Informații interesante

Video hit Cameo

Cameo - Word Up

Word Up! is an album by funk/R&B group Cameo released in 1986.

The record made Cameo one of the most successful bands of that decade.

Word Up!, in fact, is one of its best albums. The wildly infectious title song was a major hit, and Cameo is equally captivating on other funk treasures that include "Fast, Fierce and Funny," "Back and Forth," and "Candy." To the young urban contemporary and hip-hop fans who bought Word Up! in 1986, Cameo's funk was fresh and cutting edge; and at the same time, slightly older fans that Cameo had won over in the late '70s were still buying its records.

Both commercially and creatively, Word Up! was a major triumph for Cameo.

The lyrics:

Dah pretty ladies around the world

Got a weird thing to show you,

So tell all the boys and girls.

Tell your brother, your sister

And mama too, cause they’re

About to go down

And you’ll know just what to do.

Wave your hands in the air

Like you don’t care, glide by

The People as they start to look and stare.

Do you dance, do your dance quick

Mama, come on baby, tell me what’s

The Word, ah – word up,

Everybody say when you hear the call

You got to get it underway,

Word up, it’s the code word,

No matter where you say it,

You’ll know that you’ll be heard.

Now all you sucker. D.J.’s

Who think you’re fly

There’s got to be a reason

And we know the reason why.

And act real cool

But you got to realise

That you’re acting like fools.

If there’s music we can use it

We need to dance.

We don’t have that time

For psychological romance

No romance

No romance for me mama

Come on baby tell me what’s the word.

Ah – word up,

Everybody say when you hear the call

You got to get it underway.

Dial “L” for low...

Come on, all you people say...

Word up – word up

Video hit Tesla

Tesla - What You Give

Tesla is an American rock band formed in Sacramento, California in late 1982. They have sold 14 million albums in the United States.

In late 1982, bassist Brian Wheat (age 20) and guitarist Frank Hannon (age 15) formed City Kidd, a band that then spent time gigging at Sacramento's defunct Oasis Ballroom.

They also began working with American rock guitarist Ronnie Montrose towards writing hard rock hit singles, reasoning "We wanted to get signed, and we thought the way to do that was to write a hit single”. New producers and managers turned the group towards radio pop rock and, to come up with the appropriate material, band manager Steve Clausman hired Grammy award winner Duane Hitchings, who provided the music to Rod Stewart songs such as Da Ya Think I'm Sexy? and Infatuation. A representative from Geffen Records then saw where the City Kidd band was headed and let them know that he would only sign them if they "[wrote] from the gut and not from formulas”. By 1986, the band had again changed its direction under a new name, Tesla.

The band City Kidd and was renamed Tesla during the recording of their first album, 1986's Mechanical Resonance, on the advice of their manager that City Kidd was not a great name (in addition, there was already another band going by that name).

The band derived their name, certain album and song titles, and some song content from events relating to inventor and electrical engineer Nikola Tesla.

The band's original lineup consisted of lead vocalist Jeff Keith, guitarists Frank Hannon and Tommy Skeoch, bassist Brian Wheat, and drummer Troy Luccketta.

The lyrics:

Who's the one that makes you happy?

Or maybe, who's the one always on your mind?

And who is the reason you're livin' for?

Who's the reason for your smile?

I feel so lonely, yet I know I'm not the only one

To ever feel this way.

I love ya so much that I think I'm goin' insane.

I'm goin' crazy, outta my head.

Goin' crazy, outta my head.

Can't think about nothin' but your good, good love,

And what you give.

Now, ev'ry one needs somebody.

And you know, ev'rybody needs someone.

Well, and a-yes it's true!

Ev'rybody needs a special kind of love,

And you're the only one I'm thinkin' of.

You mean the world to me.

You are my only!

I feel so lonely, yet I know I'm not the only one

To carry on this way.

I love ya so much I lose track-a time,

Lose track of the days.

I'm goin' outta my head,

Goin' crazy, outta my head.

Can't think about a-nothin' but your good, good love,

And what you give.

It's not whatcha got, it's a-what you give.

