Sittin` on my Sofa - Der Kinks-Thread - 500 Beiträge pro Seite

[fixbutte]

Da mich (Jg. 1956) in den 70ern textlich neben Tucholsky und George Orwell kaum etwas mehr beinflusst/beeindruckt hat als die Lyrics von Ray Davies, möchte ich einen kleinen Extra-Lyrics-Pics-Thread zu den KINKS aufmachen (in den LyricsThread: Love The King Of Emotion - Songlyrics von Iganana passt das nun wirklich nicht alles rein).

Anfangen will ich mal mit einem Song, der zwar nicht gerade zu den absoluten Glanzlichtern Rays gehört, der aber gut zum Namen dieses Forums passt (die B-Seite der wesentlich bissigeren Single Dedicated Follower of Fashion vom April 1966)

Sitting On My Sofa

All alone, sitting on my sofa,
Oh, oh, oh, sitting on my sofa,
Sipping at my soda,
Sitting on my sofa.

All alone, sitting on my sofa,
Oh, oh, oh, sitting on my sofa,
Sipping at my soda,
Sitting on my sofa.

You got all your friends,
I got a TV set.
You got your cars,
And this boy`s never had anything.

Now I`m stuck here, sitting on my sofa,
Oh, oh, oh, sitting on my sofa,
Sipping at my soda,
Sitting on my sofa.

You got all your friends,
I got a TV set.
You got your cars,
And this boy`s never had anything.

Now I`m stuck here, sitting on my sofa,
All alone, sitting on my sofa,
Sipping at my soda,
Sitting on my sofa.

Oh, oh, oh, sitting on my sofa,
Oh...

[gesine]

Lola

I met her in a club down in North Soho
where you drink champagne and it tastes just like cherry cola
C-O-L-A Cola.

She walked up to me and she asked me to dance.
I asked her her name and in a dark brown voice she said, "Lola"
L-O-L-A Lola, lo lo lo lo Lola

Well, I`m not the world`s most physical guy,
but when she squeezed me tight she nearly broke my spine
Oh my Lola, lo lo lo lo Lola

Well, I`m not dumb but I can`t understand
why she walk like a woman but talk like a man
Oh my Lola, lo lo lo lo Lola, lo lo lo lo Lola

Well, we drank champagne and danced all night,
under electric candlelight,
she picked me up and sat me on her knee,
She said, "Little boy won`t you come home with me?"

Well, I`m not the world`s most passionate guy,
but when I looked in her eyes,
well I almost fell for my Lola,
Lo lo lo lo Lola, lo lo lo lo Lola

Lola, lo lo lo lo Lola, lo lo lo lo Lola

I pushed her away. I walked to the door.
I fell to the floor. I got down on my knees.
I looked at her, and she at me.

Well that`s the way that I want it to stay.
And I always want it to be that way for my Lola.
Lo lo lo lo Lola.

Girls will be boys, and boys will be girls.
It`s a mixed up, muddled up, shook up world,
except for Lola. Lo lo lo lo Lola

Well I left home just a week before,
and I never ever kissed a woman before,
Lola smiled and took me by the hand,
she said, "Little boy, gonna make you a man."

Well I`m not the world`s most masculine man,
but I know what I am and I bet I`m a man,
so is Lola. Lo lo lo lo Lola. Lo lo lo lo Lola.

Lola. Lo lo lo lo Lola. Lo lo lo lo Lola.
Lo lo lo lo Lola. Lo lo lo lo Lola.
Lo lo lo lo Lola. Lo lo lo lo Lola.
Lo lo lo lo Lola. Lo lo lo lo Lola.
Lo lo lo lo Lola.

[gesine]

[fixbutte]

Hi Gesine,
mit Lola hast Du ja gleich den Hammer-Song ausgepackt, der noch heute für jede Menge Zündstoff sorgt, wie die folgenden Kommentare aus einem Lyric-Forum zeigen http://www.leoslyrics.com/listlyrics.php?hid=ku4KUcTKhKc%3D


peebrain Aug 15, 2003 @ 04:28 AM
Well I`m not the world`s most masculine man,
but I know what I am and that I`m a man,
so is Lola.
Now that can be looked at 2 different ways.
Lola is glad he`s a man because he gave her a good time that night with his manness.
or
Lola is also a man.. Now why I never saw that other meaning until now.. beats me.. but no.. no i dont like it.. thats scary.. cause I use to repeatedly listen to this song thinking about this babe I met at a retreat who was very sexy but talked in a low voice like a man hahaha hillarious.. but there`s no way she was a man.. way too fine a girl for that. but anyways.. There should be a warning label on gay songs like this like "Warning: This song is gay."


buk7474 Aug 20, 2003 @ 05:31 PM
Well I`m not the world`s most masculine man,
but I know what I am and that I`m a man,
so is Lola.
The Kinks are a bunch of queers. I`m not just saying that because of those lyrics, but it is proven that the Kinks are a bunch of fags.


Lu Lu Aug 30, 2003 @ 10:11 AM
Jesus you fucking numbnuts.....
This song has been around for ages and if you liked the song before a) why didn`t you listen to the lyrics? and b)what`s wrong with it now?
Are we a little insecure about our own masculinity boys??
Lucky for us, we need not search out YOUR label since you have unkindly provided it here in black and white...
Hello my name is closeminded homophobe fuckwit.


retrostyle Sep 25, 2003 @ 07:01 PM
If "the kinks" could get away with lyrics like that back in their day, why do all you peple have so much trouble accepting them today? Aren`t we supposedly more open to these things nowadays? Anyhow, they were just playing with your mind and having some fun. Enjoy the friggin song and let your prejudices go, for crying out loud!


Maley Sep 28, 2003 @ 12:07 AM
This exact thing happened to me last year. I was drunk at a bar, and I went home with this really tall chick with a beautiful voice- it was raspy and sultry. We ended up fucking around all night long, it was all one big haze, but anyway, when I got up, I saw this post-it stuck to my door that said "Thanks for the fun, La la la la Lola". I had that song stuck in my head all day, so I downloaded it and rocked out. Then I listened to the words. Whatever. It was beautiful, and if you`re in to experimentation, who cares. S/he was hot, we had fun, - every time I listen to the song, I feel good. I`m totally straight, but you gotta get out of your box now and then.
- Mike Maley


burton_chic Oct 5, 2003 @ 06:27 PM
true. the kinks are great and the song is totally awesome... i don`t understand why anyone wouldn`t like it.


Lambo Oct 7, 2003 @ 09:08 AM
There seems 2 b some confusion in the lyrics here. Some people say the 1st verse is "I met her in a club down in North SoHo" And others say its "I met her in a club down in old SoHo". Is it "old" or "North" SoHo??? Can anyone help?????????????????


rock_princess Oct 29, 2003 @ 02:05 PM
I loved this song the minute i heard it i don`t know why it has just got one of those really catchy tunes. It implies that Lola is a man all the way through its just funny and just an experience that they went through. So what if theyre gay good on them if thye can write songs like this


S.O.A.D. Fan Nov 18, 2003 @ 06:55 PM
i see this as a beautiful song. they loved each other so much...


DeepPurple215 Dec 3, 2003 @ 04:42 PM
Jesus Christ! its like alot of u dont realise the fact that its the 21st Century! u act like u`ve only just discovered that drag-queens and homosexuals exist! i mean, where have u bin all these years??!! its ur own opinion if u dont except gay people, but thers no need to gay bash! especially when its about such a great band as The Kinks!!


Daryus Dec 12, 2003 @ 12:35 AM
This song was supposedly based on a real-life encounter that Ray Davies had, but he would neither confirm nor deny it. Another interesting point: in the opening verse where he sings "...tastes just like cherry cola". The original lyrics said "...tastes just like Coca Cola". Unfortunately their record label saw this as advertising, so the lyric had to be changed before the song could be approved. The band was on tour in the U.S. at the time, and the story was that Ray had to jump on a plane, fly to the UK to change that one lyric from "Coca Cola" to "cherry cola", then get back on a plane to the U.S. to rejoin the band on the tour.

[SleepingBeauty]

Warum habt ihr die denn entschrumpelt?

[gesine]

@ fixbutte,
ich wollte den jüngeren hier eine chance geben
zu verstehn wer sich hinter den kinks verbirgt *rolleyes
noch eins das ich mag

Out Of The Wardrobe


From the album "Misfits"





Has anybody here seen a chick called Dick
He looks real burly but, he`s really hip
He`s 6 feet tall and his arms are all brown and hairy

Well, he married Betty Lou back in `65
When you had to be butch to survive
But lately he`s been looking at his wife with mixed emotions
You see, he`s not a common place closet queen
He shouldn`t be hidden, he should be seen
`Cos when he puts on that dress
He looks like a princess

The day he came out of the wardrobe
Betty Lou got quite a surprise
She didn`t know whether she should get angry or not bat an eye
She really couldn`t call up her mother
Mama would positively die
Should she go or stay or should she try to get a trial separation

You see, he`s not a faggot as you might suppose
He just feels restricted in conventional clothes
Cos when he puts on that dress
He feels like a princess

He`s not a dandy, he`s only living out a fantasy
He`s not a pansy, he`s only being what he wants to be
Now his life is rearranged and he`s grateful for the change
He`s out of the wardrobe and he`s got no regrets

Betty Lou didn`t know what to do at first
But she`s learning how to cope at last
She`s got the best of both worlds
And she`s really in a state of elation
She says it helps their relationship
She says a change is as good as a rest
And their friends finally coming `round to their way of thinking
She wears the trousers and smokes the pipe
And he washes up
She helps him wipe
`Cos when he puts on that dress
He looks like a princess

He`s out of the wardrobe and he`s feeling alright
He`s out of the wardrobe and he`s feeling satisfied
Now it`s farewell to the past
The secret`s out at last
He`s out of the wardrobe and now he`s got no regrets

[fixbutte]

#5 Dornröschen - wenn Du so willst, ist das ein Ableger aus Cockney Rebels ErinnerungsThread: Ei Hase Willi Dora

Warum das alles

[SleepingBeauty]

1. Manche Vergangenheit ist gar nicht ehrbar. Fortschritt ist nur möglich, wenn man "nach vorn", d. h. der Zukunft engegen, blickt.

2. Das gilt nur für die Flora und einige zwittrige Wesen. Bewurzelt wäre der homo sapiens immobil und somit aktionsunfähig.

[fixbutte]

#8 Dornröschen

Heute stehen wir noch am Abgrund, morgen sind wir schon einen Schritt weiter!

[Braunb@rchen]

Hi, bin auch Kinks-Fan.

Hätte da eine nagelneue Doppel-MC (MC, nicht CD!!) mit den größten Hits zu verkaufen: "Kink-Size Kollektion - the very best of the Kinks". Originalverpackt, 36 Lieder, u.a. Lola, You really got me, death of a Clown, Dandy, Days, Waterloo Sunset. Ich hab die MC als Dublete gekauft und brauche sie nicht mehr.

Verkaufspreis: inclusive Versand 5 €!

Bei Interesse bitte boardmail mit e-Mail-Adresse und richtiger Adresse. Ich nehme dann Kontakt auf; Versand erfolgt nach Zahlungseingang.

Braunb@rchen

[fixbutte]

zu #6 passt gut

Lou Reed - Make Up

Your face when sleeping is sublime
And then you open up your eyes
Then comes pancake factor number one
Eyeliner rose hips and lips gloss are such fun
You’re a slick little girl
You’re a slick little girl

Rouge and coloring incense and ice
Perfume and kisses oooo it’s all so nice
You’re a slick little girl
You’re a slick little girl

Now we’re comin’ out
Out of our closets
Out on the streets
Yeah, we’re comin’ out

When you’re in bed it’s so wonderful
It’d be so nice to fall in love
When you get dressed I really get my fill
People say that it’s impossible

Gowns lovely made out of lace
And all the things that you do to your face
You’re a slick little girl
Oh, you’re a slick little girl
Eyeliner, whitener, then color the eyes
Yellow and green oh what a surprise
You’re a slick little girl
Oh, you’re such a slick little girl

Now we’re comin’ out
Out of our closets
Out on the streets
Yes, we’re comin’ out
Yeah, we’re comin’ out
Yeah, we’re comin’ out

[wolaufensie]

.....
.....http://kinks.it.rit.edu/~neil/images/kinks3jpeg.jpg
.....apropos, von Larry Fast hab ich mehr Platten als von den Kinks...
.....aber macht nix....
.....http://www.atr.org/audiovisual/kinks_20th_century_man.mp3

[fixbutte]

#12 wolaufensie
da Du diesen Titel ansprichst, der auch gut zum "Fortschritt" im Sinne von #8 passt

20th Century Man

This is the age of machinery,
A mechanical nightmare,
The wonderful world of technology,
Napalm hydrogen bombs biological warfare,

This is the twentieth century,
But too much aggravation
It`s the age of insanity,
What has become of the green pleasant fields of Jerusalem.

Ain`t got no ambition, I`m just disillusioned
I`m a twentieth century man but I don`t wanna be here.
My mama said she can`t understand me
She can`t see my motivation
Just give me some security,
I`m a paranoid schizoid product of the twentieth century.

You keep all your smart modern writers
Give me William Shakespeare
You keep all your smart modern painters
I`ll take Rembrandt, Titian, Da Vinci and Gainsborough,

Girl we gotta get out of here
We gotta find a solution
I`m a twentieth century man but I don`t want to die here.

I was born in a welfare state
Ruled by bureaucracy
Controlled by civil servants
And people dressed in grey
Got no privacy got no liberty
Cos the twentieth century people
Took it all away from me.

Don`t wanna get myself shot down
By some trigger happy policeman,
Gotta keep a hold on my sanity
I`m a twentieth century man but I don`t wanna die here.

My mama says she can`t understand me
She can`t see my motivation
Ain`t got no security,
I`m a twentieth century man but I don`t wanna be here.

This is the twentieth century
But too much aggravation
This is the edge of insanity
I`m a twentieth century man but I don`t wanna be here.


aus dem Album Muswell Hillbillies (Nov. 1971)

[SleepingBeauty]

Da wir alle Engel sind und also Flügel haben, macht uns das gar nichts!!

[CockneyRebel]

.
"The crowd went wild, Ray Davies could simply have stopped singing, letting the audience complete all verses and refrains."





http://folk.uio.no/hanakrem/music/kinks2.html
,

[Heizkessel]

Ich habe auch ein Wahnsinnslieblingsstück
entdeckt hab ich das mal als Soundtrack inner Folge von den Sopranos.

unglaubliche Nummer:

Living on a thin line

All the stories have been told
Of kings and days of old,
But there`s no England now.
All the wars that were won and lost
Somehow don`t seem to matter very much anymore.
All the lies we were told,
All the lies of the people running round,
They`re castles have burned.
Now I see change,
But inside we`re the same as we ever were.

Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Living this way, each day is a dream.
What am I, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?

Now another century nearly gone,
What are we gonna leave for the young?
What we couldn`t do, what we wouldn`t do,
It`s a crime, but does it matter?
Does it matter much, does it matter much to you?
Does it ever really matter?
Yes, it really, really matters.

Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?

Now another leader says
Break their hearts and break some heads.
Is there nothing we can say or do?
Blame the future on the past,
Always lost in blood and guts.
And when they`re gone, it`s me and you.

Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line,
Tell me now, what are we supposed to do?
Living on a thin line.

[fixbutte]

#16 Heizkessel
sehr schönes Stück Im Original übrigens auf der LP (damals noch) Word of Mouth
von 1984 (now another century nearly gone ...)

[fixbutte]

Dann will ich jetzt auch schon mal eines meiner Lieblingsstücke bringen man muss sich nur einmal die englischen Vorstädte mit ihren unendlichen Reihenhausstraßen anschauen, um sich ein Bild von dem beschriebenen kleinen Paradies* zu machen, in dem das Leben doch nicht so sicher und glücklich ist



Shangri-la

Now that you`ve found your paradise
This is your Kingdom to command
You can go outside and polish your car
Or sit by the fire in your Shangri-la
Here is your reward for working so hard
Gone are the lavatories in the back yard
Gone are the days when you dreamed of that car
You just want to sit in your Shangri-la

Put on your slippers and sit by the fire
You`ve reached your top and you just can`t get any higher
You`re in your place and you know where you are
In your Shangri-la
Sit back in your old rocking chair
You need not worry, you need not care
You can`t go anywhere
Shangri-la, Shangri-la, Shangri-la

The little man who gets the train
Got a mortgage hanging over his head
But he`s too scared to complain
`Cos he`s conditioned that way
Time goes by and he pays off his debts
Got a TV set and a radio
For seven shillings a week
Shangri-la, Shangri-la, Shangri-la, Shangri-la, Shangri-la, Shangri-la

And all the houses in the street have got a name
`Cos all the houses in the street they look the same
Same chimney pots, same little cars, same window panes
The neighbors call to tell you things that you should know
They say their lines, they drink their tea, and then they go
They tell your business in another Shangri-la
The gas bills and the water rates, and payments on the car
Too scared to think about how insecure you are
Life ain`t so happy in your little Shangri-la
Shangri-la, Shangri-la la-la-la-la-la-la-la-la

Put on your slippers and sit by the fire
You`ve reached your top and you just can`t get any higher
You`re in your place and you know where you are
In your Shangri-la
Sit back in your old rocking chair
You need not worry, you need not care
You can`t go anywhere
Shangri-la, Shangri-la, Shangri-la, Shangri-la, Shangri-la, Shangri-la


* In the novel "Lost Horizon" British writer James Hilton described an eternally peaceful and quiet place among the mountains in the mysterious East. Here, people lived to be more than 100 years old in peace and harmony with nature and each other. The place was called "Shangri-La", meaning sun and moon in the heart.

[fixbutte]

zu #18 wäre dieses eigentlich als Illustration schöner gewesen



Shangri-la stammt aus dem Konzeptalbum Arthur (or the Decline and Fall of the British Empire) und kam vorab als Single im September 1969 raus (kein Hit)

[CockneyRebel]

.
Gleich kann man diesen wunderschönen Thread (der er für mich jetzt schon ist - merci, fixbutte! ) auch vor- und rückwärts lesen...
.

[CockneyRebel]

.
Hi Heizkessel,

den Song mag ich auch sehr! Ausnahmsweise mal ein ernsterer Text, Ray Davies hat ja sonst - sein "Markenzeichen"! - hauptsächlich bissig-ironische Lieder geschrieben...
.

[CockneyRebel]

.
Aus letzterer Kategorie - wenn auch nicht ganz ohne Bitterkeit - auch gleich ein Lied, das ebenfalls zu meinen Favoriten zählt:



Dead End Street

There’s a crack up in the ceiling,
And the kitchen sink is leaking.
Out of work and got no money,
A sunday joint of bread and honey.

What are we living for?
Two-roomed apartment on the second floor.
No money coming in,
The rent collector’s knocking, trying to get in.

We are strictly second class,
We don’t understand,
(dead end!)
Why we should be on dead end street.
(dead end!)
People are living on dead end street.
(dead end!)
Gonna die on dead end street.

Dead end street (yeah)
Dead end street (yeah)

On a cold and frosty morning,
Wipe my eyes and stop me yawning.
And my feet are nearly frozen,
Boil the tea and put some toast on.

What are we living for?
Two-roomed apartment on the second floor.
No chance to emigrate,
I’m deep in debt and now it’s much too late.

We both want to work so hard,
We can’t get the chance,
(dead end!)
People live on dead end street.
(dead end!)
People are dying on dead end street.
(dead end!)
Gonna die on dead end street.

Dead end street (yeah)
Dead end street (yeah)

(dead end!)
People live on dead end street.
(dead end!)
People are dying on dead end street.
(dead end!)
Gonna die on dead end street.

Dead end street (yeah)
Dead end street (yeah)
Dead end street (yeah)
Head to my feet (yeah)
Dead end street (yeah)
Dead end street (yeah)
Dead end street (yeah)
How’s it feel? (yeah)
How’s it feel? (yeah)
Dead end street (yeah)
Dead end street (yeah)
.

[Iguana]

...und die Kinks haben sich im laufe der jahre auch musikalisch weiterentwickelt - vor allem in der zeit nach dem punk-urknall haben sie einen enorm frischen neuen sound aufgelegt...

...hier eins meiner lieblingslieder und hymne fürs leben...

KINKS

I`M NOT LIKE EVERYBODY ELSE

I won`t take all that they hand me down,
And make out a smile, though I wear a frown,
And I won`t take it all lying down,
`Cause once I get started I go to town.

`Cause I`m not like everybody else,
I`m not like everybody else,
I`m not like everybody else,
I`m not like everybody else.

And I don`t want to ball about like everybody else,
And I don`t want to live my life like everybody else,
And I won`t say that I feel fine like everybody else,
`Cause I`m not like everybody else,
I`m not like everybody else.

But darling, you know that I love you true,
Do anything that you want me to,
Confess all my sins like you want me to,
There`s one thing that I will say to you,
I`m not like everybody else,
I`m not like everybody else.

I`m not like everybody else,
I`m not like everybody else
And I don`t want to ball about like everybody else,
And I don`t want to live my life like everybody else,
And I won`t say that I feel fine like everybody else,
`Cause I`m not like everybody else,
I`m not like everybody else.

Like everybody else,
Like everybody else,
Like everybody else,
Like everybody else.

If you all want me to settle down,
Slow up and stop all my running `round,
Do everything like you want me to,
There`s one thing that I will say to you,
I`m not like everybody else,
I`m not like everybody else.

I`m not like everybody else,
I`m not like everybody else.
And I don`t want to ball about like everybody else,
And I don`t want to live my life like everybody else,
And I won`t say that I feel fine like everybody else,
`Cause I`m not like everybody else,
I`m not like everybody else.

Like everybody else (like everybody else),
Like everybody else (like everybody else),
Like everybody else (like everybody else),
Like everybody else.


iguana

[fixbutte]

@Iguana auf diesen Einsatz habe ich gehofft

Diesen ganz speziellen Song hat Greil Marcus in seinem Buch Mystery Train besonders hervorgehoben, obwohl er nur als B-Seite (von Sunny Afternoon vom Juli 1966) erschienen war. Zu dem sehr ernst gemeinten Text - "gesungen" von Dave Davies - kommt eine brutale Musik
"The crude instrumentation and simple fury of the song winds up in a holocaust of noise ... a violence that was not to be repeated for a good ten years, until the beginning of punk rock"
John Savage, The Kinks - the Official Biography, 1984

[fixbutte]

Februar 1967

@Cockney
Dead End Street wäre der nächste Song gewesen, den ich posten wollte Ich sehe in diesem Song eigentlich keine Ironie - ironisch ist nur, dass er als Single nach Sunny Afternoon, das aus einer ganz anderen Sicht geschrieben wurde, kam.

Ray Davies: "I wanted to write a song, a modern-day depression song, like the songs of the American Depression, because I felt that`s what was happening around me."

Jon Savage: "... a remarkable song, which is perhaps the only one of the period to capture what was actually happening (as opposed to what people wished was happenig) in an age of delusion. While most of the pop world was chasing the premises of Boomtime into a new Nirvana, a false reality based on drugs, Ray Davies saw the reality behind the situation - a Britain where unemployment figures were rising rapidly, a Britain where LSD meant £.s.d.*, and not enough of it."

* the old British abbreviation for pounds, shillings and pence

[CockneyRebel]

.
Vielleicht empfinde auch nur ich "Dead End Street" als bitter-ironisch, weil sich bei mir solche Bilder aufdrängen:

"What are we living for?
Two-roomed apartment on the second floor"



.

[SleepingBeauty]

Das ist nicht stilgetreu - da gehört noch eine gemusterte Tapete hin!

[CockneyRebel]

.
Auch das noch!
.

[CockneyRebel]

.
Na, dann muss doch mal ein Lied ran, auf das diese Einstufung besser zutrifft.



Dandy

Dandy
Dandy
where you gonna
go now?
Who you gonna run to?
All your little life you`re chasing all the girls

they can`t resist your smile
oh
oh
they long for.

Dandy
Dandy
chattin` on the ladies

tickling their fancies

pouring out your charm to meet your own demands
and turn it off at will
oh
oh
they long for.

Dandy
Dandy
knockin` on the back door

climbing thru` the window
hobbies gone away and while the cat`s away
the mice are gonna play
oh
oh
you`re low down.

Dandy
Dandy
Dandy
Dandy
you know you`re moving much too fast
and Dandy
you know
you can`t escape
the past
turn round
dear

and see the people settle down
and when you`re old and grey
you will remember what they said
that two girls are too many

three`s a crowd and four your dead.

Dandy
Dandy
when you gonna give up?
Are you feelin` old now

you always will be free
you need no sympathy

a bachelor you will stay
and Dandy you`re alright

you`re alright
you`re alright.

.

[CockneyRebel]

[fixbutte]

Hi Cockney
freut mich, dass Du die Kinks-Fahne weiter hoch hältst

Hier ein etwas schöneres / vielsagenderes Cover



Das war übrigens die einzige Nummer Eins der Kinks in Deutschland (1966), obwohl der Song in England und USA gar nicht als Single herauskam. In den USA war nur der Nachzieher der Herman`s Hermits ein Top Ten Hit, in England nicht einmal das

Ich fand / finde die Kombination von munterer Musik und absolut abgeklärtem Text sehr bemerkenswert two girls are too many, three`s a crowd and four your dead
Casanova lässt grüßen

[wolaufensie]

...ja der Text ist wirklich überraschend...
four your dead...., - das kommt plötzlich..!..

[fixbutte]

und das hier war die letzte Nummer Eins der Kinks in England - ebenfalls ein bemerkenswerter Kontrast zwischen einer scheinbar ausweglosen Lage und der aufgeräumten Stimmung des main characters ("sipping at my ice cold beer"), die in der schwungvollen Musik ihren Ausdruck findet



Sunny Afternoon

The tax man`s taken all my dough,
And left me in my stately home,
Lazing on a sunny afternoon.
And I can`t sail my yacht,
He`s taken everything I`ve got,
All I`ve got`s this sunny afternoon.

Save me, save me, save me from this squeeze.
I got a big fat mama trying to break me.
And I love to live so pleasantly,
Live this life of luxury,
Lazing on a sunny afternoon.
In the summertime
In the summertime
In the summertime

My girlfriend`s run off with my car,
And gone back to her ma and pa,
Telling tales of drunkenness and cruelty.
Now I`m sitting here,
Sipping at my ice cold beer,
Lazing on a sunny afternoon.

Help me, help me, help me sail away,
Well give me two good reasons why I oughta stay.
`Cause I love to live so pleasantly,
Live this life of luxury,
Lazing on a sunny afternoon.
In the summertime
In the summertime
In the summertime

Ah, save me, save me, save me from this squeeze.
I got a big fat mama trying to break me.
And I love to live so pleasantly,
Live this life of luxury,
Lazing on a sunny afternoon.
In the summertime
In the summertime
In the summertime


Die Big Fat Mama war eine Umschreibung für Staat und Regierung, die in diesen Tagen eine etwas einnehmende Art an den Tag legten siehe auch das zur gleichen Zeit erschienene Taxman von den Beatles

Die Rückseite der Single war das ebenfalls sehr starke I`m Not Like Everybody Else und Iguanas Hymne fürs Leben (#23)

[fixbutte]

Top Of The Pops

I`ve just come in at Number 25
I`m oh so happy, so glad to be alive
And everybody says it`s going to get to the top
Life is so easy when your record`s hot.
Go tell my mamma and my sister too
To press my trousers and polish my shoes
I might even end up a rock-and-roll god
It might turn into a steady job.
And my agent said to me: "Son, I always told you so."
Now my record`s number 11 on the BBC
But number seven on the N.M.E.
Not the Melody Maker want to interview me
And ask my view on politics and theories on religion.
Now my record`s up to number 3
And a woman recognized me and started to scream
This all seems like a crazy dream
I`ve been invited to a dinner with a prominent queen
And now I`ve got friends that I never knew I had before.
It`s strange how people want you when you record`s high
`Cos when it drops down they just pass you by
Now my agent just called me and said it me:
"Son your record`s just got to Number One."

[CockneyRebel]

.
Witzig - das sind jetzt schon 3 Interpretationen der "big fat mama"! Irgendwo im Board (bei Iguana? Oder bei Hawkhead?) hatten wir sie schon einmal als Synonym für einen Joint, und hier

http://www.oakhaus.com/kinks.html

ist es die Mutter der Freundin!

It opens with the sound of a phone ringing, then a voice asking, "Hello - who`s that speaking, please?" An apt beginning for an album devoted to the theme of missed cues and communication: from the distraught mother futilely calling for her roaming daughter`s return to the wasted wastrel ruminating on his girlfriend`s angry parents ("I`ve got a big fat mama, trying to break me!") to the flummoxed tourist who discovers that tropical isles aren`t all they`re supposed to be - Face to Face (1966) is a series of dramatic monologues and vignettes, all done with sixties Britpop polish.
.

[schnirchel]

Where have all the good times gone?
Mann, wie recht er doch hat!!!!
Sie waren schön und kommen nicht wieder !!! Nur die Musik bleibt uns. All day and all of the night!
Hauptsache man bleibt ein "well respected man" and see my friends!
What a time!

[CockneyRebel]

.
Du hast so Recht! Und nach dem Lesen Deines Thread: Interpreten gesucht habe ich schon wieder einen lange vergessenen Oldie im Ohr!

Let the bells ring. Let the birds sing.
Lets all give my substitute a big cheer.
Let the bells ring.
Let the birds sing for the man after him waits here.
For the man after him waits here.


.

[fixbutte]

@Cockney #35 guter Link auch wenn meine Interpretation der Big Fat Mama von Ray Davies verbürgt ist (Zitat muss ich noch suchen). Bill`s Gründe, warum er die Kinks - trotz ihrer Schwächen - liebt, kann ich absolut nachvollziehen. Mir gehts eigentlich ganz genauso (ich teile sogar seine Vorlieben hinsichtlich der Kinks-Diskographie). Deshalb gehört das auch in diesen Thread



I love the Kinks - with a love that passeth all understanding. They are The Group for me: the one to play when no one else works, the one to play when I most want to get in tune with everything that I love about rock `n` roll. Tuneful and inventive, singing songs filled with detailed wit and an unmatched sense of human foibles, Ray Davies and the boys remain the Quintessential British Pop Group: borne of the sixties, yet continuing to produce enduring work past the point where most sixties survivors were just struggling to stay out of rehab. Yes, I know that the Beatles are still capable of selling a new hit album in the year 2001; sure, I see the Rolling Stones are still active. I prefer the Kinks.

It wasn`t always that way. When the group had its first big hits in the midst of the British Invasion, I didn`t pay that much attention to `em. Listened to today, those first two big `uns - "You Really Got Me" and "All Day and All of the Night" - sound great, but at the time, they were just two more slices of tuneful noise. It wasn`t until "Sunny Afternoon," Ray Davies` story of a beaten-down roué, hit the airwaves that it really began to sink in that these guys might be special. Okay, so I`m not the most prescient guy in the world.

The Kinks - Raymond Douglas Davies, quavery singer and primary songwriter; Dave Davies, lead guitarist and secondary singer/songwriter; Pete Quaife, bassist and Mick Avory, drums - comprised the original group. And though the group saw the usual personnel changes over the years, it was the Brothers Davies who remained the Kore Kinks (the only time I`ll do the "k"-for-"c" thing, I promise!) It was the Davies` views and voices that gave the group its unique slant, its wonderful blend of the transcendent and fallibly human. If much of rock `n` roll is about postures of potency that surpass adult reality, the Kinks strike more realistic poses. At their best, they`re able to do this without either being depressing or self-pitying; at their finest, they remain fun in a way more self-consciously serious rock artists can only occasionally attain.

When you consider the basic group, it`s really rather amazing that they lasted for as long as they did: they certainly weren`t "pretty" even by the loose standards of rock stardom. Listening to some of their songs, you can`t help but come away with the impression that the group is about to break-up any minute; they were neither the tightest instrumental configuration nor always the most congenial. And then there`s Ray`s voice – imminently fallible and barely on key at times – it hardly sounds like the voice of a long-term professional entertainer. And yet it is.

Kinks fans generally divide their heroes` output into periods. The division that works for me is: Early Hit Singles, Unified Albums, Theatrical Projects, The AOR/MTV Comeback Period and The Rest. The band last toured as a unit back in 1996 - both Ray and Dave (who on more than one occasion have their share of sib conflict) have been doing solo work since - though many fans still hold out hopes for a revival of the band. They`ve been counted out before and still managed to come back strong, so even the most cynical would have to admit that anything is possible. In the meantime, I continue to play and replay my favorite Kinks` elpees. Happily, they are all still available, so you can listen for yourself, if you`re so inclined.

[CockneyRebel]

.
fixbutte Ist bestimmt die richtige Interpretation, gerade wenn Ray Davies das sagt... Macht aber einfach Spaß, was über diese tollen Jungs zu suchen und alle möglichen Facetten mit in Deinen schönen Thread zu bringen!

Ich habe sowieso das Gefühl, dass es hier irgendwann nicht mehr ausschliesslich um die Kinks gehen wird, sondern um ihre Zeit insgesamt!
.

[CockneyRebel]

.
...und ich hebe schon einmal vorsorglich den Zeigefinger mit der Bitte, dass ich die #100 machen darf - mit "Death Of A Clown"

... was ja dann auch unter "Verwandte Themen" fallen wird!
.

[fixbutte]

Cockney
Das war gerade das, woran ich auch dachte

musikalisch hat Ray sich in Sunny Afternoon etwas an einem anderen Stück orientiert, das einige Monate früher Top of the Pops war

The title track alone is among one of the most recognizable songs in the popular canon. Lee Hazelwood`s "Boots" has one of those bass lines that grabs your ears and makes you sit up and take notice. Nancy`s reading of it captures her spirit and makes it a statement of fact.



und die Frau passte auch noch wunderbar zu dem kinky image der Band

Nancy Sinatra - These Boots Are Made For Walkin`

You keep saying you got something for me
Something you call love but confess
You`ve been a`messin` where you shouldn`t `ve been a-messin`
And now someone else is getting all your best
Well, these boots are made for walking, and that`s just what they`ll do
One of these days these boots are gonna walk all over you

You keep lyin` when you oughta be truthin`
You keep losing when you oughta not bet
You keep samin` when you oughta be a-changin`
What`s right is right but you ain`t been right yet
These boots are made for walking, and that`s just what they`ll do
One of these days these boots are gonna walk all over you

You keep playing where you shouldn`t be playing
And you keep thinking that you`ll never get burnt (huh)
Well, I`ve just found me a brand new box of matches (yeah)
And what he knows you ain`t had time to learn
These boots are made for walking, and that`s just what they`ll do
One of these days these boots are gonna walk all over you

(spoken)
Are you ready, boots?
Start walkin`

[CockneyRebel]

.
Also da MUSS (!) ich auch gleich wieder einen Abstecher in eine Dead End Street machen... Aber das Lied darf nicht fehlen:

(NANCY):
Strawberries cherries and an angel´s kiss in spring
My summer wine is really made from all these things

(LEE):
I walked in town on silver spurs that jingled to
A song that I had only sang to just a few
She saw my silver spurs and said lets pass some time
And I will give to you summer wine
Ohh-oh-oh summer wine

(NANCY):
Strawberries cherries and an angel´s kiss in spring
My summer wine is really made from all these things
Take off your silver spurs and help me pass the time
And I will give to you summer wine
Ohhh-oh summer wine

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

(NANCY):
Strawberries cherries and an angel´s kiss in spring
My summer wine is really made from all these things
Take off your silver spurs and help me pass the time
And I will give to you summer wine
Mmm-mm summer wine

(LEE):
When I woke up the sun was shining in my eyes
My silver spurs were gone my head felt twice its size
She took my silver spurs a dollar and a dime
And left me cravin´ for more summer wine
Ohh-oh-oh summer wine

(NANCY):
Strawberries cherries and an angel´s kiss in spring
My summer wine is really made from all these things
Take off your silver spurs and help me pass the time
And I will give to you summer wine
Mmm-mm summer wine

[Iguana]

...ein herrlich sentimentaler song, bei dem ich immer den hollywood klassiker "boulevard der dämmerung" vor augen habe...



THE KINKS

CELULOID HEROES


Everybody`s a dreamer and everybody`s a star,
And everybody`s in movies, it doesn`t matter who you are.
There are stars in every city,
In every house and on every street,
And if you walk down Hollywood Boulevard
Their names are written in concrete!

Don`t step on Greta Garbo as you walk down the Boulevard,
She looks so weak and fragile that`s why she tried to be so hard
But they turned her into a princess
And they sat her on a throne,
But she turned her back on stardom,
Because she wanted to be alone.

You can see all the stars as you walk down Hollywood Boulevard,
Some that you recognise, some that you`ve hardly even heard of,
People who worked and suffered and struggled for fame,
Some who succeeded and some who suffered in vain.
Rudolph Valentino, looks very much alive,
And he looks up ladies` dresses as they sadly pass him by.
Avoid stepping on Bela Lugosi
`Cos he`s liable to turn and bite,
But stand close by Bette Davis
Because hers was such a lonely life.
If you covered him with garbage,
George Sanders would still have style,
And if you stamped on Mickey Rooney
He would still turn round and smile,
But please don`t tread on dearest Marilyn
`Cos she`s not very tough,
She should have been made of iron or steel,
But she was only made of flesh and blood.

You can see all the stars as you walk down Hollywood Boulevard,
Some that you recognise, some that you`ve hardly even heard of.
People who worked and suffered and struggled for fame,
Some who succeeded and some who suffered in vain.

Everybody`s a dreamer and everybody`s a star
And everybody`s in show biz, it doesn`t matter who you are.

And those who are successful,
Be always on your guard,
Success walks hand in hand with failure
Along Hollywood Boulevard.

I wish my life was a non-stop Hollywood movie show,
A fantasy world of celluloid villains and heroes,
Because celluloid heroes never feel any pain
And celluloid heroes never really die.

You can see all the stars as you walk along Hollywood Boulevard,
Some that you recognise, some that you`ve hardly even heard of,
People who worked and suffered and struggled for fame,
Some who succeeded and some who suffered in vain.

Oh celluloid heroes never feel any pain
Oh celluloid heroes never really die.

I wish my life was a non-stop Hollywood movie show,
A fantasy world of celluloid villains and heroes,
Because celluloid heroes never feel any pain
And celluloid heroes never really die.


iguana

[fixbutte]

Ray Davies, CBE (1.1.2004)

Ritter ist er noch nicht, aber mit dem Titel "Commander of the Order of the British Empire" ist Ray Davies nun auf dem Weg dazu. Davies steht auf der Neujahrs-Liste von Königin Elizabeth, die zweimal im Jahr verdiente Persönlichkeiten ehrt. Der Titel "Commander Of The British Empire" mit dem Kürzel "CBE" darf nach dem Namen des Trägers genannt werden und ist nach dem Ritterschlag der zweithöchste Ehrentitel der britischen Monarchie. Außer Davies wurde unter anderem auch Eric Clapton geehrt. Der Großteil der etwa 1000 Personen auf der Liste sind aber einer breiten Öffentlichkeit unbekannt.

Ray Davies angeschossen (7.1.2004)

Am Sonntag wurde Ray Davies in New Orleans bei einem Raubüberfall angeschossen. Davies musste zwar ins Krankenhaus, konnte dieses aber noch am selben Tag verlassen. Nach Angaben seines Managers Deke Arlon geht es ihm gut. Die Tat ereignete sich, als Davies Begleiterin die Handtasche entrissen wurde und Davies daraufhin die Täter verfolgte. Dabei wurde ihm ins Bein geschossen.
Ray Davies konnte sich das Nummernschild des Fluchtwagens merken und so wurde einer der beiden Verdächtigen bereits gefasst. Der andere wird von der Polizei noch gesucht. Polizeichef Eddie Compass kritisierte Davies, da er unverantwortlich gehandelt hätte, indem er die bewaffneten Täter verfolgte. Sowohl die Polizei als auch Manager Arlon haben die Identität der Begleiterin bislang nicht bekanntgegeben. Davies war in New Orleans, um dort einen Freund zu besuchen.
Für Davies war es innerhalb einer Woche der zweite Anlass, wieder einmal in den Medien zu erscheinen. Treffend wenn auch gewohnt reißerisch schreibt die Super Illu: "Nach der Queen kamen die Gangster".


Die Schussverletzung scheint wohl auch schlimmer zu sein als erwartet:
Ray Davies nicht beim Tibet House Benefit
Ray Davies` Gesundheitszustand erlaubt es ihm nicht, beim Tibet House Benefit am Mittwoch aufzutreten. Dies meldet raydavies.net, nachdem dort über ein halben Jahr keine Nachrichten zu lesen waren. Die Verletzung sei schlimmer als berichtet, Davies befinde sich noch in medizinischer Behandlung. Er hoffe aber, bald wieder nach England zurückkehren zu können.
(23.2.2004)

Alle Artikel aus der deutschen Kinks Web Site http://www.kinks.de/deutsch/

[fixbutte]

schnirchel #36

"Where Have All The Good Times Gone" wäre mein Alternativtitel für diesen Thread gewesen

ziemlich satirischer Song mit für die Zeit (November 1965) recht zweideutigen Andeutungen



Where Have All The Good Times Gone

Well, lived my life and never stopped to worry `bout a thing
Opened up and shouted out and never tried to sing
Wondering if I`d done wrong
Will this depression last for long?

Won`t you tell me
Where have all the good times gone?
Where have all the good times gone?

Well, once we had an easy ride and always felt the same
Time was on our side and I had everything to gain
Let it be like yesterday
Please let me have happy days

Won`t you tell me
Where have all the good times gone?
Where have all the good times gone?

Ma and Pa look back at all the things they used to do
Didn`t have no money and they always told the truth
Daddy didn`t have no toys
And mummy didn`t need no boys

Won`t you tell me
Where have all the good times gone?
Where have all the good times gone?

Well, yesterday was such an easy game for you to play
But let`s face it things are so much easier today
Guess you need some bringing down
And get your feet back on the ground

Won`t you tell me
Where have all the good times gone?
Where have all the good times gone?
Where have all the good times gone?

[CockneyRebel]

.
Ray Davies
The Storyteller





If you didn`t know the opening riff to "Lola" then you wouldn`t have been at The Odeon to see Ray Davies. The gathering of fans certainly recognized it.

Merging history with his songs, Ray told the story of his growing up in Northern London and how he and his brother started one of the most overlooked rock bands of the British Invasion. Clearly enjoying what he was doing Mr. Davies charmed the standing room only crowd.

Davies read excerpts from his autobiographical book X-Ray (in his own words, "the romantic rantings of a sex-crazed rock and roller") while we were allowed personal glimpses into his family life, schooling, sibling rivalry, groupies and life in general. One story would lead into song, which would lead into another story. The concert became a sing-along to such classics as "Victoria," "Twentieth Century Man," "Tired of Waiting For You," " Well Respected Man," " Dedicated Follower of Fashion," and "You Really Got Me." The marvelous "Waterloo Sunset" was played as the encore.


http://www.themusicview.com/raydavies.htm

[fixbutte]

Beeindruckt hat der Song offenbar auch David Bowie, der ihn als erster gecovert hat (1973 - Pin ups), danach eine ganze Reihe anderer, z.B. Van Halen



Von den Kinks war zwar nur dieser einer Song drauf (von den Who, Yardbirds und Pretty Thins dagegen je zwei), dafür war aber nur ihr Text auf dem Innencover abgedruckt

Songs (Original Artists)
1. Rosalyn (The Pretty Things)
2. Here Comes The Night (Van Morrison & Them)
3. I Wish You Would (The Yardbirds)
4. See Emily Play (Pink Floyd)
5. Everything`s Alright (The Mojos)
6. I Can`t Explain (The Who)
7. Friday On My Mind (The Easybeats)
8. Sorrow (The Merseybeats)
9. Don`t Bring Me Down (Pretty Things)
10. Shapes Of Things (The Yardbirds)
11. Anyway, Anyhow, Anywhere (The Who)
12. Where Have All The Good Times Gone (The Kinks)
Bonus Tracks
13. Growin` Up (Bruce Springsteen)
14. Port Of Amsterdam (Jacques Brel)

Under pressure to release something, Bowie settled for a quick and easy cover album, covering some great tunes from the 60s.

UK Chart: 1 US Chart: 23
Not quite finished with Ziggy Stardust, Bowie`s new project and ideas with `Pin Ups` brought the band together again for more recording - this time of some great covers, of which Bowie does a marvelous job with appraising.
This album was the last album in which the original Spiders band would play together. The album was a pressured project from RCA, so, Bowie decided that it would be best to hurry things up by working on a project like this, since it wouldn`t be quite as difficult as writing new material.
Super-model Twiggy`s appearance on the cover makes it an even more adorable classic album cover. (Well, actually - it`s just Bowie that makes it adorable and interesting.)
`Pin Ups` featured such great Bowie sounds as `Sorrow` - which is a favorite for some fans, and, the re-release on Rykodisc featured `Amsterdam` (as written `Port Of Amsterdam`) which was another Jacques Brel tune, as was `My Death` (with very similar acoustic-sounds). This album was produced by David Bowie himself alone and was released in October of 1973.

BONUS TRACKS
Amsterdam
Originally composed in French by Jacques Brel. Bowie used this song on stage in 1971 and 1973 and recorded it for the B-side of the `Sorrow` single. He also appraised another Brel hit, "My Death" during his tour.
Growin` Up
Originally composed by Bruce Springsteen, this track was recorded during the Pin Ups sessions but never quite made the album listing.

[fixbutte]

Iguana #43
Klasse Song, der immer ein absolutes Highlight im Kinks Live Set war - auch in dem einzigen Kinks Konzert, das ich je gesehen habe, während der Low Budget Tour 1979/80. Die Burschen spielten schnell, laut und hart - dieser Song war die einzige Ruhepause



Aber man kann sein Leben nicht nur zum Hollywood Film machen, sondern auch zur Rock`n`Roll Fantasy

A Rock `N` Roll Fantasy

Hello you, hello me, hello people we used to be
Isn`t it strange, we never changed
We`ve been through it all yet we`re still the same
And I know it`s a miracle, we still go, and for all we know
We might still have a way to go

Hello me, hello you, you say you want out
Want to start anew, throw in your hand
Break up the band, start a new life, be a new man
But for all we know, we might still have a way to go
Before you go, there`s something you ought to know

There`s a guy in my block, he lives for rock
He plays records day and night
And when he feels down, he puts some rock `n` roll on
And it makes him feel alright
And when he feels the world is closing in
He turns his stereo way up high

He just spends his life, living in a rock `n` roll fantasy
He just spends his life, living on the edge of reality
He just spends his life, in a rock `n` roll fantasy
He just spends his life, living in a rock `n` roll fantasy
He just spends his life, living on the edge of reality
He just spends his life, in a rock `n` roll fantasy
He just spends his life, livingt in a rock `n` roll fantasy

Look at me, look at you
You say you`ve got nothing left to prove
The King is dead, rock is done
You might be through but I`ve just begun
I don`t know, I feel free and I won`t let go
Before you go, there`s something you ought to know

Dan is a fan and he lives for our music
It`s the only thing that gets him by
He`s watched us grow and he`s seen all our shows
He`s seen us low and he`s seen us high
Oh, but you and me keep thinking
That the world`s just passing us by

Dont` want to spend my life, living in a rock `n` roll fantasy
Don`t want to spend my life living on the edge of reality
Don`t want to waste my life, hiding away anymore
Don`t want to spend my life, living in a rock `n` roll fantasy...

aus dem Album Misfits von 1978, aus dem Gesine schon einen Titel vorgestellt hat.

[Iguana]

@fixbutte: "rock`n`roll fantasy" ist genau wegen der von dir fett gedruckten zeilen einer der kinks songs die mir immer am stärksten unter die haut gegangen sind.

iguana

[fixbutte]

muss ich alles selber machen

zur #50 passt ja perfekt der Song, mit dem sie bekannt wurden - das Hard Rock Riff schlechthin http://kinks.it.rit.edu/lyrics/regular/first



You Really Got Me

Girl, you really got me goin`
You got me so I don`t know what I`m doin`
Yeah, you really got me now
You got me so I can`t sleep at night

Yeah, you really got me now
You got me so I don`t know what I`m doin`, now
Oh yeah, you really got me now
You got me so I can`t sleep at night

You Really Got Me
You Really Got Me
You Really Got Me

See, don`t ever set me free
I always wanna be by your side
Girl, you really got me now
You got me so I can`t sleep at night

Yeah, you really got me now
You got me so I don`t know what I`m doin`, now
Oh yeah, you really got me now
You got me so I can`t sleep at night

You Really Got Me
You Really Got Me
You Really Got Me
Oh no...

(solo)

See, don`t ever set me free
I always wanna be by your side
Girl, you really got me now
You got me so I can`t sleep at night

Yeah, you really got me now
You got me so I don`t know what I`m doin`, now
Oh yeah, you really got me now
You got me so I can`t sleep at night

You Really Got Me
You Really Got Me
You Really Got Me


Entgegen anders lautenden Gerüchten hat die Gitarre auf der Platte nicht der damalige Studio-Musiker Jimmy Page gespielt, sondern der gerade 17jährige Dave Davies

[fixbutte]

ein schlichter Song


Chords for "You Really Got Me"
From: Kevin Larsen <[e-mail]>
Y O U R E A L L Y G O T M E
T h e K i n k s

Here`s the main verse riff chords:

G A G A


Now wasn`t that simple?
--------------------------------------------------------------------------------
From "John Bosch" <[e-mail]>
Date: Fri, 29 Dec 95 08:04:38 UT

[...]

However, just one correction. The chords for the riff on the original version
of You Really Got Me are: F G F G. I know I`m being picky, but I
wouldn`t want someone to confuse it with the VH version, which was: G A G A.

--------------------------------------------------------------------------------
From: "Steve Dix, DIALnet Helpdesk Supervisor" <[e-mail]>
Date: Tue, 11 Jun 1996 19:17:49 -0700
Subject: You really got me.....is not that simple

A FURTHER Correction to you really got me.

It goes F - G, F - G, THEN
it goes up a tone to go G - A, G - A

THEN!! it Goes C - D , C - D

This repeats for the second verse.

The solo is over F-G F-G.

Then Back to the Beginning

The End chord is the Barre D.

I should know... I`m the poor sucker who has to play it in my band..
..plus that sodding solo, which hurts due to all the pull offs.

--------------------------------------------------------------------------------
Date: April 12, 1997 2:51 PM
From: Jim Smart, [e-mail]


Dave....

love the running comments on You Really Got Me...

please add the following;

These notes are essentially correct. However, there is one last bit of the
song left out, which is that, after the second chorus, but before the
finger splitting lead (Please notate that one for us!!!), the band holds a
special chord known as "C" for awhile, thus allowing the drums to pound,
Ray to say "Oh No", and Dave to say "Fuck off!!" before the full band comes
in.

Now, we are komplete!

Jim Smart

--------------------------------------------------------------------------------
Date: Sept. 15, 1999 8:00 PM
From: Paul Minor, [e-mail]

Also, on "you really got me," one more note: if you listen closely
to the original single, you can hear the bass adding the ring of the
open A string during the f-g f-g riff over the verse. it`s obviously
just sloppy picking on a heavily compressed bass guitar, but it adds a
crucial punk rock edge. check it out.

--------------------------------------------------------------------------------
Date: Dec. 18, 1999 11:19 AM
From: Alan Rae, [e-mail]

hey, right I just wanted to say that in the version of the single all
the guitars are tuned up one semi-tone.
You can also play:

F#>G# / F# G#

With standard tuning, note that theF# slides to G# in the opening of the
chord progrssion.

Thanks, Kris

P.S. Does anyone have the solo. It is probably the worst recorded solo
evr, he hits duff notes and all. But it`d be good to play. please post.

[schnirchel]

fixbutte!
Hab mir am Wochenende die Kinkis in Ruhe angehört. Das geht immer noch unter die Haut. Tired of waiting for you!
Dies Stück hat es auch in sich. Es fängt so harmlos an und steigert sich zu einem Stakkato. Wenn man dann noch intensiv die Texte hört fällt einem schon manch zweideutige Formulierung auf.
Egal, eine der besten und tiefgründigsten Popgruppen der Neuzeit. Ein Muß für jede Sammlung.
Stark ist ja auch immer die Stimme von Ray gewesen sogar heute noch geht ein starker Reiz von ihr aus. Genauso prägnant wie die von John Lennon und unverwechselbar. CU

[CockneyRebel]

.
Absolut d`accord, Schnirchel!

Ist noch lange hin, und ich weiss nicht, ob man den Sender bis dahin überall empfangen kann - aber trotzdem schon einmal ein Radiotipp:

21.06. (Mo.) RADIO 21-Spezialsendung
RAY DAVIES zum 60. Geburtstag
Red. Guido Mann
20 - 21 Uhr auf RADIO 21


http://www.radio21.de/termine/ter_main.html
.

[CockneyRebel]

.
Im Moment offenbar nur in Niedersachsen zu empfangen...
.

[hawkhead]

The Kinks • Mr Pleasant

Oh mr pleasant, how is mrs pleasant?
I hope the world is treating you right,
And your head’s in the air,
And you’re feeling so proud,
’cause you’re such a success,
And the whole wide world is on your side, hey hey.
How are you today?

People say mr pleasant is good,
Mr pleasant is kind,
Mr pleasant’s okay,
Mr pleasant don’t mind.
As long as mr pleasant’s all right, hey hey.
How are you today?

How’s your father, how’s your mother?
How’s your sister, how’s your brother?
How’s your brand, new limousine,
Twenty-four inch tv screen?
Did you like prosperity
More than you liked poverty?
Life is easier, so much easier,
Life is easier now.

Oh mr pleasant, how is mrs pleasant?
Did you know she was flirting around
With another young man,
And he’s taking her out
When you have to work late?
And it’s not so pleasant after all, hey hey.
How are you today?

People say mr pleasant is good,
Mr pleasant is kind,
Mr pleasant’s okay,
Mr pleasant don’t mind.
As long as mr pleasant’s all right, hey hey.
How are you today?

Mr pleasant is good,
Mr pleasant is kind,
Mr pleasant’s okay.
=====

Gibt´s in einer ebenfalls netten CoverVersion auf

[CockneyRebel]

.
Welcome Hawkie!

Und... Mrs. Pleasent is fine!
.

[fixbutte]

schnirchel #52
Wo Du recht hast, hast Du recht Viele Songs der Kinks sind gerade wegen der Gesangsstimme von Ray Davies und des altertümlich englischen Arrangements beim ersten Hören nicht so leicht zugänglich (Ausnahmen gibt`s natürlich wie z.B. Lola). Dafür graben sie sich aber um so tiefer ein, wenn man sich auf sie einlässt.

Wo Du gerade Tired of Waiting angesprochen hast (auch Gesine hat ja davon schon ein Cover gepostet), will ich dazu mal den Text bringen, der in seiner ungeduldigen Grundstimmung gut zu der von Dir beschriebenen Musik passt



Tired Of Waiting For You

I`m so tired
Tired of waiting
Tired of waiting for you

I`m so tired
Tired of waiting
Tired of waiting for you

I was a lonely soul
I had nobody till I met you
But you keep-a me waiting
All of the time
What can I do?

It`s your life
And you can do what you want
Do what you like
But please don`t keep-a me waiting
Please don`t keep-a me waiting

`Cause I`m so tired
Tired of waiting
Tired of waiting for you

So tired
Tired of waiting
Tired of waiting for you

I was a lonely soul
I had nobody till I met you
But you keep-a me waiting
All of the time
What can I do?

It`s your life
And you can do what you want
Do what you like
But please don`t keep-a me waiting
Please don`t keep-a me waiting

`Cause I`m so tired
Tired of waiting
Tired of waiting for you

So tired
Tired of waiting
Tired of waiting for you
For you
For you

Das war schon 1965 die zweite von endgültig drei No. 1 Hits in England (in den USA war es die erfolgreichste Single der Kinks bis 1982 Come Dancing)

[fixbutte]

Hawkie Cockney

Sarkasmus pur, der an A Well Respected Man anschließt und später von dem noch etwas heftigeren Plastic Man fortgesetzt wird

Oh Mr Pleasant, how is Mrs Pleasant?
Did you know she was flirting around
With another young man,
And he’s taking her out
When you have to work late?
And it’s not so pleasant after all, hey hey.
How are you today?

[schnirchel]

Danke Cockney!!!!!

[schnirchel]

@All
Es tut gut wenn man Gleichgesinnte zu einer tollen Musik hat, nicht so ein synthetischer Sch..... wie er heute zum Teil fabriziert wird.
Weiter so!
Unheimlich befruchtend für die damalige Musikszene war der Austausch der wichtigsten Songschreiber und Komponisten untereinander. Jeder sog begierig neue Trends und Arangements ein und inspirierte den anderen. Sowas hab ich bis heute nicht wieder erlebt.

[DOLCETTO]

moin fixbutte,

erstmal einen phetten Rüspektgruß vom alten "colce"

deine leidenschaft für das werk von mista Ray Davies habe ich zwar
vorige woche mitgeplottet, jedoch fehlte mir da noch der zugang.
jetzt, da einige lyrics >"Living on a thin line" et on<
gepostet wurden, regt sich einiges in meinem altem brain:

mönsch, des kenn ich - des hast doch mal für gut gefunden - wieso
haste die Kinks noch nie als favorites auf deiner schedule

fragen, für die ich mich ob ihrer wirkung bei dir recht herzlich
bedanken muss!

All Day And All Of The Night

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

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

[DOLCETTO]

oh oh, der abgespacte sörfer frisst mir
schon wieder teile meiner posts wech

...........

Girl I want to be with you all of the time
All day and all of the night
All day and all of the night
Oh, come on...

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

vielmals dschulligung

[MissB.Hagen]

Dann darf ich mich wohl auch bei den “Kohorten” einreihen, fuxbutte - die Kinks aus weiblicher Sicht ...

“All Day And All Of The Night” und “Tired of Waiting” habe ich schon sehr früh bei den Love Lyrics gepostet, als mir ein gewisser Rebel weismachen wollte, die Kinks hätten keine Love Songs geschrieben. Und hinter ihrem Sarkasmus versteckt sich für mich viel Mitgefühl - mit dem Spiesser, der Arbeiterklasse, den Lola`s etc.

Mein Lieblingslied – so wunderbar warmherzig, dass ich dabei losheulen könnte wie ein Schlosshund ... (hinzu kommt, dass mir Ray Davies als Typ immer gefallen hat und auch heute noch gefällt.)



Don`t Forget To Dance
Written by: Ray Davies

You look out of your window,
Into the night.
Could be rain, could be snow,
But it can`t feel as cold as you`re feeling inside.
And all of your friends are either married, vanished,
Or just left alone.
But that`s no reason to just stop living.
That`s no excuse to just give in to a sad and lonely heart.

Don`t forget to dance, no, no, no,
Don`t forget to smile.
Don`t forget to dance, no, no, no,
Forget it for a while.

`Cause darling, darling,
I bet you danced a good one in your time.
And if this were a party
I`d really make sure the next one would be mine.
Yes, you with the broken heart.

Don`t forget to dance, no, no, no,
Don`t forget to smile.
Don`t forget to dance, no, no, no,
Forget it for a while.
Don`t forget to dance, no, no, no,
Forget it for a while.

You walk down the street
And all the young punks whistle at you.
A nice bit of old,
Just goes to show what you can achieve with the right attitude.
As you pass them by
They whisper their remarks one to another,
And you give them the eye
Even that you know that you could be their mother.

You do the thing you love the most.
What separates you from the rest,
And what you love to do the most?
And when they ask me how you dance,
I say that you dance real close.

Don`t forget to dance, no, no, no,
Don`t forget to dance.

[fixbutte]

Nachtrag zu Tired Of Waiting For You
historische Plattenkritik (NME review from Jan 15, 1965)

Zu diesem Stück gab es 1969 eine der ersten Coverversionen eines Kinks-Stücks (inzwischen sind es unzählige) von der "progressiven" amerikanischen Jazz Rock Band The Flock, die sogar als Single herauskam und ein Mini-Hit wurde



The Flock - gegründet 1964 in Chicago. Leider nur drei LP`s in der Zeit von 1968 bis 1969 aufgenommen. Nach John Mayall: Die beste Gruppe die jemals Rockmusik spielte.
Jerry Goodman war der Teufelsgeiger der Rockgeschichte. John McLaughlin heuerte ihn für sein Mahavishnu Orchestra an.

[MissB.Hagen]

Eine der ersten LP’s, die ich mir selbst gekauft habe ...

Fill Your Head with Rock
"The Sound of The Seventies"



side 1
Chicago: Listen
Santana: Savour
Spirit: Give A Life, Take A Life
Steamhammer: Passing Through
Blood, Sweat and Tears: Smiling Phases
side 2
Flock: Tired of Waiting
Black Widow: Come to The Sabbat
Argent: Dance in The Smoke
Byrds: Gunga Din
Skin Alley: Living in Sin
side 3
Laura Nyro: Gibsom Street
Leonard Cohen: You Know Who I Am
Moondog: Stomping Ground
Amory Kane: The Inbetween Man
Trees: The Garden of Jane Delawney
Al Stewart: A Small Fruit Song
Tom Rush: Driving Wheel
side 4
Janis Joplin: Try (Just A Little Bit Harder)
Al Kooper: One Room Country Shack
Taj Mahal: Six Days On The Road
Mike Bloomfield: Don`t Think About It Baby
Pacific Gas & Electric: Bluesbuster
Johnny Winter: I Love Everybody

[fixbutte]

Hey Missy
danke Dir (auch wenn ich von Konsorten und nicht Kohorten sprach). Da hast Du ein sehr schönes sentimentales Lied ausgewählt.

Ich fand und finde Ray Davies auch einen attraktiven Typen. Im Gegensatz zu seinem Bruder Dave ist er auch bis heute nicht fett geworden. Wenn man dann noch weiß, dass er auf den alten Fotos manchmal nur so dämlich grinst, weil er seine - schon ziemlich gewöhnungsbedürftige - Zahnlücke nicht zeigen wollte



Wie kann ich mich da reinversetzen, wo ich mir doch meine beiden Schneidezähne angeschlagen hatte und erst mit 18 Jahren Kronen darauf bekommen habe

[fixbutte]

Dolcetto

All Day And All Of The Night - auch ein Spitzentitel, der natürlich nicht fehlen durfte Ich will aber meiner Chronistenpflicht nachkommen und die Hülle der deutschen Single nachtragen



und auch die damalige Plattenkritik aus dem New Musical Express


Treffender hätte man es nicht ausdrücken können("little melodic content", "authentic sounding atmosphere"). Auch die Vorhersage des Rezensenten ("They could get very close to No. 1 again with this one") traf ziemlich genau zu. Es wurde eine No. 2, in der NME Hitparade sogar No. 1

[fixbutte]

Noch zu All Day And All Of The Night Die Anfangsakkorde hat bekanntlich Jim Morrision 1 : 1 in seine frühe Komposition Hello I Love You übernommen und damit mit den Doors noch einmal einen No. 1 Hit (in USA) gelandet

Aus I`m not content to be with you in the daytime ... wurde Hello I love you won`t you tell me your name ...



Hello, I love you
Won`t you tell me your name?
Hello, I love you
Let me jump in your game
Hello, I love you
Won`t you tell me your name?
Hello, I love you
Let me jump in your game

She`s walking down the street
Blind to every eye she meets
Do you think you`ll be the guy
To make the queen of the angels sigh?

Hello, I love you
Won`t you tell me your name?
Hello, I love you
Let me jump in your game
Hello, I love you
Won`t you tell me your name?
Hello, I love you
Let me jump in your game

She holds her head so high
Like a statue in the sky
Her arms are wicked, and her legs are long
When she moves my brain screams out this song

Sidewalk crouches at her feet
Like a dog that begs for something sweet
Do you hope to make her see, you fool?
Do you hope to pluck this dusky jewel?

Hello, Hello, Hello, Hello, Hello, Hello, Hello
I want you
Hello
I need my baby
Hello, Hello, Hello, Hello



Es gab damals eine Auseinandersetzung wegen der kompositorischen Rechte und soviel ich weiß, hat Ray Davies dafür einen dicken Tantieme-Scheck bekommen

[Iguana]

@missie: genau - i remember. die bandbreite der kinks war ja immer eine große in bezug auf themenvielfalt. "don`t forget to dance" war auch ein massiver erfolg gerade durch das kongeniale video auf dem höhepunkt der "formel 1 & MTV aera" als videos die hits gemacht haben. da galt ja gerade das motto "video killed the radio star" - das kann man heute neu definieren mit "casting killed the videostar"...

@fixbutte: parallel lines... ich habe mir als jugendlicher bei einer an sich harmlosen rauferei unter kumpels auf dem schulhof und kurz darauf durch einem fußball voll in die angeschlagene frontleiste auch die schneidezähne demoliert... und wie bei dir könnte man das endgültig mit einem hübschen brückchen erst mit 18 wieder in ordnung bringen.

iguana

[fixbutte]

Iguana #69


Ich geh noch mal bißchen zurück
Der erste Ausflug der Kinks in die Sozialkritik (Nov. 1965)



A Well Respected Man

`Cause he gets up in the morning,
And he goes to work at nine,
And he comes back home at five-thirty,
Gets the same train every time.
`Cause his world is built `round punctuality,
It never fails.

And he`s oh, so good,
And he`s oh, so fine,
And he`s oh, so healthy,
In his body and his mind.
He`s a well respected man about town,
Doing the best things so conservatively.

And his mother goes to meetings,
While his father pulls the maid,
And she stirs the tea with councilors,
While discussing foreign trade,
And she passes looks, as well as bills
At every suave young man

`Cause he`s oh, so good,
And he`s oh, so fine,
And he`s oh, so healthy,
In his body and his mind.
He`s a well respected man about town,
Doing the best things so conservatively.

And he likes his own backyard,
And he likes his fags the best,
`Cause he`s better than the rest,
And his own sweat smells the best,
And he hopes to grab his father`s loot,
When Pater passes on.

`Cause he`s oh, so good,
And he`s oh, so fine,
And he`s oh, so healthy,
In his body and his mind.
He`s a well respected man about town,
Doing the best things so conservatively.

And he plays at stocks and shares,
And he goes to the Regatta,
And he adores the girl next door,
`Cause he`s dying to get at her,
But his mother knows the best about
The matrimonial stakes.

`Cause he`s oh, so good,
And he`s oh, so fine,
And he`s oh, so healthy,
In his body and his mind.
He`s a well respected man about town,
Doing the best things so conservatively.


Eine Welt, die nicht mehr die der Kinks war, aber es ohne ihren musikalischen Erfolg hätte werden können. Der Well Respected Man war offenbar ein Altersgenosse (Ray Davies war damals selbst gerade erst 21). Der Song kam in England nur auf der EP (damalige kleine LP oder große Single mit vier Songs) Kwyet Kinksheraus, war aber als Single ein relativer Erfolg in USA. Dort verstand man die Zeile he likes his fags the best aber anders als in England (Fags sind bzw. waren englisch Zigaretten, amerikanisch dagegen Schwule und Lesben ) Gepasst hätte diese Deutung ja zur dargestellten Doppelmoral.

[fixbutte]

Fast gleichzeitig kam ein themtisch verwandter Song der Beatles heraus



The Beatles - Nowhere Man

He`s a real nowhere Man,
Sitting in his Nowhere Land,
Making all his nowhere plans
for nobody.

Doesn`t have a point of view,
Knows not where he`s going to,
Isn`t he a bit like you and me?
Nowhere Man, please listen,
You don`t know what you`re missing,
Nowhere Man, the world is at your command.

He`s as blind as he can be,
Just sees what he wants to see,
Nowhere Man can you see me at all?
Doesn`t have a point of view,
Knows not where he`s going to,
Isn`t he a bit like you and me?
Nowhere Man, don`t worry,
Take your time, don`t hurry,
Leave it all till somebody else
lends you a hand.

He`s a real Nowhere Man,
Sitting in his Nowhere Land,
Making all his nowhere plans
for nobody.

[hawkhead]

You will only be able to see this 3.5 billion year-old version of the Beatles` Nowhere Man
(aka Jeremy Hilary Boob, PhD) by taking this hike.  This view is from the top of a waterfall, looking west.
From the bottom of the waterfall, looking up and east, the same rock formation looks like a man-eating schnauzer.

http://www.nedcomm.nm.org/~bocomo/nowhere.html

[CockneyRebel]

[fixbutte]

Cockney #73
Die Ähnlichkeit ist ja verblüffend

[CockneyRebel]

.
Konnte mich einfach nicht bremsen!
.

[schnirchel]

Mal ne Frage:
Haben die Kinks eigentlich irgendeinen Song mal gecovert oder sind sie mit irgendeinem anderen Star mal aufgetreten?
Ich meine nein! Sie hatten es auch nicht nötig.
Wißt ihr mehr?

[fixbutte]

schnirchel
die erste Single war Long Tall Sally, geschrieben (und auch interpretiert) von Little Richard. Live eingespielt haben sie unter anderem den Banana Boat Song von Harry Belafonte gebracht (zu hören auf Everybody`s In Show Biz), früher auch schon den Milk Cow Blues von einem alten Blues-Veteranen (Sleepy John Estes)
In den ersten Jahren haben die Kinks natürlich auch mit anderen Gruppen gespielt. Der eigene Set dürfte ja kaum über eine halbe Stunde gedauert haben Hier ein ganz frühes Beispiel mit dem Ray Davies Quartette

[schnirchel]

Danke Fix! Du bist wirklich gut informiert!

[gesine]

She lives on Love Street
Lingers long on Love Street
She has a house and garden
I would like to see what happens

She has robes and she has monkeys
Lazy diamond studded flunkies
She has wisdom and knows what to do
She has me and she has you

She has wisdom and knows what to do
She has me and she has you

I see you live on Love Street
There`s this store where the creatures meet
I wonder what they do in there
Summer Sunday and a year
I guess I like it fine, so far

She lives on Love Street
Lingers long on Love Street
She has a house and garden
I would like to see what happens

La, la, la, la, la, la, la
La, la, la, la, la, la, la
La, la, la, la, la, la, la
La, la, la, la, la, la, la
La, la, la, la, la, la, la

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

wenn ich an die kinks denke,
fühle ich mich von einer leichtigkeit umgeben
und genau so ergeht es mir mit diesem lied.

danke fixbutte

[DOLCETTO]

guten morgen

beeindruckt vor der vielfalt der kraftvollen lyrischen
möglichkeiten von mister Ray Davies (hoffentlich wird
mir dieses stück nicht wieder abgeschnitten).

