Skeleton Woman Story

I first heard this story from a tape I taped from a tape in Salt Lake City Library. It was from a book called The Woman who ran with Wolves by Clarissa Pinkola Estes Ph.D.  Here is the original Inuit story followed by a presentation from youtube.

Skeleton Woman

The following is one of my favorite folk tales on the theme of the life, death, rebirth cycle and the presence of Lady Death in all relationships. I think it poetically describes the ebb and flow of all affairs of the heart. This is a modified adaptation of a live version performed by the esteemed Clarissa Pinkola Estes, Ph.D., Jungian psychologist and storyteller of the old tradition.

There once was a hunter fisherman, who was fishing in a cove far from home, that he didn't realize was haunted. Looking around and seeing no other kayaks out in the water, he thought, 'I have this bay all to myself.' He dropped his bone hook over the side of his kayak and waited. And he was so hungry. And he was so lonely. And he had been hunting and fishing for days on end without finding anything to eat. And so his bone hook went down, down, down, into the deep waters.

Beneath the waters was a skeleton woman, and she lay there on the ocean floor, rolling back and forth with the tide. The bone hook, as it drifted down into the deep waters, caught in her ribcage. Although she tried to move with the currents to disengage herself, the bone hook caught all the more tightly. The fisherman above, felt a tug, and pulled a little more, and saw his fishing stick beginning to bend. 'Oh' he thought, 'I've got something really big on the end of this line that's going to keep me fed for a very long time to come.' As he pulled harder, Skeleton Woman began to drift to the surface of the water. And as he turned back around with his net to catch his 'prize', there she was - hanging off the bow of his kayak, with her long yellow front teeth, and her bald head filled with crustaceans, and sea worms dangling from the nose holes and ear holes of her skull. The fisherman was absolutely terrified! So much so that his ears turned a bright red and met each other at the back of his head. He screamed and paddled fast as he could towards shore. But she was still hooked in her ribcage and so when he paddled and looked back over his shoulder, he saw her standing on tippy-toes racing after him, over the tops of the waters. 'Oh no!' he screamed, 'She is chasing me! She is after me!' And he arrived at the shore, not a moment too soon and scrambled out of his kayak, grabbed his fishing stick and ran for his life. He looked over his shoulder every few moments and sure enough, she was still keeping up with him. The poor fisherman was running in terror as fast as he could and finally he came to his little skin house and dove inside, into the darkness.

And he thought, 'At last I am safe.' He became very still and listened...and the only sound he could hear was his own heart pounding. 'I must have out run her', he thought and after a little while just to be certain, he began to make a little fire, because he was so cold. And then, right across from him, flickering in the light there she was! She was still hooked and all in a tangled mess. Her ankles were over her shoulders and one arm was caught in her ribcage and her pelvis was tilted backwards, and her skull was hanging down below her shoulders. He looked at her and something came over him. He looked a little longer, and tried to still his fear. The more he studied her the more he felt sorry for her. She was in such a predicament. Somehow in this tangled mess she didn't look so frightful as she had before. And he contemplated her...and she did not move. The more he thought about it, she had an almost pitiful, pleading expression.

Like a father would to a child, he reached out and took her ankles down from her shoulders cooing, 'There , there, that's better isn't it? Not so uncomfortable.' He straightened and untangled her, as he sang a little song, as a father would. And soon she was all straightened out. And she had an odd little tilt to her skull that almost made her look grateful. And he mused, 'Well, she's just a skeleton hooked by accident. I'll leave her be this night and then give her a proper burial in the morning. I'll try to sleep now, because I'm so very hungry and sleep is my only escape from this hunger. And he fell fast asleep, exhausted by all the excitement and lack of food.

