Category Archives: Lyrics

I was transformed into a rock of salt, because I questioned Your power.


I was transformed into
a rock of salt,
because I questioned
Your power.

I was trasformed into
A cloud, a dark cloud
because I questioned
Your beauty.
I was transformed into
an perpetual wave,
Searching for your presence
everywhere upon the face of the Earth,
because… I questioned
You existance…

and now,
You have extended my search of You among
the furtherst away stars, and dark spaces in the Universe…
Will I find You?
Will I like You?

By George Bost.
(Copyright 2016)
Long Beach, California.

Watch “Our Father – Prayer of the Lord in Latin” on YouTube


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Watch “Je vous salue Marie-Georges Brassens” on YouTube



Par le petit garçon qui meurt près de sa mère
Tandis que des enfants s’amusent au parterre
Et par l’oiseau blessé qui ne sait pas comment
Son aile tout à coup s’ensanglante et descend
Par la soif et la faim et le délire ardent
Je vous salue, Marie

Par les gosses battus, par l’ivrogne qui rentre
Par l’âne qui reçoit des coups de pied au ventre
Et par l’humiliation de l’innocent châtié
Par la vierge vendue qu’on a déshabillée
Par le fils dont la mère a été insultée
Je vous salue, Marie
Par la vieille qui, trébuchant sous trop de poids
S’écrie “mon Dieu !” par le malheureux dont les bras
Ne purent s’appuyer sur une amour humaine
Comme la Croix du Fils sur Simon de Cyrène
Par le cheval tombé sous le chariot qu’il traîne
Je vous salue, Marie
Par les quatre horizons qui crucifient le monde
Par tous ceux dont la chair se déchire ou succombe
Par ceux qui sont sans pieds, par ceux qui sont sans mains
Par le malade que l’on opère et qui geint
Et par le juste mis au rang des assassins
Je vous salue, Marie
Par la mère apprenant que son fils est guéri
Par l’oiseau rappelant l’oiseau tombé du nid
Par l’herbe qui a soif et recueille l’ondée
Par le baiser perdu par l’amour redonné
Et par le mendiant retrouvant sa monnaie
Je vous salue, Marie
Translate to English

Source: LyricFind


Songwriters: Georges Charles Brassens / Francis Jammes / Oswald Antoine Marie D’Andrea
La prière lyrics © Warner Chappell Music France

Watch “a-ha – Take On Me (Live From MTV Unplugged)” on YouTube




  1. We’re talking away
    Though I don’t know what I’m to say
    I’ll say it anyway
    Today’s another day to find you
    Shying away
    I’ll be coming for your love, OK?

    Take on me (take on me)
    Take me on (take on me)
    I’ll be gone
    In a day or two

    So needless to say
    I’m odds and ends
    But I’ll be stumbling away
    Slowly learning that life is ok
    Say after me
    It’s no better to be safe than sorry

    Take on me (take on me)
    Take me on (take on me)
    I’ll be gone
    In a day or two

    Oh, things that you say
    Is it a life or just to play my worries away
    You’re all the things I’ve got to remember
    You’re shying away
    I’ll be coming for you anyway

    Take on me
    Take me on
    I’ll be gone
    In a day
    (Take on me)
    Take me on (take on me)
    I’ll be gone (take on me)
    (Take on me)

    Source: LyricFind


    Songwriters: Pal Waaktaar / Morten Harket / Magne Furuholmen

    Take On Me lyrics © Sony/ATV Music Publishing LLC

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Watch “I Will Survive” on YouTube


At first I was afraid, I was petrified

Kept thinking I could never live without you by my side
But then I spent so many nights thinking how you did me wrong
And I grew strong
And I learned how to get along
And so you’re back
From outer space
I just walked in to find you here with that sad look upon your face
I should have changed that stupid lock, I should have made you leave your key
If I’d known for just one second you’d be back to bother me
Go on now, go, walk out the door
Just turn around now
‘Cause you’re not welcome anymore
Weren’t you the one who tried to hurt me with goodbye
Do you think I’d crumble
Did you think I’d lay down and die?
Oh no, not I, I will survive
Oh, as long as I know how to love, I know I’ll stay alive
I’ve got all my life to live
And I’ve got all my love to give and I’ll survive
I will survive, hey, hey
It took all the strength I had not to fall apart
Kept trying hard to mend the pieces of my broken heart
And I spent oh-so many nights just feeling sorry for myself
I used to cry
But now I hold my head up high and you see me
Somebody new
I’m not that chained-up little person and still in love with you
And so you felt like dropping in and just expect me to be free
Well, now I’m saving all my lovin’ for someone who’s loving me
Go on now, go, walk out the door
Just turn around now
‘Cause you’re not welcome anymore
Weren’t you the one who tried to break me with goodbye
Do you think I’d crumble
Did you think I’d lay down and die?
Oh no, not I, I will survive
Oh, as long as I know how to love, I know I’ll stay alive
I’ve got all my life to live
And I’ve got all my love to give and I’ll survive
I will survive
Oh
Go on now, go, walk out the door
Just turn around now
‘Cause you’re not welcome anymore
Weren’t you the one who tried to break me with goodbye
Do you think I’d crumble
Did you think I’d lay down and die?
Oh no, not I, I will survive
Oh, as long as I know how to love, I know I’ll stay alive
I’ve got all my life to live
And I’ve got all my love to give and I’ll survive
I will survive
I will survive
Source: LyricFind
Songwriters: Dino Fekaris / Frederick J. Perren
I Will Survive – Re-Recording (By Original Artist) lyrics © Universal Music Publishing Group

Watch “Gordon Lightfoot – Sundown (Lyrics)” on YouTube



I can see her lyin’ back in her satin dress
In a room where ya do what ya don’t confess
Sundown you better take care
If I find you beenn creepin’ ’round my back stairs
Sundown ya better take care
If I find you been creepin’ ’round my back stairs

She’s been lookin’ like a queen in a sailor’s dream
And she don’t always say what she really means
Sometimes I think it’s a shame
When I get feelin’ better when I’m feelin’ no pain
Sometimes I think it’s a shame
When I get feelin’ better when I’m feelin’ no pain
I can picture every move that a man could make
Getting lost in her lovin’ is your first mistake
Sundown you better take care
If I find you been creepin’ ’round my back stairs
Sometimes I think it’s a sin
When I feel like I’m winnin’ when I’m losin’ again
I can see her lookin’ fast in her faded jeans
She’s a hard lovin’ woman, got me feelin’ mean
Sometimes I think it’s a shame
When I get feelin’ better when I’m feelin’ no pain
Sundown you better take care
If I find you been creepin’ ’round my back stairs
Sundown you better take care
If I find you been creepin’ ’round my back stairs
Sometimes I think it’s a sin
When I feel like I’m winnin’ when I’m losin’ again
Source: LyricFind


Songwriters: Gordon Lightfoot
Sundown lyrics © Warner Chappell Music, Inc

Watch “The Chantels – Look In My Eyes” on YouTube


Look in my eyes,and tell me you love me
Tell me you love me, or darling I’ll be gone
(Gone, gone, gone, gone)

Look in my eyes,and tell me that you’re the
One for me, and that our love will always be
Or darling I’ll be gone (gone, gone, gone, gone, gone)

You said it that time
So glad you’re all mine
What’s it to be? Do you wanna be?
And let me know,a little more time
Have that love to be ,or darling set me free

