Lynyrd Skynyrd

December 12th, 2009 Comments off

Lynyrd Skynyrd é uma banda de southern rock estadunidense. Tornou-se conhecida no sul dos Estados Unidos em 1973, ganhando maior notoriedade internacional principalmente após a morte de diversos integrantes e do principal compositor Ronnie Van Zant em um acidente aéreo ocorrido em 1977 próximo a Gillsburg, Mississipi.

A banda retornou em 1987, tendo como líder Johnny Van Zant,e continua a gravar e a se apresentar até hoje. O grupo foi incluído no Hall da Fama do Rock and Roll em 13 de março de 2006.

O núcleo do que mais tarde viria a ser o Lynyrd Skynyrd foi formado em meados de 1964, na cidade portuária de Jacksonville, sul da Flórida. Ronnie Van Zant e um vizinho, Robert Burns (Bob), que tinha uma bateria, se juntaram ao colega de escola Gary Rossington que por sua vez, sugeriu para a então banda em formação o baixista Larry Junstrom.

Faltava à banda de garotos um amplificador. Por ter o aparelho e também tocar guitarra, além de ser colega de escola dos outros integrantes, Allen Collins (Larkin Allen Collins Jr.), então no The Mods, juntou-se à banda iniciante.

Começaram a tocar influenciados por country, rock britânico (Rolling Stones, Yardbirds, Cream) e blues. Os barulhentos ensaios aconteciam na garagem da casa de Burns. “Nos plugávamos nossas guitarras no canal limpo, Ronnie colocava seu microfone no normal – eram os três em um amplificador – e Bob tocava bateria. Foi assim que começamos”, disse Gary.

Neste período a banda mudou várias vezes de nome: o primeiro foi My Backyard, seguido por Noble Five, Wildcats, Sons of Satan, Conqueror Worm, Pretty Ones, e One Percent.

O nome Lynyrd Skynyrd surgiria um pouco mais tarde. Durante um show, Ronnie Van Zant anunciou a banda com o nome de Leonard Skinner – o famigerado instrutor de ginástica dos então estudantes Ronnie, Gary e Bob na Robert Lee High School em Jacksonville, que vivia dando suspensão aos garotos por causa dos seus longos cabelos, comportamento que se chocava contra as rígidas normas da escola.

“Nós somos (a banda) One Percent, mas vamos mudar nosso nome esta noite. Todos que quiserem que mudemos para Leonard Skinner, aplaudam!”, disse Ronnie. A platéia conhecia o professor e aprovou o nome no ato. Em seguida, os membros substituíram as vogais por Y, segundo Gary, “para preservar a identidade do culpado”.

Passaram a ensaiar numa espécie de barracão de madeira e zinco, tão pequeno e quente que foi apelidado pelos integrantes de “Hell House”, ao sul de Jacksonville. Foi no calor sufocante da Hell House que o som da banda começou a tomar forma – country, blues e hard rock eram a base sonora do grupo. A despeito das condições severas, a banda estava determinada a ser bem-sucedida, a não perder de vista seus sonhos. Além de músicas próprias, tocavam covers entre outros, de Cream e Creedence Clearwater Revival.

Fazem uma turnê com a banda Strawberry Alarm Clock. A banda começa a ter o nome destacado, estabelecendo-se no sul (Flórida, Tennessee, Geórgia e Alabama) como um bom grupo ao vivo. Neste tempo, juntam-se ao Lynyrd Skynyrd os roadies Dean Kilpatrick e Kevin Elson.

Source: Wikipedia

Beyond the tragedy, the history, the raging guitars and the killer songs, ultimately, Lynyrd Skynyrd is about an indomitable will. About survival of spirit; unbowed, uniquely American, stubbornly resolute.

With their first set of new studio material since 2003’s Vicious Cycle, legendary rock band Lynyrd Skynyrd returns with God & Guns, due out September 29 on Loud & Proud/Roadrunner Records. Recorded in Nashville in 2008-2009, the project was interrupted—but, tellingly, not ended—by the deaths of founding member/keyboardist Billy Powell and longtime bassist Ean Evans earlier this year.

Driven by core members Gary Rossington (guitar), Johnny Van Zant (vocals) and Rickey Medlocke (guitar), along with longtime drummer Michael Cartellone, Lynyrd Skynyrd have recorded an album (“under duress, as usual,” according to Van Zant) that very much lives up to the legacy begun some 35 years ago in Jacksonville, Florida, and halted for a decade by the 1977 plane crash that killed three band members, including Ronnie Van Zant and Steve Gaines. Since then, the band tragically lost Allen Collins, Leon Wilkeson and Hughie Thomasson, yet they rock on.

With the passing of Powell and Evans, “a lot of people probably expected us to say enough is enough,” admits Medlocke. But that would not be the way of this Rock & Roll Hall of Fame powerhouse. With a catalog of over 60 albums and sales beyond 30 million, Lynyrd Skynyrd remains a cultural icon that appeals to all generations, and God & Guns is a fitting addition to the canon. The Skynyrd Nation awaits.

“We wanted to show the people that not only are we doing the old material, keeping the music going, but we still have some new tricks up our sleeves, too,” says founding guitarist Gary Rossington.

Returning to the studio after the death of Powell, whose keyboards can be heard on more than half the songs on God & Guns, was “very difficult, I ain’t gonna lie to you,” says Van Zant. “But we got through it, as Lynyrd Skynyrd seems to always do. Music’s a great healer. These songs needed to be out there, this record needed to be made. Gary, Rickey and myself just said ‘let’s go for it, let’s get this thing done.’”

Unfortunately, coping with loss is familiar to this band. “We just kind of fell back in,” says Rossington. “We’ve been doing this a long time, so you just kind of do what you do. As you get older, you get a little more used to it. You know it’s coming, and it’s coming to you, too. I just thank God for every day and all the time I had with the guys that aren’t with us anymore.”

The crying is over and now it’s time to rock. “We’ve had some really bad moments this year already, and I’m glad we’re able to pick ourselves up by our boot straps and just continue to play,” says Medlocke. “For us to weather through this makes this record even more special. I’m sure Billy and Ean are looking down upon us with big smiles.”

