What I'm Listening to Tonight

Love Will Keep Us Alive, performed by the Eagles, featuring Timothy B. Schmit

2010-02-18T22:37:00.001-05:00

by Jim Capaldi, Paul Carrack, and Peter Vale

Love Will Keep Us Alive

I was standing
all alone against the world outside
You were searching
for a place to hide

Lost and lonely
now you've given me the will to survive
When we're hungry
love will keep us alive

Don't you worry
Sometimes you've just gotta let it ride
The world is changing
right before your eyes
Now I've found you
There's no more emptiness inside
When we're hungry
love will keep us alive

I would die for you
climb the highest mountain
Baby
there's nothing I wouldn't do

Now I found you
there's no more emptiness inside
When we're hungry
love will keep us alive

I would die for you
climb the highest mountain
Baby
there's nothing I wouldn't do

I was standing
all alone against the world outside
You were searching
for a place to hide
Lost and lonely
now you've given me the will to survive

When we're hungry
love will keep us alive
When we're hungry
love will keep us alive
When we're hungry
love will keep us alive

Chris Rea's "And You My Love"

2009-02-08T02:59:00.005-05:00

~~~~~

by Chris Rea

And You My Love

I do not sleep tonight
I may not ever
The sins of the past have come
See how they sit down together

Outside my window
Outside my door
And I know the reason
What they've all come here for

You my love
My sweet sweet love
Are what it's all because of

Surrender is easy
I know you do me no harm
But your innocence haunts me
The most fatal of charms

Oh I must have done some wrong
On a dark and distant day
For I know full and well tonight
This is how that I must pay

And you my love
My sweet sweet love
Are what it's all because of

Oh you my love
My sweet sweet love
Are what it's all because of

~~~~~

American Idol finalists Michael Johns and Brooke White singing "Life Is Okay"

2009-01-31T19:13:00.003-05:00

Watch more YouTube videos on AOL Video

Below are the lyrics as I hear them. I am least confident about Michael's second line, "There's always someone who never knew" as well as Brooke's second line, "when the fire lit the sky alive". Tell me if you know better. Thanks.

_____

written by Michael Johns

performed by Michael Johns and Brooke White

Life Is Okay

MICHAEL.
Well I remember skies of blue
There's always someone who never knew
life is okay

I think about those days gone by
when there was nothing but you and I
Life was okay

But I'm just a day dreamer
one of those hopeless believers
I'm standing on the outside looking in

Tell me your name baby
And don't you play games with my heart
and make me feel like I'm outside looking in

BROOKE.
I remember days gone by
when the fire lit the sky alive
where it was only you and I gonna live forever

Thoughts of you went through my head
to take me back to that time again
but it was never going to be you and me forever

Forever baby I'm a day dreamer
one of those hopeless believers
I'm standing on the outside looking in

Tell me your name baby
And don't you play games with my heart
and make me feel like I'm outside looking in

M&B together.
But I'm just a day dreamer
one of those hopeless believers
I'm standing on the outside looking in

Tell me your name baby
And don't you play games with my heart
and make me feel like I'm outside looking in

M&B, separate lines in harmony.
(M) But I'm just a day dreamer
(B) I remember days gone by

(M) a hopeless believer
(B) when the fire lit the sky alive

(M) I'm standing on the outside looking in
(B) where it was only you and I gonna live

(M) Tell me your name baby
(B) Thoughts of you went through my head

(M) And don't you play games with my heart
(B) to take me back to that time again

M&B together.
But it was never going to be you and me

Outside looking in

_____

Charles A. Tindley to Elvis Presley to Ben E. King, and around the world with "Stand By Me"

2009-01-01T12:37:00.005-05:00

Playing For Change: Song Around the World | Stand By Me from Concord Music Group on Vimeo

inspired by the gospel song "Stand By Me" by Charles A. Tindley

written by Ben E. King, Jerry Leiber and Mike Stoller

produced by Bono

as performed by, in order of appearance
Roger Ridley, Santa Monica, California
Grandpa Elliott, New Orleans, Louisiana
Washboard Chaz, New Orleans, Louisiana
Clarence Bekker, Amsterdam, Netherlands
Twin Eagle Drum Group, Zuni, New Mexico
François Viguié, Toulouse, France
Cesar Pope, Rio de Janeiro, Brazil
Dimitri Dolganov, Moscow, Russia
Roberto Luti, New Orleans, Louisiana
Geraldo & Dionisio, Caracas, Venezuela
Junior Kissangwa Mbouta, The Congo
Pokei Klaas, Guguletu, South Africa
Django Degen, Barcelona, Spain
Sinamuva, Umlazi, South Africa
Vusi Mahlasela, Mamelodi, South Africa
Stefano Tomaselli, Pisa, Italy

Stand By Me

This songs says no matter who you are,
no matter where you go in your life
at some point you going to need somebody
to stand by you

Oh yeah, oh my darlin' stand by me
No matter who you are
No matter where you go in life
You going need somebody to stand by you
No matter how much money you got
Or the friends you got
You going need somebody to stand by you

When the night has come
And the land is dark
And that moon is the only light we'll see
No I won't be afraid, no I won't shed one tear
Just as long as you people come and stand by me

And darlin', darlin', stand by me, oh stand by me
Oh stand, stand, stand by me,
Come on stand by me, stand by me

When the sky that we look upon
When she tumble and fall
Or the mountains, they just tumble into the sea
I won't cry, I won't cry, no I won't shed a tear
Just as long as you stand, stand by me

So darlin', darlin', stand by me, oh stand by me
Please stand, stand by me, stand by me
And darlin', darlin', stand by me, oh stand by me
Please stand, stand by me, stand by me, oh baby, baby

So darlin', darlin', stand sa-la-na-mi[*], oh stand sa-la-na-mi
Oh stand, oh stand, stand, stand by me, come on stand by me
Stand, sa-la-na-mi, oh won't you stand, sa-la-na-mi
Oh stand, sa-la-na-mi, stand by me, stand by me, come on stand by me

When the night has come
And the land is dark
And that moon is the only light we'll see
I won't be afraid, sa-la-na-mi , I won't be afraid
Not as long, not as long as you stand by me

[*sa-la-na-mi: that's what I'm hearing, sa-la-na-mi, but wonder if it is a word or exclamation, that is not English, but meaningful in another language.]

~~~~~

Ben E King - Stand By Me 1961
Uploaded by chilavert

as written by Ben E. King, Jerry Leiber and Mike Stoller

and performed by Ben E. King

Stand By Me

When the night has come and the land is dark
And the moon is the only light we'll see
No I won't be afraid, oh I won't be afraid
Just as long as you stand, stand by me

So darlin', darlin', stand by me, oh stand by me
Oh stand, stand by me, stand by me

If the sky that we look upon should tumble and fall
Or the mountains should crumble to the sea
I won't cry, I won't cry, no I won't shed a tear
Just as long as you stand, stand by me

And darlin', darlin', stand by me, oh stand by me
Oh stand now, stand by me, stand by me

Darlin', darlin', stand by me, oh stand by me
Oh stand now, stand by me, stand by me

Whenever you're in trouble won't you stand by me
Oh stand by me, oh stand now

~~~~~

words and music by Charles A. Tindley

as performed by Elvis Presley

Stand by Me

When the storms of life are raging
Stand by me (stand by me)
When the storms of life are raging
Stand by me (stand by me)

When the world is tossing me
Like a ship out on the sea
Thou Who rulest wind and water
Stand by me (stand by me)

When I’m growing old and feeble
Stand by me (stand by me)
When I’m growing old and feeble
Stand by me (stand by me)

When I do the best I can
And my friends misunderstand
Thou who never lost a battle
Stand by me (stand by me)

Thou who never lost a battle
Stand by me (stand by me)

~~~~~

by Rev. Dr. Charles Albert Tindley

Stand by Me

When the storms of life are raging, stand by me;
When the storms of life are raging, stand by me.
When the world is tossing me like a ship upon the sea,
Lord who rules the wind and water, stand by me.

In the midst of tribulation, stand by me;
In the midst of tribulation, stand by me.
When the host of hell assail and my strength begins to fail,
Lord who never lost a battle stand by me.

In the midst of faults and failures stand by me;
In the midst of faults and failures stand by me.
When I've done the best I can and my friends misunderstand,
Lord who knows all about me, stand by me.

In the midst of persecution, stand by me;
In the midst of persecution, stand by me.
When my foes in war array undertake to stop my way,
Lord who saved Paul and Silas, stand by me.

When I'm growing old and feeble, stand by me,
When I'm growing old and feeble, stand by me.
When my life becomes a burden and I'm nearing chilly Jordan,
Lord the lily of the valley, stand by me.

~~~~

Willie Nelson singing I'm My Own Grandpa

2008-11-25T23:18:00.004-05:00

~~~~~

sung by Willie Nelson

written by Dwight Latham & Moe Jaffe

I'm My Own Grandpa

Now many many years ago when I was twenty-three
I was married to a widow who was pretty as could be
This widow had a grown-up daughter (who) had hair of red
My father fell in love with her and soon the two were wed

This made my dad my son-in-law and changed my very life
My daughter was my mother 'cause she was my father's wife
To complicate the matter even though it brought me joy
I soon became the father of a bouncing baby boy

My little baby then became the brother-in-law to Dad
And so became my uncle though it made me very sad
For if he was my uncle that also made him the brother
Of the widow's grown-up daughter who of course was my step-mother

I'm my own grandpa
I'm my own grandpa
It sounds funny I know but it really is so
I'm my own grandpa

My father's wife then had a son that kept him on the run
And he became my grandchild for he was my daughter's son
My wife is now my mother's mother and it makes me blue
Because she is my wife she's my grandmother too

I'm my own grandpa
I'm my own grandpa
It sounds funny I know but it really is so
I'm my own grandpa

Now if my wife is my grandmother then I'm her grandchild
And every time I think of it, it nearly drives me wild
For now I have become the strangest case you ever saw
As husband of my grandmother I am my own grandpa

I'm my own grandpa
I'm my own grandpa
It sounds funny I know but it really is so
I'm my own grandpa

I'm my own grandpa
I'm my own grandpa
It sounds funny I know but it really is so
I'm my own grandpa

~~~~~

Steve Vai, with Ry Cooder, Cuts Heads in Crossroads

2008-11-08T18:32:00.006-05:00

Watch Head-Cuttin' Guitar Duel in Entertainment Videos | View More Free Videos Online at Veoh.com

The Head-Cutting Scene,
the Guitar Duel in the Movie Crossroads

from the 1986 movie Crossroads
written by John Fusco
directed by Walter Hill
inspired by a legend surrounding Robert Johnson (1911-38)
original score by Ry Cooder and Steve Vai

in the guitar battle scene
Ry Cooder plays Lightning's blues parts at the duel's beginning
Robert Judd as Ol' Scratch, the devil
Ralph Macchio as guitarist "Lightning Boy" Eugene Martone
Gretchen Palmer as the beautiful dancer
Joe Seneca as "Blind Dog" Willie Brown on the harmonica
Steve Vai as guitarist Jack Butler
Steve Vai also plays Jack Butler's guitar and most of Lightning's

~~~~~

Joe Cocker singing Van Morrison's Into the Mystic

2008-10-31T22:09:00.009-04:00

Joe Cocker - Into The Mystic (live)
Uploaded by pjotri

_____

performed by Joe Cocker

written by Van Morrison

Into the mystic

We were born before the wind
Also younger than the sun ere the bonnie boat was won
As we sailed into the mystic

Hark now hear the sailor's cry
Smell the sea and feel the sky
Let your soul and spirit fly into the mystic

And when that fog horn blows you know I will be coming home
And that fog horn blows
I've got to hear it
I don't have to fear it

I want to rock your gypsy soul
Just like way back in the days of old
And magnificently we will float into the mystic

And when that fog horn blows you know I will be coming home
And that fog horn whistle blows
I've got to hear it
I don't have to fear it

I want to rock your gypsy soul
Just like way back in the days of old
And together we will float as we sail into the mystic

We were borne before the wind
All so younger than the Son ere the bonnie boat was one
As we sailed into the mystic

_____

Lady Lenka's The Show

2008-10-18T19:34:00.003-04:00

Robbie Robertson's Showdown at Big Sky

2008-03-23T21:13:00.002-04:00

_____

by Robbie Robertson

Showdon at Big Sky

Soldier of fortune
He's a man of war
Just can't remember
What he's fighting for
Start a revolution
Right before your eyes
When you hear the big bang
Don't you be surprised

Showdown at big sky
Darkness at high noon
Showdown at big sky
That day may be soon
People, people
Can you hear the sound
From every village and every town
Let the bells ring out
Hear the bells ring in
Let the bells ring out
Keep them ringing, ringing

Can't predict the future
Can't forget the past
Feels like any moment
Could be the last
All you believers
Standing inside this room
Can't you see it coming
Shooting out across the moon

Save this place
In the valley of tears
By the river of time
From weapons race
In the Book of David
In the holy Bible
When it's laid to waste
It will be written
By the children of Eden
I said save this place
And the Holy Ghost

Showdown at big sky
Darkness at high noon
Showdown at big sky
That day may be soon
People, people
Can you hear the sound
In every village and every town
Let the bells ring out
Hear the bells ring in
Let the bells ring out
Keep them ringing, ringing

Save this place
In the valley of tears
By the river of time
From weapons race
In the Book of David
In the holy Bible
When it's laid to waste
It will be written
By the children of Eden
I said save this place
And the Holy Ghost
And the Holy Ghost

Showdown at big sky
Darkness at high noon
Kiss tomorrow goodbye
That day could be soon
Give us the strength
Give us the wisdom
And give us the morals
Let the bells ring out
Hear the bells ring in
Let the bells ring out
Keep them ringing, ringing
Let the bells ring out
Hear the bells ring in
Let the bells ring out
Keep them ringing, ringing

_____

Eminem's Lose Yourself

2008-01-31T20:54:00.003-05:00

Eminem - Lose Yourself
Uploaded by herarion

~~~~~~

by Eminem

Lose Yourself

Look
If you had one shot or one opportunity
to seize everything you ever wanted
One moment
Would you capture it or just let it slip

Yo
His palms are sweaty, knees weak, arms are heavy
There's vomit on his sweater already
Mom's spaghetti
He's nervous
but on the surface he looks calm
and ready to drops bombs
But he keeps on forgetting what he wrote down
The whole crowd goes so loud
He opens his mouth but the words won't come out
He's choking
How
Everybody's joking now
The clock's run out
Time's up, over
Plow
Snap back to reality
Oh there goes gravity
Oh there goes Rabbit
He choked
He's so mad but he won't give up that easy
No he won't have it
He knows his whole back's to these ropes
It don't matter
He's dope
He knows that but he's broke
He's so stagnant he knows
when he goes back to this mobile home
that's when it's back to the lab again
Yo this whole rap shit
He better go capture this moment
and hope it don't pass him

You better lose yourself in the music
The moment you own it, you better never let it go
You only get one shot
Do not miss your chance to blow
This opportunity comes once in a lifetime
You better lose yourself in the music
The moment you own it, you better never let it go
You only get one shot
Do not miss your chance to blow
This opportunity comes once in a lifetime
You better

Soul's escaping
Through this hole that is gaping
This world is mine for the taking
Make me king
As we move toward a new world order
a normal life is boring
But superstardom's close to post mortem
It only grows harder
Homie grows hotter
He blows us all over
These hoes is all on him
Coast to coast shows
He's known as the globetrotter
Lonely roads
God only knows he's grown farther from home
He's no father
He goes home and barely knows his own daughter
But hold your nose 'cause here goes the cold water
These hoes don't want him no more
He's cold product
They moved on to the next shmoe who flows
He nose dove and sold nada
So the soap opera is told, it unfolds
I suppose it's old, partner
But the beat goes on
Da da doe, da doe, da da

You better lose yourself in the music
The moment you own it, you better never let it go
You only get one shot
Do not miss your chance to blow
This opportunity comes once in a lifetime
You better lose yourself in the music
The moment you own it, you better never let it go
You only get one shot
Do not miss your chance to blow
This opportunity comes once in a lifetime
You better

No more games
I'm gonna change what you call rage
Tear this motherfucking roof off like two dogs caged
I was playing in the beginning
The mood all changed
I've been chewed up and spit out and booed off stage
But I kept rhyming in step,
writing the next cypher
Best believe somebody's paying the pied piper
All the pain inside amplified by the fact
that I can't get by with my nine to five
and I can't provide the right type of life for my family
'Cause man, these goddamn food stamps don't buy diapers
And there's no movie, there's no Mekhi Pfifer
This is my life
And these times are so hard
And it's getting even harder
trying to feed and water my seed
Plus, see, dishonor
Caught up between being a father and a prima donna
Baby-momma drama's screaming on
And too much for me to wanna stay in one spot
Another day of monotony has gotten me
to the point I'm like a snail
I've got to formulate a plot or end up in jail or shot
Success is my only motherfucking option
Failure's not
Mom, I love you but this trailer's got to go
I cannot grow old in Salem's Lot
So here I go
It's my shot
Feet fail me not
This maybe the only opportunity that I got

You better lose yourself in the music
The moment you own it, you better never let it go
You only get one shot
Do not miss your chance to blow
This opportunity comes once in a lifetime
You better lose yourself in the music
The moment you own it, you better never let it go
You only get one shot
Do not miss your chance to blow
This opportunity comes once in a lifetime
You better

You can do anything you set your mind to, man

~~~~~~

Mark Knopfler & Chet Atkins doing Poor Boy Blues

2008-01-19T21:03:00.001-05:00

Chet Atkins & Mark Knöpfler - Poor Boy Blue
Uploaded by taduckly_

~~~~~

performed by Mark Knopfler & Chet Atkins on guitars and vocals

on their Neck and Neck album, with
Floyd Cramer: piano
Vince Gill: backing vocals
Guy Fletcher: bass, drums, keyboards
Paul Franklin: dobro, pedabro, steel guitar
Larrie Londin: drums
Edigar Meyer: bass
Mark O'Connor: fiddle, mandolin
Steve Wariner: bass

written by Paul Kennerly

Poor Boy Blues

Do I want you?
Yes I do.

