You Are My Sunshine - From Marelise Voss

Marelise and I met while we helped start off an Indian Film Festival in DC. From the start it was obvious that she and I shared so much in common, above all an overwhelming love for Life. One evening she came by train in pouring rain to deliver a set of photographs just because she promised she would.The only person to ever treat me to a concert on my birthday. They make very few like Mare.



Lew Dite



Ray Charles


YOU ARE MY SUNSHINE

The other night dear, as I lay sleeping
I dreamt I held you in my arms
But when I woke, dear, I was mistaken
So I hung my head and I cried.

You are my sunshine, my only sunshine
You make me happy when skies are gray
You'll never know dear, how much I love you
Please don't take my sunshine away

I'll always love you and make you happy,
If you will only say the same.
But if you leave me and love another,
You'll regret it all some day:

You are my sunshine, my only sunshine
You make me happy when skies are gray
You'll never know dear, how much I love you
Please don't take my sunshine away

You told me once, dear, you really loved me
And no one else could come between.
But not you've left me and love another;
You have shattered all of my dreams:

You are my sunshine, my only sunshine
You make me happy when skies are gray
You'll never know dear, how much I love you
Please don't take my sunshine away

In all my dreams, dear, you seem to leave me
When I awake my poor heart pains.
So when you come back and make me happy
I'll forgive you dear, I'll take all the blame.

You are my sunshine, my only sunshine
You make me happy when skies are gray
You'll never know dear, how much I love you
Please don't take my sunshine away

"You Are My Sunshine" is a popular song first recorded in 1939. It has been declared one of the state songs of Louisiana as a result of its association with former state governor and country music singer Jimmie Davis. Two versions of "You Are My Sunshine" were recorded and released prior to Jimmie Davis's. The first was recorded for Bluebird Records by The Pine Ridge Boys, who were from Atlanta. The second was recorded for Decca Records by The Rice Brothers Gang. Davis and Charles Mitchell are the credited songwriters of "You Are My Sunshine". Davis bought the song and rights from Paul Rice and put his own name on it, a practice not uncommon in the pre-World War II music business.


"You Are My Sunshine" has been recorded hundreds of times. It is today a widely recognized song and a standard for traditional country music and traditional jazz performers. Early chart versions include: Bing Crosby, Bob Atcher and Bonnie Blue Eyes, Gene Autry, and the Airport Boys. In one or more of these versions, the song was in Billboard's country charts for over one year. The song has also been recorded by the likes of Johnny Cash, Bob Dylan, Brian Wilson, Ray Charles and Aretha Franklin, among others. Charles' version was the most popular, commercially, reaching #1 on the soul singles chart, using a modified melody that little resembled the original.


It has been featured in numerous films, television shows, television commercials, and radio commercials. On The Muppet Show, "You are my sunshine" was part of a scene entitled "Hugga Wugga." Afterwards, Waldorf sang it as well. Statler believed it was directed at him and retorted, "I'm not your son, and my name's not Shine!"

Beautiful Tango - From Sophie Marquestaut

Zahra Hindi



Beautiful Tango, take me by the hand
Beautiful Tango, until you make me dance
How sweet it can be if you make me dance?
How long will it last, baby if we dance?

Come to the, come to the world
Come to the, come to the world
And baby let me show you things
Cause time is running and we can lose, baby come and dance we gonna make it through
Cause we've got time
Yes we've got time

Beautiful stranger, don't want to know your name
Beautiful stranger, just want to take your hand
How sweet it can be if you make me dance?
How long will it last, baby if we dance?

Come to the place where the skin speaks
A secret words in spanish
Where the night turns out the lights of day

For us to show some courage

So don't go if you wanna know
Don't go if you don't know
Don't go, if you wanna know
Don't go, don't go, don't go

Beautiful stranger, take me by the hand
Make me dance all night
I wanna take the chance
I love the way you move
And the way you put your hands on my hips
are moving while you take it slow
Makes me feel like I'm on a river flow
Cause we've got time
And yes we've got time

Beautiful stranger, I wanna lose my mind
Beautiful stranger, in the depth of your eyes
Beautiful stranger, oh oh oh oh
I remember, I remember, I remember...your

Sweet music, sweet sweet sweet music, sweet music rising...

http://www.myspace.com/zahrahindi

Hardly have her lips approached the microphone than your ear is drawn in, gently but irresistibly. Just the slightest nonchalance in the hips with a filigree of swing in the delivery, a delicately veiled voice. Meet Hindi Zahra and her original gently undulating sense of melody. With a subtle, understated guitar accompaniment, a dash of gypsy guitar between the lines, and a hint of blues but with a capital B. Time stands still. Intense, intimate, poetic vibrations, with a velvety feline timbre.

At thirty, Hindi Zahra is neither a reality show wonder nor the umpteenth shooting star fizzing across the firmament of vocal jazz. Music is the story of her life, a family affair. The story of a Berber girl born in Morocco. Her father was in the army and her mother a housewife, occasional actress and singer of village repute. Among her uncles were musicians, into the post-psychedelic Moroccan scene of the time. She grew up to the sound of divas raï and châabi, like Cheikha Rimitti, and the great Egyptian Oum Khalsoum between traditional Berber music and desert rock’n’roll, with the blues of the great Malian Ali Farka Touré and the sensual folk music of Ismaël Lo in the wings. All this before she set out across the Mediterranean to join her father in Paris.

She left school and got her first job at 18 in the Louvre. “This was my meeting with art. As a child, I was contemplative, in touch with nature. The paintings gave me the same sensations.” The Dutch masters were soothing, as music had always been. “Sound has always fuelled my imagination.” Her dreams were soon to materialise. At night she worked secretly on melancholic lyrics and wrote melodies for years. “When it comes to music I’m prepared to work long and hard.”

A fan of “the Afro-American groove” she singles out Aretha Franklin, James Brown, 2Pac, and Tribe Called Quest she learned her chops doing backing vocals on hip-hop flavoured soul before embarking on her solo career. “I soon got fed up with the machines and loops, but what I took away from that experience was the understanding of what I really wanted to do.”

Starting in 2005, the self-taught composer was soon etching in the contours of the music that would reflect her personality, turning out some fifty songs in just one year. From these, two gems emerge. The first, Oursoul, is a tantalisingly ambiguous word play: what looks like English is in fact a Berber word meaning “bygones”. Against an arrangement evocative of American folk, the song tells the unfulfilled dreams of a young girl destined for marriage.

Then came Beautiful Tango, a ballad rich in timeless nostalgia, a hymn to love, a sad thought with the power to pull tender heartstrings. “I had no doubts about the tune, so it was a relief when the words came naturally”, she admits. Beautiful Tango got serious kudos from The Wire, the reference in Britain’s “adventurous music” press, which heralded her as a worthy successor to Billie Holiday, no less. “Jazz is the only place where I can hear notes from my homeland. Jazz equals freedom to create. It’s a great school.” Better still, Fink, a pure product of the Ninja Tune “chilled electro” stable, encouraged her to take her time, and fine-tune her songbook. For two years she honed her set, developing a trademark difference in style: bucolic on the edges, tinted with nocturnal blues, with ideas running through fingers and voice.

Her first album has a playing time of 40 minutes and contains eleven songs, just what it takes and no more. The production and arrangements are her own, end-to-end, and already have the patina of maturity: a pared down sophisticated lady mood. “I write a lyric; I play a riff, I record the guitars and the rhythm parts. Then I fit the words.” With style in her piano and ideas in her style, Hindi Zahra chisels away at her own original groove, a finely crafted soundtrack of soul-folk-jazz ballads and south Moroccan roots, on the cusp of black culture, embellished here by some bendir, there by a ganoua bass line, or lyrics in Berber on tracks like Imik Simik and Petit à petit (Little by little), a title that fits her well. A versatile multi-instrumentalist she has quietly, away from the limelight, gone about the business of building an authenticity, that is there in her songs, “always about love” and people, “very simply”.


Hindi Zahra is sounding like the musical child of Django Rheinhardt and Billie Holiday, the Paris-based Hindi is a captivating musician. Her song “Beautiful Tango” is a revelation—simple yet sophisticated, sparse yet emotive. It’s fresh even while it reverberates with history. This style continues in “Oursoul” and “Try.” A touch of hip-hop and soul influence, retaining the simple, downbeat understatement of her other songs while adding an almost ethereal quality. Somewhere between her Moroccan roots and her life in Paris, singer-songwriter Hindi Zahra lost track of her many musical influences: the result is a mesmerizing elemental folk, a desert blues with african/american music. Check her out at

Jambo Bwana, Hakuna MatAta-From Vineeta Sastry

Boney M

Did you know that "safari" means "journey" in Swahili, one of the languages spoken in Kenya? This song is very well-known in Kenya and teaches you some Swahili. "Jambo. Habari gani?" means "Hello. How are you?"
Try to sing along and you can learn some Swahili!

