get on the dance floor is the song with lyrics that let the bodies hit the floor.
get on the dance floor is the song with lyrics that let the bodies hit the floor.
song with lyrics let the bodies hit the floor?
get on the dance floor
an early version of "bodies" appeared in their ep "pieces of nothing", the version omits the lyrics in the bridge and features a significantly greater amount of screaming.









































section::::music and lyrics.









































considered a nu metal song, "bodies" features a heavy use of the lyric "let the bodies hit the floor". its lyrics build by gradually counting up from one to four, shouting the number each time, until reaching its intense chorus. clean vocals in the song's verses make a contrast from the many harsh vocals elsewhere. the guitar structure of "bodies" features a heavy use of the wah pedal.
bodies (drowning pool song)
a "rap-up" writer deemed the "boy, bye" line as one of the album's catchiest lyrics. kitty empire of "the observer" called it "electrifying". shahzaib hussain from "clash" magazine dubbed "sorry" as "another dazzling feminist club anthem, but with a grittier underbelly, the production off-kilter but no less invigorating". pretty much amazing's peter tabakis wrote that the tracks "sorry" and "6 inch" on "lemonade" were "the equivalent of a post-bloodbath hair flip and door slam". another writer of the same publication named "sorry" the album's "zeitgeist-capturing single". rob sheffield of "rolling stone" was highly positive of the singer's voice capabilities, saying they were "the most astounding sound... as she pushes to her bluesiest extremes, like the hilariously nasty way she sneers, 'he's always got them fucking ex-cuuuu-ses.' "now"s kevin ritchi, noted how by the time the story line of "lemonade" comes to the anthemic "sorry, "[t]he poison darts become sharper... and so do her vocals". "hiphopdx"s andre grant emphasized "sorry" for being "particularly ear worming" with its "softly chiming" bells. jon pareles from "the new york times" summarized it as "twitchy, flippant song that's by no means an apology" but "a combative, unglossy track on an album full of them" instead. writing in the 405, samantha o'connor classified "sorry" as "flippant and fierce". "drowned in sound" writer zevolli called it a "standout" on "lemonade". maeve mcdermott of "usa today" opined in his review that although the song was not the most meaningful one by the singer, "it's a breezy, beautiful kiss-off that's enough to tell every below-average person in your life, 'boy, bye.'" a more mixed review came from idolator's mike wass who felt that the track felt "safe" and concluded, "it's a bouncy, infinitely-quotable bop with an infectious, radio-friendly chorus, but the lyrics let it down." however, wass went on to write that it "makes up for [its lack in finesse] in bluster and called the becky line "an overnight pop culture phenomenon".
sorry (beyoncé song)