Do I need you?
Baby you know it's true.

But I ain't got nothin'
that you can use.

So I'm sittin' on my own here,
with these poor boy blues.

One day, baby,
you will see

You're gonna give
all your love to me.

I'm the one, babe,
that you're gonna choose.

But in the meantime,
I got these poor boy blues.

Pick it, son,
pick it now.

Things won't always
be the same.

Some day soon
every little thing will change.

You'll tell your momma
her baby's got good news.

But until then, well,
I got these poor boy blues.

But until then, well,
I got these poor boy blues.

~~~~~

The Smothers Brothers & Boston Pops do Poor Wandering One with Feuding Banjos

2007-12-13T18:43:00.000-05:00

_____

from The Pirates of Penzance
(or, The Slave of Duty)

written by W. S. Gilbert
composed by Arthur Sullivan

Poor Wandering One

Poor wandering one
With such poor love as mine
Can help thee find
True peace of mind
Well take it, it is thine

Take heart; no danger lowers
Take any heart--but ours!

Take heart, fair days will shine
Take any heart--take mine

Fa la la la la la la la
Fa la la la la la la la
Fa la la la la la la la
Fa la la la la la la la
la la la la la la la . . .

[Feuding Banjos, composed by Arthur "Guitar Boogie" Smith & Don Reno, a.k.a Dueling Banjos]

Poor wandering one
Though thou hast surely strayed
Take heart of grace
Thy steps retrace
Poor wandering one

_____

composed by Arthur "Guitar Boogie" Smith & Don Reno

performed by Hayseed Dixie (a.k.a Kerosene Brothers)
Barley Scotch (a.k.a. John Wheeler) on vocals, guitar & fiddle
"Reverend" Don Wayne Reno on banjo
"Deacon" Dale Reno on mandolin
"Bakesnake" Byers (a.k.a. Jake Byers) on bass

Feuding Banjos

Hayseed Dixie- feuding Banjos
Uploaded by peakers

_____

Stranger by Jefferson Starship Live in Vancouver 1983

2007-11-19T19:13:00.001-05:00

_____

performed by Jefferson Starship
Donny Baldwin on drums
Craig Chaquico on lead guitar
David Freiberg on vocals & keyboards
Paul Kantner on rhythm guitar & vocals
Pete Sears on bass guitar & keyboards
Grace Slick on lead vocals
Mickey Thomas on lead vocals

written by Pete Sears & Jeanette Sears

Stranger

Raindrops falling
Winter feels so gloomy
Hear a knock upon my door

Stranger calling
Eyes that look like mine
He said you know I've called before

What is veiled now soon will be shown
Come walk with me through the unknown

Stranger

Familiar stranger
Should I know your name
Did we meet some time ago

I feel uncertain
Shadows whisper to me now
Sudden wind begins to blow

What is veiled now soon will be shown
Come walk with me through the unknown

Stranger

Darkened doorways
Strangest things can happen
Don't know who you're talking to

Find yourself
When lightning strikes you now
You could be looking back at you

What is veiled now soon will be shown
Come walk with me through the unknown

What is veiled now soon will be shown
Come walk with me through the unknown

Stranger

Familiar stranger
Should I know your name
Did we meet some time ago
Are you someone I should know
Did we meet some time ago

_____

Tusk by The USC Trojan Marching Band & Fleetwood Mac

2007-10-26T22:27:00.000-04:00

performed by

The USC Trojan Marching Band

& Fleetwood Mac
Lindsey Buckingham, guitar, vocals
Mick Fleetwood, drums
Christine McVie, keyboard, vocals
John McVie, bass
Stevie Nicks, baton

written by

Lindsey Buckingham
based in part on a USC Trojan Marching Band rehearsal riff

Tusk

Why don't you ask him
if he's going to stay
Why don't you ask him
if he's going away

Why don't you tell me
what's going on
Why don't you tell me
who's on the phone

Don't say that you love me
Just tell me that you want me

Tusk

Just say that you love me
Don't tell me that you

Tusk

Tusk

Tusk

_____

John Travolta & Olivia Newton-John perform "You're the One that I Want"

2007-09-20T21:52:00.000-04:00

_____

from Grease (1978)

sung by
Olivia Newton-John as Sandy Dumbrowski
John Travolta as Danny Zuko

written by John Farrar

You're the One that I Want

Danny:
Sandy!

Sandy:
Tell me about it, stud.

Danny:
I got chills--they're multiplyin--and I'm losin control,
cause the power you're supplyin--it's electrifyin!

Sandy:
You better shape up, cause I need a man,
and my heart is set on you.
You better shape up. You better understand,
to my heart I must be true.

Danny:
Nothin left, nothin left for me to do.

Together:
You're the one that I want--oo oo oo, honey.
The one that I want--oo oo oo, honey.
The one that I want--oo oo oo.
The one I need, oh yes indeed.

Sandy:
If you're filled with affection you're to shy to convey,
meditate in my direction. Feel your way.

Danny:
Wow! I better shape up, cause you need a man.

Sandy:
I need a man, who can keep me satisfied.

Danny:
I better shape up if I'm gonna prove . . .

Sandy:
You better prove that my faith is justified.

Danny:
Are you sure?

Together:
Yes, I'm sure down deep inside.

Together:
You're the one that I want--oo oo oo, honey.
The one that I want--oo oo oo, honey.
The one that I want--oo oo oo.
The one I need, oh yes indeed.

You're the one that I want--oo oo oo, honey.
The one that I want--oo oo oo, honey.
The one that I want--oo oo oo.
The one I need, oh yes indeed.

You're the one that I want--oo oo oo, honey.
The one that I want--oo oo oo, honey.
The one that I want--oo oo oo.
The one I need, oh yes indeed.

You're the one that I want--oo oo oo, honey.
The one that I want--oo oo oo, honey.
The one that I want--oo oo oo.
The one I need, oh yes indeed.

You're the one that I want.

_____

Allen Ginsberg & Paul McCartney doing "A Ballad of American Skeletons"

2007-09-20T21:30:00.000-04:00

_____

words by Allen Ginsberg
music by Allen Ginsberg, Philip Glass, & Paul McCartney
performed by Allen Ginsberg & Paul McCartney

A Ballad of American Skeletons

or
American Ballad of Skeletons

but best known as
Ballad of the Skeletons

Said the Presidential skeleton,
"I won't sign the bill."
Said the Speaker skeleton,
"Yes you will."

Said the Representative skeleton,
"I object!"
Said the Supreme Court skeleton,
"Waddya expect?"

Said the Military skeleton,
"Buy Star Bombs."
Said the Upperclass Skeleton,
"Starve unmarried moms."

Said the Yahoo Skeleton,
"Stop dirty art!
Said the Right Wing skeleton,
"Forget about your heart."

Said the Gnostic Skeleton,
"The Human Form's divine!
Said the Moral Majority skeleton,
"No, it's not it's mine."

Said the Buddha Skeleton,
"Compassion is wealth."
Said the Corporate skeleton,
"It's bad for your health."

Said the Old Christ Skeleton,
"Care for the Poor."
Said the Son of God skeleton,
"AIDS needs cure."

Said the Homophobe skeleton,
"Gay folks suck."
Said the Heritage Policy skeleton,
"Blacks are outta luck."

Said the Macho skeleton,
"Women in their place."
Said the Fundamentalist skeleton,
"Increase the human race!

Said the Right-to-Life skeleton,
"Fetus has a soul."
Said the Pro-Choice skeleton,
"Shove it up your hole."

Said the Downsized skeleton,
"Robots got my job."
Said the the Tough-on-Crime skeleton,
"Tear gas the mob."

Said the Governor skeleton,
"Cut school lunch."
Said the Mayor skeleton,
"Eat the budget crunch."

Said the Neocon skeleton,
"Free Market's the way!
Said the Savings and Loan skeleton,
"Make the state pay."

Said the Chrysler skeleton,
"Pay for you and me."
Said the Nuke Power skeleton,
"And me and me and me!

Said the Ecologic skeleton,
"Keep Skies blue."
Said the Multinational skeleton,
"What's it worth to you?"

Said the NAFTA skeleton,
"Get rich, Free Trade.
Said the Maquiladora skeleton,
"Sweat shops, low paid"

Rich GATT skeleton said,
"One world, high tech."
Said the Underclass skeleton,
"Get it in the neck."

Said the World Bank skeleton,
"Cut down your trees."
Said the I.M.F. skeleton,
"Buy American cheese!

Said the Underdeveloped skeleton,
"Sell us rice! Send it!
Developed Nations skeleton said,
"Sell your bones for dice."

Said the Ayatollah skeleton,
"Die writer die."
Said Joe Stalin's skeleton,
"That's no lie."

Said the Petrochemical skeleton,
"Roar Bombers roar!"
Said the Psychedelic skeleton,
"Smoke a dinosaur."

Said Nancy's skeleton,
"Just say no."
Said the Rasta skeleton,
"Blow Nancy Blow!"

Said the Demagogue skeleton,
"Don't smoke Pot."
Said the Alcholic skeleton,
"Let your liver rot."

Said the Junkie skelton,
"Can't we get a fix?"
Said the Big Brother skeleton,
"Jail the dirty pricks."

Said the Mirror skeleton,
"Hey, good looking."
Said the Electric Chair Skeleton,
"Hey what's cooking?"

Said the Talk-Show skeleton,
"Fuck you in the face."
Said the Family Values skeleton,
"My family values mace."

Said the New York Times skeleton,
"That's not fit to print."
Said the CIA skeleton,
"Cantcha take a hint?"

Said the Network skeleton,
"Believe my lies."
Said the Advertising skeleton,
"Don't get wise."

Said the Media skeleton,
"Believe you me."
Said the Couch-Potato skeleton,
"What me worry?"

Said the TV skeleton,
"Eat sound bites."
Said the Newscast skeleton,
"That's all Goodnight!"

_____

Savoy Brown doing Tell Mama

2007-09-14T23:29:00.002-04:00

_____

written by Kim Simmonds & Paul Raymond

performed by Savoy Brown
Dave Bidwell, drums
Paul Raymond, keyboards
Kim Simmonds, guitar
Andy Sylvester, bass
Dave Walker, vocals

Tell Mama

I quit my job
Ain't got no money
Seems I have to leave this town

Pack my bag
Run to the station
Board the train that's eastward bound

Tell Mama
And all the folks back home
Sometimes a man just feels
He's got to make it alone

Tell Mama
Why I'm leaving so soon
Because this life I lead
Has got me sick through and through

Nothing to do
That's why I have to go
Seems no use in hanging round

I can't stop now
The ticket's in my hand
Board the train that's eastward bound

Tell Mama
And all the folks back home
Sometimes a man just feels
He's got to make it alone

Tell Mama
Why I'm leaving so soon
Because this life I lead
Has got me sick through and through

I quit my job
Ain't got no money
Seems I have to leave this town

Tell Mama
And all the folks back home
Sometimes a man just feels
He's got to make it alone

Tell Mama
Why I'm leaving so soon
Because this life I lead
Has got me sick through and through

Tell Mama
And all the folks back home
Sometimes a man just feels
He's got to make it alone

Tell Mama
Why I'm leaving so soon
Because this life I lead
Has got me sick through and through

_____

Amy Winehouse sings Teach Me Tonight with Jools Holland's Rhythm and Blues Orchestra

2007-08-14T23:41:00.001-04:00

_____

music by Gene De Paul
lyrics by Sammy Cahn

performed by Amy Winehouse
with Jools Holland's Rhythm and Blues Orchestra

Teach Me Tonight

Did you say I have a lot to learn
Well baby don't think I'm trying not to learn
Since this is the perfect spot to learn
Go on teach me tonight

Starting with the ABC of it
Roll right down to the XYZ of it
Help me solve the mystery of it
Ooh go on teach me tonight

The sky's a blackboard high above you
If a shooting star goes by
I'll use that star to write "I love you"
A thousand times across the sky

One thing isn't very clear my love
Should the teacher stand so near my love
Graduation's almost here my love
Ooh teach me tonight

I'll use that star to write "I love you"
A thousand times across the sky

One thing isn't very clear my love
Should the teacher stand so near my love
Graduation's almost here my love
Oh teach me oh teach me tonight

_____

Bonnie Raitt doing Angel from Montgomery

2007-08-06T18:06:00.002-04:00

Bonnie Raitt - Angel from Montgomery
Vezi mai multe video din Muzica »

_____

performed by Bonnie Raitt

written by John Prine

Angel from Montgomery

I am an old woman named after my mother
My old man is another child that's grown old
If dreams were thunder and lightnin' was desire
This old house would've burned down a long time ago

Make me an angel that flies from Montgomery
Make me a poster of an old rodeo
Just give me one thing I can hold onto
To believe in this livin' is just a hard way to go

When I was a young girl I had me a cowboy
He weren't much to look at--just a free ramblin' man
But that was a long time--no matter how I tried
The years just flowed by like a broken down dam

Make me an angel that flies from Montgomery
Make me a poster of an old rodeo
Just give me one thing that I can hold onto
To believe in this livin' is just a hard way to go

There's flies in the kitchen--I can hear their buzzin'
Ain't done nothin' since I woke up today
How the hell can a person go to work in the mornin'
And come home in the evenin' and have nothin' to say

Make me an angel that flies from Montgomery
Make me a poster of an old rodeo
You got to give me just one thing I can hold onto
To believe in this livin' is such a hard way to go

_____

Bon Jovi's (You Want To) Make a Memory

2007-08-04T20:17:00.002-04:00

_____

performed by Bon Jovi:
Jon Bon Jovi, lead vocals, guitar
Richie Sambora, guitar
David Bryan, keyboard
Tico Torres, percussion

written by Jon Bon Jovi, Richie Sambora, & Desmond Child

(You Want To) Make A Memory

Hello again, it's you and me
Kind of always like it used to be
Sipping wine, killing time
Trying to solve life's mysteries

How's your life, it's been a while
God it's good to see you smile
I see you reaching for your keys
Looking for a reason not to leave

If you don't know if you should stay
If you don't say what's on your mind
Baby just breathe
There's nowhere else tonight we should be
You want to make a memory

I dug up this old photograph
Look at all that hair we had
It's bittersweet to hear you laugh
Your phone is ringing--I don't want to ask

If you go now I'll understand
If you stay, hey I got a plan
You want to make a memory

You want to steal a piece of time
You could sing the melody to me
And I could write a couple lines
You want to make a memory

If you don't know if you should stay
And you don't say what's on your mind
Baby just breathe
There's nowhere else tonight we should be

You want to make a memory
You want to steal a piece of time
You could sing the melody to me
And I could write a couple lines

You want to make a memory
You want to make a memory

_____

Andrea Tierra, Edmar Castañeda, Sam Sadigursky, & Dave Silliman doing Latin/jazz/poetry

2007-06-25T18:32:00.000-04:00

_____

Andrea Tierra, vocals
Edmar Castañeda, harp
Sam Sadigursky, clarinet
Dave Silliman, percussion

_____

Marc Bolan and T. Rex doing The Slider, acoustically

2007-05-24T21:00:00.001-04:00

Duration 3:54

With the acoustic unavailable, here is the non-acoustic version:

_____

written by Marc Bolan

performed by T. Rex (vocals & acoustics apply):
Marc Bolan, vocals, guitar
Steve Curie, bass
Mickey Finn, percussion, vocals
Howard Kaylan, backing vocals
Bill Legend, drums
Tony Visconti, string arrangements
Mark Volman, backing vocals

The Slider

I could never understand the wind at all
Was like a ball of love
I could never never see the cosmic sea
Was like a bumblebee
And when I'm sad I slide

I have never never kissed a car before
It's like a door
I have never never nailed a nose before
It makes a garden grow
And when I'm sad I slide

I have always always grown my own before
All schools are strange
I could never understand the wind at all
Was like a ball of love
And when I'm sad I slide

Ha ha ha ha
Ha ha ha ha
Slide

Ha ha ha ha
Ha ha ha ha

_____

Nikki Giovanni’s "We Are Virginia Tech"

2007-04-29T10:54:00.002-04:00

_____

by Nikki Giovanni

We Are Virginia Tech

We are Virginia Tech.

We are sad today, and we will be sad for quite a while. We are not moving on, we are embracing our mourning.

We are Virginia Tech.

We are strong enough to stand tall tearlessly, we are brave enough to bend to cry, and we are sad enough to know that we must laugh again.

We are Virginia Tech.

We do not understand this tragedy. We know we did nothing to deserve it, but neither does a child in Africa dying of AIDS, neither do the invisible children walking the night away to avoid being captured by the rogue army, neither does the baby elephant watching his community being devestated for ivory, neither does the Mexican child looking for fresh water, neither does the Appalachian infant killed in the middle of the night in his crib in the home his father built with his own hands being run over by a boulder because the land was destabilized. No one deserves a tragedy.

We are Virginia Tech.

The Hokie Nation embraces our own and reaches out with open heart and hands to those who offer their hearts and minds. We are strong, and brave, and innocent, and unafraid. We are better than we think we are and not quite what we want to be. We are alive to the imaginations and the possibilities. We will continue to invent the future through our blood and tears and through all our sadness.

We are the Hokies.

We will prevail.
We will prevail.
We will prevail.

We are Virginia Tech.

_____

Linda Ronstadt sings "Poor Wandering One" from Pirates of Penzance

2007-04-14T19:35:00.000-04:00

Duration 5:04

