Went to a loft party this weekend where they played this in the background on mute. I couldn’t focus on the bands and just stared at this beauteous man instead.
2012年3月18日
David Bowie in The Man Who Fell to Earth
Went to a loft party this weekend where they played this in the background on mute. I couldn’t focus on the bands and just stared at this beauteous man instead.
2011年12月11日
Pink Floyd Band Biography and How They Achieved Massive Worldwide Success
Pink Floyd is an English Band that is one of the most influential rock and roll bands of all time. They have sold more than 200 million albums and were inducted in the rock and roll hall of fame in 1996.
The Pink Floyd Band Biography was founded in 1965 by a group of University students (Roger Waters, Nick Mason, Richard Wright, and
Bradley Spalter And His Passion For Music
It is true that obtaining the inspiration to create music is hard unless one can apply creative thoughts into the song writing mission. Bradley Spalter music has the power to connect with people because the words are real to each and everyone. Still, enhancing ideas with further composition is not a simple task to accomplish. Not for Bradley. He has been a veteran in the music industry, composing songs and producing them with the use of modern amenities to create an influential music track that people will love. The songs cover a vast genre so that those from an older era can also take part in enjoying his music.
Bradley allows the listener to imagine a memory in great detail – colors, sounds, smells and carefully described emotions that will give a good image and a story to dwell upon, such as the lyrics in Simple Days sung by Babyface:
Bradley allows the listener to imagine a memory in great detail – colors, sounds, smells and carefully described emotions that will give a good image and a story to dwell upon, such as the lyrics in Simple Days sung by Babyface:
“Bring back those simple times of yesterday
When a man was a man
And a friend was a friend
Bring back those simple times of yesterday
When you said what you meant
And you meant what you said…”
This is a message of struggle to achieve the simple life, an imagined time when everything returns to an uncomplicated state like when people are not so busy spinning lies and are able show their real self toward others.When a man was a man
And a friend was a friend
Bring back those simple times of yesterday
When you said what you meant
And you meant what you said…”
Destiny - scorpions
Destiny - Scorpions
Do you say a prayer when your feeling down
Do you believe that love can turn your faith around
You're feeling high and low, but you don't know what to think
The world is full of saints who live their lives in sin
Don't ask the mirror ball you better ask yourself
I think you know the answers but maybe you can't tell
You'll see it all so clear just take a look inside
The judge you build inside your heart will always be your guide
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
Another day goes by and so does your life
You try to make some sense before your time to die
If you feel humility for something that is true
You'll find the secrets of this life deep inside of you
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
The innocent won't feel the judgement day
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
The innocent won't feel the judgement day
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
The innocent won't feel the judgement day
Do you say a prayer when your feeling down
Do you believe that love can turn your faith around
You're feeling high and low, but you don't know what to think
The world is full of saints who live their lives in sin
Don't ask the mirror ball you better ask yourself
I think you know the answers but maybe you can't tell
You'll see it all so clear just take a look inside
The judge you build inside your heart will always be your guide
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
Another day goes by and so does your life
You try to make some sense before your time to die
If you feel humility for something that is true
You'll find the secrets of this life deep inside of you
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
The innocent won't feel the judgement day
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
The innocent won't feel the judgement day
Mon destin inscrit en toi
Mon destin inscrit en toi
Mon destin inscrit en toi
The innocent won't feel the judgement day
2011年12月10日
Lennon's death: I was there
Tom Brook was the first British journalist to report live from the scene of John Lennon's murder outside the former Beatle's home in New York on 8 December 1980. Here, he gives his personal recollections of what it was like to cover the shooting, and its aftermath for BBC News.
On the evening of 8 December 1980 I was a young inexperienced journalist living in New York who'd recently arrived from London. I was totally unprepared for the drama that would unfold.It began with a late night phone call from pop impresario Jonathan King, who was then a columnist for BBC Radio 1 living in New York. He told me he'd heard reports of a shooting outside the Dakota, Lennon's home, and that the former Beatle was possibly the victim.
