alec scotch & smart album download Alec scotch & smart album download. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 67d334b8acc084e0 • Your IP : 188.246.226.140 • Performance & security by Cloudflare. Lyrics Endlich Daheim. Nie gehofft was zu finden Jetz hab ich dich hätt ich's nich würde in mir was verschwinden Man sagt mir Liebe macht blind doch das kann nicht sein Denn ich seh wie schön du bist seh dein Gang und dein Style Ich hab mich so oft in deinen Augen verloren Und wenn ich neben dir aufwach beginnt mein Traum von vorn In mir ist kaum noch Zorn Denn seitdem ich dich hab Wart ich nich mehr schon ab morgens auf den nächsten Tag Ich glaub ganz Dresden hat nichts zu bieten wie dich Sieh dir deinen Mann an schau wie zufrieden er ist Und das schieb ich auf dich du bist mein innerer Frieden Nach fast anderthalb Jahren nenn ich's immernoch Liebe Manchmal glaube ich mein Leben wär schon lange im Eimer Du sorgst dafür dass nichts passiert Ich danke dir Kleine Ich bin angekomm endlich Daheim Ich bin da jede Nacht schlaf ich neben dir ein Ich bin angekomm endlich zu Haus Du bist da jeden Tag wach ich neben dir auf Ich bin angekomm endlich Daheim Ich bin da jede Nacht schlaf ich neben dir ein Ich bin angekomm endlich zu Haus Du bist da jeden Tag wach ich neben dir auf Die letzten Jahre sie vergingen im Flug Ohne Schmerz kein Ruhm es war fast wie ein Fluch All die Nächte in den Bars ich hab so lange gesucht Endlich hab ich dich gefunden endlich komm ich zur Ruh Du warst ganz allein, doch du hattest Mut Mich anzusprechen trauen sich viele nich zu Ich war so zu ich hatte viele Drinks doch ich schwör Es tat so gut deine süße Stimme zu hören Unser erstes Date ich war so aufgeregt Hey du warst wunderschön Wie die Sonne nach dem Regen Ich hab dich ausgeführt Oper bei Nacht Alle ham uns angesehen und ich wusste das passt Sieh her ich brauch nich viel nur'ne Frau mit Stil Und wenn Gott will leb ich diesen Traum mit dir, Donna Glaub mir ich liebe dich ich sing dir den Blues Die andern Frauen interessiern nicht denn sie sind nicht du Ich bin angekomm endlich Daheim Ich bin da jede Nacht schlaf ich neben dir ein Ich bin angekomm endlich zu Haus Du bist da jeden Tag wach ich neben dir auf Ich bin angekomm endlich Daheim Ich bin da jede Nacht schlaf ich neben dir ein Ich bin angekomm endlich zu Haus Du bist da jeden Tag wach ich neben dir auf Hör zu du warst für mich die einzig wahre Liebe Und ich frage mich ob ich dich wirklich verdiente Ich fand dich wunderschön Es gab für dich kein Vergleich Die Wärme deines Herzen Schmolz es meinem heiß Es war so schön mit dir einfach nur im Gras zu liegen Zu schweigen und die Zweisamkeit zu genießen Meine Nase in dein Haar zu tauchen Gemeinsam, durch den Park zu laufen Du gabst mir die Chance mich fallen zu lassen Ich bin dir gefolgt als sei ich dein Schatten Deine sanfte Art, dein kissenweicher Mund Warn alles was ich brauchte doch ich lies dich fallen ohne Grund Ich schreibe dir damit du weißt wie leid es mir tut Ich war dumm, jung und nicht reif genug Ich hab dich fallen lassen und dich tief verletzt Gott schickte mir den Engel doch ich stieß ihn weg Ich bin angekomm endlich Daheim Ich bin da jede Nacht schlaf ich neben dir ein Ich bin angekomm endlich zu Haus Du bist da jeden Tag wach ich neben dir auf Ich bin angekomm endlich Daheim Ich bin da jede Nacht schlaf ich neben dir ein Ich bin angekomm endlich zu Haus Du bist da jeden Tag wach ich neben dir auf Frauen, wer hat sie erschaffen, diese herrlichen Wesen? Gott muss ein verdammtes Genie sein Ihre Haare, ihre Haare sind das wichtigste, weißt du? Hast du jemals deine Nase in ein Meer von Locken getaucht? Das ist als würdest du ewig darin schlafen wollen Oder ihre Lippen wenn du sie zum ersten Mal auf deinen fühlst Ist das so wie der erste Schluck Wein nach einem langen Gang durch die Wüste Titten, wuah, manche sind groß und andere klein Brustwarzen die dich unentwegt anstarren als wären sie kleine Scheinwerfer Und die Beine, mir ist es egal ob sie so schön sind wie bei einer britischen Statue oder dick wie Kartoffelstampfer