Acute Schizophrenia Paranoia Blues

I`m too terrified to walk out of my own front door,
They`re demonstrating outside I think they`re gonna start the third world war,
I`ve been to my local head shrinker,
To help classify my disease,
He said it`s one of the cases of acute schizophrenia he sees.

Well the milkman`s a spy, and the grocer keeps on following me,
And the woman next door`s an undercover for the K.G.B.,
And the man from the Social Security
Keeps on invading my privacy,
Oh there ain`t no cure for acute schizophrenia disease.

I`ve got acute schizophrenia paranoia too,
Schizophrenia, schizophrenia,
I`ve got it, you`ve got it, we can`t lose,
Acute schizophrenia blues.

I`m lost on the river, the river of no return,
I can`t make decisions, I don`t know which way I`m gonna turn,
Even my old dad, lost some of the

[DOLCETTO]

sorry, folkx

das habe ich fast befürchtet (von nun an werde ich nur
noch mittels eines stabilen sörfers längere textpassagen
reinstellen)

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

Even my old dad, lost some of the best friends he ever had,
Apparently, his was a case of acute schizophrenia too.

I got acute schizophrenia paranoia too,
Schizophrenia, schizophrenia,
I`ve got it, you`ve got it, we can`t lose,
Acute schizophrenia blues,

They`re watching my house and they`re tapping my telephone,
I can`t trust nobody, but I`m much too scared to be on my own
And the income tax collector`s got his beady eye on me,
Oh there ain`t no cure for acute schizophrenia disease.

No there ain`t no cure for
Schizophrenia disease.

[fixbutte]

Hi Gesine
Mir scheint, wir haben einen ganz ähnlichen Musikgeschmack. Das ist auch eines meiner Lieblingssongs der Doors, der ganz ähnliche Gefühle bei mir auslöst. Ich hatte den Text auch schon in Iguanas Love Lyrics Thread: Love The King Of Emotion - Songlyrics gepostet.

Nicht nur die Doors waren in ihrer Anfangszeit von den Kinks beeinflusst (es gibt davon nicht nur Anklänge bei Hello I Love You), sondern auch The Who. Die schrieben das folgende Stück extra im Stil der Kinks um, um deren Manager zu beeindrucken und so einen Plattenvertrag zu bekommen. Es wurde dann auch tatsächlich ihre erste Single (1965)



I Can`t Explain

Got a feeling inside (can`t explain)
It`s a certain kind (can`t explain)
I feel hot and cold (can`t explain)
Yeah, down in my soul, yeah (can`t explain)

I said ... (can`t explain)
I`m feeling good now, yeah, but (can`t explain)

Dizzy in the head and I`m feeling blue
The things you`ve said, well, maybe they`re true
I`m gettin` funny dreams again and again
I know what it means, but

Can`t explain
I think it`s love
Try to say it to you
When I feel blue

But I can`t explain (can`t explain)
Yeah, hear what I`m saying, girl (can`t explain)

Dizzy in the head and I`m feeling bad
The things you`ve said have got me real mad
I`m gettin` funny dreams again and again
I know what it means but

Can`t explain
I think it`s love
Try to say it to you
When I feel blue

But I can`t explain (can`t explain)
Forgive me one more time, now (can`t explain)

I said I can`t explain, yeah
You drive me out of my mind
Yeah, I`m the worrying kind, babe
I said I can`t explain

[CockneyRebel]

.
Hallo Gesine, fixbutte,

"Love Street" hatte ich nach #68 auch den ganzen Tag lang im Ohr, immer dieselben beiden Zeilen...

"She lives on Love Street
Lingers long on Love Street ..."


.

[CockneyRebel]

.
...und, na klar, jetzt auch schon wieder!
.

[fixbutte]

Dolcetto
Auch in zwei Teilen noch ein starker Song Acute Schizophrenia Paranoia Blues Wenn man dann noch den von wolaufensie (akustisch) und mir (textlich) beigetragenen Titel 20th Century Man (#12, #13) von derselben LP Muswell Hillbillies (1971) hinzunimmt, hat man den Eindruck, dass sich Ray Davies um diese Zeit verstärkt In The Court Of The Crimson King (1969) aufgehalten hat



King Crimson - 21st Century Schizoid Man

Cat`s foot iron claw
Neuro-surgeons scream for more
At paranoia`s poison door.
Twenty first century schizoid man.

Blood rack barbed wire
Polititians` funeral pyre
Innocents raped with napalm fire
Twenty first century schizoid man.

Death seed blind man`s greed
Poets` starving children bleed
Nothing he`s got he really needs
Twenty first century schizoid man.

[fixbutte]

No there ain`t no cure for
Schizophrenia disease.
ist aber auch eine Anspielung auf den Hammer-Song von Eddie Cochran, den The Who gerade wieder in die Hitparaden gebracht hatten (1970)



Summertime Blues

Well, I`m a`gonna raise a fuss,
An` I`m a`gonna raise a holler
I`ve been working all summer
Just to try and earn a dollar
Well I went to the boss
Said I had a date
The boss said "No dice, son, you gotta work late"
Sometimes I wonder what I`m a`gonna do
There ain`t no cure for the summertime blues

Well my mom and poppa told me
"Son you gotta earn some money,
If you want to use the car
To go out next Sunday."

Well I didn`t go to work
I told the boss I was sick
He said "You can`t use the car
`cause you didn`t work a lick."
Sometimes I wonder what I`m a`gonna do
Cause there ain`t no cure for the summertime blues.

Gonna take two weeks
Gonna have a fine vacation
Gonna take my problems
To the United Nations
Well I went to my congressman
He said, quote: "I`d like to help you son,
But you`re too young to vote."
Sometimes I wonder what I`m a`gonna do
Cause there ain`t no cure for the summertime blues.

[fixbutte]

Schnirchel nochmal zu #77

Die Kinks waren trotz ihrer Jugend (20, Dave war erst 17) schon fünf Jahre aufgetreten, bevor sie 1964 ihre erste Platte machten. Sie kamen von Rhythm & Blues und spielten praktisch alles nach, was schwarz war. Chuck Berry, der wie Ray Davies richtige Geschichten erzählte, war auch ein wichtiger Einfluss. Hier ein Titel, der in Pulp Fiction an prominenter Stelle Einsatz fand



Chuck Berry - You Never Can Tell

It was a teenage wedding
and the old folks wished them well
you could see that Pierre did truly love
the madamoiselle
And now the young monsieur and madame
have rung the chapel bell
"c`est la vie", say the old folks
it goes to show you never can tell

They furnished off an apartment
with a two room Roebuck sale
the coolerator was crammed
with TV dinners and ginger ale
But when Pierre found work
the little money comin` worked out well
"c`est la vie", say the old folks
it goes to show you never can tell

They had a hi-fi phono, boy
did they let it blast
seven hundred little records
all rock,rhythm and jazz
But when the sun went down
the rapid tempo of the music fell
"c`est la vie", say the old folks
it goes to show you never can tell

They bought a souped-up Jitney
`twas a cherry red `53
they drove it down to Orleans
to celebrate the anniversary
It was there that Pierre was married
to the lovely madamoiselle
"c `est la vie", say the old folks
it goes to show you never can tell



Die Surf-Guitar von Dick Dale lieferte die denkwürdige Titelmelodie (`Misirlou`) zu Quentin Tarantinos 1994er Smash-Hit, und obwohl sich dieser Sound (zusammen mit Dialogfetzen aus dem Film) durch den ganzen Soundtrack zieht, ist dieser eine ziemlich eklektische Ansammlung wirklich hervorragender Stücke. Wie das alles zusammenhält weiß ich nicht, aber es hält (das gleiche konnte man uber die verschlungenen Geschichten des Filmes sagen). Wo findet man schon sonst Chuck Berry, Maria McKee, Al Green, The Statler Brothers, Kool & the Gang, Urge Overkill (die eine Ballade von Neil Diamond zum Besten geben!), Ricky Nelson, Dusty Springfield und die Tornadoes (u.a.) auf einem Album? Das wunderschöne `If Love is a Red Dress` von Maria McKee sticht auch deswegen hervor, weil es weniger bekannt ist. Dies ist einer der wenigen Soundtracks der 90er Jahre, die in den CD-Spieler wanderten, um ihn Wochen und Monate nicht mehr zu verlassen. --Jim Emerson
nicht wahr, wolaufensie

[schnirchel]

Sehr interessant!
Ich weiß das viele Newcomer am Anfang alles nachspielen um überhaupt erstmal öffentlich aufzutreten und bekannt zu werden.
Viele andere nehmen aber auch oft Coverversionen ins Repertoire um ihre Platten voll zu bekommen, manchmal auch so`n Schnulzenkram wie "My bonnie is over the ocean" von T.Sheridan feat. The Beatles" . Grauenhaft.Das die Kinks in der Urversion nachspielen was sie finden ist normal.
CU

[wolaufensie]

....hier ein fabelhafte Lied , das in Jack Rabbits´
gespielt wurde, und nach meinem Geschmack neben Dick Dale
das beste in dem Film war..., jedoch befindet es sich
nicht auf der Pulp Fiction-Scheibe drauf..., warum auch
immer...
...................http://pages.sbcglobal.net/karatemonkey/LinkWray-Rumble.mp3
...........

[fixbutte]

noch zu #82

Die B-Seite der Single mit dem Titel Bald Headed Woman (glatzköpfige Frau ) und den glorreichen Textzeilen

Well I don`t want no bald headed woman
Gonna make me mean, yes, love, it make me mean

wurde von besagtem Manager/Producer Shel Talmy selbst geschrieben und war schon auf der ersten Kinks-LP enthalten, wo der Titel als absoluter kreativer Tiefpunkt empfunden wurde ("dreadful").

Shel Talmy hat neben den Kinks (bis Ray Davies 1968 die Sache in die Hand nahm) und den Who die Creme der englischen Musikszene der 60er Jahre produziert und er produziert heute immer noch Platten, wie man seiner Website entnehmen kann http://www.sheltalmy.com/discography.htm

Hier auf einem frühen Bild mit Pete Townshend und Keith Moon

[gesine]

@ fixbute,

sieht so aus, nur das ich
mit meinen musik kenntnissen
weit, weit.... hinter dir stehe

@ cockney,

es ist wie ein wundervoller ohrwurm,
der mich zum lächeln bringt

[fixbutte]

Shel Talmy hat kürzlich anlässlich der CD-"Deluxe Edition" von The Who My Generation (2002) ein paar interessante Sachen betreffend The Who und den Kinks vom Stapel gelassen, so auch noch einmal bestätigt, dass die Lead-Gitarre auf You Really Got Me tatsächlich von Dave Davies gespielt wurde.



MAKING THE WHO - HOW PRODUCER SHEL TALMY HELPED BUILD A MOD MONSTER
by Tim Perlich

Had Maverick Indie producer Shel Talmy not taken a tip to see a promising new group rehearsing in a Shepherd`s Bush church hall, The Who`s Pete Townshend and Roger Daltrey might now be working at a Cornwall haberdashery instead of playing the ACC Saturday. Although The Who had already smashed their way through a pile of guitars and drum kits by the time Talmy witnessed their explosive energy first-hand in late 64, it was the visionary Chicago-raised studio whiz who turned The Who into a serious chart threat -- just as he`d done with the Kinks.

The revealing two-disc My Generation Deluxe Edition -- encompassing The Who`s kick-ass debut album and 17 additional tracks from early singles, alternates and outtakes -- is a brilliantly restored and informatively annotated document of The Who moving beyond R&B covers to become one of the most exciting and influential bands of their time.

"I loved The Who from the first moment I saw them," insists Talmy from his Los Angeles office. "They had everything -- the songs, musicianship, a good singer and punch. The music in England at the time was very polite, and The Who were raunchier, easily the most American rock `n` roll band I`d seen since coming to England.

The Who`s manager, Kit Lambert, was looking for someone who could help get his group on the charts, so Talmy, who`d just hit it big with the Kinks` You Really Got Me, seemed like the best bet. Sure enough, the first single Talmy produced, I Can`t Explain, was a UK top-10 smash.

"Taking into account what the Kinks had done, Pete wrote I Can`t Explain with the intent of it being a single. But the demo he`d made at home was only a minute and a half long, so I had to stretch it out.

"The Who weren`t doing great backing vocals, so I brought in the Ivy League guys for that. I was after a hit and The Who were definitely thinking pop chart, so we did what we had to do, and it worked."

Since Talmy had a reputation for frequently employing session musicians uncredited -- Jimmy Page was rumoured to have played the guitar on You Really Got Me -- there`s been some speculation about whether it`s actually Townshend`s guitar on the My Generation sessions.

"Jimmy Page was my numero-uno session guy, but generally speaking, as a rhythm guitarist. I don`t think he ever played lead on any recording where the band already had a lead guitarist -- that includes The Who. And I can assure you, Page did not play lead guitar on You Really Got Me."

Perhaps Talmy`s most innovative collaboration with The Who was the follow-up single, Anyhow, Anywhere, Anyway. Townshend`s now-famous feedbacking guitar break proved highly influential for Detroit teen Wayne Kramer, who would later use the buzzing noise to great advantage with the MC5.

Unlike Roger Daltrey`s stutter in My Generation ("It was one of those happy accidents and I thought we should keep it in," shrugs Talmy), the feedback was no mistake.

"Oh no, that was completely planned. Only recording it was a bitch because of the tube equipment we were using. But if Pete could play it, I was determined to get it on tape. So we set up three microphones to catch the different echoes coming off the walls, and it came together pretty quickly."

The whole My Generation album was cut and mixed in just a couple of weeks, which, like the abundance of cover songs -- including ill-advised cracks at James Brown`s Shout And Shimmy, I Don`t Mind and Please, Please, Please -- and the dearth of session outtakes, was typical of the times.

"Because I was paying for the studio time and money was very tight, we went over all the songs we`d be recording and then rehearsed them before going in so I`d be certain of what I`d come out with.

"There was also a feeling back then that if a band spent a long time in the studio they weren`t very good, which is just the opposite of the situation now."

Since Talmy paid for the sessions and the tape, he has maintained ownership of the My Generation recordings for the past 37 years. That helps explain why MCA/Universal hasn`t reissued the album before, but what changed?

"When I put up my Web site (www.sheltalmy.com) Pete contacted me via e-mail and we soon discovered that we`d both been lied to by the record company. We were actually on the same page about a lot of things.

"Once we found someone at MCA (Bill Wadell) who was willing to work things out, everything got sorted fairly quickly.

"I`d always thought we`d made a good record and listening back to the tapes, I was surprised how great everything sounded -- it was like we`d recorded those songs yesterday." [e-mail]

[fixbutte]

gesine #91
Ist ja nicht so, dass ich das alles im Kopf hab, aber es gibt ja Bücher (Brauchbares aber praktisch nur auf englisch)und das Internet


Das Zitat von Shel Talmy aus dem Artikel finde ich auch ganz bemerkenswert: "There was also a feeling back then that if a band spent a long time in the studio they weren`t very good, which is just the opposite of the situation now." Die Jungs (und Mädels) hatten damals meist schon mehrere Jahre als Musiker von Tanzkapellen auf Bühnen gestanden und den Anspruch, ihre Instrumente zu beherrschen.
Passt gut zu dem, was Du in #60 gepostet hast, schnirchel

[gesine]

fixbutte,

in der zeit in der ich teenie war
spielten die meisten jungs in einer band,
nachdem sie eine jahrelange
klassische ausbildung hinter sich hatten.
meist verbrachten sie ihre ganze freizeit
in den proberäumen. in der regel, waren dies
irgendwelche garagen, stillgelgte bunker
oder der keller der eltern.
das sogenannte * berühmt* werden,
war für die meisten einfach ein traum,
denn im vordergrund stand das gemeinsame *proben*.
ein gick im selbstverwalteten juze,
war schon eine kleine sensation.

[fixbutte]

gesine
nicht von ungefähr kommt ja der Ausdruck "Garagenrock". Wo Bill Gates, Michael Dell und Konsorten Computer entwickelten, probten und konzipierten die Jungs ein paar Jahre früher noch ihre Musik

Einen Vertreter dieser Musikrichtung, der die ersten Mörder-Riffs der Kinks unbedingt geprägt hat (auch sie haben den Titel eingespielt), wollte ich vorhin schon bringen



The Kingsmen - Louie, Louie
1964 Billboard #2

Music & Lyrics : Richard Berry
Notes : Performed by Chuck Berry (related to Richard only in spirit) 1955.
There are more than 1000 interpretations
(one by Hell`s Angels and another with dogs barking)

CHORUS:

Louie Louie, oh no
Me gotta go
Aye-yi-yi-yi, I said
Louie Louie, oh baby
Me gotta go

Fine little girl waits for me
Catch a ship across the sea
Sail that ship about, all alone
Never know if I make it home

CHORUS

Three nights and days I sail the sea
Think of girl, constantly
On that ship, I dream she`s there
I smell the rose in her hair.

CHORUS

Okay, let`s give it to `em, right now!

GUITAR SOLO

See Jamaica, the moon above
It won`t be long, me see me love
Take her in my arms again
Tell her I`ll never leave again

CHORUS

Let`s take it on outa here now
Let`s go!!

[wolaufensie]

Richard Berry sass schon zum 3.mal im muffigen FBI-Bür und
beantwortete blöde Fragen. Die überkorrekten Kriminalen
liessen aber auch nicht locker. Richard platzte bald der
Kragen. Hätte er doch nur den verdammten Song nicht
geschrieben - von Angang an gab´s nur Ärger damit. Er riss
sich zusammen und gab zum x-ten Mal die gleiche müde
Antwort auf die gleiche drängend gestellten Fragen .
»der Song handelt von einem Matrosen, der in einer Bar
sitzt und an seine freundin in Jamaika denkt - mehr nicht.
Der Barbesitzer heisst Loui, und dem jammert er was vor.
Der Text ist weder unverständlich noch obszön!«
»Und warum , bitte schön, wird dann mittendrin nur
gemurmelt?« trumpfte der Beamte auf. Verflucht warm war
ihm, aber den Kragenknopf konnte er nicht lösen. Der Chef,
J. Edgar Hoover, würde sicher davon hören, und dann gab´s Zunder.
.
Die Männer des Federal Bureau of Investigation hatten
jederzeit korrekt zu sein. - korrekt im Umgang mit solchen
Typen wie dem schlaksigen Neger vor ihm, korrekt in der
Ausdrucksweise, vor allem korrekt in der Kleidung.
Das Schicksal des Landes hing an einem seidenen Faden,
zwischen der Heimat und den roten Horden standen nur die
Patrioten der nationalen Kriminalpolizei.
Die machten kurzen zackigen Prozess mit Leuten wie diesem
Berry, der amerikanischen Kindern seine säuischen Texte
unterjubeln wollte. Seit 30 Monaten ermittelte das Bureau
schon, auf Weisun des Chefs blieben sie dran, aber bisher
waren alle Versuche , dem Text auf den Grund zu kommen,
ins Leere gestossen. Wenn man nur verstehen könnte, was
der Kerl sang! Aber weil´s keiner verstand musste ja was
dran sein. Der Aufrechte lockerte unauffällig seine dunkle
Strickkrawatte, schaute auf die Armbanduhr und machte weiter...

Richard schrieb »Loui, Loui« genauso aus dem Handgelenk
wie die vielen anderen Songs, die er im Laufe der Jahre
komponierte und aufgenommen hatte. Es war nicht einfach
für einen schwarzen Popmusiker, sich im Jahre 1956 von
seinem Beruf zu ernähren. Und schon gar nicht in Los
Angeles. Die Konkurrenz war riesengross. Er hatte zwar
einen Vorsprung, weil er seit seiner Kinderlähmung
musizierte - zwei Jahre lag er damals im Bettund konnte
ausser Songs schreiben und singen nicht viel tun.....
..........ausserdem war Richard die tiefe Lead-Bassstimme
......... in there´s a riot going on in cell block #9.....
......
1980 Showbusiness-Karriere crashte, - Richard zieht zu seiner Mutter und bekommt 240 Dollar Sozialhilfe/Monat....

.......................
Ein Richard Berry-Klassikers und ein echter Garagenadel
http://home.breisnet-online.de/koltan/cockroaches/love.mp3
.....man achte besonders auf die fabelhafte.....
.........

[fixbutte]

wolaufensie

Eine angemessene Würdigung des Komponisten eins der einflusreichsten Rocksongs aller Zeiten

Man kann aber auch ein ganzes Buch über diesen Song schreiben :O



LOUIE LOUIE - DAVE MARSH "GIVES IT TO `EM ONE TIME AGAIN"

Book Review by: Scott Pfeiffer

Dave Marsh is probably best known to readers of THE ROC as the author of 50 Ways To Fight Censorship and as the editor of the anti-censorship newsletter Rock & Rap Confidential. But through his rock `n` roll writing, Marsh has really been fighting censorship for over 20 years. Marsh`s book "Louie Louie" is an investigation of the mystery of, as well as the questions raised and the answers given by, that cosmic and banned rock`n`roll classic "Louie Louie."

Marsh has never been a typical rock critic, he cares too much about reaching everyday rock fans to be that. Marsh thinks marginal the "progressive rock" that most critics like to write about. Likewise, the singles oriented music that most critics don`t like is the stuff that Marsh is interested in listening to, talking about and writing on. Hence, a full book on "Louie Louie." Marsh has been called "America`s best rock critic," and "Louie Louie" shows again why he`s also the best.

"Louie Louie" demonstrates Marsh`s tenet that all great pop music, despite its almost casual and tossed-off surface, is the product of much hard work and effort. The sloppy trash that is the song`s greatest and most famous version, the one cut by the Kingsmen in 1963, wasn`t simply invented on the spot by a bunch of amateurs. As Marsh wrote in The Heart of Rock & Soul, his great book about the 1001 best singles ever made (in which the Kingsmen`s "Louie" is #11), "Naturally, this Parthenon of Pop didn`t spring from the head of the Muse. A Muse would probably have slain it on sight, or passed away herself from the shock of something so crude and fine."

Indeed, by 1963 "Louie" had history, and Marsh traces the song`s inspiration back to Rene Touzet`s cha- cha number, "El Loco Cha Cha. " Hearing that songs "Duh duh duh, dub duh" opening inspired Los Angeles R&B singer Richard Berry a consummate professional at age 21, to write and record "Louie Louie" in 1956. Berry`s version was a regional hit. The song later became a staple among Pacific Northwest garage bands, thanks to Seattle singer Ron Holden, who used "Louie" to win the area`s fierce battle of the bands.

No one suspected the mystery at the heart of "Louie Louie" until Seattle`s own Rockin` Robin Roberts and the Wailers did their version in 1961, however. The spirit and mystery is in Robert`s shouted injunction, "Let`s give it to `em, right now!" Two years later in Portland, Oregon, two up-and-coming bands, The Kingsmen and Paul Revere & The Raiders, recorded the Northwest`s favorite song in the same week. By telling the story of the Pacific Northwest rock scene, Marsh proves that rock & soul was definitely not dead between 1959 and 1963, despite what almost history of the MUSIC says.

Marsh recounts all of this like the skilled storyteller that he is, but readers of THE ROC will be interested in the book because of the anti-rock forces are such a large part of the story. Buck Ormsby of the Wailers recounts the way that Seattle/Tacoma`s rock scene was attacked by the "city fathers, the city mothers, trying to protect the kids from rock & roll music." Of course, "Louie Louie" is legendary as a dirty song, and you`ll laugh at the story of the myth of the Kingsmen`s dirty lyrics, the stupidity of the 2-1/2 year investigation of "Louie Louie" by J. Edgar Hoover`s FBI, and how the tune came to be banned in Indiana. Yeah, Marsh does print the "real" dirty lyrics in Louie Louie, and they`re evidence that anyone who claims that the American imagination was more innocent in the "old days" is basically full of shit.

Marsh`s personal world view is expressed in his work through recurring themes. His most important theme is the rock audience, and the nature of its identity as a productive community. At its best, the rock audience does not just take, but is involved in an interactive process with bands. A sense of community developed the Pacific Northwest`s battling bands, with the audience shouting for "Louie Louie," the soundtrack to a rock ritual. Of the early 70`s rock scene, a time when the "Louie Louie" spirit was almost dead, Marsh writes, "Rock fans went from being active participants capable of raising forbidden faces into the spotlight into a pulling wad not forced but willing to choose among slim picking without a peep of protest. Even rebellion had been codified, and, within the codes, circumscribed." And in the pot-latch tradition of the Pacific Northwest`s Native Americans, Marsh finds a terrific metaphor for the rock audience that gives of themselves.

Another theme of "Louie Louie" is race, and how the segregation of black music from white music is what truly kills the spirit of rock`n`roll. "Louie Louie" prospered in an integrated Seattle club scene. The people who helped create "Louie Louie" included African Americans, Filipino-Americans, Native Americans, and whites. Also, "Louie Louie" has been recorded as every form of rock`n`roll, from heavy metal to disco to reggae to hard-core punk to rap to R&B. Other themes explored with verve and vivacity in "Louie Louie" include success, contradiction, adulthood, reconciliation and rebellion.

One of Marsh`s ideas is that if you immerse yourself deeply enough in rock & roll, it will help you find yourself. "Louie Louie" itself tells the story of rock `n` roll, and Marsh writes, "Embrace "Louie Louie" tightly enough and you may come to know more about yourself than it`s easy to contemplate, let alone tolerate." So although you`ll learn from "Louie Louie," it`ll tell you things that you won`t necessarily understand. So Marsh keeps asking questions--what the hell is the story? Why did these things happen? Is the universe an orderly system or is it a "vast practical joke," in Melville`s words?

Dave ponders the "Louie" legacy, writing about what the song has given to such modern pop music styles as gangsta rap (NWA, Ice T) and grunge (Pearl Jam, Nirvana, Alice In Chains). He points out that the song`s persecution by the FBI was a portent of NWA`s "Fuck tha Police" being censored by that bureau in 1989. He goes looking for clues to decipher "Louie" in Nirvana`s "Smells Like Teen Spirit," hearing in the Seattle band`s song a "Fuck you if you don`t get it" attitude similar to that expressed by the Pacific Northwest garage rockers of the early `60`s.

Ultimately, the song`s legacy is freedom, including freedom from embarrassment. As true termite trash, "Louie" broke (or should I say ate?) through barriers, and that`s a legacy that rock is sorely in need of today. Also, this book has the potential to reinvigorate rock & soul, or at least discussion of it, because it isn`t about any of the predictable rock heroes. Certainly Richard Berry, Rockin` Roberts and Jack Ely have never before been subjects of such extended writing. But the full scope of the book is only hinted at in this review, which ain`t supposed to be the Cliff`s Notes of "Louie Louie", anyway. Go read it, you won`t be sorry! "Louie Louie" works do well its story allows Marsh to further amplify his favorite themes. Not only that, it`s his most wildly funny book yet, reading it is a kick. Plus, you will learn about the history of music censorship.

As far as I can tell, the book contains only one error. A newspaper report which Marsh reprints that states that "College students from `Miami University` in Athens, Ohio" sent copies of the dirty lyrics to censorious Indiana Governor Matthew Welsh. There is no Miami University in Athens , and there never has been. I ought to know, it`s my town. But the possibility that students in Athens snitched on "Louie" makes perfect sense to someone like myself, who actually suffered through four years at the school that is there, Ohio University.

"Louie Louie" is really the story of a dream, and what`s best, it`s a true story. More than any other rock writer, Dave Marsh has nurtured the dream of rock `n` roll. At heart, it`s a dream of a better world. I`d like to say "thank you" to Dave Marsh for sharing that dream with us, for encouraging us to ask questions, for getting us together to cry, "Let`s give it to `em, right now!" at the censors, and for "Louie Louie," this strange and wonderful book of secret stories and hidden histories.

LOUIE LOUIE by Dave Marsh

Hyperion, 114 Fifth Ave., NY, NY 10011

[fixbutte]

Dolce #80
die ganze vielfalt der kraftvollen lyrischen
möglichkeiten von mister Ray Davies

hier ein früher Öko-Song (10 Jahre vor Gründung der Grünen in Deutschland), der vielen noch im Ohr sein dürfte



Apeman

I think I`m sophisticated
`Cos I`m living my life like a good homo sapiens
But all around me everybody`s multiplying
Till they`re walking round like flies man
So I`m no better than the animals sitting in their cages
in the zoo man
`Cos compared to the flowers and the birds and the trees
I am an ape man

I think I`m so educated and I`m so civilized
`Cos I`m a strict vegetarian
But with the over-population and inflation and starvation
And the crazy politicians
I don`t feel safe in this world no more
I don`t want to die in a nuclear war
I want to sail away to a distant shore and make like an ape man

I`m an ape man, I`m an ape ape man
I`m an ape man I`m a King Kong man I`m ape ape man
I`m an ape man
`Cos compared to the sun that sits in the sky
compared to the clouds as they roll by
Compared to the bugs and the spiders and flies
I am an ape man

In man`s evolution he has created the cities and
the motor traffic rumble, but give me half a chance
and I`d be taking off my clothes and living in the jungle
`Cos the only time that I feel at ease
Is swinging up and down in a coconut tree
Oh what a life of luxury to be like an ape man

I`m an ape, I`m an ape ape man, I`m an ape man
I`m a King Kong man, I`m a voo-doo man
I`m an ape man
I look out my window, but I can`t see the sky
`Cos the air pollution is fogging up my eyes
I want to get out of this city alive
And make like an ape man

Come and love me, be my ape man girl
And we will be so happy in my ape man world
I`m an ape man, I`m an ape ape man, I`m an ape man
I`m a King Kong man, I`m a voo-doo man
I`m an ape man

I`ll be your Tarzan, you`ll be my Jane
I`ll keep you warm and you`ll keep me sane
and we`ll sit in the trees and eat bananas all day
Just like an ape man
I`m an ape man, I`m an ape ape man, I`m an ape man
I`m a King Kong man, I`m a voo-doo man
I`m an ape man.
I don`t feel safe in this world no more
I don`t want to die in a nuclear war
I want to sail away to a distant shore
And make like an ape man.

[CockneyRebel]

.
Ein kurzer Abstecher zu Brüderchen Dave...
.

[CockneyRebel]

.
Herzlichen Glückwunsch, fixbutte!






My makeup is dry and it clags on my chin
I’m drowning my sorrows in whisky and gin
The lion tamer’s whip doesn’t crack anymore
The lions they won’t fight and the tigers won’t roar

La-la-la-la-la-la-la-la-la-la
So let’s all drink to the death of a clown
Won’t someone help me to break up this crown
Let’s all drink to the death of a clown
Let’s all drink to the death of a clown

The old fortune teller lies dead on the floor
Nobody needs fortunes told anymore
The trainer of insects is crouched on his knees
And frantically looking for runaway fleas

La-la-la-la-la-la-la-la-la-la
Let’s all drink to the death of a clown
So won’t someone help me to break up this crown
Let’s all drink to the death of a clown
La-la-la-la-la-la-la-la-la-la
Let’s all drink to the death of a clown
La-la-la-la-la-la-la-la-la-la

[fixbutte]

Super Cockney

Du hast Dir ja richtig Mühe gegeben Einer meiner Lieblingssongs

[CockneyRebel]

.
Für mich auch einer der ganz großen Songs - und ich freue mich, dass mein Wunsch aus #40 jetzt Realität werden konnte!

Auf die nächsten 100, fixbutte!
.

[DOLCETTO]

klasse herrschaften

joo fixbutte,
"Apeman" ist jetzt wieder im mittelohr, merci
>>I don`t feel safe in this world no more<<
der tägliche wahnsinn ........mehr sog i net

@froind Cockney,
das nenn ich mal einen feschen nummern-boy, alder
>>einfach schön.

ciao

[wolaufensie]

...und zwischendurch eine kleine Griffübung....
A Step-by-Step Breakdown of the Guitar Styles and
Techniques of Dave and Ray Davies. By Dave Rubin.
http://kinks.it.rit.edu/books/siglicks19.mp3
http://kinks.it.rit.edu/books/siglicks18.mp3

[Iguana]

toll cockney - den " death of a clown" habe ich sehr geliebt und damals noch als 7inch gekauft...

in der oberstufe hatten wir einen etwas tranigen britischen englischlehrer namens Mr. Steven. ab und an lockerte er den unterricht mit songtextanalyse auf(er brachte dann immer so einen alten cassettenrekorder mit). durch ihn habe ich zum beispiel den genialen song " I wanna rule the world" von TenCC kennengelernt. eines tages brachte er einen seltsamen song mit countryartiger melodie mit, der eigentlich eher nach nashville als nach london klang... - ich war dann sehr überrascht, dass es ein lied von den Kinks war(ich kannte halt damals mitte der 70iger nur die sachen wie lola, you really got me und dead end street usw.) - es handelte sich um "Muswell Hillbilly" und auch wenn ich country sonst nicht mag, die melodie hat einen irgendwie gepackt...

KINKS

MUSWELL HILLBILLY


Well I said goodbye to Rosie Rooke this morning,
I`m gonna miss her bloodshot alcoholic eyes,
She wore her Sunday hat so she`d impress me,
I`m gonna carry her memory `til the day I die.

They`ll move me up to Muswell Hill tomorrow,
Photographs and souvenirs are all I`ve got,
They`re gonna try and make me change my way of living,
But they`ll never make me something that I`m not.

Cos I`m a Muswell Hillbilly boy,
but my heart lies in old West Virginia,
Never seen New Orleans, Oklahoma, Tennessee,
Still I dream of the Black Hills that I ain`t never seen.

They`re putting us in little boxes,
No character just uniformity,
They`re trying to build a computerised community,
But they`ll never make a zombie out of me.

They`ll try and make me study elocution,
Because they say my accent isn`t right,
They can clear the slums as part of their solution,
But they`re never gonna kill my cockney pride.

Cos I`m a Muswell Hillbilly boy,
But my heart lies in Old West Virginia,
Though my hills are not green,
I have seen them in my dreams,
Take me back to those Black Hills,
That I have never seen.


iguana

[CockneyRebel]

[fixbutte]

#105 Iguana
Schöne Geschichte, tolle Bilder
Du hast nicht erzählt, was bei Eurer Textanalyse herausgekommen ist, aber ich möchte doch mal die irgendwie nicht gealterten Zeilen hervorheben (der Song stammt von 1971)
They`re putting us in little boxes,
No character just uniformity,
They`re trying to build a computerised community,
But they`ll never make a zombie out of me.

[fixbutte]

Cockney für Dich ist ja auch eine Zeile in dem Songtext enthalten
But they`re never gonna kill my cockney pride.
Hast Du eventuell schon einen Wunsch für die #200 (... Waterloo sunset`s fine )


Von dem Album Muswell Hillbillies haben wir nun schon ein paar Songs im Thread Hier findet sich auch eine weitere eskapistische Ballade, herzzerreißend instrumentiert mit Piano (John Gosling) und Akkordeon (uncredited)

..........................................

Oklahoma U.S.A.

All life we work but work is bore,
If life`s for livin` what`s livin` for,
She lives in a house that`s near decay,
Built for the industrial revolution,
But in her dreams she is far away,
In Oklahoma U.S.A.

With Shirley Jones and Gordon McRea,
As she buys her paper at the corner shop,
She`s walkin` on the surrey with the fringe on top,
Cos in her dreams she is far away,
In Oklahoma U.S.A.

She walks to work but she`s still in a daze,
She`s Rita Hayworth or Doris Day,
And Errol Flynn`s gonna take her away,
To Oklahoma U.S.A.,
All life we work but work is a bore,
If life`s for livin` then what`s livin` for.

[CockneyRebel]

.
Au fixbutte, da hast Du mir eine wunderbare Selbstmotivation für die anstehende nächste Woche gegeben...

But they`re never gonna kill my cockney pride.

Wird mir helfen, wenn es nicht so laufen sollte, wie ich es mir wünsche!
.

[CockneyRebel]

.
Waterloo Sunset... das wäre fine!
.

[Iguana]

@fixbutte: die ergenbnisse der textanalyse... wie fast immer bei solchen sachen - nichts greifbar konkretes - im grunde eine indiziensammlung mit mutmassungen...
mir ist bei dem text gerade das wort "computerized" ins auge gestochen. das ist schon ein wenig visionär gesetzt.

iguana

[fixbutte]

I always worshipped The Kinks and never let a bad word about them pass my lips
Pete Townshend



The Who - My Generation

People try to put us d-down (t`bout my generation)
Things they do look awful c-c-cold (Talkin` `bout my generation)
I hope I die before I get old (talkin` `bout my generation)

This is my generation
This is my generation, baby

Why don`t you all f-fade away (talkin` `bout my generation)
And don`t try to dig what we all s-s-say (talkin` `bout my generation)
I`m not trying to cause a big s-s-sensation (talkin` `bout my generation)
I`m just talkin` `bout my g-g-g-generation (talkin` `bout my generation)

This is my generation
This is my generation, baby

Why don`t you all f-fade away (talkin` `bout my generation)
And don`t try to d-dig what we all s-s-say (talkin` `bout my generation)
I`m not trying to cause a b-big s-s-sensation (talkin` `bout my generation)
I`m just talkin` `bout my g-g-generation (talkin` `bout my generation)

This is my generation
This is my generation, baby

People try to put us d-down (talkin` `bout my generation)
Just because we g-g-get around (talkin` `bout my generation)
Things they do look awful c-c-cold (talkin` `bout my generation)
Yeah, I hope I die before I get old (talkin` `bout my generation)

This is my generation
This is my generation, baby


The Who
Pete Townshend, guitar (born May 19, 1945)
Roger Daltrey, vocals (born March 1, 1944)
John Entwistle, bass (born October 9, 1944)
Keith Moon, drums (born August 23, 1946)


The Kinks
Ray Davies, guitar, vocals (born June 21, 1944)
Dave Davies, guitar (born February 3, 1947)
Pete Quaife, bass (born December 31, 1943)
Mick Avory, drums (born February 15, 1944)

[fixbutte]

Zur Kinks Singles Chronologie



Die erste Single (Feb 1964) war ein Power Rock Klassiker von Little Richard, sehr schnell und hart gebracht von den Kinks



Long Tall Sally

Gonna tell Aunt Mary about Uncle John
He says he got the blues but he has a lot of fun

Oh baby,
Yeah, yeah, yeah, oh baby,
Yeah, yeah, yeah, oh baby,
We`re having some fun tonight

Well Long Tall Sally has a lot on the ball
And nobody cares if she`s short and tall

Oh baby,
Yeah, yeah, yeah, oh baby,
Yeah, yeah, yeah, oh baby,
We`re having some fun tonight

Yeah, we`re having some fun tonight
Yeah, we`re having some fun tonight
Yeah, we`re having some fun tonight
Yeah, everything`s all right
Yeah, we`re having some fun,
We`re having some fun tonight

Well I saw Uncle John with Long Tall Sally
He saw Aunt Mary coming and he ducked back in the alley

Oh baby,
Yeah, yeah, yeah, oh baby,
Yeah, yeah, yeah, oh baby,
We`re having some fun tonight

Yeah, we`re having some fun tonight
Yeah, we`re having some fun tonight
Yeah, we`re having some fun tonight
Yeah, everything`s all right
Yeah, we`re having some fun,
We`re having some fun tonight


NME review Feb 21, 1964

Interessanter war aber die B-Seite, der erste von Ray Davies geschriebene Titel, mit fetziger Blues Harp (gespielt wohl von einem Studiomusiker ) und einem Text, der in der Umkehrung der üblichen Geschlechterrollen bzw. -kräfteverhältnisse schon als eine Art früher Vorläufer von Lola (... but when she squeezed me tight she nearly broke my spine ) bezeichnet werden kann

I Took My Baby Home

Well I took my baby home
She said don`t you leave me alone
She kissed me on the cheek and I moaned
I said I wo-wo-wo-wo-won`t

Well, she said, baby I know what`s best
She said I could do with a rest[?]
Then she put her hand on my chest
I said I wo-wo-wo-wo-won`t

She had some pile-drivin` kisses
They really knocked me out
They knocked me oh-oh-over
She had a hug like a vice
She squeezes once or twice and I moan

So when I took my baby home
She said don`t you leave me alone
She kissed me on the cheek and I moaned
I said I wo-wo-wo-wo-won`t
Wo-wo-wo-wo-won`t
Wo-wo-wo-wo-won`t
I said I wo-wo-wo-wo-won`t

She had some pile-drivin` kisses
They really knocked me out
They knocked me oh-oh-over
She had a hug like a vice
She squeezes once or twice and I moan

So when I took my baby home
She said don`t you leave me alone
She kissed me on the cheek and I moaned
I said I wo-wo-wo-wo-won`t
I said I wo-wo-wo-wo-won`t
Wo-wo-wo-wo-won`t
Wo-wo-wo-wo-won`t

[fixbutte]

Auch die A-Seite der Single hat mehr mit Lola zu tun, als ich ahnte :O



Die wahre Bedeutung dieses Textes von Long Tall Sally habe ich offenbar bisher nicht erfasst

Little Richard addresses female sexuality, which was almost unheard of in the fifties, with tunes like She`s Got It, The Girl Can`t Help It, and True, Fine Mama, while he sings in code about a transvestite in the classic Long Tall Sally, a song covered by Little Richard fan Paul McCartney early on in his career with The Beatles. His use of the terms "ball" and "balling" (slang for sexual intercourse) are up front and out in the open in Good Golly, Miss Molly and Rip It Up--sort of makes you wonder if Joe McCarthy, Richard Nixon and their brownshirt buddies fell down on the job in their attempt to protect the morals of the teens of the country in the fifties.

Diese Auslegung ist in englischsprachigen Ländern (inzwischen) wohl allgemein bekannt und bei genauerem Hinhören auch durchaus nachvollziehbar Sally ist so groß gewachsen, dass sie normalerweise nur als Mann durchgehen würde

[CockneyRebel]

.
Darauf wäre ich nicht gekommen!

fixbutte , schade dass Du nicht nach Hamburch kommen konntest im Januar, Du hättest Deine Freude gehabt!


.

[schnirchel]

Wer ist in der Lage mir die besten CD-Samplers zu nennen bzw. welche Silberscheiben gibt es wirklich und wo kann man sie bestens ordern?
Ich weiß, etwas Fleiß ist dazu erforderlich, aber ihr macht das doch gerne.
CU

[fixbutte]

schnirchel
nicht leicht zu beantworten, weil es im Lauf der Jahrzehnte hunderte von (guten und schlechten) Kinks-Samplern gab, die meist nicht mehr auf dem Markt sind. Am besten (und günstigsten) von den zurzeit lieferbaren dürfte sein:



Kinks "THE ULTIMATE COLLECTION"
"Eine Empfehlung, weil man hier neben allen großen Hits ein paar der besten Ray-Davies-Kompositionen findet, die man sonst eher auf Kinks-Kronikles-Raritätenkollektionen verpackte. Neuerlich remastered, neu ausbalanciert, klingen hier deswegen auch frühe Ohrwürmer wie `Stop your sobbing` besser denn je. Klangtechnisch die beste Auswahl bisher" (Stereo).

Enthält u.a. You really got me, All day and all of the night, Tired of waiting for you, Set me free, See my friend, Till the end of the day, Dedicated follower of fashion, Sunny afternoon, Dead end street, Waterloo sunset, Death of a clown, Victoria, Lola, Come dancing, Don`t forget to dance, Dandy, Mr. Pleasant, Who`ll be the next in line, Where have all the good times gone, Sittin` on my sofa, A well respected man, Celluloid heroes, Superman, Living on a thin line
Digitally remastered. 2 CDs

Kostet 15,99 EUR bei http://www.zweitausendeins.de (Nr. 23135).

Meine einzige Kinks-LP über viele Jahre in den 70ern (die Originalplatten waren lange Zeit ganz vom Markt verschwunden) war dieses Werk



eine Stunde Kinks vom Feinsten auf Vinyl (alle echten und beinah-Hits aus der Zeit von 1964 bis 1969). Die gibt`s tatsächlich noch gelegentlich als gebrauchte Rarität zu kaufen

[CockneyRebel]

.
Da sind wirklich die Highlights versammelt!




.

[schnirchel]

Danke Fixbutte! 2001-Versand kenne ich aus der Pardonzeit noch gut. Hab damals auch jede Menge Vinyls da gekauft u.a. Van Morrison und The Doors.
CU

[wolaufensie]

...jaa, die gute alte Pardon...

[fixbutte]

ja, das waren teuflische Jahre 1962 - 1974

dieses Titelblatt passt prima zu I Took My Baby Home (#113) ... "she had a hug lie a vice" = sie umklammerte mich wie ein Schraubstock

[fixbutte]

zurück zu Long Tall Sally und Lola



"lyrics apparently about dope-smokers and transsexuals" - Ian MacDonald, Revolution In The Head

The Beatles - Get Back

Jojo was a man who thought he was a loner
But he knew it wouldn`t last.
Jojo left his home in Tucson, Arizona
For some California grass.
Get back, get back.
Get back to where you once belonged
Get back, get back.
Get back to where you once belonged.
Get back Jojo. Go home
Get back, get back.
Back to where you once belonged
Get back, get back.
Back to where you once belonged.
Get back Jo.

Sweet Loretta Martin thought she was a woman
But she was another man
All the girls around her say she`s got it coming
But she gets it while she can
Get back, get back.
Get back to where you once belonged
Get back, get back.
Get back to where you once belonged.
Get back Loretta. Go home
Get back, get back.
Get back to where you once belonged
Get back, get back.
Get back to where you once belonged.
Get back Loretta
Your mother`s waiting for you
Wearing her high-heel shoes
And her low-neck sweater
Get on home Loretta
Get back, get back.
Get back to where you once belonged.


Etwas deutlicher ist dieses Werk



Lou Reed - Walk On The Wild Side

Holly came from Miami, FLA
hitch-hiked her way across the USA
Plucked her eyebrows on the way
shaved her leg and then he was a she
She says, hey babe, take a walk on the wild side
said, hey honey, take a walk on the wild side

Candy came from out on the island
in the backroom she was everybody`s darling
But she never lost her head
even when she was given head
She says, hey babe, take a walk on the wild side
said, hey babe, take a walk on the wild side
and the coloured girls go

Doo, doo, doo, doo, doo, doo, doo, doo
doo, doo, doo, doo, doo, doo, doo, doo
doo, doo, doo, doo, doo, doo, doo, doo
doo, doo, doo, doo, doo, doo, doo, doo

Little Joe never once gave it away
everybody had to pay and pay
A hustle here and a hustle there
New York city is the place where they said
Hey babe, take a walk on the wild side
I Said hey Joe, take a walk on the wild side

Sugar Plum Fairy came and hit the streets
lookin` for soul food and a place to eat
Went to the Apollo
you should have seen him go go go
They said, hey Sugar, take a walk on the wild side
I said, hey babe, take a walk on the wild side
all right, huh

Jackie is just speeding away
thought she was James Dean for a day
Then I guess she had to crash
valium would have helped that dash
She said, hey babe, take a walk on the wild side
I said, hey honey, take a walk on the wild side
and the coloured girls say

Doo, doo, doo, doo, doo, doo, doo, doo
doo, doo, doo, doo, doo, doo, doo, doo
doo, doo, doo, doo, doo, doo, doo, doo
doo, doo, doo, doo, doo, doo, doo, doo


Walk On The Wild Side heißt ein Buch von Nelson Algren[/i], aus dem mit Beteiligung von Lou Reed ein Musical gemacht werden sollte. Als das Projekt abgeblasen wurde, ersetzte Lou die Romanfiguren durch real existierende Personen aus Andy Warhol`s Factory

[fixbutte]

The Kinks - der Name

- einerseits wie The Beatles eine harmlose Sprachspielerei (Beatles --> Beetle = Käfer wie Buddy Holly & the Crickets = Grillen + Beat; Kinks --> King = König + Kink = Knoten)

- andererseits durchaus anzüglich seit der 1963 begonnenen TV-Serie "The Avengers" (deutsch: "Mit Schirm, Charm und Melone) waren kinky schwarze Lederklamotten und -stiefel in London en vogue Darüber hinaus hatte das Wort seit Ende der 1950er Jahre - verstärkt durch verschiedene Sex-Affären bekannter englischer Politiker - einen Unterton von heimlicher sexueller Perversion bekommen.

Hier die ursprüngliche weibliche Hauptdarstellerin aus "The Avengers" Honor Blackman mit Patrick MacNee, die auf einer legendären (musikalisch aber angeblich schwer erträglichen) Single ihre Kinky Boots besangen

.........................................

Patrick MacNee and Honor Blackman - Kinky Boots

Everybody`s going for those kinky boots, kinky boots,
(boop, boop)
Kinky boots,
It`s a manly kind of fashion that you borrowed from the brutes,
Borrowed from the brutes,
(boop, boop)
Kinky boots.

Fashion magazines say wear `em,
And you rush to obey like the women in a harem.

Full length, half length,
Fully fashion calf length,
Brown boots, black boots,
Patent leather jackboots,
Low boots, high boots,
Lovely lanky thigh boot,
We all dig those boots.

Everybody`s crazy for those kinky boots, kinky boots,
(boop, boop)
Kinky boots,
And whether you`re in evening dress or bathing suits,
You wear boots, boots, kinky boots.

There are twenty million women wearing kinky boots, kinky boots,
Puss in boots,
Footwear manufacturers are gathering the fruits,
Gathering the fruits,
(boop, boop)
Kinky boots.

Advertising men say try `em,
And you all run amok like a flock of sheep to buy `em.

Sweet girls, street girls,
Grumpy little beat girls,
Square girls, cool girls,
Sexy little schoolgirls,
Maiden aunties,
Mayfair debutantes,
They all dig those boots.

Everybody`s rushin` for those Russian boots,
Prussian boots,
(boop, boop)
Kinky boots,
Both: Cover up those slender little tender foots with kinky slinky,
Leather is so kinky,
Come and get those kinky boots, boots, kinky boots.


Honor Blackman wurde später von der hier weitaus bekannteren Diana Rigg (als Emma Peel) abgelöst, die aber im selben Stil gekleidet war
.................................................

Das erste Kinks Logo greift das Motiv der Kinky Boots in schöner Deutlichkeit auf

[fixbutte]

Das Logo gibt mir Gelegenheit, dem langjährigen (1964 - 1984) Drummer der Kinks, Mick Avory, nachträglich zum 60. zu gratulieren. Wie #112 zu entnehmen war, müsste er - unbemerkt von der breiten Öffentlichkeit - diesen runden Geburtstag bereits am 15. Februar diesen Jahres gefeiert haben.



Laut übereinstimmenden Aussagen von Zeitgenossen (einschließlich Ray Davies) passte Mick von seinem straighten Denken und Auftreten her (der typische Drummer eben) eigentlich nicht so ganz zum androgynen Rest der Truppe

[Iguana]

hihihi - mit Pardon hab ich gerade mal wieder zu tun. hab zufällig erst gestern eine ebayauktion mit dem heft wo Henri Nannen als vampir auf dem titel rüberkommt aufgemacht.

@schnirchel: ich habe da noch eine ziemlich spannende doppel cd von den Kinks über den Emi-import den wir beim IRS vertieb mit dabei hatten. "To the bone". die kinks haben 94 vor kleinem publikum live im studio ihre bekannten songs in abgespeckter form und ihre unbekannteren raritäten mit livegefühl darauf eingespielt.

iguana

[schnirchel]

@Iguana
Habe ich dankend registriert!
Übrigends Pardon: die Ghostwriter für Otto kommen ja auch da her, ich glaub B.Eilert,Knorr und noch so`n kaputter Typ. Von denen stammen auch die erotischen Tierreime die auf der Schallscheibe: "Das Wunder der Triebe" verewigt waren. Das Ding war damals der Renner, konnte man doch endlich erfahren waren das Ding da unten bei den Frauen nicht Prof. Häublein Land sondern nach einem gewissen Carlo Vagina benannt worden ist.
Entschuldigt den Abstecher,Kinkis!!

[schnirchel]

Robert Gernhard war der Dritte!
"Das Vorspiel nahm den Hengst so mit,
das er erschöpft zu Boden glitt, zu Bohoden.
Der Habicht hat sein jener Nacht kahein Auge nicht mehr zugemacht, kein Aaahauge."
Nach der Melodie" Das Wandern ist des Müllers Lust.

Noch einen aus deren Feder:
Auf die Frage was das soll gab der Kauz zu Protokoll: Nichts gefalle im so sehr als wie ein Geschlechtsverkehr.
Einfach toll

[wolaufensie]

Ja ,mit Verlaub, das war noch grosse deutsche
Dichtkunst. Frankfurter schulisches Urgestein...
Aber wohin ist die Zeit...

[fixbutte]

schnirchel, Iguana

Eine sehr schöne Sache ist auch die Live Platte Storyteller, ein Solowerk von Ray Davies aus dem Jahr 1998, in dem er abwechselnd Anekdoten erzählt, aus seinem Buch X-Ray rezitiert und - mit sehr guten Musikern - akustische Versionen von Kinks-Klassikern (Victoria, 20th Century Man, Tired Of Waiting, Set Me Free, See My Friends, Autumn Almanac, You Really Got Me) gibt.



Der Vortrag der Ray ist sehr humorvoll - jede Menge Lacher - in einem sehr gut verständlichen Englisch. Und das Beste ist, dass - was ich heute erst gemerkt habe - die vollständigen Texte auch der Anekdoten auf der ohnehin sehr empfehlenswerten Dave Emlen`s Unofficial Kinks Web Site http://kinks.it.rit.edu/ nachzulesen sind.

Aus Storyteller ist auch die letzte Komposition, die mir von Ray Davies bekannt ist, und die dort nicht nur in einer Live Version, sondern auch in einer Studiofassung enthalten muss, d.h. sie muss Ray Davies wohl schon sehr am Herzen liegen

London Song

There`s a room in a house in a street in a manor in a borough
that`s part of a city that is generally referred to as London
It`s a dark place, a mysterious place
And it is said that if you`re born within the sound of Bow-Bells
you have the necessary qualifications to be christened a Londoner
[It`s a cruel place, it`s a hard place]
But when you think back to all the great Londoners
William Blake, Charles Dickens, Dick Whittington,
pearly kings, barrow boys, Arthur Daley, Max Wall
and don`t forget the Kray twins

But if you`re ever up on Highgate Hill on a clear day
you can see right down to Leicester Square [London, London]
Crystal Palace, Clapham Common, right down to Streatham Hill
North and South, I feel that I`m a Londoner still [London, London]

Chiswick Bridge to Newham and East Ham
Churchbells ring out through the land
You were born in London, England
[London, London, through the dark alley-ways and passages of London]

And there`s a tap by a reservoir, leading to a stream,
that turns into a river estuary that eventually opens to the sea
[London, London]
And there`s a docker by a wharf, sending cargo overseas,
unloading foreign trade from a large ocean vessel
in the mighty metropolitan port of London
[London, London, through the dark alley-ways and passages of London]

When I think of all the Londoners still unsung
East-enders, West-enders, Oriental-enders
Fu Manchu, Sherlock Holmes, Jack Spock, Henry Cooper,
Thomas A`Becket, Thomas Moore, and don`t forget the Kray twins

There`s a part of me that says "Get out"
Then one day I`ll hear somebody shout
"Sounds to me like you come from London Town"

But if you`re ever up on Highgate Hill on a clear day,
I`ll be there [I`ll be there]
Yes I will be there [there]
Through the dark alley-ways and passages of London, London
London, London, through the dark alley-ways and passages of London, London
London, London, through the dark alley-ways and passages of London, London

[schnirchel]

@wolaufensie
Ich bin noch im Besitz zweier Bücher von Kurt Halbritter:
1. Die wundersame Welt der Pflanzen und
2. Halbritters Buch der Kriegstechnik.
Köstlich!
Sorry, ich will diesen Thread ab sofort nicht mehr mißbrauchen.

Was ich bis heute nicht verstanden habe: Warum gingen die Kinks auseinander? Soviel Kreativität kann doch nicht an ein paar läppischen Streitereien gescheitert sein,oder doch?

[fixbutte]

Aus Storyteller als Beispiel die Geschichte, wie die Kinks zu ihrem Schlagzeuger (Mick Avory, schon bekannt aus #124) kamen



When Big Bill Speaks / The Man Who Knew A Man

I used to go down The Marquee Club where all these R & B bands were playing. It was like hearing Big Bill Broonzy with drums, but they were British bands. Alexis Korner had his Blues Band. Cyril Davies & His All Stars backed Sonny Boy Williamson.

But before doing any more gigs we wouldn`t make the same mistake as we`d made before, for this time we`d get a drummer.

We took an advert out in The Melody Maker, which is a hugh music paper in England. "A very important new beat group require the services of an extraordinary drummer. Auditions next thursday". The following thursday one person turned up. You see, we`d forgotten to put the address of the audition down.

This was fate, this was destiny, because the young man standing before us was no other than Michael Charles Avory. We liked Mick. He was a really down to earth, ordinary guy. He was a boy scout! Very commendable. But why, why did he wear the boy scouts outfit to the audition?

He must have thought we were really weird, because we were all dressed in those Carnaby Street clothes, you know. Dave ... Dave and Pete especially. In Mick`s eyes we must have looked very very effeminate. To say the least. And Mick dressed in his boy scouts outfit, so you can understand there`s a big difference, a big gulf.

But Mick looked at us and he said "I like the group a lot, yeah I like the group. I like the music you play, yeah, R & B, that`s the coming thing, ain`t it? But if I join the group, I want to make one thing clear. I`ve got a girlfriend and if you haven`t noticed: I`m straight". "We can soon change that, darling".

Poor old Mick. I suppose we did look effeminate to him.
We just explained that we wanted to create an image for ourselves and, you know, be outrageously dressed. But we said "Exactly, Mick. We need a masculine looking person in the group, and you`ve got those features, man, you`re the guy! Particularly the drummer has got to look hard".

And so the band was formed.

[fixbutte]

Fortsetzung der Kinks Singles Chronologie aus #113

Larry [our third manager] knew a man who knew a man, and this man got us a three single deal with Pye Records.
The first record was a cover of Little Richard`s Long Tall Sally, but it died a death.
The follow-up was significant in that it was the first song I had composed for The Kinks,
a very naive optimistic song called You Still Want Me. Unfortunately nobody did .
The third record had to be hit, otherwise we`d get kicked off the label.

Ray Davies, Storyteller



You Still Want Me

When you passed me by
You didn`t look my way
But one thing I know
Our love is here to stay

And you still want me
And you still want me

You wanted the sky
But I couldn`t reach so high
I gave you my love
But you found some other guy

And you still want me
And you still want me

I know because the smile that`s on your lips
Is for me
They were meant for me to kiss
And you were meant to love me darling

I`ll be around
When other guys have gone
I`ll tell you once more
How I still love you so

And you still want me
And you still want me

I know because the smile that`s on your lips
Is for me
They were meant for me to kiss
And you were meant to love me darling

I`ll be around
When other guys have gone
I`ll tell you once more
How I still love you so

And you still want me
And you still want me
And you still want me


NME review from Apr 17, 1964

Die Kritik hat mit ihren Hinweisen auf die Ähnlichkeiten mit den Beatles absolut recht.
Nicht nur die Musik, auch die Texte (möglichst häufige Verwendung der Wörter "me" und "you")
wurden auf Wunsch des Kinks Managements in Richtung Beatles gedreht. Dafür ist der Text aber
auch keineswegs schlechter als die damaligen Lyrics der Beatles



The Beatles - From Me To You

If there`s anything that you want,
If there`s anything I can do,
Just call on me and I`ll send it along
With love from me to you.

I`ve got everything that you want,
Like a heart that is oh, so true.
Just call on me and I`ll send it along
With love from me to you.
I got arms that long to hold you
And keep you by my side.
I got lips that long to kiss you
And keep you satisfied, oooh.

If there`s anything that you want,
If there`s anything I can do,
Just call on me and I`ll send it along
With love from me to you.
From me, to you.
Just call on me and I`ll send it along
With love from me to you.

I got arms that long to hold you
And keep you by my side.
I got lips that long to kiss you
And keep you satisfied, oooh.
If there`s anything that you want,
If there`s anything I can do,
Just call on me and I`ll send it along
With love from me to you.
To you, to you, to you.

[fixbutte]

schnirchel #130
Kurt Halbritter - Mein Kampf (Karikaturen zu Hitlers Buch ) und Jeder hat das Recht (Karikaturen zum Grundgesetz) habe ich - beide Bücher sind genial

Warum sind die Kinks auseinandergegangen
Sind die Kinks überhaupt auseinandergegegangen Wenn sich die Brüder Ray und Dave Davies, die sich immer gestritten haben, wieder vertragen würden, gäbe es auch wieder die Kinks. Das restliche Personal wurde im Lauf der Jahre ohnehin mehrfach ausgetauscht. Die längste Konstante war der Drummer Mick Avory, der auch schon seit 1984, d.h. vor 20 Jahren die Kinks verlassen hat (im Guten, denn er soll noch gelegentlich in den Ray`s Konk Studios beschäftigt sein).

[MissB.Hagen]

Inspiriert von den guten Beiträgen hier, habe ich auch angefangen, ein bisschen herumzustöbern. Die Kinks habe ich immer gern gehört, obwohl ich, wie ich jetzt merke, nur einen winzigen Bruchteil ihrer Musik kannte. Rein gefühlsmässig habe ich ihre Texte, auch die sozialkritischen, als warmherzig empfunden ... und dass sie gay sein könnten, wäre mir nie in den Sinn gekommen.

Eine gute Zusammenfassung habe ich in auf der Seite von Encyclopaedia Britannica unter dem Titel “The British Invasion” von Jon Savage gefunden.



An influential 1960s British Invasion group, the Kinks infused their Rhythm and Blues beginnings with sharp social observation and the theatricality of the British music hall, becoming an English archetype.
Formed as a R & B band in 1963 by brothers Ray and Dave Davies, the Kinks originated in Muswell Hill in North London. Built on power chords, their third single "You Really Got Me" provided their big break. It stands, along with the work of the early Rolling Stones, as a landmark of creative exploration of R & B by white musicians. As such, it had a huge influence on the early Who, mid-1960s American Garage Punk, and early 1970s Heavy Metal. Moreover, the Kinks exaggerated the androgynous image cultivated by the Rolling Stones with foppish clothes, extremely long hair, and Ray Davies` often camp demeanor. After two more international hits, "All Day and All of the Night" and "Tired of Waiting for You", the Kinks quickly diversified their approach with the remarkable "See My Friends" (1965), an ambiguous story of male bonding, which represents the first satisfying fusion of Western pop with Indian musical forms. As their impact on the American market lessened after a disastrous tour in 1965, the Kinks became more idiosyncratically English with social comment songs like "A Well-Respected Man", "Dedicated Follower of Fashion" and "Sunny Afternoon", the last of which reached No. 1 on the U.K. charts in 1966 and on which Ray Davies imitated 1930s British crooner Al Bowlly.

At once a satirist and a romantic, Ray Davies combined a knack for writing sweet melodies with witty, empathetic lyrics and an instantly distinctive vocal delivery. With his wife Rasa and brother Dave providing the high backing vocals, Ray delivered a trio of classics in 1966-67: "Dead End Street" which addressed poverty during the final days of the 1960s economic boom; "Big Black Smoke", a cautionary tale about a teenage runaway; and "Waterloo Sunset," a hymn to London that became the Kinks` signature song. In 1967 Dave scored a solo success with "Death of a Clown," a memorable drinking song.
After 12 consecutive Top 20 singles in the UK, the Kinks started to slip in 1968 and spent the next two years attempting to rebuild their career in the United States by adapting to the new rock market with heavier instrumentation and elongated songs. They returned to the Top Ten on both sides of the Atlantic in 1970 with "Lola," the story of an encounter with a transvestite that capitalized on Ray`s theatrical persona. Several years as a top concert attraction in the US followed, but Ray`s struggle to reverse bad business deals made in the early 1960s took its creative toll. After „Everybody`s in Show-biz, Everybody`s a Star“ (1972), Ray Davies` isolation—once so charming--had become immense.
Energized by the Punk Rock they had influenced, the Kinks returned to Rock with album successes in the United States such as „Low Budget“ (1983). "Come Dancing," inspired by Davies family history, was a hit in both UK and US. Thereafter, despite the departure of all the original members except the Davies brothers, the Kinks continued to record and perform, with Ray finding success with a one-man show based on his autobiography, X-Ray (1995).


http://www.britannica.com/psychedelic/Flashless.html# - bitte anschauen, super

Ein Stück, das ich auch sehr mag – einerseits wegen der guten Melodie und andererseits wegen des visionären Textes in Zeiten von “Börsenpleitiers” (quote Iguana) und Schnäppchenjägern ..

Low Budget

Cheap is small and not too steep
But best of all cheap is cheap
Circumstance has forced my hand
To be a cut price person in a low budget land
Times are hard but we’ll all survive
I just got to learn to economize

I’m on a low budget
I’m on a low budget
I’m not cheap, you understand
I’m just a cut price person in a low budget land

Excuse my shoes they don’t quite fit
They’re a special offer and they hurt me a bit
Even my trousers are giving me pain
They were reduced in a sale so I shouldn’t complain
They squeeze me so tight so I can’t take no more
They’re size 28 but I take 34

I’m on a low budget
What did you say
I’m on a low budget
I thought you said that
I’m on a low budget
I’m a cut price person in a low budget land

I’m shopping at Woolworth and low discount stores
I’m dropping my standards so that I can buy more
Quality costs, but quality wastes,
So I’m giving up all of my expensive tastes.
Caviar and champagne are definite no’s,
I’m acquiring a taste for brown ale and cod roes

Low budget sure keeps me on my toes
I count every penny and I watch where it goes
We’re all on our uppers we’re all going skint
I used to smoke cigars but now I suck polo mints

I’m on a low budget
What did you say
Yeah I’m on a low budget
I thought you said that
I’m on a low budget
I’m a cut price person in a low budget land
I’m on a low budget
Low budget
Low budget

Art takes time, time is money
Money’s scarce and that ain’t funny
Millionaires are things of the past
We’re in a low budget film where nothing can last
Money’s rare there’s none to be found
So don’t think I’m tight if I don’t buy a round

I’m on a low budget
What did you say
Yes I’m on a low budget
I thought you said that
I’m on a low budget
I’m a cut price person in a low budget land
I’m on a low budget
Say it again
Low budget
One more time
Low budget

I look like a tramp, but don’t write me off,
I’ll have you all know, I was once a tough
At least my hair is all mine, my teeth are my own,
But everything else is on permanent loan.
Once all my clothes were made by hand,
Now I’m a cut price person in a low budget land.
I’m on a low budget
I’ll have you all know
We’re on a low budget
I’m on a low budget

[Iguana]

so viel ich weiss haben sich die Kinks nie getrennt, sondern gehen in unregelmässigen abständen auf tour und nehmen auch immer wieder mal platten auf. da sie es aber wohl nie nötig hatten da größere statements und schlagzeilen dazu abzugeben weiss man auch nie genaues.

iguana

[fixbutte]

Eine beunruhigende und beeindruckende Platte (Greil Marcus, Mystery Train)



The Way Love Used To Be

I know a place not far from here
It`s not far away, love, but if you come
I know a place where we`ll be alone
And we`ll talk of life, the way love used to be

I know a place not far away
And we`ll find a way through the city streets
We`ll find a way through the mad rushing crowd
And we`ll talk about the way love used to be

I know a place not far from here
It`s not far away, love, but if you come
I know a place where we`ll be alone
And we`ll talk about the way love used to be


Aus dem Soundtrack Album Percy, 1971

[fixbutte]

Missy
Danke für den guten Beitrag Jon Savage muss es wissen, er ist Autor der offiziellen Kinks Biographie (von 1984) und hat in diesem Zusammenhang mit allen Bandmitgliedern lange Gespräche geführt.

Mit dem Album Low Budget von 1979, von dem Du das Titelstück gepostet hast, waren die Kinks in den USA auf dem Höhepunkt ihrer Popularität (mit #11 im Billboard die höchste Platzierung für ein reguläres Kinks Album überhaupt) und konnten dort mit ihren Konzerten Stadien füllen. Die nachfolgende Live-Doppel-LP One For The Road lief dann auch hervorragend.

[fixbutte]

Fortsetzung der Singles Chronologie



Hierzu wieder ausgesprochen launiger Originalton von Ray Davies aus Storyteller

The Third Single

The phone rang, it was a call from Larry [the third manager]. "Hello, cock. Cock, it`s time for the third single". If this is a flop, if the third single doesn`t make it, our career would be over. I`d written another song that we played on stage quite a lot. It was called You Really Got Me. And the audiences loved it. They liked it because they could dance to it.

But the record company hated it. They said "You can`t record that piece of rubbish. And we don`t like the sound of that terrible distorted green amplifier. No, no. You can`t record it, that`s final". But Robert and Grenville [the other two managers] thought it was marvelous. "Don`t you think so, Grenville?". "Oh, every time they play `You really got me` I get shivers up my spine". "I think it`s a hit, cock, I gotta tell ya, I`ll state my reputation on it". Now, with management like that, how could we fail?

But the record company said "Look, we don`t believe in it. We`re very sorry, we don`t believe in it. If you wanna make the record, fine, but you have to pay for the recording yourselves". And that was really cruel, because they knew we were broke. But Robert knew a man. "Here, Ray, here`s 200 quid. Go in the bloody studio and make that record. And make sure it`s a bloody hit, what?".

You see, Mick Avory hadn`t signed the recording contract, and they said he couldn`t play on the record. We`d have to get a session drummer in, he`s a guy that`d come in and play for hire. And they said this thinking that we`d be loyal to Mick and cancel the session. But we weren`t gonna do that. But at the last minute we snug Mick into the studio. He can only play tambourine, but at least he was on the record.

I`d written `You really got me` as tribute to all those great blues people I love: Leadbelly and Big Bill Broonzy. And Dave was playing the song in the studio that day, but he was playing it in the style I`d written it.

