WA2K Radio is now on the air

Good morning, WA2K audience.

edgar, I know that song, buddy. Thanks for the reminder. How about one from Nat Cole that reminds us of nature's allure, folks.

Blow...tropic wind...
Sing a song...through the trees.


Trees...sigh to me...
Soon my love...i will see.


Poinciana,
Your branches speak to me of love.
Pale moon is casting shadows from above.


Poinciana,
Somehow I feel the jungle beat
Within me, there grows a rhythmic, savage
Beat.


Love is everywhere, it's magic perfume fills the air.
To and fro, you sway, my heart's in time,
I've learned to care.


Poinciana,
Though skies may turn from blue to gray,
My love will live for ever and a day.


Blow....tropic wind,
Sing a song through the trees.
Trees...sigh to me
Soon my love... I will see.


Poinciana...

June Havoc
From Wikipedia, the free encyclopedia

Birth name Ellen June Hovick
Born November 8, 1913 (1913-11-08) (age 94)/1916
Vancouver, British Columbia, Canada

June Havoc is an American actress, dancer, writer, and theater director. She was born Ellen Evangeline Hovick in Vancouver, British Columbia, Canada. Some sources indicate that her birth name was Ellen June Hovick, and that she was actually born on November 8, 1913 [1], rather than November 8, 1916, which is usually cited as her year of birth.

June was a child vaudeville performer under the tutelage of her mother. She later acted on Broadway and in Hollywood, and directed on- and off-Broadway. She appeared on television as recently as 1990, in the daytime drama General Hospital. She now lives in Wilton, Connecticut.[2]





Early life and career

June Havoc's show business career began in her early childhood as "Baby June."[3] Her older sister, Rose Louise Hovick, best known as Gypsy Rose Lee, was known as Louise to her family. Their mother, Rose Thompson Hovick, had married John Hovick, a newspaper ad man, at the age of fifteen, and was the classic example of a smothering stage mother, though more horrid details were reportedly whitewashed in Gypsy's memoirs.[citation needed]

Following their parents' divorce, the two sisters earned the family's money by appearing in vaudeville, where June's talent shone while Louise stood in the background. June, in 1929, planned to elope with Bobby Reed, a boy in the act. Rose had Bobby arrested and he was met at the police station by Rose, carrying a hidden gun. She pulled the trigger, but the safety was on and Bobby was freed. June left the act and married Bobby. Apparently, he fathered her only child, April Reed (born circa 1930). Louise gravitated to burlesque, taking the name Gypsy Rose Lee.

June, adopting the name June Havoc, got her first acting break on Broadway in Rodgers and Hart's Pal Joey, and moved on to Hollywood roles in such movies as Gentleman's Agreement.

She married for a second time, in 1935 to Donald S. Gibbs, and a third time, in 1949, to William Spier.

June and Gypsy continued to get demands for money from their mother, who had opened a lesbian boardinghouse in a ten-room apartment on West End Avenue, in New York City, the property rented for her by Gypsy, and a farm in Highland Mills, New York. Rose shot and killed one of her guests (who, according to Erik Preminger, Gypsy's son, was Rose's lover who had made a pass at Gypsy). The incident was explained away as a suicide and Rose was not prosecuted.[citation needed]

Rose died in 1954 of colon cancer. The sisters then were free to write about her without risking a lawsuit. Gypsy's memoirs, titled Gypsy, were published in 1957, and were taken as inspirational material for the Jule Styne, Stephen Sondheim and Arthur Laurents musical Gypsy: A Musical Fable. June did not like the way she was portrayed in the piece, but was eventually persuaded not to oppose it, for her sister's sake. The play and the subsequent movie deal assured Gypsy a steady income. Gypsy Rose Lee died of cancer in 1970.

To set the record straight, June wrote two memoirs, Early Havoc and More Havoc. She also wrote a play, Marathon '33 based on her memoirs, Early Havoc.