As often happens when we sleep, a little tear escaped from the corner of his eye and began to trickle down his face. Skeleton woman saw this tear glistening there and became very thirsty. And so very quietly, with the slightest of tinkling and rattling of bones, she got on her hands and knees and placed her mouth there and drank deeply. When she saw that he did not awaken, she slid her hand inside his chest and took out his heart. And she raised it like a great drum and began pounding on it. Boom....boom...boom...and she began to sing flesh onto her bones. She sang with the drum of his heart and long, glossy, black hair grew out of her skull and a full, elegant face and fine hips and all the things that a woman needs began to take shape. And when she was done, she slipped the hunter's heart back inside his chest and looked at him ever so tenderly. She lifted the sleeping skins of his bedding and climbed in underneath and pressed her warm body against his. And they tangled all night long. They wound up more tangled then she had been to begin with. With her legs over his shoulders and all those things that happen when people make love.

And when morning broke, they left together hand in hand. Because she was from the water, they never again went hungry for she had a way of calling the creatures of the sea to her. And people say that if you are ever out when the whole land is white with snow and the sky is also stark white and nothing seems to move; if you look out into the horizon, and can see two tiny black dots bobbing gently, that is skeleton woman and her hunter.

Skeleton Woman

October Project by October Project

Sorry About so long between posts but I just got a new toy, an I-pod with 64 GBs and I have been compulsively collecting and loading up my i-pod with tunes.  It takes a lot to fill up 64 GB's and right now it's only half full.

I first came in contact with October Project in 1993 when I overheard a conversation in one of my favorite shops The Golden Braid bookstore in Salt Lake City.  The conversation was between the clerk at the store and a patron and the clerk was raving about this new tape that they had just received in from this new band the October Project.  I immediately bought the cassette from the store and when I listened to it was enthralled by the band. 

October Project is a pop / rock band that was signed to major label Epic Records from March 1993 to June 1996. Their music is often categorized as adult / alternative. The members of the band during that time were Mary Fahl (lead vocals), Marina Belica (keyboard/vocals), David Sabatino (guitar/vocals), Emil Adler (piano/vocals), and Julie Flanders, the band’s lyricist and at the time a non-performing member. Urbano Sanchez, the band’s percussionist, is listed as an additional musician on the two albums released by Epic, appearing in all band photos during that period, but was not an official member of the band.

The sound was just different and the combination of Mary Fahl's strong melodic voice and the lyrics by Julie Flanders along with the ever changing rhythms of the percussionist were something unique and I have not heard anything similar since.  the rhythms were unusual like 5/4 time and were really in counterpoint to a wonderful melody.

October Project was their first album.  Flanders and Adler began writing songs together while still in their teens growing up in Montclair, New Jersey.  Flanders and Belica met as freshmen at Yale University. In their senior year Flanders and Belica collaborated with Adler to write the musical revue, Measure By Measure. In 1981 they were accepted as a team into the BMI Musical Theatre Workshop, studying first with Lehman Engel and then Maury Yeston. Adler and Sabatino met at a jam session in New York City. At the time Adler was finishing his Master’s thesis in music composition at Rutgers University. Together with their friend, Paul Byrne, they started a music production company, Tritone Productions. In 1985 they built a recording studio in a New Jersey garage, which Adler would eventually use to produce the first demo recordings of singer/songwriter Lee Feldman and Sufjan Stevens' college band, Marzuki. October Project would use the studio as its home base during its developmental phase.
Flanders met Mary Faldermeyer (later Fahl) in New York City and introduced her to Adler in the summer of 1989. Plans were immediately made to form a band. The band spent eighteen months in Tritone's garage studio refining their instrumentation and arrangements, and occasionally changing their configuration. The initial lineup (as of October 1989) included Paul Byrne (guitar) and Mark Huntley (drums/vocals). Byrne and Huntley left after a few months. Sanchez was later recruited as percussionist and was invited to join the band, but declined in favor of retaining sideman status.
In June 1996 the band’s contract with Epic was terminated without official explanation from the label. The band members decided to discontinue their mutual involvement.

