EN 2004 YO SANBA PWAN LA WI POU YO CHANJE YUN NASYON CHANJE MANTALITE.....
Dernière édition par zouke le Ven 1 Juil 2011 - 12:35, édité 3 fois
Sujet: Re: RETRO MIZIK Lun 28 Sep 2009 - 1:04
The Green Green Grass Of Home
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.
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 https://www.youtube.com/watch?v=Rlv0Inq8yxc
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.
Sujet: Re: RETRO MIZIK Mer 30 Sep 2009 - 0:04
Lyrics to Sweet Caroline : Where it began, I can't begin to knowin' But then I know it's growing strong Was in the spring And spring became the summer Who'd have believed you'd come along.
Hands, touchin' hands Reachin' out, touchin' me touchin' you Sweet Caroline Good times never seemed so good I've been inclined To believe they never would But now I, look at the night And it don't seem so lonely We fill it up with only two.
And when I hurt, Hurtin' runs off my shoulders How can I hurt when I'm with you Warm, touchin' warm Reachin' out, touchin' me touchin' you Sweet Caroline Good times never seemed so good I've been inclined, To believe they never would Oh, no, no
Sweet Caroline Good times never seemed so good Sweet Caroline, I believe they never could Sweet Caroline.........
Lyrics to Cracklin' Rosie : Aw, Cracklin' Rosie, get on board We're gonna ride Till there ain't no more to go Taking it slow And Lord, don't you know We'll have me a time with a poor man's lady
Hitchin' on a twilight train Ain't nothing here that I care to take along Maybe a song To sing when I want No need to say please to no man For a happy tune
Oh, I love my Rosie child You got the way to make me happy You and me we go in style Cracklin' Rose, You're a store-bought woman But you make me sing like a guitar hummin' So hang on to me, girl, Our song keeps runnin' on Play it now, play it now Play it now, my baby
Cracklin' Rosie, make me a smile Girl, if it lasts for an hour, that's all right We got all night to set the world right Find us a dream that don't ask no questions Yeah
Oh, I love my Rosie child You got the way to make me happy You and me we go in style Cracklin' Rose, You're a store-bought woman But you make me sing like a guitar hummin' So hang on to me, girl Our song keeps runnin' on Play it now, play it now Play it now, my baby
Cracklin' Rosie, make me a smile Girl, if it lasts for an hour, that's all right We got all night To set the world right Find us a dream that don't ask no questions Ba ba ba ba ba ...... https://www.youtube.com/watch?v=7Q3m1koy-Mk
Sujet: Re: RETRO MIZIK Mer 30 Sep 2009 - 0:33
Neil Diamond - Song Sung Blue
Song sung blue Everybody knows one Song sung blue Every garden grows one
Me and you are subject to the blues now and then But when you take the blues and make a song You sing them out again Sing them out again
Song sung blue Weeping like a willow Song sung blue Sleeping on my pillow
Funny thing, but you can sing it with a cry in your voice And before you know, start to feeling good You simply got no choice
Me and you are subject to the blues now and then But when you take the blues and make a song You sing them out again
Canta libre, Canta vida, de mi madre, y mi padre, Canta mi corazon, Para los ninos, y sus ninos, canta libre.
I got music runnin' in my head, Makes me feel like a young bird flyin', 'Cross my mind and layin' in my bed, Keeps me away from the thought of dyin'. Canta libre, Canta vida, de mi madre y mi padre.
I got music runnin' in my brain, Ev'ry song with it's own kind of meaning, Cleanse the soul and wash away the pain, Baptized by the song that you're singing. Canta libre, Canta la vida, siempre conmigo, canta libre.
Canta libre, canta la vida.
Canta mi corazon, Paralos ninos, y sus ninos, canta libre, de mi madre, y mi padre, canta libre, canta libre https://www.youtube.com/watch?v=kNRW_QgSG5U
Sujet: Re: RETRO MIZIK Mer 30 Sep 2009 - 0:47
In the winter of 1941, January 24 to be exact, Neil Leslie Diamond was born. He grew up a life just as most other boys, but at the age 16, Neil recieved a guitar for his birthday. That gift, would forever change his life.
Neil Diamond wrote his first song for his girlfriend. The title of the song was "Hear them bells" he never thought about recording it at the time, and didnt record it till many years later. At age 18, Neil wrote the song "Blue Destiny" it was Diamond's fifth song that he wrote. Neil was going to hit the big time, but it would take 8 more years before that moment.