With noted rock producer Bob Marlette, input from guitarist John 5, and a wealth of material written by the band and a cadre of elite Skynyrd-minded songwriters, a remarkable album emerged. “We never really worked with producers that well, we kind of always wanted to do it our way,” admits Rossington. “But Bob Marlette came on and he’s such a great guy; he figured out how to talk to us musically, and we became friends instantly.

He had a lot of fresh ideas and ways to do things, and also wanted to capture the old sounds, too.”

Of John 5, Rossington adds, “he’s probably one of the best guitar players I’ve ever played with, and I’ve played with a lot of great ones. He just lives with a guitar on him, and he knows that neck like nobody I’ve ever seen.”

With a backbone of Southern rock and country, passionate Van Zant vocals, and trademark layered guitars, God & Guns manages to maintain the iconic Skynyrd punch while sounding completely contemporary.

Sure to attract attention in these politically divided times is the title track, which harbors a sense of menace and unwillingness to back down that hearkens back to Skynyrd’s earliest days. The band knows the song, and others like “That Ain’t My America,” will have their critics, but Medlocke says listeners should get beyond the title.

“It’s not just the words ‘God and guns.’ you gotta look past that and look at what this country was founded on: freedom,” Medlocke says. “Everybody should be able to make their own decisions and not be led around by a nose ring and told what to do and when to do it.”

And if some critics don’t like it, “that’s called freedom of choice,” says Medlocke, who carries his Native American heritage with pride. “I’m sure some critics will look at it, God & Guns, the rednecks are back.’ Well, the guys in this band aren’t rednecks, Rickey Medlocke’s the only damn redneck in this band ‘cause I got red skin.”

The title track, along with the unmistakable Skynyrd bite of the first single “Still Unbroken,” form thematic songs for an album laden with attitude, heart and purpose. “Skynyrd’s about tradition,” says Medlocke. “We are guys that don’t go around preaching about our own personal or political beliefs, although I’m sure you could probably guess mine.

In this record is personal tragedy, personal relationships and being on the road, all under that umbrella of real life. That’s what we think, that’s what we believe, and we stand next to that title, God & Guns.”

To portray Skynyrd as a bunch of “gun nuts” would be incorrect, according to Van Zant. “I’m kind of like Ronnie, ‘handguns are made for killing,’ and I’ve never seen anybody shoot a deer with a .38,” he says. “I do own a bunch of rifles, I live out in the swamp, and you’ve got to protect yourself.”

Skynyrd is a band, after all, that has never shied away from standing up and speaking for a segment of the population whose voices are seldom heard. “Everybody’s so scared to say stuff these days, that’s not what I’m about,” says Van Zant. “We live in America, we can speak our minds. These are our values. That doesn’t mean we’re always right in everybody’s mind. Hopefully, we don’t offend a bunch of people. And if we do, well, get a record deal, man, and make your own songs.”

This is a band well aware of the responsibility that comes with putting the name ‘Lynyrd Skynyrd’ on anything, be it an album or a concert. “We feel like we have to keep the standards high,” says Rossington. “I wouldn’t put this record out, I’d fight not to, if I didn’t think it was good.”

And so Skynyrd stands, “still unbroken,” in 2009. “People may say, ‘they need the money,’ well I don’t think any of us need the money,” Van Zant says. “It’s just that we love the music, it’s bigger than the money, it’s not even about that any more.

We have to make a living, sure, but it’s about the legacy of Lynyrd Skynyrd, and what it stands for, what the fans are all about.

There’s nothing like getting out there playing a great show with Skynyrd and seeing people love this music.”

Adds Rossington, “We’re still standing, still keeping the music going. We wanted to do the guys who aren’t with us any more proud, and keep the name proud, too.”

Gary Rossington- Guitar Johnny Van Zant- Vocals Rickey Medlocke- Guitar Mark “Sparky” Matejka- Guitar Michael Cartellone- Drums Robert Kearns – Bass Peter “Keys” Pisarczyk – Keyboards Honkettes: Dale Krantz Rossington- Backing Vocals Carol Chase- Backing Vocals.

Source: Lynyrd Skynyrd website

Simple Man

That Smell

Sweet Home Alabama

Free Bird

Tuesday’s Gone

On The Hunt

Saturday Night Special

Gimme Back My Bullets

Call Me The Breeze

Travellin’ Man

The Ballad Of Curtis Lowe Hughie Tomasson

Gimme Three Steps

Christmas Time Again

What’s Your Name


God and Guns


I Need You

Still Unbroken

Comin’ Home

Every Mother’s Son

Lucky Man

All I Can Do Is Write About It


Categories: Músicas e Músicos Tags:

Summer In The City

December 12th, 2009 Comments off

Summer in the City” is the title of a song recorded by The Lovin’ Spoonful, written by Mark Sebastian (brother of John Sebastian) and Steve Boone.

It came from their album Hums of the Lovin’ Spoonful and it reached number one on the Billboard Hot 100 in August 1966.

The song featured a series of car horns, during the instrumental bridge, starting with a Volkswagen Beetle horn, and ending up with a jackhammer sound, in order to give the impressions of the sounds of the summer in the city.

The song is ranked number 393 on Rolling Stone’s list of The 500 Greatest Songs of All Time. The signature keyboard part is played on a Hohner Pianet, and the organ is a Vox Continental. When at Blair Academy, Mark Sebastian submitted the lyrics as a poem for the literary magazine.

That poem, entitled “Summer In the City,” had the refrain “but at night it’s a different world, go out and find a girl, come on, come on and dance all night, despite the heat it’ll be alright, and babe don’t you know it’s a pity, the days can’t be like the night, in the summer in the city.”

His older brother John changed the slower verses to a more upbeat model, keeping the title and the refrain. Mark’s part remains as he wrote it, words and music. Bassist Steve Boone added the instrumental coda in the middle.