Since then Lead singer Fahl has been pursuing a career as a solo artist. Her writing collaborators have included Bob Riley, Ramsey McLean and Glenn Patscha. In 2001, she released Lenses of Contact, a four-song EP of her collaborations, produced by Jeffrey Lesser. Signed by Sony Classical, she released a full-length album, The Other Side of Time in 2003, also produced by Lesser. In 2006, Fahl recorded From the Dark Side of the Moon for V2 Records. The album, produced by Mark Doyle and David Werner, is an interpretation of Pink Floyd's The Dark Side of the Moon. Following the restructuring of V2, the album was not released.
Vocalist Belica has been pursuing a career as a solo artist under the name decembergirl. She invited former band mates Flanders, Adler, Sabatino, and Sanchez to participate in recording a version of October Project's single, "Return to Me", sung by Belica and produced by Adler. The cover became the feature track of Belica’s five-song EP, decembergirl, released in 2000. Belica also composed a full-length instrumental album, One Sky, released in 2003, produced by Randy Crafton and Chris Cunningham.
After working together in the studio and performing at several venues as OP(iii), Flanders, Adler, and Belica chose to reunite in 2001 under the name October Project. In March 2003, the trio released a six-song EP, Different Eyes, produced by Adler. In June 2006, a tribute album, October Project Covered, was released, featuring performances by sixteen independent artists of songs by Flanders and Adler.
October Project was inactive from 2006–2010. A new web site was launched in July 2010, wherein it was announced that the recording and production of a full-length studio album is underway.

The Track listing for the tape is as Follows

Bury my Lovely Some say this song is about child abuse and its ramifications.  I can see that

Cover the mirror, Hide in your dreams
Forget what they told you,Forget what it means
A picture worth a thousand lies, The mem'ry and the mirror
Nothing but what came before, Nothing but a closing door

A picture worth a thousand lies,A thousand words,A thousand eyes

Bury my lovely, Hide in your room
Bury my Love, Forget me soon
Forget me, Forget me now
Forget me not

Cover the madness, Cover the fear
No one will ever, Know you were here
A figure in the hallway light, Returning like a ghost
Something that was left behind, Something like a child's mind

Bury my lovely, Bury the lies
Bury me under, A thousand good-byes

A shadow from another time,Is waiting in the night
Something happened long ago, Something that will not let go
Ariel (the name of a prankish spirit in Shakespeare"s the Tempest)

My name is Ariel, And I want to be free
It is your sorrow that has made a slave of me
Forgive me, Forgive me
But you are all I know, Forgive me for leaving

The day is breaking now,It's time to go away
I'm so afraid to leave, But more afraid to stay
Forgive me, For leaving the sadness in your eyes
Forgive me

Let the wind and ocean water wash across your hands
Wash away a thousand footsteps, Wash us all away like sand

The sky has fallen, now the earth is dry and torn
I know you're tired from the violence of the storm
I love you
I love you
But you are all I know
Forgive me let the wind and ocean water
Wash across your hands, wash away a thousand footsteps wash us all away

Let the wind and ocean water, wash across your hands
Wash away a thousand memories Wash us all away like sand

My name is Ariel
Where you are  (I think many of the songs are about the state of modern relationships.  Here is one of separation and after experiencing a couple of long distance relationships I can understand these lyrics.)

Floating in the summer sunshine we are flying
We are blue, falling like a summer raindrop
Like a teardrop like the dew

Nothing but a blue horizon all around us like a glove
Feeling it go on forever, far below us, far above

Where you are do you know I think of you
Where you are do you know
I hope you do

Shining like a summer rainbow we are colors
We are bright vanishing into the sunshine like a river made of light

Floating in a summer memory I can see you in my mind
Knowing it goes on forever far beyond us
Far behind

Where you are, do you know
I think of you where you are
Do you know
I hope you do

Falling in a summer daydream I remember what I knew
Nothing that I can't hold on to or return to
Even you

Where you are do you know I think of you
Where you are do you know
I hope you do

A Lonely Voice

I keep looking back
A lifetime back across the desert
In a desert where no one can explain
You tell me God is dancing in the rain