_____

from The Pirates of Penzance
(or, The Slave of Duty)

written by W. S. Gilbert

composed by Arthur Sullivan

Poor Wandering One

sung by Linda Ronstadt as Mabel

_____

FREDERIC. (in despair)
Not one?

GIRLS.
No, no--not one!

FREDERIC.
Not one?

GIRLS.
No, no!

Enter MABEL.

MABEL.
Yes, one!

GIRLS.
'Tis Mabel!

MABEL.
Yes, 'tis Mabel!

RECITATIVE MABEL.
Oh, sisters, deaf to pity's name,
For shame!
It's true that he has gone astray,
But pray
Is that a reason good and true
Why you
Should all be deaf to pity's name?

GIRLS. (aside)
The question is, had he not been
A thing of beauty,
Would she be swayed by quite as keen
A sense of duty?

MABEL.
For shame, for shame, for shame!

SONG MABEL.

MABEL.
Poor wandering one!
Though thou hast surely strayed,
Take heart of grace,
Thy steps retrace,
Poor wandering one!

Poor wandering one!
If such poor love as mine
Can help thee find
True peace of mind
Why, take it, it is thine!

GIRLS.
Take heart; no danger lowers;
Take any heart--but ours!

MABEL.
Take heart, fair days will shine;
Take any heart--take mine!

GIRLS.
Take heart; no danger lowers;
Take any heart--but ours!

MABEL.
Take heart, fair days will shine;
Take any heart--take mine!

Ah ah ah ah ah ah ah!
Ah ah ah ah ah ah ah!
Ah ah ah ah ah ah ah!
Ah ah ah ah ah ah ah!

Ah ah ah ah ah ah ah . . .
Ah ah ah ah ah ah ah! . . .

Ah ah
Poor wandering one!
Though thou hast surely strayed,
Take heart of grace,
Thy steps retrace,
Poor wandering one!

MABEL. (GIRLS).
(Poor wandering one!)
Ah, ah, ah, ah ah
(Poor wandering one!)
Ah, ah, ah, ah ah
(Take heart. Take heart)

Ah ah ah ah ah ah ah ah ah
Ah ah ah ah ah ah ah ah ah
Ah ah ah ah ah ah ah ah ah ah
(Take any heart--but ours)

Take ah ah ah ah ah ah ah ah ah (Take heart.)
Ah ah ah ah ah ah ah ah ah (Take heart.)
Ah ah ah ah ah ah ah ah heart
Take mine.

(Take heart, no danger lowers.)
(Take any heart--but ours.)
(Take) Ah-ah-ah
(heart) Ah-ah-ah
(Take) Ah-ah-ah
(heart) Ah-ah-ah
(Take any heart--but ours.)/Ah-ah-ah

Ah, ah, ah, ah, ah, ah

Ah, ah, ah, ah, ah, ah

Ah, ah, ah, ah, ah, ah

Ah, ah, ah, ah, ah, ah

Ah, ah, ah, ah, ah, ah, ah, ah, ah

Ah, ah, ah, ah, ah, ah, ah, ah, ah

Ah ah/(Take heart!)

Exeunt MABEL and FREDERIC.

_____

Helen Roberts as Mabel 1939

_____

Mabel (Muriel Dickson) Edith (Marjorie Eyre) Frederic (John Dean) & Kate (Masie Baxter) 1933

_____

Los Lobos doing Will the Wolf Survive?

2007-04-07T17:04:00.000-04:00

_____

from the Los Lobos album "How Will the Wolf Survive?"
Steve Berlin
(soprano, tenor & baritone saxophones, percussion)
David Hidalgo
(vocals, guitar, accordion, lap steel guitar, percussion)
Conrad Lozano
(bass, guitarron, vocals)
Louie Pérez
(drums, guitar, quinto)
Cesar Rosas
(vocals, guitar, bajo sexto, mandolin)

written by David Hidalgo & Louie Pérez

Will the Wolf Survive?

Through the chill of winter
Running across the frozen lake
Hunters hard on his trail
All odds are against him
With a family to provide for
The one thing he must keep alive
Will the wolf survive?

Drifting by the roadside
Climbs a strong and aging face
Wants to make some honest pay
Losing to the range war
He's got two strong legs to guide him
Two strong arms keep him alive
Will the wolf survive?

Standing in the pouring rain
All alone in a world that's changed
Running scared now forced to hide
In a land where he once stood with pride
But he'll find his way by the morning light

Sounds across the nation
Coming from young hearts and minds
Battered drums and old guitars
Singing songs of passion
It's the truth that they all look for
Something they must keep alive
Will the wolf survive?
Will the wolf survive?

_____

The Cult: Lil' Devil

2007-03-31T18:54:00.001-04:00

_____

performed by The Cult
Ian Astbury, vocals
Billy Duffy, guitar
Jamie Stewart, bass guitar
Les Warner, drums

written by Ian Astbury & Billy Duffy

Lil' Devil

Yeah

Livin' in a shack in a one-horse town
Tryin' to get to heaven 'fore the sun goin' down
Lizard in a bottle yeah

Dizzy in a haze for 40 days
Hey there little devil

Come on little devil
Be my little angel
Come on little devil
Be my yeah angel, ow

Oh she came on with an alligator smile
Dynamite lover, scorpion child
Tryin' to get to heaven 'fore the sun goes down yeah

She came on with a Saigon kiss
Hey there baby you don't ever miss
Lizard in a bottle oh yeah

Come on little devil
Be my little angel
Come on little devil
Be my little angel

Come on little devil
Be my little angel
Come on little devil
Be my little angel angel
Come on little devil
Be my little angel
Come on little devil
Be my, oh be my angel

_____

"Heroes" by David Bowie

2007-03-30T16:01:00.000-04:00

Duration 5:44

_____

words by David Bowie

music by David Bowie & Brian Eno

"Heroes"

You, you can be mean
And I, I'll drink all the time
'Cause we're lovers and that is a fact
Yes we're lovers and that is that

Though nothing will keep us together
We can beat them forever and ever
Yeah we can be heroes just for one day
What you say, I say

And I, well I wish I could swim
Like dolphin, like a dolphin can swim
Though nothing will drive them away
We can beat them forever and ever
We could be heroes just for one day
What you say, I say

And I, I would be king
And you, you would be my queen
Though nothing could keep us together
We can beat them forever and ever
We can be heroes just for one day

I, I can remember (I remember)
Standing by the wall (by the wall)
And the guns, the guns shot above our heads
(over our heads)
And we kissed as though nothing could fall
(nothing could fall)
And the shame, it fell out on the other side
We can beat them forever and ever
We can be heroes just for one day
What you say, I say

We can be heroes I say
We can be heroes, yeah, I say
We can be heroes just for one day
We can be heroes

For we're nothing and no one will help us
Maybe we're lying--then you better not stay
We can be heroes just for one day

Oh, oh-oh-oh-ohh
Oh-oh-oh-ohh,
Just for one day
(Oh-oh-oh-ohh)
We can be heroes
(Oh-oh-oh-ohh)
Just for one day

_____

"Tell Him" sung by Haley Scarnato, inspired by Linda Ronstadt, and in the tradition of Barbara Reid

2007-03-21T21:42:00.002-04:00

Last night, Haley Scarnato sang a terrific version of "Tell Him" on American Idol. Ryan Seacrest said it was originally sung by Billie Davis in 1963. In fact, Davis did the British invasion version. But, it was originally sung by the Exciters, with a very young Barbara Reid leading the way for the black female vocal groups to come in those 1960s. Scarnato's version is much closer to Reid's than to Davis's. But, the rendition that most apparently inspired her is the great Linda Ronstadt's, maybe the best version and vocal yet.

Below is Haley Scarnato singing "Tell Him", followed by the full lyrics by Bert Berns, followed by Linda Ronstsadt, followed by the Exciters.

_____

by Haley Scarnato

_____

written by Bert Berns a.k.a Bert Russell
© 1962 Screen Gems-EMI Music Inc (BMI)

Tell Him

I know something about love
You gotta want it bad
If that guy's got into your blood
Go out and get him
If you want him to be
The very part of you
Makes you want to breathe
Here's the thing to do

Tell him that you're never gonna leave him
Tell him that you're always gonna love him
Tell him tell him tell him tell him right now

I know something about love
You gotta show him
And make him see the moon up above
Go out and get him
If you want him to be
Always by your side
If you want him to
Only think of you

Tell him that you're never gonna leave him
Tell him that you're always gonna love him
Tell him tell him tell him tell him right now

Ever since the world began
It's been that way for men
And women were created
To make love their destiny
Then why should true love be
So complicated oh

I know something about love
You've gotta take him
And show him what the world is made of
One kiss could prove it

If you want him to be
Always by your side
Take his hand tonight
Swallow your foolish pride

Tell him that you're never gonna leave him
Tell him that you're always gonna love him
Tell him tell him tell him tell him right now

_____

by Linda Ronstadt

_____

by The Exciters

_____

I Will Always Love You by Dolly Parton

2007-03-05T19:37:00.000-05:00

_____

by Dolly Parton

I Will Always Love You

If I should stay,
well I would only be in your way.
And so I'll go, and yet I know
that I'll think of you each step of the way.

And I will always love you.
I will always love you.

Bittersweet memories,
I guess that's all I'll be taking with me.
Goodbye. Oh please, don't cry.
'Cause we both know that I'm not what you need.

But I will always love you.
I will always love you.

_____

Katharine McPhee's new self-titled album

2007-02-03T19:58:00.000-05:00

_____

Click on Katharine McPhee's album cover to listen all 12 tracks.

(It'll say to try again later, but it looks like it is not longer available to listen to. It was apparently a full-CD preview from AOL.)

Track Information

1. Love Story (3:08)
Written by Nate Hills, Kara DioGuardi, Corte Ellis
Produced By Danja

2. Over It (3:35)
Written by Josh Alexander, Billy Steinberg, Ruth-Anne Cunningham
Produced by Josh Alexander, Billy Steinberg

3. Open Toes (3:23)
Written by Nate Hills, Kara DioGuardi, The Clutch, Balewa Muhammad, Candice Nelson, Katharine McPhee
Produced by Danja

4. Home (4:07)
Written by Kara DioGuardi, John Shanks
Produced by Marti Frederiksen & Kara DioGuardi

5. Not Ur Girl (3:58)
Written by Nate Hills, Kara DioGuardi, Corte Ellis, Katharine McPhee
Produced by Danja

6. Each Other (3:59)
Written by Nate Hills, Kara DioGuardi, Corte Ellis
Produced by Danja

7. Dangerous (3:51)
Written by Nate Hills, Corte Ellis
Produced by Danja

8. Ordinary World (3:49)
Written by Walter Afanasieff, Emanuel Kiriakou, Lindy Robbins
Produced by Walter Afanasieff & Emanuel Kiriakou

9. Do What You Do (3:13}
Written by Harvey Mason Jr., Damon Thomas, James Fauntleroy II, Makeba Riddick, Robin Tadross
Produced by The Underdogs

10. Better off Alone (4:04)
Written by Austin Carroll, Susan Marshall
Produced by Emanuel Kiriakou

11. Neglected (4:50)
Written by Nate Hills, Kara DioGuardi, Balewa Muhammad, Katharine McPhee
Produced by Danja

12. Everywhere I Go (3:48)
Written by Babyface, Ernest "Bishop Young Don" Dixon
Produced by Babyface

_____

Better Off Alone

Duration 4:04

_____

The Doors doing "Peace Frog"

2007-01-19T22:07:00.000-05:00

Duration 2:59

_____

performed by The Doors
Jim Morrison, vocals
Ray Manzarek, keyboard
Robby Krieger, guitar
John Densmore, drums

written by Jim Morrison & Robbie Krieger

Peace Frog

There's blood in the streets, it's up to my ankles
She came
There's blood on the streets, it's up to my knee
She came
Blood on the streets in the town of Chicago
She came
Blood on the rise, it's following me
Think about the break of day

She came and then she drove away
Sunlight in her hair

She came
Blood in the streets runs a river of sadness She came
Blood in the streets it's up to my thigh She came
Yeah the river runs red down the legs of the city
She came
The women are crying rivers of weepin'

She came into town and then she drove away
Sunlight in her hair

Indians scattered on dawn's highway bleeding
Ghosts crowd the young child's fragile eggshell mind

Blood in the streets in the town of New Haven
Blood stains the roofs and the palm trees of Venice
Blood in my love in the terrible summer
Bloody red sun of fantastic L.A.

Blood screams the pain as they chop off her fingers
Blood will be born in the birth of a nation
Blood is the rose of mysterious union

There's blood in the streets, it's up to my ankles
Blood in the streets, it's up to my knee
Blood in the streets in the town of Chicago
Blood on the rise, it's following me

_____

The Corrs doing R.E.M.'s "Everybody Hurts"

2007-01-07T00:25:00.001-05:00

_____

performed by The Corrs
Jim Corr, guitar, keyboards & vocals
Sharon Corr, violin & vocals.
Caroline Corr, drums, bodhrán, tambourine, piano & vocals.
Andrea Corr, vocals, tin whistle & acoustic guitar

written by R.E.M.
Bill Berry
Peter Buck
Mike Mills
Michael Stipe

Everybody Hurts

When your day is long and the night
And the night is yours alone
When you think you've had enough
Of this life, well hang on
Don't let yourself go 'cause everybody cries
And everybody hurts sometimes

Sometimes everything is wrong
Now it's time to sing along
When your day is night hold on (hold on)
If you feel like letting go (hold on)
If you're sure you've had too much
Of this life, hang on

'Cause everybody hurts sometimes
Take comfort in your friends
And everybody hurts
Don't blow your hand
Oh no
Don't blow your hand
If you feel like you're alone
No no no you're not alone

If you're on your own in this life
And the days and nights are long
If you're sure you've had too much
Of this life to hang on

You know everybody hurts sometimes
Everybody cries sometimes
Everybody hurts sometimes
Everybody hurts sometimes

So hold on hold on
Hold on hold on
Hold on hold on
Hold on hold on
'Cause you know you're not alone

_____

Mary Ramsey singing "More Than This" with 10,000 Maniacs

2007-01-06T23:55:00.000-05:00

_____

performed by 10,000 Maniacs
Jerome Augustyniak, percussion & background vocals
Robert Buck, guitar
Dennis Drew, keyboard
Steve Gustafson, bass guitar
John Keane, guitar
John Lombardo, guitar
Fred Maher, percussion
Mary Ramsey, viola & vocals
Jules Shear, background vocals

by Bryan Ferry

More Than This

I could feel at the time
There was no way of knowing
Fallen leaves in the night
We can say where they're blowing
As free as the wind
Hopefully learning
Why the sea on the tide
Has no way of turning

More than this, you know there's nothing
More than this, tell me one thing
More than this, there's nothing

It was fun for a while
There was no way of knowing
Like dream in the night
We can say where we're blowing
No care in the world
Maybe I'm learning
Why the sea on the tide
Has no way of turning

More than this, you know there's nothing
More than this, tell me one thing
More than this, there's nothing

More than this, you know there's nothing
More than this, tell me one thing
More than this, there's nothing

_____

Gnarls Barkley doing "Crazy"

2007-01-04T23:15:00.000-05:00

Duration 3:28

lyrics - crazy

_____

by Gnarls Barkley
Cee-Lo Green
Danger Mouse

Crazy

I remember when, I remember, I remember when I lost my mind.
There was something so pleasant about that place.
Even your emotions had an echo in so much space.

And when you're out there, without care,
I was out of touch.
But it wasn't because I didn't know enough.
I just knew too much.

Would that make me crazy?
Would that make me crazy?
Would that make me crazy?
Possibly.

And I hope that you are having the time of your life.
Think twice.
That's my only advice.

Come on now who do you, who do you, who do you think you are?
Ha ha ha, bless your soul.
You really think you're in control?

Well, I think you're crazy.
I think you're crazy.
I think you're crazy,
just like me, just like me.

My heroes had the heart to lose their lives out on a limb.
And all I remember is thinkin' I wanna be like them.

Ever since I was little, ever since I was little it looked like fun.
And there's no coincidence I've come.
And I'll die when I'm done.

But maybe I'm crazy.
Maybe you're crazy.
Maybe we're crazy.
Probably!

_____

Linton Kwesi Johnson doing Sonny's Lettah

2006-12-27T22:47:00.000-05:00

_____

by Linton Kwesi Johnson (LKJ)

Sonny's Lettah (Anti-sus poem)

Brixton Prison
Jeb Avenue
London, South West 2
Inglan

Dear Ma Maa,

Good Day
I hope that when these few lines reach you
they may find you in the best of health

Ma Maa I really don' know how to tell yu dis
'cause, I did meck a solemn promise
to teck care a likkle Jim and try
mi best fi look out fi 'im

Ma Maa a really did try mi best
but none de less
mi sorry fi tell yu sey
poor likkle Jim get aress'
it was de middle a de rush 'our
when everybody jus' a hustle an a bustle
fi go 'ome fi dem evenin' shower

Me and Jim stand up waiting pon a bus
not causing no fuss
when all on a sudden a police man
pull up
out jump 3 police man
De 'ole a dem carrying baton

Dem walk up to me and Jim
one a dem 'ole on to Jim
sey 'im teckin 'im in
Jim tell him fi leggo a 'im
fa 'im no do nuttin
an 'im naw tief, not even a button

Jim start to riggle
De police start to giggle

Ma Maa, meck a tell yu weh dem do to Jim
Ma Maa , meck a tell yu we dem do to him

Dem tump 'im in 'im belly
an' it turn to jelly
Dem lick 'im pon 'im back
an 'im rib get pop
Dem lick 'im pon 'im head
but it tuff like lead
Dem kick 'im in 'im seed
an it started to bleed

Ma Maa I just couldn't just stan' up
deh a no do nutten

So mi juck one ina 'im eye
an 'im started to cry
Mi tump one in 'im mout
an 'im started to shout
Mi kick one pon 'im shin
an 'im started to spin
Mi tump 'im pon 'im chin
an 'im drop pon a bin
an crash an dead

Ma Maa more police man come down