But then Dave plugged the guitar into the green amp, and he plugged the green amp into a Vox AC30, and it sounded huge. And when Dave played the opening chords to `You really got me` they were so loud that the session drummer forgot the complicated little pattern he was gonna play at the beginning and just hit one beat on the snare drum as loud as he could, pow, as if to say to Dave "You noisy little bleeder. I can play just as loud as you can. And I`ve got a big stick".

But that`s exactly what we wanted, you see, we wanted to sound loud. Now we sounded like a group.

Halfway through the song it was time for Dave`s guitar solo. This moment had to be right. So I shouted across the studio to Dave, give him encouragement. But I seemed to spoil his concentration. He looked at me with a dazed expression. "Fuck off".

If you doubt me, if you doubt what I`m saying, I challenge you to listen to the original Kinks recording of `You really got me`. Halfway through the song, after the second chorus, before the guitar solo, there`s a drum break. Boo ka, boo boo ka, boo ka, boo boo. And in the background you can hear "fuckoff".

You can, you can. When I did the vocal I tried to cover it up by going "Oh no", but in the background you still hear it "fuckoff". And it`s even clearer on CD, it`s really embarrassing.

Well then Dave looked like you`d done something wrong, his mouth relaxed and his jaw dropped. But it was halfway through the most important track we`d ever do. And if it wasn`t a hit, it would be the last track we`d ever do. And the lead guitarist stops playing before the solo.

But then Dave`s eyes squinted and his face broke into that arrogant sideways grin I`ve learnt to love and hate over the years. You see, he hadn`t heard me shout at all. He just thought of looking at me at the same time as I looked at him, a kind of telepathic way of saying "This is it, remember, the front room".

Then he gritted his teeth and sneered at me one more time and cocked an attitude before turning away into the corner of the studio to play himself into rock `n` roll history.



Die Platte kam im August 1964 heraus und wurde No. 1 in England. Die Lyrics und die NME Charts haben wiir schon in #50.
Die B-Seite ging aber auch gut ab

It`s All Right

I gotta wings
I`m gonna fly
I`m going home
And I know why
To see my baby
That`s enough
I`m going home
It`s all right

It`s all right, yeah
It`s all right, yeah
It`s all right, yeah

I gotta wing, wing
I`m gonna fly by
I`m going home
And I know why, why
To see my baby
That`s enough
I`m going home
It`s all right

It`s all right, yeah
It`s all right, yeah
It`s all right, yeah

I jumped on a wagon a-shootin` off down the road
I`m gonna see my baby
My baby`s gonna take-a me home

I gotta wing, wing
I`m gonna fly by
I`m going home
And I know why, why
To see my baby
That`s enough
I`m going home
It`s all right

It`s all right, yeah
It`s all right, yeah
It`s all right, yeah

[wolaufensie]

Ein vergessenes Stückchen, an das ich vorhin erst wieder
erinnert wurde, als ich es sah. Ein richtiger Ohrwurm...

David Watts
The Kinks.....1967

Fa-fa-fa-fa-fa-fa-fa-fa
Fa-fa-fa-fa-fa-fa-fa-fa

I am a dull and simple lad
Can not tell water from champagne
And I have never met the queen
And I wish I could have all that he has got
I wish I could be like david watts

Fa-fa-fa-fa-fa-fa-fa-fa
Fa-fa-fa-fa-fa-fa-fa-fa

And when I lie on my pillow at night
I dream I could fight like david watts
Lead the school team to victory
And take my exams and pass the lot

(wish I could be)
Wish I could be like david watts
(wish I could be)
Wish I could be like david watts
(wish I could be)
Conduct my life like david watts
(wish I could be)
I wish I could be like david watts

Fa-fa-fa-fa-fa-fa-fa-fa
Fa-fa-fa-fa-fa-fa-fa-fa

He is the head boy at the school
He is the captain of the team
He is so gay and fancy free
And I wish all his money belonged to me
I wish I could be like david watts

Fa-fa-fa-fa-fa-fa-fa-fa
Fa-fa-fa-fa-fa-fa-fa-fa

And all the girls in the neighborhood
Try to go out with david watts
They try their best but can’t succeed
For he is of pure and noble breed

Wish I could be like
Wish I could be like
Wish I could be like

Fa-fa-fa-fa-fa-fa-fa-fa
Fa-fa-fa-fa-fa-fa-fa-fa
(repeat)
http://www.unbsj.ca/cfmh/David%20Watts.mp3
....leider ist es nicht original, jedoch erfährt es eine
akustische Aufwertung dadurch, dass es anscheinend in
einer Garage aufgenommen wurde, die dabei allem
Klanglichen noch einen besonders adeligen Anstrich verleiht.
http://kinks.it.rit.edu/~neil/images/photo.jpg
...die Garage, ein tontechnisch viel zu selten benutzes
...Instument, um Sounds den richtigen Drive zu geben...

[MissB.Hagen]

fixbutte
Hattest du schon Gelegenheit, den Britannica-Link anzuschauen? Ein einmaliges Zeitdokument und ausserdem eine Fundgrube für das Kind (oder den Künstler) in uns - jedem sein individueller Magic Bus

wosie
Garagen-Sound - und ich hab noch immer keinen Player

[wolaufensie]

...oh Missie...
......ich fühle mit...!!
................

[fixbutte]

wolaufensie
David Watts gehört für mich eher zu den bekannteren Stücken der Kinks, auch weil es 1978 von The Jam gecovert wurde



The Jam - Singles Discography
DAVID WATTS
Track Listing:
DAVID WATTS - Ray Davies
`A` BOMB IN WARDOUR STREET - Paul Weller
Released: August 1978
Highest chart placing: #25
Polydor 2059 054

Nicht nur die Musik, auch der Text ist einfach genial
I am a dull and simple lad
Can not tell water from champagne

Solche unerträglichen Erfolgstypen wie David Watts, denen alles zuflog, müsste eigentlich jeder in seiner Jugend (vielleicht auch später ) erlebt haben

Die Zeilen
He is so gay and fancy free ...
And all the girls in the neighborhood
Try to go out with david watts
They try their best but can’t succeed ...
verweisen übrigens darauf, dass zumindest eines der realen Vorbilder dieser Figur nicht so sehr am anderen Geschlecht interessiert war (von Ray Davies bestätigt), auch wenn das Wort "gay" 1967 noch nicht in dem heutigen eindeutigen Sinne verwendet wurde.

In England war der Song nur auf der LP Something Else zu finden, in Deutschland war er auch die B-Seite der Single Autumn Almanac



(blödes, veraltetetes Cover, noch mit den schon 1964 abgelegten Jagdanzügen )

[fixbutte]

Missy
Ich war schon auf der Site, aber noch nicht im Magic Bus



The Who - Magic Bus

Every day I get in the queue (too much, Magic Bus)
To get on the bus that takes me to you (too much, Magic Bus)
I`m so nervous, I just sit and smile (too much, Magic Bus)
Your house is only another mile (too much, Magic Bus)

Thank you, driver, for getting me here (too much, Magic Bus)
You`ll be an inspector, have no fear (too much, Magic Bus)
I don`t want to cause no fuss (too much, Magic Bus)
But can I buy your Magic Bus? (too much, Magic Bus)

Nooooooooo!

I don`t care how much I pay (too much, Magic Bus)
I wanna drive my bus to my baby each day (too much, Magic Bus)
I want it, I want it, I want it, I want it ... (you can`t have it!)
Thruppence and sixpence every day
Just to drive to my baby
Thruppence and sixpence each day
`Cause I drive my baby every way

Magic Bus, Magic Bus, Magic Bus ...

I said, now I`ve got my Magic Bus (too much, Magic Bus)
I said, now I`ve got my Magic Bus (too much, Magic Bus)
I drive my baby every way (too much, Magic Bus)
Each time I go a different way (too much, Magic Bus)

I want it, i want it, I want it, I want it ...

Every day you`ll see the dust (too much, Magic Bus)
As I drive my baby in my Magic Bus (too much, Magic Bus)

[MissB.Hagen]

fixbutte
*Mind Expanders*, den Bus anklicken und "komponieren"
oder Feed Your Head ...
Und dann *Psychedelic 60`s* und *The Trip Continues* ...

[wolaufensie]

Magic Bus
The Who
http://dustin.suchter.com/thesnakeshit/files/The%20Who%20--%…
Every day I get in the queue (Too much, Magic Bus)
To get on the bus that takes me to you (Too much, Magic Bus)
I`m so nervous, I just sit and smile (Too much, Magic Bus)
You house is only another mile (Too much, Magic Bus)

Thank you, driver, for getting me here (Too much, Magic Bus)
You`ll be an inspector, have no fear (Too much, Magic Bus)
I don`t want to cause no fuss (Too much, Magic Bus)
But can I buy your Magic Bus? (Too much, Magic Bus)

Nooooooooo!

I don`t care how much I pay (Too much, Magic Bus)
I wanna drive my bus to my baby each day (Too much, Magic Bus)

I want it, I want it, I want it, I want it ... (You can`t have it!)
Thruppence and sixpence every day
Just to drive to my baby
Thruppence and sixpence each day
`Cause I drive my baby every way

Magic Bus, Magic Bus, Magic Bus ...

I said, now I`ve got my Magic Bus (Too much, Magic Bus)
I said, now I`ve got my Magic Bus (Too much, Magic Bus)
I drive my baby every way (Too much, Magic Bus)
Each time I go a different way (Too much, Magic Bus)

I want it, i want it, I want it, I want it ...

Every day you`ll see the dust (Too much, Magic Bus)
As I drive my baby in my Magic Bus (Too much, Magic Bus

...in "Live at Leeds" noch etwas länger....

[MissB.Hagen]

Magic Bus

Das nannte fixbutte einmal an anderer Stelle: *zwei Dumme - ein Gedanke* ...

Ich nenne es *good vibrations* ...

[DOLCETTO]

yeah, good vibes

magic doppelbus >> I want it, I want it, I want it......

hab grad die Stealers Wheel im player und mir isses jetzt
voll banane, ob die netten Schotten Rafferty/Egan in deinen
thread reinpassen, @fixbutte

.....die relaxten songs aus den frühen `70ern kommen gut:



Stealers Wheel

Stuck In The Middle With Yo

Well, I don`t know why I came here tonight,
I got the feeling that something ain`t right.
I`m so scared in case I fall off my chair,
And I`m wondering how I`ll get down the stairs.
Clowns to the left of me, jokers to the right,
Here I am, stuck in the middle with you.

Yes, I`m stuck in the middle with you,
And I`m wondering what it is I should do.
It`s so hard to keep this smile from my face,
Losing control, yeah, I`m all over the place.
Clowns to the left of me, jokers to the right,
Here I am, stuck in the middle with you.

Well, you started off with nothing,
And you`re proud that you`re a self-made man.
And your friends they all come crawlin,
Slap you on the back and say, Please, please.

Trying to make some sense of it all,
But I can see it makes no sense at all.
Is it cool to go to sleep on the floor?
Well, I don`t think I can take anymore.
Clowns to the left of me, jokers to the right,
Here I am, stuck in the middle with you.

Well, you started out with nothing,
And you`re proud that you`re a self-made man.
And your friends they all come crawlin,
Slap you on the back and say, Please, please.

Yeah, I don`t know why I came here tonight,
I got the feeling that something ain`t right,
I`m so scared in case I fall off my chair,
And I`m wondering how I`ll get down the stairs,
Clowns to the left of me, jokers to the right,
Here I am, stuck in the middle with you.

Yes I`m, stuck in the middle with you,
Stuck in the middle with you,
Here I am, stuck in the middle with you.

[wolaufensie]

.................................................................eine ganz entspannte Truppe...
..............................http://slittinata.jupiter-jazz.com/Stuck_In_The_Middle_With_…
.....................................................
...............................................................von denen er , der van Gogh-Fan
...............................................................eine ganz besondere Schwäche für dieses
...............................................................musikalische Kleinod aus den 70er Jahren hatte
................

[wolaufensie]

.....diese Stückchen sollte hin und wieder mal
.....erwähnt werden....
..........
http://surf.atlantic.net/music/thekinksgirlyouvereallygotmen…

[CockneyRebel]

.
Dolcefreund,

damit hast Du mir wieder einen Dauerbrenner auf`s Trommelfell gelegt! Diese unverwechselbare, einfach schöne Stimme von Gerry Rafferty verdient unbedingt noch `ne weitere Erinnerung...

Eigentlich wäre ja "Baker Street" dran, aber es gab ja auch noch diesen Ohrwurm...


Royal Mile (Sweet Darlin`)

I remember the sound of the passing train
As it rolled through the night in the pouring rain
And the touch of a hand and the way she said `Goodbye`.

And we walked in the sun down the royal mile
Saw the light in her eye and the way she smiled
And she cried in the night and I heard her say `Don`t go`.

What can I do, sweet darlin`, I don`t want to go away
Looking at you sweet darlin`, I know I want to stay
What can I do, sweet darlin`?

In the light of the day I was rolling home
I was thinking of you waiting on your own
And I wanted to call but then something said `Oh no`.

Yeah but now it`s a dream, it`s a memory
But I`ll never forget what you gave to me
I was lost and alone but you made feel ok.

What can I do, sweet darlin`, I don`t want to go away
Looking at you sweet darlin`, I know I want to stay
What can I do, sweet darlin`?

I remember the sound of the passing train
As it rolled through the night in the pouring rain
And the touch of a hand and the way she said `Goodbye`.

What can I do, sweet darlin`, I don`t want to go away
Looking at you sweet darlin`, I know I want to stay
What can I do, sweet darlin`?

.

[fixbutte]

Dolce, wosie, Cockney
Steelers Wheel - warum nicht
Ich wollte die Lyrics von Stuck In The Middle With You sogar schon mal in Iguanas Thread posten, dachte dann aber, dass sie da eigentlich thematisch nicht reinpassen
Bei dem Stück war immer die Frage, ob Gerry Rafferty mehr nach John Lennon oder mehr nach Bob Dylan klang. Auch der ironische Text hätte von diesen beiden stammen können, aber eben auch von Ray Davies

Eines der reifsten und persönlichsten Stücke von Ray ist dieses, das wie #136 The Way Love Used To Be auf dem Soundtrack Album Percy (1971) leider etwas untergeht und deshalb auch vielen Kinks Fans nicht bekannt ist



Moments

Come on love
Let`s forget about all the things that we`ve done wrong
Just remember all of the things that we`ve done right
I`m in no mood to argue and I`m in no mood to fight
So let the tears pass you by
Don`t you cry, don`t you cry, don`t you cry
And I ain`t gonna let this big world get me down
I gotta learn to keep a hold of my head and keep my feet on the ground
Moments of ecstatic happiness
And the moments of stress that we had better forget

But love, I gotta feeling that I`ve said it all before
I said it before
I say I`ll never do you wrong but then I go and do the same again
I don`t know why, don`t know why
Don`t know why, don`t know why, don`t know why
We gotta learn to share these moments in our lives
And never let it get us down, we gotta put up a fight
Moments to remember all our lives
From the first brief hello to the last good-bye

I say I`ll never do you wrong but then I go and do the same again
I don`t know why, don`t know why
Don`t know why, don`t know why, don`t know why
We gotta learn to share these moments in our lives
And never let it get us down, we gotta put up a fight
Moments to remember all our lives
From the first brief hello to the last good-bye


Zwei Jahre später (1973) brach die Ehe von Ray und Rasa Davies (die bei den frühen Aufnahmen, z.B. Waterloo Sunset, oft die Backing Vocals beisteuerte), endgültig auseinander

[wolaufensie]

mensch, so ein Zufall.., ich habe die CD, - aber total vergessen.
die liegt hier irgendwo ganz unten tief vergraben rum...
...Muss ich doch gleich mal heraussuchen und mit
neuer Aufmerksamkeit hören....

[fixbutte]

Fortsetzung der Kinks Singles Chronologie aus #138

Nach der dritten Single You Really Got Me kamen als Nummer 4 und 5 All Day And All Of The Night und Tired Of Waiting For You, die ebenfalls weltweit Riesenhits wurden (Platz 2 bzw. 1 der englischen Charts).

Die Lyrics und deutschen Singlehüllen hatten wir schon in #57 und #61/62. Hier noch ein paar alternative Picture Sleeves



Jeder erwartete, dass die nächste Single wieder ein Top Ten Hit werden würde. Die A-Seite, eine Kopie des Motown Stils des Earl Van Dyke Trios, mit dem sie gerade aufgetreten waren, war ausgesprochen schwungvoll, aber ohne ein einprägsames Riff. Der Song kam nur auf Platz 17 der UK Charts



Ev`rybody`s Gonna Be Happy

And I know, and I know,
And I know that ev`rybody,
And I know that ev`rybody be happy,
As happy as you and me.
`Cause I know, I know.

Come on baby let me tell you
All the things I wanna say
Come on baby let me tell you
All the things I wanna say, and

Ev`rybody`s gonna be happy,
Which means you and me, my love
Ev`rybody`s gonna be happy,
Which means you and me, my love

And I know, and I know,
And when I see ya walking down the street
Well it makes me happy to see you walkin`
It makes my life complete
`Cause I know, I know.

Come on baby let me tell you
All the things I wanna say
Come on baby let me tell you
All the things I wanna say, and

Ev`rybody`s gonna be happy,
Which means you and me, my love
Ev`rybody`s gonna be happy,
Which means you and me, my love

And I know, and I know,
And I know that you and me,
And I know that you and me be happy,
As happy as we can be.
`Cause I know, I know.

Come on baby let me tell you
All the things I wanna say
Come on baby let me tell you
All the things I wanna say, and

Ev`rybody`s gonna be happy,
Which means you and me, my love
Ev`rybody`s gonna be happy,
Which means you and me, my love

Ev`rybody`s gonna be happy,
Which means you and me, my love
Ev`rybody`s gonna be happy,
Which means you and me, my love

And I know, and I know,
And I know, and I know,
And I know...



Die Rückseite war musikalisch einprägsamer und textlich eindrucksvoller (perhaps the ultimate rejection song - Jon Savage) In den USA, wo die Single völlig fehlschlug, unternahm die Plattenfirma nach der nächsten offiziellen Single See My Friends noch einen Versuch mit diesem Titel als A-Seite. Diesmal kam die Single dort wenigstens auf Platz 34.

Who`ll Be The Next In Line

Who`ll be the next in line?
Who`ll be the next in line for heartache?
Who`ll make the same mistakes I made over you?

Who`ll be the next in line?
Who`ll be the next in line?
For you?

Who`ll be the next in line?
Who`ll be the next to watch your love fade?
All your affections finally fade away.

There`ll be no use in sighing.
Who`ll be the next in line?
For you?

One day you`ll find out when I`m gone,
I was the best one you had,
I was the one who gave you love.

Who`ll be the next in line?
Who`ll be the next in line for heartaches?
Who`ll make the same mistakes I made over you?

There`ll be no use in sighing.
Who`ll be the next in line?
For you?

One day you`ll find out when I`m gone,
I was the best one you had,
I was the one who gave you love.

Who`ll be the next in line?
Who`ll be the next in line for heartaches?
Who`ll make the same mistakes I made over you?

Who`ll be the next in line?
Who`ll be the next in line?
For you?
For you?

[fixbutte]

wolaufensie
Percy nahmen die Kinks als letztes vertraglich an die Plattenfirma Pye abzulieferndes Album mit der Stoppuhr in der Hand auf. So hört es sich dann auch an (u.a. mit einer trashigen Middle of the Road meets Heavy Metal Instrumentalversion von Lola). Die vier besten Songs kamen in England auch auf einer EP heraus, die sich allerdings leider auch nicht besser verkaufte als das Album.

[fixbutte]

Noch zur Single no. 6 (#153)



Mit den Plattenkritiken ist es eben auch nicht besser als mit den Kursprognosen - von wegen sicherer Platz in den Top Three

NME review from Mar 26, 1965

[fixbutte]

noch zu Percy (#152. #154)
In dem Film ging es um ein Körperteil, für das auch die englische Sprache eine Vielzahl von Bezeichnungen bereit hält



Monty Python - Penis Song (The Not Noel Coward Song)

Good evening, Ladies and Gentlemen, Here`s a little number I tossed off Carribean.

Isn`t it awfully nice to have a penis,
Isn`t it frightfully good to have a dong.
It`s swell to have a stiffy,
It`s divine to own a dick.
From the tiniest little tadger,
To the world`s biggest prick.

So three cheers for your Willy or John Thomas.
Hooray for your one-eyed trouser snake.
Your piece of pork,
Your wife`s best friend,
Your PERCY or your cock.

You can wrap it up in ribbons,
You can slip it in your sock.
But don`t take it out in public
Or they will stick you in the dock,
And you won`t come back.

Die Handlung des Films wurde auf dem Plakat so beschrieben Edwin Anthony had a very nasty accident. and lost something very vital. So they gave him Percy. Now Edwin wants to know where Percy`s been before. Der Film (mit Elke Sommer und Britt Ekland) ist nach Angaben derjeinigen, die ihn gesehen haben, trotzdem ein ziemliches Desaster.

Um so erstaunlicher ist der von Ray Davies beigesteuerte durchaus ernst gemeinte Titelsong, der das Thema des Films auf seine Weise kommentierte und konterkarierte (man`s got no right to change us)

God`s Children

Man made the buildings that reach for the sky
And man made the motorcar and learned how to fly
But he didn`t make the flowers and he didn`t make the trees
And he didn`t make you and he didn`t make me
And he got no right to turn us into machines
He`s got no right at all
`Cause we are all God`s children
And he got no right to change us
Oh, we gotta go back the way the good lord made us all

Don`t want this world to change me
I wanna go back the way the good lord made me
Same lungs that he gave me to breath with
Same eyes he gave me to see with

Oh, the rich man, the poor man, the saint and the sinner
The wise man, the simpleton, the loser and the winner
We are all the same to Him
Stripped of our clothes and all the things we own
The day that we are born
We are all God`s children
And they got no right to change us
Oh, we gotta go back the way the good lord made
Oh, the good lord made us all
And we are all his children
And they got no right to change us
Oh, we gotta go back the way the good lord made us all
Yeah, we gotta go back the way the good lord made us all


Da auch musikalisch ansprechende Stück kam in Deutschland sogar als Single heraus (Juni 1971), ohne dass das allerdings irgend jemand mitbekam - trotz de vorherigen Erfolge mit Lola und Apeman :O

[fixbutte]

Fortsetzung der Kinks Singles Chronologie von #153

Nach dem relativen Fehlschlag der Single No. 6 brachte Ray Davies wieder ein eingängigeres Werk, das auch in die englischen Top Ten kam, auch wenn der Text, in dem der Sänger sein Mädchen anfleht, ihn freizugeben, bei genauerem Hören nicht so ganz den (damals) gängigen Geschlechterrollen entsprach. Man kann darin auch eine Fortschreibung von You Really Got Me mit den Zeilen See, don`t ever set me free, I always wanna be by your side sehen


Mai 1965

Set Me Free

Set me free, little girl.
All you gotta do is set me free, little girl.
You know you can do it if you try,
All you gotta do is set me free, free,
Free.

Set me free, little girl.
All you gotta do is set me free, little girl.
You know you can do it if you try,
All you gotta do is set me free, free,
Free, free.

I don`t want no one,
If I can`t have you to myself.
I don`t need nobody else.
So if I can`t have you to myself,

Set me free.
Set me free.

Oh set me free, little girl.
All you gotta do is set me free, little girl.
You know you can do it if you try,
All you gotta do is set me free, free,
Free, free.

I don`t want no one,
If I can`t have you to myself.
I don`t need nobody else.
So if I can`t have you to myself,

Set me free.
Set me free.

Oh set me free, little girl.
All you gotta do is set me free, little girl.
You know you can do it if you try,
All you gotta do is set me free, free,
Free.

Set me free,
Oh, set me free.


NME review from May 21, 1965

[fixbutte]

Als Illustration zu God’s Children (#156) ...we gotta go back the way the Good Lord made ... hätte natürlich auch dieses Bild aus Thread: ... at the HardRockCafé ... gepasst

[fixbutte]

The Kink and the Queen (no joke - siehe schon #44)



Sunny afternoon at the Palace for Ray Davies
(The Telegraph, filed: 18/03/2004)
Shy Kinks singer collects CBE from the Queen. Richard Alleyne reports

Ray Davies, the songwriter and lead singer of the Kinks, overcame his natural shyness yesterday, not to mention a gunshot wound to his leg, to collect his CBE ["Commander in The Most Excellent Order of the British Empire"] from the Queen.


Ray Davies and his daughter Eva

A reluctant figure at award ceremonies, Davies, 59, was shot in the leg in New Orleans two months ago after chasing muggers who had robbed him and his girlfriend.

"This [award] is for the people who supported my music over the years," he said as he emerged from the ceremony at Buckingham Palace in sunglasses and with the aid of a walking stick.

"I`m kind of reluctant to collect rewards. I usually back out of ceremonies. I`m kind of a shy person. This is for the fans of my music. It`s theirs."

Davies, who was honoured for services to music, is known as much for the inspiration he has provided for younger rock stars as for his own hits and performances.

Among those who have claimed him as a major influence are Paul Weller of the Jam in the 1970s - who had a hit with Davies`s song David Watts in 1978 - and Damon Albarn of Blur in the 1990s.

The latter debt earned Davies the affectionate title "Godfather of Britpop".

Acts as diverse as the Stranglers, Van Halen, David Essex and the late Kirsty MacColl also recorded songs by Davies.

One of his most famous songs is Waterloo Sunset, a paean to London, the city where he was born and grew up. He also wrote You Really Got Me, All Day and All of the Night, Sunny Afternoon and Dedicated Follower of Fashion and Lola.

When the Kinks were inducted into the Rock and Roll Hall of Fame in 1990, they were only the fourth British group to receive the honour after the Beatles, the Rolling Stones and the Who.

Davies brushed aside his injury yesterday. "I`ll be back jumping around on stage," he said.

"I was walking down a quiet street in New Orleans with my girlfriend. We were attacked. I chased after him. I have been asking myself why. One never knows how to react."

Davies said that he had a number of shows coming up and hoped to recover in time.

Yesterday he was accompanied by his sister Joyce and his seven-year-old daughter, Eva.

He disclosed that the Queen inquired about his leg injury. "She was interested in it. We both said how we lived in such difficult times ," he said.

Born in Muswell Hill, north London, he studied at art college and formed his first band, the Ray Davies Quartet, with his brother David.

In 1963 he changed the name to the Kinks and the band - Ray, Dave, Pete Quaife and Mick Avory - had their first number one a year later with You Really Got Me.

The Prime Minister`s official spokesman, Godric Smith, also received a CBE yesterday and Simon Jenkins, the former editor of The Times, received a knighthood.

[CockneyRebel]

.
Her Majesty

The Beatles


Her Majesty`s a pretty nice girl,
but she doesn`t have a lot to say
Her Majesty`s a pretty nice girl
but she changes from day to day

I want to tell her that I love her a lot
But I gotta get a bellyful of wine
Her Majesty`s a pretty nice girl
Someday I`m going to make her mine, oh yeh,
someday I`m going to make her mine.

.

[Iguana]

@fixbutte: irgendwie hat Ray Davies auf dem bild mit der tochter eine gewisse ähnlichkeit mit Kurt Felix - vor allem das lachen... vielleicht weil er sinn für humor hat und "spaß versteht"....

iguana

[schnirchel]

Diese "Zahnlückenpromis" sind irgendwie immer sympatisch. So auch Ray Dorset, Gründer von Mungo Jerry.

[fixbutte]

Schnirchel
Da haben Ray Davies und Ray Dorset also nicht nur den Vornamen gemeinsam



Mungo Jerry - Lady Rose

On the dark nights
by the fire light
I see her face
before my eyes.

Lady Rose
my Lady Rose
oh Lady
my Rose

my Lady Rose.
De
de-de-de
de de-de-de.

Lost in mem`ries
of the moment
of the time spent
how the days went

Lady Rose...

From the shadows
through the bright lights
from the dark nights
through the sun light.

Lady Rose
my Lady Rose
oh Lady
my Rose

my Lady Rose.
De
de-de-de
de de-de-de.

[fixbutte]

Cockney #160
wusstest Du übrigens schon, dass Ray Davies früher schon mit der Queen in die Disco gegangen ist



Little Miss Queen Of Darkness

Well I met her accidentally,
In a little discotheque.
And she acted oh so friendly
To every fella that she met.
And her hair was hanging down,
Like a bright and silken sheen.
Little Miss Queen of Darkness
Dancing night and day.
Little Miss Queen of Darkness
Dancing, dancing on.

Although she looked so happy,
There was sadness in her eyes.
And her curly false eyelashes
Weren`t much of a disguise.
And her bright and golden hair,
Was not all that it might seem.
Little Miss Queen of Darkness
Dances sadly on.
Yes Little Miss Queen of Darkness
Dancing, dancing on.

There was something missing
From her carefree little life,
And she`ll never understand you
When you`re kissing her good night.
`Cause the only boy she had
Went and coolly stepped aside.
And Little Miss Queen of Darkness
Might as well have died.
Little Miss Queen of Darkness
Dancing, dancing on.

(aus dem wunderbaren Album Face To Face, Nov. 1966)

[fixbutte]

Die Queen ist aber auch ein Killer

Queen - Killer Queen

She keeps Möet et Chandon
in her pretty cabinet
`Let them eat cake` she says
Just like Marie Antoinette
A built-in remedy
for Khrushchev and Kennedy
And anytime an invitation
you can`t decline

Caviar and cigarettes
well versed in etiquette
Extraordinarily nice

She`s a killer queen
gunpowder gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime.

Recommended at the price
Insatiable an appetite
wanna try?

To avoid complications
She never kept the same address
In conversation
she spoke just like a baroness
Met a man from China
went down to Geisha Minah
Then again incidentally
if you`re that way inclined
(she`s a killer queen)

Perfume came naturally from Paris (naturally)
For cars she couldn`t care less
Fastidious and precise

She`s a killer queen
gunpowder gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Drop of a hat she`s as willing as
playful as a pussy cat
Then momentarily out of action
Temporarily out of gas
To absolutely drive you wild, wild...
She`s all out to get you

She`s a killer queen
gunpowder gelatine
Dynamite with a laser beam
Guaranteed to blow your mind
Anytime

Recommended at the price
Insatiable an appetite wanna try?

Wanna try?

[schnirchel]

Noch zwei markante Interpreten mit Mut zur Lücke:
Der gute alte Paul Kuhn und SEAL.
Wer hätte das gedacht.
Lohnt sich dazu eine Studie?
Hatte nicht der Frontmann der Equals auch so ein Gap?

Don`t forget to dance!
Haste den Text dazu,Butte?

[schnirchel]

Habs schon:

Don’t Forget to Dance



You look out of your window,
Into the night.
Could be rain, could be snow,
But it can’t feel as cold as you’re feeling inside.

And all of you friends are either married, vanished,
Or just left alone.
But that’s no reason to just stop living.
That’s no excuse to just give in to a sad and lonely heart.

Don’t forget to dance, no, no, no,
Don’t forget to smile.
Don’t forget to dance, no, no, no,
Forget it for a while.

’cause darling, darling,
I bet you danced a good one in your time.
And if this were a party
I’d really make sure the next one would be mine.
Yes, you with the broken heart.

Don’t forget to dance, no, no, no,
Don’t forget to smile.
Don’t forget to dance, no, no, no,
Forget it for a while.

Don’t forget to dance, no, no, no,
Forget it for a while.

You walk down the street
And all the young punks whistle at you.
A nice bit of old,
Just goes to show what you can achieve
With the right attitude.
As you pass them by
They whisper their remarks one to another,
And you give them the eye
Even that you know that you could be their mother.
You do the thing you love the most.
What separates you from the rest,
And what you love to do the most?
And when they ask me how you dance,
I say that you dance real close.

Don’t forget to dance, no, no, no,
Don’t forget to dance.

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

[CockneyRebel]

.
Hi Schnirchel,

das mag ich auch gern!



.

[fixbutte]

Doch Schnirchel das hatten wir schon
#63 Missys Lieblingslied von den Kinks - da hatten wir auch schon das Thema Zahnlücke #66
(hast Du übrigens gut beobachtet mit Paul Kuhn und Seal )

Andererseits - das ist wirklich herzergreifend, das kann man ruhig mehrfach bringen

Hier ein Alternativcover mit Ray Davies in seiner Rolle als Eintänzer



David Lee Roth - Just A Gigolo

I’m just a gigolo
And everywhere I go
People know the part I’m playin`
I pay for every dance
Sellin` each romance
Ooh, what they’re sayin`
There will come a day
When youth will pass away
What’ll they say about me?
When the end comes I know
I was just a gigolo
And life goes on without me

‘cause
I ain’t got nobody
Nobody cares for me
Nobody, nobody cares for me
I’m so sad and lonely
Sad and lonely, sad and lonely
Won’t some sweet mama
Come and take a chance with me
‘Cause I ain’t so bad
You know baby it’s so lonesome all of the time
Even on the beat, only only on the beat
Bozdee bozdee bop didy bop

I ain’t got nobody
Nobody cares for me
Nobody nobody

Humma la beeba la seeba la booba la
Humma la beeba la seeba la bop

Lonesome baby, lonesome all of the time
Even on the beat, Johnny, Johnny on the beat
Get low so, daddy, mama
Sonny said he’s got nobody no ooh no...
Say now

Nobody, nobody
Nobody cares for me

Der Text erinnert mich irgendwie an Dandy (#29) "... two girls are too many, three`s a crowd and four you`re dead "

[CockneyRebel]

.
Noch ein Nachtrag... "Don`t forget to dance...



.

[schnirchel]

@FButte
Knirsch,knirsch, dachte ich`s mir doch.
Wie ich jetzt gerade nochmal die charts der 64iger näher anschaue gab es da auch so einen Exzentriker namens P.J.Proby. Ich meine, er hattte so einen Zopf und war immer schnieke gekleidet.
Nur an seine Musik kann ich mich nicht mehr erinnern.
Jedenfalls war er Zeigenosse der Kinks.

[schnirchel]

Ein Königreich für ein "t"

[fixbutte]

P.J. Proby - von dem kenn ich auch nur wenig, auch wenn er in England wohl ein ganz Großer war

Although American-born Pop & Rock singer P.J. Proby recorded wild rockabilly under the name of Jett Powers, his given name was Marcus Roberts and it wasn`t until the 1960s that he changed it to P.J. Proby. Proby enjoyed little success in the US except as a songwriter (Aretha Frankin recorded his "Niki Hoke"), but he did hit big in the UK. Under the direction of producer Jack Good, he had many Top Ten singles. Tracks include "Lonely Weekends", "Lonely Teardrops", & "Let the Water Run Down." At times Proby`s vocals have a "Soul" edge and the Elvis influence can be heard in Proby`s impassioned vocals.

[fixbutte]

Eigentlich erstaunlich, dass in dem Artikel in #159 als von den Kinks beeinflusste Popgrößen nicht auch die Pretenders erwähnt sind. Die hatten sogar zwei Hits mit Titeln von Ray Davies. Sängerin Chrissie Hynde war außerdem eine Zeitlang mit Ray liiert. Nicht ohne Folgen, aus dieser Beziehung gibt es eine Tochter (1983 geboren, also nicht Eva aus #159 )



After years of knocking around Ohio and England, writing record reviews and hanging with the Sex Pistols, Chrissie Hynde put together a band as tough as her attitude. The Pretenders` debut [The Pretenders (1980)] is filled with no-nonsense New Wave rock such as "Mystery Achievement" -- plus a cover of "Stop Your Sobbing," by the Kinks` Ray Davies (three years later, the father of Hynde`s child). The biggest hit was "Brass in Pocket," a song of ambition and seduction. Hynde, however, wasn`t so sure about the song`s success. "I was embarrassed by it," she remembered. "I hated it so much that if I was in Woolworth`s and they started playing it, I`d have to run out of the store."

[fixbutte]

The very first single from the Pretenders was a cover of a song from the Kinks` eponymous debut album. Strangely, it wasn`t the big hit that many expected, it entered at it`s peak of number 34



Stop Your Sobbing

It is time for you to stop all of your sobbing
Yes it`s time for you to stop all of your sobbing
There`s one thing that you gotta do
To make me still want you

Gotta stop sobbing now
Yeah, stop it, stop it
Gotta stop sobbing now

It is time for you to laugh instead of crying
Yes it`s time for you to laugh so keep on trying
There`s one thing that you gotta do
To make me still want you

Gotta stop sobbing now
Yeah, stop it, stop it
Gotta stop sobbing now

Each little tear that falls from your eye
Makes, makes-a me want
To take you in my arms and tell you to stop all your sobbing

Yes it`s time for you to stop all of your sobbing
Yes it`s time for you to stop all of your sobbing
There`s one thing that you gotta do
To make me still want you

Gotta stop sobbing now
Yeah, stop it, stop it
Gotta stop sobbing now
Stop it, stop it
Gotta stop sobbing now
Sobbin` sobbin` sobbing

[fixbutte]

Fortsetzung der Kinks Singles Chronologie aus #157

Single No. 8 war musikalisch extrem einflussreich. Die Kinks waren die ersten, die indische Einflüsse in ihre Musik einbauten, wobei der langgezogene gleichförmige Klang ("Drone") einer Sitar mit Gitarren Feedback erzeugt wurde. Sie beeinflussten damit direkt die Beatles, die Rolling Stones und die Who :O

Pete Townshend: "See My Friends" was the next time I pricked up my ears and thought, "God, he`s done it again. He`s invented something new." That was the first reasonable use of the drone - far, far better than anything the Beatles did and far, far earlier. It was a European Sound rather than an Eastern sound but with a strong legitimate Eastern influence which had its roots in European folk music. On our first album there`s a couple of songs that were directly influenced by that song.

Textlich betrat der Song ebenfalls Neuland. "Friend" war in den 1960er Jahren auch der Ausdruck für einen gleichgeschlechtlichen Partner. Auf vielen Plattencovern wird der Titel auch nur in der Einzahl verwendet See My Friend, gesungen wird beides. Ray Davies weist solche Deutungen heute nicht zurück, auch wenn er das Stück nicht bewusst in diesem Sinne geschrieben haben will. Zu seiner Frau Rasa (er hatte schon mit 20 Jahren geheiratet) hat er damals wohl mal gesagt: "If it wasn`t for you, I`d be queer" (schreibt Jon Savage in seiner offiziellen Kinks Biograpie). Das breite Publikum dürfte den Text aber wie auch Bruder Dave einfach als Ausdruck des Verlustes und der Sehnsucht verstanden haben.



See My Friends

See my friends,
See my friends,
Layin` `cross the river,

See my friends,
See my friends,
Layin` `cross the river,

She is gone,
She is gone and now there`s no one left
`Cept my friends,
Layin` `cross the river,

She just went,
She just went,
Went across the river.

Now she`s gone,
Now she`s gone,
Wish that I`d gone with her.

She is gone,
She is gone and now there`s no one left
`Cept my friends,
Layin` `cross the river,

She is gone and now there`s no one else to take her place
She is gone and now there`s no one else to love
`Cept my friends,
Layin` `cross the river,

See my friends,
See my friends,
Layin` `cross the river,

See my friends,
See my friends,
Layin` `cross the river,

[DOLCETTO]

servus

vom gestrigen konzert der "String Cheese Incident" hat sich
in mein brain ein evergreen eingebrannt:

>>speziellen gruß an Missy

The Mighty Quinn

Ev`ryhody`s building the big ships and the boats
Some are building monuments other jotting down notes
Ev`rybody`s in despair
ev`ry girl and boy
But when Quinn the Eskimo gets here

Ev`rybody`s gonna jump for joy

Come all without
come all within
You`ll not see nothing like the mighty Quinn
Come all without
come all within
You`ll not see nothing like the mighty Quinn

.......

[fixbutte]

Hi Dolce hat "string cheese" was mit Käsefondue zu tun


See My Friend(s) kam übrigens im Juli 1965 raus und erreichte in England knapp die Top Ten (in USA kam es nicht mal unter die ersten 100).


NME review from Jul 30, 1965

Die Beatles, d.h. George Harrison, verwendeten zum ersten Mal die Sitar auf Norwegian Wood von der im Dezember 1965 erschienenen LP Rubber Soul, gleichzeitig das erste Stück, auf dem der Text wichtiger war als die Musik



The Beatles - Norwegian Wood

I once had a girl,
or should I say,
she once had me.
She showed me her room,
isn’t it good,
norwegian wood?
She asked me to stay
and she told me to sit
anywhere.
So I looked around
and I noticed there
wasn’t a chair.
I sat on a rug,
biding my time,
drinking her wine.
We talked until two
and then she said,
"it’s time for bed".
She told me
she worked in the morning
and started to laugh.
I told her I didn’t
and crawled off
to sleep in the bath.
And when I awoke
I was alone,
this bird had flown.
So I lit a fire,
isn’t it good,
norwegian wood.

[DOLCETTO]

nöö, fixbutte

ist aber gar kein schlechter ansatz, denn die diversen stil-richtungen
der crossover-burschen aus Colorado geben ein bild von
muzak-fäden, die aus einem großen topf gezogen werden

schau mal in hawkie`s HardRockCafe, da wirste geholfen,

ciao

[fixbutte]

Im Mai 1966 kam dann auch Brian Jones mit der Sitar



Der Song hat auch mit die interessantesten Lyrics (über einen Todesfall), die Mick Jagger je geschrieben hat

The Rolling Stones - Paint It, Black

I see a red door and I want it painted black
No colors anymore I want them to turn black
I see the girls walk by dressed in their summer clothes
I have to turn my head until my darkness goes
I see a line of cars and they’re all painted black
With flowers and my love both never to come back
I see people turn their heads and quickly look away
Like a new born baby it just happens ev’ry day
I look inside myself and see my heart is black
I see my red door and it has been painted black
Maybe then I’ll fade away and not have to face the facts
It’s not easy facin’ up when your whole world is black

No more will my green sea go turn a deeper blue
I could not foresee this thing happening to you
If I look hard enough into the settin’ sun
My love will laugh with me before the mornin’ comes

I see a red door and I want it painted black
No colors anymore I want them to turn black
I see the girls walk by dressed in their summer clothes
I have to turn my head until my darkness goes
Hmm, hmm, hmm,...
I wanna see it painted, painted black
Black as night, black as coal
I wanna see the sun blotted out from the sky
I wanna see it painted, painted, painted, painted black
Yeah!

[fixbutte]

Dolcetto #179
Vielleicht doch Käsefondue "Am Anfang ihrer Karriere spielten diverse Mitglieder der Band für Touristen, die auf die Ski-Lifts warteten, um so ihre eigenen Lift-Tickets zu finanzieren. In kürzester Zeit wurde die Gruppe zur Attraktion von Après-Ski-Parties und zu einem
Full-time-Act."

[CockneyRebel]

.
Vielleicht trügt meine Erinnerung, aber hatte George Harrison das Sitar-Spielen nicht bei einem Indianer namens Ravioli Schanker gelernt?
.

[wolaufensie]

...aber den indischen Gartenzaun führte er gut ein, und brachte ihn schön rüber...

http://www50.homepage.villanova.edu/michaela.driscoll/jan23/…

[CockneyRebel]

.
Der wurde dadurch auch in Europa sehr beliebt, besonders wenn er aus norwegischem Holz gefertigt war!



.

[CockneyRebel]

.
Impressionen einer Ära... Schanker unterrichtet Harrison im Sitar-Spiel...



.

[wolaufensie]

...und weil sein Musikunterricht straff und konsequent
geführt wird, heisst er auch : "der harte Schanker"....

[MissB.Hagen]

Hi Schnirchel
"Don`t Forget To Dance" von den Kinks - da haben wir wohl den selben Geschmack.

Schön, dass du P. J. Proby erwähnt hast. Ich habe ihn mal live gesehen, piratenmässig gekleidet mit weissem Rüschenhemd und schwarzer Hose + Overknee-Stiefeln, dazu sein Zopf - einfach gut. Als er "I Put A Spell On You" sang, bin ich "hinweggeschmolzen".

Er singt meines Wissens nach nur Coverversionen, Elvis, Beatles etc. und auch Musical Evergreens - aber zum Gänsehautkriegen gut.

Ich meine mal gehört zu haben, dass sich aus seiner ersten Begleitband später Led Zeppelin formierte. Bin mir aber nicht sicher, ob ich da nicht was verwechsle, mein Personen- und Namensgedächtnis ist eher schlecht.

[wolaufensie]

http://www.proby.co.uk/jp/Boom_mp3.mp3

http://www.proby.co.uk/pjpinterview.mp3
....
http://www.proby.co.uk/images/adamfaithb.jpg
.....es scheint ihm noch ganz gut zu gehen...

[fixbutte]

Cockney

grundsätzlich hast Du ja recht mit Ravioli Schanker bzw. Ravi Shankar. Aber die Sitar Stunden hat George Harrison erst 1966 in Bombay genommen http://www.mcbeatle.de/beatles/news/960516_2.html

Nach meinem schlauen Buch (Revolution In The Head von Ian MacDonald) wurde Musik von Ravi Shankar im Soundtrack von Help! (1965) verwendet, die das Interesse von George weckte. Die Umsetzung auf der 12seitigen Gitarre wurde George und John Lennon schließlich von Roger McGuinn und vor allem von David Crosby, damals noch bei den gerade sehr erfolgreichen Byrds, bei einem Treffen im August 1965 gezeigt.


David Crosby links, Roger (Jim) MGuinn rechts mit den Byrds, ca. 1965


David Crosby, 2004 (nach einer Lebertransplantation)

[fixbutte]

Ich glaube, es ist noch immer nicht allgemein bekannt, dass die momentan ungemein erfolgreiche Norah Jones eine Tochter von Ravi Shankar ist (nach dem vorhin geposteten Artikel müsste der inzwischen 84 Jahre alt sein :O)



Sie hat eine ebenfalls musikalisch außerordentlich begabte (Halb-)Schwester, die sich wie ihr Vater auf das Sitarspiel verlegt hat.



Norah Jones and Anoushka Shankar

[MissB.Hagen]

Heute versammeln sich hier wohl wieder Patienten und gereiftere Herren
Fehlt nur noch, dass ihr eine Computersimulation auftreibt, wie Jim Morrison heute aussehen würde

[wolaufensie]

...........
http://www.csd.uwo.ca/gradstudents/nic/audio/Ravi_Shankar_Ta…

[MissB.Hagen]

While My Guitar Gently Weeps
George Harrison, Jeff Healey, Robben Ford

I look at you all
See the love there that`s sleeping
While my guitar gently weeps
I look at the floor and I see it needs sweeping
Still my guitar gently weeps
I don`t know why nobody told you
How to unfold your love
I don`t know how someone controlled you
They bought and sold you

I look at the world and I notice it`s turning
While my guitar gently weeps
With every mistake we must surely be learning
Still my guitar gently weeps
I don`t know how you were diverted
You were perverted too
I don`t know how you were inverted
No one alerted you
I look at you all see the love there that`s sleeping
While my guitar gently weeps

Look at you all...
Still my guitar gently weeps.

[CockneyRebel]

Oh Missy, "While My Guitar..." - das geht mir jetzt nicht mehr aus dem Kopf!

[schnirchel]

Cockney, du bist ein Knaller!
Hatte nicht Erich das Solo gespielt?

@Fixbutte
Bevor der Kinksthread sich weiter verwässert, mach doch nen neuen auf. Es besteht augenscheinlich ein allgemeines Austauschbedürfnis oder sind wir nur unverbesserliche Nostalgiker?
Ich denke , nein.
Die golden 60iger der Popmusik o.ä. Ich finde die Resonanz sehr erfreulich.

Zu Roger McGuinn:
Durch ihn bin ich zu meiner ersten 12-string Klampfe gekommen. Leider habe ich ihn nie auch nur annähernd imitieren können.
Ja, die Byrds, I`LL FEEL A WHOLE LOT BETTER ... when you gone! Das Ding ist so gut das auch Tom Petty ihn nachspielte.
I`LL FEEL A WHOLE LOT BETTER

the reason why though I can say
I had to let you go babe and right away
after what you did, I can`t stay on
and I`ll probably feel a whole lot better
when you`re gone

baby for a long time you had me believe
that your love was all mine and that`s the way it would be
but I didn`t know that you were puttin` on me
and I`ll probably feel a whole lot better
when you`re gone, love, when you`re gone

now I`ve got to say that it`s not like before
and I`m not gonna play your games anymore
after what you did I can`t stay on
and I`ll probably feel a whole lot better
off when you`re gone, off when you`re gone,
off when you`re gone

[fixbutte]

Schnirchel
Das war schon meine Absicht, das wir hier gelegentlich etwas musikalisch abschweifen, damit sich auch die, die keine Hard Core Kinks Fans sind, zuhause fühlen

Und I Feel A Whole Lot Better von den Byrds klasse Den Song wollte ich immer schon mal in Iguanas Love Lyrics Thread posten, es kam aber irgendwie nie dazu

Bei While My Guitar Gently Weeps hat wirklich Erich Clappstuhl seine Gibson Les Paul bearbeitet Weitere Lead Gitarre übrigens John Lennon George Harrison an der Hammond Orgel und akustischen Gitarre, und natürlich Gesang und Komposition.

Dafür durfte George auf dem schönen Abschiedsstück der Cream die Lead Gitarre spielen

Cream - Badge
By Eric Clapton and George Harrison

Thinkin’ ’bout the times you drove in my car.
Thinkin’ that I might have drove you too far.
And I’m thinkin’ ’bout the love that you laid on my table.

I told you not to wander ’round in the dark.
I told you ’bout the swans, that they live in the park.
Then I told you ’bout our kid, now he’s married to Mabel.

Yes, I told you that the light goes up and down.
Don’t you notice how the wheel goes ’round?
And you better pick yourself up from the ground
Before they bring the curtain down,
Yes, before they bring the curtain down.

Talkin’ ’bout a girl that looks quite like you.
She didn’t have the time to wait in the queue.
She cried away her life since she fell off the cradle.

[DOLCETTO]

servus,

bei den von euch angesprochenen genialen protagonisten, jumpt mir
ne phette vision ins brain:
>>R.Davies als neues familienmitglied bei den verbliebenen
3 brüdern der
Traveling Wilburys
Last Night

She was there at the bar, she heard my guitar
She was long and tall, she was the queen of them all
Last night, thinking about last night
Last night, thinking about last night

She was dark and discreet, she was light on her feet
We went up to her room and she lowered the boom
Last night, thinking about last night
Last night, thinking about last night

Down below they danced and sang in the street
While up above the walls were steaming with heat
Last night, thinking about last night
Last night, thinking about last night

I was feeling no pain, feeling good in my brain
I looked in her eyes, they were full of surprise
Last night, talking about last night
Last night, talking about last night

I asked her to marry me she smiled and pulled out a knife
The party`s just beginning she said,

[fixbutte]

Fortsetzung der Kinks Single Chronologie aus #176

@Cockney entgegen meiner Planung werden wir Single No. 15 Waterloo Sunset wohl etwas vorziehen müssen Ich hoffe, Du stehst parat

Aber zunächst einmal kommt Single No. 9 (Nov 1965)



Till The End Of The Day

Baby, I feel good
From the moment I arise
Feel good from morning
Till the end of the day
Till the end of the day

Yeah, you and me
We live this life
From when we get up
Till we go sleep at night
You and me were free
We do as we please, yeah
From morning, till the end of the day
Till the end of the day

Yeah, I get up
And I see the sun up
And I feel good, yeah
`Cause my life has begun
You and me were free
We do as we please, yeah
From morning, till the end of the day
Till the end of the day

You and me were free
We do as we please, yeah
From morning, till the end of the day
Till the end of the day
Till the end of the day
Till the end of the day
Till the end of the day
Till the end of the day



Auf der Rückseite war das eher noch bessere Where Have All The Good Times Gone?, das wir schon in #45 hatten. Die Single lief wieder besser als die vorherige (Platz 8 in den UK Charts, in USA Platz 50). Erstaunlicherweise hatte Ray Davies vorher noch gedacht, er könne nicht mehr schreiben. Der Songwriter Mort Schuman empfahl ihm aber, erst einmal ein paar Akkorde zu suchen und den Song drum herum zu schreiben. Das klappte dann besser als erwartet

Ray Davies: I think "Till The End Of The Day" is one of my best songs. I love playing it. We`ve reverted the old way of playing it; we`ve changed the arrangement and made it sort of ska. I probably felt a bit imprisoned when I was writing it; it was a bid for freedom. The ideas were as sexually possessive as those of "All Day And All Of The Night", but in the song there`s a unity between the two people. It`s a song about wanting to be free and being in control of the situation - that`s all I wanted to say. It doesn`t say that we were going to do anything when we get through. It`s just about wanting to attain the state."


Die Single kam gleichzeitig mit der ebenfalls sehr starken dritten Kinks LP The Kink Kontroversy heraus

[fixbutte]

Dann noch eine Vorlage für Dich Cockney

vom Kinks Album The Kink Kontroversy, 1965

I`m On An Island

I`m on an island
And I`ve got no where to swim
Oh what a mood I am in
I`m on an island

I`m on an island
Since my girl left me behind
She said that I`m not her kind
I`m on an island

But there is no where else on earth I`d rather be
Then if my long lost little girl was here with me

I`m on an island
And I`ve got no where to run
Because I`m the only one
Who`s on the island

But there is no where else on earth I`d rather be
Then if my long lost little girl was here with me

I`m on an island
And I`ve got no where to run
Because I`m the only one
Who`s on this island

I`m on an island
I`m on an island


vom Simon & Garfunkel Album Sounds of Silence, 1966



Simon & Garfunkel - I Am a Rock

A winter`s day
In a deep and dark December;
I am alone,
Gazing from my window to the streets below
On a freshly fallen silent shroud of snow.
I am a rock,
I am an island.

I`ve built walls,
A fortress deep and mighty,
That none may penetrate.
I have no need of friendship; friendship causes pain.
It`s laughter and it`s loving I disdain.
I am a rock,
I am an island.

Don`t talk of love,
But I`ve heard the words before;
It`s sleeping in my memory.
I won`t disturb the slumber of feelings that have died.
If I never loved I never would have cried.
I am a rock,
I am an island.

I have my books
And my poetry to protect me;
I am shielded in my armor,
Hiding in my room, safe within my womb.
I touch no one and no one touches me.
I am a rock,
I am an island.

And a rock feels no pain;
And an island never cries.


Paul Simon hat I Am A Rock allerdings schon früher geschrieben und 1965 in England auf dem Soloalbum The Paul Simon Songbook, das gerade in diesen Tagen erstmals auf CD erscheint, eingespielt



Early Simon LP Gets First U.S. Release

An album Paul Simon recorded in 1965 that has never seen the light of day in America will get its first official release here this spring. "The Paul Simon Songbook," previously only available as an import and long out-of-print even in that form, is due March 23 via Columbia/Legacy. The original 12-track album was recorded in the wake of the lukewarm response afforded Simon & Garfunkel`s 1964 debut, "Wednesday Morning 3 A.M." Simon moved to London, building an audience while honing his material at coffeehouse performances. Entering the studio in June 1965 with producers Stanley West and Reginald Warburton, he offered solo acoustic takes on such future staples as "I Am a Rock," "April Come She Will" and "The Sounds of Silence."

Nicht auszuschließen, dass Ray Davies den thematisch verwandten Song von Paul Simon damals schon (live?) gehört hatte.

[CockneyRebel]

.
Und schon die 200...

Herzlichen Glückwunsch, fixbutte!


Du hast bereits jetzt schon so viel Material über die Jungs zusammengestellt, dass man das als publikationswürdige Kinks-Anthologie am liebsten gleich auf den Drucker senden möchte - aber ich bin sicher, Du hast noch so viel Material (und es kommen noch so viele spannende andere Beiträge), dass ich die #999 in ein paar Wochen noch abwarte...






WATERLOO SUNSET


Dirty old river, must you keep rolling
Flowing into the night
People so busy, makes me feel dizzy
Taxi light shines so bright
But I don’t need no friends
As long as I gaze on waterloo sunset
I am in paradise

Every day I look at the world from my window
But chilly, chilly is the evening time
Waterloo sunset’s fine

Terry meets julie, waterloo station
Every friday night
But I am so lazy, don’t want to wander
I stay at home at night
But I don’t feel afraid
As long as I gaze on waterloo sunset
I am in paradise

Every day I look at the world from my window
But chilly, chilly is the evening time
Waterloo sunset’s fine

Millions of people swarming like flies ’round waterloo underground
But terry and julie cross over the river
Where they feel safe and sound
And the don’t need no friends
As long as they gaze on waterloo sunset
They are in paradise

Waterloo sunset’s fine




.

[fixbutte]

Danke Cockney für die #200

Der amerikanische Musikjournalist Robert Christgau ("Dean of American Rock Critics"), der die späten Kinks eher niedermachte bzw. ignorierrte, nannte Waterloo Sunset "the most beautiful song in the English language"

http://www.robertchristgau.com/get_artist.php?name=The+Kinks

Ich werde bei passender Gelegenheit noch darauf zurückkommen

[schnirchel]

Noch mal zu den Byrds:
Dave Crosby stieß später zu der fantastischen Gruppe um Stephen Stills (Crosby,Stills,Nash und Young), wenn man will ein Vorläufer der Travelling Wilburys.Was die geiles an Musik gebracht haben,wow!!!!

Teach Your Children

You who are on the road
Must have a code that you can live by,
And so, become yourself
Because the past is just a goodbye
Teach your children well
Their father`s hell did slowly go by,
And feed them on your dreams -
The one they pick`s the one you`ll know by.

Don`t you ever ask them why.
If they told you, you will cry
So just look at them and sigh
and know they love you.

And you of the tender years
Can`t know the fears that your elders grew by.
And so please help them with your youth
They seek the truth before they can die.

Teach your parents well.
Their children`s hell will slowly go by.
And feed them on your dreams -
The one they pick`s the one you`ll know by.

Don`t you ever ask them why.
If they told you, you will cry
So just look at them and sigh
and know they love you.




Auf jeden Fall muß auch Jeff Lynne genannt werden, der nicht allein wegen ELO, sondern wegen seiner musikalischen Umtriebigkeit als einer der innovationsfreudigsten Musiker gilt.
CU all

[CockneyRebel]

.
schnirchel,

fantastisch - Teach Your Children

Ich habe jetzt endlich die wunderbare




War bisher immer zu geizig (sind immer noch schweineteuer, die CDs von CSNY), aber als Geschenk hab` ich sie gern genommen!

Ach, es treffen sich doch immer Leute mit Parallelen hier! Ich habe mir auch als Schüler damals `ne 12saitige Gitarre gekauft wegen des satten Klangs... eine Yamaha, mein Freund hatte eine von Ibanez - und dann konnte`s losgehen mit den wilden Sessions am Baggersee...
.

[Schinderluder]

Mannmannmann...ich hab fast alles. Was iss´n das für ein Thread!

Und wer kennt Jeff Healey?! "see the Light"?

[Schinderluder]

[schnirchel]

Aus meiner Historie:
Ich war mal bei einem Konzert der Hollies Ende der 70iger.Da stellt sich doch der Graham Nash nach dem ersten Lied vor das Publikum und verlangt das während der Darbietung das Klatschen und Schreien doch unterlassen werden soll.
Das Publikum ist baff.
Es wurde ein Superkonzert. A capella-Gesang vom Feinsten.
Das war wirklich unplugged pur. (Den Begriff gab es damals noch nicht). Was der Tony Hicks auf seiner Akkustikfidel rüberbrachte wäre eines Eric Claptons würdig gewesen.


Das mal nur so am Rande bemerkt. Healy sagt mir im Moment nichts, muß den Song schon mal hören.

[schnirchel]

Zu Traveling Wilburys: ein bitterböser Song von Altmeister Bob Diolen


Congratulations
Congratulations for breaking my heart
Congratulations for tearing it all apart
Congratulations you finally did succeed
Congratulations for leaving me in need

This morning I looked out my window and found
A bluebird singing but there was no one around
At night I lay alone in my bed
With an image of you goin` around in my head

Congratulations for bringing me down
Congratulations now I`m sorrow bound
Congratulations you got a good deal
Congratulations how good you must feel

I guess that I must have loved you more than I ever knew
My would is empty now cause it don`t have you
And if I had just one more chance to wind your heart again
I would do things differently but what`s the use to pretend

Congratulations for making me wait
Congratulations now it`s too late
Congratulations you came out on top
Congratulations you never did know when to stop

[fixbutte]

Fortsetzung der Kinks Single Chronologie aus #198

Single No. 10 war ein richtiger Hammer. Musikalisch durch Rückgriffe auf traditionelle Music Hall Elemente enorm einflussreich auf die gesamte englische Popmusik einschließlich die Beatles, textlich eine bittere Satire auf die Carnaby Street Szene, der die Kinks natürlich selbst angehörten. In England war diese Nummer der größte Hit der Kinks seit längerem (Platz 2), in Deutschland der große Durchbruch (Platz 11 der offiziellen Hitparade). B-Seite war der schon in #1 vorgestellte Song Sittin` On My Sofa.


Zeichnung von Ray Davies himself

The Kinks - Dedicated Follower of Fashion
R.D. Davies (1966)

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

They seek him here, they seek him there,
His clothes are loud, but never square.
It will make or break him so he`s got to buy the best,
`Cause he`s a dedicated follower of fashion.

And when he does his little rounds,
`Round the boutiques of London Town,
Eagerly pursuing all the latest fads and trends,
`Cause he`s a dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).
He thinks he is a flower to be looked at,
And when he pulls his frilly nylon panties right up tight,
He feels a dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).
There`s one thing that he loves and that is flattery.
One week he`s in polka-dots, the next week he is in stripes.
`Cause he`s a dedicated follower of fashion.

They seek him here, they seek him there,
In Regent Street and Leicester Square.
Everywhere the Carnabetian army marches on,
Each one a dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).
His world is built `round discoteques and parties.
This pleasure-seeking individual always looks his best
`Cause he`s a dedicated follower of fashion.

Oh yes he is (oh yes he is), oh yes he is (oh yes he is).
He flits from shop to shop just like a butterfly.
In matters of the cloth he is as fickle as can be,
`Cause he`s a dedicated follower of fashion.

[fixbutte]

Nie waren sie mehr auf der Höhe der Zeit

Die Kinks als Dedicated Followers Of Fashion



und ihre Zeitgenossen


Pink Floyd Mark I (mit Syd Barrett, vorn)


Jimi Hendrix Experience


The Who (die Idole aller Mods)

[fixbutte]

Auch dieser Song, besonders aber die Zeile and when he pulls his frilly nylon panties right up tight ... fachte die Diskussion darüber an, ob die Kinks eventuell camp / queer / gay seien. Auszug aus einem späteren Interview



...
Scene 4

Warwick Bar. Ray`s getting ready to catch a movie and it seems appropriate that the movie is One Flew Over the Cuckoo`s Nest. In the meantime, he`s acting a little giddy.
RAY: " I`m not a great drinker. That`s why I get drunk. One drink and I get tipsy. I like pubs but that`s only because I like the people who go to pubs. But I`m really professional. I work 24 hours a day. That`s why sometimes I like to say, `I`m doing nothing tonight, I`ll be a zombie. ` I`ll read a book, watch a film." He leaves the table to telephone some-one named Yvonne. It seems appropriate to finally ask him the Question. Ray has said that he likes short women with long legs but he has also declared that his " ideal date" would be Charlton Heston.
INTERVIEWER: "Ray … are you … gay?"
RAY (laughs, then quite seriously): " It`s like my agent said to me after we put out a song called `Dedicated Follower of Fashion` in 1966. My agent came up to me and said, `Ray - are you queer?` I didn`t know I was writing that sort of song. I don`t mind gay people, people who aren`t gay, people who are unhappy, people who are happy - they can all come to our shows. Don`t have to be one type of person to like our band. We even have animal lovers coming."
INTERVIEWER: "But with `Lola` and the limp wrist, and that stage routine - `Isn`t this just the greatest ass you`ve ever seen?` - weren`t you encouraging that image?"
RAY: "Well, it`s had a hard time lately, it`s not at its best, but it`s still a pretty good ass, pretty good ass. Haven`t had much chance to keep it in shape."
INTERVIEWER: "But your persona …"
RAY: "I don`t think it`s necessarily gay. I think on certain occasions, the character may be so in love with himself that he gives that appearance to an outsider. Conceit really. It`s just … ."
INTERVIEWER: "Just?"
RAY: " … my wrist is loose. `Stay loose,` as they say."
--------------------------------------------------------------------------------
Greg Mitchell, Crawdaddy, 1975

[schnirchel]

Da wir gerade beim Thema (The Who)waren/sind:
Substitute

You think we look pretty good together
You think my shoes are made of leather
But I`m a substitute for another guy
I look pretty tall but my heels are high
The simple things you see are all complicated
Look pretty young but I`m just back-dated...yeah

(Substitute) Your lies for fact
(Substitute) I see right through your plastic mac
(Substitute) I look all white but my dad was black
(Substitute) My fine-looking suit`s really made out of sack

I was born with a plastic spoon in my mouth
The north side of my town faced east and the east was facin` south
And now you dare to look me in the eye
Those crocodile tears are what you cry
It`s a genuine problem, you won`t try
To work it out at all, just pass it by...pass it by

(Substitute) Me for him
(Substitute) My coke for gin
(Substitute) You for my mum
At least I`ll get my washin` done

I`m a substitute for another guy
I look pretty tall but my heels are high
The simple things you see are all complicated
I look pretty young but I`m just back-dated...yeah

I was born with a plastic spoon in my mouth
The north side of my town faced east and the east was facin` south
And now you dare to look me in the eye
Those crocodile tears are what you cry
It`s a genuine problem, you won`t try
To work it out at all, just pass it by...pass it by

(Substitute) Me for him
(Substitute) My coke for gin
(Substitute) You for my mum
At least I`ll get my washin` done
(Substitute) Your lies for fact
I see right through your plastic mac
(Substitute) I look all white but my dad was black
(Substitute) My fine-lookin` suit`s really made out of sack

[fixbutte]

Schnirchel
Substitute von The Who ein genialer Text
Allein schon die Zeile I was born with a plastic spoon in my mouth

Und bei den Hollies meinst Du in #206 wirklich Ende der 70er Jahre mit Graham Nash oder war das eine vorübergehende Reunion

Graham Nash hat meines Wissens die Hollies schon 1968 verlassen, auch weil dieser Titel nichts geworden ist und die anderen Bandmitglieder ihm zu kommerzielle Sachen machen wollten



King Midas In Reverse

If you could only see me
I know exactly where I am
You wouldn`t want to be me
Oh, I can assure you of that

I`m not the guy to run with
`cause I`ll throw you off the line
I`ll break you and destroy you
Given time

He`s King Midas with a curse
He`s King Midas in reverse
He`s King Midas with a curse
He`s King Midas in reverse

It`s plain to see it`s hopeless
Going on the way we are
So even though I`d lose you
You`d be better off by far

He`s not the man to hold your trust
Everything he touches turns to dust
In his hands
Nothing he can do is right
He`d even like to sleep at night
But he can`t

All he touches turns to dust

All he touches turns to dust

All he touches turns to dust

All he touches turns to dust

I wish someone would find me
And help me gain control
Before I lose my reason
And my soul

He`s King Midas with a curse
He`s King Midas in reverse
He`s King Midas with a curse
He`s King Midas in reverse

[fixbutte]

Jimi Hendrix - Purple Haze

Purple Haze was in my brain,
lately things don`t seem the same,
actin` funny but I don`t know why
`scuse me while I kiss the sky.

Purple Haze all around,
don`t know if I`m coming up or down.
Am I happy or in misery?
Whatever it is, that girl put a spell on me.

Purple Haze was in my eyes,
don`t know if it`s day or night,
you`ve got me blowing, blowing my mind
is it tomorrow or just the end of time?

[fixbutte]

Hier noch einer für Missy auch wenn sie schon wieder offline ist



The Animals - We gotta get out of this place

In this dirty old part of the city
Where the sun refused to shine
People tell me there ain`t no use in tryin`

Now my girl you`re so young and pretty
And one thing I know is true
You`ll be dead before your time is due, I know

Watch my daddy in bed a-dyin`
Watched his hair been turnin` grey
He`s been workin` and slavin` his life away
Oh yes I know it

(Yeah!) He`s been workin` so hard
(Yeah!) I`ve been workin` too, baby
(Yeah!) Every night and day
(Yeah, yeah, yeah, yeah!)

We gotta get out of this place
If it`s the last thing we ever do
We gotta get out of this place
`cause girl, there`s a better life for me and you

Now my girl you`re so young and pretty
And one thing I know is true, yeah
You`ll be dead before your time is due, I know it

Watch my daddy in bed a-dyin`
Watched his hair been turnin` grey, yeah
He`s been workin` and slavin` his life away
I know he`s been workin` so hard

(Yeah!) I`ve been workin` too, baby
(Yeah!) Every day baby
(Yeah!) Whoa!
(Yeah, yeah, yeah, yeah!)

We gotta get out of this place
If it`s the last thing we ever do
We gotta get out of this place
Girl, there`s a better life for me and you
Somewhere baby, somehow I know it

We gotta get out of this place
If it`s the last thing we ever do
We gotta get out of this place
Girl, there`s a better life for me and you
Believe me baby
I know it baby
You know it too


"Etwas besseres als den Tod finden wir überall",
sagten die Bremer Stadtmusikanten.

[schnirchel]

Du hast recht,Fixbutte. Nash war nicht dabei, hat meine Frau gesagt.
Egal, die Hollies waren trotzdem gut.

