Lordfoo
Audionut
Listen to be heard.
Posts: 225
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Post by Lordfoo on Sept 25, 2006 15:42:24 GMT 7
Jackson Browne, (of the Nitty Gritty Band) (1994 Rock and Roll Hall of Fame)
There's only one LP for me for the "musician's musician". I remember Neil Young in a Jingle Magazine picture with Jackson Browne's face in his T shirt.
Here's one of my all time favourite songs with guitar chords...
ARTIST: Jackson Browne TITLE: The Load Out / Stay Lyrics and Chords
I'd like to do a song I never played in public before, a brand new song, sort of a tribute to the friends of mine, that come out here on the road, and to you too.
Now the seats are all empty Let the roadies take the stage Pack it up and tear it down They're the first to come and the last to leave Working for that minimum wage They'll set it up in another town
/ G - - - / C D Em - / C D G C G D / :
Tonight the people were so fine, they waited there in line And when they got up on their feet, they made the show And that was sweet, but I can hear the sound Of slamming doors and folding chairs And that's a sound they'll never know
/ Em - D - C - Em - / G - Em D C - - - / as above /
Now, roll them cases out and lift them amps Haul them trusses down and get 'em up them ramps 'Cause when it comes to moving me You know you guys are the champs But when that last guitar's been packed away You know that I still want to play So just make sure you've got it all set to go Before you come for my piano
/ G - C - / / G - - - / C - D - / / G - - - / C D Em - / C - - - / D - - - /
But the band's on the bus And they're waiting to go We've got to drive all night and do a show in Chicago Or Detroit, I don't know We do so many shows in a row And these towns all look the same We just pass the time in our hotel rooms And wander 'round backstage Till those lights come up and we hear that crowd And we remember why we came
/ Em - D - / C - Em - / G - Em D C - - - / G - - - / / C D Em - / C D G C G D / G - - - / / C D Em - / C - - - / D - - - /
Now we got country and western on the bus, R & B We got disco on eight tracks and cassettes in stereo We've got rural scenes and magazines We got truckers on CB We got Richard Pryor on the video And we got time to think of the ones we love While the miles roll away But the only time that seems too short Is the time that we get to play
/ G - - - Em - - - / C - - - G - - D / G - - - / Em - - - / / C D G C G D / G - - - / Em - - - / C - - - / D - - - /
People you've got the power over what we do You can sit there and wait or you can pull us through Come along, sing the song You know that you can't go wrong 'Cause when that morning sun comes beating down You're going to wake up in your town But we'll be scheduled to appear A thousand miles away from here
/ G - C - / / G - - - / C D Em - / / G - - - / Em - - - / C - - - / D - - - /
People, stay just a little bit longer We wanna play just a little bit longer If the promoter don't mind and the union don't mind We can take a little time and we'll leave this all behind Singin' one more song
/ G - C D G - C D / / / G - C D / Em - - - /
Oh, won't you stay just a little bit longer Please, please, please, say you will, say you will
/ G - C D G - C D / G - C D Em - - - /
Oh, won't you stay just a little bit longer Oh, please, please stay just a little bit more, ehehe Now if the promoter don't mind and the roadies don't mind We can take a little time and we'll leave it all behind Singin' one more song
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Post by sandawa on Sept 25, 2006 16:06:33 GMT 7
I've just finished work today and had time to check out my old vinyls. One title I've never played for many years despite hearing it in "Good Will Hunting" soundtrack 7 years ago was Starland Vocal Band. Starland was composed of husband and wife pairs including songwriter Bill Danoff who worked in tandem with John Denver in early '80s. The band's biggest hit was the song "Afternoon Delight." Its origin is still a question mark since it was linked to good afternoon sex by most listeners but Danoff said it was simply inspired by a dessert in a restaurant in Georgetown, university neighborhood in Washington D.C. Here's an excerpt: "Gonna find my baby, gonna hold her tight gonna grab some afternoon delight. My motto's always been; when it's right, it's right. Why wait until the middle of a cold dark night. When everything's a little clearer in the light of day. And you know the night is always gonna be there any way. "Sky rockets in flight. Afternoon delight. Afternoon delight. "Thinkin' of you's workin' up my appetite looking forward to a little afternoon delight. Rubbin' sticks and stones together makes the sparks ingite and the thought of rubbin' you is getting so exciting."