Look in my eyes,and tell me you love me
Tell me you love me or darling all be gone
(Gone, gone, gone, gone)

Do-oooo di,di,di,di,di
Do-oooo di,di,di,di,di

Written by: RICHARD BARRETT

Lyrics © Universal Music Publishing Group

Lyrics Licensed & Provided by LyricFind

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??????????? Answered (© poetic thought by GeorgeB @ euzicasa): “Time is capricious, love unclaimed transcends.”


https://euzicasa.wordpress.com/2013/02/14/st-valentines-day/

????????????? Answered (© poetic thought by GeorgeB @ euzicasa)

(© poetic thought by GeorgeB @ euzicasa)

Love, love, love,
is it love,
if one cannot embrace human vanity
or is it just plain silliness?
Should love be sang, declared,
or deep in one’s heart vault be contained,
no,
not like in a prison cell, but like
a precious ore not yet uncovered, claimed, explored…
not yet EXPLOITED, by anyone,
ever so well unclaimed,
it shines like the sum of all suns

Time is capricious, love unclaimed transcends.
(Posted Here )

QUOTE: Suffering is not holding you, you are holding suffering. BUDDHA


QUOTE: Suffering is not holding you, you are holding suffering.  BUDDHA

QUOTE: Suffering is not holding you, you are holding suffering. BUDDHA

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Watch “The Traitor_Martha Wainwright_Leonard Cohen_I’m Your Man_720HD-022711.avi” on YouTube


Play “The Traitor”

on Amazon Music (ad)

Now the Swan it floated on the English river
Ah the Rose of High Romance it opened wide
A sun tanned woman yearned me through the summer
And the judges watched us from the other side

I told my mother “Mother I must leave you
Preserve my room but do not shed a tear
Should rumour of a shabby ending reach you
It was half my fault and half the atmosphere”

But the Rose I sickened with a scarlet fever
And the Swan I tempted with a sense of shame
She said at last I was her finest lover
And if she withered I would be to blame

The judges said you missed it by a fraction
Rise up and brace your troops for the attack
Ah the dreamers ride against the men of action
Oh see the men of action falling back

But I lingered on her thighs a fatal moment
I kissed her lips as though I thirsted still
My falsity had stung me like a hornet
The poison sank and it paralyzed my will

I could not move to warn all the younger soldiers
That they had been deserted from above
So on battlefields from here to Barcelona
I’m listed with the enemies of love

And long ago she said “I must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that Rose and wind the Swan”

So daily I renew my idle duty
I touch her here and there, I know my place
I kiss her open mouth and I praise her beauty
And people call me traitor to my face

GeorgeB

General Comment:

Well I guess, it is fundamentally positive, and for a long time I just amaze myself at the beauty of the methaphore, the idea of the world as a stage, as the scene of a quest, in which the spectators are the judges as well, then I heard Leonard Cohen’s explaantion of the line of thought that made him write the poem. It goes like this:

“It was called “The traitor”. It was about the feeling that we have of betraying some mission that we were mandated to fulfill, and being unable to fulfill it, and then coming to understand that the real mandate was not to fulfill it, and that the deeper courage was to stand guiltless in the predicament in which you found yourself”.

It talks about the unvoidable predicament of failure from without, and the only right posture when one’s faced with a situation in which one cannot but fail: standing guiltless, in the predicament in which you find yourself. I think that is positive: not blaming yourself for outcomes of which you could not fully control.

Rating: +1

No Replies

12 Years AgoWinters

General Comment:

  1. It seems to be about a man settling for someone who is not right for him rather than what his heart desires. He becomes an enemy of love, The Men of Action Falling back is the man too weak to take action and leave, following his heart. He has a relationship of physical love but not real love. He is a traitor to himself.

Rating: 0

No Replies

11 Years Agobhoover247

General Comment:

The rose is the womans genitals, the swan would be his. The line “run some wire through the rose and wind the swan” would be the woman asking him to have sex with her. He daily performs his “idle duty” but he doesn’t love her. He has become an “enemy of love” for betraying his true love.

Rating: 0

1 Reply

9 Years AgoRJSoftware

General Comment:

Damb, aint any Cohen song remotley happy?

Rating: 0

No Replies

9 Years AgoStrangerinme

General Comment:

And long ago she said “I must be leaving,
Ah but keep my body here to lie upon
You can move it up and down and when I’m sleeping
Run some wire through that Rose and wind the Swan”

God what a punishment ( the cruelty of the victim is almost far more than of the criminal)
He betrayed her , she doesn’t love him no more but she keeps her body for him to have sex with while her soul is somewhere else …

Rating: 0

No Replies

6 Years AgoJohnnyBee

My Interpretation:

What the Traitor has betrayed is the ideal of love. His ‘scarlet fever’ is lust, but when it is satisfied by ‘lingering on her thighs’, the Traitor is shamed. He recognises that other young men go off to battle without high ideals and they too become ‘the enemies of love’.
Lovely metaphors – great Leonard Cohen.

Rating: 0

No Replies

4 Months Agoalerique

General Comment:

Please, note parallels with famous ‘O Rose Thou Art Sick’ by William Blake, with specific reference to Englishness to remove further doubts. This is widened reinterpretation of the famous poem from the worm’s point of view.

O Rose thou art sick.
The invisible worm,
That flies in the night
In the howling storm:

Has found out thy bed
Of crimson joy:
And his dark secret love
Does thy life destroy.

Rating: 0

Watch “Julio Iglesias -Por el amor de una mujer” on YouTube



Por el amor de una mujer
Jugué con fuego sin saber
Que era yo quien me quemaba
Bebí en las fuentes del placer
Hasta llegar a comprender
Que no era a mi a quien amaba

Por el amor de una mujer
He dado todo cuanto fui
Lo más bonito de mi vida
Mas ese tiempo que perdí
Ha de servirme alguna vez
Cuando se cure bien mi herida
Todo me parece como un sueño todavía
Pero sé que al fin podré olvidar un día
Hoy me siento triste pero pronto cantaré
Y prometo no acordarme nunca del ayer
Por el amor de una mujer
Llegué a llorar why enloquecer
Mientras que ella se reía
Y en pedazos un cristal
Dejé mis venas desangrar
Pues no sabía lo que hacía
Por el amor de una mujer
He dado todo cuanto fui
Lo más bonito de mi vida
Mas ese tiempo que perdí
Ha de servirme alguna vez
Cuando se cure bien mi herida
Todo me parece como un sueño todavía
Pero sé que al fin podré olvidar un día
Hoy me siento triste pero pronto cantaré
Y prometo no acordarme nunca del ayer
Por el amor de una mujer
Jugué con fuego sin saber
Que era yo quien me quemaba
Bebí en las fuentes del placer
Hasta llegar a comprender
Que no era a mi a quien amaba
Por el amor de una mujer
He dado todo cuanto fui
Lo más bonito de mi vida
Mas ese tiempo que perdí
Ha de servirme alguna vez
Cuando se cure bien mi herida
Translate to English

Source: LyricFind


Songwriters: Daniel De La Campa Candon / Danny Daniel / Jesus Gonzalez Lopez / Sonny Marti
Por el Amor de una Mujer lyrics © Sony/ATV Music Publishing LLC, Warner Chappell Music, Inc

