shiny-disko-ballz

 

MIAMI SOUND MACHINE "Dr Beat" (1984)

 

Le groupe Miami Sound Machine s'est formé en 1975 à l'initiative de Emile Estefan Jr sous le nom de Miami Latin Boys. Les débuts du groupe ne sont pas fameux; ils jouent surtout dans des galas et des mariages. C'est seulement en 1984 avec l'album chanté en anglais Eyes of Innocence qu'ils obtiennent l'attention du public et des médias. Ils sont les premiers artistes latin à intégrer les charts à la fois pop, soul et dance. En 1990, alors qu'ils sont en pleine promotion, le groupe Miami Sound Machine est victime d'un grave accident: Gloria Estefan, la chanteuse, est gravement blessée au dos, cet accident marquera une longue pose dans l'actualité du groupe.

En 2005, Mylo associe le morceau DR BEAT avec un de ses titres qui deviendra "Docteur Pressure".

 
Doctor I've got this feelin'
Deep inside of me
Deep inside of me
I just can't control my feet when
I hear the beat, when I hear the beat
Hey Doctor could you give me somethin'
To ease the pain
To ease the pain
'Cause if you don't help me soon
Gonna lose my brain
Gonna go insane

I just don't know, don't know
How I'm gonna deal with you
Doc, Doc, Doc, Doc, Doctor Beat
I just don't know, don't know
Won't you help me Doctor Beat
Doc, Doc, Doc, Doc, Doctor Beat
wont you help me Doctor Beat
Doc, Doc, Doc, Doc, Doctor Beat
Won't you help me Doctor Beat
Doc, Doc, Doc, Doc, Doctor Beat
Won't you help me Doctor Beat
Doc, Doc, Doc, Doc, Doctor Beat
Won't you help me Doctor Beat

[12x:]
Motherfuckers gonna drop the pressure

You see doctor
I got this fever that I can't control
That I can't control
Music makes me move my body
Makes me move my soul
Makes me move my soul
Doctor you got to give me something
'Cause I'm burning up
Yes I'm burning up
Doctor you got to find the cure
Or we're gonna die
Yes we're gonna die

I just don't know, don't know
How I'm gonna deal with you
Doc, Doc, Doc, Doc, Doctor Beat
I just don't know, don't know
Won't you help me Doctor beat
Doc, Doc, Doc, Doc, Doctor Beat

I just don't know, don't know
How I'm gonna deal with you
Doc, Doc, Doc, Doc, Doctor Beat
I just don't know, don't know
Won't you help me Doctor beat
Doc, Doc, Doc, Doc, Doctor Beat
Won't you help me Doctor beat
Doc, Doc, Doc, Doc, Doctor Beat

You gotta help me, you gotta help me

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THE HUMAN LEAGUE '"Don't You Wan Me" (1982)

 

The Human League est un groupe anglais de New Wave formé par Ian Craig Marsh & Martyn Ware qui a connu un succès important dans les années 1980 notamment grâce aux tubes "don't you want me" (n°1 au Royaume-Uni et aux États-Unis en 1981-1982) ,"fascination", "Mirror Man", "Human" (n°1 aux Etats-Unis en 1986).

Leur nom vient d'un jeu de science fiction appellé "Star Force".

En 2002, le dj français Philippe B en vrai roi du sapmle et de la boucle, repreds le titre qui deviendra "I Want You".

 

 
You were working as a waitress
In a cocktail bar
When I met you
I picked you out
I shook you up
And turned you around
Turned you into someone new
Now five years later on
you've got the world at your feet
Success has been so easy for you
But don't forget
It's me who put you where you are now
And I can put you back down too

Don't, don't you want me
You know I can't believe it
When I hear that you won't see me
Don't, don't you want me
You know I don't believe you
When you say that you don't need me
It's much too late to find
You think you've changed your mind
You'd better change it back
Or we will both be sorry

Don't you want me, baby
Don't you want me, oh
Don't you want me, baby
Don't you want me, oh

I was working as a waitress
In a cocktail bar
That much is true
But even then I knew I'd find
A much better place
Either with or without you
The five years we have had
Have been such good times
I still love you
But now I think it's time
I lived my life on my own
I guess it's just what I must do

Don't, don't you want me
You know I can't believe it
When I hear that you won't see me
Don't, don't you want me
You know I don't believe you
When you say that you don't need me
It's much too late to find
You think you've changed your mind
You'd better change it back
Or we will both be sorry

Don't you want me, baby
Don't you want me, oh
Don't you want me, baby
Don't you want me, oh

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THE FLIRTS "Passion" (1983)

 

The Flirts: girls band officiel des années 80 made in new York, composé initialement d'Andrea, Holly et Rebecca. Il a été créé et supervisé par Bobby Orlando (aka Bobby O.), célèbre artiste et producteur disco dance des 80's.

Leur deux plus grands succès seront leurs deux 1er singles: respectivement  "Jukebox" et "Passion" en 1982 sur le même album.

En 2001, Felix Da Housecat sample le morceau  qui devient "Silver Screen Shower Scene", avec la voix angélique de Miss Kittin dessus.(Si si, aux environs de 5min 20,restantes.)

 

 
Passion - Passion . . .
I'm waiting for you
baby
it's time for show and tell

A prisoner I was captured
I'm under your spell.
I want to be your woman
come on and be my man.
This feeling that I
have for you I
understand.
Passion - Passion

This dream of love is restless
it really is so strong.
I want to give you all
my love before it's
too far gone.
Our love is like a lion
it's hungry for it's prey.
Come on and show your lovin'
I really can wait.
Passion - Passion -
Passion - Passion
Oh
I'm ready for your passion

Oh
I'm looking for your lovin'

Oh
I'm ready for your lovin'
oh
I'm ready for passion.
Passion -
P-A-S-S-I-O-N - She's
ready for his Passion.
Oh
I'm ready for your passion
. . .
P-A-S-S-I-O-N - P-A-S-S-I-O-N
I'm waiting for you
baby
it's time for show and tell
. . .
Passion - Passion -
Passion - Passion . . .
 
 
FELIX DA HOUSECAT:
 
Speed seduction in a magazine
Endless pleasure in limousine
In a box shakes a tambourine
Nicotine from silver screen
 

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CYMANDE "The Message" (1973)

 

Le groupe Cymande (prononcer " saï-man-dé ") se forme en 1971 à Londres avant de se séparer quekques années plutard en 1974.

Cymande jouaient ce qu'ils appelaient eux-mêmes le Nyah-Rock, un mélange de funk, soul, reggae and rhythmes africains. Ils ont sorti quatre albums entre 1972 et 1981. Le groupe est formé de huit membres, tous originaires des Antilles (Jamaïque et Guyane). Leurs compositions sont fortement inspirées par la religion Rastafari. Leur titres les plus célèbres sont Bra, un classique des pistes de danse, et The Message.