In 1962, Neil Diamond signed with Columbia Records. The song he was signed for was "At Night" which wasnt a big hit to say the least. But in 1966, Neil made his big break. His first hit was "Solitary Man". It is written in a minor key, and has a famous chorus.
Neil Diamond then came out with Cherry Cherry, which to this day remains a famous tune. It rose to number 6 on the billboard charts. Its just a happy "care-free" style song. Later in 1966, he wrote the song that would stay in the number one position on the billboards for longer then any other song. That song was "I'm a Believer". The song recieved the most success with its original singers, "The Monkees". Neil did record the song later though.
In 1967, Neil Diamond wrote "Red, Red Wine". It was written as a country ballad, and didnt recieve much fame on the billboards. But it was in 1988 that UB40 recorded the song and made it a hit, singing it in Raggae style.
Neil Diamond made a big move in 1968, he was at a dispute with Bang Records, who werent exactly enthusiastic about his upcoming song "Shilo". So he moved to MCA records, shilo was on the billboards, even though not high. But it remains the favorite song for many of his fans. "Brooklyn Roads" was another song that was written more for Neil then for the audience. It was a very personaly song.
1969 came, and Neil wrote 3 blockbusters. "Sweet Caroline" was the most popular, peaking out at #4 on the billboard charts. The song starts with a calm beginning, but the whole song is a "build up" to its chorus. Neil's song "Holly Holy" is another song with a long and exciting build up. It rose to #6 on the billboards. Then came a song, that althought it never reached the top 20, is as famous as Sweet Caroline or Holly Holy, it was "Brother Love's Traveling Slavation Show". It was a song about a preacher, and in his live perfomances, his charisma raised the level of excitement dramatically. Watching him sing Brother Love, probably made people wonder if Neil used to be a preacher!
Neil Diamond wrote several "unique" songs, two of them were "Cracklin Rosie" and "Crunchy Granola Suite". The first one was inspired by his trip to an Indian reservation, and if your wondering, Cracklin Rosie is wine. Crunch Granola Suite was inspired because he was impressed with health food, and probably enjoyed it so much he just wanted to write a song about it. Well whatever the case, they did well. And Cracklin Rosie rose to #1 on the billboards.
Neil Diamond could record very emotional songs as well, he probably wrote more of them then "fun" songs. "He Ain't Heavy....He's My Brother" is an example of this. Neil recorded this song in 1970, this was one of the few he actually did not write. It has a wonderful message, and shows that he could be a plain singer and be successful. "I Am....I said" took him 4 months to complete, unlike some songs he wrote in a day. The song (I Am I Said) was a very emotional song, that rose to #4 on the billboards. In his "In My Lifetime" notes, he says it was one of the most satisfying he has ever written.
Song Sung Blue was a simple tune, and a simple message. Neil probably didnt think it would have the success it did, but sure enough, it rose to the #1 position on the billboards. Its just a simple song, but has a good message, mabye thats why so many people like it?
Neil Diamond was offered the opportunity to write "Jonathan Livingston Seagull" for the soundtrack for the movie based on the book of the same name. It truly shows Neil's talent, from the beautiful prologue, which sounds like a classical peice written by one of the masters, to the country-style "Skybird" and the triumphant conclusion with "Be".
The end of the 70's drew near, and Neil's only big song since 1971 was Longfellow Serenade. (If you look at billboards, he still had some great peices.) Well he went out of the 70s with a bang. Composing "Desiree", "September Morn", and "Forever In Blue Jeans". Desiree is best known for its beat, it has beautiful rythm. Forever in Blue Jeans has the forgotten message that money isnt everything in life, its the little things that are whats important.
Neil Diamond composed "You Don't Bring Me Flowers" in 1979. It was originally written for a solo recording. But when Barbra Streisand recorded the song, radio stations started mixing the two versions together. So he and Barbra recorded a version that was meant to be a duet, and it rose to #1 on the billboard charts. Not a bad way to go out of the 70s!
Perhaps the greatest display of Neil Diamond's talent, was in his movie "The Jazz Singer". Neil was to remake the movie that had already been remade in 1951 from the original in the 1920s. It was certainly a difficult task, and with so much singing involved, he would need new songs. But did this slow him down? Not one bit!