Watch “Mocedades Tomame o dejame” on YouTube



Tómame o déjame
Pero no me pidas que te crea más
Cuando llegas tarde a casa

No tienes porque inventar
Pues tu ropa huele a leña de otro hogar
Tómame o déjame
Si no estoy despierta, déjame soñar
No me beses en la frente
Sabes que te oí llegar
Y tu beso sabe a culpabilidad
Tú me admiras porque callo y miro al cielo
Porque no me ves llorar
Y te sientes cada día más pequeño
Y esquivas mi mirada en tu mirar
Tómame o déjame
Ni te espío ni te quito libertad
Pero si dejas el nido
Si me vas a abandonar
Házlo antes de que empiece a clarear
Tu me admiras porque callo y miro al cielo
Porque no me ves llorar
Y te sentes cada dia mas pequeño
Y ezquibas mi mirada y tu mirar
Tómame o déjame
Y si vuelves trae contigo la verdad
Trae erguida la mirada
Trae contigo mi rival
Si es mejor que yo podré entonces llorar
Translate to English

Source: LyricFind


Songwriters: Juan Carlos Calderon Lopez De Arroyabe
Tomame O Dejame lyrics © Universal Music Publishing Group

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Watch “Hugh Laurie – Saint James Infirmary (Let Them Talk, A Celebration of New Orleans Blues)” on YouTube


It was down by old Joe’s barroom, on the corner of the square
They were serving drinks as usual, and the usual crowd was there
On my left stood Big Joe McKennedy, and his eyes were bloodshot red
And he turned his face to the people, these were the very words he said
I was down to St. James infirmary, I saw my baby there
She was stretched out on a long white table,
So sweet, cool and so fair
Let her go, let her go, God bless her
Wherever she may be
She may search this whole wide world over
Never find a sweeter man as me
When I die please bury me in my high top Stetson hat
Put a twenty dollar gold piece on my watch chain
The gang’ll know I died standing pat
Let her go, let her go God bless her
Wherever she may be
She may search this wide world over
Never find a sweeter man as me
I want six crapshooters to be my pallbearers
Three pretty women to sing a song
Stick a jazz band on my hearse wagon
Raise hell as I stroll along
Let her go Let her go
God bless her
Wherever she may be
She may search this whole wide
World over
She’ll never find a sweeter
Man as me
Source: LyricFind
Songwriters: Joe Primrose / Irving Mills
St. James Infirmary lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group, Downtown Music Publishing, Spirit Music Group, BMG Rights

St. James Infirmary Blues

“St. James Infirmary” on tenor sax

St. James Infirmary Blues” is an American jazz song of uncertain origin. Louis Armstrong made the song famous in his 1928 recording on which Don Redman was credited as composer; later releases gave the name Joe Primrose, a pseudonym of Irving Mills. The melody is 8 bars long, unlike songs in the classic blues genre, where there are 12 bars. It is in a minor key, and has a 4/4 time signature, but has also been played in 3/4.

Authorship and historyEdit

“St. James Infirmary Blues”, sometimes known as “Gambler’s Blues”, is often regarded as an American folk song of anonymous origin. Moore and Baxter published a version of “Gambler’s Blues” in 1925.[1]In 1927, Carl Sandburg published a book called The American Songbagwhich contained lyrics for two versions of a song called “Those Gambler’s Blues”.[2] However, the song “St. James Infirmary Blues” is sometimes credited to the songwriter Joe Primrose (a pseudonym for Irving Mills), who held copyrights for several versions of the song, registering the first in 1929. He claimed the rights to this specific title and won a case in the U.S. Supreme Court on this basis, the defendants having failed to produce the documentary evidence required by the court that the song had been known by that name for some years.[1]

“St. James Infirmary Blues” is sometimes said to be based on an eighteenth-century traditional folk song called “The Unfortunate Rake” (also known as “The Unfortunate Lad” or “The Young Man Cut Down in His Prime”) about a soldier who uses his money on prostitutes and then dies of venereal disease. But the familiar recorded versions (such as Armstrong’s) bear little relation to the older traditional song. The earliest known form of this song was called “The Buck’s Elegy” and is set in Covent Garden, London.[3]

According to Robert W. Harwood, A. L. Lloyd was the first person to connect “St. James Infirmary” with “The Unfortunate Lad/Rake”.[1]:36 Harwood refers to a five-page article by Lloyd in the January 1947 issue of the English music magazine Keynote.[4] In 1956, Lloyd published a revised version of this article in Sing magazine.[5] In both articles Lloyd refers to an English broadside song entitled “The Unfortunate Lad”, commenting that the song is sometimes known as “The Unfortunate Rake”. No date or source for the latter title is given. The opening line of this version of the song refers to the “lock hospital”, not to an institution named St James. The term “lock hospital” was the name of an institution in Southwark, London, where lepers were isolated and treated. The lock in Southwark was used for those suffering from venereal diseases. The longer term came into use as a generic term for a hospital treating venereal diseases. Its first recorded use is 1770.

Lloyd claims that a song collected by Cecil Sharp in the Appalachians in 1918 which contains the words “St James Hospital” is the parent song and that it looks like an elder relative of “The Dying Cowboy”. The opening of that song, as quoted by Lloyd, is:

As I went down by St James Hospital one morning,
So early one morning, it was early one day,
I found my son, my own son,
Wrapped up in white linen, as cold as the clay.

He also claims that this Appalachian version derives in turn from the version published by Such in London in the 1850s which refers to a lock hospital. The opening verse of this song, entitled “The Unfortunate Lad”, is:

As I was walking down by the Lock Hospital,
As I was walking one morning of late,
Who did I spy but my own dear comrade,
Wrapp’d up in flannel, so hard was his fate.

Lloyd’s articles comment on the jazz hit “St. James Infirmary Blues”. The first article asserts that “the song is, or was before it became corrupted, a narrative ballad. Such ballads are rare in Negro song…So doubts are raised about whether ‘St. James Infirmary’ began life as a Negro song”.[4]:10 The second article includes the following comment on the song: “Most versions of ‘Infirmary’ include a number of stanzas from other songs, grafted on to the main stem – a confusion especially common with songs current among Negroes. The curious switchover from the actual death of the girl to the hypothetical death of the gambler creates some ambiguity too”.[5]:19 Lloyd points out that in some early variants of “The Unfortunate Rake” the sex of the victim of venereal disease was female. “We realise that the confusion in the ‘Infirmary’, where the dead person is a woman but the funeral is ordered for a man, is surely due to the fact that the original ballad was commonly recorded in a form in which the sexes were reversed, so singers were often in two minds whether they were singing of a rakish man or a bad girl”.[5]:21

Lloyd’s second article is cited as a reference by Kenneth Goldstein in his liner notes for a 1960 Folkways LP called The Unfortunate Rake. These liner notes are often used as a source for the history of “St. James Infirmary Blues”. One example is an article by Rob Walker.[6] The liner notes raise the question of whether St. James’ Hospital was a real place and, if so, where it was. Goldstein claimed in the notes that “St. James” refers to London’s St. James Hospital, a religious foundation for the treatment of leprosy. His references list an article by Kenneth Lodewick. That article states, giving no reference or source for the idea, that the phrase “St. James Hospital” refers to a hospital of that name in London.[7]There is some difficulty in this because the hospital in question closed in 1532 when Henry VIIIacquired the land to build St James’s Palace.[8]

Another possibility suggested by Higginbotham on the basis of his claim that the song “St. James Infirmary” dates at least from the early nineteenth century, is the Infirmary section of the St James Workhousewhich the St. James Parish opened in 1725 on Poland Street, Piccadilly, and which continued well into the nineteenth century.[9] This St. James Infirmary was contemporaneous with the estimated advent of the song “The Unfortunate Lad”, but it is not the London Lock Hospital. Another difficulty is that, out of the early versions of the song mentioned in the references given by Goldstein, only the one collected by Cecil Sharp in the Appalachians in 1918, and one found in Canada in the 1920s, make use of the phrase “St. James”.