Cymande est à la fois underground, avant-gardiste et proche de la rue.

free music

C'est l'un des groupes les plus samplés par les artistes Hip Hop : citons parmi eux The Fugees, MC Solar (le fameux groove sur lequel est construit son tube " bouge de là " en 1990) ou encore De La Soul.

En 1995, Le cinéaste américain Spike Lee inclua leur titre Bra dans la bande originale de son film Crooklyn. Il s'ensuivit un intérêt soudain pour Cymande que relayèrent les radios newyorkaises en diffusant massivement le titre.
 

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JAMES GANG "Ashes, The Rain And I" (1970)

 

James Gang est un groupe rock formé a Cleveland, Ohio, en 1966, composé de Joe Walsh, Dale Peter et Jim Fox.

Le groupe n'était pas très connu jusqu'à l'arrivée du guitariste Joe Walsh, qui  a aussi fait partie des Eagles.

En 1999, Fatboy Slim sample le violon de la fin de "Ashes, The Rain and I", (-1:31) et fait un tabac avec en renommant le tout "Right Here, Right Now" (super clip à l'appui), sur l'album "You've Come A Long Way Baby".

 

 

FatBoy Slim:

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EDDIE FLOYD "Knock On Wood" (1966)

 

Eddie Floyd ( de son vrai nom Eddie Lee Floyd) est né le 25 Juin 1935 à Montgommery, Alabama.

Il est le co-fondateur du groupe THE FALCONS en 1955. En 1963 il rejoint le label Stax en tant qu'auteur et producteur, il signe son plus grand Hit en 1966 avec "Knock On Wood". Floyd reste sur le label jusqu'a sa faillite, en 1976. Sur d'autres il continue de sortir bon nombre d'albums qui connaissent un franc succés. En 1990, il intègre le BLUES BORTHERS BAND.

Le titre "Knock On Wood" sera repris encore et encore par autant d'artistes variés qu'il est possible, d'Axelle Red à Marilyn Manson, en passant par Céline Dion; sans oublier le reprise le pus conne de toute: celle d'Amii Stewart en 1978.

 

 
Attetnion: Amii Stewart s'habille en paon et fait la roue pour nous amadouer, et ça marche.
 
I don't want to lose you
This good thing
That I got
'Cause if I do
I will surely,
surely lose a lot
'Cause your love is better
Than any love I know
It's like thunder and lightning
The way you love me is frightening
You better knock, knock on wood, baby

I'm not superstitious about ya
But I can't take no chance
You got me spinnin', baby
You know I'm in a trance
'Cause your love is better
Than any love I know
It's like thunder, lightning
The way you love me is frightenin'
You better knock, knock, knock on wood, baby

Think I better knock, knock, knock on wood
Think I better knock, knock, knock on wood
Think I better knock, knock, knock on wood
Think I better knock, knock, knock on wood
Think I better knock

It's no secret about it
'Cause with his lovin' touch
He sees to it
That I get enough
With his touch all over
You know it means so much
It's like thunder and lightnin'
The way you love me is frightenin'
You better knock, knock on wood, baby

Think I better knock, knock, knock on wood
Think I better knock, knock, knock on wood
Think I better knock, knock, knock on wood
Think I better knock, knock, knock on wood

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THE POINTER SISTERS "Dare Me" (1985)

 

Composé des 4 frangines chanteuses: Anita Pointer, Bonnie Pointer, June Pointer & Ruth Pointer, filles d'un pasteur Californien.

Bonnie Pointer a quitté le groupe en 1977 pour entamer une carrière solo. June Pointer, la plus jeune, avait fait de même en 2004. Elle est décédée à 52 ans des suites d'un cancer, le 11 avril 2006 à Santa Monica (Californie).

Le morceau "Dare Me" n'est pas leur plus connu comparé à "I'm So Exited", mais étant lui aussi victime de sample, je tenais à ce que vous le découvriez.

Les artistes tels que Dave Amstrong et Junior Jack iront sampler le refrain qui deviendra un classique House cette dernière décennie.

I've got a chip on my shoulder with you name on it - knock it off.
So don't just stand there foolin' if you don't want it - knock it off.
I say you're either a lover or you are a liar.
So don't you push too hard, you're playin' with fire.

Baby, make your move, step across the line,
Touch me one more time, come on, dare me!
I wanna take you on, I know I can't lose,
I'll be loving you if you just dare me.

Looks like you're lookin' for trouble,
And I'd say you found it - you found it.
You'll have to come right through me,
There's no way around it - you found it.
I hope that lean hungry look means what it's saying.
'Cause I'm just sittin' on ready, ready and waiting.
Baby, make your move, step across the line,...

Come on and dare me.
If there's any truth behind your intentions
This night's gonna end up on fire - you better believe it.
You better believe it, oh baby. Oh, dare me, dare me, dare me.
Baby, make your move, step across the line,...
Baby, make your move, step across the line,...
Baby, make your move, step across the line,...

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SKEE LO " I Wish" (1995)

 

Né le 5 mars 1973 à Chicago, de son vrai nom Antoine Roundtree.

"I Wish" figure sur son 1er album éponyme, avec un sample de Bernard Wright "Spinnin"

 

 
Hey, this is radio station W-S-K-E-E
We're takin' calls off the wish line
Making all your wacky wishes come true

Hello

1-I wish I was little bit taller,
I wish I was a baller
I wish I had a girl who looked good
I would call her
I wish I had a rabbit in a hat with a bat
and a '64 Impala

I wish I was like six-foot-nine
So I could get with Leoshi
Cause she don't know me but yo she's really fine
You know I see her all the time
Everywhere I go, and even in my dreams
I can scheme of ways to make her mine
Cause I know she's livin phat
Her boyfriend's tall and he plays ball
So how am I gonna compete with that
'Cause when it comes to playing basketball
I'm always last to be picked
And in some cases never picked at all
So I just lean upon the wall
Or sit up in the bleachers with the rest of the girls
Who came to watch their men ball
Dag y'all! I never understood
Why the jocks get the fly girls
And me I get the hood rats
I tell 'em scat, skittle, skibobble
Got hit with a bottle
And put in the hospital, for talkin' that mess
I confess it's a shame when you livin' in a city
That's the size of a box and nobody knows yo' name
Glad I came to my senses
Like quick-quick got sick-sick to my stomach
Overcome with my thoughts of me and her together
Right?
So when I asked her out she said I wasn't her type
(rpt 1, 1)

I wish I had a brand-new car
So far, I got this hatchback
And everywhere I go, yo I gets laughed at
And when I'm in my car I'm laid back
I got an 8-track and a spare tire in the backseat
But that's flat
And do you really wanna know what's really wack, What
See I can't even get a date
So, what do you think of that?
I heard that prom night is the bomb night
With a hood rat you can hold tight
But really tho' on figuero
When I'm in my car I can't even get a hello
Well so many people wanna cruise Crenshaw on Sunday
Well then I'm gonna have to get in my car and go
You know I take the 110 to the 105
Get off on Crenshaw tell my homies look alive
Cause it's hard to survive
Livin' in a concrete jungle and
These girls just keep passin' me by
She looks fly, she looks fly
Makes me say my, my, my
(rpt 1, 1)

I wish I was a little bit taller...
I wish I was a baller...
I wish I was a little bit taller y'all
I wish I was a baller (3)

Hey, I wish I had my way
'Cause everyday would be a Friday
You could even speed on the highway
I would play ghetto games
Name my kids ghetto names
Little Mookie, big Al, Lorraine
Yo you know that's on the real
So if you're down on your luck
Then you should know just how I feel
Cause if you don't want me around
See I go simple, I go easy, I go greyhound
Hey, you, what's that sound?
Everybody look what's going down
Ahhhh, yes, ain't that fresh?
Everybody wants to get down like that
(rpt 1, 1)

I wish, I wish, I wish...

