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.

My Lady d'Arbanville

Cat Stevens

My Lady d'Arbanville, why do you sleep so still?
I'll wake you tomorrow
and you will be my fill, yes, you will be my fill.

My Lady d'Arbanville why does it grieve me so?
But your heart seems so silent.
Why do you breathe so low, why do you breathe so low,

My Lady d'Arbanville why do you sleep so still?
I'll wake you tomorrow
and you will be my fill, yes, you will be my fill.

My Lady d'Arbanville, you look so cold tonight.
Your lips feel like winter,
your skin has turned to white, your skin has turned to white.

My Lady d'Arbanville, why do you sleep so still?
I'll wake you tomorrow
and you will be my fill, yes, you will be my fill.

La la la la la....

My Lady d'Arbanville why does it grieve me so?
But your heart seems so silent.
Why do you breathe so low, why do you breathe so low,

I loved you my lady, though in your grave you lie,
I'll always be with you
This rose will never die, this rose will never die.

I loved you my lady, though in your grave you lie,
I'll always be with you
This rose will never die, this rose will never die.

"Lady D'Arbanville" is a song written and recorded by Cat Stevens, and released in April, 1970. Already a successful songwriter, this was his first single released upon signing a contract with Island Records, with the encouragement of his new producer, Paul Samwell-Smith, fostering a folk rock direction for the young composer. "Lady D'Arbanville" has a madrigal sound, and was written about Stevens' former girlfriend, Patti D'Arbanville, metaphorically laying her to rest.

Lady D'Arbanville was the first single released from Stevens' third album, Mona Bone Jakon, which took off in a completely different direction from the songs of his previous two albums. Although Stevens' debut album had charted, and while both albums he'd recorded had successful single releases in the British pop music charts, he chafed against the "Carnaby Street musical jangle" and "heavy handed orchestration" that his producer, Mike Hurst, of Deram Records favoured.[1] Just at the completion of his second album with Hurst, Stevens contracted tuberculosis and a collapsed lung,[2] requiring hospitalisation and rest for a year. During this time, he spent his empty hours writing over 40 songs, and upon a clean bill of health successfully negotiated out of his Deram contract, and settled on Island Records' Paul Samwell-Smith as his new producer, who encouraged Stevens' inclinations towards an emerging folk rock genre.

As Stevens was nearing the end of his period of recuperation, he attended a party that boasted a gathering of musicians in London; including Jimmy Page, Steve Winwood, Ginger Baker, Eric Clapton, and others in attendance. Among the party-goers was a very young American woman who was pursuing a modeling career, (by her own account about 14 years old at the time[3]) named Patti D'Arbanville.[4] [5] The two began dating over a period of more than a year. D'Arbanville stayed with him whenever she was in London, but often found her career taking her to Paris, and New York City. Unfortunately, after over a year with her, Stevens was willing to invest more in a serious relationship than his young, ambitious girlfriend. It was on such a foray to New York that she heard his song about her on the airwaves. Her reaction was one of sadness. She said, "I just have to be by myself for awhile to do what I want to do. It's good to be alone sometimes. Look, Steven wrote that song [Lady D'Arbanville by Cat Stevens] when I left for New York. I left for a month, it wasn't the end of the world was it? But he wrote this whole song about 'Lady D'Arbanville, why do you sleep so still.' It's about me dead. So while I was in New York, for him it was like I was lying in a coffin... he wrote that because he missed me, because he was down... It's a sad song."[6] D'Arbanville continues, "I cried when I heard it, because that's when I knew it was over for good."[4]

Morning has Broken

Cat Stevens

Morning has broken,
like the first morning
Blackbird has spoken,
like the first bird
Praise for the singing,
praise for the morning
Praise for the springing
fresh from the word

Sweet the rain's new fall,
sunlit from heaven
Like the first dewfall,
on the first grass
Praise for the sweetness
of the wet garden
Sprung in completeness
where his feet pass

Mine is the sunlight,
mine is the morning
Born of the one light,
Eden saw play
Praise with elation,
praise every morning
God's recreation
of the new day

Morning has broken,
like the first morning
Blackbird has spoken,
like the first bird
Praise for the singing,
praise for the morning
Praise for the springing
fresh from the word

"Morning Has Broken" is a popular and well-known Christian hymn first published in 1931. It has words by Eleanor Farjeon and a traditional Gaelic tune known as "Bunessan" (it shares this tune with the 19th century Christmas Carol "Child in the Manger"[1]). It is often sung in children's services. Pop and folk singer Cat Stevens included a version on his 1971 album Teaser and the Firecat. The song became identified with Stevens when it reached number 6 on the US pop chart and #1 on the US adult contemporary chart in 1972.[2]

The hymn originally appeared in the second edition of Songs of Praise (published in 1931), to the tune "Bunessan", arranged by the composer Martin Shaw. In Songs of Praise Discussed, the editor, Percy Dearmer, explains that as there was need for a hymn to give thanks for each day, English poet and children's author Eleanor Farjeon had been "asked to make a poem to fit the lovely gaelic tune". A slight variation on the original hymn, also written by Eleanor Farjeon, can be found in the form of a poem contributed to the anthology Children's Bells, under Farjeon's new title, "A Morning Song (For the First Day of Spring)", published by Oxford University Press in 1957.
"Bunessan" had been found in L. McBean's Songs and Hymns of the Gael, published in 1900.[3] Before Farjeon's words, the tune was used as a Christmas carol, which began "Child in the manger, Infant of Mary", translated from the Gaelic lyrics written by Mary MacDonald. The English-language Roman Catholic hymnal also uses the tune for the hymn, "This Day God Gives Me".
[edit]Cat Stevens' recording

