Sunday, November 28, 2010

The Gipsy Kings by the Gipsy Kings

I'm sorry I have not posted for a while.  My wife had hip surgery and I was helping her.  Today I listened to The Gipsy Kings album.  The Gipsy Kings are members of two related families: the Reyes and the Baliardos (Reyes means Kings in Spanish). They are cousins of the flamenco great Manitas de Plata whose granddaughter lead guitarist Tonino Baliardo married. Nicolas, Canut, Paul, Andre and Patchai Reyes are sons of flamenco singer Jose Reyes. The Gipsy Kings are: Nicolas Reyes: lead vocals, guitar, Paul Reyes: backup vocals, guitar, Canut Reyes: backup vocals, guitar, Patchai Reyes: backup vocals, guitar, Andre Reyes: backup vocals, guitar Diego Baliardo: guitar, Paco Baliardo: guitar, Tonino Baliardo: lead guitar
Chico Bouchikhi was also a member of the Gipsy Kings, but quit after the album Mosaique.
 They are a group of musicians from Arles and Montpellier, France who perform in Gitane, a dialect of Spanish that is heavily influenced by French and Catalan. Although group members were born in France, their parents were mostly gitanos, Spanish Romani people who fled Catalonia during the 1930s Spanish Civil War, with the exception of Chico Bouchikhi who is of Moroccan and Algerian descent. They are known for bringing Rumba Catalana, a pop-oriented music distantly derived from traditional flamenco music, to worldwide audiences. Their music has a particular Rumba Flamenca style, with pop influences; many songs of the Gipsy Kings fit social dances, such as Salsa and Rumba. Their music has been described as a place where "Spanish flamenco and Romani rhapsody meet salsa funk"

The Self titled Gipsy Kings was their third album and was released in 1988.  The track listin is as follows;

"Bamboleo" – 3:25 is a version of a Venezualan folk song called"Caballo Viejo" by Simón Díaz from a lyric by Venezuelan poet Angel Eduardo Acevedo, which appears on the 1980 album Caballo Viejo. It has become one of the most important folk songs in Venezuela and is already regarded as a classic. The Gipsy Kings had a worldwide hit with their version of the song recorded under the title "Bamboleo". The Lyrics are:
The kind of love arrives this way, It's not its fault. Horse that dances in vain, Because it's so very scorned that's why, It won't forgive your crying.  That kind of love arrives this way, It's not its fault.  Love bought and sold. Love from the past, come on come on

Tu Quieres Volver" – 3:15 This song was covered by Sarah Brightman on her Album Time to Say Goodbye.  The transalation is You want to come back, but I don''t see you anymore,  You want to come back, but I don't feel for you anymore.
"Moorea" – 4:05 This is a guitar piece written about a beautiful Island in French Polynesia.

"Bem, Bem, Maria" – 3:03  The Lyrics are:.  They are don't go away Come back now, do not leave me, the same way like a little girl. Don't go away, come back now,don't leave me, Don't tell me ole, the same way you have abandoned me Well, well Maria, I love you.  Well well Maria I adore you.
"Un Amor" – 3:40  Translation One love, I lived one love crying and it told me God's words crying for you It's with love.
"Inspiration" – 3:28
"A Mi Manera" (My Way) – 3:52. The lyrics are a loose translation of the Song "My Way by Paul Anka.
"Djobi Djoba" – 3:27   Along with other hits from the same album such as "Bamboleo" and "Un Amor", Djobi Djoba helped rocket the Gipsy Kings to Europe popularity, before their popularity was brought over to America in 1989. In 1989, Gipsy Kings was released in the US and it spent 40 weeks on the charts, one of very few Spanish Language albums to do so. The lyrics transalated are
Hey Baby
I can not find you lonely on the streets
I feel in love
I feel sad and lonely

Djobi, Djoba, each day I love you more (repeat 6 times)
I don't care of the distance
I won't be away from you
I will be remembering you
and don't tell me paraguay, ay, ay.

"Faena" – 3:45 is a wonderful instrumental piece.
"Quiero Saber" – 4:1 I want to know what matters to me about you. And get aquainted with a new love, And your way of being I never came to understand, And your eyes crying one day for me.
"Amor, Amor" – 3:13 I remember one day I was going to meet you.  You were alone on the street. You were waiting for me Love Love etc.
"Duende" – 4:22 Another Instrumental piece.

Hope everybody had a Happy Thanksgiving

Bamboleo - Gipsy Kings

Gipsy Kings-Tu Quieres Volver

Gipsy Kings- Moorea

Bem, Bem María

Un Amor ( HQ ) - Gipsy Kings


A mi manera - Gipsy Kings

Gipsy Kings - Djobi Djoba

The Gipsy Kings - Quiero Saber

Gipsy Kings - Amor, Amor (Live at Royal Albert Hall)

Gipsy Kings - Duende (Live at Royal Albert Hall)

Thursday, November 11, 2010

Duets I by Frank Sinatra

As I get older I have realized that my musical taste is going backward rather than continuing on with the latest pop music.  I am developing a taste for the music of my dad and show tunes and Light music that I grew up listening on my dad's 78 rpm record player.  I listen every Sunday to BBC 2's programs.  Alan Titmarsh and Desmond Carrington and also the David Jacob's Collection.  How boring yes but I just listening to them. 

