A SLAP (V. Robinson) SHE’S INCESSANT INSENSIBLE - MALICIOUSLY DIVINE SHE’S GOT NO SENCE OF PRIDE IN HER THICKNESS OF HIDE CONTEMPTUOUS AND CONTRIVED SHE CANNOT DRAW THE LINE SHE RUNS HER FINGER UP AND DOWN YOUR SPINE SHE’S GOT NO MERCY FOR MISERY - VINDICTIVE AND OBSCENE DEVIOUS AND DISTANT - OH SHE’S MEAN, SHE’S MEAN, SHE’S MEAN! YOU BETTER REALIZE SHE’LL TAKE YOU FOR A RIDE AND SHE CANNOT DRAW THE LINE SHE RUNS HER FINGER UP AND DOWN YOUR SPINE AND SHE PUTS YOU INTO BED AND SHE GIVES YOU A SLAP A SLAP, A SLAP, A SLAP A SLAP A SLAP SHE TURNS YOU UPSIDE DOWN AND TWIST YOUR INSIDE OUT SHE SHAKES YOU THROUGH AND THROUGH AND SAYS: ”BOYS YOU’RE OUT OF LUCK!” OH THAT DELICIOUS EMPTY FEELING OF KNOWING YOU’VE BEEN HAD A PURL OF PAIN AND FEAR! - I’M SO GLAD SHE’S BAD - SHE’S BAD! THAT VICIOUS SENSOUS CIRCLE THAT WRAPS YOU LIKE A GLOVE AND HITS YOU IN THE STOMACH - THIS MONEYFUCKING LOVE - SUFFOCATION (V. Robinson) SUFFOCATING - IN A DREAM THAT FEELS LIKE LOVE (HAVE A BIGGIE AND SOME CAULIFLOWERCHEESE) GETTING BRAINWASHED EVERY MINUTE OF THE DAY (POCHED EGGS AND SOME PINEAPPLEJUICE) WHERE’S MY MONEY? YOU’RE NOT GOING INTO TOWN WITH MY MONEY! WHERE’S ”MORWINNER”? YOU’RE NOT GOING INTO TOWN WITH THAT SINNER! PHANTOMLICKER IS JUST GETTING SICKER - AND YOU KNOW HOW I HATE TO GET STUCK YOU GOT TO: GET THIS DO THAT - DO YOUR BEST TO PLEASE GET THIS DO THAT - GET MY FAVOURITE CHEESE GET THIS DO THAT - SHOW ME YOU NEED ME KEEP THE FAMILYPEACE YOUR SWALLOWING ME - AND IT FEELS JUST LIKE LOVE (AND SOME CAULIFLOWERCHEESE) SWEET SECURITY - DOESN’T SEEM TO BE ENOUGH (TURN THE VIDEO ON DARLING) GOTTA GET DOPED OUT - IF I DON’T MANAGE TO GET OUT OF HERE (HERE’S THE MIRROR - AND HAVE SOME MORE OF THESE) LONELY (m: S. Brüel / t: V. Robinson) IT TAKES A LOT TO SAY I’M NOT DEPENDING ON YOU IT TAKES SOME MORE TO MAKE YOU SURE YOU’VE GOT THE CURE YOU MAKE ME TOUGH YOU TURN ME ALL SOFT YOU MAKE IT ALL SO GOOD BEING CLOSE AND THEN YOU MAKE ME SO LONELY YEAH, YOU MAKE ME BELIEVE I’M ONLY HERE LIVING JUST FOR YOU AND NOT A BIT FOR WHAT I DO I MAKE A PLOT AND BUILD IT UP IT’S JUST TO MOVE YOU IT’S SUCH A SHAME I HAVE TO KEEP YOU FRAMED TO FEEL SECURE WE’RE BUILDING LOT OF WALLS ALLWAYS TRYING TO RECALL WHO BOUND US FOR THIS BLIND DEAF COURSE AND HOW YOU MAKE ME SO LONELY YEAH, YOU’RE WAKING ME UP I’M ONLY DOING WHAT I DO MAKES ME FORGET ABOUT YOU YOU MAKE ME BELIEVE - I’M FALLING YOU MAKE ME RECIEVE - YOUR’E CALLING TAKE ALL I’VE GOT - JUST TAKE THE LOT THEN MABY SO - YOU MOVE ALONG AND STRONG AND PROVES YOU ARE THE ONLY YOU’RE PICKING IT ALL UP YOU’RE LIVING IT ALL OUT YOU MAKE IT WORTH MAKING IT REAL CAUSE YOU MAKE ME SO LONELY NO NOONES AROUND SO LONELY LOVE FOOLED ME LOVE FOOLED ME SYLVIA HEARTACHER (m: S. Brüel / t: V. Robinson) IT WAS A RAINY