Writing credit for "Morning Has Broken" has occasionally been erroneously attributed to Stevens, who popularised the song abroad. The familiar piano arrangement on Stevens' recording was performed by Rick Wakeman, a classically trained keyboardist with the English progressive rock band Yes. In 2000, Wakeman released an instrumental version of "Morning Has Broken" on an album of the same title. That same year he gave an interview on BBC Radio 5 Live in which he said he had agreed to perform on the Cat Stevens track for £10 and was "shattered" to be omitted from the credits, adding that he never received the money either. Apparently where “Morning Has Broken” is concerned, all Cat Stevens had was a hymn which lasted around 45 seconds. Producer Paul Samwell-Smith told him he could never put something like that on an album, that it needed at least to be three minutes in length. Prior to the actual recording Stevens heard Wakeman play something in the recording booth. It was a rough sketch of what would later become “Catherine Howard". Stevens told Wakeman that he liked it and wanted something similar as the opening section, the closing section and, if possible, a middle section as well. Wakeman told Stevens he could not as it was his piece destined for a solo album, but Stevens persuaded him and got him as far as adapting his own composition.[4] The familiar piano intro and general structure of the piece may be attributed to Stevens or to Wakeman. Although some sources report that the song was released on Floyd Cramer's 1961 album Last Date, discographies of the artist demonstrate that the song is not on that album. In fact, Cramer did not record the song until 1972, when he used the arrangement that he attributed to Cat Stevens.[5]
The song has been recorded by numerous other artists, including Judy Collins, Michael Card, Floyd Cramer, Dana, Neil Diamond, Art Garfunkel, Joe Longthorne, Nana Mouskouri, Aaron Neville, Kenny Rogers and the First Edition, Sister Janet Mead, the Mormon Tabernacle Choir on Consider the Lilies, Roger Whittaker and Ellen Greene recently on Pushing Daisies.
In November 2008, the Teaser and the Firecat album was re-issued in a deluxe CD version which includes the original demo of "Morning Has Broken".

Malaika

Fadhili Williams



Miriam Makeba



Harry Belafonte and Miriam Makeba



Angelique Kidjo



Boney M



Malaika, nakupenda Malaika
Malaika, nakupenda Malaika
Ningekuoa mali we, ningekuoa dada
Nashindwa na mali sina we, Ningekuoa Malaika
Nashindwa na mali sina we, Ningekuoa Malaika

Pesa zasumbua roho yangu
Pesa zasumbua roho yangu
Nami nifanyeje, kijana mwenzio
Nashindwa na mali sina we Ningekuoa Malaika
Nashindwa na mali sina we Ningekuoa Malaika

Kidege, hukuwaza kidege
Kidege, hukuwaza kidege
Ningekuoa mali we, ningekuoa dada
Nashindwa na mali sina, we Ningekuoa Malaika
Nashindwa na mali sina, we Ningekuoa Malaika

Malaika, nakupenda Malaika
Malaika, nakupenda Malaika
Ningekuoa mali we, ngekuoa dada
Nashindwa na mali sina we, Ningekuoa Malaika
Nashindwa na mali sina we, Ningekuoa Malaika

Malaika, which means "angel" in Swahili and Arabic, was a song first recorded by Kenyan musician Fadhili William and his band Jambo Boys in 1960. Authorship of the song is often attributed to Fadhili William, but that is somewhat disputed.
It was later re-recorded at Equator Sound Studios by the British-born Kenyan music promoter Charles Worrod, who marketed the ballad to eventually becoming an internationally acclaimed song. The song went on to be popularised by international artists such as The Brothers Four, Helmut Lotti, Hep Stars, Rocco Granata, Miriam Makeba, Harry Belafonte, Pete Seeger, Boney M and Angélique Kidjo.

Oceans of Fantasy

Boney M


Oceans Of Fantasy lyrics
My world is filled with oceans
Oceans of fantasy
The never never land of emotions
Come down and follow me
You see the secret places
Where all the rivers end
And pirate ships of old
Filled with diamonds and with gold
Just waiting for a friend
All you can hear is the music of stillness
And pure harmony
Magical mirrors reflecting the light
That colors the sea
You'll be surrounded by angel like creatures
Who tend to your dreams
Deeper and deeper you fall in a trance
Much more real
Much more real than it seems
Come share with me the oceans
Oceans of fantasy
Where you can lose your soul forever
Like in a melody
Oceans of fantasy,Oceans of fantasy
Oceans of fantasy, Oceans of fantasy
My world is filled with oceans
Oceans of fantasy
The never never land of emotions
Come down and follow me