I recently say a show on the American Songbook and fell in love with many of the old songs.  This tape I taped from the original vinyl album twenty years ago.  It is so impressive with all the stars who sang with Sinatra on this album.  According to the Internet,  Sinatra chose all these artists personally and Phil Ramone was the producer.  The guest singers were not physically present with Sinatra but instead were singing along to his pre-recorded vocal parts over a telecommunications link

  1. "The Lady Is a Tramp" (Richard Rodgers, Lorenz Hart) (with Luther Vandross) – 3:24The Lady Is a Tramp" is a show tune from the 1937 Rodgers and Hart musical Babes In Arms. This song is a sophisticated and witty spoof of New York high society and its strict etiquette (the first line of the verse is significant: "I get too hungry for dinner at eight..."). It has become a classic song in the pop standards/vocal genre.
  2. "What Now My Love" (Gilbert Becaud, Carl Sigman, Pierre Leroyer) (with Aretha Franklin) – 3:15 What Now My Love" is the English title of a popular song whose original French version, "Et Maintenant" ("And Now") was written in 1961 by composer Gilbert Bécaud and lyricist Pierre Delanoë. English language lyrics and the title were written by Carl Sigman: early versions of it were recorded by Jane Morgan and Ben E King.
  3. "I've Got a Crush on You" (George Gershwin, Ira Gershwin) (with Barbra Streisand) – 3:23 I've Got a Crush on You" is a song composed by George Gershwin, with lyrics by Ira Gershwin. It is unique among Gershwin compositions in that it was used for two different Broadway productions, Treasure Girl (1928), and Strike Up the Band (1930).
  4. "Summer Wind" (Heinz Meier, Hans Bradtke, Johnny Mercer) (with Julio Iglesias) – 2:32 "Summer Wind" is a 1965 song, with music by Henry Mayer and lyrics by Johnny Mercer. The song is a nostalgic tale of a fleeting romance, first recorded by Wayne Newton who had the first national chart hit with the song in 1965, peaking at number 78. "Summer Wind" is most known for a 1966 recording by Frank Sinatra which peaked at number twenty-five on the Billboard pop singles chart and number one on the Easy Listening chart.[The Sinatra version originally appeared on his album, Strangers in the Night. By the 2000s, it was one of Sinatra's most-used recordings in various contexts
  5. "Come Rain or Come Shine" (Harold Arlen, Mercer) (with Gloria Estefan) – 4:04Come Rain or Come Shine" is a popular music song written by Harold Arlen with lyrics by Johnny Mercer. The song was written for the musical St. Louis Woman, and was published in 1946. Martin Scorsese's 1983 film The King of Comedy features Ray Charles' recording of the song in its opening credits. Later in the film, the character of Masha (played by Sandra Bernhard) sings the tune for the kidnapped Jerry Langford (Jerry Lewis) during their "date" as he's being held hostage in her apartment. 
  6. "New York, New York" (Fred Ebb, John Kander) (with Tony Bennett) – 3:30  "Theme from New York, New York" (or "New York, New York") is the theme song from the Martin Scorsese film New York, New York (1977), composed by John Kander, with lyrics by Fred Ebb. It was written for and performed in the film by Liza Minnelli. It was suggested to him by Howard Huntridge, an English Television producer, during a meeting at Caesars Palace Las Vegas in 1977 The first line of the song is
    Start spreadin' the news, I'm leaving today
    I want to be a part of it: New York, New York.
    The song concludes with the line
    If I can make it there, I'll make it anywhere,
    It's up to you, New York, New York.
  7. "They Can't Take That Away From Me" (G. Gershwin, I. Gershwin) (with Natalie Cole) – 3:11 They Can't Take That Away from Me" is a 1937 song (see 1937 in music) written by George Gershwin and Ira Gershwin and introduced by Fred Astaire in the 1937 film Shall We Dance. The song is performed by Astaire on the foggy deck of the ferry from New Jersey to Manhattan. It is sung to Ginger Rogers, who remains silent listening throughout. No dance sequence follows, which was unusual for the Astaire-Rogers numbers. Astaire and Rogers did dance to it later in their last movie The Barkleys of Broadway (1949) in which they played a married couple with marital issues. The song, in the context of Shall We Dance, notes some of the things that Peter (Astaire) will miss about Linda (Rogers). The lyrics include "the way you wear your hat, the way you sip your tea", and "the way you hold your knife, the way we danced till three." Each verse is followed by the line "no, no, they can't take that away from me." The basic meaning of the song is that even if the lovers part, though physically separated the memories cannot be forced from them. Thus it is a song of mixed joy and sadness. The verse references the song "The Song is Ended (but the Melody Lingers On)" by Irving Berlin:
    Our romance won't end on a sorrowful note, though by tomorrow you're gone. The song is ended, but as the songwriter wrote, 'the melody lingers on.' They may take you from me, I'll miss your fond caress, but though they take you from me I'll still possess....
    George Gershwin died two months after the film's release, and he was posthumously nominated for the Academy Award for Best Original Song at the 1937 Oscars.

  8. "You Make Me Feel So Young" (Mack Gordon, Josef Myrow) (with Charles Aznavour) – 3:05 You Make Me Feel So Young" is a 1946 popular song composed by Josef Myrow, with lyrics written by Mack Gordon.