Before long I was racing up 8th Avenue in a taxi and I arrived at the Dakota sometime after 11.00 pm bearing a tape recorder and notepaper.
There was an eerie silence - the street had been cordoned off - there were a couple of police cars outside the entrance to the Dakota - a few people had begun to gather.
Tom Brook returned this week to the scene of the tragedy A few days ago Dr Lynn told me exactly what was going on inside the resuscitation room. As he recalled: "He had no signs of life, no blood pressure, no pulse. He was unresponsive. We opened his left chest, I did it, with a scalpel. We made an incision.
"I actually held his heart in my hand as the nurses rapidly transfused blood. I tried to massage the heart as we put blood into his body. We knew that there was no way that we could restore circulation, there was no way that we could repair the massive injury to all of the blood vessels in the body."
Continue reading the main story
“Start Quote
End Quote Chris"Imagine" a world without Beatles songs. It would be a gloomier place”
Outside the Dakota I was trying to get in touch with my colleagues in Broadcasting House in London where it was before dawn.
There was no breakfast television in those days, radio ruled the morning airwaves but international communications were far from instantaneous. There was no internet, no email, no texting, no mobile phones, in many instances no direct dialling to London. From a public phone booth not far from the Dakota I managed to get through to Today - the night editor told me to get whatever I could but to make sure I got back in touch by 6.30 am when the programme went on the air.
Overcoming emotion
I returned to the crowd which was now growing rapidly. I recorded people's comments. Among the tearful and grieving was a young woman from Britain who said "I feel like I've been punched in the stomach". Those words summed up exactly how everyone felt.
I persuaded the night duty clerk in a building opposite the Dakota to let me use his telephone so I could feed the taped comments to London. Sending audio to London in those days was cumbersome.
Tom Brook has kept notes from the night, which took place in an age without modern, easy forms of communication 2011年12月8日
John Lennon's Tooth Sold for $31,200
Of all the celebrity auctions, teeth are definitely among the most surprising items up for bid. John Lennon's Tooth Sold for $31,200
Just when you think celebrity exploitation
Spooky Tooth - Spooky Two
Spooky Two's 1969 sophomore effort definitely stands as one of those albums I've listened to so many times that it gets more difficult to back away and think analytically about it. Revisiting it, though, I'm reminded just why I've listened to it so much--it's pretty awesome. While late 60's hard rock isn't everybody's flavor of choice in 2011, for those who enjoy it I can think of few forgotten bands who do it as well as Spooky Tooth.
What I notice most re-listening to this is how well everything comes together to make the album comprehensively strong. In the end, it's not really an album where the quality of the songs carries the music past the performances or the production masks a lack of passion or attention to detail in arranging. Rather, all of these elements are paradoxically workmanlike yet outstanding in the way they complement each other and the overall cohesion of the album. Take, for example, the lead-off "Waitin' for the Wind," (I love how musicians are never satisfied with just dropping the "g" when singing; they have to make sure the word ends in an apostrophe in the song title, even when the words aren't actually in the song). It's the perfect opener--30 seconds of drum beat that gets some delay slapped on it around the 20 second mark, and finally a bass/organ riff that sounds like the heaviest thing you've ever heard. Dual vocalists Mike Harrison and Gary Wright start singing about...well, nobody really knows what the hell they're singing about on most of these songs (something about the wind giving the narrator life advice), but it sounds awesome because they sing with such undeniable conviction. For such a hard-rocking song, there's hardly any guitar--just on the chorus, where heavily-reverbed harmony vocals lift the energy above the already-driving main groove. Such is the strength of this whole album--the band hits the sweet spot in all areas without really standing out in any one of them. As far as I'm concerned, that's as worthy a musical goal as any, and a thoroughly excellent album is probably one of the hardest achievements to rack up.