[DOLCETTO]

moin

thx schnirchel für das "congratulations" aus der feder
des altmeisters R.Zimmermann

>hoffentlich funzt der plöde sörfer und lässt folgenden
song komplett durch<

Traveling Wilburys
Dirty World

He love your sexy body, he loves your dirty mind
He loves when you hold him when you grab him from behind
Oh baby, you`re such a pretty thing
I can`t wait to introduce you to the other members of my gang

You don`t need no wax job, you`re smooth enough for me
If you need you oil changed I`ll do it for you free
Oh baby, the pleasure would be all mine
If you let me drive your pickup truck and park it where the
sun don`t shine

Every time he touches you his hair stands up on end
His legs begin to quiver and his mind begins to bend
Oh baby, you`re such a tasty treat
But I`m under doctor`s orders, I`m afraid to overeat

He love your sense of humor, your disposition too
There`s absolutely nothing that he don`t love about you
Oh baby, I`m on my hands and knees
Life would be so simple if

[DOLCETTO]

dschulligung

ich hab echt konkrät null peil, wieso

da gehts weiter:

He love your sense of humor, your disposition too
There`s absolutely nothing that he don`t love about you
Oh baby, I`m on my hands and knees
Life would be so simple if I only had you to please

Oh baby, turn around and say goodbye
You go to the airport now and I`m going home to cry

He loves your...
Electric dumplings
Red bell peppers
Fuel injection
Service charge
Five-speed gearbox
Long indurance
Quest for junk food
Big refrigerator
Trembling wilbury
Marble earrings
Porky curtains
Power steering
Bottled water
Parts and services

Dirty world, a dirty world, it`s a dirty world

[fixbutte]

Dolce it`s a dirty world

noch mal zurück zu #214 We gotta get out of this place könnte eigentlich als Motto auch fast über jedem Kinks Song stehen

Mindestens einmal taucht die Zeile aber auch wörtlich in einem Song auf der von manchen Fans argwöhnisch gesehene Ausflug der Kinks in die Disco Music (Jan 1979)



(Wish I Could Fly Like) Superman

Woke up this morning, started to sneeze
I had a cigarette and a cup of tea
I looked in the mirror what did I see
A nine stone weakling with knobbly knees
I did my knees bend press ups touch my toes
I had another sneeze and I blew my nose
I looked in the mirror at my pigeon chest
I had to put on my clothes because it made me depressed
Surely there must be a way
For me to change the shape I`m in
Dissatisfied is what I am
I want to be a better man

Superman Superman wish I could fly like Superman
Superman Superman I want to be like Superman
I want to be like Superman
Superman Superman wish I could fly like Superman

Woke up this morning, what did I see
A big black cloud hanging over me
I switched on the radio and nearly dropped dead
The news was so bad that I fell out of bed
There was a gas strike, oil strike, lorry strike, bread strike
Got to be a Superman to survive
Gas bills, rent bills, tax bills, phone bills
I`m such a wreck but I`m staying alive

[Look in the paper, what do I see,
Robbery, violence, insanity.]

Hey girl we`ve got to get out of this place
There`s got to be something better than this
I need you, but I hate to see you this way
If I were Superman then we`d fly away
I`d really like to change the world
And save it from the mess it`s in
I`m too weak, I`m so thin
I`d like to fly but I can`t even swim

Superman Superman I want to fly like Superman
Superman Superman wish I could fly like Superman
Superman Superman wish I could fly like Superman
Superman Superman I want to be like Superman
Superman Superman I want to fly like Superman



Songs About Superman http://dontmindme.com/2gbu0420.html

"(Wish I Could Fly Like) Superman" by the Kinks: I`ve saved the best for last, and when I say best, I mean my personal favourite. This song is great. It`s upbeat, fun, musically very catchy, and lyrically it`s very clever. How can you not love lines like "I`d like to fly but I can`t even swim." If you aren`t familiar with this song, I feel bad for you. The song is just that Good.

[wolaufensie]

......
........http://www.maxklimoff.obeimi.ru/mp3/Laurie_Anderson_-_O_Supe…
O Superman. O judge. O Mom and Dad. Mom and Dad.
O Superman. O judge. O Mom and Dad. Mom and Dad.
Hi. I`m not home right now. But if you want to leave a
message, just start talking at the sound of the tone.
Hello? This is your Mother. Are you there? Are you
coming home?
Hello? Is anybody home? Well, you don`t know me,
but I know you.
And I`ve got a message to give to you.
Here come the planes.
So you better get ready. Ready to go. You can come
as you are, but pay as you go. Pay as you go.

And I said: OK. Who is this really? And the voice said:
This is the hand, the hand that takes. This is the
hand, the hand that takes.
This is the hand, the hand that takes.
Here come the planes.
They`re American planes. Made in America.
Smoking or non-smoking?
And the voice said: Neither snow nor rain nor gloom
of night shall stay these couriers from the swift
completion of their appointed rounds.

`Cause when love is gone, there`s always justice.
And when justive is gone, there`s always force.
And when force is gone, there`s always Mom. Hi Mom!

So hold me, Mom, in your long arms. So hold me,
Mom, in your long arms.
In your automatic arms. Your electronic arms.
In your arms.
So hold me, Mom, in your long arms.
Your petrochemical arms. Your military arms.
In your electronic arms.

......
Durch das Spielen des Liedes im Radio , gelangte es durch
Vorbestellung in die Top 10, ohne dass überhaupt eine
Platte davon existierte.....

[MissB.Hagen]

Dolcetto
We gotta get out of this place - daran habe ich gerade gestern denken müssen, an einem wunderbaren arbeitsfreien "sunny afternoon", den ich laubrechender- und unkrautjätenderweise im Garten verbracht habe (Gartenarbeit ist mir ein Vergnügen) ...

Meine Stadtmusikanten treten, wie gesagt, in einer etwas anderen Formation auf und sprechen englisch ...
Da muss der little (red) rooster zwangsläufig zum Satiriker werden ...

[DOLCETTO]

yeah Missy

sag mal, woher hast`n du unser organigramm - bisher hat es
geheissen, das is echt konkrät company confidential

diese geniale abbildung des Laurence J. Peter - prinzips
trifft voll korrekt unsere hierarchie

see you

[fixbutte]

[fixbutte]

da ging mir einer zu schnell ab sollte eigentlich der Little Red Rooster sein



ROLLING STONES - LITTLE RED ROOSTER

Recorded September 2, 1964. Released as a UK single on November 13, 1964, and was a # 1 hit. Released in the US on the album The Rolling Stones Now on February 12, 1965
Vocal: Mick Jagger, Electric Slide Guitar: Brian Jones, Acoustic Guitar: Keith Richards, Drums: Charlie Watts,
Bass: Bill Wyman, Harp: Brian Jones

Little Red Rooster
(Dixon)

I am the little red rooster
Too lazy to crow for day
I am the little red rooster
Too lazy to crow for day

Keep everything in the farm yard
upset in every way

The dogs begin to bark
and hounds begin to howl
Dogs begin to bark
and hounds begin to howl
Watch out strange cat people
Little red rooster`s on the prowl

If you see my little red rooster
Please drive him home
If you see my little red rooster
Please drive him home
Ain`t had no peace in the farm yard
Since my little red rooster`s been gone

[wolaufensie]

...in dem Cover war meine 2. Singel-Vinyl drin..,
...allerdings mit einem anderen Lied ( The Last Time )
...kommt mir vor, als sei´s gestern gewesen....

[schnirchel]

Ich hab ihn !!!!!
All Along The Watchtower (von Zimmerman)

"There must be some kinda way outta here."
Said the Joker to the Thief.
"There`s too much confusion.
I can`t get no relief.
Business men they, a drink my wine.
Plow men dig my earth (herb).
None of them along the line
Know what any of it is worth."

"No reason to get excited," the Thief, he kindly spoke.
"There are many here among us who feel that life is but a joke.
But you and I, we`ve been through that, and this is not our fate.
So let us not talk falsely now, the hour is getting late
(Well I was getting laid), hey."

All along the watchtower, princes kept the view
While all the women came and went
Barefoot servants, too.

Outside in the cold distance, a wildcat did growl,
Two riders were approaching,
And the wind began to howl, hey.

[fixbutte]

Missy #220
Laub rechen - macht man das nicht eigentlich schon im Herbst

Auch Ray Davies scheint wohl ein positives Verhältnis zur Gartenarbeit zu haben, wie aus diesem Song hervorgeht, der mal wieder zwischen Ironie und Sympathie schwankt

Autumn Almanac

From the dew-soaked hedge creeps a crawly caterpillar,
When the dawn begins to crack.
It`s all part of my autumn almanac.
Breeze blows leaves of a musty-coloured yellow,
So I sweep them in my sack.
Yes, yes, yes, it`s my autumn almanac.

Friday evenings, people get together,
Hiding from the weather.
Tea and toasted, buttered currant buns
Can`t compensate for lack of sun,
Because the summer`s all gone.

La-la-la-la...
Oh, my poor rheumatic back
Yes, yes, yes, it`s my autumn almanac.
La-la-la-la...
Oh, my autumn almanac
Yes, yes, yes, it`s my autumn almanac.

I like my football on a Saturday,
Roast beef on Sundays, all right.
I go to Blackpool for my holidays,
Sit in the open sunlight.

This is my street, and I`m never gonna to leave it,
And I`m always gonna to stay here
If I live to be ninety-nine,
`Cause all the people I meet
Seem to come from my street
And I can`t get away,
Because it`s calling me, (come on home)
Hear it calling me, (come on home)

La-la-la-la...
Oh, my autumn Armagnac
Yes, yes, yes, it`s my autumn almanac.
La-la-la-la...
Oh, my autumn almanac
Yes, yes, yes, yes, yes, yes, yes, yes.

Bop-bop-bopm-bop-bop, whoa!
Bop-bop-bopm-bop-bop, whoa!




erschienen als Kinks Single No. 18 im Oktober 1967, Platz 5 in England, in Deutschland nur noch Platz 13.

[wolaufensie]

...mal wieder handweklich besser als das Original
...vom kreativen Robert...
...Allerdings ist es gar nicht so einfach
...ein Bild von Jimmy Hendrix zu bekommen,
...auf dem er mit Guitarre zu sehen ist...

http://www.ddoud.com/motw/w5/jimihendrix-allalongthewatchtow…

[MissB.Hagen]

fixbutte
Was meinst du, was ich im Herbst gemacht habe ----- Laub rechen.
Wir haben eine ca. 100jährige Linde, ein Traumbaum - aber sie wirft
ganzjährig ab, entweder Laub oder Blüten ... oh, my poor rheumatic back
Den Autumn Almanac kenne ich natürlich auch schon wieder nicht.

#214 Da habe ich dir doch glatt die Urheberschaft für das wunderbare "We Gotta Get Out Of This Place" abgesprochen - so sorry. Aber es gab da einen eigenartigen Zufall, denn ich hatte kurz zuvor Dolcetto fachsimpelnderweise von der Stadtmusikanten-Formation erzählt, die bei mir an der Pinnwand hängt. Und dann kommst du auf die Idee, dein Lied damit zu illustrieren

DON`T LET ME BE MISUNDERSTOOD
Eric Burdon & The Animals

Baby, do you understand me now
Sometimes I feel a little mad
But don`t you know that no one alive
Can always be an angel
When things go wrong I seem to be bad
But I`m just a soul whose intentions are good
Oh Lord, please don`t let me be misunderstood

Baby, sometimes I`m so carefree
With a joy that`s hard to hide
And sometimes it seems that all I have do is worry
Then you`re bound to see my other side
But I`m just a soul whose intentions are good
Oh Lord, please don`t let me be misunderstood

If I seem edgy I want you to know
That I never mean to take it out on you
Life has it`s problems and I get my share
And that`s one thing I never meant to do
Because I love you

Oh, Oh baby don`t you know I`m human
Have thoughts like any other one
Sometimes I find myself long regretting
Some foolish thing some little simple thing I`ve done
But I`m just a soul whose intentions are good
Oh Lord, please don`t let me be misunderstood
Yes, I`m just a soul whose intentions are good
Oh Lord, please don`t let me be misunderstood
Yes, I`m just a soul whose intentions are good
Oh Lord, please don`t let me be misunderstood

Zur Disco-Version von Santa Esmeralda wurde nächtelang getanzt. Damals gab`s noch keinen Muskelkater

[schnirchel]

[wolaufensie]

...Danke Schnirchel ....

[fixbutte]

wosie #227
mit Knarre und Gitarre
ja sowas hat man damals auch gesungen



Der Kameramann
geschrieben im Jahre 1975 von Wolf Biermann

Genossen!
Nun sagt was!
Erinnert sich keiner? Mensch, wenigstens einer?
Es muss hier doch einer den Namen noch wissen und wo und wann er starb in Chile.
Der Kameramann!

Ah!
In Santiago, im blutigen Jahr.
Da fielen so viele. Zu viele.
Und das ist Chile in einem Wort: Ein Mann filmt seinen Mörder. Beim Mord!

Ach, Macht kommt aus den Fäusten und nicht aus dem guten Gesicht.
Aus Mündungen kommt die Macht ja, und kommt aus den Mündern nicht.
Genossen, das ist klar, das ist und bleibt auch wahr.
Das ist die bittere Wahrheit der Unidad Popular.

Das ist uns ein lehrreicher Film geworden.
Ich sah das Geschäft der Soldaten: das Morden.
Ich solche Bilder, die jeder kennt:
Das Volk rennt über das Pflaster ums Leben.
Und wie die Gewehre die Strassen fegen.
Und wie sich Proleten hinlegen zum Sterben.
Ich sah die Geschosse reissen die Kinder
Und wie sich die Frauen auf die Toten schmeissen.
Du siehst bei der Arbeit mit der MP.
Uah!
Besonders dies Vieh, dieser Bulle mit Stahlhelm.
Ah!
Wie der an den Kiefer die Knarre presst.
Uh!
Und wie er sich Zeit lässt beim Ziehen, beim Zielen.
Der Kameramann zielt genau auf den Mann.
Der Mann legt genau auf die Kamera an.
Dann wackelt das Bild, der Film reisst ab.
Das ist es, was ich gesehen hab.

Ach, Macht kommt aus den Fäusten, nicht nur aus dem guten Gesicht.
Aus Mündungen kommt die Macht ja, und nur aus den Mündern nicht.
Genossen, das ist klar, das ist und bleibt auch wahr.
Das ist die kostbare Wahrheit der Unidad Popular.

Die Kugel kam aus der Knarre, die kam aus der Kamera nicht.
Und unserer Kampf geht da weiter, wo dieser Film abbricht.
Mit Knarre und Gitarre, Genossen, das ist klar.
Und das ist die ganze Wahrheit der Unidad Popular.

[DOLCETTO]

natürlamente wosie,

die il patrone für die guitarro sind ebendfalls
legendär, guckst du:

[fixbutte]

schon lange nichts mehr gehört von Jimi Hendrix
wahrscheinlich ist der jetzt Leader einer anderen Band

[fixbutte]

Wichtige Zeitgenossen der Kinks und ähnlich drauf (sharp dressed Mods ) waren auch die Small Faces
wie Ian McLagan auf seiner Website schreibt the best unknown band the world`s ever known ... but things are beginning to change


...........Steve Marriott..............Kenney Jones.............Ian McLagan................Ronnie Lane
bei ihrer ersten Fotosession, November 1965

Das folgende Lied in schönstem Cockney Slang gehört zu ihren besten und erfolgreichsten, auch wenn es nach dem Willen der Band eigentlich nicht als Single ausgekoppelt werden sollte
Vielleicht haben Sie sich im Titel auch von den Kinks beeinflussen lassen Lazing on a sunny afternoon (#33)

Small Faces - Lazy Sunday Afternoon

Wouldn`t it be nice
to get on with me neighbours
But they make it very clear
they`ve got no room for ravers

They stop me from groovin`,
they bang on me wall
They`re doin` me crust in
it`s no good at all,

Lazy sunday afternoon,
I`ve got no mind to worry,
close my eyes and
Drift away

Here we all are
sittin` in a rainbow (do do do do)
Call blimey hallo missus Jones
how`s your Bert`s lumbago?
I`ll sing you a song
with no words and no tune
I`ll sing at your party
while you suss out the moon, oh yeah

Lazy sunday afternoon,
I got no mind to worry,
Close my eyes and drift away, yea

Aroo de do de do aroo de do de di day
Aroo de do de dum aree de de do dee

There`s no one to hear me,
there`s nothin to say,
And no one can stop me
from feelin` this way

Lazy sunday afternoon
I`ve got no mind to worry
Close my eyes and drift away

Lazy sunday afternoon
I`ve got no mind to worry
Close my eyes and drift a-
Close my eyes and drift away
Close my eyes and drift away...



Lazy Sunday / Rollin` Over
Released: 5 April 1968
Label: Immediate IM 064
Highest UK Chart Position: 2

[schnirchel]

Bis unsere guter Roderick kam, unsere schottische Rockröhre.

[schnirchel]

Erstmal Entschuldigung für mein schlechtes Deutsch in #235!
Zu den SF:
Zwei meiner Lieblingssongs die wir im Beatschuppen (hahaha) immer mitgegrölt haben.

- Afterglow Of Your Love

Love is all around me everywhere
Love has come to touch my soul
With someone who really cares
No-one can deny
People who once passed me by
Will turn their heads round

I`m happy just to be with you
And loving you the way I do
There`s everything I need to know
Just resting in the afterglow of your mind

You, yes you have always been here
Feeling deep inside
A feeling that I could not see
Or touch, or try to hide
My love is in and around you
I bless the day that I found you

I`m happy just to be with you
And wanting you the way I do

There`s everything I need to know
Just resting in the afterglow of your life

Love is like a voice in my head
Keeps turning round the things that we said

I`m happy just to be with you .........
Oh now I`ve told you
Cause I love you, yeah

- All Or Nothing

I thought you`d listen to my reason
But now I see you don`t hear a thing
Got to make you see how it`s got to be
Yes if it`s all right

All or nothing yeah yeah
All or nothing
All or nothing for me

Things could work out just like I want them to
If I could have the other half of you
That`s all I would if I only could
Is to say

All or nothing oh yeah
All or nothing if I could I`d say
All or nothing for me

Pa pa pa pa ta pa pa pa ta ta
Pa pa pa pa ta pa pa pa ta ta

I ain`t telling you no lie girl
So don`t just sit there and cry girl
All or nothing (oh no)
All or nothing (oh yeah)
All or nothing (gotta gotta gotta keep on tryin`)
All or nothing ......
(For me, for me, for me we`re not children...)

[fixbutte]

schnirchel zwei Spitzentitel von den Small Faces
die zu den Faces wurden, als Steve Marriott sie verließ, um Humble Pie zu gründen, und an seiner Stelle Rod the Mod und Ron Wood dazustießen

Hier ein witziger Artikel aus einer schottischen Website

Rod Stewart in 1975 - Conventionally pretty in the same way that Camel farts smell pleasant

Born in 1945 somewhere doon there [ = England], to parents who were Scottish.

Raised in Ingerland , this is a man who has never forgotten his Scots heritage.

FirstFoot has seen him boozing in Spain with Kenny Dalglish after we were knocked out of the World Cup in Spain. He was also seen kissing the blonde wife of a FirstFoot friend in a Glasgow boozer during the last campaign.

It has to be said in defence of Rod, that the wife in question sought him out rather than the other way round.

Critically lauded as one of the major talents of the 1970`s, Rod as a group member and as a solo talent lit up the landscape of laddish rock and roll.

His associations read like a litany of early British rock `n roll. Long John Baldrey, Jeff Beck, Brian Auger, Ronnie Wood, Julie Driscoll, Peter Green, Mick Fleetwood … it just makes yer jaw drop when you realise where this guy comes from and who his contemporaries were….

But it wasn`t always music. Stewart`s first love was football. He was signed as an apprentice to Brentford but never made the grade professionally. But football`s loss was to be music`s gain.

Rod Stewart, Ron Wood, Aynsley Dunbar and Jeff Beck

He paid his dues in the 1960`s with long forgotten bands such as Steampacket, Shotgun Express and Long John Baldry`s Hoochie Coochie Club.

His big break came when he signed on with Jeff Beck in one of the first supergroups, the eponymous Jeff Beck Group. A couple of exhausting American tours took their toll and Stewart and Ronnie Wood left the group and joined The Faces. At the same time as pursuing group activities, Stewart signed a solo recording deal.

With the release of two excellent, critically acclaimed and commercially hugely successful solo albums, Every Picture Tells A Story in 1971 (one American reviewer called it "the greatest rock & roll recording of the last ten years"), and Never A Dull Moment in 1972, many of his contemporaries thought he could have gone on to be as great an icon as Jim Morrison of The Doors.

Rod in 1976

A unique voice, an ear for a wee tune, and an aptitude for publicity which has never deserted him, Rod Stewart had, at the age of 28, the world of Rock and Roll at his feet.

Instead, Rod`s thoughts were on a slightly more elevated plane (actually around the groin area), and as a result, although he is a commercial success, he has never been the rock and roll hero his early career suggests he might have been.

But he has left a lasting legacy of wonderful songs which stand the test of time. Maggie May, Mandolin Wind and Reason to Believe are standouts for FirstFoot.

ROD THE MOD TRIVIA FOOTNOTE

"Rarely has anyone betrayed his talent so completely" was an apt career assessment by Rolling Stone magazine`s Arion Berger, the same guy who rated Every Picture as the greatest Rock and Roll record of the previous ten years.

[mausel]

fast genauso wie auf dem Foto sah mein erster Freund damals aus, verrückt....

[fixbutte]

Hallo Mausel ich begrüße Dich in diesem Thread

Fortsetzung der Kinks Single Chronologie aus #208

Nach Dedicated Follower Of Fashion kam als Single No. 11 der Titel A Well Respected Man, den wir schon in #70 hatten. Die Reihenfolge bezieht sich aber nur auf England, wo die Single im Mai 1966 nur zum Export erschien, mit der B-Seite Milk Cow Blues, ein alter Bluestitel, den schon Elvis gebracht hatte.



Milk Cow Blues
(Sleepy John Estes)

Well I`ve tried everything to get along with you
But I`m gonna tell ya what I`m gonna do
I`m sick of all your crying, gonna leave you alone
If you don`t believe I`m going
You can count the days I`m gone
I`m gonna leave
Gonna leave you lovin` baby, oh some day
Well if you don`t believe I`m going
Watch me leaving you this way

Won`t you please, well that sun looks good going down
Won`t you please, well that sun looks good going down
But don`t that ol` moon look lonesome when your baby`s not around

Won`t you please, don`t that sun look good going down
Won`t you please, don`t that sun look good going down
But don`t that ol` moon look lonesome when your baby`s not around



In den USA und einigen europäischen Ländern war die Single schon im November 1965 mit der B-Seite Such A Shame) erschienen. In den USA gehörte sie den erfolgreichsten Platten der Kinks überhaupt (Platz 13 der Billboard Charts). Such A Shame stammt wie die alternative B-Seite Wait Till The Summer Comes Along von der EP (Extended Play) Kwyet Kinks.

[MissB.Hagen]

Hi there, ihr Lieben - das wär heute doch der richtige Tag für den Park, oder



Itchycoo Park
Small Faces

Over Bridges of Sighs
To rest my eyes in shades of green
Under Dreaming Spires
To Itchycoo Park, that`s where I`ve been

What did you do there? - I got high
What did you feel there? - Well I cried
But why the tears there? - I`ll tell you why-y-y
It`s all to beautiful, It`s all to beautiful
It`s all to beautiful, It`s all to beautiful
(Bridge)

I feel inclined to blow my mind
Get hung up, feed the ducks with a bun
They all come out to groove about
Be nice and have fun in the sun
I`ll tell you what I`ll do -
What will you do?
I`d like to go there now with you
You can miss out school –
Won`t that be cool
Why go to learn the words of fools?

What will we do there? - We`ll get high
What will we touch there? - We`ll touch the sky
But why the tears there? I`ll tell you why
It`s all to beautiful, It`s all to beautiful
It`s all to beautiful, It`s all to beautiful

I feel inclined to blow my mind
Get hung up, feed the ducks with a bun
They all come out to groove about
Be nice and have fun in the sun
It`s all to beautiful, It`s all to beautiful
It`s all to beautiful, It`s all to beautiful

[fixbutte]

Hi Missy schön wär`s im Park - und what will we do there? - We`ll get high


Noch ein wenig Kinks Historie
Die Songs der EP Kwyet Kinks, nämlich Wait Till The Summer Comes Along, Such A Shame, A Well Respected Man und Don`t You Fret, die nie auf einer offiziellen Kinks LP erschienen sind, sind inzwischen alle als Bonustitel auf der CD-Version der zweiten Kinks Album Kinda Kinks von 1965 enthalten, ebenso eine Demo Fassung des von den Kinks bisher nicht veröffentlichten
Titels I Go To Sleep , mit dem die Pretenders 1980 noch einen Hit hatten.



Witzig sind auch die Texte der damaligen Plattenhülle mit Originalzitaten der Bandmitglieder bzw. der CD Wiederveröffentlichung dieses Albums

Sleeve notes from original Reprise release

EAVESDROPPING / THE KINKS

Ray Davies
I`m a collection of loose ends. I don`t want to be a pop star. I think that this is just a part of my life which will come to an end.
* * *
You see that girl over there. I was at Hornsey Art School with her. I haven`t seen her for years. Small world -- I wonder what she`s doing here.
* * *
I did quite well in the school boxing championships, until I came up against the School`s Champion of Great Britain. I hit him three times and hurt my hands. He knocked me out in the first round.
* * *
My first job -- drafting -- lasted about six weeks. I gave it up because I didn`t like drawing straight lines. After that I tried commercial art. The first day of my new job my employer gave me some toilet paper to do a design on. Really though! I explained that with a job of this kind I would need two afternoons a week off to practice soccer. I thought it was important to have a hobby. The boss didn`t.
* * *
Playing and singing my own music is very important to me. I think if I thought I could not improve musically. I`d give it all up and become a tramp. The idea of tramping around the country with a healthy bank balance in time of difficulty appeals to me.

Dave Davies
When Mick came to audition for The Kinks and saw me, he couldn`t believe it. I was wearing a plastic rain coat buttoned to the neck, moccasins, and I had shoulder-length hair
* * *
I recently attended a high society party where I knew many of the people from the old days when we played deb parties. I got a lot of snubs that night.
* * *
Sometimes I look through the old pics when my hair was really long and think, "How could I do it?" My sister Gwen wore slacks once when she came to see us. We look a lot alike anyway, and some guy mistook her for me and asked for an autograph. You should`ve seen his face when she spoke.
* * *
Once I wrote a letter explaining that because of the mastoid in my ear I would have to go to the hospital every Friday for a check up. I could never see the sense of attending lessons I disliked.
* * *
I play one classical record. It`s a Bach LP of organ music. It`s an eerie record, but it has a curiously relaxing effect on me.
* * *
The only thing about Mick is that he insists on being last. We have a great competition in the morning to see who is last dressed. It`s generally afternoon before I give up.

Mick Avory
Gene Pitney once told me, "You`re the quietest spoken illiterate I have ever met."
* * *
I was a terrible Boy Scout. I used to go down to the club to play pool . They had a skiffle group there and one evening the drummer was sick and they asked me to play. Tapping away on that old snare drum balanced on a chair was the beginning.
* * *
At school there was this character who`d keep repeating, "That`s not the way to carry on, Avory,"` and clumping me round the ear to each syllable. Worst of all the giant Welsh gym master who jumped off the top of wall bars and endangered your limbs. He threw medicine balls at me.
* * *
I never was a garbage man. Too proud!
* * *
When I go to a club, it`s always the off night. When we go through Customs, it`s always me they pick on to turn inside out. I buy a new car with a radio because the one in the old one isn`t working and when I get the car home, the radio in that one doesn`t work.
* * *
It uas a pretty good scene, man.

Peter Quaife
As a teenager, I was part of a gang called "The Mussies." We had a feud with the Finchley boys, which developed into a grand-scale punch-up one evening at their local dance hall. I was posted as a look-out at the door, and when the Law arrived, I disappeared under a parked car. I was lucky. I got away. But many of the gang were sent to approved schools. That cured me of being a delinquent.
* * *
When I first began playing in local groups at the Athenaeum, I wouldn`t have said "boo" to a goose. Now I talk for hours to people. Doing interviews brings you out of yourself.
* * *
In the early days we didn`t really have a name for the group. It depended on who secured the booking. If Ray got the date, the group was The Ray Davies Band." If I got it, "The Pete Quaife Band."
* * *
We used to put up with a lot of "the dear, sweet boy has long hair" types. For a while we were a source of great amusement to these people. A novelty to be tolerated. It`s nice to be really appreciated at last.
* * *
I do have one other problem. My kid brother, Dave. Last week, I arrived home to find he`d been selling my shirts to fans as souvenirs. He`ll end up just like me -- only richer.

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

Liner notes from Rhino reissue

The Kinks` early albums, of which this was the second, hardly compare to either the Stones` or Beatles`. Ray and Dave were no match at all for Lennon and McCartney as singers (of course, how many have been?), and Ray wouldn`t flower as a melodist for another couple of years, until the time of the Something Else album. Nor could the Davies brothers arrange for (and play) two guitars as Keith Richards and Brian Jones did. But the highlights of our heroes` early albums are as incandescent as those on anybody`s early albums.

Witness the unspeakably gorgeous "Tired of Waiting For You," which features a miraculous adaptation of the group`s early guitar style to the needs of wistful balladry, and features a double-tracked, reverb-drenched Ray sighing up an absolute storm. Indeed, not until fully a decade hence, when Dwight Twilley recorded "Losing You," would another rock singer sigh so exquisitely.

To note that "All Day and All of the Night" the unwed father, if you will, of such later classics as Paul Revere & Los Raiders` "Just Like Me" and Los Doors` "Hello, I Love You," strayed about as far from the "You Really Got Me" mold as a frail person could have thrown Shel Talmy if he`d been chained to the House of Commons isn`t to deny that it`s one of the most exciting records of the second half of the present century. It is, though, to write a very long sentence.

The riffy "It`s All Right" is easy on the ears, what with Ray singing it as though he`d been born to, Mick (or whoever Talmy had sitting in for him) performing immoderately meritorious service on the bells of his cymbals, Talmy (or his engineer, or some combination of the two) compressing the whole track until it sounds about to blow up, and Ray huffing and puffing into his harmonica like ... well, the last of the good old-fashioned steam-powered trains.

We pause to note how cool the Kinks looked in the days when this album was recorded, in their red, pink, or maroon (no two people saw the same color) fox-hunting jackets and frilly white shirts. We chuckle at the memory of Ray`s limp-wristedness, and of Dave`s having longer hair at the time than any other male in the world (if you don`t count The Pretty Things, which we won`t, since it took several months for photographs of `em to reach these shores).

We cease chuckling as we recount how oppressive our heroes found their superstardom.

"I got back from a world tour after the first three hits with this infected ankle," Ray recalled at the time. "I mean, my ankle was like that, swollen up with elephantitis. But as soon as we got off the plane, we were rushed straight into the recording studio to record our next album. The pressure was enormous."

It led to Ray`s suffering a nervous breakdown. After which, the maestro himself has ruefully recalled, "I was a zombie ... completely out of my mind. I went to sleep and woke up a week later with a beard. I didn`t know what had happened to me." He learned soon enough that he`d run all the way into central London from his home in North London (with money stuffed in his socks, for reasons at which he alone could have guessed) to take a punch at publicist Brian Sommerville, had been chased down Denmark Street (the British Tin Pan Alley) by cops, and finally been hustled into a taxi cab by a passing psychiatrist.

Dave, meanwhile, was busy acquiring a reputation as a raver (that is, well, party animal ) non pareil. According to Sommerville`s successor, Alan McDougall, the first words out of young Dave`s mouth on sight of anyone he knew even vaguely were, "Fancy a drink?" And such a dresser! "He used to wear a sort of plastic coat with high cavalier-type boots ... from ... a theatrical costume place," Ray confided to an interviewer years before many of you were born.

Wearing that swashbuckler footwear, young Dave once annoyed a fellow pub patron to the point that the latter snatched a decorative sword off the establishment`s wall and came at him with the clear intention of doing him grievous bodily harm. Good thing that Dave was seldom glimpsed in public without his own sword in those days.

Good thing indeed, as it`s possible to imagine a particularly sensitive-eared parent of a Kinks fan wanting to throttle him with his or her bare hands after getting an earful of his ghastly singing on "Naggin` Woman," say, which reminds us how vastly ill-advised it was (and remains!) for white English teenagers with reedy little voices to perform the songs of grizzled American black men who`d spent the last thirty five years in chain gangs, brutal state penitentiaries, or squalid flophouses for want of the price of a room at Motel 6.

Dave literally squeaks toward the end of "Got My Feet on the Ground" which starts off promisingly, with the singer declaring, "I want a lot out of life, but I know my limitations" (the pleasure of quoting which line in The Kinks Kronikles, as I recall, cost me something like $100; this time, Edward Kassner Music, nyah nyah nyah). It soon degenerates, though, into your standard manifesto of braggadocio, whatever braggadocio may be.

To be fair, Dave does himself fairly proud on "Come On Now," the backing vocals of which benefit enormously from the presence of Ray`s angelic-voiced first wife Rasa, who sings on more of your favorite early Kinks tracks than you`ve ever dared imagine to this point, but whom The Kinks, in those shameful days before feminism, never accorded any credit whatsoever.

"Nothin` in the World Can Stop Me Worryin` `Bout That Girl," which prompted heated debate in Parliament about limiting the number of apostrophes that could be used in the title of a pop song , showcases the seldom-heard, but very agreeable, lower regions of the elder Davies` vocal range. I`m reminded of John Lennon`s "I`m a Loser," and unashamed to admit it.

If they`d been on the ball, The Kinks would have substituted the names of various anonymous London suburbs for those of the American metropolises recited in Martha & The Vandellas` "Dancing in the Street". Can`t you just hear it now: "They`ll be dancing in Chiswick/Down in Bermondsey." But, remembering that they probably recorded their first three albums in forty-five minutes apiece, counting trips to the loo, let`s not judge them too harshly.

See you on the back of The Kinks` Greatest Hits, available soon wherever finer reissues-on-CD are sold.

-JOHN MENDELSSOHN

[MissB.Hagen]

Ohjeeee, man sollte die Texte doch immer 2x prüfen

... it`s all too beautiful .... muss es natürlich heissen!

Mein schöner Text verschandelt, und dabei bin ich auch schon fast high vom
umwerfenden Anblick der gelbblühenden Forsythiensträucher gegen den
blauen Frühlingshimmel ...

[schnirchel]

Wie wär`s mit denen! Wild thing war doch der Ohrwurm und "Love is all around" wurde auch schon wieder aufgelegt.

[schnirchel]

Die hätte ich beinahe vergessen. Manfred Mann.
Hör ich heute immer wieder (und noch)gern: Blinded by the light, California,Joybringer,Semidetached suburban Mr. Jones,Angels at my gate

[MissB.Hagen]

fixbutte ... und ich hätte nach den Small Faces dann gerne die Yardbirds ...

[fixbutte]

Schnirchel
Da hast Du ja gleich wieder zwei meiner Lieblinge erwischt

Gerade der Song Semi-Detached Suburban Mr Jones (später umbenannt in Mr James) ist so schön englisch , dass er auch von Ray Davies hätte geschrieben worden sein können. Semi-detached house wird man am besten wohl mit "Doppelhaushälfte" übersetzen. In den 1960er Jahren, als dieses Lied geschrieben wurde, stand semi detached suburban für den englischen Normalbürger wohl als der absolute Ausdruck von Dekadenz, wo man doch selbst nur in einem 4-Zimmer-Reihenhaus in mieser Wohnlage wohnte ("a terraced house in a mean street back of town - just two up two down", Herman`s Hermits, No Milk today) wohnte Darüber hinaus wurde der Song auch vom Kinks Produzenten Shel Talmy (#90) produziert. Er wurde einer der größten Erfolge der Manfreds (Platz 2 der UK Charts)



MANFRED MANN - SEMI-DETACHED SUBURBAN MR. JAMES

So you`ve finally named the day when wedding-bells will chime
I was sorry to hear you say, you`re gonna be his not mine
Do you think you will be happy, giving up your friends
For your semi-detached suburban Mr. James ?

So you`ve finally got your man, I hope you won`t regret it
He can`t love you the way I can, so please don`t you forget it
So you think you will be happy, buttering the toast
I`m your semi-detached suburban Mr. Mouse

I can see in the morning time, washing clean, the weather` s fine
Hanging things upon the line, and as your love slips away, hey, hey

So you`ve finally named the day when wedding-bells will chime
I was sorry to hear you say, you`re gonna be his not mine
So you think you will be happy, taking doggie for a walk
With your semi-detached suburban Mr. (James)
Semi-detached suburban Mr. (James)
Semi-detached suburban Mr. James
So you`ve finally named the day
So you`ve finally named the day

[MissB.Hagen]

Habt ihr je das Buch "Here We Go Round The Mulberry Bush" von Hunter Davies gelesen oder den tollen Film gesehen?
Ich glaube, er hiess "... sitzen unterm Hollerbusch", mit Judy Geeson, die mir immer so gut gefallen hat, als Mary.



Warum ich aber jetzt darauf komme, ist das abgebildete semi-detached house ...
Jamie McGregor, der Held der Geschichte durchlebt seine Pubertät und die ersten Erfahrungen mit Mädchen. Seine Familie und die ärmliche Wohnsituation sind ihm grenzenlose peinlich ... Ist ganz toll in der Ich-Form geschrieben.

Regie: Clive Donner, 1967
Screenplay: Hunter Davies

From director Clive Donner (What`s New Pussycat?), this film is an irresistibly cheeky Pop Art comedy about a hapless young Brit (Barry Evans from the Doctor comedy series) trying to lose his virginity during the Free Love Generation.

Scandalous (at the time) for its brief flashes of on-screen nudity, and featuring a stunning psych-pop soundtrack with the Spencer Davis Group (on-camera in the obligatory party sequence) Stevie Winwood and Traffic.

Co-stars the delectable Judy Geeson, Angela Scoura, Adrienne Posta and Sheila White as the teenage girls who drive Evans to distraction.

Adapted from a novel by author Hunter Davies (who wrote the official Beatles biography in 1968).

Und das ist der Soundtrack von Spencer Davies etc. dazu:


1. Here We Go `Round the Mulberry Bush - Traffic
2. Healthy Young Lad [Incidental Dialogue]
3. Taking Out Time
4. Every Little Thing
5. Dear Unknown Teacher [Incidental Dialogue]
6. Virginals Dream
7. Utterly Simple - Traffic
8. It`s Been a Long Time - Andy Ellison
9. Looking Back
10. Picture of Her
11. Just Like Me
12. Waltz for Caroline
13. Upside Down - Traffic
14. Possession
15. Am I What I Was or Am I What I Am - Traffic

[schnirchel]

#Missy: Kenn ich nicht, Spencer Tracy (pardon) Davies schon.

Wieder mal ein kleiner Abrutscher bzgl markanter Stimme:

EX-Chicago Peter Cetera. Ich sag nur - Gänsehaut. Zurück zu MM. Der Frontsänger hatte eine ebenso bemerkenswerte Stimme. Am Anfang hatte ich diese Stimme immer mit MM zusammengebracht, aber der hielt sich eigentlich immer vornehm im Hintergrund (gesanglich)
Weiß jemand wie der hieß?

Noch ein Gedankensprung,wenn`s genehm ist.
John Lennon und Robbie W. sind sich nicht unähnlich,oder?

Noch ein Evergreen der bei mir regelmäßig läuft: Procul Harum. Dazu schmeiß ich immer mein Keyboard an und spiele bei Whiter shade of pale mit. Wow!

[fixbutte]

Schnirchel
Manfred Mann hatte nacheinander zwei Sänger, die etwas unterschiedlich klangen
Paul Jones war mehr bluesbetont, er sang von 1963 bis 1966 (Pretty Flamingo). Er ist the one in the middle auf der Plattenhülle unten. Sein Nachfolger Mike D`Abo hatte die glattere Stimme, er stand 1966 ab der Single Just Like A Woman bis zur Auflösung der Band 1969 am Mikrofon. Die Besetzung der Gruppe änderte sich öfter, später zeitweilig standen anstelle von Tom McGuiness, der zur Gitarre wechselte, Jack Bruce und danach Klaus Voormann am Bass.


MANFRED MANN
Manfred Mann (real name: Lubowitz), b. 21st October 1940 in Johannesburg, S.A., keyboards
Mike Hugg, b. 11th August 1942 in Andover, Hants, drums, precussion
Tom McGuinness, b. 2nd December 1941 in London, bass (-1965), guitar
Paul Jones (real name: Pond), b. 24th February 1942 in Portsmouth, Hants, vocals, harmonica (-1966)
Mike Vickers, b. 18th April 1941 in Southampton, guitar, alto sax, flute (-1965)
Mike D`Abo, b. 1st March 1944 in Betchworth Surrey, vocals (1966-)


This R&B outfit had two distinct phases of chart success. The first phase was with Paul Jones who left the group in the summer of 1966. He was replaced by Mike D`Abo which marked the beginning of an equally successful second round of chart hits.

The band had been started by Manfred Mann shortly after his arrival in Britain in 1961. He had joined up with percussionist Hugg to produce the jazz and blues group "Mann Hugg Blues Brothers". However after expansion of the group to a fivepiece, they simply became Manfred Mann taking their name from the enigmatic keyboard player. The addition of [Paul] Jones was notable because it was he that steered the group wholeheartedly to R&B.



Although their first singles didn`t chart, success came with 5-4-3-2-1 which was co-written by Jones, Hugg and Mann. The success of the single was helped enormously by its adoption to introduce the TV Pop show "Ready Steady Go". A stream of hits followed including two number ones, the second of which [Pretty Flamingo] coincided with the departure of Paul Jones. He had decided that his future lay in a solo career but, although starting reasonably well, it turned out not to be a wise move.

The band auditioned a handful of singers to replace Jones, including Rod Stewart and Zoot Money. However, it was the lead singer of the hitherto unsuccessful "Band Of Angels" [Mike D`Abo] that got the job. This was a traumatic time for the group because they had to sustain the loss of Vickers as well as Jones; they also changed their recording label to Fontana and added bassist Klaus Voorman.

They didn`t have to worry for long. Their first D`Abo/ Fontana single Just Like A Woman and its follow up Semi-Detached Suburban Mr James were both major hits. The latter record had originally been entitled Semi-Detached Suburban Mr Jones, but they had modified the name in case any fans thought it was an intended slight against their former harmonica playing vocalist. By the end of the 1960s the group split up despite their continued commercial success. Mann and Hugg continued in a new guise as Chapter Three before moving on to form Manfred Mann`s Earth Band.


1960s 45rpm UK Discography
Listings include UK 45 singles releases only

HMV POP1189 1963 Why Should We Not / Brother Jack
HMV POP1225 1963 Cock-A-Hoop / Now You`re Needing Me
HMV POP1252 1964 5-4-3-2-1 / Without You #5
HMV POP1282 1964 Hubble Bubble (Toil And Trouble) / I`m Your Kingpin #11
HMV POP1320 1964 Do Wah Diddy Diddy / What You Gonna Do #1
HMV POP1346 1964 Sha La La / John Hardy #3
HMV POP1381 1965 Come Tomorrow / What Did I Do Wrong #4
HMV POP1413 1965 Oh No Not My Baby / What Am I Doing Wrong #11
HMV POP1466 1965 If You Gotta Go, Go Now / Stay Around #2
HMV POP1523 1966 Pretty Flamingo / You`re Standing By #1
HMV POP1541 1966 You Gave Me Somebody To Love / Poison Ivy #36
Fontana TF730 1966 Just Like A Woman / I Wanna Be Rich #10
Fontana TF757 1966 Semi Detached Suburban Mr. James / Morning After The Party #2
Fontana TF812 1967 Ha! Ha! Said The Clown / Feeling So Good #4
Fontana TF828 1967 Sweet Pea / One Way #36
Fontana TF862 1967 So Long Dad / Funniest Gig
Fontana TF897 1968 Mighty Quinn / By Request - Edwin Garvey #1
Fontana TF908 1968 Up The Junction / Sleepy Hollow
Fontana TF943 1968 My Name Is Jack / There Is A Man #8
Fontana TF985 1968 Fox On The Run / Too Many People #5
Fontana TF1013 1969 Ragamuffin Man / A "B"-Side #8

[DOLCETTO]

ey fixbutte

man kann nie genug kriegen, merci vielmals für die höhst
interessanten hintergründe zu M.M.

das gibt mir wieder den anstoss, mein ohr in die uralt-lavendel
kassetten >klingt fast wie shellack
reinzuzentrieren,

Rüspektgruß

[fixbutte]

Einer geht noch von den Manfreds - der Nachfolgehit von Mr. James, wieder mit starken Mellotron-Einsatz, in dem sie 1967 - fast zeitgleich mit Dave Davies - von einem Clown (bzw. dessen Frau ) sangen


Mike Hugg, Tom McGuinness, Mike D`Abo, ? , Manfred Mann, Klaus Voormann

Manfred Mann - Ha! Ha! Said The Clown

(Chorus)
Ha ha said the clown
Has the king lost his crown,
Is the night being tight on romance
Ha ha said the clown
Is it bringing you down,
That you`ve lost your chance

Feeling low, gotta go
See a show in town
Hear the jokes, have a smoke,
and a laugh at the clown
In a whirl, see a girl
with a smile in her eyes
Never thought I`d be brought
right down by her lies

Chorus

In a trance, watch her dance
to the beat of the drums
Faster now, sweating brow,
I`m all the fingers and thumbs
Wonder why I hit the sky
When she blows me a kiss
In a while run a mile
I`m regretting all this

Chorus

Time to go, close the show,
Wave the people good-bye
Grab my coat, grab my hat,
Look that girl in the eye
Where`s your home,
What`s your phone number
Stop fooling round
Could have died she replied
"I`m the wife of the clown"

Chorus

[fixbutte]

was ich beim Stöbern gerade wieder gefunden habe
davon gab`s ja auch mal eine deutsche Fassung von Michael Holm der hat das mit dem Rennen etwas wörtlich genommen

Days Of Pearly Spencer
by
David McWilliams
1967



A tenement, a dirty street
Walked and worn by shoeless feet
Inside it`s long and so complete
Watched by a shivering sun
Old eyes in a small child`s face
Watching as the shadows race
Through walls and cracks and leave no trace
And daylight`s brightness shuns

The days of Pearly Spencer
The race is almost run

Nose pressed hard on frosted glass
Gazing as the swollen mass
On concrete fields where grows no grass
Stumbles blindly on
Iron trees smother the air
But withering they stand and stare
Through eyes that neither know nor care
Where the grass has gone

The days of Pearly Spencer
The race is almost run

Pearly where`s your milk white skin
What`s that stubble on your chin
It`s buried in the rot gut gin
You played and lost not won
You played a house that can`t be beat
Now look your head`s bowed in defeat
You walked too far along the street
Where only rats can run

The days of Pearly Spencer
The race is almost run
The days of Pearly Spencer
The race is almost run
The race is almost run

A tenement, a dirty street
Remember worn and shoeless feet
Remember how you stood to beat
The way your life had gone
So Pearly don`t you shed more tears
For those best forgotten years
Those tenements are memories
Of where you`ve risen from

The days of Pearly Spencer
The race is almost won



David McWilliams born 4th July 1945 in Belfast, Northern Ireland
This record is a typical example of one that ought to have charted but didn`t. Most people that were listening to the radio in 1967 will remember this item of 60s `psychedelia` with pleasure.

The record, like David McWilliams himself, seemed to have all the right attributes for success. It just seemed like one of those numbers that you listened to on the radio and enjoyed, but didn`t buy. Despite several re-issues in later years, this self-penned number by David McWilliams was never to succeed.

David McWilliams did have a little more success with Albums in the sixties, but none of his five singles, four of which were on Major Minor reached the charts. This singer/ guitarist produced yet more singles during the 1970s but these met with no more success.

The enigmatic `Pearly` had to wait for Marc Almond to turn him into a hit in 1992.

[fixbutte]

ey Dolce
#250 habe ich erst gelesen, als ich #251 schon verschickt hatte, deshalb dort kein besonderer Gruß, den ich aber hiermit ehrerbietig nachhole

Dein Interesse gibt mir Anlass genug, ein weiteres Werk der Manfreds beizusteuern, 1968 ihre dritte No. 1 und ein so großer Erfolg, dass M.M. ihn alle paar Jahre erneut zum Hit macht



Außerdem ist das ein schöner Grund, wieder einen Song des großen Robert Zimmermann in diesem Thread zu bringen

Die Gelehrten streiten sich wohl noch, was der Text, den Du in #177 nur rudimentär gepostet hast, bedeutet. Der Hinweis, dass es sich bei Mighty Quinn um einen Drogendealer handelt, ist aber wohl ernst zu nehmen
Hab auch mal gelesen, dass der Name sich von Anthony Quinn ableitet (in welcher Rolle auch immer )



Ev`rybody`s building the big ships and the boats,
Some are building monuments,
Others, jotting down notes,
Ev`rybody`s in despair,
Ev`ry girl and boy
But when Quinn the Eskimo gets here,
Ev`rybody`s gonna jump for joy.
Come all without, come all within,
You`ll not see nothing like the mighty Quinn.

I like to do just like the rest, I like my sugar sweet,
But guarding fumes and making haste,
It ain`t my cup of meat.
Ev`rybody`s `neath the trees,
Feeding pigeons on a limb
But when Quinn the Eskimo gets here,
All the pigeons gonna run to him.
Come all without, come all within,
You`ll not see nothing like the mighty Quinn.

A cat`s meow and a cow`s moo, I can recite `em all,
Just tell me where it hurts yuh, honey,
And I`ll tell you who to call.
Nobody can get no sleep,
There`s someone on ev`ryone`s toes
But when Quinn the Eskimo gets here,
Ev`rybody`s gonna wanna doze.
Come all without, come all within,
You`ll not see nothing like the mighty Quinn.

[Cambodunum1]

Hi, habe eben erst diesen Thread entdeckt. Back to the 60`s. Das gefällt mir.

Was ich aber noch nicht entdeckt habe, ist ein hier vorgestellter Song, den ich nicht auf Platte oder CD habe. Werde noch ein wenig durch den Thread stöbern, ob ich nicht doch noch einen finde.

Macht weiter so
Gruß Cambodunum1

[Cambodunum1]

War eigentlich schon von Mr. Pleasant die Rede? Konnte den Song hier auf die Schnelle nicht finden. Hier also mal der Text:

Oh Mr Pleasant, how is Mrs Pleasant?
I hope the world is treating you right,
And your head`s in the air,
And you`re feeling so proud,
`Cause you`re such a success,
And the whole wide world is on your side, hey hey.
How are you today?

People say Mr Pleasant is good,
Mr Pleasant is kind,
Mr Pleasant`s okay,
Mr Pleasant don`t mind.
As long as Mr Pleasant`s all right, hey hey.
How are you today?

How`s your father, how`s your mother?
How`s your sister, how`s your brother?
How`s your brand, new limousine,
Twenty-four inch TV screen?
Did you like prosperity
More than you liked poverty?
Life is easier, so much easier,
Life is easier now.

Oh Mr Pleasant, how is Mrs Pleasant?
Did you know she was flirting around
With another young man,
And he`s taking her out
When you have to work late?
And it`s not so pleasant after all, hey hey.
How are you today?

People say Mr Pleasant is good,
Mr Pleasant is kind,
Mr Pleasant`s okay,
Mr Pleasant don`t mind.
As long as Mr Pleasant`s all right, hey hey.
How are you today?

Mr Pleasant is good,
Mr Pleasant is kind,
Mr Pleasant`s okay.

Gruß
Cambodunum1

[fixbutte]

@all

Da ich die nächsten zwei Wochen nicht an Board bin, will ich mich zuvor noch einmal melden. Als ich diesen Thread vor einem Monat begonnen habe, dachte ich an etwa ein Posting pro Tag

Jetzt haben wir schon 253 und ich hätte noch eine ganze Menge Stoff auf meiner Agenda stehen z.B. die Troggs, die Yardbirds, die Pretty Things, die frühen Pink Floyd, Traffic und die Spencer Davis Group, noch mehr Hollies und mehr von den frühen bunten Stones mit Brian Jones, ein paar mehr Hendrix Nummern hätt ich auch noch gerne untergebracht, und und und und Ihr dürft natürlich auch was Schönes posten

Und von den und über die Kinks gibt es natürlich auch noch eine ganze Menge zu bringen z.B. muss die Single Chronologie fortgesetzt werden und damit mach ich auch gleich weiter


Nach Well Respected Man / Milk Cow Blues (#70 und #239) kam als Single No. 12 Anfang Juni 1966 ihr erster richtiger Welthit



Die Lyrics und eine Singlehülle (aus Norwegen) haben wir schon in #33 Die B-Seite I`m Not Like Everybody Else, die zu ihren stärksten und authentischsten Stücken überhaupt gehört, hat Iguana schon in #23 gepostet.



In England kam die Single für zwei Wochen auf No. 1 und kickte dabei sogar die Beatles vom Thron (mit Paperback Writer), eine Woche nachdem England in Wembley das Fußball WM Finale gewonnen hatte (gegen Deutschland )



In fast allen europäischen Ländern kam der Song in die Top Ten, in USA allerdings nur auf Platz 14 (Billboard). In Deutschland reichte es immerhin zur No. 7 in der offiziellen Hitparade, in der BRAVO Musicbox kamen sie aber mindestens auf Platz 5.



Die deutsche Plattenhülle brachte die Kinks immer noch in ihren Jagdanzügen, die sie schon ein Jahr zuvor abgelegt hatten, aber auf solche Feinheiten legte man bei der Plattenfirma offenbar keinen Wert die alten Bilder kamen auch noch die nächsten beiden Jahre auf die Singles

[fixbutte]

Hi Cambo
Was ich aber noch nicht entdeckt habe, ist ein hier vorgestellter Song, den ich nicht auf Platte oder CD habe.
Das ist ja auch der Sinn der Übung

Zu Mr Pleasant musstu kucken #56 und #58

[Cambodunum1]

Hallo fixbutte,

tut mir leid, das war die Seite, die ich beim Querlesen übersprungen habe. Muss jetzt wohl doch alles durchlesen.
Und dann in meinen Plattenschrank schauen.

Gruß
Cambo

PS: Aber Mr. Pleasant ist so gut, der kann auch zwei Mal gepostet werden.

[CockneyRebel]

.
Mann, da ist man mal ein paar Tage nicht richtig dabei, und schon schnappt ihr mir meine Lieblingssongs weg! Aber andererseits: Schön so, freue mich besonders über "Pearly Spencer" und "Ha Ha Said the Clown"... aber why the hell hätte ich ausgerechnet diese beiden Songs in den nächsten Tagen selbst gepostet? Irgendwie sind wir schon eine verrückte Truppe...
.

[DOLCETTO]

hi there

erstmal ein phett-stabiles "have a good time" an den geschätzten hausherrn

und an die froinde & members dahier meine krassen Rüspektgruß
>>der sräd ist neben Iguana`s love- und hawkie`s hardrock-
>>das absolute kultteil für den alten dolce!

es läuft grad:
Pete Townshend
I Am An Animal

I was always here in the silence
But I was never under your eye
Gather up your love in some wiseness,
For every memory shall always survive
And you will see me.

I am an animal
My teeth are sharp and my mouth is full
And the passion is so strong
When I`m alone, loneliness will change me

I am a vegetable
I get my body badly pulled
I`m rooted to the spot
Nothing will rearrange me

I`m looking back and I can`t see the past
Anymore so, hazy
I`m on a track and I`m traveling so fast
Oh for sure I`m crazy

I am a human being
I can`t believe all the things I`m seeing
I`ve nowhere to hide anymore
I`m losing my way

I am an angel
I booked in here I came straight from hell
I don`t know how to lie anymore
I`m bozzing to pray

I`m looking back and I can`t see the past
Anymore so, hazy
I`m on a track and I`m traveling so fast
Oh for sure I`m crazy

I was always here in the silence
But I was never under your eye
Gather up your love in some wiseness
for every memory shall always survive
And you will see me

I will be immersed
Queen of the fucking Universe
And I don`t know what I have anymore
Anymore than you do

I am a nothing king
Been right around on a golden ring
I don`t know where you are anymore
I`ve got no clue

I was always here in the silence
But I was never under your eye
Gather up your love in some wiseness
for every memory shall always survive
And you will see me

I am an animal.

[mausel]

diese verlogenen, warmen Augen...

meine nächste Allergie ist ausgebrochen...

[mausel]

oh, falscher Thread, sorry...

das ist mir jetzt aber peinlich...

[schnirchel]

Beim durchwühlen meiner 10teiligen CD-Sammlung fiel mir der ein:



Auch ein begnadeter Musiker mit einer großen Stimme der mit vielen Popgrößen zusammengearbeitet hat: u.a. Lindsey Buckingham, Roger Daltrey und den Beatles.
Wir dürfen ihn nicht vergessen!

[wolaufensie]

...ach mausel, Dir kann geholfen werden...
hier mal ein augenscheinlicher Glücksblick auf ein
paar vertrauenswürdige Augen, die selbst vor Deinem
harten Urteil bestehn dürften, und aufkeimende
Allergien gleich im Keime wieder ersticken....
...hier die Augen von Julia Roberts Bruder
.................
.......................................

[mausel]

@wolaufensie ... womit habe ich Deine Aufmerksamkeit verdient, danke...

so recht will er mir allerdings nicht gefallen, Augen müssen mich ansehen damit ich das beurteilen kann...

[wolaufensie]

...einen Moment...!

[mausel]

[mausel]

vertrauenswürdige Augen sind wohl nicht so leicht zu finden... ... dachte ich mir schon....

[wolaufensie]

...neee W: Os Reklamezeugs hat mir mal wieder nen
Internetkollaps gebracht,
musste die Kiste 3x starten bevor es wieder klappte...
------------------------------------------------------------------------------------------------------


...jaja, ich kann mir jetzt schon vorstellen, was Du denkst...
Der schaut einen wieder nicht an,...aber man sollte nicht aufgeben...
........
........nun ja, ich gebe zu , dass mit diesem Bild
wahrscheinlich bei Dir Überverwöhnter immer noch nicht
absolut alle Bedenken aus dem Weg geräumt sein dürften....
aber....

........mit diesem Augenaufschlag, der mit vollem
existentialistischem Tiefgang und zugelassener maskuliner
Gefühle geschieht, dürfte doch schon wieder einiges "Land
gutgemacht" worden sein, vor Deiner Kritikeroptik...
........

........und wenn Frau noch hergeht und den Bruder von
Julia Roberts mal etwas an die Hand nimmt,
( Männer sind in solchen Dingen soo unselbständig) und
ein bisschen Kamm, Schere und Seife
walten lässt, und mit ihm auch mal ganz chick
Klamotten einkaufen geht ( das muss einfach sein, eine
neue Liebe ist wie ein neues Leben , - ist wie neues
Outfit - Brigitte - ),dann kann sich das Ergebnis
doch "blicken" lassen....

[mausel]

@wolaufensie... :laugh... bei dem reicht ja noch nicht mal ein Vollbad... aber die Augen sind wenigstens genauso traurig wie sein Zustand... ... das ist wenigstens ehrlich...

Hilfe, mit Chris Roberts dem Schmalzdackel kannst Du mich jagen...

[wolaufensie]

......MEIN GOTT... MANCHEN MENSCHEN KANN MAN ES ABER AUCH GAR NICHT RECHT MACHEN..!!...

[mausel]

das stimmt @wolaufensie.... ... ich verstehe das auch nicht....

[wolaufensie]

...,mal kurz einen Schwenker zu Fixbutter, dass der keinen
Herzkasper bekommt, falls er aus dem Urlaub kommend, seinen
leicht schlagseitigen Sräd "sieht" ....

[mausel]

ein sehr abschreckendes Beispiel @wolaufensie...

neben der leichten Skepsis die aus diesen Augen strahlt, hat der Blick sowas von ... " Du wirst sehen kleines Dummchen, der Lehrer hat am Ende doch recht... " ... überheblich bis widerlich...

der nächste bitte....

[wolaufensie]

..na gut..!! ..so schnell gebe ich nicht auf...
...aber mehr an aufrechten Männerblicken ....


...kannst Du nun wirklich nicht verlangen, mausel,....!!!!!

[mausel]

der 2. von rechts auf dem unteren Bild, der hat was .... wenn ich auch nicht genau weiß was...

Deine Angebote werden ja immer schlimmer @wolaufensie, ich glaube wir sollten es bei den bisherigen abschreckenden Beispielen bewenden lassen...

[wolaufensie]

[wolaufensie]

..mein aller-allerletzter Versuch, Mausel...
Dieser aufrichtig blickende Herr, könnte Dir auch
noch in der Küche oder so, gekonnt ein
munteres Liedchen, sowohl singen, als auch soielen...
Sogar von der Arbeit...
Wenn man/frau da zwischen dem und nem Dampfdrucktopf zu
wählen hätte, fiele die Entscheidung bestimmt nicht schwer...

http://www.johnnyalibi.com/Music/we%20gotta.mp3

[fixbutte]

Welcome back Freunde der Kinks und der guten handgemachten Musik

wosie
Charles Bronson bei mir im Kinks Thread
(#264, 269)
wirklich etwas schlagseitig


#273 ist übrigens nicht der Dave Davies - der "richtige" sieht heute eher etwas runder im Gesicht aus als in #278

aktuelles Tourfoto von 2002

[fixbutte]

Missy
zurück zu #247 "Here We Go Round The Mulberry Bush" von Hunter Davies ist wirklich ein genial witziges Buch voller englischen Humors, mit dem der Erzähler die beschriebenen amourösen Missgeschicke doch irgendwie gut wegsteckt - an einigen Stellen habe ich beim Lesen laut lachen müssen

Insoweit passt das Buch bestens zu den Kinks, die die ironische Sicht des Losers ja auch so perfekt beschreiben können
Bin mal gespannt, ob ich den Film, der ja nicht ganz so gut sein soll, irgenwann zu sehen bekomme.



Die Titelmusik von Traffic (musikalisch eine der begabtesten Gruppen der Sechziger) gefiel mir auch immer sehr, allerdings scheint mir der eher deprimierte Unterton der Lyrics nicht ganz zu der swingenden Stimmung des Buches (und des Films ) zu passen



Traffic - Here We Go Round The Mulberry Bush

Turn around every way, looking back another day
The race is on, I`m out to win, before I start I must begin

Here we go round in circles to nowhere
Mulberry bush just won`t let me see
If I am lonely when I arrive there
Mulberry bush, will you shelter me when I am naked and cold?
Yet no one must see, oh they`re looking at me
When I am straight I feel that my world is real

With people running round and round, bringing one another down
People running round and round, bringing one another down

Here we go round, I`m looking for someone
Mulberry bush is calling to me
Red lights and green ones, I can`t be nervous
Mulberry bush, your bright eyes I see

Here we go round in circle to nowhere
Mulberry bush just won`t let me see
If I am lonely when I arrive there
Mulberry bush, will you shelter me?


Die Titelzeile des Buches stammt übrigens im Original - wie ich mir schon gedacht hatte - aus einem englischen Kinderlied



The Mulberry Bush
Traditional

Here we go `round the mulberry bush,
The mulberry bush, the mulberry bush.
Here we go `round the mulberry bush,
So early in the morning.

This is the way we wash our clothes,
Wash our clothes, wash our clothes.
This is the way we wash our clothes,
So early Monday morning.

This is the way we iron our clothes,
Iron our clothes, iron our clothes.
This is the way we iron our clothes,
So early Tuesday morning.

This is the way we mend our clothes,
Mend our clothes, mend our clothes.
This is the way we mend our clothes,
So early Wednesday morning.

This is the way we sweep the floor,
Sweep the floor, sweep the floor.
This is the way we sweep the floor,
So early Thursday morning.

This is the way we scrub the floor,
Scrub the floor, scrub the floor.
This is the way we scrub the floor,
So early Friday morning.

This is the way we bake our bread,
Bake our bread, bake our bread.
This is the way we bake our bread,
So early Saturday morning.

This is the way we go to church,
Go to church, go to church.
This is the way we go to church,
So early Sunday morning.

[fixbutte]

Dolce #260

I`m An Animal - was Pete Townshend billig ist, muss Eric Burdon ja erst recht von sich sagen bzw. singen können



Eric Burdon And The Animals - I`m An Animal

I`m an animal
I`m an animal
I`m an animal...here to blow your mind
I`m an animal...of the English kind
I`m an animal...gonna flip your wig
I`m an animal...behave just like a pig
I`m an animal
Hey, hey, hey, hey, hey
Let me be your best friend
and I won`t monkey `round with you

I`m an animal...I`ll eat your body and soul
I`m an animal...tune to rock and roll
I`m an animal...I`m a throroughbred
I`m an animal...going to give your head
I`m an animal...a woman is my prey
I`m an animal...eat both night and day
I`m an animal...I`ve got to satisfy
I`m an animal...never been known to lie
I`m an animal...animal life
I`m an animal...animalism
I`m an animal...human system, breath, flesh, flesh and blood
Physique, strength, power, vigor, force, spring, elasticity, tone and grace
Animal Kingdom, fumour, root, creation, animal creature, creature, being, living thing
Dumb animal, dumb friend, dumb creature, brute

I`m an animal...of the English kind
I`m an animal...going to blow your mind
I`m an animal...behave like a pig
I`m an animal...your gonna flip your wig

Oh, yeah
I`m an animal
Let me be your best friend

I`m an animal
Let me be your best friend

I`m an animal
Let me be your best friend

I`m an animal
Let me be your best friend

In Erinnerung an die alten Zeiten, als Eric Burdon noch eine Stimme hatte - jetzt hat er sie ja wohl endgültig verloren, wie er am Samstag bei Thomas Gottschalk erneut zeigen konnte. Immerhin hat er - im Gegensatz zu Barry Ryan und John Miles tatsächlich live gesungen

[fixbutte]

Schnirchel
#263 Leo Sayer - da fällt mir ein Long Tall Glasses
10-teilige CD-Sammlung - das ist ja astronomisch
Du kannst die übrigen 9 Titel zwecks allseitiger Inspiration gerne auch mal hier posten

Zunächst will ich einen früheren Hinweis (#243) von Dir aufgreifen

aus der deutschen Website Tht Kinks X-Ray http://people.freenet.de/kinks/index.htm
Lieder, die nicht von den Kinks sind
Wild Thing ...ist natürlich auch nicht von den Kinks, sondern war 1966 der Durchbruch für The Troggs (#1 USA, #2 UK); das sollte man eigentlich kennen! Eine gewisse musikalische Nähe zu den Kinks ist natürlich nicht zu bestreiten, was auch kein Zufall ist: Der Produzent der Troggs war ein gewisser Larry Page, seines Zeichens Ex-Manager der Kinks. Ray Davies berichtet in seiner "Autobiographie" X-Ray, dass er über die Ähnlichkeit zum Sound der Kinks erstaunt war, als er zum ersten Mal Wild Thing hörte. Deshalb sollte man die Troggs aber keinesfalls als reine Kinks-Epigonen abtun - zumindest in ihrer besten Zeit waren sie eine großartige Band!



The Troggs Original Lineup

Reg Presley (real name: Reg Ball), vocals
b. 12th June 1944, Andover
Chris Britton, guitar
b. 21st January 1945, Watford
Peter Staples, bass
b. 3rd May 1944, Andover
Ronnie Bond, drums
b. 4th May 1943, Andover; d. 1992

noch mehr Infos zu den Troggs aus dem All Music Guide

Remembered chiefly as proto-punkers who reached the top of the charts with the "caveman rock" of "Wild Thing" (1966), the Troggs were also adept at crafting power pop and ballads. Hearkening back to a somewhat simpler, more basic British Invasion approach as psychedelia began to explode in the late `60s, the group also reached the Top Five with their flower-power ballad "Love Is All Around" in 1968. While more popular in their native England than the U.S., the band also fashioned memorable, insistently riffing hit singles like "With a Girl Like You," "Night of the Long Gras," and the notoriously salacious "I Can`t Control Myself" between 1966 and 1968. Paced by Reg Presley`s lusting vocals, the group — which composed most of their own material — could crunch with the best of them, but were also capable of quite a bit more range and melodic invention than they`ve been given credit for.

Hailing from the relatively unknown British town of Andover, the Troggs hooked up with manager/producer Larry Page (who was involved in the Kinks` early affairs) in the mid-`60s. After a flop debut single, they were fortunate enough to come across a demo of Chip Taylor`s "Wild Thing" (which had already been unsuccessfully recorded by the Wild Ones). In the hands of the Troggs, "Wild Thing" — with its grungy chords and off-the-wall ocarina solo — became a primeval three-chord monster, famous not only in its original hit Troggs version, but in its psychedelic revamping by Jimi Hendrix, who used it to close his famous set at the 1967 Monterey Pop Festival.

"Wild Thing" made number one in the States, but the Troggs` momentum there was impeded by a strange legal dispute which saw their early records simultaneously released on two different labels. Nor did it help that the band didn`t tour the U.S. for a couple of years. As a consequence, the fine follow-up singles "With a Girl Like You" and "I Can`t Control Myself" didn`t do as well as they might have. In Britain, it was a different story — they were smashes, although "I Can`t Control Myself" had such an open-hearted lust that it encountered resistance from conservative radio programmers all over the globe.

The Troggs tempered their image on subsequent ballads, which utilized a sort of pre-"power ballad" approach. These weren`t bad, and a few of them were British hits, but they weren`t as fine as the initial blast of singles which established the band`s image. "Love Is All Around," which restored them to the American Top Ten in 1968, was their finest effort in this vein. It was also their final big hit on either side of the Atlantic.

But the Troggs would keep going for a long, long time. In a sense they were handicapped by their image — they were not intellectuals, certainly, but they weren`t dumb either. They wrote most of their songs, and their albums were reasonably accomplished, if hardly up to the level of the Kinks or Traffic, containing some nifty surprises like the gothic ballad "Cousin Jane," or the tongue-in-cheek psychedelia of "Maybe the Madman." By 1970, though, they were struggling. They continued to release a stream of singles, most of which had a straightforward simplicity that was out of step with the progressive rock of the time, all of which flopped, though some were fairly good.

The Troggs` image as lunkheads couldn`t have been helped by the notorious Troggs Tapes, a 12-minute studio argument that was captured on tape while the band were unawares. The Spinal Tap-like dialog helped keep their cult alive, though, and as punk gained momentum in the mid-`70s, they gained belated appreciation as an important influence on bands like the Ramones and (earlier) the MC5. They found enough live work (sometimes on the punk/new wave circuit) to keep going, although their intermittent records generally came to naught. In 1992, they rose to their highest profile in ages when three members of R.E.M., which had covered "Love Is All Around," backed the Troggs on the comeback album Athens Andover.

