( transitive ) To put to death to extinguish the life of.My words stumble before I start, How far can you send.
If you leave them out too long, They'll be withered by this song, Full stops and exclamation marks. x2 I hang my hopes out on the line, Will they be ready for you in time. Kill ( third-person singular simple present kills, present participle killing, simple past and past participle killed) I'm going in for the kill, I'm doing it for a thrill, Oh I'm hoping you'll understand. Or, from Old Norse kolla ( “ to hit on the head, harm ” ), related to Norwegian kylla ( “ to poll ” ), Middle Dutch kollen ( “ to knock down ” ), Icelandic kollur ( “ top, head ” ) see also coll, cole).Ĭompare also Middle Dutch killen, kellen ( “ to kill ” ), Middle Low German killen ( “ to ache strongly, cause one great pain ” ), Middle High German kellen ( “ to torment torture ” ).Or, possibly a variant of Old English cwellan ( “ to kill, murder, execute ” ) (see quell).Perhaps from Old English *cyllan, from Proto-West Germanic *kwulljan, from Proto-Germanic *kwuljaną, from Proto-Indo-European *gʷelH- ( “ to throw, hit, hurt by throwing ” ).“It got my attention - but it didn’t get me,” the singer said with pluck.From Middle English killen, kyllen, cüllen ( “ to strike, beat, cut ” ), of obscure origin. Oh, and he also had a massive heart attack, requiring a double bypass operation that many believed he wouldn’t survive. “If I’d been in there, I’d be up in smoke,” he said. “No air-conditioners working - and in that heat!” While creating the album over the last five years, McLain endured a Job-like string of disasters, including three Louisiana hurricanes that “tore up everything,” he said. Unfortunately, things went deeply south from there. Adcock recorded parts of those songs on his phone, played them for his publishing company and, in 2019, helped secure a fresh contract for McLain with Decca Records. A longtime swamp-pop fan, he befriended the older singer in the Louisiana music scene and was thrilled to discover that McLain had been writing new songs in secret for years. It’s Adcock who made McLain’s comeback possible. “They’re both for working class people, not art school kids.” “There’s a commonality in the lightheartedness,” Adcock said. Adcock, a successful Louisiana musician who produced McLain’s new album, there’s a connection between the down-to-earth ethos of Southern swamp-pop and British pub-rock, the rootsy scene that spawned stars like Lowe in the ’70s. The soul and immediacy of the music made it a cult favorite in Britain, earning ardor from the then young stars Costello and Lowe, as well as Robert Plant. I'm going in for the kill I'm doing it for a thrill Oh, I'm hoping you'll understand And not let go of my hand Bridge Let's go to war to make peace Let's be cold to create heat I hope in darkness. and label owner Charlie Gillett created a compilation album of swamp-pop titled “Another Saturday Night,” which included work by McLain. Nearly a decade later, McLain’s music made an improbable, but indelible, connection in Britain when the London-based D.J. For a brief while, starting in 1966, McLain earned national acclaim by scoring a Top 20 hit with “Sweet Dreams,” which Patsy Cline had also successfully recorded. But, mainly, it spawned regional legends like McLain, Bobby Charles, Johnnie Allan and Warren Storm. Elements of that rolling sound can be heard in songs recorded by pivotal stars, including Elvis Presley (his version of “Lawdy Miss Clawdy” by Lloyd Price) and the Beatles (“Oh, Darling”). Nurtured in McLain’s south Louisiana, in key part by Cajun artists, swamp-pop has as many roots as a bayou cypress tree, twisting together New Orleans R&B, country, soul, pop and rock, along with various Louisianian styles. Im shakin so fast that you could say Im vibratin Theres a sickness in my head a hunger escalatin Theres no other ending to this shit so why the fuck.