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nifflersfancy · 5 years

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Runaway Groom - Part 6 (Just Returning Something To Sirius)

You can read it here on AO3!

Here’s Part 5 (Chapter 5 - Consider It Done, You Wanton Sex Goddess) Part 4 (Chapter 4 - Like I Would Grace Your Brothel With My Presence), Part 3 (Chapter 3 - Speaking of Bastards), Part 2 (Chapter 2 - Listening To Pink Floyd Alone) and Part 1 (Chapter 1 - And I Just Want A Million Pounds)!

The feeling of a warm body pressed up against his shifting was the first thing that Remus noticed as he woke. His brows furrowed slightly, not yet opening his eyes as he felt the weight shifting against his chest. "Rem.." A croaky voice murmured against his neck. Remus hummed in response to show that he was awake. Well, awake-ish. "Someone's at the door." "You're dressed." Was all Remus mumbled in response, although tightened his previously limp grip over Sirius' waist. "Your flat. Your door. Probably for you." Sirius responded. Remus knew that he had a point but he was far too comfortable. "They'll go away in a sec. Just sh." Remus grunted, burying his face further into the crook of Sirius' neck. "Stop arguing over who's opening the bloody door and just get up!" James' voice boomed through the door.

They both groaned but reluctantly got up. Remus slipped on a pair of black tracks and chucked Sirius a jumper to wear as well as his boxers. It was such a shame to do so as Sirius really did have a wonderful body, now with several more tattoos than he had had when he first arrived. He had been living with James and Lily for almost seven months now and he and Remus had celebrated their four month anniversary the day before. It made Remus feel a bit silly but it was a big deal to Sirius and made the other man happy so Remus agreed. "We're coming!" Sirius groaned, pulling his hair up into a messy bun, hoping that it would disguise his sex hair. Remus left the room first and merely shook his head with a grin as Sirius slapped his arse in passing.

"Nice hickeys, mate." James smirked upon seeing the door open. Remus rolled his eyes and leaned tiredly against the door. "Good morning, James. I'm fine, thank you for asking." Remus responded sarcastically, hearing the kettle start up beside him as well as the clinking of mugs and spoons as Sirius prepared them both a cup of tea. "Just returning something to Sirius. Apparently he forgot it when he left Paris." James said vaguely. Now that Remus looked at him properly, James appeared to have just woken up, his hair as messy as ever and only wearing pyjamas. He felt a presence beside him and glanced over, seeing Sirius stood there with a frown. "What do you mean?" He questioned, tilting his head to the side slightly, something which Remus had quickly realised that he did when he was curious or confused. James stepped to the side and another man took his place. Remus hardly got to look at him before Sirius threw himself at the other lad, hugging him tightly and speaking rapidly in French. It wasn't often that Sirius spoke in French anymore so Remus was unable to suppress his shiver, ignoring James as he laughed softly at Remus' reaction. They spoke back and further for a few minutes, eventually pulling out of the hug, although Sirius kept the other man within arms reach, keeping his hands on his shoulders as he looked at him. Now that Remus had the chance, he observed the newcomer and realised that he must have been a relative of Sirius'. Most likely a brother. He remembered that Sirius had a brother - although he was a very touchy subject for Sirius so Remus knew very little about him. Remus also noticed that he was in a similar state to how Sirius had been when he first arrived. He wore a casual but clearly expensive suit, which was torn at one of the sleeves. There was dried blood around his nose and his lip was split. It wouldn't have looked too bad if there wasn't a large amount of dried blood on his previously white shirt. Clearly he had stopped bleeding, although it looked like it hadn't been long. "This... Ah, this must be James, yes?" It was now clear that Sirius' English was a lot better than his brothers. "Yes, yes." Sirius spoke, although his accent was stronger now. Whether it was from being around someone else with an accent or just because he had just been speaking French, Remus didn't know. But if it was Regulus' influence then Remus would be willing to let both of them move in with him. He just managed to hide his shiver this time. "Yes, this is James. James was my best friend in Hogwarts. And this is Remus, my boyfriend. Remus, James, this is my brother, Regulus. He went to a school called Beauxbatons in France. My parents didn't want him to turn out like me so they sent him to a boarding school. When they moved me out of Hogwarts, I went to Beauxbatons as well." Sirius explained. "It's a pleasure to meet you, Regulus." James spoke, sending him a warm smile that Remus knew could calm anybody on their worst day. "Yes. Yes, likewise. It is a pleasure to meet you also." Regulus nodded, reaching out a hand to James. the other lad appeared confused by the formalities but shook his hand firmly. It was clear that despite being brothers and being raised by the same people, they had very different upbringings. Although it was most likely that they had the same upbringings but Sirius just didn't listen and rebelled. "Nice to meet you, Regulus." Remus said, doing the same as James by shaking his hand and giving him a warm smile that would let the younger lad know that he was safe with them.

