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Bring Me to Life
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For the Thousand Foot Krutch song, see Bring Me to Life (Thousand Foot Krutch song).
"Bring Me to Life"
Single by Evanescence featuring Paul McCoy
from the album Fallen
B-side
"Farther Away"
"Missing"
Released
April 22, 2003 (2003-04-22)
Format
CD
DVD
digital download
Recorded
2002 (2002) (Ocean Studios, Burbank, California, USA)
Genre
Nu metal
gothic metal
rap rock
Length
3:56 (album version)
Label
Wind-up
Songwriter(s)
Amy Lee
Benjamin Moody
David Hodges
Producer(s)
Dave Fortman
Evanescence singles chronology
"Bring Me to Life"
(2003) "Going Under"
(2003)
"Bring Me to Life"
(2003) "Going Under"
(2003)
Music video
"Bring Me to Life" on YouTube
"Bring Me to Life" is a song by American rock band Evanescence recorded for their debut studio album Fallen (2003). Wind-up released it as the lead single from the album on April 22, 2003. The track was written by group members Amy Lee, Ben Moody, and David Hodges and produced by Dave Fortman. It also features uncredited guest vocals from Paul McCoy of the band 12 Stones. "Bring Me to Life" is a nu metal, gothic metal and rap rock song. According to Lee, "Bring Me to Life" has several meanings and inspirations; its subjects are an incident in a restaurant, open-mindedness, and waking up to the things which are missing in the protagonist's life. Lee later revealed that the song was inspired by her long-time friend and husband Josh Hartzler.
Critical response to the song was mostly positive, with critics praising the melody of the song, Lee's vocals and their accompaniment by McCoy. Following the inclusion of "Bring Me to Life" on the Daredevil soundtrack the song became a commercial and critical success, topping the charts in Australia, the United Kingdom and Italy. It charted in the top ten in more than fifteen countries including the United States, Argentina, Germany and New Zealand. "Bring Me to Life" was certified platinum by the Recording Industry Association of America (RIAA) and twice platinum by the Australian Recording Industry Association (ARIA). The lyrics of the song have been interpreted as a call for new life in Jesus Christ, which helped the song to chart on the Christian rock charts.
The band won in the category for Best Hard Rock Performance at the 46th Grammy Awards where the song was also nominated for Best Rock Song. The accompanying music video was directed by Philipp Stölzl; it shows Lee singing and climbing on a skyscraper while having nightmares in her bedroom. "Bring Me to Life" was part of the set list during the Fallen and The Open Door Tour. Many artists recorded cover versions of the song, including the classical singer Katherine Jenkins and American pianist, John Tesh. The song was also used on several television shows.
Contents
[hide]
1 Background and release
2 Recording and composition
3 Reception and accolades
4 Chart performance
5 Music video
6 Live performances
7 2017 re-work
8 Cover versions and usage in media
8.1 Katherine Jenkins version
9 Credits and personnel
10 Track listing
11 Charts
11.1 Weekly charts
11.2 Year-end charts
11.3 Decade-end charts
12 Certifications
13 See also
14 References
15 External links
Background and release[edit]
"Since we released [the song] on Daredevil it went all over the world, whether they wanted it to or not, so we had fans in countries we had never been to because they had the soundtrack and they heard it on the radio. So, it started blowing up all over the world and then we had a reason to tour all over the world. And that's how the whole international thing happened this early. Which is awesome."
—Amy Lee talking about the release and the worldwide success of the song.[1]
According to Amy Lee, the song has several meanings, the first being an incident at a restaurant. During an interview from a tour stop in Tulsa she told The Boston Phoenix: "I was inspired to write it when someone said something to me — I didn’t know him, and I thought he might be clairvoyant.[...] I was in a relationship and I was completely unhappy. But I was hiding it. I was being completely abused and I was trying to cover it up; I wouldn’t even admit it to myself. So then I had spoken maybe 10 or 15 words to this guy, who was a friend of a friend. We were waiting for everyone else to show up, and we went into a restaurant and got a table. And he looked at me and said, ‘Are you happy?’ And I felt my heart leap, and I was like, he totally knows what I’m thinking. And I lied, I said I was fine. Anyway, he's not really clairvoyant. But he is a sociology major."[2] Lee said in a VH1 interview: "Open-mindedness. It's about waking up to all the things you've been missing for so long. One day someone said something that made my heart race for a second and I realized that for months I'd been numb, just going through the motions of life."[3] During an interview with Blender, Lee claimed that she wrote "Bring Me to Life" about her longtime friend, Josh Hartzler, whom she married in 2007.[4]
"Bring Me to Life" was released on April 22, 2003; it was the first single from the band's debut album, Fallen. Wind-up Entertainment president/CEO Ed Vetri, revealed that when the label was pushing the song to the radio, owners stated "We don't play pianos and chicks on rock radio."[5] However, when "Bring Me to Life" was released on the Daredevil soundtrack, listeners demanded air play for the song.[5] The single includes "Farther Away" as a B-side. The first pressing of the Australian single contained the track "Missing" as a B-side,[6] but this was omitted from later pressings and later released as a bonus track on the band's first live album, Anywhere but Home.[7] An acoustic version was recorded and released on the "Bring Me to Life" DVD. Several other versions of the track have been released, such as remixes, acoustic and altered versions.
