samedi 25 juin 2011
saint paul .. le temps presse ... (oh it's you that I want, but it's Him that I need)
I can’t wait, wait for you to change your mind
It’s late, I’m trying to walk the line
Well, it’s way past midnight and there are people all around
Some on their way up, some on their way down
The air burns and I’m trying to think straight
And I don’t know how much longer I can wait
I’m your man, I’m trying to recover the sweet love that we knew
You understand that my heart can’t go on beating without you
Well, your loveliness has wounded me, I’m reeling from the blow
I wish I knew what it was keeps me loving you so
I’m breathing hard, standing at the gate
But I don’t know how much longer I can wait
Skies are grey, I’m looking for anything that will bring a happy glow
Night or day, it doesn’t matter where I go anymore, I just go
If I ever saw you coming I don’t know what I would do
I’d like to think I could control myself, but it isn’t true
That’s how it is when things disintegrate
And I don’t know how much longer I can wait
I’m doomed to love you, I’ve been rolling through stormy weather
I’m thinking of you and all the places we could roam together
It’s mighty funny, the end of time has just begun
Oh, honey, after all these years you’re still the one
While I’m strolling through the lonely graveyard of my mind
I left my life with you somewhere back there along the line
I thought somehow that I would be spared this fate
But I don’t know how much longer I can wait
can't wait (le temps presse)/jeudi 22 juin 2011, milan...
belle (al green): oh it's you that I want, but it's Him that I need
and now here's the 2000 version of i can't wait, a magical take on a magical song ....
It’s late, I’m trying to walk the line
Well, it’s way past midnight and there are people all around
Some on their way up, some on their way down
The air burns and I’m trying to think straight
And I don’t know how much longer I can wait
I’m your man, I’m trying to recover the sweet love that we knew
You understand that my heart can’t go on beating without you
Well, your loveliness has wounded me, I’m reeling from the blow
I wish I knew what it was keeps me loving you so
I’m breathing hard, standing at the gate
But I don’t know how much longer I can wait
Skies are grey, I’m looking for anything that will bring a happy glow
Night or day, it doesn’t matter where I go anymore, I just go
If I ever saw you coming I don’t know what I would do
I’d like to think I could control myself, but it isn’t true
That’s how it is when things disintegrate
And I don’t know how much longer I can wait
I’m doomed to love you, I’ve been rolling through stormy weather
I’m thinking of you and all the places we could roam together
It’s mighty funny, the end of time has just begun
Oh, honey, after all these years you’re still the one
While I’m strolling through the lonely graveyard of my mind
I left my life with you somewhere back there along the line
I thought somehow that I would be spared this fate
But I don’t know how much longer I can wait
can't wait (le temps presse)/jeudi 22 juin 2011, milan...
belle (al green): oh it's you that I want, but it's Him that I need
and now here's the 2000 version of i can't wait, a magical take on a magical song ....
don was/kris kristofferson
closer to the bone/kk and dw
guy clark, don was/ ..... mark erelli/don was
cow boy jack clement/don was/buddy miller/don was
stephen bruton and don was/gordie sampson, don was
TO BE CONTINUED ......
all don was are here ..... ...... click to see
clarinet voice emmett, yes, that's what this sweet singer, vaudeville king, was ....
but please remember emmett, sweet emmett, never used expensive jazzy swing musicians like the dorsey bros in his vaudeville days .... so what did emmett, greatest blackface ever recorded, sweetest georgia black minstrel ever, what did he REALLY sound like? guess we'll never know ....
what we do know, however, is that youg hank williams saw emmett performing lovesick blues in a vaudeville tent, somewhere in the far west (or far south) and that he modeled his version, yodel included, on emmett millers's ever so famous howl ...so how DID old emmett sound like? probably more like young "tb" hank williams than his own jazzy versions on vinyl (or cd) ... .... ...
patsy cline's own magnificent live version on tv (1959), even more sensual and wilder than hank williams'
but please remember emmett, sweet emmett, never used expensive jazzy swing musicians like the dorsey bros in his vaudeville days .... so what did emmett, greatest blackface ever recorded, sweetest georgia black minstrel ever, what did he REALLY sound like? guess we'll never know ....