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Post by sandawa on Sept 28, 2006 8:06:08 GMT 7
Been busy these past few days and thought today I had to post something I forgot to write a week ago. I was a junior at State U when the Red Lions got its last championship in the NCAA prior to last week's (now you know how old I am) and I was courting a girl who worshipped 10CC, the British band.
The group had a hit at that time "I'm Not In Love", whose lyrics were reportedly inspired by vocalist Eric Stewart's wife. The song, regarded as 10CC's biggest hit, was covered by so many artists and used as soundtrack in several films. Did you know that the name 10CC came from the average amount of semen ejaculated by a normal guy?
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Post by sandawa on Oct 1, 2006 12:41:36 GMT 7
I finished my work before deadline today (yes, I have online work even Sundays) and is now playing a compilation of '70s topical songs selection. A number that got me interested in posting an item today is Tom Clay's version of "What the World Needs Now." It's that long version with live recordings of JFK's, Rev. King's and Bobby Kennedy's assassinations.
Part of the song was a eulogy delivered by Ted Kennedy wherein he attributed a famous line to his assassinated brother Robert F. Kennedy: "Some men see things as they are and say why; I dream things that never were and say why not." True, documents noted RFK often mentioned that but it was never his. That quote was from George Bernard Shaw, the Anglo-Irish playright who died in 1950.
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Post by mandrake on Oct 3, 2006 8:58:11 GMT 7
I finished my work before deadline today (yes, I have online work even Sundays) Sir what a great deal you've got going ;D Matagal ko nang pangarap 'yan...work from home at your own pace and at your own time...basta umabot sa deadline. And what better place to do it than Davao ;D Sorry for the long hiatus... medyo sobrang busy. Sa bahay naman napakabagal ng connection plus kaagaw ko pa daughter ko.. solong anak kasi kaya bigay hilig. Tapos dumating pa 'tong si Milenyo Ang daming kong natutuhan sa thread na 'to. From Eartha Kitt singing "Waray Waray" to U2 doing standards. Then of course there's the Rocky Fellers, whom I've never heard of!! Carole King, Jackson Browne, Neil Young, Nancy Lamott, Diomedes Maturan, and all the rest that have been mentioned here...great artists all. So many songs and so little time to appreciate them. Today I'd like to mention one band that I think is under appreciated locally: Yes. I particularly like their song "I've Seen All Good People". This was from the "Yes" album released in February 1971. This group is probably best known for their only number one singles hit "Owner Of A Lonely Heart" released in 1983. For me, "I've Seen All Good People" just sounded so different from all the other rock songs during that period that the first time I heard it I was just about blown away. The lyrics are so "oblique" that they don't make much sense to me except for the phrase: "Don't surround yourself with yourself". Could be said for a lot of our so called leaders nowadays . But it's the total sound that I found, and still find, so captivating. They did have a tendency to show off and some have said that their music was often designed only to impress. I lost interest in their later work actually, but I'll always have fond memories of their 70's songs. Excerpt from the Wikipedia: The 1970s Yes recordings are still considered the classic Yes sound by many fans. These albums feature complex classically-influenced arrangements, unusual time signatures, virtuoso musicianship, dramatic dynamic and metrical changes and oblique, stream-of-consciousness lyrics. Their repertoire often exceeded the standard three-minute pop-song structure with lengthy multi-part suites sometimes lasting 20 minutes or more, making the band a leading 70s progressive rock combo. Vocal verses alternated with atmospheric instrumental interludes, frenetic ensemble passages and extended guitar, keyboard, and bass improvisations. The signature sonic features of this 'classic' period are Jon Anderson's distinctive high-register lead vocals, the group's strong vocal harmonies, Rick Wakeman (and Patrick Moraz) and Steve Howe's respective keyboard and guitar solos, Bill Bruford's and later Alan White's polyrhythmic drumming and Chris Squire's highly melodic and discursive bass playing, enhanced by the sound of his Rickenbacker model RM1999 bass. Chris Squire was one of the first rock bass players to successfully adapt electronic guitar effects such as tremolo, phasing and the wah-wah pedal to the instrument. The rhythm section of Squire/Bruford and Squire/White was considered by many to be one of the best in rock music at this time. The first two Yes LPs mixed original material with covers of songs by their major influences, including The Beatles, The Byrds, and Simon & Garfunkel. The departure of Peter Banks in 1970 and his replacement by ex-Tomorrow guitarist Steve Howe gave Yes a new edge. The group's emerging style coalesced on their next LP, the critically acclaimed The Yes Album, which for the first time consisted entirely of original compositions by the band; it was also the record that united them with long-serving producer and engineer Eddie Offord, whose studio expertise was a key factor in creating the Yes sound. Sample lyrics of "I've Seen All Good People": I've seen all good people turn their heads each day so satisfied I'm on my way. I've seen all good people turn their heads each day so satisfied I'm on my way. Take a straight and stronger course to the corner of your life. Make the white queen run so fast she hasn't got time to make you a wife. 