Recording and composition[edit]
Critics noted that "Bring Me to Life" had a sound similar to songs by American rock band Linkin Park.
"Bring Me to Life" was written by Amy Lee, Ben Moody and David Hodges for their first studio album Fallen.[8] Recording work for Fallen started at Ocean Studios in Burbank, California, where most of "Bring Me to Life" was recorded, prior to full album production.[9] The song was mixed by Jay Baumgardner in his studio, NRG Recording Studios in North Hollywood, on an SSL 9000 J.[9] A 22-piece string section was recorded in Seattle by Mark Curry.[9] "Bring Me to Life" was mixed at the Newman Scoring Stage and Bolero Studios, both in Los Angeles.[9] The orchestra parts were arranged by David Hodges and David Campbell.[9] During an interview, Lee recalled that during the recording process of the song it was said to her that the song must feature male vocals: "It was presented to me as, 'You're a girl singing in a rock band, there's nothing else like that out there, nobody's going to listen to you. You need a guy to come in and sing back-up for it to be successful.'"[10]
According to the sheet music published by Alfred Music Publishing on the website Musicnotes.com, "Bring Me to Life" is set in common time and performed in a moderate tempo of 95 beats per minute. It is written in the key of E minor and Lee's vocal range for the song runs from the low note of A3 to the high note of D5.[11] In the song, 12 Stones vocalist Paul McCoy sings the lines "Wake me up/ I can't wake up/ Save me!" in a rap style.[12][13] The St. Petersburg Times' Brian Orloff called the song a "boffo hit" in which Lee sang the lines "'Call my name and save me from the dark' over surging guitars."[1] Ann Powers from the Milwaukee Journal Sentinel wrote: "'Bring Me to Life,' with its lyrical drama and crunchy guitars, branded the band as overdone nu-metal."[14] Blender writer Nick Catucci called the song a "crossover goth-metal smash".[15] Kristi Turnquist of The Oregonian called the song a power ballad.[16]
Rolling Stone's Kirk Miller wrote that: "...thanks to the song's digital beats, clean metal-guitar riffs, scattered piano lines and all-too-familiar mix of rapping and singing", "it was similar to Linkin Park's material.[17] Nick Catucci of The Village Voice found "...piano tinkles, Lee's breathless keen, dramatic pauses, guitars like clouds of locusts, [and] 12 Stones singer Paul McCoy's passing-12-kidney-stones guest vocals."[18] Vik Bansal of musicOMH compared Evanescence's own song "Going Under" with "Bring Me to Life", noting their similarity to Linkin Park's material.[19] Lee said, during an interview with MTV News: "Basically, we go through life every day, kind of doing the same thing, going through the motions, and nothing fazes us for the most part. Then one day something happens that wakes [you] up and makes [you] realize that there's more to life than just feeling nothing, feeling numb. It's as if [you've] never felt before and just realized there's this whole world of emotion or meaning that [you've] never seen before. It's just like, 'Wow, I've been asleep all this time.'"[20]
Reception and accolades[edit]
AllMusic's Johnny Loftus called the song "flawless".[21] According to Sarah Rodman of The Boston Globe, the song "...is a mix of Lee's ethereal soprano, piano interludes, and layers of serrated guitar crunch that conjure visions of Sarah McLachlan fronting Godsmack."[22] In his review of Evanescence's second studio album, The Open Door, Brendan Butler of Cinema Blend compared "Sweet Sacrifice" (2007) with "Bring Me to Life" calling them "...radio-friendly songs."[23] Jason Nahrung of The Courier-Mail called the song "...an ear-grabber".[24] Adrien Bengrad of the website PopMatters said that Lee and McCoy made "Bring Me to Life" sound "...like a love song between a Lilith Fair girl and an Ozzfest dude."[25] Blair R. Fischer from MTV News called the song a "...ubiquitous rap-rock confection".[12] Kelefa Sanneh of The New York Times said that "Bring Me to Life" "...floats like a butterfly, stings like a bee and then hits like a brick."[26] Richard Harrington from The Washington Post called "Bring Me to Life" a "...crunching metallic" song which helped the band to win a Grammy Award.[27] Joe D'Angelo called it an "...unrelenting paean that begins as hauntingly delicate" and that "Lee's vocals soar above the whole sludgy mixture to keep it from sinking into tired mediocrity."[20]
