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Good morning WA2K.




Have a good day all.

There's our Raggedy, folks. Fantastic collage, PA. Recognize Guillaume, but I can't recall Benson, nor can I remember his role in Big Fish which I really liked.

Soooo, That's Billy Idol. While I catch up on the hawkman's bio's and try and put name to info, let's hear this familiar song by the Idol man:

Don't You Forget About Me



Hey, hey, hey ,hey

Watching ooh... yeah



Won't you come see about me?

I'll be alone, dancing and you know it baby



Tell me your troubles and doubts

Giving me everything inside and out, out

Love's strange so real in the dark

Think of the tender things that we were working on



Slow change may pull us apart

I'll get us back together at heart, baby



Don't You Forget About Me

Don't Don't Don't Don't

Don't You Forget About Me



Will you stand above me?

Look my way and never love me

Rain keeps falling, rain keeps falling

Down, down, down



Would you recognise me?

Call my name or walk on by

Rain keeps falling, rain keeps falling

Down, down, down



Hey, hey, hey, hey

Watching ooh..... yeah



Don't you try and pretend

It's my feeling we'll win in the end

I won't harm you or touch your defenses

Vanity and security



Don't you forget about me

I'll be alone, dancing and you know it baby

Going to take you apart

I'll put us back together at heart, baby



Don't You Forget About Me

Don't Don't Don't Don't

Don't You Forget About Me



As you walk on by

Will you call my name?

As you walk on by

Will you call my name?

As you walk on by

(As you walk on by)



Or will you walk on by?

Will you walk away?

Come on - call my name

Come on - call my name

Will you call my name?



I say

La la la...



Will you walk on by?

Would you call my name?

As you walk on by

Would you call my name?

When you walk on by?

Oh yeah

Come on and call my name

As you walk on by

Hey baby call my name!

When you walk on by

Would you call my name

Yeah, Yeah, Yeah....

Billy Idol

Rebel Yell

last night a little dancer
Came dancin' to my door
Last night a little angel
Came pumping on the floor
She said a "come baby
I've got a license for love
And if it expires
Pray help from above"
Because

In the midnight hour
She cried more, more, more
With a rebel yell
She cried more, more, more
Owww
In the midnight hour, babe
More, more, more
With a rebel yell
More, more, more
More, more, more

She don't like slavery
She won't sit and beg
But when i'm tired and lonely
She sees me to bed
What set you free
And brought you to me, babe
What set you free
I need you here by me
Because

In the midnight hour
She cried more, more, more
With a rebel yell
She cried more, more, more
Wowww
In the midnight hour, babe
More, more, more
With a rebel yell
More, more, more

He lives in his own heaven
Collects it to go from the seven eleven
Well he's out all night to collect a fare
Just so long, just so long it don't mess up his hair
Oww ha

I walk the ward for you, babe
A thousand miles with you
I dried your tears of pain
A million times for you
I'd sell my soul for you, babe
For money to burn for you
I'd give you all and have none, babe
Just a, just a, just a, just a
To have you here by me
Because

In the midnight hour
She cried more, more, more
With a rebel yell
She cried more, more, more
Wowww
In the midnight hour, babe
More, more, more
With a rebel yell
She cried more, more, more
More, more, more

Oo yeah, a little baby
She want more
More, more, more, more, more
Oo yeah, a little angel
She want more
More, more, more, more, more

Rebel yell, Bob? Wow! I was just thinking about The Civil War and the unknown soldiers' memorial in Arlington, Va.

Love that song, incidentally, hawkman.

Speaking of "more" listeners. I certainly did NOT know that Dylan did this one.




I forgot more than you'll ever know about her.

You think you know the smile on her lips
The thrill and the touch of her fingertips
But I forgot more than you'll ever know about her.

You think you'll find heaven of bliss
In each caress, in each tender kiss
But I forgot more than you'll ever know about her.

You stole her love from me one day
You didn't care, oh, it hurt me
But you can never steal away memories of what used to be.