“You as well.” Regulus nodded, releasing Remus’ hand and then stepping back into the safety of his brother’s side.

---

It didn’t take long for Regulus to get settled, seeing as he didn’t have many belongings with him. He would be staying with James and Lily for the time being until he and Sirius could get their own flat. It would be a struggle, money-wise but they couldn’t live off of the others forever.

Whilst Regulus now had Sirius’ old room, Sirius was going to be staying with Remus. He basically lived there anyway and slept there almost every night so it was no different to usual but it just felt like a step ahead. It was exciting but scary.

After Regulus had showered, changed clothes and had something to eat, he seemed a lot more relaxed. Both couples, as well as Regulus and Peter all ate dinner together, a simple pasta dish that James had made, they had settled down to watch a film.

They had put on Love Actually, a classic that everyone knew and loved. They had even put French subtitles on it so that Regulus could keep up easily. By the time the film finished, Regulus had fallen asleep beside Sirius, Peter had gone home and Lily had already retired to bed.

“Reg? Reggie, come on. Va te coucher, petit frère.” Sirius murmured softly, smiling warmly as he saw Regulus;’ eyes open, blinking and furrowing his brows in sleepy confusion before he relaxed, clearly remembering where he was. “Je viendrai ici le matin pour le petit déjeuner. Du repos.”

He knew that Regulus’ English would be terrible in his sleepy state so it was easiest to speak French to him. Twenty minutes later, Regulus was tucked up in bed, as was everyone else. Feeling like a weight had been lifted off of his shoulders, relieved beyond words to have his brother back with him, Sirius got into bed beside Remus with a smile on his face.

“Look at you, you can’t stop smiling.” Remus mumbled, wrapping his long arms around Sirius’ waist and pulling him closer. Sirius could tell that he was exhausted and on the verge of falling asleep. He smile fondly and lovingly stroked Remus’ hair back.

“I’m happy, mon amour. So, so happy.” He saw Remus grin sleepily at the nickname that he often gifted Remus with and it made him chuckle softly. “Sweet dreams.” He whispered a few seconds later but it was pointless. Remus was already asleep and Sirius followed mere minutes after.

[TRANSLATIONS

“Va te coucher, petit frère.” - “Go to bed, little brother.” “Je viendrai ici le matin pour le petit déjeuner. Du repos.” - "I will come here in the morning for breakfast. Rest." “Mon amour.” - “My love.”

Again, I do not speak French so if any of these translations are wrong or sound wooden or anything, please let me know in the comments!

This has not been edited because I am a useless sack of shit. Sue me. (I'm kidding, pls be nice. although I wasn't kidding about it not being edited. It hasn't even been double-checked. Maybe I am just super lazy)

I got so many lovely comments and messages about this the last time so I have decided to continue this! Thank you to everyone, you're all worth your weight in gold! My ego is satisfied but that doesn't mean don't continue to comment lovely stuff bcos I need it!

I have not had a loving relationship in many moons but this was my attempt at fluff. I apologise.

Taaaagging: @holy-shit-its-wolfstar @rosielupin @nagemeikenu @grey-mae@blitheringmcgonagall @psychedelisch because they asked

If any of you have changed your minds, let me know! And if anyone else wants to be tagged in future updates, also let me know!]

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petshopfox · 7 years

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The Top 100 Songs Of All Time: 1. Pet Shop Boys – Always On My Mind/In My House

by Tom Ewing

The intro: 00’00 – 00’39

In December 1987 the Pet Shop Boys released “Always On My Mind”, a cover of the song made famous by Elvis Presley and Willie Nelson. It became the Christmas Number One that year. Almost a year later, they released Introspective, their third album, whose fifth track is a nine-minute version of “Always On My Mind”, including an acid house inspired breakdown that features Neil Tennant rapping. Introspective marks, in Tennant’s words, the end of the band’s “imperial phase”, where virtually anything they tried came off and was commercially successful. It charted at number two, behind U2’s Rattle And Hum.