Ann Powers from the Milwaukee Journal Sentinel called the song a "...mix of voluptuous singing and metallic guitar (the latter enhanced by guest vocalist Paul McCoy's rap-rock declamations)".[14] Bryan Reeseman of Mix wrote that the song was a "...grandiose and moody single" which features a "...dramatic trade-off" between Lee and McCoy.[9] While reviewing Evanescence's second studio album, Don Kaye of Blabbermouth.net praised the songs on The Open Door saying that they lacked "...the annoying faux-rapping that was a key component of the band's first big hit, 'Bring Me To Life' (here's hoping that more rock bands feel less pressure to include some sort of hip-hop nod on their records)."[28] David Peschek of The Guardian said: "Take away the identikit rock riffs and Bring Me to Life could be a Britney Spears song, or one of those cheesily portentous techno-pop mini-symphonies for the Gatecrasher kids."[29] Nick Catucci of The Village Voice compared the song with works by American rock band Creed, and said that it sounds like "church-burning, brain-eating European dark metal."[18] John Hood of the Miami New Times called "Bring Me to Life" a "... huge, heavy, and mightily histrionic" song while complimenting McCoy's "... rap-infused gruff" and Lee's soaring voice.[30]
"Bring Me to Life" won a Grammy Award for Best Hard Rock Performance at the 46th Grammy Awards.[31][32][33] The song was nominated in the category for Best Rock Song at the same event but lost to "Seven Nation Army" by The White Stripes. "Bring Me to Life" won an award for Choice Music Rock Track at the Teen Choice Awards in 2004.[34] At the 2003 MTV Video Music Awards the band was nominated in the category for Best New Artist for "Bring Me to Life".[35] The song was nominated at the 2003 MTV Europe Music Awards for Best Song.[36][37] At the 14th annual Billboard Music Awards, it won the award for Soundtrack Single of the Year.[38] The song ranked number 69 on VH1's 100 Greatest Songs of the 2000s.[39]
Chart performance[edit]
"Bring Me to Life" peaked within the top 10 of more than 15 countries, and within the top 20 of several other countries, making it the band's most successful single to date. It was certified Platinum in 2003 for selling more than one million copies in the United States.[5] It topped the Billboard Alternative Songs and Pop 100 charts and peaked at number five on the Billboard Hot 100.[40] It also peaked at number four on the Adult Pop Songs chart. The song initially peaked within the Christian rock charts as well, because its lyrics were interpreted as a call for new life in Jesus Christ by several listeners.[41][42] "Bring Me To Life" charted at number 73 on Billboard's Best of the 2000s Rock Songs Chart, the only song by a female-led band on that chart.[43] The song topped the charts of Australia, Belgium, Italy and the United Kingdom. It peaked within the top 5 of Austria, Canada, France, Ireland, Germany, New Zealand, Norway, Netherlands, and Sweden. On the ARIA Singles Chart, "Bring Me to Life" peaked at number one where it stayed for six weeks.[44]
"Bring Me to Life" charted within the top 20 of every other country of its release. The song spent four weeks at number one in the United Kingdom and helped Fallen reach number one on the UK Albums Chart.[45][46] The song also topped the European Hot 100 chart.[47] On June 4, 2011, the song returned to the top of the UK Rock Singles Chart, eight years after its release, remaining at number one for two weeks, on June 11, 2011 to June 25, 2011. It fell to number two, remaining there for three weeks, and on July 17, 2011, "Bring Me to Life" returned to number one again and remained there for three weeks. The song remained within the top 10 into October 2011.[48] As of June 2013[update], the song has sold more than 615,500 copies in the United Kingdom.[49]
Music video[edit]
The accompanying music video for "Bring Me to Life" was directed by Philipp Stölzl.[50][51] After the success of the video, Lee received some film offers.[52] Talking about the video, Stölzl said: "On the one hand, it brings out the most catchy part of the song, the bridge, the duet with the male and female vocals. On the other hand, it reflects the ['Daredevil'] soundtrack background of the song. I did not know if I would have to use a stunt double for most of the angles, which would have restricted me a lot, but then it turned out that Amy did everything herself, hanging on Paul's arm for hours without getting tired. In the end, she is the one who made that shot strong."[50]
The video begins with Amy Lee dressed in a nightgown, barefoot and asleep in a bed within a building, dreaming of falling through the air below a skyscraper. As the chorus begins, the band and Paul McCoy are performing in another room as Lee awakens and makes her way to the window. Lee climbs out of the window and climbs the building with the wind blowing her hair and dress until she reaches the window of the room where the band is performing. During the bridge, McCoy notices Lee and opens the window, which causes her to lose her balance, and she grabs the ledge. Throughout the bridge and final chorus, McCoy unsuccessfully attempts to pull Lee up, and she falls from his grasp down the building. However, she is then shown asleep in her bed again.