an beat me to de ground

Dem charge Jim fi sus
Dem charge mi fi murder
Ma Ma! Don't fret
don't get depress an down 'earted
be of good courage

Till I hear from yu

I remain your son

Sonny

_____

_____

J. Geils Band doing Floyd's Hotel for Christmas

2006-12-24T15:35:00.001-05:00

For Christmas, I got myself The Morning After, the 1971 album by my favorite band to see in concert in my teens, the J. Geils Band. In those 70s, some of us from Massachusetts had good friends from Manchester, NH. And I remember one time being in a car heading home from Montreal, with a mix of us as we all got into singing and swaying to the song "Floyd's Hotel," a song written about a New Hampshire hotel, done by the Massachusetts-based band. I have many J. Geils albums, the early albums, and the concert ones mainly, in a box down in my basement--but never got this one, and always should have.

Another thought, in watching the video below, it occurs to me that the latest American Idol, Taylor Hicks, has a similar energy to Peter Wolf. This makes me wonder if there is an influence there. I have no inclination to go see Hicks in concert or buy his albums. The reason might be that he comes across too pop. R&B and Rock 'n Roll, versus pop, are rooted in the realities and hard core emotions of life, which include such a hotel as Floyd's and the encounters there. The song enters that world, becomes an anthem for it, and speaks from it. It may turn out to be too "bold" a move for someone like Hicks to do, even if he wanted to. Maybe Hicks has sold his R&B soul to the American Idol devil.

Now, we come back full circle to J. Geils, and whether the band sold their souls in their later albums. The song "Centerfold", a song I would not buy, does not address human sexuality the same way as "Floyd's Hotel." How do you get from "South Side Shuffle" to "Freeze Frame"? One answer might be through the Love Stinks album. Other answers, though, might be through the easy life or the desire for the popularity of pop. Do we need to forgive the band for selling out before they broke up? And, if so, do we forgive Geils and Hicks alike?

The difference between the tightrope Taylor Hicks is walking, and the J. Geils Band's historic journey, is in what Geils demonstrated: that it could be done. J. Geils Band represented the artistry, or should I say the poetry of all R&B artists, in showing that they could do other types of perimeter-inspired poetry as well. "Freeze Frame" and "Centerfold" are standards that will survive in pop culture far beyond we who are living today, as will the band's blues rock survive for R&B seekers in forthcoming generations.

The best pop artists, the ones selling the most records, are not doing it because they do it better. That's settled now. The challenge Peter Wolf and the J. Geils Band has for any pop band or singer, is can they now, with their talents, sing from their for-real souls, as well as from their musical abilities. When and if Taylor Hicks can get his pop standards up for forthcoming generations, he will still need to return to his music for his soul.

_____

J Geils Band - Floyds Hotel via Noolmusic.com

The above performance of "Floyd's Hotel" is from BBC TV's Old Grey Whistle Test on January 9th, 1973. I have not been able to transcribe the words precisely. Below is what I am hearing. But I cannot make out the first few words, so I include the words from the album "The Morning After" in parentheses, like so:

(She had big rosy red) hips, oh nice and round
Red rosy lips, you know they really got me down

I know very well that that is incorrect, as the progression itself is altered. This is what is on the album:

She had big rosy red hips really knocks them right on
She had juicy red lips that really laid me down

It is interesting to hear how the progressions are different from the album in 1971 to the 1973 rendition. What has come out, and been replaced is this:

Smilin' Jim, he's the cat that checks you in
Big fat Smilin' Jim, you know he signs you in
Don't ask where you goin'
He don't care where you been

What we have instead, is the Hyde Park stanza below.

If you hear it better, let me know. I am open to corrections.

_____

performed by J. Geils Band
Stephen Jo Bladd, drums
Magic Dick, harp
J. Geils, guitar
Seth Justman, keyboard
Danny Klein, bass
Peter Wolf, vocals

written by
Seth Justman
Peter Wolf
& of course, Juke-Joint-Walden

Floyd's Hotel

(She had big rosy red) hips, oh nice and round
Red rosy lips, you know they really got me down
She stuck me in a taxi
And drove me way across town

She got me down, down to Floyd's Hotel
She got me down, down to Floyd's Hotel
Lotta cheap rooms
Always something nice to sell

Fellow there, you know they call him Tyrone
Fellow there, you know they call him Tyrone
He don't care where you go
Always leave you alone

Met a fellow hanging out in Hyde Park
Walking around Hyde Park, met a fellow called Tyrone
That was his name--gave him five quid
You know he really turned me on

Going down, down to Floyd's Hotel
I'm going down, down to Floyd's Hotel
Lotta cheap rooms
Always something nice to sell

_____

Elvis Presley & Celine Dion doing "Blue Christmas"

2006-12-22T22:04:00.000-05:00

as rendered by Elvis Presley (1935–1977)

by Jay W. Johnson and Billy Hayes

Blue Christmas

I'll have a blue Christmas without you
I'll be so blue just thinking about you
Decorations of red on a green Christmas tree
Won't be the same dear, if you're not here with me

And when those blue snowflakes start fallin'
That's when that those blue memories start callin'
You'll be doin' alright, with your Christmas of white,
But I'll have a blue blue blue blue Christmas

You'll be doin' alright, with your Christmas of white,
But I'll have a blue blue blue blue Christmas

as rendered by Celine Dion (b. 1968)

by Jay W. Johnson and Billy Hayes

Blue Christmas

I'll have a blue Christmas without you
I'll be so blue thinking about you
Decorations of red on a green Christmas tree
Won't be the same, if you're not here with me

And when those blue snowflakes start fallin'
And when those blue memories start callin'
You'll be doin' alright with your Christmas of white
But I'll have a blue blue blue blue Christmas

Decorations of red on a green Christmas tree
Won't be the same, if you're not here with me

I'll have a blue Christmas, that's certain
And when the blue heartache starts hurtin'
You'll be doin' alright with your Christmas of white
But I'll have a blue, blue Christmas

(Merry Christmas)

Harry Belafonte singing "I Heard the Bells on Christmas Day"

2006-12-21T23:53:00.000-05:00

click the picture for the song in wma format

Harry Belafonte singing "I Heard the Bells on Christmas Day"

by Henry Wadsworth Longfellow (1807-1882) on Christmas Day 1864

music by John Baptiste Calkin (1827-1905) in 1872

Christmas Bells

I heard the bells on Christmas Day
Their old, familiar carols play,
And wild and sweet
The words repeat
Of peace on earth, good-will to men!

And thought how, as the day had come,
The belfries of all Christendom
Had rolled along
The unbroken song
Of peace on earth, good-will to men!

Till, ringing, singing on its way,
The world revolved from night to day,
A voice, a chime,
A chant sublime
Of peace on earth, good-will to men!

Then from each black, accursed mouth
The cannon thundered in the South,
And with the sound
The carols drowned
Of peace on earth, good-will to men!

It was as if an earthquake rent
The hearth-stones of a continent,
And made forlorn
The households born
Of peace on earth, good-will to men!

And in despair I bowed my head;
"There is no peace on earth," I said:
"For hate is strong,
And mocks the song
Of peace on earth, good-will to men!"

Then pealed the bells more loud and deep:
"God is not dead; nor doth he sleep!
The Wrong shall fail,
The Right prevail,
With peace on earth, good-will to men!"

Adonis: 'We, in Arab society, do not understand the meaning of freedom'

2006-12-20T14:12:00.002-05:00

Syrian Poet criticizes Arab Society
Uploaded by Ibn-Khaldun

_____

This is from The Middle East Media Research Institute: Special Dispatch Series, No. 1393

The video above is better viewed on the MEMRI site from here:

MEMRI TV Clip 1335

Below is the transcript translated into English by MEMRI.

_____

Renowned Syrian Poet 'Adonis': 'We, In Arab Society, Do Not Understand The Meaning Of Freedom'

The poet Ali Ahmad Sa'id (b. 1930), known by his pseudonym "Adonis," a 2005 candidate for the Nobel Prize for Literature, left his native Syria for Lebanon in the 1950s following six months' imprisonment for political activity. In 1973, he received his Ph.D. from St. JosephUniversity in Beirut; in 1985, he settled in Paris, where he now works as a writer and literary critic. Among other occupations, he has edited the modernist magazine Mawaqif (Viewpoints), and translated some of the great French poets into Arabic.

The following are excerpts from interviews with Adonis, which aired on ANB TV on November 26, 2006 and on Dubai TV on March 11, 2006.

November 26, 2006 Interview

to view this clip: MEMRI TV Clip 1335

Adonis: "The difference between Europe and the Islamic world is in quality, not in degree. What I mean is that the Christian view of the world is not political, but humanistic. It is human beings who are the basis for politics.

"A Christian has great liberty to separate his religious faith from his political activity. The mistake committed by the Church in the Middle Ages was rectified--obviously after a struggle and violent revolutions--and political rule was entirely separated from politics . . ."

Interviewer: "From religion . . ."

Adonis: "From religion, sorry. In our case, political rule was based . . . Ever since the struggle over who would inherit Prophet Muhammad's place, political rule was essentially based on religion."

Interviewer: "But there were great revolutions in the Arab and Islamic world. Take, for example, the ideology of Arab nationalism. This ideology may be connected with Islamic culture, but it is still a man-made ideology."

Adonis: "But the ideology of Arab nationalism, in all its forms, is a religious ideology, in the sense that it has never raised any cardinal question concerning religion."

[. . .]

"The Arabs have managed to turn democracy or the revolution into a dynastic or monarchic regime, which is handed down. Most Arab regimes are monarchic regimes, one way or another."

Interviewer: "Including the republics . . ."

Adonis: "Especially the republics. In my opinion, while it is true that colonialism has played a role, and the wars with Israel have played a role, the greatest responsibility is, nevertheless, on us Arabs."

[. . .]

"The Arab individual does not elect from among people of different opinions who represent different currents. The Arab is accustomed to voting according to pre-determined concepts. Whoever represents this pre-determined concept . . . The nationalist will vote for a nationalist, and the communist will vote for a communist. These are all types of religious sects. The tribal and sectarian structure has not disintegrated, and has not melted down into the new structure of democracy and the democratic option."

[. . .]

"There can be no living culture in the world if you cannot criticize its foundations--the religion.

"We lack the courage to ask any question about any religious issue.

"For example, as a Muslim, I cannot say a single word about the Prophet Moses.

"The Prophet Moses did not say anything to me as a Muslim, whereas the Israeli Jew can criticize Moses and all the prophets in the Torah, and he can even question the divinity of the Torah."

[. . .]

"We, in Arab society, do not understand the meaning of freedom. We say that freedom means writing an article. Freedom is much deeper than that."

Interviewer: "Even writing an article is not possible."

Adonis: "True. Arab society is based on many types of invisible slavery, and the ideology and political rule conceal them with worthless slogans and political discourse. The underlying structure of Arab societies is a structure of slavery, not of liberty."

_____

March 11, 2006 Interview

to view this clip: MEMRI TV Clip 1076

Adonis: "Words are treated as a crime today. Throughout history, there has never been anything similar to what's happening today in our Arab society--when you say a word, it is like committing a crime."

Interviewer: "True."

Adonis: "Words and opinions are treated as a crime. This is inconceivable."

Interviewer: "You can be arrested for writing an article."

Adonis: "That's one example."

[. . .]

"In the Koran itself, it says that Allah listened to his first enemy, Satan, and Satan refused to obey him. I believe that Allah was capable of wiping out Satan, yet He listened to Satan's refusal to obey Him.

"At the very least, we demand that Muslims today listen to people with different opinions."

[. . .]

Interviewer: "How do you view the plan for democracy, the 'Greater Middle East' plan?"

Adonis: "First of all, I oppose any external intervention in Arab affairs. If the Arabs are so inept that they cannot be democratic by themselves, they can never be democratic through the intervention of others.

"If we want to be democratic, we must be so by ourselves. But the preconditions for democracy do not exist in Arab society, and cannot exist unless religion is reexamined in a new and accurate way, and unless religion becomes a personal and spiritual experience, which must be respected.

"On the other hand, all issues pertaining to civil and human affairs must be left up to the law and to the people themselves."

Interviewer: "Mr. Adonis, how do you view the democracy in Palestine, which brought Hamas to power?"

Adonis: "I support it, but I oppose the establishment of any state on the basis of religion, even if it's done by Hamas."

Interviewer: "Even if it liberates Palestine?"

Adonis: "Yes, because in such a case, it would be my duty to fight this religious state."

[. . .]

Interviewer: "What are the reasons for growing glorification of dictatorships--sometimes in the name of pan-Arabism, and other times in the name of rejecting foreigners? The glorification comes even from the elites, as can be seen, for example, in the Saddam Hussein trial, and in all the people who support him."

Adonis: "This phenomenon is very dangerous, and I believe it has to do with the concept of 'oneness,' which is reflected--in practical or political terms--in the concept of the hero, the savior, or the leader. This concept offers an inner sense of security to people who are afraid of freedom. Some human beings are afraid of freedom."

Interviewer: "Because it is synonymous with anarchy?"

Adonis: "No, because being free is a great burden. It is by no means easy."

Interviewer: "You've got to have a boss . . ."

Adonis: "When you are free, you have to face reality, the world in its entirety. You have to deal with the world's problems, with everything . . ."

Interviewer: "With all the issues . . ."

Adonis: "On the other hand, if we are slaves, we can be content and not have to deal with anything. Just as Allah solves all our problems, the dictator will solve all our problems."

[. . .]

"I don't understand what is happening in Arab society today. I don't know how to interpret this situation, except by making the following hypothesis: When I look at the Arab world, with all its resources, the capacities of Arab individuals, especially abroad--you will find among them great philosophers, scientists, engineers, and doctors. In other words, the Arab individual is no less smart, no less a genius, than anyone else in the world. He can excel--but only outside his society. I have nothing against the individuals--only against the institutions and the regimes.

"If I look at the Arabs, with all their resources and great capacities, and I compare what they have achieved over the past century with what others have achieved in that period, I would have to say that we Arabs are in a phase of extinction, in the sense that we have no creative presence in the world."

Interviewer: "Are we on the brink of extinction, or are we already extinct?"

Adonis: "We have become extinct. We have the quantity. We have the masses of people, but a people becomes extinct when it no longer has a creative capacity, and the capacity to change its world."

[. . .]

"The great Sumerians became extinct, the great Greeks became extinct, and the Pharaohs became extinct. The clearest sign of this extinction is when we intellectuals continue to think in the context of this extinction."

Interviewer: "That is very dangerous."

Adonis: "That is our real intellectual crisis. We are facing a new world with ideas that no longer exist, and in a context that is obsolete. We must sever ourselves completely from that context, on all levels, and think of a new Arab identity, a new culture, and a new Arab society."

