Chapman was originally the vocalist for Farinas, who released the single "You'd Better Stop" b/w "I Like It Like That" in August 1964. (However, lead vocals on that single were performed by Jim King.) He moved on to join The Roaring Sixties who were renamed Family in 1966. In 1967 the first single was released, "Scene Through The Eye of a Lens", something of a psychedelic classic. Chapman wrote most of Family's songs with Charlie Whitney and their debut album Music in a Doll's House was released in 1968. Their bluesy, experimental rock music gained them a reputation as a progressive underground band.
The release of Family Entertainment (1969), A Song for Me (1970) and Anyway (1970) established Family as a fast and loud rock band also capable of producing the most intense acoustic music, in the British underground music scene, at that time. Their single "The Weaver's Answer" from the Family Entertainment album was a hit in 1969. On 28 August 1970 they appeared at the third Isle of Wight Festival. Although the band was popular in UK and Europe, success in the US eluded them and in 1973 they broke up.[3]
Chapman formed Chapman-Whitney with Whitney, late in 1973. They signed to the Vertigo label and recorded an album Chapman Whitney Streetwalkers (1974), with a line-up including other members of Family and King Crimson, as well as future Iron Maiden member Nicko McBrain. Chapman and Whitney morphed their band into Streetwalkers, who were a polished album-oriented rock band who used more white soul than Family had. They released Downtown Flyers (1975), moving on to record the groove heavy album Red Card (1976)[4] which was released in the UK in 1976 and remains a much respected album by music fans and the music press.[5] Two more albums followed before the band broke up in 1977, ending eleven years of the Whitney-Chapman musical partnership.
In 1979 Chapman began a solo career and recorded his first solo album Chappo.[6] His backing band became known as The Shortlist at this time and he toured Europe extensively. Mike Oldfield's song "Shadow on the Wall" from the album Crises (1983) featured Chapman on vocals and became a hit.[7] He appeared as a guest artist on the second Box of Frogs album Strange Land (1986) singing lead vocals on two songs. Chapman went on to record Walking the Cat (1989) and Hybrid and Low Down (1990).
Since then Chapman has released eleven albums of new and live recordings. His album Hide Go Seek (2009) was produced by former Family bassist Jim Cregan and released during May 2009. His appearance on Saturday 21 August 2010 at the Rhythm Festival was billed as: "The farewell performance from Roger Chapman & The Shortlist". [8]
Hideaway
Roger Chapman Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Well I can whisper you sweet things
But can I tempt you to go, out into the night
Leave the flashing lights for a softer glow, for a softer glow
I got a yen for some sweet life, holding hands, dancing slow
I got a burning taste for your sweetest place
To the sound of soul to the sound of soul
Yeah this neon's too bright, the music's too tight
Where we can, hide-away â hide-away
I've got somewhere we can run to, warm and it's safe
So let's get out of this place now honey, come on now honey
Yeh
Now we can ride on a street-car, maybe take us a stroll
Slip away from this crowd to somewhere I've found
Where the music rolls â let the music roll
Yeh there's no doubt about, this place is too crowded
Let me take you somewhere a little more down-home
Where we can, hide-away â hide-away
I got somewhere to run to, somewhere to play
So let's get out of this place now honey, come on now honey,
And we can, hide-away â hide-away
I got somewhere to run to, warm and its safe
So let's get out of this place now honey, yeh well now
Honey, well the name of the place, now yeh, yeh, yeh, yeh
The name of the place is âI like it like that', yeh
Now I can sing you a sweet song, I can teach you to dance
I can lullaby you, tenderise you, given half the chance
Give me half a chance
Ok, but this neon's too bright and this music's too tight
Let me take you somewhere a little more down-home
Where we can, hide-away â hide-away
I've got somewhere to run to, warm and it's safe
Let's get out of this place now honey, come on babe
Yeh, yeh, yeh, now we can hide-away â hide-away
I got somewhere to run to, somewhere to play
Let's get out of this place now
The song "Hideaway" by Roger Chapman is about a man who wants to take his lover away from the crowd and noise of the city to a more peaceful place where they can be alone and enjoy each other's company. He wants to dance with her, hold her hand and be close to her in a way that's not possible in the hectic atmosphere of the city. The man is tired of the bright neon lights and tight music that he is hearing around him and wants to take his lover to a more relaxed and intimate setting.
The lyrics convey the singer's desire for a slower, gentler lifestyle and the need to find a place where he can hide away with his lover. He tells her that he's found somewhere warm and safe, a place where they can run to and play together. The song's repeated refrain of "hide-away" emphasizes the theme of escaping from a busy city environment to a more peaceful and private place where the couple can be together.
Overall, the song Hideaway is an ode to finding a safe and secure place with a lover where one can feel protected from the city's hustle and bustle. It emphasizes the importance of establishing a peaceful and loving space with a partner to disconnect from the busy world around us.
Line by Line Meaning
Ah, sweet thing
Addressing the listener in an endearing way
Well I can whisper you sweet things
Offering words of endearment
But can I tempt you to go, out into the night
Inviting the listener to join him for a new adventure
Leave the flashing lights for a softer glow, for a softer glow
Suggesting a quieter and calmer environment
I got a yen for some sweet life, holding hands, dancing slow
Expressing a desire for a romantic and intimate experience
I got a burning taste for your sweetest place
Admiring the listener's attractiveness and appeal
To the sound of soul to the sound of soul
Indicating the preferred type of music for the experience
Yeah this neon's too bright, the music's too tight
Disapproving of the current environment and seeking a change
Let me take you somewhere a little more down-home
Proposing an alternative location for the desired experience
Where we can, hide-away â hide-away
Emphasizing the need for privacy and seclusion
I've got somewhere we can run to, warm and it's safe
Assuring the listener of a comfortable and secure destination
So let's get out of this place now honey, come on now honey
Urging the listener to leave the current setting and follow him
Now we can ride on a street-car, maybe take us a stroll
Suggesting a mode of transportation and a leisurely activity
Slip away from this crowd to somewhere I've found
Escaping the hustle and bustle of the current surroundings
Where the music rolls â let the music roll
Encouraging the listener to enjoy the music in the new location
Yeh there's no doubt about, this place is too crowded
Reiterating the dislike for the current environment
I got somewhere to run to, somewhere to play
Promising the listener a fun and exciting experience
And we can, hide-away â hide-away
Reaffirming the need for privacy and seclusion
So let's get out of this place now honey
Continuing the urgency to leave the current setting
Honey, well the name of the place, now yeh, yeh, yeh, yeh
Revealing the name of the new location
The name of the place is âI like it like that', yeh
Announcing the name of the new location with enthusiasm
Now I can sing you a sweet song, I can teach you to dance
Offering additional ways to enhance the experience
I can lullaby you, tenderise you, given half the chance
Promising to be gentle and comforting to the listener
Ok, but this neon's too bright and this music's too tight
Reiterating the dislike for the current environment
Let me take you somewhere a little more down-home
Again suggesting an alternative location
Where we can, hide-away â hide-away
Emphasizing the need for privacy and seclusion
Let's get out of this place now honey, come on babe
Final plea to leave and follow him for a better experience
Yeh, yeh, yeh, now we can hide-away â hide-away
Closing remarks about the preferred location
I got somewhere to run to, somewhere to play
Reiterating the promise of a fun and exciting experience
Let's get out of this place now
Final plea to leave the current setting
Contributed by Oliver G. Suggest a correction in the comments below.