Ann Powers from the Milwaukee Journal Sentinel wrote: "You might not immediately recognize Amy Lee's name, but you would know her if she plummeted past you from the top floor of a tenement building" and: "That's how anyone with basic cable first saw the singer for the band Evanescence, in the video for the song "Bring Me to Life": falling backward in slow motion, her hair unfolding like a long black veil as she headed for hard pavement below."[14] According to Joe D'Angelo of MTV News, Lee's "...teetering on a ledge" in the video shows a "...distressed and emotionally wrought heroine."[53] Corey Moss of MTV wrote: "...certainly as intense as a superhero movie, the sequence also gives a nice visual to the song's most memorable lyric, 'Save me.'"[50] MTV's Gil Kaufman wrote that "...singer Amy Lee dreams that she has super Spidey powers, climbs up the outside of a building, spies on her creepy neighbors, then plunges into the abyss"[54] and added, "...even if your boyfriend is a buff rap-rocker guy, he might not be able to save you from falling off a 20-story building to your death. And don't play on ledges in a billowy dress on windy days."[54] John Hood of Miami New Times wrote that the "gothopolis backdrop" used in the video "would make Tim Burton green with envy".[30] The music video for "Bring Me to Life" was nominated at the 2004 MTV Video Music Awards for Best Rock Video.[35]
Live performances[edit]
During the live performances of "Bring Me to Life", McCoy was replaced by John LeCompt.[12][55]
Evanescence performed "Bring Me to Life" as part of the set-lists of the Fallen and The Open Door tours. The band performed the song on August 13, 2003 in Chicago during their Nintendo Fusion Tour. During the performance, former Evanescence guitarist John LeCompt replaced McCoy during the song.[12] According to Blair R. Fischer: "The guitarist did an adequate job imitating McCoy while he laid down the song's fiery, Iron Maiden-esque riff."[12] The band performed "Bring Me to Life" in Wantagh, New York on July 23, 2004. According to Joe D'Angelo from MTV News: "the massive popularity of the song was a smart set-list assembly that helped the crowd respond in kind."[56] A live performance from the tour filmed at Le Zénith in Paris is included on the band's live album Anywhere but Home. The live recording contains a piano and vocal solo before the song's intro and features John LeCompt performing guest vocals.[57] The song was performed on November 21, 2007 at WaMu Theater.[58]
Evanescence performed "Bring Me to Life" at the Webster Hall in New York City in September 2003.[26] During the performance, Lee wore an Alice in Wonderland dress covered with scrawled words, including the words Dirty, Useless, Psycho and Slut.[26] She explained her reasons for wearing the dress. On her previous visit to New York City, Lee had met a DJ from the radio station K-Rock, who had made what she called horrible comments about the pleasure he had derived from the picture of her face on the cover of Fallen.[26] She had felt too ashamed to say anything, so she decided to respond through the dress, which represented something innocent that had been tainted.[26] The band performed "Bring Me to Life" during their concert at The Great Saltair on October 25, 2006. Lee wore red and black, with a skirt.[59] She was called a magnet of the night by the Deseret News' reviewer Larry D. Curtis.[59] Other performances of the song were in Magna, Utah in October 2006,[60] and the Air Canada Centre in January 2007.[61] The band also played the song at a secret gig in New York City on November 4, 2009.[62] During their concert at War Memorial Auditorium in Nashville, Tennessee on August 17, 2011, Evanescence performed "Bring Me to Life" to promote their third album, Evanescence.[63] They also performed the song during the 2011 Rock in Rio festival on October 2, 2011.[64] While reviewing a concert by the band, Caroline Sullivan wrote "Slowly raising her arms during Bring Me to Life's thunderous, strobe-lit fade-out, she's missing only a chariot."[65]
2017 re-work[edit]
In 2017, a rearranged version of the song was recorded for the band's fourth studio album Synthesis. The new version was made available for digital download and streaming on August 18, 2017; it was also made available for instant download for concertgoers who purchased tickets for the band's Synthesis Tour.[66] The Synthesis version of "Bring Me to Life" is a stripped-down one, as it replaces the drums and the guitars from the original version with a strings arrangement accompanied by crashing cymbals, "tension-building" timpani drums and various electronic elements throughout.[67][68] Several critics have described its new arrangement as "dramatic", with Billboard's Sadie Bell calling it "just as rich" as the original and Rolling Stone's Brittany Spanos calling it a "cinematic take".[67][69] Lee has described the song as "new" to her again due to the fact that she incorporated musical elements and vocals which she had "heard in [her] head" since its release.[69]
Cover versions and usage in media[edit]
Mixtery used up-beat samplings of the song in a hit also titled "Bring Me to Life" featuring Nigerian Eurodance artist Eddy Wata.[70] American pianist John Tesh released an instrumental version of the song on his albums A Deeper Faith, Vol. 2 (2003) and A Passionate Life (2007).[71][72] In 2003, Kidz Bop Kids covered the song on their fourth studio album, Kidz Bop 4. In 2008, black metal band Wykked Wytch covered the song and produced an accompanying music video. Their version was digitally released in October of that year on iTunes Store.[73] In 2010, German band Gregorian released a cover version of the song on their album Dark Side of the Chant.[74]
"Bring Me to Life" was included in the games Rock Band,[75] Rock Band Unplugged, Band Hero, DLC for SingStar,[76] and Fight Girl Battle World.[77] The song was used during the Calgary Flames' run in the 2004 Stanley Cup playoffs.[78] The song served as the official theme song of the WWE pay-per-view event No Way Out (2003).
Katherine Jenkins version[edit]
"Bring Me to Life"
Single by Katherine Jenkins
from the album Believe
Released
October 23, 2009 (2009-10-23)
Format
Digital download
Length
3:46
Label
Warner Bros.