Sixteen years later, at the end of a Freaky Trigger pub crawl, someone said that “Always On My Mind/In My House” was the best record of all time, and around a dozen of us agreed, or at least did not disagree, and that installed it at number one on our list, a list, we promised, that we would write up for the website over the course of 2005. And so we all went home the merrier for it.

And ten years after that, here we are.

The song: 00’39-02’53 When I wrote about “Always On My Mind” for Popular – giving it a 10 – I suggested the flash and bombast of the Pet Shop Boys’ synth arrangement preserved the song’s humility. I think I was mistaken about that. Neil Tennant isn’t gloating about his neglect of his lover, but he isn’t humble or regretful either. His reading of “Always On My Mind” preserves the admission at the expense of contrition: he is laying out the facts as he sees them, but even at this late stage he will not commit himself. Fortunately, the song has already done it for him: the crashing, swaggering synth riff that defines the Pet Shop Boys’ cover leaves you in no doubt which way Tennant is jumping.

But on this extended version, the riff is discarded, and Tennant’s wonderfully considered vocal holds the spotlight by itself. This time, he’s more thoughtful, more equivocal. And he has been across the whole album. Introspective is called that because that’s what the songs are like – “the Smiths you can dance to”, a winking Pet Shop Boy said to Record Mirror – but what the record is often about is autonomy: the will and fantasy and loneliness of living your life however you choose. As the opening song puts it, “I could leave you, say goodbye. I could love you if I try, and I could, and left to my own devices I probably would” – the desire here is for the fact of the choice, not its making. And on Introspective’s extended version of “Left To My Own Devices”, Tennant is faced with that choice, and smiles, and simply rejects the decision itself, stepping out of the song’s binary into a final-verse dreamscape where all his imagined possibilities mix into each other.

It’s intoxicating – an old rock dream of total individual freedom seductively re-stated as a promise of pop music. A promise – or so I heard it at 15, very ready for such things – that pop contains doors. Doors which, if you bolt through them at the right time, on the right day, could simply upend the way you see the world, by rejecting false choices and connecting impossible things: “Che Guevara and Debussy to a disco beat” – whyever not? Great pop music is forever being confronted by sentences that start “Great pop music is…” and try and throw a rope around it. “Left To My Own Devices” tells me that pop (or love, or people) are defined instead by how they shrug off or wriggle out of definitions.

That was one song, and at the other end of the album, “Always On My Mind/In My House” picks up the same threads, more darkly. Without the riff to bring Tennant’s decision home, he can lose himself in equivocation again: “Maybe I didn’t love you quite as much as I could,” he’s singing, but his unruffled tone is saying… and maybe that doesn’t matter. But the difference between “Devices” and “Always” is that in the former I hardly notice the “you” it’s sung to, I’m as giddy as the song is about its celebration of possibilities. “Always On My Mind/In My House”, though, is haunted by its wounded “you”, who is paying the price for the singer’s indulgent indecision. We can be, to ourselves, as undefined as we like: sometimes other people need us to be fixed.

Tennant makes the opposing case. It’s not enough. The song collapses around him.

The rap: 02’53 – 03’49 The way we worked out the greatest songs of all time was simple. We sat round a table, drinking. Someone named a song. If someone seconded it, it was put to a veto. If enough vetoed, it was off the list. Otherwise, it was on. Once we had a hundred songs, the list was over, and the final named record was number one. It seemed as honest a method of making a list as the usual ways, one as likely to reward happy memories or well-timed jokes as acknowledged classics.

One of the things that is favoured when you make a list that way, in the pub, are moments that can be easily imitated, in the pub. Neil Tennant’s rap on “Always On My Mind/In My House” is such a moment. In the plan of the record and its emotional journey that I’m outlining, it has a place – a list of excuses for inattention that the production, speeding and slowing, turning Tennant’s speech into a calliope ride, seems to mock. In the Pet Shop Boys’ career it has a precedent too – it’s an extension of “The Sound Of The Atom Splitting”, their theatrically disturbing surrealist B-Side.

None of that matters next to the pleasure of putting on a funny deep voice and going “You were AWLWAYS” like a slowed-down record. It’s silly, as befits the greatest song of all time.