You think she's yours, to have and to hold
Someday you'll learn, when her love grows cold
But I forgot more than you'll ever know about

My Boyfriend's Back
The Angels

[Words and Music by Robert Feldman, Gerald Goldstein and Richard Gottehrer]

(Spoken)
He went away and you hung around
And bothered me, every night
And when I wouldn't go out with you
You said things that weren't very nice

My boyfriend's back and you're gonna be in trouble
(Hey-la-hay-la, my boyfriend's back)
You see him comin' better cut out on the double
(Hey-la-hay-la, my boyfriend's back)
You been spreading lies that I was untrue
(Hey-la-hay-la, my boyfriend's back)
So look out now 'cause he's comin' after you
(Hey-la-hay-la my boyfriend's back)
(Hey, he knows that you been tryin')
(And he knows that you been lyin')

He's been gone for such a long time
(Hey-la-hay-la my boyfriend's back)
Now he´s back and things'll be fine
(Hey-la-hay-la my boyfriend's back)
You´re gonna be sorry you were ever born
(Hey-la-hay-la my boyfriend's back)
Cause he's kinda big and he's awful strong
(Hey-la-hay-la my boyfriend's back)

(Hey he knows I wasn't cheatin')
(Now you're gonna get a beatin')

(What made you think he'd believe all your lies)
(Wah-ooo, wah-ooo)
(You're a big man now but he'll cut you down to size
(Wah-ooo, wait and see)

My boyfriend's back he's gonna save my reputation
(Hey-la-hay-la my boyfriend's back)
If I were you I'd take a permanent vacation
(Hey-la, hey-la, my boyfriend's back)

Yeah, my boyfriend's back
(La-hay-la, my boyfriend's back)
Look out now, yeah, my boyfriend's back
(La-hay-la, my boyfriend's back)
I could see him comin'
(La-hay-la, my boyfriend's back)
So you better get a runnin'
(La-hay-la, my boyfriend's back)
Alright now
(La-hay-la, my boyfriend's back)
Yeah, yeah, yeah, yeah, yeah
(La-hay-la, my boyfriends's back)
My boyfriend's back now
(La-hay-la, my boyfriend's back)

Know he's comin' after you
(La-hay-la, my boyfriend's back)
Because he knows I've been true now...

It seems, edgar, that there was some sort of movie that featured that song, but I can't seem to remember it. Thanks, Texas.

Well, tomorrow is the first day of December. I think on December 2, we will have been on the air for two years. A lot has happened since then.

Here's one from Willie:

This looks like a December day.
This looks like a "time to remember" day.
And I remember the spring, such a sweet tender thing.
And love's summer college,
Where the green leaves of knowledge,
Were waiting to fall with the Fall.

And where September wine,
Numbed the measure of time.
Through the tears of October, now November's over,
And this looks like a December day.

This looks like a December day.
It looks like we've come to the end of the way.
And as my memories race back to love's eager beginning,
Reluctant to play with the thoughts of the ending:
The ending that won't go away.

And as my memories race back to love's eager beginning,
Reluctant to play with the thoughts of the ending:
The ending that won't go away.

And this looks like a December day.

Ray Charles
Georgia

Georgia, Georgia, the whole day through
Just an old sweet song keeps Georgia on my mind

Georgia, Georgia, a song of you
Comes as sweet and clean
As moonlight through the pines

Other arms reach ot to me
Other eyes smile tenderly

Still in peaceful dreams I see
The roads leads back to you

Georgia, Georgia, no peace I find
Just and old sweet song
Keeps Georgia on my mind

Get Started Start A Fire
Graham Parker

The Mona Lisa's sister doesn't smile
She tried to pose but only for a while
Leonardo sent her home
Since then she has lived alone
With her few belongings and a copy
Of a painting of herself unhappy
She is going to burn it when she's ready

Get started, start a fire
Get started, start a fire
Get started, start a fire
Get started, start a fire

Marilyn was lying all alone
With an empty bottle by the phone
Kennedy was not around
She was cold when she was found
But she'd gone where goddesses are sleeping
Where the molten tongues of flame are leaping
Or where the angel's hearts are heating

(Instrumental)

Get started, start a fire
Get started, start a fire
Get started, start a fire
Get started, start a fire

Joan of Arc was burning at the stake
Somebody had made a big mistake
She had lit a cigarette
In an aiport where you get
Your fingers taken off for smoking.
Meanwhile up the road a factory's choking
The ones who killed her work there I'm not joking

Get started, start a fire
Get started, start a fire
Get started, start a fire
Get started, start a fire

