Series of compilation CDs that collects the great background tunes from the golden age of porn. It's mostly funk tunes by unknown artists and some of it's really good.

The compilations are pretty hard to find...I only found it at a small indie record store here in Ottawa...it caught my eye with the naked women on the covers.

Being 'in the mood' is a euphemism for being sexually aroused (or at least, inclined to becoming so).

Words with a similar connotation include 'randy' or 'turned on'. More graphic terms like 'having a hard-on' or 'getting wet' are far less socially appropriate.

In The Mood is also the name of a swing anthem by Glenn Miller and is one of the two most recognizable (even by lay people) big band jazz standards. The other, of course, is Benny Goodman's Sing, Sing, Sing.

The sixth song on the self-titled first album by the Canadian band Rush. Words and music written by Geddy Lee. Performed by Geddy Lee (bass and lead vocals), Alex Lifeson (guitar and backup vocals) and John Rutsey (drums, cowbell and backup vocals).

The intent of this song should be obvious to anyone who has ever spent time in a bar, especially a bar frequented by college students. Imagine a man who sits down next to a pretty woman and starts trying to pick her up. He starts gently, with a compliment ("I like your smile"), and moves from that to asking her to talk to him for "a little while". Then he tells her he's captivated by her ("you're makin' me crazy") and hints at his seduction technique "I'll tell you all my lies". What woman could resist?

The chorus (third, sixth and last stanzas) shows us his real mind. He wants to find a willing partner and have sex with her this night, and he doesn't have time to waste making chit-chat with dead ends. Thus he insists that "the hour is late" despite admitting that it's only "a quarter to eight". Maybe the bars close early in that town.

Later in the song, one gets the feeling he's none too sober. He asks the woman not to "talk so fast", mentions that "ev'rything's getting hazy" and then she either tries to escape him or he loses his focus, asking "where'd you go?"

Undaunted, he keeps after her. He uses his best line: "you really got me, baby/ way down deep inside". Surely, when she knows how crazy he is about her, she'll agree to have sex with him! He finally admits his object in the last verse.

Aw, hey now, baby,
Well, I like your smile
Won't you come and talk to me
For a little while

Well, you're makin' me crazy
The way you roll them eyes
Won't you come and sit with me
I'll tell you all my lies

Hey baby, it's a quarter to eight
I feel I'm in the mood
Hey baby, the hour is late
I feel I've got to move

Well, hey now, baby
Don't you talk so fast
I'm just try'n' to make this good time
I'm try'n' to make it last

Ev'rything's getting hazy
Now honey, where'd you go?
I just want to find out, baby
Where'd you learn what you know?

Hey baby, it's a quarter to eight
I feel I'm in the mood
Hey baby, the hour is late
I feel I've got to move

Well, hey now, baby
Said, I like your style
You really got me, baby
Way down deep inside

Oo, you drive me crazy
Baby, you're the one
I just want to rock-and-roll you woman
Until the night is done

Hey baby, it's a quarter to eight
I feel I'm in the mood
Hey baby, the hour is late
I feel I've got to move

Sources: My Rush CD collection and http://www.sing365.com

The lyrics to Glenn Miller's "In The Mood" are not very well known. The song is one of the most-standard of all the Big Band standards, yet the lyrics are rarely sung. This is, perhaps, because so many big bands, particularly non-professional ones, have no singers.

The lyrics aren't exactly the highest of art, but they provide some interesting insights into the title and into the spirit of the 1940's.

The following lyrics were taken from the Internet Modern History Sourcebook (http://www.fordham.edu/halsall/mod/modsbook.html) and are used under the terms of its license.


In The Mood - Glenn Miller & his Orchestra

Words by Andy Razaf, music by Joe Garland
Glenn Miller (#1 in 1940), and again at #20 in 1943

Who's the lovin' daddy with the beautiful eyes
What a pair o' lips, I'd like to try 'em for size
I'll just tell him, "Baby, won't you swing it with me"
Hope he tells me maybe, what a wing it will be
So, I said politely "Darlin' may I intrude"
He said "Don't keep me waitin' when I'm in the mood"

First I held him lightly and we started to dance
Then I held him tightly what a dreamy romance
And I said "Hey, baby, it's a quarter to three
There's a mess of moonlight, won't-cha share it with me"
"Well" he answered "Baby, don't-cha know that it's rude
To keep my two lips waitin' when they're in the mood"

In the mood, that's what he told me
In the mood, and when he told me
In the mood, my heart was skippin'
It didn't take me long to say "I'm in the mood now"

In the mood for all his kissin'
In the mood his crazy lovin'
In the mood what I was missin'
It didn't take me long to say "I'm in the mood now"

<instrumental interlude>

So, I said politely "Darlin' may I intrude"
He said "Don't keep me waitin' when I'm in the mood"

<instrumental interlude>

"Well" he answered "Baby, don't-cha know that it's rude
To keep my two lips waitin' when they're in the mood"

Who's the lovin' daddy with the beautiful eyes
What a pair o' lips, I'd like to try 'em for size
I'll just tell him, "Baby, won't you swing it with me"
Hope he tells me maybe, what a wing it will be
So, I said politely "Darlin' may I intrude"
He said "Don't keep me waitin' when I'm in the mood"

First I held him lightly and we started to dance
Then I held him tightly what a dreamy romance
And I said "Hey, baby, it's a quarter to three
It's a mess of moonlight, won't-cha share it with me"
"Well" he answered "Baby, don't-cha know that it's rude
To keep my two lips waitin' when they're in the mood"

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