Songwriter(s)
Lee
Moody
Hodges
Producer(s)
David Foster
Katherine Jenkins singles chronology
"I Believe"
(2009) "Bring Me to Life"
(2009) "Angel"
(2009)
"I Believe"
(2009) "Bring Me to Life"
(2009) "Angel"
(2009)
Welsh classical singer Katherine Jenkins recorded a cover version of "Bring Me to Life" on her 2009 album Believe.[79] Jenkins said: "I'd mentioned that I wanted to try Evanescence's Bring Me to Life and David [Foster] said 'you can't sing that'. I came out there questioning my vocal abilities. I'm just not used to being told that. I went home that night and I just thought to myself 'you have to pull yourself together, he's worked with so many incredible artists you have to step up the plate.' I did talk myself round and I went in there the next day on a mission. It's good to be pushed sometimes – and I proved him wrong!"[80] Jenkins decided to change the guitar-led and percussive original version and instead, "make it more orchestral with the percussion coming from the strings."[81] Alfred Hickling of The Guardian gave a mixed review of Jenkins' cover, calling it "histrionic."[82] However, a writer of BBC Online chose her version of the song as a highlight on the album.[81] On October 23, 2009, the song was available for digital download as the second single from Believe.[83] On November 23, 2011, Jenkins sang the song live at the Leicester Square station in London.[84]
Track listing[83]
Digital download
No.
Title
Length
1. "Bring Me to Life" 3:46
2. "Bring Me to Life (Almighty Club Mix)" 7:03
3. "Bring Me to Life (Almighty Club Radio Mix)" 3:07
Weekly charts
Chart (2009)
Peak
position
Germany (Official German Charts)[85] 46
UK Singles (Official Charts Company)[86] 74
Credits and personnel[edit]
Credits are adapted from Fallen liner notes.[8]
Amy Lee – writing, keyboards, vocals
Ben Moody – writing, producing, guitars, percussion
David Hodges – writing, keyboards, string arrangements
Josh Freese – drums
Dave Fortman – producing
Francesco DiCosmo – bass guitar
David Campbell – additional string arrangements
Graeme Revell – string arrangements, orchestral conduction
Track listing[edit]
International CD single (April 7, 2003)[87]
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
International CD Maxi (April 14, 2003)[87]
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
"Farther Away" – 3:58
"Bring Me to Life" (music video) – 4:14
Australian CD Single
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
"Farther Away" – 3:58
"Missing" – 4:15
French CD single
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
Subsequent pressings single (June 24, 2003)[88]
"Bring Me to Life" – 3:56
"Bring Me to Life" (Bliss Mix) – 3:59
"Farther Away" – 3:58
"Bring Me to Life" (music video) – 4:14
International DVD (June 2, 2003)[89]
"Bring Me to Life" (video)
"Bring Me to Life"
"Bring Me to Life" (live acoustic version)
"My Immortal" (Live acoustic version)
"Interview footage
UK cassette single
"Bring Me to Life" – 3:56
"Farther Away" – 3:58
"Bring Me to Life" (Bliss Mix) – 3:59
Charts[edit]
Weekly charts[edit]
Chart (2003)
Peak
position
Australia (ARIA)[87]
1
Austria (Ö3 Austria Top 40)[90]
3
Belgium (Ultratop 50 Flanders)[91]
7
Belgium (Ultratop 50 Wallonia)[92]
2
Brazilian Singles Chart (ABPD)[93]
2
Denmark (Tracklisten)[94]
2
Europe (European Hot 100 Singles)[47]
1
Finland (Suomen virallinen lista)[95]
11
France (SNEP)[96]
5
Germany (Official German Charts)[97]
2
Greece (IFPI Greece)[98]
3
Ireland (IRMA)[99]
2
Italy (FIMI)[100]
1
Netherlands (Dutch Top 40)[101]
6
New Zealand (Recorded Music NZ)[102]
3
Norway (VG-lista)[103]
2
Poland (Polish Airplay Charts)[104]
4
Romania (Romanian Top 100)[105]
11
Spain (PROMUSICAE)
11
Sweden (Sverigetopplistan)[106]
2
Switzerland (Schweizer Hitparade)[107]
6
UK Singles (Official Charts Company)[108]
1
UK Rock (Official Charts Company)[109]
1
US Billboard Hot 100[40]
5
US Adult Top 40 (Billboard)[110]
4
US Alternative Songs (Billboard)[111]
1
US Mainstream Rock (Billboard)[112]
11
US Mainstream Top 40 (Billboard)[113]
1
Chart (2004–06)
Peak
position
Canada (Canadian Singles Chart)[114]
3
US Digital Songs (Billboard)[115]
35
Year-end charts[edit]
Chart (2003)
Position
Australian Singles Chart[44]
6
Australian Rock Singles Chart[44]
1
Austrian Singles Chart[116]
22
Belgian Singles Chart (Flanders)[117]
30
Belgian Singles Chart (Wallonia)[118]
11
Dutch Top 40[119]
52
Irish Singles Chart[120]
20
Italian Singles Chart[121]
4
New Zealand Singles Chart[122]
22
Swedish Singles Chart[123]
5
Swiss Singles Chart[124]
13
UK Singles Chart[125]
11
US Billboard Hot 100[126]
10
US Alternative Songs[127]