Jambo, jambo bwana /
Hello, Hello Mister
Habari gani, mzuri sana /
How are you? Very well.
Tuimbe tucheze sote /
Let us sing, let us all dance
Kiswahili ni lugha ya Africa /
Kiswahili is the language of Africa

Leo tufurahi hakuna matata /
Today let us be happy -- there are no problems
Reggae babu kubwa hakuna matuta /
Reggae is the godfather -- there are no problems

Burudani sali -- hakuna matuta /
The rhythm is good -- there are no problems
Aah tucheze sote -- hakuna matuta /
Aah, let's all dance -- there are no problems

Kiswahili ndlo lugha yetu ya Africa /
Kiswahili is our African language
Upende usipende utapenda kwa hakika /
Like it or not, you must like it
Michael Jackson kaimba Kiswahili /
Michael Jackson sang in Kiswahili
Lionel Richie kamfuata ni wa pili /
Lionel Richie was another one
Mukae vivyo hivyi siku zote kwa amani /
You should keep up that spirit always in peace
Maisha Africa yatakua na thamani /
Life in Africa will be of value

Tuimbe tucheze tuseme Kiswahili /
Let us sing, let us dance, let us speak Swahili
Supu ya uyoga ni tamu kwell kwell /
Mushroom soup is really sweet



In 1982, the Kenyan hotel band Them Mushrooms released the song "Jambo Bwana" ("Hello Mister"). The song, written by band leader Teddy Kalanda Harrison in 1980, has become widely popular in Kenya and Tanzania. In 2001 the Safari Sound Band released the album Mambo Jambo, which featured the song (aka Jambo Jambo) as the title track. The song was also covered by numerous local artists and is heard throughout Kenya and Tanzania.
[edit]Jambo - Hakuna Matata (English)

"Jambo - Hakuna Matata
(No Problems)"

Single by Boney M.
Released July 1983

In 1983, German group Boney M. released "Jambo - Hakuna Matata". Liz Mitchell provided the song's lead vocals, backed by Reggie Tsiboe, Frank Farian, Cathy Bartney, Madeleine Davis, and Judy Cheeks. The single was intended to be included in the group's untitled seventh album, to be released in the fall of 1983. Due to a poor chart performance (#48 in the German charts), the single ultimately was not included in the album (which was completely reworked and not released until May 1984 as Ten Thousand Lightyears).

http://www.songsforteaching.com/putumayo/jambobwana.htm
Many thanks to Putumayo World Music for permission to publish these lyrics.

Forever and Ever - Valetine's Day 2010

Demis Roussous

Ever and ever, forever and ever you'll be the one
that shines in me like the morning sun.
Ever and ever, forever and ever you'll be my spring,
my rainbow's end and the song I sing.

Take me far beyond imagination.
You're my dream come true, my consolation.

Ever and ever, forever and ever you'll be my dream,
my symphony, my own lover's theme.
Ever and ever, forever and ever my destiny
will follow you eternally.

Take me far beyond imagination.
You're my dream come true, my consolation.

Ever and ever, forever and ever you'll be the one
that shines in me like the morning sun.
Ever and ever, forever and ever my destiny
will follow you eternally.

Sway with me , Sway me now

Los Panchos, Quien Sera



Julie London



Dean Martin


When marimba rhythms start to play
Dance with me, make me sway
Like the lazy ocean hugs the shore
Hold me close, sway me more

Like a flower bending in the breeze
Bend with me, sway with ease
When we dance you have a way with me
Stay with me, sway with me

Other dancers may be on the floor
Dear, but my eyes will see only you
Only you have that magic technique
When we sway I grow weak

I can hear the sound of violins
Long before it begins
Make me thrill as only you know how
Sway me smooth, sway me now

Other dancers may be on the floor
Dear, but my eyes will see only you
Only you have that magic technique
When we sway I grow weak

I can hear the sound of violins
Long before it begins
Make me thrill as only you know how
Sway me smooth, sway me now


Background information
Birth name Gayle Peck
Born September 26, 1926(1926-09-26)
Origin Santa Rosa, California, United States
Died October 18, 2000 (aged 74)
Encino
Genres Torch songs, Cool jazz
Occupations Singer, Actress
Instruments Vocals
Years active 1955 – 1975
Labels Bethlehem Records, Liberty Records
Website Voice in the Mirror: A Tribute to Julie London

Gayle Peck (September 26, 1926 – October 18, 2000), known as Julie London, was an American singer and actress. Best known for her smoky, sensual voice, she was at her singing career's peak in the 1950s. Her acting career lasted more than 35 years, concluding it with the role of nurse Dixie McCall on the television series Emergency! (1972–1979).

Born Gayle Peck in Santa Rosa, California, she was the daughter of Jack and Josephine Peck, who were a vaudeville song-and-dance team. When she was 14, the family moved to Los Angeles, California. Shortly after that, she began appearing in movies. She graduated from the Hollywood Professional School, Hollywood, California, in 1945.

In July 1947 she married actor Jack Webb (of Dragnet fame). Her widely regarded beauty and poise (she was a pinup girl prized by GIs during World War II) contrasted strongly with his pedestrian appearance and streetwise acting technique (much parodied by impersonators). This unlikely pairing arose from their mutual love for jazz music.[1] They had two daughters, Stacy and Lisa Webb. London and Webb divorced in November 1954. Daughter Stacy Webb was killed in a traffic accident in 1996.

In 1954, having become somewhat reclusive after her divorce from Webb, she met jazz composer and musician Bobby Troup at a club on La Brea Avenue in Los Angeles.[2] They married on December 31, 1959, and remained married until his death in February 1999. Together, they had one daughter, Kelly Troup and twin sons, Jody and Reese Troup.[3] Kelly Troup died in March 2002.

She suffered a stroke in 1995, and was in poor health because of her long-term cigarette habit until her death on October 18, 2000, in Encino, California, at age 74, survived by four of her five children. London was interred next to Troup in Forest Lawn - Hollywood Hills Cemetery, Los Angeles. Her star on the Hollywood Walk of Fame is at 7000 Hollywood Boulevard in Los Angeles.

London began singing in public in her teens before appearing in a film. She was discovered by talent agent Sue Carol (wife of actor Alan Ladd) while London was working as an elevator operator. Her early film career did not include any singing roles.

She recorded 32 albums in a career that began in 1955 with a live performance at the 881 Club in Los Angeles.[4] Billboard named her the most popular female vocalist for 1955, 1956, and 1957. She was the subject of a 1957 Life cover article in which she was quoted as saying, "It's only a thimbleful of a voice, and I have to use it close to the microphone. But it is a kind of oversmoked voice, and it automatically sounds intimate."

Julie London's debut recordings were for the Bethlehem Records label. While shopping for a record deal, she recorded 4 tracks that would later be included on the compilation albums Bethlehem's Girlfriends in 1955. Bobby Troup backed London on the dates, and London recorded the standards Don't Worry About Me, Motherless Child, A Foggy Day, and You're Blasé.

London's most famous single, "Cry Me a River", was written by her high-school classmate Arthur Hamilton and produced by Troup.[5] The recording became a million-seller after its release in December 1955 and also sold on re-issue in April 1983 from the attention brought by a Mari Wilson cover. London performed the song in the film The Girl Can't Help It (1956), and her recording gained later attention in the films Passion of Mind (2000) and V for Vendetta (2006).

Other popular singles include "Hot Toddy," "Daddy" and "Desafinado." Recordings such as "Go Slow" epitomized her career style: her voice is slow, smoky, and sensual. Aside from her music, the notably[citation needed] suggestive portrait photos used on London's album covers made lasting impressions even on the tone deaf.[citation needed]

The song "Yummy Yummy Yummy" was featured on the HBO television series Six Feet Under and appears on its soundtrack album. Her rendition of "The Good Life" was featured in a 2008 British Airways dancing aquatic television advertisement for its new Terminal 5 at London Heathrow Airport, London, United Kingdom.

Her last recording was "My Funny Valentine" for the soundtrack of the Burt Reynolds film Sharky's Machine (1981).[1]

Primarily remembered as a singer, London also made more than 20 films. One of her strongest performances came in Man of the West (1958), starring Gary Cooper and directed by Anthony Mann, in which her character, the film's only woman, is abused and humiliated by an outlaw gang.

She performed on many television variety series and also in dramatic roles, including guest appearances on Rawhide (1960) and The Big Valley (1968). Her ex-husband Webb was executive producer for the series Emergency!, and in 1972 he hired both his ex-wife and her husband Troup for key roles. London played nurse Dixie McCall), while Troup was emergency-room physician Dr. Joe Early. She and her co-stars Kevin Tighe, Randolph Mantooth, and Robert Fuller also appeared in an episode of the Webb-produced series Adam-12, reprising their roles. London and Troup appeared as panelists on the game show Tattletales several times in the 1970's.

Tom Dooley

The Kingston Trio: Tom Dooley!