The breakdown: 03’49 – 05’22

It’s the end of 1988, the dying days of it, that odd slice after Christmas and before New Years. I’m in my room, listening to a cassette of Introspective that I copied off a friend. The album is a few minutes too long for half a C90, so the final track, “It’s Alright”, cuts off. I don’t mind that as much as I should, because in 1988 I don’t understand “It’s Alright”. A cover of a house music track by Sterling Void, the man with the greatest name of all time, it sounds corny and repetitive to me.

But for thousands of people Sterling Void, and musicians like him, are one of those doors that open up in pop and rewrite the shape of their world. A few miles outside my bedroom is the M25 London Orbital motorway, opened two years earlier. On it, British pop music is changing nightly. The looped road means that convoys of cars can move around it at speed, looking for illegal warehouse parties, getting instructions at service stations or on new mobile phones that keep them an hour or two ahead of the police. The house and techno music played at them (and in clubs, and in fields) has begun its irreversible transformation of British pop.

The Pet Shop Boys – born out of a shared love of clubbing, remixes, import 12”s – looked well placed to take advantage of this new world. Instead, they never really meshed with it. The roots of their work were in Hi-NRG, synthpop, Freestyle, italo – the melange of post-disco dance musics where smart, direct lyrics and strong pop songwriting could thrive. The blissful structural explorations of house and techno – its repetition, its long breakdowns, the different ways it used vocals – drew on other parts of clubbing history and culture. Like pub rockers when punk came along, the Pet Shop Boys almost fitted in, but that almost could suddenly seem glaring.

I assumed, perhaps, that Introspective was the Pet Shop Boys making house music. It’s not: it’s the Pet Shop Boys responding to house music, trying to fit some of its ideas to their template. The breakdown of “Always On My Mind / In My House” is the best example of this. An acid bassline underneath a mournful orchestral melody, leading into an angry thicket of programmed drums, and then the whole thing repeats. It’s unsteady, more a travelogue than a groove, and it sounds little like any contemporary club music. The template is still the extended pop 12” mixes of the mid 80s – by remixers like Francis Kevorkian or Jellybean Benitez. Even so it feels like a house-inspired version of those, because of the dark bassline, the pitched-up squeaks of “You were always!”, and because while it sounds eventful now, back then this middle stretch of the song seemed forbidding, alien even, in its minimalism.

All this is knowledge applied in hindsight. It’s 1988. The new world is propagating imperfectly, and has not reached my bedroom. The magazines I read are other schoolboys’ copies of Q and Record Collector, which have no interest in orbital raves. They lead me to Morrissey and REM at best, U2 and Pink Floyd at worst. I start the Second Summer Of Love exploring classic rock, sometimes with enthusiasm, increasingly with duty. Then I discover the Smiths – a door to bolt through, a name to call myself. I like indie music. By the end of the year I’m an evangelist, drunk on new rules and prejudices. But my friend has the new Pet Shop Boys album, and offers to tape it for me. We used to listen to Actually together, but that was long ago, all the way back in 1987, when I was 14 not 15, and I still liked pop, not indie. I’ve made my choice.

The drop: 5’22 – 5’30

I’m wrong.

The triumph: 5’30-6’46 The riff – and with that sudden shunt of synthesiser at 5’22 the whole of “Always On My Mind / In My House” is revealed as an extended exercise in delaying it – doesn’t just define this Pet Shop Boys cover version. It defines their entire, storied, “Imperial phase”. I once spent a whole Pitchfork column trying to throw a rope around the term “Imperial phase”: I suspect it wriggled free. But the point of them, it seems to me, isn’t just that the stuff you always do well becomes absurdly popular, it’s that the stuff you stretch for, and risk, comes off too. So while a relatively mediocre Pet Shop Boys single like “Heart” reaching Number One is the sign of an Imperial Phase, so too is the band invading the rock canon, at Christmas, with an Elvis cover and a video of clips from a surrealist film they’ve made, and it seeming like perfect, swashbuckling sense. And this also is a promise of pop music: it can make any decision you take seem the right one.

“Always On My Mind/In My House” is not part of the phase, by Neil Tennant’s own definition. “Domino Dancing”, the melancholy lead single from Introspective, was the Pet Shop Boys stretching once again – two uptight Brits making Latin synthpop – and it failed: it staggered into the Top 10. The game was up. So this uproarious minute of music, the riff rampaging through the song, synthesisers squealing and drum machines crashing around it, is a victory lap and farewell to the brief moment of British pop when the Pet Shop Boys were in charge of it. They will go their separate ways now, the Pet Shop Boys becoming a band that can release songs like “Left To My Own Devices”, “Being Boring”, “Can You Forgive Her?”, and “Se A Vida E”, an occasional, clever counterpoint to the rest of whatever pop is doing. But in this minute, this bubble of pop, they will always reign. Wasn’t it fun?