OK Heironymous
Graham Parker

I break a heart in a thousand places, she makes a slur against other races
He rejects all of the unpretty faces, sticks them full of knives
I take a shot at birds flying south, he takes the gun barrel into his mouth
She takes a rope and ties up the house, with the kids inside
They just want to curl right up and die
Them and us are only passing by

Hey Hieronymous
I know where your garden grows
I know where your bloody roses bloom
Hey Hieronymous
Tell me what delights there are
Right outside this window or inside this room

Just taste the odor of burning skin, the pitchfork tongues and the rot within
The torture victim's wiped-out grin nothing can erase
Somebody's pouring salt on a wound, scooping out monkey's brains with a spoon
Working on warfare up on the moon, that's the latest phase
We just want to curl right up and die
You and me are only passing by

Hey Hieronymous
I know where your garden grows
I know where your bloody roses bloom
Hey Hieronymous
Tell me what delights there are
Right outside this window or inside this room

Germans and Turks and English nerks spew out of doorways going beserk
Inside of everyone someone lurks, they don't even know
Bring them all in, yeah, they're welcome here
You can't sell your work? then cut off your ear
Put it right on the table there, all tied up in bows

Hey Hieronymous
I know where your garden grows
I know where your bloody roses bloom
Hey Hieronymous
Tell me what delights there are
Right outside this window or inside this room

Hey, edgar. That one brings back some memories. Thanks for the reminder.

dj, That is one great song, Canada. It certainly encompasses a lot.

Here's one from Harry Belafonte:

Anybody here seen my old friend Abraham?
Can you tell me where he's gone?
He freed lotta people but it seems the good they die young
You know I just looked around and he's gone

Anybody here seen my old friend John?
Can you tell me where he's gone?
He freed lotta people but it seems the good they die young
I just looked around and he's gone

(brief instrumental interlude-organ)

Anybody here seen my old friend Martin?
Can you tell me where he's gone?
He freed lotta people but it seems the good they die young
I just looked around and he's gone

Didn't you love the things that they stood for?
Didn't they try to find some good for you and me?
And we'll be free
Some day soon, it's gonna be one day

Anybody here seen my old friend Bobby?
Can you tell me where he's gone?
I thought I saw him walkin' up over the hill
With Abraham, Martin, and John

Hey, dj. Missed your song. That is creepy, buddy, especially these lines:



"Just taste the odor of burning skin, the pitchfork tongues and the rot within
The torture victim's wiped-out grin nothing can erase
Somebody's pouring salt on a wound, scooping out monkey's brains with a spoon
Working on warfare up on the moon, that's the latest phase
We just want to curl right up and die
You and me are only passing by"

Wasn't he some kind of Dante type painter.

Well, the time has come to say goodnight, folks.

From Letty with love

Passing Through

I saw Jesus on the cross on a hill called Calvary
"Do you hate mankind for what they done to you?"
He said, "Talk of love not hate, things to do - it's getting late.
I've so little time and I'm only passing through."
Passing through, passing through.
Sometimes happy, sometimes blue,
glad that I ran into you.
Tell the people that you saw me passing through.

I saw Adam leave the Garden with an apple in his hand,
I said "Now you're out, what are you going to do?"
"Plant some crops and pray for rain, maybe raise a little cane.
I'm an orphan now, and I'm only passing through."

Passing through, passing through ...

I was with Washington at Valley Forge, shivering in the snow.
I said, "How come the men here suffer like they do?"
"Men will suffer, men will fight, even die for what is right
even though they know they're only passing through"

Passing through, passing through ...

I was at Franklin Roosevelt's side on the night before he died.
He said, "One world must come out of World War Two" (ah, the fool)
"Yankee, Russian, white or tan," he said, "A man is still a man.
We're all on one road, and we're only passing through."

Passing through, passing through ...

(let's do it one more time)

Passing through, passing through ...


Leonard Cohen

The Garden of Earthly Delights is a triptych by Dutch painter Hieronymus Bosch. Painted circa 1504, The Garden of Earthly Delights is perhaps his best-known work. It depicts the creation of Earth and the infiltration of sin into mankind. It is currently hanging in the Museo del Prado, Madrid, Spain.

