegalese percussion and dance (both contemporary and traditional), Maher’s dance sensibilities have afforded her a sure hand in the overall composition of “Amina” and producer Manga’s sympathetic touch never overpowers the mbalax heartbeat running through nearly the entire album. Key members of N’Dour’s legendary Super Etoile band were on hand for Maher’s critical recording sessions in Dakar, including guitarist Jimi Mbaye and three of the Super Etoile percussionists –talking drummer Assane Thiam, bougarabou (sabar) drummer Thio Mbaye, and trap drummer Abdoulaye Lo.
Significantly, the response to Maher’s daring effort with “Amina” in Senegal itself (and in the burgeoning worldwide Senegalese Diaspora) has already begun to raise eyebrows and garner for Maher the respect she deserves. Senegalese radio personality Badou Boussou considers “Amina” one of the best mbalax-based albums “in a long, long time,” and believes “it is going to be good for mbalax as a whole.” Over the past decade, says Boussou, “mbalax has been dominated and plagued by overproduced marimba-filled offerings lacking proper harmony and inspiration. ‘Amina’ will be a wake-up call for mbalax artists and producers, and they will be compelled to go back to the roots of the music. Mbalax artists used to make ballads like [Maher’s] ‘Amazing Grace’ [the lead track on ‘Amina’], with well-arranged percussion parts, like [Youssou N’Dour’s] ‘Africa Remembers’, but now that seems to be passé. I hope ‘Amazing Grace’ changes that. What ‘Amina’ does, in addition to being world-open but mbalax-specific, is take mbalax back to its core, although not noting the jazz undertones in ‘Amina’ would be rather unpardonable.”
In addition to her live cameos with Youssou N’Dour, Ashley Maher has performed extensively both in America and internationally and has a long history of playing live. She has opened for Mali’s Salif Keita, Senegal’s Baaba Maal and Orchestra Baobab, Zap Mama, South Africa’s Vusi Mahlasela, and Côte d’Ivoire’s Dobet Gnahore, among other African music luminaries. A “cult figure for a discerning few,” as one British critic has called her, Maher is hoping to see, with the release of “Amina”, a swell in the ranks of her fans worldwide, particularly if recognition in Senegal is as forthcoming as the early signs would indicate.
Ashley Maher is revealing herself as an artist to watch in African music.
Homecoming
Ashley Maher Lyrics
We have lyrics for 'Homecoming' by these artists:
039_Kanye West Feat. Chris Martin Yeah And you say Chi city, Chi city, Chi city I'm coming…
1.01 Taking no shots with no chaser Damn I was I was taking shots…
Above & Beyond "Don't leave!" Those are the words that are screaming in…
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American Idiot feat. Green Day My heart is beating from me I am standing all alone Please…
Anne Clark Walking into light From the blank evening sky Knuckles rub a…
As Advertised A perfect October night by the riverside; Sitting on the be…
Attraction To Tragedy Nails down my neck no longer invite the same sensation May…
Bai Kamara Jr Been away Been away for so long Been away Been away but I…
Bambi Chcę zrobić recap, z życia - ubrać go w melodię Chcę…
Battlelore HOMECOMING It's been too long Since we crossed the Brandywi…
Bethel Music & Cory Asbury Lord, I confess That I've been a criminal I've stolen Your b…
Billie Joe Armstrong/Green Day/Mike Dirnt/Tre Cool My heart is beating from me I am standing all alone Please…
Bond And you know it's time to go Through the sleet and…
Bond/Jimmy Gomez I guess I should have written Dad to let you…
Caleborate They say I’m an old soul And I’ve outlived my prime Well…
Caprio I ain't gotta roam, till we stunting in Rome So these…
Cast Of American Idiot And Green Day My heart is beating from me I am standing all alone Please…
Chris LeDoux While driving down the last four miles of gravel road…
Chris Linton You're coming home Time to shed your skin Though I don't kno…
Chris Martin Yeah And you say Chi city, Chi city, Chi city I'm coming…
Chris West I'm coming home again Do you think about me now and…
Circadian Where do I go from here Far away from the fix,…
Clark Anne Walking into light From the blank evening sky Knuckles rub a…
Coldplay-homecoming-feat Kanye West Yeah And you say Chi city, Chi city, Chi city I'm coming…
Cory Asbury Lord, I confess That I've been a criminal I've stolen Your b…
Craig's Brother In two. Alone he'll forget the time Burn money to ashes.…
Dayo I'm coming home I'm coming home I'm coming home Bout damn ti…
Dessy Hinds Sometimes I'm feelin' like I'm Destined with the lessons Spi…
Diddy & Jozzy Baby, won't you come on home, come on home Baby, won't…
DJ Fletch And Kanye Yeah And you say Chi city, Chi city, Chi city I'm coming…
DJ Kone & Marc Palacios Coming home to you I will get there soon get there I…
Electric Black We've been around we've been turned down Couldn't say we've …