He wrote 3 of perhaps his greatest songs for the ablum. They were "Love on the Rocks", "Hello Again" and "America". Each of these songs reached the top 10 on the billboard. Love on the Rocks is in a jazz style, with a strong chorus in the middle. Hello again is pretty similiar the whole way through, its just a nice love song. America, is one of Neil's most famous songs, its hard to tell which portion of the song is the main portion, because it keeps moving on, its an up-tempo song with a great message, and that is about this great country. With these 3 hit songs, the Jazz Singer sold over 6,000,000 copies of its soundtrack.
Neil has recorded over 40 albums, and recorded over 100 songs that he has written. His style is hard to pin point, it varies from a waltz, to classic rock and roll, to a piano and singer gig, to even a harder beat. But he never "changes" his style. After writing "Headed for the Future" a very heavy song, he wrote "Hooked On The Memory of You" which is a very calm song. He has never compromised his music, it is very similiar today as it 30 years ago.
Even though many peole will tell you Neil never gets the fame or credit he deserves, he is still widely known, and remembered. He may be remembered for "Sweet Caroline", "America", "Brother Love" or "You Dont Bring Me Flowers", but one thing is sure: He was, and is, a musical prodigy!
Sujet: Re: RETRO MIZIK Ven 2 Oct 2009 - 15:03
by Chuck Berry
I got lumps in my throat When I saw her comin down the aisle I got the wiggles in my knees When she looked at me and sweetly smiled Well there she is again Standin over by the record machine Well she looks like a model On the cover of a magazine But she's too cute To be a minute over seventeen
Meanwhile I was thinkin'
Well if she's in the mood No need to break it I got the chance and I oughta take it If she can dance we can make it C'mon queenie let's shake it
I said go, go, go, little queenie I said go, go, go, little queenie I said go, go, go, little queenie
Won't someone tell me Who's the queen standin over by the record machine Well she looks like a model On the cover of a magazine But she's too cute To be a minute over seventeen I said go, go, go, little queenie I said go, go, go, little queenie I said go, go, go, little queenie
Meanwhile, I was still thinkin, hmmmm, Well if it's a slow one We'll omit it If it's a rocker, then we'll get it If it's a good one, she'll admit it C'mon queenie, let's get with it
I said go, go, go, little queenie I said go, go, go, little queenie I said go, go, go, little queenie
Just let me hear some of that Rock And Roll Music, Any old way you choose it; It's got a back beat, you can't lose it, Any old time you use it. It's gotta be Rock And Roll Music, If you want to dance with me, If you want to dance with me.
I've got no kick againt modern jazz, Unless they try to play it too darn fast; And change the beauty of the melody, Until they sounded like a symphony, That's why I go for that Rock And Roll Music ...
I took my loved one over cross the tracks So she can hear my man await a sax, I must admit the have a rockin' band, Man they were going like a hurricane That's why I go for that Rock and Roll music .....
Way down South they gave a jubilee, the jockey folks they had a jamboree, They're drinkin' homebrew from a water cup, The folks dancin' they all got shook up And started playin' that Rock and Roll music ....
Don't care to hear 'em play a tango, I'm in the mood to dig a mambo; It's way to early for a congo, So keep a rockin' that piano So I can hear some of that Rock And Roll Music ... https://www.youtube.com/watch?v=fAz2QLe1yic
Sujet: Re: RETRO MIZIK Ven 2 Oct 2009 - 15:10
Roll over Beethoven
by Chuck Berry
I'm gonna write a little letter, gonna mail it to my local DJ. It's a rockin' rhythm record I want my jockey to play. Roll Over Beethoven, I gotta hear it again today.
You know, my temperature's risin' and the jukebox blows a fuse. My heart's beatin' rhythm and my soul keeps on singin' the blues. Roll Over Beethoven and tell Tschaikowsky the news.
I got the rockin' pneumonia, I need a shot of rhythm and blues. I think I'm rollin' arthiritis sittin' down by the rhythm review. Roll Over Beethoven rockin' in two by two.
Well, if you feel you like it go get your lover, then reel and rock it. Roll it over and move on up just a trifle further and reel and rock it, roll it over, Roll Over Beethoven rockin' in two by two.