Denn dazwischen liegt der Weg ins Paradies Ich brauch nen Drink. Archive of Our Own beta. This work could have adult content. If you proceed you have agreed that you are willing to see such content. Proceed Go Back. If you accept cookies from our site and you choose "Proceed", you will not be asked again during this session (that is, until you close your browser). If you log in you can store your preference and never be asked again. Revolution by Better_Than_Chocolate. Fandoms: Shadowhunters (TV) Explicit No Archive Warnings Apply M/M Complete Work. No Archive Warnings Apply. Summary. "There is you, there is me, and then, there is the craving in between." ______“You always have a choice.” Alec said looking into Magnus’ eyes without blinking. “That’s very rich coming from you.” Magnus said with such a bitter venom in his voice that Alec felt something inside him snap. He threw back the remaining drink, wishing for the familiar burn of the alcohol to take the edge of, but it wasn’t enough. It wasn’t strong enough to numb the pain, the hurt, the anger. It wasn’t enough at all. But when was it ever really? “Fuck you.” He spat towards the older man, before pushing the empty glass onto the table. He grabbed the man at the lapel of his jacket, yanking him closer to smash their lips together firmly almost in an aggressive, animalistic manner. OR Alec is a senator, Magnus is his PR. At some point, the late night meetings turned into something more and none of them know how to stop it before it's too late. There is too much to risk. Too much to lose. Alec scotch & smart album download. With the success of 1983's The Curly Shuffle by The Jump 'n the Saddle Band (and The Stone Country Band), Columbia produced this music video to accompany Jump's recording. Film clips are taken from WOMAN HATERS (1934), PUNCH DRUNKS (1934), UNCIVIL WARRIORS (1935), PARDON MY SCOTCH (1935), THREE LITTLE BEERS (1935), MOVIE MANIACS (1936), DISORDER IN THE COURT (1936), CASH AND CARRY (1937), THREE MISSING LINKS (1938), HEALTHY, WEALTHY AND DUMB (1938), TASSELS IN THE AIR (1938), CALLING ALL CURS (1939), A PLUMBING WE WILL GO (1940), NO CENSUS NO FEELING (1940), AN ACHE IN EVERY STAKE (1941), SOME MORE OF SAMOA (1941), DUTIFUL BUT DUMB (1941), DIZZY PILOTS (1943), A BIRD IN THE HEAD (1946), DOPEY DICKS (1950) and THE THREE STOOGES MEET HERCULES (1962). Cast Members. The Jump 'n the Saddle Band Music Jerry Howard archive footage Moe Howard archive footage Larry Fine archive footage Shemp Howard archive footage Joe DeRita archive footage Ellinor Vanderveer archive footage Ray Corrigan archive footage Bert Young archive footage Jack Kenney archive footage Harry Keatan archive footage Marvin Loback archive footage Si Jenks archive footage Billy Engle archive footage Ford West archive footage Alec Craig archive footage Scotty Dunsmuir archive footage Frank Mills archive footage Althea Henley archive footage George Ovey archive footage Lois Lindsey archive footage Ninette Crawford archive footage Eve Reynolds archive footage Harry Tenbrook archive footage Antrim Short archive footage Hilda Title archive footage Bud Jamison archive footage Don Roberts archive footage Suzanne Kaaren archive footage Edward LeSaint archive footage James C. Morton archive footage Eddie Laughton archive footage Ethelreda Leopold archive footage Robin Raymond archive footage Dorothy Moore archive footage Symona Boniface archive footage Cy Schindell archive footage Bruce Bennett archive footage Ann Doran archive footage Richard Fiske archive footage Marjorie Deanne archive footage Eddie Fetherston archive footage Beatrice Blinn archive footage Monte Collins archive footage Charles Dorety archive footage Lynton Brent archive footage Jay Eaton archive footage Wilson Benge archive footage Marjorie White archive footage Billy Gilbert archive footage Phyllis Crane archive footage Art Miles archive footage Lorna Gray archive footage Don Beddoe archive footage John Rand archive footage Vernon Dent archive footage Nat Carr archive footage. Production Crew. Buy at