I can hear the echo in a maze of words
A lonely voice behind a door
Can you hear me calling from a world away
A lonely voice behind a door

I keep looking back,Traditions back across the centuries
In a century where no one can explain
You tell me God is dancing in the rain

I can hear the echo in a maze of words
A lonely voice behind a door
Can you hear me calling
From a world away a  lonely voice behind a door

As I stare ahead, a dream ahead across the ocean
Cross an ocean where there's nothing to explain
You tell me God is laughing in the rain

I can hear the echo in a maze of words
A lonely voice behind a door
Can you hear me calling from a world away
A lonely voice behind a door
Eyes of Mercy (I think in our time there is this constant need for sanctuary and a safe place to land.  Relationships often provide that for us)

Hush, close your eyes and I'll keep you safe
Allow you to weep and sing you to sleep

Don't be afraid remember I'm here
The noise in the street will soon disappear

When the soft face of mercy is lost behind a veil
I will stay with eyes open, stay here with eyes open to watch over you and take away the sadness and the fear

Hide in my arms and dream golden dreams, forgetting the world of men and machines

When the soft eyes of mercy are blinded by the dark
I will stay with eyes open stay here with eyes open to watch over you and take away the sadness and the fear
I'll be here

Return to Me (another separation song.  I wrote a similar song about a relationship in which we were separated for months called Travelling Home.  The Lyrics go: Travelling home, someday you'll be, crossing wide water back home to me) 

You rise like a wave in the ocean and you fall gently back to the sea
Now I want to know how to hold you Return to me
Return to me

You shine like the moon over water and you darken the sky when you leave
Now I want to know how to keep you return to me
Return to me

Turn to me, Return to me

Everything I tell you has been spoken and everything I say was said before
But everything I feel is for the first time and everything I feel, I feel for you

I am here calling the wind
I am here calling your name
I am here calling you back return to me
Return to me

I know what it means to be lonely and I know what it means to be free
Now I want to know how to love you return to me
Return to me

I am here calling the wind
I am here calling your name
I am here calling you back
Return to me,return to me

I am here
Return to me
Wall of Silence (In relationships we often build walls of silence.  One of my favorite paintings is a Pre-Raphaelite painting of a woman smelling roses on a wall.  I often imagine her being kept in by the wall, a wall she built by silence)


I've seen that life touches us with pain
And we change becoming strangers to our friends
Tell me what happens along the way

I thought of us,hard to talk these days
Did we change or were we strangers all along
Tell me what caused us to turn away

There's a wall of silence miles across
A wall between us holding back, holding back our loss

I moved ahead thinking you'd be there but it changed and now we're strangers to our past
How did I lose you along the way


There's a wall of silence miles across
A wall between us, holding back, holding back our loss

I've seen that life touches us with pain
And we change becoming strangers to ourselves
Tell me what happens along the way how did I lose you along the way

Take Me As I Am (There is a yearning for being taken as you are without any questions and complicating factors.  Just the freedom of uncomplicated connection)

Take me as I am, someone you don't know even in the dark you may not be sure
Take me while you can, I can see you standing in the smoky entrance giving up your good intentions

Leave the shadows dancing, dancing on their own
Let the moment free you now and leave it all behind you
I'll know where you've gone, let the world go on

Take me as I am, I may disappear, fade into the night lighter than your thoughts
Take me while you can, never knowing who or what you are until you're living with the unfamiliar

Leave the shadows dancing, dancing on their own
Let the moment free you now and leave it all behind you
I'll know where you've gone

Let the world go, there's a place where fear won't find you, where your secret dreams remind you
This is all you have to know and this is all you have to go on
Everything you have inside you, everything you need to guide you
This is all you have to know and this is all you have to go on

Take me as I am, someone you could know even as we speak you could change your mind
Take me while you can ,even if you shine a light into the mirror you won't see me any clearer