  9. "Guess I'll Hang My Tears Out to Dry"/"In the Wee Small Hours of the Morning" (Sammy Cahn, Jule Styne)/(Bob Hilliard, David Mann) (with Carly Simon) – 3:57 Guess I'll Hang My Tears Out to Dry" is a 1945 popular music song composed by Jule Styne, with lyrics by Sammy Cahn. It was memorably recorded by Frank Sinatra on the album Frank Sinatra Sings for Only the Lonely (1958), in an arrangement by Nelson Riddle. It was originally introduced on stage by film star Jane Withers in the 1944 flop "Glad to See You," which closed in Philadelphia and never made it to Broadway. Styne and Cahn had previously written songs for several of Withers' movies. "In the Wee Small Hours of the Morning" is a 1955 popular song composed by David Mann, with lyrics by Bob Hilliard. It was introduced as the title track of Frank Sinatra's 1955 album In the Wee Small Hours.

  10. "I've Got the World on a String" (Arlen, Ted Koehler) (with Liza Minnelli) – 2:18 "I've Got The World on a String" is a 1932 popular song composed by Harold Arlen, with lyrics written by Ted Koehler. It was written for the 1932 Cotton Club Parade. It was introduced by Cab Calloway and Bing Crosby. It was also recorded by Frank Sinatra in 1953. It reached #14 on Billboard's most played list. Anthony Perkins sang it in the drama Winter Dream, a production of the live anthology TV series, Front Row Center. Céline Dion also performed this song in her Las Vegas show A New Day..., which ran from 2002 until 2007.

  11. "Witchcraft" (Carolyn Leigh, Cy Coleman) (with Anita Baker) – 3:22 "Witchcraft" is a popular song from 1957 composed by Cy Coleman with lyrics by Carolyn Leigh. It was released as a single by Frank Sinatra, and reached number twenty in the U.S., spending sixteen weeks on the charts. Composed as an instrumental piece by Coleman for the revue Take Five, lyrics were added by Leigh, and "Witchcraft" was subsequently recorded by Sinatra in May 1957, in an arrangement by Nelson Riddle. Elvis Presley sang this song in The Frank Sinatra Timex Show: Welcome Home Elvis. At the 1st Grammy Awards, Frank Sinatra was nominated for six Grammy awards, with Sinatra's recording of "Witchcraft" being nominated for the Record of the Year, Song of the Year, Best Vocal Performance, Male, and Nelson Riddle's arrangement nominated for the Grammy Award for Best Arrangement. Sinatra had two albums nominated for the Grammy Award for Album of the Year, and won the Grammy Award for Best Album Cover. This song was also sung live by Peggy Lee

  12. "I've Got You Under My Skin" (Cole Porter) (with Bono) – 3:32 "I've Got You Under My Skin" is a song written by Cole Porter. It became a signature song for Frank Sinatra and, in 1966, became a top 10 hit for The Four Seasons. Since then it has gone on to be recorded by many leading pop artists and jazz musicians. Written in 1936, the song was introduced in the Eleanor Powell MGM musical, Born to Dance in which it was performed by Virginia Bruce. It was nominated for the Academy Award for Best Song that year.Sinatra first sang the song on his weekly radio show in 1946, as the second part of a medley with "Easy to Love". He put his definitive stamp on the tune ten years later, in a swinging big-band version that built to successive crescendos on the back of an arrangement by Nelson Riddle. Riddle was a fan of Maurice Ravel, and has said that this arrangement was inspired by the Boléro.  In 1993, Sinatra recorded a version as a duet with Bono of U2 for the album Duets. It was also released as a B-side on U2's "Stay (Faraway, So Close!)" single.

Lyrics: I've got you under my skin. / I've got you deep in the heart of me. / So deep in my heart that you're really a part of me. / I've got you under my skin. / I'd tried so not to give in. / I said to myself: this affair never will go so well. / But why should I try to resist when, baby, I know so well / I've got you under my skin?
I'd sacrifice anything come what might / For the sake of havin' you near / In spite of a warnin' voice that comes in the night / And repeats, repeats in my ear: / Don't you know, little fool, you never can win? / Use your mentality, wake up to reality. / But each time that I do just the thought of you / Makes me stop before I begin / 'Cause I've got you under my skin
13. "All the Way"/"One For My Baby (And One More For The Road)" (Cahn, Jimmy Van Heusen)/(Arlen, Mercer) (with Kenny G) – 6:03 "All the Way" is a 1950s pop song which has since been covered by many artists. It was introduced in the movie The Joker Is Wild. Sinatra also had the best-selling recorded version of the song. Aside from this song, he also sang Chicago (That Toddlin' Town) for the movie. It wound up as the flipside of All The Way when Capitol Records released the song as a single. The single reached #15 in sales, #2 in airplay in Billboard's charts. The song received the 1957 Academy Award for Best Original Song. "One for My Baby (and One More for the Road)" is a popular song written by Harold Arlen and Johnny Mercer for the musical The Sky's the Limit (1943) and first performed in the film by Fred Astaire. It was popularized by the American singer Frank Sinatra. "One for My Baby" is the theme song of the 1957-1958 NBC detective series, Meet McGraw, starring Frank Lovejoy. Harold Arlen described the song as "another typical Arlen tapeworm" - a "tapeworm" being the trade slang for any song which went over the conventional 32 bar length. He called it "a wandering song. [Lyricist] Johnny [Mercer] took it and wrote it exactly the way it fell. Not only is it long - forty-eight bars - but it also changes key. Johnny made it work."[ In the opinion of Arlen's biographer, Edward Jablonski, the song is "musically inevitable, rhythmically insistent, and in that mood of 'metropolitan melancholic beauty' that writer John O'Hara finds in all of Arlen's music.  A famous and acclaimed performance of the song was by Bette Midler, sung to Johnny Carson on the penultimate night of The Tonight Show Starring Johnny Carson. Both Midler and Carson got caught up in the emotion of the song, and a heretofore unused camera angle on the set framed the two and the performance. It earned Midler that year's Emmy Award (1992) for Outstanding Individual Performance in a Variety or Music Program. The lyrics were adapted to suit the occasion - such as "And John I know you're getting anxious to close".

