What are you listening to? The world really needs to know. #7 (2 Viewers)

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Today I hear a song in my head, that doesn't quite exist on record (yet), but would make an adorable performance:
A TOM WAITS-Version of "Tomorrow" from the "Annie"-musical.
 
Hows about this?
yes, that's close to what I had in mind.
Yet better: His crude variant of the song from the PETER-PAN-musical.
Yee, sure, of course: it seems like these are two different songs, but come on: in their hearts they're the same.

Here's TOM WAITS song:


...and this is the MUSICAL thing:


To compare the texts, see attachment.

So, THIS is what I had in mind (and my ears) as a Waitsian version of a "cute" kids-song. Especially in the case of "TOMORROW", which calls for the voice of a nightingale like Waits'.
 

Attachments

  • Lyrics - won't grow up - Tom Waits vs Peter Pan_c.pdf
    187.5 KB · Views: 451
love it. Yeah, his best songs have a timeless quality, a cross between traditional rock n' roll and theater balladry. Have you listened to The Black Rider? Great stuff w/ Burroughs & Robert Wilson.

 
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Have you listened to The Black Ride?r
'course I did.

Even more: there once had been a play of it in our local theatre, which I've seen.
Yes, in the tiny little town of Bamberg.
t'was the official German Version by Waits & Wilson.

They produced a CD of it:

Waits_Black-Rider_Bamberg-theatre-CD.jpg


according to the booklet, it was in June 1999.

Yes, I'm available to rip that CD and deliver. You may not understand the German, but since you know the thing, you'll get enough of it.
Of course, No One can ever reach out to touch Tom Waits himself. But for what a little theatre can do, they did well.
 
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there you go:

https://www.dropbox.com/s/h5cyj8dni26c0nj/Black-Rider_Bamberg.zip


I just had a short re-listening into the CD and must admit:
it will most likely NOT satisfy anybody.
That's not only because no one (and especially not actors with a German accent) can compete with the Original.
It's also because in a live theatre-play you always have differences in directing due to dramatic reasons, when there are happenings on the stage. Plus, no ensemble wants to do a 1:1-copy of a given original, they always try to add a personal touch, for the good or bad.

All I can say to defend the thing is:
I've been watching it live back then and the whole performance did fit the spirit quite well. Really.
It kept the message of, how an innocent person slides into guilt and then goes mad.

There's even one song in their performance, that I do like a LOT.
It's 'CROSSROADS' [attached here] and the point, when they did it on stage was, that at first, the text is given in German translation, to help the audience understand (since it's one of the important turns in the plot), then (at ca 2:30) they repeat the lyrics in the original English, with a really Heavy German accent.
Then followed the looooong scream - and with that, the curtain fell and there started the pause/ intermission of the play.
There was something to it.
 

Attachments

  • Tom Waits - [1999, The Black Rider live] - (19) - Crossroads-German-English.mp3
    3.7 MB · Views: 172
  • Tom Waits - [1999, The Black Rider live] - (20) - Crossroads-Scream.mp3
    2.5 MB · Views: 180
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Can't decide which I like the best.
The music or the video...

 
one of the very few good things about Lynch's "Erasurehead" is what The Pixies made of the song from the woman behind the radiator.
I have a Pixies-bootleg on vinyl from long ago, that has this song. Like Like Like.

 
Joe Strummer died on this day in 2002. I remember the moment like it was yesterday. I will be listening to the Clash & Joe's work & his BBC shows all day today. Although, in theory, I don't agree with hero worship I will say he's closer than most.

 
I don't understand celebrating (or mourning) the day someone you loved - or respected or whatever - died, but people do it, so what do I know.

Great song though. "If you're after getting the honey, then you don't go killing all the bees."
 
me too! with that particular performance.
I'm still not sure, whether I like him much or like him just a bit.
I've seen him first singing 'Candy Says' as an encore in Lou Reed's fabulous concert, where he (Lou) presents the 'Berlin'-album for the first time in its entirety. He (Antony) is somehow moving, but then, he's not very much moving.

I'm undecided still.

But - thanks to 'the-only-good-poet's post - I started looking around and came to know his tragically beautiful song, that goes:
"One day I'll grow up, I'll be a beautiful woman.
One day I'll grow up, I'll be a beautiful girl.
But for today I am a child, for today I am a boy."

[in case you wonder: yes, it's a transgender-thing, which explains why he chose to do 'Candy says' out of all Lou Reed songs]
 
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2017 was a mean year, but this one for me was salt in the wound. I never even saw him live. It just felt comforting that he was around

 
Recently, I've been really enjoying the '70s funk (with a rock edge at times!) of Graham Central Station. Larry Graham was the original bass player for Sly and the Family Stone, and when he left Sly and Co. in '72, he formed his own band, which I have only recently learned was possibly just as good as the one he left (and much more stable, without the hard drug culture that derailed Sly...). Here's a vintage video of GCS:

 
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France Gall (French singer) died the other day. I'm not a fan of hers, but AM a huge fan of Serge Gainsbourg, who wrote a couple of songs for her in the 1960s.

Most people only know two songs he's written for her: "Poupée de cire, poupée de son" (with which she won the Eurovision Song contest in 1965) and "Les sucettes" for its scandal with the lyrics.

So, I've decided to share one of his lesser known songs (yet fairly successful in France: it made Number 4 in the charts in 1964):
"Laisse tomber les filles"

 
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