We Go Together Lyrics – Grease

Song Overview

The 2016 Grease Live! television event closed with “We Go Together”, the ultimate carnival-ride of doo-wop nonsense syllables swirling around a simple promise: stick together and everything will sparkle. Originally penned by Jim Jacobs and Warren Casey for the 1971 stage musical, the number has been reborn many times – Broadway, the 1978 film, punk-ska covers, karaoke bars – but the Grease Live Cast version produced by Tom Kitt and Scott M. Riesett lands with HDTV sheen and a live-studio whoosh. The track arrived January 31 2016 as cut 16 on Grease Live! (Music From The Television Event), issued by Paramount Music.

Personal Review

A quick pulse of guitars, a baritone sax growl, and suddenly we’re in a soda-shop daydream where rhymes barely matter. “We Go Together” lyrics riff on pure sound – rama lama lama, dip da-dip – until the listener’s logical brain gives up and the heart does the dancing. It’s a bubblegum pledge of lifelong camaraderie dressed in varsity jackets. Hearing Julianne Hough, Aaron Tveit, and the ensemble belt it live, I felt as if someone cranked a Ferris wheel inside my chest.

Song Meaning and Annotations

On the surface it’s cafeteria-level silliness; underneath, a code of teenage solidarity. In Grease Live! the number erupts at the year-end carnival while students swap yearbooks – the perfect backdrop for a lyric that immortalises signatures and memories.

The groove is classic 1950s rock-and-roll filtered through 21st-century broadcast polish. Drums slap on two and four, a walking bass hops, and muted horns punch the off-beats. Genre fusion? Call it doo-wop-meets-TV-spectacle.

Emotion starts playful, turns declarative. By the repeated “We’ll always be together” coda, the cast isn’t just singing to each other – they’re breaking the fourth wall, inviting the home audience to remember their own locker-door scribbles.

“We go together / Like rama lama lama ka dinga da dinga dong / Remembered forever / As shoo-bop sha wadda wadda yippity boom de boom”

That string of sounds? Pure onomatopoeic joy, plus a wink to 1950s nonsense-chorus hits such as “Tutti Frutti.” The words mean nothing and everything at once – a sonic handshake.

Historically, the song capped the original Broadway show, then the 1978 Travolta/Newton-John film where it slid into pop memory. Ska-punk outfit Less Than Jake ripped through it in 1997, while young contestants on The Voice Kids Australia belted it to viral effect in 2014.

Creation History

Jacobs and Casey, Chicago teens turned theatre rebels, wrote the entire Grease score as a love-letter to their doo-wop youth. The closing number had to feel like homecoming fireworks. Forty-plus years later, director Thomas Kail and co-director Alex Rudzinski captured that burst in a single camera swoop across Warner Bros.’ backlot, rain sprinkling the lens – live TV adrenaline at its best.

Verse Highlights

Verse 1

Introduces the central metaphor: togetherness expressed via playful scat. The tight vocal stacks mimic a street-corner quartet.

Verse 3

Switches scene to starlit dates and high-school dances – everyday teen mythology. Melody climbs, echoing fairground lights flicking on.

Breakdown

Julianne Hough and Aaron Tveit shout the original Little Richard-inspired chant, grounding the piece in rock-and-roll lineage.

Finale

Layer upon layer of “chang-chang-changitty-chang” until voices, brass, and audience noise meld. The message couldn’t be plainer: unity beats graduation goodbyes.

Key Facts

• Featured: Julianne Hough, Aaron Tveit & Grease Live Cast
• Producers: Tom Kitt, Scott M. Riesett
• Composers: Jim Jacobs, Warren Casey
• Release Date: January 31 2016
• Genre: Pop - Soundtrack - Musical Theatre
• Instruments: Electric guitar, upright bass, horns, baritone sax, drums, hand-claps
• Label: Paramount Music
• Mood: Exuberant, nostalgic
• Length: 3 min 12 sec
• Track #: 16 on Grease Live! (Music From The Television Event)
• Language: English
• Music style: doo-wop shuffle
• Poetic meter: Trochaic bursts over swing eighths
• © Copyright 2016 Paramount Music

Songs Exploring Themes of Friendship & Unity

While “We Go Together” bottles teen camaraderie in candy-coated syllables, other songs tackle the same spirit from different angles.

“Lean on Me” – Bill Withers (1972): Gospel-flecked soul where Withers offers a shoulder instead of a dance floor. The groove is slower, the promise deeper, yet both tracks insist on mutual support.

“You’ve Got a Friend” – Carole King (1971): King swaps doo-wop bop for gentle piano but keeps the pledge intact. Her lyrics paint rainy-day comfort, showing togetherness beyond cafeteria walls.

“Best of My Love” – The Emotions (1977): Disco-soul exuberance celebrating collective joy. It shares the up-tempo bounce and layered vocals heard in “We Go Together,” but shifts focus from friendship to romantic glow.

Questions and Answers

Who originally wrote “We Go Together”?

Chicago duo Jim Jacobs and Warren Casey crafted both music and lyrics for the 1971 stage musical Grease.

Did the Grease Live! version chart?

Individual track charts were minor – the song hovered around No 285 on the US iTunes chart the week of the broadcast – but the full soundtrack topped Billboard’s Top Soundtracks list.

How many Emmy Awards did Grease Live! win?

The broadcast snagged five Primetime Emmys, including Outstanding Special Class Program.

Are there notable modern covers?

Ska-punk band Less Than Jake’s 1997 take speeds the tempo, while young contestants on The Voice Kids Australia turned it into a crowd-pleaser in 2014.

Why all the nonsense words?

Doo-wop groups of the 1950s often used playful syllables to mimic instruments; Jacobs and Casey honored that tradition, making language itself part of the rhythm.

Awards and Chart Positions

The 2016 soundtrack hit No 1 on Billboard’s Top Soundtracks and No 37 on the Billboard 200, while peaking at No 85 on Australia’s ARIA Albums Chart. The live broadcast itself secured five Primetime Emmys, from Technical Direction to Lighting Design.

How to Sing?

The melody spans roughly G3 to C5 – comfortable for most altos and tenors. Keep consonants crisp: the nonsense syllables act like percussion. Breathe on every bar-line; phrases accelerate in the finale, so plan quick snatches of air. Tempo hovers around 111 BPM – practice with a metronome, then loosen into swing. For ensemble sparkle, stack thirds tightly and smile on vowels – the audience hears your grin.