 

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CURIOSITY KILLED THE CAT "The Name & The Number" (1989)

 

 Leur nom est tiré d'un proverbe anglais "curiosity killed the cat" = La curiosité est un vilain défaut.

Curiosity Killed the Cat a été créé à Londres, Royaume-Uni en 1984, composé de: Ben Volpeliere-Pierrot: chant,  Julian Godfrey Brookhouse: guitare,  Nicholas Bernard Throp: basse,  Michael Drummond: batterie,  Toby Anderson: synthé. 
 Leur premier single "Misfit" (1986) n'attira pas bejeaucoup d'attention, jusqu'à ce qu'Andy Warhol se déclara lui-même fan et apparut dans le clip.

En 1989, ils sortent "The Name & The Number", mais ils se feront voler la vedette avec ce titre 2 ans plus tard à cause du groupe De La Soul qui reprend le morceau sous le nom "Ring Ring Ring (Ah Ah Hey)" (1991)

 

 
 
DE LA SOUL:
 
DOVE:
Hey how ya doin'
Sorry ya can't get through
Why don't you leave your name
And your number
And I'll get back to you
Hey how are ya doin'
Sorry ya can't get through
But leave your name (uh)
And your number
And I'll get back to you.

Once again it's another rap bandit
Fiending at I and I can't stand it
Wanna be down with the Day-Glo
Knocking on my door, saying, "a yo yo"
Knocking on my door, saying, "a yo yo"
"I got a funky new tune with a fly banjo"
I can't understand what the problem is
I find it hard enough dealing with my own biz
How'd they get my name and number
Then I stop to think and wonder
Bout a plan, yo man, I gotta step out town
You wanna call me up? Take my number down
It's 222-2222
I got an answering machine that can talk to you
It goes

POS:
Hey how ya doin'
Sorry ya can't get through
But leave your name and your number
And I'll get back to you

Yo, check it, exit the old style
Enters the new
But nothing's new 'bout being hawked by a crew
Or should I say flock cause around every block
There's Harry, Dick, and Tom, with a demo in his palm
Now I'm with helping those who want to help themselves
And flaunt a nut that's doggy as in dope
But it's not the mood to hear
The tales of limousines and pails
Of money they'll make like a pro
I be like, "Yo black, just play me the tape"
But at the show the time to spare I just make
But the songs created in they shacks
Are so wick-wick-wack, situations like this
And now I hate they give me smiles Kool-Aid wide and ask,
"Was it def?"
And with the straighest face I be like, "Hell yes."
I slip them the digits to Papa Prince Paul
So I don't go AWOL but yet I know when they call
They get

MASE:
Hey how ya doing
Sorry ya can't get through
Why don't you leave your name
And your number
And I'll get back to you
Hey how are ya doin
Sorry you can't get through
Why don't you leave your name and your number
And I'll get back to you
Check it out

Party at the dug-out on Diction Ave
Haven't been to the jam in quite a while
Figure I'll catch up on the latest styles
'Stead piles and piles of demo tapes bi-da miles
All I wanna do is cut on the decks wild
But edition up here bi-da miles to the center
Reliever of duty, Plug One mosies in
And I be like, "Yo G, Pos does all the producing"

POS:
Now woe is me to the third degree
Mase pulls the funny so I make like a bunny
Jettin'
But I'm getting used to this demo abuse
Getting raped and giving birth to a tape
Cause there's no escape from the clutches of a hawker
Attached to my success, sent like a stalker
Make way to my radius playin fly guy
Try to get on my back they force like Luke Sky
Me Myself and I go through this act daily
And rarely do I not
No matter how I dodge some jackal always nails me
No matter what the plot
And even out on tour they be like,
"Yo I got a tape to play you back at the hotel"
I be like "Oh swell"
Unveil the numeric code to dial my room
And tell them to call me at noon
But of course there's no answering machine in my room
But a pretty young adorer
Who I swung on tour
And if it rings while we're alone
She'll answer the phone
And with the quickness she'll recite like a poem

DOVE:
"Hey, you done did the right thing, dial up my ring ring
Now you're waiting on the beep.
Say, I would love if you'd sing
The tune to Tru instead of fronting on the speak."
So no problemo, just play the demo
And at the end it's break out time
Please oh please don't press rewind
Cause I'll just lay it down the line

Hey how ya doing
Sorry ya can't get through
Why don't you leave your name and your number
And I'll get back to you

POS:
Hey how ya doing
Sorry ya can't get through
Why don't you leave your name and your number
And we'll get back to you.. peace


'Yo what's up man, this is Ronald Master down with the Fish Tank
Posse, man, you know man, so you know you can just hook
me up, True. You know we got this fly new jam called 'Swimming In the
Fish Tank', you know we gonna rock it man, you know
what I'm saying, but I just need your help, Prince Paul gave me your
number, you know man, you just gotta do that for me,
got this fly bassline, got these fly trombones in it man, so just hook
me up, man, just look out, all right, call me back
at 557-2223 all right man, just look out, all right, look out for a
brother man!'

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DEAD OR ALIVE "you spin me 'round (like a record)" (1984)

 

Dead or Alive voit le jour en 1980 en Angleterre. Le groupe se forme autour du chanteur leader Pete Burns, les autres membres ayants constament changé pendant toutes ces années.

Il faut attendre 1984 pour avoir droit à "You Spin Me Round" et son maginfique clip. Attention: regarde bien Pete: coupé décalé entre sa grosse voix et son physique effeminé. Aujourd'hui, Pete est devenue une superbe blonde platine siliconnée.

En 2007, Luc Deneuve reprend ce titre version electro prout prout pouet pouet commerciale, sous le nom de "single spin" (trop dur le titre)

Les tecktonik de passage sur cette page, ne regardez pas le clip, mais si vous insistez, faites gaffe: a 1:O1 min du clip, vous allez vous rendre compte qu'un des membres à la même coupe de cheveux que vous...et non, vous n'avez rien inventé!

 

If I
I get to know your name

Well I could trace your private number
baby.
All I know is that to me you look like you're lots of fun

Open up your:loving arms
I want some
want some.

Well I
I set my sights on you and noone else will do.
And I
I've got to have my way now
baby.
All I know is that to me you look like you're having fun

Open up your loving arms
watch out
here I come.