Another great listening experience thank you and good night.

Tuesday, November 9, 2010

The Lady is a Tramp - Frank Sinatra & Luther Vandross HD

What Now, My Love? - Frank Sinatra & Aretha Franklin HD

Barbra Streisand & Frank Sinatra - I've got a crush on you

Summer Wind - Frank Sinatra & Julio Iglesias HD

Come Rain or Come Shine - Frank Sinatra & Gloria Estefan HD

New York, New York - Frank Sinatra & Tony Bennett duet

They Can't Take That Away from Me - Frank Sinatra & Natalie Cole HD

You Make Me Feel So Young - Frank Sinatra & Charles Aznavour HD

Guess I'll Hang my tears out to Dry - In the Wee Small Hours / Frank Sin...

I've Got the World on a String - Frank Sinatra & Liza Minelli HD

Sinatra, Anita Baker, Witchcraft.wmv

Bono & Frank Sinatra* I've Got You Under My Skin*video clip

Friday, November 5, 2010

Sails of Silver by Steeleye Span

What can I say about Steeley Span.  I first saw them on a TV show in the US and was blown away by their sound and Maddy Prior who was and is the lead singer.  I immediately went and bought the vynil album called Parcel Of Rogues.

I really enjoyed their sound and their updating the British Folk idiom to a rock instrumentation. 
Steeleye Span are an English folk-rock band, formed in 1969 and remaining active today. Along with Fairport Convention they are amongst the best known acts of the British folk revival, and were among the most commercially successful, thanks to their hit singles "Gaudete" and "All Around My Hat". They had 3 top 40 albums. They achieved a certified "gold" record with sales of "All Around My Hat".
The name Steeleye Span comes from a character in the traditional song Horkstow Grange (which they did not actually record until they released an album by that name in 1998). The song gives an account of a fight between John "Steeleye" Span and John Bowlin, neither of whom are proven to have been real people. Martin Carthy gave Tim Hart the idea to name the band after the song character. When the band discussed names, they decided to vote between the three suggestions "Middlemarch Wait", "Iyubidin's Wait", and "Steeleye Span". Although there were only five members in the band, six ballots appeared and "Steeleye Span" won out. Only in 1978 did Hart confess that he had voted twice. 

Their typical album is a collection of mostly traditional songs with one or two instrumental tracks of jigs and/or reels added; the traditional songs often include some of the Child ballads. In their later albums there has been an increased tendency to include music written by the band members, but they have never got completely away from traditional music, which draws upon pan-British traditions.

Sails of Silver was produced two years after the band's ostensible break-up, at the request of Chrysalis Records. Peter Knight and Bob Johnson both returned, replacing their own replacements Martin Carthy and John Kirkpatrick, who had departed after the release of Live at Last. However, although Chrysalis had prodded the band to reform and release the album, in practice the label proved much more interested in promoting rising acts like Blondie than a reformed band that hadn't hit a real hit in four years. Despite being produced by Elton John's producer Gus Dudgeon, Sails of Silver was a commercial failure, and this proved a final straw for Tim Hart, who departed the band, leaving Maddy Prior as the band's sole remaining founding member.
The personnel on this recording were:

The tracks are as follows:

"Sails of Silver" (Tim Hart, Bob Johnson, Rick Kemp, Peter Knight, Nigel Pegrum, Maddy Prior) – 3:27  This is a song written by the band.
Fair maid in a]garden ]walking along,
What is it makes her to weep and to mourn?
]I am as a tall sailing ship out on the sea,
Where only long breezes reach out to me.
And I'll set my sails of silver,
And I'll steer towards the sun,
And you false love will weep for me
When I'm gone, when I'm gone, when I'm gone. 
Verse 2
Fair maid in a garden how can it be?
Eyes staring seaward but what does she see?
A mast of the tall rowan tree, ropes of fine silk,
Decks holy stoned shining whiter than milk.

"My Love" (Traditional, Steeleye Span) – 2:52
Do you remember what we promised when we met, my love?
There would never be a reason for regret, my love;
The news has come to town, the news flies up and down,
That another you have found to lie with you, my love.

If the wind doth whisper by that it's not true, my love,
And the seas could rise and cry that it's not you, my love;
If the hills could only say that you were on your way,
Then happy I would stay and be with you, my love.

