"It Don't Come Easy" (3:04) Live
writers R. Starr (& G. Harrison), 1970
performer Peter Frampton, 2020

Vanessa Paradis & Jeanne Moreau - Le Tourbillon De La Vie
https://www.youtube.com/watch?v=HcuwbHwI5d0

Jeanne Moreau-Le Tourbillon De La Vie (in Jules et Jim)
https://www.youtube.com/watch?v=dcVcwwo8QFE

@Olivier5 Comment vas-tu ?
A fair translation ?

The life swirl
She was wearing rings on every finger,
Lots of bracelets around her wrists,
And she sang with a voice
Which beguiled me immediately.

She had opal eyes,
Which fascinated me, which fascinated me.
And the oval of her pale face
Of a femme fatale who was fatal to me {2x}.

We met, we recognized each other,
We lost touch with each other, then all over again,
We met again, we warmed each other up,
Then we left each other.

On our own we went back
Into the swirl of life
One night I saw her again, oh my,
It's been ages already {2x}.

By the sound of the banjos, I recognized her.
This curious smile which had appealed me so.
Her so fatal voice, her beautiful pale face
Moved me more than ever.

I got drunk while listening to her.
Alcohol makes you forget about time.
I woke up feeling
Kisses on my burning hot forehead {2x}.

We met, we recognized each other,
We lost touch with each other, then all over again,
We met again, we left each other,
Into the swirl of life.

We went on spinning
Both entwined
Both entwined.
Then we warmed each other up.

On our own we went back
Into the swirl of life
One night I saw her again, oh my,
She fell into my arms again.

When we've met,
When we've recognized each other,
Why lose touch then,
Lose touch again ?

When we've found each other again,
When we've warmed each other up,
Why leave each other then ?

So we both went back
Into the swirl of life
We went on spinning
Both entwined
Both entwined.

French
Le tourbillon de la vie
Elle avait des bagues à chaque doigt,
Des tas de bracelets autour des poignets,
Et puis elle chantait avec une voix
Qui, sitôt, m'enjôla.

Elle avait des yeux, des yeux d'opale,
Qui me fascinaient, qui me fascinaient.
Y avait l'ovale de son visage pâle
De femme fatale qui m'fut fatale {2x}.

On s'est connus, on s'est reconnus,
On s'est perdus de vue, on s'est r'perdus d'vue
On s'est retrouvés, on s'est réchauffés,
Puis on s'est séparés.

Chacun pour soi est reparti.
Dans l'tourbillon de la vie
Je l'ai revue un soir, hàie, hàie, hàie
Ça fait déjà un fameux bail {2x}.

Au son des banjos je l'ai reconnue.
Ce curieux sourire qui m'avait tant plu.
Sa voix si fatale, son beau visage pâle
M'émurent plus que jamais.

Je me suis soûlé en l'écoutant.
L'alcool fait oublier le temps.
Je me suis réveillé en sentant
Des baisers sur mon front brûlant {2x}.

On s'est connus, on s'est reconnus.
On s'est perdus de vue, on s'est r'perdus de vue
On s'est retrouvés, on s'est séparés.
Dans le tourbillon de la vie.

On a continué à toumer
Tous les deux enlacés
Tous les deux enlacés.
Puis on s'est réchauffés.

Chacun pour soi est reparti.
Dans l'tourbillon de la vie.
Je l'ai revue un soir ah là là
Elle est retombée dans mes bras.

Quand on s'est connus,
Quand on s'est reconnus,
Pourquoi se perdre de vue,
Se reperdre de vue ?

Quand on s'est retrouvés,
Quand on s'est réchauffés,
Pourquoi se séparer ?

