The child of research scientists and born in Barbados, Flint was raised in Aberdeen. At the age of 18 she moved to Edinburgh to study, where she joined the city's acoustic scene and formed the band Gingergreen. She was an original member of the Edinburgh Sound Collective and also spent six months singing and playing percussion with folk group Scuff. In 2004 she moved to London.
Debut release The Secret Boy’s Club was recorded in a living room on a shoestring, with an ear for a good tune, a mischievous sense of fun and an ever-expanding arsenal of playschool instruments (and cardboard boxes), it’s a slice of the good, old-fashioned lyrical wrapped in the home-made whimsical.
Flint was the winner of the inaugural New Lyric Award, presented by Ray Davies and Channel 4’s Ideasfactory, and spent March 2006 touring with Rough Trade’s folk darlings Cara Dillon and Sam (“brother-of-Seth”) Lakeman, playing 16 dates across the UK as chief tour support.
She released singles, 'Go Faster Stripes' (December 2007) and 'Christopher, You're A Soldier Now' (April 2008), which preceded her debut album Dirty Birds, which was released on the 15th of September, 2008 (after a limited edition run that was hand-produced by Flint in mid-2007).
In 2009, Flint formed the band Shipwreckers for live shows, featuring two members of London indie-rock band Revere – Nicholas Hirst (guitar; piano; accordion; percussion) and Kathleen McKie (cello) – and her former bandmate Andrew Thompson (bass; vocals; percussion).
http://www.myspace.com/katflint
Headrush
Kat Flint Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sweet Hallelujah, sang the choir, we're ready
Stand up and take a bow, stand up and be counted for your sins
And failed love affairs
Like anyone cares
Well, you can keep the past, I give my history
It doesn't mean that much to me if you'll only stop to shake my hand
But I would recommend this
This is, this is, this is
This is
A poor man's replacement for love
A cheap imitation of human touch
How does it feel to be a lonely girl's headrush?
But on the underground, distinctly underdressed
I would have worn a shorter skirt if I had the legs, I guess
If you'll forgive me that, I'll do the best I can
Who knows, maybe one day I might learn how to play like a man
But it's still a poor man's replacement for love
A cheap imitation of human touch
How does it feel to be a lonely girl's headrush?
Oh, how does it feel to be a lonely girl's headrush?
Oh, oh no, oh no, oh no oh no
It's still a poor man's replacement for love
A cheap imitation of human touch
How does it feel to be a lonely girl's headrush?
How does it feel to be a lonely girl's headrush?
How does it feel to be a lonely girl's headrush?
The song "Headrush" by Kat Flint is a melancholic piece that talks about the struggle of loneliness and the longing for human touch. The opening lines of the song "We're ready for you now, we're ready for you now / Sweet Hallelujah, sang the choir, we're ready" set the tone of the song, indicating that the singer of the song is ready to face her audience and reveal her innermost feelings. The singer then goes on to talk about failed love affairs and how nobody seems to care about them.
The singer talks about how she has made peace with her past and is ready to move on. She, however, questions the need to seek validation from others and to preach her gospel like a drunk evangelist. The chorus of the song talks about how the feeling of love and human touch is a poor man's replacement for real love, and how it feels to be a lonely girl's headrush. The lines "How does it feel to be a lonely girl's headrush?" is repeated multiple times, highlighting the desperation that comes with seeking love and validation.
The song is a beautifully composed piece that showcases a mix of vulnerability and strength. It talks about the inner turmoil and the longing for human affection. The singer in the song seems to be self-aware and reflective of her experiences, and the song is a testament to the power of self-reflection and healing.
Line by Line Meaning
We're ready for you now, we're ready for you now
We are prepared for whatever challenge or opportunity lies ahead
Sweet Hallelujah, sang the choir, we're ready
The group is ready and singing praises to their readiness
Stand up and take a bow, stand up and be counted for your sins
Take ownership of your mistakes and acknowledge them publicly
And failed love affairs
Past relationships that did not work out
Like anyone cares
No one is concerned with, or interested in, these past failures
Well, you can keep the past, I give my history
The singer is unburdening themselves of the past and offering it to the listener
It doesn't mean that much to me if you'll only stop to shake my hand
The past doesn't carry much meaning to the singer if they can just have a basic connection with the listener
I preach my gospel like a drunk evangelist
The artist is passionate and vocal about their beliefs, similar to an intoxicated religious figure
But I would recommend this
The artist shares a suggestion
This is, this is, this is
Repetition of their message
A poor man's replacement for love
Something inadequate or cheap that people turn to as a substitute for genuine love
A cheap imitation of human touch
A substandard facsimile of physical connection between people
How does it feel to be a lonely girl's headrush?
The listener is asked how it feels to only be used by a lonely girl for temporary pleasure
But on the underground, distinctly underdressed
In a specific location where the singer is wearing ill-fitting or inappropriate clothing
I would have worn a shorter skirt if I had the legs, I guess
The singer laments their lack of physical attributes required to wear a certain type of clothing
If you'll forgive me that, I'll do the best I can
Asking for forgiveness for being underdressed and promising to make the best of the situation
Who knows, maybe one day I might learn how to play like a man
Expressing a desire to improve or act more like a stereotypical male
Oh, oh no, oh no, oh no oh no
Repetition of the phrase "oh no" as an interjection or exclamation
How does it feel to be a lonely girl's headrush?