Source: Wikipedia

Summer In The City Lyrics (Mark Sebastian and Steve Boone)

Hot town, summer in the city
Back of my neck getting burnt and gritty
Been down, isn’t it a pity
Doesn’t seem to be a shadow in the city

All around, people looking half dead
Walking on the sidewalk, hotter than a match head

But at night it’s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it’ll be alright

And babe, don’t you know it’s a pity
That the days can’t be like the nights
In the summer, in the city
In the summer, in the city

Cool town, evening in the city
Dressed so fine and looking so pretty
Cool cat, looking for a kitty
Gonna look in every corner of the city
Till I’m wheezing at the bus stop
Running up the stairs, gonna meet you on the rooftop

But at night it’s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it’ll be alright

And babe, don’t you know it’s a pity
That the days can’t be like the nights
In the summer, in the city
In the summer, in the city

Hot town, summer in the city
Back of my neck getting dirty and gritty
Been down, isn’t it a pity
Doesn’t seem to be a shadow in the city

All around, people looking half dead
Walking on the sidewalk, hotter than a match head

But at night it’s a different world
Go out and find a girl
Come-on come-on and dance all night
Despite the heat it’ll be alright

And babe, don’t you know it’s a pity
That the days can’t be like the nights
In the summer, in the city
In the summer, in the city

The Lovin’ Spoonful

Joe Cocker


Del Shannon

Isaac Hayes

Quincy Jones

The Drifters

Barry Hay & The Metropole Big Band

Gutter Brothers

The Marmalade


The Modbeats

Butthole Surfers


Inner Circle

Jeff McNeal



Max Werner

The Stranglers

Categories: Músicas e Músicos Tags:

Leonard Cohen

December 7th, 2009 Comments off

Leonard Norman Cohen (Montreal, 21 de setembro de 1934) é um cantor, compositor, poeta e escritor canadense.

Embora seja mais conhecido por suas canções, que alcançaram notoriedade tanto em sua voz quanto na de outros intérpretes, Cohen passou a se dedicar à música apenas depois dos 30 anos, já consagrado como autor de romances e livros de poesia.


Leonard Cohen nasceu em Montreal, província de Quebec, Canadá, de uma família judia de origem polonesa (polaca). A sua infância foi marcada pela morte de seu pai quando Cohen tinha apenas 9 anos, fato que seria determinante para o desenvolvimento de uma depressão que o acompanharia durante boa parte da vida.

Aos 17 anos, ingressa na Universidade McGill e forma um trio de música country. Paralelamente, passa a escrever seus primeiros poemas, inspirado por autores como García Lorca.

Consagração literária

Em 1956, lança seu primeiro livro de poesia, Let Us Compare Mythologies, seguido em 1961 por The Spice Box of Earth, que lhe conferiria fama internacional.

Após o sucesso do livro, Cohen decide viajar pela Europa, e acaba por fixar residência na ilha de Hidra, na Grécia, onde passa a viver junto com Marianne Jensen e seu filho, Axel.

Em 1963 lança The Favorite Game, sua primeira novela, seguida pelo livro de poemas Flowers for Hitler, em 1964, e pela sua segunda novela, Beautiful Losers, em 1966.

Em 2011 foi o vencedor do Prémio Príncipe das Astúrias das Letras.

Carreira musical

Já estabelecido como escritor, Cohen decide se tornar compositor. Para isso, muda-se para os Estados Unidos, onde conhece a cantora Judy Collins, que grava duas de suas composições (“Suzanne” e “Dress Rehearsal Rag”) em seu disco In My Life, de 1966.

No ano seguinte, Cohen participa do Newport Folk Festival, onde chama a atenção do produtor John Hammond, o mesmo que antes havia descoberto, dentre outros, Billie Holiday e Bob Dylan. Songs of Leonard Cohen, seu primeiro disco, é lançado no final do ano, sendo bem recebido por público e crítica.

Seu próximo disco, Songs from a Room, seria produzido por Bob Johnston, produtor dos principais trabalhos de Dylan nos anos 60. Embora não tão bem recebido quanto o anterior, contém a canção “Bird on the Wire”, que o próprio Cohen disse ser a sua favorita dentre as suas composições. Em 1971, lança Songs of Love and Hate, um disco mais sombrio que os anteriores. No mesmo ano, o diretor Robert Altman, em seu filme McCabe & Mrs. Miller, utiliza três canções de Cohen: “Sisters of Mercy”, “Winter Lady” e “The Stranger Song”, todas do primeiro disco do cantor.

Um novo livro de poemas, The Energy of Slaves, é lançado em 1972 e, no ano seguinte, o disco ao vivo Live Songs.

Também em 1973, por ocasião da Guerra do Yom Kipur, Cohen faz uma série de shows gratuitos para soldados israelenses. Baseada no poema “Unetaneh Tokef ” da tradição judaica, surgiria a canção “Who by Fire”, incluída no álbum New Skin for the Old Ceremony, a ser lançado no ano seguinte.

Recesso e parcerias

Após o disco de 1974, Cohen decide se afastar do mundo da música, resultado não só de uma confessa falta de inspiração, mas também de sua insatisfação com as exigências do mercado.

Seu retorno se daria em 1977 com Death of a Ladies’ Man, produzido por Phil Spector, que foi também o co-autor de quase todo o repertório do disco. O álbum foi marcado por atritos após as gravações, quando Spector se trancou em seu estúdio para o processo de mixagem, não permitindo que nem mesmo Cohen interferisse no resultado final. Por conta disso é até hoje notória a insatisfação do cantor com o disco, o qual classifica como sendo o mais fraco de todos. Em 1978, numa alusão ao álbum do ano anterior, seria a vez do lançamento do livro Death of a Lady’s Man.

Em 1979 reaproxima-se do estilo dos seus primeiros trabalhos com Recent Songs, cuja turnê foi registrada no disco Field Commander Cohen: Tour of 1979, lançado apenas em 2001. Entre os integrantes de sua banda de apoio encontravam-se Sharon Robinson, co-autora de várias canções de Cohen a partir da década de 80, e Jennifer Warnes.

Após a turnê, seguiu-se mais um período de reclusão, no qual dedicou-se à escrita e ao estudo do budismo. Só voltaria a lançar novos trabalhos em 1984, com o disco Various Positions e o livro de poemas Book of Mercy. Embora a essa altura sua popularidade nos Estados Unidos estivesse em baixa, sua música ainda fazia grande sucesso em alguns países da Europa como França e Noruega.