It ain't the life you choose, it's the life you live.

It's only what you give, only what you give, only what you give,

It's not whatcha got, a-but the life you live.

It's the life you live.

[Spoken:] Play it pretty for the world.

You're the one that makes me happy. Oh yeah baby.

And you're the one always on my mind. And a-yes it's true.

You are my reason, my one and only that I've been livin' for

Why can't forever be forever and nothin' more. (To Chorus)

It's not whatcha got, it's a-what you give.

It ain't the life you choose, it's the life you live.

No, no, no, no, no!

It's not whatcha got, it's a-what you give.

And it ain't what it's not, but a-what it is!

Only what you give, only what you give. It's only what you give.

It's not whatcha got, a-but a-what you give.

It's not whatcha got, it's a-what you give. A-what you give woman.

It ain't the life you choose, it's the life you live.

It's only what you give, only what you give, only what you give,

It's not whatcha got, but a-what you give.

It's only what you give. Only what you give. Yeah, yeah, yeah.

Only what you give. Only what you give.

Only what you give, yeah, yeah, yeah, yeah, yeah, yeah.

Is that good enough for the girls we run around with?

I do believe so. Ooh, ooh, uh-huh.

Only what you give, what you give. Only what you give.

Only what you give.

Video hit Bad Company

Bad Company - Feel Like Makin’ Love (live, 1975)

Feel Like Makin' Love is a song by British supergroup Bad Company.
The song originally appeared on the LP Straight Shooter in April 1975 and was released as a single in August of the same year.

The song was named the 78th best hard rock song of all time by VH1.

The song's riff is lifted almost note for note from The Who's "Sparks" from their album Tommy.

Covers

Millie Jackson covered the song on her 1976 album titled Free and in Love

New Zealand singer Kim Hart released a cover of the song in 1980.

Dangerous Toys covered the song on their 1991 album 'Hellacious Acres'

Pauline Henry, former singer of The Chimes, covered the song in 1993, charting at No. 12 in the UK.

A cover was released by country music artist Philip Claypool in 1995 on his debut album A Circus Leaving Town. It was the highest-charting of that album's four singles, peaking at No. 60 on Hot Country Songs.

The pop punk/ska punk band Goldfinger has a cover version featured on their live album Darrin's Coconut Ass: Live from Omaha.

It was covered by Kid Rock on his self-titled 2003 release. His version peaked at No. 33 on the Mainstream Rock Tracks charts.

It has also been covered by Jørn Lande on his 2007 album Unlocking the Past.

The lyrics:

Intro:

Baby, When I think about you

I think about love ( 3 voices)

Darling, Don't live without you

And your love (3 voices)

If I have

Those golden dreams

Of my yesterday (voices)

I would wrap you

In the heaven

Till I'm dying (voices)

On the way

Feel like making -- -- -- --

Feel like making love(3)

Feel like making love to you

Baby, If I think about you

I think about love

Darling, If I live without you

I live without love

And if I had

The sun and moon

And they were shining

I would give you

Both night and day

Love satisfying

Repeat chorus-

And if I had

Those golden dreams

Of my yesterdays

I would wrap you

In the heaven

Till I'm dying

On the way

Repeat chorus many times (with solo)

Video hit Asia

Asia - Only Time Will Tell (live)

Only Time Will Tell is the third single released by progressive rock band Asia from their 1982 eponymous debut.

The song was the band's second top ten hit on the U.S. Hot Mainstream Rock Tracks chart, peaking at number 8. It also peaked at number 17 on the U.S. Billboard Hot 100 pop chart. It reached number 54 On the U.K. Top 100 Singles chart.

The song was featured in the Family Guy episode, "The Splendid Source".

Asia is a progressive rock supergroup formed in the spring of 1981 by bassist and vocalist John Wetton (from King Crimson and UK), guitarist Steve Howe (from Yes), drummer Carl Palmer (from Emerson, Lake & Palmer) and keyboardist Geoffrey Downes (from The Buggles and Yes).

