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EN 2004 YO SANBA PWAN LA WI POU YO CHANJE YUN NASYON CHANJE MANTALITE.....

Beyonce Knowles : Once In A Lifetime

just another day that I would spend
Waitin' for the right one.
Staring at the night and wishin' I could be the one
To feel the warm sun.
You're a dream, but I'm wide awake
I'm in Heaven, for heaven sakes
So get ready, (get ready) I'm ready now (get ready)
I could never need you more than now

You were worth waiting for
You the one that I adore
Hold on to me tight
For once in my life
You were worth waiting for
You the one that I adore
This kind of love you'll only find
Once in a lifetime, once in a lifetime

Tell me that your living in a place
Where no one else can find you.
Tell me that your sanging out my name,
Hoping that I'll hear you.
Tell me "No" and I'll fade away,
But this is lovin that I won't waste
So get ready, (get ready) I'm ready now (get ready)
I could never need you more than now

You were worth waiting for
You the one that I adore
hold on to me tight
For once in my life
You were worth waiting for
You the one that I adore
This kind of love you'll only find
Once in a lifetime, once in a lifetime

What are the words, I'm needin' to hear
How do I know if I'll ever love again
Seeing your face makes everything clear (clear) clear
And I will never be the same

You were worth waiting for
You the one that I adore
hold on to me tight
For once in my life
You were worth waiting for
You the one that I adore
This kind of love you'll only find
Once in a lifetime, once in a lifetime

Alexandrie Alexandra


by Claude François

Ah aaah
Ah aaah
Voiles sur les filles
Barques sur le Nil
Je suis dans ta vie
Je suis dans tes bras
Alexandra Alexandrie
Alexandrie où l'amour danse avec la nuit
J'ai plus d'appétit
Qu'un Barracuda
Je boirai tout le Nil si tu n'me retiens pas
Je boirai tout le Nil si tu n'me retiens pas
Alexandrie
Alexandra
Alexandrie où l'amour danse au fond des draps
Ce soir j'ai de la fièvre et toi tu meurs de froid
Les sirènes du port d'Alexandrie
Chantent encore la même mélodie wowo
La lumière du phare d'Alexandrie
Fait naufrager les papillons de ma jeunesse.

Ah Aaah
Ah Aaah
Voiles sur les filles
Et barques sur le Nil
Je suis dans ta vie
Je suis dans tes draps
Alexandra Alexandrie
Alexandrie où tout commence et tout finit
J'ai plus d'appétit
Qu'un Barracuda
Je te mangerai crue si tu n'me retiens pas
Je te mangerai crue si tu n'me retiens pas
Alexandrie
Alexandra
Alexandrie ce soir je danse dans tes draps
Je te mangerai crue si tu n'me retiens pas
Les sirènes du port d'Alexandrie
Chantent encore la même mélodie wowo
La lumière du phare d'Alexandrie
Fait naufrager les papillons de ma jeunesse.

Ah Aaah
Ah Aaah
Voiles sur les filles
Et barques sur le Nil
Alexandrie Alexandra
Ce soir j'ai la fièvre et tu meurs de froid
Ce soir je danse, je danse, je danse dans tes draps.
http://www.youtube.com/watch?v=BpacvA_ZQQc

Cette année-là


by Claude François

Cette année-là
Je chantais pour la premiere fois
Le public ne me connaissait pas
Quelle année cette annee-là

Cette année-là
Le rock'n'roll venait d'ouvrir ses ailes
Et dans mon coin je chantais belle, belle, belle
Et le public aimait ça

Déjà les Beatles étaient quatre garçons dans le vent
Et moi ma chanson disait marche tout droit

Cette année-là
Quelle joie d'être l'idole des jeunes
Pour des fans qui cassaient les fauteuils
Plus j'y pense et moins j'oublie

J'ai découvert mon premier mon dernier amour
Le seul le grand l'unique et pour toujours le public

Cette année-là
Dans le ciel passait une musique
Un oiseau qu'on appelait Spoutnik
Quelle année cette année-là

C'est là qu'on a dit adieu à Marilyn au cœur d'or
Tandis que West Side battait tous les records

Cette année-là
Les guitares tiraient sur les violons
On croyait qu'une révolution arrivait
Cette année-là

C'était hier, mais aujourd'hui rien n'a changé
C'est le même métier qui ce soir recommence encore

C'était l'année soixante deux
C'était l'année soixante deux
C'était l'année soixante deux
C'était l'année soixante deux
http://www.youtube.com/watch?v=OmtuM--MsRk

Le téléphone pleure


by Claude François

Allo!

