Shift Work Lyrics

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"Sun. Sun. Sun. Sun. Sun. Sun. Sun. Sun. Sun..." it goes, emanating from the tightly-designed yet seemingly organic Caribou , an entity enmeshed in smoke and bright orange glow at the ATP Stage on Thursday night, the first of the astutely-programmed-yet-touchy-feely three-day festival, Primavera Sound. Dan Snaith and band offer a legal high of a live set to the audience, each member of the gigantic throng (which must be the biggest at this stage during the weekend) duly obliging with unthinking movement. People aren't just dancing: many are leaping, lost in music, more specifically in the memory of last year's Swim , which this set is an incredible evocation of – all deep bass-throb and pulse, and shattering, shimmering sounds that seem to clear out your lugholes in preparation for the weekend ahead. People spill out of a packed, swaying mass, heading up the side of the steep grassy hill that flanks the right of the crowd. Blissed-out while clinging on to trees or lodging feet into the dusty, dry earth; position yourself correctly and hang on tight if you want to see this moment through to its climax.

A friend says later on that Caribou have played more than 220 shows in the past year, and it figures, the same way that if someone told me that Salem 's gone-3am show on the same stage was the band's first ever, that would figure too. But they've done enough of these things now for us to expect a little more power than they are giving us – the live interpretation of 2010's album of the year King Night has most commonly received the reaction of "Turn it up!" since the band started doing the circuit last year. It is a record that should be wreaking havoc with your gut when witnessing it brought to life: it should floor you. That it doesn't isn't a wholly bad thing, though, just a reminder that this band are not as fully-formed as their expertly home-produced aural-inferno suggests. While Jack Donoghue does his camp rap thing and Heather Marlatt affects her WTF-do-I-care-stare, more dry ice than you'd need for an O2 Arena show filled the stage. It is hilarious – not in a condescending way, you understand, more in a "We're losing it at 3am and this is what they choose for us?" way.

Someone, somewhere must be making plans to install Factory Floor permanently within a gigantic structure and instruct them to play forever.

Kenny Chesney & George Strait, 'Shiftwork' - Story Behind the ...

I worked in a paper mill for 20 years, and I worked shift work the whole time. When I signed a publishing deal with Carnival Music, I wanted to write a song about something I knew inside and out. I knew something about shift work! I was a little worried about if somebody would even cut the song when you're talking about "a big ole pile of shift work." Kenny was familiar with some of my songs, and he liked 'Shiftwork' for a little while before he cut it. My publisher never calls me on Saturdays, so when I answered the phone he told me that George Strait wanted to sing on the song, as well. My wife jumped about three feet in the air! We were both pretty excited. I am so proud of the job they did on it. The thing for me as a songwriter and someone who worked in the factory for so long is that people who actually work in factories tell me how much they love the song. I worked shift work for 20 years ... now I know why!

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