The repeated question asks the listener how it feels to be used for temporary pleasure
Contributed by Colin N. Suggest a correction in the comments below.
@MakeLifeExtraordinary
Absolutely. This is what I always try to tell people. This was not a creation of the guys in Milli Vanilli. This was a creation of the record company who didn’t think the guy who wrote and sang the songs had the visual appeal in order to pull off superstardom, so they simply hired some good looking guys to step in and be the face of the music. If I were offered millions of dollars to stand up on stage and lip-sync someone else’s music… Of course I would. Most people would. Easy money.
But I’m sure, that they would’ve much rather been up there, playing and singing their own music. Both of them were talented musicians in their own right. They just didn’t have the mainstream originals that would have propelled them to anything like they were with the other music.
Though, I don’t know why people got all up in arms about them because it was something that the industry had been doing for years. not realizing that most artist aren’t writing their own music, and instead are singing the lyrics to somebody else’s songs. Michael Jackson sang other peoples music. In fact, most of his hits were written by other people. Not that he didn’t write, and have some of his own, he did. He was actually a decent songwriter, and, definitely incredible on stage and in the studio.
Taylor Swift, and all of the modern musicians have teams of writers writing their music. Has she lip synced before? I am almost positive. She probably has on dozens of occasions. As was stated in this video… Sometimes you can’t do live performances on TV, simply because of timing, not to mention… syncing up everything video and audio. Most modern musicians have teams of writers writing their hit songs.
Why? Because one person can only do so much. If you’ve ever tried to sit down and write a song from start to finish, writing all of the instrumentation, and the lyrics and recording everything and making it sound good… It’s not easy. When you have a team of writers, doing nothing but writing for you… many of them know what modern hits are, and how to write them… You have a much better chance at extended success. If you look back through history, you can see all of the great musicians who may have had three or four albums, and three or four hits.
Regardless, Mötley Crüe has become a parody of themselves. To the point, where they just don’t even care if people know that they are miming their entire show. As they are laughing their way, the entire way to the bank to cash that $200 million check from the tour. Obviously, the fans don’t care one way or the other. if they’re willing to pay thousands of dollars to essentially listen to a band play the biggest songs from their albums and fake doing so… Then, who is really at fault? Put yourselves in the shoes of the members of the band… Whether you do things the easy way or the hard way, you’re still getting a couple hundred million dollars to do so.
As far as the Mick Mars situation… It’s ridiculous. He has been a 25% shareholder in the band for the history of it and has helped write many of the hits that have propelled the band to be able to play today. I understand if he’s not on the road with them, then, he probably should get less of a cut. Because the other guys are out doing the work and touring and putting the wear and tear on their voices and bodies. But, how much should that cut be? Because you have to pay the new guitar player to tour with you and play all of the classic hits from the band.
So, I think that if they signed the contracts all of those years ago where everybody got a quarter cut… Then the 25% cut that Mick has should be split 50-50 with the new guitar player, as far as touring money goes. That new guitar player should get none of the residuals from any of the classic music. Any new music they make, obviously the new guitar player would get his share. But they are still using the Mötley Crüe name, for which is a 25% shareholder. let’s face it, any of the new music is never going to match that of the old hits. Or it’s very doubtful it would.
So then, on that wavelength… Exactly how much of a cut should Mick get from the bands name, if he is absent from any new albums using that name? That is going to be the biggest question in court and truthfully… I don’t know what the solution is. I would think that the new guitar player would get his 25% off of the new albums that they make, if any… But then where does Micks come in, with regards to the rights to the band name? Definitely a tough situation and I think one that may end up being resolved by the new Band being called something else… Where Mick gets a cut of all of the classic music and money they make on tour, in regards to music that he helped write and play on. Anything new… He gets nothing from.
We will see what happens. But it’s a sad tale that has happened 1 million times over in the music industry. I’ll never understand it, because I am one of those people who believe that one person only needs so much money throughout their entire life. If you already have 10’s of millions of dollars in the bank, if not $100 million in the bank… Why do you need more? At his age, is any fight worth the fight? I would say the same thing for the rest of the band also. Remember the days when you were starting out and remember the friendship throughout the years and then figure something outside the courts. That’ll make you both happy and move on with life.
When you are facing the final nine holes of your life, the last thing you want to do is play through the snow and rain… When you could be sitting inside, sipping some champagne and enjoying the rest of your time with friends and family. Live life every day like it’s your last, love like it’s your very first and treat people as you want to be treated. Don’t take anything for granted.
@Heavi
Do you love or hate Motley Crue?
@jeffmcpeek2526
Now?
Absolute hate.
Team Mick.
@vegarseljenes8710
Too young to fall in love
@metaldeth
Too fast for love so meh
@Noah-lk7nx
hate it's garbage really just shows how bad the current music scene is...
@metalpick2025
With out Mick being in the band they are Motley Poo.
@jasonbates2687
The irony of Nikki kicking Mick out of the band due to poor playing is rich. Mick Mars has always been the best musician in Motley Crue without question.
@chickenbiscuitbabyyewww9580
Totally agree, I came down here to say mick was the driving force of motley, and always seemed the most laid back and respectful. Huge love for the mars man
@otak3133
Right, almost any rock/metal bassist thinking they are more important to the bands sound than the guitarist is laughable. Only a few standouts can claim that, and Nikki sure as fuck isn't one of them.
@ronnie_5150
Mick was the ONLY musician in that band.