'Cause it's time, it's time in time with your time and its news is captured For the queen to use. Move me on to any black square, Use me any time you want, Just remember that the goal Is for us all to capture all we want (Move me on to any black square) Yea, yea, yea. Don't surround yourself with yourself, Move on back two squares, Send an Instant Karma to me, Initial it with loving care Don't surround Yourself. 'Cause it's time, it's time in time with your time and its news is captured For the queen to use. Diddit diddit diddit diddit diddit diddit diddit didda. Diddit diddit diddit diddit diddit diddit diddit Didda. Don't surround yourself with yourself, Move on back two squares, Send an Instant Karma to me, Initial it with loving care
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Post by sandawa on Oct 5, 2006 8:28:33 GMT 7
Was playing a CD compilation of OPM songs I burned about 5 years ago when I noticed one song titled "Basura" by the Youth ("Tapon tapon tapon n'yo, basura n'yo, itapon n'yo"). The Tagalog lyrics are simply trash but it was a memorable song for me since my daughter performed it, with action, at JASMS QC program for children back in mid-90s when she was in grade school. That girl, by the way, graduated as Creative Writing major at State U, on top of her class, last April.
Basura's melody was borrowed by the Youth from a Beethoven piano classic "Fur Elize." By coincidence, I had a post yesterday in another thread here about popular songs using classical tunes. Some piano intros on Barry Manilow's hits are from Chopin's Preludes. The old song our parents sung "No Other Love" is actually Chopin's Etude 3 opus 10. Then, there's Polonaise 6, which our parents know as "Till the End of Time." Borodin's Polovtsian Dances became a jazz standard "Stranger in Paradise." How about Rachmaninoff's Piano Concerto 2, which Eric Carmen turned into "All By Myself"?
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Post by mandrake on Oct 5, 2006 11:40:20 GMT 7
Another classical piece immortalized as pop is "Full Moon And Empty Arms" made popular by the 1946 David Lean tearjerker of a movie "Brief Encounter". I remember hearing this piece in the lobby of the Manila Peninsula and a friend I was with stated the popular title. I gave her a blank look because I always knew this as Rachmaninoff's 2nd Piano Concerto in C minor. ;D Talk about differences ;D
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Post by sandawa on Oct 5, 2006 11:55:27 GMT 7
If there's anyone interested how Nancy LaMott sounds, I've uploaded sample tracks in my website hpdeleon.multiply.com/
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Post by southpeak on Oct 6, 2006 22:47:28 GMT 7
Last weekend, I was having a chat with my wife on the greatest Pinoy pop singers ever and three names, all women, came out: Katie dela Cruz, Sylvia Latorre and Lea Salonga. Who's Katie dela Cruz, you may ask? She's a post-war (?) jazz artist that my parents used to listen to a lot. She was also our neighbor on L. Gruet St. in San Juan when we moved to Manila from Davao in early '70s. She was already in her '60s at that time. I wish I could hear Katie's songs again, ranging from jazz standards of Ella Fitzgerald and Billie Holiday to local folk classics sung complete with scats. If you've heard "Waray Waray" sung by Eartha Kitt in the Crescendo album "Eartha Kit in Person at the (New York) Plaza" done in early '60s, that version was done Katie's style. I'm lucky to have several Eartha Kitt albums, including that one. In the '90s, I remember, a stage play starring Mitch Valdez was mounted at the CCP as a tribute to Katie. I was trying to remember their faces. Lea Salonga.. sure, I always see her billboard along edsa (before milenyo) ;D Sylvia la Torre.. mataas ang boses..I remember her old movies with Leroy Salvador, Pugo, Bentot, Chikito and Oscar Obligacion? Katy dela Cruz.. I know the name but can’t seem to remember the face. Maybe because she was more into stage play rather than the television. So with the help of our friendly google and yahoo.. found the following sites.. ah, ok. Now I remember her. Her style.. Siguro idol siya ni Elizabeth Ramsey.. www.geocities.com/katy_delacruz/?20066www.newsflash.org/2004/02/sb/sb003517.htm
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Post by sandawa on Oct 7, 2006 6:48:56 GMT 7
Ben, thanks for those links. I'll probably contact those researchers one of these days. I still remember seeing Katy (Mommy Kate to us) on her backyard in San Juan smiling and listening to her neighbor's piano when some of my mom's classmates from UP would visit us and sing classics such as "Bituing Marikit", "Mutya ng Pasig", "Pakiusap" and "Ugoy ng Duyan," among others. (My mom's contacts were the reason why members of the UP Madrigals sung in my wedding.)