Oceans of Fantasy is the fourth studio album by Boney M. Released in September 1979, Oceans Of Fantasy became the second Boney M. album to top the UK charts and features hits "El Lute" based on Eleuterio Sánchez life, "I'm Born Again", "Bahama Mama" and "Gotta Go Home". The album had been preceded in the spring of 1979 by double A-side single "Hooray! Hooray! It's A Holi-Holiday" (based on American folksong Polly Wolly Doodle) / "Ribbons Of Blue", also one of the band's biggest hits. The A-side was surprisingly not included on Oceans Of Fantasy but the B-side was - if only in a heavily edited form. The original length of the track is 4:02 and songs like "Gotta Go Home" and "Bahama Mama" were also longer on 7" than on the actual album. Just like in the case of its predecessor Nightflight to Venus the original Hansa Records pressings of the album also included a range of different edits of certain tracks.
Several pressings also contained the wrong running order on cover & labels, incorrectly listing "El Lute" as the opening track on side 2, followed by "No More Chain Gang" and "Oceans Of Fantasy" - a very early and scarce pressing actually has this running order on vinyl. The same pressing also features "Let It All Be Music" and "Gotta Go Home" segued into a medley.
Oceans Of Fantasy also features a guest appearance by Eruption's lead singer Precious Wilson on "Let It All Be Music" as well as on the cover of Sam & Dave's "Hold On I'm Coming", which was also issued as Wilson's first solo single. The Argentinian pressing omitted "El Lute" in favour of "Hooray! Hooray! It's A Holi-Holiday".
The album was the only Boney M. album to feature a full track-by-track vocal credits list which only confirmed what had been a public secret since the very beginning - that only two of the four band members, Liz Mitchell and Marcia Barrett, actually sang on the Boney M. records, and that producer Frank Farian sang the characteristic deep male vocal as well as high falsetto vocals - he even duetted with himself on the track "Bye Bye Bluebird". Maizie Williams and Bobby Farrell didn't take any part in the studio sessions. The revelation didn't seem to harm the band's popularity that much at the time, but ten years later Farian was to be involved in a similar scandal with band Milli Vanilli, that time unfortunately with serious consequences for both the producer and the band.

Rasputin

Boney M



There lived a certain man in Russia long ago
He was big and strong, in his eyes a flaming glow
Most people looked at him with terror and with fear
But to Moscow chicks he was such a lovely dear
He could preach the bible like a preacher
Full of ecstacy and fire
But he also was the kind of teacher
Women would desire

RA RA RASPUTIN
Lover of the Russian queen
There was a cat that really was gone
RA RA RASPUTIN
Russia's greatest love machine
It was a shame how he carried on

He ruled the Russian land and never mind the czar
But the kasachok he danced really wunderbar
In all affairs of state he was the man to please
But he was real great when he had a girl to squeeze
For the queen he was no wheeler dealer
Though she'd heard the things he'd done
She believed he was a holy healer
Who would heal her son

(Spoken:)
But when his drinking and lusting and his hunger
for power became known to more and more people,
the demands to do something about this outrageous
man became louder and louder.

"This man's just got to go!" declared his enemies
But the ladies begged "Don't you try to do it, please"
No doubt this Rasputin had lots of hidden charms
Though he was a brute they just fell into his arms
Then one night some men of higher standing
Set a trap, they're not to blame
"Come to visit us" they kept demanding
And he really came

RA RA RASPUTIN
Lover of the Russian queen
They put some poison into his wine
RA RA RASPUTIN
Russia's greatest love machine
He drank it all and he said "I feel fine"

RA RA RASPUTIN
Lover of the Russian queen
They didn't quit, they wanted his head
RA RA RASPUTIN
Russia's greatest love machine
And so they shot him till he was dead

(Spoken:) Oh, those Russians...

"Rasputin" is a 1978 disco hit single by the Germany-based pop and disco group Boney M., the second single off their hugely successful album Nightflight to Venus. The song is a semi-biographical song whose subject and namesake is Grigori Rasputin, a friend and advisor of Tsar Nicholas II of Russia and his family during the early 20th century. The song variously sensationalizes Rasputin as a playboy, mystical healer, and political demiurge.
"Rasputin" is also distinctive for its incorporation of a melody line present in both a Serbian ("русе косе цуро имаш") and Turkish ("Üsküdar'a Gider İken / Kâtibim") folk song, while the spoken line "Oh, those Russians" at the end of the song mimics a line in Eartha Kitt's recording of "Kâtibim".
Also, the intro drum solo bears striking similarity to the Cozy Powell 1973 single "Dance With The Devil"

The real Rasputin
The song references Grigori Rasputin's alleged healing of hemophiliac Tsarevich Alexei of Russia, and how this endeared him to the boy's mother, the Tsarina Alexandra Fyodorovna (former Princess Alix of Hesse). It also claims that Rasputin was Alexandra's paramour ("Ra Ra Rasputin: lover of the Russian queen") and that Rasputin's political power overshadowed that of the Tsar himself. While "Rasputin" accurately indicates that unfavorable rumors damaged Grigori's reputation, there is no verifiable evidence to suggest that he had an affair with Alexandra.
The end of the song recounts a modified version of a popular description of the events that culminated in Rasputin's assassination, as perpetrated by Felix Yusupov, Vladimir Purishkevich, and Dmitri Pavlovich of Russia on December 16 1916. Specifically, the song states that Rasputin's assassins fatally shot him after he survived the poisoning of his wine with a very large dose of cyanide.

The song rose to the top of the charts in Germany and Austria, and went to #2 in the United Kingdom and Switzerland. It was another number 1 hit for Boney M. in Australia, providing them a second (and last) chart topper in that country (the other one being "Rivers Of Babylon").
Although the song was written and performed in English (with a smattering of German - But the kasatschok he danced really wunderbar!), it enjoyed great popularity in the Soviet Union, and is credited with making Rasputin famous again there, although it was omitted from the Russian pressing of the album and Boney M. were barred from performing the song during their 10 performances in Moscow in December 1978. [1]

Voulez - vous

ABBA


People everywhere
A sense of expectation hangin' in the air
Givin' out a spark
Across the room your eyes are glowin' in the dark
And here we go again, we know the start, we know the end
Masters of the scene
We've done it all before and now we're back to get some more
You know what I mean