The Garden of Earthly Delights is an oil painting on wood panels. The centre panel measures 220 by 195 cm, and the wings measure 220 by 95 cm. Although the triptych format was standard for church altarpieces at the time, it is likely that The Garden of Earthly Delights was produced for the private enjoyment of a noble family.

The Garden of Earthly Delights in its entirety can be read from exterior to interior and then left to right, featuring a full narrative realized from all of the surfaces. Chronologically, the creation of the world becomes imparted onto the creation of Man, followed by earthly sin, culminating in damnation. The left interior panel of Eden depicts animals living together with humans without interaction. Curiously, death exists, exemplified by a cat carrying a mouse and a lion eating a deer or antelope. Moving to the center panel, animals and humans begin to coexist and intermingle. On the right side, animals torture humans, completing a transformation of "simple" creatures into anthropomorphic superiors



The exterior (shutters)


The left panel: The Earthly Paradise (Garden of Eden)


The centre panel: Garden of Earthly Delights (Ecclesia's Paradise)


The right panel: Hell

djjd
Puts me in mind of the Henry Miller book, "Big Sur and the Oranges of Hieronymus Bosch."

I'm Leavin' It Up To You
Dale & Grace

I'm leavin' it all up to you
You decide what you're gonna do
Now do you want my love
Or are we through

That's why I'm leaving it up to you-ooh-ooh
You decide what you're gonna do
Now do you want my love
Or are we through

I've got my heart in my hand
I don't understand
Baby, what, what have I done wrong
You know I worship the ground you walk on

That's why I'm leavin' it up to you
You decide what you're gonna do
Now do you want my love
Or are we through

Or are we through

Good morning, WA2K listeners and contributors.

I must say, edgar and dj, that we are indeed informed on our little radio station. What art! I suppose we must see the dark in order to understand the light. Thanks, guys, for the visual and the listenable. <smile>

For our morning song:

Alive
(From the album "ANOTHER SPIN AROUND THE SUN")

It feels so good to breathe the air
Another spin around the sun
On this spec of life in the universe
the gift of love is there for everyone

Angels working overtime
day or night to hold the hands that play all alone
a baby's born pure to the world as the old man lays down his hand
and closes his eyes with nothing said

every year another promise is made
a pint of beer raised towards a better day
lets find a star a star to call our own
and make the wish maybe we can't make it home

ain't it good to be alive
to feel the sun strong against your face
strawberry blond waves of silky hair
spills over me like the milky way

ain't it good to be alive
ain't it good to be alive
alive alive
alive alive

ain't it good to breathe the air
another spin around the sun
on this spec of light in the universe
a little peace of love in everyone

ain't it good to be alive
ain't it good to be alive
to feel the sun strong against your face
spills over me like the milky way


alive alive alive alive alive

Mary Martin
From Wikipedia, the free encyclopedia


Mary Virginia Martin (December 1, 1913 - November 3, 1990) born in Weatherford, Texas was a Tony Award winning American star of (mainly stage) musicals. Amongst the roles originally created by her were those of Nellie Forbush in South Pacific and Maria in The Sound of Music.


Early life

Her life as a child, as Martin describes it in her autobiography My Heart Belongs, was secure and joyful. She had close relationships with both her mother and father, as well as her other siblings. Her autobiography details how the young actress had an instinctive ear for recreating the sounds heard in the musical world.


Career

Mary Martin struggled for nearly two years to break into show business. She was nicknamed "Audition Mary" because she auditioned so often. As a struggling young actress, Martin endured humorous and sometimes frightful luck trying to make it in the world, from car crashes leading to vocal instruction, unknowingly singing in front of Oscar Hammerstein II, to her final break on Broadway granted by the very prominent producer, Lawrence Schwab.

Martin's career then took off at a rapid pace. She received the Donaldson Award and the New York Film Critics Circle Award in 1943 for One Touch of Venus. In 1955 and 1956, she received, first, a Tony for Peter Pan, and then an Emmy for appearing in the same role on television. She also received Tony Awards for South Pacific, and, in 1959, for The Sound of Music.