"Barnet Fair"(Kemp, Traditional) – 4:34 Barnet Fair is an annual horse and pleasure fair held in Barnet on the first Monday in September. It began in 1588 when Queen Elizabeth I granted a charter to the Lord of the Manor of Barnet to hold a fair twice yearly, in addition to the weekly Barnet Market. Originally held in June and October, Lord John Tomlinson changed the dates to April and September in 1758 for the reason of improving business
Verse 1
Once a year when the Winter's calling,
Birds fly south and the leaves are falling down
Just beyond the town, the meadow where a campfire's burning
Wakes in the morning to the music of the big fairground.
Coming from the East, coming from the West, all the gypsies are gathering.
Just another town on the road for the travelling man
Follow me, boys, won't you follow me to Barnet Fair?
Follow on children won't you follow me to Barnet Fair?
If I show you the way won't you come along today?
Everyone you know will be there.
Follow me, boys, won't you follow me to Barnet Fair.
Verse 2
Leave the factory, leave the field
Word is abroad that the fair arrives today.
Come on from the dusty loom and the rusty plough
Join the procession, I can hear it come this way
Come and see the juggler, come and see the fiddler
See the horses and the dancing bear.
Come and see the pretty lasses with the coloured ribbons in their hair.
Verse 3
See the magic lantern and the batt and hoop-la,
Prizes for the twopenny shy.
"All the fun of the fair" you can hear the showmen cry.
"Senior Service" (Kemp, Prior) – 3:30
Sally's in the alley and Nancy's on the game
Emily is pregnant and wondering who to blame.
We raise our port and lemon and toast a reply
That the Senior Service satisfy.
Verse 1
See the bold man-of-war steaming into port
Guns fully primed, the 24-pounder sort
And down on the deck for a full broadside
Back on the high seas with the rising tide.
Verse 2
Here's a little steam ship chugging up the channel
Small smoke stack and a red smoking funnel.
He brings the girls presents of stockings and tights,
Comes regular as clockwork every Tuesday night.
Here come the sailor boys, Matthew, Luke and John
I like 'em with tattoos, I like 'em young and strong.
Here come the sailor boys a-rousting up the town
Their rigging is up but their sails are down.
Instrumental Break
Verse 3
Here's a skipper of a clipper with a broken bowsprit
Heading for dry dock and a new refit
There's an oil tanker of the modern kind
A thousand foot length of throbbing steam turbine.
Here come the sailor boys, George, John and Paul.
I like 'em lithe and lissom, like 'em slim and tall.
Here come the sailor boys whistling up the quay,
Blue Peter up the mast where all the girls can see.

"Gone to America" (Knight, Traditional) – 4:22
Married him in April, lost him in July
Listen to my story and I'll tell you why
They said that he'd been poaching and stealing wine
They said I wouldn't see him for a long, long time
They said he's gone to America
To work the land that some called Virginia
They said he's gone to America
Verse 2
Married him in April, lost him in July
They took him as their prisoner then told me why
They said that they had sent him where poachers go,
I asked if I could see him, but they said no,
Married him in April, lost him in July
Verse 3
Married him in April, lost him in July
Curse the men who took him curse their wicked lies
The night they saw him poaching and stealing wine
Was the night that he took comfort in these arms of mine, but now:

"Where Are They Now" (Kemp, Traditional) – 4:10
And his Nature was his mother
Made a promise at his birth
But she's running like a hunted mob for cover
All across the earth

The forest turned into the tall ships
And though they fought for England well
The emptiness is ringing down the ages
Like a hollow bell

Where are they now
A Mystery
The hearts I hear of the mountaineers
Are lost on the breeze
Where are they now

"Let Her Go Down" (Knight) – 3:36
Let Her Go Down is a song written by Peter Knight and originally recorded by Steeleye Span. The song features on the band's 1980 album Sails of Silver, and tells the story of how weather can quickly change at sea. Indeed, Knight wrote the song after experiencing fishing in the English Channel. Let Her Go Down was released as a 7" single in 1980, but failed to chart. A version of the song was recorded by The Hollies and featured as a rare B-side. The song was included as part of their 6CD "Long Road Home" compilation released in 2003.
 Sometime in October,
We sailed from England's shore,
When we sailed into a raging storm
Like I've never ever seen before;
And all of the crew they were brave men,
But the captain, he was braver,
He said "Never mind the ship, me boys,
There's none of us here can save her."
Chorus: Let her go down,
Swim for your lives,
Swim for your children,
Swim for your wives,
But let her go down,
Just let her go down.
Lost in the open ocean,
There were some of the crew and me,
While the captain steered our wounded ship,
To the bottom of an angry sea,
And with his dying breath we all heard him say,
"Just the fortunes of a sailor."
And he said "Never mind the ship, me boys,
There's none of us here can save her."
He wondered if his shipmates
were ready just to pray and give in,
So he called their names out one by one,
But there was no one else around but him,
He saw the ship go down in the fading light,
And he knew they couldn't save her.
He said "The captain lied when the captain cried,
There's none of us here can save her."

"Longbone" (Hart, Johnson, Kemp, Knight, Pegrum, Prior)– 3:57
There was a king who built a ship
And Sailed away
To look for gold in the hills of Scone
Far away

The only gold in the hills of Scone
Is gold you'll never own
It belongs to the giant longbone
Far Away

The only gold I've ever known
It all belonged to the giant longbone
His teeth are sharp, His claws are long
So they Say
His eyes are like a fire that burns
Far Away

We wil go to the Hills of Scone
We'll find the giant Longbone
We'll turn him into stone

The only gold I've ever known
It all belonged to the giant longbone
Through the rain and through the snow
We sailed away
To the land where only fools go
Far Away

We stepped onto the shore
And then we heard him roar
He must have seen us

We tried to hide, we tried to run
Run away
He killed the crew, he threw the boat

And then he said we are alone
I am the giant Longbone
You should have stayed at home
Far Away

The only gold I've ever known
It all belonged to the giant Longbone.