Amazon.com. There aren't any production notes logged for this episode. No goofs or technical blunders have been logged for this episode. Stooge Mayhem is not available for this episode. No quotes have been logged for this episode. No Stooge routines have been logged for this episode. No trivia have been logged for this episode. Transcription by Dunrobin : The Curly Shuffle ( Jump 'n the Saddle ) When me and my friends go out on the town We can't sit still and we can't sit down We don't like to fight and we don't like to scuffle But we dance all night doing the Curly shuffle. ( Hey Moe! Hey Moe! ) Hey Moe! Hey Moe! ( Well, nyuck, nyuck, nyuck, nyuck! ) Well, nyuck, nyuck, nyuck, nyuck! ( La da dee, la da dee ) La da dee, la da dee ( Woo woo woo woo! ) Woo woo woo woo! Well, we never miss a chance we get up and dance and do the Curly shuffle. Well, me and my friends love Curly and Moe We love Curly's brother, Shemp and his fat clone, Joe It's such a delight to boogie and hustle Dancing all night doing the Curly shuffle. ( Hey Moe! Hey Moe! ) Hey Moe! Hey Moe! ( Well, nyuck nyuck nyuck nyuck! ) Well, nyuck nyuck nyuck nyuck! ( Wee dee dee dee, wee dee dee dee! ) Wee dee dee dee, wee dee dee dee dee! ( Oh, a wise guy! ) Oh, a wise guy! Well, we never miss a chance, we get up and dance and do the Curly shuffle. Well, me and my friends, we all love to see Comedy classics on late night TV Those knuckleheads get in a scuffle They push and they shove doing the Curly shuffle. ( Hey Moe! Hey Moe! ) Hey Moe! Hey Moe! ( Well, nyuck nyuck nyuck nyuck! ) Well, nyuck nyuck nyuck nyuck! ( Look at the grouse, look at the grouse ) Look at the grouse, look at the grouse ( Woof! Woof! ) Woof! Woof! Well, we never miss a chance we get up and dance and do the Curly shuffle ( That's right ) We do the Curly shuffle ( What did you say? ) We do the Curly shuffle ( That's what I thought you said! ) We do the Curly shuffle ( ah ah ah ah! ) We do the Curly shuffle ( Sointenly! ) We never miss a chance we get up and dance and do the Curly shuffle. BuzzCuts: New Music. Brit Lily Allen's debut album is sassy, smart fun; Connick celebrates New Orleans' musical heritage; and Katharine McPhee is way over the rainbow on urbanized, formulaic debut CD. On his new CD, guitarist Bill Kirchen should pick more, sing less; and Norah Jones shows more of herself on new album. It's been six months since British singer Lily Allen's debut album was released in the United Kingdom, snagging her critical raves, platinum status and thousands of Myspace.com friends. Finally, the sassy, addictive blend of reggae, rock steady and pop is being released in the United States. Blessed with a smooth, light vibrato that breathes youthful wisdom, the baby-faced 21-year-old delves into the subtleties of teen hurt, relationships and sex with major chutzpah — plus a great backing band of horns, guitars and catchy beats. "Smile" is a cheeky tell-off to a lecherous ex, skirting on a melody so radio-friendly, it's almost perfect. "At worst I feel bad for a while, but then I just smile," she sings of his crying attempts to reunite. Anyone who has ever been hit on by a loser will be able to appreciate "Knock 'Em Out," a joyfully snarky hip-hop litany in which Allen tells a guy she can't give him her number "because I lost my phone." Making her crystal clear voice dip and float, Allen shows her wariness to societal pressures on the exceptional "Everything's Just Wonderful," demanding, "I wanna be able to eat spaghetti Bolognese/ And not feel bad about it for days and days and days." Call it feminism for a new generation. It's about time. (Solvej Schou) When Hurricane Katrina struck, Harry Connick, Jr. rushed to his hometown days before the National Guard arrived, traveling around the flood- ravaged city to aid the victims and appeal for help on national TV. Connick puts these heartbreaking memories of dead bodies and neglected people to verse in his original song, "All These People," a duet with gospel singer Kim Burrell, that provides a deeply personal centerpiece to his