kim fowley motorboat lyrics

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Motorboat, Motorboat

Motorboat, Motorboat go so slow (hold child's hands, spread eagle legs, and seesaw back and forth) Motorboat, Motorboat go so fast (seesaw faster!) Motorboat, Motorboat step on the gas! (go really fast!)

Police car, police car, go so slow.

Police car police car, go so fast!

Police car, police car, step on the gas!

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Motorboat Lyrics

Theme Park  by  BMX Bandits

Song   ·   3:21   ·   English

(P) 1996 Sony Music Entertainment UK Limited

Mondo Deco, a rock fugitive, Brave and vogue, in a zone of clones, Don′t shy, Stay alive, Shampoo your head in a hurry, lets go dancing a fury, Dancing on the ceiling, dancing with the feeling, Moving like a motor, rrrrrrrr, motorboat, motorboat, Hey babe, can you float on water, You move like Graco's daughter, Listen to me rrrrrrrrrrrrr, motorboat, No Billy don′t, Hey kids you wanna swell vacation, Lets rrrrrrrrrr clean across the nation, Dancing on the ceiling, dancing with the feeling, Moving like a motor, rrrrrrrr, motorboat, motorboat, motorboat, motorboat, Mondo Deco, a rock fugitive, Brave and vogue, in a zone of clones, Don't shy, Stay alive, Shampoo your head in a hurry, lets go dancing a fury, Dancing on the ceiling, dancing with the feeling, Moving like a motor, rrrrrrrr, motorboat, motorboat, motorboat, motorboat, Mendo drama, switchblade seranade, Will their hearts sway, in a London rave, Feel powerglide, on a wack glide, Download your blues in the ocean, of internet emotion, Dancing on the ceiling, dancing with the feeling, Moving like a motor, rrrrrrrr, motorboat, motorboat, motorboat, motorboat, motorboat, motorboat, (Hey guys do you like to rumble, Beauty Queen of the neon jungle, We need the pleasure, of your buried treasure, (music) on my ride)

Writer(s): Kim Fowley, L. Thiemeyer, Michael Lloyd<br>Lyrics powered by www.musixmatch.com

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Kim Fowley: 10 Essential Tracks

Infamous Los Angeles rock’n’roll lifer Kim Fowley wrote his 2012 autobiography Lord of Garbage during long hospital stays, and the book describes his battles with bladder cancer in an unflinching tone. “My diet included morphine, IV drips, and bladder bags,” goes one passage. “No wife. No child. No friends. Just blood and thunder, puke, piss, scabs, and teardrops. Death is my next long-term project.”

It’s that sort of grotesque honesty that perhaps drew Ariel Pink —another artist known for packing his work with the chaotic and crass—to Fowley’s bedside in 2013, while working on his record pom pom . Their meeting, in a way, was the gonzo musician’s equivalent of Bob Dylan’s legendary visit with an ailing Woody Guthrie—like-minded artists separated by generations. But while Guthrie directed Dylan to find his pile of unrecorded songs, the 75-year-old Fowley actually got his hands dirty right then and there with Pink, co-writing some of pom pom ’s kitschiest tracks, with titles like "Plastic Raincoats in the Pig Parade", "Jell-O", and "Nude Beach a Go-Go". And Pink wasn’t the only California weirdo with Fowley on his mind this year, either: Foxygen ’s recent track “Cold Winter/Freedom” was dedicated to the offbeat guru. (They invited Fowley to contribute to their latest album, too, but he declined due to his declining health.)

Watch Fowley discuss his struggles with cancer as only he can in this 2013 video:

It makes sense why, in our oversaturated age, artists would turn to Fowley. The lifelong rock’n’roll hustler made a name for himself by doing just about anything to grab people’s attention. His 1968 garage rock masterwork Outrageous includes simulated sex (“it’s too dirty, it’ll be banned,” he laughs at the end of “Animal Man”), death threats, druggy paranoia, assertions like “I’m the devil”, belches, dry heaving, references to Hitler’s dead body, and gibberish blathering. It is provocation at its most overt and intentional. With that album, he was positioning himself as a licentious garbage man, the pied piper who would guide kids away from the safe, watchful eye of their parents and into the filth-caked streets.

Fowley was the child of two minor actors, Doug Fowley (who Kim called “the worst actor” in Singing in the Rain ) and Shelby Payne (“a Dorothy Lamour/Natalie Wood type with no talent for acting”). His book describes being abandoned by his parents, scrapping with other kids in a foster home, having polio, and witnessing the seedy, druggy, sexually depraved underbelly of Tinseltown. Apparently, he was a male prostitute; he was also, at various points, in a gang and the armed forces. Consistently faced with obstacles, he fought and scrapped, always with one eye out for the next buck. He learned how to orchestrate, arrange, and write music by watching his step-father. He became a poet.