what we do know, however, is that youg hank williams saw emmett performing lovesick blues in a vaudeville tent, somewhere in the far west (or far south) and that he modeled his version, yodel included, on emmett millers's ever so famous howl ...so how DID old emmett sound like? probably more like young "tb" hank williams than his own jazzy versions on vinyl (or cd) ... .... ...
patsy cline's own magnificent live version on tv (1959), even more sensual and wilder than hank williams'
à propos de la forêt interdite
Au cours de l’été 1963, les journalistes Serge Daney et Louis Skorecki avaient rencontré George Cukor à Hollywood. Quand ils avaient évoqué devant lui la Forêt interdite de Nicholas Ray, le cinéaste s’était carrément foutu d’eux.
Il trouvait le film ridicule, en particulier la distribution qui comptait, entre autres bizarreries, l’ancienne stripteaseuse Gypsie Rose Lee dans le rôle d’une tenancière de bordel ... ....
.... .... écrit le journaliste bruno icher dans libération (plutôt un bon journaliste, ce qui se fait rare) ... il faitune erreur historique de taille (par paresse plus que par ignorance, vu qu'il connaît bien les aventures hollywoodiennes du couple SD/LS), à savoir que c'est l'ami daney, parlant à peine l'anglais, qui suivait à la trace son copain de lycée jean-louis noames (futur louis skorecki) qui essaimait les collines hollywoodiennes depuis un an ou plus ....
1. dire louis skorecki et serge daney, s'il vous plaît, par pure politesse ....
2. préciser que cette folle de cukor, entouré de ses folles copines, riait à s'éclater la rate à l'évocation de cette merde de mélo écolo signé nick ray (cinéaste viril dont il était évidemment jaloux, et dont il n'eût jamais le dizième du génie)
3. même si les lignes sont rares à libé, rapopeler que gypsy rose lee (déjà vieille dans la forêt interdite), avait été la maîtresse d'otto preminger, qui lui versa une pension d'amour jusqu'à sa mort ...
4. comme on avait marché plus d'une heure (pas de voiture, pas de permis) sur ces putains de collines hollywoodiennes pour arriver à la villa cukorienne haut perchée, ce "woman's director" se pinça le nez en me reniflant, et envoya son valet chercher une chemise neuve pour masquer mon odeur, trop forte pour ses narines délicates (pascal thomas raconta -dans elle je crois, ou il était pigiste-, que j'ai gardé ce trophée chemisier pendant des année, ce qui est évidemment faux ....
5. ces (més)aventures se sont passées en juillet 1965 ...
@ EJ:
j'ai vu mieux que dolphy: coltrane jouant avec shepp (shepp sublime, coltrane pitoyable) à chicago, un été de 1965, rollins plusieurs soirs de suite au village gate, en avant programme il y avait cecil taylor, les deux avec des trios de rêve ... ....
mais sans vouloir questionner la mémoire de mr ginsberg à propos de présence et des cahiers, à part le vieux louis marcorelle (et l'ami simon mizrahi) je suis LE SEUL FRANçAIS (et, excusez mon orgueil, le seul journaliste TOUT COURT, vivant ou mort) à avoir vu ces glorieux cinéastes, tourneur, dwan, walsh,mc carey, ludwig, heisler, renoir, keaton, sternberg, hawks ... ... ... entre 1963 et 1965 ... et donc à avoir vraiment vu sur leurs tournages comment ça se passait VRAIMENT, quelques années avant qu'ils n'aillent raconter à ce crétin de bogdanovich (ou même à l'ami rissient qui s'est lui aussi fait rouler dans la farine) tout ce qu'ils avaient appris par coeur du message auteuriste des cahiers et qu'ils récitaient comme des perroquets ("j'adore filmer à hauteur d'homme, vous savez?") à ces journalistes/cinéastes tardifs
Il trouvait le film ridicule, en particulier la distribution qui comptait, entre autres bizarreries, l’ancienne stripteaseuse Gypsie Rose Lee dans le rôle d’une tenancière de bordel ... ....
.... .... écrit le journaliste bruno icher dans libération (plutôt un bon journaliste, ce qui se fait rare) ... il faitune erreur historique de taille (par paresse plus que par ignorance, vu qu'il connaît bien les aventures hollywoodiennes du couple SD/LS), à savoir que c'est l'ami daney, parlant à peine l'anglais, qui suivait à la trace son copain de lycée jean-louis noames (futur louis skorecki) qui essaimait les collines hollywoodiennes depuis un an ou plus ....