Sound-wise, Spooky Tooth sets themselves apart from the rest of their UK contemporaries by slathering their sound with heavy gospel influences (the aforementioned reverb, female backing singers and a whole lot of keyboards) and maintaining a fine balance between eclectic songwriting and a cohesive, recognizable sound. The gospel influence comes through strongest in "I've Got Enough Heartaches,," where the backing vocalists share center stage as much as Harrison and Wright, and to a somewhat less classifiable extent on "Feelin' Bad," where the band wrings unbelievable heaviness out of the production and low piano keys. Elsewhere, though, the band diverges quite successfully into
Nucleus - Elastic Rock
In celebration of some of the great jazz I've had the fortune to discover in the past six months, here's a longtime jazz/rock favorite that certainly eventually helped ease me into traditional jazz. Though it's probably best known today as a member contributor to later incarnations of Soft Machine, British jazz rock collective Nucleus was in actuality a close contemporary of the Softs in terms of pioneering the fusion of jazz and rock music in the UK. While Nucleus is often written about as "trumpeter Ian Carr's band," one of the things I find most interesting revisiting this album is how democratic the whole thing seems to be, with solo time and composition credits split relatively evenly. In fact, if I were
Cheap Seats Part I: New Album Go!
The time has come--I'm fresh off my first two days at Cloud City Sound Studios in Portland, OR starting work with engineerJustin Phelps on my next album. Though I've been working on demos for a few months, this week marks the official start of the album as a professional production. It was an interesting and activity-packed couple of days with plenty of progress made--we tracked rhythm guitar for eight songs and vocals for four. Although there will be numerous other instruments on the songs, getting a tight and accurate base skeleton of one instrument and vocals is one of the most crucial parts of the process. Less quantifiably, I'm really glad to get the learning experience portion my first professional studio days behind me--the differences between demoing and recording (my last album was all home recorded) at home and in a professional studio are huge. On the one hand, at home creative control and patience for perfectionism are absolute. On the other hand, though, the ceiling for perfection is much higher at a professional studio, and the technical and creative input of a professional engineer like Justin are invaluable. After I started getting through the jitters and self-consciousness of having to take and retake certain sections over and over, Justin and I were able to get in a good groove and the benefit of his professional experience became apparent--not only does it help to have input from someone who's approaching my songs and arrangements with fresh ears and a well-developed sense of taste, it's also helpful to have someone there to say, "Hey, that take was great, let's keep going" when I would probably continue trying to get every performance detail perfect (in my ears) before moving on. Most of all, it feels really good to work with someone who is taking my vision and goals seriously and is investing himself creatively in the project--I know it'll be much stronger for it. Having someone besides myself treat the project as something worthy of that investment is immeasurably boosting to my confidence.
As I continue to create this album I'm planning to continue this "Cheap Seats" series to both document my experiences and in hopes of providing people I know and all of you music "sharers" with an insight into what goes into the production of an album like the one I'm making. I'd like to dig deeper into some of the unanswerable questions relating to modern music and the life of an independent musician like myself. These questions include: What is the measurable value of music and music recordings? What is non-commercial music and what's it's purpose? Is it reasonable for a musician to attempt to make music a paying career, or should music only be pursued as a hobby? Will more or less great music be created if musicians are poorly compensated financially? How has modern technology impacted the creation and distribution of music recordings? What are the reasonable responsibilities of a music consumer? What does it take to be heard? While these questions probably sound like the setup for a bitter rant, they are all complex issues with many sides and I'm hoping to get feedback from both musicians and music fans alike. I'm just as much (or more) of a music fan as I am a musician, and consequently I think these issues are relevant to more than just independent musicians trying to make it big. If anything, the goal of the pieces will be to show that there's much more to that MP3 or concert you just listened to than meets the ears and eyes. Welcome to the world of an unknown independent musician and the process of recording a contribution to the vast abundance of music this world has to offer--you've got the cheapest seats in the house!