Johnny Rivers


Lyrics:
(Intro) Throughout history
There've been many songs written about the eternal triangle
This next one tells the story of a Mr Grayson, a beautiful woman
And a condemned man named Tom Dooley...
When the sun rises tomorrow, Tom Dooley... must hang...
[Hang down your head, Tom Dooley
Hang down your head and cry
Hang down your head, Tom Dooley
Poor boy, you're bound to die]
I met her on the mountain
There I took her life
Met her on the mountain
Stabbed her with my knife
[Chorus]
This time tomorrow
Reckon where I'll be
Hadn't a-been for Grayson
I'd a-been in Tennessee
[Chorus]
This time tomorrow
Reckon where I'll be
Down in some lonesome valley
Hangin' from a white oak tree
[ending chorus]


Tom Dooley" is an old North Carolina folk song based on the 1866 murder of a woman named Laura Foster in Wilkes County, North Carolina. It is best known today because of a hit version recorded in 1958 by The Kingston Trio. This version was a multi-format hit, reaching #1 in Billboard, the Billboard R&B listing, and appearing in the Cashbox country music top 20.

It was selected as one of the Songs of the Century by the Recording Industry Association of America (RIAA), the National Endowment for the Arts, and Scholastic Inc.

In the documentary Appalachian Journey (1991), folklorist Alan Lomax describes Frank Proffitt as the "original source" for the song. Since the song predates Frank Proffitt's early version, it appears that Lomax means that Proffitt's version is the one that has become most well known to us because the Kingston Trio derived their interpretation from it. Certainly, there is at least one earlier known recording, by Grayson and Whitter made in 1929, approximately 10 years before Proffitt cut his own recording.

Impoverished Confederate veteran Tom Dula (Dooley), Laura Foster's lover and probable fiancé, was convicted of her murder and hanged in 1868. Foster was stabbed to death with a large knife; the brutality of the attack partly accounted for the widespread publicity the murder and subsequent trial received.

Dula had a second lover, Anne Melton. It was her comments that led to the discovery of Foster's body, but Melton was acquitted in a separate trial based on Dula's word. Dula's enigmatic statement on the gallows that he had not harmed Foster but still deserved his punishment led to press speculation that Melton was the actual killer and that Dula simply covered for her. Melton, who had once expressed jealousy of Dula's purported plans to marry Foster, died insane a few years after the homicide. Thanks to the efforts of newspapers such as The New York Times, and to the fact that former North Carolina governor Zebulon Vance represented Dula pro bono, Dula's murder trial and hanging were given widespread national publicity. A local poet, Thomas C. Land, wrote a popular song about Dula's tragedy after the hanging.

A man named "Grayson," mentioned in the song as pivotal in Dula's downfall, has sometimes been characterized as a romantic rival of Dula's or a vengeful sheriff who captured him and presided over his hanging. Some variant lyrics of the song portray Grayson in that light, and the spoken introduction to the Kingston Trio version did the same. Col. James Grayson was actually a Tennessee politician who had hired Dula on his farm when the young man fled North Carolina under suspicion and was using a false name. Grayson did help North Carolinians capture Dula and was involved in returning him to North Carolina, but otherwise played no role in the case.

Dula was tried in Statesville, because it was believed he could not get a fair trial in Wilkes County. He was given a new trial on appeal but he was again convicted, and hanged on May 1, 1868. His alleged accomplice, Jack Keaton, was set free. On the gallows, Dula reportedly stated, "Gentlemen, do you see this hand? I didn't harm a hair on the girl's head."

Dula's last name was pronounced "Dooley," leading to some confusion in spelling over the years. (The pronunciation of a final "a" like "y" is an old feature in Appalachian speech, as in the term "Grand Ole Opry"). The confusion was probably compounded by the fact that Dr. Tom Dooley, an American physician known for international humanitarian work, was at the height of his fame in 1958, when the Kingston Trio version became a major hit.

The doleful ballad was probably first sung shortly after the execution and is still commonly sung in North Carolina.


The Kingston Trio is an American folk and pop music group that helped launch the folk revival of the late 1950s to late 1960s. The group originated as a San Francisco Bay Area nightclub act with an original lineup of Dave Guard, Bob Shane, and Nick Reynolds. It rose to international popularity, fueled by unprecedented sales of 33 1/3 rpm long-playing record albums, and helped to alter the direction of popular music in the U.S.

The Kingston Trio was one of the most prominent folk music groups of the era's relatively short-lived pop-folk boom that their success helped to create. Beginning with their first album released in 1958—which included the hit recording of "Tom Dooley" that sold over three million copies as a single,[2] the Trio released nineteen albums that made Billboard's Top 100, fourteen of which ranked in the top 10, and five of which hit the number 1 spot.[3] Four albums charted during the same week among the Top 10 selling albums in December 1959,[4] a record unmatched for nearly 50 years,[5] and the group still ranks after half a century in the all time top ten of many of Billboard's charts, including those for most weeks with a #1 album, most total weeks charting an album, most #1 albums, most consecutive #1 albums, and most top ten albums.

Music historian Richie Unterberger characterized their impact as "phenomenal popularity",[7] and the Kingston Trio's massive record sales in its early days made acoustic folk music commercially viable, paving the way for singer-songwriter, folk rock, and Americana artists who followed in their wake.

I Feel Love

Donna Summer



Ooh
it's so good, it's so good
it's so good, it's so good
it's so good
Ooh
heaven knows, heaven knows
heaven knows, heaven knows
heaven knows
Ooh
I feel love, I feel love
I feel love, I feel love
I feel love

I feel love, I feel love, I feel love

Ooh
fallin' free, fallin' free
fallin' free, fallin' free
fallin' free
Ooh
you and me, you and me
you and me, you and me
you and me
Ooh
I feel love, I feel love
I feel love, I feel love
I feel love

I feel love, I feel love, I feel love

Ooh
I'll get you, I'll get you
I'll get you, I'll get you
I'll get you
Ooh
what you do, what you do
what you do, what you do
what you do
Ooh
I feel love, I feel love
I feel love, I feel love
I feel love

I feel love, I feel love, I feel love



Don, old, Yeh Mera Dil


DON Movie Songs Lyrics
Yeh mera dil yaar ka deewana Lyrics Hindi Song Title: Yeh mera dil yaar ka deewana : DON
Singer(s): ASHA BHOSLE

Hindi Lyrics:

La la la la, li la la la la la la
Yeh mera dil yaar ka deewana
Deewana deewana pyaar ka parwaana
Aata hai mujhko pyaar mein jal jaana
Mushkil hai pyaare tera bachke jaana
Yeh mera dil yaar ka deewana - 2
(Dil voh chaahe jisse, chaahe jisse usse paaye
Pyaar voh yaar ke jo naam pe hi mit jaaye) - 2
Jaan ke badle mein jaan loon nazraana
Yeh mera dil yaar ka deewana
Deewana deewana pyaar ka parwaana
(Pal pal ek halchal, dil mein ek toofaan hai
Aane ko hai voh manzil jiska mujhe armaan hai) - 2
Bhoolna na tujhe dil ka yeh takraana
Yeh mera dil yaar ka deewana
Deewana deewana pyaar ka parwaana
Aata hai mujhko pyaar mein jal jaana
Mushkil hai pyaare tera bachke jaana
Yeh mera dil yaar ka deewana - 2



"I Feel Love"

Single by Donna Summer
from the album I Remember Yesterday
B-side "Can't We Just Sit Down (And Talk It Over)"
Released July 2, 1977
Format 7" single, 12" single
Recorded 1976
Genre Disco, House
Label Casablanca (U.S.)
GTO Records (UK)
Writer(s) Donna Summer, Giorgio Moroder, Pete Bellotte
Producer Giorgio Moroder
Pete Bellotte
Certification Gold (US)
Gold (UK)
Donna Summer singles chronology
"Can't We Just Sit Down (And Talk It Over)"
(1977) "I Feel Love"
(1977) "Shut Out"
(1977)
"I Feel Love (Patrick Cowley Remix)"

Single by Donna Summer
Released 1982
Format 7" single, 12" single
Genre Disco
Label Casablanca
Writer(s) Donna Summer, Giorgio Moroder, Pete Bellotte
Producer Giorgio Moroder
Pete Bellotte
Donna Summer singles chronology
"State of Independence"
(1982) "I Feel Love (Patrick Cowley Remix)"
(1982) "The Woman in Me"
(1983)
"I Feel Love (The 1995 Remixes)"

Single by Donna Summer
Released 1995
Format 12" single, CD single
Recorded 1995
Genre Disco
Label PolyGram
Writer(s) Donna Summer, Giorgio Moroder, Pete Bellotte
Producer Giorgio Moroder
Pete Bellotte
Donna Summer singles chronology
"Any Way At All"
(1994) "I Feel Love (The 1995 Remixes)"
(1995) "State of Independence (The 1996 Remixes)"
(1996)

Donna Summer - "I Feel Love"

listen to a clip from the song.
Problems listening to this file? See media help.
"I Feel Love" is a song by Donna Summer, taken from her 1977 concept album I Remember Yesterday. The recording's entirely electronic backing track helped pioneer electronic disco music.
The song constituted the 'future' segment of the album, which represented a stylistic progress through time. The title track of the I Remember Yesterday album represented the 1940s, "Love's Unkind" the 50s, "Back in Love Again" the 60s and the album concluded with the futuristic "I Feel Love". The song reached number one in the UK Singles Chart, number six on the Billboard Hot 100 in the US and number nine on the Hot Soul Chart. It quickly became popular in gay dance clubs and was adopted as a gay anthem.[1] "I Feel Love" is ranked #411 on Rolling Stone magazine's list of The 500 Greatest Songs of All Time.