1. dire louis skorecki et serge daney, s'il vous plaît, par pure politesse ....
2. préciser que cette folle de cukor, entouré de ses folles copines, riait à s'éclater la rate à l'évocation de cette merde de mélo écolo signé nick ray (cinéaste viril dont il était évidemment jaloux, et dont il n'eût jamais le dizième du génie)
3. même si les lignes sont rares à libé, rapopeler que gypsy rose lee (déjà vieille dans la forêt interdite), avait été la maîtresse d'otto preminger, qui lui versa une pension d'amour jusqu'à sa mort ...
4. comme on avait marché plus d'une heure (pas de voiture, pas de permis) sur ces putains de collines hollywoodiennes pour arriver à la villa cukorienne haut perchée, ce "woman's director" se pinça le nez en me reniflant, et envoya son valet chercher une chemise neuve pour masquer mon odeur, trop forte pour ses narines délicates (pascal thomas raconta -dans elle je crois, ou il était pigiste-, que j'ai gardé ce trophée chemisier pendant des année, ce qui est évidemment faux ....
5. ces (més)aventures se sont passées en juillet 1965 ...
@ EJ:
j'ai vu mieux que dolphy: coltrane jouant avec shepp (shepp sublime, coltrane pitoyable) à chicago, un été de 1965, rollins plusieurs soirs de suite au village gate, en avant programme il y avait cecil taylor, les deux avec des trios de rêve ... ....
mais sans vouloir questionner la mémoire de mr ginsberg à propos de présence et des cahiers, à part le vieux louis marcorelle (et l'ami simon mizrahi) je suis LE SEUL FRANçAIS (et, excusez mon orgueil, le seul journaliste TOUT COURT, vivant ou mort) à avoir vu ces glorieux cinéastes, tourneur, dwan, walsh,mc carey, ludwig, heisler, renoir, keaton, sternberg, hawks ... ... ... entre 1963 et 1965 ... et donc à avoir vraiment vu sur leurs tournages comment ça se passait VRAIMENT, quelques années avant qu'ils n'aillent raconter à ce crétin de bogdanovich (ou même à l'ami rissient qui s'est lui aussi fait rouler dans la farine) tout ce qu'ils avaient appris par coeur du message auteuriste des cahiers et qu'ils récitaient comme des perroquets ("j'adore filmer à hauteur d'homme, vous savez?") à ces journalistes/cinéastes tardifs
1933, hollywood
Most Hollywood historians don't realize that these 2 comedy titans were a team for a short while in the early 30's.
The Great Jimmy Durante was at the apex of his Broadway musical career when he was seduced by the big studios to get into "The Pictures".
Buster Keaton was nearing the nadir of his groundbreaking tenure as one of the few giants of the Silent Film Era to actually give Charlie Chaplin a run for his money. His brilliant physical comedy career was actually hurt a bit by the advent of the "talkies"...(I personally love his voice; as you can hear in this clip, he had a deep, melancholy vocal tone with a midwestern drawl that made him quite endearing.)
Both men were rather short, and Durante, who was about an inch taller, often squated and slouched so he could look up to his partners, including the shorter Keaton.
One can speculate why their comedy pairing didn't last. I think it's a marvelous pairing of 2 of the most disctinctive personalities in the history of Show Business! Their contrasting energy levels exude robust chemistry and delight us with their timeless interaction.
what, no beer?/with jimmy durante and buster keaton (1933)
Jimmy, the raspy voiced bundle of chaotic energy who's always trying to get things done, and Buster, the shy, pensive nebbish who longs for love... It works!
And just look at that peripheral detail from the 1930's! This timely slice of Americana occured just after the voting out of the age of Prohibition, which forbade the legal sale of alcohol in the US for over 10 years.
You can feel the crackling spirit of "Happy Days are Here Again" as America was once again a Beer swiling Nation.
After all, that's what we do best in this country; Celebrate, right?!
And who better to have a few beers with than the Sultan of Sadness and The Earl of Ebullience!
copyright MISTER ESOTERIC
The Great Jimmy Durante was at the apex of his Broadway musical career when he was seduced by the big studios to get into "The Pictures".