Honors

June Havoc was nominated for a Tony Award for best director in 1964, for Marathon '33, which she also wrote. The June Havoc Theatre, housed at the Abingdon Theatre in New York, was named for her in 2003.[4][5]

Patti Page
From Wikipedia, the free encyclopedia



Background information

Birth name Clara Ann Fowler
Born November 8, 1927 (1927-11-08) (age 80), Claremore (some sources give Muskogee), Oklahoma, United States
Genre(s) Country music, Traditional Pop
Years active 1948- Present
Label(s) Mercury, Columbia, Avco, Plantation
Associated
acts Frank Sinatra, Doris Day, Tony Bennett, Connie Francis, Eddy Arnold
Website The Official Patti Page Website

Patti Page (born Clara Ann Fowler on November 8, 1927 in Claremore (some sources give Muskogee), Oklahoma) is one of the best-known female singers in traditional pop music. She is the best-selling female artist of the 1950s[1] and was among the first to cross over from country music to pop. Her recording career spans the years 1947 to 1981. Page continues to perform live and was billed as "The Singing Rage, Miss Patti Page".




Early life and rise to success

She was born into a large and poor farming family, whose mother and older sisters picked cotton. They went without electricity, so young Clara could not read after dark, as she related on TV many years later. Clara Ann Fowler became a featured singer on a 15-minute radio program on radio station KTUL, Tulsa, Oklahoma at age 18. The program was sponsored by the Page Milk Company[2] [3]; thus, young Clara Ann Fowler became Patti Page on the air. In 1946, Jack Rael, a band manager, came to Tulsa to do a one-nighter. He turned on the radio, and heard the musical program with the 18-year-old featured vocalist. He liked what he heard, and asked her to join the Jimmy Joy band, which Rael managed. Eventually, both left the band, and Rael became Patti's personal manager [4] and leader of the backup orchestra for many of her recordings.


Recording career

In 1947, she recorded a song called "Confess" which had a portion requiring one singer to answer another. (The other hit version involved a duet of Doris Day and Buddy Clark.) Because of a low budget, a second singer could not be hired, so Jack Rael suggested that Page sing the second part as well. The novelty of her doing two voices on one record possibly contributed to the song becoming a Top 20 hit for her.

At the time, most record companies had a director of Artists and Repertory (the "A&R man"), who tightly controlled all the choices of artist-song assignments, and Mercury Records' A&R man was Mitch Miller, who became famous later on as the A&R man who brought Columbia Records into a dominant position in pop music in the early 1950s). After recording "Confess", Page (or Rael, or both) liked the multiple-voice idea so much, that she asked to do an entire song as a quartet[5]. Miller was skeptical[5], until Page recorded a four-bar song demo in four different voices, and played the sample for Miller[citation needed].

Reluctantly[citation needed], Miller permitted it, and the song, "With My Eyes Wide Open I'm Dreaming" became another big hit for Page, her first to sell a million. Although both Mary Ford and Jane Turzy became known for it, Page was actually the first singer to record multiple tracks on the same song ("Confess")[6]. On some of the records, she was billed as "Vocal by Patti Page, Patti Page, and Patti Page," and in at least one case ("With My Eyes Wide Open I'm Dreaming"), she was given quadruple billing.

Page's first number one hit was "All My Love". It was based on Maurice Ravel's "Bolero". "All My Love" was #1 for five weeks in 1950.

Her biggest hit was "The Tennessee Waltz", which was also released in 1950. "The Tennessee Waltz" was #1 for thirteen weeks in 1950. In 1963, she left Mercury Records for Columbia Records, returning to Mercury in 1971. While at Columbia, she scored her most recent Top 10 pop hit in 1965 with the title song from the Bette Davis film Hush, Hush, Sweet Charlotte. In 1973, she went back to the Columbia again, recording for their Epic Records subsidiary.