The liner notes link the Rake to an early fragment called “My Jewel, My Joy”, stating that it was heard in Dublin. The same statement appears in the Lodewick article referenced in those notes[7] The notes given in the source cited for this fragment, a collection of songs collected by William Forde and published by P. W. Joyce, state that the song was heard in Cork, not Dublin.[10]

The version of the “Unfortunate Rake” on the LP of that name is sung by Lloyd, of whom it has been said that he “sometimes modified lyrics or melodies to make the songs more palatable for contemporary listeners”,[1]:38 and its first verse is as follows:

As I was a-walking down by St. James Hospital,
I was a-walking down by there one day.
What should I spy but one of my comrades
All wrapped up in a flannel though warm was the day.[a]

The liner notes[11] state that Lloyd is singing a nineteenth century broadside version, but do not specify which. The Lloyd article cited in the references given in the liner notes,[5]refers to a version published by Such and to no other version. The title and words sung by Lloyd are not those of the Such broadside[12] which has no reference to St. James and is not called “The Unfortunate Rake”. Lloyd recorded a slightly different version in 1966, this time calling the song “St James Hospital”.[13] In 1967, his book Folk Song in England was published.[14] This includes some comment on the song, claims without any supporting references or information that a Czech version pre-dates the British ones, repeats the confusion between Dublin and Cork as the place where the “My Jewel My Joy” fragment had been heard, and includes an unattributed quotation of two verses that differ from the versions sung by Lloyd.

Variations typically feature a narrator telling the story of a young man “cut down in his prime” (occasionally, a young woman “cut down in her prime”) as a result of morally questionable behaviour. For example, when the song moved to America, gambling and alcohol became common causes of the youth’s death.[15]

There are numerous versions of the song throughout the English-speaking world. For example, it evolved into other American standards such as “The Streets of Laredo“.[16]

The song, “Dyin’ Crapshooter’s Blues”, has sometimes been described as a descendant of “The Unfortunate Rake”, and thus related to “St. James Infirmary Blues”. This song was issued as a record four times in 1927, and attributed to pianist, arranger, and band-leader Porter Grainger.[17] Blind Willie McTell recorded a version of the former for John Lomax in 1940 and claimed to have begun writing the song around 1929.

Gottlieb considered whether there were Jewish American influences through the use of the Ukrainian Dorian mode, but only found hints of this in a version published by Siegmeister and Downes.[18] He also suggests that there may have been Jewish influences on the rendition by Cab Calloway.[18]:211 A melody very similar to the Armstrong version can be found in an instrumental composition entitled “Charleston Cabin”, which was recorded by Whitey Kaufman’s Original Pennsylvania Serenaders in 1924 (three years before the earliest recording of “Gambler’s Blues”).[1]:39

As with many folk songs, there is much variation in the lyric from one version to another. These are the first two stanzas as sung by Louis Armstrong on a 1928 Odeon Records release:

I went down to St. James Infirmary,
Saw my baby there,
Stretched out on a long white table,
So cold, so sweet, so fair.

Let her go, let her go, God bless her,
Wherever she may be,
She can look this wide world over,
But she’ll never find a sweet man like me.

Some of the versions, such as the one published as “Gambler’s Blues” and attributed to Carl Moore and Phil Baxter, frame the story with an initial stanza or stanzas in which a separate narrator goes down to a saloon known as “Joe’s barroom” and encounters a customer who then relates the incident about the woman in the infirmary. Later verses commonly include the speaker’s request to be buried according to certain instructions, which vary according to the version.[19]

Other versionsEdit

Koko the clown (a rotoscopedCab Calloway) performing the song in the 1933 Betty Boopanimation Snow White

The song was first recorded (as “Gambler’s Blues”) in 1927 by Fess Williams and his Royal Flush Orchestra with credits given to Moore and Baxter.[1]:150This version mentions an infirmary but not by name. The song was popular during the jazz era, and by 1930 at least eighteen different versions had been released.[1]:30 The Duke Ellington Orchestra recorded the song using pseudonyms such as “The Ten Black Berries”, “The Harlem Hot Chocolates”, and “The Jungle Band”,[1]:19 while Cab Callowayperformed a version in the 1933 Betty Boop animated film Snow White, providing vocals and dance moves for Koko the clown.[20]

In 1961, Bobby “Blue” Bland released a version of “Saint James Infirmary” on the flip side of his No. 2 R&B hit “Don’t Cry No More” and included it in his album Two Steps from the Blues.[21][22]In 1967 the French-American singer Joe Dassin recorded the song. In 1968, Don Partridge released a version on his self-named album, as did Eric Burdon and the Animals on their album Every One of Us.[23]Dock Boggs recorded a version of the song entitled “Old Joe’s Barroom” (1965)[24]

The song was often performed by cabaret surrealists The Mystic Knights of the Oingo Boingo in South California; the band’s vocalist and songwriter, Danny Elfman, often cited Cab Calloway as his inspiration in his youth. The White Stripes covered the song on their self-titled debut album, and Jack White says he and fellow band member, Meg White, were introduced to the song from a Betty Boop cartoon.[25] In 1981, Bob Dylan adapted the song when he wrote and recorded “Blind Willie McTell”. The song was written for his 1983 release, Infidels, but was not released until The Bootleg Series, Vol. 1-3: Rare and Unreleased, 1961-1991 (Columbia, 1991).[26] In 2012, Trombone Shortyand Booker T. Jones performed an instrumental version as the opening number of the “Red, White, and Blues” concert at the White House.[27]

See alsoEdit

Watch “In the Upper Room” on YouTube


In the upper room with Jesus
Singing in tears blessed fears
Daily there my sins confessing
Beggin for his mercy sweet
Trusting his grace and power
Seeking help in loving prayers
It is this how I feel the spirit
And I sat with him and pray
Oh, he’s in in the upper room
With Jesus
Oh, it’s in the upper room
When my lord and your god
When he’s in the upper room
Yes, he’s in the upper room
Well he’s in the upper room
Talking with the Lord
Oh my, Hallelujah, Lord
He’s in the upper room
With Jesus
Oh, he’s in the upper room
Talking with my Lord
Yes, and your God
I know he’s in the upper room
It’s in the upper room
Lord, he’s in, yeah, the upper room
Talking with the Lord, oh yes
But Hallelujah
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
In the upper room
In the upper room
In the upper room, Lord
In the upper room
Yeah, in the upper room, Lord
In the upper room
Talking with my Lord
Oh, and your God
Hallelujah
It’s in the upper room
With Jesus
Oh, in the upper room
Talking with my Lord
Yes, and your God
You know I’m in the upper room, whoo
It’s in the upper room
Lord, he in the upper room
Talking with the Lord
Oh, yeah, yeah
Hallelujah
It’s in the upper room
With Jesus
Now I’m in the upper room
Talking with my Lord
Yes, and you God
You know I’m in the upper room
Yeah, I’m in the upper room
Lord, he’s in, in the upper room
Talking with my Lord, oh yeah
Source: LyricFind
Songwriters: Mahalia Jackson
In the Upper Room lyrics © Bess Music