8
US Mainstream Rock Tracks[128]
39
US Mainstream Top 40[129]
5
Decade-end charts[edit]
Chart (2000–09)
Position
Australian Singles Chart[130][131]
59
US Alternative Songs[132]
26
US Rock Songs[133]
73
Certifications[edit]
Region
Certification
Certified units/Sales
Australia (ARIA)[134]
2× Platinum 140,000^
France (SNEP)[135]
Gold 250,000*
Germany (BVMI)[136]
Gold 150,000^
Greece (IFPI Greece)[98]
Gold 10,000^
Italy (FIMI)[137]
Gold 25,000*
Switzerland (IFPI Switzerland)[138]
Gold 20,000^
United Kingdom (BPI)[139]
Platinum 615,000[49]
United States (RIAA)[140]
Platinum 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
See also[edit]
Book: Fallen
List of number-one singles of 2003 (Australia)
List of number-one hits of 2003 (Italy)
List of UK Singles Chart number ones of the 2000s
List of Billboard number-one alternative singles of the 2000s
List of Billboard Mainstream Top 40 number-one songs of 2003
List of UK Rock Chart number-one singles of 2003
List of UK Rock Chart number-one singles of 2011
References[edit]
^ Jump up to: a b Orloff, Brian (May 13, 2004). "Weekend:'Music is my therapy'". St. Petersburg Times. Archived from the original on October 20, 2012. Retrieved August 3, 2011.
Jump up ^ Carioli, Carly (September 12, 2003). "Amy Lee on bringing Evanescence's 'Bring Me to Life' to life". The Phoenix. Archived from the original on December 26, 2008. Retrieved February 27, 2007.
Jump up ^ Kaufman, Gil (May 29, 2003). "Evanescence: Fallen To the Top". VH1. Archived from the original on August 24, 2007. Retrieved June 30, 2013.
Jump up ^ Eells, Josh (October 2006). "Amy Lee: Back in Black". Blender. Archived from the original on September 6, 2007. Retrieved June 29, 2013.
^ Jump up to: a b c Titus, Christa (October 11, 2011). "Evanescence Returns to an Altered Rock Landscape". Billboard. p. 1. Archived from the original on June 21, 2013. Retrieved October 12, 2011.
Jump up ^ "Bring Me to Life / Farther Away / Missing [Single, Maxi, Import]". Amazon.com. Retrieved August 15, 2011.
Jump up ^ "Anywhere But Home (Live)". Amazon.com. Retrieved August 15, 2011.
^ Jump up to: a b Fallen (liner notes). Evanescence. Wind-up Records. 2006.
^ Jump up to: a b c d e f Reeseman, Bryan (August 1, 2003). "In The Recording Studio With Evanescence: Recording Fallen". Mix. Archived from the original on August 5, 2011. Retrieved August 6, 2011.
Jump up ^ Baker, Trevor (November 22, 2007). "Female rock stars not wanted in the UK. Apparently". The Guardian. Archived from the original on October 6, 2014. Retrieved November 14, 2011.
Jump up ^ "Evanescence – Bring Me To Life Sheet Music (Digital Download)". Musicnotes.com. Retrieved August 2, 2011.
^ Jump up to: a b c d e Fischer, Blair R (August 13, 2003). "Evanescence Make Understatement Of At Chicago Sweat Factory". MTV News. Archived from the original on August 5, 2011. Retrieved July 22, 2011.
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External links[edit]
Lyrics of this song at MetroLyrics
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Money bill
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
Not to be confused with Banknote.
"Supply bill" redirects here. For bills on government spending, see Appropriation bill. For the Irish controversy of 1753–1756, see Money Bill dispute.
In the Westminster system (and, colloquially, in the United States), a money bill or supply bill is a bill that solely concerns taxation or government spending (also known as appropriation of money), as opposed to changes in public law.
Contents
1 Conventions
2 Requirements in Westminster systems
2.1 Australia
2.2 Bangladesh
2.3 India
2.4 Republic of Ireland
2.5 United Kingdom
3 Requirements in non-Westminster systems
3.1 United States
4 See also
5 References
Conventions[edit]
It is often a constitutional convention that the upper house may not block a money bill. There is often another requirement that non-money bill-type clauses may not be attached to a money bill. The rationale behind this convention is that the upper house, being appointed or indirectly elected, should not have any right to decide on taxation and public expenditure-related policies as may be framed by the directly elected representatives of the lower house. Therefore, money bills are an exception to the general rule that for a bill to be enacted into a law, it has to be approved by both Houses of the Parliament—the lower house and the upper house.[1]
Loss of supply in the lower house is conventionally considered to be an expression of the house's loss of confidence in the government resulting in the government's fall.