"Marigold/Harvest Home" (Knight, Prior, Steeleye Span)– 3:05

When the marigold no longer blooms
When summer sun is turned to gloom
See the forecast winter snow
See the evergreen that lonely grows
Move close to the fireplace
Neglect the garden
See the ground harden
At a ghostly place
The golden summer sun is silver now
The fruit has fallen from the bough
The season moves to chestnut time
Toffee apples, treacle and mulled wine
Quilts and furs and woolens gay
You wrap around you
But the cold confounds you
On an autumn day

Stout and strong the walls of home and hearth
Curtains drawn against the draft
The rake has reaped, the blade has mown
Nights draw in to call the harvest home
The quiet of a heart at rest
In peace abounded
By love surrounded
Here the home is blest

Harvest Home:

Come, ye thankful people, come
Raise the song of harvest home
All be safely gathered in
Ere the winter storms begin
God, our Maker doth provide
For our wants to be supplied
Come, ye thankful people, come
Raise the song of harvest home
"Tell Me Why" (Steeleye Span, Traditional)– 3:54

What is deeper than the sea
What is higher than a tree
And waht is louder than a horn
What is sharper than a thorn

What is lighter than the light
What is darker than the night
What is colder than the clay
What is broader than the way

Tell me why
So many questions
Tell me why
The devil lies
Tell me why
Who will live or who will die
Tell me why
So many questions
Tell me why the devil lies
Tell me why
Which way leads to paradise
Tell me why
Tell me why

Hell is deeper than the sea
Heaven is higher than the tree
And thunder is louder than a horn
Hunger is sharper than a thorn

Truth is lighter than the light
The devil is darker than the night
And death is colder than the clay
Love is broader than the way

Tell me why
So many questions
Tell me why
The devil lies
Tell me why
Who will live or who will die
Tell me why
So many questions
Tell me why the devil lies
Tell me why
Which way leads to paradise
Tell me why
Live or die
Tell me why

Please watch the videos below to get more of Steeleye Span.

Wednesday, November 3, 2010

Steeleye Span - Sails of Silver

Steeleye Span - My Love

Steeleye Span - Barnet Fair

Gone to America - Steeleye Span

Steeleye Span - Let her go down

Steeleye Span - LongBone

Steeleye Span - Marigold-Harvest Home

Steeleye Span - Tell me why

Steeleye Span: The Song Will Remain

Steeleye Span The Boar's head Carol

Steeleye Span The Holly and the Ivy

Somewhere along the road, Steeleye Span

Steeleye Span Autumn to Spring Medley

Long Lankin (Steeleye Span)

Steeleye Span - Connaught

Steeleye Span - Leeds 1974 - Allison Gross

Prince Charlie Stuart - Steeleye Span

Robbery with Violins - Steeleye Span

Two Butchers - Steeleye Span

Maddy Prior Steeleye Span mother and child

"John Barleycorn" - Steeleye Span {AUDIO}

Steeleye Span - The King

Steeleye Span - Captain Coulston (1971)

Fighting for strangers - Steeleye Span

The Old Maid In The Garrett - Steeleye Span

Steeleye Span - Copshawholme Fair

Steeleye Span - Rogues in a nation

"Rosebud in June" - Steeleye Span {AUDIO}

Steeleye Span - Lovely on the Water

Steeleye Span - Gaudete - Lyrics

Steeleye Span - The Blacksmith

Steeleye Span The weaver and the factory maid

Steeleye Span - Cam ye o' frae France

Steeleye Span: Thomas the Rhymer

the fox - steeleye span

Black Jack Davy / Steeleye Span

Tuesday, November 2, 2010

Not Live from New York by the Cambridge Buskers

In 1983 I returned to the UK for the first time since I left in 1963.  it was an amazing trip which changed my life because I reconnected with my family and my country.  I began to understand at the age of 33 who I was and my own uniqueness.  On of the things that I brought back from that trip was an album by a group called The Cambridge Buskers. I bought the album at a stall in Hyde Market

The Cambridge Buskers were a duo of British musicians, whose career began in the late 1970s and are now called The Classic Buskers, still going strong today. Michael Copley and Dag Ingram met when they were students at Cambridge University. According to the liner notes of their first recording, their musical association began when they found themselves at the Blackfriars station without enough money for the fare to get home. In an attempt to raise the money from passers-by, they played The Entertainer and Eine kleine Nachtmusik for a while, until they were asked to leave by a London Transport official.
Subsequently, they gained international success with their performances and many recordings, and have performed in over 20 countries and in 15 languages. It is reported that at one point a Japanese comic strip was written about them. Not Live in New York was their third album and was released in 1979.

By way of explanation, Buskers are street performers who perform in the streets and open up their cases and invite contributions.  Myself and an old friend Mike Fehr were buskers for a while at Trolley Square, a shopping mall in Salt Lake City where we performed as Grimsfehr.  We had to audition for the management to get a license to perform there.  

The Buskers' instrumentation is very interesting because they use woodwinds teamed with an accordion and do versions of classical music.