Alors tous deux on est repartis
Dans le tourbillon de la vie
On a continué à tourner
Tous les deux enlacés
Tous les deux enlacés.
https://lyricstranslate.com

"On the whole my attention was only minimally engaged by the preoccupations of rock-and-roll bands, but The Doors were different, The Doors interested me. The Doors seemed unconvinced that love was brotherhood and the Kama Sutra. The Doors' music insisted that love was sex and sex was death and therein lay salvation." ~Joan Didion d. 2021

*

Let's swim to the moon, uh huh
Let's climb through the tide
Penetrate the evenin' that the
City sleeps to hide
Let's swim out tonight, love
It's our turn to try
Parked beside the ocean
On our moonlight drive

Let's swim to the moon, uh huh
Let's climb through the tide
Surrender to the waiting worlds
That lap against our side

Nothin' left open
And no time to decide
We've stepped into a river
On our moonlight drive

Let's swim to the moon
Let's climb through the tide
You reach your hand to hold me
But I
can't be your guide

Easy, I love you
As I watch you glide
Falling through wet forests
On our moonlight drive, baby
Moonlight drive

Come on, baby, gonna take a little ride
Down, down by the ocean side
Gonna get real close
Get real tight
Baby gonna drown tonight
Goin' down, down, down

"Moonlight Drive" 3:00
Strange Days, 1967
The Doors


"When the music's over
When the music's over, yeah
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights
Yeah

When the music's over
When the music's over
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights

When the music
is your
special friend
Dance on fire
as it intends
Music is your
only friend
Until the end
Until the end
Until the end

Cancel my subscription to the Resurrection
Send my credentials to the House of Detention
I got some friends inside

The face in the mirror won't stop
The girl in the window won't drop
A feast of friends,
"Alive!" she cried
Waiting for me
Out
...... side

Before I sink
into the big sleep
I want to hear
I want to hear
The scream
of the butterfly

Come back, baby
Back into my arm
We're gettin' tired of hangin' around
Waitin' around with our heads to the ground
I hear a very gentle sound

Very near yet, very far
Very soft, yeah, very clear
Come today, come today

What have they done to the earth, yeah?
What have they done to our fair sister?
Ravaged and plundered
and ripped her and bit her
Stuck her with knives in the
side of the dawn
And tied her with fences and
dragged her down

I hear a very gentle sound
With your ear down to the ground
We want the world and we want it
We want the world and we want it
Now
Now?
NOW!!!

Persian night, babe
See the light, babe
Save us!
Jesus
Save us!

So when the music's over
When the music's over, yeah
When the music's over
Turn out the lights
Turn out the lights
Turn out the lights

Well, the music
is your
special friend
Dance on fire
as it intends
Music
is your
only friend
Until the end
Until the end
Until the end"

https://m.youtube.com/watch?v=EC1kAKRZMc0

"When the Music's Over" (11:00)
Strange Days, 1967 (2017 mono mix)
The Doors

NB:The Intro was inspired by Herbie Hancock's "Watermelon Man" (1962) ...

She tells a true love story without words.

hard bop it! :cool:


"Watermelon Man" 7:09
Takin' Off, 1962
Herbie Hancock

yeah – fff-fUNK it up, griot! :fire:


"Watermelon Man" 6:29
Head Hunters, 1973
Herbie Hancock

w/ lyrics

"Paint It Black" (3:46)
A-side single (UK), 1966
The Rolling Stones

A touch of color perhaps? This improbable Caribbean princess is Liliana "Li" Saumet from Colombian band Bomba Estéreo.


Ahora, by Bomba Estéreo



I'm here
I'm sitting in the right place
At the right moment, at the right time
Let your heart open
And repeat this mantra:
"I'm fine, I'm fine, I'm fine"

Here the sky merges with the sea
The wounds started to come out
Carrying what must be carried
I can walk barefoot through the sand
And I can hear the sound of your voice
I can see the brightness of all the stars
And in all of them, see myself
I can swim deep deep inside
In the inside sea, as when missing you
And in these depths find my center
And then I feel like you're here
I'm good
Now
I'm fine, I'm fine, I'm fine

The wind smells fresh, smells like salt
Marks will remain on the skin
Where soul and body will unite
I can imagine that you feel what I feel
With a thought, everything can change
Everything in this life has its time
Even them, I dream, will get it
It can get you up in the morning
And look at the 'cute' things in front of you
The green sunrise of the jungle
So that I know you are here
I am here, you are here, I am here now
I am here, you are here, I am here now

Olivier5 Comment vas-tu ?
A fair translation ? — Amity

Sorry Amity, I haven't been on TPF much lately. Yes, it's as fair a translation as can be. :-)

I love the growing complicity between Paradis and Moreau on the first vid, how they start the song far away from one another, and end it holding hands.