Ecoute maman est près de toi,
Il faut lui dire: "Maman, c'est quelqu'un pour toi"

Ah! c'est le monsieur de la dernière fois
Bon, je vais la chercher
Je crois qu'elle est dans son bain
Et je sais pas si elle va pouvoir venir

Dis-lui, je t'en prie, dis-lui c'est important
Et il attend

Dis, tu lui as fais quelque chose à ma maman
Elle me fait toujours des grands signes
Elle me dire toujours tout bas: "Fais croire que je suis pas là"

Raconte-moi comment est ta maison?
Apprends-tu bien chaque soir toutes tes leçons?

Oh oui! mais comme maman travaille
C'est la voisine qui m'emmène à l'école
Il y a qu'une signature sur mon carnet
Les autres ont celle de leur papa, pas moi

Oooooh dis-lui que j'ai mal
Si mal depuis six ans
Et c'est ton âge, mon enfant
Ah non! moi, j'ai cinq ans
Eh! dis, tu la connaissait ma maman avant
Pourtant elle m'a jamais parlé de toi
Tu restes là hein!

Le téléphone pleure quand elle ne vient pas
Quand je lui crie: "Je t'aime"
Les mots se meurent dans l'écouteur
Le téléphone pleure, ne raccroche pas
Je suis si près de toi avec la voix

Seras-tu aux prochaines vacances à l'hôtel Beau-Rivage?
Aimes-tu la plage?

Oh oui! j'adore me baigner
Maintenant je sais nager
Mais dis donc, comment tu connais l'hôtel Beau-Rivage
Tu y a été toi, à Sainte Maxime

Ooooooh! dis-lui toute ma peine,
Combien toutes les deux, moi, je vous aime

Je vous aime! mais je t'ai jamais vu, moi
Et qu'est-ce que t'as
Pourquoi t'as changé de voix
Mais tu pleures, pourquoi?

Le téléphone pleure quand elle ne vient pas
Quand je lui crie: "Je t'aime"
Les mots se meurent dans l'écouteur
Le téléphone pleure, ne raccroche pas
Je suis si près de toi avec la voix

Dis, écoute-moi
Le téléphone pleure pour la dernière fois
Car je serais demain au fond d'un train
Dis, mais retiens-la

Mais elle s'en va!

Allons insiste!

Elle est partie

Si elle est partie, alors tant pis

Au revoir, monsieur

Au revoir, petite
http://www.youtube.com/watch?v=DwKRHCtVqlw

Belles belles belles


by Claude François

Un jour mon père me dit : Fiston
J'te vois sortir le soir
A ton âge il y a des choses
Qu'un garçon doit savoir
Les filles tu sais, méfie-toi
C'est pas c'que tu crois

Elles sont toutes
Belles belles belles comme le jour
Belles belles belles comme l'amour

Elles te rendront fou de joie
Fou de douleur mais crois-moi
Mais plus fou d'elles de jour en jour
Puis des filles de plus en plus
Tu vas en rencontrer
Peut-être même qu'un soir
Tu oublieras de rentrer
Plus t'en verras, plus t'en auras
Et plus tu comprendras
Dans ces moments, tu te souviendras
Que ton vieux père disait :

Elles sont toutes
Belles belles belles comme le jour
Belles belles belles comme l'amour

Elles te rendront fou de joie
Fou de douleur mais crois-moi
Plus fou d'elles d'elles d'elles de jour en jour
Un jour enfin tu la verras
Tu n'peux pas te tromper
Tu voudras lui dire "je t'aime"
Mais tu n'pourras plus parler
En un clin d'œil vous s'rez unis
Pour le pire et le meilleur
Mais tu tiendras là le vrai bonheur
Aux yeux de ton cœur

Elle sera
Belle belle belle comme le jour
Belle belle belle comme l'amour

Comme j'ai dit à ta maman
Tu lui diras en l'embrassant :

Tu es, belle belle belle comme le jour
Belle belle belle comme l'amour
Belle belle belle comme le jour
http://www.youtube.com/watch?v=FAO4hEHAaB0

Je vais à Rio


by Claude François

Oh oh oh oh...

Quand tu souris
Je m'envole au paradis
Je vais à Rio de Janeiro
Je prends ta main
Et nos cœurs font plus de bruit
Que toutes les cymbales
Du carnaval

Tu m'entraînes dans la foule
D'une fête qui déroule ses ailes
Ses dentelles
Et je suis riche de rêves
Comme le sont les gens pauvres
De là-bas

Quand tu souris
Je m'envole au paradis
Je vais à Rio de Janeiro
Et l'on s'jette dans l'eau
Dans l'eau bleue de l'océan
Que peuvent s'offrir sans argent
Ceux qui n'ont que des fleurs
Dans le cœur

Quand tu souris
J'oublie le gris de Paris
Je vais à Rio de Janeiro
Je prends ta main
Et nos cœurs font plus de bruit
Que toutes les cymbales
Du carnaval
On s'envole et l'on s'invente
Des millions de gens qui chantent
Dans nos têtes, oh quelle fête !
On se lance dans la danse
Qui balance entre la vie et l'amour

Oh oh oh oh...