[fixbutte]

jetzt habe ich doch glatt vergessen, die genialen Lyrics von Wild Thing mitzuposten



The Troggs - Wild Thing

(Refrain
Wild thing
You make my heart sing
You make everything ... groovy
I said Wild thing

Wild thing, I ... think I love you
But I wanna know for sure
So come on, and hold me tight
I love you

(Refrain)

Wild thing, I ... think you move me
But I wanna know for sure
So come on, and hold me tight
You move me

(Refrain)

Wild thing

Come on, come on, wild thing
Shake it, shake it, wild thing
(repeat)

[CockneyRebel]

.
Ein "Wild Thing" war auch sie einmal: Grace Slick...




White Rabbit


One pill makes you larger
And one pill makes you small,
And the ones that mother gives you
Don`t do anything at all.
Go ask Alice
When she`s ten feet tall.

And if you go chasing rabbits
And you know you`re going to fall,
Tell `em a hookah smoking caterpillar
Has given you the call.
call Alice
When she was just small.

When the men on the chessboard
Get up and tell you where to go
And you`ve just had some kind of mushroom
And your mind is moving low.
Go ask Alice
I think she`ll know.

When logic and proportion
Have fallen sloppy dead,
And the White Knight is talking backwards
And the Red Queen`s off her head
Remember what the doornob said:
"Feed your head. Feed your head."

[wolaufensie]

http://www.notreallyhere.com/music/Jefferson%20Airplane%20-%…

[wolaufensie]

..obwohl zwischen den beiden Liedern nur ein paar Jährchen
liegen, sind es doch anscheinend Äonen, die den Unterschied ausmachen.

http://www.kevin67.com/kevin/Troggs%20-%20Wild%20Thing.mp3

[wolaufensie]

Der Unterschied war, dass die einen dies nahmen ....


...und die anderen unteres..., wobei untiges eindeutig
besser für die Zähne war...

[MissB.Hagen]

.
Tatsächlich klingt "White Rabbit" auch frischer, als alles, was dann später noch von "Starship" kam ...

[gesine]

@ cockney

die wahre stimmgewalt von grace slick
kannst du hier auf der lp/cd hören




Grace Slick
Manhole (1973)


Jay (Slick) 2:46
Theme From The Movie "Manhole" (Slick) 15:24

? Come Again? Toucan (Freiberg-Slick) 4:37
It`s Only Music (Freiberg-Hunter) 4:30
Better Lying Down (Slick-Sears) 3:12
Epic(#38) (Kantner-Slick-Traylor) 7:11

[CockneyRebel]

.
Gesine, danke für den Tipp - die kannte ich bisher nicht! Ich hoffe, das ist eine Deiner LPs, die Du damals nicht weggegeben hast... kostet heute bestimmt mehr als damals im Laden!
.

[CockneyRebel]

.
Missy, ich habe sicher nur diese "One Hit Wonder"-Halbbildung und kenne nicht mehr als zwei Handvoll Lieder von ihr/ihnen, aber daraus ist "White Rabbit" für mich das eindringlichste.

Beeindruckt haben mich aber besonders die Filmaufnahmen, bei denen Grace Slick einfach alles gegeben hat.

By the way:

Da sind drei solcher Konzertaufnahmen, die ich über alles liebe und unbedingt wieder sehen muss:

- eben Jefferson Airplane mit "White Rabbit" (keine Anhnung, wo und wann, einmal gesehen vor vielen Jahren)

- Simon & Garfunkel im Central Park bei "Sounds Of Silence"

- und Chrissie Hynde beim "Live Aid"-Konzert (hiess doch so?), auch nur damals im Fernsehen gesehen und danach nie wieder.

Simon & Garfunkel gibt`s bei Karstadt, ich bin nur zu geizig Die anderen würde ich wahrscheinlich morgen zu jedem Preis kaufen!
.

[Iguana]

@fixbutte: hey wo du gerade Traffic erwähnst - über ostern habe ich als gutes altes, knisterndes vinyl deren scheibe "John Barleycorn (must die)" für mich entdeckt...
ist eine ungewöhnliche nummer mit einem sound der gut zu einem outlaw western passen würde...

TRAFFIC

JOHN BARLEYCORN (MUST DIE)


There were three men came out of the west

Their fortunes for to try

And these three men made a solemn vow

John Barleycorn must die

They`ve plowed, they`ve sown, the`ve harrowed him in

Threw clods upon his head

And these three men were satisfied

John Barleycorn was dead


They let him lie for a very long time

Till the rains from heaven did fall

And little Sir John sprung up his head

And so amazed them all

They let him stand `til mid summer`s day

`til he looked both pale and worn

And little Sir John`s grown a long, long beard

And so become a man



They`ve hired men with scythes so sharp

To cut him off at the knee

They rolled him and tied him by the waist

Serving him most barbarously

They`ve hired men with sharp pitch forks

Who pricked him to the heart...

And the loader he has served him worse than that

For he`s bound him to the cart


They`ve wheeled him around and around in the field

`til they came onto a barn

And there they made a solemn oath

On poor John Barleycorn

They`ve hired men with the crab tree sticks

to cut him skin from bone

And the miller he has served him worse than that

For he`s ground him between two stones



And little Sir John and the nut brown bowl

And he`s brandy in the glass

And little Sir John and the nut brown bowl

Proved the strongest man at last

The huntsman, he can`t hunt the fox

Nor so loudly blow his horn

And the Tinker he can`t mend kettle nor pots

Without a little Barlycorn

iguana

[MissB.Hagen]

Rebel Ich habe ja auch nur "The Worst of Jefferson Airplane" , die uralte LP mit White Rabbit, Somebody To Love, Volunteer, etc. Aber das sind für mich ohnehin die Highlights, und alles, was später kam, hat mich enttäuscht (wie z.B. "We Built This City" von Starship)

Wenn die "White Rabbit" Performance nicht aus dem Woodstock-Film stammt, dann wohl von einem der vielen Campus-Auftritte, die sie in ihrer Zeit absolviert haben. Und die Konzert-Mitschnitte von Live-Aid oder Farm-Aid hätte ich auch gerne.

Aber am schönsten ist für mich das Abschiedskonzert von The Band, das ich sowohl im Kino gesehen habe als auch auf Video habe. "The Last Waltz" ist einfach ein Muss für jeden Fan von Bob Dylan und The Band.



Twenty-five years ago, on Thanksgiving Day 1976, five thousand cheering fans gathered for the historic farewell concert of `The Band.` In Martin Scorsese`s film "The Last Waltz", superstars Eric Clapton, Joni Mitchell, Neil Young and Van Morrison join the musicians on-stage, along with one-time collaborator Bob Dylan and Ringo Starr in an unforgettable finale.

... und weitere Gäste in der Winterland Hall in San Francisco waren Paul Butterfield, Neil Diamond, Dr. John, Emmylou Harris, Muddy Waters ...

[wolaufensie]

......................
......................................http://www.the-mirror.net/mp3/Traffic - John Barleycorn Must…
..................................................

[MissB.Hagen]

wosie Jaja, das erinnert mich an die wunderbare Szene, wie er eine Stehlampe im Bus transportiert.
Oder an das Quietschen der unbequemen Ledersessel in "Modern Times", einfach köstlich ....

[MissB.Hagen]

Also dann, schöne Ferien, Monsieur Hulot
Und in den Alleen (falls es sie noch gibt) gut auf die Bäume achten ....

[gesine]

@ cockney,

yep die platte hab ich noch allerdings kannst du sie heute auch auf cd bekommen.
irgendwie kommen immer mehr alte scheiben als cd auf den markt.

@ missB.Hagen

das ist ja klasse noch ein airplane fan
vielleicht sollten wir zum nächsten treffen
mal unsere alten restbestände von platten mitbringen.
wäre sicher interresant.


@ fixbutte,

hab gelesen das du ein konzert in neu isenburg verpasst.
wohnst du da irgendwo in der nähe

der viel mir heute morgen ein

[DOLCETTO]

fixbutte #281,

joo, der gute Eric kanns leider nicht mehr
derzeit tourt er mit ner menge eigengestrickter lyrik und
untermalt mir ein paar songs in kleineren hallen rum

btw: Ian Anderson ist auch nur noch flöte
am besten kam mista Chris Thompson rüber.

.....apropo Jefferson >>> da nehm ich jetzt lieber das da:


@Missy
is was für dich - viel dynamische fiddel

[fixbutte]

Hallo Leute
ist ja viel passiert hier im Thread seit meinem letzten Posting da kann ich natürlich nicht (gleich) auf alles eingehen

Iguana #292
John Barleycorn Must Die kenne ich schon lange und empfand es immer als die Glanznummer des gleichnamigen Traffic Albums



Es handelt sich dabei um ein altes englisches Trinklied, in dem es nicht, wie man meinen könnte, um die Folterung und Tötung eines Menschen geht, sondern um die Herstellung von Alkohol aus Gerste (barley)

Die Platte sollte eigentlich ein Solowerk von Steve Winwood werden, aber der wollte in diesem Fall doch nicht auf die Unterstützung seiner alten Mitstreiter Jim Capaldi (drums, percussion, vocals) und Chris Wood (flute, sax) verzichten. So wurde es schließlich - trotz vorheriger Auflösung der Band - das dritte Original Album von Traffic (1970).

[fixbutte]

Zur Feier der #300 sollten wir nicht vergessen, dass wir uns in einem Kinks Thread befinden

Hier kommt der Hit, der wahrscheinlich für immer der letzte für die Kinks bleiben wird. Von Ray Davies, Bruder von fünf (!) älteren Schwestern nach der eigenen Familiengeschichte geschrieben, in der - gelungenen - Absicht, wieder einmal einen Single Hit zu landen (#6 USA, #12 UK)


Nov, 1982

Come Dancing

They put a parking lot on a piece of land
When the supermarket used to stand.
Before that they put up a bowling alley
On the site that used to be the local palais.
That`s where the big bands used to come and play.
My sister went there on a Saturday.

Come dancing,
All her boyfriends used to come and call.
Why not come dancing, it`s only natural?

Another Saturday, another date.
She would be ready but she`s always make them wait.
In the hallway, in anticipation,
He didn`t know the night would end up in frustration.
He`d end up blowing all his wages for the week
All for a cuddle and a peck on the cheek.

Come dancing,
That`s how they did it when I was just a kid,
And when they said come dancing,
My sister always did.

My sister should have come in at midnight,
And my mum would always sit up and wait.
It always ended up in a big row
When my sister used to get home late.

Out of my window I can see them in the moonlight,
Two silhouettes saying goodnight by the garden gate.

The day they knocked down the palais
My sister stood and cried.
The day they knocked down the palais
Part of my childhood died, just died.

Now I`m grown up and playing in a band,
And there`s a car park where the palais used to stand.
My sister`s married and she lives on an estate.
Her daughters go out, now it`s her turn to wait.
She knows they get away with things she never could,
But if I asked her I wonder if she would,

Come dancing,
Come on sister, have yourself a ball.
Don`t be afraid to come dancing,
It`s only natural.

Come dancing,
Just like the palais on a Saturday.
And all her friends will come dancing
Where the big bands used to play.

[MissB.Hagen]

Gesine Tim Buckley ist ja leider auch schon lange tot. Ich kenne ihn als Folk-Singer,
und das auch nur, weil er auf meiner Sammel-LP, die "First Family of Folk" (oder ähnlich
heisst) mit "I Had A Talk With My Woman" vertreten ist - sehr melodiös ...

Dolcetto Dynamische Fiddle? Aber doch nich dynamischer als Horselip , oder?

Und hier könnte man unter anderem "John Barleycrn Must Die" hören (wurde von
einem derzeit abwesenden Freund hereingegeben

http://www.the-mirror.net/mp3/Frameset.htm

[CockneyRebel]

Glückwunsch zur 300, fixbutte!

[fixbutte]

jetzt probier ich`s mal so
wo sind die Postings #279 bis 301 geblieben
Für eine Auflösung diese Rätsels wäre ich dankbar

[fixbutte]

merkwürdig da sind sie wieder

[CockneyRebel]

.
Vor ein paar Minuten habe ich sie noch gesehen - jetzt sind sie tatsächlich wieder weg!
.

[MissB.Hagen]

fixbutte - es sind immer die vom 19.04., die sich aus dem Staub machen.
Aber wenn man sie ruft, dann kommen sie auch wieder

Gratuliere ebenfalls zur 300, gebe aber zu bedenken, dass das noch nicht
einmal ein Drittel der Wegstrecke ist

[gesine]

@ missB.Hagen

wenn wir schon bei den toten sind,
dann solten wir mama cass nicht vergessen.



dream a little dream

Stars shining bright above you
night breezes seem to whisper

I love you
Birds singin` in the sycamore tree

Dream a little dream of me,
Say "nighty night" and kiss me

just hold me tight and tell me

you`ll miss me,
While I`m alone and blue as can be

Dream a little dream of me,

Stars fading
but I linger on
dear

still craving your kiss
I`m longing to linger til dawn
dear

Just saying this:

Sweet dreams til sun beams find you

sweet dreams that leave our worries behind you,
But in your dreams
whatever they be

dream a little dream of me,

Stars fading
but I linger on
dear

still craving your kiss,
I`m longing to linger til dawn
dear

just saying this:

Sweet dreams til sun beams find you

sweet dreams that leave our worries behind you,
But in your dreams
whatever they be

dream a little dream of me,

Sweet dreams til sun beams find you

sweet dreams that leave our worries behind you,
But in your dreams
whatever they be

dream a little dream of me,

Sweet dreams til sun beams find you

sweet dreams that leave our worries behind you,
But in your dreams
whatever they be

dream a little dream of me,

[MissB.Hagen]

Gesine Sie starb 1999, mit 60 Jahren.



YOU DON’T HAVE TO SAY YOU LOVE ME
Dusty Springfield

When I said I needed you
You said you would always stay
It wasn’t me who changed but you
And now you’ve gone away

Don’t you see
That now you’ve gone
And I’m left here on my own
That I have to follow you
And beg you to come home?

You don’t have to say you love me
Just be close at hand
You don’t have to stay forever
I will understand
Believe me, believe me
I can’t help but love you
But believe me
I’ll never tie you down

Left alone with just a memory
Life seems dead and so unreal
All that’s left is loneliness
There’s nothing left to feel

You don’t have to say you love me
Just be close at hand
You don’t have to stay forever
I will understand
Believe me, believe me

You don’t have to say you love me
Just be close at hand
You don’t have to stay forever
I will understand
Believe me, believe me, believe me


SON OF A PREACHER MAN
Dusty Springfield

Billy-Ray was a preacher’s son
And when his daddy would visit he’d come along
When they gathered round and started talkin’
That’s when Billy would take me walkin’
A-through the back yard we’d go walkin’
Then he’d look into my eyes
Lord knows to my surprise

The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, mmm, yes he was

Being good isn’t always easy
No matter how hard I try
When he started sweet-talkin’ to me
He’d come and tell me everything is all right
He’d kiss and tell me everything is all right
Can I get away again tonight?

The only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, lord knows he was

How well I do remember
The look that was in his eyes
Stealin’ kisses from me on the sly
Takin’ time to make time
Tellin’ me that he’s all mine
Learnin’ from each other’s knowing
Lookin’ to see how much we’ve grown

And the only one who could ever reach me
Was the son of a preacher man
The only boy who could ever teach me
Was the son of a preacher man
Yes he was, he was, oh, yes he was
He was the sweet-talking son of a preacher man
I guessed he was the son of a preacher man
Sweet-lovin’ son of a preacher man
Ahh, move me

[fixbutte]

gesine Missy
starke Frauen

ebenfalls von einer Frau kommt der No. 1 Hit (USA, 1967) mit der vielleicht interessantesten und rätselhaftesten Story der 60er Jahre



Bobby Gentry - Ode To Billy Joe

It was the third of June, another sleepy, dusty Delta day
I was out choppin` cotton and my brother was baling hay
And at dinner time we stopped and walked back to the house to eat
And Mama hollered out the back door "y`all remember to wipe your feet"
And then she said "I got some news this morning from Chocktow Ridge
Today Billy Joe MacAllister jumped off the Tallahachee Bridge"

Papa said to Mama as he passed around the black eyed peas
"Well Billy Joe never had a lick of sense, pass the biscuits please
There`s five more acres in the lower forty I got to plow"
And Mama said it was shame about Billy Joe, anyhow
Seems like nothing ever comes to no good up on Chocktow Ridge
And now Billy Joe MacAllister`s jumped off the Tallahachee Bridge

Brother said he recollected when he and Tom and Billy Joe
Put a frog down my back at the Carrol County picture show
And wasn`t I talkin` to him after church last Sunday night
I`ll have another piece of apple pie, you know, it don`t seem right`
I saw him at the sawmill yesterday on Choctow Ridge
And now you tell me Billy Joe`s jumped off the Tallahatchee Bridge

Mama said to me "Child, what`s happened to your appetite?
I`ve been cooking all morning and you haven`t touched a single bite
That nice young preacher, Brother Taylor, dropped by today
Said he`d be pleased to have dinner on Sunday, oh, by the way,
He said he saw a girl that looked a lot like you up on Chocktow Ridge
And she and Billy Joe was throwing something off the Tallahachee Bridge"

A year has come and gone since we heard the news `bout Billy Joe
Brother married Becky Thompson, they bought a store in Tupelo
There was a virus going `round, Papa caught it and he died last Spring
And now Mama doesn`t seem to wanna do much of anything
And me, I spend a lot of time picking flowers up on Chocktow Ridge
And drop them into the muddy water off the Tallahachee Bridge


Der Song war ursprünglich die B-Seite des ebenfalls von Bobby Gentry komponierten und ebenfalls sehr starken Titels Mississippi Delta, den Joe Cocker später bekannt machte, die DJs entschieden sich aber dazu, die Platte zugunsten von Billy Joe umzudrehen.

Die Geschichte ließ bewusst einiges offen - sprang Billy Joe in den Tod? Warum ist er überhaupt gesprungen? Was hatten er und die Erzählerin/Sängerin zuvor von der Brücke geworfen? Letztlich ging es Bobby Gentry auch gar nicht um die Beantwortung dieser Fragen, sondern um die Darstellung der Herzlosigkeit, mit der die Nachricht von der Umwelt (ihrer Familie) aufgenommen wurde.

Die offenen Fragen ließen aber andere nicht ruhen, so dass viele Jahre später (1976) aus der Geschichte ein Film gemacht wurde ("what the song didn`t tell you, the movie will").

[MissB.Hagen]

fixbutte

"Ode to Billy Joe" - diesen Supersong wollte ich heute rein stellen .

War an sich schon fix & fetig bis auf eine Kleinigkeit, die ich anfügen
wollte und die ich auf die Schnelle nicht gefunden habe:

Es gibt ein Stück von Roger Chapman, wo er sich - genau wie ich und
wahrscheinlich viele andere - die Frage stellt, was die beiden denn nun
eigentlich über die Tallahatchie Bridge geworfen haben.
Kennst du zufällig den Titel?

[CockneyRebel]

.
Von Bobby Gentry ist leider hauptsächlich der späte softe, schlagermäßige Eindruck in Erinnerung geblieben. Sie ist ja, so weit ich weiss, dann schnell weg vom Fenster gewesen. Aber "Ode To Billy Joe", das bleibt eher als "Vermächtnis" als "Raindrops Keep Falling On My Head" und "I`ll Never Fall in Love Again" (obwohl ich die auch gern höre ). Ersteres natürlich nur von ihr, nicht von der Dresdner Bank

Ich hab gerade noch mal nach ihrer Biografie gegooglet: Eigentlich heisst sie Roberta Lee Streeter, ist Autodidaktin und hat mit 23 bereits ihr Studium in Philosophie und Musik abgeschlossen. Die Urversion von "Ode To Billy Joe" war über 7 Minuten lang und wurde aus kommerziellen Gründen kastriert.



.

[fixbutte]

Danke Cockney
da waren wir offenbar wieder auf der selben Seite, wie man an dem Foto sieht, das wir beide gepostet haben. Es gibt aber noch viel mehr von ihr unter der richtigen Schreibweise "Bobbie", sogar eine eigene Tribute Website http://www.geocities.com/odetobobbiegentry/





Missi Den Song von Roger Chapman kenne ich nicht bzw. kann ihn nicht zuordnen. Es gibt ja leider sehr wenig von Roger im Netz

Übrigens habe ich mich in #309 auch vertan Joe Cocker singt nicht von dem Missi... Delta , sondern von der Delta Lady, ein Titel, der wiederum von Leon Russell stammt.

Bobbie Gentry - Mississippi Delta

M I double S I double S I double P I
M I double S I double S I double P I

Right in the middle of the cotton belt
Down in the Mississippi Delta
Wearin` last years possum belt
Smack dab in the Mississippi Delta

Have me a little that Johnny cake
A little bit of that apple pan dowdy
Pickin them scuppernon`s off that vine
Chigger bite, it`s goin` to beat howdy

Ate me a bucket of Muscadine
Sit on the riverbank after dark
Drop my line down a crawdad hole
Do him in with a scaly bark

One-ree-o-ree-ee-reeanni
Fidderliss-farce-nickory-john-queery-quan

M I double S I double S I double P I
M I double S I double S I double P I

Right in the middle of the cotton belt
Down in the Mississippi Delta
Wearin last years possum belt
Smack dab in the Mississippi Delta

Sittin` and scratchin` mosquito bites
Old fox done give him the slip
Watchin` the mornin` glories grow
In Biloxi on an overnight trip

I bet five dollars to win two bits
Eat a peppermint stick on Sunday
Ain`t no use in`a hurrying up
Can`t leave till a week from Monday

One-ree-o-ree-ee-reeanni
Fidderliss-farce-nickory-john-queery-quan

In the Mississippi Delta
Miss-iss-siss-ippi Delta

1969

Joe Cocker - Delta Lady
(Leon Russell)

Woman of the country now I`ve found you
Longing in your soft and fertile delta.
And I whisper sighs to satisfy your longing
for the warmth and tender shelter of my body.
Oh you`re my, yes you`re my Delta Lady
Yes, you`re my, me oh my, Delta Lady.

Please don`t ask how many times I found you
Standing wet and naked in the garden.
And I think of days and diff`rent ways I held you,
Held you closely to me, yes our heart was beating.
Oh you`re my .....

Oh, and I`m over here in England;
But I think of you, think about you ....
Because I love you,

There are concrete mountains in the city
And pretty city women live inside them.
And yet it seems the city scene is lacking.
I`m so glad you`re waiting for me in the country.
Oh you`re my ....


Bobbie Gentry hat daraus einen Delta Man gemacht, allerdings ohne die offensichtlichen sexuellen Untertöne des "Deltas"

Bobbie Gentry - Delta Man

Gentle country man now that I found you
Waiting in your rich and fertile delta
I will whisper songs to satisfy your longing
For the warm and tender shelter of my body

And you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man

Please don`t ask how many times I found you
Standing waiting for me under the shade tree
And I think of days, and different ways, you held me
Understand now gentleman, I am a lady

And you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man

Oh when I`m home again in the city
I think of you because I love you
When I get back uptown it ain`t the same, no
All them city men don`t do nothing to me

And you know it seems in all my dreams I want you
I`m so glad you`re waiting for me down in the country

Well you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man
Oh you`re mine, yes your my Delta man
Oh you`re mine, dear you`re my Delta man

[fixbutte]

Missi welch ein Zufall Den Song von Roger Chapman kenne ich aber nicht bzw. kann ihn nicht zuordnen. Von Roger gibt es ja leider sehr wenig im Netz

Danke Cockney da waren wir offensichtlich wieder auf derselben Seite, wie man an dem Bild sehen kann, das wir beide gepostet haben Von B. Gentry gibt es aber viel mehr, wenn man unter der richtigen Schreibweise "Bobbie" sucht, sogar eine eigene Tribute Website





Bobbie Gentry - Mississippi Delta

M I double S I double S I double P I
M I double S I double S I double P I

Right in the middle of the cotton belt
Down in the Mississippi Delta
Wearin` last years possum belt
Smack dab in the Mississippi Delta

Have me a little that Johnny cake
A little bit of that apple pan dowdy
Pickin them scuppernon`s off that vine
Chigger bite, it`s goin` to beat howdy

Ate me a bucket of Muscadine
Sit on the riverbank after dark
Drop my line down a crawdad hole
Do him in with a scaly bark

One-ree-o-ree-ee-reeanni
Fidderliss-farce-nickory-john-queery-quan

M I double S I double S I double P I
M I double S I double S I double P I

Right in the middle of the cotton belt
Down in the Mississippi Delta
Wearin last years possum belt
Smack dab in the Mississippi Delta

Sittin` and scratchin` mosquito bites
Old fox done give him the slip
Watchin` the mornin` glories grow
In Biloxi on an overnight trip

I bet five dollars to win two bits
Eat a peppermint stick on Sunday
Ain`t no use in`a hurrying up
Can`t leave till a week from Monday

One-ree-o-ree-ee-reeanni
Fidderliss-farce-nickory-john-queery-quan

In the Mississippi Delta
Miss-iss-siss-ippi Delta


In #309 habe ich mich übrigens vertan. Joe Cocker singt nicht Missi... Delta , sondern Delta Lady, das wiederum von Leon Russell stammt

1969

Joe Cocker - Delta Lady

Woman of the country now I`ve found you
Longing in your soft and fertile delta.
And I whisper sighs to satisfy your longing
for the warmth and tender shelter of my body.
Oh you`re my, yes you`re my Delta Lady
Yes, you`re my, me oh my, Delta Lady.

Please don`t ask how many times I found you
Standing wet and naked in the garden.
And I think of days and diff`rent ways I held you,
Held you closely to me, yes our heart was beating.
Oh you`re my .....

Oh, and I`m over here in England;
But I think of you, think about you ....
Because I love you,

There are concrete mountains in the city
And pretty city women live inside them.
And yet it seems the city scene is lacking.
I`m so glad you`re waiting for me in the country.
Oh you`re my ....


Bobbie Gentry hat daraus einen Delta Man gemacht, allerdings ohne die offensichtlichen sexuellen Untertöne des "Deltas"

Bobbie Gentry - Delta Man

Gentle country man now that I found you
Waiting in your rich and fertile delta
I will whisper songs to satisfy your longing
For the warm and tender shelter of my body

And you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man

Please don`t ask how many times I found you
Standing waiting for me under the shade tree
And I think of days, and different ways, you held me
Understand now gentleman, I am a lady

And you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man

Oh when I`m home again in the city
I think of you because I love you
When I get back uptown it ain`t the same, no
All them city men don`t do nothing to me

And you know it seems in all my dreams I want you
I`m so glad you`re waiting for me down in the country

Well you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man
Oh you`re mine, yes your my Delta man
Oh you`re mine, dear you`re my Delta man

[fixbutte]

Missi welch ein Zufall
Den Song von Roger Chapman kenne ich aber nicht bzw. kann ihn im Moment nicht zuordnen. Es gibt ja leider nur sehr wenig von Roger im Netz

Danke Cockney für den Nachtrag. Da waren wir offenbar wieder auf derselben Seite, wie man an dem von uns beiden geposteten Bild sieht Von B.Gentry findet man aber noch viel mehr, wenn man unter der richtigen Schreibweise "Bobbie" sucht, sogar eine eigene Tribute Website





Bobbie Gentry - Mississippi Delta

M I double S I double S I double P I
M I double S I double S I double P I

Right in the middle of the cotton belt
Down in the Mississippi Delta
Wearin` last years possum belt
Smack dab in the Mississippi Delta

Have me a little that Johnny cake
A little bit of that apple pan dowdy
Pickin them scuppernon`s off that vine
Chigger bite, it`s goin` to beat howdy

Ate me a bucket of Muscadine
Sit on the riverbank after dark
Drop my line down a crawdad hole
Do him in with a scaly bark

One-ree-o-ree-ee-reeanni
Fidderliss-farce-nickory-john-queery-quan

M I double S I double S I double P I
M I double S I double S I double P I

Right in the middle of the cotton belt
Down in the Mississippi Delta
Wearin last years possum belt
Smack dab in the Mississippi Delta

Sittin` and scratchin` mosquito bites
Old fox done give him the slip
Watchin` the mornin` glories grow
In Biloxi on an overnight trip

I bet five dollars to win two bits
Eat a peppermint stick on Sunday
Ain`t no use in`a hurrying up
Can`t leave till a week from Monday

One-ree-o-ree-ee-reeanni
Fidderliss-farce-nickory-john-queery-quan

In the Mississippi Delta
Miss-iss-siss-ippi Delta


In #309 habe ich micht übrigens vertan Joe Cocker singt nicht Missi... Delta , sondern Delta Lady, was wiederum von Leon Russell stammt

1969

Joe Cocker - Delta Lady

Woman of the country now I`ve found you
Longing in your soft and fertile delta.
And I whisper sighs to satisfy your longing
for the warmth and tender shelter of my body.
Oh you`re my, yes you`re my Delta Lady
Yes, you`re my, me oh my, Delta Lady.

Please don`t ask how many times I found you
Standing wet and naked in the garden.
And I think of days and diff`rent ways I held you,
Held you closely to me, yes our heart was beating.
Oh you`re my .....

Oh, and I`m over here in England;
But I think of you, think about you ....
Because I love you,

There are concrete mountains in the city
And pretty city women live inside them.
And yet it seems the city scene is lacking.
I`m so glad you`re waiting for me in the country.
Oh you`re my ....


Bobbie Gentry hat daraus einen Delta Man gemacht, allerdings ohne die offensichtlichen sexuellen Untertöne des "Deltas"

Bobbie Gentry - Delta Man

Gentle country man now that I found you
Waiting in your rich and fertile delta
I will whisper songs to satisfy your longing
For the warm and tender shelter of my body

And you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man

Please don`t ask how many times I found you
Standing waiting for me under the shade tree
And I think of days, and different ways, you held me
Understand now gentleman, I am a lady

And you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man

Oh when I`m home again in the city
I think of you because I love you
When I get back uptown it ain`t the same, no
All them city men don`t do nothing to me

And you know it seems in all my dreams I want you
I`m so glad you`re waiting for me down in the country

Well you`re mine, yes your my Delta man
Yes you`re mine, dear you`re my Delta man
Oh you`re mine, yes your my Delta man
Oh you`re mine, dear you`re my Delta man

[fixbutte]

Haltet mich nicht für bekloppt, aber hier kam für einige Stunden gar nichts
jetzt habe ich das (fast) gleiche Posting gleich dreimal drin :O

[CockneyRebel]

Ich war`s wirklich nicht!

[CockneyRebel]

Stimmt, fixbutte! Ich hab` zu spät gemerkt, dass ich dasselbe Bild herausgesucht hatte. Sorry!

[MissB.Hagen]

fixbutte - das ist unfair ...

Wenn du von jetzt an jedes Posting 3 x rein stellst, ist es natürlich keine Kunst, das
gesteckte Ziel zu erreichen. Zum 500er werde ich dir dann aber nicht gratulieren

[gesine]

ich hab da auch eine sängerin aber sie passt nicht so recht hier rein *heul

[fixbutte]

gesine
vielleicht packst Du die CD erstmal aus dem Zellophan, damit Du weißt, obsie hier rein passt

missi wer den Schaden hat, spottet jeder Beschreibung

[MissB.Hagen]

Sie begann ihre Karriere als Songwriterin in den 60er Jahren, im zarten Alter von 15.
Ihre Songs wurden vielfach gecovert und ihr „What The World Needs Now (is love, sweet love)
wurde als Filmmusik bei Forrest Gump eingesetzt. Für Kim Carnes schrieb sie „Bette Davies Eyes“.
"Put A Little Love in Your Heart" wurde u.a. auch von Annie Lennox und Al Green gesungen.



Put A Little Love In Your Heart
Jackie deShannon
:
Think of your fellow man
lend him a helping hand
put a little love in your heart.
You see it`s getting late
oh please don`t hesitate
put a little love in your heart.

And the world will be a better place
and the world will be a better place
for you and me
you just wait and see

Another day goes by
and still the children cry
put a little love in your heart.
If you want the world to know
we won`t let hatred grow
put a little love in your heart.

And the world will be a better place
and the world will be a better place
for you and me
you just wait and see

Take a good look around
And if you`re lookin` down
put a little love in your heart
I hope when you decide
kindness will be your guide
put a little love in your heart.

And the world will be a better place
and the world will be a better place
for you and me
you just wait and see
put a little love in your heart each and every day
put a little love in your heart there`s no other way
put a lttle love in your heart, it`s up to you
put a little love in your heart...

[gesine]

fixbute, auch ohne auszupacken,
weiß ich das sie stimmlich ganz woanderst ist

heute morgen kommt mir was leichts in den sinn




Brand New Key

I rode my bicycle past your window last night
I roller skated to your door at daylight
It almost seems like you`re avoiding me
I`m okay alone, but you got something I need

Well, I got a brand new pair of roller skates
You got a brand new key
I think that we should get together and try them out you see
I been looking around awhile
You got something for me
Oh! I got a brand new pair of roller skates
You got a brand new key

I ride my bike, I roller skate, don`t drive no car
Don`t go too fast, but I go pretty far
For somebody who don`t drive
I been all around the world
Some people say, I done all right for a girl

Well, I got a brand new pair of roller skates
You got a brand new key
I think that we should get together and try them out you see
I been looking around awhile
You got something for me
Oh! I got a brand new pair of roller skates
You got a brand new key

I asked your mother if you were at home
She said, yes .. but you weren`t alone
Oh, sometimes I think that you`re avoiding me
I`m okay alone, but you`ve got something I need

Well, I got a brand new pair of roller skates
You got a brand new key
I think that we should get together and try them out to see
La la la la la la la la, la la la la la la
Oh! I got a brand new pair of roller skates
You got a brand new key

[fixbutte]

missi gesine schöne Songs, die gut in den Thread passen

Gesine - hat Brand New Key nicht etwas mit Doktorspielchen zu tun
Well, I got a brand new pair of roller skates, you got a brand new key
I think that we should get together and try them out you see

Bei Billie Holiday, die übrigens sehr gut in Iguanas Love Lyrics Thread passen würde, fällt mir auch etwas von den Kinks ein (schließlich sind wir ja in einem Kinks Thread)

Eine kleine Satire, die Ray Davies 1966 völlig desillusioniert in seinem Hotelzimmer in Waikiki, Hawaii, geschrieben hat (aus dem genialen Album Face To Face)



Holiday In Waikiki

I won a competition
in a little column
in my local paper.
So I packed my bags
and flew across the sea
all on my local paper.
I sailed to Hawaii
in the U.S.A.
I`m just an English boy
who won a holiday
in Waikiki.

I didn`t realize
it was commercialized
when I unpacked my cases,
Because a genuine
Hawaii ukulele
cost me 30 guineas,
and even when I`m swimming
I have to pay.
I`m just an English boy
who won a holiday in Waikiki.
Oh yeah, yeah.

Across the coral sands
I saw a hula hula
dancer looking pretty.
I asked her where she came from
and she said to me,
"I come from New York City,
and my mother is Italian,
and my dad`s a Greek."
I`m just an English boy
who won a holiday
in Waikiki.

It`s a hooka hooka
on the shiny briny
on a wake a hola,
and in a little shack
they had a little sign
that said Coca Cola,
and even all the grass skirts
were PVC.
I`m just an English boy
who won a holiday
in Waikiki.
Oh yeah, yeah.

In Waikiki
In Waikiki

[fixbutte]

Da Ihr zuletzt eine ganze Reihe von 60er Jahre Sängerinnen reingestellt habt, hierzu gibt es eine ganze Website

http://www.swinginchicks.com/main.htm

Hieraus nur ein Beispiel

Petula Clark

HER SWINGIN` `60s CREDENTIALS: A cheerful clear-voiced British belter who went from child star in the `40s to pop star in the `60s, Pet had mid-decade smashes, such as "Downtown" and "I Know a Place," plus starring roles in two big movie musicals.

CATEGORIES OF SWINGIN` CHICK: Songbird, TV Star, and Movie Star

BIRTH: She was born in 1932, so she turned thirty in `62 before she had all her hits. Her exotic birthplace: Ewell, England. Her full name: Petula Sally Olwen Clark.

IMPACT ON THE `60s: When people think of the British Invasion, they usually think of the Beatles, the Stones, and other "boy bands." But Petula Clark was right there with them at the vanguard of a musical revolution."Downtown" made her the first British female singer of the `60s to hit #1. Energetic and polished, it had "a great sound and a great feeling," she told People magazine in August `99. It brought Petula her first Grammy Award in the same year the Fab Four won their first Grammy. Both "Downtown" and "I Know a Place" won Grammy Awards. From `64-`67 she had eight top-twenty hits in the U.S. Like Nancy Sinatra, she was one of the few music stars who made a successful transition from the music industry to the big screen during the `60s. What`s more, she helped make a stand for racial equality when she touched Harry Belafonte during a song on an NBC special in `68 and she wouldn`t let the network cut it, though they tried to.

CAREER IN THE `60s: Didn`t she ever take a break? Even if her albums weren`t smash hits, even if they weren`t always in English, they were certainly frequent. Her first UK #1 hit was "Sailor," February `61. Within a year, thirty-year-old Petula had million-selling songs in England, France, and Germany. Her U.S. breakthrough, of course, came when she went "Downtown." Of her biggest hit, Petula is still a little dazed by the sudden success of "Downtown," as she told the L.A. Times in `99: "When you go into a studio, you don`t know that you`re recording a monster hit, we just sing songs. It`s the people who decide it`s going to be a hit." More up-tempo numbers — "I Know a Place" (bringing her a second Grammy), "A Sign of the Times," "My Love," "I Couldn`t Live Without Your Love," "Don`t Sleep in the Subway" — quickly followed. A major concert draw, her appealing performances translated well to TV, so she was on lots of music shows during the decade, including "Ed Sullivan," "Shindig," and "Hullabaloo." Late in the decade she had starring roles in two big-budget musicals, Finian`s Rainbow (which brought her a Golden Globe nomination as Best Actress) and Goodbye, Mr. Chips.

CAREER OUTSIDE THE `60s: Before she was ten she was being paid to sing and was appearing regularly on British radio programs; before she was twelve she was entertaining the troops and had her own BBC show, "Pet`s Parlour." She started appearing in movies as a teen, making dozens in the `40s and `50s and becoming so well-known that her life was the subject of a popular comic strip. After the `60s, she continued to make TV appearances, including one on "The Muppet Show" in `77. She`s still touring and releasing new CD`s, by now she`s recorded almost 1000 songs in five languages — English, French, German, Italian, Spanish; and by now she`s sold something like 70 million albums around the world, making her the most popular British female singer in history. She appeared on Broadway in Blood Brothers in `96, and during the summer of `99 she toured the U.S. in Sunset Boulevard. Of the `60s and her overall career, she told the L.A. Times in July `99 that "the `60s were fine, but...it was just a phase in my life. I had a lot of hit records, and that seems like the high spot in my career, but in fact I`ve had lots of high spots, and that was just one of them." She is currently writing songs and working on an autobiographical one-woman show full of stories and songs from her career: "I`ve lived in many different places," she told the L.A. Times, "I`ve seen things I never would have seen otherwise, and I`m still enjoying it."

TALENT: Unlike Cher, another singer who both sang and acted, Petula`s career was fully realized in the `60s so that she was singing and acting simultaneously, both to popular acclaim. What`s even more impressive about her achievements, at the time she became popular in the `60s, men outnumbered women on the music charts three to one. In April `98 she told Choice magazine that "Finian`s Rainbow was the most fun I ever had making a movie. It was totally mad because we did it on the back lot at Warner Brothers studios. It was 1968 so there were beards, long hair, motorbikes, flower power and a bit of marijuana thrown in, too, of course." About dancing with Fred Astaire in that film, she said, "I was quaking in my shoes, [but it was] the easiest thing in the world. It was part of his gift, to make his partner look wonderful." As testament to her staying power, in `97 she was named as Commander of the British Empire.

HER `60s LOOK: Pleasantly attractive, Petula had a kicky strawberry blonde `do that perfectly suited the times. She stood 5` 2" tall. She told People in August `99 that she "used to do Carnaby Street, I seemed to be wearing lots of mauve." But really she looked like she belonged in a previous decade, not the wild swingin` `60s, which perhaps accounts for her success in the period film Goodbye Mr. Chips, where she fit in with the early-20th-century milieu very naturally.

LIFESTYLE: In `61 she married a French p.r. man named Claude Wolff, he later became her manager and they lived in Paris. She has had three kids with him. They`re still married (though they now live apart, amicably) with chalets in Switzerland and France.

EXTRAS: Her nickname: Pet ... she was dubbed "The English Shirley Temple" as a child ... in France she was called "La Petulante Petula" -- "Lively Petula" ... she performs numerous benefit concerts every year ... in `98 she told Yours magazine about a meeting with Elvis:

"I met Elvis when I was appearing in Las Vegas and like most people, I wanted to see him on stage. I met him after his performance and he was very flirtatious. Some years later I saw him again and he was not a happy sight. He was so overweight, he was hardly able to sing and hardly able to move. Since he knew I was there, I felt I had to go backstage. He didn`t come out of his inner sanctum for a long while and his Memphis Mafia were saying how brilliant he was. I couldn`t get out of there fast enough. At one time I`d been asked to do a film with him but I turned it down"

... she claims her favorite singer is Peggy Lee ... to People in August `99 she said "You can`t minimize the `60s by saying it was just about fashion and music, nothing was the same after the `60s."


und hier kommt er, ihr Welthit

Petula Clark - Downtown

When you`re alone and life is making you lonely
You can always go - downtown
When you`ve got worries, all the noise and the hurry
Seems to help, I know - downtown
Just listen to the music of the traffic in the city
Linger on the sidewalk where the neon signs are pretty
How can you lose?

The lights are much brighter there
You can forget all your troubles, forget all your cares
So go downtown, things`ll be great when you`re
Downtown - no finer place, for sure
Downtown - everything`s waiting for you

Don`t hang around and let your problems surround you
There are movie shows - downtown
Maybe you know some little places to go to
Where they never close - downtown
Just listen to the rhythm of a gentle bossa nova
You`ll be dancing with him too before the night is over
Happy again

The lights are much brighter there
You can forget all your troubles, forget all your cares
So go downtown, where all the lights are bright
Downtown - waiting for you tonight
Downtown - you`re gonna be all right now

And you may find somebody kind to help and understand you
Someone who is just like you and needs a gentle hand to
Guide them along

So maybe I`ll see you there
We can forget all our troubles, forget all our cares
So go downtown, things`ll be great when you`re
Downtown - don`t wait a minute for
Downtown - everything`s waiting for you

Downtown, downtown, downtown, downtown ...

[gesine]

@ fixbutte, auf der seite bin ich doch glatt
auf Mary Travers gestossen, der sängerin von peter paul und mary





ein lied hab ich immer besonders gern gehört,
geschrieben wurde es allerdings von John Denver


"Leaving on a Jet Plane"


All my bags are packed, I`m ready to go,
I`m standing here outside your door,
I hate to wake you up to say good-bye.
But the dawn is breakin`,
It`s early morn,
The taxi`s waitin`
He`s blowin` his horn,
Already I`m so lonesome I could die.

So kiss me and smile for me,
Tell me that you`ll wait for me,
Hold me like you`ll never let me go.
`Cause I`m leavin` on a jet plane,
Don`t know when I`ll be back again,
Oh, babe, I hate to go.

There`s so many times I`ve let you down
So many times I`ve played around,
I tell you now they don`t mean a thing.
Ev`ry place I go I`ll think of you,
Ev`ry song I sing I`ll sing for you,
When I come back I`ll bring your wedding ring.

So kiss me and smile for me,
Tell me that you`ll wait for me,
Hold me like you`ll never let me go.
`Cause I`m leavin` on a jet plane,
Don`t know when I`ll be back again,
Oh, babe, I hate to go.

Now the time has come to leave you,
One more time let me kiss you,
Then close your eyes I`ll be on my way.
Dream about the days to come
When I won`t have to leave alone,
About the times I won`t have to say:

Kiss me and smile for me.
Tell me that you`ll wait for me,
Hold me like you`ll never let me go.
`Cause I`m leavin` on a jet plane,
Don`t know when I`ll be back again,
Oh, babe, I hate to go.
I`m leavin` on a jet plane,
Don`t know when I`ll be back again,
Oh, babe, I hate to go.

[fixbutte]

gesine
zum heutigen Tag passt immer der folgende Titel



The Easybeats - Friday on My Mind

Monday morning feels so bad,
Ev`rybody seems to nag me
Coming tuesday I feel better,
Even my old man looks good,
Wednesday just don`t go,
Thursday goes too slow,
I`ve got Friday on my mind

(Chorus)
Gonna have fun in the city,
Be with my girl she`s so pretty,
She looks fine tonight,
She is out of sight to me,
Tonight ... I spend my bread,
Tonight ... I lose my head,
Tonight ... I got to get tonight
Monday I have Friday on my mind.

Do the five day drag once more,
Know of nothing else that bugs me
More than working for the rich man,
Hey I`ll change that scene one day,
Today I might be mad, :O
Tomorrow I`ll be glad,
I`ve got Friday on my mind,

(Repeat Chorus)


Die Easybeats kamen eigentlich aus Australien und hatten in England mit Shel Talmy denselben Producer wie die Kinks. Sie machten auch ähnliche Musik. Schade, dass wosie im Moment nicht da ist, der könnte uns einiges über den Aussie Pop & Rock erzählen. Deshalb übernehme ich das hier wenigstens für die Easybeats

Personnel
George Young: Guitar
Harry Vanda: Lead Guitar
Stevie Wright: Vocals
Dick Diamonde: Bass Guitar
Gordon Fleet: Drums (1965-1969)
Tony Cahil: Drums (1969-70 )

Biography
The Easybeats were formed in Australia in 1964 when they met all at Sydney`s austere Villawood Migrant Hostel. They soon found themselves to be the equivalent of the Beatles in Australia, causing what was called "Easyfever" throughout 1965.



Although by the time the Easybeats landed in England in 1966, their creative balance was shifting. Originally Harry Vanda, who was actually Dutch and Englishman lead singer Stevie Wright would pen their tunes, now Vanda teamed up with George Young and the first song written together, which was also the first to be recorded in England (with Shel Talmy producing) was the song that is most remembered from them... Friday On My Mind. A huge international hit, it was the first for an Australian pop/rock group at the time. Friday On My Mind let the Easybeats move on with confidence and resulted in spending most of 1967 and 68 in the studio, creating some of those years most ambitious work. They messed around with all types of musical styles, from good old rock n` roll (Good Times) to psych pop (Land Of Make Believe), all the while finding new beats, melodies and guitar styles not heard in pop music before.



The group more or less disintegrated by 1969. Drummer Snowy had left by this time, with Tony Cahil replacing him. Their last album, Friends, was released in 1970 and had the group lean towards the boogie rock similar to what the Status Quo went for around that time. However the great unreleased body of work they left behind was salvaged in 1977, when Vanda & Young compiled the Shame Just Drained LP. Featuring 15 tracks from sessions dating from 1967-68, it shows the Easybeats should have been destined for greater things, but in similar style to the Kinks work of the same time, appreciation came decades later. Repertoire Records lovingly released all their original albums with massive amounts of bonus tracks in the early nineties.

[fixbutte]

missy #306

Du denkst wohl, dass ich Probleme habe, den Thread bis zur #999 mit den Kinks zu füttern
Ich denke eher darüber nach, wie ich es schaffe, alle Kinks Lyrics bis dahin hier unterzubringen

Anbei die Liste von sämtlichen 475 Kinks Aufnahmen, bis auf wenige Ausnahmen alle von Ray Davies geschrieben. Die hier bereits gebrachten Titel habe ich fett gesetzt

KINKS SONG LIST

Act Nice And Gentle
Acute Schizophrenia Paranoia Blues
Add It Up
Afternoon Tea
Aggravation
Alcohol
All Aboard (Hide & Seek)
All Day And All Of The Night
All Night Stand
All Of My Friends Were There
Americana
And I Will Love You
Animal
Animal Farm
Animals In The Zoo
Announcements from Preservation Act II
Apeman
Are You Ready Girl?
Around The Dial
Arrival
Arthur
Artificial Light
Artificial Man
Art Lover
Art School Babe
Attitude
Australia
Autumn Almanac
Away From You
Babies
Baby Face
Back To Front
Bald Headed Woman
The Ballad of Julie Finkle
Banana Boat Song
Beautiful Delilah
Beautiful Night
Berkeley Mews
Bernadette
Better Things
Big Black Smoke
Big Sky
Black Messiah
Body
Brainwashed
Bright Lights
Brother
Cadillac
Catch Me Now I`m Falling
Celluloid Heroes
Charity
Chosen People
Cliches Of The World (B Movie)
Climb Your Wall
Close To The Wire
Cold Winter
Come Dancing
Come On Now
Completely
Complicated Life
The Contenders
Creepin` Jean
Cricket
Dance of the Azuras
Dancing In The Street
Dandy
Danger Zone
David Watts
Daylight
Days
Dead End Street
Dear Margaret
Death Of A Clown
Dedicated Follower Of Fashion
Definite Maybe
Demolition
Denmark Street
Destroyer
Did Ya
Did You See His Name?
Doing the Best For You
Do It Again
Don`t
Don`t Ever Change
Don`t Ever Let Me Go
Don`t Forget To Dance
Don`t You Fret
Down All The Days (Till 1992)
Do You Remember Walter?
Do You Wish To Be A Man?
Dreams
Drift Away
Drivin`
Ducks On The Wall
Eastern Eyes
Easy Come, There You Went
Education
Elevator Man
Emptiness
End Of The Season
Entertainment
Eternity
Everybody`s A Star (Starmaker)
Ev`rybody`s Gonna Be Happy
Expectations
(A) Face In The Crowd
Fancy
Father Christmas
Feeling
Fire Burning
The First Time We Fall In Love
Flash`s Confession
Flash`s Dream (The Final Elbow)
Flowers In The Rain
Fortis Green
Freedom Lies
Full Moon
Funny Face
A Gallon Of Gas
Get Back In Line
Get Up
Give The People What They Want
Glamour
God`s Children
Going Solo
Good Day
Good Luck Charm
Got Love If You Want It
Got My Feet On The Ground
Gotta Get The First Plane Home
Got To Be Free
Groovy Movies
Guilty
The Hard Way
Harry Rag
Hatred (A Duet)
Have A Cuppa Tea
Have Another Drink
Hay Fever
Headmaster
Heart Of Gold
Helga
Here Comes Flash
Here Comes Yet Another Day
Here Come The People In Grey
He`s Evil
Hold My Hand
Holiday
Holiday In Waikiki
Holiday Romance
Holloway Jail
Hot Potatoes
House In The Country
How Are You
How Do I Get Close
I Am Free
I Believed You
I Bet You Won`t Stay
I Don`t Need You Any More
I Go To Sleep
I Gotta Go Now
I Gotta Move
I`ll Get Over
I`ll Remember
Imaginations Real
I`m a Hog For You Baby
I`m A Lover Not A Fighter
I`m Crying
I`m In Disgrace
I`m Not Like Everybody Else
I`m On An Island
In A Foreign Land
In A Space
I Need You
The Informer
Introduction To Solution
In You I Believe
Is It Any Wonder?
Is This the Only Way
It Ain`t Over, `Till Its Done!
It (I Want It)
[/b]I Took My Baby Home
It`s All Right [/b]
It`s Alright (Don`t Think About It)
It`s Too Late
I`ve Been Driving On Bald Mountain
I`ve Got That Feeling
I`ve Got Your Number
Jack The Idiot Dunce
Johnny Thunder
Juke Box Music
Just Can`t Go To Sleep
Just Friends
Kentucky Moon
Killer`s Eyes
Killing Time
King Kong
Kochan
Labour Of Love
Ladder Of Success
The Last Assembly
Last of the Steam-Powered Trains
Lavender Hill
Lazy Old Sun
Let Me Be
The LIE!
Life Goes On
Life On The Road
Lincoln County
Listen To Me
Listen To The Spirit
A Little Bit Of Abuse
Little Bit Of Emotion
A Little Bit Of Sunlight
Little Man In A Little Box
Little Miss Queen Of Darkness
Live Life
Living On A Thin Line
Lola
London Song
Lonely Hearts
Long Distance
Long Tall Sally
Long Tall Shorty
A Long Way From Home
Look A Little On The Sunny Side
Look For Me Baby
Look Through Any Doorway
Loony Balloon
Lost And Found
Louie Louie
Love Gets You
Love In The World
Love Me Till The Sun Shines
Low Budget
Massive Reductions
Matter Of Decision
Maximum Consumption
Mean Disposition
Milk Cow Blues
The Million-Pound-Semi-Detached
Mindless Child Of Motherhood
Mirror Of Love
Misery
Misfits
Missing Persons
Misty Water
The Moneygoround
Moments
Monday, Tuesday, Wednesday
Money & Corruption / I Am Your Man
Money Talks
Monica
Morning Song
Most Exclusive Residence For Sale
Motorway
Mountain Woman
Move Over
Moving Pictures
Mr. Big Man
Mr. Churchill Says
Mr. Pleasant
Mr. Reporter
Mr. Shoemaker`s Daughter
Mr. Songbird
Mr. Wonderful
My Diary
Mysterious Love
Muswell Hillbilly
Naggin` Woman
National Health
Natural Gift
Never Met A Girl Like You Before
New World
Nine To Five
Nobody Gives
Nobody`s Fool
Noise
No More Looking Back
No Return
Not Far Away
Nothing Lasts Forever
Nothing To Say
Nothin` In The World Can Stop Me Worryin` `Bout That Girl
Nothin` More To Lose
Now And Then
Oh! What A Day It`s Gonna Be
Oh Where Oh Where Is Love?
Oklahoma U.S.A.
Once A Thief
One Energy
One Fine Day
One Night With You
One Of The Survivors
Only A Dream
On The Outside
Oobadiooba
Ordinary People
Out Of The Wardrobe
Over The Edge
Party Line
People Take Pictures of Each Other
Perfect Strangers
Permanent Waves
Phenomenal Cat
Phobia
Picture Book
Pictures In The Sand
Plastic Man
The Poseur
Powerman
Predictable
Preservation
Pressure
Pretty Polly
Prince Of The Punks
Property
Quiet Life
Rainy Day In June
Rats
Repetition
Return
Return to Waterloo
Reveal Yourself
Revenge
Ring The Bells
The Road
Rock `N` Roll Cities
A Rock `N` Roll Fantasy
Rosemary Rose
Rosy Won`t You Please Come Home
Run
Running Round Town
Rush Hour Blues
Salvation Road
Sand On My Shoes
Scattered
Schooldays
Scrapheap City
Scum Of The Earth
Second-Hand Car Spiv
See The Beast
See My Friends
Session Man
Set Me Free
7th Channel
Shangri-la
She Bought A Hat Like Princess Marina
Shepherds Of The Nation
She`s Got Everything
She`s My Girl
The Shirt
Sitting By The Riverside
Sitting In My Hotel
Sitting In The Midday Sun
Sitting On My Sofa
Situation Vacant
Skin And Bone
Sleepless Night
Sleepwalker
Slum Kids
Sold Me Out
So Long
Somebody Stole My Car
Some Mother`s Son
Something Better Beginning
So Mystifying
Soothe Sayer (Mukti`s Song)
Spiritual Planet
Spotty Grotty Anna
Starstruck
State Of Confusion
Still Searching
Stop Your Sobbing
Stormy Sky
Strangers
Such A Shame
Summer`s Gone
Sunny Afternoon
(Wish I Could Fly Like) Superman
Supersonic Rocket Ship
Surviving
Suzannah`s Still Alive
Sweet Lady Genevieve
Take One More Chance
Tapas
Telepathy
Tell Me Now So I`ll Know
There Is No Life Without Love
There`s A Change In The Weather
There`s A New World Just Opening For Me
Things Are Getting Better
Think Visual
This I Know
This Is Where I Belong
This Man He Weeps Tonight
This Strange Effect
This Time Tomorrow
Till Death Us Do Part
Till The End Of The Day
Time Will Tell
Tin Soldier Man
Tired Of Waiting For You
Tokyo
Too Hot
Too Much Monkey Business
Too Much On My Mind
Too Serious
Top Of The Pops
To The Bone
Toymaker
True Phenomenon
True Story
Trust Your Heart
20th Century Man
Two Sisters
UK Jive
Uncle Son
Underneath The Neon Sign
Unfinished Business
Unreal Reality
Victoria
The Video Shop
Village Green
The Village Green Preservation Society
Visionary Dreamer
Voices
Voices In The Dark
Wait Till The Summer Comes Along
Wall Of Fire
War Is Over
Waterloo Sunset
The Way Love Used To Be
Welcome To Sleazy Town
A Well Respected Man
What Are We Doing
What`s In Store For Me
When A Solution Comes
When I See That Girl Of Mine
When I Turn Off The Living Room Light
When The Wind Blows (Emergency)
When Work Is Over
When You Were A Child
Where Are They Now?
Where Did My Spring Go?
Where Do You Come From
Where Have All The Good Times Gone
Whip Lady
Who`ll Be The Next In Line
Whose Foolin` Who
Wicked Annabella
Wildman
Willesden Green
Wonder Boy
Wonder Where My Baby Is Tonight
Word Of Mouth
Working At The Factory
The World Is Changing Hands
The World Keeps Going Round
World of Our Own
X-Ray
Yes Sir, No Sir
You Can`t Stop The Music
You Can`t Win
You Don`t Know My Name
You Do Something To Me
You Make It All Worthwhile
Young And Innocent Days
Young Conservatives
You Really Got Me
You`re Looking Fine
Yours Truly, Confused N10
You Shouldn`t Be Sad
You Still Want Me
Yo-Yo

[DOLCETTO]

unglaublich fixbutte

mit mörder-Rüspekt für dieses dokument deines
fachwissens und sräd-führung

have fun & nice we,
ciao

[CockneyRebel]

.
Hallo Gesine,

danke schön für Deine Erinnerung an Mary Travers resp. Peter, Paul & Mary! Eine Doppel-LP von ihnen war eine meiner ersten Scheiben überhaupt, und ihre CDs lege ich oft auf, wenn Besuch da ist - die Musik ist so entspannend und macht unbewusst einfach gute Laune!

Ein Lied, das auch auf den meisten ihrer Sampler nicht fehlt, ist "500 Miles", das fast jeder Hobby-Gitarrenbesitzer schon einmal geschrammelt hat. Geschrieben hat das Hedy West, die hier nicht allzu bekannt ist. Ich hab` sie als junger Studi mal hier in einer winzigen Kellerkneipe gesehen. Wir waren vielleicht mal 20 Zuhörer, aber das war schön! Die hatte so ein wunderbares Lachen und hat mich immer angestrahlt... War zwar `n bisschen alt für mich, aber irre sympathisch...


.



500 Miles

If you miss the train I`m on,
you will know that I am gone,
you can hear the whistle blow a hundred miles.
A hundred miles, a hundred miles,
a hundred miles, a hundred miles,
you can hear the whistle blow a hundred miles.
Lord, I`m one, Lord, I`m two, Lord,
I`m three, Lord, I`m four, Lord,
I`m five hundred miles a way from home.
Away from home, away from home,
away from home, away from home,
Lord, I`m five hundred miles away from home.

Not a shirt on my back,
not a penny to my name.
Lord, I can`t go back home this-a way.
This-a way, this-a way,
this-a way, this-a way,
Lord, I can`t go back home this-a way.

If you miss the train I`m on,
you will know that I am gone,
you can hear the whistle blow a hundred miles.
A hundred miles, a hundred miles,
a hundred miles, a hundred miles,
you can hear the whistle blow a hundred miles.

[fixbutte]

Hi Cockney
inzwischen wär sie wohl ein bisschen jung für Dich, oder

[CockneyRebel]

Wenn sie so alt geblieben wäre - nö!

[MissB.Hagen]

fixbutte #327
Vierhundertfünfundsiebzig Kinks-Titel
Meine Spannung hält sich in Grenzen

Würde es dich überfordern, parallel dazu einen Rolling Stones Thread aufzumachen?
.... Sitting under the Boardwalk .... oder ähnlich

[MissB.Hagen]

... oder einen Blues-Thread ...
... Sitting on the Dock of the Bay ....

[CockneyRebel]

Missy, Du räumst ja heute Schnapszahlen reihenweise ab - am Tag des Bieres!


.

[CockneyRebel]

...oder einen Cockney Rebel-Thread...
...Sitting on Sebastian...

[fixbutte]

Ich glaube, ich muss da ein Missverständnis ausräumen, Cockney / Sebastian
Steve Harley hat nicht nach Dir seine Band benannt
Steve Harley hat den Song Sebastian nicht für Dich geschrieben

[DOLCETTO]

ui froind Cockney - brauchst du einen neuen nick???

soll`ma vorschläge unterbreiten, du armer

[MissB.Hagen]

Ich bräuchte auch Vorschläge für einen neuen Nick.

Anforderungsprofil:
- absolut kein Hinweis auf meine weibliche Natur
- gerne zweideutig
- bloss nichts Feinsinniges

Anregungen bitte ausschliesslich über BM -
ich will ja fixbutte hier nicht zur nächsten guten Nummer verhelfen ...

[CockneyRebel]

.
Missy,

fixbutte, Du stürzt meinen Nick in eine Identitätskrise!
.

[DOLCETTO]

oh ja, mein armer froind
>>du brauchst einen konkrät brontal stabilen Rüspekt-nick
sonst krieselt des mit deiner intendi-dingsbums, nicht das
mir des noch chronisch wird, dahier!

@Missy,
sind die vorschläge via BM save?
ist evtel die übliche methodik per Schiff-Re doch besser?

fragen über fragen....

[Cambodunum1]

So, jetzt habe ich mich durch den ganzen Thread durchgelesen - einfach toll. Da werden mit vielen Songs Erinnerungen wach. Und zwei der bisher vorgestellten Titel habe ich doch tasächlich nicht.

Mal ein Querverweis zu einer anderen Gruppe, die einen von Ray Davies geschriebenen Hit gecovert hatte und damit einen Nr. 5-Hit in den USA landete: Herman`s Hermits mit Dandy.



Die Herman`s Hermits galten ja als die "Saubermänner" der Popbranche. Zwar "nur" leichte Popkost, doch mir gefallen ihre Liedchen trotzdem.
Neben Dandy hatten sie allein in den USA 18 weitere Chartsplazierungen.

Gruß
Cambo

[Cambodunum1]

Und mein Lieblingssong von Herman`s Hermits ist No Milk Today. Die Single habe ich im Original noch heute.



No milk today, my love has gone away
The bottle stands forlorn, a symbol of the dawn
No milk today, it seems a common sight
But people passing by don`t know the reason why

How could they know just what this message means
The end of my hopes, the end of all my dreams
How could they know the palace there had been
Behind the door where my love reigned as queen

No milk today, it wasn`t always so
The company was gay, we`d turn night into day

But all that`s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up two down

No milk today, it wasn`t always so
The company was gay, we`d turn night into day
As music played the faster did we dance
We felt it both at once, the start of our romance

How could they know just what this message means
The end of my hopes, the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen

No milk today, my love has gone away
The bottle stands forlorn, a symbol of the dawn

But all that`s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up two down

No milk today, my love has gone away
The bottle stands forlorn, a symbol of the dawn
No milk today, it seems a common sight
But people passing by don`t know the reason why

How could they know just what this message means
The end of my hopes, the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen

No milk today, it wasn`t always so
The company was gay, we`d turn night into day

But all that`s left is a place dark and lonely
A terraced house in a mean street back of town
Oh all that`s left is a place dark and lonely
A terraced house in a mean street back of town
Oh all that`s left is a place dark and lonely
A terraced house in a mean street back of town

Geschrieben wurde der Song übrigens von Graham Gouldman, und über den ließe sich ja auch so einiges berichten.

Cambo

[fixbutte]

super Cambo
das passt perfekt, weil ich auf beides in den nächsten Postings eingehen wollte.

Bei No Milk Today muss ich aber unbedingt heute noch die singende und klampfende Kuh anbringen, die wir schon an anderer Stelle hatten

http://www.lionlabs.com/newsik/no_milk_today.html

unbedingt anschauen - es lohnt sich

[fixbutte]

passend zum Tage - vielleicht kennt`s ja noch jemand (#1 USA Mai 1967)



The Young Rascals - Groovin`

Groovin` on a Sunday afternoon
Really couldn`t get away too soon
I can`t imagine anything that`s better
The world is ours whenever we`re together
There ain`t a place I`d like to be instead of

Movin` down a crowded avenue
Doing anything we like to do
There`s always lots of things that we can see
You can be anyone we like to be
All those happy people we could meet
Just groovin` on a Sunday afternoon
Really, couldn`t get away too soon

We`ll keep on spending sunny days this way
We`re gonna talk and laugh our time away
I feel it coming closer day by day
Life would be ecstasy, you and me endlessly

Groovin` on a Sunday afternoon
Really couldn`t get away to soon
No, No, No, No
Groovin`
Groovin`


Ich höre davon gerade eine schöne Neuinterpretation von Bill Wyman`s Rhythm Kings (aus dem Jahr 2000)

[Cambodunum1]

@ fixbutte

Die Kuh ist wirklich originell.

Groovin` von den Young Rascals ist wirklich ein klasse Song. So richtig zum Relaxen. Es war ja schon deren zweiter Nr. 1 Hit in den USA nach Good Lovin`. Später, so ab 1968, nannten sie sich nur noch Rascals.

[Cambodunum1]

Jetzt macht der Thread bei mir wieder Probleme - die letzten Postings sind nicht zu sehen. War am Freitag auch schon so.

Ich wollte nochmals auf Graham Gouldman und sein No Milk Today zurück kommen. G. schrieb zu dieser Zeit auch einen Hit für die Hollies. Bus Stop hies der und erreichte folgende Plazierungen:
USA 5 GBR 5 D 9



Hollies – Bus Stop

Bus stop, wet day, she`s there, I say,
Please share my umbrella.
Bus stop, bus goes, she stays, love grows
under my umbrella.
All that summer we enjoyed it,
wind and rain and shine.
That umbrella we employed it.
By August, she was mine.
Every morning I would see her waiting at the stop.
Sometimes she`d shop,
and she would show me what she`d bought.
All the people stared as if we were both quite insane.
Someday my name and hers are going to be the same.
That`s the way the whole thing started.
Silly, but it`s true.
Thinking of a sweet romance
beginning in a queue.
Came the sun the ice was melting,
no more sheltering now.
Nice to think that that umbrella
led me to a vow.

Gruß
Cambo

[Iguana]

...und seinen kreativen höhepunkt hatte Gouldman dann mit den frühen TEN CC - neben ELO in ihrer innovativen vielschichtigkeit wohl die legitimen erbverwalter des Beatles vermächtnisses in den 70igern...

...dieser song ist für mich ein echter geniestreich...

TEN CC


I WANNA RULE THE WORLD

I wanna be a boss
I wanna be a big boss
I wanna boss the world around
I wanna be the biggest boss
That ever bossed the world around

I wanna do it right
I wanna do it right away
I wanna do it right now
I wanna do it right away
I wanna do it now

Don`t wanna be a dancer in the Bolshoi Ballet
Don`t want to work for daddy
In daddy`s shop, 0.K.
I get confused, so confused
I get a pain, I get a pain up here in the Shirley Temples

What you gonna do
How you gonna do it
What you gonna do
How you gonna do it

Little by little, ooh
Little by little, bit by bit

Sssh, not too loud, don`t tell everybody
Don`t give away the game
Oh, I aint quite ready to reveal my campaign

This is not the time
My hero`s are alive and well in a cave
I`m keeping them on ice in suspended animation
Till the very right occasion comes along

To our rally come along
Come along to our rally
Come along to our rally come along
To our rally come along
Come along to our rally
Come along to our rally come along

A Brave new world will rise from the ashes
And there upon a rock titanic
I`ll cast a giant shadow on the face of the deep
And never again will they dare to call me
A freckled, spotty, specky, four eyed, weedy, little creep

No more tremblin` and quakin` in the gym
No more come on fellas, let`s get him

What you gonna do
How you gonna do it
What you gonna do
How you gonna do it

Little by little, ooh
Little by little, bit by bit
Little by little, ooh, ooh
Little by little, bit by bit
Bit by bit, bit by bit

Everyone`s going to be free
But they`ll have to agree to be free
They`ll have to agree to be less free than me
`Cause I rule the world you see
So wait for the army of kiddy-winkies
And terrible tiny tots
In armoured school buses
Firing poison pea-shooters
And sinking their milk teeth into your thighs
Delapsus resurgam when I fall I shall rise

I wanna be a boss
I wanna be a big boss
I wanna boss the world around
I wanna be the biggest boss
That ever bossed the world around

iguana

[fixbutte]

nicht weniger bösartig und so passend zu w:o

Das war 1974 im Sommer in England einer unser Lieblingshits



10cc Lyrics - Wall Street Shuffle

Do the Wall Street shuffle
Hear the money rustle
Watch the greenbacks tumble
Feel the Sterling crumble

You need a Yen to make a Mark
If you wanna make money
You need the luck to make a buck
If you wanna be Getty, Rothschild
You`ve gotta be cool on Wall Street

You`ve gotta be cool on Wall Street
When your index is low
Dow Jones ain`t got time for the bums
They wind up on skid row with holes in their pockets
They plead with you, buddy can you spare the dime
But you ain`t got the time
Doin` the ...
Doin` the ...

Oh, Howard Hughes
Did your money make you better?
Are you waiting for the hour
When you can screw me?
`Cos you`re big enough

To do the Wall Street Shuffle
Let your money hustle
Bet you`d sell your mother
You can buy another

Doin` the ...
Doin` the ...

You buy and sell
You wheel and deal
But you`re living on instinct
You get a tip
You follow it
And you make a big killing

On Wall Street

[fixbutte]

Cambo

No Milk Today und Bus Stop gehören auch für mich irgendwie zusammen, weil sie so richtig schöne englische Geschichten erzählen (Milchflasche vor der Tür, Reihenhaus mit 2 Zimmern oben und 2 Zimmern unten; Bushaltestelle, Schlangestehen, Regenschirm). In Iguanas Love Lyrics Thread hatte ich vor einiger Zeit auch die beiden Songs zusammen gepostet (#945).