You spin me right round
baby
right round

Like a record
baby
right round
round
round.
You spin me right round
baby
right round

Like a record
baby
right round
round
round.

I
I got to be your friend now
baby

And I would like to move in just a little bit closer.
All I know is that to me you look like you're lots of fun

Open up your laving arms
watch out
here I come.
You spin me right round
baby
right round
. . .

I want your love
I want your love.
All I know is that to me you look like you're lots of fun

Open up your loving arms
watch out
here I come.
You spin me right round
baby
right round
. . .

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GLORIA JONES "Tainted Love" (1964)

 

Gloria Jones nait le 12 septembre 1938 à Longview, Tewas.

Elle à d'abord pratiqué 10 ans de piano avant d'intégrer un groupe de gospel dans une église qui comptait parmi elles d'autres futurs artistes tels que Billy Preston. En même temps, elle est choriste pour Bob Dylan entre autre.

Un peu plus tard, elle rencontre Pam Sawyer, qui lui propose d'écire avec lui pour le label Motown. Ce qui lui donnera l'occasion d'écire par exemple pour  Gladys Knight & the Pips, Commodores et The Jackson 5.

En 1964, elle enregistre le morceau devenu classique: Tainted Love, repris moult  fois jusqu'a aujourdh'ui, la version la plus connue étant celle de Soft Cell.

 

 

Soft Cell est un groupe de musique de New wave (tendance Synthpop) des années 80 né de la complicité entre Marc Almond et Dave Ball, Marc écrivant les textes et Dave composant la musique. MAIS leur plus gros succès reste la reprise de  Tainted Love en 1981.

Ce hit  fut aussi repris par Coil, Inspiral Carpets , Milk Inc., etc. La version de Marilyn Manson est un tube international. The Pussycat Dolls poussent le mimétisme jusqu'à coupler la chanson avec Where Did Our Love Go des Supremes  exactement comme l'avait fait Soft Cell à l'époque sur leur maxi 45 tours.

 

Sometimes I feel I've got to
Run away I've got to
Get away
From the pain that you drive into the heart of me
The love we share
Seems to go nowhere
And I've lost my light
For I toss and turn I can't sleep at night

(chorus)
Once I ran to you (I ran)
Now I'll run from you
This tainted love you've given
I give you all a boy could give you
Take my tears and that's not nearly all
Oh...tainted love
Tainted love

Now I know I've got to
Run away I've got to
Get away
You don't really want IT any more from me
To make things right
You need someone to hold you tight
And you'LL think love is to pray
But I'm sorry I don't pray that way

(chorus...)

 



Don't touch me please
I cannot stand the way you tease
I love you though you hurt me so
Now I'm going to pack my things and go
Tainted love, tainted love (x2)
Touch me baby, tainted love (x2)
Tainted love (x3)

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CERRONE 'Supernature" (1977)

 
 
 Marc Cerrone (né le 24 mai 1952 à Vitry-sur-Seine) est un musicien, batteur de formation. Il est un des pionniers de la musique disco qu'il a popularisée dans les années 1970.
 Le premier groupe de Cerrone se nomme Kongas et existe de 1972 à 1976. Il joue au célèbre club de Saint-Tropez « Le Papagayo ». Eddie Barclay devient son premier producteur et produit son premier single Boom en juillet 1972. Plus tard le second single Anakino connaîtra le même succès.
Durant l'été 1977, Cerrone compose, à Londres, l'album Supernature. Son premier single Supernature connaît un succès immédiat dans les dancefloors du monde : 10 millions d'albums de Supernature sont vendus. Give me love connaît le même succès. Cerrone devient une star reconnue, notamment aux États-Unis.
 
 
Once upon a time

Science opened up the door

We would feed the hungriy fields

Tilll they could'nt eat no more



But the potion that we made

Touched the creatures down below

And they grow up in a way

That we'd never seen before

Supernature, supernature, supernature, supernature



They were angry with the man

Cause changed their way of life

And they take their sweet revenge

As they trample throught the night



For hundred miles or more

You could hear the people cry

But there is nothing you can do

Even god is on their side

God is on, god is on, god is on their side

Supernature, supernature, supernature, supernature



Cars will break the light

Come flowing in the air

The creature will decide

Who goes where

How can I explain

Things are different today

Darkness all around

No one makes a sound

Such a sad affaire

No one seems to care

Supernature, supernature, supernature, supernature



Better watch out

There's no way to stop it now

You can't escape it's too late

Look what you've done

There's no place that you can run

The monsters made, we must pray



Maybe nature has a plan

To control the way of man

He must start from scratch again

Many battles must he win

Till he earns his place on earth

Like the other creatures do

Will there be a happy end

Now that all depends on you

Supernature, supernature, supernature, supernature

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SUGAR HILL GANG - Rapper's Delight (1979)

 

The Sugarhill Gang est un groupe de hip hop américain. Il s'est avant tout fait connaître en 1979 grâce à l'un de ses titres, Rapper's Delight, qui a été le premier single de hip hop à entrer dans le Top 40 américain. en 15 ans, 15 millions de singles de Rapper's Delight ont été vendus.

Le groupe est originaire de New York. Il est composé de trois membres, Big Bank Hank, Master Gee et Wonder Mike, qui ont été réunis par leur productrice, Sylvia Robinson.

Attention il ya beaucoup de paroles, la plus longe version faisant près d'un quart d'heure.

 
 
i said a hip hop the hippie the hippie
to the hip hip hop, a you dont stop
the rock it to the bang bang boogie say up jumped the boogie
to the rhythm of the boogie, the beat
now what you hear is not a test--i'm rappin to the beat
and me, the groove, and my friends are gonna try to move your feet
see i am wonder mike and i like to say hello
to the black, to the white, the red, and the brown, the purple and yellow
but first i gotta bang bang the boogie to the boogie
say up jump the boogie to the bang bang boogie
let's rock, you dont stop
rock the riddle that will make your body rock
well so far youve heard my voice but i brought two friends along
and next on the mike is my man hank
come on, hank, sing that song

check it out, i'm the c-a-s-an-the-o-v-a
and the rest is f-l-y
ya see i go by the code of the doctor of the mix
and these reasons i'll tell ya why
ya see i'm six foot one and i'm tons of fun
and i dress to a t
ya see i got more clothes than muhammad ali and i dress so viciously
i got bodyguards, i got two big cars
that definitely aint the wack
[Rappers Delight Lyrics on
http://www.lyricsmania.com/]
i got a lincoln continental and a sunroof cadillac
so after school, i take a dip in the pool
which really is on the wall
i got a color tv so i can see
the knicks play basketball
hear me talkin bout checkbooks, credit cards
more money than a sucker could ever spend
but i wouldnt give a sucker or a bum from the rucker
not a dime til i made it again
ya go hotel motel whatcha gonna do today (say what)
ya say im gonna get a fly girl gonna get some spankin
drive off in a def oj
everybody go, hotel motel holiday inn
say if your girl starts actin up, then you take her friend
master gee, am I mellow
its on you so what you gonna do