On s'envole et l'on s'invente
Des millions de gens qui chantent
Dans nos têtes, oh quelle fête !
On se lance dans la danse
Qui balance entre la vie et l'amour

Quand tu souris
Je m'envole au paradis
Je vais à Rio de Janeiro
Je prends ta main
Et nos cœurs font plus de bruit
Que toutes les cymbales
Du carnaval
Oui, quand tu souris
Je m'envole au paradis
Je vais à Rio
Rio de Janeiro
Je prends ta main
Et nos cœurs font plus de bruit
Que toutes les cymbales
Du carnaval

Oh oh oh oh...
http://www.youtube.com/watch?v=9cUuickRosU

Le mal aimé


by Claude François

J'ai besoin qu'on m'aime
Mais personne ne comprend
Ce que j'espère et que j'attends
Qui pourrait me dire qui je suis ?
Et j'ai bien peur
Toute ma vie d'être incompris
Car aujourd'hui : je me sens...

{Refrain:}
Mal aimé
Je suis le mal aimé
Les gens me connaissent
Tel que je veux me montrer
Mais ont-ils cherché à savoir
D'où me viennent mes joies ?
Et pourquoi ce désespoir
Caché au fond de moi ?

Si les apparences
Sont quelquefois contre moi
Je ne suis pas ce que l'on croit
Contre l'aventure de chaque jour
J'échangerais demain la joie d'un seul amour
Mais je suis là comme avant

{au Refrain}

Car je suis...
{au Refrain 2x}
http://www.youtube.com/watch?v=wGVS3zwJPto

Claude François : Biographie



De Claude François, on gardera à jamais l’image d’un artiste intransigeant, aux costumes de paillettes étincelants et aux chorégraphies millimétrées.
Chef de file du yé-yé, il fut l’interprète des plus grands succès des années 60 et 70: Magnolias For Ever, Belles belles belles, Alexandrie Alexandra, Le lundi au soleil, Comme d’habitude, Le téléphone pleure, ou encore le Mal aimé.
Celui qui fut l’égal d’une Dalida soulevait des foules immenses. Pour lui, des milliers de femmes en pleurs mimaient en France l’hystérie collective que soulevaient les Beatles outre-Manche. En pleine gloire, il disparaît tragiquement mais reste, près de vingt-cinq ans après sa mort, plus vivant que jamais.
Un enfant du soleil


Parce que son père est contrôleur du trafic sur le canal de Suez, Claude naît en Égypte, à Ismaïlia, près du lac Timsah, le 1er février 1939. Lui et sa grande soeur Josette suivront leurs parents, Aimé et Lucie, d’origine franco-italienne, au gré des mutations paternelles.
Jeune homme, il vit une enfance rêvée, jusqu’à la nationalisation du canal en 1956, par le président Nasser. Expulsés, les François rejoignent la France et s’installent sur la côte d’Azur, tout d’abord à Marseille, puis à Monaco et à Nice.
Ce changement rapide de situation pèse sur Aimé et altère sa santé. Claude, âgé de dix-sept ans, prend les rênes de la famille et se voit dans l’obligation de trouver très vite un emploi. Mais cela ne l’empêche pas de développer une passion pour la musique et la danse: piano, violon et batterie lui permettent de s’évader d’une vie devenue difficile.
Premier cachet


C’est ainsi que le jeune Claude débute à dix-huit ans aux percussions dans l’orchestre d’Aimé Borelli puis dans celui de Louis Frazio et plus tard, d’Olivier Despax. Malgré les remontrances de son père, Claude s’investit totalement dans cette voie artistique.
Son charisme et sa beauté de jeune éphèbe le font connaître dans les milieux branchés de la nuit. C’est d’ailleurs dans une boîte de nuit qu’il rencontre une danseuse anglaise, Janet Woolcoot, qui deviendra sa femme en 1960. Il y rencontre également Sacha Distel et Brigitte Bardot qui lui conseillent, de concert, de « monter » à Paris.
Sans un sou, Claude quitte le soleil méditerranéen pour la grisaille parisienne en 1961, et découvre une capitale chamboulée par le rock et les yé-yés.
La vague des yé-yés