Although she did a few films early in her career, she was generally passed over for the filmed version of the musical plays in which she starred. She herself once explained that she did not enjoy making films, because she did not have the "connection" with an audience that she had in live performances. The closest she ever came to preserving her stage performances were her famous television appearances as Peter Pan (she had starred in a musical version on Broadway in 1954, and this production was subsequently performed on television in 1955, 1956 and 1960). While Mary Martin did not enjoy making theatrical films, however, she apparently enjoyed appearing on television, and did so frequently.


Personal life, marriages, relationships

In 1929 she married the lawyer Ben Hageman. They divorced in 1936. Their son is actor Larry Hagman of Dallas and I Dream of Jeannie fame, who once appeared with his mother in South Pacific as a member of the chorus.
She married a second time in 1940 to Richard Halliday, and they had a daughter, Heller Halliday, who is Larry's half-sister.
It has been claimed by author Boze Hadleigh that Martin had a longtime intimate lesbian relationship with Oscar winning actress Janet Gaynor, who quoted, in his 1994 book Hollywood Babble On, actor Robert Cummings as saying: 'Janet Gaynor's husband was Adrian, the MGM fashion designer. But her wife was Mary Martin...' This claim is echoed, with differing strengths of conviction, on various websites - ([1], [2], [3], [4]), but it should be noted that neither Mary Martin nor Janet Gaynor was interviewed by Hadleigh nor were either of them alive at the time of the book's publication, and that Gaynor's last husband, Paul Gregory, denied the rumors/claims.
She died of colon cancer in California in 1990, aged 76.

Trivia

She was not disappointed by not getting the role of "Nellie Forbush" in the film version of South Pacific (it went to Mitzi Gaynor), despite her friendship with Joshua Logan. Martin did not enjoy making films, and Logan claimed that by 1958, when South Pacific was filmed, she was too old for the part.
The Canadian band The New Pornographers pay tribute to Mary Martin in their song, The Mary Martin Show.
Martin dubbed Margaret Sullavan's singing voice in the 1938 film The Shopworn Angel.

Matt Monro
From Wikipedia, the free encyclopedia


Matt Monro (December 1, 1930 - February 7, 1985) was an English ballad singer of the 1960s and one of great international postwar entertainers. Throughout his 30-year career he filled cabarets, nightclubs, music halls and stadiums across the globe, from Australia, Japan, the Philippines, and Hong Kong to Africa, the Middle East, Europe, and the Americas. He sold more than 25 million records during his lifetime, imbuing each one with his elegant blend of majesty, sincerity, and superior technique.

He was born Terence Parsons in Shoreditch, London. Affectionately nicknamed "the singing bus driver" (because one of his many occupations prior to achieving fame was driving the Number 27 bus from Highgate to Teddington), he got his first break in 1956 when he became a featured vocalist with the BBC Show Band. An important influence on his early career was pianist Winifred Atwell, who became his mentor, provided him with his stage name, and helped him sign with Decca Records.

In 1957 Monro released "Blue and Sentimental," a collection of standards that, according to legend, he recorded in his bus driver's jacket after rushing to the studio after work. Despite the album's critical acclaim, Monro languished among the many young male singers trying to break through at the end of that decade, many of them emulating Frankie Vaughan by trawling for success with home-grown covers of American hits. (Monro himself even did a "Garden of Eden.") A short contract with Fontana followed, and those recordings find Monro still trying to find the right commercial touch.

By the end of the 1950s, Monro's mid-decade flash of fame had burned out, and he returned to relative obscurity. He and his wife Mickie lived from her wages as a song plugger and his royalties from a "Camay" TV jingle. In 1959 he recorded a country pastiche song, "Bound for Texas," for The Chaplin Revue, a feature-length film released by Charlie Chaplin compiling three of his old First National shorts. It would be the first of many Matt Monro soundtrack themes.

In 1960, George Martin was looking for a singer to record the Sinatra-style ditty that opened the album "Songs For Swinging Sellers," to be used strictly as a guide for Sellers to imitate. Martin offered it to Monro, and when Sellers heard the recording he decided to use it as-is, but bill Monro as "Fred Flange." Though it was a demoralizing experience at the time, the incident developed into a lifelong friendship with Martin, who subsequently asked Monro to begin recording with him for EMI's Parlophone. Their second single, "Portrait Of My Love," reached number two in the British charts and finally established Monro as a star.