Well, early in the mornin' I'm a-givin' you a warnin' don't you step on my blue suede shoes. Hey diddle diddle, I am playin' my fiddle, ain't got nothin' to lose. Roll Over Beethoven and tell Tschaikowsky the news.
You know she wiggles like a glow worm, dance like a spinnin' top. She got a crazy partner, oughta see 'em reel and rock. Long as she got a dime the music will never stop.
Way down Louisiana close to New Orleans, Way back up in the woods among the evergreens... There stood a log cabin made of earth and wood, Where lived a country boy name of Johnny B. Goode... He never ever learned to read or write so well, But he could play the guitar like ringing a bell.
(Chorus) Go Go Go Johnny Go Go Go Johnny B. Goode
He use to carry his guitar in a gunny sack And sit beneath the trees by the railroad track. Oh, the engineers used to see him sitting in the shade, Playing to the rhythm that the drivers made. People passing by would stop and say Oh my that little country boy could play
His mama told him someday he would be a man, And he would be the leader of a big old band. Many people coming from miles around To hear him play his music when the sun go down Maybe someday his name would be in lights Saying Johnny B. Goode tonight. https://www.youtube.com/watch?v=AEq62iQo0eU
Sujet: Re: RETRO MIZIK Ven 2 Oct 2009 - 15:20
<BLOCKQUOTE>Chuck Berry (born 1926), creator of the "duck walk" and known as the "father of rock and roll," has been a major influence on popular music. Even though his career and life reached great peaks and declined to low valleys, he still prevails in music while his contemporaries have vanished.</BLOCKQUOTE>
"If there were a single fountainhead for rock guitar, Chuck Berry would be it," wrote Gene Santoro in The Guitar. Indeed, the list of artists influenced by the "father of rock and roll" is nearly endless. From the Beach Boys and the Beatles to Jimi Hendrix and on to Van Halen and Stevie Ray Vaughan, every popular musician knows the impact that Chuck Berry has had on popular music. As Eric Clapton stated, there's really no other way to play rock and roll.
Took up Guitar in Junior High Born in 1926, Berry didn't take up the guitar until he was in junior high school thirteen years later. With the accompaniment of a friend on guitar, the two youths played a steamy version of Confessin' The Blues which surprised, and pleased, the student audience. The reaction from the crowd prompted Berry to learn some guitar chords from his partner and he was hooked from then on. He spent his teen years developing his chops while working with his father doing carpentry. But before he could graduate from high school, Berry was arrested and convicted of armed robbery and served three years in Algoa (Missouri). A year after his release on October 18, 1947, he was married and working on a family, swearing that he was forever cured of heading down the wrong path again. In addition to carpentry, he began working as a hairstylist around this time, saving as much money as he could make (a trait that would cause him considerable grief later in his life). Near the end of 1952 he received a call from a piano player named Johnnie Johnson asking him to play a New Year's Eve gig at the Cosmopolitan Club. Berry accepted, and for the next three years the band literally ruled the Cosmo Club (located at the corner of 17th and Bond St. in East St. Louis, Illinois). At the beginning the band (which included Ebby Hardy on drums), was called Sir John's Trio and played mostly hillbilly, country, and honky tonk tunes. Berry's influence changed not only their name (to the Chuck Berry Combo) but also their style. He originally wanted to be a big band guitarist but that style had died down in popularity by then. Berry cited sources like T-Bone Walker, Carl Hogan of Louis Jordan's Tympani Five, Charlie Christian, and saxophonist Illinois Jacquet as his inspirations, borrowing from their sounds to make one of his own.