Leave the shadows dancing, dancing on their own
Let the moment free you now and leave it all behind you
I'll know where you've gone
Let the world go on

Now I Laid me Down

Out of the silence into the blue you finally remember where you've been
You finally remember who you are and you remember the light

Out of the spirit into the flesh
The animal heartbeat in the chest, the naked desire, the appetite
But you remember the light

Now I lay me down, now I lay me down
Now I lay me down to dream

Out of the fire into the night
Communion of body into smoke,human and sacred  the sacrifice
You will remember the light

Now I lay me down, now I lay me down
Now I lay me down to dream

Now I lay me down,now I lay me down
Now I lay me down to dream of light
To Dream Of Light

Always  (Ah the joys of modern relationships without Expectation.  Always wanting not to demand but yet yearning for connection and commitment)

I have come to know you over all these years
We've seen many days come and go after all the time we've shared all the secrets told
Will you ever say I love you

If you gave me nothing nothing more than this I would have the mem'ry to keep
Let me make this simple wish as we fall asleep, let me wake with you by my side, always

If you have to leave me, leave me with a kiss, tell me how you feel without words
Are you so afraid to stay,must you be alone
Let me wake with you by my side, always

Paths of Desire (Anther longing song)

I have traveled the paths of desire, gathering flowers and carrying fire, raising a grave to the reasons behind me
Looking for strength as you live to remind me I'm drawn to you, I'm caught in you

I am the fly who dreams of the spider, the path to the web becomes deeper and wider
I dream of the silk that is tangled inside you and know that I want to be somewhere beside you
I'm drawn to you, I'm caught in you

In your eyes, All of the promises, All the lies
Will you keep all the promises in your eyes

I am crossing the bridges of sorrow,empty with yearning and full of tomorrow
The river is high and the bridges are burning
I know I've been hurt but I keep on returning
I'm drawn to you, I'm caught in you

In your eyes, all of the promises, all the lies
Will you keep all of the promises in your eyes

I have traveled the paths of desire, following smoke and remembering fire
The night is falling, the path is receding
I don't need to see it to know where it's leading

In your eyes, all of the promises, all the lies
Will you keep all of the promises in your eyes
Be My Hero ( There's a wonderful tale told by Clarissa Pinkola Estes called the Skeleton Woman about the fear of commitment and she explains the fear of commitment is often a fear of the death of the relationship which is part of the "Life, Death, Life cycle in long term relationships)



Sleep with the window open, sleep till tomorrow, be my hero

Be, without being lonely, try to open
We try to open hoping for a hero

I want something, I want everything, I want nothing
Nothing else
I want someone, not just anyone, be my hero

Keep what is secret, secret
We can believe it, be my hero

I want something, I want everything, I want nothing, nothing else
I want someone, not just anyone be my hero

See how we measure feelings from a distance
See how we measure people into zero

I want something, I want everything, I want nothing, nothing else
I want someone, almost anyone

Bury my lovely - Anastasia and Disney Movies

October Project - Ariel

October Project - Where you are (live)

A Lonely Voice by October Project

Eyes of Mercy

Return to Me

October Project Wall of Silence

TAKE ME AS I AM - October Project

October Project - Now I Lay Me Down

October Project - Always

October Project - Paths of Desire

BE MY HERO - October Project

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

GYPSY KINGS - INSPIRATION

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)

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.

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

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:

• Maddy Prior (vocals)
• Tim Hart (vocals, guitar)
• Bob Johnson (vocals, guitar)
• Rick Kemp (vocals, bass guitar)
• Peter Knight (vocals, violin, keyboards)
• Nigel Pegrum (drums, percussion, woodwind)

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.
Chorus
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
Chorus
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.
Chorus
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.
Chorus
"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.
Chorus
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.
Chorus
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
Chorus
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,
Chorus
Married him in April, lost him in July
Instrumental 
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."
Chorus:
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."
Chorus:

"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
Marigold

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.

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