[. . .]

"Imagine that Arab societies had no Western influence. What would be left? The Muslims must . . ."

Interviewer: "What would be left?"

Adonis: "Nothing. Nothing would be left except for the mosque, the church, and commerce, of course."

[. . .]

"The Muslims today--forgive me for saying this--with their accepted interpretation [of the religious text], are the first to destroy Islam, whereas those who criticize the Muslims--the non-believers, the infidels, as they call them--are the ones who perceive in Islam the vitality that could adapt it to life. These infidels serve Islam better than the believers."

_____

Jimi Hendrix doing "Red House" at Woodstock

2006-12-17T12:11:00.001-05:00

_____

Here's Jimi Hendrix doing Red House in Atlanta:

Duration 8:01

_____

by Jimi Hendrix

Red House

There's a red house over yonder, baby
Lord, that's where my baby stay
Lord have mercy, there's a red house over yonder
Lord, that's where my baby stay
Hey, I ain't been home to see my baby
I just got out of jail and it's been about a ninety-nine and one half days now
Hey, that's a long time, you know what I mean

Wait a minute, something's wrong
Lord have mercy, the key won't unlock the door
Wait a minute, something's wrong
Lord our key won't unlock the door
Hey, I gotta bad feeling
Lord, my baby don't live here no more
She ain't said a damn thing about leaving here
But I still got my guitar

Hey, I think I'll go back over yonder
Way back over yonder across the hill
Hey, I think I'll go back over yonder, baby
Way over yonder across the hill
Hey my baby don't love me no more
Lord I know good and well that her sister will

_____

Black Oak Arkansas doing Jim Dandy

2006-12-08T21:25:00.000-05:00

_____

performed by Black Oak Arkansas
Tommy Aldridge, drums
Pat Daugherty, bass
Harvey Jett, guitar
Stanley Knight, guitar
Jim "Dandy" Mangrum, vocals
Rick Reynolds, guitar
Ruby Starr, background vocals

written by Lincoln Chase

Jim Dandy

(That's my Jim Dandy.)

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

I was sitting on a mountain top,
30,000 feet to drop.
Spied a lady on a runaway horse.
Uh huh, that's right, of course.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

One day, I met a girl named Sue.
She was feeling kind of blue.
I'm Dandy, the kind of guy,
who can't stand to see a little girl cry.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
(Go, Jim Dandy! Go-o-o-o!)

I was riding in a submarine.
Got a message from a mermaid queen.
She was hanging on a fishing line.
Mr. Dandy didn't waste no time.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Once upon a time, I went to Maine.
Got a ticket on a DC plane. (Oh, yeah!)
Mr. Dandy didn't need no chute.
I was high and ready to boot.
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Jim Dandy to the rescue!
Jim Dandy to the rescue!
Jim Dandy to the rescue!
(Go, Jim Dandy! Go, Jim Dandy!)

Go, Go, Go, Jim Dandy!
Go, Go, Go, Jim Dandy!
Go, Go, Go, Jim Dandy!
Go, Go, Go, Jim Dandy!
(Go-o-o-o-o-o-o!)

_____

"Don't Run Wild" by The Del Fuegos

2006-12-04T19:26:00.000-05:00

Duration 3:35

_____

performed by The Del Fuegos
Brent "Woody" Giessmann, drums
Tom Lloyd, bass
Dan Zanes, lead vocals
Warren Zanes, guitar

by James Ralston, Dan Zanes, & Tom Lloyd

Don't Run Wild

Oh baby what's gone wrong
You don't laugh on the phone like you used to
Have I been gone too long
Where's the love that I've gotten used to

All the good times we had
Our dreams might take a while
So baby don't you run
Don't run wild

Trees fly by you in a far away car
Wonderin' when I'll see you again
The TV's on, the sound turned down
All the letters that I tried to send

All the good times we had
Seems our dreams might take a while
So baby don't you run

Don't run wild
Don't run wild
Don't run wild
Don't run, don't leave me child

Don't run wild
Don't run wild
Don't run wild
Don't run, don't leave me child

Don't run wild
Don't run wild
Don't run wild
Don't run wild

Don't run wild
Don't run wild
Don't run wild
Don't run wild

_____

Anita O'Day sings "Sweet Georgia Brown"

2006-11-25T07:13:00.000-05:00

Duration 4:28

Anita O'Day
(Oct 18, 1919 to Nov 23, 2006)

_____

Anita O'Day's rendition

Sweet Georgia Brown

No gal made has got a shade on Sweet Georgia Brown.
Two left feet, but oh so neat, Sweet Georgia Brown.
They all sigh and wanna die for Sweet Georgia Brown.
I'll tell you why. You know I don't lie (much).

It's been said she knocks 'em dead when she lands in town.
Since she came why it's a shame how she cools 'em down.
Fellas she can't get are fellas she ain't met.
Georgia named her, Georgia claimed her, Sweet Georgia Brown.

No gal made's got shade on Sweet Georgia Brown.
Two left feet, oh oh, so neat, Sweet Georgia Brown.
They all sigh, wanna die, for Sweet Georgia Brown.
I'll tell you just why. You know I don't lie (not much!).

It's been said she knocks 'em dead when she lands in town.
Since she came, it's a shame how she cools 'em down.
Fellas she can't get are fellas this girl has never met.
Georgia named her, Georgia claimed her, Sweet Georgia Brown.

No gal made got the shade on Sweet Georgia Brown.
Two left feet, but oh so neat is Sweet Georgia Brown.
They all sigh, wanna die for Sweet Georgia Brown.
Tell you just why. You know I don't lie (much!).

Since she came, why it's a shame how she cools 'em down.
It's been said she knocks 'em dead when she lands in town.
Fellas she can't get are fellas this girl has never met.
Georgia named her, Georgia claimed her, Sweet Georgia Brown.

_____

music by Maceo Pinkard

words by A. Ken Casey

Sweet Georgia Brown

She just got here yesterday, Things are hot here now they say,
There's a new gal in town.
Gals are jealous, there's no doubt. All the guys just rave about
Sweet, Sweet Georgia Brown.
And ever since she came, the common folks all claim, say;

No gal made has got a shade on Sweet Georgia Brown.
Two left feet, but oh, so neat has Sweet Georgia Brown.
They all sigh and wanna die for Sweet Georgia Brown,
I'll tell you just why, you know I don't lie (not much!).
It's been said she knocks 'em dead when she lands in town.
Since she came why it's a shame how she's cooled 'em down.
Fellas that she can't get Must be fellas that she ain't met.
Georgia claimed her, Georgia named her, Sweet Georgia Brown.

All you gals will get the blues, all you pals will surely lose.
And, there's but one excuse.
Now I've told you who she was, and I've told you what she does,
Still, give this gal her dues.
This pretty maiden's prayer is answered anywhere

No gal made has got a shade on Sweet Georgia Brown.
Two left feet, but oh, so neat has Sweet Georgia Brown.
They all sigh and wanna die for Sweet Georgia Brown,
I'll tell you just why, you know I don't lie (not much!).
All those tips the porter slips to Sweet Georgia Brown
They buy clothes at fashion shows for one dollar down.
Fellas, won'tcha tip your hats. Oh boy, ain't she the cats?
Who's that mister, tain't her sister, It's Sweet Georgia Brown.

_____

John Newton's poem, LeAnn Rimes' a capella, & the Cherokee: Amazing Grace

2006-11-23T10:10:00.000-05:00

originally a poem

written with William Cowper (1731-1800)

by Rev. John Newton (1725-1807)

Faith's Review and Expectation

Amazing grace! (how sweet the sound)
That sav'd a wretch like me!
I once was lost, but now am found,
Was blind, but now I see.

'Twas grace that taught my heart to fear,
And grace my fears reliev'd;
How precious did that grace appear,
The hour I first believ'd!

Thro' many dangers, toils and snares,
I have already come;
'Tis grace has brought me safe thus far,
And grace will lead me home.

The Lord has promis'd good to me,
His word my hope secures;
He will my shield and portion be,
As long as life endures.

Yes, when this flesh and heart shall fail,
And mortal life shall cease;
I shall possess, within the vail,
A life of joy and peace.

The earth shall soon dissolve like snow,
The sun forbear to shine;
But God, who call'd me here below,
Will be for ever mine.

_____

performed by LeAnn Rimes

Amazing Grace

Amazing grace, how sweet the sound,
That saved a wretch like me.
I once was lost, but now I'm found.
I was blind, but now I see.

'Twas grace that taught my heart to feel
And grace my fears relieved.
How precious did that grace appear,
The hour I first believed.

When we've been dead ten thousand years,
Bright shining as the sun,
We've no less days to sing God's praise
Then when we first begun.

Amazing grace, O how sweet the sound
That saved a wretch like me.
I once was lost, but now I am found.
I was blind, but now I see.

_____

Duration 6:00

in Cherokee

u ne la nv i u we tsi
i ga go yv he i
hna quo tso sv wi yu lo se
i ga gu yv ho nv
a se no i u ne tse i
i yu no du le nv
ta li ne dv tsi lu tsi li
u dv ne u ne tsv
e lo ni gv ni li squa di
ga lu tsv he i yu
ni ga di da ye di go i
a ni e lo hi gv
u na da nv ti a ne hv
do da ya nv hi li
tsa sv hna quo ni go hi lv
do hi wa ne he sdi

_____

"Silver Springs" live from Fleetwood Mac

2006-11-22T23:16:00.000-05:00

Duration 5:37

_____

performed by Fleetwood Mac
Lindsey Buckingham, guitar
Mick Fleetwood, drums
Christine McVie, keyboards
John McVie, bass
Stevie Nicks, vocals

at Warner Bros. Studios, Burbank CA, 1997

written by Stevie Nicks

Silver Springs

You could be my silver springs--
bluegreen colors flashing.
I would be your only dream,
your shining autumn, ocean crashing.

And did you say she was pretty?
And did you say that she loves you?
Baby, I don't wanna know. Oh no no.

I'll begin not to love you--
turn around, see me running.
I'll say I loved you years ago,
tell myself you never loved me, no.

And did you say she was pretty?
And did you say that she loves you?
Baby, I don't wanna know. Oh, no.
And can you tell me, was it worth it?
Really, I don't wanna know.

Time casts a spell on you,
but you won't forget me.
I know I could have loved you,
but you would not let me.

Time casts a spell on you,
but you won't forget me.
I know I could have loved you,
but you would not let me.

I'll follow you down 'til the sound
of my voice will haunt you.
You'll never get away from the sound
of the woman that loves you.

I'll follow you down 'til the sound
of my voice will haunt you.
Was I just a fool?
You'll never get away from the sound
of the woman that loves you.
Was I just a fool?

I'll follow you down 'til the sound
of my voice will haunt you.
Give me just a chance!
Never get away, never get away,
never get away!

You could be my silver springs,
my bluegreen colors flashing.

_____

And Death Shall Have No Dominion by Dylan Thomas

2006-11-22T09:58:00.000-05:00

Duration 7:30

_____

by Dylan Thomas

And Death Shall Have No Dominion

And death shall have no dominion.
Dead men naked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone,
They shall have stars at elbow and foot;
Though they go mad they shall be sane,
Though they sink through the sea they shall rise again;
Though lovers be lost love shall not;
And death shall have no dominion.

And death shall have no dominion.
Under the windings of the sea
They lying long shall not die windily;
Twisting on racks when sinews give way,
Strapped to a wheel, yet they shall not break;
Faith in their hands shall snap in two,
and the unicorn evils run them through;
Split all ends up they shan't crack;
And death shall have no dominion.

And death shall have no dominion.
No more may gulls cry at their ears
Or waves break loud on the seashores;
Where blew a flower may a flower no more
Lift its head to the blows of the rain;
Though they be mad and dead as nails,
Heads of the characters hammer through daisies;
Break in the sun till the sun breaks down,
And death shall have no dominion.

_____

Should Lanterns Shine

Should lanterns shine, the holy face,
Caught in an octagon of unaccustomed light,
Would wither up, and any boy of love
Look twice before he fell from grace.
The features in their private dark
Are formed of flesh, but let the false day come
And from her lips the faded pigments fall,
The mummy cloths expose an ancient breast.

I have been told to reason by the heart,
But heart, like head, leads helplessly;
I have been told to reason by the pulse,
And, when it quickens, alter the actions' pace
Till field and roof lie level and the same
So fast I move defying time, the quiet gentleman
Whose beard wags in Egyptian wind.

I have heard may years of telling,
And many years should see some change.

The ball I threw while playing in the park
Has not yet reached the ground.

_____

There Was a Saviour

   There was a saviour
   Rarer than radium,
Commoner than water, crueller than truth;
   Children kept from the sun
   Assembled at his tongue
To hear the golden note turn in a groove,
Prisoners of wishes locked their eyes
In the jails and studies of his keyless smiles.

   The voice of children says
   From a lost wilderness
There was calm to be done in his safe unrest,
   When hindering man hurt
   Man, animal, or bird
We hid our fears in that murdering breath,
Silence, silence to do, when earth grew loud,
In lairs and asylums of the tremendous shout.

   There was glory to hear
   In the churches of his tears,
Under his downy arm you sighed as he struck,
   O you who could not cry
   On to the ground when a man died
Put a tear for joy in the unearthly flood
And laid your cheek against a cloud-formed shell:
Now in the dark there is only yourself and myself.

   Two proud, blacked brothers cry,
   Winter-locked side by side,
To this inhospitable hollow year,
   O we who could not stir
   One lean sigh when we heard
Greed on man beating near and fire neighbour
But wailed and nested in the sky-blue wall
Now break a giant tear for the little known fall,

   For the drooping of homes
   That did not nurse our bones,
Brave deaths of only ones but never found,
   Now see, alone in us,
   Our own true strangers' dust
Ride through the doors of our unentered house.
Exiled in us we arouse the soft,
Unclenched, armless, silk and rough love that breaks all rocks.

_____

10,000 Maniacs: "What's the Matter Here"

2006-11-20T18:32:00.001-05:00

_____

performed by 10,000 Maniacs:
Natalie Merchant, vocals
Robert Buck, guitars, mandolin, pedal steel guitar
Steve Gustafson, bass
Jerome Augustyniak, drums, percussion
Dennis Drew, keyboards

written by Robert Buck & Natalie Merchant

What's The Matter Here

That young boy without a name,
anywhere I'd know his face.
In this city, the kid's my favorite.
I've seen, I've seen, I've--
I see him every day--seen him
run outside looking for a place to hide
from his father, the kid half naked,
and said to myself, "O, what's the matter here?"

I'm tired of the excuses everybody uses.
He's their kid. I stay out of it.
But who gave you the right to do this?

We live on Morgan Street, just ten feet between.
And his mother, I never see her.
But her screams and cussing, I hear them every day.
Threats like: "If you don't mind I will beat on your behind,"
"Slap you, slap you silly," made me say,
"O, what's the matter here?"

I'm tired of the excuses everybody uses:
he's your kid, do as you see fit.
But get this through that I don't approve of
what you did to your own flesh and blood.

I have heard the excuses everybody uses:
he's your kid, do as you see fit.
But get this through that I don't approve of
what you did to your own flesh and blood.

"If you don't sit in your chair straight,
I'll take this belt from around my waist
and don't you think that I won't use it!"

Answer me and take your time,
what could be the awful crime
he could do at so young an age?
If I'm the only witness to your madness,
offer me some words to balance
out of what I see and what I hear.

All these cold and rude things that you do,
I suppose you do because he belongs to you.
And instead of love, and the feel of warmth
you've given him these cuts and sores
that don't heal with time or his age.

But I don't dare say, "What's the matter here?"
But I don't dare say.

_____

The Beach Boys: "Do It Again"

2006-11-20T00:04:00.001-05:00

_____

performed by The Beach Boys:
Al Jardine, Mike Love, Brian Wilson, Carl Wilson, & Dennis Wilson

written by Brian Wilson & Mike Love

Do It Again

It's automatic
when I talk to old friends,
the conversations
turn to girls we knew
when their hair
was soft and long
and the beach
was the place to go.

The sun-tanned bodies
and waves of sunshine
the California girls
and the beautiful coastline--
warmed up weather,
let's get together and
do it again.

With a girl the lonely sea
looks good in twilight.
Makes your nighttimes
warm and outta sight.

Been so long.
(hey now hey now hey now . . .)

Well I've been thinking
about all the places
we've surfed and danced,
and all the faces
we missed so
let's get back together and
do it again.

_____

Inaugural Address of John Fitzgerald Kennedy

2006-11-15T23:46:00.000-05:00