The Resolution: 6’46 – 8’11 Meanwhile there’s a song to finish – one last go-around for “Always On My Mind”, this time closer to its hit single version, with the riff appended, once again making Tennant’s choice obvious. The seductive refusal of decision in “Left To My Own Devices” finds its balance, the tune finds its breakdown, and the album can proceed to its happy ending. As can this list.

It’s 1988. The thing about pop music, when you’re 15, is that its doors open all the bloody time. Years later, month-long obsessions or beliefs seem like eras. Was there a time when I disapproved of pop music, on the say-so of Morrissey or Roger Waters or some spanner on the front of the NME? There was, but it didn’t last. I’d like to say the moment I heard “Always On My Mind/In My House” killed it, but things are rarely so neat. Still, it was a moment – I rewound it again and again, playing the whole album or just that track or just that minute or two. After it, I could not honestly stake a position where I disliked pop music. Within it, I could trace the outlines of other doors, into house and disco, and a world where the glorious return of the riff wasn’t a great pop trick, but a first principle of making and building music.

The Coda: 8’11 – 9’04

It’s the most liminal time of the year. The days between Christmas and New Year are, if left unfilled, an unsatisfying appendix, like the minute or so of unadorned beats you find sometimes at the end of dance tracks, a residual tail for the mixer to match the next record to. Christmas is the year’s natural climax, New Year its natural beginning. The space in between is an equivocal season, something left hanging like an unresolved decision, or an unfinished list.

So we – a very specific we, the list-makers – fill it up, coming together every December 29th to go to pubs, catch up, talk nonsense, and occasionally in former years make lists of things to write about. Why lists? Because we were sad old nerds, obviously. But also, we liked – or at least, I liked, and I’m the one stuck writing this – the conceit that this unfixed time of year, and the magic of the pub, was a good time to make arbitrary decisions, like naming the greatest records, and accept the challenge of one day writing as if those decisions were right.

And now the list is finished. Something else can be the greatest record of all time. Not everyone who started reading the list is still reading, not everyone who made the list is still with us. I’m going to post this, put on my coat, go to the hospital, and then eventually go to the pub, because it’s December 29th and that’s what I do. Perhaps I’ll see you there.

“The impulse behind this “10″ is probably the same as the impulse of the “10″ for “Atomic” – whether it’s a cover version or not, important or not, this does what I need a pop record to do, perfectly and reliably. When you start saying “it needs something extra to be a 10″, what you’re doing is saying that joy on its own can’t be enough. I object to this idea. That objection can get misinterpreted as a hedonistic philosophy – that joy is always enough, pleasure above everything in criticism – but it’s not: of course pop can act in ways beyond simply ‘being pop’, how boring if it couldn’t! But I wouldn’t be much of a pop fan if I didn’t think that sometimes simply being pop IS enough to get the highest praise I can give.” “I think it’s going to be alright.”

#Pet Shop Boys #Always On My Mind #Always On My Mind/In My House #Tom Ewing #Article #Introspective #Music

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brittanyyoungblog · 6 years

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Songs About Jealousy: 60 Jealous Love Songs

Fear. Anger. Mistrust. Envy. Apprehension. It’s not one of the nicer sides of love, but jealousy is a part of it. When you’re with someone you care deeply about it can drive you a little crazy, have you doubting yourself and your relationship, and make you wonder What does this person even see in me? Is it any wonder there are so many songs about jealousy?

Whether you’re watching the one you love with someone else across a room full of faces, lusting after your best friend’s girl, or just wondering what you’d do if you were her man, there’s a jealous song that might not make you feel any better but maybe a little less alone. Check out the list below or listen to it on Spotify.

1. Jealous Bone, Patty Loveless And I know I’m gonna run you off, if I don’t learn to let you go. But ooh oh you make me lose control.

2. Jealousy, Natalie Merchant Is she the sort you’ve always thought, could make you what you’re not?

3. My Best Friend’s Girl, The Cars You’re always dancing down the street with your suede blue eye-eyes. And every new boy that you meet doesn’t know the real surprise.

