Music Notes The best music site on the web there is where you can read about and listen to blues, jazz, classical music and much more. This is your ultimate music resource. Tons of albums can be found within. http://theblues-thatjazz.com/en/notes.html Thu, 23 Mar 2017 06:07:49 +0000 Joomla! 1.5 - Open Source Content Management en-gb Chuck Berry – Maybellene (1958) http://theblues-thatjazz.com/en/notes/30-rock/21332-chuck-berry--maybellene-1958-.html http://theblues-thatjazz.com/en/notes/30-rock/21332-chuck-berry--maybellene-1958-.html Chuck Berry – Maybellene (1958)

 

 

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administration@theblues-thatjazz.com (bluesever) Rock Notes Wed, 22 Mar 2017 15:10:07 +0000
I’ll Play The Blues For You http://theblues-thatjazz.com/en/notes/1-blues/21316-ill-play-the-blues-for-you.html http://theblues-thatjazz.com/en/notes/1-blues/21316-ill-play-the-blues-for-you.html I’ll Play The Blues For You

By 1970s, Albert King was releasing one album a year. His albums were steady sellers, consistently entering the US Billboard 200 and the US R&B Charts. Although Albert was most popular with blues fans, he’d also built up a following amongst rock fans. However, not many people had Albert King pegged as a soul singer, that is not until the release of his 1972 album ‘I’ll Play the Blues For You.’ This might not have happened if fate hadn’t intervene. Albert was in Stax’s Memphis studios, searching for a song to record for his forthcoming album. Someone, Albert can’t remember who, suggested a Jerry Beach penned track, “I’ll Play the Blues For You.” This was added to the other six tracks that Albert recorded for his ‘I’ll Play the Blues For You,’ his fifth studio album for Stax.

I’ll Play The Blues For You

Accompanying Albert King on ‘I’ll Play the Blues For You,’ were two different rhythm sections, The Bar-Kays and The Movement. Adding their inimitable sound were The Memphis Horns, who later, would play on so many Hi Records’ albums.

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Albert King

 

Jerry Marlon Beach was born in Oklahoma City on December 11, 1941, where his father was stationed with the U.S. Army. He was descended from pioneering families in Shelby County, Texas. Jerry graduated from Bossier High School in 1960, and he was already sitting in with local bands playing guitar and singing. By the mid-60s, he and Danny Harrelson were headlining local clubs as "Danny & Jerry". He was a fixture and favorite on the regional music scene for 56 years in several bands. He dedicated every Monday night for 30 years to hosting a Blues Jam every week. He also taught guitar lessons for many years.

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Jerry Beach

 

In 1972, the late Albert King recorded Jerry's "I'll Play the Blues For You", which became a #1 R&B hit and has been covered by many artists. Jerry was nominated for a Grammy for the song. [First recording by Geater Davis (1969)].

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I’ll Play the Blues For You, disc, 1972

 

When ‘I’ll Play the Blues For You’ was released in the autumn of 1972, it proved to be the most commercially successful album of Albert King’s career so far. Not only did it reach number 140 in the US Billboard 200, but reached number eleven in the US R&B Charts.

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I’ll Play the Blues For You, album, 1972

 

That lengthy title song is virtually King’s manifesto. With its spoken-word rap section and a creamy vocal, it’s just one of many highlights here. King had sung standards earlier in his career, and his voice wasn’t always that of a blues shouter, but a richly textured instrument. Naturally, King’s famous electric blues guitar – the guitar which has influenced legends like Jimi Hendrix and Eric Clapton – is out front all over this record, as it should be. The songwriting (from a variety of contributors) is taut, though, and King’s solos never feel self-indulgent.

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Albert King

 

“I’ll Play The Blues For You” is a great song that is a little more sophisticated than a lot of blues songs you’ll find. It doesn’t use a strict 12-bar format. In fact, the B section/turnaround/bridge is fairly unique. It’s a 6-5-4-5 sequence. But it’s a great line for soloing over.

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Joe Bonamassa plays ‘I’ll Play the Blues For You’

 

“I’ll Play the Blues for You,” produced and arranged for King by Allen Jones and Henry Bush, was a landmark. It provided King with a new signature song via the title track, as well as showcasing all sides of his musical prowess.

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Gary Moore plays ‘I’ll Play the Blues For You’

 

King influenced guitarists such Eric Clapton, Jerry Garcia and Stevie Ray Vaughan. Among a long list of accomplishments, King recorded a tribute album to Elvis Presley and even played with the great Steve Cropper as well as the Hi Records gang through the years. King died in 1992 of a massive heart attack.

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Albert King

 

I’ll Play The Blues For You lyrics


If you're down and out and you feel real hurt
Come on over to the place where I live
And all your loneliness I'll try to soothe
I'll play the blues for you

Don't be afraid come on in
You might run across some of your old friends

All your loneliness I gotta soothe
I'll play the blues for you

I got no big name and I ain't no big star
I play the blues for you on my guitar
All your loneliness I'll try to soothe
I 'll play the blues for you

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I’ll Play The Blues For You painted by David Gerald

 

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administration@theblues-thatjazz.com (bluesever) Blues Notes Sun, 19 Mar 2017 22:13:15 +0000
Mercy, Mercy, Mercy http://theblues-thatjazz.com/en/notes/25-jazz/21214-mercy-mercy-mercy.html http://theblues-thatjazz.com/en/notes/25-jazz/21214-mercy-mercy-mercy.html Mercy, Mercy, Mercy

By the early 1960s hard bop was proudly displaying its affinity with R&B. At the forefront of the "soul jazz" movement was Cannonball Adderley, a dynamic alto saxophonist who made his reputation playing alongside John Coltrane in Miles Davis's extraordinary bands of the late 1950s. He played with Miles Davis as a sideman, including the ‘Kind of Blue’ album. After he left Miles Davis, Cannonball started his own successful quintet. Cannonball viewed himself as a jazz educator, always trying to teach people about jazz and bringing younger players in his band.

Mercy, Mercy, Mercy

One of those young players was Joe Zawinul, who later headed one of the greatest fusion bands ever, Weather Report. While in Cannonball's band, Joe wrote “Mercy, Mercy, Mercy.”