Zur Vollständigkeit muss man dann aber auch die beiden Hits hinweisen, die Graham Gouldman für The Yardbirds - die Band mit den (nacheinander) drei Supergitarristen - geschrieben hat: For Your Love und Heartful Of Soul (damit erfülle ich auch einen Wunsch von Missy, die hier was von den Yardbirds lesen wollte )



For Your Love
(Graham Gouldman)

For your love.
For your love.
For your love.
I`d give you everything and more, and that`s for sure.
For your love.
I`d bring you diamond rings and things right to your door.
For your love.

To thrill you with delight,
I`ll give you diamonds bright.
There`ll be things that will excite,
To make you dream of me at night.

For your love.
For your love.
For your love.

For your love, for your love,
I would give the stars above.
For your love, for your love,
I would give you all I could.

For your love.
For your love.
For your love.
I`d give the moon if it were mine to give.
For your love.
I`d give the stars and the sun `fore I live.
For your love.

To thrill you with delight,
I`ll give you diamonds bright.
There`ll be things that will excite,
To make you dream of me at night.

For your love.
For your love.
For your love.
For your love.



Full Of Soul
(Graham Gouldman)

Sick at heart and lonely,
deep in dark despair.
Thinking one thought only
where is she tell me where.
And if she says to you
she don`t love me
just give her my message
tell her of my plea

And I know if she had me back again
well I would never make her sad.
I`ve gotta heart full of soul.

She`s been gone such a long time
longer than I can bear
but if she says she wants me
tell her that I`ll be there
And if she says to you
she don`t love me
just give her my message
tell her of my plea.


Yardbirds Musicians:
Keith Relf, vocals
b. 22nd March 1943, Richmond Surrey
Paul Samwell Smith, bass (1963 - 1966)
b. 8th May 1943, Twickenham Surrey
Eric Clapton, lead guitar (1963 - 1965)
b. 30th March 1945, Ripley Surrey
Chris Dreja, rhythm guitar (1963 - 1966), bass (1966 - 1968)
b. 11th November 1945, Surbiton Surrey
Jim McCarty, drums
b. 25th July 1943, Liverpool
Jeff Beck, lead guitar (1965 - 1966)
24th June 1944, Wallington
Jimmy Page, bass (1966), lead guitar (1966 -1968)
9th April 1944, London


The Yardbirds original line-up had not included Eric Clapton who had been brought in to replace their previous lead guitarist, Tony Topham. However, it soon became Clapton who drew the audiences with the precision of his play. The group had started out as a dedicated R&B outfit like the Rolling Stones, and in fact one of their first successes was to take over the residency from that band at the Crawdaddy Club in Richmond.

The group`s first singles were not a great commercial success, though aided by a BBC ban their second release Good Morning Little Schoolgirl got to #44. Their next single, the much more commercial For Your Love, did much better. However, the choice of this material was too much for Clapton who already had difficulties in his relationship with Samwell Smith. He decided that his future was in `blues` not `pop` and immediately left to join John Mayall`s Bluesbreakers. This could have spelt the end for the Yardbirds who had built up a reputation largely based upon Clapton`s guitar skills. They were very fortunate indeed to replace him with no other than Jeff Beck.

Despite Clapton`s misgivings Heart Full Of Soul was the beginning of a nice clutch of high flying singles for the group. In the middle of 1966, Samwell Smith decided that he`d had enough and wanted a career in A&R. Amazingly, the group found another great guitarist to replace him in former session man, Jimmy Page. Sadly, the prospect of Page and Beck together did not last long and Jeff Beck had quit before the end of the year. The band weren`t so lucky this time and, under the guidance of failed pop star turned producer Mickie Most, they began recording pop records which finally confirmed Clapton`s earlier fears.

The Yardbirds` final split came during early 1968, and only Page managed to go on to greater things. He tried to reconstitute the unit as the `New Yardbirds` which within a few months had evolved into Led Zeppelin.



UK 45 singles Discography
Columbia DB7283 1964 I Wish You Would/ A Certain Girl --
Columbia DB7391 1964 Good Morning Little Schoolgirl/ I Ain`t Got You #44
Columbia DB7499 1965 For Your Love/ Got To Hurry #3
Columbia DB7594 1965 Heart Full Of Soul/ Steeled Blues #2
Columbia DB7706 1965 Evil Hearted You/ Still I`m Sad #3
Columbia DB7848 1966 Shapes Of Things/ You`re A Better Man Than I #3
Columbia DB7928 1966 Over Under Sideways Down/ Jeff`s Boogie #10
Columbia DB8024 1966 Happenings Ten Years Time Ago #43
Columbia DB8165 1967 Little Games/ Puzzles --

[fixbutte]

ein guter Musikfilm
würde ich gern mal wieder sehen

[fixbutte]

eine scharfe Website für Kinoplakate, die ich mir egooglet habe http://www.alyon.org/generale/theatre/cinema/affiches_cinema…


Kultfilm der 60er Jahre, in dem die Yardbirds in der kurzzeitigen Doppelgitarristen Besetzung mit Jeff Beck und Jimmy Page live auftraten

[CockneyRebel]

.
Beifall und Empörung gab es seinerzeit für die Guess Who, da man den Text dieses Liedes nicht nur auf eine bestimmte Person, sondern auch auf die amerikanische Weiblichkeit generell bezog:


Guess Who - American Woman
============================

American woman, stay away from me
American woman, mama let me be
Don’t come hangin` around my door
I don’t wanna see your face no more
I got more important things to do
Than spend my time growin` old with you
Now woman, stay away,
American woman, listen what I say
American woman, get away from me
American woman, mama let me be
Don’t come knockin` around my door
I don’t wanna see your shadow no more

Chorus:
Coloured lights can hypnotize
Sparkle someone else’s eyes
Now woman, get away
American woman, listen what I say-ay

American Woman, said get away
American Woman, listen what I say
Don’t come a hangin` around my door
Don’t wanna see your face no more
I don’t need your war machines
I don’t need your ghetto scenes

Chorus

American woman, stay away from me
American woman, mama let me be
I gotta go, I gotta get away
Baby, I gotta go,
I am dying
I’m gonna leave you woman (4x)
Bye-bye (4x)
(American woman)
You’re no good for me
And I’m no good for you
(American woman)
I’ll look you right in the eye
And tell you what I’m gonna do
You know I’m gonna leave, you know I’m gonna go
You know I’m gonna leave,
I’m gonna leave you woman
Goodbye American Woman

[fixbutte]

Cockney
Die Frage ist, ob der Song sich überhaupt auf eine Frau bezog, oder nicht eher auf die USA selbst, die 1970 noch tief in den Vietnamkrieg verstrickt war. Immerhin war Guess Who eine kanadische Gruppe. Unabhängig davon kam der Song in den USA trotzdem (oder gerade deshalb) auf Platz 1.

http://www.robertchristgau.com/get_artist.php?id=545&name=Th…
American Woman [RCA Victor, 1970]
As a Canadian, Burton Cummings is no doubt aiming his "symbolic" rage more at the "American" than at the "woman," but his choice of "symbol" is no less despicable for its putative naivete. I like the riff that goes with it, though ...

[Cambodunum1]

Weil zuletzt von den Yardbirds die Rede war, muss ich auch eines meiner Lieblingslieder der Gruppe nennen: Still I`m Said.
Zwar "nur" die B-Seite von Evil Hearted You, für mich aber ein A-Song. So herrlich psychedelisch angehaucht. Fand sich auch in Großbritannien auf Platz 3 der Charts wieder.

Yardbirds – Still I`m Sad

See the stars come falling down from the sky,
Gently passing, they kiss your tears when you cry.
See the wind come softly blow your hair from your face,
See the rain hide away in disgrace.
Still I`m sad.
For myself my tears just fall into dust,
Day will dry them, night will find they are lost.
Now I find the wind is blowing time into my heart,
Let the rain fall, for we are apart.
How I`m sad,
How I`m sad,
Oh, how I`m sad.

[Cambodunum1]

Und weil ich gerade von psychedelischen Songs geschrieben habe (hierunter würde ich auch die schon geposteten "Set Me Free", "Heart Full Of Soul" sowie "Itchycoo Park" einordnen), hier noch einer von dieser Kategorie:



Small Faces - Tin Soldier

I`m a little tin soldier
that wants to jump into your fire
you are a look in your eye
a dream passing by in the sky
I don`t understand
all I need is treat me like a man
`cause I ain`t no child
take me like I am
I got to know that I belong to you
do anything that you want to do
sing any so song that you want me to sing to you
I don`t need no aggravation
I just got to make you
I just got to make you my occupation
I got to know that I belong to you
do anything that you want to do
sing any so song that you want me to sing to you
All I need is your whispered hello
smiles melting the snow
nothing heard
you eyes are deeper than time
say a love that won`t rhyme without words
so now I`ve lost my way
I need help to show me things to say
give me your love before mine fades away
I got to know that I belong to you
do anything that you want to do
sing any so song that you want me to sing to you
oh no no
I just want some reaction
someone to give me satisfaction
all I want to do is stick with you ,`cause I love you.

[fixbutte]

Cambo
Das bringt mich dazu, eine Korrektur und eine Ergänzung zu #349 anzubringen:

Die zweite von Graham Gouldman geschriebene Single der Yarbirds hieß natürlich Heart Full Of Soul, wie klar und deutlich auf der Plattenhülle steht.

Die A-Seite der von Dir angesprochenen dritten UK Top 3 Single der Yardbirds war tatsächlich wieder von Graham Gouldman geschrieben worden :O



The Yardbirds - Evil Hearted You
(Graham Gouldman)

Evil hearted you
You always try to put me down
With the things you do
And words
You spread around against me.

Evil hearted you
You kept
Kidding me along,
With your phoney smile
And with
Your siren song
Smiling, beguiling
You lead me on
`til all hope`s gone
Persuading, degrading,
On my knees I try to please.

But I love you
Just the same
And I want you
To remain,
By my side
And you`ll see,
Just how much you
Mean to me.

Evil hearted you
You always try to put me down
With the things you do
And words
You spread around against me
About me.
What would you
Do without me?
Smiling, beguiling
You lead me on `
til all hope has gone.

Im Film Blow Up spielten die Yardbirds übrigens den weniger bekannten Song Happenings Ten Years Time Ago (ihre vorletzte Single)


mit Jeff Beck (2. von links) und Jimmy Page (rechts)

[Cambodunum1]

@ fixbutte

Ich habe den kleinen Fehler schon bemerkt, mir aber gedacht, das stellt fixbutte noch selber fest mit seinen umfangreichen Detailkenntnissen. Und so war es ja dann auch.

Gruß
Cambo

[fixbutte]

Danke für die Blumen
war eigentlich nur ein paste & copy Fehler

[MissB.Hagen]

fixbutte . von mir auch gleich noch ein paar Blümchen und thxs für die Yardbirds.
Wow, was für eine Zeit das war - und was für Erinnerungen!

Und diese LP staubt bei mir auch vor sich hin. Müsste doch eigentlich auch zum Thema passen ...



Aus "Paradise Lost" von The Herd das romantische Thema à la Orpheus & Eurydike:

From The Underworld
The Herd

Out of the land of shadows and darkness,
we were returning
Towards the morning light
Almost in reach of places I knew
Escaping the ghosts of Yesterday
You were behind me following closely
"Don`t turn around now"
I heard you whisper in my ear
"If you should turn now,
All that you won
Will vanish just like a passing dream.

Just on the very verge of the morning,
daylight was dawning,
freedom was but a step away
Now with the deep dark river behind us,
what could go wrong if I stayed
strong in mind.
What was the sudden lapse into madness,
what was the urge that
turned my head around to look at you?
What was the stubborn will
to destroy the love and the joy
I nearly held?

Three times the thunder roared in my ears
In all of my years I`ll see
that lost look in your eyes.
As, with a sigh like smoke in the wind
You slipped from my grasp into
the waiting shadows
so much I longed to say,
but my touch found only the
empty air and a black nights coldness.
lnto another world you entered
And never again I can reclaim you.

[fixbutte]

Ja Missy
The Herd - das war die erste Station in der Karriere von Peter Frampton, der bei Eintritt in die Gruppe gerade erst 15 Jahre alt war - und From The Underworld war der originellste Hit der Band (wenn auch nicht der einzigste)




The Herd
Andy Bown (guitar, keyboards, später bei Status Quo)
Tony Chapman (?)
Terry Clark (bass, guitar, später bei Stealers Wheel)
Peter Frampton (guitar, vocals)
Andrew Steele (drums, später bei Stealers Wheel)
Gary Taylor (?)

The Herd evolved from a group called the Preachers in 1965 whose members Andy Bown, Tony Chapman and Terry Clark were joined by Gary Taylor and Peter Frampton to become the Herd. Frampton was an accomplished lead guitarist having played guitars since his childhood. He was happiest in this instrumental role but after uttering a few supporting vocals during their live gigs he was rapidly pushed to the front by managers Alan Blaikley and Ken Howard. They were understandably keen to capitalise on Frampton`s good looks which gave rise to a good deal of screaming from the female members of their audiences.

1967 saw the rise of British psychedelia and the group successfully aligned their recordings to the genre, although their first attempt `I Can Fly` went almost unnoticed. However, the group as a whole, and Frampton in particular, were unhappy about their musical direction which was a good deal less progressive than they desired. Despite a change of management Peter Frampton decided to team up with Steve Marriott on a new project - Humble Pie. Peter had admired the Small Faces and when Marriott suddenly decided to quit his group it prompted Frampton to do the same. The Herd carried on for a short time afterwards but after Bown left to join Status Quo it was all over.



1960s 45rpm UK Discography

Parlophone R5284 1965 Goodbye Baby Goodbye/ Here Comes The Fool
Parlophone R5353 1965 She Was Really Saying Something/ It`s Been A Long Time Baby
Parlophone R5413 1966 So Much In Love/ This Boy`s Always Been True
Fontana TF819 1967 I Can Fly/ Diary Of A Narcissist
Fontana TF856 1967 From The Underworld/ Sweet William #6
Fontana TF887 1967 Paradise Lost/ Come On- Believe Me #15
Fontana TF925 1968 I Don`t Want Our Loving To Die/ Our Fairy Tale #5
Fontana TF975 1968 Sunshine Cottage/ Miss Jones
Fontana TF1011 1969 The Game/ Beauty Queen

[fixbutte]

Wo Du Herman`s Hermits angesprochen hast, Cambo

Auch Peter Noone alias "Herman" war erst 15, als er zu den damaligen Heartbeats stieß. Die Band bekam einen Produzenten (Mickie Most, der auch die Animals und später Donovan produzierte) und einen Plattenvertrag, weil Noone wie der junge John F. Kennedy aussah

Auf den Singles der Hermits sind außer Peter Noones Gesang praktisch nur Studiomusiker zu hören. Trotzdem - oder vielleicht gerade deswegen - kann man sich die Titel heute noch anhören, weil sie zwar teilweise seicht, aber zumindest kompetent eingegespielt und produziert sind. Außerdem gelang ihnen manchmal richtig Gutes - so z.B. folgendes Werk, das Greil Marcus als not only a good record, but a classic of rock phrasemaking bezeichnete.



Herman`s Hermits - A Must to Avoid
(Sloan/Barri)

She`s a must to avoid
A complete impossibility
She`s a must to avoid
Better take it from me

You`ll think she`s a prize at the start (prize at the start)
But take my advice, play it smart (just play it smart)
She`s nothin` but trouble
Better cut out on the double
Before she gets into your heart

She`s a must to avoid
A complete impossibility
She`s a must to avoid
Better take it from me

When you stare into her pretty blue eyes (into her eyes)
There`s no way to see through her disguise (through her disguise)
But don`t try to love her `cause you`ll quickly discover
You`re trapped in the web of her lies

She`s a must to avoid
A complete impossibility
She`s a must to avoid
Better take it from me

Her lips look inviting it`s true (oh yes that’s true)
But lots of other guys have felt like you do (felt like you do)
She`ll build up your hopes and when you need her the most
That`s when she`ll say goodbye to you

She`s a must to avoid
A complete impossibility
She`s a must to avoid
Better take it from me


Herman` Hermits waren in den USA waren sie zeitweilig noch erfolgreicher als in ihrer Heimat England (wo ihre beiden US #1 Singles von 1965 Mrs Brown You`ve Got A Lovely Daughter und I`m Henry the VIII I Am - ebenso wie ihre US #5 Cover Version von Dandy - überhaupt nicht als Singles erschienen).



1960s 45rpm UK Discography
(listings include UK 45 singles releases only)

Columbia DB7338 1964 I`m Into Something Good/ Your Hand In Mine #1
Columbia DB7408 1964 Show Me Girl/ I Know Why #19
Columbia DB7475 1965 Silhouettes/ Can`t You Hear My Heartbeat #3
Columbia DB7546 1965 Wonderful World/ Dream On #7
Columbia DB7670 1965 Just A Little Bit Better/ Take Love Give Love #15
Columbia DB7791 1965 A Must To Avoid/ The Man With The Cigar #6
Columbia DB7861 1966 You Won`t Be Leaving/ Listen People #20
Columbia DB7947 1966 This Door Swings Both Ways/ For Love #18
Columbia DB8012 1966 No Milk Today/ My Reservation`s Been Confirmed #7
Columbia DB8076 1966 East-West/ What Is Wrong What Is Right #37
Columbia DB8123 1967 There`s A Kind Of Hush (All Over the World)/ Gaslite Street #7
Columbia DB8235 1967 Museum/ Moonshine Man
Columbia DB8327 1968 I Can Take Or Leave Your Loving/ Marcel`s #11
Columbia DB8404 1968 Sleepy Joe/ Just One Girl #12
Columbia DB8446 1968 Sunshine Girl/ Nobody Needs To Know #8
Columbia DB8504 1968 Something`s Happening/ The Most Beautiful Thing In My Life #6
Columbia DB8563 1969 My Sentimental Friend/ My Lady #2
Columbia DB8626 1969 Here Comes The Star/ It`s Alright Now (sic) #33
Columbia DB8656 1969 Years May Come Years May Go/ Smile Please #7

[fixbutte]

nochmal zu den Yardbirds

für den musikalischen, aber auch den optischen Gesamteindruck der Band war natürlich auch der Gründer und Sänger Keith Relf von besonderer Bedeutung. Neben dem Bassisten Chris Dreja und dem Schlagzeuger Jim McCarty blieb er auch über den Wechsel der drei Leadgitarristen hinweg die feste Größe der Gruppe. Hier auf einer seltenen Solo Single



Nach der Auflösung der Yardbirds gründete Relf 1969 zusammen mit McCarty und mit seiner Schwester Jane die später - in anderer Besetzung - sehr bekannt gewordene Band Renaissance. Er starb schon mit 33 Jahren an einem Stromschlag.

[Cambodunum1]

Ich fahre mal mit meinem psychedelischen Trip fort. Leider bekomme ich schon wieder die letzten Postings nicht angezeigt. Ich glaube aber, dass jemand From The Underworld vorgestellt hatte, das ich ebenfalls schon vorgemerkt hatte.

Also gehe ich stattdessen auf ein nach meinem Geschmack grandioses Werk ein, das man eigentlich immer wieder hören kann. Ich meine jetzt nicht die Single-Version, sondern das über 17 Minuten lange Stück (LP-Version):

In-A-Gadda-Da-Vida von Iron Butterfly mit dem wunderbaren Instrumentalteil inmitten des Songs. Bei einem solchen Stück ertappe ich mich gelegentlich bei dem Gedanken, dass Kids von heute, die so etwas ja zumeist nicht kennen, ihren Rap- und Technoschrott der nächstgelegenen Mülltonne anvertrauen müssten, wenn sie die Platte mal hören sollten (ich hoffe, ich trete damit niemandem auf die Füße, wenn ja, sorry).



Iron Butterfly – In-A-Gadda-Da-Vida

In-a-gadda-da-vida, honey
Don`t you know that I`m lovin` you
In-a-gadda-da-vida, baby
Don`t you know that I`ll always be true

Oh, won`t you come with me
And take my hand
Oh, won`t you come with me
And walk this land
Please take my hand

In-a-gadda-da-vida, honey
Don`t you know that I`m lovin` you
In-a-gadda-da-vida, baby
Don`t you know that I`ll always be true

Oh, won`t you come with me
And take my hand
Oh, won`t you come with me
And walk this land
Please take my hand

(Instrumentensolo)

In-a-gadda-da-vida, honey
Don`t you know that I`m lovin` you
In-a-gadda-da-vida, baby
Don`t you know that I`ll always be true

Oh, won`t you come with me
And take my hand
Oh, won`t you come with me
And walk this land
Please take my hand.

Die 1966 in San Diego 1966 gegründete Band hatte mit diesem Album riesigen Erfolg: Bald drei Jahre in den Charts plaziert, davon gut 1 1/2 Jahre in den TOP 10.

Gruß
Cambo

[MissB.Hagen]

Hi Cambo Auch wenn ich mich wiederhole ...

von meinem ersten selbst verdienten Geld habe ich mir einen tragbaren Plattenspieler gekauft und dazu folgende LPs

In A Gadda da Vida
Fill Your Head With Rock
That`s Underground (auf bunt gestreiftem Vinyl )

Missy

[WSJ_Reader_]

@fixbutte oder wer immer mir das beantworten kann:
Nochmal zurück zu den HERD:
War das Komponisten-Duo Howard/Blaikley nicht das gleiche, das die großen Hits von Dave Dee, Dozy, Beaky, Mick & Tich schrieb?

[CockneyRebel]

.
Cambo, 100% d`accord!
.

[DOLCETTO]

moin folkx,

yeah @Cambo

wenn die erziehungsberechtigten ihre kids zwengs der muzak nicht
aufopfernd ins leben begleiten, dann haben die armen leider
nix anderes als die abgespacte modewelle

meine 2 teppichratten naschen "auswärts" auch gerne die zuckersüßen
chart-popcorns, aber nahrhafte kost gibts tagtäglich zuhause
derzeit fetzen beim sohnemann permanent Queen, Billy Idol,
Joe Cocker, Stones und aus aktueller
veranlassung Fischer-Z rauf und runter
>>was mich besonders antörnt, wenn die beiden ihren eigenen
musikgeschmack pflegen und
quer beet mit klassik, musicals, volkxmusik like hubert v.goisern & sternschnuppe, et on bereichern

ciao

[fixbutte]

WSJ_Reader

Treffer

HOWARD & BLAIKLEY
UK songwriting team whose success was rivalled only by Lennon & McCartney: Ken Howard (b 26 Dec. `39), Alan Blaikley (b 23 March `40), both from Hampstead, London. Wrote 10 top 10 hits for Dave Dee, Dozy, Beaky Mick & Tich `65-8, no. 1 for the Honeycombs ("Have I The Right?``64), hits for the Herd (see Peter Frampton), Lulu, others; first in UK to write a hit for Elvis Presley. Wrote concept LP Ark II `69 for Flaming Youth (Phil Collins` first group). Background as BBC TV trainees stood them well when expanding into stage musicals; first one Mardi Gras `76 ran for six months in London`s West End. Kept writing hits through `70s for Bay City Rollers, Petula Clark, Engelbert Humperdinck and others; music for TV films Flame Trees Of Thika `81, By The Sword Divided `83, Miss Marple murder mysteries `85; on anniversary of John Lennon`s murder Dec. `85 Howard was responsible for a controversial TV biographical documentary.


Für DDDBM&T waren Howard & Blaikley aber nicht nur die Komponisten



Dave Dee, Dozy, Beaky, Mick & Tich

1961 wurde die Band von vier Schulfreunde in Salisbury gegründet, zuerst nannten sie sich Dave Dee & The Bostons und waren semi-professionell. Mit dabei waren: David Harman (* 17.12.1943), Trevor Davies (* 27.11.1944), John Dymond (* 10.7.1944) und Ian Amey (* 15.5.1944) probierten erst mehrere Schlagzeuger aus, bis sie sich Ende des Jahres auf Michael Wilson (*4.3.1944) einigten. Zwei Jahre lang arbeiteten sie in europäischen Clubs u.a. auch im Hamburger `Top Ten`, dort fielen sie Ken Howard und Alan Blaikley auf.

Nachdem sie unter Vertrag waren, schlug Howard Blaikley iihnen vor sich in Dave Dee, Dozy, Beaky, Mick & Tich umzutaufen. Mit ihrer dritten Single `You Make It Move` schafften sie es in England immerhin auf Rang 26.

Mit `Hold Tight` (GB 3, D 4) begann für sie eine bemerkenswerten Hitserie, die sogar die Beatles, Rolling Stones und Kinks in den europäischen Hitlisten bedrängte.

Dave Dee & Co. waren zuständig für Sommerhits und benutzen nach Bedarf die verschiedensten Rhythmen: Syrtaki (`Bend It`), Karibik (`Zabadak`) oder Flamenco (`The Legend Of Xanadu`) wurden in Poprhthmen einfach miteingebaut und kamen ganz toll an.. Es folgten Hits wie: `Hideaway`, `Bend It`, `Save Me`, `Touch Me, Touch Me`, `Okay!`, `Zabadak`, `Legend Of Xanadu` und `Last Night In Soho`.

1960s 45rpm UK Discography

Fontana TF531 1965 No Time/ Is It Love
Fontana TF586 1965 All I Want/ It Seems A Pity
Fontana TF630 1965 You Make It Move/ I Can`t Stop #26
Fontana TF671 1966 Hold Tight/ You Know What I Want #4
Fontana TF711 1966 Hideaway/ Here`s A Heart #10
Fontana TF746 1966 Bend It/ She`s So Good #2
Fontana TF775 1966 Save Me/ Shame #4
Fontana TF798 1967 Touch Me Touch Me/ Marina #13
Fontana TF830 1967 Okay!/ He`s A Raver #4
Fontana TF873 1967 Zabadak!/ The Sun Goes Down #3
Fontana TF903 1968 Legend Of Xanadu/ Please #1
Fontana TF953 1968 Last Night In Soho/ Mrs. Thursday #8
Fontana TF971 1968 Wreck Of The Antoinette/ Still Life #14
Fontana TF1000 1969 Don Juan/ Margareta Lidman #23
Fontana TF1020 1969 Snake In The Grass/ Bora Bora #23
Fontana TF1061 1969 Tonight Today/ Bad News




Zu diesem Song (der einzigen No. 1 in England) schwang Dave Dee live immer die Peitsche

Dave Dee, Dozy, Backy, Mick And Tich - The Legend Of Xanadu
(written by: Ken Howard & Alan Blaikley)

(Spoken) Esta es la leyenda de Xanadu.

You`ll hear my voice on the wind, cross the sand
If you should return to that black, barren land
That bears the name of Xanadu.

Cursed, without hope, was the love that I sought.
Lost from the start was the duel that was fought
To win a heart in Xanadu.

Now no footprints leave their traces
Only shadows move in places
Where we used to go.
And the buildings open to the sky
All echo with the vultures cry
As if to show: Our love was for a day
And doomed to pass away
In Xanadu, in Xanadu, in Xanadu!

In Xanadu, in Xanadu, in Xanadu!

(Spoken)
What was it to you that a man laid down his life for your love?
Were those clear eyes of yours ever filled with the pain and the tears of grief?
Did you ever give yourself to any one man in this whole wide world
Or did you love me and will you find your way back one day to Xanadu?

You`ll hear my voice on the wind, cross the sand
If you should return to that black, barren land
That bears the name of Xanadu.
In Xanadu, in Xanadu, in Xanadu!

[WSJ_Reader_]

@fixbutte
Danke für die ausführliche Erklärung. Ich habe noch Singles von DDDBM&T, auch noch die allererste LP von 1966. Da in meiner Sammlung auch Stücke von den HERD sind, bin ich so bei den Komponisten-Angaben immer wieder auf die Namen Howard/Blaikely gestoßen. Aber wer sagt`s denn: Kaum vergehen fast 40 Jahre, schon sind die Rätsel gelöst!
Ich fand es schade, als Leadsänger Dave Dee die Band verließ - muss so Ende `69 gewesen sein. Er moderierte dann ja teilweise neben Uschi Nerke öfters mal im , den sicher jeder hier kennt.

Ich bin erst vor wenigen Tagen auf diesen Thread gestoßen, muss aber Initiator fixbutte und euch allen ein Kompliment machen: Ich finde ihn absolut bombastisch! Da ich noch nicht alles ganz gelesen habe, hoffe ich, jetzt keine Dublette hier zu schießen, wenn ich kurz mal auf eines meiner Lieblingsstücke von den 60s aufmerksam mache: MY FRIEND JACK VON THE SMOKE war die erste Single, die ich mir gekauft habe und ist ein Stück, das mich bis heute vom Hocker wirft. Wem sagt es was?

[technostud]

Ich sage nur:

Lola !!!!

WOW!

[technostud]

Womit ich vor allem sagen wollte...

Hallo DOLCETTO,hawkhead,Miss.B.Hagen,fixbutte,StellaLuna und ...und .... und !!!!!

[technostud]

und CockneyRebel !!!!

[Cambodunum1]

@ WSJ_READER

My Friend Jack von The Smoke sagt mir viel. Hatte die Single auch mal und leider (wie viele andere) nach CD-Kauf verschenkt. Übrigens passt das zeitlich ganz gut; kommende Woche werden es 37 Jahre, dass der Song in die deutschen Charts kam und bis Platz 2 kletterte. In Großbritannien hatte die Gruppe nicht diesen Erfolg.



Smoke – My Friend Jack

My friend Jack eats sugar lumps
My friend Jack eats sugar lumps
Sugar man hasn`t got a care

He`s been traveling everywhere
Been on a voyage
Acros san ocean
Heard the sweet sound
Of wheels in motion
He`s seen the hawk fly high
To hail the settin` sun

My friend Jack eats sugar lumps
My friend Jack eats sugar lumps
Sugar man hasn`t got a care

He`s been travelling everywhere
He`s seen the people
In the city
And the bright lights
Look awful pretty
He`s followed dusty tracks
Into eternity

Eating sugar cane in Cuba
Tried to grow it in Japan
On the West Coast he`s really famous
Kids all call him sugar man

My friend Jack eats sugar lumps ...

Gruß
Cambo

[Cambodunum1]

Wenn ich My Friend Jack höre, fällt mir auch immer Painter Man von den Creation ein. Wahrscheinlich, weil beide Songs in etwa gleichzeitig die deutschen Charts eroberten. Allerdings erreichte Painter Man "nur" Platz 8.



Creation – Painter Man

Went to college, studied art
to be an artist. make a start
studied hard, gained my degree
but no one seemed to notice me

Painter Man
Painter Man
Who would be a Painter Man
Painter Man
Painter Man
Who would be a Painter Man

Tried cartoons and comic books
dirty postcards, woman`s books
here was where the money lay
classic art has had its day

Painter Man ...

Do adverts for TV
household soap and brands of tea
labels all around the cans
who would be a Painter Man

Painter Man ...

La la la, la la la
La la la la la la
Painter Man
Painter Man
Who would be a Painter Man

[Cambodunum1]

Hi Missy,

da hast du damals dein Geld sehr sinnvoll angelegt. Meine erste Scheibe, die ich gekauft habe, war "We Can Work It Out" von den Beatles, gefolgt von deren LP "Rubber Soul". Muss beides so Anfang 1966 gewesen sein.

@ CockneyRebel # 366

[DOLCETTO]

ey techno

schön von dir zu lesen und einen lieben gruß
von meiner dolcinella soll ich dir ausrichten

falls du mal bock auf einen biergarten-stepp
haben solltest (falls dich deine schritte nach
Minga lenken sollten) rühr dich, mach konkräte ansage, checker

ciao

[gesine]

Alice`s Restaurant
By Arlo Guthrie


This song is called Alice`s Restaurant, and it`s about Alice, and the
restaurant, but Alice`s Restaurant is not the name of the restaurant,
that`s just the name of the song, and that`s why I called the song Alice`s
Restaurant.

You can get anything you want at Alice`s Restaurant
You can get anything you want at Alice`s Restaurant
Walk right in it`s around the back
Just a half a mile from the railroad track
You can get anything you want at Alice`s Restaurant

Now it all started two Thanksgivings ago, was on - two years ago on
Thanksgiving, when my friend and I went up to visit Alice at the
restaurant, but Alice doesn`t live in the restaurant, she lives in the
church nearby the restaurant, in the bell-tower, with her husband Ray and
Fasha the dog. And livin` in the bell tower like that, they got a lot of
room downstairs where the pews used to be in. Havin` all that room,
seein` as how they took out all the pews, they decided that they didn`t
have to take out their garbage for a long time.

We got up there, we found all the garbage in there, and we decided it`d be
a friendly gesture for us to take the garbage down to the city dump. So
we took the half a ton of garbage, put it in the back of a red VW
microbus, took shovels and rakes and implements of destruction and headed
on toward the city dump.

Well we got there and there was a big sign and a chain across across the
dump saying, "Closed on Thanksgiving." And we had never heard of a dump
closed on Thanksgiving before, and with tears in our eyes we drove off
into the sunset looking for another place to put the garbage.

We didn`t find one. Until we came to a side road, and off the side of the
side road there was another fifteen foot cliff and at the bottom of the
cliff there was another pile of garbage. And we decided that one big pile
is better than two little piles, and rather than bring that one up we
decided to throw our`s down.

That`s what we did, and drove back to the church, had a thanksgiving
dinner that couldn`t be beat, went to sleep and didn`t get up until the
next morning, when we got a phone call from officer Obie. He said, "Kid,
we found your name on an envelope at the bottom of a half a ton of
garbage, and just wanted to know if you had any information about it." And
I said, "Yes, sir, Officer Obie, I cannot tell a lie, I put that envelope
under that garbage."

After speaking to Obie for about fourty-five minutes on the telephone we
finally arrived at the truth of the matter and said that we had to go down
and pick up the garbage, and also had to go down and speak to him at the
police officer`s station. So we got in the red VW microbus with the
shovels and rakes and implements of destruction and headed on toward the
police officer`s station.

Now friends, there was only one or two things that Obie coulda done at
the police station, and the first was he could have given us a medal for
being so brave and honest on the telephone, which wasn`t very likely, and
we didn`t expect it, and the other thing was he could have bawled us out
and told us never to be see driving garbage around the vicinity again,
which is what we expected, but when we got to the police officer`s station
there was a third possibility that we hadn`t even counted upon, and we was
both immediately arrested. Handcuffed. And I said "Obie, I don`t think I
can pick up the garbage with these handcuffs on." He said, "Shut up, kid.
Get in the back of the patrol car."

And that`s what we did, sat in the back of the patrol car and drove to the
quote Scene of the Crime unquote. I want tell you about the town of
Stockbridge, Massachusets, where this happened here, they got three stop
signs, two police officers, and one police car, but when we got to the
Scene of the Crime there was five police officers and three police cars,
being the biggest crime of the last fifty years, and everybody wanted to
get in the newspaper story about it. And they was using up all kinds of
cop equipment that they had hanging around the police officer`s station.
They was taking plaster tire tracks, foot prints, dog smelling prints, and
they took twenty seven eight-by-ten colour glossy photographs with circles
and arrows and a paragraph on the back of each one explaining what each
one was to be used as evidence against us. Took pictures of the approach,
the getaway, the northwest corner the southwest corner and that`s not to
mention the aerial photography.

After the ordeal, we went back to the jail. Obie said he was going to put
us in the cell. Said, "Kid, I`m going to put you in the cell, I want your
wallet and your belt." And I said, "Obie, I can understand you wanting my
wallet so I don`t have any money to spend in the cell, but what do you
want my belt for?" And he said, "Kid, we don`t want any hangings." I
said, "Obie, did you think I was going to hang myself for littering?"
Obie said he was making sure, and friends Obie was, cause he took out the
toilet seat so I couldn`t hit myself over the head and drown, and he took
out the toilet paper so I couldn`t bend the bars roll out the - roll the
toilet paper out the window, slide down the roll and have an escape. Obie
was making sure, and it was about four or five hours later that Alice
(remember Alice? It`s a song about Alice), Alice came by and with a few
nasty words to Obie on the side, bailed us out of jail, and we went back
to the church, had a another thanksgiving dinner that couldn`t be beat,
and didn`t get up until the next morning, when we all had to go to court.



We walked in, sat down, Obie came in with the twenty seven eight-by-ten
colour glossy pictures with circles and arrows and a paragraph on the back
of each one, sat down. Man came in said, "All rise." We all stood up,
and Obie stood up with the twenty seven eight-by-ten colour glossy
pictures, and the judge walked in sat down with a seeing eye dog, and he
sat down, we sat down. Obie looked at the seeing eye dog, and then at the
twenty seven eight-by-ten colour glossy pictures with circles and arrows
and a paragraph on the back of each one, and looked at the seeing eye dog.
And then at twenty seven eight-by-ten colour glossy pictures with circles
and arrows and a paragraph on the back of each one and began to cry,
`cause Obie came to the realization that it was a typical case of American
blind justice, and there wasn`t nothing he could do about it, and the
judge wasn`t going to look at the twenty seven eight-by-ten colour glossy
pictures with the circles and arrows and a paragraph on the back of each
one explaining what each one was to be used as evidence against us. And
we was fined $50 and had to pick up the garbage in the snow, but thats not
what I came to tell you about.

Came to talk about the draft.

They got a building down New York City, it`s called Whitehall Street,
where you walk in, you get injected, inspected, detected, infected,
neglected and selected. I went down to get my physical examination one
day, and I walked in, I sat down, got good and drunk the night before, so
I looked and felt my best when I went in that morning. `Cause I wanted to
look like the all-American kid from New York City, man I wanted, I wanted
to feel like the all-, I wanted to be the all American kid from New York,
and I walked in, sat down, I was hung down, brung down, hung up, and all
kinds o` mean nasty ugly things. And I waked in and sat down and they gave
me a piece of paper, said, "Kid, see the phsychiatrist, room 604."

And I went up there, I said, "Shrink, I want to kill. I mean, I wanna, I
wanna kill. Kill. I wanna, I wanna see, I wanna see blood and gore and
guts and veins in my teeth. Eat dead burnt bodies. I mean kill, Kill,
KILL, KILL." And I started jumpin up and down yelling, "KILL, KILL," and
he started jumpin up and down with me and we was both jumping up and down
yelling, "KILL, KILL." And the sargent came over, pinned a medal on me,
sent me down the hall, said, "You`re our boy."

Didn`t feel too good about it.

Proceeded on down the hall gettin more injections, inspections,
detections, neglections and all kinds of stuff that they was doin` to me
at the thing there, and I was there for two hours, three hours, four
hours, I was there for a long time going through all kinds of mean nasty
ugly things and I was just having a tough time there, and they was
inspecting, injecting every single part of me, and they was leaving no
part untouched. Proceeded through, and when I finally came to the see the
last man, I walked in, walked in sat down after a whole big thing there,
and I walked up and said, "What do you want?" He said, "Kid, we only got
one question. Have you ever been arrested?"

And I proceeded to tell him the story of the Alice`s Restaurant Massacre,
with full orchestration and five part harmony and stuff like that and all
the phenome... - and he stopped me right there and said, "Kid, did you ever
go to court?"

And I proceeded to tell him the story of the twenty seven eight-by-ten
colour glossy pictures with the circles and arrows and the paragraph on
the back of each one, and he stopped me right there and said, "Kid, I want
you to go and sit down on that bench that says Group W .... NOW kid!!"

And I, I walked over to the, to the bench there, and there is, Group W`s
where they put you if you may not be moral enough to join the army after
committing your special crime, and there was all kinds of mean nasty ugly
looking people on the bench there. Mother rapers. Father stabbers. Father
rapers! Father rapers sitting right there on the bench next to me! And
they was mean and nasty and ugly and horrible crime-type guys sitting on the
bench next to me. And the meanest, ugliest, nastiest one, the meanest
father raper of them all, was coming over to me and he was mean `n` ugly
`n` nasty `n` horrible and all kind of things and he sat down next to me
and said, "Kid, whad`ya get?" I said, "I didn`t get nothing, I had to pay
$50 and pick up the garbage." He said, "What were you arrested for, kid?"
And I said, "Littering." And they all moved away from me on the bench
there, and the hairy eyeball and all kinds of mean nasty things, till I
said, "And creating a nuisance." And they all came back, shook my hand,
and we had a great time on the bench, talkin about crime, mother stabbing,
father raping, all kinds of groovy things that we was talking about on the
bench. And everything was fine, we was smoking cigarettes and all kinds of
things, until the Sargeant came over, had some paper in his hand, held it
up and said.

"Kids, this-piece-of-paper`s-got-47-words-37-sentences-58-words-we-wanna-
know-details-of-the-crime-time-of-the-crime-and-any-other-kind-of-thing-
you-gotta-say-pertaining-to-and-about-the-crime-I-want-to-know-arresting-
officer`s-name-and-any-other-kind-of-thing-you-gotta-say", and talked for
forty-five minutes and nobody understood a word that he said, but we had
fun filling out the forms and playing with the pencils on the bench there,
and I filled out the massacre with the four part harmony, and wrote it
down there, just like it was, and everything was fine and I put down the
pencil, and I turned over the piece of paper, and there, there on the
other side, in the middle of the other side, away from everything else on
the other side, in parentheses, capital letters, quotated, read the
following words:

("KID, HAVE YOU REHABILITATED YOURSELF?")

I went over to the sargent, said, "Sargeant, you got a lot a damn gall to
ask me if I`ve rehabilitated myself, I mean, I mean, I mean that just, I`m
sittin` here on the bench, I mean I`m sittin here on the Group W bench
`cause you want to know if I`m moral enough join the army, burn women,
kids, houses and villages after bein` a litterbug." He looked at me and
said, "Kid, we don`t like your kind, and we`re gonna send you fingerprints
off to Washington."

And friends, somewhere in Washington enshrined in some little folder, is a
study in black and white of my fingerprints. And the only reason I`m
singing you this song now is cause you may know somebody in a similar
situation, or you may be in a similar situation, and if your in a
situation like that there`s only one thing you can do and that`s walk into
the shrink wherever you are ,just walk in say "Shrink, You can get
anything you want, at Alice`s restaurant.". And walk out. You know, if
one person, just one person does it they may think he`s really sick and
they won`t take him. And if two people, two people do it, in harmony,
they may think they`re both faggots and they won`t take either of them.
And three people do it, three, can you imagine, three people walking in
singin a bar of Alice`s Restaurant and walking out. They may think it`s an
organization. And can you, can you imagine fifty people a day,I said
fifty people a day walking in singin a bar of Alice`s Restaurant and
walking out. And friends they may thinks it`s a movement.

And that`s what it is , the Alice`s Restaurant Anti-Massacre Movement, and
all you got to do to join is sing it the next time it come`s around on the
guitar.

With feeling. So we`ll wait for it to come around on the guitar, here and
sing it when it does. Here it comes.

You can get anything you want, at Alice`s Restaurant
You can get anything you want, at Alice`s Restaurant
Walk right in it`s around the back
Just a half a mile from the railroad track
You can get anything you want, at Alice`s Restaurant

That was horrible. If you want to end war and stuff you got to sing loud.
I`ve been singing this song now for twenty five minutes. I could sing it
for another twenty five minutes. I`m not proud... or tired.

So we`ll wait till it comes around again, and this time with four part
harmony and feeling.

We`re just waitin` for it to come around is what we`re doing.

All right now.

You can get anything you want, at Alice`s Restaurant
Excepting Alice
You can get anything you want, at Alice`s Restaurant
Walk right in it`s around the back
Just a half a mile from the railroad track
You can get anything you want, at Alice`s Restaurant

Da da da da da da da dum
At Alice`s Restaurant

[fixbutte]

Hi dem umtriebigen Techno in diesem Thread

gesine länger wär`s wohl nicht mehr gegangen aber ein klasse Song (wenn auch musikalisch nicht so ergiebig ) und ein atmosphärischer Film, der besser als alle Dokumentationen ein authentisches Bild der Hippiezeit in den End-60er Jahren vermittelt

Cambo & WSJ danke für My Friend Jack und für Painter Man
Ich denke auch oft an beide Songs im Zusammenhang, wahrscheinlch wirklich kein Zufall, weil sie beide in Deutschland ganz groß waren, während sie im Mutterland England trotz ihrer offensichtlichen Hitqualitäten floppten. Übrigens scheint das auch Frank Farian so gesehen zu haben, denn er hat tatsächlich beide Songs mit Boney M (die allerdings in ein anderes Kapitel gehören) neu aufgelegt und mit Painter Man in dieser Version sogar die UK Top Ten erreicht :O



Im Fall von My Friend Jack von Smoke war es auch erklärbar, dass der Song in England nie die Charts erreichte, denn die Zeile My friend Jack eats sugar lumps mit dem Genuss von LSD in Zusammenhang gebracht wurde - möglicherweise nicht zu Unrecht, denn die üblicherweise wurde das Acid vor dem Schlucken auf Zuckerwürfel geträufelt Die Folge war, dass BBC diesen Song "verbannte" und nicht spielte



Warum Painter Man von The Creation nicht schon in der Originalversion die englischen Charts knacken konnte (er kam nur auf Platz 39), ist auch den englischen Musikjournalisten unklar.



Klar ist, dass The Creation - wie der Name schon sagt - eine der kreativsten und musikalisch interessantesten Bands Mitte der 60er Jahre in England waren. Sie müssen eine höllische Bühnenshow gebracht haben.



Die Berührungspunkte zu den Kinks und anderen Bands in diesem Thread waren zahlreich. Sie hatten denselben Producer Shel Talmy (#90, #92), der ja auch die ersten Platten von Tho Who produzierte. Und in ihrer ersten Besetzung unter dem Namen Mark Four spielte John Dalton den Bass, der dies später (einige Monate 1966 und 1969 - 1976) auch für die Kinks tat. Der Creation Leadgitarrist Eddie Phillips war so gut, dass Pete Townshend ihn als zweiten Gitarristen für The Who verpflichten wollte. Schließlich spielte auch Ron Wood, später bei der Jeff Beck Group, den (Small) Faces und schließlich bei den Rolling Stones für einige Monate bei The Creation, bevor sich die Gruppe 1968 auflöste.

[fixbutte]

höchste Zeit, die Kinks Single Chronologie aus #256 fortzusetzen

Single No. 13 war im Oktober 1966 (in Europa, nicht aber in England und USA) der Song, dessen Lyrics Cockney schon in #29 gebracht hat



Während in den USA die Cover Version von Herman`s Hermits äußerst erfolgreich war, räumten die Kinks mit dem Original in Europa richtig ab, vor allem aber in Deutschland, wo sie für 4 Wochen Platz 1 der Hitparade erreichten.



Der Unterschied zwischen den beiden Versionen bestand darin, dass "Herman" Peter Noone den Song nur sang, während Ray Davies ihn so "interpretierte", dass man den Sarkasmus, aber auch den unterschwelligen Neid und die - vor allem am Schluss erkennbare - Sympathie durchaus heraushören konnte.

Herman`s Hermits would have the US hit with Ray Davies` "Dandy," but the Kinks` own version, from 1966`s masterful Face To Face, is far superior to Peter Noone`s charming but gormless rendition. Davies delivers the lyrics, about a neighborhood lothario, with just the right mixture of disgust and admiration; his slyly witty vocals are truly what makes the song. Musically, the tune harks back to the music hall tradition of George Formby; Dave Davies` guitar is so trebly and clean that it sounds like a ukulele - or perhaps an electrified rubber band - and the gently swinging tune sounds like it could have been an old vaudeville hit. "Dandy" is a charming, slightly subversive, gem — Stewart Mason, AMG



Die Rückseite der Single, Party Line, stammt ebenso wie Dandy vom Album Face To Face. Eine "Party Line" war eine - damals auch in Deutschland noch übliche - Telefonleitung, die für mehrere Anschlüsse zur Verfügung stand (a telephone line serving two or more subscribers) und dementsprechend meistens besetzt war. Manchmal hörte man aber auch ungewollt die Gespräche von anderen Teilnehmern. (Wir hatten so etwas auch zuhause )

Ray Davies brachte erneut seine nicht so klaren sexuellen Präferenzen ins Spiel, weil sein Interesse an der anderen Person in der Leitung offenbar unabhängig davon war, ob sie Mann oder Frau war "is she big, is she small, is she a she at all?"

Party Line

(Hello, who`s that speaking, please?)

I`m on a party line,
Wonderin` all the time,
Who`s on the other end?
Is she big, is she small?
Is she a she at all?
Who`s on my party line?

Wish I had a more direct connection.
This party line was here when I arrived.
And I`m not voting in the next election,
If they don`t do something about finding out
the person who is on my party line.

I`m on a party line.
I`m on a party line.

I can`t speak without an interception.
This is private, please get off my line.
Please tell me when I can have my privacy.
I`d like to meet the girl who`s always talking
when I`m speaking on my party line.

Wish I had a more direct connection.
This party line was here when I arrived.
And I`m not voting in the next election,
If they don`t do something about finding out
the person who is on my party line.

I`m on a party line,
Wonderin` all the time,
Who`s on the other end?
Is she big, is she small?
Is she a she at all?
Who`s on my party line?
Who`s on my party line?
Who`s on my party line?


Musikalisch war der Song ein absoluter Stampfer in der alten, bewährten Kinks Tradition. In Skandinavien lief Party Line sogar als A-Seite der Single

[fixbutte]

Da ich die ganze Woche über hier nicht mehr posten kann, lege ich gleich noch einen nach

Mit Dandy hatten die Kinks ihren absoluten kommerziellen Höhepunkt in Deutschland. Es ist deshalb interessant, der Entwicklung der Kinks in den 60er Jahren nachzugehen. In aller Ausführlichkeit hat das Helge Buttkereit in seiner verdienstvollen inoffiziellen deutschen Kinks Website http://www.kinks.de/ getan. Die wichtigsten Auszüge bringe ich hier mal


Die Kinks in Deutschland - Die 60er
von Helge Buttkereit

Die Karriere der Kinks in Deutschland begann zögerlich. Nachdem die ersten beiden Singles gar nicht erst veröffentlicht wurden, kam auch "You Really Got Me" erst spät in die Läden und die Charts. Nachdem sie im Oktober 1964 von der "Deutschen Vogue" auf den Markt gebracht wurde, stieg die Single Anfang Dezember in die Charts ein, erreichte aber nur einen enttäuschenden 39. Platz. Enttäuschend war das wohl auch für die Plattenbosse, die "All Day And All Of The Night" nachschoben, das aber auch nicht über Platz 22 hinauskam.

Promotion in Deutschland gab es zu dieser Zeit noch kaum, die Kinks blieben in England. In der deutschen Musikpresse waren sie noch wenig vertreten, so dass die relative Erfolglosigkeit verständlich ist. Außerdem darf man nicht übersehen, dass die deutschen Charts bis Mitte der 60ern von deutschen Schlagern oder höchstens seichten englischen Titeln dominiert waren. Im Jahr von "You Really Got Me" standen u.a. Cliff Richard, Drafi Deutscher und Peter Lauch an der Spitze der Hitparaden. Allerdings hatten auch die Beatles ihren ersten Nummer-Eins-Hit, "I Wanna Hold Your Hand" stand immerhin vom 29.2. bis zum 18.4.1964 auf Platz eins.

Die Liebe der Deutschen zum seichten Schlager kam den Kinks Anfang 1965 auch nicht entgegen. Wiederum tummelten sich seichte Songs an der Spitze der Hitparade: "Pretty Woman" (Roy Orbison), "Das is die Frage aller Fragen" (Cliff Richard) oder "Heute mal ich dein Bild, Cindy Lou" (Drafi Deutscher) waren einige davon. Der erste wirklich harte Titel an der Spitze war wohl "Satisfaction", im Mai/Juni 1965 der zweite Stones-Titel auf Platz eins.

Für die Kinks war die Spitze noch weit entfernt, die dritte Single "Tired Of Waiting" kam nur auf Platz 27, und die folgenden vier Singles im Juni 1965 scheiterten alle kläglich (A-Seiten: I Took My Baby Home, I`m A Lover Not A Fighter, Everybody`s Gonna Be Happy, Cadillac). Auch "Set Me Free" (Juli) und "See My Friends" (September) schlugen in Deutschland nicht ein. Den Kinks fehlte vor allem die Präsenz in Deutschland, wenngleich die ersten beiden deutschen Konzerte im Spätsommer des Jahres stattfanden.

Die LPs der Band waren im übrigen in den Charts erfolgreicher, auch wenn die Alben damals noch nicht die Rolle spielten wie heute. Vermutlich war das auch der Grund, weswegen im Sommer 1965 einige Songs der ersten LP auf Singles ausgekoppelt wurden. Das Album "The Kinks" stieg im Februar 1965 in die Hitparade ein und behauptete sich dort ganze 40 Wochen. "Kinda Kinks" folgte im Mai und blieb 24 Wochen dabei, wobei es nicht ganz die Top-Platzierung des ersten Albums erreichte (Platz zwölf im Vergleich zu Platz sieben).

So richtig begann die Karriere der Kinks in Deutschland aber auf der Berliner Waldbühne. Kurz nach der berühmten ersten US-Tour, die mit einem US-Auftrittsverbot bis 1969 endete, spielten die Kinks am 14. August 1965 zwei Konzerte in der Open-Air-Arena vor 20.000 Zuschauern. Die Veranstaltung hatte den Titel "Die Show des Jahres" und neben den Kinks traten auch "The Fortunes" und "Screaming Lord Sutch & His Seven Savages" auf.



Die Presse sah am Tag zuvor Unruhen voraus: "Langmähnige Engländer schreiten morgen bei der Show des Jahres in der Waldbühne zur Tat. Das Quartett Tollwütiger beglückt seine Fans nicht nur mit Tönen, sondern auch mit Rüschenhemden Sie sind 18 und 21 Jahre alt, lieben Bach (sagen sie) und trinken sterilisierte Milch. Das musikalische Höllenspektakel der Kinks findet um 16 Uhr und um 20 Uhr statt, falls die Waldbühne dann noch steht."

Nicht die Kinks, sondern "Lord Sutch" sorgte hingegen für Tumulte, nachdem der Einlass bereits von berittener Polizei mit Schlagstöcken gesichert wurde, die aber nicht eingreifen musste. Da an den Toren nicht einmal nach Wurfgeschossen gesucht wurde und außerdem Flaschen mit auf das Gelände genommen werden durften, waren die Folgen abzusehen. "Lord Sutch" zog bei der Abendvorstellung seine Gruselshow ab, ging auf die Planken der Bühne los, zerfetzte eine lebensgroße Strohpuppe und setzte sie in Brand, so dass die Feuerwehr löschen musste. Außerdem verletzte er unbeabsichtigter Weise einen seiner Saxophonisten. Die Menge war außer sich, die Fans warfen Flaschen auf die Bühne und es gab mehrere Verletzte.

Die Kinks hatten auch zu leiden, denn sie wurden von 50 Fans auf dem Weg zur Bühne verfolgt. Sie konnten dennoch spielen und begannen mit "You Really Got Me", gekleidet in ihren roten Anzügen mit gelben Rüschenhemden. Es folgten sieben oder acht weitere Stücke und die Menge war von den Kinks begeistert. Nach einem Augenzeugenbericht war Quaife der ruhigste auf der Bühne, während Dave Davies seine Haare im Takt schüttelte. Nach den Tumulten hatten sie es schwer in Berlin zu Abend zu essen, fanden aber schließlich doch noch ein Straßencafe. Ein Tag darauf spielten die Kinks noch in der Bremer Stadthalle und reisten zurück nach England. Die Ost-Berliner Presse machte unterdessen Stimmung gegen die Fans, die auf der Rückfahrt vom Konzert in den von der DDR betriebenen S-Bahn-Zügen Berlins randalierten.

Die beiden Konzerte im August sollten 1965 nicht die einzigen in Deutschland bleiben, im Oktober starteten die Kinks endgültig durch. Sie gingen gemeinsam mit "The Lords", "Tony Sheridan & His All Stars" und "The Black Stars" auf ihre erste "Package Tour" durch die Bundesrepublik. Veranstaltet wurde das Ganze von der Zeitschrift "Musik Parade". Die Kinks absolvierten auf dieser Tournee 25 Auftritte in 17 Tagen (eingeschlossen drei Konzerte in der Schweiz und eines im französischen Elsass). Die Konzerte bedeuteten den endgültigen Durchbruch, dem das wohl erfolgreichste Jahr der Band in der Bundesrepublik folgte.

Nach drei Tagen in München, wo es beim ersten Konzert Probleme mit dem Equipment gab, das am Londoner Flughafen geblieben war und erst kurz vor Showbeginn ankam, ging es ins Ruhrgebiet. Die Show mit dem Titel "Beat 65" sollte am Donnerstag, 5.10.1965 gleich zweimal im "Hans-Sachs-Haus" stattfinden und bei der ersten Show vor größtenteils 13- bis 16-jährigen begannen die Kinks, diesmal in hellbau mit Rüschenhemden, gegen 19:30 Uhr mit "You Really Got Me". Die Band blieb auf der Bühne relativ ruhig und spielte neben "You Really Got Me" noch "Tired Of Waiting For You", "It`s Alright", "Come On Now", "All Day And All Of The Night", "See My Friends" und "Set Me Free". Damit die Show ruhig über die Bühne lief, waren 200 Polizisteen im Einsatz. Die Bands waren angehalten, bei Tumulten die Bühne sofort zu verlassen. Ein Journalist der Gelsenkirchener Ruhr-Nachrichten, mit großen Vorurteilen in die Halle gegangen, sah diese auch zum größten Teil bestätigt (z.B. monierte er die langen Haare der Jugendlichen und den Krach), stellte aber die Kinks als Highlight des Abends heraus.


Ray und Dave Davies am 12.10.1965 in Recklinghausen

Nach Gelsenkirchen reisten die Musiker weiter über Iserlohn, Lüdenscheid und Koblenz nach Ludwigshafen, machten einen Abstecher in die Schweiz und Frankreich um dann über Neunkirchen und Kaiserslautern wieder zurück ins Ruhrgebiet zu kommen. Dort fanden am 12. Oktober wiederum zwei Konzerte statt, das erste am späten Nachmittag in Bochum und das zweite ab 20:15 Uhr in Recklinghausen, von dem das Buch "Beatgeschichte(n) im Revier" berichtet. Offenbar waren die Bands vom ersten Auftritt des Tages schon geschafft, wollten dem Publikum aber trotzdem einheizen. Der Stadtjugendpfleger Kurt Oster hatte jedoch dafür gesorgt, dass große Teile der Jugendlichen brav auf ihren Sitzen blieben, was den Kinks nicht gefiel. Sie animierte zu Action und einige Leute machten mit, wobei einige Stühle zu Bruch gingen. Kurt Oster betrat die Bühne und wollte die Jugendlichen beruhigen, aber Kinks-Tourmanager Sam Curtis sowie Ray Davies bugsierten Oster von der Bühne. Daraufhin bildeten sich in der Halle zwei Lager: Die einen warfen Zeug auf die Bühne, johlten und "turnten rum", wie es in einem Augenzeugenbericht heißt und die anderen blieben ruhig. In der "Westdeutschen Allgemeinen Zeitung" vom übernächsten Tag wurde Kurt Oster mit folgenden Worten zitiert: "Die Jugend ist gut, doch Manager und Veranstalter manipulieren die Gefühlsausbrüche und Exzesse. Sie glauben nur dann Erfolg zu haben, wenn es drunter und drüber geht."

Es gab auch andere Stimmen. Die "Westfälische Rundschau" kommentierte die musikalische Qualität der Kinks: "Die vier aus England bestechen vor allem durch die perfekte Beherrschung ihrer Instrumente. Besonders beeindruckte [...] der Schlagzeuger den Kenner. Hier wurde der Beweis angetreten, dass es möglich ist, mit sparsamen Mitteln einen knallharten Beat zu machen." Besonders schlimm waren die Ausschreitungen wohl auch nicht, denn der "Mittag" zitierte die Recklinghäuser Polizei: "Selten verlief eine Beatveranstaltung so ruhig wie die in Reckinghausen." Die "Unruhen" zeigten die langsam anschwellende Rebellion gegen die Eltern-Generation, der altbackene Jugendpfleger als Vaterfigut in Recklinghausen ist ein gutes Beispiel dafür.

Unruhe gab es auch zwei Tage später in der Kieler Ostseehalle, als Sam Curtis verletzt wurde. Nach Angaben der "Schleswiger Nachrichten" musste das Konzert sogar vorzeitig abgebrochen werden. Die Tumulte waren ausgebrochen, als eine hölzerne Balustrade hinter der Band zusammenbrach. Die ersten Stuhlreihen gingen zu Bruch, während Curtis ins Krankenhaus musste, da er von einem Stuhl getroffen worden war. So war die Tour für ihn einen Tag früher zu Ende (es folgten noch zwei Auftritte in Delmenhorst und Oldenburg) und die Presse hatte wieder die Bestätigung: Die langmähnigen Beat-Musiker sorgten nur für Krawalle (vermutlich ergänzten einige Journalisten im Geiste: "Unter Adolf hätte es das nicht gegeben").

Dave Davies hat heute kaum noch Erinnerungen an die Tour, kann das aber auch gut begründen. In seinem Buch "Kink" schreibt er davon, dass er wohl die ganze Zeit über auf Drogen war, da man in Deutschland überall guten Stoff bekam. In der ersten Nacht traf er ein deutsches dunkelhaariges Mädchen, das kein Wort Englisch gesprochen habe. Das war auch nicht nötig, denn über die Zeit der Tour kommunizierten ihre Körper miteinander , wie Davies sich ausdrückt. Er nahm sie mit in sein Hotelzimmer, sie rauschten Haschisch und wussten, was zu tun war. Zudem schloss Dave Davies eine Freundschaft mit Tony Sheridan, der viel über die Beatles in deren Hamburger Zeit erzählte.

Das erfolgreichste Charts-Jahr der Kinks war 1966. "Dedicated Follower Of Fashion" erreichte Platz elf, "Sunny Aftrnoon" war mit Platz sieben der erste deutsche Top-10-Hit der Band (in der Bravo Musikbox sogar auf Platz fünf) und dann kam "Dandy". Die Single (B-Seite: "Party Line") stieg am 5. November in die Hitparade ein und blieb dort 20 Wochen. Während der Song in England nicht auf Single erschien, war er für Deutschland wohl seicht genug und der einzige deutsche Nummer-Eins-Hit. Am 24.12. stand die Single erstmals an der Spitze der Hitparade und blieb dort bis zum 14.1. (Roy Blacks "Good Night My Love" folgte an Nummer eins).

Auch die Alben der Band waren weiter erfolgreich. Etwas später als in England erschien "The Kink Kontroversy" in Deutschland, wo die LP am 15. April 1966 in die Charts einstieg und immerhin Platz acht erreichte. Die späte Veröffentlichung hängt mit der LP "The Kinks In Germany" zusammen, die pünktlich zur Tournee im Oktober 1965 auf den Markt kam und sich auch sechs Wochen in den Charts hielt. Das "In Germany" bezog sich auf die Tour, die LP enthielt jedoch nur bekannte Songs der Band. Die Bilder auf Cover und Backcover waren immerhin aus Deutschland, von einer Foto-Session im August 1965 (von der gleichen Session stammt auch das Cover von Dandy).



Unterstützt wurden die Erfolge durch Fernsehauftritte, von denen allerdings der erste (während der Oktober-Tournee 1965) nicht gesichert ist. Der erste große Auftritt war zweifellos die Live-Aufnahme aus der Stadthalle Offenbach vom November 1965, die im Januar 1966 ausgestrahlt wurde. In "Beat Beat Beat" zeigt sich nicht nur eine blendend aufgelegte Band, sondern man sieht auch ein Publikum, das gesittet tanzt (sicher ein Versuch der Sendungsgestalter, etwas gegen die Vorurteile gegenüber der "Beat-Musik" zu tun, in die ja auch die Kinks fälschlicherweise eingeordnet wurden).

Während es im Jahr 1966 nur ein Konzert in Deutschland (21. September im Berliner Sportpalast) geben sollte, folgte zu Beginn des folgenden Jahres, als gerade Dandy an der Spitze der Hitparade stand, eine neue "Package Tour" unter dem Motto "Beat Im Karneval", zu der mir leider weder Augenzeugenberichte noch Zeitungsartikel vorliegen. Doug Hinman zitiert in seinem neuen Buch über die Kinks Ray Davies zu dieser Tournee: "Es war großartig [in Deutschland]. Normalerweise habe ich keine große Freude am Reisen. Aber ich mag es zu spielen und in Deutschland war das Publikum gut. Vielleicht ein wenig älter als [in England]." Nach einem Bericht spielten die Kinks den Song "Music Music Music" (Teresa Brewer), der auch als "Put Another Nickel In The Nickelodeon" bekannt ist. Pete Quaife erinnerte sich später daran, "David Watts" in Deutschland dem Publikum vorgestellt zu haben, so dass es möglich ist, dass dieser Song auch gespielt wurde (vermutlich als Live-Premiere).

Auch nach der Tournee im Januar ging die Erfolgsgeschichte weiter, nun wurde sie vor allem auch durch Fernsehauftritte unterstützt. Am 20. Mai traten die Kinks erstmalig mit "Mr Pleasant" im "Beat Club" auf, einen Monat später auch mit "Waterloo Sunset". Beide Auftritte wurden vorher aufgezeichnet, und sie zeigen die Kinks beim Playback. Bei "Mr Pleasant" mimt im übrigen nicht nur Manager Grenville Collins den Pianisten, sondern der Co-Moderator Dave Lee Travis "spielte" Posaune und lief zwischen der Band umher. Beide Songs waren in Deutschland erfolgreich, kamen auf die Plätze zwölf und sieben in der Hitparade. Zuvor war aber auch noch "Dead End Street" in den Charts -- immerhin auf Platz fünf.

Noch eine Single sollten danach in den 60ern die Top-10 erstürmen, "Death Of A Clown" von Dave Davies kam bis zum dritten Platz und war somit die dritterfolgreichste Single der Kinks in der Hitparade. Ende 1967 folgte noch "Autumn Almanac" in die deutschen Charts und 1968 immerhin noch drei Singles, aber nur knapp unter Platz 30 ("Susannah`s Still Alive", "Wonderboy" umd "Days"). Danach war die Erfolgsgeschichte erstmal zu Ende, auch der Beat-Club-Auftritt 1969 mit "Plastic Man" konnte daran nichts ändern.

Allerdings war 1968 noch eine Tournee geplant und möglicherweise wurden sogar Anfang September des Jahres einige Konzerte gespielt. Zwar gibt es keine bestätigten Termine, aber Pete Quaife erinnerte sich später daran, dass die Band in Deutschland einige Songs der "Village-Green"-Periode spielte, unter anderem "Phenomenal Cat" und "Days". Demnach müssten sie 1968, vielleicht vor den Terminen in Belgien (7. und 8. September) in der BRD aufgetreten sein.

Ein Jahr später soll laut Doug Hinman der letzte Auftritt der 60er im Hamburger Star Club stattgefunden haben, aber dies bezweifelt Thorsten Schmidt (Kultur Buch Bremen), einer der besten Kenner der Star-Club-Geschichte. Wenn das Konzert stattgefunden hat, war es bestimmt nicht lang: Die Kinks spielten demnach am 26. August 1969 nach Erinnerung von John Dalton mit geliehenem Equipment ohne Soundcheck. Der Bass-Verstärker funktionierte nicht und so endete der Auftritt nach einem halben Song. Danach soll es noch einen Disput zwischen Ray Davies und einem Mitglied der Vorgruppe gegeben haben.

Etwas zeitversetzt zu den Ereignissen in England war die Geschichte der Kinks in Deutschland in den 60ern also durchaus eine Erfolgsgeschichte, wenn auch in ihrem Höhepunkt beschränkt auf die Jahre 1965 bis 1967. Spätere Singles wie "Starstruck", "Hold My Hand" (Dave Davies) oder "Drivin`" (trotz Auftritt im ZDF) waren nicht erfolgreich und auch die Alben nach "Something Else" schafften es nicht in die Charts. Erst im August 1970 sollte "Lola" in die Charts einsteigen, aber das ist schon Bestandteil des zweiten Kapitels "Kinks in Deutschland".


The Kinks in den deutschen Charts 1964-1971

Single Einstiegsdatum beste Platzierung (Wochen in den Charts)
You Really Got Me 5.12.1964 #39 (4)
All Day And All Of The Night 16.1.1965 #22 (8)
Tired Of Waiting For You 20.3.1965 #27 (6)
Dedicated Follower Of Fashion 14.5.1966 #11 (9)
Sunny Afternoon 6.8.1966 #7 (16)
Dandy 5.11.1966 #1 (20)
Dead End Street 4.2.1967 #5 (11)
Mr. Pleasant 10.6.1967 #12 (8)
Waterloo Sunset 8.7.1967 #7 (12)
Death Of A Clown (Dave Davies) 9.9.1967 #3 (14)
Autumn Almanac 2.12.1967 #13 (6)
Susannah`s Still Alive (Dave Davies) 13.1.1968 #27 (6)
Wonder Boy 15.6.1968 #29 (6)
Days 28.8.1968 #28 (9)
Lola 15.8.1970 #2 (20)
Apeman 4.1.1971 #9 (14)

[gesine]

fixbutte


länger gings wohl nimmer
wünsche dir eine schöne woche
mir kam alice`s restaurant heute morgen in den sinn.
es ist schon verrückt, da sieht man ein bild ein paar worte, man sucht was dazu und schon stößt man auf was neues.
so erging es mir mit eve of destruction ein song den ich immer gern gehört hab, schon wegen der stimme

[CockneyRebel]

.
Geht mir auch so, Gesine! Eine Wahnsinnsstimme... und ein absolutes Highlight (ich hab`s neulich schon einmal gepostet, aber ich muss es noch einmal loswerden) ist für mich seine Aufnahme von "California Dreamin`" mit den Mamas & Papas als Backing Vocals.
.

[fixbutte]

und noch einen letzten von mir für diese Woche

Dandy, Party Line und das bereits zuvor als Single erschienene Sunny Afternoon waren auf der vierten Kinks LP Face To Face enthalten, die im November 1966, etwa zur gleichen Zeit wie Revolver von den Beatles, erschien. Dies war das erste Album, bei dem die Kinks mehr als eine Woche Zeit für die Aufnahme hatten. Gleichzeitig war es aber auch das letzte Album, mit dem sie sich in den europäischen Hitparaden platzieren konnten (UK #12, D #12)

Die Platte war - zur damaligen Zeit ungewöhnlich - ein locker verwobener Songzyklus, der sich auf Seite 1 mit tendenziell aufsteigenden Vertretern der englischen Mittelklasse (Dandy, House In The Country ), auf Seite 2 mehr mit solchen auf dem absteigenden Ast (Most Exclusive Residence For Sale, Sunny Afternoon ) beschäftigte. Ursprünglich sollten die Songs ohne Pause aneinandergereiht werden, wie das die Beatles erst 1967 bei Sergeant Pepper gemacht haben.

