Saturday, December 31, 2011

tonight's the night (gonna be alright)












Rod Stewart had his biggest hit with this scandalous seduction. It was recorded with the Muscle Shoals Rhythm Section.at Muscle Shoals Sound Studio in Alabama for his album 'A Night on the Town' with vocals done later at Caribou Ranch Studios in Colorado. Stewart's girlfriend Britt Ekland did the whispers and moans at the end of the song. He says, "I remember I got her drunk, pissed as a fart to sing that old French bollocks on the end, because she didn't want to do it." With its suggestive lyrics about a girl losing her virginity, the song was banned by many radio stations. Despite this, 'Tonight's the Night (Gonna Be Alright)' was a top five hit all over the world, hitting number one in Germany and Sweden; as well as the US, where it spent eight weeks at the top of the charts and was the biggest hit of the year.








Stay away from my window
Stay away from my back door too
Disconnect the telephone line
Relax baby and draw that blind

Kick off your shoes and sit right down
Loosen off that pretty french gown
Let me pour you a good long drink
Ooh baby don't you hesitate cause

Tonight's the night
It's gonna be alright
Cause I love you girl
Ain't nobody gonna stop us now

C'mon angel my hearts on fire
Don't deny your man's desire
You'd be a fool to stop this tide
Spread your wings and let me come inside

Tonight's the night
It's gonna be alright
Cause I love you girl
Ain't nobody gonna stop us now

Don't say a word my virgin child
Just let your inhibitions run wild
The secret is about to unfold
Upstairs before the night's too old

Tonight's the night
It's gonna be alright
Cause I love you woman
Ain't nobody gonna stop us now




J'ai un peu peur
Je que c'est que va dira maman
Mon amour viens plus prus, embrasse-moi.
Oh, Je t'adore beaucoup
Cette nuit mon ami
oui cette nuit mon ami
Je t'aime Je t'aime Je t'aime ....


(I'm scared
What will my mom say
My love come closer, kiss me.
Oh, I adore you a lot
Tonight my friend
Yes tonight my friend
I love you I love you I love you....)







Friday, December 30, 2011

i'm a believer












The Monkees' second single became their second chart-topper, although none of them actually played any instruments on the song. 'I'm a Believer' was written by Neil Diamond: "I was thrilled, because at heart I was still a songwriter and I wanted my songs on the charts. It was one of the songs that was going to be on my first album, but Donny Kirshner, who was their music maven, hears 'Cherry, Cherry' on the radio and said, 'Wow, I want one like that for The Monkees!' He called my producers, Jeff Barry and Ellie Greenwich - 'Hey, does this kid have any more?' And they played him the things I had cut for the next album and he picked 'I'm A Believer,' 'A Little Bit Me, A Little Bit You' and 'Look Out (Here Comes Tomorrow),' and they had some huge hits. But the head of my record company freaked. He went through the roof because he felt that I had given #1 records away to another group. I couldn't have cared less because I had to pay the rent and The Monkees were selling records and I wasn't being paid for my records."

Diamond actually played guitar on the Monkees version; but none of the Monkees were allowed to do so, since their producers didn't think they could play together. Micky Dolenz did the lead vocal while Davy Jones and Peter Tork helped with backup. Michael Nesmith insisted the song would not be a hit and was banned from the studio during the sessions. The song hit number one the last week of 1966 and stayed there for seven weeks, becoming the best selling record of 1967. It has sold more than ten million copies worldwide.












Diamond made a deal where he could record his own version.




Robert Wyatt had a hit in the UK with Fred Frith on violin, Andy Summers on guitar, and Nick Mason on drums.







I thought love was only true in fairy tales
Meant for someone else but not for me.
Love was out to get me
That's the way it seemed.
Disappointment haunted all my dreams.
Then I saw her face, now I'm a believer
Not a trace of doubt in my mind.
I'm in love, I'm a believer!
I couldn't leave her if I tried.

I thought love was more or less a given thing,
Seems the more I gave the less I got.
What's the use in tryin'?
All you get is pain.
When I needed sunshine I got rain.
Then I saw her face, now I'm a believer
Not a trace of doubt in my mind.
I'm in love, I'm a believer!
I couldn't leave her if I tried.




'Steppin' Stone' was the B-side of the Monkees' hit version.