Ressurgimento e aclamação

Em 1988, retorna com o álbum I’m Your Man, aclamado por crítica e público. Parte dessa boa recepção deve ser creditada a Famous Blue Raincoat – The Songs of Leonard Cohen, disco tributo lançado por Jennifer Warnes um ano antes, que apresentou as canções do canadense a toda uma nova geração de fãs.

Paralelamente, muitos dos jovens músicos ligados ao folk e ao indie-rock da época diziam-se influenciados pelo trabalho do cantor. Parte desses músicos seria responsável pelo disco-tributo I’m Your Fan, lançado em 1991. Dentre estes, destacavam-se R.E.M., Ian McCulloch (vocalista do Echo & the Bunnymen) e Nick Cave and the Bad Seeds.

No ano seguinte lançaria The Future e, em 1994, Cohen Live, contendo registros de apresentações ao vivo entre os anos de 1988 e 1993.

Retiro budista

Em 1994, consolidando a sua aproximação com o budismo, Cohen passa a viver no mosteiro de Mount Baldy Zen Center, próximo de Los Angeles. Em 1996, seria ordenado monge zen, e ganharia o nome Dharma de Jikan (“silencioso”).

Nesse meio-tempo é lançado, em 1995, um outro disco-tributo, Tower of Songs, dessa vez com nomes mais conhecidos, como Elton John, Bono e Willie Nelson.

No mesmo ano é lançado o livro Dance Me to the End of Love, onde poesias suas são mescladas com pinturas do francês Henri Matisse.

Sua experiência no mosteiro iria até o ano de 1999, quando voltaria a morar em Los Angeles. Apesar disso, Cohen ainda se considera judeu, ressaltando que não procura “por uma nova religião”.

Retorno à música

Em 2001, lança Ten New Songs, seu primeiro disco de inéditas em sete anos, feito em parceria com Sharon Robinson. Em 2004 seria a vez de Dear Heather.

Em maio de 2006 é lançado o disco Blue Alert da cantora Anjani Thomas, sua namorada e ex-vocalista de sua banda de apoio. Cohen foi o produtor e co-autor de todas as faixas do disco.

Menos de um mês depois é lançado o aclamado documentário Leonard Cohen: I’m Your Man, onde relatos do cantor são intercalados com versões de suas músicas interpretadas por artistas como Rufus Wainwright e Nick Cave. No fim da película o próprio Cohen interpreta, junto ao U2, a música “Tower of Song”

Fonte: Wikipedia


The Gypsy’s Wife

Dance Me To The End Of Kove

Woke Up This Morning

Joan of Arc

I’m Your Man

If It Be Your Will

Everybody Knows

Ain’t No Cure For Love

Waiting For The Miracle


In My Secret Life

Blessed Is The Memory

Here It Is

Tower of Song (com o U2)

Who By Fire

A Thousand Kisses Deep

Closing Time

Everybody Knows

Famous Blue Raincoat

Death Of a Ladies’ Man

Take This Waltz

Bird On The Wire

Everybody Knows

Never Any Good

So Long, Marianne


Hey, That’s No Way To Say Goodbye

The Stranger Song

Dress Rehearsal Rag

Sisters Of Mercy

Tonight Will Be Fine

Story of Isaac

Categories: Músicas e Músicos Tags:

Hallelujah (Leonard Cohen)

December 6th, 2009 Comments off

Hallelujah” é uma música do cantor canadense Leonard Cohen. Gravada originalmente em 1984 para o álbum Various Positions, a canção já teve inúmeras versões cantadas por diversos artistas como Bon Jovi, John Cale, Jeff Buckley, Rufus Wainwright, K. D. Lang e Alexandra Burke ao redor do mundo e sendo incluída em trilhas sonoras de filmes e programas de televisão como Shrek.

Composição e gravação

“Hallelujah” foi escrita e originalmente composta ao longo de um ano. E diz-se ter sido um processo difícil e frustrante para Cohen.

Cohen diz que escreveu, pelo menos, oitenta versos, descartando a maior parte deles no processo de elaboração da canção. Leonard Cohen cita dizendo que: Eu preenchi dois bloco de notas e lembro-me estar em Nova Iorque, no carpete na minha roupa de baixo, batendo a cabeça no chão e dizendo: ‘Não posso terminar esta canção.”

Cohen primeiro gravou a canção no Quadrasonic Sound, em Nova Iorque em Junho de 1984, trabalhando com o produtor John Lissauer. A próxima gravação desta canção por Leonard Cohen foi capturada vivo em Austin, Texas, em 31 de Outubro de 1988 com a produção por Leanne Ungar e Bob Metzger.

Uma de suas versões mais recentes é do quarteto formado pelos de cantores noruegueses Espen Lind, Kurt Nilsen, Askil Holm e Alejandro Fuentes, de 2006 e que chegou ao topo da parada das rádios do país, sendo incluída no álbum Hallelujah Live lançado pelo grupo.

Versões “cover”

Nos últimos anos, “Hallelujah” foi realizada por um grande número e variedade de artistas. Além de sua primeira cover de Cale, a canção já foi realizada por cerca de 200 artistas em várias línguas.

Estatísticas da Recording Industry Association of America (RIAA), a Canadian Recording Industry Association, o Australian Recording Industry Association; e a Federação Internacional da Indústria Fonográfica mostram que, antes do final de 2008, mais de cinco milhões de cópias da canção vendida em disco compacto.

Tem sido objeto da rádio BBC documentário e foi destaque nas trilhas sonoras de diversos filmes e programas de televisão.

Ela foi coberta com um dueto com Justin Timberlake e Matt Morris, com Charlie Sexton na guitarra, durante uma internacional maratona em 22 de Janeiro de 2010, para beneficiar os esforços de ajuda após o terremoto de 2010 no Haiti.

Diferentes interpretações da música podem incluir diferentes versos, dos versos que Cohen escreveu originalmente em 1980.