Page had a huge hit in 1953, "(How Much Is) That Doggie in the Window?", a novelty song that written by Bob Merrill in 1952. It was adapted from a well-known Victorian music hall song. Page recorded it in 1952, and it made #1 on the Billboard and Cash Box charts in 1953. To say that it was a major hit would be a tremendous understatement; it was almost constantly on the radio at that time.[citation needed]


Later career

In 1974 and 1975, she recorded for Avco Records, and, in 1981, recorded for Plantation Records, her most recent record label. Page's most recent single to appear on any Billboard chart was the 1982 #80 country single, "My Man Friday". (She last appeared on the pop chart in 1968, with her version of O.C. Smith's hit, "Little Green Apples", and on the Adult Contemporary chart with "Give Him Love" in 1971.)

Page made the country chart in up to 1983, with her biggest hit during that time being "Hello, We're Lonely," a 1973 #14 duet with Tom T. Hall.

In the 1990s, Page started her own label, C.A.F. Records. In 1998, she won a Grammy as "Best Traditional Pop Singer". Many of her songs have a strong beat to them that prelude rock 'n' roll. These titles include "Mister and Mississippi", "Detour" and "Cross Over the Bridge". In 1956, she married choreographer Charles O'Curran. They adopted two children, a daughter, Kathleen, and a son, Daniel O'Curran.


Life today

Patti Page and Charles O'Curran divorced in 1972. In 1990, she was wed to Jerry Filiciotto, with whom she runs a maple syrup business in New Hampshire. Until recently, Page was also host of a weekly Sunday program on the "Music of Your Life" radio network (now distributed to individual radio stations via satellite by Jones Radio Networks).

Alain Delon
From Wikipedia, the free encyclopedia

Born November 8, 1935 (1935-11-08) (age 72)
Sceaux, France
Years active 1957 - present
Spouse(s) Nathalie Barthélemy (1964-1968); 1 child
[show]Awards
César Awards
Best Actor
1985 Notre histoire

Alain Delon (b. 8 November 1935, Sceaux, France) is a French actor, one of the best known outside his native country.

Delon's star rose quickly, and by the age of twenty-three he was garnering comparisons to French screen legends such as Gérard Philipe and Jean Marais, as well as American actor James Dean. He was even called the male Brigitte Bardot. Not wanting to fall back on his looks, Delon tried to take roles that presented him with more of a challenge. In particular he took parts playing a thief or gangster. Over the course of his career, Delon has worked with legendary directors, including Luchino Visconti, Jean-Luc Godard, Jean-Pierre Melville, Michelangelo Antonioni, and Louis Malle.

Delon acquired, as well as his French nationality, Swiss citizenship in 1999 and the company managing products sold under his name is based in Geneva.





Youth

Delon was born in Sceaux, Île-de-France, not far from Paris. His parents, Fabien and Édith, divorced when Delon was young. Both remarried, and Delon has a half-sister, and two half-brothers. He attended a Roman Catholic boarding school, the first of several schools from which he was expelled, because of unruly behavior. Despite this behavior he was more than competent as a student. Teachers once tried to convince him to enter the priesthood because of his aptitude in religious studies.

At fourteen Delon left school, and worked for a brief time at his stepfather's butcher shop. He enlisted in the army three years later, and in 1953, aged 17, was sent to fight in the First Indochina War. Delon has said that out of his five years of military service he spent 11 months in prison for being "undisciplined". After being dishonorably discharged from the army he returned to Paris. He had no money, and got by on whatever employment he could find. He spent time working as a waiter, a porter, and a sales clerk. During this time he became friends with the actress Brigitte Auber, and joined her on a trip to the Cannes Film Festival, where his film career would begin.


Career

At Cannes, Delon was seen by a talent scout for David O. Selznick. After a successful screen test Selznick offered him a contract, provided he learn English. Delon returned to Paris to study English, but when he met French director Yves Allégret, he was convinced that he should stay in France to begin his career. Selznick allowed Delon to cancel his contract, and Allégret gave him his debut in the film Quand la Femme s'en Mêle (When the Woman Butts In). Delon then got to show a comedic aspect of himself in the film Faibles Femmes (Women Are Weak). This was also the first of his films to be seen in America, where it became a success.

