Lyrics – Let the Music Take You Home
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Les Mis, Lyrics
LES MISERABLES Herbert Kretzmer (DISC ONE) ACT ONE 1. PROLOGUE (WORK SONG) CHAIN GANG Look down, look down Don't look 'em in the eye Look down, look down You're here until you die. The sun is strong It's hot as hell below Look down, look down There's twenty years to go. I've done no wrong Sweet Jesus, hear my prayer Look down, look down Sweet Jesus doesn't care I know she'll wait I know that she'll be true Look down, look down They've all forgotten you When I get free You won't see me 'Ere for dust Look down, look down Don't look 'em in the eye. !! Les Miserables!!Page 2 How long, 0 Lord, Before you let me die? Look down, look down You'll always be a slave Look down, look down, You're standing in your grave. JAVERT Now bring me prisoner 24601 Your time is up And your parole's begun You know what that means, VALJEAN Yes, it means I'm free. JAVERT No! It means You get Your yellow ticket-of-leave You are a thief. VALJEAN I stole a loaf of bread. JAVERT You robbed a house. VALJEAN I broke a window pane. My sister's child was close to death And we were starving. !! Les Miserables!!Page 3 JAVERT You will starve again Unless you learn the meaning of the law. VALJEAN I know the meaning of those 19 years A slave of the law. JAVERT Five years for what you did The rest because you tried to run Yes, 24601. -
Copy UPDATED KAREOKE 2013
Artist Song Title Disc # ? & THE MYSTERIANS 96 TEARS 6781 10 YEARS THROUGH THE IRIS 13637 WASTELAND 13417 10,000 MANIACS BECAUSE THE NIGHT 9703 CANDY EVERYBODY WANTS 1693 LIKE THE WEATHER 6903 MORE THAN THIS 50 TROUBLE ME 6958 100 PROOF AGED IN SOUL SOMEBODY'S BEEN SLEEPING 5612 10CC I'M NOT IN LOVE 1910 112 DANCE WITH ME 10268 PEACHES & CREAM 9282 RIGHT HERE FOR YOU 12650 112 & LUDACRIS HOT & WET 12569 1910 FRUITGUM CO. 1, 2, 3 RED LIGHT 10237 SIMON SAYS 7083 2 PAC CALIFORNIA LOVE 3847 CHANGES 11513 DEAR MAMA 1729 HOW DO YOU WANT IT 7163 THUGZ MANSION 11277 2 PAC & EMINEM ONE DAY AT A TIME 12686 2 UNLIMITED DO WHAT'S GOOD FOR ME 11184 20 FINGERS SHORT DICK MAN 7505 21 DEMANDS GIVE ME A MINUTE 14122 3 DOORS DOWN AWAY FROM THE SUN 12664 BE LIKE THAT 8899 BEHIND THOSE EYES 13174 DUCK & RUN 7913 HERE WITHOUT YOU 12784 KRYPTONITE 5441 LET ME GO 13044 LIVE FOR TODAY 13364 LOSER 7609 ROAD I'M ON, THE 11419 WHEN I'M GONE 10651 3 DOORS DOWN & BOB SEGER LANDING IN LONDON 13517 3 OF HEARTS ARIZONA RAIN 9135 30 SECONDS TO MARS KILL, THE 13625 311 ALL MIXED UP 6641 AMBER 10513 BEYOND THE GREY SKY 12594 FIRST STRAW 12855 I'LL BE HERE AWHILE 9456 YOU WOULDN'T BELIEVE 8907 38 SPECIAL HOLD ON LOOSELY 2815 SECOND CHANCE 8559 3LW I DO 10524 NO MORE (BABY I'MA DO RIGHT) 178 PLAYAS GON' PLAY 8862 3RD STRIKE NO LIGHT 10310 REDEMPTION 10573 3T ANYTHING 6643 4 NON BLONDES WHAT'S UP 1412 4 P.M. -
Polytram Changes Budget Import Mart Booms Scorpions Cover by FRED GOODMAN Ment of Odds and Ends from Around That His Firm Does Have American the World
SM 14011 MMNIFIN BBO 9GREENLYMONT00 MARP6 NEWSPAPER MONTY GREENLY C3 10 37410 ELM UC Y LONG PEACH CA 90807 A B°Ilboard Publication The Internatior Newsweekly Of Music & Home Entertainment May 5, 1984 $3 (U.S.) AFTER RACK COMPLAINT DESPITE LABELS' EFFORTS Polytram Changes Budget Import Mart Booms Scorpions Cover By FRED GOODMAN ment of odds and ends from around that his firm does have American the world. customers, but that it counsels NEW YORK complaint from That attitude is apparently not -A NEW YORK -The U.S. market caution. a key rack account has led Mercury/ shared by Handleman or some of its "It's a large market," says one for imported budget, cutout and "We want to keep the U.S. compa- PolyGram to market two different customers. Mario DeFilippo, vice wholesaler who carries both domestic overstock albums is thriving. Despite nies happy," he says. "The customer covers of the Scorpions' top 10 album president of purchasing for the rack- and imported budget titles. "It basi- the efforts of the Recording Industry doesn't want to go out on a limb. But "Love At First Sting." . jobber, says that objections to album cally exists because the American Assn. of America, CBS Records and there is a whole midprice range we According to the label, Wal -Mart, cover art as well as lyrics are "a com- market is loaded with crap and the other American manufacturers to sti- supply that is not available in Ameri- a 670 -store discount chain racked by mon complaint from our customers." dual stuff is cheaper. -