Voulez-vous (aha!)
Take it now or leave it (aha!)
Now is all we get (aha!)
Nothing promised, no regrets
Voulez-vous (aha!)
Ain't no big decision (aha!)
You know what to do (aha!)
La question c'est voulez-vous
Voulez-vous

I know what you think
The girl means business so I'll offer her a drink
Lookin' mighty proud
I see you leave your table, pushin' through the crowd
I'm really glad you came, you know the rules, you know the game
Master of the scene
We've done it all before and now we're back to get some more
You know what I mean

Voulez-vous (aha!)
Take it now or leave it (aha!)
Now is all we get (aha!)
Nothing promised, no regrets
Voulez-vous (aha!)
Ain't no big decision (aha!)
You know what to do (aha!)
La question c'est voulez-vous

And here we go again, we know the start, we know the end
Masters of the scene
We've done it all before and now we're back to get some more
You know what I mean

Voulez-vous (aha!)
Take it now or leave it (aha!)
Now is all we get (aha!)
Nothing promised, no regrets
Voulez-vous (aha!)
Ain't no big decision (aha!)
You know what to do (aha!)
La question c'est voulez-vous
Voulez-vous

Voulez-vous (aha!)
(aha!)
(aha!)
Voulez-vous (aha!)
(aha!)
(aha!)

Voulez-vous (aha!)
Take it now or leave it (aha!)
Now is all we get (aha!)
Nothing promised, no regrets
Voulez-vous (aha!)
Ain't no big decision (aha!)
You know what to do (aha!)
La question c'est voulez-vous
Voulez-vous

Voulez-vous!



"Voulez-Vous" ("do you want" in French) is a eurodisco track by Swedish pop group ABBA, written by Benny Andersson and Björn Ulvaeus (under the working title "Amerika"). Agnetha Fältskog and Anni-Frid Lyngstad shared the lead vocals.
The song is the 2nd track on the group's 1979 album of the same name. In the UK, "Voulez-Vous" was released as a double A-side with "Angeleyes" ("Angeleyes" was the dominant A-side); nearly everywhere else, "Voulez-Vous" was a single A-side. The song also features on the ABBA Gold album, first as a 4:21 edited version when the compilation was first released in 1992 and then in its full 5:09 version from 1999 onwards. "Angeleyes" is featured on the More ABBA Gold compilation.
"Voulez-Vous" is also the only ABBA song to have been officially released as an extended dance remix — albeit only as a promo. The 6:07 version of the track, released as a double A-side 12" single by Atlantic Records in the United States in 1979, was included as a bonus track on the 2001 compilation The Definitive Collection.

Compared to ABBA's hits both before and after, "Voulez-Vous" was not a major hit for the group. It did top the charts in Belgium, while reaching the Top 5 in Great Britain, Ireland & The Netherlands. It peaked at #9 in France, South Africa, Spain & Switzerland, but failed to make the Top 10 anywhere else.
At the time of the single's release in the UK, other publications provided singles charts alongside the official chart produced by Music Week for the BBC, New Musical Express & Melody Maker being 2 examples of publications with their own charts. There were often differences between these charts, but rarely more than a place or 2. The double A-side single "Angeleyes" & "Voulez-Vous" caused controversy by reaching #3 in the Music Week/BBC chart, when it actually rose no higher than #9 on any other chart & generally missed the Top 10 completely in the majority of the charts produced. BBC Radio 1 acknowledged that there was a discrepancy on air. If there was anything untoward, it was ignored & the #3 ranking with Music Week/BBC was never disqualified.
[edit]Chart positions

Hasta Manana

ABBA

Where is the spring and the summer
That once was yours and mine?
Where did it go?
I just don't know
But still my love for you will live forever

Hasta Manana 'til we meet again
Don't know where, don't know when
Darling, our love was much too strong to die
We'll find a way to face a new tomorrow
Hasta Manana, say we'll meet again
I can't do without you
Time to forget, send me a letter
Say you forgive, the sooner the better
Hasta Manana, baby, Hasta Manana, until then

Where is the dream we were dreaming
And all the nights we shared
Where did they go?
I just don't know
And I can't tell you just how much I miss you
Hasta Manana 'til we meet again
Don't know where, don't know when
Darling, our love was much too strong to die
We'll find a way to face a new tomorrow
Hasta Manana, say we'll meet again
I can't do without you
Time to forget, send me a letter
Say you forgive, the sooner the better
Hasta Manana, baby, Hasta Manana, until then

Hasta Manana, say we'll meet again
I can't do without you
Time to forget, send me a letter
Say you forgive, the sooner the better
Hasta Manana, baby, Hasta Manana, until then

"Hasta Mañana"{translation 'see you tomorrow'}, was originally titled "Who's Gonna Love You?", is the fourth track on Swedish pop group ABBA's album Waterloo.
Initially thinking "Waterloo" was too risky, their second choice of song was "Hasta Mañana", as they thought it was more in style with the previous Eurovision Song Contest winners. They decided on Waterloo, primarily because Waterloo had Agnetha Fältskog and Anni-Frid Lyngstad sharing lead vocals, whereas Hasta Mañana had Agnetha as the sole lead vocalist, and the group believed that this would give the wrong impression of the group to the world.

Dancing Queen

ABBA

http://www.youtube.com/watch?v=xXCnvROuv2s
Mamma Mia


You can dance, you can jive, having the time of your life
See that girl, watch that scene, dig in the dancing queen

Friday night and the lights are low
Looking out for the place to go
Where they play the right music, getting in the swing
You come in to look for a king
Anybody could be that guy
Night is young and the music's high
With a bit of rock music, everything is fine
You're in the mood for a dance
And when you get the chance...