4. Lounge Act, Nirvana I’ll arrest myself and wear a shield. I’ll go out of my way to prove I still smell her on you.

5. Hey Jealousy, Gin Blossoms The past is gone but something might be found to take its place… Hey jealousy.

6. Mr. Brightside, The Killers Jealousy, turning saints into the sea, swimming through sick lullabies, choking on your alibis.

7. No One Else, Weezer I want a girl who will laugh for no one else. When I’m away she puts her makeup on the shelf.

8. When It Was Me, Paula Oh, oh, and I’m not jealous, no, I’m not. Oh, oh, I just want everything she’s got.

9. Revenge, P!nk Featuring Eminem I’m daydreamin’, let me count the ways how I’ll get you or how I’ll make you pay.

10. You Can’t Do That, The Beatles I got something to say that might cause you pain. If I catch you talking to that boy again, I’m gonna let you down and leave you flat. Because I told you before, oh you can’t do that.

11. Every Breath You Take, The Police Oh can’t you see, you belong to me. How my poor heart breaks, with every breath you take.

12. When I Was Your Man, Bruno Mars Should have gave you all my hours when I had the chance. Take you to every party ’cause all you wanted to do was dance. Now my baby’s dancing but she’s dancing with another man.

13. You Belong with Me, Taylor Swift If you can see I’m the one who understands you. Been here all along so why can’t you see, you belong with me.

14. That’s Him Over There, Nina Simone I guess that you know what extremes I have gone to, to prove that I didn’t care. You were so anxious to meet the dream that I’ve hung onto. Well, that’s him, that’s my Jim, over there.

15. She’s Got You, Patsy Cline I’ve got your class ring that proved you cared. And it still looks the same as when you gave it, dear. The only thing different, the only thing new, I’ve got these little things, she’s got you.

16. Gallery, Mario Vazquez And girl you’re just way too fine. Gotta be treated as one of a kind. Girl use your mind. Don’t be just another dime.

17. Girl Crush, Little Big Town I want to taste her lips. Yeah, ’cause they taste like you.

18. Green is the Colour, Pink Floyd Envy is the bond between the hopeful and the damned.

19. Jealous Guy, John Lennon I’m sorry that I made you cry. Oh my I didn’t want to hurt you. I’m just a jealous guy.

20. Jessie’s Girl, Rick Springfield I feel so dirty when they start talking cute. I wanna tell her that I love her but the point is probably moot.

21. Satellite of Love, Lou Reed I’ve been told that you’ve been bold with Harry, Mark, and John. Monday, Tuesday, Wednesday to Thursday. With Harry, Mark, and John.

22. Who Is He (And What Is He to You?), Bill Withers Now when I add the sum of you and me, I get confused when I keep coming up with three. You’re too much for one man, but not enough for two.

23. If I Lost You, Garbage There are times when I see you talking to other girls, I feel insecure. And every time I see you walking out, I wonder if you’re coming back to me.

24. Jealous (I Ain’t With It) So is it really my fault, I get a shiver when I see you with those other guys.

25. Jealous Again, The Black Crows Stop, understand me. I ain’t afraid of losing face. Stop, understand me. I ain’t afraid of ever losing faith in you.

26. Tell Her No, The Zombies And if she should tell you come closer, and if she tempts you with her charms, tell her no no no no no-no-no-no.

27. Ring the Alarm, Beyoncé Ring the alarm, I been through this too long, but I’ll be damned if I see another chick on your arm.

28. I (Who Have Nothing), Ben E. King I, I who have no one, must watch you go dancing by, wrapped in the arms of somebody else when, darling, it’s I who loves you.

29. Jealous Hearted Blues, Ma Rainey Going to buy me a bulldog, to watch him while I sleep. Just to keep my man from making his midnight creep. Yes I’m jealous, jealous. Jealous hearted me.

30. Jealousy, Queen Oh jealousy you tripped me up. Jealousy you brought me down. You bring me sorrow you cause me pain. Jealousy when will you let go?

31. Treat You Better, Shawn Mendes I won’t lie to you, I know he’s just not right for you.

32. The Jealous Kind, Joe Cocker It’s just that I’m so afraid someone might steal you away, I’d lose my mind. So please forgive me for the way I act sometimes. I’m the jealous kind.