new vocal album, "Oh, My NOLA" (Columbia). "NOLA," recorded last June, is one of two CDs that Connick is releasing simultaneously just weeks before Mardi Gras. The other, "Chanson du Vieux Carre" (Marsalis Music) is a largely instrumental jazz big band album recorded in 2003 that mixes Connick originals with his updated arrangements of such New Orleans classics as Louis Armstrong's "Someday You'll Be Sorry," Sidney Bechet's "Petite Fleur," and Professor Longhair's "Mardi Gras In New Orleans." "Chanson" shines a spotlight on Connick's often overlooked jazz big band that boasts some scintillating ensemble playing, a powerful rhythm section, Connick's economical piano solos, and such distinctive soloists as trumpeter Leroy Jones and trombonist Lucien Barbarin. As an arranger, Connick demonstrates a deft touch whether on his own darker "Ash Wednesday" which uses lush orchestral colors a la Duke Ellington or Paul Barbarin's infectiously joyful "Bourbon Street Parade" which climaxes in swaggering brassy ensemble play. On "NOLA," Connick the singer stirs up an appealing gumbo of jazz, gospel, R&B, country and funk on songs associated with hometown musical idols such as Armstrong ("Hello Dolly") and Raymond Myles ("Elijah Rock") as well as family favorites ("Won't You Come Home, Bill Bailey?"). Connick adds some new twists to old favorites: Hank Williams' "Jambalaya (On the Bayou)" starts with a catchy New Orleans groove only to abruptly switch to medium tempo big band swing. Connick's own funky "Do Dat Thing" pays tribute to departed New Orleans musical legends from Al Hirt to James Booker, while his title track, done in a traditional New Orleans jazz style, honors the city's living legacy by bringing in veteran and young New Orleans musicians. Connick's optimistic spirit finds expression in an old Allen Toussaint song "Yes We Can" which could serve as a theme song for the city's recovery. These CDs rank among the most passionate and inspired of Connick's career — a joyous celebration of New Orleans' rich musical legacy that also seeks to ensure its future. A portion of the proceeds are being donated to the New Orleans Habitat Musicians' Village, a project launched by Connick and saxophonist Branford Marsalis to build several hundred homes for displaced musicians. (Charles J. Gans) Katharine McPhee is over the rainbow — way over it. In fact, she even has a song on her debut CD titled "Over It." Fans of last year's "American Idol" runner-up may be surprised at Kat '07: a sexed-up, urbanized siren programmed to do battle with Ciara, Christina and Beyonce. While her soaring version of "Somewhere Over The Rainbow" was credited by many with catapulting her into the finals of the nationwide competition, there's much less of that kind of singing here. It may disappoint fans who liked the good-girl image she displayed on the show. Her producers and handlers meticulously calculated everything on this disc to appeal to the widest possible range of listeners and broadcast formats, from hip-hop to pop to R&B to adult contemporary (I kept waiting for heavy metal and polka tracks to surface, just to cover every possible combination). Sometimes it works, like on the opening track, "Love Story," featuring McPhee's trademark "ooh-oohs" that evoke her (repeated) performances of "Black Horse In A Cherry Tree" on the show last year. And sometimes it doesn't, like on "Open Toes," a hip-hop ode to shoe shopping where she sounds quite out of her element. "Do What You Do" has somewhat more street credibility, fitting in easily on urban stations or BET. "Not Ur Girl" is the closest thing to a mainstream pop song for the teeny-bopper audience, with a catchy melody over a standard rock beat that makes it the most accessible song on the album. But it's on the power ballads "Home" and "Ordinary World" that McPhee shows she really can sing, with a voice that is at once sultry and breathy in the lower registers, and strong when it needs to be in the higher ranges. These two tracks, destined for dentist offices and supermarkets around the