The first role to really test Delon as a serious actor was in René Clement's Purple Noon, which was based on the Patricia Highsmith novel The Talented Mr. Ripley. Delon played the killer/anti-hero Tom Ripley. The film was well-received.

But it was Visconti's Rocco and His Brothers that helped solidify Delon's status as an important new actor. Critic Bosley Crowther of the New York Times said Delon's work was : "touchingly pliant and expressive." John Beaufort, in the Christian Science Monitor said: "Rocco's heartbroken steadfastness furnishes the film with the foremost of its ironic tragedies ... ts believability rests finally on Mr. Delon's compelling performance." In 1964, the Cinémathèque Française held a showcase of Delon's films. That he received this honor so soon into his career distinguished him from most other young stars.

Delon's stage début came in 1961. He performed John Ford's play, 'Tis Pity She's a Whore alongside Romy Schneider in Paris. The production was directed by Visconti, who Delon would work with again for Il Gattopardo (The Leopard). Many directors chose to work with Delon time and time again. Among these is Jean-Pierre Melville. Melville directed Delon in Un Flic, Le Cercle Rouge, and most notably in Le Samouraï.

In 1964, Delon started a production company, Delbeau Production, with Georges Beaume. They produced a film called L'insoumis, which had to be re-edited due to legal issues. Delon then started his own production company, Adel and starred in the company's first film, Jeff. Delon followed the success of the film with Borsalino, which became one of France's highest grossing films of the time.

In 1973, he made a duet with the French pop singer Dalida on "Paroles, paroles", which was a big hit in France, Japan, Canada, and many other countries. [citation needed]

He was awarded the Best Actor César Awards (French equivalent of Oscars) for his role in Bertrand Blier's "Notre histoire" (1984). But, after a string of box office failures in the late 1980s and 1990s, culminating in the surprising box-office failure of Patrice Leconte's Une chance sur deux, Delon announced his decision to give up acting in 1997, although he still occasionally accepts roles which interest him.

In 1990, he worked with auteur Jean-Luc Godard, on Nouvelle vague, in which he played twins. In 2003, the Walter Reade Theater showed a series of Delon's films under the aegis, Man in the Shadows: The Films of Alain Delon.

Most recently, it has been announced that he will play a role in a film called L'Ennemi public n°1, a biopic on the life of Jacques Mesrine, "the biggest gangster France has ever known" [citation needed], with Vincent Cassel in the title role.

There is a popular cigarette brand, available only in Southern Asia, that bears his name. [citation needed]


Products

Since the formation of a perfume label in his name, Alain Delon has had a variety of products sold under his name including clothing, eyewear, stationary and cigarettes.[1]

Delon's sunglasses brand became particularly popular in Hong Kong after actor Chow Yun Fat wore them in the 1986 crime film A Better Tomorrow (as well as two sequels). Delon reportedly wrote a letter thanking Fat for helping the sunglasses sell out in the region [2] . The film's director John Woo has aknowledged Delon as one of his idols and wrote a short essay on Le Samourai for the Criterion Collection DVD release [3]


Relationships and family

Delon was engaged to actress Romy Schneider, whom he met when they appeared together in the film Christine.

In August 1964, shortly after the broken engagement, he married Nathalie Barthélemy. Their son, Anthony Delon was born in September. The couple divorced four years later. He had a long relationship with French actress Mireille Darc over the following years.

In the 1990s, he fathered Anouchka and Alain-Fabien, who attended the International School of Amsterdam, by Dutch model, Rosalie van Breemen (they met in 1987 on the shooting of the video clip of his song "Comme au cinéma"). Delon and Van Breemen separated in 2001 or 2002.