well it's on n on n on on n on
the beat dont stop until the break of dawn
i said m-a-s, t-e-r, a g with a double e
i said i go by the unforgettable name
of the man they call the master gee
well, my name is known all over the world
by all the foxy ladies and the pretty girls
i'm goin down in history
as the baddest rapper there could ever be
now i'm feelin the highs and ya feelin the lows
the beat starts gettin into your toes
ya start poppin ya fingers and stompin your feet
and movin your body while youre sittin in your seat
and the damn ya start doin the freak
i said damn, right outta your seat
then ya throw your hands high in the air
ya rockin to the rhythm, shake your derriere
ya rockin to the beat without a care
with the sureshot m.c.s for the affair
now, im not as tall as the rest of the gang
but i rap to the beat just the same
i dot a little face and a pair of brown eyes
all im here to do ladies is hypnotize
singin on n n on n on n on
the beat dont stop until the break of dawn
singin on n n on n on on n on
like a hot buttered a pop da pop da pop dibbie dibbie
pop da pop pop ya dont dare stop
come alive yall gimme what ya got
i guess by now you can take a hunch
and find that i am the baby of the bunch
'but that's okay i still keep in stride
cause all i'm here to do is just wiggle your behind
singin on n n on n on n on
the beat dont stop until the break of dawn
singin on n n on n on on n on
rock rock yall throw it on the floor
im gonna freak ya here im gonna feak ya there
im gonna move you outta this atmosphere
cause im one of a kind and ill shock your mind
ill put t-t-tickets in your behind
i said 1-2-3-4, come on girls get on the floor
a-come alive, yall a-gimme what ya got
cause im guaranteed to make you rock
i said 1-2-3-4 tell me wonder mike what are you waitin for?

i said a hip hop the hippie to the hippie
the hip hip hop, a you dont stop
the rock it to the bang bang boogie say up jumped the boogie
to the rhythm of the boogie, the beat
skiddlee beebop a we rock a scoobie doo
and guess what america we love you
cause ya rock and ya roll with so much soul
you could rock till you're a hundred and one years old
i dont mean to brag i dont mean to boast
but we like hot butter on our breakfast toast
rock it up baby bubbah
baby bubbah to the boogie da bang bang da boogie
to the beat beat, its so unique
come on everybody and dance to the beat

[funk]

i said a hip hop the hippie the hippie
to the hip hip hop, a you dont stop
rock it out baby bubbah to the boogie da bang bang
the boogie to the boogie da beat

i said i cant wait til the end of the week
when im rappin to the rhythm of a groovy beat
and attempt to raise your body heat
just blow your mind so that you cant speak
and do a thing but a rock and shuffle your feet
and let it change up to a dance called the freak
and when ya finally do come in to your rhythmic beat
rest a little while so ya dont get weak
i know a man named hank
he has more rhymes than a serious bank
so come on hank sing that song
to the rhythm of the boogie da bang bang da bong

well, im imp the dimp the ladies pimp
the women fight for my delight
but im the grandmaster with the three mcs
that shock the house for the young ladies
and when you come inside, into the front
you do the freak, spank, and do the bump
and when the sucker mcs try to prove a point

we're treacherous trio, we're the serious joint
a from sun to sun and from day to day
i sit down and write a brand new rhyme
because they say that miracles never cease
i've created a devastating masterpiece
i'm gonna rock the mike til you cant resist
everybody, i say it goes like this
well i was comin home late one dark afternoon
a reporter stopped me for a interview
she said she's heard stories and she's heard fables
that i'm vicious on the mike and the turntables
this young reporter i did adore
so i rocked a vicious rhyme like i never did before
she said damn fly guy im in love with you
the casanova legend must have been true
i said by the way baby what's your name
said i go by the name of lois lane
and you could be my boyfiend you surely can
just let me quit my boyfriend called superman
i said he's a fairy i do suppoose
flyin through the air in pantyhose
he may be very sexy or even cute
but he looks like a sucker in a blue and red suit
i said you need a man who's got finesse
and his whole name across his chest
he may be able to fly all through the night
but can he rock a party til the early light
he cant satisfy you with his little worm
but i can bust you out with my super sperm
i go do it, i go do it, i go do it, do it , do it
an i'm here an i'm there i'm big bang hank, im everywhere
just throw your hands up in the air
and party hardy like you just dont care
let's do it dont stop yall a tick a tock yall you dont stop
go hotel motel what you gonna do today(say what)
im gonna get a fly girl gonna get some spank drive off in a def oj
everybody go hotel motel holiday inn
you say if your girl starts actin up then you take her friend
i say skip, dive, what can i say
i cant fit em all inside my oj
so i just take half and bust them out
i give the rest to master gee so he could shock the house

it was twelve o'clock one friday night
i was rockin to the beat and feelin all right
everybody was dancin on the floor
doin all the things they never did before
and then this fly fly girl with a sexy lean
she came into the bar, she came into the scene
as she traveled deeper inside the room
all the fellas checked out her white sasoons
she came up to the table, looked into my eyes
then she turned around and shook her behind
so i said to myself, its time for me to release
my vicious rhyme i call my masterpiece
and now people in the house this is just for you
a little rap to make you boogaloo
now the group ya hear is called phase two
and let me tell ya somethin we're a helluva crew
once a week we're on the street
just a-cuttin' the jams and making it free
for you to party ya got to have the movies
so we'll get right down and give you the groove
for you to dance you gotta get hype
so we'll get right down for you tonight
now the system's on and the girls are there
ya definitely have a rockin affair
but let me tell ya somethin there's still one fact
that to have a party ya got to have a rap
so when the party's over you're makin it home
and tryin to sleep before the break of dawn
and while ya sleepin ya start to dream
and thinkin how ya danced on the disco scene
my name appears in your mind
yeah, a name you know that was right on time
it was phase two just a doin a do
rockin ya down cause ya know we could
to the rhythm of the beat that makes ya freak
come alive girls get on your feet
to the rhythm of the beat to the beat the beat
to the double beat beat that it makes ya freak
to the rhythm of the beat that says ya go on
on n on into the break of dawn
now i got a man comin on right now
he's guaranteed to throw down
he goes by the name of wonder mike
come on wonder mike do what ya like