Requirements in Westminster systems[edit]
Australia[edit]
A supply bill in the Australian System is required to pass the House of Representatives, the Senate and be signed by the Governor-General. The Senate has no power or ability to introduce or modify a supply bill, but has the ability to block or defer the passing of a supply bill. The most famous instance where supply was blocked was during the 1975 constitutional crisis. This has resulted in agreements between political parties to prevent the blockage of supply bills through the Senate.
Bangladesh[edit]
A money bill is specifically defined by Article 81 of the Constitution of Bangladesh. The President of Bangladesh can send back all bills passed by the Parliament for a review except a money bill. However, a money bill can be introduced to the Parliament only at the President's recommendation. Additionally, tax can only be levied by the Parliament.[2]
India[edit]
Procedure for a Money Bill:
Money Bills can be introduced only in Lok Sabha (the directly elected 'people's house' of the Indian Parliament).
Money bills passed by the Lok Sabha are sent to the Rajya Sabha (the upper house of parliament, elected by the state and territorial legislatures or appointed by the president). The Rajya Sabha may not amend money bills but can recommend amendments. To make sure that Rajya Sabha doesn't amend the bill by adding some non-money matters (known as Financial Bill), the Speaker of the Lok Sabha certifies the bill as a money bill before sending it to the upper house, and the decision of the Speaker is binding on both the Houses.[3] A money bill must be returned to the Lok Sabha within 14 days, or the bill is deemed to have passed both houses in the form it was originally passed by the Lok Sabha.
When a Money Bill is returned to the Lok Sabha with the recommended amendments of the Rajya Sabha, it is open to the Lok Sabha to accept or reject any or all of the recommendations.
A money bill is deemed to have passed both houses with any recommended amendments the Lok Sabha chooses to accept, and without any that it chooses to decline.
The definition of "Money Bill" is given in Article 110 of The Constitution of India. A financial bill is not a Money Bill unless it fulfills the requirements of Article 110.
The Speaker of the Lok Sabha certifies if a financial bill is a Money Bill or not.[4]
Policy cut motion - disapproval of the given policy. Symbolically, the members demand that the amount of the demand be reduced to 1 INR. They may also suggest an alternative policy.
Economy cut motion - it is demanded that the amount of the policy be reduced by a specified amount.
Token cut motion - used to show specific grievance against the government. Also states that the amount of the demand be reduced by Rs. 100.
A money bill can only be introduced in parliament with prior permission of the President of India.
Finance bill is supposed to be enacted within 75 days (including the Parliament voting and the President assenting).
Money bill cannot be returned by the President to the parliament for its reconsideration, as it is presented in the Lok Sabha with his permission.
The concept of money bills in India came to the forefront during the enactment of the Aadhar Act, 2016. In spite of resistance by the opposition, the Aadhaar Bill was certified as a ‘money bill’ by the Speaker of the Lower House. The Upper House proposed certain amendments, but ultimately the BJP-dominated Lower House rejected the amendments suggested by the Upper House and unilaterally enacted the Aadhar Act, 2016. Immediately thereafter, Jairam Ramesh, a senior Congress leader, challenged the speaker’s decision to treat the Aadhar Bill as a ‘money bill’ before the Supreme Court of India. Article 110(3) of the Constitution of India categorically states that 'if any question arises whether a Bill is a Money Bill or not, the decision of the Speaker of the House of the People thereon shall be final'. Therefore, one of the prime constitutional questions before the Supreme Court is whether it can review the speaker’s certificate classifying a bill as a ‘money bill’. In three prior cases, the Supreme Court of India has refused to review the Speaker's certificate. However, some commentators have argued that the Court's earlier judgements were incorrect and Article 110(3) made the Speaker’s decision "final" for the purpose of the two Houses of the Parliament, not for the Supreme Court of India.[5] This argument is further supported by the fact that in Kihoto Hollohan vs Zachillhu (AIR 1993 SC 412), the "final" decision of the speaker regarding disqualification of members of the House under the Tenth Schedule of the Indian Constitution was held to be a judicial decision subject to judicial review. This suggests that the "final" status given by the Indian constitution does not automatically immune the Indian speaker's decision or certificate from judicial review.[6] In view of this crucial constitutional question, it has been suggested that the Supreme Court in Jairam Ramesh v. Union of India should create a constitution bench of at least nine judges to settle the law on this issue.[7]
Republic of Ireland[edit]
In the Republic of Ireland, the Senate may not delay a money bill (Irish: bille airgid)[8] more than 21 days. The President of Ireland may not refuse to sign a money bill and may not refer such a bill to the Supreme Court to test its constitutionality. Procedures exist for resolution of disputes as to whether a Bill is a money bill. Since the 1922 constitution (as amended by the Constitution (Amendment No. 12) Act 1930) and under the 1937 constitution, such disputes can be resolved by a committee on privileges.