Le mouvement perpétuel / Music's Like...
I imagine Fursy Teyssier has to be feeling pretty good right now. His humble design studio has quickly gone from doing a few layouts for fledgling bands to doing some of the better, most recognized, and in demand work around. Lately, he's expanded into directing music videos, and done a fine job at it. And somewhere in between, he's birthed a musical counterpart to his art. Certainly makes my post-college accomplishments look trivial! Starting off this split is a new piece, Le mouvement perpétuel, which further solidifies this project's role as a blurred line on the outskirts of metal.
Whereas many musicians have taken aim to coalesce the dramatic elements of heavy metal with cherry-picked accents from shoegaze and post-rock, Les Discrets is using metal as the abstract, floating the distorted guitars and thundering percussion through airy acoustic passages and hazy walls of noise. I once described this sound as akin to a Miyazaki-penned world, and it holds true here. There is a beautiful sense of familiarity wrapped in a melancholic fog. Some bands opt to thrust a listener in to strange and hostile territory; Les Discrets acts as an old companion travelling alongside. The second track is a simple melody, and a decent passage out from what the previous number builds.
Arctic Plateau comprises the back half of this split, which is actually about double the length afforded to Les Discrets. I've been interested in this band's debut, but haven't picked it up yet, mostly due to the rather high price it usually commands. The primary contribution, Music's Like... hits the typical marks for nature-inspired post-rock quite well. This is the sort of music bred for long gazes at awe-inspiring landscapes - and I should know, I'm one of those annoying people who stops stares wistfully into the distance at every scenic view. Though it'd be easy to dismiss Gianluca's work as derivative, he has a leg up on a lot of other outfits in his superior clean vocals and solid guitar work. While Arctic Plateau has some potential to fulfill, these tracks have sold me on picking up the full length.
Both bands contribute strong material to this split, and compliment one another's style well. A split is defined by balance, where a band in their prime could brutally minimize the impact of a newcomer. Here, the two respective contributors are in similar places stylistically, where a solid foundation has been laid and now they can begin building upon it. And with each, my interest has been piqued for their upcoming releases.
Whereas many musicians have taken aim to coalesce the dramatic elements of heavy metal with cherry-picked accents from shoegaze and post-rock, Les Discrets is using metal as the abstract, floating the distorted guitars and thundering percussion through airy acoustic passages and hazy walls of noise. I once described this sound as akin to a Miyazaki-penned world, and it holds true here. There is a beautiful sense of familiarity wrapped in a melancholic fog. Some bands opt to thrust a listener in to strange and hostile territory; Les Discrets acts as an old companion travelling alongside. The second track is a simple melody, and a decent passage out from what the previous number builds.
Arctic Plateau comprises the back half of this split, which is actually about double the length afforded to Les Discrets. I've been interested in this band's debut, but haven't picked it up yet, mostly due to the rather high price it usually commands. The primary contribution, Music's Like... hits the typical marks for nature-inspired post-rock quite well. This is the sort of music bred for long gazes at awe-inspiring landscapes - and I should know, I'm one of those annoying people who stops stares wistfully into the distance at every scenic view. Though it'd be easy to dismiss Gianluca's work as derivative, he has a leg up on a lot of other outfits in his superior clean vocals and solid guitar work. While Arctic Plateau has some potential to fulfill, these tracks have sold me on picking up the full length.
Both bands contribute strong material to this split, and compliment one another's style well. A split is defined by balance, where a band in their prime could brutally minimize the impact of a newcomer. Here, the two respective contributors are in similar places stylistically, where a solid foundation has been laid and now they can begin building upon it. And with each, my interest has been piqued for their upcoming releases.