Sorry Amity, I haven't been on TPF much lately — Olivier5

Yes. I noticed. Hope you're well. Here now and fine.

I love the growing complicity between Paradis and Moreau on the first vid, how they start the song far away from one another, and end it holding hands. — Olivier5

Yes, moving :sparkle:

This may be a bit odd maybe but Camille makes it work. A tentative translation follows.




Get up it's decided
Let me replace you
I will take your pain
Slowly without making a sound
As we wake up the rain
I will take it your pain

She fights she struggles
But won't resist
I will block the elevator
Sabotage the switch
I will take your pain

But who is this squatter
This storm before the summer
Dirty bitch of a little sister?
I'm going to confiscate everything
Her darts and her whistle
I will spank her
Kick her out of recess
I will take your pain

But who is this heiress
Who bathes, who lies down
In the lukewarm water of your loins?
I will take away her dessert
Make her bite the dust
Of all those who have nothing left
Of all those who are no longer hungry
I will take your pain

Tell me that science gives a fuck
To when, this bridge between our bellies?
If it hurts where you're afraid
It doesn't hurt where I'm thinking!

What does this bitch want?
Her cake and eat it too?
That you live or that you die?
She must die of happiness
Get a new pair of shoes
She must be overflown with flowers
Change color
I'm going to play the doctor
I will take your pain

Tell me that science gives a fuck
To when, this bridge between our bellies?
If it hurts where you're afraid
It doesn't hurt where I'm singing!

Get up, stand up
She wants you

Michel Polnareff - On ira tous au paradis



We will all go to paradise, even me
Blessed or cursed, we'll go
With all the nuns and all the thieves
All the sheep and all the bandits
We'll all go to heaven

We'll all go to heaven, even me
Blessed or cursed, we'll go
With the saints and the assassins
The ladies and also the whores
We'll all go to heaven

Don't believe what people say
Your heart is the only real church
Let a little wave rock your soul
Don't be afraid of the color of flames in hell

We'll all go to heaven, even me
Whether we believe in God or not, we will go
Whether we did good or we did bad
We'll all be invited to the ball
We'll all go to heaven

We'll all go to heaven, even me
Whether we believe in God or not, we will go
With Christians, with pagans
And even dogs and even sharks
We'll all go to heaven, especially me

:fire:

Your heart is the only real church — Olivier5

Mais...où est le paradis?

Mais...où est le paradis? — Amity

According to some philosophers, paradise is here on earth; it happens when we treat each other right.

Si l'enfer c'est les autres, le paradis aussi.

An old Jewish story has it that one good rabbi from Riga was so righteous in the way of God that He granted him a wish. He sent an angel to deal with it. Our good rabbi made the wish to see heaven and hell, so that he could tell his community about them.

The angel first carried him to hell.

Surprisingly, hell was a luxurious garden. The rabbi walked around and reached a beautiful palace, in which he found people sitting on both sides of a long table loaded with all sorts of delicious looking food. But the people looked all sad, angry and emaciated. That's because both their hands were tied to long wooden spoon with which it was totally impossible for them to eat.

So our good rabbi thought (wrongly): "So this is hell: being constantly tempted but unable to satisfy oneself."

Then he was brought to heaven. There was the same luxurious garden, the same beautiful castle, and in it, people sitting along a similar table, with the same long spoon bound on their hands. But they were all eating, and merry, because they were serving each other food across the table with their long spoons...

The rabbi was amazed. Out of charity he asked to go back to hell so he could explain to those poor souls this very simple solution to their problem.