Iiuyt Mi Uuirmen SALE Municating)
VOLUME •, NUMBER 30 ■ ■ *&L 1 r 1 km | JH A JM- ■ H i Bt m ■ ;V H ■ ■ i i 2 Sagamore March It, 1177 Letter/ Lesson goes overlooked Dear Sagamorons and matter and his students. You could devote their time to Sagamoronees (writers and leave his classes feeling churning out the “acceptable” readers), you’ve actually learned material. We, the students, Although many think of something, rather than having could then send the university IUPUI as the “meat market of been force-fed the material. our $2,500—wait four the mid-west,” most of us are When not in class he is always years—and then present our here preparing to face the in his office preparing or selves for graduation world of reality, pursuing talking to one of his students. Precious fuel could be saved education. We wear a path He is also one of the few who by the students remaining at between library and allows his students to evaluate home, and our professors classroom, hoping finally to his abilities, a policy most could add a new word to their receive that piece of paper avoid, apparently fearing the vocabularies—security. GAME ROOM POOL TABLES certifying our intelligence. truth. I realize all too well that this But, like the man who can't His crime has been called letter will accomplish little: see the forest for the trees, we the mortal sin of the academic but like anyone with a bad PIN BALL MACHINES sometimes overlook the world. “Publish or perish” as feeling in their stomach, I felt lessons from which we could they say, and our sociology the need to vomit. -
The Bosstown Sound. PUB DATE Mar 88 NOTE 39P.; Paper Presented at the Annual Meeting of the American Culture Association (10Th, New Orleans, LA, March 23-26, 1988)
DOCUMENT RESUME ED 292 153 CS 506 070 AUTHOR Burns, Gary TITLE The Bosstown Sound. PUB DATE Mar 88 NOTE 39p.; Paper presented at the Annual Meeting of the American Culture Association (10th, New Orleans, LA, March 23-26, 1988). PUB TYPE Viewpoints (120) -- Speeches/Conference Papers (150) EDRS PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Bands (Music); Content Analysis; Discographies; *Music; Musicians; *Popular Culture IDENTIFIERS Media History; Music Ensembles; *Rock and Roll; *Rock Music ABSTRACT Based on the argument that (contrary to critical opinion) the musicians in the various bands associated with Bosstown Sound were indeed talented, cohesive individuals and that the bands' lack of renown was partially a result of ill-treatment by record companies and the press, this paper traces the development of the Bosstown Sound from its beginnings in the nightclubs of Boston in 1967 to its end in 1969. In addition, the paper provides complete discographies, including critical commentary, of records produced by bands associated with the Bosstown Sound. The bands of the Bosstown Sound include: The Apple Pie Motherhood Band, The Bagatelle, The Beacon Street Union, Bo Grumpus, Eagle, Earth Opera, Eden's Children, Sure Looks Real, The Ill Wind, Jolliver Arkansaw, Orpheus, Phluph, Puff, and Ultimate Spinach. (Thirty-three references are attached.) (ARH) *********************************************************************** Reproductions supplied by EDRS are the best that can be made from the original document. *********************************************************************** The Bosstown Sound Gary Burns, Assistant Professor Department of Communication University of Missouri-St. Louis St. Louis, MO 63121 314-553-5485 American Culture Association, New Orleans, March 24, 1988 My thanks to Jeff Tamarkin of Goldmine magazine. -