Watch “Johnny Cash – Supper Time” on YouTube


Many years ago in days of childhood
I used to play till evenin’ shadows come
Then windin’ down that old familiar pathway
I’d hear my mother call at set of sun

Come home, come home it’s supper time
The shadows lengthen fast
Come home, come home it’s supper time
We’re going home at last

Some of the fondest memories of my childhood
Were woven around supper time
When my mother used to call
From the backsteps of the old homeplace
“Come on home now son, it’s supper time”

Ah, but I’d love to hear that once more
But you know for me time has woven the realization of
The truth that’s even more thrilling and that’s when
The call come up from the portals of glory
To come home, for it’s supper time

When all of God’s children
Shall gather around the table
Of the Lord himself
And the greatest supper time of them all

Come home, come home, it’s supper time
The shadows lengthen fast
Come home, come home, it’s supper time
We’re going home at last

Source: LyricFind
Songwriters: Ira F. Stanphill
Suppertime lyrics © Capitol Christian Music Group

From Wikipedia:

Supper Time

Supper Time” is a popular song written by Irving Berlin for the 1933 musical As Thousands Cheer, where it was introduced by Ethel Waters.

It is about a wife’s reaction to news of her husband’s lynching.[1]

Notable recordingsEdit

ReferencesEdit

  1. ^ Lyrics of Supper Time at lyrics.astraweb.com

Watch “Green, Green Grass of Home (Live at Folsom State Prison, Folsom, CA – January 1968)” on YouTube



The old home town looks the same
As I step down from the train
And there to meet me is my Mama and Papa
Down the road I look and there runs Mary
Hair of gold and lips like cherries

It’s good to touch the green, green grass of home
Yes, they’ll all come to meet me, arms reaching, smiling sweetly
It’s good to touch the green, green grass of home

The old house is still standing tho’ the paint is cracked and dry
And there’s that old oak tree that I used to play on
Down the lane I walk with my sweet Mary
Hair of gold and lips like cherries
It’s good to touch the green, green grass of home

Then I awake and look around me
At four grey walls that surround me
And I realize, yes, I was only dreaming
For there’s a guard and there’s a sad old padre
Arm in arm, we’ll walk at daybreak
Again I touch the green, green grass of home

Yes, they’ll all come to see me
In the shade of that old oak tree
As they lay me ‘neath the green, green grass of home

Source: LyricFind


Songwriters: Curly Putman
Green Green Grass Of Home lyrics © Sony/ATV Music Publishing LLC

Green, Green Grass of Home

Song written by Curly Putman


Green, Green Grass of Home“, written by Claude “Curly” Putman Jr. and first recorded by singer Johnny Darrell, is a country song originally made popular by Porter Wagoner in 1965, when it reached No. 4 on the country chart. That same year, it was sung by Bobby Bare and by Jerry Lee Lewis, who included it in his album Country Songs for City Folks (later re-issued as All Country). Tom Jones learned the song from Lewis’ version, and in 1966, he had a worldwide No. 1 hit with it.

Quick facts: Released, Genre
Quick facts: B-side, Released

Lyrics

A man returns to his childhood home; it seems that this is his first visit home since leaving in his youth. When he steps down from the train, his parents are there to greet him, and his beloved, Mary, comes running to join them. All is welcome and peace; all come to meet him with “arms reaching, smiling sweetly.” With Mary, the man strolls at ease among the monuments of his childhood, including “the old oak tree that I used to play on.” It is “good to touch the green, green grass of home.” Yet the music and the words are full of foreshadowing, strongly suggestive of mourning.

Abruptly, the man switches from song to speech as he awakens in prison: “Then I awake and look around me, at four grey walls that surround me. And I realize that I was only dreaming.” He is, indeed, on death row. As the singing resumes, we learn that the man is waking on the day of his scheduled execution (“there’s a guard, and there’s a sad old padre, arm in arm, we’ll walk at daybreak”), and he will return home only to be buried: “Yes, they’ll all come to see me in the shade of that old oak tree, as they lay me ‘neath the green, green grass of home.”

The Joan Baez version ends: “Yes, we’ll all be together in the shade of the old oak tree / When we meet beneath the green, green grass of home.”

Tom Jones version

Welsh singer Tom Jones, who was appearing on The Ed Sullivan Show in 1965, visited Colony Records while staying in New York City. On asking if they had any new works by Jerry Lee Lewis, he was given the new country album.

Impressed with the song, Jones recorded and released the song in the UK in 1966 and it reached No. 1 on 1 December, staying there for a total of seven weeks. The song has sold over 1.25 million copies in the UK as of September 2017. Jones’ version also reached #11 pop, #12 easy listening on the Billboard US charts.

In February 2009, Jones performed the song live on a special Take-Away Show with Vincent Moon, along with “If He Should Ever Leave You” and “We Got Love“, live in front of a camera in a hotel room in New York.

In September 2006, Jones performed the song as a duet with Jerry Lee Lewis during the taping of the latter’s Last Man Standing TV special in New York City, and credited Lewis with providing the inspiration behind his own recording.

Jones sang the song on the 2009/10 edition of Jool’s Annual Hootenanny on 1 January 2010.

Chart performance

More information: Chart (1967), Peak position

Other versions

Since then it has been recorded by many other solo vocalists and groups including:

Watch “Green, Green Grass of Home (Live at Folsom State Prison, Folsom, CA – January 1968)” on YouTube


The old home town looks the same
As I step down from the train
And there to meet me is my Mama and Papa
Down the road I look and there runs Mary
Hair of gold and lips like cherries
It’s good to touch the green, green grass of home
Yes, they’ll all come to meet me, arms reaching, smiling sweetly
It’s good to touch the green, green grass of home
The old house is still standing tho’ the paint is cracked and dry
And there’s that old oak tree that I used to play on
Down the lane I walk with my sweet Mary
Hair of gold and lips like cherries
It’s good to touch the green, green grass of home
Then I awake and look around me
At four grey walls that surround me
And I realize, yes, I was only dreaming
For there’s a guard and there’s a sad old padre
Arm in arm, we’ll walk at daybreak
Again I touch the green, green grass of home
Yes, they’ll all come to see me
In the shade of that old oak tree
As they lay me ‘neath the green, green grass of home

From Wikipedia:

Green, Green Grass of Home

Song written by Curly Putman


Green, Green Grass of Home“, written by Claude “Curly” Putman Jr. and first recorded by singer Johnny Darrell, is a country song originally made popular by Porter Wagoner in 1965, when it reached No. 4 on the country chart. That same year, it was sung by Bobby Bare and by Jerry Lee Lewis, who included it in his album Country Songs for City Folks (later re-issued as All Country). Tom Jones learned the song from Lewis’ version, and in 1966, he had a worldwide No. 1 hit with it.

Quick facts: Released, Genre
Quick facts: B-side, Released

Lyrics

A man returns to his childhood home; it seems that this is his first visit home since leaving in his youth. When he steps down from the train, his parents are there to greet him, and his beloved, Mary, comes running to join them. All is welcome and peace; all come to meet him with “arms reaching, smiling sweetly.” With Mary, the man strolls at ease among the monuments of his childhood, including “the old oak tree that I used to play on.” It is “good to touch the green, green grass of home.” Yet the music and the words are full of foreshadowing, strongly suggestive of mourning.