Profitant de la vague de succès de la génération Salut les copains, Claude enregistre un premier 45 tours Nabout Twist, sous le pseudo de Koko, aux éditions Fontana. Ce twist arabe n’a aucun succès, à une époque friande de reprises de grands standards américains.
Claude ne se laisse pas déstabiliser par cet échec, et, tout en abandonnant son nom de scène au profit de son vrai nom, sort un second 45 tours qui explose au hit-parade: Belles belles belles est le premier d’une longue série de tubes.
Cette reprise des Everly Brothers sort quelques semaines après la mort de son père. Très affecté par ce décès (les deux hommes étaient brouillés depuis peu), le chanteur se lance avec encore plus d’acharnement dans le travail. Il scelle ainsi une réputation sulfureuse de bourreau du travail, intransigeant et inébranlable.
Une prestation scénique incomparable


Les premiers titres de Claude François sont ingénieusement des reprises américaines, très dansantes et à la base rythmique très simple. Dis-lui, Marche tout droit, ou Si j’avais un marteau (reprise du succès de Trini Lopez), fonctionnent parfaitement, mais c’est sur scène qu’il séduit le public.
Ce jeune homme blond à l’apparence asexuée est un danseur hors-pair, au look bon chic bon genre. La gente féminine succombe rapidement à son charme et participe à ses premiers succès. Cloclo s’approprie alors un public très jeune qui lui restera fidèle toute sa vie. En échange, il sacrifie sa vie à sa carrière.
Nombreux sont les jeunes chanteurs qui ont tenté leur chance au début des années 60. Rares sont ceux qui sont encore présents aujourd’hui ou qui ont marqué leur époque. Pour y parvenir, Claude travaille nuit et jour, précipitant la faillite de son couple. J’y pense et puis j’oublie rappelle cet épisode douloureux de sa vie privée.
Propriétaire désormais de sa somptueuse demeure de Dannemois, dans l’Essonne, Cloclo devient un véritable phénomène. 1964 est l’année de son premier Olympia, salle mythique dans laquelle il retourne dès 1965 pour enregistrer la célèbre émission Musicorama.
Désormais, il s’accompagne sur scène des fameuses Clodettes, jeunes femmes superbes qui mettent en valeur, par leur tenue légère et leur chorégraphie parfaite, le personnage central du chanteur. Le spectacle de Claude François est un véritable feu d’artifice scénique dont la gaieté n’a d’égal que la rythmique envoûtante des chansons.
Le sommet de la gloire


L’entêtement avec lequel Claude mène chacune de ses entreprises, fait de lui, en cette année 1968, un homme comblé. Isabelle, sa nouvelle compagne, donne naissance à Claude Junior au mois de juillet (Marc, son second fils, suivra l’année d’après).
Séparé de sa maison de disques, il crée la maison Flèche et devient ainsi son propre producteur. Enfin, chacun de ses disques se vend par centaines de milliers et Cloclo devient, avec l’aide des radios et des télévisions, la vedette la plus médiatique de ces années 60.
Un titre, particulièrement, sera à l’origine de cette gloire. Comme d’habitude, créé en 1968, devient avec les années l’une des chansons les plus mondialement interprétées (Presley, Paul Anka, Frank Sinatra ou encore les Sex Pistols, la chanteront en anglais, et feront de My Way un air aussi célèbre que l’Imagine de John Lennon).
Chef d’entreprise, Claude ne se contente pas de mener les disques Flèche avec une main de maître, il produit aussi de jeunes artistes tels que Chamfort ou Juvet et commercialise un parfum. Il rachète également le magazine Podium, qui, à l’instar du célèbre Salut les copains, diffuse dans la presse écrite, les succès de la chanson auprès de la jeunesse.
Rien ne l’arrête, ni le surmenage qui le guette, (il est victime d’une syncope sur scène à Marseille), ni un terrible accident de voiture dont il est victime en 1970.
L’homme à tout faire


Entre les tournées interminables dans le monde entier, son métier de producteur, sa vie privée et la promotion de ses nouveaux disques (Chanson populaire, Ca s’en va et ça revient, …), Claude François trouve le temps de racheter une agence de mannequins et un magazine érotique Absolu.
Son goût immodéré pour les femmes assoit sa réputation de coureur de jupons. Exigeant, voire odieux avec ses collaborateurs, frivole, orgueilleux, acharné dans le travail, de nombreux traits de caractère ternissent sensiblement l’image du chanteur, si bien qu’il est parfois victime de sa réputation, comme lorsqu’un fan l’agresse lors d’un concert en 1973.
Star immense, sa vie publique lui coûte très cher: d’un redressement fiscal à une tentative de meurtre, en passant par l’incendie de sa maison ou l’explosion d’un cocktail Molotov dans ses bureaux, Claude François vit sur le fil du rasoir.
C’est encore un accident qui lui coûte la vie le 11 mars 1978. Alors qu’il triomphe sur les ondes avec Alexandrie Alexandra, il s’électrocute dans la baignoire de son domicile parisien.
La mort précipite l’entrée de Cloclo dans la légende de la chanson, faisant de sa propriété de Dannemois un Graceland à la française, véritable lieu de pèlerinage. Des dizaines de milliers de personnes assistent à ses obsèques en l’Eglise d’Auteuil à Paris.
Véritable chef d’entreprise, marquant de son déterminisme et de sa rage de vaincre le monde de la chanson, Claude François a dirigé pendant presque vingt ans un empire culturel et musical. Avec Podium et les disques Flèche, l’interprète Cloclo savait également se muer en impitoyable homme d’affaires.
Belles belles belles, Le téléphone pleure, C’est de l’eau c’est du vent, Comme d’habitude, Je viens dîner ce soir, Je vais à Rio, ou encore Toi et moi contre le monde entier, font encore danser des millions de fans à travers le monde.
Celui que la mort, tout comme Dalida quelques années plus tard, en 1987, a porté au firmament de la chanson populaire, reste associé à jamais à un art très visuel, pour lequel danse, chant, strass et paillettes se mêlent merveilleusement.
Sébastien Brumont