Bit by bit, he found work wherever he could get it. He was Thelonious Monk’s food runner, a music magazine reporter, and famed disc jockey Alan Freed’s protégé. Going through Fowley’s story, you don’t get the sense that he was ever driven as much by artistic passion as he was by the possibility that he’d break into the mainstream and land on a pile of money. He seemingly held every job in the business: producer, album cover designer, songwriter, studio janitor, Mother of Invention, and so on. He worked with the Soft Machine, the Seeds, Paul Revere & the Raiders, Gene Vincent, Warren Zevon, Cat Stevens, and dozens of others. His cover of a Napoleon XIV novelty song charted in New Zealand and Denmark. He's a strategist, though it’d be just as easy to call him a con artist or a huckster. Why did he manage and produce trailblazing late-‘70s act the Runaways ? Because there was money to be found in an all-female rock’n’roll band, of course. (Editor's note: Since the publication of this piece, Runaways bassist Jackie Fuchs has claimed that Fowley drugged and raped her at a New Year's Eve party in 1975. Fuchs was 16 years old at the time.)

Watch a clip from a 1977 episode of “Tomorrow Show” featuring Fowley:

Thanks to the great outsider label Norton Records , now is a fantastic time to learn about Fowley’s massive output. Their Kicks Books imprint plans to put out two more volumes of his autobiography, and the label just released their fourth Fowley compilation . Like the playlist below, the comps are far from comprehensive—he recorded mountains of material with tons of artists under several pseudonyms—but they’re a good first glance into the odd body of work from rock’n’roll’s strangest survivor, the self-proclaimed Outlaw King of America.

The Hollywood Argyles: “Alley Oop” (1960)

Fowley was 20 years old when he helped to produce this #1 hit in 1960. Three years earlier, “Alley Oop” had been recorded as a country tune; Fowley apparently met the song’s writer, Dallas Frazier, at the gas station where he was living at the time, and somehow, this meeting led to him putting a band together. Briefly, the song outsold Elvis Presley, and it was even featured on Dick Clark’s Saturday night TV show . Unfortunately, it didn’t mark the beginning of an enduring success story for Fowley. After receiving $27,000 in royalties, all parties involved blew through the money when they couldn’t produce another hit. They sold the publishing rights to Bobby Darin’s company, and Fowley continued hustling, putting together more bands and trying to find more hits.

Kim Fowley: “The Trip” (1965)

While Fowley had been working on records that were potentially marketable hitmakers, “The Trip”—one of his earliest statements as a solo recording artist—suggested he was ready to journey into druggier, more menacing territory as a wild-eyed frontman. On the song, he tells us that the world is sad and boring. What should we do about it? Try drugs. “Just close your eyes, it’s groovy now,” he insists, before conjuring images of green fountains, flying dogs, emerald rats, and purple clouds. He wasn’t quite ready to shock the way he would later, but “The Trip” gave listeners a glimpse into his crooked, ugly, and potentially exciting universe.

The Rogues: “Wanted: Dead or Alive” (1966)

There was an early rock’n’roll tradition that’s pretty much evaporated in recent decades: answer records. Artists would take popular hits and write sequels, continuations, or flips on that theme. (Here’s a good list of them .) Before they started a psychedelic outfit called the West Coast Pop Art Experimental Band, Shaun Harris and Michael Lloyd were in a band called the Rogues. And in the mid-1960s, they teamed up with Fowley to create a rollicking garage rock answer to “Hey Joe” . That’s one hypothesis behind the song, anyway, which seems logical given that its title addresses a criminal (perhaps Joe, who shot his woman down), and that it shares a chord progression with its purported inspiration.

The N’ Betweens: “Evil Witchman” (1966)

Before they were influential glam rockers Slade , they were the N’ Betweens, and early on in their career, they caught Kim Fowley’s attention at a show in England. The N’ Betweens went on early in the morning and by the time they took the stage, most of the audience was asleep on the floor. “WAKE UP,” screamed frontman Noddy Holder. They did. When the band was finished, Fowley went backstage and insisted that he produce them. The N' Betweens and Fowley only had one session together, which produced one single, “You Better Run”, a cover of the Young Rascals song. It was backed by “Evil Witchman”, a track co-written by Fowley. Neither was a hit, but the latter is an essential, somewhat forgotten entry in Slade's discography.

Kim Fowley: “Bubble Gum” (1968)

Outrageous arrived the same year as Barbarella , and while neither Fowley’s album nor Jane Fonda’s film were hits, they were both documents of a campy, celebratory sexual revolution. But after listening to 40 minutes of “shock value”—complete with dated phrases and hard-to-hear racial stereotypes—it suddenly becomes clear that the most important thing about Outrageous isn’t the pseudo-offensive lyrics but the quality of the songs themselves. There isn’t anything better than “Bubble Gum”, which is led by Steppenwolf-style guitars and an urgent horn hook. It’s a slinky, spooky track—the music and lyrics together form one of the catchiest encapsulations of Fowley’s ultra-creepy “let’s have some fun” schtick. Almost 20 years later, Sonic Youth would cover the song and include it as a bonus cut on Evol .