Ragged Glory - Neil Young
I'm no connoisseur of grunge so I can't really comment on what specifically that movement gleaned from Neil's music, but listening to this album it's not hard at all to understand why the grunge pioneers were excited about it--it's fuckin' awesome! Strong songs musically and lyrically, perfect balance of dark and hopeful themes, Crazy Horse sounds great, and most of the songs are platforms for ridiculous extended soloing from Neil and ol' black. His guitar tone is typically juicy on this album, and there are some of the most righteous licks I've ever heard the man play--something about his style, though it's simple and often melodic, just carries an energy that nobody else can pull off. Great driving music, and it sounds better the more you crank the volume up. My one complaint is "Mother Earth," which tries to cop Hendrix's "Star Spangled Banner" vibe and comes off corny because of some heavy-handed and cliché lyrics. That still leaves you with about 57 minutes of pure gold, though.
That that's not really the story with Neil Young & Crazy Horse is part of their genius. It's definitely something that Young intentionally shoots for. Heck, on Crazy Horse's 1986 tour, he billed the band as "the third-best garage band in the world" (although supposedly Bill Graham came up with that moniker for them first). It's not easy to do--it's not easy to write songs this music-theoretically simple that have this kind of impact. It's not easy to be a career professional yet so convincingly give that "hobby band" tint to your music.
TypeAlbum
undun - The Roots
1. "Dun" gets added up with every other Roots opener that is an unnecessary short intro track. Other examples include Phrenology's "Phrentow," and Game Theory's Dilltastic Vol Won(derful)."
2. While things aren't off to a great start already, "Sleep" doesn't help undun much. Its only purpose is to set the mood of the album, a concept album at that, with the more thoughtful lyrics, "There I go from a man to a memory / Damn, I wonder if my fam will remember me." The track itself feels as short as "Dun" did, bookended by singing.
3. First single, "Make My" is a definite standout on the album, both the first "actual" song on the album, with a good chorus (which "Sleep" lacked), but unfortunately, it also reveals the problem with undun: it sounds like every other 00's Roots album (barring alternative hip-hop Phrenology). Looking at the tracklists, the Roots enlist Dice Raw to do chorus work too much. While "Walk Alone" from How I Got Over was refreshing, Dice Raw seems to be quite limited in singing vocabulary, and thus, the choruses where he is featured sound by and large the same. Compare, for example, "Lighthouse"'s chorus to "Walk Alone."
4. Meanwhile, the album has a couple of weaker numbers. I'm not a huge fan of "One Time," because it hinders the momentum that "Dun," "Sleep" and "Make My" have been building to, and "Stomp," with its stomping beat, does nothing for me.
5. Going back to point 3, I'm not exactly with how undun sounds like a continuation of a developed sound, a How I Got Over part 2, if you will. What I mean is that the Roots seem to content with being the Roots, and it's understandable: a tour de force of hip-hop since the 90's, but with the same guest spots, ie. Porn and Dice Raw. Thus, I'm not surprised that my favorite part of the album comes with the final four tracks, where hip-hop is pushed aside for modern classical movements, aided by Sufjan Stevens, whose own concept albums helped influenced the Roots here.
Lowlights: Dun, Stomp
Highlights: Make My, Lighthouse, Redford Suite (1st Movement)
TypeAlbum
Genres
Burst Apart
Burst Apart was my album of the month for June this year. I never really got into The Antlers' last album, the highly praised Hospice, despite trying for a good number of times. That album simply doesn't click with me in any way and I like to think it's almost right up my alley. What we have here is a fair bit different.
The melancholic nature of Hospice is still very much present on this release, but I feel like it is complimented by a sense of high emotional warmth. That's why it didn't seem quite as strange to listen to an album like this, at best, three times a day in the warm and bright summertime. That being said, it's not really an album that immediately hits you on the head with its greatness. Many of the tracks rely on getting in to the ambience and atmosphere and not quite as heavily on distinct hooks.