It was speculated that he had an affair with German actress and singer Nico. In 1962, Nico had a son, Christian Aaron Boulogne, and claimed that he was fathered by Delon. Delon has denied this. [citation needed]


Scandal

In 1968, one of Delon's bodyguards, Stevan Markovic, was found shot in the head in a dumpster outside Delon's home. Delon's friend, Corsican gangster François Marcantoni, was charged with accessory to murder. Delon himself was held by police for questioning, despite the fact that the murder took place in Paris, and Delon was filming in St. Tropez. Delon's then-wife, Nathalie, was also questioned.

English language
The English Language

Have you ever wondered why foreigners have trouble with the English Language?

Let's face it
English is a stupid language.
There is no egg in the eggplant
No ham in the hamburger
And neither pine nor apple in the pineapple.
English muffins were not invented in England
French fries were not invented in France.

We sometimes take English for granted
But if we examine its paradoxes we find that
Quicksand takes you down slowly
Boxing rings are square
And a guinea pig is neither from Guinea nor is it a pig.

If writers write, how come fingers don't fing.
If the plural of tooth is teeth
Shouldn't the plural of phone booth be phone beeth
If the teacher taught,
Why didn't the preacher praught.

If a vegetarian eats vegetables
What the heck does a humanitarian eat!?
Why do people recite at a play
Yet play at a recital?
Park on driveways and
Drive on parkways

You have to marvel at the unique lunacy
Of a language where a house can burn up as
It burns down
And in which you fill in a form
By filling it out
And a bell is only heard once it goes!

English was invented by people, not computers
And it reflects the creativity of the human race
(Which of course isn't a race at all)

That is why
When the stars are out they are visible
But when the lights are out they are invisible
And why it is that when I wind up my watch
It starts
But when I wind up this observation,
It ends.

Good morning, hawkman. Thank you once again for the information on the famous folks. I think most of our audience will agree that English is a crazy language. Wonder why they did name the furry little creature a Guinea Pig? I think it was so scientists could determine facts about brown eyes, blues eyes, or some other variety.

Wow! I read Bram Stoker's Dracula when I was little, and, of course, never cared about his background. The fact that he was Irish was a big surprise.

Until our Raggedy arrives, how about a funny song about Transylvania.

"Transylvania 90210"

My room came alive, my dog just died, stacked 13 pennies in his eyes
I stared at the wall, it stared back at me
Started to breath and then it started to bleed

The moon cracked open and it started to flow
And my future was exposed
The gods gave me my own TV show and they called it
Transylvania 90210

I had a plastic casket with candy bones inside
I put the skeleton together and it came to life
He said that I looked bored, he took a knife from the drawer
He said kill for me, what are you waiting for?

The moon cracked open and it started to flow
And my future was exposed
The gods gave me my own TV show and they called it
Transylvania 90210

The moon cracked open and it started to flow
And my future was exposed
The gods gave me my own TV show and they called it
Transylvania 90210
Transylvania
90210
Tranyslvania
90210
Transylvania
90210

A happy birthday wish, and Jim Croce song for Setanta

If I could save time in a bottle
The first thing that Id like to do
Is to save every day
Till eternity passes away
Just to spend them with you

If I could make days last forever
If words could make wishes come true
Id save every day like a treasure and then,
Again, I would spend them with you

But there never seems to be enough time
To do the things you want to do
Once you find them
Ive looked around enough to know
That you're the one I want to go
Through time with

If I had a box just for wishes
And dreams that had never come true
The box would be empty
Except for the memory
Of how they were answered by you

But there never seems to be enough time
To do the things you want to do
Once you find them
Ive looked around enough to know
That you're the one I want to go
Through time with

Welcome back, ehBeth. Are you saying that today is that Irishman's birthday? Just found out that Bram Stoker was Irish.

Love Jim Croce and that song as well, TO.

Another for Setanta.