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Cannonball Adderley

 

Cannonball formed his own quintet with brother Nat in 1959 and subsequently won over audiences with such successful soul-jazz crossover recordings as 1960's ‘Dem Dirty Blues’ and 1961's ‘Nancy Wilson and Cannonball Adderley.’ The Adderley brothers (Cannonball on alto and Nat on cornet) were real pioneers in developing soul jazz; their quintet was incorporating soul sounds into its style back in the 1950s. Joining the Adderleys are Zawinul alternately on piano and electric piano, Victor Gaskin on bass, and Roy McCurdy on drums.

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Cannonball & Nat Adderley

 

The tune “Mercy, Mercy, Mercy,” was written by Joe Zawinul in 1966, and was recorded on Cannonball Adderley’s album “Mercy, Mercy, Mercy! ‘Live at The Club’.” “The Club” was the former Club DeLisa on the South Side of Chicago, whose owner, E. Rodney Jones, was a friend of Adderley’s and got Adderley to go along with a clever bit of marketing for his venue. Jones wrote the liner notes to the album and spun a nice tale about how Capitol Records set up its equipment in his club one night and it just happened to be the night when Adderley’s band was in such incredible form that they decided to make an album out of it. In reality, the album was recorded at Capitol’s studio in Hollywood with an audience invited in to provide the “live” feel. Legend has it that the electric piano Zawinul used to record “Mercy, Mercy, Mercy” was previously used by Ray Charles.

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Chicago, Club De Lisa, 1954

 

The song was a surprise commercial success, reaching No.2 on the Soul chart and No. 11 on the Billboard Hot 100 charts in 1967. “Mercy, Mercy, Mercy” is not a blues, although it is given that sense by Zawinul’s particularly inventive chord progression. Harmony of the tune has a strong Blues and Gospel sound. The chord progression oscillates between Bb and Eb, which is the four chord in the key of Bb, for the first 15 bars. The lack of much harmonic change, allows the soloist to explore a wide array of scale choices. Initially, try improvising on the tones of the major pentatonic scale (1-2-3-5-6); these are the tones of the melody in a different order. The next area to explore is the Blues scale (Bb-Db-Eb-E-F-Ab). Using a combination of these two choices will work well. The previously mentioned scales are just two of many choices. The final 5 bars start by going up to the five chord (similar to a Blues), then travels to the two chord, the three chord and lastly six to five, before returning to the top of the form. All the chords in the last five bars are contained within the key of Bb.

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Mercy, Mercy, Mercy! ‘Live at The Club’

 

"Mercy Mercy Mercy" is a great tune. In February of 1967, Johnny “Guitar” Watson & Larry Williams wrote lyrics to “Mercy, Mercy, Mercy,” scoring a hit on the R & B charts. The Buckinghams recorded the tune in August of 1967, which climbed to #5 on the pop charts. The Mauds also recorded the song the same year with lyrics by Curtis Mayfield, but the release of this version was somewhat overshadowed by the success of The Buckinghams’ cover.

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The Buckinghams, single, 23 June 1967

 

Originally from Vienna, Zawinul was a pioneer in the jazz fusion genre and known for incorporating electric keyboards and synthesizers in his interweaving of jazz, rock and world music elements.

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Joe Zawinul

 

The Buckinghams - "Mercy Mercy Mercy", lyrics


My baby she may not a-look
Like one of those bunnies out of a Playboy Club
But she got somethin' much greater than gold
Crazy 'bout that girl 'cause she got so much soul

I said she got the kind of lovin'
Kissin' and a-huggin'
Sure is mellow
Glad that I'm her fellow and I know
That she knocks me off my feet
Have mercy on me
'Cause she knocks me off my feet
There is no girl in the whole world
That can love me like you do

My baby when she walks by
All the fellows go, ooooooo, and I know why
It's simply 'cause that girl she looks so fine
And if she ever leaves me
I would lose my mind

She got the kind of lovin'
Kissin' and a-huggin'
Sure is mellow
Glad that I'm her fellow and I know
That she knocks me off my feet
Have mercy on me
'Cause she knocks me off my feet, hey
There is no girl in the whole world
That can love me like you do

Yeah, everybody in the neighborhood
Will testify that my girl she looks so good
And she's so fine
She'd give eyesight to the blind
And if she ever leaves me I would lose my mind

She got the kind of lovin'
Kissin' and a-huggin'
Sure is mellow
Glad that I'm her fellow and I know
That she knocks me off my feet
Have mercy on me
'Cause she knocks me off my feet
There is no girl in the whole world
That can love me like you do

Baby, yeah, you got that soulful feel
Yeah, it's all right
Mercy, mercy

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Cannonball Adderley Quintet

 

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administration@theblues-thatjazz.com (bluesever) Jazz Notes Wed, 01 Mar 2017 23:19:44 +0000
J’Attendrai (Tornerai) http://theblues-thatjazz.com/en/notes/27-latin/21142-jattendrai-tornerai.html http://theblues-thatjazz.com/en/notes/27-latin/21142-jattendrai-tornerai.html J’Attendrai (Tornerai)

One of the most wonderful songs is the French song “J’attendrai”. Translated, it means “I Will Wait”. It’s a beautiful song about waiting for a loved one to return. Recorded in 1938 (in French) by an singer called Rina Ketty, it became hugely popular at the time and later came to represent the start of the Second World War. It became a counterpart to Lale Andersen's “Lili Marleen” in Germany and Vera Lynn's “We'll Meet Again in Britain.”

J’Attendrai (Tornerai)

Rina Ketty (1911 - 1996), whose real name was Cesarina Picchetto, was an Italian singer. She went to Paris in the 30s. In 1938 and 1939, she made her breakthrough with songs like “Sombreros et mantilles” and “J'attendrai.” Despite the popularity of these Chansons during World War II, she was not able to stay in the spotlights after 1945. In 1954 she moved to Canada and in 1965 she returned to France but was unable to revive her pre-war success.

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Rina Ketty

 

Rina Ketty's Italian accent highlighting the French text of the song, worked wonderfully on the radio of those days, but also on various subsequent recorded versions. Her version was followed the same year by one of Belgian chanteuse Anne Clercy, and both Tino Rossi and Jean Sablon recorded it in 1939. When France was occupied in 1940, it quickly became the big war song, with the love song's title being interpreted as meaning waiting for peace and/or liberation.

 

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Rina Ketty - J'attendrai, 1938

 

"J'attendrai" is actually a French version of the Italian song "Tornerai" (Italian for "You Will Return") composed by Dino Olivieri (music) and Nino Rastelli (lyrics). ‘Tornerai’ is the title of a piece of light music written in 1936. Dino Olivieri was born on December 5, 1905 in Senigallia, Marche, Italy. He died on January 24, 1963 in Milan, Lombardy, Italy. Nino Rastelli was born on January 1, 1913, Milano and died on October 4, 1962, Rome. French lyric written by Louis Poterat, was really an adaptation whilst keeping the sentiment of the original lyric.