F.O.X. We need more understanding of human nature because the only …
Fact Not Fiction The stain on your dress Is in perfect view tonight In…
Far Places I don’t know where we are going but I remember…
Five Way Friday In the morning light she laid there in the grass She…
Friends Lovers & Family Just elusive, they got loose They got lovin' back to ?…
Furniss Hey Mama, Hey Mama I've been running and running and laughin…
Galactic Pegasus Why? I'm here to say I'm on my way back I made…
Ghost Voyage The waves rocked my old ship slowly as my journey…
Green Day My heart is beating from me I am standing all alone Please…
Green Day (Backing Track) My heart is beating from me I am standing all alone Please…
Green Day feat. American Idiot Cast My heart is beating from me I am standing all alone Please…
Green Day/Tony Vincent John Gallagher Jr. Theo Stockman Gerard Canonico Michael Esper Miguel Cervant My heart is beating from me I am standing all alone Please…
Harris Hameed How did he top this No way you can stop this The…
Her Name Is Calla I don't think we're safe And how many ropes will you…
Her Space Holiday Sweet baby Jesus are you there? Sweet baby Jesus help me…
Hey Monday Homecoming, I'm coming, my sweet mistake Summer's over, hope…
Hot Flash Heat Wave My baby's gone and left me on my own When she's…
Icons No more, no more, no more No more, no more, no…
Ihsahn I have tried so hard to regain my faith in…
It's Immaterial Looking down from the night plane On rail yards and suburbs…
J. Cole Uh, yeah Uh, uh-huh, Yeah, I'm I-95 cruising, with the …
J. Cole; J Cole Uh, yeah uh, uh huh Yeah I'm I95 cruising, the sun in…
Jacob Banks I was born right by the mountain From a place where…
Jaswed Hey you I'm wondering what's your day like You're stressed? …
Jayson Lyric Real I can have the troops go to war for free Stepping…
jc.b Taking no shots with no chaser Damn I was I was taking shots…
JGRXXN Ghostemane & Lil Peep One more night alone (One more night alone) Heaven, I'm comi…
Jordyn Caught in the ocean Got lost in the moment Gave way to…
Josh and Steve I feel a change in the weather I feel a change…
Justin Stone Yeah, yeah, yeah Yeah, yeah, yeah (Yeah) Yeah, yeah, yeah Ye…
Kany West feat. Chris Martin I'm coming home again Do you think about me now and…
Kanye West Yeah And you say Chi city, Chi city, Chi city I'm coming…
Kanye West ft Chris Martin I'm coming home again Do you think about me now and…
Kanye West (feat. Chris Martin) Yeah And you say Chi city, Chi city, Chi city I'm coming…
Kanye West F. Chris Martin I'm coming home again Do you think about me now and…
Kanye West f/ Chris Martin Yeah And you say Chi city, Chi city, Chi city I'm coming…
Kanye West feat. Chris Martin I'm coming home again Do you think about me now and…
Kanye West featuring chris brown Yeah And you say Chi city, Chi city, Chi city I'm coming…
Kanye West(카니예 웨스트) I'm coming home again Do you think about me now and…
Kanye West/Toasty Digital Yeah And you say Chi city, Chi city, Chi city I'm coming…
Kanye West¿ÏÑÇ¡¤Î¤Ë¹ÌØ I'm coming home again Do you think about me now and…
Kanye West肯亚·韦斯特 I'm coming home again Do you think about me now and…
KANYE+WEST I'm coming home again Do you think about me now and…
kanye_west_feat_chris_martin Yeah And you say Chi City Chi City, Chi City I'm comin' hom…
Kayne West feat Chris Martin Yeah And you say Chi city, Chi city, Chi city I'm coming…
Kayou. Beats Verse: Din beet ni rahey the waqt slow chal raha tha Par…
Keith Whitley Homecoming '63 I was so proud you went with me Everyone turn…
Kid Vision I came out my room the other day I saw the…
Killstation One more night alone (One more night alone) Heaven, I'm comi…
KITCHEN + 1 - Green Day My heart is beating from me I am standing all alone Please…
KITCHEN - Kanye West Yeah And you say Chi city, Chi city, Chi city I'm coming…
Knowmads Uh, I ain′t livin' in the past. Put the city on…
Kristian Leontiou Homecoming, Won't be long 'til we are there. Homecoming. …
LeveL -1 Taking no shots with no chaser Damn I was I was taking shots…
LIL UZI VERT I got one girl from Philly, I think her name…
Lisa Kelly Find me, look for me Where stars are rising Bathe me in…
LIVING ROOM - Kanye West Yeah And you say Chi city, Chi city, Chi city I'm coming…
Love Is a Story We all come to this world, yeah, we all get…
Machine Gun Kelly Uh, it's been a long time coming But I'm finally home They…
Makeup and Vanity Set well this old town all the lights came down down kiss trace…
Mayfield I waited for you, By the football stands like, You told me…
Memro Every chance you get you seem to hurt me more…
Ménage à Trois I know your somewhere thinking on me You put it in…
mighty On my momma I'm on Did it all on my own Tryna…
Mike Sherm (24 on the beat) Dripped up like homecoming Bring yo′ bitch…
Misery Signals The spell is broken Masked in rituals to capture the sun Blo…
Mistral Reason and purpose are dead If I dread coming home Every sin…