Die Texte der Platte waren sehr vielschichtig und weitaus interessanter als alles, was die Beatles oder die Rolling Stones auf einem einzelnen Album zustande bekommen haben. Die Musik blieb dagegen - trotz ihrer unzweifelhaften Höhepunkte - im Vergleich zur Konkurrenz etwas zurück. Das lag sicher auch daran, dass Ray Davies (anders als Lennon/McCartney oder Jagger/Richard) stets alleine komponierte, aber auch daran, dass die Kinks keinen genialen Producer wie die Beatles mit George Martin hatten.



Das Cover, von dem ich mal gelesen habe, Ray Davies (der ehemalige Kunststudent) hätte es selbst entworfen, war sehr bunt und damit auf der Höhe der Zeit. Ray wird allerdings damit zitiert, dass er lieber ein ganz schwarzes Cover gehabt hätte.



Statt selbst noch lange Worte über diesen absoluten Klassiker der 60er Jahre zu verlieren, bringe ich lieber eine zeitgenössische Plattenkritik aus dem amerikanischen Crawdaddy Magazine vom März 1967


Face to Face - The Kinks

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

If you are not a Kinks fan, you are either a) uninformed, or b) not a Kinks fan. If it`s the latter, there`s nothing you can do about it. The Kinks, rather like Johnny Hart`s B.C. or the novels of Kurt Vonnegut, are absolutely indefensible (and unassailable). I can`t tell you why they`re great: there are no standards by which the Kinks can be judged. Ray Davies` music has nothing to do with almost anything else. It`s in a category unto itself, and if you don`t like it, well, there you are.

I would like to say that Face to Face is a tremendously funny lp. I`m uncomfortably aware, however, that there are those, even those I respect muchly and love warmly, who do not find B.C. at all funny. I hesitate, therefore, to urge upon them an album that starts with four rings of a telephone and a pristine male voice saying "Hello, who is that speaking please," followed inexorably by a lead guitar and bass who sound like they`ve been perched for hours just waiting to play their little run and get into the song (a righteous complaint against whatever it is that interrupts phone conversations). The humor of the thing is indescribable: it`s all in the timing, and I break down every time I hear it. But there are those who sit unmoved. It must have something to do with taste.

The Kinks are mostly -- but not entirely -- Ray Davies. Ray is songwriter, vocalist, motive force for the group, and it is his curious personality that comes through in every note the Kinks play. Some people think Ray is a genius (albeit a misguided one). I think it`s more accurate to call him an amazingly articulate musician; his mood at any given time is reproduced impeccably in his songs, with no apparent effort on his part. Playing around with a familiar melody and an unusual break -- "Rosie Won`t You Please Come Home?[/b][/b]" - he lets the words fall where they may. "And I`ll bake a cake if you`ll tell me you are on the first plane home." Sheer nonsense ... but it all falls in place so perfectly, it`s hard to imagine any other words could belong there. Ray`s gift is his control of his music: whatever he does, it`s right.

He couldn`t do it without the other Kinks, however. They complement his vocals and carry the moods of his songs so precisely that one would think them pursued by the same demons. Brother Dave on lead guitar, Pete Quaife on bass, Mick Avory on drums, all run wild within the confines of a private world limited by the walls of the Pye Recording Studios on the one hand and the curious imagination of Mr. Ray Davies & Co. on the other. The limits of Mr. Davies` imagination, however, are unknown.

Ah, what is so rare as a Kink in tune? You might well ask. Don`t take your eye off the madness, however, to worry such things: Kinks aren`t really concerned with tunes. When Ray sings "Dandy," for instance, it is reportedly the same silly little piece he wrote for Peter Noone. But in point of fact, Ray`s "Dandy" has little to do with Herman`s. Herman merely sang the song.

Ray doesn`t hit a note, but he hits Dandy square between the eyes every stretch of his voice portrays more of the bachelor in question than 17 glances at a full-length mirror.

There`s a lot of depth to this album. "Rainy Day in June," for example: how can anything that starts with a thunderclap not be a pretty damn serious song? But it is, and it`s a major work. The piano/bass thing rainy days all over you, while Ray`s voice just stares out the window. The important part is "Everybody`s got the rain," an unfinished line which is about as universal as they come. Wow. A work of beauty.

"Rosie Won`t You Please Come Home?" is too unbearably funny. The nice thing is, he`s not putting down anybody: he`s just getting totally into the mother`s part, with full sympathy but never a serious moment. "Most Exclusive Residence For Sale" is almost as good; Ray acts very straight and pseudo-tragic about the whole thing, but the ba-ba-ba-ba chorus that backs him up gives him away and completely gasses the listener.

"Fancy" is so lovely and so far-out musically that everyone should notice it and nobody will. Two years from now, when everyone`s into this kind of thing, no one will remember that Ray Davies was into it first. They never do.

"Little Miss Queen of Darkness" is wonderfully well built. For once, a good walking vocal to go, along with a well-handled walking bass, and a drummer who knows how to take over when the whole thing walks his way. Oh yeah, There`s a fine four-way fight going on after the drum solo here -- it sounds as though Ray won by fading all tracks except his own. Harmony out of discord. If you can ignore the frenetic upstaging long enough to catch the words to the song, do; they`re delightful. Davies is master of smiling pathos.

"Sunny Afternoon" is a song to end if not all other songs then at least several. It is a Davies tour de force; if "Too Much On My Mind" is his statement of policy, then "Sunny Afternoon" -- following, as it does, a nervous breakdown -- is Ray`s State of the Union Address to the world. And it`s beautiful. It starts off descending and just floats on down for another 3.5 minutes: It`s a portrait of the artist as a happy, helpless himself, trapped on a sunshine carpet of psychosomatic flypaper (purchased from the album of the same name by the Blue Magoos ) - and like every Davies portrait, it is razor-sharp but it draws absolutely no conclusions. Goods and bads do not enter into the picture. Ray is sympathetic to all things and all people, up to and including Ray Davies.

Face to Face is a fine lp; the Kinks have really never done a poor one. This is perhaps the best Kinks lp to meet them on - it hits hardest and fastest, it is the most sophisticated and - in many ways the funniest and most musically inventive. It is also the best programmed, because Reprise chose to release the original Pye recording, with all fourteen (!) cuts in their original order. Poor programming - the curse of the throw-away album designed for U.S. consumption by ignorant U.S. labels - has hurt the Kinks badly in the past. Face is not, however, the best Klnks album. That title would probably go to Kink Kontroversy, an early 1966 album that had no single track as good or even as ambitious as "Rainy Day in June" or "Sunny Afternoon." Kontro stands, however, as the best statement of the Ray Davies approach to music and/or life. Its overall quality is much higher than Face partly because it doesn`t fool around as much - as a result, it avoids the occasional self-consciousness of the new lp ... and it doesn`t display its low points as obviously ("Holiday in Waikiki" is a good example of a track that just doesn`t fit on Face to Face, in many ways, is an overly arty lp; Kontro offers us Kinks in their natural habitat.

But Kinks, no matter where they are or what they`re doing, are well worth your attention. Whether or not you enjoy them is surely a matter of taste. But if, like many, you`ve overlooked them, you`re missing one of the finest groups we have.

Paul Williams, Crawdaddy Magazine, March 1967

deutsche Version des Plattencovers

[gesine]

SUMMER HOLIDAY
We`re all going on a summer holiday.
No more working for a week or two.
Fun and laughter on a summer holiday.
No more worries for me and you.
For a week or two.

We`re going where the sun shines brightly.
We`re going where the sea is blue.
We`ve seen it in the movies.
Now let`s see if it`s true.

Everybody has a summer holiday
Doing things they always wanted to.
So we`re going on a summer holiday
To make our dreams come true
For me and you.


an regentagen wie heute,
denk ich ganz wehmütig an den sommer

[wolaufensie]

........................................http://www.mchs-63.trest.com/sounds/Cliff Richards - SUMMER …
........................................man achte mal auf dieses "Plink, Plink" der Guitarre am Anfang des Liedes,
...................................................und hört daraus auch gleich den Meister (weiterhin im Hintergrund)...
...................................................

[fixbutte]

gesine
auch die Kinks fahren mal ganz gerne in Urlaub (dann natürlich an ein englisches Seebad )



Holiday

Holiday,
Oh what a lovely day today,
I`m so glad they sent me away,
To have a little holiday today, holiday,
Holiday,
And I`m just standing on the end of a pier,
Hoping and dreaming you were here,
To share my little holiday,

Lookin` in the sky, for a gap in the clouds,
Sometimes I think that sun ain`t never coming out,
But I`d rather be here than in that dirty old town,
I had to leave the city `cause it broke me down,

Oh holiday, oh what a lovely day today,
I think I`ll get down on my little knees and pray, thank you Lord,
Thank heaven for this holiday, holiday,
I`m leaving insecurity behind me,
The environmental pressures got me down,
I don`t need no sedatives to pull me round,
I don`t need no sleeping pills to help me sleep sound,

Oh holiday,
Oh what a lovely day today,
I think I`ll get down on my knees and pray,
That`s what I`ll do,
Thank heaven for this holiday,

Lying on the beach with my back burned rare,
And the salt gets in my blisters and the sand gets in my hair,
And the sea`s an open sewer,
But I really couldn`t care,
I`m breathing through my mouth so I don`t have to sniff the air,

Oh holiday,
Oh what a lovely day today,
I`m so glad they sent me away,
To have a little holiday.

[fixbutte]

wosie
The Shadows - die erfolgreichste Band Englands, jedenfalls wenn man ihre Soloerfolge und die mit Cliff Richard zusammen nimmt, allerdings nicht sehr textlastig
Ihr Gitarrist Hank Marvin war einer der wichtigesten Einflüsse für Jeff Beck und Jimmy Page



Hank B. Marvin (real name: Brian Robson Rankin), lead guitar, vocals
b. 28 Oct 1941, Newcastle Upon Tyne
Bruce Welch, rhythm guitar, vocals
b. 2 Nov 1941, Bognor Regis, Sussex
Jet Harris (real name: Terence Harris), bass (-1962)
b. 6 Jul 1939, Kingsbury, London
Tony Meehan (Daniel Meehan), drums (-1962)
b. 2nd Mar 1943, Hampstead, London


The Shadows evolved from a group called the `Five Chesternuts` which went under the stewardship of Pete Chester, son of broadcaster and comedian Charlie Chester. The line up of the new group was soon to look like that shown above and became Cliff Richard`s backing group `The Drifters`. Although the original bass player had been Paul Samwell, he was soon replaced by the more skilled guitarist, `Jet` Harris. `Sammy` then concentrated his efforts on songwriting and was responsible for some of the finest examples of British rock and roll which would become several of Cliff Richard`s hits- including the now legendary `Move It!`.

The group were signed to the same EMI, Columbia label as Cliff Richard although Norrie Paramor used session musicians on Cliff Richard`s earliest recordings. `The Drifters` as they still called themselves cut two unsuccessful singles under this name before renaming themselves `The Shadows` to avoid confusion with the US group who were gaining UK popularity at the time. Despite Cliff`s immediate record success, none of the group`s first three releases were successful including those which included their own vocals.

However, 1960 brought them `Apache` written by singer/songwriter Jerry Lordan. Despite also being recorded by the popular British guitarist Bert Weedon, the Shadows` version became the smash hit. The number was so strong that it provided the template for the many Shadows hits that followed and gave inspiration to a myriad of other British guitar groups.

Despite the group`s seemingly endless string of successful hits, both Meehan and Harris announced their departure from the group and they were quickly replaced by Brian Bennett (b. 9 Feb 1940, London) and Brian Locking respectively. However, Locking was soon replaced again by John Rostill (b. 16 Jun, Birmingham). Despite now being in competition with former group members Harris and Meehan, the new line up restarted along the same series of successful hits as the original group. By the mid-1960s competition from the `beat boom` had grown and their chart placings were not generally as high as they had been but they sustained regular chart appearances until 1967.

The early 1970s were troubled times for the group which had ceased to play regularly in 1969. Worst of all was the loss of John Rostill in 1973 who was electrocuted by his electric guitar. Nevertheless by 1975 they had reformed to enter the Eurovision Song Contest with `Let Me Be The One` which also gave them their first chart entry of the decade. They went on to a new series of hits including `Don`t Cry For Me Argentina` and `Theme From The Deer Hunter (Cavatina)` , both of which reached the top ten. The Shadows remain the most popular UK Instrumental group of all time.



1950s & 1960s 45rpm UK Discography

Columbia DB4263 1959 Feelin` Fine/ Don`t Be A Fool (As The Drifters)
Columbia DB4325 1959 Driftin`/ Jet Black (As The Drifters)
Columbia DB4387 1959 Saturday Dance/ Lonesome Fella
Columbia DB4484 1960 Apache/ Quartermaster`s Stores #1
Columbia DB4530 1960 Man Of Mystery/ The Stranger #5
Columbia DB4580 1961 F.B.I./ Midnight #6
Columbia DB4637 1961 The Frightened City/ Back Home #3
Columbia DB4698 1961 Kon-Tiki/ 36-24-36 #1
Columbia DB4726 1961 The Savage/ Peace Pipe #10
Columbia DB4790 1962 Wonderful Land/ Stars Fell On Stockton #1
Columbia DB4870 1962 Guitar Tango/ What A Lovely Tune #4
Columbia DB4948 1962 Dance On/ All Day #1
Columbia DB4984 1963 Foot Tapper/ The Breeze And I #1
Columbia DB7047 1963 Atlantis/ I Want You To Want Me #2
Columbia DB7106 1963 Shindig/ It`s Been A Blue Day #6
Columbia DB7163 1963 Geronimo/ Shazam #11
Columbia DB7231 1964 Theme For Young Lovers/ This Hammer #12
Columbia DB7261 1964 The Rise And Fall Of Flingel Bunt/ It`s A Man`s World #5
Columbia DB7342 1964 Rhythm `n` Greens/ The Miracle #22
Columbia DB7416 1964 Genie With The Light Brown Lamp/ Little Princess #17
Columbia DB7476 1965 Mary Anne/ Chu-Chi #17
Columbia DB7588 1965 Stingray/ Alice In Sunderland #19
Columbia DB7650 1965 Don`t Make My Baby Blue/ My Grandfather`s Clock #10
Columbia DB7769 1965 War Lord/ I Wish I Could Shimmy Like My Sister Arthur #18
Columbia DB7853 1966 I Met A Girl/ Late Night Set #22
Columbia DB7952 1966 A Place In The Sun/ Will You Be There #24
Columbia DB8034 1966 The Dreams I Dream/ Scotch On The Socks #42
Columbia DB8170 1967 Maroc 7/ Bombay Duck #24
Columbia DB8264 1967 Tomorrow`s Cancelled/ Somewhere
Columbia DB8326 1968 Running Out Of World/ London`s Not Too Far
Columbia DB8372 1968 Dear Old Mrs Bell/ Trying To Forget The One You Love
Columbia DB8628 1969 Slaughter On Tenth Avenue/ Midnight Cowboy


... und das sind nur die Shadows Solo Singles bis Ende der 60er Jahre

[fixbutte]

[/url]

wo Simon & Garfunkel heute im Golf Thread abgefeiert wurden fiel mir ein altes Werk von Paul Simon ein, dessen Text mich immer sehr beeindruckt hat. Ich kannte es zuerst in einer Version von Van Morrisons Them (Single A-Seite von 1966)

Simon & Garfunkel - Richard Cory

They say that Richard Cory
Owns one half of this whole town,
With political connections
To spread his wealth around.
Born into society,
A banker`s only child,
He had everything a man could want:
Power, grace, and style.

But I work in his factory
And I curse the life I`m living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.

The papers print his picture
Almost everywhere he goes:
Richard Cory at the opera,
Richard Cory at a show.
And the rumor of his parties
And the orgies on his yacht!
Oh, he surely must be happy
With everything he`s got.

But I work in his factory
And I curse the life I`m living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.

He freely gave to charity,
He had the common touch,
And they were grateful for his patronage
And thanked him very much,
So my mind was filled with wonder
When the evening headlines read:
"Richard Cory went home last night
And put a bullet through his head."

But I work in his factory
And I curse the life I`m living
And I curse my poverty
And I wish that I could be,
Oh, I wish that I could be,
Oh, I wish that I could be
Richard Cory.


Erst später habe ich irgendwann mitbekommen, dass dieser Songtext einen direkten Vorläufer hatte, den Paul Simon allerdings nicht zu verbergen suchte, da er den Namen des Protagonisten sogar beibehalten hat



Edwin Arlington Robinson (1869-1935)
Richard Cory

Whenever Richard Cory went down town,
We people on the pavement looked at him:
He was a gentleman from sole to crown,
Clean favored, and imperially slim.

And he was always quietly arrayed,
And he was always human when he talked;
But still he fluttered pulses when he said,
"Good morning," and he glittered when he walked.

And he was rich — yes, richer than a king,
And admirably schooled in every grace:
In fine, we thought that he was everything
To make us wish that we were in his place.

So on we worked, and waited for the light,
And went without the meat, and cursed the bread;
And Richard Cory, one calm summer night,
Went home and put a bullet through his head.

[CockneyRebel]

.
Welcome back, fixbutte!

Oh, dieses Bild ist zu schön - die ein Jahrzehnt lang Zerstrittenen so zu sehen - "Old Friends", jetzt in einem Sinn, an den sie bei der Aufnahme des Songs damals bestimmt noch nicht gedacht hatten...
.

[Cambodunum1]

Wie ich sehe, ist Fixbutte zwischenzeitlich zu den Wurzeln des Thread, den Kinks, zurückgekehrt. Gut so. Zuletzt war aber auch von Dave Dee, Dozy, Beaky, Mick & Tich die Rede. Der lange Bandname erinnerte mich immer an Hadschi Halef Omar … (ihr wisst?). Und jetzt bietet sich eigentlich eine Querverbindung an. Am gleichen Tag, an dem „Dedicated Follower Of Fashion“ von den Kinks in die deutschen Charts kam, hielt dort auch der erste Hit von Dave Dee & Co. Einzug: Hold Tight! Das war am 14.05.1966. Der Song erreichte jeweils Platz 4 in D und in GB.
Fixbutte, in Posting 368 hast du Platz 3 für GB angegeben. Da haben wir wohl unterschiedliche Quellen, oder?

Übrigens: Am 14.05.66 belegte Platz 1 in D das hier schon gepostete "These Boots Are Made For Walkin`" von Nancy Sinatra.

Dave Dee, Dozy, Beaky, Mick & Tich – Hold Tight!

Hold tight, count to three
Gotta stay close by me
And hold tight, sing and shout
Just ride my round-about
And hold tight, shut your eyes,girl
You suit me for size
Forget the other guys
You`ll never fall, each time you call
Hold tight, hold tight, hold tight

Hold tight, make me feel
What you say is for real
And hold tight, Carousel
Girl you`ll soon ring my bell
And hold tight, we will fly
swinging low, swinging high
We`re gonna make the sky
You`ll never fall, each time you call
Hold tight, hold tight, hold tight

Hold tight, count to three
Gotta stay close by me
And hold tight, sing and shout
Just ride my round-about
And hold tight, shut your eyes,girl
You suit me for size
Forget the other guys
You`ll never fall, each time you call
Hold tight, hold tight, hold tight

[fixbutte]

Hi Cambo

Die unterschiedlichen Chartplatzierungen für DDDBM & T (ich hatte ja selbst in #368 zwei verschiedene angegeben) liegen wohl daran, das es in den 60er Jahren in England mindestens drei wichtige Hitparaden nebeneinander gab (Record Retailer, Melody Maker, New Musical Express), wobei die NME Charts zunächst wohl die größte Bedeutung hatten, bis die TV Sendung Top Of The Pops kam, die die "offiziellen" RR Charts verwendete

Mit meiner Behauptung in #387, die Shadows seien die erfolgreichste englische Gruppe in ihrem Heimatland gewesen, habe ich allerdings so oder so leicht daneben gelegen Sie hatten zusammen mit Cliff Richard "nur" 12 No. 1 Hits, die Beatles aber 17

Dies war im August 1965 deren achte No. 1 in Folge, mit einem starken Text von John Lennon



The Beatles - Help!

Help, I need somebody,
Help, not just anybody,
Help, you know I need someone, help.

When I was younger, so much younger than today,
I never needed anybody`s help in any way.
But now these days are gone, I`m not so self assured,
Now I find I`ve changed my mind and opened up the doors.

Help me if you can, I`m feeling down
And I do appreciate you being round.
Help me, get my feet back on the ground,
Won`t you please, please help me.

And now my life has changed in oh so many ways,
My independence seems to vanish in the haze.
But every now and then I feel so insecure,
I know that I just need you like I`ve never done before.

Help me if you can, I`m feeling down
And I do appreciate you being round.
Help me, get my feet back on the ground,
Won`t you please, please help me.

When I was younger, so much younger than today,
I never needed anybody`s help in any way.
But now these daya are gone, I`m not so self assured,
Now I find I`ve changed my mind and opened up the doors.

Help me if you can, I`m feeling down
And I do appreciate you being round.
Help me, get my feet back on the ground,
Won`t you please, please help me, help me, help me, oh.


Die ersten Takes von Help! waren wesentlich langsamer eingespielt worden, was eigentlich besser zu dem durchaus ernst gemeinten Text gepasst hätte, aber vielleicht nicht zu dem damaligen Image der Beatles.

Die Lyrics hätten auch von Ray Davies stammen können, der etwa um dieselbe Zeit wie John Lennon vom Starrummel psychisch völlig überfordert war (mit der Konsequenz eines Nervenzusammenbruchs), was auch in dem folgenden "Hilferuf" zum Ausdruck kommt, der zu den beeindruckendsten Songs vom Album Face To Face gehört

The Kinks - Too Much On My Mind

There`s too much on my mind,
There`s too much on my mind,
And I can`t sleep at night thinking about it.
I`m thinking all the time,
There`s too much on my mind,
It seems there`s more to life than just to live it.

There`s too much on my mind,
And there is nothing I can say.
There`s too much on my mind,
And there is nothing I can do
About it,
About it.

My thought just weigh me down,
And drag me to the ground,
And shake my head till there`s no more life in me.
It`s ruining my brain,
I`ll never be the same,
My poor demented mind is slowly going.

There`s too much on my mind,
And there is nothing I can say.
There`s too much on my mind,
And there is nothing I can do
About it,
About it.

There`s too much on my mind.

[wolaufensie]

...jau fix , die Lieder der Shadows als wortkarg zu
bezeichnen, hiesse, sie der Gewätzigkeit zu bezichtigen...
Ich kenne kein einziges Lied der Shadows, ausser eben die
mit Cliff Richard, wo jemand auch nur einen menschlichen
Stimmenton von sich gegeben hätte...

[fixbutte]

Während die Beatles 1963/64 schon groß waren (6 UK No. 1 Hits bis Ende 1964), waren die Rolling Stones noch auf Augenhöhe zu den Kinks. Sie kamen auch aus London und musikalisch aus derselben Rhythm & Blues Ecke.

Ray Davies, der wie Mick Jagger und Keith Richard die Kunsthochschule besuchte, sah sie schon 1963 live im Piccadilly Club, wo er selbst gelegentlich mit einigen älteren Musikern Blues spielte. Der Auftritt der Stones gab ihm den letzten Anstoß zur Neuorientierung der Kinks, die damals noch Ravens hießen. So richtig beeindruckt war er aber nur von Brian Jones, dem Gründer und damaligen Bandleader, der die coolsten Klamotten trug.


Bill Wyman, Mick Jagger, Keith Richards. Charlie Watts, Brian Jones

Der spätere Kinks Drummer Mick Avory hatte sich übrigens im Sommer 1962 auf die Anzeige, mit der Brian Jones die Rolling Stones zusammensuchte, gemeldet und damals auch vorgespielt. Brian und Mick Jagger waren daran interessiert, dass er sich der Gruppe anschließen und Profimusiker werden sollte. Das war Mick Avory aber noch zu unsicher, so dass er ablehnte

Die Stones hatten Anfang 1965 wie die Kinks erst zwei UK No. 1 Hits und waren in den USA wesentlich weniger erfolgreich, zogen dann aber mit The Last Time (drei Wochen No. 1 in UK) und erst recht mit diesem Titel, ihrem ersten Welthit (UK #1, USA #1, D #1) uneinholbar für die Kinks davon



Rolling Stones - Satisfaction

I can’t get no satisfaction,
I can’t get no satisfaction
’cause I try and I try and I try and I try.
I can’t get no, I can’t get no.

When I’m drivin’ in my car
And that man comes on the radio
And he’s tellin’ me more and more
About some useless information
Supposed to fire my imagination.
I can’t get no, oh no no no.
Hey hey hey, that’s what I say.

I can’t get no satisfaction,
I can’t get no satisfaction
’cause I try and I try and I try and I try.
I can’t get no, I can’t get no.

When I’m watchin’ my TV
And that man comes on to tell me
How white my shirts can be.
Well he can’t be a man ’cause he doesn’t smoke
The same cigarrettes as me.
I can’t get no, oh no no no.
Hey hey hey, that’s what I say.

I can’t get no satisfaction,
I can’t get no girl with action.
’cause I try and I try and I try and I try.
I can’t get no, I can’t get no.

When I’m ridin’ round the world
And I’m doin’ this and I’m signing that
And I’m tryin’ to make some girl
Who tells me baby better come back later next week
’cause you see I’m on losing streak.
I can’t get no, oh no no no.
Hey hey hey, that’s what I say.

I can’t get no, I can’t get no,
I can’t get no satisfaction,
No satisfaction, no satisfaction, no satisfaction

[technostud]

Verdammt cooler Thread !!!! Lese alles mit !!
Gratulation !

[Cambodunum1]

@ technostud
Finde ich auch - oder, um mit den Beatles zu sprechen: Yeah, Yeah, Yeah.
Da hatte fixbutte doch eine tolle Idee mit diesem Thread.

Hi fixbutte,
zu der Frage mit den unterschiedlichen Chartplatzierungen hast du sicher recht. Ich greife übrigens auf die "offiziellen Charts" zurück.

Gruß
Cambo

[Cambodunum1]

Haben wir heute nicht ...

... Monday Monday?

Die Folkrock-Gruppe The Mamas and Papas wurde 1964 von vier Mitgliedern der New Yorker Folkszene gegründet: John Phillips, "Mama" Cass Elliott, Denny Doherty and Michelle Phillips.
Sie war eine der erfolgreichsten Vokalgruppen der Flower-Power-Ära. Für mich boten sie mit die brillantesten Gesangsleistungen der 60’iger. Wunderbare Melodien und harmonische Klänge. Übrigens, auch die Rückseite von Monday Monday ist ein Highlight: Got A Feelin’. Unbedingt mal anhören!

Und hier der Megahit Monday Monday

Bah-da bah-da-da-da
Bah-da bah-da-da-da
Bah-da bah-da-da-da

Monday, Monday, so good to me
Monday mornin`, it was all I hoped it would be
Oh Monday mornin`, Monday mornin` couldn`t guarantee
That Monday evenin` you would still be here with me

Monday, Monday, can`t trust that day
Monday, Monday, sometimes it just turns out that way
Oh Monday mornin` you gave me no warnin` of what was to be
Oh Monday, Monday, how could you leave and not take me

Every other day, every other day
Every other day of the week is fine, yeah
But whenever Monday comes, but whenever Monday comes
A-you can find me cryin` all of the time

Monday, Monday, so good to me
Monday mornin`, it was all I hoped it would be
But Monday mornin`, Monday mornin` couldn`t guarantee
That Monday evenin` you would still be here with me

Every other day, every other day
Every other day of the week is fine, yeah
But whenever Monday comes, but whenever Monday comes
A-you can find me cryin` all of the time

Monday, Monday, can`t trust that day
Monday, Monday, it just turns out that way
Oh Monday, Monday, won`t go away
Monday, Monday, it`s here to stay
Oh Monday, Monday
Oh Monday, Monday

[CockneyRebel]

[DOLCETTO]

moin

The Troggs werden zwar allgemein als one-hit-wonder
>Wild Thing< gewertet, aber sie hatten einiges mehr zu bieten
- und als live-gig waren sie zur damaligen zeit sowieso
vom allerfeinsten

The Troggs
Give It To Me

Give it to me, give it to me
All your love, all your love
Give it to me, give it to me
All your love, all your love
Oh no-no, oh no-no

When you come, when you come
I`ll be there, I`ll be there
When you come, when you come
I`ll be there, I`ll be there
Oh no-no, oh no-no

Darling I know, you`ll come to me
I`ll be there waiting so patiently
All that I want, all that I need
Is someone to let me, an` so

Give it to me, give it to me
All your love, all your love
Give it to me, give it to me
All your love, all your love
Oh no-no, oh no-no ....

[gesine]

fixbutte,

da du gerade die beatles erwähnst
hätte da einen song, der mir auch nie so recht
aus dem kopf ging, ähnlich wie lola von den kinks.



The Beatles
Title: Ain`t She Sweet
Album: Anthology


Oh ain`t she sweet,
Well see her walking down that street.
Yes I ask you very confidentially:
Ain`t she sweet?

Oh ain`t she nice,
Well look her over once or twice.
Yes I ask you very confidentially:
Ain`t she nice?

Just cast an eye
In her direction.
Oh me oh my,
Ain`t that perfection?

Oh I repeat
Well don`t you think that`s kind of neat?
Yes I ask you very confidentially:
Ain`t she sweet?

Oh ain`t she sweet,
Well see her walking down that street.
Well I ask you very confidentially:
Ain`t she sweet?

Oh ain`t that nice,
Well look it over once or twice.
Yes I ask you very confidentially:
Ain`t she nice?

Just cast an eye
In her direction.
Oh me oh my,
Ain`t that perfection?

[fixbutte]

Ui, da haben wir ja schon die #400
und ich hatte schon überlegt, mangels Response mit dem Thread etwas kürzer zu treten

Zur Feier der runden Zahl hatten wir bisher immer einen echten Kinks Klassiker allerdings sind die meisten von Euch schon gepostet worden

Eine Single (vom Dezember 1969) fällt mir aber ein, die mir immer besonders wichtig war und die ich früher auch oft im Radio gehört habe, obwohl sie in keiner offiziellen Hitparade einen nennenswerten Eindruck hinterlassen hat (beste Platzierung UK #33, USA #62 - in Schweden kam sie immerhin auf #8 )

Ray Davies mag den Titel - eine Auskopplung aus der genialen Rockoper Arthur (Or The Decline And Fall Of The British Empire) - wohl auch besonders gern, er bringt ihn gleich zu Beginn seines letzten, akustischen Albums Storyteller von 1998



Victoria

Long ago life was clean
Sex was bad and obscene
And the rich were so mean
Stately homes for the Lords
Croquet lawns, village greens
Victoria was my queen
Victoria, Victoria, Victoria, `toria

I was born, lucky me
In a land that I love
Though I am poor, I am free
When I grow I shall fight
For this land I shall die
Let her sun never set
Victoria, Victoria, Victoria, `toria
Victoria, Victoria, Victoria, toria

Land of hope and gloria
Land of my Victoria
Land of hope and gloria
Land of my Victoria
Victoria, `toria
Victoria, Victoria, Victoria, `toria

Canada to India
Australia to Cornwall
Singapore to Hong Kong
From the West to the East
From the rich to the poor
Victoria loved them all
Victoria, Victoria, Victoria, `toria
Victoria, Victoria, Victoria



Hier noch ein treffender Review aus dem All Music Guide

"Victoria" is one of pop`s greatest singles, just on musical merit alone (hook, performances, production, etc.) , ignoring for a moment that under its infectious melody and singalong chorus is a genuine message. From the 1969 LP Arthur or the Decline and Fall of the British Empire, another of the Kinks` concept records, "Victoria" is a sardonic look at the uptight mores, classism, and imperialism under Queen Victoria, not exactly the burning issues of rock music in the Vietnam era.

Davies, via the title character, Arthur, lets his sarcasm shine through: "I was born, lucky me/In a land that I love/Though I am poor, I am free/When I grow I shall fight/For this land I shall die/Let her sun never set," a scathing reference to the proud Tory assertion of the past that the sun never set on the English Empire, the empire which Victoria exploited while turning her back on such bothersome issues as the 1845 potato famine of Ireland, during which over a million people starved as food continued to be exported to England.

Albert, claims Davies in his autobiography, X-Ray, was a carpet layer intended to represent the common man, a "cog" in the empire that passed him by. As such, Davies identified with the character, whose shared name with the queen`s husband and first cousin surely was no coincidence. When the King (also known as the "prince consort") died, Victoria became famous for her mourning, which is commonly thought of as the driving force behind her moral edicts: "Long ago life was clean/Sex was bad and obscene/And the rich were so mean/Stately homes for the Lords/Croquet lawns, village greens/ Victoria was my queen."

With a great chugging twin-guitar rhythm, giddy-up drumbeat, and muted horns, the song is not unlike Canned Heat`s version of "Going up the Country," but is really closer to some Chuck Berry songs that beg to have their chorus sung, like "Carol" and "Johnny B. Goode." The Fall, caustic English art punk band of the `80s and `90s, covered the song to great effect on their (1988) Frenz Experiment, changing the lyrics slightly and emphasizing the cynical voice and edginess of the song, even though it was a move towards accessibility for The Fall. Davies himself did a great acoustic version of it for his 1998 The Storyteller LP, which was an inventive way for him to promote his autobiography. The concept gave way to the VH1 Storyteller series. — Bill Janovitz, AMG

[ortega_y_gasset]

Bin absoluter Oldies-Fan und stieß jetzt erst auf diesen Thread. Gratulation zum 400.!
An "Victoria" kann ich mich auch noch gut erinnern. Habe 1969 die Platte auf und ab gespielt. War das nicht der Eröffnungs-Song zum Konzeptalbum "Arthur", von dem hier schon die Rede war? Ein meiner Ansicht nach geniales Album, das immer noch nicht den Stellenwert in der Popgeschichte einnimmt, der ihm zukommt.

Nachdem gestern zum Montag "Monday Monday" angestimmt wurde, schlage ich für heute "Ruby Tuesday" von den Stones und/oder "Tuesday Afternoon" von den Moody Blues vor. Hat jemand die lyrics und das Cover?

[fixbutte]

Hi ortega - mit Deinem ersten Posting überhaupt

Ruby Tuesday war wirklich ein starker Song, der vielen noch in der Version von Melanie im Ohr sein dürfte. Das Original der Stones erschien 1967 mit Let‘s Spend The Night Together als "Double A Side" Single. Das Cover der deutschen Single dürfte dagegen aus der Anfangsphase der Stones (ca. 1964) stammen



Rolling Stones - Ruby Tuesday

She would never say where she came from
Yesterday don’t matter if it’s gone
While the sun is bright
Or in the darkest night
No one knows
She comes and goes

Goodbye, Ruby Tuesday
Who could hang a name on you?
When you change with every new day
Still I’m gonna miss you ...

Don’t question why she needs to be so free
She’ll tell you it’s the only way to be
She just can’t be chained
To a life where nothing’s gained
And nothing’s lost
At such a cost

There’s no time to lose, I heard her say
Catch your dreams before they slip away
Dying all the time
Lose your dreams
And you will lose your mind.
Ain’t life unkind?

Goodbye, Ruby Tuesday
Who could hang a name on you?
When you change with every new day
Still I’m gonna miss you ...


Die Single kam zur gleichen Zeit heraus wie die LP Between The Buttons. Auf der englischen Originalausgabe der LP waren die beiden Titel der Single aber nicht zu finden - anders als auf der US-Ausgabe, die lange Zeit leider die einzige CD Version dieses Albums war. Das Coverfoto der LP fand auch auf der mexikanischen EP Verwendung

[ortega_y_gasset]

Danke fixbutte, das ging ja prompt. Danke für die lyrics.

Ja, das war mein erstes Posting überhaupt. Bisher war ich im Board immer nur Leser. Erst Dein Thread hat mich gelockt, mich überhaupt mal zu registrieren und zu posten. Da kann ich nur sagen: Ein Hoch auf Euch und die Kinks!

[fixbutte]

hi hi - nomen (fixbutte) est omen
obwohl ja eigentlich fixmille besser zu einem Börsenforum gepasst hätte

[CockneyRebel]

.
Hallo ortega!

Ich freue mich mit fixbutte, dass Du Dich entschlossen hast, hier mitzumachen!
.

[CockneyRebel]

.
Wäre schade, wenn der Dienstag vergeht, ohne auch das zweite vorgeschlagene Lied zu bringen...




Tuesday Afternoon

Moody Blues

Tuesday afternoon,
I`m just beginning to see, now I`m on my way
It doesn`t matter to me, chasing the clouds away.

Something, calls to me,
The trees are drawing me near, I`ve got to find out why?
Those gentle voices I hear, explain it all with a sigh.

I`m looking at myself reflections of my mind,
It`s just the kind of day to leave myself behind.
So gently swaying through the fairyland of love,
If you`ll just come with me you`ll see the beauty of

Tuesday afternoon, Tuesday afternoon.

Tuesday, afternoon,
I`m just beginning to see, now I`m on my way.
It doesn`t matter to me, chasing the clouds away.
Something, calls to me,
The trees are drawing me near, I`ve got to find out why?
Those gentle voices I hear, explain it all with a sigh.




Ob man die noch einmal auf der Bühne zu sehen bekommt?


.

[fixbutte]

Cockney
Im Rahmen der Budweiser Concert Series ist doch sogar eine Reunion von Led Zeppelin geplant

[CockneyRebel]

.
fixbutte,

auf welcher Page kann man nachlesen, für wann das gePlant ist?
.

[fixbutte]

Cockney
Denk bitte dran, heute Nacht um drei Wednesday Morning, 3 A.M. von Simon & Garfunkel in diesen Thread zu posten
Dazu bist Du als Hard Core Fan ja wohl prädestiniert

[CockneyRebel]

.
Gerne, fixbutte!

Ich freue mich dann schon auf Deine lyrics von "It`s Five O` Clock" von Aphrodite`s Child! Mal sehen, ob ich dann noch wach bin!
.

[Cambodunum1]

Hm, nach meinem Monday Monday von gestern wurde der heutige Dienstag ja auch schon gewürdigt. Und im Vorgriff auch schon mal einen Ausblick auf den Mittwoch gegeben.

Meine letzten Postings bezogen sich eigentlich durchgehend auf das Jahr 1966, das Jahr nicht nur der Kulturrevolution in China und den sich verstärkenden Rassenunruhen in den USA, sondern auch das Jahr, in dem in den deutschen Charts die englischsprachigen Titel so richtig die Überhand gewannen. Und in dem Jahr eroberte auch ein Song für 5 Wochen die Spitze der amerikanischen Charts, der auch in die heutige Zeit passen könnte:

Ballad Of The Green Berets von SSgt Barry Sadler, einem Vietnamveteran, der auch den Text verfasste. Barry Sadler war Staff Sergeant (SSgt) der U.S. Army Special Forces.



Fighting soldiers from the sky
Fearless men who jump and die
Men who mean just what they say
The brave men of the Green Beret.

CHORUS
Silver wings upon their chests
These are men, America`s best
One hundred men will test today
But only three win the Green Beret.

Trained to live off nature`s land
Trained in combat, hand to hand
Men who fight by night and day
Courage speaks from the Green Beret.

CHORUS

Back at home a young wife waits
Her Green Beret has met his fate
He has died for those oppressed
Leaving her this last request.

LAST CHROUS
Put silver wings on my son`s chest
Make him one of America`s best
He`ll be a man they`ll test one day
Have him win The Green Beret.


In Deutschland erfolgreicher (Platz 1) war die Coverversion von Freddy Quinn. Auch Heidi Brühl coverte den Song (Platz 8). Und am 14.05.1966 (siehe mein Posting No. 390) waren beide deutsche Coverversionen als auch das amerikanische Original zeitgleich in den deutschen Top 10 (und die Woche zuvor auch schon). Und deshalb soll hier ausnahmsweise auch mal ein deutscher Text stehen, nämlich der besagter Coverversionen. Es mag sich jeder selbst seine Gedanken zum Text machen.

Hundert Mann und ein Befehl – Freddy sowie Heidi Brühl

Irgendwo im fremden Land
ziehen wir durch Stein und Sand.
Fern von zu Haus und vogelfrei,
hundert Mann, und ich bin dabei.

Hundert Mann, und ein Befehl,
und ein Weg, den keiner will.
Tagein tagaus, wer weiß wohin?
Verbranntes Land, und was ist der Sinn?

Ganz allein in dunkler Nacht
hab’ ich oft daran gedacht,
dass weit von hier der Vollmond scheint
und weit von mir ein Mädchen weint.

Und die Welt ist doch so schön,
könnt’ ich dich noch einmal seh’n.
Nun trennt uns schon ein ganzes Jahr,
weil ein Befehl unser Schicksal war.

Wahllos schlägt das Schicksal zu,
heute ich und morgen du.
Ich hör’ von fern die Krähen schrei’n
im Morgenrot, warum muss das sein?

Irgendwo im fremden Land
ziehen wir durch Stein und Sand.
Fern von zu Haus und vogelfrei,
hundert Mann, und ich bin dabei.

[fixbutte]

Cambo
zu Hundert Mann und ein Befehl passt ja das

Beiträge: 411
Gelesen gesamt: 4518
Gelesen heute: 100
Thread eröffnet von: fixbutte
Erstes Posting: 01.03.04 10:55
Letztes Posting: 11.05.04 19:35


Zu solch blutrünstigen Weisen fällt mir ansonsten nur ein Titel ein, den ich schon mal bei Iguana gepostet habe

(wohl auch nicht ganz zufällig im Jahr 1966 auf #2 in den USA)



The Royal Guardsmen - Snoopy vs. the Red Baron

Lyrics and Chords

After the turn of the century
In the clear blue skies over Germany
Came a roar and a thunder men had never heard
Like the scream and the sound of a big war bird

/ D G / D A7 / D G / A7 D /

Up in the sky, a man in a plane
Baron von Richthofen was his name
Eighty men tried, and eighty men died
Now they`re buried together on the countryside

{Refrain}
Ten, twenty, thirty, forty, fifty or more
The Bloody Red Baron was rollin` up the score
Eighty men died tryin` to end that spree
Of the Bloody Red Baron of Germany

In the nick of time, a hero arose
A funny-looking dog with a big black nose
He flew into the sky to seek revenge
But the Baron shot him down - "Curses, foiled again!"

{Refrain}

Now, Snoopy had sworn that he`d get that man
So he asked the Great Pumpkin for a new battle plan
He challenged the German to a real dogfight
While the Baron was laughing, he got him in his sight

That Bloody Red Baron was in a fix
He`d tried everything, but he`d run out of tricks
Snoopy fired once, and he fired twice
And that Bloody Red Baron went spinning out of sight

{Refrain Twice}

[MissB.Hagen]

Mir fällt zu dem Thema nur der "Universal Soldier" von Donovan ein, aber ich denke, diesen Text haben wir schon längst. Deshalb hier ein anderer Song von ihm über den Draft - die Zwangseinberufung der jungen Männer - und die weniger heroische Seite des Krieges ...



To Susan On The West Coast Waiting
Donovan
(From the album Barabajagal)

Dear Susan, I know you love me so
But I want to hear it in my ear.
You know I`d be there working at my craft
Had it not been for the draft.
Dry up your tear and feel no fear,
You`re here with me like I`m there with you.

To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.
To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.

I`m writing a note beneath a tree,
The smell of the rain on the greenery.
Our fathers have painfully lost their way,
That`s why, my love, I`m here today
Hear me when I say there will come a day
When Kings will know and love can grow.

To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.
To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.
To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.
To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.

Susan, I know you love me so
But I`d like to hear it in my ear.
You know I`d be there working at my craft
Had it not been for the draft.
Dry up your tear and feel no fear,
You`re here with me like I`m there with you.

To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.
To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.
To Susan on the West Coast waiting,
>From Andy supposedly hating.
To Susan on the West Coast waiting,
>From Andy in Vietnam fighting.

[fixbutte]

Cockney

#410 "It`s Five O`Clock" muss ja nicht unbedingt Mittwochs sein, wohl aber bei diesem Song, dem Du sogar schon einen ganzen Thread gewidmet hast




Beatles - She`s Leaving Home

****************************************************

Wednesday morning at five o`clock as the day begins
Silently closing her bedroom door
Leaving the note that she hope would say more
She goes downstairs to the kitchen clutching her handkerchief
Quietly turning the backdoor key
Stepping outside she is free

She (We gave her most of our lives)
Is leaving (Sacrificed most of our lives)
Home (We gave her everything money could buy)
She`s leaving home after living alone for so many years. Bye, bye

Father snores as his wife gets into the dressing gown
Picks up the leter that`s lying there
Standing alone at the top of the stairs
She breaks down and cries to her husband
Daddy, our baby`s gone
Why would she treat us so thoughtlessly
How could she do this to me

She (We never thought of ourselves)
is leaving (Never a thought for ourselves)
home (We gave her everything money could buy)
She`s leaving home after living alone for so many years. Bye, bye

Friday morning at nine o`clock she is far away
Waiting to keep the appointment she made
Meeting a man from a motor trade

She (What did we do that was wrong)
Is having (We didn`t know it was wrong)
Fun (Fun is the one thing that money can`t buy)

Something inside that was always denied for so many years
She`s leaving home, bye, bye.

aus dem Album Sgt Pepper`s Lonely Hearts Club Band

[fixbutte]

Missy
schönes Lied von Donovan
An Universal Soldier hatte ich natürlich auch schon gedacht, wobei ich glaube, dass wir das bisher noch nicht hatten.

Weniger bekannt ist ein anderer Song von Donovan aus seiner Protestphase, der sich sehr konkret mit Vietnamkrieg befasst. Auch hierin sind Zeilen enthalten, die einem gerade im Moment sehr aktuell vorkommen




Donovan - The War Drags On

Let me tell you the story of a soldier named Dan.
Went out to fight the good fight in South Vietnam,
Went out to fight for peace, liberty and all,
Went out to fight for equality, hope, let`s go,
And the war drags on.
Found himself involved in a sea of blood and bones,
Millions without faces, without hope and without homes.
And the guns they grew louder as they made dust out of bones
That the flesh had long since left just as the people left their
homes,
And the war drags on.
They`re just there to try and make the people free,
But the way that they`re doing it, it don`t seem like that to me.

Just more blood-letting and misery and tears
That this poor country`s known for the last twenty years,
And the war drags on.
Last night poor Dan had a nightmare it seems.
One kept occurring and re-occurring in his dream:
Cities full of people burn and scream and shoutin` loud
And right over head a great orange mushroom cloud.
And there`s no more war,
for there`s no more world,
And the tears come streaming down.
Yes, I lie crying on the ground.

[fixbutte]

Da weder Cockney noch ich es heute morgen um 3.00 Uhr geschafft haben, diesen Mittwochs-Song zu posten, will ich das hiermit jetzt nachholen



Simon & Garfunkel - Wednesday Morning, 3 A.M.

I can hear the soft breathing
Of the girl that I love,
As she lies here beside me
Asleep with the night,
And her hair, in a fine mist
Floats on my pillow,
Reflecting the glow
Of the winter moonlight.

She is soft, she is warm,
But my heart remains heavy,
And I watch as her breasts
Gently rise, gently fall,
For I know with the first light of dawn
I`ll be leaving,
And tonight will be
All I have left to recall.

Oh, what have I done,
Why have I done it,
I`ve committed a crime,
I`ve broken the law.
For twenty-five dollars
And pieces of silver,
I held up and robbed
A hard liquor store.

My life seems unreal,
My crime an illusion,
A scene badly written
In which I must play.
Yet I know as I gaze
At my young love beside me,
The morning is just a few hours away.

[fixbutte]

Cambo
#411 Freddy ist ja ein Kapitel für sich



... 1967 brachte der seit einiger Zeit nicht mehr besonders erfolgreiche westdeutsche Schlagersänger Freddy Quinn einen neuen Titel heraus: "Wir". Er griff ein Thema auf, das viele Bundesbürger seit Jahren empörte: die "Gammler".

"Wer will nicht mit Gammlern verwechselt werden? WIR!
Wer sorgt sich um den Frieden auf Erden? WIR!
Ihr lungert herum in Parks und in Gassen,
Wer kann eure sinnlose Faulheit nicht fassen?
WIR! WIR! WIR!"

Von lautstarker Meute, ungewaschenen Haaren und Protestierern war die Rede. Lag es an der Dürftigkeit von Text und Musik, dass Freddy auch diesmal keinen Hit landete? "Volkes Stimme" hatte sich seit dem Auftreten der "Pilzköpfe" und langhaarigen Beatfans ähnlich artikuliert. Es gab Zwangshaarschnitte, Aufläufe und bedrohliche Situationen, wo "Gammler" sich in den Städten zeigten. Nicht nur in West-Berlin fielen Sätze wie "Alle ins Arbeitshaus sollen se se schicken." "Wenn das mein Sohn wär, den würd ich totschlagen." ...

[fixbutte]

Hier noch mal in voller Schönheit



FREDDY QUINN - WIR

Wer will nicht mit Gammlern verwechselt werden? WIR!
Wer sorgt sich um den Frieden auf Erden? WIR!
Ihr lungert herum in Parks und in Gassen,
wer kann eure sinnlose Faulheit nicht fassen? WIR! WIR! WIR!

Wer hat den Mut, für euch sich zu schämen? WIR!
Wer läßt sich unsere Zukunft nicht nehmen? WIR!
Wer sieht euch alte Kirchen beschmieren,
und muß vor euch jede Achtung verlieren? WIR! WIR! WIR!

Denn jemand muß da sein, der nicht nur vernichtet,
der uns unseren Glauben erhält,
der lernt, der sich bildet, sein Pensum verrichtet,
zum Aufbau der morgigen Welt.

Die Welt von Morgen sind bereits heute WIR!
Wer bleibt nicht ewig die lautstarke Meute? WIR!
Wer sagt sogar, daß Arbeit nur schändet,
so gelangweilt, so maßlos geblendet? IHR! IHR! IHR!

Wer will nochmal mit euch offen sprechen? WIR!
Wer hat natürlich auch seine Schwächen? WIR!
Wer hat sogar so ähnliche Maschen,
auch lange Haare, nur sind sie gewaschen? WIR! WIR! WIR!

Auch wir sind für Härte,
auch wir tragen Bärte,
auch wir geh´n oft viel zu weit.
Doch manchmal im Guten,
in stillen Minuten,
da tut uns verschiedenes leid.

Wer hat noch nicht die Hoffnung verloren? WIR!
Und dankt noch denen, die uns geboren? WIR!
Doch wer will weiter nur protestieren,
bis nichts mehr da ist zum protestieren? IHR! IHR! IHR!

[MissB.Hagen]

fixmalve
"... wie die Affen" hiess es bei mir zu Hause, wenn im Beat-Club die Stones oder Animals zu sehen waren. Scheint aber Generationen übergreifend zu sein, denn der Spruch taucht bereits in der Vorkriegs-Familienchronik der Kempowski`s auf, wenn die Söhne mit ihren Freunden ihre heiss geliebten Jazzplatten hören und mit swingen. "... Und wie du wieder aussiehst, Junge, total verbumfeit ..." An die Probleme meines Bruders mit Schule und Eltern wegen der längeren Haare erinnere ich mich noch gut - und auch an die Diskussionen mit meiner Mutter an jedem Wochenende, wenn ich meine Bluejeans anziehen wollte.

Das schweisst zusammen, kann ich euch sagen! Und wir haben uns gerächt, in dem wir bei den Radiosendungen meiner Eltern bei Freddy und Peter Alexander ganz fürchterlich mitgegrölt haben.


Da fing es an, musikmässig interessant zu werden. Und wer hat diesen Song denn später nicht gecovert?

C`mon Everybody
(Capeheart/Cochran)

Well c`mon everybody and let`s get together tonight
I got some money in my jeans and I`m really gonna spend it right
Been a-doin` my homework all week long
Now the house is empty the folks are gone
Ooo C`mon everybody

Well my baby`s number one but I`m gonna dance with three or four
And the house`ll be shakin` from my bare feet slapping the floor
When you hear that music you can`t sit still
If your brother won`t rock then your sister will
Ooo C`mon everybody

Well we`ll really have a party but we gotta put a guard outside
If the folks come home I`m afraid they gonna have my hide
There`ll be no more movies for a week or two
No more runnin` `round with the usual crew
Who cares C`mon everybody

[gesine]

missy + fixbutte ,

mit dem soldiers ging es wohl allen gleich
wobei mir heut emorgen dieser eingefallen ist
allerdings steht in anderen diensten



Donovan

The Little Tin Soldier Lyrics


Once in a town in the black forest a little white toy-shop stood.

And the little tin soldier with only one leg lived in a castle of
wood.
And across the room on another shelf stood a little glass case,

And a tiny ballerina lived in there all in her dress of lace.
And from where the little tin soldier stood they could see each
other so clear
And the little tin soldier watched over her with a love that was
so dear.
Then one day sadness came: the tiny ballerina was sold.
The little tin soldier was thrown away and into the gutter he rolled.

The water carried him to the sea and many far-off lands.
He made many children happy as he passed through their tiny hands.

And then one day they met again in a house in the land of Eire
And when the clocks on the wall struck the midnight hour
They jumped into a fire
And in that fire they shall stay
Forever in the day.
For the fire, Lord, is the fire of love,
Just like the peaceful dove.



btw. dies ist immer mein gutenachtlied für die kids


Donovan

Donna Donna

On a wagon, bound for market
There’s a calf with a mournful eye
High above him, there’s a swallow
Winging swiftly through the sky
How the winds are laughing
They laugh with all their might
Laugh and laugh the whole day through
And half the summer’s night
Donna donna…
Stop complaining, said the farmer
Who told you a calf to be?
Why don’t you have wings to fly with
Like the swallow so proud and free
Calves are easily bound and slaughtered
Never knowing the reason why
But whoever treasures freedom
Like the swallow has learned to fly

[CockneyRebel]

.
Hallo ihr Lieben!

Über Eure aktuellen Donovan-Postings freue ich mich - der ist meiner Ansicht nach immer unterschätzt worden. Wenn er auch später ein wenig ins Esoterische abgedriftet ist - seine frühen Lieder hatten doch sehr viel Poesie. Universal Soldier, Little Tin Soldier und Donna Donna sind zwar nicht aus seiner Feder, aber in seinen Versionen auch einfach schön.

Insbesondere diese satte 12-String bei Donna Donna - herrlich...
.

[CockneyRebel]

.
Werde nie vergessen, wie mir Donovan nach einem Konzert mein herrliches "2001"-Songbook abkaufen wollte, das ich ihm zum Signieren gab! Hat er nicht gekriegt...
.

[CockneyRebel]

.
Jersey Thursday

Donovan



In the tiny piece of coloured glass my love was born





And reds and golds and yellows were the colours in the dawn.





Night brought on its purple cloak of velvet to the sky





And the girls go willing spinning on Jersey Thursday



.

[fixbutte]

Cockney

Das wäre Dein Einsatz für morgen (Donnerstag) gewesen

[gesine]

fixbutte

cockney kann eben das weekend nicht erwarten.
morgen bringt er sicher small faces
mit lazy sunday afternoon

[CockneyRebel]

gesine,

lieber "Friday on my Mind", da steht das Wochenende noch bevor

fixbutte,

sorry - musste mich entscheiden zwischen "Passt zum Thema" oder "Passt zum Wochentag" Hab` mich für ersteres entschieden - den Tag sieht man dem Thread bald nicht mehr an!
.

[DOLCETTO]

.....und es passt scho, froind Cockney

es for gesine & Missy

den guten Donovan hat unsereiner damals wg. vollkrass
pupertärer arroganz instabil nicht in die akustik reingelassen
mittlerweile sind mir die alten kassetten meiner holden
Dolcinella sehr vertraut

ciao

[gesine]

cockney

da haben wir ja glück gehabt


dolcetto

da sieht mann mal wieder,
das frauen das leben der männer bereichern

[ortega_y_gasset]

Hi CockneyRebel ,

danke für die nette Begrüßung im Board und die lyrics zu "Tuesday Afternoon".

Vielleicht kannst Du die Geschichte mit "Jersey Thursday" wieder gut machen und fixbuttes Zorn stillen, wenn Du für morgen etwas im Web ausfindig machen kannst, womit ich - zugegeben - leider glücklos war und es als Vorschlag für den bald beginnenden thursday einbringen möchte: "Mrs. Thursday" von Dave Dee, Dozy, Beaky, Mick & Tich. Ich habe zwar noch die Original-Single zu Hause (=B-Seite von "Last Night In Soho"), komme aber an die lyrics nicht ran.

Verabschiede mich vom Mittwoch mit einem Wort der Beatles: "Wednesday morning papers didn`t come"

[ortega_y_gasset]

Und ich leite den Donnerstag, da noch niemand gepostet hat, wieder mit einem Zitat der Beatles ein:
"Thursday night your stockings needed mending"

PS: habe im Thread: Wednesday morning at five o`clock... Cockneys gigantische Bebilderung zu den einzelnen Textzeilen von "She`s leaving home" gesehen. Wow, ein echtes Kunstwerk!

[fixbutte]

Hi Ortega
schade, die Lyrics Mrs Thursday finden wir wohl wirklich (noch) nicht im Netz

Als schwachen Ersatz kann ich nur das (schwedische ) Cover und die A-Seite bieten



Format 7" vinyl
Label Fontana TF953
Released 1968
Also released on Fontana 267 863
British charts 8
US charts -
Swedish charts 11

Tracks
1. Last Night In Soho
2. Mrs. Thursday

Lyrics

Dave Dee, Dozy, Beaky, Mick And Tich - Last Night In Soho

You came into my life like rain upon a barren desert
One smile and I was born again
I felt sure it wasn`t too late
I`d find strength to make me go straight
I had love, and threw it away
Why did they lead me astray
For last night in Soho I let my life go

I never told you of some things I`ve done I`m so ashamed of
I thought my foolish past was over and done
I felt sure I`d make a new start
I`d try with all of my heart
I had dreams and broke them in two
I`m just not worthy of you
For, last night in Soho I let my life go

Well, hi there, kid, you ain`t been around for quite some little while
See you got yourself a real cute doll, you`re living life in style
But boy, don`t get above your station if you don`t want aggravation
Got a little job for you, this is what you gotta do, boy!

That`s how last night in Soho I let my life go

Don`t cry my baby, as they lead me where no love can help me
Don`t stay around to watch me go
Just forget there once was a time
You were proud to call yourself mine
I had love right here in my hand
Why could I not understand
For last night in Soho I let my life go
For last night in Soho I let my life go

[fixbutte]

ortega
und von der Website dieser sehr interessanten Schwedischen Internet Radio Station http://www.ultimate60s.com/ - im Moment läuft dort gerade See My Friends von den Kinks - habe ich gleich noch die kompletten Lyrics der bereits mehrfach von Dir zitierten Lady Madonna herausgezogen (irgendwie fehlt da der Samstag )
Hier sind die Lyrics der B-Seite, einem fernöstlich-spirituellem Werk von George Harrison, gleich beigegeben

The Beatles - Lady Madonna



Format 7" vinyl
Label Parlophone R5675
Released 1968

British charts 1
US charts 4
Swedish charts 1

Tracks
1. Lady Madonna
2. The Inner Light

Lyrics

Lady Madonna

Lady Madonna, children at your feet
Wonder how you manage to make ends meet
Who find the money when you pay the rent
Did you think that money was heaven sent

Friday night arrives without a suitcase
Sunday morning creeping like a nun
Monday`s child has learned to tie his bootlegs
See how they run

Lady Madonna, baby at your breast
Wonders how you manage to feed the rest
Pa pa pa pa...
See how they run

Lady Madonna lying on the bed
Listen to the music playing in your head

Tuesday afternoon is never ending
Wednesday morning papers didn`t come
Thursday night you stocking needed mending
See how they run

Lady Madonna, children at your feet
Wonder how you manage to make ends meet


The Inner Light

Without going out of my door
I can know all things of earth
With out looking out of my window
I could know the ways of heaven

The farther one travels
The less one knows
The less one really knows

Without going out of my door
You can know all things of earth
With out looking out of my window
You could know the ways of heaven

The farther one travels
The less one knows
The less one really knows

Arrive without travelling
See all without looking
Do all without doing


Bleibt noch nachzutragen, dass die Single in Deutschland nur auf Platz 2 der Hitparade kam.

[DOLCETTO]

hi folkx

ist zwar a bisserl off topic - ich brings trotzdem

Awaken
The Tale Of The Magic Thursday

(G.Snowcat)
So, the ice car is gone
The muses have flown
November is dead
The numbness remains
Then April came shaking the rythm
Of a disused melody
Brightened the colours again
Of a washed-away picture
If I`d have been
Able to find just a word
Or only a magic wand
To light up your eyes by a flame
And keep it through the wind
Dreams are made to be broken
And no god could explain why
A fool always rambles in a fancy blue space
The water keeps cooling its blue
The silence takes all
June means the end
Of fading promisses
Clouds are freezing the landscape
So close to an empty pool
Sometimes happiness is just
Another bitter ice cream
I would have loved
To sing you to sleep
But the way seems too hard
And the road much too long
The poison`s spreading so slowly
A secret need
To drawn in your tears
And falling insane
Your smile is dead and gone
Never thought I`d miss my time
I`m just a thursday believer
Making illusions unreal
If I could help
Closing my eyes to the tale
I wouldn`t leave anymore
The magic thursday you created
You`re a girl from a dream

[fixbutte]

Cockney Dolce

Nichts gegen Donovan Es gibt sogar eine Gemeinsamkeit mit den Kinks. Wie ich schon in #117 gepostet habe, war meine einzige Kinks LP lange Zeit die Golden Hour Of The Kinks, eine Platte mit 60 Minuten Spielzeit, auf der fast alle Single Klassiker der 60er Jahre drauf waren, die damals schlöappe 10 DM kostete.



Da Donovan in den ersten Jahren bei derselben Plattenfirma Pye war, gab es von ihm auch eine Golden Hour, die ich natürlich auch hatte (und noch habe)



Artist: Donovan
Title: Golden Hour of Donovan
Recording Date: 1965
Label: Pye Records (Golden Hour Series) GH 506

Notes: This British series of recordings collects sixty minutes of material spanning the subjects career. Not intended as a detailed retrospective, but as a sampler of sorts. It`s interesting that Donovan is given this treatment and it`s all of 1965. No credit is given for the cover art and its puzzle concept. This record is a bit of an oddity not often seen.

Track Listing

Side 1

Universal soldier
Sunny Goodge Street
Josie
Little Tin Soldier
To sing for You
Gold Watch Blues
Donna Donna
The Ballad of Geraldine
Colours
The War Drags On

Side 2

Catch the Wind
Turquoise
Candy Man
Jersey Thursday
Why Do You Treat Me Like You Do
Ballad of a Crystal Man
Hey Gyp (Dig the Slowness)
The Alamo
I`ll Try for the Sun
Belated Forgiveness Plea

[CockneyRebel]

.
Wie Donovan hat sich früher auch Al Stewart oft nur mit der akustischen Gitarre begleitet, war also ein klassischer "Singer/Songwriter". Wunderschöne Stereoeffekte mit einer zweiten Gitarre sind bei diesem Lied zu hören (`tschuldigung, die kleine Spielerei muss jetzt sein, nachdem ich selbst herausgefunden habe, wie`s geht )


A Small Fruit Song

Said the apple to the orange:
" Oh I wanted you to come
Close to me and kiss me to the core
Then you might know me like no other orange
Has ever done before"

[gesine]

I FEEL FREE


By jack bruce and pete brown

Feel when I dance with you,
We move like the sea.
You, you’re all I want to know.
I feel free, I feel free, I feel free.

I can walk down the street, there’s no one there
Though the pavements are one huge crowd.
I can drive down the road; my eyes don’t see,
Though my mind wants to cry out loud.

I feel free, I feel free, I feel free.

I can walk down the street, there’s no one there
Though the pavements are one huge crowd.
I can drive down the road; my eyes don’t see,
Though my mind wants to cry out loud,
Though my mind wants to cry out loud.

Dance floor is like the sea,
Ceiling is the sky.
You’re the sun and as you shine on me,
I feel free, I feel free, I feel free.

[CockneyRebel]

[ortega_y_gasset]

@fixbutte

Danke für all die Versuche mit Mrs. Thursday. Die schwedischen Cover sind schon eine schöne Entschädigung. Zum Text von "The Inner Light": Hier hat unser guter George, His Lord hab` ihn selig, wieder mal abgekupfert, ohne eine Quelle zu nennen - diesmal bei den lyrics und nicht beim tune. Ich las 1968 in irgendeinem Magazin - ich denke, es war "Pop" - dass große Teile des Textes wortwörtlich aus Laotses berühmtem "TaoTeKing" stammen. Ich kaufte mir das Buch, las nach und - tatsächlich! Na ja, mit den Copyright-Angaben hatte Georgie Boy es nicht so, sonst aber lieb(t)e ich ihn total.

Für morgen, Freitag, schlage ich keinen Song vor, um keine Eulen nach Athen zu tragen - da hat jeder von Euch schon überreichlich was in seinem Repertoire. Ich steuere aber - erst "after midnight", um fixbutte nicht so: aussehen zu lassen - gerne eine Textzeile aus einem Kinks-Song bei, in dem vom Freitag die Rede ist. Wenn irgendein Kinks-Fan vorher drauf kommt, soll`s mir recht sein. Machen wir`s doch gleich als Quiz: In welchem Ray-Davies-Song ist von "friday" die Rede (bitte nicht vor Mitternacht posten!)?

[fixbutte]

ortega
Du bist ja fett geworden

Ich wüsste sogar zwei Kinks Songs mit Friday - aber die haben wir beide schon im Thread

(war übrigens nicht schwer mit der Lyrics Search auf der Unofficial Kinks Web Site http://kinks.it.rit.edu/search.html )

[fixbutte]

Ich wollte schon die ganze Zeit mal wieder was von Jimi Hendrix bringen. Diesen beeindruckenden Song gab es in der ursprünglichen Version nur auf der Single und auf dem frühen Sampler Smash Hits. Die Fassung auf dem epochalen Werk Electric Ladyland (und meines Wissens auch auf sämtlichen späteren Best of Alben) ist hiermit nicht identisch.

The Jimi Hendrix Experience - Burning Of The Midnight Lamp



Format 7" vinyl
Label Track 604 007
Released 1967

British charts 18
US charts -

Tracks

1. Burning Of The Midnight Lamp
2. The Stars That Play With Laughing Sam`s Dice

Lyrics

Burning Of The Midnight Lamp

The morning is dead
And the day is, too
There`s nothing left here to meet me
But the velvet moon
All my loneliness I have felt today
It`s like a little more than enough
To make a man throw himself away

And I continue
To burn the midnight lamp
Alone

Now the smiling portrait of you
Is still hangin` on my frowning wall
It really doesn`t, really doesn`t bother me too much at all
It`s just the ever falling dust
That makes it so hard for me to see
That forgotten earring layin` on the floor
Facing coldly towards the door

I continue
To burn the midnight lamp
Lord, alone

Loneliness is such a drag

So here I sit to face
That same old fire place
Gettin` ready for the same old explosion
Goin` through my mind
And soon enough time will tell,
About the circus in the wishing well
And someone who will buy and sell for me
Someone to toll my bell

But I continue
To burn the midnight lamp
Lord, alone
Darlin` can`t ya hear me callin` you?
So lonely
Gonna have to blow my mind
Lonely



- Written and recorded as a single, "Burning of the Midnight Lamp" is, in hindsight, one of Jimi Hendrix`s more interesting records of his early career. A wildly imaginative, psychedelic lyric is the basis here, but musically it`s even more striking. The main instrument is harpsichord, and, performed by Hendrix, it is turned from a chamber instrument into a rock rhythm instrument; and his performance on the keyboard — his only official recording credit — is quite interesting. A wah-wah guitar and some odd string arrangement touches offset this. — Matthew Greenwald, AMG

[Cambodunum1]

Na, da ist ja mächtig was los in diesem Thread seit gestern.

Leider habe ich erst heute Gelegenheit, um den gestrigen 75. Geburtstag eines Songwriters zu würdigen, der wahrlich eine Menge Hits geschrieben hat: Burt Bacharach. Beginnend mit seinem ersten TOP 10 Hit Magic Moments mit Perry Como im Jahre 1958 bis zu On My Own mit Patti Labelle and Michael McDonald 1986 hat Bacharach -zig Hits komponiert. Stellvertretend hier der Text eines meiner Lieblingslieder von ihm: I Say a Little Prayer. Sowohl Dionne Warwick als auch Aretha Franklin hatten mit dem Song einen TOP 10 Hit. Bei der Queen of Soul war es im übrigen die B-Seite der Single: The House That Jack built (na, der Titel sagt uns doch auch was).

The moment I wake up
Before I put on my make up
I say a little prayer for you
While combing my hair now
And wond`ring what dress to wear now
I say a little prayer for you

Forever, forever you`ll stay in my hear
And I will love you
Forever, and ever we never will part
Oh, how I love you
Together, together, that`s how it must be.
To live without you
Would only mean heartache for me

I run for the bus now, dear
While riding I think of us dear
I say a little prayer for you
At work I just take time
and all through my coffee break time
I say a little prayer for you

Forever, forever you`ll stay in my hear
And I will love you
Forever, and ever we never will part
Oh, how I love you
Together, together, that`s how it must be.
To live without you
Would only mean heartache for me

My darling, believe me
For me there is no one but you
Please love me too
I`m in love with you
Answer my prayer
Say you love me too.

[Cambodunum1]

Ist ja lustig: Ich hatte ein ganz anderes Bild von Bacharach ausgewählt. Auch in der Vorschau wurde das ausgewählte Bild richtig angezeigt.
Also noch ein Versuch mit einem anderen Bild:

Hi fixbutte
Die Golden Hour Of The Kinks hatte ich auch. Oder habe ich sie noch? Muss mal nachsehen. Als die CD`s auf den Markt kamen, habe ich (leider) viele alte Platten ausgemustert, verschenkt ...