Before "I Feel Love", most disco recordings had been backed by acoustic orchestras[2] although all-electronic music had been produced for decades. Giorgio Moroder's innovative production of this disco-style song, recorded with an entirely synthesized backing track, was influential in the development of disco, electronica, house and techno styles and has even been said to have originated the latter genres.[3]
[edit]Reception

According to David Bowie, then recording of his 'Berlin Trilogy', its impact on the genre's direction was recognized early on:
“ One day in Berlin ... [Brian] Eno came running in and said, 'I have heard the sound of the future.' … he puts on 'I Feel Love', by Donna Summer … He said, 'This is it, look no further. This single is going to change the sound of club music for the next fifteen years.' Which was more or less right.[4] ”
The album version lasts for almost six minutes. It was extended for release as a 12" maxi-single, the eight-minute version included on the 1989 compilation The Dance Collection: A Compilation of Twelve Inch Singles. The song was slightly edited on
the 7" format, the fade-in opening sound reaching maximum volume sooner. A version which fades out at 3:45, before the third verse and final choruses, has been included on a large number of greatest hits packages and other compilations issued by PolyGram, Mercury Records, Universal Music and others, such as 1994's Endless Summer: Greatest Hits and 2003's The Journey: The Very Best of Donna Summer.
In 2004, Rolling Stone ranked "I Feel Love" #411 on their list of the 500 Greatest Songs of All Time. The review for the song stated that Moroder and Summer "claimed tomorrow in the name of disco."[5]
Following the track's success, within months Summer and Moroder produced the 11 minute "Now I Need You"/"Working The Midnight Shift" sequence (on Summer's 1977 double album "Once Upon A Time"), which successfully builds on "I Feel Love"'s pioneering ethereal vocals, mechanised beats, sequenced arpeggios and ostinato basslines.
[edit]Patrick Cowley remix

In the early 1980s, after Summer had left Casablanca Records and signed with Geffen Records, Casablanca issued a series of singles from her 1979 double album Bad Girls as well as the compilation Walk Away - The Best of 1977-1980. A new version of "I Feel Love" remixed by disco and high energy pioneer Patrick Cowley followed in early 1982.
The full-length 12" version, 15:45 long, became a dance floor hit again five years after its original release and was issued as an edited 7" single that reached #21 on the UK singles chart. The remix used loops, keeping the song's bass-line going for extended passages of overdubbed effects and synthesiser parts. Thus the track is not a remix in the true sense (ie, rebuilding the track from its constituent parts) due to the new instrumentation superimposed.


Donna Summer (born LaDonna Adrian Gaines; December 31, 1948)[1] is an American singer and songwriter who gained prominence during the disco era of music, earning the title "The Queen of Disco".
Summer was trained as a gospel singer before her introduction to the music industry and has always been known for her "powerhouse" vocal delivery. Though she is most notable for her disco hits, Summer's repertoire has expanded to include contemporary R&B, rock, pop, and gospel. Summer is one of the most successful recording artists of the 1970s and was the first artist to have three consecutive double albums hit number one on the Billboard charts. She also became the first female artist to have four number-one singles in a thirteen-month period. Summer's website states that she has sold more than 130 million records worldwide.[2]

Born on New Year's Eve 1948 in the Dorchester neighborhood of Boston, Massachusetts, Summer was one of seven children raised by devout Christian parents. She sang in church, and in her teens joined a psychedelic rock group called The Crow, so named because Summer was the only black member of the group. At eighteen, Gaines left home and school to audition for a role in the cast of the Broadway musical, Hair. Unsuccessful in getting the part in the Broadway show (Melba Moore got the role), she was offered the European Tour when the show moved to Germany, where Summer also performed in the German versions of several musicals including Godspell and Show Boat. She settled in Munich and also performed with the Viennese Folk Opera and the pop band Munich Machine.
In 1971, Summer released a single in Europe titled "Sally Go 'Round The Roses", her first solo recording. The single was unsuccessful, however, and she had to wait until 1974 to launch a solo career. Summer married Austrian actor Helmuth Sommer ("Summer" is an Anglicization of his last name) that same year and gave birth to daughter Mimi the following year. Summer did various musical jobs in studios and theaters for several years, including the pop group FamilyTree from 1974 to 1975.
After her divorce from Sommer, she married her second husband, American musician Bruce Sudano, in 1980. They have two daughters named Brooklyn and Amanda. Sudano was a member of the 1970s groups Alive N Kickin' and The Brooklyn Dreams.
[edit]Early success and notoriety
While singing back-up for groups such as Three Dog Night, she met producers Giorgio Moroder and Pete Bellotte. With these producers, Summer signed a contract in the Netherlands and issued her first album, Lady of the Night, which included the European hit, "The Hostage". The single made number one in France and Belgium, and number two in the Netherlands. Its follow-up, the title track of the album, also gained some degree of European success.
In the summer of 1975, Summer approached Moroder and Bellotte with an idea for a song. She had come up with the lyric "Love to love you, baby" as the possible title for the song. Moroder was interested in developing the new sound that was becoming increasingly popular (which later would become known as Disco), and used Summer's lyric to develop the song. He had the idea that she should moan and groan orgasmically, but Summer was reluctant. Eventually she agreed to record the song as a demo. She has stated that she was not completely sure of some of the lyrics, and parts of the song were improvised during the recording. Summer later stated on a VH1 "Behind the Music" program that she pictured herself as Marilyn Monroe acting out the part of someone in sexual ecstasy. Moroder was so astounded with Summer's orgasmic vocals that he insisted she release the single herself. The song, titled "Love to Love You", was released to modest success in Europe. When it reached America to the hands of Casablanca president Neil Bogart, he was so ecstatic over the demo that he asked Moroder to produce a twenty-minute version of the song. Summer, Moroder and producer Pete Bellotte cut a seventeen-minute version, renamed it "Love to Love You Baby", and Casablanca signed Summer and issued it as a single in November 1975. Casablanca distributed Summer's work in the US while other labels distributed it in different nations during this period.
"Love to Love You Baby" was Summer's first big hit in America, reaching number two on the Billboard Hot 100 singles chart in early 1976 and becoming her first Number-One Hot Dance Club Play chart hit. The single was quickly certified Gold with 1,000,000 copies in the US. The album (side one of which was completely taken up with the full-length version of the title track) was also released in late 1975 and was soon certified Gold for sales of over 500,000 US copies. The song was branded "graphic" by some music critics and was even banned by some radio stations for its explicit content. Time magazine reported that 22 orgasms were simulated in the making of the song, and some of the music press dubbed Summer "The First Lady of Love." Two successful, Gold-selling concept albums followed: A Love Trilogy which featured the single "Could It Be Magic" and Four Seasons Of Love which featured the uptempo "Spring Affair" as well as the ballad "Winter Melody" which was a top-30 hit in the UK - the first of Summer's singles to be aired on Radio 1 and a hit on the US R&B charts.
The 1977 album I Remember Yesterday, another concept album, found the Summer/Moroder/Bellotte team combining the Disco sound with musical elements of the past, present and future. The song representing the future, "I Feel Love" became a landmark recording, giving Summer another Pop and R&B hit reaching number 6 on the Billboard Hot 100 singles chart and number one in the UK. "I Feel Love" earned her a second US Gold Single as well. The song's use of electronic sounds was revolutionary and popularized synthesizers in dance, rock, and the burgeoning new wave.
Summer released a double album in 1977, Once Upon A Time, a concept album telling a modern-day Cinderella "Rags to Riches" story through the means of electronica. The album contained three top-forty hits: Fairy Tale High, Rumour Has It and I Love You.

http://en.wikipedia.org/wiki/Asha_Bhosle

Constantly

Cliff Richard


All day I'm walking in a dream
I think about you constantly
Just like an ever flowing stream
Your memory haunts me constantly
Shadows fall and I try to drive you from my mind
So you're no longer near to me
But my heart sees you there with me
Every sunset you share with me
The rain that patters through the tree reminds
Me of you constantly
Your name is whispered by the breeze and love birds
Bring your song to me
Just as sure as each star keeps burning
In the sky your love will stay a flame in me
A flame that burns so bright
Not only through the night
But constantly
Though we may be far apart
You're constantly deep in my heart

There's a Summer Place

Cliff Richard




Percy Faith



Andy Williams


There's a summer place
Where it may rain or storm
Yet I'm safe and warm
For within that summer place
Your arms reach out to me
And my heart is free from all care
For it knows

There are no gloomy skies
When seen through the eyes
Of those who are blessed with love

And the sweet secret of
A summer place
Is that it's anywhere
When two people share
All their hopes
All their dreams
All their love

There's a summer place
Where it may rain or storm
Yet I'm safe and warm
In your arms, in your arms
In your arms, in your arms
In your arms, in your arms



Howard Andrew "Andy" Williams (born December 3, 1927) is an American pop singer. Andy Williams has recorded 18 Gold[1] and three Platinum[2] certified albums. Ronald Reagan described Andy's voice as "a national treasure". He had his own popular TV variety show from 1962–71. He also owns his own theater, the Moon River Theatre in Branson, Missouri.