Em Abril de 2009 a Radio CBS entrevistou, Cohen disse que considera o número de covers de sua canção “irónico e divertido”, já que quando ele escreveu a primeira canção, sua gravadora não iria colocá-lo para fora. No entanto, ele agora acha que a canção poderia beneficiar de uma pausa na exposição: “… Eu estava lendo uma resenha de um filme chamado Watchmen que utiliza o revisor e disse – “Podemos ter, por favor de uma moratória sobre Hallelujah em filmes e programas de televisão? “E eu meio que sinto o mesmo … Eu acho que é uma boa canção, mas eu acho que muitas pessoas também cantá-la”.

Fonte: Wikipedia

Letra de Hallelujah (Leonard Cohen)

Now I’ve heard there was a secret chord
That David played, and it pleased the Lord
But you don’t really care for music, do you?
It goes like this
The fourth, the fifth
The minor fall, the major lift
The baffled king composing Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Your faith was strong but you needed proof
You saw her bathing on the roof
Her beauty and the moonlight overthrew you
She tied you
To a kitchen chair
She broke your throne and she cut your hair
And from your lips she drew the Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Baby I’ve been here before
I know this room and I’ve walked this floor
I used to live alone before I knew you
I’ve seen your flag on the marble arch
But love is not a victory march
It’s a cold and it’s a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well maybe there’s a god above
But all I’ve ever learned from love
Was how to shoot somebody who outdrew you
And it’s not a cry that you hear at night
It’s not somebody who’s seen the light
It’s a cold and it’s a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Baby I’ve been here before
I know this room and I’ve walked this floor
I used to live alone before I knew you
I’ve seen your flag on the marble arch
But love is not a victory march
It’s a cold and it’s a broken Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Well there was a time when you let me know
What’s really going on below
But now you never show that to me do you
But remember when I moved in you
And the holy dove was moving too
And every breath we drew was hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

I’ve done my best, it wasn’t much
I couldn’t feel, so I learned to touch
I’ve told the truth, I didn’t come to fool you
And even though
It all went wrong
I’ll stand before the Lord of Song
With nothing on my tongue but Hallelujah

Hallelujah, Hallelujah
Hallelujah, Hallelujah

Tradução de Hallelujah (“Aleluia”)

Eu soube que havia um acorde secreto
Que David tocava, e agradava o Senhor
Mas você não liga para música, não é?
É assim que é
A quarta, a quinta
O menor cai, e o maior sobe
O rei frustrado compõem Aleluia

Aleluia, Aleluia
Aleluia, Aleluia

Sua fé era forte mas precisava de provas
Você a viu tomando banho do telhado
A beleza dela e a luz do luar arruinaram você
Ela amarrou você
A cadeira da cozinha
Ela destruiu seu trono, cortou seu cabelo
E de seus lábios ela tirou a Aleluia

Aleluia, Aleluia
Aleluia, Aleluia

Baby, eu já estive aqui antes
Eu vi este quarto, andei neste chão
Eu vivia sozinho antes de conhecer você
E eu vi sua bandeira no arco de mármore
Mas o amor não é a Marcha da Vitória
É um aleluia frio e partido

Aleluia, Aleluia
Aleluia, Aleluia

Bem, talvez exista um Deus lá em cima
Mas tudo o que aprendi sobre o amor
Foi como atirar em alguém que te fez mal
E não é um choro que você ouve à noite
Não é um alguém que viu a luz
É um frio e partido Aleluia

Aleluia, Aleluia
Aleluia, Aleluia

Baby eu já estive aqui antes
Eu conheço este quarto e já caminhei por este chão
Eu costumava viver só antes de conhecer você
Eu vi sua bandeira sobre a coluna de mármore
Mas o amor não é uma marcha pela vitória
É um frio e partido Aleluia

Aleluia, Aleluia
Aleluia, Aleluia

Bem, houve um tempo em que você me deixava saber
O que realmente se pasava aí dentro
Mas agora você já não me mostra mais, não é?
Mas se lembre de quem eu me mudei para dentro de você
E o Espírito Santo também se mudou
E cada respiração que desenhávamos era uma Aleluia

Aleluia, Aleluia
Aleluia, Aleluia

Eu dei o meu melhor, não foi muito
Eu não senti, então tentei tocar
Eu disse a verdade, não vim te enganar
E mesmo assim
Deu tudo errado
Eu estou na frente do Senhor da Música
Sem nada na ponta da língua só Aleluia

Aleluia, Aleluia
Aleluia, Aleluia

Leonard Cohen

Espen Lind, Askil Holm, Alejandro Fuentes and Kurt Nilsen

Rufus Wainwright

John Cale

Katherine Jenkins

K.D. Lang

Justin Timberlake, Matt Morris and Charlie Sexton

Jeff Buckley

Alexandra Burke

Molly Sanden

Bon Jovi

Il Divo

Sarah Connor

Canadian Tenors

Isaias Garcia

Elisa Toffoli

Damien Leith

Jason Castro

Damien Rice

Allison Crowe

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In My Life

December 5th, 2009 Comments off

In My Life” is a song by The Beatles written by John Lennon and Paul McCartney . The song originated with Lennon, and while Paul McCartney contributed to the final version, the extent of his contribution is in dispute. George Martin contributed the instrumental bridge.

Released on the 1965 album Rubber Soul, it is ranked 23rd on the Rolling Stone article “The 500 Greatest Songs of All Time” as well as fifth on their list of The Beatles 100 Greatest Songs.

The song placed second on CBC’s 50 Tracks. Mojo magazine named it the best song of all time in 2000.


According to Lennon, the song’s origins can be found when the English journalist Kenneth Allsop made a remark that Lennon should write songs about his childhood. Afterwards, Lennon wrote a song in the form of a long poem reminiscing on his childhood years. The original version of the lyrics was based on a bus route he used to take in Liverpool, naming various sites seen along the way, including Penny Lane and Strawberry Field.

However, Lennon found it to be “ridiculous”, calling it “the most boring sort of ‘What I Did On My Holidays Bus Trip’ song”; he reworked the words, replacing the specific memories with a generalised meditation on his past. “Very few lines” of the original version remained in the finished song.[4] According to Lennon’s friend and biographer Peter Shotton, the lines “Some [friends] are dead and some are living/In my life I’ve loved them all” referred to Stuart Sutcliffe (who died in 1962) and to Shotton.