Thursday, December 29, 2011

the way you look tonight














This captivating standard speaks to a cherished moment that glows with love. Jerome Kern wrote 'The Way You Look Tonight' with Dorothy Fields, who recalled: "The first time Jerry played that melody for me I went out and started to cry. The release absolutely killed me. I couldn't stop, it was so beautiful."










Fred Astaire introduced the song in the film 'Swingtime', singing it alone at the piano while Ginger Rogers was in the next room. She walks in to hear the end of the song. 'The Way You Look Tonight' spent six weeks at number one and won the 1936 Academy Award for Best Song.






Billie Holiday




Frank Sinatra



Ella Fitzgerald




Bryan Ferry


Olivia Newton-John



Michael Bublé



Some day, when I'm awfully low,
When the world is cold,
I will feel a glow just thinking of you...
And the way you look tonight.

Yes you're lovely, with your smile so warm
And your cheeks so soft,
There is nothing for me but to love you,
And the way you look tonight.

With each word your tenderness grows,
Tearing my fear apart...
And that laugh that wrinkles your nose,
It touches my foolish heart.

Lovely ... Never, ever change.
Keep that breathless charm.
Won't you please arrange it ?
'Cause I love you ... Just the way you look tonight.

Mm, Mm, Mm, Mm,
Just the way you look to-night.




Wednesday, December 28, 2011

waiting for a girl like you






Foreigner striped down to a quartet and had the biggest number two of all time with this sensitive ballad. 'Waiting for a Girl like You' was written by Mick Jones and Lou Gramm and opened up the band to pop and adult contemporary audiences. Original member Ian McDonald and keyboardist Al Greenwood were ousted from the band so that Jones and Gramm could have more control of the direction of the music. The working title of their next album was 'Silent Partners', and the quartet brought in session players to fill in as needed. For the iconic synthesizer, they hired Thomas Dolby, who was still working on his debut album 'The Golden Age of Wireless'. 'Waiting for a Girl like You' was certified Gold in the US. The soothing love song was a departure from their hard rock sound and peaked at number one on the new Billboard Rock Tracks chart; but it was held for a record ten weeks at number two on the pop chart by Olivia Newton-John's 'Physical', which itself was a racy departure from her sensitive balladry, and then by Hall and Oates' 'I Can't Go for That (No Can Do)'. The success of the song helped to make the album '4' the band's only number one on the album chart in the US, where it sold over six million copies.







So long, I've been looking too hard, I've waiting too long
Sometimes I don't know what I will find
I only know it's a matter of time
When you love someone... When you love someone...
It feels so right, so warm and true, I need to know if you feel it too
(Aaah-aaah) maybe I'm wrong
(Aaah-aaah) won't you tell me if I'm coming on too strong?
(Aaah-aaah) this heart of mine has been hurt before
(Aaah-aaah) this time I wanna be sure
I've been waiting, for a girl like you
(Ooh-ooh-ooh) to come into my life (life)
I've been waiting, for a girl like you
(Waiting for a girl) and a love that will survive

I've been waiting (I've been waiting) for someone new
(New) To make me feel alive, ah-ah
Yeah, waiting for a girl like you (waiting for a girl) to come into my life
(Aaah-aaah... Aaah-aaah...)

You're so good, when we make love it's understood
It's more than a touch or a word we say
Only in dreams could it be this way
When you love someone... Yeah, really love someone...
(Aaah-aaah) now I know it's right
(Aaah-aaah) from the moment I wake up till deep in the night
(Aaah-aaah) there's no where on earth that I'd rather be
(Aaah-aaah) than holding you, tenderly

I've been waiting, for a girl like you
(Ooh-ooh-ooh) To come into my life (life)
I've been waiting, for a girl like you
(Waiting for a girl) and a love that will survive
I've been waiting (I've been waiting) for someone new
(New) To make me feel alive, ah-ah
Yeah, waiting (waiting) for a girl like you
(Waiting for a girl) to come into my life

Oooh-oooh, oooh-oooh, I've been waiting
Aaah-aaah, (waiting for you) oooh-oooh, oooh
(Aaah-aaah) oooh-oooh, I've been waiting
(Waiting) I've been waiting, yeah
I've been waiting for a girl like you, I've been waiting
Won't you come into my life? (Life?) My life?
(It's been so long) I've been waiting for a girl like you
I've been waiting, (I've been waiting) oh-oh



Tuesday, December 27, 2011

have moicy!














