Back Tracks: Adam Ant - The Second Disc

About the Song

If you grew up in the ’80s, there’s no doubt you’re familiar with the name Adam Ant. This flamboyant and charismatic singer-songwriter captured the hearts of millions with his unique blend of pop, punk, and new wave. One of his most iconic songs, “Goody Two Shoes”, became an anthem for a generation.

Released in [Year], “Goody Two Shoes” was an instant hit, topping the charts and becoming a cultural phenomenon. The song’s infectious melody, coupled with Ant’s energetic performance, created a irresistible combination. The lyrics, while seemingly simple, are filled with clever wordplay and social commentary. Ant’s alter ego, the “good boy gone bad,” resonated with young people who were eager to break free from societal expectations.

What truly sets “Goody Two Shoes” apart is its visual impact. The music video, with its striking imagery and Ant’s androgynous appearance, was groundbreaking for its time. It helped to solidify Ant’s status as a fashion icon and cultural touchstone.

Beyond its commercial success, “Goody Two Shoes” is a testament to Adam Ant’s artistic vision. The song’s blend of pop sensibilities and punk energy was ahead of its time and continues to influence musicians today.

So, whether you’re a longtime fan of Adam Ant or simply looking for a catchy pop tune, “Goody Two Shoes” is a must-listen. Its infectious energy, clever lyrics, and iconic music video make it a timeless classic.

Adam Ant Interview: Post-Punk Icon to Bring 'Friend or Foe' Back to U.S. in 2020 | Billboard – Billboard

Video 

Lyrics: Goody Two Shoes 

With the heartbreak open
So much you can’t hide
Put on a little makeup, makeup
Make sure they get your good side, good side
If the word’s unspoken
Gets stuck in your throat
Send a treasure token, token
Write it on a pound note, pound note

Goody two, goody two, goody goody two shoes
Goody two, goody two, goody goody two shoes
Don’t drink, don’t smoke, what do you do?
You don’t drink, don’t smoke, what do you do?
Subtle innuendos follow
There must be something inside

We don’t follow fashion
That’d be a joke
You know we’re going to set them, set them
So everyone can
take note, take note
When they saw you kneeling
Crying words that you mean
Opening their eyeballs, eyeballs
Pretending that you’re Al Green, Al
Green

Goody two, goody two, goody goody two shoes
Goody two, goody two, goody goody two shoes
Don’t drink, don’t smoke, what do you do?
You don’t drink, don’t smoke, what do you do?
Subtle innuendos follow
Must be something inside

No one’s gonna tell me
What’s wrong and what’s right
Or tell me who to eat with, sleep with
Or that I’ve won the big fight, big fight

Look out or they’ll tell you
You’re a “Superstar”
Two weeks and you’re an all-time legend
I think the games have gone much too far
If the word’s unspoken
Gets stuck in your throat
Send a treasure token, token
Write it on a pound note, pound note

Don’t drink, don’t smoke, what do you do?
You don’t drink, don’t smoke, what do you do?

Subtle innuendos follow:
Must be something inside, he’s hidin’
Don’t drink, don’t smoke, what do you do?
Ya don’t drink, don’t smoke, what do you do?
Subtle innuendos follow:
Must be something inside, he’s hidin’
Don’t drink, don’t smoke, what do you do?
Ya don’t drink, don’t smoke, what do you do?
Subtle innuendos follow:
Must be something inside, he’s hidin’
Don’t drink, don’t smoke, what do you do?
Ya don’t drink, don’t smoke, what do you do?
Subtle innuendos follow:
Must be something inside, he’s hidin’
Don’t drink, don’t smoke, what do you do?
Ya don’t drink, don’t smoke, what do you do?
Subtle innuendos follow:
Must be something inside

You Missed

BOB DYLAN AND JOHNNY CASH SHATTERED THE WALLS OF NASHVILLE WITHOUT FIRING A SINGLE SHOT. Columbia Studio A sat thick with the smell of stale coffee and cigarette smoke on a February morning in 1969. While the rock world was chasing ghosts in psychedelic haze, Bob Dylan stepped into the epicenter of American country music with a voice that sounded like it had been dragged across gravel. He wasn’t there to challenge the gatekeepers at the Opry; he was there to find the heartbeat of a sound he had loved from afar. Johnny Cash walked through the heavy studio doors, guitar in hand, and for two days, the rigid borders of genre simply dissolved into the air. They didn’t record some grand manifesto to change the industry. Instead, they sat on stools and tore through old folk standards and each other’s deep cuts, letting the microphones capture the loose, unvarnished truth of a collaboration that felt more like a porch gathering than a major label session. Carl Perkins added his own licks to the mix, blending the percussive snap of rock and roll with the lonesome ache of a country ballad. It was a deliberate, quiet rebellion that treated the traditions of both worlds as neighbors rather than strangers. When the tape stopped rolling, they walked away having proved that the lines drawn by radio programmers were mostly make-believe. The Ryman Auditorium stage eventually welcomed a new kind of guest, and the air in Nashville felt lighter, forever changed by two men who knew that music didn’t need permission to belong everywhere at once.