I thought Katy was so pleased hearing those early 20th century classics played on the piano and sung by amateur singers. I remember one December morning when she called me: "Anak, sabihin mo nga sa Nanay mo baka interesado siyang bumili ng sugpo dito sa kaibigan ko." So, I told my mom and when she came out, my mom suddenly had a big smile. The seller of sugpo was none other than comedian Chichay, her car's back trunk had a big styropor box full of shrimps.
It's sad but I visited Daly City in San Francisco, where a younger brother lives, in late 1994. Had we known Mommy Kate was there and dying, we would have visited her. I'm sure she would have recognized us.
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Post by sandawa on Oct 7, 2006 8:23:44 GMT 7
Among Carly Simon's hits, I probably like best the song "Coming Around Again" released in 1987. It was commissioned for a Mike Nichols's film "Heartburn" starring Jack Nicholson and Meryl Streep. Part of that song is the nursery rhyme "The Itsy Bitsy Spider" (my kid's favorite at that time, the local version, that is: "Maliliit na gagamba umakyat sa sanga..." at PG Nursery School in Morato Ave. Ext.) Coming Around Again was highlighted in Carly's 1988 Martha's Vineyard (a resort island in Massachussetts) concert, which was released in DVD format in 2004. In that casual small-audience performance, Carly was backed up by Simon and Taylor kids, including Sally and Ben, James Taylor's children, who were in their early teens.
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Post by sandawa on Oct 8, 2006 7:04:11 GMT 7
If you're watching Philippine Idol, you've probably heard one contestant sung last night Tower of Power's "You're Still a Young Man". San Miguel orchestra's horn section was so good last night on that number it simply boosted the performance of Drae, the contestant.
"You're Still a Young Man" was the first big hit by Tower of Power in the '70s with the wonderful horn introduction inspired by a Curtis Mayfield number "A Woman's Love." Songfacts.com quotes Emilio Castillo as saying that song has reference to his personal experience -- having a 24-year-old girlfrined when he was only 18. It was written by Castillo and his sax-playing colleague Steve Kupka.
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Post by bukra on Oct 10, 2006 9:29:44 GMT 7
nani, i suggest you write (your) memoirs - vintage late60s 70s 80s audio gears and the music of 60s 70s...(o meron na?)
btw, kung may "afternoon delight" may "touch me in the morning" din?
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Post by sandawa on Oct 10, 2006 11:15:45 GMT 7
Thanks. Mga three or four articles about my old gear were already published by Men's Zone magazine from 1997 to 2000. I might document them again, including guys that I met 20 years ago in this hobby and still active until now (that means I'll be mentioning you), in my website anytime before the end of the year.
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Post by bukra on Oct 10, 2006 11:19:14 GMT 7
semi-retired nako sa audio, content with my gears just enjoying the sights n sounds.
but as jacksonbrownes song goes...oh wont you stay just a little bit longer...pls pls say you will?
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Post by bayonic on Oct 13, 2006 21:49:32 GMT 7
most of us have our list of desert island albums ...the ones we would want to listen when we're stranded in some isolated place for a long time. if we are asked to name just one album , we would say that it would be very difficult to name just one because there are so many outstanding albums out there that we just need to bring along.
if I HAVE to choose ONLY ONE .... then I would choose Joni Mitchell's 1974 classic "Court And Spark". i bought the LP 4 years after it was released ... on the strength of a review I read in ... i forget now ... Playboy or Penthouse magazine. i still remember the place I bought it from and how much I bought it ( 26 pesos ) the album was totally different from the previous albums I had purchased. it introduced my ears to the singer-songwriter genre and before long I was listening to James Taylor , Carole King , Jackson Browne etc. it also opened up new musical horizons to my then limited aural experience ... with the help of bottles of Gilbeys Gin ; vodka was difficult to source back then.
the most memorable description i've read of joni mitchell's music is this : she does not write love songs ; she write songs about love.