Part 1, Duration 9:58

Part 2, Duration 5:36

_____

delivered after taking the oath of office

January 20, 1961

by John F. Kennedy

Vice President Johnson, Mr. Speaker, Mr. Chief Justice, President Eisenhower, Vice President Nixon, President Truman, Reverend Clergy, fellow citizens:

We observe today not a victory of party, but a celebration of freedom--symbolizing an end, as well as a beginning--signifying renewal, as well as change. For I have sworn before you and Almighty God the same solemn oath our forebears prescribed nearly a century and three-quarters ago.

The world is very different now. For man holds in his mortal hands the power to abolish all forms of human poverty and all forms of human life. And yet the same revolutionary beliefs for which our forebears fought are still at issue around the globe--the belief that the rights of man come not from the generosity of the state, but from the hand of God.

We dare not forget today that we are the heirs of that first revolution. Let the word go forth from this time and place, to friend and foe alike, that the torch has been passed to a new generation of Americans--born in this century, tempered by war, disciplined by a hard and bitter peace, proud of our ancient heritage, and unwilling to witness or permit the slow undoing of those human rights to which this nation has always been committed, and to which we are committed today at home and around the world.

Let every nation know, whether it wishes us well or ill, that we shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe, to assure the survival and the success of liberty.

This much we pledge--and more.

To those old allies whose cultural and spiritual origins we share, we pledge the loyalty of faithful friends. United there is little we cannot do in a host of cooperative ventures. Divided there is little we can do--for we dare not meet a powerful challenge at odds and split asunder.

To those new states whom we welcome to the ranks of the free, we pledge our word that one form of colonial control shall not have passed away merely to be replaced by a far more iron tyranny. We shall not always expect to find them supporting our view. But we shall always hope to find them strongly supporting their own freedom--and to remember that, in the past, those who foolishly sought power by riding the back of the tiger ended up inside.

To those people in the huts and villages of half the globe struggling to break the bonds of mass misery, we pledge our best efforts to help them help themselves, for whatever period is required--not because the Communists may be doing it, not because we seek their votes, but because it is right. If a free society cannot help the many who are poor, it cannot save the few who are rich.

To our sister republics south of our border, we offer a special pledge: to convert our good words into good deeds, in a new alliance for progress, to assist free men and free governments in casting off the chains of poverty. But this peaceful revolution of hope cannot become the prey of hostile powers. Let all our neighbors know that we shall join with them to oppose aggression or subversion anywhere in the Americas. And let every other power know that this hemisphere intends to remain the master of its own house.

To that world assembly of sovereign states, the United Nations, our last best hope in an age where the instruments of war have far outpaced the instruments of peace, we renew our pledge of support--to prevent it from becoming merely a forum for invective, to strengthen its shield of the new and the weak, and to enlarge the area in which its writ may run.

Finally, to those nations who would make themselves our adversary, we offer not a pledge but a request: that both sides begin anew the quest for peace, before the dark powers of destruction unleashed by science engulf all humanity in planned or accidental self-destruction.

We dare not tempt them with weakness. For only when our arms are sufficient beyond doubt can we be certain beyond doubt that they will never be employed.

But neither can two great and powerful groups of nations take comfort from our present course--both sides overburdened by the cost of modern weapons, both rightly alarmed by the steady spread of the deadly atom, yet both racing to alter that uncertain balance of terror that stays the hand of mankind's final war.

So let us begin anew--remembering on both sides that civility is not a sign of weakness, and sincerity is always subject to proof. Let us never negotiate out of fear, but let us never fear to negotiate.

Let both sides explore what problems unite us instead of belaboring those problems which divide us.

Let both sides, for the first time, formulate serious and precise proposals for the inspection and control of arms, and bring the absolute power to destroy other nations under the absolute control of all nations.

Let both sides seek to invoke the wonders of science instead of its terrors. Together let us explore the stars, conquer the deserts, eradicate disease, tap the ocean depths, and encourage the arts and commerce.

Let both sides unite to heed, in all corners of the earth, the command of Isaiah--to "undo the heavy burdens, and [to] let the oppressed go free."¹

And, if a beachhead of cooperation may push back the jungle of suspicion, let both sides join in creating a new endeavor--not a new balance of power, but a new world of law--where the strong are just, and the weak secure, and the peace preserved.

All this will not be finished in the first one hundred days. Nor will it be finished in the first one thousand days; nor in the life of this Administration; nor even perhaps in our lifetime on this planet. But let us begin.

In your hands, my fellow citizens, more than mine, will rest the final success or failure of our course. Since this country was founded, each generation of Americans has been summoned to give testimony to its national loyalty. The graves of young Americans who answered the call to service surround the globe.

Now the trumpet summons us again--not as a call to bear arms, though arms we need--not as a call to battle, though embattled we are--but a call to bear the burden of a long twilight struggle, year in and year out, "rejoicing in hope; patient in tribulation,"² a struggle against the common enemies of man: tyranny, poverty, disease, and war itself.

Can we forge against these enemies a grand and global alliance, North and South, East and West, that can assure a more fruitful life for all mankind? Will you join in that historic effort?

In the long history of the world, only a few generations have been granted the role of defending freedom in its hour of maximum danger. I do not shrink from this responsibility--I welcome it. I do not believe that any of us would exchange places with any other people or any other generation. The energy, the faith, the devotion which we bring to this endeavor will light our country and all who serve it. And the glow from that fire can truly light the world.

And so, my fellow Americans, ask not what your country can do for you; ask what you can do for your country.

My fellow citizens of the world, ask not what America will do for you, but what together we can do for the freedom of man.

Finally, whether you are citizens of America or citizens of the world, ask of us here the same high standards of strength and sacrifice which we ask of you. With a good conscience our only sure reward, with history the final judge of our deeds, let us go forth to lead the land we love, asking His blessing and His help, but knowing that here on earth God's work must truly be our own.

_____

_____

Yevhen Hrebinka's Ochi Chornyje (Dark Eyes): Chet Atkins' & Dmitri Hvorostovsky's renditions

2006-11-15T12:52:00.002-05:00

Chet Atkins (1924-2001)

_____

originally a poem in Ukrainian

by Yevhen Hrebinka (1812-48)

composer unknown

Dark Eyes (The Gypsy Anthem)

Eyes of ecstacy, always haunting me,
Always taunting me, with your mystery,
Tell me tenderly, you belong to me
For eternity--dark eyes talk to me!

Eyes so dark and dear, eyes of loveth here,
Beauty full and true, I'm in love with you.
Give me eyes of love, like the stars above.
You stole my heart. May we ever part!

Gypsy melody that has haunted me,
Won't you set me free of all memory:
Of the time that's waste, of the path we traced
Of the pain we taste--so endlessly!

_____

К. П. Гребенка

Очи черные, очи страстные !
Очи жгучие и прекрасные !
Как люблю я вас! Как боюсь я вас !
Знать, увидел вас я в недобрый час !

Ох, недаром вы глубины темней !
Вижу траур в вас по душе моей,
Вижу пламя в вас я победное:
Сожжено на нем сердце бедное.

Но не грустен я, не печален я,
Утешительна мне судьба моя:
Все, что лучшего в жизни бог дал нам,
В жертву отдал я огневым глазам !

_____

Duration 2:02

Dmitri Hvorostovsky (b. 1962)

_____

Isolation by John Lennon

2006-11-04T21:25:00.002-05:00

by John Lennon (1940-1980)

Isolation

People say we got it made
Don't they know we're so afraid
Isolation
We're afraid to be alone
Everybody got to have a home
Isolation

Just a boy and a little girl
Trying to change the whole wide world
Isolation
The world is just a little town
Everybody trying to put us down
Isolation

I don't expect you to understand
After you've caused so much pain
But then again, you're not to blame
You're just a human, a victim of the insane

We're afraid of everyone
Afraid of the sun
Isolation
The sun will never disappear
But the world may not have many years
Isolation

_____

Vanessa Mae: "The Devil's Trill"

2006-10-21T19:20:00.000-04:00

Vanessa Mae - The Devil's Trill

Add to My Profile | More Videos

Vanessa Mae's

"The Devil's Trill"

_____

Johnny Carson: Mighty Carson Art Players: A Private Remembrance Ceremony

2006-10-19T07:22:00.000-04:00

Duration 4:19

_____

Patty Griffin: "Mary"

2006-10-11T07:04:00.000-04:00

Duration 4:13

by Patty Griffin

Mary

Mary

You're covered in roses
You're covered in ashes
You're covered in rain
You're covered in baby's
You're covered in slashes
You're covered in wilderness
You're covered in stains
You cast aside the sheets
You cast aside the shroud
Of another man who serves the world proud
And you greet another son and you lose another one
On some sunny day and always you stay
Mary

Jesus said mother I couldn't stay another day longer
He flies right by and leaves a kiss upon her face
While the angels were singing his praises in a blaze of glory
Mary stays behind and starts cleaning up the place

Oh Mary
She moves behind me
She leaves her fingerprints everywhere
Every time the snow drifts
Every way the sand shifts
Even when the night lifts she's always there

Jesus said mother I couldn't stay another day longer
He flies right by and leaves a kiss upon her face
While the angels were singing his praises in a blaze of glory
Mary stays behind and starts cleaning up the place

Oh Mary
You're covered in roses
You're covered in ruins
You're covered in secrets
Your'e covered in treetops
Covered in birds
Who can sing a million songs without any words
You cast aside the sheets
You cast aside the shroud
Of another man who served the world proud
And you greet another son, and you lose another one
On some sunny day and always you stay

Mary

_____

Little Feat w/Hubert Sumlin & Charlie Musselwhite: "A Political Blues"

2006-10-06T22:21:00.000-04:00

Part 1Duration 5:51

Part 1Duration 2:31

Little Feat
Paul Barrere, guitar & vocals
Sam Clayton, percussion & vocals
Kenny Gradney, bass
Richie Hayward, drums
Shaun Murphy, vocals
Bill Payne, keyboard
Fred Tackett, guitar & mandolin

with
Hubert Sumlin
guitar

&
Charlie Musselwhite
harmonica

rehearsing
"A Political Blues"

for the Jammy Awards of April 20, 2006
in a Madison Square Guarden dressing room

_____

Shivaree's "Goodnight Moon"

2006-10-06T11:22:00.000-04:00

Duration 4:01

by Shivaree

with Ambrosia Parsley singing

Goodnight Moon Lyrics

There's a nail in the door
And there's glass on the lawn
Tacks on the floor
And the TV is on
And I always sleep with my guns when you're gone

There's a blade by the bed
And a phone in my hand
A dog on the floor
And some cash on the nightstand
When I'm all alone the dreaming stops
And I just can't stand

What should I do I'm just a little baby
What if the lights go out
And maybe and then the wind just starts to moan
Outside the door he followed me home

So goodnight moon
I want the sun
If it's not here soon
I might be done
No it won?t be too soon 'til I say goodnight moon

There's a shark in the pool
And a witch in the tree
A crazy old neighbor and he's been watching me
And there's footsteps loud and strong coming down the hall
Something's under the bed
Now it's out in the hedge
There's a big black crow sitting on my window ledge
And I hear something scratching through the wall

What should I do I'm just a little baby
What if the lights go out
And maybe and then the wind just starts to moan
Outside the door he followed me home
So goodnight moon
I want the sun
If it's not here soon
I might be done
No it won't be too soon 'til I say goodnight moon

_____

Keane: Everybody's Changing

2006-09-30T13:24:00.000-04:00

Duration 3:45

written & performed by Keane

Tom Chaplin: Vocals

Tim Rice-Oxley: Piano, Bass & Backing Vocals

Richard Hughes, Drums

Everybody's Changing

You say you wander your own land
But when I think about it
I don't see how you can

You're aching, you're breaking
And I can see the pain in your eyes
Says everybody's changing
And I don't know why.

So little time
Try to understand that I'm
Trying to make a move just to stay in the game
I try to stay awake and remember my name
But everybody's changing
And I don't feel the same.

You're gone from here
Soon you will disappear
Fading into beautiful light
'cause everybody's changing
And I don't feel right.

So little time
Try to understand that I'm
Trying to make a move just to stay in the game
I try to stay awake and remember my name
But everybody's changing
And I don't feel the same.

So little time
Try to understand that I'm
Trying to make a move just to stay in the game
I try to stay awake and remember my name
But everybody's changing
And I don't feel the same.

Ooo...
Everybody's changing
And I don't feel the same.

_____

Linda Ronstadt: Blue Bayou

2006-09-28T21:35:00.000-04:00

by Roy Orbison

Blue Bayou

I feel so bad I got a worried mind
I'm so lonesome all the time
Since I left my baby behind
On Blue Bayou

Saving nickles saving dimes
Working til the sun don't shine
Looking forward to happier times
On Blue Bayou

I'm going back someday
Come what may
To Blue Bayou
Where the folks are fine
And the world is mine
On Blue Bayou
Where those fishing boats
With their sails afloat
If I could only see
That familiar sunrise
Through sleepy eyes
How happy I'd be

Gonna see my baby again
Gonna be with some of my friends
Maybe I'll feel better again
On Blue Bayou

Saving nickles saving dimes
Working til the sun don't shine
Looking forward to happier times
On Blue Bayou

I'm going back someday
Come what may
To Blue Bayou
Where the folks are fine
And the world is mine
On Blue Bayou
Where those fishing boats
With their sails afloat
If I could only see
That familiar sunrise
Through sleepy eyes
How happy I'd be

Oh that boy of mine
By my side
The silver moon
And the evening tide
Oh some sweet day
Gonna take away
This hurting inside
Well I'll never be blue
My dreams come true
On Blue Bayou

______

Chaim Topol: If I Were a Rich Man

2006-09-28T19:58:00.000-04:00

Duration 5:40

from the film Fiddler on the Roof (1971)

directed by Norman Jewison

from the book by Sholom Aleichem

play & screenplay by Joseph Stein

starring Chaim Topol

_____

music by Jerry Bock

lyrics by Sheldon Harnick

for the character Tevye

If I Were a Rich Man

"Dear God, you made many, many poor people.
I realize, of course, that it's no shame to be poor.
But it's no great honor either!
So, what would have been so terrible if I had a small fortune?"

If I were a rich man,
Ya ha deedle deedle, bubba bubba deedle deedle dum.
All day long I'd biddy biddy bum.
If I were a wealthy man.
I wouldn't have to work hard.
Ya ha deedle deedle, bubba bubba deedle deedle dum.
If I were a biddy biddy rich,
Yidle-diddle-didle-didle man.

I'd build a big tall house with rooms by the dozen,
Right in the middle of the town.
A fine tin roof with real wooden floors below.
There would be one long staircase just going up,
And one even longer coming down,
And one more leading nowhere, just for show.

I'd fill my yard with chicks and turkeys and geese and ducks
For the town to see and hear.
And each loud "cheep" and "swaqwk" and "honk" and "quack"
Would land like a trumpet on the ear,
As if to say "Here lives a wealthy man."

If I were a rich man,
Ya ha deedle deedle, bubba bubba deedle deedle dum.
All day long I'd biddy biddy bum.
If I were a wealthy man.