NIGHT I COULDN’T FIND A PLACE TO CRASH NOONE INSIGHT - BUT THIS WOMAN LOOKING FOR AN EASY CATCH ”I’M A PUBLIC ENEMY” SHE SAID ”BUT I STILL LIKE YOU! - WHY DON’T WE GO BACK TO MY PLACE YOU CAN SLEEP ON THE COUCH.” I HAD THIS FUNNY FEELING WHEN WE WALKED DOWN TO HER PLACE SHE WAS A BIT TOO KEEN AND A BIT TOO OUTSPACED - SHE LOOKED AT ME WITH HER BIG GREY EYES AND SAID: ”MY HOME IS MY CASTLE . . .” THE PLACE WAS IN A MESS SYLVIA HEARTACHER HOW CAN I BELIEVE SYLVIA HEARTACHER WHAT YOU REVEAL? I SPENT THE NIGHT THERE I HAD NO CHOISE BUT TO TELL YOU THE TRUTH IT WASN’T MY IDEA OF REJOICE THERE WAS NO COUCH NO THERE WAS ONLY HER BED SO OFF COURSE I HAD TO GO AND SLEEP WITH HER INSTEAD SYLVIA HEARTACHER DIDN’T THINK TWICE SYLVIA HEARTACHER HAS NO PRICE ”YOU BETTER START SWIMMING NOW” SHE SAID, ”OR ELSE YOU’LL DROWN! YOU’RE ON FOREIGN WATERS NOW SO PLEASE DON’T BRING ME DOWN . . .” SHE CARRIED ON AN ON TRYING HARD TO PLEASE OUTSIDE HER WINDOW THE SOUND OF THE SEA - NEXT MORNING I WAS BACK ON THE STREETS I MET SOMEONE AND SHE SAID - ”WHERE HAVE YOU BEEN?” I TOLD WHAT HAPPENED TO ME THE NIGHT BEFORE SO I GOT WISER CAUSE SHE TOLD ME SO - ”NOONE EVER SLEEPS WITH SYLVIA HEARTACHER STAYING THE NIGHT IS EVEN WORSE NOBODY SLEEPS WITH SYLVIA HEARTACHER NOONE EVER KISSED HER ON HER LIPS" WALKING (V. Robinson) THINK TOO LOUD, I’M BREAKING IT DOWN DEFENSIVE AND PROUD MOVING MY WAY IN TO CONTRADICTIONS WE AINT GOT TIME TO RECOGNIZE ARGUING ABOUTT A GENTLE SOUND BECOMING LOUD, IT’S GETTING LOUD OUR LOVING HAS GONE ASTRAY GOTTA GET AWAY, JUST TO MAKE YOU STAY AND I’M WALKING DOWN THE STREET AT NIGHT DEAD OR ALIVE HAVEN’T GOT A FRIEND INSIDE DEAD OR ALIVE FEEL TOO FAST, I’M THINKING TO SLOW ACT TOO BAD BUT I’M TURNING MY EYES TO ANOTHER VISION TRYING TO SEE FROM YOUR INSIDE WRONG DIRECTION - THERE’S NO REFLECTION IT’S GETTING DARK, IT’S GETTING DARK SWEET LOVING HAS GONE AWAY GOTTA GET AWAY BEFORE I GO ASTRAY AND I’M WALKING DOWN . . . . WRONG TONIGHT (m: S. Brüel / t: V. Robinson) YOU TREAT ME WRONG TONIGHT CAUSE YOU CAN AND THEN YOU RUN AND HIDE YOU DON’T CARE AS YOU JUST SAID TO ME WAY BEFORE - ”LOOK HERE, LOVE HAS NO END - HONEY DOES IT MATTER? TIME IS SPEND” WE GET INTO A FIGHT YOU’RE UNFAIR YOU TREAT ME WRONG AGAIN OFF COURSE YOU CAN EXTASY YOU CAN GIVE - HONEY YOU TREAT ME BETTER AND GO AWAY YOU MAKE ME FEEL JUST LIKE A LITTLE GIRL LONG TIME AGO AND THEN WHEN EVERYTHING TURNED OUT BAD YOU HAD TO GO AND IF YOU THINK YOU JUST HAD ENOUGH DON’T TRY TO SAY IT DIDN’T WORK IT JUST DIDN’T SHOW DON’T TURN AWAY YOU TREAT ME BETTER AND GO AWAY COSMO (V. Robinson) EVERYWHERE SHE GOES IT’S THE SAME OLD STORY: SHE’S BEEN THERE BEFORE - PERFUME IN THE AIR REMINDS HER OF SOMEONE BUT NOT WHAT FOR - NAME HER ANY PLACE SHE’S CHECKED THE FOOD OUT