Williams was born in Wall Lake, Iowa[3], the son of Jay Emerson and Florence (née Finley) Williams. He first performed in a children's choir at the local Presbyterian church.[4] Williams and his three older brothers Bob, Don, and Dick formed the Williams Brothers quartet[5] in the late 1930s, and they performed on radio in the Midwest, first at WHO in Des Moines, Iowa, and later at WLS in Chicago and WLW in Cincinnati. Williams graduated from Western Hills High School in Cincinnati. The Williams Brothers appeared with Bing Crosby on the hit record "Swinging on a Star" (1944). This led to a nightclub act with entertainer Kay Thompson from 1947 to 1951.[6]
[edit] Solo career
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Williams' solo career began in 1953.[7] He recorded six sides for RCA Victor's label "X," but none of them were popular hits.[8]

After finally landing a spot as a regular on Steve Allen's Tonight Show in 1954[9], he was signed to a recording contract with Cadence Records, a small label in New York run by conductor Archie Bleyer. His third single, "Canadian Sunset" reached #7 in the Top Ten in August 1956, and was soon followed by his only Billboard #1 hit, "Butterfly" (a cover of a Charlie Gracie record on which Williams imitated Elvis Presley) in February 1957. More hits followed, including "The Hawaiian Wedding Song" (U.S. #11), "Are You Sincere" (U.S. #3 in February 1958), "The Village of St. Bernadette" (U.S. #7 in December 1959), "Lonely Street" (U.S. #5 in September 1959), and "I Like Your Kind Of Love" with Peggy Powers (U.S. #8 in May 1957) before Williams moved to Columbia Records in 1961, having moved from New York to Los Angeles and gaining another hit with "Can't Get Used to Losing You" (U.S. #2). In terms of chart popularity, the Cadence era was Williams' peak although songs he introduced on Columbia became much bigger standards. Two top ten hits from the Cadence era, "Butterfly" and "I Like Your Kind of Love" were apparently believed to not suit Williams' later style; they were not included on a Columbia reissue of his Cadence greatest hits in the 1960s.

In 1964, Williams ultimately became the owner of the Cadence master tapes, which he occasionally licensed to Columbia, including not only his own recordings, but those of his fellow Cadence-era labelmates, The Everly Brothers, Lenny Welch, The Chordettes, and Johnny Tillotson. In 1968, although he was still under contract with Columbia for his own recordings, Williams formed a separate company called Barnaby Records not only to handle reissuing of the Cadence material, especially that of The Everly Brothers (one of the first Barnaby LPs was a double LP set of the brothers long out of print Cadence hits) but new artists as well. Barnaby also had several Top 40 hits in the 70s with novelty artist Ray Stevens (who had done a summer replacement show for Williams in 1970), including Top 10s such as "Everything Is Beautiful" in 1970, and "The Streak" in 1974.

Also in 1970, Barnaby signed and released the first album by an unknown singer-songwriter named Jimmy Buffett ("Jimmy Buffett Down to Earth") produced by Travis Turk. Columbia initially was the distributor for Barnaby, but later distribution was handled first by MGM Records and then GRT. Once Barnaby ceased operating as a working record company at the end of the 1970s, Williams licensed the old Cadence material to various other labels (such as Varese & Rhino in the U.S.) after 1980.

During the 1960s, Williams became one of the most popular vocalists in the country and was signed to what was at that time the biggest recording contract in history. He was primarily an album artist, and at one time he had earned more gold albums than any solo performer except Frank Sinatra, Johnny Mathis and Elvis Presley. By 1973 he had earned as many as 18 gold album awards. Among his hit albums from this period were Moon River, Days of Wine and Roses (number one for 16 weeks in mid-1963), The Andy Williams Christmas Album, Dear Heart, The Shadow of Your Smile, Love, Andy, Get Together with Andy Williams, and Love Story. These recordings, along with his natural affinity for the music of the 1960s and early 1970s, combined to make him one of the premier easy listening singers of that era. In the UK, Williams continued to reach high chart status until 1978. The albums Can't Help Falling In Love (1970), Andy Williams Show (1970) Home Lovin Man ( #1 1971), Solitaire (1973), The Way We Were (1974) and Reflections (1978) all reached the Top 10.

Williams forged an indirect collaborative relationship with Henry Mancini, although they never recorded together. Williams was asked to sing Mancini and Johnny Mercer's song "Moon River" at the 1962 Oscar Awards (where it won), and it quickly became Williams' theme song. ("Moon River" was never a chart hit for Williams).[10] The next year Williams sang "Days of Wine and Roses" which was written by Mancini and Mercer (this song also won). Two years later, he sang Mancini's "Dear Heart" at the 1965 awards and "The Sweetheart Tree" (also written with Mercer) at the 1966 awards.

On August 5, 1966, the 14-story, 700 room Caesars Palace casino and nightclub opened in Las Vegas, Nevada with the stage production of "Rome Swings", in which Williams starred. He performed live to a sold out crowd in the Circus Maximus showroom. He headlined for Caesars for the next twenty years.

In 1968, Columbia released a 45-rpm record of two songs Williams sang at the funeral of Robert F. Kennedy, a close friend: "Ave Maria" and "The Battle Hymn of the Republic". These were never released on a long-playing record.

Williams also competed in the teenage-oriented singles market as well and had several charting hits including "Can't Get Used to Losing You", "Happy Heart", and "Where Do I Begin", the theme song from the 1970 blockbuster film, Love Story. In addition Williams hit the Top 10 of the UK Singles Chart with, "Almost There" (1965), "Can't Help Falling In Love" (1970), "Home Lovin' Man" (1970) and "Solitaire" (1973).

Both Williams and Petula Clark recorded "Happy Heart" at the same time, just prior to his guest appearance on her second NBC-TV special. Unaware that she, too, was releasing the song as a single, he asked to perform it on the show. The exposure ultimately led to his having the bigger hit with the tune. The song "Happy Heart" is played during the final scene, and throughout the end credits, of the Danny Boyle film Shallow Grave .

Building on his experience with Allen and some short-term variety shows in the 1950s, he became the star of his own weekly television variety show in 1962. This series, The Andy Williams Show, won three Emmy Awards for outstanding variety program. Among his series regulars were the Osmond Brothers. He gave up the variety show in 1971 while it was still popular and retrenched to three specials per year. His Christmas specials, which appeared regularly until 1974 and intermittently from 1982 into the 1990s, were among the most popular of the genre. Williams has recorded eight Christmas albums over the years and has been penned as Mr. Christmas.

Williams hosted the most Grammy telecasts, from the 13th Annual Grammy Awards in 1971 through the 19th Annual Grammy Awards in 1977, totaling seven consecutive shows. He returned to television to do a syndicated half-hour series in 1976–77.

In the early 1970s, when the Nixon Administration attempted to deport John Lennon, Andy Williams was an outspoken defender of the Beatles' right to stay in the United States.

A caricature of Andy Williams is included in the montage of caricatures displayed on the cover of Ringo Starr's 1973 album, "Ringo".

Williams also sang the national anthem at Super Bowl VII in 1973 with Little Angels of Holy Angels Church in Chicago, Illinois

Gypsy Feet

Jim Reeves

Gypsy feet will wander Gypsy feet will stray
Neither love nor thunder can ever make them stay
I can't tame a heart so wild like a jungle drum it beats
Were you born a devil child with the restless gypsy feet

Gypsy feet keep dancing to the tune of violin
Just like devil's prancing you dance away your sins
If I could tame your restless heart would make my life complete
But I can't put an anchor on your gypsy feet
[ guitar ]

My picture's in your locket on that golden chain
Money's in your pocket and you're gone again
Gypsy lips will promise vows that they never keep
Hearts like mine are crumbled beneath your gypsy feet
Gypsy feet keep dancing...

Rocky Road to Dublin - The Dubliners

The Dubliners


The High Kings



Orthodox Celts



While in the merry month of May from me home I started,
Left the girls of Tuam so sad and broken hearted,
Saluted father dear, kissed me darling mother,
Drank a pint of beer, me grief and tears to smother,
Then off to reap the corn, leave where I was born,
Cut a stout black thorn to banish ghosts and goblins;
Bought a pair of brogues rattling o'er the bogs
And fright'ning all the dogs on the rocky road to Dublin.

One, two, three four, five,
Hunt the Hare and turn her down the rocky road
all the way to Dublin, Whack follol de rah !

In Mullingar that night I rested limbs so weary,
Started by daylight next morning blithe and early,
Took a drop of pure to keep me heartfrom sinking;
Thats a Paddy's cure whenever he's on drinking.
See the lassies smile, laughing all the while
At me curious style, 'twould set your heart a bubblin'
Asked me was I hired, wages I required,
I was almost tired of the rocky road to Dublin.