Regarding authorship of the melody, Lennon’s and McCartney’s recollections differ. Referring to McCartney, Lennon said “his contribution melodically was the harmony and the middle-eight itself.” McCartney claimed he set Lennon’s lyrics to music from beginning to end, taking inspiration for the melody from songs by Smokey Robinson & the Miracles. “I liked ‘In My Life’. Those were words that John wrote and I wrote the tune to it. That was a great one.


The song was recorded on 18 October 1965, and was complete except for the instrumental bridge. At that time, Lennon had not decided what instrument to use, but he subsequently asked George Martin to play a piano solo, suggesting “something Baroque-sounding”. Martin wrote a Bach-influenced piece that he found he could not play at the song’s tempo. On 22 October, the solo was recorded at half-tempo (one octave lower) and tape speed was doubled for the final recording, solving the performance challenge and giving the piano solo a unique, harpsichord-like timbre.

Source: Wikipedia

In My Life Lyrics (John Lennon and Paul McCartney)

There are places I remember all my life,
Though some have changed,
Some forever, not for better,
Some have gone and some remain.

All these places had their moments
With lovers and friends I still can recall.
Some are dead and some are living.
In my life I’ve loved them all.

But of all these friends and lovers,
There is no one compares with you,
And these memories lose their meaning
When I think of love as something new.

Though I know I’ll never lose affection
For people and things that went before,
I know I’ll often stop and think about them,
In my life I’ll love you more.

Though I know I’ll never lose affection
For people and things that went before,
I know I’ll often stop and think about them,
In my life I’ll love you more.
In my life I’ll love you more.

Tradução de In My Life (“Em Minha Vida”)

Há lugares dos quais vou me lembrar
por toda a minha vida, embora alguns tenham mudado
Alguns para sempre, e não para melhor
Alguns já nem existem, outros permanecem

Todos esses lugares tiveram seus momentos
Com amores e amigos, dos quais ainda posso me lembrar
Alguns já se foram, outros ainda vivem
Em minha vida, amei todos eles

Mas de todos esses amigos e amores
Não há ninguém que se compare a você
E essas memórias perdem o sentido
Quando eu penso em amor como uma coisa nova

Embora eu saiba que eu nunca vou perder o afeto
por pessoas e coisas que vieram antes,
Eu sei que com freqüência eu vou parar e pensar nelas
Em minha vida, eu amo mais a você

Embora eu saiba que eu nunca vou perder o afeto
por pessoas e coisas que vieram antes,
Eu sei que com freqüência eu vou parar e pensar nelas
Em minha vida, eu amo mais a você
Em minha vida… eu amo mais a você

The Beatles

Sean Connery

Ozzy Osbourne


Steve Stills

Johnny Cash

Susan Anton

Joseph Williams

Emi Fujita

RRSO Symphony Orchestra

Allison Crowe

Keith Moon

Judy Collins

James Taylor

Dave Matthews

Categories: Músicas e Músicos Tags:

Mbandi – Seleção de Músicas de Natal

December 4th, 2009 Comments off

Mbandi is a 21st century composer who has been able to tap into a seemingly endless source of inspiration. Song after song, album after album, Mbandi continues to mesmerize fans all over the world. His music transcends borders, cultures and language and has found a place in the hearts of fans from all walks of life, ages, religions and cultures.

Mbandi was born on May 11th 1979 in Limbe (formally Victoria), a small Cameroonian seaside town on the Atlantic coast of West Africa. Limbe which is home to one the few black sand beaches in the world, gained it’s independence along with the rest of Cameroon from British rule in the early 60s.

In 1994, In search of a better life for their son, Mbandi’s parents made the difficult decision to send him to America and the young age of 15. “Coming to America was very exciting but at the same time, challenging” It is during this period that Mbandi tapped into his feelings of Nostalgia, excitement and hope to create some of his most compelling composition to date. Songs like “A New Beginning and Missing home – just to name a few – give the listener some insight to the mind of a great composer.

Mbandi was first introduced to the piano at the age of 14 when his father purchased a keyboard for his older brothers. “Growing up in Cameroon, at least in the town I grew up in, I saw pianos only in pictures and on TV. Its not like here in America where you walk into a hotel, restaurant etc and there is a $50,000.00 US piano just sitting there. People here take it for granted but I still get a glow in my eyes when I see a piano in public.

A year after Mbandi’s introduction to the piano, he moved to America and enrolled in college at the age of 15. “The greatest thing about college in America was that there were pianos every where, from the music department to the student union building. I was like a kid in a candy store. I spent every minute that I wasn’t in class or doing home work playing the piano”

Music in Mbandi’s culture is not encouraged as anything beyond a fun pass-time, not a career. Mbandi’s parents wont let him major in music so he majored in Pre-Med and Psychology. “I had no intentions of going to medical school, I was just to young and scared to stand up to my parents at the time.

After graduating from college in 1998 at the age of 19, Mbandi worked in corporate America 3 years. After which he decided to give up a lucrative corporate career for his first love, music.

“I believe everyone has a calling in life, a purpose, a reason for being born. This is what I was born do so doing anything other than this defies the essence of my existence” – Mbandi

Source: Mbandi website

Silent Night

O Holy Night

Oh Come All Ye Faithful

The First Noel

We Three Kings

Mary Did You Know

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One Flew Over the Cuckoo’s Nest (Um Estranho no Ninho)

December 4th, 2009 Comments off

Randle Patrick McMurphy (Jack Nicholson), um prisioneiro, simula estar insano para não trabalhar e vai para uma instituição para doentes mentais.

Lá ele começa a influenciar os outros internos a se revoltarem contra as rígidas normas impostas pela enfermeira-chefe, e começa a sofrer oposição da cruel e sádica enfermeira Mildred Ratched.

Com forte poder persuasivo, McMurphy instaura uma reviravolta na clínica, mas ele não tem idéia do preço que irá pagar por desafiar uma clínica “especializada”.