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Nino Rastelli

 

"Tornerai" was first recorded in 1937 by both Carlo Buti and Trio Lescano (accompanied by the Italian jazz quartet Quartetto Jazz Funaro), and become a huge hit in Italy. Carlo Buti (Florence, 1902 - Montelupo Fiorentino, 1963) was an Italian singer known as "the Golden Voice of Italy." He retired in 1956 after having recorded 1574 songs. At the time, he was the most recorded voice in Italian music history. His unique warm and melodic "tenorino" style of high quasi-falsetto phrasing sung in the "mezza voce" made him an international success.

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Carlo Buti

 

Trio Lescano was a vocal trio singing close harmony. The trio became extremely popular in Italy in the 1930s and 1940s. The trio was an Italian version of American groups such as the Boswell Sisters, the Andrews Sisters and was formed by three Dutch sisters whose names were italianized into Alessandra, Giuditta and Caterinetta Lescano. Directed by maestro Carlo Prato and thanks to the radio, they became immediately so famous that even Benito Mussolini, passing by their balcony one day, recognized them and stopped to greet them.

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Trio Lescano

 

Dino Olivieri, composer and conductor, said to be inspired from the ‘Humming Chorus’ of Puccini's Opera "Madame Butterfly". The ‘Coro a bocca chius’ (‘Humming Chorus) has become one of the most famous of opera excerpts. What makes this three-minute chorus so enchanting? There’s its musical beauty, but also its sense of calm, such a contrast to the passion of Cio-Cio-San (Butterfly). This melody, a rare example of an operatic vocalise (wordless song), is doubled by solo viola d’amore – an archaic instrument with a distinct sound, used only this once in the opera.

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Dino Olivieri

 

The French version of this Italian song became so well known across Europe that it was often called "J'attendrai" even when recorded instrumentally, such the two versions recorded by Django Reinhardt and Stéphane Grappelli in 1938, or referred to as the original source when sung in other languages. An extremely popular version was recorded by Dalida for her 1975 album J'attendrai.

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Dalida - J'Attendrai, album

 

Tornerai lyrics


Tornerai da me, perchè l'unico sogno sei nel mio cuore
Tornerai, tu perché senza i tuoi baci languidi, non vivrò
Passa il tempo e tu, dove sei, con chi sei, tu non pensi a noi
Ma io so che da me, tornerai.

Tornerai da me, perchè l'unico sogno sei nel mio cuore
Tornerai, tu perché senza i tuoi baci languidi, non vivrò
Passa il tempo e tu, dove sei, con chi sei, tu non pensi a noi
Ma io so che da me, tornerai

La notte e i giorni, tu non ci sei, vicino a me
Coi sogni miei, dimmi quand'è che tornerai

Tornerai da me, perchè l'unico sogno sei nel mio cuore
Tornerai, tu perché senza i tuoi baci languidi, non vivrò
Passa il tempo e tu, dove sei, con chi sei, tu non pensi a noi
Ma io so che da me, tornerai, ma io so che da me, tornerai.

Passa il tempo e tu, dove sei, con chi sei, tu non pensi a noi
Ma io so che da me, tornerai.

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Carlo Buti - Tornerai, 1937

 

J'attendrai lyrics


J'attendrai
Le jour et la nuit, j'attendrai toujours
Ton retour
J'attendrai
Car l'oiseau qui s'enfuit vient chercher l'oubli
Dans son nid
Le temps passe et court
En battant tristement
Dans mon cœur si lourd
Et pourtant, j'attendrai
Ton retour

Les fleurs palissent
Le feu s'éteint
L'ombre se glisse
Dans le jardin
L'horloge tisse
Des sons très las
Je crois entendre ton pas
Le vent m'apporte
Des bruits lointains
Guettant ma porte
J'écoute en vain
Helas, plus rien
Plus rien ne vient

J'attendrai
Le jour et la nuit, j'attendrai toujours
Ton retour
J'attendrai
Car l'oiseau qui s'enfuit vient chercher l'oubli
Dans son nid
Le temps passe et court
En battant tristement
Dans mon cœur si lourd
Et pourtant, j'attendrai
Ton retour

Reviens bien vite
Les jours sont froids
Et sans limite
Les nuits sans toi
Quand on se quitte
On n'oublie tout
Mais revenir est si doux
Si ma tristesse
Peut t'émouvoir
Avec tendresse
Reviens un soir
Et dans tes bras
Tout renaîtra

Le temps passe et court
En battant tristement
Dans mon cœur si lourd
Et pourtant, j'attendrai
Ton retour

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Tino Rossi - J'attendrai, 1939

 

 

Giacomo Puccini:

Madama Butterfly - Humming Chorus

 

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administration@theblues-thatjazz.com (bluelover) Latin French, Italian Notes Wed, 15 Feb 2017 21:51:50 +0000
Save the Last Dance for Me http://theblues-thatjazz.com/en/notes/29-pop/21071-save-the-last-dance-for-me.html http://theblues-thatjazz.com/en/notes/29-pop/21071-save-the-last-dance-for-me.html Save the Last Dance for Me

“Save the Last Dance for Me” by the Drifters was a joint enterprise by the two greatest songwriting teams of the early rock era: it was written by Pomus and Shuman, and produced by Lieber and Stoller. No wonder it was a massive hit in 1960 in the US and UK. And it certainly didn't hurt having Ben E King – later most famous for ”Stand By Me” – singing lead. The Drifters had already used strings on their records, most famously on “There Goes My Baby,” the first fully-orchestrated rock hit, but not like this – the soaring, swirling violins underline the yearning in King's gravelly, sad, yet sweeping vocals.

Save the Last Dance for Me

One night, Pomus found a wedding invitation in a hatbox, and back came his most vivid memory from his wedding: watching his brother Raoul dance with his new wife while Doc, who had polio, sat in his wheelchair. His wife, Willi Burke, however, was a Broadway actress and dancer. Inspired, he stayed up all night writing the words to this song on the back of the invitation. The song gives his perspective of telling his wife to have fun dancing, but reminds her who will be taking her home and "in whose arms you're gonna be."