The melodic content of the album is still very infectious. In that respect I'd say the highlights of the album are in the second half. 'Every Night My Teeth Are Falling Out' is the only really energetic number here and boasts a delicate melody and a structural similarity to the Radiohead song 'Jigsaw Falling in to Place' from In Rainbows. The short instrumental interlude 'Tiptoe' is a perfect lead-in to the last three songs which make up a real winning streak to end the album.
'Hounds' has special significance to me that is
The melodic content of the album is still very infectious. In that respect I'd say the highlights of the album are in the second half. 'Every Night My Teeth Are Falling Out' is the only really energetic number here and boasts a delicate melody and a structural similarity to the Radiohead song 'Jigsaw Falling in to Place' from In Rainbows. The short instrumental interlude 'Tiptoe' is a perfect lead-in to the last three songs which make up a real winning streak to end the album.
'Hounds' has special significance to me that is
Burst Apart - The Antlers
Songs Inspired By Kurt Cobain
Peace, love, empathy.
Kurt Cobain
Frances and Courtney, I'll be at your alter.
Please keep going Courtney, for Frances.
For her life, which will be so much happier without me."
So ended the suicide note of Kurt Cobain, one of the most influential artists of the 1990s. On April 5, 1994 Kurt Cobain put a shotgun to his head and pulled the trigger while he was whacked out on heroin. (unless that is, you believe the murder conspiracy theories). Although his wildly popular rock band Nirvana are considered the pinnacle of the grunge movement, they only released 3 full-length albums of new material in their short life.
It's hard to put into words how much influence Kurt Cobain had on music, attitudes and culture. Many consider Nirvana the band that single handedly brought down the previously on-top pop metal genre, introduced the fashion that would define the 90s, and set the stage for what was to come. His suicide also added to his mystique, and still leaves people asking "why?" to this very day.
As one of the most influential songwriters the world has known, Kurt Cobain has inspired many other musicians. This playlist includes songs inspired directly by Cobain, or that mention him.
1. Kurt - Dan Bern
2. About A Boy - Patti Smith
3. Love Love Love - Mountain Goats
4. Let Me In - R.E.M.
5. The Day Seattle Died - Cold
6. Am I High - N.E.R.D.
7. Devils Night - D12
8. I Try - Talib Kweli
9. Do You Wanna Go Our Way?? - Public Enemy
10. Sleeps With Angels - Neil Young
11. I'm Still Remembering - The Cranberries
12. Dimebag - Cross Canadian Ragweed
13. Mighty K.C. - For Squirrels
14. Kurt Cobain - Wesley Willis
15. Innocent - Our Lady Peace
16. Nothing As It Seems - Pearl Jam
17. Just Let Me Breathe - Dream Theater
18. Coattails Of A Dead Man - Primus
19. Maybe Angels - Sheryl Crow
20. Malibu - Hole
21. Me And My Monkey - Robbie Williams
22. Put Down The Gun - James Kochalka Superstar
23. Fire Water Burn - The Bloodhound Gang
24. Here's To Life - Streetlight Manifesto
25. Headless Boogie - Insane Clown Posse
26. Creamer (Radio Is Dead) - Limp Bizkit
27. Hurricane Fresh - MC Lars
2011年12月6日
Iggy Pop / Préliminaires / Les feuilles mortes
歌词：
词：Jacques Prévert