Buster Keaton was nearing the nadir of his groundbreaking tenure as one of the few giants of the Silent Film Era to actually give Charlie Chaplin a run for his money. His brilliant physical comedy career was actually hurt a bit by the advent of the "talkies"...(I personally love his voice; as you can hear in this clip, he had a deep, melancholy vocal tone with a midwestern drawl that made him quite endearing.)
Both men were rather short, and Durante, who was about an inch taller, often squated and slouched so he could look up to his partners, including the shorter Keaton.
One can speculate why their comedy pairing didn't last. I think it's a marvelous pairing of 2 of the most disctinctive personalities in the history of Show Business! Their contrasting energy levels exude robust chemistry and delight us with their timeless interaction.
what, no beer?/with jimmy durante and buster keaton (1933)
Jimmy, the raspy voiced bundle of chaotic energy who's always trying to get things done, and Buster, the shy, pensive nebbish who longs for love... It works!
And just look at that peripheral detail from the 1930's! This timely slice of Americana occured just after the voting out of the age of Prohibition, which forbade the legal sale of alcohol in the US for over 10 years.
You can feel the crackling spirit of "Happy Days are Here Again" as America was once again a Beer swiling Nation.
After all, that's what we do best in this country; Celebrate, right?!
And who better to have a few beers with than the Sultan of Sadness and The Earl of Ebullience!
copyright MISTER ESOTERIC
the disease of conceit (1990)
the disease of conceit (la maladie d'orgueil)/london hammersmith, 08/02/1990
There's a whole lot of people suffering tonight from the disease of conceit
Whole lot of people struggling tonight from the disease of conceit
Comes right down the highway straight down the line
Rips into your senses through your body and your mind
Nothing about it that's sweet
The disease of conceit.
There's a whole lot of hearts breaking tonight from the disease of conceit
Whole lot of hearts shaking tonight from the disease of conceit
Steps into your room eats into your soul
Over your senses you have no control
Ain't nothing too discreet about the disease of conceit.
There's a whole lot of people dying tonight from the disease of conceit
Whole lot of people crying tonight from the disease of conceit
Comes right out of nowhere and you're down for the count
From the outside world the pressure will mount
Turn you into a piece of meat
The disease of conceit.
Conceit is the disease that the doctors got no cure
They've done a lot of research on it but what it is they're still not sure
There's a whole lot of people in trouble tonight from the disease of conceit
Whole lot of people seeing double tonight from the disease of conceit
Give you delusions of grandeur and evil eye
Give you the idea that you're too good to die
Then they bury you from your head to your feet
From the disease of conceit.
un rêve télé ou deux ....
columbo meets monk
please click on COLUMBO MEETS MONK/cliquer sur COLUMBO MEETS MONK
.... ... i always dreamed of columbo meeting his distant cousin, monk, somewhere around the corner of this beloved almost forgotten "art d'usine" (factory art) called cinema .... or tevision, if you prefer to name it this way .... it happens to be the actual name for cinema around here, in this deserted planet with plastic flowers falling all around ... (contre la nouvelle cinéphilie, adaptation libre)
dharma and greg/1999
hollywood
guy clark, don was .... a contemporary masterpierce in country blues from deep in the heart of texas ...
LOTS OF DON WAS PRODUCED ACCOUSTIC ELECTRIC MINOR COUNTRY POP ON JUNE 25 ... ... ... ... ....
tel aviv revisited
highway 61/simple twist of fate, both from great tel aviv june 20, 2011 concert
forgetful heart
yiddish al
al jolson in yiddish (remember the jazz singer, the story told, a jazzy vaudeville singer escapes from his father and his future as cantor .... it was the opposite story ...)