You are the dancing queen, young and sweet, only seventeen
Dancing queen, feel the beat from the tambourine
You can dance, you can jive, having the time of your life
See that girl, watch that scene, dig in the dancing queen

You're a teaser, you turn 'em on
Leave them burning and then you're gone
Looking out for another, anyone will do
You're in the mood for a dance
And when you get the chance...

You are the dancing queen, young and sweet, only seventeen
Dancing queen, feel the beat from the tambourine
You can dance, you can jive, having the time of your life
See that girl, watch that scene, dig in the dancing queen

"Dancing Queen" is a pop song recorded by Swedish pop group ABBA, released in 1976. It was the follow-up single to the massive hit "Fernando" and is commonly regarded as one of the most successful singles of the 1970s. Dancing Queen was written by Benny Andersson, Björn Ulvaeus, and Stig Anderson and is considered by many to be ABBA's signature song as it reached the number 1 position on popular music charts in 13 countries. Recorded in 1975 for the group's album Arrival, it was released as a single the following year with "That's Me" as the B-side.[1]
In May 2004, the British performing rights group Phonographic Performance Limited celebrated its 70th anniversary by listing the 70 songs that have played most in Great Britain on the radio, in clubs and on jukeboxes. On this list "Dancing Queen" featured at number 6.[2]
"Dancing Queen" features the shared lead vocal performance by Agnetha Fältskog and Anni-Frid Lyngstad. Its opening keyboard glissando is one of the most instantly recognizable intros in pop music.

The recording sessions for "Dancing Queen" began on 4 August 1975. The demo was called "Boogaloo" and as the sessions progressed, Andersson and Ulvaeus found inspiration to the dance rhythm in George McCrae's disco classic "Rock Your Baby", as well as the drumming on Dr. John's 1972 album Dr. John's Gumbo. Fältskog and Lyngstad recorded the vocals on sessions in September, and the track was completed three months later.
During the sessions, Benny Andersson brought a tape home with the backing track on it and played it to his fiancée, singer Anni-Frid Lyngstad, who apparently started crying when listening. "I found the song so beautiful".
While working on the lyrics, part of the verse was scrapped: "Baby, baby, you're out of sight/hey, you're looking alright tonight/when you come to the party/listen to the guys/they've got the look in their eyes...". It survives in footage from a recording session.[3]

The track was premiered on Swedish tv on June 18, 1976, during an all-star live gala in honour of King Carl XVI Gustaf of Sweden and his bride to be, Silvia Sommerlath, who were to be wedded on June 19. Benny Andersson has cited it as "one of those songs where you know during the sessions that it's going to be a smash hit". Also Agnetha Fältskog has stated in a TV-programe: "It´s often difficult to know what will be a hit. The exception was Dancing Queen. We all knew it was going to be massive".

"Dancing Queen" was massive. It became ABBA's only #1 in the United States in April 1977. It also hit #1 in at least 13 other countries worldwide: Australia, Belgium, Brazil, Germany, Great Britain, Ireland, Mexico, The Netherlands, New Zealand, Norway, South Africa, Sweden and Zimbabwe. "Dancing Queen" also reached the Top 5 in Austria, Canada, Finland, France and Switzerland. The track peaked at #14 in Italy, where ABBA never achieved the same degree of popularity as elsewhere.
"Dancing Queen" was their last of 3 consecutive Number 1's they had in the UK in 1976, with "Mamma Mia" and "Fernando" being #1 earlier in the year.

Nina, Pretty Ballerina

ABBA

Every day in the morning on her way to the office
You can see as she catches a train
Just a face among a million faces
Just another woman with no name
Not the girl you’d remember but she’s still something special
If you knew her I am sure you’d agree
’cause I know she’s got a little secret
Friday evening she turns out to be...

Nina, pretty ballerina, now she is the queen of the dancing floor
This is the moment she’s waited for
Just like cinderella, just like cinderella
Nina, pretty ballerina, who would ever think she could be this way
This is the part that she likes to play
But she knows the fun would go away
If she would play it every day

So she’s back every morning to her work at the office
And another week to live in a dream
And another row of early mornings
In an almost never-ending stream
Doesn’t talk very often, kind of shy and uncertain
Everybody seems to think she’s a bore
But they wouldn’t know her little secret
What her friday night would have in store...

Nina, pretty ballerina, now she is the queen of the dancing floor
This is the moment she’s waited for
Just like cinderella, just like cinderella
Nina, pretty ballerina, who would ever think she could be this way
This is the part that she likes to play
She would like to play it every day

Nina, pretty ballerina, now she is the queen of the dancing floor
This is the moment she’s waited for
Just like cinderella, just like cinderella
Nina, pretty ballerina, who would ever think she could be this way
This is the part that she likes to play

(fade)


"Nina, Pretty Ballerina" was a song recorded in 1973 by Swedish pop group ABBA. It was issued on 7" vinyl record in Austria and France to promote the band's debut album Ring Ring. It reached #8 on the singles chart in Austria.

Dance Little Lady Dance

Tina Charles

Yeah, yeah ..
Someone taught me how to dance last night
What a move he was
And someone taught me how to do it right
What a groover he was
He taught me all the steps he knew to rock n roll
I found my sense of rhythm but I lost my self-control
When he said dance little lady , dance
Dance, little lady, dance
You know youve got only one chance
So come on, dance, dance , oh!