Sexbomb

Artist - Tom Jones Aw, Aw baby, Yeah, ooh Yeak, huh, listen to this Spy on me baby use satellite Infrared to see me move through the night Aim gonna fire shoot me right Aim gonna like the way you fight And I love the way you fight Now you found the secret code I use to wash away my lonely blues well So I can't deny or lie cause you're a Sexbomb sexbomb you're a sexbomb uh, huh You can give it to me when I need to come along give it to me Sexbomb sexbomb you're my sexbomb And baby you can turn me on baby you can turn me on You know what you're doing to me don't you. ha ha, I know you do No don't get me wrong ain't gonna do you no harm no This bomb's made for lovin' and you can shoot it far I'm your main target come and help me ignite ow Love struck holding you tight hold me tight darlin' Make me explode although you know the route to go to sex me slow slow baby And yes I must react to claims of those who say that you are not all that huh, huh, huh Sexbomb sexbomb you're a sexbomb You can give it to me when I need to come along Sexbomb sexbomb you're my sexbomb And baby you can turn me on turn me on darlin' Sexbomb sexbomb you're my sexbomb sexbomb You can give it to me when I need to come along Sexbomb sexbomb your're my sexbomb And baby you can turn me on You can give me more and more counting up the score Yeah You can turn me upside down inside out You can make me feel the real deal uh uh I can give it to you any time because you're mine Ouch, Sexbomb, aw baby Sexbomb sexbomb you're my sexbomb And you can give it to me when I need to be turned on no, no Sexbomb sexbomb you're my sexbomb And baby you can turn me on turn me on And baby you can turn me on turn me on Baby you can turn me on turn me on Ooh baby you can turn me on turn me on Baby you can turn me on oh Baby you can turn me on oh Baby you can turn me on Well baby you can turn me on

http://www.youtube.com/watch?v=6KUJE2xs-RE

Tom Jones


Delilah
[b]Lyrics to Delilah :
I saw the light on the night that I passed by her window
I saw the flickering shadows of love on her blind
She was my woman
As she deceived me I watched and went out of my mind
My, my, my, Delilah
Why, why, why, Delilah
I could see that girl was no good for me
But I was lost like a slave that no man could free
At break of day when that man drove away, I was waiting
I cross the street to her house and she opened the door
She stood there laughing
I felt the knife in my hand and she laughed no more
My, my, my Delilah
Why, why, why Delilah
So before they come to break down the door
Forgive me Delilah I just couldn't take any more

[insert trumpet solo here]

She stood there laughing
I felt the knife in my hand and she laughed no more
My, my, my, Delilah
Why, why, why, Delilah
So before they come to break down the door
Forgive me Delilah I just couldn't take any more
Forgive me Delilah I just couldn't take any more[/b]





http://www.youtube.com/watch?v=8a_T3U1rg2I

TOM JONES
It's Not Unusual :
It's not unusual to be loved by anyone
It's not unusual to have fun with anyone
but when I see you hanging about with anyone
It's not unusual to see me cry,
oh I wanna' die
It's not unusual to go out at any time
but when I see you out and about it's such a crime
if you should ever want to be loved by anyone,
It's not unusual it happens every day no matter what you say
you find it happens all the time
love will never do what you want it to
why can't this crazy love be mine
It's not unusual, to be mad with anyone
It's not unusual, to be sad with anyone
but if I ever find that you've changed at anytime
it's not unusual to find out that I'm in love with you
whoa-oh-oh-oh-oh

http://www.youtube.com/watch?v=QrwO8b9iq34

[b]Tom Jones




The Young New Mexican Puppeteer

[/b]

The Young New Mexican Puppeteer :
In a town near Albequerqe
Lived a most concerned young boy
He said lately I have noticed
Folks don't live with peace and joy