One, two, three four, five,
Hunt the Hare and turn her down the rocky road
all the way to Dublin, Whack follol de rah !

In Dublin next arrived, I thought it such a pity
To be soon deprived a view of that fine city.
So then I took a stroll, all among the quality;
Me bundle it was stole, all in a neat locality.
Something crossed me mind, when I looked behind,
No bundle could I find upon me stick a wobblin'
Enquiring for the rogue, they said me Connaught brogue
Wasn't much in vogue on the rocky road to Dublin.

One, two, three four, five,
Hunt the Hare and turn her down the rocky road
all the way to Dublin, Whack follol de rah !

From there I got away, me spirits never falling,
Landed on the quay, just as the ship was sailing.
The Captain at me roared, said that no room had he;
When I jumped aboard, a cabin found for Paddy.
Down among the pigs, played some hearty rigs,
Danced some hearty jigs, the water round me bubbling;
When off Holyhead I wished meself was dead,
Or better for instead on the rocky road to Dublin.

One, two, three four, five,
Hunt the Hare and turn her down the rocky road
all the way to Dublin, Whack follol de rah !

Well the boys of Liverpool, when we safely landed,
Called meself a fool, I could no longer stand it.
Blood began to boil, temper I was losing;
Poor old Erin's Isle they began abusing.
"Hurrah me soul" says I, me Shillelagh I let fly.
Some Galway boys were nigh and saw I was a hobble in,
With a load "hurray !" joined in the affray.
We quitely cleared the way for the rocky road to Dublin.

One, two, three four, five,
Hunt the Hare and turn her down
the rocky road and all the way to Dublin,
Whack follol de rah !


For the 1967 film of the same name, see Rocky Road to Dublin (film).
"Rocky Road to Dublin" is a fast-paced 19th century Irish song about a man's experiences as he travels to Liverpool, England from his home in Tuam. The tune has a typical Irish rhythm, classified as a slip jig and is often performed instrumentally.
The song is partially recited several times by Mr. Deasy in James Joyce's Ulysses.
The words were written by D.K. Gavan, "The Galway Poet", for the English music hall performer Harry Clifton (1824-1872), who popularised the song.
The Dubliners version was used in the 2009 film Sherlock Holmes.



The Dubliners formed in 1962 and made a name for themselves playing regularly in O'Donoghue's Pub in Dublin. Initially known as "The Ronnie Drew Ballad Group", the founding members were Ronnie Drew, Luke Kelly, Ciaran Bourke and Barney McKenna. The change of name came about due to Drew's unhappiness with the name, coinciding with the fact that Kelly was reading Dubliners by James Joyce at the time.
Drew spent some time in Spain in his younger years where he learned to play Flamenco guitar, and he accompanied his songs on a Spanish guitar. His gravelly voice has been compared to a cement mixer and the sound of coal being crushed under a door; it is instantly recognizable. Drew left the band in 1974 to spend more time with his family, to be replaced by Jim McCann. He returned to the Dubliners five years later, but left the group again in 1995. Ronnie Drew died at St Vincent's Private Hospital in Dublin on 16 August 2008 after a long illness. Paddy Reilly took Drew's place in 1995. Some of Drew's most significant contributions to the band are the hit single "Seven Drunken Nights", his rendition of "Finnegan's Wake", and "McAlpine's Fusiliers".
Luke Kelly was more of a balladeer than Drew, and he played chords on the five-string banjo. Kelly sang many defining versions of traditional songs like "The Black Velvet Band", "Whiskey in the Jar", "Home Boys Home"; but also Phil Coulter's "The Town I Loved So Well", Ewan MacColl's "Dirty Old Town" and "Raglan Road", written by the famous Irish poet Patrick Kavanagh. Kavanagh met Kelly in a pub, and asked him to sing the song.
In 1980, Luke Kelly was diagnosed with a brain tumour and the band took on a replacement in 1982, Sean Cannon. Sometimes Kelly was too ill to sing, though he was sometimes able to join the band for a few songs, While on tour in Germany he collapsed on stage. He continued to tour with the band until 2 months before his death. One of the last concerts he took part in was recorded and released: Live in Carré (Amsterdam, Netherlands), released in 1983. In November 2004, the Dublin city council voted unanimously to erect a bronze statue of Luke Kelly. Kelly is buried in Glasnevin Cemetery in Dublin.
Ciarán Bourke was a singer, but he also played the guitar, tin whistle and harmonica. He sang many songs in Irish ("Peggy Lettermore", "Preab san Ól"). In 1974 disaster struck for Ciarán Bourke: he collapsed on stage after suffering a brain haemorrhage. A second haemorrhage left him paralysed on his left side. Bourke died in 1988. The band did not officially replace him until his death.
Barney McKenna is a renowned tenor banjo and mandolin player. In the Dubliners' stage shows he sings sea shanties and love songs to minimal instrumental accompaniment. He is also well known amongst fans as a great teller of tall stories and jokes.
John Sheahan and Bobby Lynch joined the band in 1964. They had been playing during the interval at concerts, and usually stayed on for the second half of the show. When Luke Kelly moved to England in 1964, Lynch was taken on as his temporary replacement. According to Sheahan, he was never (and still has not been) ever officially asked to join the band. Sheahan is the only member to have had a musical education.


The High Kings are an Irish ballad group. They were formed by the same creators as the Celtic Woman phenomenon. Finbarr Clancy (son of Bobby Clancy), Brian Dunphy (son of Sean Dunphy, who represented Ireland in the Eurovision Song Contest 1967), Martin Furey (son of Finbar Furey of the Fureys) and Broadway/pop/country star Darren Holden make up the group. They recently were featured on PBS during their fund drive special[1].
Darren Holden previously starred as The Pianoman (Billy Joel) in the Broadway musical blockbuster "Movin' Out". He was cast for the role by Joel himself.[citation needed] Holden originated the role for the US National tour which ran from Jan 2004-Jan 2007 and tours of Canada and Japan in 2006. His 2006 release "Roadworks" sold more than 10,000 copies in Japan. Prior to being invited to join the High Kings, he performed regularly with Billy Joel's touring band across the US.

Orthodox Celts is a Serbian band which plays Irish folk music combined with rock elements. Their music led to a popularisation of Irish and Celtic music and other aspects of Irish and Celtic culture in Serbia. Despite their unusual sound the band is currently one of the top acts of the Serbian rock scene and has influenced several younger bands, most notably Tir na n'Og and Irish Stew of Sindidun.
The band started their career with traditional Irish songs and, gradually, introduced more and more of their own material (lyrics mostly written by band's frontman Aleksandar Petrović, music mostly written by band's violinist Ana Đokić). All their songs are in English, but the group has composed some purely instrumental songs as well. The band traditionally celebrates St. Patrick's Day with a large concert in Belgrade.

During the mid-eighties, Roze Poze drummer, Dušan Živanović wanted to form a band which would perform the cover versions of Irish folk songs. Even though he had partially managed to fulfill this idea in Roze Poze, in 1992, Živanović took up playing the accordion and, with Ana Đokić (violin) and Dejan Lalić (mandolin, banjo, tin whistles), formed a band which performed informally at clubs. The first official public appearance the band had on Saint Patrick's day at the British Council in 1992. The following year, vocalist Aleksandar Petrović, also known as Aca Celtic, joined the band and they started working more accurately. The rest of the lineup featured Vladan Jovković on guitar and Dejan Jevtović on bass guitar.
The band released their first self-titled album in mid-1994, featuring cover versions of twelve Irish folk songs. Among the covers appeared the songs "Nancy Whiskey", soccer anthem "A Grand Old Team", "The Wild Rover", "The Irish Rover" and others. The band presented the album live, mainly in Belgrade's KST. The band also had acoustic sets in chamber arrangement. At the time, the band started writing their own songs, keeping up with the existing musical style. Their performance held at Synagogue in Novi Sad on September 15, 1995, with the band Pachamama, was released as a split live album Musical Parallels in 1996.
For the next album, The Celts Strike Again, the band, beside the cover versions of traditional songs, included two of their own songs. As guests on the album appeared Ana Sofrenović who did vocals on the track "Lock Lommond", Vampiri vocalist Aleksandar Eraković did backing vocals, Stočari member Branko Vitas played banjo, Pachama member Miljan Mihaljčić played the traditional instruments and Renesansa member Žorž Grujić played zurla and Serbian bagpipes. Three promotional videos were recorded for the album, for "Drinking Song", "Star Of The County Down" and the title track. The later also appeared on the Radio Index various artists compilation Nas slušaju svi, mi ne slušamo nikoga![1].
In 1997, the band, with Madame Piano, performed at the Budva music festival with the song "Galija". The song appeared on the official festival release. At the time, the band presented their new member, Dejan Popin (tin whistles), and together they started working on their new release. Green Roses, released in 1999, featured sixteen songs, half of which were traditional covers and the other half, their original songs. The album was produced by Aleksandar Radosavljević, and as guests appeared Dragoljub Marković (keyboards), Aleksandar Eraković and Goran Stojković (backing vocals). Promotional videos were recorded for the tracks "Rocky Road to Dublin / Down The River", "Merry Sisters", "Far Away", and the title track.
In 2001, Metropolis records rereleased their debut album on CD, and as bonus tracks appeared the songs from the live album Musical Parallels. The following year, the band released the fourth album, A Moment Like The Longest Day. The album featured the songs written by Đokić (lead vocals on "Can You Get Me Out"), Petrović, new bass guitarist Dejan Grujić and Colette Ioanniduoi. The album featured only one traditional cover, "Humors Of Scariff". Block Out member Nikola Vranjković produced the album, and the band moved to a more pop-oriented sound than on the previous releases. Promotional video was recorded only for the title track.
In 2007, the band released their fifth album, One Two... 5, through Automatik records. The album, produced by Nikola Vranjković, brought eleven songs, two of which are covers of traditional songs[2].
In 2009, Ana Đokić left Orthodox Celts.
Petrović stated that the band plans to tour Ireland in 2010.