曲：Joseph Kosma
Oh ! je voudrais tant que tu te souviennes 噢！我多么希望妳能想起
Des jours heureux où nous étions amis. 那些我们曾经亲密的幸福日子
En ce temps-là la vie était plus belle, 那时，人生美丽得多了
Et le soleil plus brûlant qu'aujourd'hui. 连阳光都比今天的还娇艳
Les feuilles mortes se ramassent à la pelle. 枯叶聚拢在铲子上
Tu vois, je n'ai pas les oublié... 妳瞧，我都没有忘记
Les feuilles mortes se ramassent à la pelle, 枯叶聚笼在铲子上
Les souvenirs et les regrets aussi 回忆与悔恨也是
Et le vent du nord les emporte 北风将它们带走
Dans la nuit froide de l'oubli. 在无人知晓的寒夜里
Tu vois, je n'ai pas les oublié 妳瞧，我都没有忘记
La chanson que tu me chantais. 那首妳曾对我唱过的歌
C'est une chanson qui nous ressemble. 这是一首与我们彷佛的歌
Toi, tu m'aimais et je t'aimais 妳爱着我，我爱着妳
Et nous vivions tous les deux ensemble, 我们两个一起生活
Toi qui m'aimais, moi qui t'aimais. 妳曾爱着我，我曾爱着妳
Mais la vie sépare ceux qui s'aiment, 然而生活却拆散了这两个相爱的人
Tout doucement, sans faire de bruit 静悄悄地，没发出任何声息
Et la mer efface sur le sable 海浪铺过沙地
Les pas des amants désunis. 擦去了分离情人们的足迹
Les feuilles mortes se ramassent à la pelle, 枯叶聚笼在铲子上
Les souvenirs et les regrets aussi 回忆与悔恨也是
Mais mon amour silencieux et fidèle 但我的爱 静默而坚贞
Sourit toujours et remercie la vie. 保持微笑 感激人生
Je t'aimais tant, tu étais si jolie. 我如此爱妳，妳是那么美丽
Comment veux-tu que je t'oublie ? 如何能让我忘却？
En ce temps-là, la vie était plus belle 那个时候，人生美丽得多了
Et le soleil plus brûlant qu'aujourd'hui. 连阳光都比今天的还娇艳
Tu étais ma plus douce amie 妳曾是我最亲爱的人
Mais je n'ai que faire des regrets 我却只留下悔恨
Et la chanson que tu chantais, 而那首妳曾唱过的歌
Toujours, toujours je l'entendrai ! 我将永远永远地 聆听
曲：Joseph Kosma
Oh ! je voudrais tant que tu te souviennes 噢！我多么希望妳能想起
Des jours heureux où nous étions amis. 那些我们曾经亲密的幸福日子
En ce temps-là la vie était plus belle, 那时，人生美丽得多了
Et le soleil plus brûlant qu'aujourd'hui. 连阳光都比今天的还娇艳
Les feuilles mortes se ramassent à la pelle. 枯叶聚拢在铲子上
Tu vois, je n'ai pas les oublié... 妳瞧，我都没有忘记
Les feuilles mortes se ramassent à la pelle, 枯叶聚笼在铲子上
Les souvenirs et les regrets aussi 回忆与悔恨也是
Et le vent du nord les emporte 北风将它们带走
Dans la nuit froide de l'oubli. 在无人知晓的寒夜里
Tu vois, je n'ai pas les oublié 妳瞧，我都没有忘记
La chanson que tu me chantais. 那首妳曾对我唱过的歌
C'est une chanson qui nous ressemble. 这是一首与我们彷佛的歌
Toi, tu m'aimais et je t'aimais 妳爱着我，我爱着妳
Et nous vivions tous les deux ensemble, 我们两个一起生活
Toi qui m'aimais, moi qui t'aimais. 妳曾爱着我，我曾爱着妳
Mais la vie sépare ceux qui s'aiment, 然而生活却拆散了这两个相爱的人
Tout doucement, sans faire de bruit 静悄悄地，没发出任何声息
Et la mer efface sur le sable 海浪铺过沙地
Les pas des amants désunis. 擦去了分离情人们的足迹
Les feuilles mortes se ramassent à la pelle, 枯叶聚笼在铲子上
Les souvenirs et les regrets aussi 回忆与悔恨也是
Mais mon amour silencieux et fidèle 但我的爱 静默而坚贞
Sourit toujours et remercie la vie. 保持微笑 感激人生
Je t'aimais tant, tu étais si jolie. 我如此爱妳，妳是那么美丽
Comment veux-tu que je t'oublie ? 如何能让我忘却？
En ce temps-là, la vie était plus belle 那个时候，人生美丽得多了
Et le soleil plus brûlant qu'aujourd'hui. 连阳光都比今天的还娇艳
Tu étais ma plus douce amie 妳曾是我最亲爱的人
Mais je n'ai que faire des regrets 我却只留下悔恨
Et la chanson que tu chantais, 而那首妳曾唱过的歌
Toujours, toujours je l'entendrai ! 我将永远永远地 聆听
2011年8月4日
Tennessee
Arrested Development-《Tennessee》：
Tennessee
Lord I’ve really been real stressed
Down and out, losin ground
Although I am black and proud
Problems got me pessimistic
Brothers and sisters keep messin up
Why does it have to be so damn tuff?