The following year, he was named Top International Act by Billboard magazine. His follow-up hits included "My Kind Of Girl" (1961), "Softly As I Leave You" (1962) and the secondary title song from the James Bond film From Russia with Love (1963). In 1964, he represented the United Kingdom at the Eurovision Song Contest, singing "I Love the Little Things." (He finished second behind Italy's 16-year-old Gigliola Cinquetti.) He had a major hit with the The Beatles' "Yesterday" in 1965, releasing the first UK single of the most recorded song of all time (The Beatles demurred, though their version was issued in the U.S. and internationally), and in 1966 he sang the Oscar-winning title song for the film, Born Free, which became his primary signature tune. The opening scene of The Italian Job features Monro singing 'On Days Like These'.

Monro achieved fame in the U.S. when "My Kind Of Girl" (1961) and "Walk Away" (1964) hit the Top 40. In 1966, following the death of Nat "King" Cole, EMI moved Monro from Parlophone to Capitol to maintain an A&R balance on the L.A.-based label. (He had been released by EMI in America previously on the Liberty label). After relocating to California and recording several albums with American arrangers, Monro returned to England and began appearing on EMI's Columbia label, his final U.S. album release being Close To You (1970). He continued touring and recording until just before his death, releasing a single and promoting it throughout England and Australia in 1984. In one of his final appearances he praised Boy George, noting the importance of quality recordings in all musical genres.

Monro died from liver cancer in 1985, leaving a widow, Mickie, and three children: Mitchell, Michele, and Matthew. The 20th anniversary of his passing spotlighted the continuing interest in his music, with a Top 10 tribute compilation CD (UK), a No. 1 concert DVD (UK), a BBC documentary, and an official Web site [1] all appearing in 2005. His daughter Michele has driven many of these projects.

In Autumn 2005 Matt Monro Jr. toured the United Kingdom with a tribute concert commemorating the anniversary. Also, EMI rereleased Matt Sings Monro, a 1995 "duets" album that combined his voice with the senior Monro's. Mitchell, a professional pilot, died of a heart attack in 2004.

In recent years, many singers riding the resurging wave of retro-pop have cited Matt Monro as a strong influence, including Michael Buble, Monica Mancini, and Rick Astley. Musicians' biographies regularly note his stylistic influence on their subjects, including Cass Elliot and Karen Carpenter.

Most of Monro's recordings were produced or overseen by Martin, ensuring a timelessness to both the artistic and technical qualities of the singer's discography. Unlike his contemporaries, Monro sang very few of the Tin Pan Alley standards popular in today's repertoires. Instead, he and Martin searched for material written by promising newcomers and commissioned English lyrics for super-melodies by innovative European composers. One of the most in-demand soundtrack singers of his time, he also covered many of the most popular stage and screen songs of the 1950s and 1960s. Over the years, his recordings featured arrangements by Johnnie Spence, Sid Feller, Billy May, John Barry, Buddy Bregman, Kenny Clayton, Colin Keyes, and Martin himself. Monro also teamed with Nelson Riddle and Billy May for classic BBC concerts.

While Monro's sometime nickname as "the British Sinatra" lingers on, there is a quite marked difference in the two singers. Much of that talk was because Monro popped on the music scene at the same time as the other Sinatra disciples, and it was easy to use his Britishness as a lazy differentiator. It also has been noted by critic Will Friedwald that Monro sang many more Sinatra numbers than Sinatra covered Monro ones ("Softly As I Leave You," "My Kind Of Girl," "Born Free," and a reportedly abandoned "Walk Away"), but the fact is that Monro recorded very few songs "associated" with Sinatra..."My Way," "Strangers In The Night," "This Is All I Ask," "Fly Me To The Moon." True, there were popular songs that they both covered, but Monro never went after Sinatra's material as Friedwald implies. Rather, Monro sought material from the alternate sources described above. He did, however, freely and regularly hail Sinatra as the very best at what he did.

Vocally, there was a wide gulf: Sinatra famously approached songs with an evenly aggressive attitude, while there was a disarming humility in the Englishman's delivery that allowed his big notes to explode with breathtaking drama. For that reason, a music critic recently used the unlikely term "edgy" to describe the singer's style. Monro's 1968 recording of "September Song" is a perfect example of this actual differentiating quality in Monro's style.