The band sold over nine million albums worldwide with their first self-titled Asia, that include the singles 'Heat Of The Moment' and 'Only Time Will Tell'.

In 1990, Asia released its 4th album called Then & Now and only Geoffrey Downes continues with Asia along with bassist, vocalist and producer John Payne until 2004 when they published their 11th album Silent Nation, along with guitarist Guthrie Govan and drummer Chris Slade (from AC/DC).

The band emerged from its ashes commemorating the 25 anniversary of the original formation that brought it success in 1982 with a tour of North America, a DVD and a promotional CD.

Asia returned in 2008 with its first original album from the original line-up with Phoenix April 15, 2008, which was followed by a well received tour.

The lyrics:

You're leaving now

It's in your eyes

There's no disguising it

It really comes as no surprise

To find that you planned it all along

I see it now

Becomes so clear

Your insincerity

And me all starry eyed

You think that I would have known by now

Now, sure as the sun will cross the sky

This lie is over

Lost, like the tears that used to tide me over

(Only time will tell)

One thing is sure

That time will tell

(Only time will tell)

If you were wrong

The brightest ring around the moon

Will darken when I die

Now, sure as the sun will cross the sky

This lie is over

Gone, like the tears that used to tide me over

You're leaving now

It's in your eyes

There's no disguising it

It really comes as no surprise

To find that you planned it all along

Only time will tell

I see it now

Becomes so clear

Your insincerity

And me all starry eyed

You think that I would have known by now

Now, sure as the sun will cross the sky

This lie is over

Lost, like the tears that used to tide me over

(Only time will tell)

You're on your own

Inside your room

(Only time will tell)

Claiming victory

You were just using me

And there is no one you can use now

(Only time will tell)

One thing is sure

That time will tell

(Only time will tell)

If you were wrong

The brightest ring around the moon

Will darken when I die

Video hit The Animals

The Animals - House of the Rising Sun

The House of the Rising Sun is a traditional folk song.
Also called "House of the Rising Sun" or occasionally "Rising Sun Blues", it tells of a life gone wrong in New Orleans.

The most successful commercial version was recorded by the English rock group The Animals in 1964, which was a number one hit in the United Kingdom, United States, Sweden, Finland and Canada.

An interview with Eric Burdon revealed that he first heard the song in a club in Newcastle, England, where it was sung by the Northumbrian folk singer Johnny Handle.

The Animals were on tour with Chuck Berry and chose it because they wanted something distinctive to sing.

This interview denies assertions that the inspiration for their arrangement came from Bob Dylan. The band enjoyed a huge hit with the song, much to Dylan's chagrin when his version was referred to as a cover—the irony of which was not lost on Van Ronk, who said the whole issue was a "tempest in a teapot", and that Dylan stopped playing the song after The Animals' hit because fans accused Dylan of plagiarism. Dylan has said he first heard The Animals' version on his car radio and "jumped out of his car seat" because he liked it so much.

Dave Marsh described The Animals' take on "The House of the Rising Sun" as "the first folk-rock hit", sounding "as if they'd connected the ancient tune to a live wire", while writer Ralph McLean of the BBC agreed that "it was arguably the first folk rock tune", calling it "a revolutionary single" after which "the face of modern music was changed forever." Dave Van Ronk claims that this version was based on his arrangement of the song.

The Animals' version transposes the narrative of the song from the point of view of a woman led into a life of degradation, to that of a male, whose father was now a gambler and drunkard, as opposed to the sweetheart in earlier versions.

The Animals had begun featuring their arrangement of "House of the Rising Sun" during a joint concert tour with Chuck Berry, using it as their closing number to differentiate themselves from acts which always closed with straight rockers.

It got a tremendous reaction from the audience, convincing initially reluctant producer Mickie Most that it had hit potential, and between tour stops the group went to a small recording studio on Kingsway in London to capture it.

The real house

Various places in New Orleans, Louisiana have been proposed as the inspiration for the song, with varying plausibility. The phrase "House of the Rising Sun" is often understood as a euphemism for a brothel, but it is not known whether or not the house described in the lyrics was an actual or fictitious place. One theory speculated the song is about a daughter who killed her father, an alcoholic gambler who had beaten his wife.