I wouldn't have to work hard.
Ya ha deedle deedle, bubba bubba deedle deedle dum.
If I were a biddy biddy rich,
Yidle-diddle-didle-didle man.

I see my wife, my Golde, looking like a rich man's wife
With a proper double-chin.
Supervising meals to her heart's delight.
I see her putting on airs and strutting like a peacock.
Oy, what a happy mood she's in.
Screaming at the servants, day and night.

The most important men in town would come to fawn on me!
They would ask me to advise them,
Like a Solomon the Wise.
"If you please, Reb Tevye..."
"Pardon me, Reb Tevye..."
Posing problems that would cross a rabbi's eyes!
And it won't make one bit of difference if i answer right or wrong.
When you're rich, they think you really know!

If I were rich, I'd have the time that I lack
To sit in the synagogue and pray.
And maybe have a seat by the Eastern wall.
And I'd discuss the holy books with the learned men, several hours every day.
That would be the sweetest thing of all.

If I were a rich man,
Ya ha deedle deedle, bubba bubba deedle deedle dum.
All day long I'd biddy biddy bum.
If I were a wealthy man.
I wouldn't have to work hard.
Ya ha deedle deedle, bubba bubba deedle deedle dum.
If I were a biddy biddy rich,
Yidle-diddle-didle-didle man.

_____

John Lee Hooker: 'Boom Boom'

2006-09-20T10:59:00.000-04:00

Duration 2:40

_____

by John Lee Hooker

Boom Boom

Boom boom boom boom
I'm gonna shoot you right down,
right offa your feet
Take you home with me,
put you in my house
Boom boom boom boom
A-haw haw haw haw
Hmmm hmmm hmmm hmmm
Hmmm hmmm hmmm hmmm

I love to see you strut,
up and down the floor
When you talking to me,
that baby talk
I like it like that
Whoa, yeah!
Talk that talk, walk that walk

When she walk that walk,
and talk that talk,
and whisper in my ear,
tell me that you love me
I love that talk
When you talk like that,
you knocks me out,
right off of my feet
Hoo hoo hoo
Talk that talk, and walk that walk

_____

PBS NOVA: The Elegant Universe: Welcome to the 11th dimension

2006-09-19T23:49:00.000-04:00

from Nova's The Elegant Universe

with Brian Greene

October 2003

"Program Three, 'The Elegant Universe: Welcome to the 11th Dimension,' shows how in 1995 Edward Witten of Princeton's Institute for Advanced Study, aided by others, revolutionized string theory by successfully uniting the five different versions into a single theory that is cryptically named 'M-theory,' a development which required a total of eleven dimensions.

"Ten . . . eleven . . . who's counting? But the new eleventh dimension is different from all the others, since it implies that strings can come in higher dimensional shapes called membranes, or 'branes' for short. These have truly science-fiction-like qualities, since in principle they can be as large as the universe. A brane can even be a universe--a parallel universe--and we may be living on one right now.

"Branes might also explain why gravity is the weakest force, requiring all the matter in the Earth to produce a measly one g. According to this idea, gravity may be far more potent, but most of its strength is leaking into a parallel universe.

"Witten has described string theory as 'a part of 21st-century physics that fell by chance into the 20th century.' In fact, the theory is so far ahead of experimental technique that there is as yet no way to verify whether strings are real or a figment of some very creative imaginations.

"But scientists at the CERN atom-smasher on the French-Swiss border are working to test of one of the predictions of string theory. Scheduled to run later in this decade, this experiment may take an important step in showing that string theory is not just a crazy idea, but crazy reality. "

_____

codebase="http://www.apple.com/qtactivex/qtplugin.cab">

_____

Donovan: Atlantis

2006-09-18T18:40:00.000-04:00

Duration 4:41

from Bremen, Germany, 1969

on the Beat Club television show

_____

by Donovan Leitch

Atlantis

The continent of Atlantis was an island which lay before the great flood in the area we now call the Atlantic Ocean. So great an area of land, that from her western shores, those beautiful sailors journeyed to the South and the North Americas with ease, in their ships with painted sails. To the east, Africa was a neighbour, across a short strait of sea miles.

The great Egyptian age is but a remnant of The Atlantean culture. The antediluvian kings colonised the world. All the gods who play in the mythological dramas, in all legends from all lands were from fair Atlantis.

Knowing her fate, Atlantis sent out ships to all corners of the earth. On board were the Twelve: the poet, the physician, the farmer, the scientist, the magician and the other so-called gods of our legends. Though gods they were--and as the elders of our time choose to remain blind--let us rejoice and let us sing and dance and ring in the new.

Hail Atlantis!

Way down below the ocean where I wanna be she may be,
Way down below the ocean where I wanna be she may be,
Way down below the ocean where I wanna be she may be.

Way down below the ocean where I wanna be she may be,
Way down below the ocean where I wanna be she may be . . . .

My antediluvian baby, oh yeah yeah, yeah yeah yeah,
I wanna see you some day
My antediluvian baby, oh yeah yeah, yeah yeah yeah,
My antediluvian baby.

My antediluvian baby, I love you, girl,
Girl, I wanna see you some day.
My antediluvian baby, oh yeah
I wanna see you some day, oh
My antediluvian baby.

My antediluvian baby, I wanna see you
My antediluvian baby, gotta tell me where she gone.
I wanna see you some day.
Wake up, wake up, wake up, wake up, oh yeah.
Oh glub glub, down down, yeah.
My antediluvian baby, oh yeah yeah yeah yeah.

_____

Jasmine Trias: "Kung Paano" with translation video

2006-09-17T22:38:00.000-04:00

Duration 4:12

______

Jasmine Trias singing

Kung Paano

Oooohhhh…

Bakit ba ganyan ang damdamin
Alaala’y sadyang ikaw
Sa pag-iisa’y nakikita
Bakit lagi ay naroon ka

Dati-rati’y di pansin
Ang mga sulyap mo at mga tingin
Pilit na lumalayo
Ngunit ang damdamin
Ang syang nagsasabi…

Ibigin ka ng tunay at lubusan
Ngunit ang isip ko’y takot
Baka masaktan lamang
Gagawin sadyang di ko malaman
Kagulo ng isip ko
Puso ay litong-lito
Kung paano

Oooohhhh…

Aaminin kong sa pangarap
Ay kasama ka kahit saan
Yakap mo’t halik ay ‘di kaya
Na pigilan kahit kalian

Dati-rati’y di pansin
Ang mga sulyap mo at mga tingin
Pilit na lumalayo
Ngunit ang damdamin
Ang syang nagsasabi…

Iibigin ka ng tunay at lubusan
Ngunit ang isip ko’y takot
Baka masaktan lamang
Gagawin sadyang di ko malaman
Kagulo ng isip ko
Puso ay litong-lito
Kung paano

Iibigin ka ng tunay at lubusan
Ngunit ang isip ko’y takot
Baka masaktan lamang
Gagawin sadyang di ko malaman
Kagulo ng isip ko
Puso ay litong-lito kung paano

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Duration 4:26

movie by Stephanie Javier

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Catharina Chen with the Oslo Philharmonic Orchestra: 'Banjo and Fiddle'

2006-09-17T13:49:00.000-04:00

Duration 3:16

(Click picture)

_____

Catharina Chen

&

The Oslo Philharmonic Orchestra

_____

Banjo and Fiddle

by William Kroll

_____

from Concert Video at Catharina Chen's Music World

_____

Elvis Presley: 'How Great Thou Art'

2006-09-17T10:36:00.000-04:00

Duration 3:07

1977, Elvis's last year

_____

words & music by Carl G. Boberg & R.J. Hughes

How Great Thou Art

O Lord my God, When I in awesome wonder,
Consider all the worlds Thy Hands have made;
I see the stars, I hear the rolling thunder,
Thy power throughout the universe displayed.

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

When through the woods, and forest glades I wander,
And hear the birds sing sweetly in the trees.
When I look down, from lofty mountain grandeur
And see the brook, and feel the gentle breeze.

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

And when I think, that God, His Son not sparing;
Sent Him to die, I scarce can take it in;
That on the Cross, my burden gladly bearing,
He bled and died to take away my sin.

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

When Christ shall come, with shout of acclamation,
And take me home, what joy shall fill my heart.
Then I shall bow, in humble adoration,
And then proclaim: "My God, how great Thou art!"

Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art.
Then sings my soul, My Saviour God, to Thee,
How great Thou art, How great Thou art!

_____

Chief Seattle's Reply, recited by Joseph Campbell

2006-09-16T06:48:00.001-04:00

version one

from Seattle Sunday Star

Oct. 29, 1887

Chief Seattle's 1854 Oration

Yonder sky that has wept tears of compassion upon my people for centuries untold, and which to us appears changeless and eternal, may change. Today is fair. Tomorrow it may be overcast with clouds. My words are like the stars that never change. Whatever Seattle says, the great chief at Washington can rely upon with as much certainty as he can upon the return of the sun or the seasons. The white chief says that Big Chief at Washington sends us greetings of friendship and goodwill. This is kind of him for we know he has little need of our friendship in return. His people are many. They are like the grass that covers vast prairies. My people are few. They resemble the scattering trees of a storm-swept plain. The great, and I presume--good, White Chief sends us word that he wishes to buy our land but is willing to allow us enough to live comfortably. This indeed appears just, even generous, for the Red Man no longer has rights that he need respect, and the offer may be wise, also, as we are no longer in need of an extensive country.

There was a time when our people covered the land as the waves of a wind-ruffled sea cover its shell-paved floor, but that time long since passed away with the greatness of tribes that are now but a mournful memory. I will not dwell on, nor mourn over, our untimely decay, nor reproach my paleface brothers with hastening it, as we too may have been somewhat to blame.

Youth is impulsive. When our young men grow angry at some real or imaginary wrong, and disfigure their faces with black paint, it denotes that their hearts are black, and that they are often cruel and relentless, and our old men and old women are unable to restrain them. Thus it has ever been. Thus it was when the white man began to push our forefathers ever westward. But let us hope that the hostilities between us may never return. We would have everything to lose and nothing to gain. Revenge by young men is considered gain, even at the cost of their own lives, but old men who stay at home in times of war, and mothers who have sons to lose, know better.

Our good father in Washington--for I presume he is now our father as well as yours, since King George has moved his boundaries further north--our great and good father, I say, sends us word that if we do as he desires he will protect us. His brave warriors will be to us a bristling wall of strength, and his wonderful ships of war will fill our harbors, so that our ancient enemies far to the northward--the Haidas and Tsimshians--will cease to frighten our women, children, and old men. Then in reality he will be our father and we his children. But can that ever be? Your God is not our God! Your God loves your people and hates mine! He folds his strong protecting arms lovingly about the paleface and leads him by the hand as a father leads an infant son. But, He has forsaken His Red children, if they really are His. Our God, the Great Spirit, seems also to have forsaken us. Your God makes your people wax stronger every day. Soon they will fill all the land. Our people are ebbing away like a rapidly receding tide that will never return. The white man's God cannot love our people or He would protect them. They seem to be orphans who can look nowhere for help. How then can we be brothers? How can your God become our God and renew our prosperity and awaken in us dreams of returning greatness? If we have a common Heavenly Father He must be partial, for He came to His paleface children. We never saw Him. He gave you laws but had no word for His red children whose teeming multitudes once filled this vast continent as stars fill the firmament. No; we are two distinct races with separate origins and separate destinies. There is little in common between us.

To us the ashes of our ancestors are sacred and their resting place is hallowed ground. You wander far from the graves of your ancestors and seemingly without regret. Your religion was written upon tablets of stone by the iron finger of your God so that you could not forget. The Red Man could never comprehend or remember it. Our religion is the traditions of our ancestors--the dreams of our old men, given them in solemn hours of the night by the Great Spirit; and the visions of our sachems, and is written in the hearts of our people.

Your dead cease to love you and the land of their nativity as soon as they pass the portals of the tomb and wander away beyond the stars. They are soon forgotten and never return. Our dead never forget this beautiful world that gave them being. They still love its verdant valleys, its murmuring rivers, its magnificent mountains, sequestered vales and verdant lined lakes and bays, and ever yearn in tender fond affection over the lonely hearted living, and often return from the happy hunting ground to visit, guide, console, and comfort them.

Day and night cannot dwell together. The Red Man has ever fled the approach of the White Man, as the morning mist flees before the morning sun. However, your proposition seems fair and I think that my people will accept it and will retire to the reservation you offer them. Then we will dwell apart in peace, for the words of the Great White Chief seem to be the words of nature speaking to my people out of dense darkness.

It matters little where we pass the remnant of our days. They will not be many. The Indian's night promises to be dark. Not a single star of hope hovers above his horizon. Sad-voiced winds moan in the distance. Grim fate seems to be on the Red Man's trail, and wherever he will hear the approaching footsteps of his fell destroyer and prepare stolidly to meet his doom, as does the wounded doe that hears the approaching footsteps of the hunter.

A few more moons, a few more winters, and not one of the descendants of the mighty hosts that once moved over this broad land or lived in happy homes, protected by the Great Spirit, will remain to mourn over the graves of a people once more powerful and hopeful than yours. But why should I mourn at the untimely fate of my people? Tribe follows tribe, and nation follows nation, like the waves of the sea. It is the order of nature, and regret is useless. Your time of decay may be distant, but it will surely come, for even the White Man whose God walked and talked with him as friend to friend, cannot be exempt from the common destiny. We may be brothers after all. We will see.

We will ponder your proposition and when we decide we will let you know. But should we accept it, I here and now make this condition that we will not be denied the privilege without molestation of visiting at any time the tombs of our ancestors, friends, and children. Every part of this soil is sacred in the estimation of my people. Every hillside, every valley, every plain and grove, has been hallowed by some sad or happy event in days long vanished. Even the rocks, which seem to be dumb and dead as the swelter in the sun along the silent shore, thrill with memories of stirring events connected with the lives of my people, and the very dust upon which you now stand responds more lovingly to their footsteps than yours, because it is rich with the blood of our ancestors, and our bare feet are conscious of the sympathetic touch. Our departed braves, fond mothers, glad, happy hearted maidens, and even the little children who lived here and rejoiced here for a brief season, will love these somber solitudes and at eventide they greet shadowy returning spirits. And when the last Red Man shall have perished, and the memory of my tribe shall have become a myth among the White Men, these shores will swarm with the invisible dead of my tribe, and when your children's children think themselves alone in the field, the store, the shop, upon the highway, or in the silence of the pathless woods, they will not be alone. In all the earth there is no place dedicated to solitude. At night when the streets of your cities and villages are silent and you think them deserted, they will throng with the returning hosts that once filled them and still love this beautiful land. The White Man will never be alone.

Let him be just and deal kindly with my people, for the dead are not powerless. Dead, did I say? There is no death, only a change of worlds.

