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Live in the Moment Lyrics - Portugal. The Man

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Lyrics to "Live in the Moment" song by "Portugal. The Man"

When yuh live in the past
Yuh lost
(Blessed, blessed)
Yuh better walk on the right path
Big life, liberty, straight up
Mankind what me sing
(Sung)Memories don't live like people do
They always 'member you
Whether things are good or bad
It's just the memories that you have
The Beenie Man a sing
(Say hey)Boy, stop live down inna de past
Just member when man a ride 'orse
Now yuh dead that mean yuh soul lost
Crushed like a serpent snake under grass
(Again)Boy, stop live down inna de past
Just member when man a ride 'orse
Body between di board head peep through the glass
Crushed like a serpent snake under grassMeg, peg, Dis a man yuh dead
Way back inna di west before dem lick Jango head
For a few more dollars 'nother one dead
High plains drifter man ah fled
(I sing)Too much wickedness
Down inna di west, down inna di west
While a Apache form dem nest, dem nest
Outlaw Josey Wale, get vexed
(Get vexed)All bounty hunter dem draw fi dem vest
(Dem vest)
Gold an diamond wicked man intercept
(Intercept)
Pack up mi saddle and decide to make a flex
Way back inna di future
Where me have to make a step
(All sing along)Memories don't live like people do
They always 'member you
Whether things are good or bad
It's just the memories that you have
The Beenie Man a sing
(Say hey)Boy, stop live down inna de past
Just member when man a ride 'orse
Now yuh dead that mean yuh soul lost
Crushed like a serpent snake under grass
(Again)Boy, stop live down inna de past
Just member when man a ride 'orse
Body between di board head peep through the glass
Crushed like a serpent snake under grassI cyaan believe or understand
Why some man approach with white man tradition
Talk 'bout dem a Cowboy and Indian
Me a African an me born black ,anAnd a who upon di mic di fabulous Beenie Man
Some mawga skinny and same cranky one
Talking lyric to all di nation
(All sing along)Memories don't live like people do
They always 'member you
Whether things are good or bad
It's just the memories that you have
The Beenie Man a sing
(Say hey)Boy, stop live down inna de past
Just member when man a ride 'orse
Now yuh dead that mean yuh soul lost
Crushed like a serpent snake under grass
(Again)Boy, stop live down inna de past
Just member when man a ride 'orse
Body between di board head peep through the glass
Crushed like a serpent snake under grassWhat I caan understand
Why some man ah revere white man tradition
Talk 'bout dem a Cowboy and Indian
Like dem no respect dem complexionMi black and mi ugly, Africa me come from
One day yuh got to return to dat land
Selassie I, me praise
Its here me make mi stand
(So sing along)Memories don't live like people do
They always 'member you
Whether things are good or bad
It's just the memories that you have
The Beenie Man a sing
(Say hey)Boy, stop live down inna de past
Just member when man a ride 'orse
Now yuh dead that mean yuh soul lost
Crushed like a serpent snake under grass
(Again)Boy, stop live down inna de past
Just member when man a ride 'orse
Body between di board head peep through the glass
Crushed like a serpent snake under grass

Songwriters
SLY DUNBAR, MOSES DAVISPublished by
Lyrics © Warner/Chappell Music, Inc., Universal Music Publishing Group Song Discussions is protected by U.S. Patent 9401941. Other patents pending.

Enjoy the Live in the Moment Lyrics!!!


Portugal. The Man is an experimental indie rock four-piece centered on frontman John Baldwin Gourley’s abstract musical approach and corresponding upbringing. He was raised in a sort of technological isolation: his log cabin home in the winter wasteland of the fringes of Wasilla, Alaska was powered by a generator and had no telephone. Both of his parents helped completely immerse him in the unique lifestyle that comes with a land of seasonal darkness and perpetual cold with their jobs as dog sled mushers. Gourley’s innate curiosity and individual spirit combined with a fascination with science fiction and experiences of homelessness create a distinctly transcendent sound that is always open to interpretation and change.

Even though members were born in Alaska, the band formed in Portland, Oregon, USA, in 2004 with the union of Gourley (vocals, guitar, organ, machines) and his childhood friend Zachary Scott Carothers (Bass, percussion, vocals) after the break-up of their band Anatomy Of A Ghost. Jason Sechrist (Drums and Gang) of Portland, OR joined in 2005. Current lineup includes Ryan Neighbors (Piano, Rhodes, Organ, Synth, Vocals). They are however known for fluidity in both their music and their lineup and often feature guest appearances.

The band’s debut album, Waiter: “You Vultures!” was released by Fearless Records on January 24th, 2006.

On June 22, 2007 they released their second full length, Church Mouth. The band then set out on a full US tour with support from The Photo Atlas, Play Radio Play, Tera Melos, and The Only Children. They then toured Europe, and followed it up with another US headlining tour with support from Rocky Votolato and Great Depression during September and October. Following this tour, they joined Thursday on a short east coast tour in November alongside Circle Takes the Square.

Portugal. The Man collaborated with the band The Sound of Animals Fighting on the re-release of their first album, “Tiger and the Duke.” Portugal. The Man remixed three of the songs on that album.