The Modern Lovers : “Walk Up the Street” (1972)

The Modern Lovers were on the come-up in the early ‘70s. They’d recorded sessions with John Cale, and labels were showing interest. While their early demos and recordings were floating around, Fowley heard them, traveled to Boston, and produced a handful of their songs. Stacked next to the band’s Cale-produced classic first album , the Fowley sessions are markedly more raw and in line with the records Fowley helmed in the early ‘60s. “Walk Up the Street” and “Government Center”, for example, are fun, driving rock’n’roll songs. The Fowley sessions were shelved for nearly a decade, but the producer released them on his short-lived label Mohawk Records in 1981—seven years after Jonathan Richman and the band’s original lineup had parted ways.

Kim Fowley: “International Heroes” (1973)

By the ‘70s, Fowley had delivered a pretty wide scattershot of work—songs for flower children, singer/songwriter ballads, and sexually charged stuff. He appears on the original cover of International Heroes with eyeshadow and lipstick. On the back, he’s wearing platform shoes, a T-shirt that says “Space Age”, and a fur coat. By all accounts, it seemed like Fowley’s time to make a glam rock statement. Sonically, though, he didn’t approach that genre at all. “Ugly Stories About Rock Stars and the War” boasts a banjo, while “Born Dancer” is backed by accordion. In the year of Bowie's  Aladdin Sane and Roxy Music's  For Your Pleasure , nobody was making records that sounded quite like this one. The undeniable highlight is the album’s title track, a power ballad about being bored with adolescence. “We’ve got the teenage blues,” he sings, backed by soulful voices, “change has gotta come soon.”

The Hollywood Stars: “King of the Night Time World” (1974)

“King of the Night Time World” is one of the best songs on Kiss’ 1976 album Destroyer , but it isn’t a Kiss original. It was written by Fowley and originally recorded two years earlier by the Hollywood Stars, a band created by Fowley as the West Coast’s answer to the New York Dolls. In his mind, the Stars could be the rock’n’roll band that made electric guitar music that “little girls could understand.” It didn’t work. Their first record was a flop, the second one went unreleased, and the band broke up in short order. Last year, Light in the Attic unearthed, remastered, and released the original tapes as Shine Like a Radio , which includes their excellent original version of “King of the Night Time World” as well as “Escape” , which was later re-recorded by Alice Cooper . Their version of “King” even got an updated music video featuring the still-living Stars.

The Runaways : “Cherry Bomb” (1976)

There’s no two ways about it: Fowley treated the Runaways like shit. For a primer on how much of an asshole he was to them, it’s worth watching the not-great 2010 biopic The Runaways , in which Fowley is portrayed, brilliantly and melodramatically, by “Boardwalk Empire” star Michael Shannon. For most of the movie, he’s exactly as crass as you’d believe him to be, screaming obscenities at the band to motivate them or make them tougher in the face of violent audiences. In her memoir Neon Angel , frontwoman Cherie Currie recounts how often he’d use the term “dog” as an insult. Still, for all his terrible behavior, Fowley also co-wrote their most iconic song alongside Joan Jett. It’s still an iconic, explosive, lascivious rock’n’roll statement.

Kim Fowley: “Kim Vincent Fowley” (2012)

While the majority of his most iconic work was made in the ‘60s and ‘70s, Fowley hasn’t exactly slowed down. Perhaps his most defining personal statement is from a self-released 2012 album called Death City . (It also appeared on a 2013 Burger Records tape called Let’s Get Blasted .) “Kim Vincent Fowley” is a self-portrait marked by the odd murmurings of an old man—but still, they’re predictably entertaining. “I’m not Brad Pitt, I’m not John Travolta, and I’m not Miley Cyrus,” he says. He details his sickness, his aversion to computers, and his low credit score. He discusses his sex life and reveals some facts about his discography. He may not be long for this Earth, but before he goes, he wants to make sure you know exactly who he is.

Further listening: All four Norton compilations , Impossible But True: The Kim Fowley Story , B. Bumble & the Stingers’ “Nut Rocker” , Cat Stevens’ “Portobello Road” , “Flower Drum Drum” , the Soft Machine’s “Feelin’ Reelin’ Squeelin’” , Them Belfast Gypsies , the Seeds’ “Fallin’ Off the Edge of My Mind” , “Hollywood Nites” , “The Day the Earth Stood Still” , “Fluffy Turkeys” , “California Swamp Dance” , “Motor Boat” , “I’m Bad”

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Motorboat is a Rock song by Kim Fowley, released on January 1st 2003 in the album Living in the streets. If you like Motorboat, you might also like Atmospheres - Radio Session 1967 by The Wimple Winch and Seven and Seven Is - Mono Version by Love and the other songs below ..

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