Met Idol Muddy Waters While the swing guitarists had a major impact on his playing, it was the blues, especially that of Muddy Waters, that caught Berry's attention. He and a friend went to see the master perform at a Chicago club, and with some coaxing, Berry mustered the nerve to speak with his idol. "It was the feeling I suppose one would get from having a word with the president or the pope," Berry wrote in his autobiography. "I quickly told him of my admiration for his compositions and asked him who I could see about making a record…. Those very famous words were, 'Yeah, see Leonard Chess. Yeah, Chess Records over on Forty-seventh and Cottage."' Berry flatly rejects the story of him hopping on stage and showing up Waters: "I was a stranger to Muddy and in no way was I about to ask my godfather if I could sit in and play." But he did take the advice and went to see the Chess brothers, Leonard and Phil. They were interested in the young artist but wanted to hear a demo tape before actually cutting any songs. So Berry hurried back home, recorded some tunes and headed back to Chicago. "He was carrying a wire recorder," Leonard Chess told Peter Guralnick in Feel Like Going Home, "and he played us a country music take-off called 'Ida Red.' We called it 'Maybellene'…. The big beat, cars, and young love…. It was a trend and we jumped on it." Phil Chess elaborated, "You could tell right away…. He had that something special, that - I don't know what you'd call it. But he had it." After the May 21, 1955, recording session they headed back to the Cosmo Club, earning $21 per week and competing with local rivals like Albert King and Ike Turner. Unbeknownst to him, Berry shared writing credits for "Maybellene" with Russ Fralto and New York disc jockey Alan Freed as part of a deal Chess had made (also known as payola). The scam worked for the most part because by mid-September the song, which had taken 36 cuts to complete, was number 1 on the R&B charts. Berry was bilked out of two-thirds of his royalties from the song, but in later years he would reflect upon the lesson he learned: "Let me say that any man who can't take care of his own money deserves what he gets," he told Rolling Stone. "In fact, a man should be able to take care of most of his business himself." Ever since the incident that's just what Berry has done. He insists on running his career and managing his finances the way he sees fit.
Ten More Top Ten Hits The next few years, until 1961, would see at least ten more top ten hits, including "Thirty Days," "Roll Over Beethoven," "Too Much Monkey Business," "Brown Eyed Handsome Man," "School Days," "Rock and Roll Music," "Sweet Little Sixteen," "Johnny B. Goode," "Carol," and "Almost Grown." Berry was a tremendous hit on the touring circuit, utilizing what is now known as his trademark. He explained its development in his autobiography: "A brighter seat of my memories is based on pursuing my rubber ball. Once it happened to bounce under the kitchen table, and I was trying to retrieve it while it was still bouncing. Usually I was reprimanded for disturbing activities when there was company in the house, as there was then. But this time my manner of retrieving the ball created a big laugh from Mother's choir members. Stooping with full-bended knees, but with my back and head vertical, I fit under the tabletop while scooting forward reaching for the ball. This squatting manner was requested by members of the family many times thereafter for the entertainment of visitors and soon, from their appreciation and encouragement, I looked forward to the ritual. An act was in the making. After it had been abandoned for years I happened to remember the maneuver while performing in New York for the first time and some journalist branded it the 'duck walk."' The money from touring and record royalties were filling his pockets enough for Berry to start spending on some of the dreams he had long held. Around 1957 he opened Berry Park just outside of Wentzville, Missouri. With a guitar-shaped swimming pool, golf course, hotel suites, and nightclub, it was, next to his fleet of Cadillacs, his pride and joy. "Now that's what I call groovy," he told Rolling Stone. "To own a piece of land is like getting the closest to God, I'd say."
Remakes Weaker Than Originals Things seemed to be going smoothly until 1961, when Berry was found guilty of violating the Mann Act. Berry was charged with transporting a teenage girl across a state line for immoral purposes. He spent from February 19, 1962 until October 18, 1963 behind bars at the Federal Medical Center in Springfield, Missouri. For years Berry denied this, claiming he was acquitted and never served time. He finally admitted the truth in his autobiography. He used his prison term constructively though, taking courses to complete his high school education and also by penning some of his most notable songs: "Tulane," "No Particular Place To Go," and "Nadine." By the time Berry was released from jail the British Invasion was about to take over. Groups like the Beatles were churning out cover versions of Berry classics and turning whole new audiences on to him. While some artists might have cried rip-off (the Stones have done over ten of his tunes), Berry sees only the positive aspects. "Did I like it? That doesn't come under my scrutiny," he told Guitar Player. "It struck me that my material was becoming marketable, a recognizable product, and if these guys could do such a good job as to get a hit, well, fantastic. I'm just glad it was my song." Even so, remakes of Berry hits are more often than not considerably weaker than his originals. While his style is remarkably simple, it is also next to impossible to duplicate with the same feel and sense of humor.