Someone taught me how to move last night
What a looker he was
Someone taught me how to do it right
What a cooker he was
Now we boogie and we bump until were fit to trop
And when he gets me going, I dont want to stop
When he says, dance, little lady, dance
Dance, little lady, dance
You know youve only got one chance
So come on, dance, dance, dance, oh!

Yeah, yeah!
We boogie and we bump until were fit to trop
And when he gets me going, I dont want to stop
When he says, dance, little lady, dance
Dance, little lady, dance
You know youve only got one chance
So come on, dance, dance, dance!
Thats what he told me
Oh, what a mover!
Thats what he told me
Oh, what a groover!
Dance, little lady

Tina Charles (born Tina Hoskins, 10 March 1954, Whitechapel, London[1]) is an English singer, who achieved success as a disco artist in the mid to late 1970s. Her chosen stage name of Charles was a tribute to her father, Charles Hoskins.

Charles began her career as a backing singer and session musician, and recorded her first solo single in 1969 with a then unknown Elton John singing backing vocals. During the early 1970s she supplied vocals for the Top of the Pops album series.[2] In 1971 she recorded a record called "Joe" (about a little puppy); the same year she made appearances in the first series of The Two Ronnies, the BBC One sketch show starring Ronnie Barker and Ronnie Corbett.[3]
In 1975 Charles and her friend Linda Lewis were backing vocalists on the Steve Harley & Cockney Rebel chart topping song, "Make Me Smile (Come Up and See Me)".
She provided the lead vocals for 5000 Volts' 1975 disco hit single "I'm On Fire". Although not publicly acknowledged as a group member at the time, Charles was considered to have a stronger voice than the group's official lead singer. The song reached number 4 in the UK Singles Chart, and 26 in the Billboard Hot 100.
Charles' big break came in 1975, when Indian-British music composer and record producer Biddu, who had just enjoyed massive success worldwide writing the disco hit "Kung Fu Fighting" for Carl Douglas, produced the single "I Love to Love (But My Baby Loves to Dance)" for her. The single spent three weeks at number one on the UK chart in February 1976, and was a major hit around the world. Biddu's collaboration continued on a future album and another song hit: "Dance Little Lady Dance". In total, Charles spent 42 weeks on the UK Singles Chart in 1976 alone, mainly due to these two songs.[4]
Further hits like "Love Me Like A Lover", "Dr Love", "Rendezvous" and "Love Bug" made her a pop star throughout Europe, Asia, Australia and New Zealand, but she was never able to achieve success in the US. Her only solo recording to chart significantly in the US was "You Set My Heart on Fire," which reached number 3 on Record World's 'Disco File Top 20' chart in the autumn of 1975.[5]
In 1978, Charles was a joint winner at the World Popular Song Festival held in Tokyo, Japan, performing the tune, "Love Rocks". Charles represented the UK, and shared the top prize with Japan's own entry.[6]
By 1980 her career was in decline, and disco music generally was losing some of its public appeal. She attempted to change her disco style for her 1980 album Just One Smile for a more hard edge rock electronic style but the album was virtually ignored. Charles married and had a child, and devoted herself for some years to her family life, putting her singing career on the back burner. In the mid 1980s she had a resurgence with a remix of "I Love To Love" which was produced by Sanny X.
Since 2000, Charles has performed throughout Europe where disco music and her hit singles have been reappraised, and she has become a popular live performer.
Charles featured in the Top 5 of the US Hot Dance Music/Club Play chart with "Higher" in 2006. The song is produced by longtime friend and associate Sanny X. She made a guest appearance with The Producers at their 2007 concert, singing "Slave to the Rhythm".
In October 2007, Charles recorded "Hide and Seek" with producer Ian Levine for the album Disco 2008. Her latest album, Listen 2 The Music was released in March 2008.

Kung Fu Fighting

Carl Douglas



Bruce Lee


Kung Fu Panda




Everybody was kung-fu fighting
Those cats were fast as lightning
In fact it was a little bit frightning
But they fought with expert timing

They were funky China men from funky Chinatown
They were chopping them up and they were chopping them down
It's an ancient Chineese art and everybody knew their part
From a feint into a slip, and kicking from the hip

Everybody was kung-fu fighting
Those cats were fast as lightning
In fact it was a little bit frightning
But they fought with expert timing

There was funky Billy Chin and little Sammy Chung
He said here comes the big boss, lets get it on
We took a bow and made a stand, started swinging with the hand
The sudden motion made me skip now we're into a brand knew trip

Everybody was kung-fu fighting
Those cats were fast as lightning
In fact it was a little bit frightning
But they did it with expert timing

(repeat)..make sure you have expert timing
Kung-fu fighting, had to be fast as lightning

"Kung Fu Fighting" is a song written and performed by Carl Douglas and Vivian Hawke, and produced by Biddu. It was released as a single in 1974, at the cusp of a chopsocky film craze, and quickly rose to the top of British and American charts. "Kung Fu Fighting" was also number one on the soul singles chart for one week.[1] The song also is famous for its use of the quintessential Oriental Riff, a short musical phrase that is used to signify Chinese culture.
It originally was meant to be a B-side to I Want to Give You My Everything by Brooklyn songwriter Larry Weiss, and was recorded in the last ten minutes of his studio time.[2][3] This song has been featured prominently in pop culture including Mott's Clamato advertisements.
Douglas states that his inspiration to write the song was affected by three factors: he had seen a kung fu movie, later visited a jazz concert by Oscar Peterson, and was suffering from side-effects of pain killers (Douglas had injured his foot playing football).[4] Another account gives his inspiration simply as seeing two kids in London doing kung fu moves.[2]
Kung Du Fighting was rated #100 in VH1's "100 Greatest one-hit wonders, and number 1 in the UK Channel 4's Top 10 One Hit Wonders list in 2000, the same channel's 50 Greatest One Hit Wonders poll in 2006 and Bring Back ... the one-hit Wonders, for which Carl Douglas performed the song in a live concert.