On July 30, 2008, it was announced that Portugal. The Man would release Censored Colors under its independent record label, Approaching AIRballoons, with a partnership with EQUAL VISION RECORDS. The album was released September 16, 2008.

On April 9th, 2009, Portugal. The Man announced a fourth studio album, The Satanic Satanist. It was released on July 21, 2009.

As of October 2009, It was announced through Twitter that Portugal. The Man have completed another album entitled “American Ghetto” which combines their progressive rock style from their latter albums with some of the electo style from their “Its Complicated Being A Wizard” release. A listening party was held for a group of 17 fans in Los Angeles CA. The album was released on March 2, 2010.

The Got it All (This Can’t Be Living Now) Songfacts reports the band’s sixth album and first for Atlantic, In the Mountain in the Cloud, was released on July 19, 2011.

It was last spring 2012, and John Gourley—frontman of Portugal. The Man—found himself in New York City about to ring the bell at Danger Mouse’s apartment--a long way from his current home in Portland, and farther still from his real home in Alaska. Six full-length albums in six years, nonstop touring, a stint with The Black Keys and festival stops at Coachella, Bonnaroo and Lollapalooza—up until this moment, Portugal. The Man embodied all dimensions of DIY rock range.

When it came time to begin work on the seventh album, Gourley thought long and hard about the next move and kept coming back to one concept: The most satisfying work is collaborative work. From building houses with his father in Alaska to building a devoted fanbase, he had sought partnerships. So he took a bold step — bold for a proven band, bolder still for its uncertainty of sound — a step up to the apartment of a possible collaborator, Danger Mouse.

“I walked into his place,” Gourley remembers now. “And it wasn’t going to happen. He was like, ‘Hey, man, just so you know, I don’t really want to record a rock band.’ And I was a little relieved. We’d done this by ourselves before, and we knew we could do it by ourselves again.”

But then they got to listening, and to talking about how much Danger Mouse had loved In the Mountain in the Cloud — the 2011 followup to Portugal. The Man’s break out record The Satanic Satanist. “From that very first meeting,” says Danger Mouse, “we were very ambitious about what we could do…otherwise there was no point. So we decided: Let’s try and make something really special.”

So Danger Mouse — aka Brian Burton, the five-time Grammy award winning producer behind everything from Gnarls Barkley and Beck to The Black Keys and now U2 —and the band agreed that they were game for the challenge and began production on what would become Evil Friends, the undaunted re-awakening for Portugal. The Man. As much as their collaborative imaginations melded, to construct songs that lived up to the ambitious visions they had would take some time. After all, here was a band with an evolving lineup — Kyle O’Quin on keyboards, Noah Gersh on guitar/percussion/keyboards, and Kane Ritchotte on drums joined Zach Carothers on bass and vocals and Gourley on lead vocals and guitar — building new songs with a new producer trying to do something neither of them had done before.

They went, together, to Los Angeles and worked through several sessions — at Mondo Studios, Eltro Vox Studios, and Kingsize Soundlabs. The band worked months longer than they ever had on one thing. And somehow — maybe it was the collaboration in the air, or maybe sheer will — they finally stopped searching and started realizing: “What really brought our record together was getting past that period of looking for something, and figuring out how to do something really new, really hard, and really satisfying,” said Gourley.

Each track on Evil Friends is as different from the next as Portugal. The Man’s previous records were from each other, which is to say a piece of a growing mindscape, and wholly a part of the group’s tumbling fever dream. Where the 2009 hit People Say was a cheery guitar rally, the new title track is a bells-and-balls ballad emerging from darkness into a pipe-whistling punky thump, albeit with Gourley’s trademark falsetto and thundering guitar. And yet here is Evil Friends swirling, like a tornado that sends a napping child toward Oz, into something of a tale of Portugal. The Man’s arousal from when it decided to make something special to when it actually did: The weighted down questions of “Plastic Soldiers” (Could it be we got lost in the summer? / Well I know you know that it’s over) give way to the confident melodies of “Modern Jesus” (The only rule we need is never giving up / The only faith we have is faith in us) and finally, brazenly, to the anthem “Smile” (We watched the sun come up / But took it down to hide it / Seems like the spring has come and gone / It felt like forever).

It took all year, and Portugal. The Man — a group guaranteed for seven years to pump out a record, to tour and tour and tour, to tuck its fans to bed at night with a community of psychedelic rock — had learned to slow down and transform all-day, all-night recording with Danger Mouse into adrenaline, into words that are at once dark and light, into sounds that are overlapping with danger and charm. The whole “evil friends” thing was just a happy writing accident, by the way, a lyrical coincidence belying a collaborative friendship Burton says taught him, too: “I felt like I was watching them do something special and I wanted to let them do it, so sometimes I was more hands-on, but sometimes more hands-off than I had been with anyone,” says Danger Mouse. “They had done enough albums that I thought it would be fun to shake it up a little bit.”

“In the beginning, I asked Brian why he had wanted to talk about making a record,” recalls Gourley. “And he admitted that he was surprised when he saw us live. ‘I didn’t know you guys could sound like that.’ There had been this perception that we’ve been something else — and I’ve noticed it, at festivals, everywhere — that we were something we were not. But then we got in a room with Danger Mouse, to the place where we could just throw that out, wake up and say, Here we are. We’re this band! Let’s just make it, together.”

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