33. I Want Your Girlfriend to Be My Girlfriend Too, Reel Big Fish There’s a little girl I know, you might know her too. She looks so good, she looks so cute, standin’ next to you. And I don’t know what to do.

34. Silver Springs, Fleetwood Mac Don’t say that she’s pretty, and did you say that she loved you. Baby I don’t want to know.

35. Jealous, Nick Jonas It’s not your fault that they hover, I mean no disrespect. It’s my right to be hellish. I still get jealous.

36. Before He Cheats, Carrie Underwood Right now, she’s probably up singing some white-trash version of Shania karaoke. Right now, she’s probably saying “I’m drunk” and he’s a-thinking that he’s gonna get lucky.

37. Jealous Lover, Rainbow Shades of red, eyes of green, sees black and white, and there’s no in between.

38. Forgive My Jealousy, Chuck Jackson Forgive this foolish fear that rages inside of me. Oh, I love you so much love has blinded me.

39. Beautiful Liar, Shakira and Beyoncé I walked in on your love scene, slow dancing. You stole everything, how can you say I did you wrong.

40. Pickup Truck, Kings of Leon And in the moonlight I throwed him down, a kicking, screaming, a rolling around. A little piece of a bloody tooth. Just so you know I was thinking of you.

41. Want U Back, Cher Lloyd Remember all the things that you and I did first? And now you’re doing them with her. Remember all the things that you and I did first? You got me, got me like this.

42. Bust Your Windows, Jazmine Sullivan I bust the windows out ya car and no it didn’t mend my broken heart.

43. You Oughta Know, Alanis Morissette Is she perverted like me? Would she go down on you in a theater? Does she speak eloquently? And would she have your baby? I’m sure she’d make a really excellent mother.

44. Girlfriend, Avril Lavigne She’s like so whatever. You could do so much better. I think we should get together now.

45. Dysentery Gary, Blink 182 Life just sucks, I lost the one. I’m giving up. She found someone. There’s plenty more. Girls are such a drag.

46. Jealousy, Spoon Jealousy, you have never done a thing for me.

47. Endlessly Jealous, Lou Reed Endlessly jealous of you, being endlessly jealous of me. The man that you thought I could be turning red with jealousy.

48. Jealousy, Iggy Pop I feel it comin’ it’s flushin’ my face. I feel it comin’ jealousy baby. I feel it comin’ boilin my blood . I feel it comin’ jealousy baby.

49. Jealousy, Billy Fury I loved you too well. For I doubted you in my heart. My life was hell every moment we were apart. Why did I make that big mistake? I wronged you right from the start.

50. False Accusations, Robert Cray I was so wrong. She’s gone tonight. I was so wrong. I can see her now. And jealousy had twisted me somehow.

51. Suspicious Minds, Elvis Presley We’re caught in a trap. I can’t walk out, because I love you too much, baby.

52. Dark Lady, Cher So I sneaked back and caught her with my man, laughing and kissing till they saw the gun in my hand. The next thing I knew they were dead on the floor. Dark lady would never turn a card up anymore.

53. I Wonder What She’s Doing Tonight, Tommy Boyce and Bobby Hart We were so close but we should’ve been closer and it’s making me feel so sad. But I tell myself I didn’t lose her ’cause you can’t lose a friend you never had.

54. Run for Your Life, The Beatles Well I’d rather see you dead, little girl, than to be with another man.

55. My Girl Bill, Jim Stafford Bill, you know we just left her place, and we both know what she said. She doesn’t want to see your face, and she wishes you were dead!

56. He Don’t Love You (Like I Love You), Tony Orlando and Dawn The handsome guy that you’ve been dating, whoa, I got a feelin’ he’s gonna put you down.

57. The Girl is Mine, Michael Jackson and Paul McCartney I don’t understand the way you think, saying that she’s yours not mine. Sending roses and your silly dreams, really just a waste of time.

58. No Reply, The Beatles I nearly died, I nearly died. ‘Cause you walked hand in hand with another man in my place.

59. Him or Me – What’s It Gonna Be, Paul Revere & The Raiders I can still recall when you told me I was all everything you looked for in a man. But I know that it’s not true, I’ve seen the way he looks at you, and I think you’re gonna hang me up again.

60. Jealous, Robert Palmer When I see you with that guy and he catches your pretty eye, yYou know it makes we want to die.

The post Songs About Jealousy: 60 Jealous Love Songs appeared first on The Date Mix.

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