When he reached there, and told one man at the table of hell that he should try and feed the guy in front of him, and vice versa... the man replied: "I'd rather be hungry for eternity than feed this asshole!"

And then it sunk into our hero's mind that hell and heaven are just the way we treat each other.

Jane Birkin - Les clés du paradis



I've got the keys to heaven
I who have never got anything
I've got the keys to paradise
They're just a little rusty

I found them on the street
I know, it seems incongruous
They were just there lying
I pocketed them
I can't be blamed for anything
I'm not the prettiest of the lot
But I've got a great trousseau
The keys to paradise

I've got the keys to heaven
Of course, that makes me feel better
I've got the keys to paradise
The trouble is I can't find the door

Is it really worth my while to torture
Thirty-six billion locks?
It's hopeless, I'll gain nothing,
Just a good backache
I'm not the smartest of the lot,
What do I do with this trinket?
The keys to paradise

There's this guy who's as lost as I am
We go out together sometimes
He'd like us to live together
I answer him "get lost!"
I'm not the nicest of the lot
But hey, I leave him as a gift
The keys to paradise

It's the keys to paradise
No shit
It's the keys to heaven
I swear to you

This is one of my favorite song. It is a Turkish song. I heard it for the first time when I was reading philosophy in a water pipe cafe in Istanbul. I was reading N's Zarathustra. For me the song fitted the mood perfectly. Of course I could not make out anything of the lyrics at the time, but slowly my Turkish improved and eventually I could. The song recounts a man travelling through mountains. The song is a bit hard to translate, because my Turkish is not great, but also because Turkish is a totally different kind of language, so some of the meanings and metaphors lose some force. For instance Turkish is very precise in the use of different tenses for verbs and in using adjectives to words conveying a slightly different meaning. Anyway, you may find the lyrics below.

The song struck me as well because the lyrics have a double meaning. It is first and foremost a love song and recounts the longing for a loved one. The band is very political, critical and leftist. It is also about political struggle and the sacrifices made for it. One might even conjecture a religious / philosophical interpretation. In our travel to come to knowledge and discover the world we will eventually fall, but be taken up in the cycle of life. The ambivalence is strengthened because Turkish is a gender neutral language.



When this city is overcome by solitude
A bird dies silently in its sleep
you wish to get up and leave it all
the dark streets blind, deaf and mute

Hey, you who sets out wrapped in love
You should know these roads wind through mountains.
And if you fall before you reach her (him / it),
the echo of your longing will still ring tomorrow

Hey you who sets out wrapped in love
You should know, these roads wind through mountains.
And if you fall before you reach her,
the echo of your longing will still ring tomorrow

At dawn and new day breaks
your heart is sharpened by longing
A small stream springs from you
The river will grow
and flowers will bloom at your banks

At dawn and new day breaks
your heart is sharpened by longing
A small stream springs from you
The river will grow
and flowers will bloom at your banks

Hey you who sets out wrapped in love
You should know, these roads wind through mountains.
And if you fall before you reach her,
the echo of your longing will still ring tomorrow



Bu kente yanlızlık çöktüğü zaman
uykusunda bir kuş ölür ecelsiz
alıpta başını gitmek istersin karanlık
sokaklar kör sağır dilsiz

Ey sevda kuşanıp yolara düşen
Bilesin bu yollar dağlar dolanır
Yare ulaşmadan düşersen eyer
Yarin hasretinin yankısı kalır

Ey sevda kuşanıp yolara düşen
Bilesin bu yollar dağlar dolanır
Yare ulaşmadan düşersen eyer
Yarin hasretinin yankısı kalır

Gecenin ucunda gün aralanır
Yar sevdası ile yürek bilenir
Sızılı bir ırmak uğurlar seni
Su olup akarsın
Kır çiceklenir

Gecenin ucunda gün aralanır
Yar sevdası ile yürek bilenir
Sızılı bir ırmak uğurlar seni
Su olup akarsın
Kır çiceklenir

Ey sevda kuşanıp yolara düşen
Bilesin bu yollar dağlar dolanır
Yare ulaşmadan düşersen eyer
Yarin hasretinin yankısı kalır