Like the pine trees linin' the windin' road
I've got a name, I've got a name
Like the singin' bird and the croakin' toad
I've got a name, I've got a name
And I carry it with me like my daddy did
But I'm livin' the dream that he kept hid
Movin' me down the highway
Rollin' me down the highway
Movin' ahead so life won't pass me by

Like the north wind whistlin' down the sky
I've got a song, I've got a song
Like the whippoorwill and the baby's cry
I've got a song, I've got a song
And I carry it with me and I sing it loud
If it gets me nowhere, I'll go there proud
Movin' me down the highway
Rollin' me down the highway
Movin' ahead so life won't pass me by

And I'm gonna go there free
Like the fool I am and I'll always be
I've got a dream, I've got a dream
They can change their minds but they can't change me
I've got a dream, I've got a dream
Oh, I know I could share it if you want me to
If you're going my way, I'll go with you
Movin' me down the highway
Rollin' me down the highway
Movin' ahead so life won't pass me by

Well, it seems that we tend to be "two ships that pass in the night", and it ain't even night yet.

Until that famous photographer arrives, I, myself, became curious about Ian Hunter



Girl-things ain't been goin' too good for me
Girl-i'm living in the middle of a mystery
You're the only one that can turn me on

'n' now that you're gone I said
Girl-i'm livin' in the middle of your memory
Girl-you're still the figure in my favorite fantasy

I know you know
That's the way it goes
And still my love grows-i said

All o' the good, all o' the good ones are taken
All o' the good, all o' the good ones are taken

I'm hangin' around with my head in the air
Watchin' the lovers go by
I had a lover-but she never cared
All you could say was goodbye

Maybe I was mistaken
Maybe I got it wrong

But all of the good ones are taken from now on
'n' girl-i'm livin' in the middle of a broken dream
I said girl-all this fallin' in love ain't like it seems

Out in the rain-can't you feel my pain
Again 'n' again 'n' again 'n' again 'n' again

All of the good, all o' the good ones are taken
Maybe I was mistaken-maybe I got it wrong
But all of the good ones are taken in my song

Hi. Sorry I'm late. Just back from an appointment. This one didn't fare so well.

Bram Stoker, Margaret Mitchell, June Havoic, Patti Page; Alain Delon and Bonnie Raitt (Loved her dad's voice.)

Ah, Raggedy. I really know how you feel, gal. Drill--there's another one of those words with multiple meanings and varying parts of speech.

I vaguely remember John Raitt, and I certainly know many of the songs from Oklahoma, but Bonnie I simply cannot recall.

Sheeeze. I just found out that Kokomo was in Indiana. Alain must be French for Alan, because that's my handy man's first name.

Thanks for the great collage, PA. It takes guts to do something when one is in pain.

I think most of us know all of your celebs, but let's hear one from Bonnie.

Write me a few of your lines
When you get home baby
write me a few of your lines
when you get home little baby
write me a few of your lines
that'll be consolation
Lord Honey oh my worried mind

Left my baby
standin' in the backdoor cryin'
Well I left my little baby
standing in the backdoor cryin'
I never felt so sorry
Lord Honey till he said goodbye

Kokomo me baby
Kokomo me right
Kokomo your mama,
she'll be back tomorrow night
I'd like to cry in your arms tonight
baby don't you wanna go?
Right on to Lemon Light City
Sweet home Kokomo

Go on down to the river baby
goin' to sit down on the ground
well I'm goin' down to the river baby
goin' to sit down on the ground
And let the way of the water
Lord Honey wash my troubles down

Kokomo me baby
Kokomo me right
Kokomo your mama,
she'll be back tomorrow night
I gotta cry with you baby
baby don't you wanna go?
Right on to Lemon Light City
Sweet home Kokomo

here's one of my fave ian hunter songs

Central Park n' West
Ian Hunter

The Gulf and Western Garbage
Just ain't the prettiest smell
When you're sleeping on the 4th floor up
It's like a living hell
New York's finest rounding up the bums
The firemen get no rest,
and ambulances signal death, on Central Park 'n' West.