You are in the army now

Status Quo



A vacation in a foreign land
Uncle Sam does the best he can
You're in the army now
Oh, oh, you're in the army now

Now you remember what the draftsman said
Nothing to do all day but stay in bed
You're in the army now
Oh, oh, you're in the army now

You be the hero of the neighborhood
Nobody knows that you left for good
You're in the army now
Oh, oh, you're in the army now

Smiling faces as you wait to land
But once you get there no one gives a damn
You're in the army now
Oh, oh, you're in the army now

Hand grenades flying over your head
Missiles flying over your head
If you want to survive get out of bed
You're in the army now
Oh, oh, you're in the army now

Shots ring out in the dad of night
The sergeant calls (stand up and fight)
You're in the army now
Oh, oh, you're in the army now

You've got your orders better shoot on sight
Your finger's on the trigger
But it don't seem right
You're in the army now
Oh, oh, you're in the army now
You're in the army now
Oh, oh, you're in the army now

Night is falling and you just can't see
Is this illusion or reality
You're in the army now
Oh, oh, you're in the army now
You're in the army now
Oh, oh, you're in the army now

Oh, oh, you're in the army now


In the Army Now" is a song by the Dutch duo Rob and Ferdi Bolland, recorded in 1981. The song was also later recorded by the English rock band Status Quo on their 1986 album, In the Army Now, and their version peaked at number 2 in the UK Singles Chart. Slovenian industrial band Laibach recorded a cover-version for their war-themed NATO album in 1994. In 2009, Les Enfoirés covered the song under the title "Ici Les Enfoirés", using the same tune, but changing the lyrics to ones in the French language.

Never on a Sunday - Ta Pedia Tu Pirea

Connie Francis



Melina Mercouri

Oh, you can kiss me on a Monday a Monday a Monday
is very very good
Or you can kiss me on a Tuesday a Tuesday a Tuesday
in fact I wish you would
Or you can kiss me on a Wednesday a Thursday a
Friday and Saturday is best
But never ever on a Sunday a Sunday a Sunday
cause that's my day of rest

Most any day you can be my guest
Any day you say but my day of rest
Just name the day that you like the best
Only stay away on my day of rest

Oh, you can kiss me on a cool day a hot day a wet day
which ever one you choose
Or try to kiss me on a gray day a May day a pay day
and see if I refuse

And if you make it on a bleak day a freak day or a week day
Well you can be my guest
But never ever on a Sunday a Sunday the one day
I need a little rest
Oh, you can kiss me on a week day a week day a week day
the day to be my guest

TA PEDIÁ TU PIREÁ (Transcription of Greek Lyrics)

Ap’ to paráthiro mu stélno éna dío
Ke tría ke tésera filiá
Pou ftánun sto limáni éna ke dío
Ke tría ke tésera puliá,
Pos thá thela na íha éna ke dío
Ke tría ke tésera pediá.
Ótan tha megalósun óla na gínun
Levéndis giá hári tu Pireá.

Óso ki an psáhno
Den vrísko álo limáni,
Tréli na m’éhi káni
Apó ton Pireá,
Pu ótan vradiázi,
Tragedia m’aradiázi
Ke tis peniés tu alázi.
Gemízi apó pediá.

Apó tin pórta mu san vgo
Den ipárhi kanís
Pu na min ton agapó,
Ke san to vrádi kimithó
Kséro pos, kséro pos
Pos tha ton onireftó.
Petrádia vázo sto lemó
Ke miá ha-, ke mia ha-,
Ke miá hándra filahtó
Giatí ta vrádia karteró
Sto limáni san vgo
Kápion ágnosto na vro.

Óso ki an psáhno
Den vrísko álo limáni,
Tréli na m’éhi káni
Apó ton Pireá,
Pu ótan vradiázi,
Tragedia m’aradiázi
Ke tis peniés tu alázi.
Gemízi apó pediá.

Pos thá thela na íha éna ke dío
Ke tría ke tésera pediá.

Ta Pediá Tu Pireá (Literal English Translation)

Out my window, I send one, two
And three and four kisses,
Where one and two and three and four
Birds reach the port.
How I wish I had one and two
And three and four boys.
All would grow up and become
Fine lads for the joy of Piraeus.

However much I search,
I don’t find another port.
I’m crazy to have moved
From Piraeus,
Where when it becomes evening,
Song follows song for me,
And the bouzouki plectrums are changed,
And the place fills up lads.

From my door when I go
There is no one
I don’t love.
And when I am sleeping in the evening
I know how, I know how, how to dream.
On my neck I put a charm of beads,
Of beads, of beads,
So that when I wait around on the port in the evening,
When I go out I won’t see anyone I don’t know.

However much I search,
I don’t find another port.
I’m crazy to have moved
From Piraeus,
Where when it becomes evening,
Song follows song for me,
And the bouzouki plectrums are changed,
And the place fills up lads.

How I wish I had one and two
And three and four boys.

------------

About the author Thomas Keyes: I have written two books: A SOJOURN IN ASIA (non-fiction) and A TALE OF UNG (fiction), neither published so far.

I have studied languages for years and traveled extensively on five continents.