Therefore, the House of the Rising Sun may be a jail or a prison, from which one would be the first person to see the sun rise (an idea supported by the lyric mentioning "a ball and chain," although that phrase has been used as slang to describe marital relationships for at least as long as the song has been in print[citation needed] ).

Because the song was often sung by women, another theory is that the House of the Rising Sun was where prostitutes were detained while they were treated for syphilis. Since cures with mercury were ineffective, going back was very unlikely.

Only two candidates have historical documentation as using the name "Rising Sun", both having listings in old period city directories.

The first was a small short-lived hotel on Conti Street in the French Quarter in the 1820s that burned down in 1822. An excavation and document search in early 2005 found evidence supporting this claim, including an advertisement with language that may have euphemistically indicated prostitution.

An unusually large number of pots of rouge and cosmetics were found by archaeologists at the site.

The second possibility was a late 19th century "Rising Sun Hall" on the riverfront of the uptown Carrollton neighborhood, which seems to have been a building owned and used for meetings of a Social Aid & Pleasure Club, commonly rented out for dances and functions. It also is no longer extant. Definite links to gambling or prostitution (if any) are undocumented for either of these buildings.

Bizarre New Orleans, a guide book on New Orleans, asserts that the real house was at 1614 Esplanade Avenue between 1862 and 1874 and was purportedly named for its madam, Marianne LeSoleil Levant whose name translates from French as "the rising sun".

It is also possible that the "House of the Rising Sun" is a metaphor for either the slave pens of the plantation, the plantation house, or the plantation itself, which were the subjects and themes of many traditional blues songs.

Dave van Ronk claimed in his autobiography that he had seen pictures of the old Orleans Parish Women's Prison, the entrance to which was decorated with a rising sun design. He considered this proof that the House of the Rising Sun had been a nickname for the prison.

Not everyone, however, believes that the house actually existed.

Pamela D. Arceneaux, a research librarian working at the Williams Research Center in New Orleans, is quoted as saying: “I have made a study of the history of prostitution in New Orleans and have often confronted the perennial question, 'Where is the House of the Rising Sun?' without finding a satisfactory answer. Although it is generally assumed that the singer is referring to a brothel, there is actually nothing in the lyrics that indicate that the 'house' is a brothel. Many knowledgeable persons have conjectured that a better case can be made for either a gambling hall or a prison; however, to paraphrase Freud: sometimes lyrics are just lyrics”.

The lyrics:

There is a house in New Orleans

They call the Rising Sun

And it's been the ruin of many a poor boy

And God I know I'm one

My mother was a tailor

She sewed my new blue jeans

My father was a gamblin' man

Down in New Orleans

Now the only thing a gambler needs

Is a suitcase and trunk

And the only time he's satisfied

Is when he's on a drunk

Oh mother tell your children

Not to do what I have done

Spend your lives in sin and misery

In the House of the Rising Sun

Well, I got one foot on the platform

The other foot on the train

I'm goin' back to New Orleans

To wear that ball and chain

Well, there is a house in New Orleans

They call the Rising Sun

And it's been the ruin of many a poor boy

And God I know I'm one

Video hit A-HA

A-Ha - Crying in The Rain (live)

Crying in the Rain is a song written by Howard Greenfield and Carole King and was originally recorded by The Everly Brothers. The single peaked at #6 on the U.S. pop charts in 1962.

In 1990, the Norwegian pop band A-ha covered the song. Following its success, A-ha became closer to the Everly Brothers, who had originally recorded the song. The band members were presented a set of guitars by the Everly Brothers that A-ha continues to use.

This is one of the few commercially available songs which A-ha have covered.

The only others being "Velvet", first released by Savoy, and "Dragonfly", first released by Magne Furuholmen.

Though often given the misnomer of "one-hit wonder" in the U.S., A-ha has actually had a number of singles appear on various charts there, though none anywhere near as big a hit as their debut, "Take On Me". "Crying in the Rain" was A-ha's last single to go top 40 on a Billboard chart in the U.S. to date, peaking at #26 on the Billboard Adult Contemporary chart during the week ending April 6, 1991.