This loose, and I do mean loose, affiliation of folk aces found a transcendent expression of the form with this shambling, hysterical masterpiece. Recorded over three wild days, 'Have Moicy!' is credited to Michael Hurley / The Unholy Modal Rounders / Jeffrey Frederick & the Clamtones; but it isn't even that simple. The nine musicians spill into each other's songs like fugly jug wine with the combined ensemble creating a glorious din that finds meaning in the mundane. Michael Hurley and collaborators Wax Iwaskiewicz and Robert Nickson joined Paul Presti and Peter Stampfel of the Holy Modal Rounders, calling themselves Unholy due to the absence of Steve Weber. Jeffrey Frederick had recently relocated from Vermont to Oregon and brought fellow Clamtones Jill Gross, Dave Reisch and Robin Remaily to the party.










Midnight in Paris 

"You wear my beret and I'll use your bidet, cherie
I'll be clean you'll be free,"




Slurf Song 

"Oh I see the dishes over there
They fill me with despair"




Griselda

"I got a jug of wine, Griselda
Why should you waste your time in sorrow
Hold out your hand and have no fear
If we're caught I'll marry you tomorrow"




What Made My Hamburger Disappear 




Sweet Lucy 




Jealous Daddy's Death Song 

"And if any of you punks try to misbehave
I'll haunt your asses to an early grave
I'm telling you telling you telling you boys
Don't you monkey with my widow when I'm gone."



Hoodoo Bash 
"they're bringing thunderbird wine and a pound of hash/come on along if you're one of the people/'cause we're going to get the spirit down at the hoodoo bash."





'Have Moicy!'
full album:




"Midnight in Paris" (Conrad, Magidson) - 3:17
"Robbin' Banks" (Frederick) - 4:00
"Slurf Song" (Hurley) - 3:18
"Jackknife/The Red Newt" (Frederick) - 3:29
"Griselda" (Antonia) - 2:22
"What Made My Hamburger Disappear" (Frederick) - 3:05
"Sweet Lucy" (Hurley) - 4:05
"Country Bump"(Stampfel)  - 2:38
"Fooey Fooey" (Hurley) - 2:55
"Jealous Daddy's Death Song" (Karl Davis) - 2:04
"Driving Wheel" (Hurley) - 3:45
"Weep Weep Weep" (Frederick) - 2:13
"Hoodoo Bash" (Antonia) - 3:32







The (Un) Holy Modal Rounders
Live @ Gerde's Folk City, NYC
Sept. 17, 1976




Black Jack Davey
He Rambled
Slurf Song
Be True To Your School
Goofus
The Sun Is Slowly Sinking
Uncle Bob's Gone
Wooly Booly
Sweet Lucy
Fucking Sailors In Chinatown
Drivin' Wheel
Fire

Peter Stampfel - fiddle, vocals

Paul Presti - guitar & vocals
Kirby Pines - bass
Charlie Messing - rhythm guitar & vocals
Jeff Berman - drums

Monday, December 26, 2011

don't you want me








The Human League had their greatest success with the synthesized soap operatic sour grapes of this duet that was released against their wishes. The band had splintered over disagreements on whether to pursue a more commercial sound, with original members Martyn Ware and Ian Craig Marsh leaving to form Heaven 17. Philip Oakey hired Ian Burden to play synthesizer and found teenage friends Joanne Catherall and Susanne Sulley dancing in a Sheffield nightclub and invited them to come on tour. Virgin Records suggested this new band work with veteran producer Martin Rushent who moved sessions to Genetic Studios in Reading to get them away from the tension at Monumental Studios in Sheffield which they had shared with Heaven 17. Another synth player Jo Callis was also brought in to fill out the sound while their visual art director Philip Adrian Wright learned to play some synthesizer and contributed to the songwriting. Callis, Oakey, and Wright co-wrote 'Don't You Want Me' Inspired by A Star Is Born, Oakey wove a dark tabloid story into this "nasty song about sexual power politics"; making it a duet with Sulley, while Callis and Wright composed the synthesized instrumentation. Rushent and Callis did the very commercial final mix, which the rest of the band thought went too far from the moody vibe of the rest of 'Dare'. It was left at the end of the record.

