Όταν η αγάπη έχει εμπόδια, μερικές φορές ένα τραγούδι, ένα ποιήμα, ακόμα και μια πρόταση ελπίδας, μπορεί να της δείξει το δρόμο.... Η Ακουστική ΨυχοΈκφραση, είναι εδώ για να σας ακούσει, να προβληματιστεί μαζί σας και ΙΣΩΣ και να σας βοηθήσει στο να δείτε και να δρομολογήσετε Έσεις την δική σας έκφραση ψυχής.
Sunday 23 June 2013
985...video Summer Breeze - The Isley Brothers
Song: Summer Breeze
Composed by: The Isley Brothers
The original song was composed by Seals and Croft
The Isley Brothers took the song and made their own version.
Composed by: The Isley Brothers
The original song was composed by Seals and Croft
The Isley Brothers took the song and made their own version.
981..video Roberta Flack - Killing Me Softly With His Song
Killing Me Softly With His Song
Copyrights owned by WMG
"Killing Me Softly with His Song" is a song composed by Charles Fox with lyrics by Norman Gimbel. The song was written in collaboration with Lori Lieberman, who recorded the song in late 1971. In 1973 it became a number-one hit, in US and Canada, for Roberta Flack, also reaching number six in the UK Singles Chart. The song has since been covered by numerous artists.
The Lori Lieberman version, disputed origins[edit]
Norman Gimbel came to California in the mid-1960s. He was introduced to the Argentinean-born composer Lalo Schifrin (then of Mission: Impossible fame) and began writing songs to a number of Schifrin's films. Both Gimbel and Schifrin made a suggestion to write a Broadway musical together, and Schifrin gave Gimbel an Argentinean novel—Hopscotch by Julio Cortázar—to read as a possible idea. The book was never made into a musical, but in chapter 2, the principal character describes himself as sitting in a bar listening to an American pianist friend 'kill us softly with some blues.' Gimbel put the idea in his 'idea' book for use at a future time with a parenthesis around the word 'blues' and substituted the word 'song' instead.
According to Lori Lieberman, the artist who performed the original recording in 1972, the song was born of a poem she wrote after experiencing a strong reaction to the song "Empty Chairs," written, composed, and recorded by Don McLean. She then related this information to Gimbel, who took her feelings and put them into words. Then, Gimbel passed the words on to Fox, who set them to music.
Don McLean said he didn’t know the song described him and, when asked about it, said “I’m absolutely amazed. I’ve heard both Lori’s and Roberta’s version and I must say I’m very humbled about the whole thing. You can’t help but feel that way about a song written and performed as well as this one is.”
Nevertheless, Fox has repudiated Lieberman's having input into the song's creation, saying: "We [i.e. Gimbel and Fox] wrote the song and [Lieberman] heard it and said it reminded her of how she felt at [a Don McLean] concert. Don McLean didn't inspire Norman or me to write the song but even Don McLean thinks he's the inspiration for the song according to his official website!"
Don McLean validated Lieberman both on his website and from the stage of a concert he invited her to attend in 2010. However, the matter only reached an unequivocal conclusion when contemporaneous articles from the early 1970s were exhumed, all of them vindicating Lieberman. In an April 5, 1973 article in the Daily News, Norman Gimbel was quoted as follows: "She [Lori Lieberman] told us about this strong experience she had listening to McLean ("I felt all flushed with fever / Embarrassed by the crowd / I felt he had found my letters / And read each one out loud / I prayed that he would finish / But he just kept right on…"). I had a notion this might make a good song so the three of us discussed it. We talked it over several times, just as we did for the rest of the numbers we wrote for this album and we all felt it had possibilities".
Lieberman was the first to record Fox and Gimbel's song in late 1971, releasing it in early 1972.[8] Helen Reddy has said she was sent the song, but "the demo... sat on my turntable for months without being played because I didn't like the title."
Roberta Flack first heard the song on a flight from Los Angeles to
In September 1972, Flack was opening for Marvin Gaye at the Greek Theater; after performing her prepared encore song, Flack was advised by Gaye to sing an additional song. Flack - "I said well, I got this song I’ve been working on called 'Killing Me Softly...' and he said 'Do it, baby.' And I did it and the audience went crazy, and he walked over to me and put his arm around me and said, 'Baby, don’t ever do that song again live until you record it.'"
