Playing with this bow and arrow
Gonna give my heart away
Leave it to the other boys to play
Been tempted for too long
Go on, give me a reason to love you
Give me a reason to wanna your man
Give me a reason to love you
Give me a reason if you can
From this time, unchained
We're all looking at a different picture
Through this new frame of mind
A thousand flowers could bloom
Move over, move over, and give us some room
Go on, give me a reason to love you
Give me a reason to wanna be your man
Give me a reason to love you
Reason
Don't you stop looking like some woman
Take a little look from the outside if you can
Saw a little tenderness
Go on, give me a reason to love you
Give me a reason to want to be your man
Give me a reason to love you
Oh please, give me a reason if you can
This is the beginning of forever and ever, ever, ever
I'm so tired of playing
Of playing with this bow and this arrow
Gonna give my heart away
Gonna leave ti to the other boys to play
I've been tempted too long
Too long
I've been tempted every day
Tempted too long
Oh please
Give me a reason too love you
Give me a reason to want to love you
Give me a reason to love you
Give me a reason every day
Reason every day
Iain David McGeachy (11 September 1948 – 29 January 2009), known professionally as John Martyn, was a British singer-songwriter and guitarist. Over a 40-year career, he released 23 studio albums, and received frequent critical acclaim. The Times described him as "an electrifying guitarist and singer whose music blurred the boundaries between folk, jazz, rock and blues".
Martyn began his career at age 17 as a key member of the Scottish folk music scene, drawing inspiration from American blues and English traditional music, and signed with Island Records. By the 1970s he had begun incorporating jazz and rock into his sound on albums such as Solid Air (1973) and One World (1977), as well as experimenting with guitar effects and tape delay machines such as Echoplex. Domestic and substance abuse problems marked his personal life throughout the 1970s and 1980s, though he continued to release albums while collaborating with figures such as Phil Collins and Maeve Aubele, Carolyn Woolham and Lee "Scratch" Perry. He remained active until his death in 2009.
Maybe neither....maybe both. I don't mind which, just loving it.
Shoulda leave it to Portishead to play
nice version...along side Portishead...more acoustical...more stripped down...well done
Since I haven't seen it mentioned here yet... Yes, this song is a cover of Portishead's "Glory Box", but that song draws heavily from Isaac Hayes' "Ike's Rap II". So much so that I would consider Glory Box a Hayes cover; the whole loop (strings and all) was sampled, only the vocal part (and some drum machine acrobatics) were added by Portishead. If I remember correctly, Tricky (or was it JJ Johanson?) also used the same loop in one of his songs. That said, I still like the Portishead version best, but this one isn't bad at all. It's fun to play all four versions one after the other, and let your friends wonder who stole from whom :-)
That was Tricky's Hell Is Round the Corner. Legend has it one of the Portishead boys played an early demo of Glory Box for him and the dude went and used the Hayes sample in a song of his own. I like both songs tho, so I'm glad he stole their idea to steal Hayes' hook. :P
Shoulda leave it to Portishead to play
I disagree, he doesn't try to imitate the original, and the song is well in his chords.
Although a fan anyway; this is one awesome cover version, better than the original (which I like) IMO
LLRP
Being of a generation and possibly a disposition that could not perceive these things, John's rebuttal here falls down and rather makes Beth Gibbon's point for her.
Which is pretty poetic. Plus, the production values are lush and I love a bit of blues noodling. This version of Glory Box, when juxtaposed with the original, elevates them both, in my opinion.