The selections on the this album are as follows:

Side 1:
1. F. Schubert - Marche Militaire The Three Marches militaires, Op. 51, D. 733, are pieces in march form written for piano 4-hands by Franz Schubert. The first of the three is far more famous than the others, it is one of Schubert's most famous compositions of his entire oeuvre, and it is often simply referred to as "Schubert's Marche militaire". This march is one of Schubert's most famous melodies, and it has been arranged for full orchestra, military bands, and many different combinations of instruments.

2. J. Brahms - Hungarian Dance No. 1 The Hungarian Dances  by Johannes Brahms , are a set of 21 lively dance tunes based mostly on Hungarian themes, completed in 1869. Only numbers 11, 14 and 16 are entirely original compositions. They vary from about a minute to four minutes in length. They are among Brahms' most popular works, and were certainly the most profitable for him.

3. W.A. Mozart - Papageno's Song from "The Magic Flute" The Magic Flute (German: Die Zauberflöte, K. 620) is an opera in two acts composed in 1791 by Wolfgang Amadeus Mozart to a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form that included both singing and spoken dialogue.
4. P.I. Tchaikovsky - The Dying Swan and Dance of the Young Swans from "Swan Lake" Swan Lake (Russian: Лебединое Озеро, Lebedínoye Ózero) is a ballet, op. 20, by Pyotr Ilyich Tchaikovsky, composed 1875–1876. The scenario, initially in four acts, by Vladimir Begichev and Vasiliy Geltser was fashioned from Russian folk tales as well as an ancient German legend. It tells the story of Odette, a princess turned into a swan by an evil sorcerer's curse.
5. A. Vivaldi - "The Four Seasons": Largo from "Winter"  The Four Seasons (Italian: Le quattro stagioni) is a set of the first four violin concertos from a bundle of twelve concertos by Antonio Vivaldi. Composed in 1723, The Four Seasons is Vivaldi's best-known work, and is among the most popular pieces of Baroque music. The texture of each concerto is varied, each resembling its respective season. For example, "Winter" is peppered with silvery staccato notes from the high strings, calling to mind icy rain, whereas "Summer" evokes a thunderstorm in its final movement, which is why the movement is often dubbed "Storm."

6. A. Khachaturian - Sabre Dance from "Gayaneh" Gayane (also Gayaneh and Gayne, Russian: Гаянэ, after the Armenian saint Gayane) is a four-act ballet with music by Aram Khachaturian. Originally composed in 1942, to a libretto by Konstantin Derzhavin and choreographed by his wife Nina Aleksandrovna Anisimova. The suite of dances in the second act reflects the nationalities of the Soviet Union; at the time, Armenia already was a mixed-race nation. For that, Anisimova created the famous Sabre Dance that, when performed as musical extract, became many dance companies' showpiece.

7. G.F. Handel - Jig (Country Dance) from "Water Music" The Water Music is a collection of orchestral movements, often considered three suites, composed by George Frideric Handel. It premiered on 17 July 1717 after King George I had requested a concert on the River Thames. The concert was performed by 50 musicians playing on a barge near the royal barge from which the King listened with close friends, including the Duchess of Bolton, the Duchess of Newcastle, the Countess of Godolphin, Madam Kilmarnock, and the Earl of Orkney. George I was said to have enjoyed the suites so much that he bade the exhausted musicians play them three times over the course of the outing

8. G. Rossini - The Silken Ladder Overture.  Rossini's early opera La scala di seta (The Ladder of Silk, 1812) is rarely performed today, but its overture has enjoyed enduring popularity. Although it dates from a time before Rossini had achieved wide popularity, the overture is clearly of a piece with the familiar La gazza ladra and other famous Rossini comic opera overtures; it begins with a delicious melody for a slow introduction and then proceeds into a sprightly Allegro that includes one of the composer's trademark crescendo passages. Rossini's gift for orchestration is clearly evident even at this early date, as wind lines seem to shimmer forth intermittently from a canvas of strings. Another notable feature of this overture is the full-blown sonata form that appears in the Allegro section, with a development section whose harmonic shifts sound especially startling when they suddenly emerged from the barely relieved diatonicism of the piece up to that point. Exceptionally for a Rossini overture (most of which do not feature any development section at all), harmonic excursions intrude into the recapitulation of the Allegro's first subject. All in all, the overture could almost pass for a lost symphony movement by Mozart or one of his contemporaries. ~ All Music Guide, Rovi

9. W.A. Mozart - Champagne Aria from "Don Giovanni" Don Giovanni (K. 527; complete title: Il dissoluto punito, ossia il Don Giovanni, literally The Rake Punished, or Don Giovanni) is an opera in two acts with music by Wolfgang Amadeus Mozart and with an Italian libretto by Lorenzo Da Ponte. Don Giovanni remains cheerful and tells Leporello to organize a party. (Giovanni's "Champagne Aria": "Fin ch'han dal vino – Finally, with the wine.").

 10. J.S. Bach - Largo (2nd Movement) from Double Concerto in D Minor There are two double violin concertos in D Minor by J. S. Bach: the more famous BWV 1043 (see below), and the (presumed lost) BWV 1060R, of which only an arrangement for two harpsichords, transposed to C Minor, exists as original score (BWV 1060). The Concerto for 2 Violins, Strings and Continuo in D Minor, BWV 1043, also known as the Double Violin Concerto, is perhaps one of the most famous works by J. S. Bach and considered among the best examples of the work of the late Baroque period. Bach wrote it between 1730 and 1731 while he was the Kapellmeister at Anhalt-Köthen. Later in 1739, in Leipzig, he created an arrangement for two harpsichords, transposed into C minor, BWV 1062.[ In addition to the two soloists, the concerto is scored for strings and basso continuo.

