Eat Your Greens
Lloyd Cole · Other Songs - Lloyd Cole
for you to break the habits of a lifetime
babe, get on your pony and ride
make no mistake, we're gonna cry at your funeral
t-bone steak, french fries
for heaven's sake, your belly's bigger than your eyes
all you could eat for a dollar and a dream
and the drinks are on the house at the funeral parlor
if you don't know what's good for you boy
eat your fried greens and pray
nobody loves you more than we do
sha la la la la la hey
(wake up, time to fly)
sugar kiss, sugar kicks like a mule
ain't that the truth, and you're a strawberry fool
look at your hips, look at the cream in your coffee
you could whip it, or we could cry at your funeral
if you don't know what's good for you boy
eat your fried greens and pray
nobody loves you more than we do
sha la la la la la hey
well if you don't know what's good for you boy
eat your fried greens and pray
nobody loves you more than we do
sha la la la la la hey hey hey
well if you don't know what's good for you boy
eat your fried greens and pray
nobody loves you more than we do
sha la la la la la hey
if you don't know what's good for you boy
eat your fried greens and pray
nobody loves you more than we do
sha la la la la la hey
if you don't know
if you don't know
what's good
if you don't know
Eat Your Greens
Lloyd Cole's 'Eat Your Greens' stands as a defining track from his 1980s era, blending punk energy with melodic sensibilities that became a hallmark of his solo career. Released during a period where he was navigating the transition from his earlier work with The Associates to a more personal, guitar-driven sound, the song captures the restless spirit of the era while showcasing Cole's signature vocal delivery. The recording reflects the post-punk revival's influence, utilizing driving rhythms and a raw production style that resonated with audiences seeking authenticity over polished perfection. As part of his broader discography, the track exemplifies his ability to merge political undertones with catchy hooks, cementing his status as a significant figure in British rock music of the late twentieth century.