Abruptly, the man switches from song to speech as he awakens in prison: “Then I awake and look around me, at four grey walls that surround me. And I realize that I was only dreaming.” He is, indeed, on death row. As the singing resumes, we learn that the man is waking on the day of his scheduled execution (“there’s a guard, and there’s a sad old padre, arm in arm, we’ll walk at daybreak”), and he will return home only to be buried: “Yes, they’ll all come to see me in the shade of that old oak tree, as they lay me ‘neath the green, green grass of home.”

The Joan Baez version ends: “Yes, we’ll all be together in the shade of the old oak tree / When we meet beneath the green, green grass of home.”

Tom Jones version

Welsh singer Tom Jones, who was appearing on The Ed Sullivan Show in 1965, visited Colony Records while staying in New York City. On asking if they had any new works by Jerry Lee Lewis, he was given the new country album.

Impressed with the song, Jones recorded and released the song in the UK in 1966 and it reached No. 1 on 1 December, staying there for a total of seven weeks. The song has sold over 1.25 million copies in the UK as of September 2017. Jones’ version also reached #11 pop, #12 easy listening on the Billboard US charts.

In February 2009, Jones performed the song live on a special Take-Away Show with Vincent Moon, along with “If He Should Ever Leave You” and “We Got Love“, live in front of a camera in a hotel room in New York.

In September 2006, Jones performed the song as a duet with Jerry Lee Lewis during the taping of the latter’s Last Man Standing TV special in New York City, and credited Lewis with providing the inspiration behind his own recording.

Jones sang the song on the 2009/10 edition of Jool’s Annual Hootenanny on 1 January 2010.

Chart performance

More information: Chart (1967), Peak position

Other versions

Since then it has been recorded by many other solo vocalists and groups including:

Watch “Comme d’habitude Claude François” on YouTube


OVERVIEW

LYRICS

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Je me lève
Et je te bouscule
Tu ne te réveilles pas
Comme d’habitude
Sur toi je remonte le drap
J’ai peur que tu aies froid
Comme d’habitude
Ma main caresse tes cheveux
Presque malgré moi
Comme d’habitude
Mais toi tu me tournes le dos
Comme d’habitude
Alors je m’habille très vite
Je sors de la chambre
Comme d’habitude
Tout seul je bois mon café
Je suis en retard
Comme d’habitude
Sans bruit je quitte la maison
Tout est gris dehors
Comme d’habitude
J’ai froid, je relève mon col
Comme d’habitude
Comme d’habitude
Toute la journée
Je vais jouer à faire semblant
Comme d’habitude
Je vais sourire
Comme d’habitude
Je vais même rire
Comme d’habitude
Enfin je vais vivre
Comme d’habitude
Et puis le jour s’en ira
Moi je reviendrai
Comme d’habitude
Tu seras sortie
Et pas encore rentrée
Comme d’habitude
Tout seul j’irai me coucher
Dans ce grand lit froid
Comme d’habitude
Mes larmes, je les cacherai
Comme d’habitude
Comme d’habitude
Même la nuit
Je vais jouer à faire semblant
Comme d’habitude
Tu rentreras
Comme d’habitude
Je t’attendrai
Comme d’habitude
Tu me souriras
Comme d’habitude
Comme d’habitude
Tu te déshabilleras
Comme d’habitude
Tu te coucheras
Comme d’habitude
On s’embrassera
Comme d’habitude

Translate to English

Source: LyricFind

Songwriters: Gilles Thibaut / Claude François / Jacques Revaux

Comme D’Habitude lyrics © Warner Chappell Music France, Jeune Musique Editions

Watch “MY WAY (Frank Sinatra) LYRICS” on YouTube


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“My Way” lyrics

Frank Sinatra Lyrics

Play “My Way”

on Amazon Music (ad)

“My Way”

And now, the end is near
And so I face the final curtain
My friend, I’ll say it clear
I’ll state my case, of which I’m certain
I’ve lived a life that’s full
I traveled each and every highway
And more, much more than this, I did it my way

Regrets, I’ve had a few
But then again, too few to mention
I did what I had to do and saw it through without exemption
I planned each charted course, each careful step along the byway
And more, much more than this, I did it my way

Yes, there were times, I’m sure you knew
When I bit off more than I could chew
But through it all, when there was doubt
I ate it up and spit it out
I faced it all and I stood tall and did it my way

I’ve loved, I’ve laughed and cried
I’ve had my fill, my share of losing
And now, as tears subside, I find it all so amusing
To think I did all that
And may I say, not in a shy way
Oh, no, oh, no, not me, I did it my way

For what is a man, what has he got?
If not himself, then he has naught
To say the things he truly feels and not the words of one who kneels
The record shows I took the blows and did it my way

[instrumental]

Yes, it was my way

Thanks to James Worman for correcting these lyrics.

Listen to music like Frank Sinatra

live near Downey

Writer(s): Paul Anka, Claude François
Paul Anka wrote the lyrics for this song based on a French song called “Comme d’habitude”, recorded by Claude Francois in 1967. Anka heard it in France and wrote “My Way” when he returned to New York. He gave it to Frank Sinatra, who recorded it on the 30th of December 1968.
Despite being the signature song for Frank Sinatra, he didn’t like it actually, and said in his later years about it as “a Paul Anka pop hit which became a kind of national anthem”.
In the UK, this song entered the charts six times between 1970-1971 becoming the song with the longest stay on the chart.
Elvis Presley performed “My Way” live in the end of his career. His live version of it was released as a single after his death in 1977.
The Sex Pistols recorded a Punk version of this track in 1979. Their version was used during

https://youtu.be/GME3fMeK5ts

Je me lèveEt je te bouscule
Tu ne te réveilles pas
  1. Comme d’habitude
    Sur toi je remonte le drap
    J’ai peur que tu aies froid
    Comme d’habitude
    Ma main caresse tes cheveux
    Presque malgré moi
    Comme d’habitude
    Mais toi tu me tournes le dos
    Comme d’habitude
    Alors je m’habille très vite
    Je sors de la chambre
    Comme d’habitude
    Tout seul je bois mon café
    Je suis en retard
    Comme d’habitude
    Sans bruit je quitte la maison
    Tout est gris dehors
    Comme d’habitude
    J’ai froid, je relève mon col
    Comme d’habitude
    Comme d’habitude
    Toute la journée
    Je vais jouer à faire semblant
    Comme d’habitude
    Je vais sourire
    Comme d’habitude
    Je vais même rire
    Comme d’habitude
    Enfin je vais vivre
    Comme d’habitude
    Et puis le jour s’en ira
    Moi je reviendrai
    Comme d’habitude
    Tu seras sortie
    Et pas encore rentrée
    Comme d’habitude
    Tout seul j’irai me coucher
    Dans ce grand lit froid
    Comme d’habitude
    Mes larmes, je les cacherai
    Comme d’habitude
    Comme d’habitude
    Même la nuit
    Je vais jouer à faire semblant
    Comme d’habitude
    Tu rentreras
    Comme d’habitude
    Je t’attendrai
    Comme d’habitude
    Tu me souriras
    Comme d’habitude
    Comme d’habitude
    Tu te déshabilleras
    Comme d’habitude
    Tu te coucheras
    Comme d’habitude
    On s’embrassera
    Comme d’habitude
    Translate to English
    Source: LyricFind
    Songwriters: Gilles Thibaut / Claude François / Jacques Revaux
    Comme D’Habitude lyrics © Warner Chappell Music France, Jeune Musique Editions

Watch “Ella Fitzgerald and Frank Sinatra- I get a kick out of you” on YouTube


My story is much to sad to be told
But practically everything leaves me totally cold
The only exception I know is the case
When Im out on a quiet spree, fighting vainly the old ennui
Then I suddenly turn and see
Your fabulous face

I get no kick from champagne
Mere alcohol doesn’t thrill me at all
So tell me why should it be true
That I get a kick out of you

Some, they may go for cocaine
I’m sure that if I took even one sniff
It would bore me terrifically, too
Yet I get a kick out of you

I get a kick every time I see you
Standing there before me
I get a kick though it’s clear to see
You obviously don’t adore me

I get no kick in a plane
Flyin’ too high with some gal in the sky is my idea of nothing to do
Yet I get a kick
You give me a boot
I get a kick out of you

Haiku: Haiku def.(noun) (© poetic thought by GeorgeB @ euzicasa)


Haiku: Haiku def. (noun)

(© poetic thought by GeorgeB @ euzicasa)

Five syllables words

Seven syllables follow

End… as it started.