Elenco principal: Jack Nicholson (Randle Patrick McMurphy), Louise Fletcher (enfermeira Mildred Ratched), William Redfield (Harding), Brad Dourif (Billy Bibbit), Michael Berryman (Ellis), Peter Brocco (coronel Matterson), Dean R. Brooks (dr. John Spivey), Alonzo Brown (Miller), Scatman Crothers (Orderly Turkle), Mwako Cumbuka (atendente Warren), Danny DeVito (Martini), William Duell (Jim Sefelt), Josip Elic (Bancini), Christopher Lloyd (Taber), Philip Roth (Woolsey), Vincent Schiavelli (Frederickson), Will Sampson (Chief)

Direção: Milos Forman (1975)

Categories: Filmes Tags:

Trans-Siberian Orchestra (Músicas de Natal)

November 30th, 2009 Comments off

Trans-Siberian Orchestra (TSO) is an American progressive metal band founded in 1993 by producer, composer, and lyricist Paul O’Neill, who brought together Jon Oliva and Al Pitrelli (both members of Savatage) and keyboardist and co-producer Robert Kinkel to form the core of the creative team.

Since then, TSO sold nearly 8 million concert tickets and 8.5 million albums.

The band’s musical style incorporates classical, orchestral, symphonic, and progressive elements into hard rock and heavy metal.

The band is most famous for their series of rock operas: Christmas Eve and Other Stories, The Christmas Attic, Beethoven’s Last Night, The Lost Christmas Eve (the final installment of their Christmas trilogy), and their two-disc magnum opus Night Castle.

Trans-Siberian Orchestra is also known for their extensive charity work and elaborate concerts, which are complete with a full orchestra, a massive light show, lasers, dozens of pyrotechnics, moving trusses, video screens, and other effects that are synchronized to the music.

Origins and formation (1993–1996)

Paul O’Neill has managed and produced rock bands including Aerosmith, Humble Pie, AC/DC, Joan Jett, and Scorpions, later producing and co-writing albums by the progressive metal band Savatage, where he began working with Jon Oliva, Al Pitrelli and Robert Kinkel.

O’Neill took his first steps into rock music in the 1970s when he started the progressive rock band Slowburn, for whom he was the lyricist and co-composer.

What was intended to be the band’s debut album was recorded at Jimi Hendrix’s Electric Lady Studios and engineered by Dave Wittman.

Although Dave Wittman’s engineering was capturing the exact sound O’Neill was hearing in his head, O’Neill was having trouble with it because many of his melodies were between two to three octaves.

Rather than releasing an album that he was not happy with, he shelved the project, but continued working in the industry at Contemporary Communications Corporation, the biggest arena rock management company at the time.

Over the years, O’Neill continued to work as a writer, producer, manager, and concert promoter. In 1993, he accepted Atlantic Records’ offer to start his own band.

He built the band on a foundation created by the marriage of classical and rock music and the artists he idolized (Emerson, Lake & Palmer, Queen, Yes, The Who, and Pink Floyd, ands hard rock bands such as Aerosmith and Led Zeppelin and the multiple lead vocalists of the R&B groups the Temptations and the Four Tops).

He brought in Oliva, Kinkel, and Al Pitrelli to help start the project. O’Neil has stated, “My original concept was six rock operas, a trilogy about Christmas and maybe one or two regular albums.”

The band’s name has multiple connections to the group — the most important being that the band’s first album slated for release in 1994 was a rock opera about the Bolshevik Revolution entitled “Romanov: When Kings Must Whisper.”

The Trans-Siberian Railway was built during the Romanov imperial rule and was used by many of the characters in the rock opera, from Leon Trotsky to Lavrentiy Beria. However, the album was put on hold.

Eventually, after the group turned in their debut album — a Christmas album — their label kept pressuring O’Neill for the name of the band so they could go to print. In an interview O’Neill said,

In the 1980s I was fortunate enough to have visited Russia. If anyone has ever seen Siberia, it is incredibly beautiful but incredibly harsh and unforgiving as well. The one thing that everyone who lives there has in common that runs across it… is the Trans-Siberian Railway. Life, too, can be incredibly beautiful but also incredibly harsh and unforgiving, and the one thing that we all have in common that runs across it… is music. It was a little bit overly philosophical, but it sounded different, and I like the initials, TSO.

Plans interrupted

While Paul O’Neill and Jon Oliva were preparing for the launching of Trans-Siberian Orchestra, their plans were brought to a halt with the death of Jon’s younger brother, Criss Oliva, killed by a drunk driver.

Realizing that, without a new Savatage album delivered quickly, Warner Brothers would drop the group and their catalog, they quickly delivered two new albums for Savatage. Not until they were sure that the Savatage situation was completely stabilized were they able to resume work on TSO

Musical Style And Direction

The Trans-Siberian Orchestra is known for their incorporation of classical, orchestral, symphonic, and progressive elements into rock and heavy metal music.

They are listed under many genres, but mostly symphonic rock, progressive rock, neo-classical metal, and classical music.

Three of their albums – Christmas Eve and Other Stories (1996), The Christmas Attic (1998), The Lost Christmas Eve (2004) – are based around Christmas themes.

These rock operas, collectively known as the “Christmas trilogy,” remain their best-selling and most famous works.

Both in the recording studio and live, Trans-Siberian Orchestra uses a full orchestra, choirs, and a constantly growing and changing group of singers and musicians.

Source: Wikipedia

Visit Trans-Siberian Orchestra website.

Christmas Canon Rock

Christmas Canon Childreen’s Choir

Midnight Christmas Eve

An Angel Came Down

The Lost Christmas Eve

What Child Is This?

The Ghosts of Christmas Eve

For the Sake of Our Brother

Night Enchanted

Wizards In Winter

Child Of The Night

The Dreams Of Candlelight

A Mad Russian’s Christmas

Christmas Dreams

Faith Noel

Carol Of The Bells

Christmas Nights In Blue

Christmas Canon Rock (Live)

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Don’t Know Why

November 29th, 2009 Comments off

Don’t Know Why” is a jazz song written by Jesse Harris which originally appeared on his 1999 album, Jesse Harris & the Ferdinandos.

It was the second single by Norah Jones from her breakthrough 2002 album Come Away with Me.