like a can of beer that's sweeter than honey
like a millionaire that has no money
like a rainy day that is not wet
like a gamblin fiend that does not bet
like dracula with out his fangs
like the boogie to the boogie without the boogie bang
like collard greens that dont taste good
like a tree that's not made out of wood
like goin up and not comin down
is just like the beat without the sound no sound
to the beat beat, ya do the freak
everybody just rock and dance to the beat
have you ever went over a friends house to eat
and the food just aint no good
i mean the macaroni's soggy the peas are mushed
and the chicken tastes like wood
so you try to play it off like you think you can
by sayin that youre full
and then your friend says momma he's just being polite
he aint finished uh uh that's bull
so your heart starts pumpin and you think of a lie
and you say that you already ate
and your friend says man there's plenty of food
so you pile some more on your plate
while the stinky foods steamin your mind starts to dreamin
of the moment that it's time to leave
and then you look at your plate and your chickens slowly rottin
into something that looks like cheese
oh so you say that's it i got to leave this place
i dont care what these people think
im just sittin here makin myself nauseous
with this ugly food that stinks
so you bust out the door while its still closed
still sick from the food you ate
and then you run to the store for quick relief
from a bottle of kaopectate
and then you call your friend two weeks later
to see how he has been
and he says i understand about the food
baby bubbah but we're still friends
with a hip hop the hippie to the hippie
the hip hip a hop a you dont stop the rockin
to the bang bang boogie
say up jump the boogie to the rhythm of the boogie the beat
i say hank can ya rock
can ya rock to the rhythm that just dont stop
can ya hip me to the shoobie doo
i said come on make the make the people move

i go to the halls and then ring the bell
because i am the man with the clientele
and if ya ask me why i rock so well
a big bang, i got clientele
and from the time i was only six years old
i never forgot what i was told
it was the best advice that i ever had
it came from my wise dear old dad
he said sit down punk i wanna talk to you
and dont say a word until i'm through
now there's a time to laugh a time to cry
a time to live and a time to die
a time to break and a time to chill
to act civilized or act real ill
but whatever ya do in your lifetime
ya never let a mc steal your rhyme
so from sixty six til this very day
ill always remember what he had to say
so when the sucker mcs try to chump my style
i let them know that i'm versatile
i got style finesse and a little black book
that's filled with rhymes and i know you wanna look
but there's a thing that separates you from me
and that's called originality
because my rhymes are on from what you heard
i didnt even bite and not a god d--m word
and i say a little more later on tonight
so the sucker mc's can bite all night
a tick a tock yall a beat beat yall
a lets rock yall ya dont stop
ya go hotel motel whatcha gonna do today (say what)
ya say im gonna get a fly girl gonna get some spankin
drive off in a def oj
everybody go hotel motel holiday inn
ya say if your girl starts actin up then you take her friends
a like that yall to the beat yall
beat beat yall ya dont stop
a master gee am I mellow?
its on you so whatcha gonna do

well like johnny carson on the late show
a like frankie croker in stereo
well like the barkay's singin holy ghost
the sounds to throw down they're played the most

its like my man captain sky
whose name he earned with his super sperm
we rock and we dont stop
get off yall im here to give you whatcha got
to the beat that it makes you freak
and come alive girl get on your feet
a like a perry mason without a case
like farrah fawcett without her face

like the barkays on the mike
like gettin right down for you tonight
like movin your body so ya dont know how
right to the rhythm and throw down

like comin alive to the master gee
the brother who rocks so viciously
i said the age of one my life begun
at the age of two i was doin the do
at the age of three it was you and me
rockin to the sounds of the master gee
at the age of four i was on the floor
givin all the freaks what they bargained for
at the age of five i didnt take no jive
with the master gee its all the way live
at the age of six i was a pickin up sticks
rappin to the beat my stick was fixed
at the age of seven i was rockin in heaven dontcha know i went off
i got right on down to the beat you see
gettin right on down makin all the girls
just take of their clothes to the beat the beat
to the double beat beat that makes you freak
at the age of eight i was really great
cause every night you see i had a date
at the age of nine i was right on time
cause every night i had a party rhyme
goin on n n on n on on n on
the beat dont stop until the break of dawn
a sayin on n n on n on on n on...
like a hot buttered de pop de pop de pop
a saying on n n on n on on n on
cause i'm a helluva man when i'm on the mike
i am the definate feast delight
cause i'm a helluva man when i'm on the mike
i am the definate feast delight
come to the master gee you see
the brother who rocks so viciously

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LIPPS INC "Funkytown" (1980)

 

Lipps Inc est un groupe de musique disco américain, principalement connu pour le célèbre tube Funkytown sorti en 1980.

Lipps Inc (prononcer lip sync), est formé à Minneapolis par le multi-instrumentiste (sauf la basse) Steven Greenberg qui écrit et produit toutes les musiques du groupe. À 24 ans, alors qu'elle était secrétaire dans la police locale, Cynthia Johnson, Miss Black Minnesota en 1976, lui envoie une démo réalisée avec James Harris III et le bassiste Terry Lewis. Bruce Bird, du label Casablanca Records, leur fait signer leur premier titre disco : Rock It.  Remplacée sur certains titres du dernier album par Melanie Rosales, Cynthia Johnson quitte le groupe en 1983.

En 1980, Funkytown est le seul titre produit par Lipps Inc à parvenir en tête des hit-parades internationaux. Ce titre leur donne la consécration d'un disque de platine (plus de deux millions de singles vendus). Le groupe cesse toute activité au milieu des années 1980. Il se différencie du son disco avec un mélange de styles disco, new wave pop et rythm and blues.

Gotta make a move to a
Town that's right for me
Town to keep me movin'
Keep me groovin' with some energy

Well, I talk about it
Talk about it
Talk about it
Talk about it
Talk about, Talk about
Talk about movin

Gotta move on
Gotta move on
Gotta move on

Won't you take me to
Funkytown
Won't you take me to
Funkytown
Won't you take me to
Funkytown
Won't you take me to
Funkytown

Gotta make a move to a
Town that's right for me
Town to keep me movin'
Keep me groovin' with some energy

Well, I talk about it
Talk about it
Talk about it
Talk about it
Talk about, Talk about
Talk about movin

Gotta move on
Gotta move on
Gotta move on

Won't you take me to
Funkytown
Won't you take me to
Funkytown
Won't you take me to
Funkytown
Won't you take me to
Funkytown

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TEENA MARIE "Ooh La La La" (1988)

 

Teena Marie aka Mary Christine Brockert  nait le 5 mars 1957 à Santa Monica, Californie.

Engagée en 1976 par Motown Records comme choriste, elle sort son premier album, intitulé Wild and Peaceful en 1979. Rick James (un des artistes funk les plus populaires du label entre 1970 & 1980), qui venait de refuser de travailler sur un album de Diana Ross parce qu'il ne pouvait le superviser dans son intégralité, compose quatre titres de l'album sur six, effectue les arrangements, chante, et joue un grand nombre d'instruments. C'est le début d'une longue collaboration artistique entre Teena Marie et Rick James. Dans une interview datée de 1999, Teena Marie admettra par ailleurs avoir eu une liaison amoureuse avec Rick James. Contrairement à l'usage courant, le visage de Teena Marie n'apparait pas sur la pochette de son premier album. En effet, Motown ne souhaite pas que son public découvre que la chanteuse est « blanche », bien qu'elle ne soit pas seule dans son cas à figurer dans le catalogue de la maison de disques. La première chanteuse Motown « blanche » est Debbie Dean en 1960. Le visage de Teena Marie apparait sur ses albums suivants. De fait, les questions d'appartenance ethnique n'ont jamais constitué un problème dans sa carrière, la chanteuse ayant toujours été très bien acceptée par le public du Rythm'n'blues.