Released in January 1973, Flack's version spent a total of five non-consecutive weeks at number-one in February and March 1973, being bumped to number 2 by the O'Jays' "Love Train" after four straight weeks atop the Billboard Hot 100. Billboard ranked it as the No. 3 song for 1973.
Charles Fox suggested that the reason Flack's version was more successful than Lieberman's was because Flack's "version was faster and she gave it a strong backbeat that wasn't in the original."[6] According to Flack: "My classical background made it possible for me to try a number of things with [the song's arrangement]. I changed parts of the chord structure and chose to end on a major chord. [The song] wasn't written that way."
Flack later won the 1973 Grammy Award for Record of the Year and Best Pop Vocal Performance, Female with Gimbel and Fox earning the Song of the Year Grammy.
- This was written by the songwriting team of Charles Fox and Norman Gimbel, and first recorded by Lori Lieberman in 1972. The story goes that the song was inspired by Don McLean, a singer/songwriter famous for his hit "American Pie." After being mesmerized by one of his concerts at the Troubadour theater in Los Angeles - and in particular McLean's song "Empty Chairs" - Lieberman described what she saw of McLean's performance to Norman Gimbel and Charles Fox, who were writing songs for her new album, and they wrote the song for her.
The story is wrong. When we spoke with Charles Fox, he explained: "I think it's called an urban legend. It really didn't happen that way. Norman Gimbel and I wrote that song for a young artist whose name was Lori Lieberman. Norman had a book that he would put titles of songs, song ideas and lyrics or something that struck him at different times. And he pulled out the book and he was looking through it, and he says, 'Hey, what about a song title, 'Killing Me Softly With His Blues'?' Well, the 'killing me softly' part sounded very interesting, 'with his blues' sounded old fashioned in 1972 when we wrote it. So he thought for a while and he said, 'What about 'killing me softly with his song'? That has a unique twist to it.' So we discussed what it could be, and obviously it's about a song - listening to the song and being moved by the words. It's like the words are speaking to what that person's life is. Anyway, Norman went home and wrote an extraordinary lyric and called me later in the afternoon. I jotted it down over the phone. I sat down and the music just flowed right along with the words. And we got together the next morning and made a couple of adjustments with it and we played it for Lori, and she loved it, she said it reminds her of being at a Don McLean concert. So in her act, when she would appear, she would say that. And somehow the words got changed around so that we wrote it based on Don McLean, and even Don McLean I think has it on his Web site. But he doesn't know. You know, he only knows what the legend is." - Gimbel and Fox also wrote the theme songs to the TV shows Happy Days and Laverne & Shirley. They are the only credited songwriters on "Killing Me Softly With His Song," but Lori Leiberman has claimed authorship. A press release put out on Lieberman's behalf states: "Lieberman to this day is never given credit for lyrics and her version. McLean said he had no idea the song was about him. 'Someone called me and said a song had been written about me and it was #1,' McLean recalled. 'It was an honor and a delight, and I give Lieberman the credit. My songs have always come from my personal thoughts and experiences, so it's overwhelming when someone is moved and touched by them like Lori was.'"
- Flack heard Lieberman's version on an in-flight tape recorder while flying from Los Angeles to New York. She loved the title and lyrics and decided to record it herself. In an interview with The New Musical Express, Flack said: "I was flicking through the in-flight magazine to see if they'd done an article on me. After realizing they hadn't, I saw this picture of a little girl called Lori Lieberman. I'd never heard of her before so I read it with interest to see what she had that I didn't." Flack decided to record the song but felt it wasn't complete, so on arriving in New York she went into the studio and started experimenting. She changed the chord structure and ended the song with a major rather than minor chord. Flack worked on the song in the studio for 3 months, playing around with various chord structures until she got it just right.
- Talking about the first time he heard from Roberta Flack, Charles Fox told us: "Quincy (Jones) gave her my number. I was at Paramount Pictures one day walking through the music library, and someone handed me a telephone and said, 'This is for you.' And the voice on the other end of the line said, 'Hi, this is Roberta Flack. We haven't met, but I'm going to sing your songs.' So it was kind of magical at that - that thing just doesn't happen to people. She had just won the Grammy Award for 'First Time Ever I Saw Your Face.' Beautiful record. So it's kind of remarkable to get a call from her in the first place. And she did go on to sing other songs. And actually, she sang on the main title for me of a show that was called Valerie after Valerie Harper."
