However much I push it down It's never enough However much I push it around It's never enough However much I make it out It's never enough Never enough However much I do
However big I ever feel It's never enough Whatever I do to make it real It's never enough In any way I try to speak Never enough Never enough However much I try to speak It's never enough However much I'm falling down It's never enough However much I'm falling out It's never enough Whatever smile I smile the most Never enough Never enough However I smile I smile the most
So let me hold it up just one more go Holding it over just once more One more time to fill it up One more time to kill Whatever I do it's never enough It's never enough
However much I push it down It's never enough However much I push it around It's never enough However much I make it out It's never enough However much I do Never Never enough However much I'm falling down Never enough However much I'm falling out Never, never enough Whatever smile I smile the most Never enough However I smile I smile the most
So let me hold it up just one more go Holding it over just once more One more time to fill it up One more time to kill Whatever I do it's never enough Never enough So let me hold it up just one more go Holding it over just once more One more time to fill it up One more time to kill Whatever I do it's never enough It's never enough It's never enough It's never enough It's never enough It's never, it's never enough
Writer/s: Boris Williams, Porl Thompson, Robert James Smith, Simon Johnathon Gallup
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind
Mark Saunders from Stroud, UkThis is not exactly how it happened actually....I was there working with the band. It was just Robert and I working on a song called 'Harold and Joe' which later became a b-side. It was a quirky mostly programmed electronic track. The rest of the band were there and getting increasingly frustrated because they were not being used by Robert to play on anything. I could sense that they were not that happy with me, although it was Robert that was pushing to go in the more electronic direction....I personally loved the glorious sound of Robert with the full band. One day the band walked into the live room of the studio where I was working with Robert (we were in the control room). I remembered being glared at by Simon....they all looked pretty pissed off - understandably. They started jamming together. We couldn't hear it because the soundproofing between the rooms was great - I could just see them through the big window. After a while Robert went off to the bathroom. I was curious. We only had one vocal mic set up to record Robert - a beautiful vintage Neumann 47. I opened up that channel on the desk to hear what the band was playing and was blown away by what I heard. It sounded exactly like they looked - a combination of passion and anger. I think their intention was to blow what Robert and I were doing out of the water - and they certainly did that. When Robert can back into the room, I said 'Listen to this!'. He loved it and immediately went in and started working with them on the track. And as they worked out what would become 'Never Enough', myself and the studio assistant started furiously miking up the drums and guitar amps etc in an attempt to capture this glorious noise while the emotions were still raw. It was a wonderful experience to witness. In my memory, it all happened very quickly after that.....but maybe Robert wrote the lyric overnight and we recorded him sing the next day. One things for sure though, the main riff of the song was written while the band were jamming it out before Robert got involved.
Incidentally, the first day I walked into the studio for that session, I passed a room where Perry was on his own playing a keyboard with a pair of headphones on. the studio assistant told me that they'd just told him he was upgraded from roadie to keyboard player as Robert had just fired Roger. Quite the upgrade! Perry was extremely nervous and busy learning all the keyboard parts. He later switched to guitar. I was very happy for him, he's a lovely guy.
April from Houston, Txooops I had to edit it correctly. It will read correctly now. but i didn't like this song at first. it grated my nerves until i realized the song is about that feeling. it is never enough and that's frustrating.
At the end of "Love Bites" by Def Leppard, there are some vocals that are hard to understand. It was rumored that they were: "Jesus of Nazareth, Go to Hell." It is actually producer Mutt Lange saying "Yes it does, Bloody Hell," with a thick British accent.
Michael Jackson's "Liberian Girl" opens with the South African female singer Letta Mbulu saying the Swahili phrase "Naku penda piya-naku taka piya-mpenziwe." There was some geographic liberty here, as Swahili is not spoken in the West African nation of Liberia.