It was more popular internationally, topping the charts in the band's native Norway, and peaking at #13 in the UK Singles Chart, where the band had found previous success as well.

It was the 32nd most successful song of the year 2010 in Romanian Top 100, although it peaked outside the top 20.

The lyrics:

I'll never let you see

The way my broken heart is hurting me

I've got my pride and I know how to hide

All the sorrow and pain

I'll do my crying in the rain

If I wait for cloudy skies

You won't know the rain from the tears in my eyes

You'll never know that I still love you

So though the heartaches remain

I'll do my crying in the rain

Raindrops falling from heaven

Will never wash away my misery

But since we're not together

I'll wait for stormy weather

To hide these tears I hope you'll never see

Someday when my crying's done

I'm gonna wear a smile and walk in the sun

I may be a fool

But till then, darling, you'll never see me complain

I'll do my crying in the rain

Video hit Miles Davis

Miles Davis - The cool jazz sound (1959)

The Miles Davis Quintet (set list of tracks in this video):

00:00 to 10:40 - So What (composed by Miles Davis from the album Kind Of Blue)

Miles Davis with the Gil Evans Orchestra

10:41 tp 14:04 - The Duke (composed by Dave Brubeck from the album Miles Ahead)

14:05 to 19:57 - Blues For Pablo (composed by Gil Evans from the album Miles Ahead)

19:58 to 24:21 - New Rhumba (composed by Ahmad Jamal from the album Miles Ahead).

Miles Dewey Davis jun. (n. 26 mai 1926, Alton, Illinois – d. 28 septembrie 1991, Santa Monica, California) a fost un trompetist și compozitor american de jazz, una din cele mai influente, inovatoare și originale personalități muzicale din istoria jazz-ului din secolul al XX-lea, pe drumul deschis de Buddy Bolden și continuat cu Joe King Oliver, Louis Armstrong, Roy Eldrige, Dizzy Gillespie și Don Cherry. Vastul său catalog interpretativ cuprinde cele mai variate stiluri, de la bebop, la cool jazz, modal jazz și - mai ales - fusion, stil la a cărui dezvoltare a avut un rol determinant. Cu "Birth Of The Cool" (1949-1950) inițiează trecerea de la improvizațiile aprinse, în genul lui Charlie Parker, către reluările reținute cu aranjamente reduse ale mijloacelor muzicale. Albumul "Kind Of Blue" (1959) reprezintă punctul de plecare al celor mai importante modificări structurale din jazz-ul modern, înlocuind funcția armonică cu accentuarea gamei melodice ca element fundamental în compoziție și interpretare. Albumul "Bitches Brew" (1969) deschide epoca stilului fusion, care reunește cele două modalități predominante ale anilor '60.

Ca interpret, Miles Davis, prin accentuarea fiecărui ton, se distanțează de virtuozitatea caracteristică a predecesorilor săi. Sunetul său clar, dinamic și perfect echilibrat devine model pentru mulți interpreți tineri, formația sa devenind o pepinieră a jazz-lui contemporan, din care s-au dezvoltat muzicieni de valoare ca John Coltrane, Bill Evans, Herbie Hanock și Keith Jarrett.

Miles Davis se naște dintr-o familie afro-americană, fiu al unui dentist din St. Louis. Mama sa, Cleo Henry, o pianistă talentată, ar fi dorit ca fiul ei să învețe vioara, dar, la aniversarea vârstei de 13 ani, tatăl său îi dăruiește o trompetă și Davis începe să studieze acest instrument cu un maestru local, Elwood Buchanan, un solist al orchestrei lui Andy Kirk. La vârsta de 15 ani, apare pentru prima dată în public cu grupul lui Eddie Randall. În 1945, după o scurtă colaborare cu Charlie Parker în grupul lui Billy Eckstine, pleacă la New York, unde obține o bursă de studiu la Julliard School of Music. Majoritatea timpului o petrece însă studiind stilurile lui Thelonious Monk, Coleman Hawkins și, în special, ale lui Charlie Parker și Dizzy Gillespie, în perioada stabilirii mișcării Bebop. Cu Charlie "Bird" Parker realizează în 1946 prima sa înregistrare, printre care "Now's The Time", care anticipă deja întoarcerea la melodie, tipică pentru stilul cool al perioadei imediat următoare.