Let It Shine

This little light of mine
I'm going to let it shine
Oh, this little light of mine
I'm going to let it shine
Hallelujah
This little light of mine
I'm going to let it shine
Let it shine, let it shine, let it shine

Ev'ry where I go
I'm going to let it shine
Oh, ev'ry where I go
I'm going to let it shine
Hallelujah
Ev'ry where I go
I'm going to let it shine
Let it shine, let it shine, let it shine

All in my house
I'm going to let it shine
Oh, all in my house
I'm going to let it shine
Hallelujah
All in my house
I'm going to let it shine
Let it shine, let it shine, let it shine

I'm not going to make it shine
I'm just going to let it shine
I'm not going to make it shine
I'm just going to let it shine
Hallelujah
I'm not going to make it shine
I'm just going to let it shine
Let it shine, let it shine, let it shine

Out in the dark
I'm going to let it shine
Oh, out in the dark
I'm going to let it shine
Hallelujah
Out in the dark
I'm going to let it shine
Let it shine, let it shine, let it shine

Do Lord

Chorus: Do Lord, O, Do Lord, O do remember me,
Do Lord, O, Do Lord, O do remember me,
Do Lord, O, Do Lord, O do remember me,
Way beyond the blue.

I've got a home in glory land that out-shines the sun.
I've got a home in glory land that out-shines the sun.
I've got a home in glory land that out-shines the sun.
Way beyond the blue.

took Jesus as my Savior, You take Him too.
I took Jesus as my Savior, You take Him too.
I took Jesus as my Savior, You take Him too, while He's still calling you.
Way beyond the blue.

I took Jesus as my Savior, You take Him too.
I took Jesus as my Savior, You take Him too.
I took Jesus as my Savior, You take Him too.
Way beyond the blue.

Chorus: Do Lord, O, Do Lord, O do remember me,
Do Lord, O, Do Lord, O do remember me,
Do Lord, O, Do Lord, O do remember me,
Way beyond the blue.

Give Me Oil In My Lamp

Verse 1:
Give me oil in my lamp,
Keep me burning,
Give me oil in my lamp, I pray.
Give me oil in my lamp,
Keep me burning,
Keep me burning
Till the break of day.

Chorus:
Sing hosanna! sing hosanna!
Sing hosanna to the King of kings!
Sing hosanna! sing hosanna!
Sing hosanna to the King!

Verse 2:
Give me joy in my heart,
Keep me singing.
Give me joy in my heart, I pray.
Give me joy in my heart,
Keep me singing.
Keep me singing
Till the break of day.

Chorus:
Sing hosanna! sing hosanna!
Sing hosanna to the King of kings!
Sing hosanna! sing hosanna!
Sing hosanna to the King!

Verse 3:
Give me peace in my heart,
Keep me resting,
Give me peace In my heart, I pray.
Give me peace in my heart,
Keep me resting.
Keep me resting
Till the break of day.

Chorus:
Sing hosanna! sing hosanna!
Sing hosanna to the King of kings!
Sing hosanna! sing hosanna!
Sing hosanna to the King!

Verse 4:
Give me love in my heart,
Keep me serving.
Give me love in my heart, I pray.
Give me love in my heart,
Keep me serving.
Keep me serving
Till the break of day.

Chorus:
Sing hosanna! sing hosanna!
Sing hosanna to the King of kings!
Sing hosanna! sing hosanna!
Sing hosanna to the King!

Showers of Blessing

There shall be showers of blessing:
This is the promise of love;
There shall be seasons refreshing,
Sent from the Savior above.
Refrain:
Showers of blessing,
Showers of blessing we need:
Mercy-drops round us are falling,
But for the showers we plead.
There shall be showers of blessing,
Precious reviving again;
Over the hills and the valleys,
Sound of abundance of rain.
There shall be showers of blessing;
Send them upon us, O Lord;
Grant to us now a refreshing,
Come, and now honor Thy Word.
There shall be showers of blessing:
Oh, that today they might fall,
Now as to God we’re confessing,
Now as on Jesus we call!
There shall be showers of blessing,
If we but trust and obey;
There shall be seasons refreshing,
If we let God have His way.

Kookaburra

Kookaburra sits in the old gum tree
Merry, merry king of the bush is he
Laugh kookaburra, laugh
Kookaburra, gay your life must be

Kookaburra sits in the old gum tree
Eating all the gumdrops that he can see
Stop, kookaburra, stop
Kookaburra, leave some there for me

Kookaburra sits in the old gum tree
Chasing all the monkeys he can see
Stop, kookaburra, stop
Kookaburra, that's not a monkey, that's me!

"Kookaburra" (also known by its first line: "Kookaburra sits in the old gum tree") is a popular Australian nursery rhyme and round about the Kookaburra (an Australian Kingfisher), written by Marion Sinclair (b.1895/6/7 - 1988).[1]

Marion Sinclair was a music teacher at Toorak College, a girls' school in Melbourne which she had attended as a boarder. In 1920, she began working with the school's Girl Guides company.
One Sunday morning in church, in 1932, Marion Sinclair had a sudden inspiration, and dashed home to write the words down. "Kookaburra" was entered in 1934 into a competition run by the Girl Guides Association of Victoria, with the rights of the winning song to be sold to raise money for the purchase of a camping ground, eventually chosen as Britannia Park. The song was performed for the first time in 1934, at the annual Jamboree in Frankston, Victoria at which the Baden-Powells, founders of the Scouting and Guiding movements were present.[1]
Despite its particular "Australian-ness", the song is well-known and performed around the world, particularly in the United States and United Kingdom, where the Girl Guide movements in those countries have adopted it as a traditional song.
The first verse of the Kookaburra song is:
Kookaburra sits in the old gum tree,
Merry merry king of the bush is he.
Laugh, Kookaburra, laugh, Kookaburra,
Gay your life must be!
The tune similar to the Welsh folk song "A Ei Di'r 'Deryn Du"[dubious – discuss] or "Dacw ti yn eistedd, y 'deryn du" (English translation "There you are sitting, black bird."). The syllables and themes are almost identical in pattern to those in "Kookaburra". [2]

Love Love Me Do

Love Me Do lyrics:

Love, love me do
You know I love you
I'll always be true
So please love me do
Wo ho love me do

Love, love me do
You know I love you
I'll always be true
So please love me do
Wo ho love me do

Someone to love
Somebody new
Someone to love
Someone like you

Love,love me do
You know I love you
I'll always be true
So please love me do
Wo ho love me do

Love, love me do
You know I love you
I'll always be true
So please love me do
Wo ho love me do
Yeah love me do
Wo ho love me do

"Love Me Do" is an early Lennon/McCartney song, principally written by Paul McCartney in 1958–59 while playing truant from school.[1] John Lennon wrote the middle eight.[1][2][3] The song was The Beatles' first single, backed by "P.S. I Love You" and released on 5 October 1962. When the single was originally released in the UK, it peaked at number seventeen; in 1982 it was re-issued and reached number four. In the U.S. the single was a number one hit in 1964.