Taj Mahal Andyt & Nick Nixon Nikki Hill Selwyn Birchwood
Taj Mahal Andy T & Nick Nixon Nikki Hill Selwyn Birchwood JOE BONAMASSA & DAVE & PHIL ALVIN NUMBER FIVE www.bluesmusicmagazine.com US $7.99 Canada $9.99 UK £6.99 Australia A$15.95 COVER PHOTOGRAPHY © ART TIPALDI NUMBER FIVE 6 KEB’ MO’ Keeping It Simple 5 RIFFS & GROOVES by Art Tipaldi From The Editor-In-Chief 24 DELTA JOURNEYS 11 TAJ MAHAL “Jukin’” American Maestro by Phil Reser 26 AROUND THE WORLD “ALife In The Music” 14 NIKKI HILL 28 Q&A with Joe Bonamassa A Knockout Performer 30 Q&A with Dave Alvin & Phil Alvin by Tom Hyslop 32 BLUES ALIVE! Sonny Landreth / Tommy Castro 17 ANDY T & NICK NIXON Dennis Gruenling with Doug Deming Unlikely Partners Thorbjørn Risager / Lazy Lester by Michael Kinsman 37 SAMPLER 5 20 SELWYN BIRCHWOOD 38 REVIEWS StuffOfGreatness New Releases / Novel Reads by Tim Parsons 64 IN THE NEWS ANDREA LUCERO courtesy of courtesy LUCERO ANDREA FIRE MEDIA SHORE © PHOTOGRAPHY PHONE TOLL-FREE 866-702-7778 E-MAIL [email protected] WEB bluesmusicmagazine.com PUBLISHER: MojoWax Media, Inc. “Leave your ego, play the music, PRESIDENT: Jack Sullivan love the people.” – Luther Allison EDITOR-IN-CHIEF: Art Tipaldi CUSTOMER SERVICE: Kyle Morris Last May, I attended the Blues Music Awards for the twentieth time. I began attending the GRAPHIC DESIGN: Andrew Miller W.C.Handy Awards in 1994 and attended through 2003. I missed 2004 to celebrate my dad’s 80th birthday and have now attended 2005 through 2014. I’ve seen it grow from its CONTRIBUTING EDITORS David Barrett / Michael Cote / Thomas J. Cullen III days in the Orpheum Theater to its present location which turns the Convention Center Bill Dahl / Hal Horowitz / Tom Hyslop into a dazzling juke joint setting. -
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie Van Varik
GRAM PARSONS LYRICS Compiled by Robin Dunn & Chrissie van Varik. As performed in principal recordings (or demos) by or with Gram Parsons or, in the case of Gram Parsons compositions, performed by others. Gram often varied, adapted or altered the lyrics to non-Parsons compositions; those listed here are as sung by him. Gram’s birth name was Ingram Cecil Connor III. However, ‘Gram Parsons’ is used throughout this document. Following his father’s suicide, Gram’s mother Avis subsequently married Robert Parsons, whose surname Gram adopted. Born Ingram Cecil Connor III, 5th November 1946 - 19th September 1973 and credited as being the founder of modern ‘country-rock’, Gram Parsons was hugely influenced by The Everly Brothers and included a number of their songs in his live and recorded repertoire – most famously ‘Love Hurts’, a truly wonderful rendition with a young Emmylou Harris. He also recorded ‘Brand New Heartache’ and ‘Sleepless Nights’ – also the title of a posthumous album – and very early, in 1967, ‘When Will I Be Loved’. Many would attest that ‘country-rock’ kicked off with The Everly Brothers, and in the late sixties the album Roots was a key and acknowledged influence, but that is not to deny Parsons huge role in developing it. Gram Parsons is best known for his work within the country genre but he also mixed blues, folk, and rock to create what he called “Cosmic American Music”. While he was alive, Gram Parsons was a cult figure that never sold many records but influenced countless fellow musicians, from the Rolling Stones to The Byrds. -
Music for Guitar