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Willi Burke and Doc Pomus Wedding

 

Mort Shuman had played him a soaring Latin melody that afternoon, and he wanted the words to sound like a poem translated into English - something along the lines of Pablo Neruda. By the second verse, a hint of jealousy and vulnerability creeps in with the lyrics, "If he asks if you're all alone, can he take you home, you must tell him no." Pomus ended his night of songwriting by writing down the words that would become the title: "Save The Last Dance For Me."

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Save The Last Dance For Me, single 1960

 

Together, Pomus and Shuman wrote the words and music to such hits as "Little Sister," "Suspicion," "Can't Get Used to Losing You," "Surrender," "Viva Las Vegas," and many more. After securing their own office in the Brill Building, the team continued to crank out hit after hit; Presley alone ended up recording more than 20 of their songs throughout his career, including items like "Mess of Blues." In addition, Pomus and Shuman also wrote songs for Fabian ("Turn Me Loose" and "I'm a Man"), Bobby Darin ("Plain Jane") and Dion, for whom they wrote "Teenager in Love."

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Mort Shuman and Doc Pomus

 

Perhaps no group in the history of Rock is more protean than The Drifters. Founded in 1953 by the late, great Clyde McPhatter as a Rhythm’n’Blues outfit, they quickly changed personnel and style to become a bunch of Doo-Woppers, before metamorphosing once again to appeal to the Rock’n’Roll market. A complicated set of circumstances put Benjamin Nelson, aka Ben E. King, in the lead spot of The Drifters, a group that started many years earlier. All the former personnel were fired and a new lineup emerged from the old Five Crowns with King as lead tenor. Leiber and Stoller produced the session that gave us this classic beauty - complete with a full-blown orchestra, previously unheard of in rock 'n' roll.

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The Drifters, Ben E King left

 

But there is a melancholy undertone – the girl in the song is a flirt and the singer is begging her to be faithful to him at the last. But he doesn't sound too hopeful. The tune, the vocals, the narrative, the arrangement – all are perfect. It is the perfect pop song.

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Lieber and Stoller

 

When Rolling Stone compiled the votes of nearly 200 music-industry heavyweights to create its 2004 list of the “500 Greatest Songs Of All Time,” The Drifters’ 1960 R&B ballad “Save The Last Dance For Me” secured spot #182. In the accompanying commentary, the magazine asserted the song “made the end of the party sound like the essence of true romance.”

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“Save The Last Dance For Me” was the only number-one hit for The Drifters—even “Under The Boardwalk” only reached number four—and to this day, it’s a mainstay on wedding playlists. But in the harsh reality of life off the dance floor, lyricist Pomus and his dancing bride Burke divorced about five years after “Save the Last Dance For Me” sashayed to the top of the charts. Perhaps they should have seen it coming.

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Save The Last Dance For Me, lyrics


You can dance every dance with the guy who gives you the eye
Let him hold you tight

You can smile every smile for the man who held your hand
'Neath the pale moonlight

Chorus: But Don't forget who's taking you home
And in whose arms you're gonna be
So darling, save the last dance for me

Oh I know that the music is fine like sparkling wine
Go and have your fun

Laugh and sing but while we're apart
Don't give your heart to anyone

Chorus: But Don't forget who's taking you home
And in whose arms you're gonna be
So darling, save the last dance for me

Baby don't you know I love you so
Can't you feel it when we touch
I will never never let you go
I love you oh so much

You can dance, go and carry on
Till the night is gone and it's time to go

If he asks if you're all alone can he take you home
You must tell him no

Chorus: Cause Don't forget who's taking you home
And in whose arms you're gonna be
So darling, save the last dance for me

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Last Dance, Painted by Amanda Jackson

 

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administration@theblues-thatjazz.com (bluelover) Pop and Misc. Notes Wed, 01 Feb 2017 22:24:34 +0000
Largo Al Factotum from The Barber of Seville http://theblues-thatjazz.com/en/notes/3-classical/20995-largo-al-factotum-from-the-barber-of-seville.html http://theblues-thatjazz.com/en/notes/3-classical/20995-largo-al-factotum-from-the-barber-of-seville.html Largo Al Factotum from The Barber of Seville

Young Count Almaviva is in love with Rosina, ward of the cantankerous Dr. Bartolo. With the help of some local musicians, he serenades her outside her balcony window (“Ecco ridente”), but she does not appear. Despairing, he dismisses the band. Just as they disperse, he hears someone approaching and hides. It is Figaro, barber and factotum extraordinaire, who will take on any job as long as he is well paid (“Largo al factotum”). Having recognized Figaro, Almaviva emerges from hiding and lays out his problem. The Count is in luck, for Figaro is frequently employed in Bartolo’s house as barber, wigmaker, surgeon, pharmacist, herbalist, veterinarian—in short, as jack-of-all-trades.

Largo Al Factotum

Rossini was composing an opera based on the first play of Beaumarchais famous trilogy of plays: Le Barbier de Séville, Le Marriage de Figaro, and La Mère Coupable. Twenty years earlier, Mozart had composed his opera The Marriage of Figaro, and comparisons between ‘Barber’ and ‘Figaro’ continue to this day. Furthermore, there was an earlier “Barbiere de Siviglia”,composed by Giovanni Paisello in 1776.

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Beaumarchais - Le Barbier de Séville, 1776

 

Like many great composers, Gioachino Rossini demonstrated musical genius at a young age. His first opera was produced when he was only 18. His first big hit was “Tancredi” in 1813 when he was 21, followed by ‘Barber’ at age 23. Quite possibly that “The Barber of Seville” was the fastest opera ever written. It is said that Rossini composed ‘Barber’ in 13 days. In any case, as it was commissioned by Duke Cesarini, the impresario of the Teatro Argentina, on December 26, 1815, it had to have been written between that day and its première on February 5, 1816, only 40 days later.

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Young Gioachino Rossini

 

Everybody know Rossini’s aria. Figaro is one of the most widely recognized opera characters and his aria “ Largo al factotum” has, no doubt, been the aria used most in cartoons. For some people, their one and only opera reference may come from this aria!

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Largo al factotum, score

 

Factotum - an employee who does all kinds of work. Figaro, in’Largo al factotum del città’ (Make way for the factotum of the city), explains his ability to do everything for everybody in the opera, if not in the entire city of Seville.

