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It wasn't rough and screaming and tape echo at all. Must be great - really screaming record.' And then I heard their record and it was quite straight, and it was very sort of sophisticated. Speaking of "Helter Skelter", he said: "Umm, that came about just 'cause I'd read a review of a record which said, 'and this group really got us wild, there's echo on everything, they're screaming their heads off.' And I just remember thinking, 'Oh, it'd be great to do one. On 20 November 1968, two days before the release of The Beatles, McCartney gave Radio Luxembourg an exclusive interview, in which he commented on several of the album's songs. McCartney has used this song as a response to critics who accuse him of writing only ballads. McCartney then "wrote 'Helter Skelter' to be the most raucous vocal, the loudest drums, et cetera" and said he was "using the symbol of a helter skelter as a ride from the top to the bottom the rise and fall of the Roman Empire-and this was the fall, the demise." In British English, the term " helter-skelter" not only has its meaning of "in disorderly haste or confusion" but is the name of a spiralling amusement park slide. McCartney was inspired to write the song after reading a 1967 Guitar Player magazine interview with the Who's Pete Townshend where he described their latest single, " I Can See for Miles", as the loudest, rawest, dirtiest song the Who had ever recorded. That’s the record that should have gone to Number One. “I really think Precious Time went to Number One on the strength of Crimes of Passion. “If we could have combined some of the songs from the third album with some of the songs from Get Nervous, we would have the correct record, but we made the record too soon,” she says. While Benatar went on to win another Grammy, this time for “Fire and Ice,” she says that Precious Time wasn’t her best shot. With the momentum of the Grammy win, Precious Time hit Number One in its fourth week on the chart. While the album was in progress, Benatar picked up a Grammy Award for best female rock performance, for Crimes of Passion.
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“I didn’t do lots of tracking or use a drum machine. “We just went in there, drank lots of coffee, and went for it,” Benatar says. This was a little more relaxed, because there wasn’t that tension that he was doing all this work and not getting credit for it.” The sessions, at Sound City and Goodnight L.A., went fairly quick. “Neil really co-produced Crimes of Passion, but he didn’t get the credit for it. On Precious Time, Geraldo was credited as co-producer for the first time. One night I slipped them under the door, because I was too embarrassed to show it to him face-to-face.” “When we got back home I wanted to play it for Neil, but I was still kind of shy about writing lyrics, especially when they were about him. “I wrote it on tour when we were on a plane,” she says. “Promises in the Dark,” one of two songs Benatar wrote with her longtime boyfriend Geraldo, is a particularly memorable song for the singer.
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That song was something that rocked, sounded dark, and it was a lot of fun to scream to.” The album closed with Benatar’s version of the Beatles’ “Helter Skelter.” Says Benatar, “My mother even knew the lyrics to that song, because I was such a big Beatles fan when I was growing up. Tom Kelly co-wrote “Fire and Ice,” which went on to become Benatar’s third top 20 hit, and Billy Steinberg penned the title track. Benatar, guitarist Neil Geraldo, guitarist Scott Sheets, and drummer Myron Grombacher all had songwriting credits on Precious Time, but they also brought in some hired guns. “I really wasn’t that confident,” she says. While Benatar had proven that she was a songwriter in her own right with “Hell Is for Children” from Crimes of Passion, she was still just dabbling in songwriting around the period of Precious Time. Then we came home, we took two weeks off, and then we went right into the studio, so we were pretty fried.” “We were doing most of the writing for Precious Time on the road. Following the album’s release, Benatar toured extensively while attempting to come up with new songs for her third album. The album spent five weeks at number two in early 1981, but was unable to unseat John Lennon and Yoko Ono’s Double Fantasy from the top spot. With the success of her second album, 1980’s Crimes of Passion, Pat Benatar became a star. Track listing: Promises in the Dark / Fire and Ice / Just Like Me / Precious Time / It’s a Tuff Life / Take It Any Way You Want it/ Evil Genius / Hard to Believe / Helter Skelter