Cool jazz și Hardbop

Un eveniment important a fost întâlnirea în 1947 cu Gil Evans, cunoscut arrangeur, realizând împreună noi combinații instrumentale. Miles Davis formează un "nonett" - The Tuba Band - din care făceau parte, printre alții, tânărul Gerry Mulligan și Lee Konitz și obține un contract cu casa de discuri "Capitol Records". Astfel apare în 1950 albumul "Birth Of The Cool", cu muzică înregistrată în studio, care dă numele stilului ce avea să predomine în jazz pentru următorii cinci ani. Davis devine un star al noii generații de muzicieni de jazz, este sărbătorit la festivalul din Paris (1949) și apare în concerte alături de cele mai cunoscute personalități, ca Sarah Vaughan, Art Blakey, Charles Mingus, Thelonius Monk și Horace Silver. Ca mulți alți muzicieni de jazz din vremea sa, are însă probleme cu consumul de droguri stupefiante, în special heroină, și, după o întrerupere a activității, reușind să se dezintoxice, are o reapariție senzațională la mijlocul anilor '50 la Festivalul din Newport, marcând sfârșitul stilului Bebop, intrat în declin o dată cu moartea lui Charlie Parker în 1955. Miles Davis își formează un nou Quintett, din care fac parte saxofonistul John Coltrane, pianistul Red Garland, contrabasistul Paul Chambers și bateristul Philly Joe Jones. Împreună dezvoltă stilul denumit Hardbop, în care - alături de improvizațiile cool și intensitățile din perioada bebop - se simt influențele polimetrice ale muzicii africane cu o lărgire considerabilă a sistemelor armonice, ca în albumele "Workin'-, Relaxin'-, Steamin'-," și "Cookin' With The Miles Davis Quintett" (1956).

În această fază a carierei sale, stimulat de experimentele armonice inovatoare ale lui John Coltrane și Ornette Coleman, caută noi forme de exprimare muzicală, orientându-se spre așa zisul stil modal, asemănător gamelor muzicii medievale. Prin dispoziția originală a intervalelor, tonurile muzicale obțin o coloratură fermecătoare surprinzătoare, care încântă pe auditor. În primăvara anului 1959 apare albumul "Kind Of Blue", considerat până astăzi ca piatră de hotar în istoria jazz-ului.

La începutul anilor '60, o dată cu formarea unui nou Quintett, alcătuit din Herbie Hancock (pian), George Coleman (saxofon), Ron Carter (contrabas) și Tony Williams (baterie), intervine o nouă transformare în muzica lui Miles Davis. Șocul estetic înregistrat prin Free Jazz, popularitatea crescândă a stilurilor afro-americane ca funk și soul, dar mai ales forța muzicii rock îl determină să realizeze o îmbinare (fusion) a tuturor acestor elemente, din care a rezultat "Jazz-rock fusion". Asfel apare în 1963 albumul "Seven Steps To Heaven", urmat în 1969 de cele două albume "In A Silent Way" și "Bitches Brew". Miles Davis devine un popstar al generației "hippie", obține un succes triumfal la festivalul de pe "Isle Of Wight" (1970) și îi apar primele înregistrări în care sunt folosite și instrumente electrice (electric-jazz), ca în "Big Fun" (1970) sau "On The Corner" (1972).

Din păcate reîncepe consumul de stupefiante și, cu sănătatea zdruncinată, în 1974 își întrerupe din nou activitatea până către începutul anilor '80. Încurajat de prieteni, revine pe scenă și în studiourle discografice, înregistrând cu albumele "The Man With The Horn" (1981) și "We Want Miles" (1981-1982) un memorabil comeback, alături de colegi mai tineri ca Marcus Miller, Mike Stern, Al Foster și de saxofonistul Bill Evans.