Although Jones’s version only peaked at number thirty on the U.S. Billboard Hot 100, it was a critical success for her that helped established her as a respected new artist, and subsequently her album sold extremely well.

The single went on to win three Grammy Awards in 2003 for “Record of the Year”, “Song of the Year”, and “Best Female Pop Vocal Performance”.

It remains Jones’s biggest hit single in the USA to date, and her only one to reach the Top 40 of the Billboard Hot 100.

The single was also a hit internationally and reached Top 10 in several countries. The song charted at 459 in Blender magazine’s 500 Greatest Songs Since You Were Born.

Source: Wikipedia

Don’t Know Why (Jesse Harris)

I waited ’til I saw the sun
I don’t know why I didn’t come
I left you by the house of fun
I don’t know why I didn’t come (2x)

When I saw the break of the day
I wished that I could fly away
Instead of kneeling in the sand
Catching teardrops in my hand

My heart is drenched in wine
But you’ll be on my mind

Out across the endless sea
I would die in ecstasy
But I’ll be a bag of bones
Driving down the road alone

My heart is drenched in wine
But you’ll be on my mind

Something has to make you run
I don’t know why I didn’t come
I feel as empty as a drum
I don’t know why I didn’t come (3x)

Jesse Harris

Norah Jones

Smokey Robinson

Jimmy Sommers

David Benoit

Ken Hirai

Jesse Harris

Pat Metheny

Matsuura Aya

Eric Clapton, Dave Swift & Jools Holland backing Smokey Robinson

Categories: Músicas e Músicos Tags:

Diana Navarro

November 28th, 2009 Comments off

Diana Navarro Ocaña , mais conhecida como Diana Navarro, (Málaga, 21 de abril de 1978) é uma cantora espanhola. Ela se tornou conhecida com o single “Alone” de seu álbum de estreia entitulado “No te olvides de mi” (2005), que foi premiado com o Waves para o melhor artista revelação de 2005.

É conhecida por fundir gêneros tradicionais, como flamenco e copla com ritmos árabes, orientais, clássico, etc

“Es como respirar”, dice Diana Navarro cuando habla de su voz. Una voz única que asombró cuando en 2005 apareció su primer disco, No te olvides de mí, del que se vendieron 250.000 ejemplares y consiguió doble platino en España.

Una voz que vuela como un torbellino por encima de una música enraizada en los aires sureños de Andalucía, mezclando lo popular y lo contemporáneo, la tradición y el pop, y que se eleva en un laberinto de melodías y giros fascinantes.

Es la voz de Diana Navarro, una cantante y compositora que ha conseguido por méritos propios una situación de privilegio en la música española y que ha sorprendido al público de otros países cuando han escuchado sus canciones. “Se quedan alucinados.

Cuando veo a la gente con los ojos emocionados, pienso que no hay nada más grande que la música. Es maravilloso”, dice Diana.

Hasta llegar a tocar el éxito con las manos, la carrera de Diana Navarro no ha sido un camino de rosas. Es el fruto de un enorme esfuerzo personal, de superar muchos momentos difíciles. Nació en Málaga en 1978 y era la menor de cinco hermanos de una familia modesta.

“Mi padre siempre ha cantado muy bien y desde chiquitilla me convertí en la atracción de las fiestas”, dice Diana. “Recuerdo los viajes en el viejo Renault escuchando a Camarón. Ha sido la banda sonora de mi infancia”.

A los nueve años ya cantaba en un coro folklórico con el que viajó hasta Quebec (Canadá). Mientras su memoria musical se enriquecía con el pop español de los 80 (Radio Futura, Alaska…), permaneció en el aquel coro hasta los 16 años. “Aprendí muchísimo”, continúa Diana. “Desarrollé mi intuición musical y parte del mérito de mi afinación viene de ahí. Fue mi escuela, viajaba por toda España y era feliz”.

Diana Navarro dejó pronto los estudios, alternó el coro con bandas pop (Pilita Calora) y otros grupos folklóricos (El Gazpachuelo) y descubrió la copla, un género musical español de raíz andaluza, de gran alcance popular en la mitad del siglo XX y que en los últimos años ha cobrado nueva vida, rescatado por nuevas generaciones de artistas. “Mi amor a la copla me hizo dedicarme a cantar, era lo único que quería”, afirma.

Y entre los 16 y los 26 años, Diana Navarro se presentó a 29 concursos de copla ganando 19 primeros premios, entre ellos el Premio Nacional de Saetas de Málaga en los años 2000 y 2002.

En aquellos años, Diana Navarro grabó dos discos que se financió ella misma. De Noches de copla (1997) vendió tres mil ejemplares en las actuaciones, y en Homenaje (1999) cantaba las adaptaciones de canciones populares de Federico García Lorca como un tributo al poeta.

En 1999, Diana conoció a Chico Valdivia, un importante músico andaluz, y le dio los dos discos. Seis meses después comenzaron a grabar las primeras maquetas, que llegaron a las manos del productor y músico Manuel Illán.

Los tres empezaron a trabajar en 2001 y tardaron cuatro años en desarrollar el proyecto musical que ha llevado a Diana Navarro a lo más alto de la escena musical española.

Era el comienzo de una trayectoria fulgurante, de un estilo nuevo y diferente inspirado en la raíz (“He escuchado mucho a los clásicos, desde el flamenco de Manolo Caracol a la ópera María Callas. Ahí está la base”, dice Diana), y con la voz como joya de la corona.

Fonte: website de Diana Navarro

Diana Navarro – Su Historia


24 Rosas

Mira Lo Que Te Has Perdio

Mi Niña Tadea

No Te Olvides De Mí


Vino Amargo

Amor Mio


Coplas De Amor

Mare Mia

Ojos Verdes

La Rosa Y El Viento

Deja De Volverme Loca

Tu Me Vas

Los Dias Que Paso Sin Ti


A Caracol Y Valderrama

Como Las Alas Al Viento

Esto Es Lo Que Hay

Embrujada Por Tu Querer


Brindo Por Ti

Padre Nuestro

En La Cabaña Que Habito

La Gente

El Transito

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