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Tito Gobbi - Largo al factotum

 

Typically, Figaro sings this aria alone onstage at the first entrance of the title character; the repeated "Figaro"s before the final patter section. Due to the constant singing of triplets in 6/8 meter at an allegro vivace tempo, the piece is often noted as one of the most difficult baritone arias to perform. This, along with the tongue-twisting nature of some of the lines, insisting on Italian superlatives (always ending in "-issimo"), have made it a pièce de résistance in which a skilled baritone has the chance to highlight all of his qualities.

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Mario del Monaco - Largo al factotum

 

“The Barber of Seville” is almost 200 years old but is perpetually young. “Largo al factotum” is so familiar that it’s hard to imagine how new and different from anything before it must have seemed to audiences in the second decade of the 19th century.

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Gioachino Rossini

 

Largo al factotum (Italian)


Largo al factotum della città.
Presto a bottega che l'alba è già.
Ah, che bel vivere, che bel piacere
per un barbiere di qualità! di qualità!
	
Ah, bravo Figaro!
Bravo, bravissimo!
Fortunatissimo per verità!

Pronto a far tutto,
la notte e il giorno
sempre d'intorno in giro sta.
Miglior cuccagna per un barbiere,
vita più nobile, no, non si da.
	
Rasori e pettini
lancette e forbici,
al mio comando
tutto qui sta.
V'è la risorsa,
poi, del mestiere
colla donnetta... col cavaliere...
	
Tutti mi chiedono, tutti mi vogliono,
donne, ragazzi, vecchi, fanciulle:
Qua la parrucca... Presto la barba...
Qua la sanguigna...
Presto il biglietto...
Qua la parrucca, presto la barba,
Presto il biglietto, ehi!
	
Figaro! Figaro! Figaro!, ecc.
Ahimè, che furia!
Ahimè, che folla!
Uno alla volta, per carità!
Ehi, Figaro! Son qua.
Figaro qua, Figaro là,
Figaro su, Figaro giù.
	
Pronto prontissimo son come il fulmine:
sono il factotum della città.
Ah, bravo Figaro! Bravo, bravissimo;
a te fortuna non mancherà.

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Placido Domingo - Largo al factotum

 

Largo al factotum (English translation)


Make way for the factotum of the city,
Hurrying to his shop for it's already dawn.
Ah, what a fine life, what fine pleasure
For a barber of quality!

Ah, bravo Figaro!
Bravo, bravissimo!
Most fortunate indeed!

Ready to do everything
Night and day,
Always on the move.
A cushier fate for a barber,
A more noble life, is not to be had.

Razors and combs,
Lancets and scissors,
At my command
Everything's there.
Here are the tools
Of my trade
With the ladies...with the gentlemen...

Everyone asks for me, everyone wants me,
Ladies, young lads, old men, young girls:
Here is the wig... The beard is ready...
Here are the leeches...
The note is ready...
Here is the wig, the beard is ready,
The note is ready, hey!

Figaro! Figaro! Figaro!, etc.
Dear me, what frenzy!
Dear me, what a crowd!
One at a time, for pity's sake!
Hey, Figaro! I'm here.
Figaro here, Figaro there,
Figaro up, Figaro down.

Swifter and swifter, I'm like a thunderbolt:
I'm the factotum of the city.
Ah, bravo Figaro! Bravo, bravissimo,
You'll never lack for luck!

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Gioachino Rossini

 

 

Largo Al Factotum from The Barber of Seville (Andre Rieu)

 

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administration@theblues-thatjazz.com (bluesever) Classical Notes Tue, 17 Jan 2017 14:42:20 +0000
Midnight Blues (Snowy White and Gary Moore too) http://theblues-thatjazz.com/en/notes/1-blues/20900-midnight-blues-snowy-white-and-gary-moore-too.html http://theblues-thatjazz.com/en/notes/1-blues/20900-midnight-blues-snowy-white-and-gary-moore-too.html Midnight Blues (Snowy White and Gary Moore too)

In June 1990 Roger Waters, having split from the Pink Floyd, asked Snowy White to perform with him on the spectacular ‘The Wall’ show in Berlin. White can be seen in the documentary Roger Waters: The Wall. His blonde hair is easily recognizable, as is his gold Les Paul. “It’s quite interesting, because they must have filmed thousands of hours backstage, every show – for months, years. It was a well-oiled machine, and never difficult at all. Even if it wasn’t mine, it was a pleasure playing that really great music.” In 1991 Waters again called upon Snowy, this time to play at the ‘Guitar Legends’ concert in Seville as part of Expo. After this concert Snowy decided that it was time that he returned to the mainstream of things so he set about putting down songs that he had been writing during the previous few years.

Midnight Blues

What from his own catalog would he recommend to someone seeking samples of his quieter, bluesier side?

“There are a lot of things I think sound pretty good,” Snowy said. “But, one that seems very popular, with a lot of downloads on YouTube and comments, is ‘Midnight Blues.’ When I did my first album as The White Flames, I said, ‘To hell with the record companies, to hell with radio play. Forget all that, we’re just going to play for ourselves.’ And I’m really pleased with that song and the album No Faith Required.”

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Roger Waters & Snowy White, "The Wall"

 

Taken from the “No Faith Required” album, “Midnight Blues” sets a quiet mood which is interesting with all of the fire and brimstone of a massive rock show but draws the crowd through subtler means. John “Rabbit” Bundrick’s organ delivers a gospel-like quality well matched to White’s dry talk-singing style. When the impact is due Jeff Allen’s drums produce a thunderous roar as the sustained guitar notes soar above, touching down softly to a cathedral-esque atmosphere and a fading of sound into the swimming reverberation. A mainstay in White Flames Band sets since its inception, “Midnight Blues” manages to deliver on that late night smoky bar mood the title promises.

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Snowy White & The White Flames - No Faith Required

 

 

Spring 1989. Gary Moore was touring across Europe promoting his latest album ‘After The War,’ his fifth rock album for Virgin since 1982's ‘Corridors Of Power’. Sales and profile were growing with each album, culminating in ‘Wild Frontier’ in 1987. But Gary was tiring of the 1980s rock treadmill; the emphasis on soulless fret-melting guitar, big hair and looking serious in daft pop videos. He realised, too, that he was repeating himself as a songwriter. He needed to take some risks if he was to move on – but which way to turn?

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Gary Moore

 

Sitting in the tune-up room loosening up before a gig in Germany with his long-time bass player Bob Daisley , the answer came. “We were messing about playing bits and pieces of blues,” says Daisley. “Stuff from the Bluesbreakers’ Beano album. And then it came to me. I said to Gary, ‘Why don’t we do a blues album?’”