În următorul deceniu, Miles Davis - incontestabil superstar al jazz-ului - întreprinde numeroase turnee, înregistrează noi discuri ("You're Under Arrest", 1985; "Amandia", 1989; "Doo-Bop", 1991).

Câteva săptămâni după succesul triumfal obținut în iulie 1991 la Festivalul de Jazz din Montreux, cu o mare orchestră sub conducerea lui Quincy Jones, Miles Davis moare neașteptat în urma unei pneumonii la 28 septembrie 1991 în Santa Monica, California.

A fost înmormântat în cimitirul Woodlawn Cemetery în cartierul "Bronx" din New York.

Video hit Julien Clerc

Julien Clerc - Ce n'est rien

Le tube Ce n’est rien va permettre à Julien Clerc de faire un an après un deuxième Olympia en vedette, c’est-à-dire en 1972.

Cette chanson pourrait marquer aussi le sommet d’une équipe qui va certes connaître encore beaucoup de succès, comme Le Patineur, Le Cœur Volcan, Si on chantait, Je sais que c’est elle, Danses-y.

Mais s’il y a une ascension dans cette équipe formée autour de Roda-Gil, Maurice Vallet et de Jean-Claude Petit, un jeune arrangeur repéré par le directeur artistique Bob Soquet, elle va néanmoins lentement se désagréger. Disons qu’une rupture dans la vie privée de Julien Clerc va en annoncer une autre, professionnelle, celle-ci.

Dans un premier temps, Julien Clerc a envie de s’écarter de la partition où, jusque-là, Jean-Claude Petit notait tout, même les parties de batterie. Sur le modèle anglais, Julien Clerc va s’accompagner d’un groupe qui lit la musique sur des grilles d’accords, laissant plus de champ libre. Puis il va chercher à renouveler son pool d’auteurs.

Étienne Roda-Gil a toujours aimé les femmes de Julien Clerc. Une manière peut- être indirecte de se déclarer pour cette sorte d’auteur se rêvant Pygmalion, pour cette sorte de père spirituel, pour cette sorte de chanteur par procuration. Il a déjà écrit Je sais que c’est elle à propos de France Gall. Une autre chanson va être écrite pour la fille de Robert Gall, le compositeur de La Mamma pour Aznavour.

Mai multe detalii despre muzica si biografia lui Julien Clerc gasiti AICI.

Paroles:

Ce n'est rien

Tu le sais bien

Le temps passe

Ce n'est rien

Tu sais bien

Elles s'en vont comme les bateaux

Et soudain

Ca revient

Pour un bateau qui s'en va

Et revient

II y a mille coquilles de noix

Sur ton chemin

Qui coulent et c'est très bien

Et c'est comme une tourterelle

Qui s'éloigne à tire d'aile

En emportant le duvet

Qu'était ton lit

Un beau matin

Et ce n'est qu'une fleur nouvelle

Et qui s'en va vers la grêle

Comme un petit radeau frêle

Sur l'océan

Ce n'est rien

Tu le sais bien

Le temps passe

Ce n'est rien

Tu sais bien

Elles s'en vont comme les bateaux

Et soudain

Ca prévient

Comme un bateau qui revient

Et soudain

Il y a mille sirènes de joie

Sur ton chemin

Qui résonnent et c'est très bien

Et ce n'est qu'une tourterelle

Qui revient à tire d'aile

En rapportant le duvet

Qu'était ton lit

Un beau matin

Et ce n'est qu'une fleur nouvelle

Et qui s'en va vers la grêle

Comme un petit radeau frêle

Sur l'océan

Ca prévient

Comme un bateau qui revient

Et soudain

Il y a mille sirènes de joie

Sur ton chemin

Qui résonnent et c'est très bien

Et ce n'est qu'une tourterelle

Qui r'viendra à tire d'aile

En rapportant le duvet

Qu'était son nid

Un beau matin

Et ce n'est qu'une fleur nouvelle

Et qui s'en va vers la grêle

Comme un petit radeau frêle

Sur l'océan

Video hit Goran Bregovic

Goran Bregovic - Ederlezi (live, 2005)

Ederlezi is a popular traditional folk song of the Roma minority in the Balkans.