melbourne, 20 avril 2011
gonna change my way of thinkin'/melbourne, 20 avril 2011
25 septembre 2000/portsmouth, angleterre/la meilleure version live de frankie lee and judas priest ... thanks to my good youtube friend hollis1960
1997, bournemouth
don't think twice, it's alright ....one of his most difficult song to do, in a rare live inspirationnal love moment
van morrison/bob dylan
carrying a torch/van morrison (hyms of silence, 1991)/bob dylan (san diego, 2002)
have i been destroyed? (1/10)
jacob taubes' student, avita ronell (don't laugh right away, please .... )
bob dylan/can't wait (2000) ....///can't wait/le temps presse ("time presses on", as used to say saul, alias paul, alias st paul, only rabbi who was also christian ... ... jesus remained a rabbi until his death, didn't even know he was about to found a new religion .... thanks to old st paul) ... would love to hear 2011 version of can't wait, sadly prophetic as i imagine it to be, apocalyptic and all ... (even in english, jacob taubes is still my only teacher these days)
eloge de sternberg
http://www.fichesducinema.com/spip/spip.php?article2618
UN TRAIN DANS LA NUIT
Dans le train qui l’emporte vers Shanghai, Shanghai Lily rencontre son ancien amour, un médecin des armées qui l’a si peu oubliée qu’il porte toujours sur lui son portrait. Mais un chef révolutionnaire arrête le convoi et le médecin est désigné comme otage.
(JPG)
Dans un bel article, Louis Skorecki disait de ce film qu’il « navigue à bonne distance de ses propres travers stylistiques, avec une sorte d’humour froid qu’on prendrait à tort pour du second degré ». Ajoutons à cette très juste remarque que le cinéma, en particulier le cinéma hollywoodien de ce temps-là (le début des années 1930, le début du parlant), ne prolonge pas tant la rêverie du spectateur qu’il n’est un rêve incarné, matérialisé. Rêve, ici, d’une Chine coupe-gorge, d’un train traversant, fantomatique, des nuits noires de jais, rêve d’une réunion cosmopolite de personnages sympathiquement ridicules venus de toute l’Europe et des États-Unis, rêve d’un amour qui a survécu au temps et survivra aux malentendus, rêve, enfin, d’une femme de rêve, Marlene Dietrich, femme encore enfant qui sait aussi bien arpenter nerveusement un quai de gare que sourire aux anges près d’un tourne-disques, avec une grâce comme on n’en voit plus, surhumainement fragile. Un monde s’accorde ici à nos désirs d’aventure, d’exotisme, d’amour fou et de danger, sans prétendre arrimer le spectateur par des effets d’intimidation en quoi consistera l’essentiel, trente à quarante ans plus tard, du grand spectacle hollywoodien. Ici se joue plutôt la carte d’un esthétisme suranné, fait de volutes et de rideaux, de lenteur et de glamour, d’impatience et de secrets. Le film est à l’image de Marlene Dietrich/Shanghai Lily, une femme dont on ne sait si elle est ou non une prostituée et qui ne fera à personne le plaisir de lever l’ambigüité. Sternberg, sourire en coin, invente des bandits complaisants pour arbitrer les débats amoureux, joue à faire trembler ses personnages jusqu’à, dans la magnifique dernière séquence, nous sortir son plus beau tour : un montage en fondus associant la foule d’une gare et le couple qui s’embrasse, et que personne ne regarde. Sternberg connaissait au moins mille et une façons, toutes déviantes, toutes charmantes, de dissimuler l’absence de secret.
Mehdi Benallal
UN TRAIN DANS LA NUIT
Dans le train qui l’emporte vers Shanghai, Shanghai Lily rencontre son ancien amour, un médecin des armées qui l’a si peu oubliée qu’il porte toujours sur lui son portrait. Mais un chef révolutionnaire arrête le convoi et le médecin est désigné comme otage.