With frowns and worry on their faces
They're lost and don't know where to go
He said I'll get the people straightened
By putting on a puppet show

The young New Mexican puppeteer
He saw the people all lived in fear
He thought that maybe they'd listen to
A puppet telling them what to do

You know he got some string and he got some wood
He did some carving and he was good
And folks came running so they could hear
The young New Mexican puppeteer

First he carved out young Abe Lincoln
Abe will teach 'em civil rights
Then a king named Martin Luther
So they'd recall his peacefull fight

Old Mark Twain, his wit and wisdom
Will surely show them life is fun
But he smiled with satisfaction
When the prince of peace was done

The young New Mexican puppeteer
He saw the people all lived in fear
He thought that maybe they'd listen to
A puppet telling them what to do

You know he got some string and he got some wood
He did some carving and he was good
And folks came running so they could hear
The young New Mexican puppeteer

Now his puppet shows were clever
And he made the people laugh
When he got across the message
To walk along lifes open path

They built him his own puppet theatre
Decked out with spotlights yellow and red
And then they wrote him up in all the papers
And this is what the story said

It said...

The young New Mexican puppeteer
He saw the people all lived in fear
He thought that maybe they would listen to
A puppet telling them what to do

You know he got some string and he got some wood
He did some carving and he was good
And folks came running so they could hear
The young New Mexican puppeteer
http://www.youtube.com/watch?v=eLFlfGrZCc4

[b]Tom Jones




The Green Green Grass Of Home

[/b]

Lyrics to The Green Green Grass Of Home :
The old home town looks the same as I step down from the train,
and there to meet me is my Mama and Papa.
Down the road I look and there runs Mary hair of gold and lips like cherries.
It's good to touch the green, green grass of home.
Yes, they'll all come to meet me, arms reaching, smiling sweetly.
It's good to touch the green, green grass of home.
The old house is still standing tho' the paint is cracked and dry,
and there's that old oak tree I used to play on.

Down the lane I walk with my sweet Mary, hair of gold and lips like cherries.
It's good to touch the green, green grass of home.
Yes, they'll all come to meet me, arms reaching, smiling sweetly.
It's good to touch the green, green grass of home.

[spoken:]

Then I awake and look around me, at four grey wall surround me
and I realize that I was only dreaming.
For there's a guard and there's a sad old padre -
arm in arm we'll walk at daybreak.
Again I touch the green, green grass of home.
Yes, they'll all come to see me in the shade of that old oak tree
as they lay me neath the green, green grass of home
http://www.youtube.com/watch?v=Rlv0Inq8yxc