11. W.A. Boyce - Jig from Symphony No. 7 In 1756, English composer William Boyce became Master of the King's Musick. He was expected to provide music for theatrical productions at court and odes for royal occasions such as weddings, birthdays, and funerals. Boyce decided to gather the purely instrumental pieces from these larger works into a set of Eight Symphonies in 1760. Most of the symphonies follow the three-movement scheme established in the Italian opera overture (fast-slow-fast). Written between 1737 and 1756, they are in the late Baroque style that was so dominated by George Frideric Handel (1685-1759) in London during that period.  The Symphony No. 7 was originally the overture to the ode Gentle lyre begin the strain written in 1740. Its three movements are based on the Italian opera overture three-part standard. The first movement has two parts, Andante-Spirituoso, beginning with the French overture style, slow, grand, and dramatic in binary form (AABB). This leads to a lively fugue in triplet rhythm, more Italian in nature. The Moderato, also in binary form, starts in minor and has the feeling of a light gavotte. The melancholy character of its melodies, use of ornaments, and unique harmonic twists signal the expressiveness of the Bach brothers, Carl Philippe Emanuel (1714-88) and Johann Christian (1735-82). The last movement is a hearty, infectious Jigg (Allegro assai) in triple meter. Utilizing binary form, there is a brief, unexpected shift to minor in section B. In general, this symphony is conservative in form and style, and even somewhat dated by the time of its publication. But, its charm and appeal is undeniable, making Boyce a fresh, if not innovative presence of the late English Baroque. © All Music Guide

12. C.W. Gluck - Dance of the Blessed Spirits from "Orpheus and Euridice" Orfeo ed Euridice (French version: Orphée et Eurydice; English translation: Orpheus and Eurydice) is an opera composed by Christoph Willibald Gluck based on the myth of Orpheus, set to a libretto by Ranieri de' Calzabigi. It belongs to the genre of the azione teatrale, meaning an opera on a mythological subject with choruses and dancing. The piece was first performed at Vienna on 5 October 1762. Orfeo ed Euridice is the first of Gluck's "reform" operas, in which he attempted to replace the abstruse plots and overly complex music of opera seria with a "noble simplicity" in both the music and the drama. The brief ballet of 1762 became the four-movement "Dance of the Blessed Spirits" (with a prominent part for solo flute) in 1774.  13. M. Praetorius - Courante from "Terpsichore" Michael Praetorius was not only one of the most versatile and prolific German composers of the early seventeenth century (only the remarkable, slightly younger Heinrich Schütz is of comparable importance) but also the author of Syntagma musicum, a historically significant theoretical treatise on music. Terpsichore: Collection of Instrumental Dances

14. G.F. Handel - La Rejouissance from "Music for the Royal Fireworks" The Music for the Royal Fireworks  is a wind band suite composed by George Frideric Handel in 1749 under contract of George II of Great Britain for the fireworks in London's Green Park on 27 April 1749. It was to celebrate the end of the War of the Austrian Succession and the signing of the Treaty of Aix-la-Chapelle in 1748.
15. . V. Monti - Csardas Csárdás is a traditional Hungarian folk dance, the name derived from csárda (old Hungarian term for tavern). It originated in Hungary and was popularized by Roma music (Cigány) bands in Hungary and neighboring lands of Serbia, Slovakia, Slovenia, Burgenland, Croatia, Ukraine, Transylvania and Moravia, as well as among the Banat Bulgarians, including those in Bulgaria. The Csárdás is characterized by a variation in tempo: it starts out slowly (lassú) and ends in a very fast tempo (friss, literally "fresh"). There are other tempo variations, called ritka csárdás, sűrű csárdás and szökős csárdás. The music is in 2/4 or 4/4 time. The dancers are both male and female, with the women dressed in traditional wide skirts, usually colored red, which form a distinctive shape when they whirl.
File:National costume and dance Csárdás.jpg
16. G. Bizet - Farandole from "L'Arlesienne" Suite No. 2. The incidental music to Alphonse Daudet's play L'Arlésienne (usually translated as 'The Girl from Arles') was composed by Georges Bizet for the first performance of the play in 1872. The farandole (Danse dei Chivau-Frus) which begins quietly and builds to a climax sees Frédéri respond with fury to Mitifio who has come to tell Balthazar that he will run off with the girl from Arles. The farandole is an open-chain community dance popular in the County of Nice, France. The farandole bears similarities to the gavotte, jig, and tarantella.

Below you will find some examples of the Cambridge Buskers music as well as a piece about the Cambridge Buskers festival held every year.
The work is in five movements:Overture: Adagio, Allegro, Lentement, Allegro, Bourrée, La Paix: Largo alla siciliana, La Réjouissance: Allegro, and Menuets I and II

Cambridge Buskers on The Good Old Days

The Classic Buskers with Orchestra #1

The Classic Buskers with orchestra #2

Cambridge Buskers May 09

classic buskers fireworks

classic buskers walkure

Classic Buskers - Around the World in 80 3/4 minutes