Ähm, nochwas: Du hast auch den Text von WIR - Freddy Quinn - gepostet. Dabei handelt es sich um die Rückseite von "Eine Handvoll Reis". Und ich gebe es zu: Ich habe die Single.

Gruß
Cambo

[ortega_y_gasset]

@fixbutte, Combodunum1

Na, mal schauen, ob ich noch ein klein wenig fetter ("und diese Scheiß-Schokolade macht einen fetter und fetter und fetter und..." - Nina Hagen) werden kann.

Ja, so gibt eine Erinnerung die andere: Cambo, du hast - absicht- oder versehentlich? - anstelle des erwähnten "I say a little prayer for you" die B-Seite ins Bild genommen: "The house that Jack built". Das erinnert mich an eine Single mit dem gleichen Titel aus dem Summer Of Love, die ich auch noch zu Hause im Original habe: Alan Price, Ex-"Animal", nahm 1967 mit seiner neuen Band "Alan Price Set" ein freilich ganz anderes "House that Jack built" als Aretha auf und hatte damit einen Super-Auftritt im "Beat-Club". Mit den Animals haben wir gleich auch noch eine Brücke zu dem heute von fixbutte erwähnten Jimi Hendrix geschlagen, denn der (Hendrix, nicht fixbutte!) wurde bekanntlich vom Animal-Bassisten Chas Chandler entdeckt und dann ins Swingin` London "exportiert", wo er sofort kometenhaft aufstieg.

Anstatt die lyrics zu "The house that Jack built" zu posten, vielleicht mal etwas Hintergrund:
THE HOUSE THAT JACK BUILT ist seit rund 250 Jahren ein englischer, in vielerlei Variationen abgewandelter Kinderreim (aus dem im Laufe der Zeit auch eine Redewendung wurde), der auf hebräische Gesänge aus dem 16. Jahrhundert zurückgehen soll.
Erstmals auf englisch erwähnt wird er 1755 im "Book of books for children" von John Newberry mit folgenden "lyrics":

This is the farmer sowing the corn,
That kept the the cock that crowed in the morn,
That waked the priest all shaven and shorn,
That married the man all tattered and torn,
That kissed the maiden all forlorn,
That milked the cow with the crumpled horn,
That tossed the dog,
That worried the cat,
That killed the rat,
That ate the malt
That lay in the house that Jack built.

So geht also George Harrisons "The Inner Light" auf ein altchinesisches Weisheitsbuch und "The house that Jack built" auf althebräische Gesänge zurück. Da sage noch jemand, Popmusik würde nicht bilden!

[fixbutte]

ortega
Danke, jede Menge Hintergründe finde ich sehr gut, mach weiter so

Cambo
sehr verwirrend, das Bild von Burt Bacharach in #441 sieht jedes Mal anders aus, wenn ich die Seite aufmache (mindestens vier verschiedene Versionen )
I Say A Little Prayer ist aber wirklich ein schöner Song, der mir in der Version von Aretha Franklin (#10 USA, 1968) auch besser gefällt als in der (früheren) Fassung (#4 USA, 1967) von Dionne Warwick, die ja lange auf Songs von Burt Bacharach und Hal David "abonniert" war. In seiner optimistischen, offenbar frisch verliebten Grundstimmung auch ein guter Kontrast zu dem abgeklärten Respect.

Na ja, meinen Freitags-Song habe ich heute in Iguanas Thread gepostet, weil er dort irgendwie besser hinpasst

Und hier die Auflösung von ortegas Quiz (in welchem Song von Ray Davies ist vom Freitag die Rede ) :
entweder Waterloo Station (#200)
"Terry meets Julie, Waterloo Station, every Friday night ..."
oder Autumn Almanac (#226)
"Friday evenings, people get together, hiding from the weather ..."

[fixbutte]

Cambo zu #442

Freddy - WIR ich gehe mal zu Deinen Gunsten davon aus, dass du noch minderjährig warst, als Du zu der Platte gekommen bist

Golden Hour - die Kinks sind wohl die Band der Pop-/Rockmusik, die durch die dreistete Wiederverwertung in einer Unmenge von schlechten und billigen Hitzusammenstellungen gestraft worden ist Die einzig gute Hit Compilation von Pye, die ich kenne, war eben besagte Golden Hour Of The Kinks, Vol. 1.

Dagegen waren die regulären LPs der Kinks der Jahre 1964 - 1971, die bei Pye erschienen waren, bis auf Arthur (zeitweilig) und Lola vs. Powerman And The Moneygoround in den gesamten 70er überhaupt nicht zu haben

Die Songs der ersten beiden LPs wurden Anfang der 70er Jahre auf der Golden Hour Vol. 2 zusammengefasst, LP No. 3 (The Kinks Kontroversy) fiel ganz unter den Tisch und die Titel der LPs No. 4, 5, 6 und 9 Face To Face, Something Else, Village Green Preservation Society und Percy wurden zusammen mit den Single Hits Lola und Apeman auf der treffend benannten Golden Hour Doppel-LP Lola, Percy And The Apeman Come Face To Face With The Village Green Preservation Society ... Something Else wiederveröffentlicht



Diese wiederum sehr gute und preisgünstige Zusammenstellung (mit zwei Stunden Spielzeit ) hatte mein Bruder, auf diesen Platten habe ich die großen Nicht-Single-Hits der Kinks zum ersten Mal gehört

[fixbutte]

wenn man Schwachsinn schreibt (und das auch noch fett), soll man sich dazu auch bekennen

Dagegen waren die regulären LPs der Kinks der Jahre 1964 - 1971 ... in den gesamten 70er überhaupt nicht zu haben

Eine Platte, die 1971 erschien, war natürlich in den 70er Jahren zu haben - wenn vielleicht auch nur kurz

[Cambodunum1]

@ fixbutte

Als ich stolzer Besitzer von WIR wurde, war ich in der Tat minderjährig, sehr sogar, wenn ich von der damaligen Volljährigkeitsgrenze von 21 Jahren ausgehe.
Es könnte aber auch sein (und das soll nicht als Entschuldigung gelten), dass ich die Single von meiner Mutter geschenkt bekommen habe, denn die war eingefleischter Freddy-Fan. Und mein kärgliches Taschengeld habe ich damals zumeist in Beatles-Scheiben investiert.

Das Bild von Bacharach wechselt tatsächlich immer wieder. Liegt vielleicht daran, dass es auf der Seite, von der ich es mir ausgeliehen habe, in bestimmten Intervallen ausgetauscht wird.

@ ortega

Das mit dem Bild war Absicht, obgleich ich gestern so meine Probleme mit Bildern hatte. Nach meinen Unterlagen aber war "The house that Jack built" die A-Seite. Und mir fiel dabei tatsächlich "Alan Price Set" ein. Das ist übrigens eine interessante Abhandlung, die du dazu geschrieben hast.

[fixbutte]

nochmal zu Donovan



Er hatte mit Sunshine Superman auch eine No. 1 in der Hitparade, aber eine mit Hindernissen. Den Song spielte er 1965 dem bekannten Producer Mickie Most (Animals, Herman`s Hermits) auf der akustischen Gitarre vor, der hierfür ein völlig neues Arrangement schreiben ließ. Im Dezember 1965 wurde das Stück dann mit Studiomusikern aufgenommen, u.a. mit einer hammerharten Rhythmusgitarre von Jimmy Page.



Die Platte sollte im Januar 1966 erscheinen. Wegen verschiedener Vertragsprobleme (neues Management, neuer Produzent, neue Plattenfirma in USA) wurde die Veröffentlichung aber abgesagt und es dauerte bis Ende Juli 1967, dass die Platte endlich in den USA auf den Markt kam.

Erstaunlicherweise schaffte sie es trotz dieser Verzögerung Anfang am 3. September 1967 auf Platz 1 der US Charts. Zu diesem Zeitpüunkt war übrigens eine zweite Platte, bei der Donovan mitgewirkt hatte, in den Top 5: Bei Yellow Submarine von den Beatles sang er im Hintergrund :O



In England dauerte es weitere fünf Monate, bis die Platte endlich erscheinen konnte - im Dezember 1966, ein Jahr nach ihrer Aufnahme kam die Single endlich heraus. Die Platten erschienen dort zwar weiter auf Pye, gehörten jetzt aber rechtlich zu den Mickie Most Productions. Der Song schaffte es trotzdem im Januar 1967 noch auf Platz 2 der UK Charts.



Donovan - Sunshine Superman

Sunshine came softly through my window today
Could`ve tripped out easy but I`ve changed my ways
It`ll take time, I know it but in a while
You`re gonna be mine, I know it, we`ll do it in style
`Cause I made my mind up you`re going to be mine

I`ll tell you right now
Any trick in the book now, baby, all that I can find
Everybody`s hustlin` just to have a little scene
When I say we`ll be cool I think that you know what I mean
We stood on a beach at sunset, do you remember when?
I know a beach where, baby, it never ends
When you`ve made your mind up forever to be mine

Hmm, hmm, hmm, hmm, hmm
I`ll pick up your hand and slowly blow your little mind
`Cause I made my mind up you`re going to be mine
I`ll tell you right now
Any trick in the book now, baby, all that I can find

Superman or Green Lantern ain`t got nothing on me
I can make like a turtle and dive for your pearls in the sea, yeah!
A you can just sit there thinking on your velvet throne
`bout all the rainbows you can have for your own
When you`ve made your mind up forever to be mine
I`ll pick up your hand and slowly blow your little mind
When you`ve made your mind up forever to be mine

I`ll pick up your hand
I`ll pick up your hand




Donovan Discography

Pye / Hickory 1965 Catch The Wind/ Why Do You Treat Me Like You Do UK #4 US #23
Pye / Hickory 1965 Colours/ To Sing For You UK #4 US #61
Pye 1965 Universal Soldier/Ballad Of A Crystal Man/Do You Hear Me Now/War Drags On UK #27 (EP #1)
Hickory 1965 Universal Soldier/Do You Hear Me Now US #53
Pye / Hickory 1965 Turquoise/ Hey, Gyp UK #30
Pye / Hickory 1966 Josie/ Little Tin Soldier
Pye / Hickory 1966 Remember The Alamo/ The Ballad Of A Crystal Man
Pye / Epic 1966 Sunshine Superman/ The Trip UK UK #2
Pye / Epic 1967 Mellow Yellow/ Preachin` Love UK #8 US #2
Epic 1967 Epistle To Dippy US #19
Pye / Epic 1967 There Is A Mountain/ Sand And Foam UK #8 US #11
Epic 1967 Wear Your Love Like Heaven US #23
Pye / Epic 1968 Jennifer Juniper/ Poor Cow UK #5
Pye / Epic 1968 Hurdy Gurdy Man/ Teen Angel UK #4 US #5
Epic 1968 Lalena US #33
Pye / Epic 1969 Atlantis/ Love My Shirt UK #23
Pye / Epic 1969 *Barabajagal/ Trudi UK #12
Epic 1969 To Susan On The West Coast Waiting US #35
*Credited to Donovan and Jeff Beck Group

[fixbutte]

zu #448

Bei einer so umfassenden Diskographie musste ja was schiefgehen

Hier fehlten die US Chart Positionen. Da kann ich für Atlantis Deutschland gleich mitliefern (war ein Riesenhit hier)

Pye / Epic 1969 Atlantis/ Love My Shirt UK #23 US #7 D #2
Pye / Epic 1969 *Barabajagal/ Trudi UK #12 US #36

[Cambodunum1]

Zu der umfassenden Diskographie über Donovan von fixbutte noch eine ganz kleine Ergänzung:

Wer Interesse hat, dem sei die "TROUBADOUR Definitive Collection 1964 - 1976" empfohlen. 2 CD`s mit insgesamt 44 Songs, darunter auch einige bis dato unveröffentlichte. Der Box ist auch ein Booklet beigefügt. Habe vorhin CD 1 eingelegt und höre nebenzu.

[ortega_y_gasset]

Hello, how are you (als Reminiszenz an den Easybeats-Tag "Friday on my mind")

freut mich, dass Euch mein "Hintergrund" gefallen hat. Donovan hab` ich in den 60s heiß und innig geliebt - das (und ich bekenne mich schamhaft sogar noch zu meinem damaligen Schwärmen für Francoise Hardy) war neben Crazy World of Arthur Brown, Steppenwolf und den Stones irgendwie die romantische Seite von mir. Ich hatte mal sämtliche seiner Vinyl-Alben bis 1970, einige habe ich noch, einige aber gab ich - wie viele von uns - dummerweise im Tausch gegen CDs weg. Dafür aber habe ich Gott sei Dank noch einige superwertvolle Donovan-bootlegs, u.a die nie veröffentlichten Aufnahmen Donovan live in Italy und live in Austria, Donovan mit den Beatles in India und privaten talks und jam-sesions mit Paul McCartney (huch, darf man das hier eigentlich öffentlich schreiben?? ).

"Sunshine Superman" war eines der Lieder, mit denen Donovan damals übrigens um Linda Lawrence, die damalige Ex-Freundin von Rolling Stone Brian Jones (von dem sie auch ein Kind hatte) warb; es war exakt der Zeitpunkt, als er sich entschloss, dieses Mädchen zu seiner Frau zu machen ("Cause I made my mind up you`re going to be mine"). Die Werbung kam an, sie wurden ein Paar, geheiratet haben sie aber erst Jahre später.
Dazu ein kurzer Auszug aus einem Donovan-Interview: "...and it was Linda, my Sunshine Supergirl from 1965 whom I`d written all my songs for. We hadn`t married then, because she had a child with Brian Jones and wasn`t ready for another relationship. And it was good that we didn`t marry back then, because my four years of `60`s fame would have wrecked the marriage." Heute leben Mr. "Sunshine Superman" und Mrs. "Superlungs my Supergirl" happy ever after in, nein, nicht in the market-place, sondern in good ol` Eireland (Atlantis hätte ihm noch besser gefallen, aber da gab es einige Probleme).

@fixbutte
Ich will ja als ziemlicher Neuling hier nicht rechthaberisch oder belehrend sein und bitte darum, jetzt nicht falsch verstanden zu werden - aber müsste es in Deinem Posting #444, viertletzte Zeile nicht heißen: Waterloo Sunset

[CockneyRebel]

Ortega, Cambo, fixbutte,

danke für eure Super-Beiträge heute - ich hab` gerade meine Freude daran gehabt. Viele Informationen - und schön zu lesen, welche ähnlichen Erinnerungen wir haben!

[fixbutte]

ortega
wo Du recht hast, hast Du recht
Waterloo Station als Songtitel wie peinlich

[Cambodunum1]

@ Cockney

@ ortega

Francoise Hardy? Du hast für sie geschwärmt? Dich womöglich an "Frag den Abendwind" erinnert? Wenn ich mich jetzt ebenso oute und verrate, dass ich diesen Song ... nein, besser nicht. Jedenfalls sah Francoise sehr gut aus, wie ein richtiges Supergirl eben. Und das war der Moment, als mir Graham Bonney einfiel und sein Super Girl. Diesen Song hat man damals den Mädchen ins Ohr geträllert. Zumeist mit mäßigem Erfolg, denn die stimmlichen Qualitäten waren in dieser Entwicklungsphase doch etwas gemindert. Also gut, hier der Text:

Super girl - Graham Bonney

Ooo –de – oo oo – de – oo de-oo

Hey super girl (hey hey)
with your fine featherd friends
super girl let’s leave them
we don’t need them tonight

hey super girl (hey hey)
with your fine fancy clothes
super girls it’s funny
you don’t need money tonight

Your world it’s plain to see
ain’t right for you and me
they may have pretty things
but they ain’t got what true love brings

so super girl (hey hey)
come on leave your golden cage
super girl I want you
and I’ll love you tonight

SOLO

Your world it’s plain to see
ain’t right for you and me
they may have pretty things
but they ain’t got what true love brings
so super girl (hey hey)
come on leave your golden cage
super girl I want you
and I’ll love you tonight.

Die Originalsingle konnte ich leider nicht finden; stattdessen aber dieses hier:

[Cambodunum1]

... und wenn das ins Ohr gehauchte "Super Girl" erfolglos blieb, schickte man ein "Leg dein Herz in meine Hände" (Roy Black) hinterher. Später dann vielleicht "Mercie Cherie" für die Stunden ...(Udo Jürgens) und nach zwei Wochen dann "Nimm mich so wie bin" (Drafi Deutscher). Und ständig warnte Mama "Beiß nicht gleich in jeden Apfel" er könnte sauer sein ...(Wencke Myrhe). Und das alles war 1966.
Man sehe mir die Entgleisung dieses Postings nach. Ich werde mich demnächst wieder um ordentliche Beiträge bemühen.

Gruß
Cambo

[ortega_y_gasset]

@Cockney
von mir auch ein herzliches Dankeschön

@Combo

super super ! Das war echt aufmerksam. Na ja, was die Musik anbetrifft, so war ich in den 60s eindeutig - wie wir wohl alle - britisch orientiert, was den Frauengeschmack anbetrifft, wohl eher französisch: Pictures of Francoise Hardy und Brigitte Bardot (das bringt uns irgendwann mal auf Pictures Of Lily und Pictures Of Matchstickman ) hingen damals in meinem Zimmer.

Super Girl war meinem Geschmack nach die beste Platte von Graham Bonney. Ich füge, da viel von Donovan die Rede war, noch ein anderes Supergirl an: Donovans Superlungs my Supergirl . Ein Song aus dem mit Jeff Beck on guitar produzierten Album BARABAJAGAL. Gerüchten zufolge soll auch Paul McCartney an diesem Album mitgeholfen haben; ganz sicher mitgewirkt hat er aber bei Mellow Yellow (als Revanche für die, von fixbutte ewähnte, Mithilfe Donovans bei Yellow Submarine ).


Donovan - Superlungs My Supergirl

You see this kind of chick in every town.
Whenever there`s a scene she`s always hanging around
She`s so naïve and innocent, stares at to it all
She`s only fourteen but she knows how to draw.
Supergirl, supergirl.
Supergirl, supergirl.
Supergirl She`s my supergirl and I love her
Supergirl She`s my supergirl and I love her
Supergirl She`s my supergirl and I love her
Supergirl She`s my supergirl and I love her.
She never gets involved with blowing her cool
She`s to visit painting sky with her classmates in school
Teachers they ignore, they would if they could
She ain`t quite grown up yet but her credence`s real good.
Supergirl She`s my supergirl and I love her
Supergirl She`s my supergirl and I love her
Supergirl She`s my supergirl and I love her
Supergirl She`s my supergirl and I love her.

[ortega_y_gasset]

@Cambodunum1
sorry für den Tippfehler, natürlich meinte ich Cambo, nicht Combo

[Cambodunum1]

Na ja, auf Englisch hat man es natürlich auch versucht: Ein “With A Girl Like You” (Troggs) ins Ohr gesäuselt an einem “Sunny Afternoon” (womit wir wieder bei den Kinks wären), gebremst von einem energischen „Stop Stop Stop“ (Hollies) und der Entgegnung „I’m A Boy“ (Who), womöglich ergänzt durch ein „I Can’t Control Myself“ (Troggs), während „Little Man“ (Sonny & Cher) den Aufstand probte und man letztendlich mit dem Seufzer It’s so „Hard To Love You“ (Dave Dee & Co.) aufgab.
Und auch diese Songs eroberten alle 1966 die Charts.

Jetzt ist es aber endgültig genug. Ich rufe mich hiermit wieder selbst zur Ordnung.

[gesine]

wenn ich das so lese
fällt mir längst vergessenes wieder ein
und vorallem diese deutschamerikansiche gesinge
und irgendwie kommt mir das grad in den sinn

Barry Ryan


Die Zeit macht nur vor dem Teufel halt
Die Zeit, die trennt nicht nur für immer Tanz und Tänzer.
Die Zeit, die trennt auch jeden Sänger und sein Lied,
denn die Zeit ist das, was bald geschieht.

Die Zeit, die trennt nicht nur für immer Traum und Träumer.
Die Zeit, die trennt auch jeden Dichter und sein Wort,
denn die Zeit läuft vor sich selber fort.

(Refrain
Zeit macht nur vor dem Teufel halt,
denn er wird niemals alt,
die Hölle wird nicht kalt.
Zeit macht nur vor dem Teufel halt,
heute ist schon beinah’ morgen.

Die Zeit, die trennt nicht nur für immer Sohn und Vater.
Die Zeit, die trennt auch eines Tages dich und mich,
denn die Zeit, die zieht den längsten Strich.

Refrain

Die Zeit, alle Zeit, Ewigkeit.

[DOLCETTO]

oh oh, ihr seid verdampt gut leute!

Rüspektgruß an die "neuen" Cambo & ortega

ey mista hausherr,

freut mich für dich, dass es echt konkrät ambitionierte
checkers in deinen kultsräd reinzieht,

ciao

[fixbutte]

Dolce
da kann ich mich nur anschließen - danke für Euren verschärften Thread Support, Cambo und ortega

Das bleibt ja nicht ohne Folgen - ich habe mir heute das von Cambo in #450 gepostete Werk, allerdings mit anderen Coverbild



gekauft, obwohl ich schon eine Best Of CD von Donovan hatte. Hier gibt es aber hervorragende Liner Notes mit allen Besetzungen und Aufnahmedaten und etlichen Hintergrundinfos, die ich bisher noch nicht kannte. Und das Beste - die Doppel-CD mit 44 Titeln kostet bei "2001" nur 9,99 Euros (witzig, Cockney, wo Du in #422 von Deinem "2001" Donovan Songbook erzählt hast, das ich auch noch kenne )

Hat etwa jemand von Euch gewusst, dass bei dem Song Barabajagal von Donovan and Jeff Beck Group, Titelsong der der LP mit dem von ortega geposteten Cover, diese - damals noch unbekannte - Dame mitgesungen hat




Na gut, und wo ich gerade bei "2001" bei dem Buchstaben "D" gestöbert habe, habe ich gleich noch für 12,99 Euros diese Doppel-CD Anthologie von Sandy Denny gekauft, der leider viel zu früh verstorbenen Sängerin von Fairport Convention und Fotheringay, die sich ja auch ein tolles Gesangsduett mit Robert Plant auf dem Titel The Battle Of Evermore von Led Zeppelin geliefert hat




Wahnsinn W:0 ist ja richtig benutzerfreundlich geworden - die Bilder, die Schmeilies und die Schriftarten lassen sich jetzt auch nachträglich in den Text einarbeiten und die rote Schrift und die grüne Schrift ist ab heute für jeden einsetzbar

[ortega_y_gasset]

Wow, man lernt ja nie aus! Also das mit Suzie ist mir auch vollkommen neu.

"Troubadour" ist wirklich eine Super-Collection; ich kaufte sie mir auch gleich, als sie erschien, wegen der unveröffentlichten tracks (u.a. eine tolle Version von "Museum", die mir besser gefällt als die zuerst veröffentlichte). Ich musste damals allerdings - Neid, Neid - noch rund 40.-DM hinblättern. War ne Ausgabe in einer großen Box (weiß nicht, ob`s die noch gibt), in der auch noch ein Donovan-Poster von 1968 beigefügt war. Das booklet dazu finde ich ebenso absolut Spitze - u.a. mit einem hervorragenden Beitrag von Beatles-Pressesprecher Derek Taylor, in dem er herrlich den Geist der Sixties eingefangen hat. Ich schreibe das für die, die das Album - noch - nicht haben; da geht`s um die Byrds und Bob Dylan und die Beatles und Allan Ginsberg (der kommt, glaube ich,auch im Text von "Sunny South Kensington" vor) und das Monterey Pop Festival (Donovan hätte dort spielen sollen, durfte aber wegen irgendeines Drogendelikts nicht einreisen; er saß dafür mit Paul McCartney und Mick Jagger im Veranstalter-Leitungsteam in London), ja und auch von Ray Davies ist kurz die Rede (da auch er ein Haus in Irland hat; die beiden treffen sich gelegentlich). Oh sorry, nun komme ich aber zu sehr ins Schwärmen. Und ich muss schnell aufhören, weil Samstag ist und Pflichten rufen ("another Saturday, another date" - obwohl ich eigentlich kein date habe, sondern wife mir das familienfriedensstiftende Versprechen abgerungen hat, mit ihr den Schlager-Grand-Prix anzugucken). Bitte nicht

Halt, bevor ich aufhöre, vielleicht nochmal eine - ich kann`s nicht lassen - Quizfrage: Ich erinnere mich, vor vielen Jahren einmal gelesen zu haben, dass die Kinks gegen einen Grand-Prix-d`Eurovison-de-la-Chanson(ich denke, so hieß es damals)s-Siegertitel (mein Gott, wenn mein Deutschlehrer dieses Wort sehen würde!) wegen Plagiats prozessierten. Weiß jemand, um welchen ihrer Titel die Kinks sich da beklaut fühlten?

[CockneyRebel]

Ihr Lieben, sorry, wenn ich kurz dazwischen gehe und fixbuttes Bemerkung zum Donovan-Songbook aufgreife - das war wirklich wunderbar gemacht mit allen lyrics, dazu diese alle (schön) ins Deutsche übertragen, und dazu dann nochmal alle Songs mit Noten zur Gitarrenbegleitung - das kann man doch auch einem Donovan nicht verkaufen!

War damals ein Doppel-Konzert, der andere war Ralph McTell ("Streets Of London"), den hab` ich auch gleich mit unterschreiben lassen. Der hätte es zwar lieber gesehen, wenn ich seine zum Verkauf angebotene CD zum Signieren gegeben hätte, aber die hatte ich doch schon...

Jetzt hab` ich das Buch mit den beiden Widmungen... bin ja eigentlich nicht gerade ein Autogrammjäger, aber das war so schön in einer Kleinstadt nicht weit von hier, da packt es einen doch schon - carpe diem...

Und heute freue ich mich, dass ich mich damals wie ein Teenie benommen habe - ich hab` vorhin das Buch wieder in der Hand gehabt und denke daran, dass die Gelegenheit vielleicht nicht mehr wiederkommen wird.

Liebe Grüße,
Cockney

[fixbutte]

und die Aufnahme dieses Donovan Songs von 1968 könnte eine Keimzelle von Led Zeppelin gewesen sein, wie ebenfalls aus dem Troubadour Booklet hervorgeht

Gitarre: Jimmy Page
Bass & Arrangement: John Paul Jones

Schlagzeug (nach eigenen Angaben): John Bonham



Donovan - Hurdy Gurdy Man

Die hurdy-gurdy ist ein mittelalterliches Instrument, auf deutsch Drehleier. Möglich ist, dass sich der Songtext wegen des dokumentierten Interesses von Jimmy Page diesem Instrument (zu sehen und hören z.B. auf einer 1995 Page/Plant Tournee) gerade auf ihn bezog



Lyrics and Chords

Thrown like a star in my vast sleep
I opened my eyes to take a peep
To find that I was by the sea
Gazing with tranquility

/ G Bm / C D7 / :

`Twas then when the hurdy gurdy man
Came singing songs of love
Then when the hurdy gurdy man
Came singing songs of love

/ F C / G - / :

Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang

Histories of ages past
Unenlightened shadows cast
Down through all eternity
The crying of humanity

`Tis then when the hurdy gurdy man
Comes singing songs of love
Then when the hurdy gurdy man
Comes singing songs of love

Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gur-dy, hurdy gurdy, hurdy gur-dy, hurdy gurdy hurdy gurd
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang

Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Here comes the roly-poly man
He`s singing songs of love
Roly poly, roly poly, roly poly poly he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Hurdy gurdy, hurdy gurdy, hurdy gurdy gurdy he sang
Roly poly, roly poly, roly poly poly he sang


Als Donovan diesen Song schrieb, soll George Harrison ihm diese zusätzliche Strophe geschrieben haben [/i]



When the truth gets buried deep
Beneath a thousand years asleep
Time demands a turnaround
And once again, the truth is found

Hurdy gurdy, hurdy gurdy...

[fixbutte]

ortega

Deine Quizfrage aus #462 bezüglich des Plagiats eines Kinks Songs durch Grand-Prix-d`Eurovison-de-la-Chanson-Siegertitels kann ich leider nicht beantworten

Dafür fällt mit passend zum Europa-Gedanken der einzige Rock Song ein, der sich - ein wenig ironisch - mit der Europäischen Union befasst, natürlich auch von Ray Davies, aus dem Album UK Jive und als (bisher letzte) Kinks Single erschienen im Oktober 1989, mit herrlichen deutschen (französischen/italienischen/spanischen) Sprachfetzen drin



The Kinks - Down All The Days (To 1992)

Down all the days
Though the past is just a blink away
The future waits for me and you
Down all the days to 1992

Here is hope for all the people
And generations yet to come
An the future`s bright tomorrow,
Illuminated by the morning sun
Here`s for all the working people
And me the ordinary man
For assembly workers in the factory
For farmers toiling on the land

Down all the days
All nations will unite as one
A new horizon clear to view
Down all the days to 1992

So lonely on this island ever since she set me free
Breaking out of my isolation
Reaching out with hands across the sea
Down all the days, down all the days

Hello my Celt and Gaelic ladies.
Bonsoir my green colleen from Ireland
Willkommen Deutsch and Dutch and Dansk
Guten Tag amour prego ola combien

I`m losing all my bitterness
It`s time to find some happiness
Around the earth, the sky, the sea
Down all the days

Bon soir, my little senorita, c`est magnifique
Au revoir, my little Fräulein baby, it`s so tragique
Achtung parlez vous Englese, bon appetit
Jawohl, mambo Italiano, ca va, O.K. I`m on my way
Down all the days

Can we heal the wounds of many wars
And the battle scars that went before
Down all the days to 1992
There`s gonna be a celebration in 1992
Somehow we lost communication
But I`ll find you girl and come back home to you
Down all the days
There`s gonna be a celebration in 1992
Somehow we lost communication
I`ll find you girl and come back home to you
Down all the days.
Around the earth, the sky, the sea, down all the days
Around the earth, the sky, the sea, down all the days

[ortega_y_gasset]

Also, dieser Thread macht immer mehr Spaß. Fixbuttes letztes Posting zu Hurdy Gurdy Man mit Bezug zu Led Zeppelin und George Harrison ist absolute Informationspitze! Danke fixbutte

Zum Quiz: Da offenbar sonst niemand mehr etwas dazu sagen will, gestatte ich mir, es aufzulösen: Es war 1968, da siegte die Spanierin Massiel mit dem Song La la la beim Grand Prix d`Eurovision usw. Beim Refrain ("la la la") stellte sich bei vielen Musikfans ein Deja vu, nein, besser ein "Schon gehört" ein: War das nicht die Melodie von "Death of a Clown"? Das dachte sich auch Komponist Ray Davies (der den Song ausschließlich für Bruderherz Dave und nicht für den Grand Prix schrieb) und strengte eine Klage wegen Plagiats an. Ich las das damals in einer Pop-Zeitschrift, habe aber leider später nie erfahren, was aus der Klage wurde.

[fixbutte]

jau ortega da dämmert mir was, auch wenn la la la noch etwas zu wenig Text ist, um den Song wieder so richtig ins Ohr zu bekommen

Total im Ohr habe ich aber noch den Titel, den Massiel



auf den zweiten Platz des Grand Prix D`Eurovision 1968 verwiesen hat - Congratulations von Cliff Richard



... Erdbeben in der Royal Albert Hall: schon bei der Ankündigung des Namens Cliff Richard tobte die Halle. Der Weltstar des Abends betrat die Bühne, und der Jubel nahm kein Ende. Es konnte nur einen Sieger geben, nämlich die Hitkanone C. Richard und sein britischer Beitrag "Congratulations". Mädchen gerieten in Hysterie, das Publikum hörte mit dem Applaus nicht auf, und alle anderen Teilnehmer kamen sich vor wie Statisten. Wer sollte ihn schlagen? Sein Lied seit einigen Wochen Nr. 1 in Großbritannien und mittlerweile auch im restlichen Europa auf dem Weg nach oben, schien kein Achillesferse zu haben. Einen wichtigen Punkt hatte man aber vergessen: die Juroren, die bekannt für ihren eisernen Willen waren. Oft geriet die Meinung des Publikums und die der Jurys auseinander, vergleichbar mit dem Eiskunstlauf. Wieso sollte es diesmal anderes sein? 29 Juroren stimmten für die Spanierin Massiel, sechs allein aus Deutschland, und nur 28 wollten das Idol Tausender Jugendlicher ganz oben sehen. Kathy Boyle bat sogar die jugoslawische Jury, ihre Wertung zu wiederholen, in der Hoffnung, einen Fehler zu entdecken, aber es war nichts zu machen. Das Publikum war enttäuscht und konnte nur mit Fassung den Sieg der 21jährigen Spanierin Maria de los Angeles Santamaria, alias Massiel, ertragen, die sich ihrerseits nach diesem unerwarteten Erfolg nur glücklich schätzen konnte. Auf Aufforderung des spanischen Fernsehens hatte sie ihre Südamerika Tournee unterbrochen und war aus Mexiko zurück nach Madrid geflogen, wo ihr mitgeteilt wurde, den Song "La, La, La" beim Grand Prix 1968 in London zu singen. Ursprünglich war Juan Manuel Serrat als Interpret vorgesehen. Er wollte jedoch den Titel in der katalanischen Sprache singen, was für Francos Spanien unvorstellbar gewesen wäre. Ganz schnell entschlossen sich die Verantwortlichen der TVE für Massiel, die nach ihrem Sieg 1966 beim Schlagerfestival von Mallorca mit dem Titel "Rufo el pescador", einen sehr guten Ruf in Spanien genoss. Diese Entscheidung war ein Volltreffer. Massiel schaffte das Wunder von London, versetzte mit ihrem Sieg ein ganzes Land in Trauer und brachte Millionen Teenies zum Weinen. Sie hat den "King" Cliff Richard entthront. Sie war die Heldin Spaniens, aber der Erfolg blieb ihr verborgen. ...



Death Of A Clown wird übrigens immer als Gemeinschaftskomposition von Ray und Dave Davies geführt. Andererseits spielen alle Kinks darauf mit, obwohl der Song im Juli 1967 offiziell als Dave Davies Single erschienen ist (dann allerdings im Septemer 1967 auf dem Album Something Else der Kinks)

[fixbutte]

Cockney

Ich möchte Deinen Hinweis auf Streets Of London von Ralph McTell in #463 nicht so einfach übergehen.



Das war schon ein besonders schönes und auch inhaltsschweres Stück, das ebenfalls (wie Sunshine Superman ) erst mit Verzögerung ein Hit wurde. Der Titel war von Ralph McTell erstmals 1969 eingespielt worden (auf der LP Spiral Staircase, die ich heute noch habe) und war bei Freunden der englischen Folk Music schon ziemlich bekannt, bevor er in einer Neueinspielung in die Hitparaden kam (1975 #2 UK, #8 D).

[

Ralph McTell - Streets Of London

Have you seen the old man
In the closed-down market
Kicking up the paper
With his worn out shoes?
In his eyes you see no pride
Hand held loosely at his side
Yesterday`s paper telling yesterday`s news

So how can you tell me you`re lonely
And say for you that the sun don`t shine?
Let me take you by the hand
And lead you through the streets of London
I`ll show you something to make you change your mind

Have you seen the old girl
Who walks the streets of London
Dirt in her hair and her clothes in rags?
She`s no time for talking
She just keeps right on walking
Carrying her home in two carrier bags

Chorus

In the all night cafe
At a quarter past eleven
Same old man is sitting there on his own
Looking at the world
Over the rim of his tea cup
Each tea last an hour
Then he wanders home alone

Chorus

And have you seen the old man
Outside the seaman`s mission
Memory fading with
The medal ribbons that he wears
In our winter city
The rain cries a little pity
For one more forgotten hero
And a world that doesn`t care

Chorus

[Cambodunum1]

Also Leute, ich weiß ja nicht, wie das euch so geht. Mir jedenfalls reicht es nach den endlos langen Monaten mit schlechtem Wetter und Schnee. Ich kann Sonne und Wärme kaum erwarten, mein körperliches Wohlbefinden steigert sich mit jedem Grad oberhalb der 20 Gradmarke. Und immer dann, wenn es soweit ist, sich der Sommer erahnen lässt (so wie heute), kommt mir ein Lied in den Sinn, das für mich auch im 38. Jahr seit Erscheinen nichts von seiner Faszination eingebüßt hat: Summer In The City von Lovin` Spoonful.



Es war sicherlich auch deren größter Hit, ein in flottem Tempo gehaltener Song, der auch überraschende Soundeffekte wie Autohupen und brausende Motorgeräusche hören lässt. Und knapp 30 Jahre später fand der Titel dann auch noch im Soundtrack zu dem Film von Actionstar Bruce Willis "Stirb langsam: Jetzt erst recht" Verwendung.



Summer In The City - Lovin` Spoonful

Hot town, summer in the city
Back of my neck getting burnt and gritty
Been down, isn`t it a pity
Doesn`t seem to be a shadow in the city

All around, people looking half dead
Walking on the sidewalk, hotter than a match head

But at night it`s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it`ll be alright

And babe, don`t you know it`s a pity
That the days can`t be like the nights
In the summer, in the city
In the summer, in the city

Cool town, evening in the city
Dressed so fine and looking so pretty
Cool cat, looking for a kitty
Gonna look in every corner of the city
Gonna meet you at the bus stop
Running up the stairs, gonna meet you on the rooftop

But at night it`s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it`ll be alright

And babe, don`t you know it`s a pity
That the days can`t be like the nights
In the summer, in the city
In the summer, in the city

Hot town, summer in the city
Back of my neck getting dirty and gritty
Been down, isn`t it a pity
Doesn`t seem to be a shadow in the city

All around, people looking half dead
Walking on the sidewalk, hotter than a match head

But at night it`s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it`ll be alright

And babe, don`t you know it`s a pity
That the days can`t be like the nights
In the summer, in the city
In the summer, in the city.


Und hier noch die Chartsplatzierungen: D 5, USA 1, GBR 8

[ortega_y_gasset]

@fixbutte
Danke für die Richtigstellung mit Dave Davies als composer von "Death of a clown". Ich habe schon ganz automatisch automatisch nur Ray erwähnt, weil der die meisten Songs schrieb, aber ein Kenner lässt das natürlich nicht durchgehen. Es geht eben nichts über einen echten Kinks-Experten!

Frage: Hat Dave eigentlich auch bei "Susannah`s still alive" mitkomponiert (sorry für den Fall, dass das evtl. schon im Thread behandelt wurde )? Auf einer Compilation-CD ("You really got me - The Best of the Kinks"; edel company) ist da nur Ray als Komponist angegeben. Aber die haben schließlich auch schon bei "Death of a clown" was falsch gemacht .

[Cambodunum1]

@ ortega,

Auf meiner Kinks-Size Kollektion (2 CD`s) ist als Autor Ray Davies angegeben. Ob`s stimmt, weiß ich nicht. Ray ist aber auch als Autor für "Death Of A Clown" vermerkt.

Fixbutte wird das bestimmt aufklären können.

[DOLCETTO]

hi folkx

fixbutte - evtel hatten wir diesen evergreen schon, ich brauch
ihn jetzt und sofort:

Spencer Davis Group
Keep On Running

Keep on running, keep on hiding
One fine day I`m gonna be the one
To make you understand
Oh, yeah, I`m gonna be your man.

Keep on running, running from my arms
One fine day I`m gonna be the one
To make you understand
Oh yeah, I`m gonna be your man.

Hey, hey, hey
Everyone is talking about me
It makes me feel so sad.
Hey, hey,hey
Everyones is laughing at me,
It makes me feel so bad,
So keep on running

Keep on running, running from my arms
One fine day I`m gonna be the one
To make you understand
Oh, yeah, I`m gonna be your man.

[CockneyRebel]

.
Der Thread keeps on running, Freunde,

trotzdem muss ich aus gegebenem Anlass - wieder einer dieser witzigen Zufälle! - kurz zu fixbuttes #464 zurückkommen: Ich habe gestern eine dieser obskuren CDs gekauft, die wahrscheinlich völlig legal sind (bei JPC im Angebot), aber bei denen man sich fragen muss, ob der Künstler jemals von ihrer Existenz erfahren hat...

Titel: Donovan - Greatest Hits...

Dem Cover entnimmt man, dass die erste Hälfte Studio- und die zweite Live-Aufnahmen sind. Das stimmt wohl wirklich - aber die Studio-Aufnahmen sind nicht die Aufnahmen, die man kennt... egal, ich habe eh ein Faible für Raritäten, und die Originale habe ich sowieso schon. Also für`s Sammlerherz eher eine Freude als das Gefühl, über`n Tisch gezogen zu werden...

Aber der Aha-Effekt kam vorhin beim Hören der Live-Stücke - und dabei als Highlight "Hurdy Gurdy Man".

Und da singt Donovan nicht nur den Originaltext, sondern fügt auch die von fixbutte geposteten "zusätzlichen" Zeilen von George Harrison ein!

Hab` nie was von der Harrison-Geschichte gewusst - und jetzt das direkt hintereinander...
.

[CockneyRebel]

.
Die Story zu "Hurdy Gurdy Man", die er da erzählt, in aller Kürze: Donovan und die Beatles in Indien beim Guru, schöne Erleuchtung vor Ort, dann abends alle die Klampfe rausgeholt, Donovan Lied geschrieben, Harrison will auch Autor sein, Friede Freude Erleuchtung Hurdy Gurdy Man.

Tschuldigung, hab`s vielleicht arg verkürzt, aber es ist gleich 3 Uhr...

N8, Freunde!
.

[Cambodunum1]

@ Dolcetto

Die Spencer Davis Group gehörte zweifellos zu den herausragenden Bands der 60iger. Zu verdanken war dies wohl insbesondere Steve Winwood mit seiner einprägsamen Soulstimme, die auch in meinem Lieblingsstück der Gruppe prächtig zur Geltung kommt: Gimme Some Lovin`.



Spencer Davis Group – Gimme Some Lovin’

Well my temperature`s rising and my feet are on the floor
Twenty people knocking `cos they`re wanting some more
Let me in baby, I don`t know what you`ve got
But you`d better take it easy, this place is hot

Chorus:
I`m so glad we made it, I`m so glad we made it
You`ve gotta gimme some lovin` (gimme some lovin`)
Gimme some lovin` (gimme gimme some lovin`), gimme some lovin` every day

Well I feel so good, everything is sounding hot
Better take it easy `cos the place is on fire
Been a hard day and I don`t know what to do
Wait a minute baby, it could happen to you

chorus

Well I feel so good, everybody`s getting high
Better take it easy `cos the place is on fire
Been a hard day and nothing went too good
Now I`m gonna relax honey, everybody should

chorus

Gimme some lovin` (gimme some lovin`) I need it
(Gimme gimme some lovin`) I need it
Ooh, gimme some lovin`, every day, every day.


Auch hier die Chartsplatzierungen: D Platz 12, USA 7, GBR 2

[Cambodunum1]

Noch ein Nachtrag zu meinem Posting 469 - Lovin` Spoonful:

Nachdem meine Empfehlung der Donovan-Box fixbutte gleich zum Kauf veranlasst hat (und wie es scheint, ist er sehr zufrieden damit), hier noch eine. Die Anthology-CD der Lovin` Spoonful enthält insgesamt 26 Songs. Ich habe die seinerzeit in den USA gekauft, hier war sie erst geraume Zeit später zu haben.



Dazu noch ein genereller Tipp: Für die CD zeichnet Rhino Records verantwortlich und Rhino Records spricht nach meinen Erfahrungen für Qualität. Die Firma greift generell auf die Masterbänder zurück, um die bestmögliche Qualität der CD`s zu erreichen. Wann immer ich die Auswahl hatte zwischen verschiedenen Hit-Compilations, habe ich die CD von RR gewählt.

Gruß
Cambo

[ortega_y_gasset]

@Cambo
Supertipp mit den Lovin` Spoonful. Ich möchte bei dieser Gelegenheit hier mal auf eine Einkaufsquelle hinweisen, bei denen man bezüglich rarities aus den 60s und 70s in Top-Qualität (viel Aufnahmen z.B. von Repertoire Recors) immer fündig werden kann: Der CD-Versand Milestone in Hamburg, der sich auf Oldies spezialisiert hat. Umfangreicher Katalog wird auf Wunsch zugeschickt. Web-link: http://www.milestone-mailorder.com/pg/d/contact.asp

Zur Spencer Davis Group: Sie tingeln seit 1,5 Jahren wieder in kleinen Clubs (nur ohne Lead-Sänger Stevie Winwood, dessen Vokal-Part übernimmt Spencer Davis selbst) durch die Lande; von diesen Auftritten gibt`s inzwischen auch eine DVD. Ich sah sie zuletzt im Mai 2003 im Club "Spektrum" in Augsburg, stand direkt einen Meter vor ihnen an der Bühne und sie spielten ihre Songs so frisch runter, dass man hätte denken können, die Zeit sei im Jahr 1966 stehen geblieben. Leider habe ich zu spät eine Ankündigung bemerkt, dass sie vor wenigen Wochen schon wieder in Deutschland waren (am 22.4. z.B. im bayerischen Mühldorf).

[DOLCETTO]

ave Cambodunum,

auch die späteren soloprojekte vom guten Steve Winwood sind bei mir
immer wieder angesagt - z.b. "Refugees of the Heart" und andere.....

seine stimme ist gänsehaut - im prinzip ähnlich der von Peter Gabriel

ciao

[Cambodunum1]

@ ortega

Milestone kannte ich noch nicht, habe aber eben schon mal ein wenig in deren Shop gestöbert. Ich habe auch noch einen Tipp, vermute aber mal, dass du den kennst (gilt natürlich auch für alle anderen Interessenten):

http://www.bear-family.de/

Bear Family versendet jährlich mehrere Kataloge, die zum Teil hunderte Seiten umfassen. Spezialgebiet ist Country Music.

@ Dolcetto

Gänsehaut - das ist genau die passende Bezeichnung.

Gruß
Cambo

[fixbutte]

ortega
zu Deiner Frage in #470 - die zweite Solosingle von Dave Davies war tatsächlich von ihm allein komponiert (Nov 1967, UK #20, D #27)



Dave Davies - Suzannah`s Still Alive
Written by Dave Davies

Oh, Suzannah`s bedraggled but she
Still wears the locket `round her neck.
She`s got a picture on the table
Of a man who is young and able.

Oh, Suzannah`s gonna cry,
Oh, Suzannah`s still alive.
Whiskey or gin, that`s alright,
When there`s nothing in her bed at night
She sleeps with the covers down,
Hopin` that somebody gets in.
Doesn`t matter what she does,
She knows that she can`t win.
Oh, Suzannah`s gonna cry.

She`s got a doll with one eye,
That always cries when she gets some sleep
She`s waiting for a soldier to come home,
But she`ll cry and never die.

Oh, Suzannah`s gonna cry,
Oh, Suzannah`s still alive.
Whiskey or gin, that`s alright,
When there`s nothing in her bed at night
She sleeps with the covers down,
Hopin` that somebody gets in.
Doesn`t matter what she does,
She knows that she can`t win.
Oh, Suzannah`s still alive.

Oh, Suzannah`s gonna cry,
Oh, Suzannah`s still alive.
Oh, Suzannah`s still alive.

[fixbutte]

toll Freunde

Der Thread really keeps on running

Cambo das von Dir schön bebilderte Summer In The City war in diesem Thread wirklich überfällig - auch meine Lieblingsnummer von Lovin` Spoonful, die ich aber auch sonst sehr schätze.

Dolce
noch verrückter - das von Dir gepostete Keep On Running der Spencer Davis Group wollte ich schon seit Dienstag unbedingt einem vorübergehend abgängigen Freund widmen, mit der Bitte, doch weiter mit uns zu laufen und nun finde ich es hier von Dir
(und gleichzeitig wird im Golf Thread Paper Sun von Steve Winwoods späterer Band Traffic gepostet )

Zufälle gibt`s, die gibt`s gar nicht

Spencer Davis war, soweit ich mich erinnere, vor Beginn seiner Musikerkarriere Deutschlehrer und spricht perfekt deutsch. Vielleicht erklärt sich dadurch folgende Rarität von 1967, die ich zugegebenermaßen nicht mehr so ganz im Ohr habe

[DOLCETTO]

ähäm, froind Cockney
guckst du die message:
Suche nach `keeps on running` (Stichwort)
Es wurden leider keine Übereinstimmungen gefunden.

der alte dolce findet nix mach mal ne ansage, wer
diesen sräd hier reingestellt hat, bitterschön

@fixbutte,
ich habs mit freuden genossen - ein hervorragendes duo:
>>Traffic & wosie

yeah und die vibes ziehen noch mehr kreise, ich hab bei mista
hawkhead vor längerer zeit eine best of Lovin`Spoonful
abgestaubt, dieses teil kommt immer wieder in den player:
>>sauber gespielte perlen aus dieser wahrlich guten musik-zeit

[Cambodunum1]

fixbutte , das ist ja vielleicht ein Ding, Spencer Davis mit "Det war in Schöneberg". Das Stück kannte ich wahrlich noch nicht. Aber da du das schreibst, das stimmt mit den ausgezeichneten Deutschkenntnissen. Ich hatte es längst ausgespeichert, aber jetzt kommt so langsam die Erinnerung wieder.

Zu Dave Davies:
Das ist bemerkenswert, da stimmen die Angaben in den diversen Hit-Zusammenstellungen offensichtlich nicht.

[wolaufensie]

....Paper Sun
(Winwood/Capaldi)
http://www.caisy.spb.ru/sound/bg/love/22_-_paper_sun__-_traf…
Well you think you had a good time
With the boy that you just met
Kicking sand from beach to beach
Your clothes all soaking wet
But if you look around and see
A shadow on the run
Don`t be too surprised if its just a paper sun

Ahh Paper Sun, Ahh Paper Sun

In the room where you`ve been sleeping
All your clothes all thrown about
Cigarettes burn window sills
Your meter`s all run out
But then again its nothing
You just split when day is done
Pitching lips to nowhere, hung up on the paper sun

Standing in the cool of my room
Fresh cut flowers give me sweet perfume
Too much sun will burn!

When you`re feeling tired and lonely
You see people going home
You can`t make the train fare
Or the six pence for the phone
And icicles your crying
From your cheek have just begun
Dont be sad, good times are had
Beneath the paper sun

Daylight breaks while you sleep on the sand
A seagull is stealing the ring from your hand
The boy who had given you so much fun
Has left you so cold in the paper sun

[fixbutte]

[wolaufensie]

[wolaufensie]

...Spencer Davis ist eigentlich für mich deswegen
unvergesslich, weil ich aus irgendeinem Grund ständig
seinen Namen vergesse....
Oft höre ich irgendetwas von ihm und denke mir, "Mensch das ist ja die ......??? Hilfe ! - schon wieder Vergessen-Gruppe."
Vielleicht lag es daran, dass sie nicht so ganz markant ,
wie die erfolgreichsten Bands damals wirkten...
...Hier z.B. gibt Spencer schon mal ganz prophetisch den Don Jonhson...

http://www.cornjerkers67.org/Music/Spencer Davis Group.mp3
Gimme some lovin’ early in the morning
I just woke up with this appetite
Gimme some love in the morning light

Gimme some lovin’ early in the morning
I just woke up with this appetite
Gimme some love in the morning light

Some people like it in the afternoon
But I don’t think that I can wait that soon
Give me some love in the mornin light
Some people like it late at night
I could wait that long but I don’t think I might
Give me some lovin in the mornin light
I’m gonna love you soft and love you sweet
I can feel your heart beat
I need your attention to get me started right
I’m gonna wake you up with a kiss on the cheek
Come a little closer open up to me
Good morning baby good mornin baby
Open your eyes just a little bit
Good morning sunshine I can’t resist
Dreaming about you baby all through the night

....aber die Zeit geht weiter, und bei der obigen
Gruppe wüsste ich Spencer Davis nicht mehr zu benennen.

...und auch bei den unteren Herren, vermute ich ihn eher als den blonden ...

...kann es sein, dass das Lied bei den Blues Brothers
...oder so, zu nochmaligen Ehren kam ? ...

[fixbutte]

Da Dolce schon mehrfach die hier herumfliegenden good vibes festgestellt hat, frage ich mich, warum dieser Song bisher noch nicht aufgetaucht ist, der auch ganz prima in den von Cambo hervorgehobenen fruchtbaren Pop-Jahrgang 1966 passt

Ein symphonisches Meisterwerks des später völlig abgedrehten Genies Brian Wilson (#1 USA 10.12.1966, #1 UK 17.11.1966, #8 D 15.1.1967)




THE BEACH BOYS - GOOD VIBRATIONS

I, I love the colorful clothes she wears
And the way the sunlight plays upon her hair
I hear the sound of a gentle word
On the wind that lifts her perfume through the air

I’m pickin’ up good vibrations
She’s giving me excitations
I’m pickin’ up good vibrations
(oom bop bop good vibrations)
She’s giving me excitations
(oom bop bop excitations)
Good good good good vibrations
(oom bop bop)
She’s giving me excitations
(oom bop bop excitations)
Good good good good vibrations
(oom bop bop)
She’s giving me excitations
(oom bop bop excitations)

Close my eyes
She’s somehow closer now
Softly smile, I know she must be kind
When I look in her eyes
She goes with me to a blossom world

I’m pickin’ up good vibrations
She’s giving me excitations
I’m pickin’ up good vibrations
(oom bop bop good vibrations)
She’s giving me excitations
(oom bop bop excitations)
Good good good good vibrations
(oom bop bop)
She’s giving me excitations
(oom bop bop excitations)
Good good good good vibrations
(oom bop bop)
She’s giving me excitations
(oom bop bop excitations)

(ahhhhhhh)
(ah my my what elation)
I don’t know where but she sends me there
(ah my my what a sensation)
(ah my my what elations)
(ah my my what)

Gotta keep those lovin’ good vibrations
A happenin’ with her
Gotta keep those lovin’ good vibrations
A happenin’ with her
Gotta keep those lovin’ good vibrations
A happenin’

Ahhhhhhhh
Good good good good vibrations
(oom bop bop)
(I’m pickin’ up good vibrations)
She’s giving me excitations
(oom bop bop)
(excitations)
Good good good good vibrations
(oom bop bop)
She’s na na...

Na na na na na
Na na na
Na na na na na
Na na na
Do do do do do
Do do do
Do do do do do
Do do do

[Cambodunum1]

Gestern sagte ich mir, dass es Zeit wird, mal etwas über eine der innovativsten Gruppen der 60iger überhaupt zu posten: Die Beach Boys. Deren kreativer Kopf Brian Wilson hatte ich schon immer etwas mit Ray Davies verglichen, was beider Schaffenskraft und Ideenreichtum anbelangt.

Ich kramte also die CD "Smiley Smile" hervor und überlegte, ob ich mich erst "Heroes And Villains" oder "Good Vibrations" widmen sollte. Dann kam etwas anderes dazwischen und ich musste mein Vorhaben verschieben.

Hi fixbutte , findest du das nicht auch lustig?

[technostud]

David Bowie

Title: Rock `n` Roll Suicide

Album: Rise And Fall Of Ziggy Stardust



Time takes a cigarette, puts it in your mouth
You pull on your finger, then another finger, then your cigarette
The wall-to-wall`s calling, it lingers, then you forget
You`re a rock `n` roll suicide

You`re too old to lose it, too young to choose it
And the clock waits patiently on your song
You walk past the cafe but you don`t eat when you`ve lived too long
You`re a rock `n` roll suicide

Chev brakes are snarling as you stumble across the road
But day breaks instead so you hurry home
Don`t let the sun blast your shadow
Don`t let the milk floats ride your mind
So natural-religiously unkind

Oh, no, love! you`re not alone
You`re watching yourself but you`re too unfair
You got your head all tangled up, but if I could only make you care
Oh, no, love! you`re not alone

No matter what or who you`ve been
No matter when or where you`ve seen
All the knives seem to lacerate your brain
I`ve had my share, so I`ll help you with the pain
You`re not alone, just turn on with me
You`re not alone, let`s turn on and be
You`re not alone, gimme your hands
You`re wonderful, gimme your hands
You`re wonderful, gimme your hands

[technostud]

Psst ... habe übrigens wieder eine Wohnung in Hamburg ....

[CockneyRebel]

.
Hi techno!

Was`n Zufall - ist keine 20 Minuten her, da hab` ich mir wieder die Hamburch-Pics vom Januar angeguckt!
.

[fixbutte]

Moin Leute
Es gäbe ja noch einige Fäden weiterzuspinnen

Vielleicht zuerst
Cambo #489
Das ist mir allerdings schon mehrfach (hier und in Iguanas Thread) passiert aber das sind ja wohl gerade die good vibes, die Dolcetto meint.
Zu Good Vibrations könnte noch nachgetragen werden: die Aufnahme des Stücks (in vier verschiedenen Studios) und Produktion dauerte sieben Monate und kostete damals unvorstellbare 17.000 Dollar - die teuerste Single, die bis zu diesem Zeitpunkt weltweit erschienen war.

Auf dem äußerst gewöhnungsbedürftigen Album Smiley Smile, auf dem der Titel später (Sept 1967) enthalten war, fanden sich nur Bruchstücke des von Brian Wilson geplanten, aber nicht vollendeten Großwerk Smile.

[CockneyRebel]

.
Gut, dass es die Tastenkombination Strg+C gibt... hätte ich das eintippen sollen, hätte ich mich für einen anderen Text entschieden!

Aber so soll auch mal eines der weniger tiefgängigen Lieder zu Ehren kommen:


Barbara Ann

Beach Boys

A Bar bar bar bar Barbar Ann
Bar bar bar bar Barbar Ann
(Bar bar bar bar Barbar Ann)
Oh Barbara Ann take my hand
(Bar bar bar bar Barbar Ann)
Barbara Ann
(Bar bar bar bar Barbar Ann)
You got me rockin` and a rollin`
Rockin` and a reelin` Barbara Ann
Bar bar bar bar Barbar Ann

Went to a dance looking for romance
Saw Barbara Ann so I thought I`d take a chance
Barbara Ann
Bar bar bar bar Barbar Ann

Oh Barbara Ann take my hand
(Bar bar bar bar Barbar Ann)
Barbara Ann
(Bar bar bar bar Barbar Ann)
You got me rockin` and a rollin`
Rockin` and a reelin` Barbara Ann
Bar bar bar bar Barbar Ann

Say Bar bar bar bar Barbar Ann
Bar bar bar bar Barbar Ann
Oh Barbara Ann take my hand
(Bar bar bar bar Barbar Ann)
Barbara Ann
(Bar bar bar bar Barbar Ann)
You got me rockin` and a rollin`
Rockin` and a reelin` Barbara Ann
Bar bar bar bar Barbar Ann

Tried Betty Sue
Tried Betty Sue
Tried Betty Sue but I knew she wouldn`t do
Bar bar bar bar Barbar Ann
Oh Barbara Ann take my hand
(Bar bar bar bar Barbar Ann)
Barbara Ann
(Bar bar bar bar Barbar Ann)
You got me rockin` and a rollin`
Rockin` and a reelin` Barbara Ann
Bar bar bar bar Barbar Ann

Bar bar bar bar Barbar Ann
Bar bar bar bar Barbar Ann
Bar bar bar bar Barbar Ann
Oh Barbara Ann take my hand
(Bar bar bar bar Barbar Ann)
Barbara Ann
(Bar bar bar bar Barbar Ann)
You got me rockin` and a rollin`
Rockin` and a reelin` Barbara Ann
Bar bar bar bar Barbar Ann

Barbar Ann
Barbar Ann

[CockneyRebel]

.
Die Suche nach den Lyrics hat mich übrigens zu einer netten Seite gebracht - die liest sich wie die Speisekarte für Deinen Thread, fixbutte!

http://home.vr-web.de/ebbow/repert.htm
.

[fixbutte]

wosie #487

Spencer Davis - den Namen kann ich mir zwar merken, aber ein Gesicht zuzuordnen fällt schon schwerer. Seiner eigenen Website zufolge sieht Spencer in Action heute so aus



so dass er auf dem zweiten von Dir geposteten Bild rechts außen zu finden sein dürfte (und auf dem dritten eher gar nicht ).

Der Name der Spencer Davis Group war eigentlich auch Etikettenschwindel, denn der Leadgesang und die wichtigsten Instrumente (u.a. Leadgitarre und Keyboards) stammten von dem musikalischen Wunderkind Stevie Winwood, der auch als einziges Bandmitglied an Hitkompositionen beteiligt war (Gimme Some Lovin`, I`m A Man). Spencer Davis war auf die Rhythmusgitarre beschränkt, Stevies Bruder Muff Winwood (später Plattenmanager bei Island Records) spielte Bass und der (allerdings unbestreitbar exzellente) Schlagzeuger war Pete York (später u.a. Hardin & York, Klaus Doldinger Passport).

Die Benennung nach einem Bandmitglied war (wie offenbar auch bei Manfred Mann) reine Willkür und hatte nichts mit dem besonderen Gewicht von Spencer Davis in der Band zu tun: It was Muff Winwood who came up with the name Spencer Davis Group on the pretext that Davis could do the interviews while the others could stay in bed.

Zu den Köpfen

....................

Muff Winwood, Pete York (back), Spencer Davis, Steve Winwood
(Muff Winwood zumindest kann man eine markante Physiognomie nicht absprechen)

Stevie Winwood (*12.5.1948) war, als die Gruppe gegründet wurde, gerade erst 16 und beim ersten No. 1 Hit der SDG (Keep On Running) 17 Jahre alt. Die letzte Single der Band mit Stevie (von ihm mitkomponiert) kam im Frühjahr 1967 heraus, zu einem Zeitpunkt, als er bereits beschlossen hatte, die Band zu verlassen, um mit Dave Mason und Jim Capaldi Traffic zu gründen. Der Titel erreichte die Top Ten in England und Amerika (#9 UK, #10 US) und in einer Neuinterpretation von Chicago (damals noch Chicago Transit Authority) im Jahr 1970 nochmals die amerikanischen Charts.



SPENCER DAVIS GROUP - I`M A MAN

Well my pad is very messy
And there`s whiskers on my chin
And I`m all hung up on music
And I always play to win
I ain`t got no time for lovin`
Cause my time is all used up
Just to sit around creatin`
All that groovy kind of stuff.
I`m a man
Yes I am
And I can`t help
But love you so
I`m a man
Yes I am
And I can`t help
But love you so.

Well if I had my choice of matter
I would rather be with cats
All engrossed in mental chatter
Moving where our minds are at
And relating to each other
Just how strong our wills can be
I`m resisting all involvement
With each groovy chick we see

Well I`m a man
Yes I am
And I can`t help
But love you so
I`m a man
Yes I am
And I can`t help
But love you so.

I got to keep my image
While suspended from a throne
That looks out upon a kingdom
Full of people all unknown
Who imagine I`m not human
And my heart is made of stone
I never had no problems
And my toilet`s trimmed with chrome

I`m a man
Yes I am
And I can`t help
But love you so.
I`m a man
Yes I am
And I can`t help
But love you so.

[CockneyRebel]

.
Dort kennt man sogar die Petards aus Schrecksbach!



Na, bevor der Text wieder verschwindet, will ich ihn lieber mal hier hinüber retten:

Pretty Liza

Petards

When you stepped inside my life
I knew you were the only one
So you gotta stay with me now
Every day, every day of my days
And you have to care for me
And you`ll have you satisfied

Pretty Liza keep me smiling
Like a fire in the night
Pretty Liza keep me smiling
Keep on walking by my side

Any time you glance at me
I could feel the warm you drop your eyes
Any time you pained at me
I saw your thoughts deep down inside
Any time you walked my way
I feel comin` down a lonesome road

Pretty Liza keep me smiling
Like a fire in the night
Pretty Liza keep me smiling
Keep on walking by my side

Pretty Liza keep me smiling
Like a fire in the night
Pretty Liza keep me smiling
Keep on walking by my side ....


.

[CockneyRebel]

.
Da es im Moment keine weiteren Wortmeldungen gibt, hier noch etwas zu den Petards:

Ursprünglich aus Schrecksbach (bei Schwalmstadt/Hessen) waren sie in den 60er Jahren neben Bands wie "The Lords" oder "The Rattles" eine der erfolgreichsten und populärsten Bands der Beat-Aera in Deutschland.

Die Urformation der Petards bestand im Gründungsjahr 1966 aus Horst und Klaus Ebert, Rüdiger "Roger" Waldmann und Hans Jürgen Schreiber,der im Juni 1967 durch Arno Dittrich -zu damaligen Zeiten als bester Schlagzeuger Deutschlands gehandelt- ersetzt wurde. Arno versetzte mit seinen Soli die Zuhörer regelrecht in Trance. Sie gewannen mit ihm den Nachwuchswettbewerb des SWF. Damit konnten sie ihre erste LP »A Deeper Blue« einspielen. Ihre Singles »Golden Glass« sowie der Nachfolger »Shoot Me Up To The Moon« plazierten sich auf dem 1. Platz der Schlagerbörse des hr und der Hitparade im SWF.

Im Jahr 1968 wurde ihre zweite LP »Petards« mit dem Nr.1 Hit »Pretty Liza« veröffentlicht. In diesem Jahr produzierten sie mit ihrer Single »Misty Island« einen raffinierten Ohrwurm, der noch heute als Klassiker der Beat-Ära gilt. Sie tourten durch Deutschland und gaben einige Konzerte in der damaligen CSSR. Die Hallen waren ausgebucht, besonders die Fanclubs (bis zu 380) sorgten für die richtige Stimmung am Veranstaltungsort. In der Pop-Poll-Umfrage der Zeitschrift "Musikexpress" wurden sie zur "besten Nachwuchsgruppe" gewählt. Ihr Album erreichte in der Auswertung der "LP des Jahres" den 5. Platz.

Mehr:

http://www.thepetards.com/start1.htm


.

[fixbutte]

Auch das dritte von wosie in #487 gepostete Bild enthält natürlich einen Prominenten (links), der wohl schon zur Zeit seines größten (man kann auch sagen: einzigen) Erfolgs nur wenig Haare auf dem Kopf hatte, was vielleicht an der Angewohnheit lag, dass er sich auf der Bühne gerne einen brennenden Feuerkranz aufsetzte

I am The God of Hellfire, and I bring you.....FIRE!



The Crazy World Of Arthur Brown - Fire

I am the god of hellfire and I bring you:
Fire, I`ll take you to burn.
Fire, I`ll take you to learn.
I`ll see you burn!

You fought hard and you saved and learned,
but all of it`s going to burn.
And your mind, your tiny mind,
you know you`ve really been so blind.
Now `s your time burn your mind.
You`re falling far too far behind.
Oh no, oh no, oh no, you gonna burn!
Fire, to destroy all you`ve done.
Fire, to end all you`ve become.
I`ll feel you burn!

You`ve been living like a little girl,
in the middle of your little world.
And your mind, your tiny mind,
you know you`ve really been so blind.
Now `s your time burn your mind,
you`re falling far too far behind.



Arthur Brown (b. 24th June 1942, Whitby, Yorkshire) had started singing in the early 1960s and had been a member of various amateur and semi-pro bands while a student before moving to France during 1966. It was there that he created the beginnings of his zany stage act and eccentric persona, becoming a popular Parisian night club entertainer.

`Crazy World Of Arthur Brown` was created on his return to England during 1967. His bizarre antics on stage and his extensive make-up- long before the practice became popular- swiftly gained him notoriety and news of the group spread to new record label Track. The group`s second release `Fire!`, on which Brown`s magnificently powerful vocal is put to good effect went all the way to the top (#1 UK, 1968). However, the band had nothing else amongst their extensive stage material that could be used to consolidate their achievement and they became `one hit wonders`.

Despite Arthur Brown`s absence from the Pop chart, he remained a popular live act and had some success with albums throughout the 1970s. `Crazy World` was wound up during the early 1970s and Arthur pursued a solo career before finally retiring from professional music. However, he still returns to show business when the opportunity presents itself and demonstrates that he still has `Fire!`.

[fixbutte]

Danke für die Vorlage Cockney

zur #500

Die echten Kinks Hits werden langsam knapp

Dieses hier war im Juni 1968 die zwanzigste Single der Kinks (ohne die Solowerke von Dave Davies). Obwohl der Song sehr schön und einprägsam ist, erreichten die Kinks in England damit nicht die Top Ten (#12 UK), in den USA kamen sie nicht mal mehr in die Hot Hundred, in Deutschland nur auf einen schwachen Platz 28

Das deutsche Cover stellte die Kinks als - vermutlich unfreiwillig - fratzenhafte Scherenschnitte dar
Das holländische und das norwegische Cover boten dafür einen Apostroph zuviel



Days

Thank you for the days,
those endless days,
those sacred days
you gave me.
I`m thinking of the days,
I won`t forget
a single day,
believe me.

I bless the light,
I bless the light
that lights on you
believe me.
And though you`re gone,
you`re with me
every single day,
believe me.

Days I`ll remember all my life,
days when you can`t see wrong from right.
You took my life,
but then I knew
that very soon
you`d leave me,
but it`s all right,
now I`m not frightened
of this world,
believe me.

I wish today could be tomorrow,
the night is dark,
it just brings sorrow
anyway.

Thank you for the days,
those endless days,
those sacred days
you gave me.
I`m thinking of the days,
I won`t forget
a single day,
believe me.

Days I`ll remember all my life,
days when you can`t see wrong from right.
You took my life,
but then I knew
that very soon
you`d leave me,
but it`s all right,
now I`m not frightened
of this world,
believe me.
Days.

Thank you for the days,
those endless days,
those sacred days
you gave me.
I`m thinking of the days,
I won`t forget
a single day,
believe me.

I bless the light,
I bless the light
that shines on you
believe me.
And though you`re gone,
you`re with me
every single day,
believe me.
Days.




Die wahren Qualitäten des Songs wurden spätestens erkannt, als Kirsty MacColl im Juni 1989 eine Neuinterpretation von Days in die Hitparaden brachte. Kirsty MacColl ist eine tragische Figur, die nie den Erfolg hatte, der ihrem Talent entsprach, und die im Jahr 2000 mit 41 Jahren in Mexiko beim Schwimmen von einem Boot tödlich verletzt wurde.