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Gary Moore - Midnight Blues

 

1990's “Still Got The Blues”album was an abrupt and risky game-changer that reignited the tradition of blistering British blues guitar. The album features two of the finest blues guitarists in the world, namely Albert King and Albert Collins, plus an appearance by George Harrison who wrote the song ‘That Kind Of Woman.’ The slow-uplifting motion of ‘Midnight Blues’ and the grounding grind of the Albert King tribute ‘King Of The Blues’ shows Moore playing at two ends of the blues spectrum and coping with it admirably.

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Gary Moore - Still Got The Blues

 

One thing’s for sure, Gary Moore was a worthy recipient of the most famous Les Paul on the planet. Unforeseen financial problems forced Moore to sell it. An American collector Melvyn Franks bought it, but the guitar has come home. Airey says he heard Joe Bonamassa play “Midnight Blues” on it at the Royal Albert Hall and he “just sat there and burst into tears”.

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Les Paul

 

The album had a broader impact, too. While the international white blues scene was dominated by British guitarists in the 1960s and 1970s; the likes of Stevie Ray Vaughan and Jeff Healey captured the territory in the 1980s. “Still Got The Blues” put British blues playing back on the map, inspired a new generation of guitar players and provided much of the repertoire for the UK pub blues scene of the 1990s.

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Joe Bonamassa at Royal Albert Hall

 

Snowy White - Midnight Blues lyrics


This is my blues
Cause I'm back then on my own again
This is the blues I'm playing

Yes it's the final thing
When the night is cold and lonely
This is the midnight blues

This is the midnight blues
For the girl I left behind me
Ain't it the final thing

This is the blues
Just a feeling deep inside of me
This is the midnight blues

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Snowy White

 

Gary Moore - Still Got The Blues lyrics


Used to be so easy
to give my heart away.
But I've found out the hard way
there's a price you have to pay.
I found out that love, is no friend of mine
I should've known time after time

So long
it was so long ago.
But I've still got the blues for you.

Use to be so easy
Fall in love again
But I found out the hard way, it's
a road that leads to pain.
I found out that love
was more than just a game
you play on to win
but you lose just the same.

So long
it was so long ago.
But I've still got the blues for you.

So many years since I've seen your face,
but You will in my heart
there's an empty space
where you used to be.

So long
it was so long ago.
But I've still got the blues for you.

Though the days come and go
There is one thing I know
I've still got the blues for you.

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Midnight Blues

 

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administration@theblues-thatjazz.com (bluesever) Blues Notes Fri, 30 Dec 2016 21:43:02 +0000
When You Wish upon a Star http://theblues-thatjazz.com/en/notes/25-jazz/20841-when-you-wish-upon-a-star-.html http://theblues-thatjazz.com/en/notes/25-jazz/20841-when-you-wish-upon-a-star-.html When You Wish upon a Star

Mickey Mouse is clearly the most identifiable representation of Disney and everything they are. You see Mickey and you think Disney. They are one in the same, but behind Mickey the best representation of what the Walt Disney Company is and everything they believe in is a song. No ranking of Disney songs that places “When You Wish Upon a Star” in its top spot can be all bad. After all, this is the song that the Disney company has chosen over the years to feature as emblematic of its entire family-centered entertainment empire.

When You Wish upon a Star

After the smash success of “Snow White and the Seven Dwarfs” in 1937, Walt Disney was in search of a follow-up film. Initially, he thought it was going to be Bambi, but production problems were hampering that movie. That necessitated moving up another animated feature he had in development: Pinocchio. Based upon the 1883 Italian children’s book “The Adventures of Pinocchio” by Carlo Collodi, it tells the tale of wood-carver Geppetto and puppet he makes named Pinocchio. Brought to life by the Blue Fairy, Pinocchio can become a real boy if he can prove himself to be “brave, truthful and unselfish.” He has many misadventures on his quest including encounters with a rather sly fox named Honest John and Monstro the giant whale, but is aided by traveling companion/conscience Jiminy Cricket.

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Pinocchio, Disney's 1940

 

Pinocchio’s production took around two years and boasted a large cast of creators including seven directors and seven screenwriters. The songs were written by Leigh Harline and >Ned Washington, with the musical score composed by Harline and Paul Smith, who had collaborated together on “Snow White.” In contrast with that picture, Walt Disney decided that he wanted celebrities to voice characters in the Pinocchio. Therefore, Cliff Edwards was brought in to play Jiminy Cricket.

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Carlo Collodi

 

Nicknamed “Ukelele Ike,” Edwards had appeared in vaudeville, on Broadway and in numerous MGM and Warner Bros. films. During the late 1920s, he had scored two pop hits including his introductory recording of “Singin’ in the Rain.” For “Pinocchio,” he got to perform that film’s classic, signature song which opens the movie: “When You Wish Upon a Star.”

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Cliff Edwards

 

Leigh Adrian Harline was born March 26, 1907 in Salt Lake City, Utah. He received music training from J. Spencer Cornwall, conductor of the Mormon Tabernacle Choir and following his graduation from the University of Utah, he began working for a string of radio stations. His radio work sent him to San Francisco and, by 1929, to Los Angeles where he was music director and announcer at KHJ radio. He went to work at the Walt Disney Studio in 1932 arranging and scoring animated shorts. As Disney began production of his features, Harline was enlisted to write songs. His most famous composition, “When You Wish Upon a Star,” was written for Pinocchio and the following year he received an Academy Award for it and another for the film's memorable score.

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Leigh Adrian Harline

 

Ned Washington, american pop lyricist, wrote many hits for Broadway and film from the 1930s through the 1960s. He began his career in music as a vaudeville MC and served as an agent for some of the vaudeville performers. Eventually, Washington began writing material for the vaudeville acts, and so started songwriting. One of his tunes was used in Earl Carroll's Vanities of 1928. While working for Warner Bros, Washington had a big hit with "Singing in the Bathtub," which was used in the revue “Show of Shows.” For the cinema, Washington went on to write music for MGM, Republic Studios, Paramount Pictures, and Walt Disney Studios. He also worked on successful Broadway musicals. Washington won a number of Academy Awards for Best Song, from 1940 for "When You Wish Upon a Star" through 1961's “Town Without Pity” title song.

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Ned Washington

 

“Pinocchio” did not have a proper soundtrack release in 1940. Six of the songs were issued across three 78s by Victor. A full length soundtrack album for the film was not released until 1956 on Disneyland Records. Cliff Edwards also recorded several of the songs for Decca, including ones which were cut from the film.