Monta I take a walk and only see what changed I lost…
Much the Same Is this my fate? 'Cause you can't walk away from those…
never meant Please let me explain I'm really not as stubborn as I…
Nomadic Farmers Time wasted again wondering how our love went wrong Now it…
Novalis Deux Way Home... The chains are broken The hearts are free A…
Novembre Just ride those notes and all that sand again You'll find…
One True Thing OK, so here it is. It all started when you left, with…
Original Broadway Cast featuring Green Day My heart is beating from me I am standing all alone Please…
PAWS It’s been at least ten years and I’m still holding…
Peezy (Da Realest) yeah When a real nigga talkin', pay attention …
Pi'erre Bourne & TM88 808, 808 Mafia Yeah Yeah, the hood show me love every time…
Radio Wolf Strange how it feels We were water finding the edge of…
Ré Sunrise, we're doing this again I grit my teeth, back and…
Rence Royal Baby I'm Homecoming, homecoming, coming to you Look up at al…
Rhonda Vincent There'll be a homecoming some morning When Jesus calls us…
Robert Randolph & The Family Band Just elusive, they got loose They got lovin' back to ?…
Ryan Caraveo This feeling that i have right now I can't, ever let…
S&W Мы с тех краёв, где отжал - это займы. Если зависаем,…
Scream Silence So cold and demanding Were the days of our divorce Our rea…
Seraphic Of Violence Help me find a way to live Help me find a…
SGJAZZ & Dr. Dundiff We need more understanding of human nature because the only …
Shirley Grimes Your bags are packed the taxi's here to meet you It's…
Sleet You've got things to do And places to be Live by your…
Soo Line Loons I had just got out of prison, it was cold it…
Sorrow Plagues I promise you will find the fortitude To face this adversity…
Stand Up Stacy A landscape filled with memories The rain washes it all away…
Stellar Dreams Breaking off from my morning gaze Illuminating, all my visio…
System Syn you said you're sure I'd understand but you know god damn…
T.J Nigga I wasn't on the ballet for all 4 years,…
Taking Back Sunday You ain't gotta worry about me, baby Now I got everything…
Tamala Park Book Club Not since graduation day Have I ever felt this way So restle…
Tammy Wynette There's gonna be a homecoming There's gonna be a lotta good…
TATUM I watched you dance in silence Bare feet on dead flowers I'v…
Teenagers Last week I flew to san diego to see my…
Terry Devine-King Homecoming homecoming. It doesn't matter where you've been E…
The Anirudh Varma Collective Choti Si Meri Duniya Chota Sa Ye Jahaan, Choti Si Meri…
The Autumn Descent Just so you know This time I won't let go I'll hold…
The Autumn Offering And I won't sit back and watch anymore While all the…
The Beat Verse: Din beet ni rahey the waqt slow chal raha tha Par…
The Duke Spirit All the day could offer me Was the sense that you…
The Jayhawks YEAH, THE ROOM IS CLOSING IN THE AIR IS GETTING THICKER IT'S…
The M.I.C.S I got People that love me and hate me at the…
The Teenagers Last week I flew to san diego to see my…
The Three-Body Problem Back in the ends where the meter's bruk Bossman's going on…
The Voynich Code Mother, I know you've seen pain in me. These scars on…
Thea I have so much to tell you When you’re back…
Tion Wayne Tch, tch Yeah, yeah I remember like '03 when we couldn't sl…
TM88 808, 808 Mafia Yeah Yeah, the hood show me love every time…
toasty digital Yeah But if you really cared for her Then you wouldn't've n…
TOKUNBO it was tuesday afternoon and my heart was as heavy as…
Tom T Hall I guess I should've written, dad To let you know that…
Tom T. Hall I guess I should've written, dad To let you know that…
Tony Sly She met me at the airport with my little baby…
Tortue Overwhelmed I can't distract myself From the sound of everyb…
Two Til Twelve Caught in the rain on a sunny yesterday Falling asleep but…
Tyson Sybateli Pressing up on me Pressing up on me Pressing up on me Pressi…
U-WARRIOR And you know it's time to go Through the sleet and…
V/Vm We are the ones who are lost in a world…
Vampire Step-Dad Say goodbye to your demons They’re not gonna let go first Th…
Vienna Teng it's desert ice outside but this diner has thawed my…
W. Brent Latta Мы с тех краёв, где отжал - это займы. Если зависаем,…
Weedeater I see through you, you know me too, I'm not…
West Kanye Feat. Chris Martin Yeah And you say Chi city, Chi city, Chi city I'm coming…
White Ward Cornered by soft walls Eviscerated by cure I am just an empt…
why mona California, I think you’ve been on fire since I left…
Xavier Wulf Yuh, ah, who? Bitch, I'm headin' back to the M Tay Keith,…
Y.D California, I think you’ve been on fire since I left…
Yungsta Sez on the Beat & Eyepatch Verse: Din beet ni rahey the waqt slow chal raha tha Par…
Z.A.Y. California, I think you’ve been on fire since I left…
绿日(Green Day) [Part 1: The death of St. Jimmy] …
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