I don’t know where I can go
To let these ghosts out of my skull
My grandmas past, my brothers gone
I never at once felt so alone
I know you’re supposed to be my steering wheel
Not just my spare tire (home)
But lord I ask you (home)
To be my guiding force and truth (home)
For some strange reason it had to be (home)
He guided me to Tennessee (home)
(Chorus) Take me to another place
Take me to another land
Make me forget all that hurts me
Let me understand your plan
Lord it’s obvious we got a relationship
Talkin to each other every night and day
Although you’re superior over me
We talk to each other in a friendship way
Then outta nowhere you tell me to break
Outta the country and into more country
Past Dyesburg into Ripley
Where the ghost of childhood haunts me
Walk the roads my forefathers walked
Climbed the trees my forefathers hung from
Ask those trees for all their wisdom
They tell me my ears are so young (home)
Go back to from whence you came (home)
My family tree my family name (home)
For some strange reason it had to be (home)
He guided me to Tennessee (home)
Chorus
Now I see the importance of history
Why people be in the mess that they be
Many journeys to freedom made in vain
By brothers on the corner playin ghetto games
I ask you lord why you enlightened me
Without the enlightment of all my folks
He said cuz I set myself on a quest for truth
And he was there to quench my thirst
But I am still thirsty…
The lord allowed me to drink some more
He said what I am searchin for are
The answers to all which are in front of me
The ultimate truth started to get blurry
For some strange reason it had to be
It was all a dream about Tennessee
Tennessee
Lord I’ve really been real stressed
Down and out, losin ground
Although I am black and proud
Problems got me pessimistic
Brothers and sisters keep messin up
Why does it have to be so damn tuff?
I don’t know where I can go
To let these ghosts out of my skull
My grandmas past, my brothers gone
I never at once felt so alone
I know you’re supposed to be my steering wheel
Not just my spare tire (home)
But lord I ask you (home)
To be my guiding force and truth (home)
For some strange reason it had to be (home)
He guided me to Tennessee (home)
(Chorus) Take me to another place
Take me to another land
Make me forget all that hurts me
Let me understand your plan
Lord it’s obvious we got a relationship
Talkin to each other every night and day
Although you’re superior over me
We talk to each other in a friendship way
Then outta nowhere you tell me to break
Outta the country and into more country
Past Dyesburg into Ripley
Where the ghost of childhood haunts me
Walk the roads my forefathers walked
Climbed the trees my forefathers hung from
Ask those trees for all their wisdom
They tell me my ears are so young (home)
Go back to from whence you came (home)
My family tree my family name (home)
For some strange reason it had to be (home)
He guided me to Tennessee (home)
Chorus
Now I see the importance of history
Why people be in the mess that they be
Many journeys to freedom made in vain
By brothers on the corner playin ghetto games
I ask you lord why you enlightened me
Without the enlightment of all my folks
He said cuz I set myself on a quest for truth
And he was there to quench my thirst
But I am still thirsty…
The lord allowed me to drink some more
He said what I am searchin for are
The answers to all which are in front of me
The ultimate truth started to get blurry
For some strange reason it had to be
It was all a dream about Tennessee
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