Their official biography reads as follows: Our story begins – as many of these stories do – with a TDK 60 minute cassette. It's back in 1992 and Kurt Cobain with Smells Like Teen Spirit is playing himself into the nirvana of rock'n'roll and hitting us in the gut. Wow! At roughly the same time, Adrian packs in his drummer job with The Bash — freeing his hands to do the old Fender Strat thing and, in fact, record on to that TDK 60. He calls his one-man band "Lovebugs", enters the cassette for a Band Contest in Basle ... and ends up being invited to take part in the final round.
So he finds Sebastian on bass and Julie on drums – more for their charming personalities than for instrumental virtuosity. And then it all happens pretty dammed quick. First gig, the final, victory, thank you!
Adrian and Sebastian then record their first album Fluff in all of five days in league with 17-year-old temp drummer Simon who has been a permanent fixture since then, irreplaceable actually, because not only is he an amazing drummer but also an amazing cook. We play a few gigs and Adrian wants to pack it in again. Making music is OK, he says, but being the frontman is a pain. Well, we persuade him to stay on and, before long, we have played countless gigs in small clubs. And, between all that, recorded our second album: Tart.
The third album appears in 1996: Lovebugs. Recorded in London, produced by George Shilling and Tony Harris. We storm the Top 40 and our single Fantastic is what you might call our minor breakthrough on the Swiss music wallpaper scene. We sign major recording contacts in Germany, feel pretty fantastic, immortal at least. Just the right mood for getting on to the TourBus for a few months.
Thomas also gets on: live, we need extra guitar; he needs a good band. And the tours go on — with Marc Owen, Republica, Vivid and Ocean Color Scene. We become addicted to life on tour. We hang on to Thomas because, apart from making the right noises with the guitar, he's cool with studio buttons and, in the morning, he looks so grotty.
In 1999, BMG/RCA prescribe us a recording producer who – from the very start – we don't hit it off with. The proverbial straw that breaks the camel's back. After a really vicious battle with the record company (all that small-print crap) we record an album under the name of The Symbol. No, not really, we sign a deal with Warner Music Switzerland and, at long last, in 2000, bring out Transatlantic Flight. All that turbulence seems to have paid off. The album sells in 13 countries and represents now our ultimate breakthrough. The concerts are sold out. We shoot a video in LA and give loads of interviews from Moscow through Niederbipp to Helsinki …
While Sebastian publishes his glam rock project Fucking Beautiful, we work on our fifth studio album Awaydays. Wanting to go new places, we record the album in the rehearsal room (with Thomas as producer) and bring in a string orchestra. Adrian starts to think of packing it in again but eventually gives up smoking instead. At about the same time, Awaydays gets to the number one spot in the Swiss charts and Sebastian announces his departure from the band. We play one last tour with him and wonder about how things should continue.
Come autumn 2002, we retreat to the heel of the Italian boot – Apulia – to work on 13 Songs With A View. There are now five of us and we're searching for a new Lovebugs sound. Bass player Florian is more than a mere substitute for emigrant Sebastian: he brings a new earthy edge to the band and raises the average IQ by 35%. The same tidal wave also dumps Stefan on board MS Lovebugs. In an official capacity, that is. For almost three years, he's been pounding away on the keyboards for us — both on stage and in the studio. 13 Songs With A View is, in a word, a bitch, and gives us a really hard time. Yup, the search for our joint roots is difficult, taking 13 long months in the studio. An eternal labyrinth. But also a welding torch for the new line-up. The result is rawer and harder than previous albums. A true milestone, we reckon. Whereas the Swiss radio stations reckon that our sound is too noisy. TV gets cold feet as well and even drops us from a programme at literally the last second. They are worried that our music might hit the viewers in the gut (hmm, sounds familiar). Whatever. A short time later, to kick off our tour, we play Letzigrund Stadium with the legendary Stones to a crowd of 40,000 before, at long last, setting off on an extended club and festival tour again.
December 2003. We've done some 1,000 gigs (I think) and recorded seven albums. Tired? No way! But where can we now sail to without going round in circles? One thing is clear: we need a producer who will accompany us, give us feedback and be in on the songs as they emerge so that we don't drift into studio quicksands again. Someone who can stand up to the Lovebugs steamroller. Adrian has the shocking idea of having a go with that swine Chris von Rohr. In fact, the chemistry works at the very first meeting and soon we have a veritable swimming pool full of creativity — not to mention a genuine friendship.
Together we work on the eighth CD. It's to be an unplugged album, recorded live and featuring the best from 11 years of Lovebugs. Old hits are re-arranged, stripped down to the bare essentials. We want it to be intimate and direct. After nine months of preparation, we perform Naked (!) on stage in Basle ... and, well, it's one of our best concerts ever. Included on the album version are five new songs, some really moving moments and acres of goose pimples.
For six months or so, the subsequent Naked Tour takes us though old theatre prosceniums and cinema halls. Backed by mood and guest musicians, we play unplugged into the summer. It's during the festival season of 2005 that – in parallel and in secret – we start plugging our cables in at the rehearsal room again. We hunger for electricity and sounds but first Adrian has to have on operation on his respiratory system while the rest of us send postcards from our holiday resorts. Each taking a creative breather, so to speak.