Virgin A&R Simon Draper was insistent that they release it as a single. According to Sulley, the band was reluctant: "We'd already had three singles from 'Dare': 'Sound of the Crowd', 'Love Action' and 'Open Your Heart'. We genuinely thought people would be bored of us and wouldn't buy another single. Also 'Don't You Want Me' was our Des O'Connor record, not really representative of the rest of the album." Oakey says, "It was the radio. They took the album to these clever people working in radio stations round the country. They all came back and said, 'You've got to put that out as a single.'"
They were all surprised when it raced to the top of the British charts selling almost a million and a half copies. Six months later it hit number one in the US and went Gold.









You were working as a waitress in a cocktail bar when I met you.
I picked you out, I shook you up
And turned you around, turned you into someone new.

Now five years later on you've got the world at your feet.
Success has been so easy for you.
But don't forget it's me who put you where you are now,
And I can put you back there too.

Don't, don't you want me?
You know I can't believe it
When I hear that you won't see me.
Don't, don't you want me?
You know I don't believe you
When you say that you don't need me.
It's much to late to find
When you think you've changed your mind.
You'd better change it back or we will both be sorry.
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?

I was working as a waitress in a cocktail bar,
That much is true.
But even then I knew I'd find a much better place
Either with or without you.

The five years we have had have been such good times,
I still love you.
But now I think it's time I live my life on my own.
I guess it's just what I must do.

Don't, don't you want me?
You know I can't believe it
When I hear that you won't see me.
Don't, don't you want me?
You know I don't believe you
When you say that you don't need me.
It's much to late to find
When you think you've changed your mind.
You'd better change it back or we will both be sorry.
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?

Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?
Don't you want me, baby?
Don't you want me, oh?






B-side 'Seconds' was written about the assassination of John F. Kennedy.

Sunday, December 25, 2011

adeste fideles / o come, all ye faithful








The composer of this classical hymnal has been debated for centuries. It has alternatively been attributed to St. Bonaventura, John of Reading, Marcos Antonio da Fonesca, King John IV of Portugal, George Frideric Handel, Christoph Willibald Ritter von Gluck, and various orders of monks in France, Germany, Portugal, and Spain. It is most commonly attributed to John Francis Wade, a Catholic who fled religious persecution in his native England. He first published it in 1751 in his 'Cantus Diversi'. Some see the hymn as an coded ode to Bonnie Prince Charlie. The song has been translated into many languages. The most common English version combines two different texts from Frederick Oakeley and William Thomas Brooke.
















Andrea Bocelli





Nat King Cole





Josh Groban





Mario Lanza





Luciano Pavarotti





Elvis Presley





English

O come, all ye faithful,
Joyful and triumphant!
O come ye, O come ye to Bethlehem;
Come and behold him
Born the King of Angels:

Chorus:
O come, let us adore Him,
O come, let us adore Him,
O come, let us adore Him,
Christ the Lord.

God of God,
Light of Light,
Lo, he abhors not the Virgin's womb;
Very God,
Begotten, not created:

Sing, choirs of angels,
Sing in exultation,
Sing, all ye citizens of Heaven above!
Glory to God
In the highest:

Yea, Lord, we greet thee,
Born this happy morning;
Jesus, to thee be glory given!
Word of the Father,
Now in flesh appearing!


Latin

Adeste fideles laeti triumphantes,
Venite, venite in Bethlehem.
Natum videte Regem angelorum.
Venite adoremus (ter)
Dominum.

Deum de Deo, lumen de lumine,
Gestant puellae viscera.
Deum verum, genitum non factum.
Venite adoremus (ter)
Dominum.

Cantet nunc 'Io', chorus angelorum;
Cantet nunc aula caelestium,
Gloria! Soli Deo Gloria!
Venite adoremus (ter)
Dominum.

Ergo qui natus die hodierna.
Jesu, tibi sit gloria,
Patris aeterni Verbum caro factum.
Venite adoremus (ter)
Dominum.

En grege relicto, humiles ad cunas,
Vocati pastores adproperant:
Et nos ovanti gradu festinemus,
Venite adoremus, venite adoremus,
Venite adoremus Dominum.