A Shrewd Rock and Roller "Chuck Berry dominated much of the early rock scene by his complete mastery of all its aspects: playing, performing, songwriting, singing and a shrewd sense of how to package himself as well," wrote Santoro. As shrewd as Berry was, by the mid-1960s his type of rock was losing ground to improvisors like Eric Clapton, Mike Bloomfield, and Jimi Hendrix (all three of whom acknowledged Berry's influence, but were trying to break new ground). A switch from Chess to Mercury Records from 1966 to 1969 did little to help. He would continue touring throughout the 1960s without the aid of a regular backup band. Berry's method since the late 1950s has been to use pickup bands comprised of musicians from the city he's playing in. This has led to many complaints from fans and critics alike that his performances are sometimes shoddy and careless. In his book, Berry gives his own reasons, stating that "drinks and drugs were never my bag, nor were they an excuse for affecting the quality of playing so far as I was concerned. A few ridiculous performances, several amendments to our band regulations, and the band broke up, never to be reconstructed. Whenever I've assembled other groups and played road dates, similar conditions have prevailed." (Berry reportedly accepts no less than $10,000 per gig and plays for no more than 45 minutes; no encores.)
Another Hit and More Personal Strife By 1972 Berry was back with Chess and produced his biggest seller to date, "My Ding-a-Ling," from The London Chuck Berry Sessions. Selling over two million copies, it was his first gold record and a number 1 hit on both sides of the Atlantic according to The Illustrated Encyclopedia of Rock. He had hit pay dirt, but his obsession to have a bank account with a $1 million figure led to another run-in with the law. In 1979 Berry was convicted of tax evasion and spent just over three months at Lompoc Prison Camp in California. Perhaps the one thing that has caused him more pleasure/pain than money is his fancy for women, stated simply in his book: "The only real bother about prison, to me, is the loss of love." He has said that he hopes to write a book one day devoted solely to his sex life. Berry's legal troubles continued into his later years, when he was embroiled in accusations of drug possession and trafficking and various sexual improprieties in July of 1990. His estate was raided earlier that spring by the DEA, who had been informed that Berry was dealing in cocaine. The operation resulted in the confiscation of marijuana and hashish and pornographic videotapes and films, but charges against the entertainer were later dismissed. Berry was also involved in a class-action lawsuit regarding videotapes made of women without their consent. Meanwhile, more collections of Berry's hits continued to be released, including a well-received box set by Chess/MCA in 1989 and a live recording released in 1995. While Berry's career has had the highest peaks and some pretty low valleys, he has survived while most of his contemporaries have vanished. In 1986 Rolling Stones guitarist Keith Richard, perhaps the ultimate student of the Chuck Berry School of Guitar, decided to put it all together with a 60th birthday party concert to be filmed and released as a movie, Hail! Hail! Rock 'n' Roll. It took place at St. Louis's Fox Theater, a venue which had at one time refused a youthful Berry entrance because of his skin color. The show featured Berry's classic songs with Richard, Johnnie Johnson, Robert Cray, Etta James, Eric Clapton, Linda Ronstadt, and Julian Lennon also performing. Berry has also been honored with a star in the Hollywood Walk of Fame, and induction into the Rock and Roll Hall of Fame. If that's not enough, "Johnny B. Goode" is riding around in outer space on the Voyager I just waiting to be heard by aliens. Despite the accolades, in his own book Berry shrugs off his contributions, stating that "my view remains that I do not deserve all the reward directed on my account for the accomplishments credited to the rock 'n' roll bank of music." Nevertheless, Rolling Stone's Dave Marsh's words seem to be more appropriate: "Chuck Berry is to rock what Louis Armstrong was to jazz."
Maximo Super Star
Nombre de messages : 3182 Localisation : Haiti Loisirs : football - Gagè Date d'inscription : 01/08/2007
Cucurrucucu Paloma : Dicen que por las noches no mas se le iba en puro llorar, dicen que no comía no mas se le iba en puro tomar; juran que el mismo cielo se estremecía al oír su llanto Cómo sufrió por ella, que hasta en la muerte la fué llamando:
Ay, ay, ay, ay, ay, cantaba, ay, ay, ay, ay, gemía, ay, ay, ay, ay, lloraba, de pasión mortal moría. Que una paloma triste muy de mañana le va a cantar a la casita sola con las puertitas de par en par; juran que esa paloma no es otra cosa mas que su alma, que todavía la espera a que regrese la desdichada.
Cucurrucucú, paloma, cucurrucucú, no llores. Las piedras jamás, paloma qué van a saber de amores.