~~~~~

Cael Sanderson vs Moon Eui Jae: 2004 Olympic Gold Medal Match

2006-09-15T18:55:00.000-04:00

Duration 9:55

Cael Sanderson (USA)

versus

Moon Eui Jae (Korea)

_____

Olympic freestyle wrestling

Gold Medal Match

Middleweights: 84 kg or 185 lbs

_____

Athens Olympic Games

Ano Liossia Olympic Hall

Saturday, August 28, 2004

_____

Eminem Live with Dr. Dre: Business

2006-09-15T09:33:00.000-04:00

by Eminem

Business

[Intro:]
[Dr Dre:]
Marshall, sounds like an S.O.S.

[Eminem:]
Holy wack unlyrical lyrics Andre, you're fucking right!

[Dr Dre:]
To the rap mobile, let's go!

[Lady:]
Marshall!
Marshall!

[Eminem:]
Bitches and Gentleman!
It's showtime!
Hurry, hurry step right up!
Introducing the star of our show, his name is...

[Lady:]
Marshall!

[Eminem:]
You wouldn't wanna be anywhere else in the world right now
So without futher endo, I bring to you...

[Lady:]
Marshall!

[Verse #1:]
Your bout to witness hip hop in its
Most pourest, most rawest form flow, almost flawless
Most hardest, most honest, known artist
Chip off the old block but old doc is back!
Looks like Batman, brought his own Robin
Oh god, Sadam's got his own Laden
With his own private plane, his on pilot
Set to blow college dorm room doors off the hinges
Oranges, peach, pears, plums, syringes
[VRRM VRRM] Yeah, here I come
My inches away from you, here fear none
Hip hop is in a state of 911, so

[Chorus 2x:]
Let's get down to business
I don't got no time to play around with this this?
Must be a circus in town, let's shut the shit down
On these clowns, can i get a witness?

[Dr Dre:]
Hell Yeah

[Verse #2:]
Dre gotta move fast, gotta perform mirracles
Gee willycores Dre, holly bat syllables
Look at all the bullshit that goes on in Gotham
When I'm gone time to get rid of these rap criminals
So, skip to your lou, while I do what I do best
You ain't even impressed no more, you used to it
Flows too wet, nobody close to it
Nobody says it was till everyone knows the shit
The most hated on outta all those who say it hate it
On an eighties songs and
exagerate it all So much
they make it all up
There's no such thing
Like a female with good looks who cooks and cleans
It just means so much more to so much more
People when you rapping and you know what for
The show must go on, so I'd like to welcome ya'll
To Marshall and Andre's carnival
C'mon, now!

[Chorus 2x:]

[Verse #3:]
It's just like old times, the dynamic duo
Two old friends, why panic?
You allready know whos capable, the two caped heroes
Dial straight down the center 8 0 0
You can even call collect, the most feared duet
Since me and Elton, play career russian roulett
And never even seen me blinging get me busting a sweat
People stepping over people just to rush to the set
Just to get to see a MC who breathes so freely
Ease over these beats, and be so breezy
Jesus, how can shit be so easy
How can one Sandra be so leavy
Turn on these beats MC's dont see me
Believe me, BET and MTV
Your gonna agree when we leave, dawg fo sheezy
Can't leave rap alone the game needs me
'Til we broke kids, get weird and disappear into the mountains
Nothing but clowns down here
But we, ain't fucking around round here
Yo Dre!

[Dr Dre:]
Whuddup?

[Eminem:]
Can I get a hell yeah?

[Dr Dre:]
Hell Yeah

[Chorus 2x:]

[Outro:]

[Eminem:]
So there you have it folks

[Lady:]
Marshall!

[Eminem:]
Has come to save the day
Back with his friend Andre
And to remind you that bullshit does not pay
Because

[Lady:]
Marshall!

[Eminem:]
And Andre are here to stay and never go away
Until our dying day, until we're old and grey

[Lady:]
Marshall!

[Eminem:]
So until next times friends
Same blonde hair, same rap channel
Goodnight everyone, thank you for coming
Your host for the evening

[Lady:]
Marshall!

[Eminem:]
Oh, hah

______

Martin Luther King, Jr.: I Have a Dream

2006-09-15T07:51:00.001-04:00

Duration 11:50

delivered on the steps of the Lincoln Memorial, Washington DC

August 28, 1963

by Martin Luther King, Jr.

I Have a Dream

Five score years ago, a great American, in whose symbolic shadow we stand signed the Emancipation Proclamation. This momentous decree came as a great beacon light of hope to millions of Negro slaves who had been seared in the flames of withering injustice. It came as a joyous daybreak to end the long night of captivity.

But one hundred years later, we must face the tragic fact that the Negro is still not free. One hundred years later, the life of the Negro is still sadly crippled by the manacles of segregation and the chains of discrimination. One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast ocean of material prosperity. One hundred years later, the Negro is still languishing in the corners of American society and finds himself an exile in his own land. So we have come here today to dramatize an appalling condition.

In a sense we have come to our nation's capital to cash a check. When the architects of our republic wrote the magnificent words of the Constitution and the declaration of Independence, they were signing a promissory note to which every American was to fall heir. This note was a promise that all men would be guaranteed the inalienable rights of life, liberty, and the pursuit of happiness.

It is obvious today that America has defaulted on this promissory note insofar as her citizens of color are concerned. Instead of honoring this sacred obligation, America has given the Negro people a bad check which has come back marked "insufficient funds." But we refuse to believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. So we have come to cash this check -- a check that will give us upon demand the riches of freedom and the security of justice. We have also come to this hallowed spot to remind America of the fierce urgency of now. This is no time to engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice. Now is the time to open the doors of opportunity to all of God's children. Now is the time to lift our nation from the quicksands of racial injustice to the solid rock of brotherhood.

It would be fatal for the nation to overlook the urgency of the moment and to underestimate the determination of the Negro. This sweltering summer of the Negro's legitimate discontent will not pass until there is an invigorating autumn of freedom and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the Negro needed to blow off steam and will now be content will have a rude awakening if the nation returns to business as usual. There will be neither rest nor tranquility in America until the Negro is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of our nation until the bright day of justice emerges.

But there is something that I must say to my people who stand on the warm threshold which leads into the palace of justice. In the process of gaining our rightful place we must not be guilty of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of bitterness and hatred.

We must forever conduct our struggle on the high plane of dignity and discipline. We must not allow our creative protest to degenerate into physical violence. Again and again we must rise to the majestic heights of meeting physical force with soul force. The marvelous new militancy which has engulfed the Negro community must not lead us to distrust of all white people, for many of our white brothers, as evidenced by their presence here today, have come to realize that their destiny is tied up with our destiny and their freedom is inextricably bound to our freedom. We cannot walk alone.

And as we walk, we must make the pledge that we shall march ahead. We cannot turn back. There are those who are asking the devotees of civil rights, "When will you be satisfied?" We can never be satisfied as long as our bodies, heavy with the fatigue of travel, cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be satisfied as long as the Negro's basic mobility is from a smaller ghetto to a larger one. We can never be satisfied as long as a Negro in Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No, no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and righteousness like a mighty stream.

I am not unmindful that some of you have come here out of great trials and tribulations. Some of you have come fresh from narrow cells. Some of you have come from areas where your quest for freedom left you battered by the storms of persecution and staggered by the winds of police brutality. You have been the veterans of creative suffering. Continue to work with the faith that unearned suffering is redemptive.

Go back to Mississippi, go back to Alabama, go back to Georgia, go back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that somehow this situation can and will be changed. Let us not wallow in the valley of despair.

I say to you today, my friends, that in spite of the difficulties and frustrations of the moment, I still have a dream. It is a dream deeply rooted in the American dream.

I have a dream that one day this nation will rise up and live out the true meaning of its creed: "We hold these truths to be self-evident: that all men are created equal."

I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons of former slaveowners will be able to sit down together at a table of brotherhood.

I have a dream that one day even the state of Mississippi, a desert state, sweltering with the heat of injustice and oppression, will be transformed into an oasis of freedom and justice.

I have a dream that my four children will one day live in a nation where they will not be judged by the color of their skin but by the content of their character.

I have a dream today.

I have a dream that one day the state of Alabama, whose governor's lips are presently dripping with the words of interposition and nullification, will be transformed into a situation where little black boys and black girls will be able to join hands with little white boys and white girls and walk together as sisters and brothers.

I have a dream today.

I have a dream that one day every valley shall be exalted, every hill and mountain shall be made low, the rough places will be made plain, and the crooked places will be made straight, and the glory of the Lord shall be revealed, and all flesh shall see it together.

This is our hope. This is the faith with which I return to the South. With this faith we will be able to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we will be able to work together, to pray together, to struggle together, to go to jail together, to stand up for freedom together, knowing that we will be free one day.

This will be the day when all of God's children will be able to sing with a new meaning, "My country, 'tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the pilgrim's pride, from every mountainside, let freedom ring."

And if America is to be a great nation this must become true. So let freedom ring from the prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York. Let freedom ring from the heightening Alleghenies of Pennsylvania!

Let freedom ring from the snowcapped Rockies of Colorado!

Let freedom ring from the curvaceous peaks of California!

But not only that; let freedom ring from Stone Mountain of Georgia!

Let freedom ring from Lookout Mountain of Tennessee!

Let freedom ring from every hill and every molehill of Mississippi. From every mountainside, let freedom ring.

When we let freedom ring, when we let it ring from every village and every hamlet, from every state and every city, we will be able to speed up that day when all of God's children, black men and white men, Jews and Gentiles, Protestants and Catholics, will be able to join hands and sing in the words of the old Negro spiritual, "Free at last! free at last! thank God Almighty, we are free at last!"

_____

Concrete Blonde's "Joey"

2006-09-14T20:04:00.000-04:00

by Johnette Napolitano

Joey

Joey, baby, don't get crazy.
Detours. Fences. I get defensive.
I know you've heard it all before,
so I don't say it anymore.
I just stand by and let you
fight your secret war.
And though I used to wonder why--
I used to cry till I was dry.
Still sometimes I get a strange pain inside.
Oh, Joey, if you're hurting so am I.

Joey, honey, I've got the money.
All is forgiven. Listen, listen.
And if I seem to be confused
I didn't mean to be with you.
And when you said I scared you,
well I guess you scared me too.
But we got lucky once before,
and I don't wanna close the door.
And if you're somewhere out there
passed out on the floor,
oh Joey, I'm not angry anymore.

And if I seem to be confused,
I didn't mean to be with you.
But when you said I scared you,
well I guess you scared me too.
Well if it's love you're looking for
then I can give a little more.
And if you're somewhere drunk and
passed out on the floor,
oh Joey, I'm not angry anymore,
angry anymore, angry anymore.

____

Marvelous Marvin Hagler versus Thomas "Hit Man" Hearns

2006-09-14T16:24:00.001-04:00

Tommy Hearns vs Marvin Hagler (1985)
Uploaded by biglu323

Duration 9:59

April 16 1985

Caesars Palace, Las Vegas

Marvelous Marvin Hagler
the undisputed middleweight champion

versus

Thomas Hearns
a world welterweight and super welterweight titlist

______

Ed Shaughnessy & Buddy Rich Drum Battle

2006-09-14T06:55:00.000-04:00

Duration 2:00

1978

The Tonight Show with Johnny Carson

____

Samite's Stars to Share, at Vickie's Place

2006-09-14T00:54:00.000-04:00

At Vickie's Place for Happy Rhodes rarities (and such)

______

Muddy Waters & Johnny Winter: Going Down Slow

2006-09-13T22:13:00.000-04:00

Duration 8:54

Chicago Blues Festival, 1981

______

by St. Louis Jimmy

Going Down Slow

I have had my fun
If I don't get well, no mo'
I have had my fun
If I don't get well, no mo'
My health is failin' me
And I'm goin' down slow

Please write my mother
Tell her the shape I'm in
Ple-ease write my mother
Tell her the shape I'm in
Tell her to pray for me
Forgiveness of my sin

Tell her don't send no doctor
Doctor can't do no good
Tell her don't send no doctor
Doctor can't do me no good
It's all my fault
Didn't do the things I should

On the next train south
Look for my clothes home
On the next train south
Look for my clothes home
If you don't see my body
All you can do is moan

Mother, please don't worry
This is all in my prayer
Mother, please don't worry
This is all in my prayer
Just say 'Your son is gone
Out of his world, somewhere'.

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Jack Kerouac's "The Beat Generation" (Pull My Daisy)

2006-09-13T21:32:00.001-04:00

Copyright 1959

Duration 26:13

Robert Frank & Alfred Leslie present

The Beat Generation

written and narrated by Jack Kerouac

with, among others,

Gregory Corso & Allen Ginsberg

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Wilfred Owen's Dulce Et Decorum Est

2006-09-13T15:56:00.001-04:00

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by Wilfred Owen

Dulce Et Decorum Est

Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of disappointed shells that dropped behind.

GAS! Gas! Quick, boys!-- An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling
And floundering like a man in fire or lime.--
Dim, through the misty panes and thick green light
As under a green sea, I saw him drowning.

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,--
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.

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Cyndi Lauper: I Drove All Night

2006-09-13T14:49:00.000-04:00

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by Roy Orbison

I Drove All Night

I had to escape , The city was sticky and cruel
Maybe I should have called you first
But I was dying to get to you

I was dreaming while I drove
The long straight road ahead
Uh-huh, yeah

Could taste your sweet kisses, your arms open wide
This fever for you was just burning me up inside

I drove all night to get to you
Is that all right?
I drove all night, crept in your room
Woke you from your sleep to make love to you
Is that all right?
I drove all night

What in this world keeps us from falling apart?
No matter where I go
I hear the beating of our one heart
I think about you when the night is cold and dark
Uh-huh, yeah

No one can move me the way that you do
Nothing erases this feeling between me and you
I drove all night to get to you
Is that all right?

I drove all night, crept in your room
Woke you from your sleep to make love to you
Is that all right?
I drove all night

Could taste your sweet kisses, your arms open wide
This fever for you was just burning me up inside

I drove all night to get to you
Is that all right?
I drove all night, crept in your room
Is that all right?
I drove all night

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