SERVED ON A PLATE AND SHE’LL NEVER NEVER SAY IF SHE WILL MOVE ON OR STAY AND WAIT SHE’S A COSMOPOLITICAL WOMAN GOING HOME WHEN SHE IS GOING AWAY COSMOPOLITICAL WOMAN COMING, GOING - NEVER KNOWING WHEN OG WHERE ANYWHERE SHE GOES SHE CAN’T TELL THE DIFFERENCE SHE CAN’T RECALL - HAS TOO MUCH EXPERIENCE COMPARED TO OTHERS SO WHY LEAVE AT ALL? SHE SAYS: ”ALL THOSE TINY TOWNS WITH THEIR TINY FACES IT’S SUCH A BORE - WHAT THEY REALLY REALLY NEED IS A GOOD INNOVATION TO HIT THE SCORE” SHE’S A COSMOPOLITICAL WOMAN . . . . SHE’S SO INTERNATIONAL SHE’S SO INTERNATIONAL SHE’S A NOT POLITICAL SHE’S SO INTERNATIONAL SUNDAE SCHOOL (V. Robinson) SHE’S SEND TO SUNDAYS SCHOOL HER FRIEND IS COMING TOO THEY’RE SITTING ON THE BACKSEAT SNIFFING UP THE GLUE THEY’RE GETTING VERY BORED THERE’S NOTHING THERE TO DO THEY DON’T KNOW WHERE THEY’RE GOING TO MAYBE TO THE TUBE SLIPPING AWAY, SLIPPING AWAY CAN’T BRING HER BACK - SHE’S GONE FOR THE DAY 1 - 2 - 3 - 4 THE STATIONS THEY KEEP PASSING BY HER FRIEND DECIDES SHE’S FAR TOO HIGH SHE’S GETTING VERY WEAK SHE’S SLIPPING OF THE SEAT - ”I TOLD YOU ONES - I TOLD YOU TWICE - YOU’RE NOT ACTING VERY NICE! I SAID - I LEAVE YOU IF YOU FREAK AND PEOPLE THINK WE’RE CHEAP!” SLIPPING AWAY . . . . ”GET UP FROM THAT FILTHY FLOOR SALLY!!” ”BUT I’M SO STONED …” ”PEOPLE STARE AT US” ”I WANT MY MUMMY!” ”ALL RIGHT” - SO YOU WANT ME TO GET YOUR DADDY AS WELL?!” ”NO NO NOT MY DADDY! I JUST WANT MY MUMMY.” ”BUT YOUR MUMMY GOES: BLA BLA BLA BLA BLA” ”OH - I DON’T THINK I WANT NEITHER OF THEM - I JUST WANNA STAY HERE …” ”GOD! YOU’RE DISGUSTING! I’M GONNA LEAVE YOU! - YOU HEAR?!” SHE LEAVES HER FRIEND THERE ON THE FLOOR AND MAKES HER WAY TO THE DOOR SHE CAN’T HANDLE ANYMORE THIS IS JUST ANOTHER BORE - SHE HATES THE HIPPIES AND THE PUNKS SHE’S INTO ”INDIVIDUAL FRONT” SHE LOVE TO LOOK AT THOSE BIZARRE - BUT NEVER GOES TOO FAR SLIPPING AWAY . . . . MEDVIRKENDE PÅ TYFOON CD’EN: Sanne Brüel: Vokal, keyboards, mundharpe Vibe Robinson: Bas Birgitte (Bjørn) Pedersen: Guitar Mette Mathiesen: Trommer Tira Skamby Madsen: Percussion Lotte Anker: Solosax Rebecca Brüel: Kor Kaya Brüel: Kor Simon Harder: Guitar på: Reason, Pretty E. og Sylvia H. Lars Lavent: Akk.guitar på: Reason Bjarne Lindenhoff: Kor-Saxer på: A slap, Sundae S. og Cosmo Lars Kirkegaard: Harmonika og kor på: Cosmo Mette Mathiesen: Kor på: Suffocation og Cosmo Claus Stenner: Kor på: Cosmo Musik og tekster: Vibe Robinson & Sanne Brüel (m: musik. t: tekst) Arr.: Sanne Brüel & Vibe Robinson Producere: Sanne Brüel & Vibe Robinson Teknik og Mastering: Lars Kirkegaard Mixet af: Aske Jacoby og Lars Kirkegaard Cover: Sanne Brüel Cover fotos: Christina Voigt Bandfotos: Stine Ljungdahl og Lone Gudmundsson Optaget i Kirkegaarden’s Studie, V. Skerninge fra april 1998 til marts 1999