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Post by bayonic on Oct 13, 2006 22:30:56 GMT 7
there are no weak songs in Court And Spark but what grabs me the most is People's Parties which segues into Same Situation.
All the people at this party Theyve got a lot of style Theyve got stamps of many countries Theyve got passport smiles Some are friendly Some are cutting Some are watching it from the wings Some are standing in the centre Giving to get something
Photo beauty gets attention Then her eye paints running down Shes got a rose in her teeth And a lampshade crown One minute shes so happy Then shes crying on someones knee Saying laughing and crying You know its the same release
I told you when I met you I was crazy Cry for us all beauty Cry for eddie in the corner Thinking hes nobody And jack behind his joker And stone-cold grace behind her fan And me in my frightened silence Thinking I dont understand
I feel like Im sleeping Can you wake me You seem to have a broader sensibility Im just living on nerves and feelings With a weak and a lazy mind And coming to peoples parties Fumbling deaf dumb and blind
I wish I had more sense ot humor Keeping the sadness at bay Throwing the lightness on these things Laughing it all away Laughing it all away Laughing it all away
Again and again the same situation For so many years Tethered to a ringing telephone In a room full ot mirrors A pretty girl in your bathroom Checking out her sex appeal I asked myself when you said you loved me Do you think this can be real?
Still I sent up my prayer Wondering where it had to go With heaven full of astronauts And the lord on death row While the millions of his lost and lonely ones Call out and clamour to be found Caught in their struggle for higher positions And their search for love that sticks around
Youve had lots of lovely women Now you turn your gaze to me Weighing the beauty and the imperfection To see if Im worthy Like the church Like a cop Like a mother You want me to be truthful Sometimes you turn it on me like a weapon though And I need your approval
Still I sent up my prayer Wondering who was there to hear I said send me somebody Who is strong, and somewhat sincere With the millions of the lost and lonely ones I called out to be released Caught in my struggle for higher achievements And my search for love That dont seem to cease
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Post by bayonic on Oct 13, 2006 22:50:00 GMT 7
When Joni Mitchell played the finished tapes of her 1974 album Court and Spark for her Asylum Records labelmate Bob Dylan, the venerated spokesman of his generation fell asleep. “I think Bobby was just being cute,” is how Mitchell figures it. It’s certainly hard to imagine that Dylan was bored, because the album included what turned out to be Mitchell’s biggest hit singles: “Help Me” and “Free Man in Paris.” Had Dylan paid a bit more attention, he might have realized that the subject of the latter tune was standing in the room beside him. “I wrote that in Paris for David Geffen,” Mitchell has explained, “taking a lot of it from the things he said.” Geffen and Mitchell went a long way back. He had been her agent at the start of her rise to fame in the ’60s, and by the time she wrote “Free Man in Paris,” he owned the record label for which she (along with the Eagles, Jackson Browne and Dylan) was recording. The pair were such close friends that they even shared a house, but despite wide speculation about a romantic entanglement, theirs was more akin to a Will & Grace relationship. Although Mitchell’s early career was founded in folk-rock, by 1973 she was having trouble finding rock musicians who were sensitive to the way she structured her songs and phrased her melodies. “I had no choice but to go with jazz musicians,” she says. “I tried to play with all of the rock bands that were the usual sections for James Taylor when we made our transition from folk to folk-rock. They couldn’t play my music, because it’s so eccentric. They would try, but the straight-ahead 2/4 rock & roll running through would steamroller right over it.” Mitchell had started moving toward jazz on her 1972 album For the Roses by bringing in woodwind player Tom Scott. She then hired his entire band, the L.A. Express, for the recording of Court and Spark in 1973 at A&M’s suite of studios in Los Angeles. The breezy “Free Man in Paris” opens with guitar, percussion and Tom Scott’s flute. The track was already evolving nicely when fate lent a hand. “I was working with John Lennon in a studio along the corridor,” recalls guitarist José Feliciano. “We were doing his back-to-roots album Rock’n’Roll, but things weren’t going too well. John had got very drunk, so I got bored and walked out into the corridor.” Hearing “Free Man in Paris” wafting out of Mitchell’s studio, Feliciano recognized it as something that fit nicely with his own style. “I already knew Joni from when we both worked in Canada,” he