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Blue Fairy

 

“When You Wish Upon a Star” became the opening theme for Disney’s television anthology series in the ‘50s and ‘60s and is the music behind their opening movie logo. Additionally, it was ranked No. 7 on AFI’s 100 Greatest Songs in Film History list. The characters themselves are still prominent parts of the Disney experience, appearing throughout the theme parks; Jiminy Cricket has been featured prominently in various, mostly educational, Disney projects over the years.

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Jiminy Cricket (Cliff Edwards)

 

It is not just a Disney classic tune but remains both a beloved and motivational song that has been covered by many artists. Louis Armstrong didn’t get around to recording the tune until 1968. The song would have been a natural fit for Armstrong even had recorded it anytime in the 1940s or 1950s, but waiting until 1968 only adds to the emotional wallop this performance packs. Armstrong tackled it on seemingly strange concept album, “Disney Songs the Satchmo Way.”

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Jiminy Cricket & Pinocchio

 

When You Wish Upon A Star Lyrics


When you wish upon a star
Makes no difference who you are
Anything your heart desires
Will come to you.

If your heart is in your dreams
No request is too extreme
When you wish upon a star
As dreamers do.

Fate is kind
She brings to those who love
The sweet fulfillment of
Their secret longing

Like a bolt out of the blue
Fate steps in and sees you through
When you wish upon a star
Your dreams come true

When a star is born
They possess a gift or two.
One of them is this.
They have the power to make a wish come true.

When you wish upon a star
Makes no difference who you are
Anything your heart desires
Will come to you,

If your heart is in your dreams
No request is too extreme
When you wish upon a star
As dreamers do.

Fate is kind
She brings to those who love
The sweet fulfillment of
Their secret longing.

Like a bolt out of the blue
Fate steps in and sees you through
When you wish upon a star
Your dreams come true.

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When You Wish Upon A Star by Gun Legler

 

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administration@theblues-thatjazz.com (bluesever) Jazz Notes Sun, 18 Dec 2016 19:29:40 +0000
The Kinks - All Day and All of the Night http://theblues-thatjazz.com/en/notes/30-rock/20763-the-kinks-all-day-and-all-of-the-night.html http://theblues-thatjazz.com/en/notes/30-rock/20763-the-kinks-all-day-and-all-of-the-night.html The Kinks - All Day and All of the Night

In a September 2012 interview with Mojo magazine The Kinks’ Ray Davies recounted the tale: “The funniest thing was when my publisher came to me on tour and said The Doors had used the riff for ‘All Day And All Of The Night’ for ‘Hello, I Love You.’ I said rather than sue them, can we just get them to own up? My publisher said, ‘They have, that’s why we should sue them!’ (laughs) Jim Morrison admitted it, which to me was the most important thing. The most important thing, actually, is to take (the idea) somewhere else.” (The UK courts ordered The Doors to pay royalties to The Kinks songwriters for borrowing their riff.)

All Day and All of the Night

Ray Davies wrote this song. He called it, "A neurotic song - youthful, obsessive and sexually possessive." Originally released in late 1964, ‘All Day and All of the Night’ was the follow-up to their first big hit, ‘You Really Got Me.’ The song took that signature choppy riff used on its predecessor, although this song's riff is slightly more complicated, incorporating a B Flat after the chords F and G. Otherwise, the recordings are similar in beat and structure, with similar background vocals, progressions, and guitar solos. ‘All Day’ was a No. 2 hit in England, one of 17 Top 40 singles the band would have in the ’60s. It fared very well stateside as well, clocking in at No. 7.

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Ray Davies

 

The Kinks were formed in 1963 by two brothers, Ray and Dave Davies and at first were named the Ravens. Ray was the lead singer and sometimes played guitar, Dave was the lead guitarist. Ray's friend Peter Quaife join then and played bass and the drummer was Mickey Willett. The first song they recorded, Ray's "I Took My Baby Home" was sent to Pye Records in late '63 and they were signed to a contract in '64. Just before doing so, Willett was replaced by Mick Avory on drums. They recorded their first single, a cover of Little Richard's "Long Tall Sally" and just before it's release renamed the group "the Kinks".

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The Kinks, 1964

 

Although they weren't as boldly innovative as the Beatles or as popular as the Rolling Stones or the Who, the Kinks were one of the most influential bands of the British Invasion. Like most bands of their era, the Kinks began as an R&B/blues outfit. Within four years, the band had become the most staunchly English of all their contemporaries, drawing heavily from British music hall and traditional pop, as well as incorporating elements of country, folk, and blues.

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The Kinks - All Day and All of the Night, 1964

 

But for moptop-crazed America during the middle ’60s, the version of Cool Britannia presented by the Kinks was a bridge too far — a confusing mélange of roughnecked working-class rage and foppish, pansexual dandy-ism that was as unkempt as the group’s thrillingly rambunctious live shows. Following a disastrous 1965 tour, the Kinks were functionally banned (for unspecified reasons) from the US for the better part of a decade, robbing them of the untold spoils of their contemporaries and perhaps further inculcating the deep, proud provincialism that would come to define the best of Ray Davies’ writing.

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The Kinks on Their Way To The USA, 1965

 

"All Day and All of the Night" was rock's first heavy metal song even though heavy metal was still a good five years from happening. Truth being, nobody really ever heard a guitar solo like the one Dave delivered on this song. Dave Davies claimed that the song was where he "found his voice," saying, "I liked the guitar sound on 'All Day And All Of The Night,' the second single we had. When they tried to develop amplifiers that had pre-gain and all, I thought it wasn't quite right, and I struggled with the sound for a while. I never liked Marshalls, because they sounded like everybody else. Then in the mid '70s I started using Peavey, and people said, "Nobody uses Peavey - country and western bands use them" [laughs]. I used to blow them up every night. I used two Peavey Maces together, and it was brilliant."

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The Kinks, London 1964

 

”All Day And All Of The Night” stands on it’s own as a powerful two and a half minutes of raw, visceral, driving rock and roll. The sliding guitar chords are in fact slightly more complex than its predecessor, allowing for a bite more swing in the otherwise tough groove set down by drummer Mick Avery, who seems never to miss an opportunity to put multiple dents in his snare skin throughout the recording. The guitar sound seems even more distorted and nasty and Dave Davies’ anarchic solo no less manic while both tracks brilliantly raise tension by twisting key changes to the breaking point and releasing in a jubilant shout-a-long title lyric. With ”All Day And All Of The Night”, The Kinks seemed to have pulled off the rare feet of releasing back to back classics and at the same time launching a new rough and tumble sound that would help distortion become the signature guitar sound of rock and roll in the very near future.