In autumn 2005 – by which time we're up to our knees in new material – a Taiwanese record company calls up suddenly and invites us to hold a series of interviews and concerts in Asia. We leave the freshly served Creative Soup on the counter and fly "naked" to the land of the permanent sushi enthusiasts where we (a) score something of a success and (b) get to know something about chopsticks, isolation and sleeping tablets. Then, in the middle of a snowstorm and an infinitely long winter, we eventually realise where we are going and who we wish to take along with us. Things are going to be epic and huge and also deep enough to drown in, a unified whole indeed. So, after a three-year absence from the studio, In Every Waking Moment will not be a stroll through the park, more like an intense midnight ramble J
To read the map and shine the torch, we hire Roman Camenzind. The man who never sleeps and who always has a good idea just when one is needed.
In February and March of 2006, we record In Every Waking Moment at locomotive speed and, only one week after Switzerland gets kicked out of the last 16 of the Football World Cup, a Lovebugs CD soars to Number One on the Swiss album charts … again.
Discography
IN EVERY WAKING MOMENT (2006)
NAKED (2005)
13 SONGS WITH A VIEW (2003)
AWAYDAYS (2001)
TRANSATLANTIC FLIGHT (2000)
LIVE VIA SATELLITE (1999)
LOVEBUGS intl. version (1998)
LOVEBUGS (1996)
TART (1995)
FLUFF (1994)
Group Members
Adrian Sieber: vocals, guitar
Thomas Rechberger: guitar, vocals
Stefan Wagner: piano, synthesizers, vocals
Florian Senn: bass
Simon Ramseier: drums
Website
http://www.lovebugs.com
72
Lovebugs Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
A song about fate
A song about hope
If it's not too late
I'm ruined and sick of this life
Spinning round and round on fourty-five
I just need a view and I wish it could be you
'72, gimme faith and ease my pain
I just go insane living live in the fast lane
Hey, do you feel the same?
Sing me a song
A song about hate
Just let it all out
It's never ever too late
I'm jaded and lost in our love
Give me some time, no push and shove
'72, gimme shelter, pull me through
I just need a view and I wish it could be you
'72, gimme faith and ease my pain
I just go insane living life in the fast lane
Hey, do you feel the same?
No one left to blame
I just need you '72
In these lyrics from Lovebugs's song "72," the singer is asking for a song to be sung about fate and hope, as they are feeling disillusioned and trapped in their current life. They mention spinning round and round on forty-five, which could refer to the speed of a record player, implying that they feel stuck in a repetitive cycle. The singer then requests shelter and faith from the year 1972, possibly as a symbol of a time when things seemed simpler and more hopeful. They mention their pain and the feeling of living life in the fast lane.
Later in the song, the singer asks for a song about hate, indicating that they need to express and release their negative emotions. They mention feeling jaded and lost in love, and ask for time and space to work through those feelings. They again request shelter and faith from 1972, and ask if anyone else feels the same. The song ends with the singer expressing the need for the person from 1972 who gives them hope and faith.
Overall, these lyrics evoke a sense of feeling trapped, lost, and in need of guidance and hope. The repetitive nature of the imagery (spinning on forty-five, living life in the fast lane) suggests a lack of control and a feeling of being swept up in external forces. By calling on the year 1972, the singer seems to be seeking a connection to a simpler and more idealistic time, or perhaps a specific memory or person who represents hope and stability.
Line by Line Meaning
Sing me a song
Request to hear a melody
A song about fate
A track that talks about destiny
A song about hope
A composition with a message of positive expectation
If it's not too late
Asking for it to be on time
I'm ruined and sick of this life
Emphasizing feeling hopeless and tired of life
Spinning round and round on fourty-five
Metaphor for the feeling of being stuck and going in circles
'72, gimme shelter, pull me through
Referring to a specific period in time and the desire for safety and support
I just need a view and I wish it could be you
Expressing a need for perspective and the desire for someone specific to share it with
'72, gimme faith and ease my pain
Asking for courage and relief
I just go insane living live in the fast lane
Acknowledging the stress from living at a fast pace
Hey, do you feel the same?
Asking if someone else shares the same feelings
Sing me a song
Another request for music
A song about hate
Asking for a composition about negative emotions
Just let it all out
Encouraging full expression of emotions
It's never ever too late
Reassuring that it's not too late to express and deal with emotions
I'm jaded and lost in our love
Describing feeling disillusioned and confused in a romantic relationship
Give me some time, no push and shove
Asking for patience and understanding
'72, gimme shelter, pull me through
Repeating the desire for safety and support
I just need a view and I wish it could be you
Reiterating the need for perspective and connection with someone special
'72, gimme faith and ease my pain
Once again asking for courage and relief
I just go insane living life in the fast lane
Repeating the stress felt from living at a fast pace
Hey, do you feel the same?
Repeating the previous question
No one left to blame
Acknowledging that there is no one else responsible
I just need you '72
Concluding that the only thing needed is a specific someone in a specific time
Contributed by Alexandra M. Suggest a correction in the comments below.
meiner einer
🦋💗🔥🐭♾🐴🔥💗🦋