explains, “so I walked in and said I thought I could play some good electric guitar for it. The great guitarist Larry Carlton of the L.A. Express was already on the track, but I knew I could hold my own with him. Joni didn’t try to direct me at all, just let me do what I do, and it turned out really good.” Although Mitchell was pleased with the song, which features David Crosby and Graham Nash on backing vocals, Geffen was not so sure. “He didn’t like it at the time,” she says. “He begged me to take it off the record. I think he felt uncomfortable being shown in that light.” Court and Spark was released in January 1974 to glowing reviews, but its eventual multiplatinum success has been a two-edged sword for Mitchell. “Court and Spark was about as popular as it got,” she says. “Everything after that was compared unfavorably to it.” It’s responsible for influencing subsequent generations of musicians, including Madonna, who once noted, “In high school, I worshiped Joni Mitchell and sang everything from Court and Spark, my coming-of-age record.” from www.blender.comThe way I see it, he said You just cant win it... Everybodys in it for their own gain You cant please em all Theres always somebody calling you down I do my best And I do good business Theres a lot of people asking for my time Theyre trying to get ahead Theyre trying to be a good friend of mine
I was a free man in paris I felt unfettered and alive There was nobody calling me up for favors And no ones future to decide You know Id go back there tomorrow But for the work Ive taken on Stoking the star maker machinery Behind the popular song
I deal in dreamers And telephone screamers Lately I wonder what I do it for If l had my way Id just walk through those doors And wander Down the champs elysees Going cafe to cabaret Thinking how Ill feel when I find That very good friend of mine
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Post by sandawa on Oct 15, 2006 7:48:13 GMT 7
I heard an old OPM sung badly by a young man on TV last night that brings me back close to three decades ago when I was a student. It was Joel Navarro's "Swerte Swerte Lang." Navarro, if I remember correctly, was on his last year as member of the UP Concert Chorus when Metropop started. Had I pursued my application, that would have been my first year with the chorus under Rey Paguio.
"Swerte Swerte Lang" was my favorite among the First Metropop finalists that included Hajji Alejandro's/Ryan Cayabyab's "Kay Ganda ng Ating Musika," Freddie Aguilar's "Anak"and Heber Bartolome's "Tayo'y Mga Pinoy," among others.
"Swerte Swerte Lang" is also memorable to me since the first time I sung it to my wife, then my girlfriend, was on a stormy night inside my car, parked in front of Paco Park. We sometimes spend late Sunday afternoons watching "Paco Park Presents... " live but one afternoon, there was heavy downpour and the show was cancelled. We stayed inside my car and she told me "I think it's time to take me home." It was only 7pm and I was a bit tired of our regular visits of the usual Ermita hangouts -- Hobbit House, My Father's Moustache, Bodega, etc.
I then told her: "Kakantahan na lang Kita." Despite the hard rain, I gave a passable performance of "Swerte Swerte Lang". She told me she couldn't believe I could sing a song like that since the tapes in the car were folk-rock protest songs and hard rock numbers (Led Zep, Bad Company, Who, ELP, etc.)
Here's an excerpt:
SWERTE SWERTE LANG (Joel Navarro)
"Nung Martes ng umaga sa may Cubao May isang babaeng nagpapayong Naisip ko 'O heto na ang hinihintay mo' Narinig mo yata ang sabi ko, at biglang sabi mo'y 'Tila uulan may lugar pa rito sige sukob na'
Sadya bang swerte swerte lang pag umuulan Nun pa lang ako naabutan ng swerteng ganun Hawak ko'y ikaw at ang payong mo At kahit ulan ay tumilang bigla may nangyari nang hiwaga
May kung anong naumpisahan ng ako'y iyong payungan, May ngiti sa iyong mga mata isip ko'y ginising mo Nilusong natin kahit baha, natalos ko ikaw pala Ang babaeng napapangarap ko nuon pa
Huwag ka munang magpalam ay ang saya Kung parati kang kasama di na bale kung may araw o wala Bakit natin iiwasan ang ligayang naranasan Pag-ibig ang syang payungan kahit kailan"
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RU9
Audionut
Posts: 81
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Post by RU9 on Oct 16, 2006 11:42:44 GMT 7
When Joni Mitchell played the finished tapes of her 1974 album Court and Spark for her Asylum Records Just got his: Joni Mitchell backed by a SUPERgroup. Pat Metheny on the guitar, Lyle Mays on the keys, Don Alias on the drums, and Michael Brecker on the sax is the kind of group that could headline themselves instead of just being a superstar’s backup band. And that’s without mentioning the best treat of all: Jaco Pastorius on bass, in what could possibly be the only commercially available film of his live playing
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