(JPG)
Dans un bel article, Louis Skorecki disait de ce film qu’il « navigue à bonne distance de ses propres travers stylistiques, avec une sorte d’humour froid qu’on prendrait à tort pour du second degré ». Ajoutons à cette très juste remarque que le cinéma, en particulier le cinéma hollywoodien de ce temps-là (le début des années 1930, le début du parlant), ne prolonge pas tant la rêverie du spectateur qu’il n’est un rêve incarné, matérialisé. Rêve, ici, d’une Chine coupe-gorge, d’un train traversant, fantomatique, des nuits noires de jais, rêve d’une réunion cosmopolite de personnages sympathiquement ridicules venus de toute l’Europe et des États-Unis, rêve d’un amour qui a survécu au temps et survivra aux malentendus, rêve, enfin, d’une femme de rêve, Marlene Dietrich, femme encore enfant qui sait aussi bien arpenter nerveusement un quai de gare que sourire aux anges près d’un tourne-disques, avec une grâce comme on n’en voit plus, surhumainement fragile. Un monde s’accorde ici à nos désirs d’aventure, d’exotisme, d’amour fou et de danger, sans prétendre arrimer le spectateur par des effets d’intimidation en quoi consistera l’essentiel, trente à quarante ans plus tard, du grand spectacle hollywoodien. Ici se joue plutôt la carte d’un esthétisme suranné, fait de volutes et de rideaux, de lenteur et de glamour, d’impatience et de secrets. Le film est à l’image de Marlene Dietrich/Shanghai Lily, une femme dont on ne sait si elle est ou non une prostituée et qui ne fera à personne le plaisir de lever l’ambigüité. Sternberg, sourire en coin, invente des bandits complaisants pour arbitrer les débats amoureux, joue à faire trembler ses personnages jusqu’à, dans la magnifique dernière séquence, nous sortir son plus beau tour : un montage en fondus associant la foule d’une gare et le couple qui s’embrasse, et que personne ne regarde. Sternberg connaissait au moins mille et une façons, toutes déviantes, toutes charmantes, de dissimuler l’absence de secret.
Mehdi Benallal
louis prima 1938
loch lomond by louis prima (1938)/... and i can't get started with you by maxine sullivan (and top jazzmen of the time, 1958, such as tyree glenn (tb) and coleman hawkins (ts)) ...... maxine sullivan was a light skinned negro swinger who made a hit, early in 1937, out of loch lomond, old traditionnal 17th century scottish song ....
skorecki fait de la radio
un bonus radio, bricolé à libé en 2006, sur
http://next.liberation.fr/musique/06013709-les-bonnes-ondes-de-dj-dylan
<
4th Time Around (from BLONDE ON BLONDE, 1966), live, 2000
http://next.liberation.fr/musique/06013709-les-bonnes-ondes-de-dj-dylan
<
4th Time Around (from BLONDE ON BLONDE, 1966), live, 2000
When she said,
"Don't waste your words, they're just lies,"
I cried she was deaf.
And she worked on my face until breaking my eyes,
Then said (coupé du clip/concert)
"What else you got left?"
It was then that I got up to leave
But she said, "Don't forget,
Everybody must give something back
"Don't waste your words, they're just lies,"
I cried she was deaf.
And she worked on my face until breaking my eyes,
Then said (coupé du clip/concert)
"What else you got left?"
It was then that I got up to leave
But she said, "Don't forget,
Everybody must give something back
For something they get
I stood there and hummed,
I tapped on her drum and asked her how come.
And she buttoned her boot,
And straightened her suit,
Then she said, "Don't get cute."
So I forced my hands in my pockets
And felt with my thumbs,
And gallantly handed her
My very last piece of gum.
I stood there and hummed,
I tapped on her drum and asked her how come.
And she buttoned her boot,
And straightened her suit,
Then she said, "Don't get cute."
So I forced my hands in my pockets
And felt with my thumbs,
And gallantly handed her
My very last piece of gum.
She threw me outside,
I stood in the dirt where ev'ryone walked.
And after finding I'd
Forgotten my shirt,
I went back and knocked.
I waited in the hallway, she went to get it,
And I tried to make sense
Out of that picture of you in your wheelchair
That leaned up against…
Her Jamaican rum
I stood in the dirt where ev'ryone walked.
And after finding I'd
Forgotten my shirt,
I went back and knocked.
I waited in the hallway, she went to get it,
And I tried to make sense
Out of that picture of you in your wheelchair
That leaned up against…
Her Jamaican rum
And when she did come, I asked her for some.
She said, "No, dear."
I said, "Your words aren't clear,
You'd better spit out your gum."
She screamed till her face got so red
Then she fell on the floor,
And I covered her up and then
Thought I'd go look through her drawer.
She said, "No, dear."
I said, "Your words aren't clear,
You'd better spit out your gum."
She screamed till her face got so red
Then she fell on the floor,
And I covered her up and then
Thought I'd go look through her drawer.
And, when I was through
I filled up my shoe
And brought it to you.
And you, you took me in,
You loved me then
You didn't waste time.
And I, I never took much,
I never asked for your crutch.
Now don't ask for mine.