La chanson est reprise en 1996 par The Fugees sous le titre Fu-Gee-La.

 

Every time you come around
I feel my world starts turning topsy-turvy
And I just can't fight the spin
Baby, won't you listen to this love
Whose hearts been missing and don't hurt me
‘Cause I'm falling your way again

Am I weak
Well, sometimes I just can't hardly speak
That I have to pinch myself to be sure
That this love is more than I can endure
Sweet thing, you've got me signing

Ooo la-la-la
It's the way that you feel when you know it's real
Ooo la-la-la
It's the warm that's inside when you're satisfied

Ooo la-la-la
It's a dream that lasts forever
Ooo la-la-la
Let's stay together, oh

I can see it there
That look upon your face is saying love's in making
Boy, I know what's on your mind
Love is for the lasting
And it's your just for the asking for the taking
‘Cause I'm falling your way this time

Do I thrill
Well, sometimes I get subliminal chills
That I have to pinch myself to be sure
That this love is more than I can endure
Sweet thing, you got me singing

Ooo la-la-la
It's the take to the sky on a natural high
Ooo la-la-la
It's the heaven that's sent when your heart's content

Ooo la-la-la
It's a dream that lasts forever
Ooo la-la-la
Let's stay together

Ooo la-la-la, don't ever go
‘Cause I love you do, I love you so, baby
Ooo la-la-la, don't ever go
‘Cause I'll surely die if you ever say goodbye, my baby

You got me falling
Falling for you, falling with you
Falling to you, falling after you
Falling

Ooh, sweet thing, you got me singing
Ooo la-la-la-la-la-la-la-la-la-la
Sweet thing, whoa, you got me singing
Ooo la-la-la-la-la-la-la-la-la-la
Sweet thing, whoa, you got me singing
Ooo la-la-la-la-la-la-la-la-la-la
Sweet thing, oh, you got me singing
Ooo la-la-la-la-la-la-la-la-la-la
Sweet thing, oh, you got me singing

Ooo la-la-la
It's the way that you feel when you know it's real
Ooo la-la-la
It's the warm that's inside when you're satisfied

Ooo la-la-la
It's a dream that lasts forever
Ooo la-la-la
Let's stay together

Ooh...ooh...
Sweet, ooh...ooh...ooh...ooh...
Ooh...ooh...
Sweet thing, ooh...

You know everybody
Sometimes you should just stop
And take some time out to tell the one you love
Just how much they mean to you
Because you see, sometimes the needs of the one
Outweigh the needs of the many
And if you understand what I'm talkin' about

Let me hear you say, "Yeah"
Let me hear you say, "Yeah, yeah, yeah"
Let me hear you say, "Yeah, yeah, yeah"
Let me hear you say, "Yeah"
Oh, I'm givin' up to you

I said I'm falling (Ooo la-la-la)
I said I'm falling (Ooo la-la-la)
I said I'm falling (Ooo la-la-la)
I said I'm falling (Ooo la-la-la)

I said I'm falling (Ooo la-la-la)
I said I'm falling (Ooo la-la-la)
(Ooo la-la-la)

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BOOTSY COLLINS "Play With Bootsy" (2002)

 

William Collins (né le 26 octobre 1951, Cincinnati, Ohio), connu sous le nom de Bootsy Collins est un bassiste funk avant-gardiste, un chanteur et un compositeur.

En 1968, avec son frère Catfish Collins, Kash Waddy et Philippe Wynne, Collins forme le groupe The Pacesetters. Ils jouèrent en tant que backing band de James Brown, sous le nom de The JB's.

Une rumeur affirme que James Brown congédia Bootsy Collins après que ce dernier ait eu des hallucinations dûes au LSD sur scène. Collins, sur les conseils du futur membre de The Parliaments, Mallia Franklin, déménagea à Detroit.

Collins collabora également avec Bill Laswell, Buckethead  et fit quelques brillantes apparitions sur deux albums de Fatboy Slim. Il a aussi fait des apparitions avec le groupe Dee-Lite.

Ses albums suivant sortirent sous le nom de Bootsy Collins ou William "Bootsy" Collins.

En 2002, il invite la chanteuse Kelli Ali à poser sa voix sur "Play With Bootsy".

 

You know Friday wasn't my day
All those space boys friskin' me
I took my zoom car
To the star bar
Supersonic disco dream (trees)
I heard a bass line that was so fine
Universal radio (yeah)
And such a cool voice
I had no choice
But to let my rocket go


Touch down Mister DJ
Give me Zero Gravity (Zero Gravity)
I've come to play with Bootsy
From another galaxy


Uhh, well uh, do you wanna get physical?
Or spiritual?
And remember: Just because you've got wings,
don't mean you can fly, baby!


Cosmic crash dab into earth lab
Mister Robot do your thing
Land of cool beats
We go in deep
Take us to your funky King


Touch down Mister DJ
Give me Zero Gravity (Zero Gravity)
I've come to play with Bootsy
From another Galaxy
(uhh, set your mind free,
come fly with me, baby)


Shake your heavenly body
Astronomic Super Seed
I've come to play with Bootsy
Interstellar Love Machine


So as I traveled through your angelic cosmos
I ran into your atmosphere


Baby we can touch down tonight
Bootsy's goin' to set stars alight

Baby we can touch down tonight
Bootsy's goin' to set stars alight

Baby we can touch down tonight
Bootsy's goin' to set stars alight

Baby we can touch down tonight
You know I've got my radar on you


Touch down Mister DJ
Give me Zero Gravity (Zero Gravity)
I've come to play with Bootsy
From another Galaxy
(Uhh, spontaneous combustibility)


Shake your heavenly body
Astronomic Super Seed
I've come to play with Bootsy
Interstellar Love Machine
(wiiiind me up!)


And you won't have to pay a lot for this muffler, baby!


Yeah, you can play with me one time, baby!

 

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SHALAMAR " A Night To Remember" (1982)

 

Shalamar a été créé par Dick Griffey, célèbre agent de l'émission télévisée R&B Soul Train et par le producteur Simon Soussan. Le premier single du groupe, un medley de tubes de la Motown inclus dans leur premier album "Uptown Festival" paru en 1977, ne les révélera pas tout de suite puisque les musiciens sont encore inconnus à cette époque.

Mais dès que le groupe s'octroie la première place des charts, Griffey décide alors de former le groupe "Shalamar". Au travers de l'émission "Soul Train", il découvre Jody Watley, Jeffrey Daniels et Gérald Brown qui deviendront les chanteurs de "Shalamar"; Brown sera rapidement remplacé par Howard Hewett en 1978. Commence alors l'envolée de Shalamar et de la disco/soul avec "Take That to the Bank", morceau issue de l'album "Disco Gardens" en 1978. Puis "The Second Time Around" issue de l'album "Big Fun" paru en 1979, "A Night To Remember" en 1982 dans l'album "Friends".