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The Kinks - All Day and All of the Night, Live on TV

 

The Kinks - All Day and All of the Night, lyrics


I'm not content to be with you in the daytime
Girl I want to be with you all of the time
The only time I feel alright is by your side
Girl I want to be with you all of the time

All day and all of the night
All day and all of the night
All day and all of the night

I believe that you and me last forever
Oh yeah, all day and nighttime yours, leave me never
The only time I feel alright is by your side
Girl I want to be with you all of the time

All day and all of the night
All day and all of the night
Oh, come on

I believe…

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The Kinks - All Day and All of the Night, Pye 1964

 

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administration@theblues-thatjazz.com (bluesever) Rock Notes Sat, 03 Dec 2016 23:26:53 +0000
Leonard Cohen’s Famous Blue Raincoat http://theblues-thatjazz.com/en/notes/29-pop/20697-leonard-cohens-famous-blue-raincoat.html http://theblues-thatjazz.com/en/notes/29-pop/20697-leonard-cohens-famous-blue-raincoat.html Leonard Cohen’s Famous Blue Raincoat

Sometime in the early 1970s, a thief stole Leonard Cohen's old raincoat from Marianne Ihlen's New York apartment. (Marianne Ihlen was a Norwegian woman who was the muse and girlfriend of Leonard Cohen.) God only know what happened to it, but the thief almost certainly had no idea he was stealing an object that belongs in the Rock and Roll Hall of Fame, if not the Smithsonian. It was that very coat that inspired Cohen to write one of his most beloved and mysterious songs. It's written in the form of a letter, possibly to the narrator's brother, who stole his lover, Jane.

Famous Blue Raincoat

The lyric tells the story of a love triangle between the speaker, a woman named Jane, and the male addressee, who is identified only briefly as "my brother, my killer." The exact nature of these relationships however, is far from clear.

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Famous Blue Raincoat

 

The song is deeply, almost embarrassingly, personal, an epistolary song about a wounded man who cannot help forgiving the friend. The overpowering emotion of the song inhibits another look at the lyrics, but Cohen’s autobiography immediately suggests problems with this common interpretation. Specifically, it is Cohen’s life that is being described both as the narrator and the other man. It is the friend in the song not “L. Cohen,” the narrator, who has a “famous blue raincoat.” But as the real Cohen noted in liner notes to the 1975 collection “The Best of Leonard Cohen,” the blue raincoat was his. “I had a good raincoat then, a Burberry I got in London in 1959….It hung more heroically when I took out the lining, and achieved glory when the frayed sleeves were repaired with a little leather.”

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Blue Raincoat

 

In a 1994 BBC Radio Interview Cohen remarked: “The trouble with is that I've forgotten the actual triangle. Whether it was my own . . . of course. I always felt that there was an invisible male seducing the woman I was with; now, whether this one was incarnate or merely imaginary I don't remember. I've always had the sense that either I've been that figure in relation to another couple or there'd been a figure like that in relation to my marriage. I don't quite remember (but I did have this feeling that there was always a third party, sometimes me, sometimes another man, sometimes another woman).”

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Leonard Cohen, 1970

 

"Famous Blue Raincoat" has captivated listeners ever since it first appeared on 1971's “Songs of Love and Hate”, though Cohen admits he's not happy with the lyrics. Ron Cornelius played guitar on this album and was Cohen's band leader for several years. Here's what he told Songfacts about this track: "We performed that song a lot of places. Typically gardens in Copenhagen, the Olympia Theater in Paris, the Vienna Opera House. We played that song a lot before it ever went to tape. We knew it was going to be big. We could see what the crowd did - you play the Royal Albert Hall, the crowd goes crazy, and you're really saying something there. If I had to pick a favorite from the album, it would probably be 'Famous Blue Raincoat.’ "

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“Songs of Love and Hate”, album

 

The song is written in the key of a-minor. The time signature is 3/4, which is slightly uncommon in the rock and pop genre, but is used by Cohen in several other songs as well, like “Chelsea Hotel #2” or “Take This Waltz.” The tempo is fairly slow and the musical arrangement is very sparse. Cohen’s guitar is predominant and carries the song; additionally there are female background voices in the stanzas and the third bridge, and in some spots there is also a string section. The lyric itself is not written in a strict meter, but, especially during the stanzas, the speech rhythm is essentially dactylic, which fits well with a 3/4 time signature.

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Bob Johnson, Leonard Cohen, Ron Cornelius at Royal Albert Hall

 

"It was a song I've never been satisfied with," Cohen said in 1994. "It's not that I've resisted an impressionistic approach to songwriting, but I've never felt that this one, that I really nailed the lyric. I'm ready to concede something to the mystery, but secretly I've always felt that there was something about the song that was unclear."

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Leonard Cohen, 1971

 

Famous Blue Raincoat lyrics


It's four in the morning, the end of December
I'm writing you now just to see if you're better
New York is cold, but I like where I'm living
There's music on Clinton street all through the evening
I hear that you're building your little house deep in the desert
You're living for nothing now
I hope you're keeping some kind of record

Yes, and Jane came by with a lock of your hair
She said that you gave it to her
That night that you planned to go clear
Did you ever go clear?

On the last time we saw you, you looked so much older
Your famous blue raincoat was torn at the shoulder
You'd been to the station to meet every train
You came home without Lili Marlene
You treated my woman to a flake of your life
And when she came back she was nobody's wife
Well; I see you there with a rose in your teeth
One more thin gypsy thief
Well I see Jane's awake
She sends her regards

And what can I tell you, my brother, my killer
What can I possibly say
I guess that I miss you, I guess I forgive you
I'm glad you stood in my way
If you ever come by here, for Jane or for me
Well, your enemy is sleeping and his woman is free

Yes, and thanks for the trouble you took from her eyes
I thought it was there for good so I never tried
And Jane came by with a lock of your hair
She said that you gave it to her
That night that you planned to go clear

Sincerely,
L. Cohen

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Famous Blue Raincoat

 

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administration@theblues-thatjazz.com (bluelover) Pop and Misc. Notes Sun, 20 Nov 2016 11:03:35 +0000