I filled up my shoe
And brought it to you.
And you, you took me in,
You loved me then
You didn't waste time.
And I, I never took much,
I never asked for your crutch.
Now don't ask for mine.
easy to remember
from perry como's best lp, we get letters (1957, best year for movies and music), this lovely version of the great rodgers & hart standard it's easy to remember
i love perry como, crooner's best selling artist ever (he used to sell more than sinatra and dean martin AND bing crosby TOGETHER ...) ... only problem, he often sings bad commercial material with horrible arrangements most of the time .... not on this lovely standard, lovingly put on video by skorecki's films d'occasion ...
billie holidays lush version, from her late late violin arranged by don ellis lady in satin version/mel tormé's splendid foggy velvet reading .....
young dean martin's early crooning version
don was/sweet pea /tim mc graw
sweet pea atkinson (from was not was)and don was/tim mc graw, one of the greatest nashville heroes .... .... soul vs country
BONUS 26 JUIN/ 16 JUIN/22JUIN/24/25 ...............
things have changed/mainz, germany (dimanche 26 juin 2011)
ballad of hollis brown/mainz, germany(dimanche 26 juin 2011)
o
i dreamed i saw st augustine (j'ai rêvé à st augustin, dans ses montagnes de kabylie, 16 juin 2011)/to make you feel my love (24 juin 2011)
BONUS MILAN, jeudi 22 JUIN 2011
till i fell in love with you/visions of johnanna (22)
BONUS 25 JUIN
desolation row (25 juin)
don was goes jazz .... and reggae
monk's dream by john sinclair and don was (beware ben sidran, beware mose allison ....) switchy switch ...... by common sense/and don was
LOTS OF DON WAS PRODUCED ACCOUSTIC ELECTRIC MINOR COUNTRY POP ON JUNE 25 ... ... ... ... ....
tel aviv (20 juin 2011)
bob dylan in his jimmie rodgers hat and look/gonna change my way of thinking (from slow train coming, 1979)/cold irons bound
/thunder on the mountain/tangled up in blue/ simple twist of fate/things have changed/it's all over baby blue
hioghway 61/ forgetful heart/summer days
ALL OTHER TEL AVIV DYLAN SONGS ARE NOW DATED JUNE 13
pinchik sings
1. pierre pinchik sings in yiddish/a briv fun amereike
שהחיינו2.
eileh ezk'roh (
beyond here lies nothin' (oslo, 30 juin 2011)
great arrangements, great voice, when he was more alive than alive, in spite of his awful robin hood beard (oslo, denmark) ... i love him more and more ... he's obviously high ... .... but high on what? life or heroin, or cocaine, or a mixture of all that? ..
Beyond here lies nothin' jeudi 30 juin 2011, oslo ....sony's web sherriff is going to take it off soon ... watch quickly ....
this is his best 2011 song (the only other really great 2011 song on yt is SHE ACTS LIKE WE'VE NEVEER MET... in close up pirate look and asthmatic voice) please please madame sony, please please mr youtube, leave it for a few days, a few hours, a few seconds more.... when he sings new material, like he does here, from his texas produced latest cd, bob's youger than ever ... now ....
Beyond here lies nothin'
I love you pretty baby
You're the only love I've ever known
Just as long as you stay with me
The whole world is my throne
Beyond here lies nothin'
Nothin' we can call our own
I'm movin' after midnight
Down boulevards of broken cars
Don't know what to do without it
Without this love that we call ours
Beyond here lies nothin'
Nothin' but the moon and stars
Down every street there's a window
And every window made of glass
We'll keep on lovin' pretty baby
For as long as love will last
Beyond here lies nothin'
But the mountains of the past
My ship is in the harbor
And the sails are spread
Listen to me pretty baby
Lay your hand upon my head
Beyond here lies nothin'
Nothin' done and nothin' said
this is his best 2011 song (the only other really great 2011 song on yt is SHE ACTS LIKE WE'VE NEVEER MET... in close up pirate look and asthmatic voice) please please madame sony, please please mr youtube, leave it for a few days, a few hours, a few seconds more.... when he sings new material, like he does here, from his texas produced latest cd, bob's youger than ever ... now ....
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" invraisemblable ou pas, crois-moi, c'est la vérité -et il n'y en a pas deux ..."