TOM JONES BIOGRAPHY
Source: http://www.tomjonesistheman.com/biography.htm

Tom's unique weighty voice is a baritone to tenor range. He is a vocal powerhouse with the ability to give his audience every ounce of his energy, enthusiasm and concentration. If his delivery is vigorous, he invites his audience in with the vulnerability of his emotional conviction. He is a natural, a Welshman, a worker, an artist. Tom has a fundamental interest in a wide range of musical expression. He is first and foremost a rocker with a true rhythm and blues soul. In his youth, he was a "Teddy-Boy", a rebel, with not much on his mind but music and sex. His young style and attitude was dominated by the birth of rock 'n' roll. But he had ears and a natural ability that could appreciate and understand the quickly burgeoning styles of popular music. As much time as he spent listening to American and British radio he would spend in the pubs, drinking and singing. He learned he could sing anything, and he learned he could entertain. Tom has sustained his popularity for more than three decades. His recordings have spanned the spectrum from pop and rock to standards, rhythm and blues to rockabilly, country to dance and contemporary urban sounds. Born Thomas Jones Woodward in Pontypridd, South Wales, Great Britain on June 7, 1940, his father worked the coal mines of the Rhondda Valley, while his mother tended the house and the two children. The old great Welsh traditions of poetry and song were the love of the laborers - born of their earth, the life of their gatherings, the soul of their hard lives. Tom was singing at an early age. He sang in the church and with the choir at the Treforrest Secondary Modern School. He would ask his mother to "pull the drapes and announce me", as he sang on his "stage" in the sitting room. A more or less unsuccessful school career ended, as it did for most boys at age 16, with a wife and son to follow at age 17. Tom brought in money for his new family from an assortment of jobs, including a builder's laborer, a glove cutter, paper miller, and door-to-door vacuum salesman. He sang in the pubs at night, working with local groups. By 1963, he had gained notoriety with his own group, Tommy Scott and the Senators, and was playing regularly in the demanding atmosphere of the working-class clubs and dance halls. Gordon Mills, a man with a solid performance background who had decided to branch into songwriting and management, went to see Tom work. As Mills recalled: "The first few bars were all I needed to hear, they convinced me that here was a voice that could make him the greatest singer in the world." Mills became his manager, and took him to London to promote him. It was not an easy task, as record companies found him disconcerting. The vocal sound was raucous and too powerful, the performance style too forward and sexual. He sounded black and moved like Presley. The two men persisted though, and in late 1964 landed a record contract with Decca Records. The first single was not a great success, but the next choice, a new song penned by Mills called It's Not Unusual, was a huge international hit. Considered "too hot" by the established BBC Radio at the time, it was broken by the pirate off-shore station Radio Caroline. By the next year, Tom found himself opening for the Rolling Stones at London's Beat City and gigging with the Spencer Davis Group. Just some of the huge single hits to follow were What's New Pussycat, Help Yourself, Never Fall In Love Again and Without Love. The next few years of recording success found Tom performing a remarkably varied repertoire, cultivating his natural abilities by listening and learning from his favorite artists of the time. His early performance inspiration came from Solomon Burke, Tennessee Ernie Ford, Little Richard, Jackie Wilson, Brook Benton, Big Bill Broonsy and many other Blues and R&B greats. The soul of Rock 'n' Roll he found in Jerry Lee Lewis. A long friendship with Elvis Presley was built on mutual respect and admiration. Elvis would warm up his voice to Delilah before his own performances, and when Green Green Grass of Home hit for Tom in 1966, Elvis would call radio stations repeatedly to request the song. An avalanche of gold singles and albums were soon to follow: Delilah, Help Yourself, Love Me Tonight, and I'll Never Fall in Love Again in 1968, Funny Familiar Forgotten Feelings, and LP's Tom Jones Live, Tom Jones in Las Vegas, and This is Tom Jones in 1969. For most of the year, several of the LPs were in the Top 10 Charts in both Europe and the United States. Continuing into the 70s gold hits came with I (Who Have Nothing), She's A Lady and Tom Jones Live at Caesars Palace. By the end of 1970 Tom had sold over 30 million discs in all categories around the world. With this tremendous recording success, Tom was able to draw capacity audiences everywhere in concert halls and arenas worldwide. His skills as a singer developed sharply; his energy, openness and spontaneity appealed to critics and audiences alike. Tom was offered his own television show the summer of 1969. A contract was drawn with ABC that was the largest ever between network and artist. The show's location was split between London and Los Angeles, and included an impressive roster largely suggested by Tom: Aretha Franklin, Elvis and Priscilla Presley, Stevie Wonder, June and Johnny Cash, Charlie Pride, Bob Hope, Jerry Lee Lewis, The Who, Janis Joplin, Richard Pryor, Roy Clark, Sammy Davis Jr., Paul Anka, Ray Charles, Lou Rawls, Tony Bennett, Crosby, Stills, Nash and Young, George Carlin, Little Richard, Bee Gee's, Sonny & Cher, Wilson Picket, The Hollies, Smokey Robinson, The Supremes and Joe Cocker & The Grease band were but a few of the guests involved. Tom has always been a champion of the collaboration, interested in the fusion of talents and styles. In 1987, Tom was asked to perform a musical play with a bullfighting theme called Matador on the CBS Epic label. The single, A Boy From Nowhere, reached #2 on the British charts that summer. This prompted insistent requests for It's Not Unusual in the London clubs along with a very successful re-release of the song in the charts. A new interest in Tom Jones emerged amongst a whole new generation of fans. Late in 1988, the British avant-garde techno-pop group The Art of Noise requested a collaboration with Tom on a cover of Prince's Kiss. The results were sensational and highly contemporary, and the record put Tom back into the Top 10 charts in Europe and the Top 40 in America. The video of Kiss was seen in strong rotation on both MTV and VH-1, winning the "Breakthrough Video" MTV Award that year. Tom Jones was once again seen in a format reaching across all demographics worldwide. In 1991, Tom recorded an album for Chrysalis Records, U.K. The project, entitled Carrying a Torch is highlighted by a collaboration with an old friend, Van Morrison. Van wrote, produced and played four songs, while his band provided the backup. The songs were recorded live in one afternoon and although not released in America, this collaboration was acclaimed by critics and audiences as an interesting and successful blend of unique talents. 