"Love Me Do" begins with bluesy harmonica played by Lennon, then features Lennon and McCartney on joint lead vocals. McCartney sings the solo vocal line on the song's title phrase and also its middle eight. Lennon had previously sung the title sections, but this change in arrangement was made in the studio under the direction of producer George Martin when he realised that the harmonica part encroached on the vocal (Lennon needed to begin playing the harmonica again on the same beat as the "do" of "love me do").[4] This is illustrative of the live characteristics of this particular session - as, when a similar situation later occurred on the "Please Please Me" single session, the harmonica was superimposed afterwards using tape-to-tape overdubbing.[5]
"Love Me Do" was recorded by The Beatles on different occasions with three different drummers:
The Beatles first recorded it on 6 June 1962 with Pete Best on drums, as part of their audition at EMI Studios at 3 Abbey Road, London. This version (previously thought to be lost) is available on Anthology 1.
By 4 September, Best had been replaced with Ringo Starr (producer George Martin did not approve of Best's drumming), and on that day The Beatles with Starr recorded a version again at EMI Studios.
One week later, on 11 September, The Beatles returned to the same studio and they made a recording of "Love Me Do" with session drummer Andy White on drums while Starr played tambourine. As the tambourine was not included on the 4 September recording, this is the easiest way to distinguish between the Starr and White recordings.
First issues of the single, however, did feature the Ringo Starr version, which was also included much later on the compilation albums Rarities (American version) and Past Masters, Volume One. The Andy White version of the track was included on The Beatles' debut UK album, Please Please Me, The Beatles' Hits EP, and all subsequent album releases on which "Love Me Do" was included. For the 1976 single re-issue and the 1982 "20th Anniversary" re-issue, the Andy White version was used. The CD single issued on 2 October 1992 contains both versions.[6] The Pete Best version remained unreleased until 1995, when it was included on the Anthology 1 album.
"Love Me Do", featuring Starr drumming, was also recorded eight times at the BBC and played on the BBC radio programmes Here We Go, Talent Spot, Saturday Club, Side By Side, Pop Go The Beatles and Easy Beat between October 1962 and October 1963. The version of "Love Me Do" recorded on 10 July 1963 at the BBC and broadcast on the 23 July 1963 Pop Go The Beatles programme can be heard on The Beatles album Live at the BBC. The Beatles also performed the song live on the 20 February 1963 Parade of the Pops BBC radio broadcast.
In 1969, during the Get Back sessions, The Beatles played the song in a slower, more bluesy form than they had in earlier recordings. This version of "Love Me Do" is one of many recordings made during these sessions and subsequently appeared on some bootlegs. The song featured no harmonica by Lennon, and McCartney sang the majority of the song in the same vocal style he used for "Lady Madonna".

and I Love Her

I give her all my love
That's all I do
And if you saw my love
You'd love her too
I love her

She gives me ev'rything
And tenderly
The kiss my lover brings
She brings to me
And I love her

A love like ours
Could never die
As long as I
Have you near me

Bright are the stars that shine
Dark is the sky
I know this love of mine
Will never die
And I love her

Bright are the stars that shine
Dark is the sky
I know this love of mine
Will never die
And I love her

"And I Love Her" is a song recorded by The Beatles and is the fifth track on their third album, A Hard Day's Night. It was released 20 July 1964 with "If I Fell" as a single by Capitol Records in the United States, reaching #12 in Billboard.
The Beatles performed "And I Love Her" just once outside of Abbey Road Studios. On 14 July 1964 they played it for an edition of the BBC's Top Gear radio show, which was broadcast two days later.[1]

This song was one of the first ballads with a title that starts in mid-sentence. Paul McCartney was pleased with himself that he came up with this idea.
A majority of this song switches back and forth between the key of E and its relative minor C#m. It also changes keys altogether just before the solo, to F. It ends, on the parallel major of the key of F's relative minor, D. This technique is known as tierce de Picardie and had been used in the past by some composers, including Bach.
The song was written mainly by McCartney, though John Lennon claimed in an interview with Playboy that his major contribution was the "middle eight" section ("A love like ours/Could never die/As long as I/Have you near me").
Beatles publisher Dick James lends support to this claim, saying that the middle eight was added during recording at the suggestion of producer George Martin. According to James, Lennon called for a break and "within half an hour [Lennon and McCartney] wrote...a very constructive middle to a very commercial song."[2]
McCartney, on the other hand, maintains that "the middle eight is mine.... I wrote this on my own."[2]

Michelle

Michelle, my belle.
These are words that go together well,
My Michelle.

Michelle, my belle.
Sont des mots qui vont très bien ensemble,
Très bien ensemble.

I love you, I love you, I love you.
That's all I want to say.
Until I find a way
I will say the only words I know that
You'll understand.

Michelle, my belle.
Sont des mots qui vont très bien ensemble,
Très bien ensemble.

I need to, I need to, I need to.
I need to make you see,
Oh, what you mean to me.
Until I do I'm hoping you will
Know what I mean.

I love you...

I want you, I want you, I want you.
I think you know by now
I'll get to you somehow.
Until I do I'm telling you so
You'll understand.

Michelle, my belle.
Sont des mots qui vont très bien ensemble,
Très bien ensemble.

I will say the only words I know that
You'll understand, my Michelle.


"Michelle" is a love ballad by The Beatles, mainly written by Paul McCartney, which is featured on their Rubber Soul album. The song departs from most of the Beatles' other recordings in that some of the lyrics are in French. "Michelle" won the Grammy Award for Song of the Year in 1967.[1]

The instrumental music of "Michelle" originated separately from the lyrical concept:
“ ...'Michelle' was a tune that I'd written in Chet Atkins' finger-picking style. There is a song he did called 'Trambone' with a repetitive top line, and he played a bass line whilst playing a melody. This was an innovation for us; even though classical guitarists had played it, no rock'n'roll guitarists had played it. The first person we knew to use finger-picking style was Chet Atkins. .. I never learned it. But based on Atkins' "Trambone", I wanted to write something with a melody and a bass line in it, so I did. I just had it as an instrumental in C. ”

— Paul McCartney[2]
The words and style of "Michelle" has its origins in the popularity of French Left Bank culture during McCartney's Liverpool days. McCartney had gone to a party of art students where a student with a goatee and a striped T-shirt was singing a French song. He soon wrote a farcical imitation to entertain his friends that involved French-sounding groaning instead of real words. The song remained a party piece until 1965, when John Lennon suggested he rework it into a proper song for inclusion on Rubber Soul.[3]

“ ...we'd tag along to these parties, and it was at the time of people like Juliette Greco, the French bohemian thing... So I used to pretend to be French, and I had this song that turned out later to be 'Michelle'. It was just an instrumental, but years later John said: 'You remember that thing you wrote about the French?' I said: 'Yeah.' He said: 'That wasn't a bad song, that. You should do that, y'know.' ”

— Paul McCartney[4]
McCartney decided to remain with the French feel of his song and asked Jan Vaughan, a French teacher and the wife of his old friend Ivan Vaughan, to come up with a French name and a phrase that rhymed with it. "It was because I'd always thought that the song sounded French that I stuck with it. I can't speak French properly so that's why I needed help in sorting out the actual words", McCartney said.[3]
Vaughan came up with "Michelle, ma belle", and a few days later McCartney asked for a translation of "these are words that go together well" — sont des mots qui vont très bien ensemble.[3] When McCartney played the song for Lennon, Lennon suggested the "I love you" bridge. Lennon was inspired by a song he heard the previous evening, Nina Simone's recording of "I Put a Spell on You", which used the same phrase but with the emphasis on the last word, "I love you".[3][5]
Although the song is a famous McCartney composition, individuals contributed to the song. Beatles producer George Martin said he wrote the lead guitar melody, which is played twice — in the middle, and at the end of the song, in the coda.[citation needed]

Alone Again Naturally

http://www.youtube.com/watch?v=D_P-v1BVQn8

In a little while from now
If I’m not feeling any less sour
I promise myself to treat myself
And visit a nearby tower
And climbing to the top will throw myself off
In an effort to make it clear to who
Ever what it’s like when you’re shattered
Left standing in the lurch at a church
Where people saying: "My God, that’s tough
She's stood him up"
No point in us remaining
We may as well go home
As I did on my own
Alone again, naturally

To think that only yesterday
I was cheerful, bright and gay
Looking forward to well wouldn’t do
The role I was about to play
But as if to knock me down
Reality came around
And without so much, as a mere touch
Cut me into little pieces
Leaving me to doubt
Talk about God and His mercy
Or if He really does exist
Why did He desert me in my hour of need
I truly am indeed Alone again, naturally

It seems to me that there are more hearts
broken in the world that can’t be mended
Left unattended
What do we do? What do we do?

Alone again, naturally
Now looking back over the years
And whatever else that appears
I remember I cried when my father died
Never wishing to hide the tears
And at sixty-five years old
My mother, God rest her soul,
Couldn’t understand why the only man
She had ever loved had been taken
Leaving her to start with a heart so badly broken
Despite encouragement from me
No words were ever spoken
And when she passed away
I cried and cried all day
Alone again, naturally
Alone again, naturally


"Alone Again (Naturally)" is a song by Irish singer–songwriter Gilbert O'Sullivan. It was released in 1972, and in total spent six weeks, non-consecutively, at #1 on the United States Billboard Hot 100 singles chart. In Casey Kasem's American 'Top 40 of the 1970s', "Alone Again (Naturally)" was #5 (Debby Boone's "You Light Up My Life" was #1). The track reached #3 in the UK Singles Chart.[1]
It is an introspective ballad, starting with the singer telling of his plans to commit suicide after being left at the altar, and then telling about the death of his parents. O'Sullivan has said that the song is not autobiographical, as he did not know his father (who died when O'Sullivan was 11) very well, and that his father had mistreated his mother.[2] "Alone Again (Naturally)" is included on O'Sullivan's The Berry Vest of Gilbert O'Sullivan album (2004) on the EMI record label. Big Jim Sullivan plays the guitar break in the original recorded version of the song.
The landmark 1991 copyright case Grand Upright Music, Ltd. v. Warner Bros. Records, Inc. centered on the unauthorized use of a sample from "Alone Again (Naturally)" by rapper Biz Markie.