I think I don't love you anymore
She told me yesterday
It burst in the air
Like a gunshot
I think I don't love you anymore
She threw out yesterday
Between the cheese and the dessert
Like my corpse into the sea

I think I don't ​love you anymore
Your skin is like sandpaper
Under my fingers
I look at you and I cry
Just for nothing, like this
For no reason I cry
I cry in big gushes
Like in front of an onion I cry
Let's stop here

Lalala lalalalalala
She said
Lalala lalalalalala
She said

I think I don't ​love you anymore
Get up, get up
Don't blow your nose in my dress
Not this time, get up
You have no smell anymore
Your lips are the marble
Of the tomb of our love
She told me -- her blood was cold --
When I make love to you, I think of him
When I make love to him
I don't think of you anymore

Lalala lalalalalala
She said
Lalala lalalalalala
She said

I think I don't love you anymore
She said yesterday
It burst in the air
Like an old thunderclap
I think I don't love you anymore
I look at you, I see nothing
Your footsteps leave no trace
Next to mine
I don't blame you
I'm not mad at you anymore
I just don't have a fire anymore
In the belly -- it's like that

Lalala lalalalalala
She said
Lalala lalalalalala

So I turned off the TV
I couldn't find the courage
To throw myself out the window
I'm well past the age to die of love

幼い頃は胸いっぱいに夢を見なさいと言っていた大人達が
年を取るにつれて現実を見なさいと煩く繰り返した
自分の頭の中の常識しか信じられないようなヤツらに
踊らされんな 好きに踊れ。

The same adults who told you to fill your
heart with dreams as a child,
as you grow older
they nag you repeatedly to face reality
don't let the bastards who can't believe
in anything but the commonplace ideas in their own heads
lead you on a dance
dance how you want.

"Within You, Without You" (5:28) Instrumental
The Beatles Anthology 2, 1996
composer, G. Harrison, w/ G. Martin (arranger), 1967
lyrics George Harrison
The Beatles

Head Hunters, 1973
Herbie Hancock — 180 Proof

such a great album... :heart:

you ever get into any Return to Forever or Mahavishnu?

Absolutely! :up:
Weather Report, Steps Ahead, Michael Brecker, Mike Stern, VSOP, ... oh yeah, back in the 80s I was (still am) a huge late 60s to late 70s "fusion" fan and caught more than my share of live shows in Manhattan & Boston jazz clubs throughout the decade (which I'd spent most of living in upstate NY where I'd (eventually) finished my undergrad @Syracuse). Anyway, excuse the run-on (my buzz is exceptionally nice tonight) ... :smirk:

:fire: doesn't get much better than '70s fusion, imo

Did you notice the mistake in the video?

I hadn't noticed before "Flying high in the sky" instead of "Blotted out from the sky" which, beside Mick's clear vocal, makes more sense. "Mistake?" Maybe ...

My naked body on the floor
I’ve hurt myself for years
My hand on my eyes
Don't want to remove it
Yet there’s no place for the weak
There's no place for regrets
My heart on the floor
Stand up, don't be a fool

I've got those noises in my head and I want it to stop but in vain oooh
I open my eyes a little, colors, photos come back to me oooh
All these noises in my head must stop

I lost my mind
Where is the way home?
Come what may
I will find the keys to reason
I lost my head
Where is the way home?
Come what may
Come what may...

I don't care if people stare at me
Who are they to judge me?
Father forgive me, yeah
Insolent, I was
In my brother's eyes
My slaps, he received more than once
And on my mother's cheeks
Rivers flowed...

I've got those noises in my head and I want it to stop but in vain, oh
I open my eyes a little, colors, photos come back to me, oh
All these noises in my head must stop

I lost my mind
Where is the way home?
Come what may
I will find the keys to reason
I lost my head
Where is the way home?
Come what may
Come what may...