The song got its name after Ederlezi which is a Spring festival, especially celebrated by Roma people in the Balkans, Turkey and elsewhere around the world. This holiday celebrates the return of springtime.
Ederlezi is the Romani name for the Bulgarian and Serbian Feast of Saint George. It's celebrated on 6 May [O.S. 23 April] (occurring approximately 40 days after the spring equinox).
The various Balkan spellings (Herdeljez, Erdelezi) are variants of the Turkish Hıdırellez, a holiday signaling the beginning of spring, occurring on the same day.

The former Yugoslav rock band Bijelo Dugme released a cover version of this song in Serbo-Croatian using the same melody, but with very different lyrics. Under the title "Đurđevdan je a ja nisam s onom koju volim" which is featured on their album Ćiribiribela from 1988. There is also another song's version made by Kroke.

"Ederlezi" has been used for the movie Time of the Gypsies by Emir Kusturica, in Goran Bregović's version (titled "Ederlezi (Scena Djurdjevdana Na Rijeci)"), which actually made the song famous. It was performed by the Macedonian singer Vaska Jankovska, whose unique voice contributed to its success.

The song also appeared in the movie Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, although it has no connection to the authentic music of Kazakhstan, as "Ederlezi (Scena Djurdjevdana Na Rijeci)". The text in the brackets means, in Serbian: The scene of Đurđevdan on the river - that is a description of the movie scene of Đurđevdan celebration on a river in the movie Time of the Gypsies where that song was used. Sacha Baron Cohen's movie doesn't have a Đurđevdan river scene. The song title (and description) was taken from Kusturica's movie soundtrack.

In both soundtrack albums – Time of the Gypsies and Stereophonic Musical Listenings That Have Been Origin in Moving Film "Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan" – it was credited to Goran Bregović, although he is not the author nor the singer of the song on these albums. However, he is the arranger of the song. Bregović also recorded a version with Polish lyrics, titled "Nie ma, nie ma ciebie", together with Polish singer Kayah. The band Beirut also does a cover of Ederlezi, and Italian saxophonist Daniele Sepe too.

A version with Greek lyrics, titled "Tou Ai Giorgi" ("Saint George's", Greek: "Του Αη Γιώργη"), was also recorded by Bregović together with Greek singer Alkistis Protopsalti in 1991. The Greek lyrics are credited to Lina Nikolakopoulou.

Bulgarian group Ku-ku band with lead singer Slavi Trifonov released the song in their several albums with all Bulgarian lyrics ("Гергьовден", Gergyovden, St. George's day), Serbo-Bulgarian lyrics ("Свети Георги", Sveti Georgi, St. George) and Roma-Serbo-Bulgarian lyrics ("Erdelezi").

Turkish singer Sezen Aksu released the song in her album named "Düğün ve Cenaze" (Wedding and Funeral) with Turkish lyrics ("Hıdrellez") in 1997. Lyrics were adapted by Sezen Aksu and Pakize Barışta.

A Yugoslavian version was released by the folk-punk musical group the No Smoking Orchestra, on their album, Time Of The Gypsies, Punk Opera, released in 2007.

The lyrics in english:

All my friends are dancing the oro

Dancing the oro, celebrating the day

All the Roma, mommy

All the Roma, dad, dad

All the Roma, oh mommy

All the Roma, dad, dad

Ederlezi, Ederlezi

All the Roma, mommy

All the Roma, dad, slaughter lambs

But me, poor, I am sitting apart

A Romany day, our day

Our day, Ederlezi

They give, Dad, a lamb for us

All the Roma, dad, slaughter lambs

All the Roma, dad, dad

All the Roma, oh mommy

All the Roma, dad, dad

Ederlezi, Ederlezi

All the Roma, mommy

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Goran Bregovic - Ederlezi (live, 2005)

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