So Long Marianne Leonard Cohen A Bm Come over to the window, my little darling D A Your letters they all say that you're beside me now I'd like to try to read your palm then why do I feel so alone G D I'm standing on a ledge and your fine spider web I used to think I was some sort of gypsy boy is fastening my ankle to a stone F#m E E4 E E7 before I let you take me home [Chorus] For now I need your hidden love A I'm cold as a new razor blade Now so long, Marianne, You left when I told you I was curious F#m I never said that I was brave It's time that we began E E4 E E7 [Chorus] to laugh and cry E E4 E E7 Oh, you are really such a pretty one and cry and laugh I see you've gone and changed your name again A A4 A And just when I climbed this whole mountainside about it all again to wash my eyelids in the rain [Chorus] Well you know that I love to live with you but you make me forget so very much Oh, your eyes, well, I forget your eyes I forget to pray for the angels your body's at home in every sea and then the angels forget to pray for us How come you gave away your news to everyone that you said was a secret to me [Chorus] We met when we were almost young deep in the green lilac park You held on to me like I was a crucifix as we went kneeling through the dark [Chorus] Stronger Kelly Clarkson Intro: Em C G D Em C G D Em C You heard that I was starting over with someone new You know the bed feels warmer Em C G D G D But told you I was moving on over you Sleeping here alone Em Em C You didn't think that I'd come back You know I dream in colour -
NMI R the INTERNATIONAL NEWSWEEKLY of MUSIC, VIDEO, and HOME ENTERTAINMENT JULY 10, 1999
$5.95 (U.S.), $6.95 (CAN.), £4.95 (U.K.), Y2,500 (JAPAN) 11.1..11...1..1,11.1...1..11..1..111 I Iln.11 908 #BXNCCVR 3-DIGIT BLBD 690 A06 B0059 #90807GEE374EM002# 001 032500 2 MONTY GREENLY 3740 ELM AVE # A LONG BEACH CA 90807 -3402 Elmo/ NMI r THE INTERNATIONAL NEWSWEEKLY OF MUSIC, VIDEO, AND HOME ENTERTAINMENT JULY 10, 1999 Z 2 GEORGE Top Court Ruling As Used -CD Biz O Vid Biz In Transition Spurs Concerns Grows, Chains IAMOND Internet, DVD, Chains Among factors Reshaping Landscape Over Copyright BY SETH GOLDSTEIN of those rental fixtures in the U.S., Get In On Act Ills first SALSA production and EILEEN FITZPATRICK the neighborhood stores. "I hate to BY BILL HOLLAND NEW YORK -Independent video say it, but I believe" the small indies BY ED CHRISTMAN WASHINGTON, D.C. -The retailers used to control video retail- are an endangered species, says con- NEW YORK -With the used- containsENNANCED CE with June 23 U.S. Supreme Court rul- ing. No longer. sultant Richard Kelly CD business apparently on an video and interview ing that gives states immunity The growth of of Cambridge Associ- upswing at independent stores, from private lawsuits seeking chains like Blockbuster ates in Stamford, Conn. more U.S. chains are beginning His first single damages for patent and trade- and Hollywood Enter- Rentrak, the rev- to add the prod- mark violations tainment, the emer- enue-sharing specialist uct category to "QUE 111 VAS" NEWS does not yet gence of the Internet that regularly collects their stores. -
THE COLLECTED POEMS of HENRIK IBSEN Translated by John Northam
1 THE COLLECTED POEMS OF HENRIK IBSEN Translated by John Northam 2 PREFACE With the exception of a relatively small number of pieces, Ibsen’s copious output as a poet has been little regarded, even in Norway. The English-reading public has been denied access to the whole corpus. That is regrettable, because in it can be traced interesting developments, in style, material and ideas related to the later prose works, and there are several poems, witty, moving, thought provoking, that are attractive in their own right. The earliest poems, written in Grimstad, where Ibsen worked as an assistant to the local apothecary, are what one would expect of a novice. Resignation, Doubt and Hope, Moonlight Voyage on the Sea are, as their titles suggest, exercises in the conventional, introverted melancholy of the unrecognised young poet. Moonlight Mood, To the Star express a yearning for the typically ethereal, unattainable beloved. In The Giant Oak and To Hungary Ibsen exhorts Norway and Hungary to resist the actual and immediate threat of Prussian aggression, but does so in the entirely conventional imagery of the heroic Viking past. From early on, however, signs begin to appear of a more personal and immediate engagement with real life. There is, for instance, a telling juxtaposition of two poems, each of them inspired by a female visitation. It is Over is undeviatingly an exercise in romantic glamour: the poet, wandering by moonlight mid the ruins of a great palace, is visited by the wraith of the noble lady once its occupant; whereupon the ruins are restored to their old splendour. -