- This won Grammys in 1974 for Record of the Year, Song of the Year, and Best Female Pop Vocal. Flack's "First Time Ever I Saw Your Face" won Record of the Year the previous year, making her the first artist to win the award 2 consecutive years. (thanks, Bertrand - Paris, France)
- This was a US and UK #1 hit for Fugees in 1996. They did a Hip-hop version featuring the vocals of Lauryn Hill. The Fugees wanted to change the lyrics and make it a song about poverty and drug abuse in the inner city with the title "Killing Him Softly," but Gimbel and Fox refused.
- Toni Collette, Hugh Grant and Nicholas Hoult performed this in the film About A Boy. (thanks, Bertrand - Paris, France)
- The singer-songwriter Colbie Caillat was first inspired to start singing when she heard the Fugees version of "Killing Me Softly" at the age of 11.
- The Fugees version is a popular Karaoke choice, but usually not a good one. Kimberly Starling of The Karaoke Informer says: "With a minimal background track virtually every girl loses the melody. They all think they sound great on this one, yet they do not."
- The song was covered by Leah McFall on the UK edition of The Voice in 2013. Her version landed at #36 on the British singles chart after she sung it in the semi-finals.Strumming my pain with his fingers
Singing my life with his words
Killing me softly with his song
Killing me softly with his song
Telling my whole life with his words
Killing me softly with his song
I heard he sang a good song, I heard he had a style
And so I came to see him to listen for a while
And there he was this young boy, a stranger to my eyes
Strumming my pain with his fingers
Singing my life with his words
Killing me softly with his song
Killing me softly with his song
Telling my whole life with his words
Killing me softly with his song
I felt all flushed with fever, embarrassed by the crowd
I felt he found my letters and read each one out loud
I prayed that he would finish but he just kept right on
Strumming my pain with his fingers
Singing my life with his words
Killing me softly with his song
Killing me softly with his song
Telling my whole life with his words
Killing me softly with his song
He sang as if he knew me in all my dark despair
And then he looked right through me as if I wasn't there
But he just came to singing, singing clear and strong
Strumming my pain with his fingers
Singing my life with his words
Killing me softly with his song
Killing me softly with his song
Telling my whole life with his words
Killing me softly with his songWriter/s: FOX, CHARLES / GIMBEL, NORMAN
Publisher: Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind
976...video fats domino - blueberry hill
Vincent Rose, Al Lewis and Larry Stock’s 1940 standard about making out in the country had already been recorded by the likes of Gene Krupa, Glenn Miller, Gene Autry and Louis Armstrong by the time avuncular New Orleans pianist/vocalist Antoine Dominique Domino transformed it into rock’s first multi-million-selling easy listening ballad. The lyric’s memories of adolescent sexual thrills and broken promises is made bereft of angst by the rolling piano and the warm grin of Fats’s rich voice.
972...video James Carr - At the dark end of the street
Born to a Baptist preacher's family in Coahoma, Mississippi, Carr began singing in church and was performing in gospel groups and making tables on an assembly line in Memphis, Tennessee, when he began recording in the mid-'60s for Goldwax Records, a small Memphis based label.
Carr first made the R&B charts in 1966 with "You've Got My Mind Messed Up", followed by his most famous song "The Dark End of the Street", written by Dan Penn and Chips Moman. Carr continued to record for Goldwax until the label closed in 1969 but failed to reach the same heights with his subsequent releases.
Has the delicious treachery of illicit romance ever been articulated with such heartbreaking honesty? Written in 1967 by the Muscle Shoals pairing of Dan Penn and Chips Moman, it portrays two adulterers hiding in the shadows, hopelessly in love yet despising their weakness. Covered by the world and his ex-wife, Carr’s southern soul original remains definitive. Crucially, there’s no get-out clause: “They’re gonna find us someday,” he sings, with something like relief.
969...video "I'll Take Care Of You" - Bobby "Blue" Bland
One of the greatest singers America has produced, Bobby “Blue” Bland’s voice has a richness and depth that allows him to interpret almost any song. This version of a Brook Benton song is stripped to the bone; just a high-pitched keyboard accompanying the most inappropriately named vocalist ever as he explains to his inamorata why the smartest way to get over her recent dumping is to take up with old Bobby. Never has catching someone on the rebound sounded so noble.
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