1991 also saw Tom involved in a number of high-quality projects in the U.K. including two benefits, The Simple Truth and the 30th Anniversary of Amnesty International, aired in the States on MTV. Backed at both events by members of Pink Floyd, Tom was in the company of Paul Simon, Whitney Houston, Sinead O'Connor, Gloria Estefan, Lisa Stansfield, Seal and many more. Towards the end of the year, Tom was asked to participate in The Ghosts of Oxford Street, a new Christmas production conceived and directed by legendary punk impressario Malcolm Maclaren. Tom was cast alongside Sinead O'Connor, Happy Mondays, Kirsty McColl and The Pogues. He sang two songs within the context of the story, including Nobody Knows You When You're Down And Out produced by Dave Stewart. 1992 was an exciting year for Tom. His new six-part television series, Tom Jones: THE RIGHT TIME, produced for the national independent ITV network in the U.K., aired in the summer to wide critical and commercial appeal. The six half-hour segments are music-based and designed in a way unique to television formats. Guest artists include: The Chieftains, Joe Cocker, EMF, Erasure, Bob Geldof, David Gilmore, Daryl Hall, Al Jarreau, Cyndi Lauper, Lyle Lovett, Mica Paris, Sam Moore, Shakespears Sister, Curtis Steiger and Stevie Wonder. The series aired in the U.S. on VH-1. Following production of THE RIGHT TIME, Tom accepted an invitation to perform as the "special guest" at the Glastonbury Festival of Contemporary Performing Arts, in Somerset, England. Now in its twenty-second year, it is the largest festival in Europe, with four stages that showcase contemporary, alternative, jazz and world-music artists as well as performers of other medium. Tom stunned an audience of 75,000 at sundown, giving perhaps the watershed performance of his latter career. In November 1992, Tom appeared as himself on the animated hit comedy show The Simpsons. As Marge temporarily finds work at the plant, her boss kidnaps Tom in a plot to seduce her. In the end, Homer makes a chivalrous stand for his wife, and Tom serenades the two of them with It's Not Unusual. Finally, the year closed with a truly special experience: participation in a live stage performance of Dylan Thomas' Under Milkwood, directed by Sir Anthony Hopkins, in aid of The Prince's Trust and performed in the presence of HRH. Tom began 1993 with a recorded version of the Rolling Stones' classic Gimme Shelter with alternative band New Model Army, released on the independent label Food Records (EMI) in March. The song is part of a multi-record project that will benefit the national U.K. charity Shelter, which has long worked for the homeless. Shortly after some promotional efforts in support of THE RIGHT TIME, Tom was invited by Sting and Trudie Styler to participate in an annual show at Carnegie Hall to benefit their charity, the Rainforest Foundation. In an evening of extraordinary performances, he shared the bill with James Taylor, George Michael, Sting, Bryan Adams, Herb Alpert, and Tina Turner. Tom was the surprise sensation of the evening, ripping through several songs with Sting and his band. In 1994, Tom signed with hot upstart label Interscope Records (Atlantic/WEA), headed by multi-platinum producer Jimmy Iovine. Interscope's diverse roster includes Nine Inch Nails, Helmet, Pop Will Eat Itself, Dr. Dre, Bush and Snoop Doggy Dog. After taking a year to complete the project, Tom's new album is a stunning development of his abilities. The Lead and How to Swing It is produced by some of today's outstanding talents including Trevor Horn, Teddy Riley, Flood and Alan Moulder, Youth and Jeff Lynne. Each producer welcomed the opportunity to interpret Tom's artistry in his own way; the result is a diverse work critically acclaimed as one of the year's best. Once again Tom proves himself a unique artist - one with a history who is able to renew and reactivate himself with new music, one of the few who is able to bridge decades and genres without being forced or affected. Also in 1994, Paddy Maloney of the seminal Irish band The Chieftains approached Tom to contribute to their new collaborative project, The Long Black Veil. The song requested was The Tennessee Waltz, which was recorded in a fun-filled afternoon at the late Frank Zappa's studio, Utility Muffin Research Kitchen on Los Angeles. Tom's full-throated Celtic version of the country great is among other contributions from Sinead O'Connor, Sting, Mick Jagger, Ry Cooder, Mark Knopfler, Van Morrison, Marianne Faithful and The Rolling Stones. The skillful musical framework provided by the Chieftains brings out the best in their singers while illustrating once again the deep ties between contemporary sounds and Celtic/American roots music. Tom enjoys a consistent U.S. and international touring schedule throughout the year. He lives with his wife of 38 years, Melinda, in their homes in Bel Air, CA and South Wales. His son Mark, and daughter-in-law Donna, have given him a grandson Alexander John, born in 1983, and a granddaughter Emma Violet, born in 1987. His mother and sister also live in Los Angeles. Since September of 1986 when Gordon Mills suffered an untimely death, Tom has been managed by his son Mark Woodward, who traveled with him since the age of 17. Tom Jones continues to both deliver and surprise. His voice has matured to perfection, his performance is as driven as it is seasoned, his persona as bold as it is witty and charming. He is completely devoted to his craft and talent, and hopes only that the quickly changing faces of popular music allow him to grow and be challenged as an artist. This incomparable voice and unique talent will be touching the minds and hearts of music lovers for many years to come.