Ils furent récompensés à plusieurs reprises. Watley et Daniels quittèrent le groupe en 1983, et furent remplacés par Delisa Davis et Micki Free en 1984; Jody Watley entama une carrière solo plus que brillante, et non sans succès. L'année suivante Shalamar gagna un Grammy Award pour le titre "Don't Get Stopped in Beverly Hills" paru dans l'album "Heartbreak" en 1984.

Le départ d'Hewett en 1986, pour se lancer en solo, marque la fin du groupe. Et ceci, malgré l'arrivée de Sidney Justin et l'enregistrement en 1987 de "Circumstantial Evidence" qui fut un échec.

 

When you love someone it's natural, not demanding
And that's one thing I'm proud to say I found in you
I'm so glad we reached an understanding
Now I know my heart is safe with you, hoo...
So now my love to you, baby, I surrender

Get ready tonight
Gonna make this a night to remember
Get ready (Oh, baby) tonight
Gonna make this a night to remember

Celebrations and my heart could stay united
And there's nothing in this world to come between me and you
We're together and it keeps me so excited
To think of what the power of love can do, ooh...
And I'm filled with a love that's, oh, so tender

Get ready [Baby] tonight [Girl]
I'm gonna make this a night to remember
Get ready [Get ready] tonight
I'm gonna make this a night to remember

Make this a night to remember

Get ready tonight
Gonna make this a night to remember
Get ready [Get ready] tonight
Gonna make this a night to remember

Get ready (Baby) tonight (Darlin')
Gonna make this a night to remember
Get ready (Darlin') tonight (Baby)
Gonna make this a night to remember

This night you won't forget
Gonna make this a night to remember
‘Cause your love I won't regret
Gonna make this a night to remember

Get ready [Baby] tonight (Darlin')
Gonna make this a night to remember
Get ready [It won't be like the past] tonight (I will make it last)
Gonna make this a night to remember

Tonight
Make this a night to remember
Tonight
Make this a night to remember

Let's make a toast to those who helped make this occasion
They turn their back on love and that's what drove you straight to me
Now to you I make a lasting dedication
I'll show you all that love and life can be, hoo...
And each day that I live I will deliver

Get ready (This night you won't forget) tonight
Gonna make this a night to remember
Get ready (‘Cause your love I won't regret) tonight
Gonna make this a night to remember

Get ready [Baby] tonight (Darlin')
Gonna make this a night to remember
Get ready [It won't be like the past] tonight (I will make it last)
Gonna make this a night to remember

Get ready tonight

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GRAUSONE "Eisbär" (1981)

 

Grauzone (en français Zone Grise) était un groupe suisse des 80's faisant partie de la nouvelle vague allemande (New Deutsche Welle), qui se composait de 4 membres: Claudine Chirac( saxophone), Marco Repetto (batterie, aujourdh'ui DJ), Martin Eicher et Stephan Eicher (chant guitare synthé).

Eisbär (l'ours polaire) fut leur 1er single, qui leur a valu la 6ème place dans 12 des charts Allemands.

 

 
Eisbär, eisbär,
Kaltes eis, kaltes eis.
Ich möchte ein eisbär sein
Im kalten polar,
Dann müßte ich nicht mehr schreien,
Alles wär so klar.
Ich möchte ein eisbär sein
Im kalten polar,
Dann müßte ich nicht mehr schreien,
Alles wär so klar.
Eisbären müssen nie weinen.
Eisbären müssen nie weinen.

 


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FOX THE FOX "Precious Little Diamond" (1983)

 

Groupe de Funk Néerlandais crée en 1981 grâce à ses deux membres dominants: Bert Tamaela (chant et composition) et Sylhoutte Musmin (paroles). Le nom Fox the Fox (essayer de rouler un renard) viendrait du texte de "Shock the monkey" de Peter Gabriel.

Leur seul hit sera "Precious Little Diamond" en 1984. Après deux albums, le groupe se sépare en 1990.

 

 

Precious little diamond
I leave it all to you

Precious little diamond
let it come to you.
Precious little
precious little diamond
I leave it all to you

Well
I got my reasons why I still believe in you

You're my cry of wonder
there's no doubt I need you.
Love is talking to me whisper sweet things in my ear

Chain to chain reaction if you pull I move along.
You're my will and pleasure never felt so good
so strong.
Precious little diamond
I leave it all to you
Precious little diamond
let it come to you.
Precious little diamond
I leave it all to you

Precious little diamond
crystallizing you.
Still I got my reasons
won't you talk to me

You're a precious diamond - baby
stay with me.
As you're coming closer
pressure disappears

Baby. take it over. everything's so clear.

Well
I got my reasons why I stlll believe in you

Still I got my reasons
won't you talk to me

Precious little diamond
I leave it all to you

Precious little diamond
let it come to you.
Precious little diamond
I leave it all to you

Precious little diamond
I leave it all to you
Ooh
I got my reasons
won't you talk to me
Precious little diamond
I leave it all to you

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Rockwell -"Somebody's watching me" (1984)

 

Rockwell aka  Kenneth William Gordy nait le 15 mars 1964 sur le nouveau continent, plus exactement à Detroit, Michigan, sous les yeux ébahis de son papa Berry Gordy, le createur du célébrissime label Motown.

En 1984, il sort son seul tube Somebody's watching me, en featuring avec ses amis Mickael et Jermaine Jackson, surtout au niveau du refrain. Le titre se classe rapidement dans le top 10 en Angleterre et en Amérique.

Ce titre a souvent été repris, notement pas SZ en 2001, Warmen en 2005 ou encore Beatfreakz en 2006.

I'm just an average man with an average life
I work from nine to five, hey, hell, I pay the price
All I want is to be left alone in my average home
But why do I always feel like I'm in the twilight zone

I always feel like somebody's watching me
And I Have No Privacy
I always feel like somebody's watching me
Tell Mi Is It Just A Dream

When I come home at night
I bolt the door real tight
People call me on the phone, I'm trying to avoid
But can the people on TV see me or am I just paranoid

When I'm in the shower I'm afraid to wash my hair
Cause I might open my eyes and find someone standing there
People say I'm crazy, just a little touched
But maybe showers remind me of Psycho too much
That's why...

I always feel like somebody's watching me
And I Have No Privacy
I always feel like somebody's watching me
Who's Playin' Trics On Me

(instrumental)

I don't know anymore
Are the neighbors watching me
Well is the mailman watching me
And I don't feel safe anymore, oh what a mess
I wonder who's watching me now--- (BOOO!) -The IRS?

I always feel like somebody's watching me
And I Have No Privacy
I always feel like somebody's watching me
Tell Me Is It Just A Dream

I always feel like somebody's watching me
And I Have No Privacy
I always feel like somebody's watching me
I always feel like somebody's watching me

I always feel like somebody's watching me
I always feel like somebody's watching me
Tell Me This Can't Be

I always feel like somebody's watching me
I always feel like somebody's watching me
I always feel like somebody's watching me

 

 

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