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LAZIN’ ON A COVID AFTERNOON | a Parody by The Freedom Toast | Guest Post

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LYRICS for LAZIN’ ON A COVID AFTERNOON
By The Freedom Toast – Music by Ray Davies

Trump now stars in his own show
Full of stuff he doesn’t t know
Then there’s that coronavirus, too.

And he can’t sail his yacht
Pretends to be what he is not
He might have coronavirus, too

Save me, save me, save me from his sleaze
You know, I don’t drink Lysol
Don’t inject it, please

Gotta make the Donald go away
Live to see another day
Hope I do not get corona, too
In the summertime,
In the summertime
In the summertime

The virus will not go ta-ta
Trump stays in his tanning spa
Recommending Clorox and club soda

He show up with Birx
Lots of plans but nothing works
Look out, he might have corona, too.

Help me help me, helped find a cure
Don is pushing snake oil
I’m not reassured

‘Cause he touts those drugs that his friends make
They do nothing, they are fake
No help if I get corona, too
In the summertime,
In the summertime
In the summertime

Save me, save me, save me from his sleaze
No hydroxychloroquine-ine for me, please
Now, I love my mediocrity
I feel fine must being me
Do not want to get corona, too
In the summertime,
In the summertime
In the summertime

ABOUT THE SOURCE MUSIC
"Sunny Afternoon" is a song by the Kinks, written by chief songwriter Ray Davies. The track later featured on the Face to Face album as well as being the title track for their 1967 compilation album. Like its contemporary, "Taxman" by The Beatles, the song references the high levels of progressive tax taken by the British Labour government of Harold Wilson. Its strong music hall flavor and lyrical focus was part of a stylistic departure for the band (begun with 1965’s "A Well Respected Man"), which had risen to fame in 1964–65 with a series of hard-driving, power-chord rock hits.

Sunny Afternoon" was first written in Ray Davies’ house when he was sick.
He said, "I’d bought a white upright piano. I hadn’t written for a time. I’d been ill. I was living in a very 1960s-decorated house. It had orange walls and green furniture. My one-year-old daughter was crawling on the floor and I wrote the opening riff. I remember it vividly. I was wearing a polo-neck sweater."

Davies said of the song as well as its recording:
"Sunny Afternoon was made very quickly, in the morning, it was one of our most atmospheric sessions. I still like to keep tapes of the few minutes before the final take, things that happen before the session. Maybe it’s superstitious, but I believe if I had done things differently—if I had walked around the studio or gone out—it wouldn’t have turned out that way. The bass player went off and started playing funny little classical things on the bass, more like a lead guitar: and Nicky Hopkins, who was playing piano on that session, was playing "Liza"—we always used to play that song—little things like that helped us get into the feeling of the song. At the time I wrote Sunny Afternoon I couldn’t listen to anything. I was only playing The Greatest Hits of Frank Sinatra and Dylan’s Maggie’s Farm—I just liked its whole presence, I was playing the Bringing It All Back Home LP along with my Frank Sinatra and Glenn Miller and Bach—it was a strange time. I thought they all helped one another, they went into the chromatic part that’s in the back of the song. I once made a drawing of my voice on Sunny Afternoon. It was a leaf with a very thick outline—a big blob in the background—the leaf just cutting through it.