Saturday, December 24, 2011

white Christmas













This nostalgic classic is listed in the Guinness Book of World Records as the best-selling single of all time. Irving Berlin wrote 'White Christmas' while in sunny California, telling his secretary, "Grab your pen and take down this song. I just wrote the best song I've ever written — heck, I just wrote the best song that anybody's ever written!" Bing Crosby debuted the song on his radio show The Kraft Music Hall on Christmas Day, 1941. He later recorded it with the John Scott Trotter Orchestra and the Ken Darby Singers as part of an album of songs from the film 'Holiday Inn'. It won the Academy Award for Best Original Song in 1942 and spent eleven weeks on top of the Billboard charts, as well as topping the Harlem Hit Parade. Decca re-released the single and it made it to the top of the charts during the holidays in 1945 and 1946, making it the only single to hit number one on three separate occasions. It made twenty separate appearances on the pop chart and has sold more than fifty million copies worldwide.













I'm dreaming of a white Christmas,
just like the ones I used to know
Where the treetops glisten and children listen
to hear sleigh bells in the snow

I'm dreaming of a white Christmas,
just like the ones I used to know
Where the treetops glisten and children listen
to hear sleigh bells in the snow

I'm dreaming of a white christmas,
with every Christmas card I write
May your days be merry and bright,
and may all your Christmases be white

I'm dreaming of a white christmas,
just like the ones I used to know
May your days be merry and bright,
and may all your Christmases be white

I'm dreaming of a white christmas,
with every christmas card I write
May your days be merry and bright,
and may all your Christmases be white

May your days be merry and bright,
and may all your Christmases be white

And may all your Christmases be white (All your Christmases be white)
And may all your Christmases be white (All your Christmases be white)
And may all your Christmases be
(All your Christmases be white)
(All your Christmases be white)


Friday, December 23, 2011

too much to dream (last night)













The Electric Prunes broke through with this wrinkled, high-fiber, psychedelic nugget. The band started in the San Fernando Valley of Los Angeles and went through several incarnations as the Sanctions, and later, Jim and the Lords, before meeting David Hassinger, an engineer at RCA studios, who arranged for them to record some demos at Leon Russell's Sky Hill Studios. Hassinger suggested they change their name and the band picked the Electric Prunes as a joke. Their first single 'Ain't It Hard' flopped; but Reprise Records agreed to give them anther shot. Hassinger brought the band 'I Had Too Much to Dream (Last Night)' by the songwriting team of Annette Tucker and Nancie Mantz. Tucker says, "I came up with the title one day and called Nancie. She loved it and we wrote it the next day in one half hour....The words were there and my melody came easily. I was influenced by the Rolling Stones at the time and that is how I heard that song being recorded....Nancie and I envisioned this as a rock song."

The classic lineup of the band at the time was singer James Lowe, lead guitarist Ken Williams, rhythm guitarist James "Weasel" Spagnola, bassist Mark Tulin, and drummer Preston Ritter. Lowe remembers the genesis of the unique guitar sound: "We were recording on a four-track, and just flipping the tape over and re-recording when we got to the end. Dave cued up a tape and didn't hit 'record,' and the playback in the studio was way up: ear-shattering vibrating jet guitar. Ken had been shaking his Bigsby wiggle stick with some fuzztone and tremolo at the end of the tape. Forward it was cool. Backward it was amazing. I ran into the control room and said, 'What was that?' They didn't have the monitors on so they hadn't heard it. I made Dave cut it off and save it for later." 'I Had Too Much to Dream (Last Night)' made it to number forty-nine in the UK and peaked at number eleven in the US. It was later included as the opening track on the classic compilation of garage rock: 'Nuggets: Original Artyfacts from the First Psychedelic Era, 1965-1968'.










Last night your shadow fell upon my lonely room
I touched your golden hair and tasted your perfume
Your eyes were filled with love the way they used to be
Your gentle hand reached out to comfort me
Then came the dawn
And you were gone
You were gone, gone, gone

I had too much to dream last night
Too much to dream
I'm not ready to face the light
I had too much to dream
Last night

The room was empty as I staggered from my bed
I could not bear the image racing through my head
You were so real that I could feel your eagerness
And when you raised your lips for me to kiss

Came the dawn
And you were gone
You were gone, gone, gone

Oh, too much to dream
Oh, too much to dream
Too much to dream last night
Oh, too much to dream





After a successful tour, they would record an entire album entitled 'I Had Too Much to Dream (Last Night)', which included their only other hit 'Get Me To The World On Time'.