Email: udikeyes@yahoo.com



Never on Sunday
The music was written by Manos Hadjidakis, with original Greek lyrics also by Manos Hadjidakis. The original Greek title is Τα Παιδιά του Πειραιά (Ta Paidiá tou Peiraiá) which translates as "The Children of Piraeus", and is the title commonly used in Greece. The original Greek lyrics do not make any mention of Sunday anywhere in the song.
The song was published in 1960, and introduced in the movie of the same name, directed by Jules Dassin and starring his wife Melina Mercouri.
The original Greek lyrics and also the foreign translations in German, French and Italian are true to the character of the Illya, the female main character of the movie. Illya is a jolly woman who loves life and the town and the people of her native Piraeus. And although she earns her money as a prostitute, she longs to find some day a man who is just as full of joie de vivre as Illya herself is.
The English lyrics written by Billy Towne were written especially to match the title of the film, but they don't match the movie's spirit at all.
The original version in Greek was recorded by Melina Mercouri, who also played the leading part of Illya in the movie. The song was a hit in the USA by Don Costa, whose orchestral version hit the charts in both 1960 and 1961, and The Chordettes, whose vocal cover just missed the Top Ten list in 1961.
This song was sung on the Muppet Show by Miss Piggy and Greek pigs, complete with smashing plates.
[edit]

When I am kid

Demis Roussous



When I’m a kid
I’ll go and play
With misty wind
Singing along,
tapping along
Clapping away.

When I a boy
I’ll go back to my good old toys
Singing along,
Clapping along
Day after day.

La, la, la, la
[ When I Am A Kid Lyrics on http://www.lyricsmania.com/ ]

Quand je t'aime

Demis Roussous



Quand je t'aime
J'ai l'impression d'être un roi
Un chevalier d'autrefois
Le seul homme sur la terre
Quand je t'aime
J'ai l'impression d'être à toi
Comme la rivière au delta
Prisonnier volontaire

(Refrain)

Quand je t'aime
Tous mes gestes me ramènent
A tes lèvres ou à tes bras
A l'amour avec toi

Quand je t'aime
Il est minuit ou midi
En enfer au paradis
N'importe où mais ensemble
Quand je t'aime
Je ne sais plus si je suis
Un mendiant ou un messie
Mais nos rêves se ressemblent

(Au refrain)

Quand je t'aime
J'ai des fleurs au bout des doigts
Et le ciel que je te dois
Est un ciel sans étoile
Quand je t'aime
J'ai la fièvre dans le sang
Et ce plaisir innocent
Me fait peur, me fait mal

(Au refrain)

Quand je t'aime
J'ai l'impression d'être un roi
Un chevalier d'autrefois
Le seul homme sur la terre
Quand je t'aime
J'ai l'impression d'être à toi
Comme la rivière au delta
Prisonnier volontaire
Quand je t'aime
Il est minuit ou midi
En enfer au paradis
N'importe où mais ensemble
Quand je t'aime
Je ne sais plus si je suis
Un mendiant ou un messie
Mais nos rêves se ressemblent
Quand je t'aime







Demis Roussos - Quand je t'aime

When I love you,
I feel like am a king,
A knigth of erstwhile,
The only man on Earth

When I love you,
I feel like am yours,
Like the river is to the Delta,
Voluntary prisoner.

(Chorus:)
When I love you,
All my movements bring me back,
To your lips or to your arms,
To making love with you.

When I love you
It is midnight or mid-day
In Hell or in paradise
Anywhere as long as we are together

When I love you
I do not know who I am anymore
A beggar or a messiah
But our dreams are alike
(To Chorus)

When I love you
I have flowers at the tip of my fingers,
And the sky that I owe you
Is a sky without stars.

When I love you
I have a fever in the blood
And this innocent pleasure
Frighten me, hurt me.
(To Chorus)


When I love you,
I feel like am a king,
A knigth of erstwhile,
The only man on Earth

When I love you,
I feel like am yours,
Like the river is to the Delta,
Voluntary prisoner.

When I love you
It is midnight or mid-day
In Hell or in paradise
Anywhere as long as we are together

When I love you
It is midnight or mid-day
In Hell or in paradise
Anywhere as long as we are together

When I love you
I do not know who I am anymore
A beggar or a messiah
But our dreams are alike

Summer Wine

Nancy Sinatra and Lee Hazlewood



Bono and the Corrs


Strawberries cherries and an angel's kiss in spring
My summer wine is really made from all these things

I walked in town on silver spurs that jingled to
A song that I had only sang to just a few
She saw my silver spurs and said lets pass some time
And I will give to you summer wine
Ohh-oh-oh summer wine
Strawberries cherries and an angel's kiss in spring
My summer wine is really made from all these things
Take off your silver spurs and help me pass the time
And I will give to you summer wine
Ohhh-oh summer wine

My eyes grew heavy and my lips they could not speak
I tried to get up but I couldn't find my feet
She reassured me with an unfamiliar line
And then she gave to me more summer wine
Ohh-oh-oh summer wine

Strawberries cherries and an angel's kiss in spring
My summer wine is really made from all these things
Take off your silver spurs and help me pass the time
And I will give to you summer wine
Mmm-mm summer wine
When I woke up the sun was shining in my eyes
My silver spurs were gone my head felt twice its size
She took my silver spurs a dollar and a dime
And left me cravin' for more summer wine
Ohh-oh-oh summer wine
Strawberries cherries and an angel's kiss in spring
My summer wine is really made from all these things
Take off your silver spurs and help me pass the time
And I will give to you summer wine
Mmm-mm summer wine..