Haiku

Haiku

Haiku

Haiku

Thank You: to all followers of euzicasa! I promise all and each and everyone of you a great time while visiting this website!


Thank You: to all followers of euzicasa! I promise all and each and everyone of you a great time while  visiting this website!

Thank You: to all followers of euzicasa! I promise all and each and everyone of you a great time while visiting this website!

Watch “You Don’t Have To Say You Love Me – Dusty Springfield (Original Soundtrack with Lyrics♪)” on YouTube



When I said I needed you
You said you would always stay
It wasn’t me who changed but you and now you’ve gone away
Don’t you see that now you’ve gone
And I’m left here on my own
That I have to follow you and beg you to come home

You don’t have to say you love me just be close at hand
You don’t have to stay forever I will understand
Believe me, believe me I can’t help but love you
But believe me I’ll never tie you down
Left alone with just a memory
Life seems dead and quite unreal
All that’s left is loneliness there’s nothing left to feel
You don’t have to say you love me just be close at hand
You don’t have to stay forever
I will understand believe me, believe me
You don’t have to say you love me just be close at hand
You don’t have to stay forever
I will understand, believe me, believe me
Source: LyricFind


Songwriters: Giuseppe Donaggio / Simon Napier-Bell / Vito Pallavicini / Vicki Heather Wickham
You Don’t Have To Say You Love Me lyrics © Downtown Music Publishing

Dr. Gabi Greve, Daruma Museum, Japan World Kigo Database


! Haiku and Happiness ! (02)

To enjoy on a rainy day !
To enjoy on a sunny day !

My Haiku Gallery of Life in Japan

All Haiku and Photos are Copyright © by Gabi Greve, unless quoted otherwise.

Dr. Gabi Greve, Daruma Museum, Japan
World Kigo Database


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Watch “Brenda Lee – All Alone Am I (1963) [HQ]” on YouTube



All alone am I ever since your goodbye
All alone with just a beat of my heart
People all around but I don’t hear a sound
Just the lonely beating of my heart

No use in holding other hands
For I’d be holding only emptiness
No use in kissing other lips
For I’d be thinking just of your caress
All alone am I ever since your goodbye
All alone with just a beat of my heart
People all around but I don’t hear a sound
Just the lonely beating of my heart
No other voice can say the words
My heart must hear to ever sing again
The words you used to whisper low
No other love can ever bring again
All alone am I ever since your goodbye
All alone with just a beat of my heart
People all around but I don’t hear a sound
Just the lonely beating of my heart
Source: LyricFind


Songwriters: Manos Hadjidakis / Arthur Altman / Ioannis Ioannidis
All Alone Am I lyrics © Universal Music Publishing Group, A.E.P.I.

Watch “Otis Redding – I Got Dreams To Remember” on YouTube



I’ve got dreams, dreams to remember
I’ve got dreams, dreams to remember
Honey, I saw you there last night
Another man’s arms holding you tight
Nobody knows what I feel inside
All I know, I walked away and cried
I’ve got dreams
Dreams to remember
Listen to me
(I’ve got dreams) rough dreams (dreams to remember)
I know you said he was just a friend
But I saw him kiss you again and again
These eyes of mine, they don’t fool me
Why did he hold you so tenderly?
I’ve got dreams
Dreams to remember
Listen, honey
(I’ve got dreams) rough dreams (dreams to remember)
I still want you to stay
I still love you anyway
I don’t want you to ever leave
Girl, you just satisfy me, ooh-wee
I know you said he was just a friend
But I saw you kiss him again and again
These eyes of mine, they don’t fool me
Why did he hold you so tenderly?
I’ve got dreams
Dreams to remember
Listen to me, mama
(I’ve got dreams) bad dreams, rough dreams, oh (dreams to remember)
Don’t make me suffer, don’t let me
(I’ve got dreams, dreams, dreams to remember) rough dreams, bad dreams, rough dreams
Source: LyricFind


Songwriters: Joe Rock / Otis Redding / Zelma Redding
I’ve Got Dreams to Remember lyrics © Universal Music Publishing Group, Spirit Music Group

Watch “Françoise Hardy – Le Temps de l’Amour” on YouTube



C‘est le temps de l’amour,
le temps des copains et de l’aventure.
Quand le temps va et vient,
on ne pense à rien malgré ses blessures.
Car le temps de l’amour
see’est long et see’est court,
ça dure toujours, on s’en souvient.

On se dit qu’à vingt ans on est le roi do monde,
et qu’éternellement il why aura dans nos yeux
tout le ciel bleu.
see’est le temps de l’amour,
le temps des copains et de l’aventure.
Quand le temps va et vient,
on ne pense à rien malgré ses blessures.
Car le temps de l’amour
ça vous met au coeur
beaucoup de chaleur et de bonheur.
Un beau jour see’est l’amour et le coeur bat plus vite,
car la vie suit son cours
et l’on est tout heureux d’être amoureux.
see’est le temps de l’amour,
le temps des copains et de l’aventure.
Quand le temps va et vient,
on ne pense à rien malgré ses blessures.
Car le temps de l’amour
see’est long et see’est court,
ça dure toujours, on s’en souvient
Translate to English

Source: LyricFind


Songwriters: Dutronc Jacques / Morisse Jean Lucien / Salvet Muchel Charles Andre
Le temps de l’amour lyrics © BMG Rights Management US, LLC

Watch “It Was A Very Good Year (Remastered 2008)” on YouTube


Frank Sinatra Lyrics

Listen to music like Frank Sinatra

live near Downey

“It Was A Very Good Year”

When I was seventeen it was a very good year
It was a very good year for small town girls and soft summer nights
We’d hide from the lights on the village green
When I was seventeen

When I was twenty-one it was a very good year
It was a very good year for city girls who lived up the stair
With all that perfumed hair and it came undone
When I was twenty-one

Then I was thirty-five it was a very good year
It was a very good year for blue-blooded girls
Of independent means, we’d ride in limousines their chauffeurs would drive
When I was thirty-five

But now the days are short, I’m in the autumn of the year
And now I think of my life as vintage wine from fine old kegs
From the brim to the dregs, and it poured sweet and clear
It was a very good year

It was a mess of good years

Watch “If I Only Had Time JOHN ROWLES (with lyrics)” on YouTube




  1. If I only had time
    Only time

    So much to do
    If I only had time, if I only had time
    Dreams to pursue
    If I only had time they’d be mine

    Time like the wind
    Those are hurrying by and the hours just fly
    Where to begin
    There are mountains I’d climb, if I’d time