world, will remind listeners why they voted for her in the first place. (Wayne Parry) Long one of the great rockabilly sidemen, Bill Kirchen has been hampered as a solo artist by a vocal delivery stiffer than the neck of his Telecaster guitar. That's the case on "Hammer of the Honky-Tonk Gods." Kirchen tears off riffs worthy of his days with Commander Cody And His Lost Planet Airmen, but insipid singing infects the rest of the band. Even with Nick Lowe on bass, "Hammer" spins for 25 minutes before things start to swing. That's when Kirchen, buoyed by soulful backup vocalists, brings "Devil With The Blue Dress" to life. The next cut is also a gem — Kirchen's own "One More Day," featuring acoustic guitar and sounding like an outtake from the Commander's masterful "Lost In The Ozone" album. Material's not a problem. Kirchen contributes several worthy original tunes, and most of the covers are well chosen, including Arthur Alexander's lovely "If It's Really Got To Be This Way" as the finale. But for Kirchen's next solo set, he would be well advised to do more picking and less singing. (Steven Wine) Being one of the Internet's biggest breakout acts is both a blessing and a curse. With the overwhelming attention showered on their 2005 self-titled debut, Clap Your Hands Say Yeah could have stuck with the same winsome formula that helped sell more than 200,000 copies worldwide or veer in a different direction with their second release, "Some Loud Thunder." To the dismay of some fans, CYHSY chose the latter, but it shows the band's clever staying power. The album, produced by indie champion Dave Fridmann (Flaming Lips, Mercury Rev), is both serious and whimsical. Gone is the peppiness of the debut, replaced by a dark and brooding yet slightly more sophisticated collection. The group holds tightly to their DIY roots and continues to experiment while gathering new momentum. "Some Loud Thunder" only adds to the band's mystique as singer and songwriter Alec Ounsworth continues his drive to be this generation's David Byrne, with his whiny and weird yet accessible vocals and art-house lyrics. The set begins with a slightly annoying fuzzy title track but picks up steam with "Emily Jean Stock," the undulating "Mama, Won't You Keep Them Castles in the Air and Burning?" and the optimistically raucous "Satan Said Dance." Where the debut came driving out of the gate, "Some Loud Thunder" stalls at times, but overall has the impact of an imminent storm. True music snobs may initially snub the album, but don't judge "Some Loud Thunder" on the first — or even second — listen; this is an album that gets better over time. (Ari Bendersky) It's easy — too easy — to fall in love with the beauty of Norah Jones' voice. Jones' voice and the serenity of her music earned her fame and fortune, truthfully, as a background singer — in the background of a cocktail party or a seduction. Make that mistake with her new disc, "Not Too Late," and you'll miss the coming of age of a promising singer-songwriter. After not writing the majority of the songs on her first two albums, she writes or co-writes them all here. That new self-confidence is rewarded, making her music more consistent, less of a self-conscious hop-scotch between styles. Tellingly, the only song that feels unwelcome, the New Orleans homage "Sinkin' Soon," is the only one where her name isn't first in the songwriting credits. Behind the gorgeous facade are songs of unease. Jones sings of a suicidal woman walking a moonlit beach, about loneliness and fractured relationships, about a "deranged" president. Hope arrives at the end, where she sings that it's "not too late for love." Jones' music has always been a peaceful island in a sea of "American Idol"-influenced belters. The rap? She's boring. No one who truly listens here can make that complaint. (David Bauder) First published on January 31, 2007 / 6:32 PM. © 2007 CBS Interactive Inc. All Rights Reserved. This material may not be published, broadcast, rewritten, or redistributed. The Associated Press contributed to this report.