Songs by Artist
Sound Master Entertianment Songs by Artist smedenver.com Title Title Title .38 Special 2Pac 4 Him Caught Up In You California Love (Original Version) For Future Generations Hold On Loosely Changes 4 Non Blondes If I'd Been The One Dear Mama What's Up Rockin' Onto The Night Thugz Mansion 4 P.M. Second Chance Until The End Of Time Lay Down Your Love Wild Eyed Southern Boys 2Pac & Eminem Sukiyaki 10 Years One Day At A Time 4 Runner Beautiful 2Pac & Notorious B.I.G. Cain's Blood Through The Iris Runnin' Ripples 100 Proof Aged In Soul 3 Doors Down That Was Him (This Is Now) Somebody's Been Sleeping Away From The Sun 4 Seasons 10000 Maniacs Be Like That Rag Doll Because The Night Citizen Soldier 42nd Street Candy Everybody Wants Duck & Run 42nd Street More Than This Here Without You Lullaby Of Broadway These Are Days It's Not My Time We're In The Money Trouble Me Kryptonite 5 Stairsteps 10CC Landing In London Ooh Child Let Me Be Myself I'm Not In Love 50 Cent We Do For Love Let Me Go 21 Questions 112 Loser Disco Inferno Come See Me Road I'm On When I'm Gone In Da Club Dance With Me P.I.M.P. It's Over Now When You're Young 3 Of Hearts Wanksta Only You What Up Gangsta Arizona Rain Peaches & Cream Window Shopper Love Is Enough Right Here For You 50 Cent & Eminem 112 & Ludacris 30 Seconds To Mars Patiently Waiting Kill Hot & Wet 50 Cent & Nate Dogg 112 & Super Cat 311 21 Questions All Mixed Up Na Na Na 50 Cent & Olivia 12 Gauge Amber Beyond The Grey Sky Best Friend Dunkie Butt 5th Dimension 12 Stones Creatures (For A While) Down Aquarius (Let The Sun Shine In) Far Away First Straw AquariusLet The Sun Shine In 1910 Fruitgum Co. -
Sounding Sentimental: American Popular Song from Nineteenth-Century Ballads to 1970S Soft Rock Emily Margot Gale Vancouver, BC B
Sounding Sentimental: American Popular Song From Nineteenth-Century Ballads to 1970s Soft Rock Emily Margot Gale Vancouver, BC Bachelor of Music, University of Ottawa, 2005 Master of Arts, Music Theory, University of Western Ontario, 2007 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Music University of Virginia May, 2014 © Copyright by Emily Margot Gale All Rights Reserved May 2014 For Ma with love iv ABSTRACT My dissertation examines the relationship between American popular song and “sentimentality.” While eighteenth-century discussions of sentimentality took it as a positive attribute in which feelings, “refined or elevated,” motivated the actions or dispositions of people, later texts often describe it pejoratively, as an “indulgence in superficial emotion.” This has led an entire corpus of nineteenth- and twentieth-century cultural production to be bracketed as “schmaltz” and derided as irrelevant by the academy. Their critics notwithstanding, sentimental songs have remained at the forefront of popular music production in the United States, where, as my project demonstrates, they have provided some of the country’s most visible and challenging constructions of race, class, gender, sexuality, nationality, and morality. My project recovers the centrality of sentimentalism to American popular music and culture and rethinks our understandings of the relationships between music and the public sphere. In doing so, I add the dimension of sound to the extant discourse of sentimentalism, explore a longer history of popular music in the United States than is typical of most narratives within popular music studies, and offer a critical examination of music that—though wildly successful in its own day—has been all but ignored by scholars.