United Kingdom[edit]
In the United Kingdom, section 1(1) of the Parliament Act 1911 provides that the House of Lords may not delay a money bill more than a month. It is at the discretion of the Speaker of the House of Commons to certify which bills are money bills, and his decision is final and is not subject to challenge. Section 1(2) of the Act states:
A Money Bill means a Public Bill which in the opinion of the Speaker of the House of Commons contains only provisions dealing with all or any of the following subjects, namely, the imposition, repeal, remission, alteration, or regulation of taxation; the imposition for the payment of debt or other financial purposes of charges on the Consolidated Fund, the National Loans Fund or on money provided by Parliament, or the variation or repeal of any such charges; supply; the appropriation, receipt, custody, issue or audit of accounts of public money; the raising or guarantee of any loan or the repayment thereof; or subordinate matters incidental to those subjects or any of them. In this subsection the expressions "taxation," "public money," and "loan" respectively do not include any taxation, money, or loan raised by local authorities or bodies for local purposes.[9]
The Parliament Act 1911 was the product of the political crisis of 1909. The People's Budget of 1909 proposed by the House of Commons was rejected by the House of Lords. A government whose budget (that is the Finance Bill) is rejected can only resign or dissolve Parliament, because without money it is impossible to govern. The rejection of the Finance Bill in 1909 by the Lords prompted the then British government to initiate steps to curtail the powers of the House of Lords in this regard. This is evident from the Preamble of the 1911 Act which states: "An Act to make provision with respect to the powers of the House of Lords in relation to those of the House of Commons ...".[10]
The reference to the National Loans Fund was inserted on 1 April 1968[11] by section 1(5) of the National Loans Act 1968.
For this purpose, the expression "Public Bill" does not include any Bill for confirming a Provisional Order.
Bradley and Ewing said that the statutory definition of Money Bill is "strictly interpreted".[12] Most annual Finance Bills have not been certified to be Money Bills.[13][14][15]
Requirements in non-Westminster systems[edit]
United States[edit]
While the United States of America is not a parliamentary democracy, the Origination Clause of the U.S. Constitution requires that all bills raising revenue originate in the House of Representatives, consistent with British constitutional practice; by convention, appropriation bills (bills that spend money) also originate in the House. Unlike in most Westminster systems, there are no limits on the Senate's ability to amend revenue bills or any requirement for the Senate to approve such bills within a certain timeframe. Both appropriations and revenue bills are often referred to as money bills to contrast them with authorization bills. The U.S. Supreme Court in United States v. Munoz-Flores (1990) held that: "A law passed in violation of the Origination Clause would thus be no more immune from judicial scrutiny because it was passed by both Houses and signed by the President than would be a law passed in violation of the First Amendment".[16]
See also[edit]
Appropriation bill
Power of the purse
References[edit]
Jump up ^ Datta, Pratik; Malhotra, Shefali; Tyagi, Shivangi. "Judicial Review and Money Bills". National Institute of Public Finance and Policy Working Paper No. 192. Retrieved 24 March 2017.
Jump up ^ "Constitution of Bangladesh" (PDF). Retrieved 3 December 2011.
Jump up ^ "Rules of the Lok Sabha". Parliamentofindia.nic.in. Retrieved 2016-02-17.
Jump up ^ Datta, Pratik; Malhotra, Shefali; Tyagi, Shivangi. "Judicial Review and Money Bills" (PDF). National Institute of Public Finance and Policy. Retrieved 24 March 2017.
Jump up ^ Datta, Pratik; Malhotra, Shefali; Tyagi, Shivangi. "Judicial Review and Money Bills" (PDF). National Institute of Public Finance and Policy. Retrieved 24 March 2017.
Jump up ^ Datta, Pratik; Malhotra, Shefali; Tyagi, Shivangi. "Judicial Review and Money Bills" (PDF). National Institute of Public Finance and Policy. Retrieved 24 March 2017.
Jump up ^ Arun, T.K. "The Money Bill conundrum: Constitution bench should decide". The Economic Times. Retrieved 6 April 2017.
Jump up ^ https://www.oireachtas.ie/viewdoc.asp?fn=/documents/a-misc/legi.htm
Jump up ^ "Parliament Act 1911". Legislation.gov.uk. Retrieved 2016-02-17.
Jump up ^ Datta, Pratik; Malhotra, Shefali; Tyagi, Shivangi. "Judicial Review and Money Bills". National Institute of Public Finance and Policy Working Paper No. 192. Retrieved 24 March 2017.
Jump up ^ The National Loans Act 1968, section 24(3)
Jump up ^ A W Bradley and K D Ewing, Constitutional and Administrative Law, Twelfth Edition, Longman, 1997, p. 213
Jump up ^ A W Bradley and K D Ewing, Constitutional and Administrative Law, Twelfth Edition, Longman, 1997, pp. 213 and 214
Jump up ^ Erskine May, Parliamentary Practice, 21st Edition, 1989, pp. 751–753 (editor C Gorden)
Jump up ^ Jennings, I. Parliament, Second Edition, 1957
Jump up ^ Datta, Pratik; Malhotra, Shefali; Tyagi, Shivangi. "Judicial Review and Money Bills"[1]. National Institute of Public Finance and Policy Working Paper No. 192. Retrieved 24 March 2017.
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