I hadn't noticed before "Flying high in the sky" instead of "Blotted out from the sky" which, beside Mick's clear vocal, makes more sense. "Mistake?" Maybe ... — 180 Proof

Yep, that's the one I heard and saw. Maybe Mick's voice is the reason for it, but you can find the lyrics all over the internet.

Blick Bassy - Mpodol



Heard this song and found it real nice. Though I don't have the lyrics, it seems pretty deep. Below is an interview the author gave about it.


With the album 1958, Blick Bassy worked on the historical figure of Ruben Um Nyobè, known as Mpodol, the central figure of the UPC (Union des Populations du Cameroun). This political party was founded in 1948 and banned in 1955. It opposed the colonial organisation and then the governance favoured by the French state which, under the guise of independence, organised a system, later called Françafrique, in which it retained its political and economic interests. Resistance fighters and their supporters were fought with terror, lies and blood.

What motivated you to work on this subject?

Blick Bassy: I was born and raised in Cameroon. In our school books it was said that Ruben Um Nyobè was a terrorist, but when I went back to my village, close to Boumnyebel where he was killed [on 13 September 1958], everyone claimed his heritage. Between the terrorist in the school books and the village where he was an example for everyone, it was complicated for me. My mother lived for two years in the forest with my grandfather. They lived a few kilometres from Boumnyebel, in the area where the maquisards were. As all the adults were tortured because they were suspected of knowing where they were, they fled. When my mother told this story, it was like a kind of tale for me and when I grew up I wanted to make a tribute.

I felt a kind of unease too, wondering what it meant to be from Cameroon because Cameroonians never thought of this. All their political, economic, cultural or educational models have nothing to do with their reality, their traditions or even their ecosystem. I grew up in this space where everything is conditioned so that when you become an adult, you want to go and see the original model, because the environment is a kind of a fake little France, made up in a hurry. Moreover, it's a kind of prison from which, if you want to get out, you need a visa, which you can't be sure of getting even if you have the necessary money. When you look closer, you realise that the port or the airport are managed by foreigners and that the president of Cameroon is also protected by foreigners. We are told that this is our country, but it is the foreigners who live best in this space that is supposed to be the place of our emancipation.

I realised that all the people of my generation or those before me felt a kind of malaise, almost an identity crisis. Who are we really? It is very complicated because we are in a kind of machine in which we try to have an existence that has nothing to do with reality. While asking myself these questions I thought that I had to go back to the source to understand what was going on and I stopped on this character of Mpodol. It reminded me of everything that had happened with my mother's story, knowing that my father was on the other side because he was in the police force with the French, so he took part in the hunt for those who were called maquisards. This family situation was complex.

When I went back up, I discovered all this, I went to question many people in Cameroon, my grandfather told me about it in a whisper because he was still afraid that they would come and get him.

Beyond the fact that Ruben was fighting to be free, he was already raising issues that are still very present today, whether it be gender equality, equal pay, the right to work and to be paid as one should. He also spoke about segregation and even about what some people call anti-white racism, or about tribalism which is very strong in Cameroon today. He was someone who had an amazing vision and intelligence. In my own way, I had to bring this story back to the table, because we Cameroonians still haven't come to terms with it all. We have not stopped, we have always continued to move forward in this sort of corridor in which the colonial power put us, and we are moving forward without knowing where it all leads.

https://www.auxsons.com/focus/lhistoire-longtemps-cachee-du-cameroun-contemporain/

Welcome back, man. I liked that!

Just another winter Monday in Murica ...


"(What Did I Do to Be So) Black and Blue" (4:52)
Satch Plays Fats, 1955
composer Fats Waller, 1929
lyrics H. Brooks & A. Razaf, 1929
performer, Louis Armstrong, 1955

On a lighter note:
Just another manic Monday - the Bangles

https://www.youtube.com/watch?v=SsmVgoXDq2w

It helps if when you're feeling blue, someone calls you out of it.
And the weather calms, after a series of storms.

Heard this song and found it real nice. Though I don't have the lyrics, it seems pretty deep. Below is an interview the author gave about it. — Olivier5

Thanks. A beautiful and unusual listen. A story worth telling and repeating.