    Since I met you I’ve glored
    Life really is too short, lovin’ you
    So many things we could make true
    A whole century isn’t enough to satisfy me

    So much to do
    If I only had time, if I only had time
    Dreams to pursue
    If I only had time they’d be mine
    Mmm, if I only had time
    Only time, mmm

    Source: Musixmatch


    Songwriters: Pierre DELANOE / Michel FUGAIN / JACK FISHMAN

    If I Only Had Time lyrics © Valley Music Ltd., SONGS OF UNIVERSAL, INC., Valley Music Ltd

    Show less

Watch “Georges Moustaki – Ma solitude (1970)” on YouTube


Ma solitude

Pour avoir si souvent dormi
Avec ma solitude
Je m’en suis faite presque une amie
Une douce habitude
Elle ne me quitte pas d’un pas
Fidèle comme une ombre
Elle m’a suivi çà et là
Aux quatres coins du monde
Non, je ne suis jamais seul
Avec ma solitude
Quand elle est au creux de mon lit
Elle prend toute la place
Et nous passons de longues nuits
Tous les deux face à face
Je ne sais vraiment pas jusqu’où
Ira cette complice
Faudra-t-il que j’y prenne goût
Ou, que je réagisse ?
Non, je ne suis jamais seul
Avec ma solitude
Par elle, j’ai autant appris
Que j’ai versé de larmes
Si parfois je la répudie
Jamais elle ne désarme
Et, si je préférais l’amour
D’une autre courtisane
Elle sera à mon dernier jour
Ma dernière compagne
Non, je ne suis jamais seul
Avec ma solitude
Non, je ne suis jamais seul
Avec ma solitude
Submitted by

ortado

ortado on Fri, 10/09/2010 – 02:32

Last edited by

Miley_Lovato

Miley_Lovato on Sat, 06/06/2015 – 16:49

English

Align paragraphs
A A

My loneliness

Versions: #1#2#3
Because of having slept so much
with my loneliness
I almost made it my friend
a sweet custom
She doesn’t deviates from my side
Faithful like a shadow
She followed me here and there
at the four corners of the world
No I’m never alone
with my loneliness
When she’s in the middle of my bed
She takes all the place
And we spend long nights together
Both of us, face to face
I really don’t know how far
this accomplice will go
Will i have to take a fancy on it
Or will I have to react?
No I’m never alone
with my loneliness
Because of her, I learned as much
as I cried tears
If sometimes I deny her
She never desarms me
And If I would prefer love
from another courtisane
She will be on my last day,
My last companion
No I’m never alone
with my loneliness
No I’m never alone
with my loneliness

https://lyricstranslate.com/en/ma-solitude-my-loneliness.htmla solitude

Pour avoir si souvent dormi
Avec ma solitude
Je m’en suis faite presque une amie
Une douce habitude
Elle ne me quitte pas d’un pas
Fidèle comme une ombre
Elle m’a suivi çà et là
Aux quatres coins du monde
Non, je ne suis jamais seul
Avec ma solitude
Quand elle est au creux de mon lit
Elle prend toute la place
Et nous passons de longues nuits
Tous les deux face à face
Je ne sais vraiment pas jusqu’où
Ira cette complice
Faudra-t-il que j’y prenne goût
Ou, que je réagisse ?
Non, je ne suis jamais seul
Avec ma solitude
Par elle, j’ai autant appris
Que j’ai versé de larmes
Si parfois je la répudie
Jamais elle ne désarme
Et, si je préférais l’amour
D’une autre courtisane
Elle sera à mon dernier jour
Ma dernière compagne
Non, je ne suis jamais seul
Avec ma solitude
Non, je ne suis jamais seul
Avec ma solitude
Submitted by

ortado

ortado on Fri, 10/09/2010 – 02:32

Last edited by

Miley_Lovato

Miley_Lovato on Sat, 06/06/2015 – 16:49

English

Align paragraphs
A A

My loneliness

Versions: #1#2#3
Because of having slept so much
with my loneliness
I almost made it my friend
a sweet custom
She doesn’t deviates from my side
Faithful like a shadow
She followed me here and there
at the four corners of the world
No I’m never alone
with my loneliness
When she’s in the middle of my bed
She takes all the place
And we spend long nights together
Both of us, face to face
I really don’t know how far
this accomplice will go
Will i have to take a fancy on it
Or will I have to react?
No I’m never alone
with my loneliness
Because of her, I learned as much
as I cried tears
If sometimes I deny her
She never desarms me
And If I would prefer love
from another courtisane
She will be on my last day,
My last companion
No I’m never alone
with my loneliness
No I’m never alone
with my loneliness

https://lyricstranslate.com/en/ma-solitude-my-loneliness.html

Watch “Herman’s Hermits – No Milk Today – True Stereo Long Version!” on YouTube



No milk today my love is gone away
The bottle stands forlorn a symbol of the dawn
No milk today it seems a common sight
But people passing by don’t know the reason why

How could they know just what this message means
The end of all my hopes the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen
No milk today it wasn’t always so
The company was gay we turn’d night into day
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up to down
No milk today it wasn’t always so
The company was gay we turn’d night into day
As music played the faster did we dance
We felt it both at once the start of our romance
How could they know just what this message means
The end of all my hopes the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen
No milk today my love is gone away
The bottle stands forlorn a symbol of the dawn
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Becomes a shrine when I think of you only
Just two up to down
No milk today my love is gone away
The bottle stands forlorn a symbol of the dawn
No milk today it seems a common sight
But people passing by don’t know the reason why
How could they know just what this message means
The end of all my hopes the end of all my dreams
How could they know a palace there had been
Behind the door where my love reigned as queen
No milk today it wasn’t always so
The company was gay we turn’d night into day
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
All that’s left is a place dark and lonely
A terraced house in a mean street back of town
But all that’s left is a place dark and lonely
A terraced house in a mean street back of town
Source: LyricFind


Songwriters: Graham Gouldman
No Milk Today lyrics © Music Sales Corporation

Watch “Jacques Dutronc – Et moi, et moi et moi” on YouTube


 

Sept cent millions de chinois
Et moi, et moi, et moi
Avec ma vie, mon petit chez-moi
Mon mal de tête, mon point au foie
J’y pense et puis j’oublie
C’est la vie, c’est la vie
Quatre-vingt millions d’indonésiens
Et moi, et moi, et moi
Avec ma voiture et mon chien
Son Canigou quand il aboie
J’y pense et puis j’oublie
C’est la vie, c’est la vie
Trois ou quatre cent millions de noirs
Et moi, et moi, et moi
Qui vais au brunissoir
Au sauna pour perdre du poids
J’y pense et puis j’oublie
C’est la vie, c’est la vie
Trois cent millions de soviétiques
Et moi, et moi, et moi
Avec mes manies et mes tics
Dans mon p’tit lit en plume d’oie
J’y pense et puis j’oublie
C’est la vie, c’est la vie
Cinquante millions de gens imparfaits
Et moi, et moi, et moi
Qui regarde Catherine Langeais
À la télévision chez moi
J’y pense et puis j’oublie
C’est la vie, c’est la vie
Neuf cent millions de crève-la-faim
Et moi, et moi, et moi
Avec mon régime végétarien
Et tout le whisky que je m’envoie
J’y pense et puis j’oublie
C’est la vie, c’est la vie
Cinq cent millions de sud-américains
Et moi, et moi, et moi