Now there ain't no sheets upon my bed,
just a mattress and some wine.
The rain is pouring through the night
and I'm glad my life is mine.
When Frank Carillo plays guitar
trying to get it off his chest.
He gets the words he needs tonight
on Central Park 'n' West.

And I think, I think, I think, I think, I think it's the best,
when I'm locked in the middle of New York city on Central Park 'n' West
and I know, I know, I know, I know, I know it's a mess,
but you've got to be crazy to live in the city, and New York city's the best.

And we all want just someone just like me
in the city we call home.
She leaves me sometimes when I write,
'cause I write better on my own.
Bag ladies take my dollars)
put my conscience to the test.
But waitresses give me coffee free
on Central Park 'n' West.

So sing soul woman, sing the songs)
it's time to sing them now.
I'm getting more than high from hearin' 'em
don't sing them quiet, sing them loud.
For you sang with the best of them
but now you're just a guest.
I tell you we'll get a hotel room
on Central Park 'n' West.

'Cause I think, I think, I think, I think, I think it's the best,
when I'm locked in the middle of New York city on Central Park 'n' West
and I know, I know, I know, I know, I know it's a mess,
but you've got to be crazy to live in the city, and New York city's the best.

I know, I know, I know, I know, I know, oh yeah.

I think, I think, I think, I think, I think it's the best,
when I'm locked in the middle of New York city on Central Park 'n' West.

I know, I know, I know, I know, I know it's a mess,
but you've got to be crazy to live in the city, and New York city's the best.

dj, Welcome back. We missed you, and I noticed that Tai is back as well.

You introduced Ian Hunter to our radio, and frankly, I had no idea about him until I ran across "All the Good Ones Are Taken." Like the lyrics to that one, Canada, and I think I'll play this one as it seems to match.

Bill Withers

Ain't no sunshine when she's gone.
It's not warm when she's away.
Ain't no sunshine when she's gone
And she's always gone too long anytime she goes away.

Wonder this time where she's gone,
Wonder if she's gone to stay
Ain't no sunshine when she's gone
And this house just ain't no home anytime she goes away.

And I know, I know, I know, I know, I know,
I know, I know, I know, I know, I know, I know, I know,
I know, I know, I know, I know, I know, I know,
I know, I know, I know, I know, I know, I know, I know, I know

Hey, I ought to leave the young thing alone,
But ain't no sunshine when she's gone, only darkness everyday.
Ain't no sunshine when she's gone,
And this house just ain't no home anytime she goes away.

Anytime she goes away.
Anytime she goes away.
Anytime she goes away.
Anytime she goes away.

I like the repetition, folks, because it gives us the feel of the song.

good evening listeners !
here is HANK SNOW to sing MY NOVA SCOTIA HOME for you .






this is how i remember him from his TV appearances .
btw we have two old lp's with his recordings

Well, my goodness, folks. We have three Canucks/canajuns with us this evening.

I love The Singing Ranger, hbg, and I especially like that one that you just played. Thanks, buddy.

Hank had a great voice, too. Here's another by him, y'all.

Written and recorded by Hank Snow

(spoken)
Well howdy boys, howdy, man, man it sure seems like a long time
since I last rode down this old trail. How ya all anyhow?
Fellas, you see, I still have this old cigar box with me. Yes Sir!
And better yet, all the boys out here at the R.K. Ranch are singin'
a new song now. Hope you like it because it's my answer to
The Blue Velvet Band. It goes like this.

By and old willow tree in the churchyard
On the banks of the old Rio Grande
Lies a loved one who died broken hearted
She was known as the Blue Velvet Band

She was called by the angels up yonder
As the dew kissed the pale summer rose
As we stood there in silence, dishearted
These words to her lover did go

Dear Jack, you mistrusted your darling
You said that my love wasn't true
You've roamed o'er the wide open spaces
But my thoughts, they were always of you

Now, my last wish was once more to see you
But they say you're in some foreign land
You're forgiveness is in this last message
From your heartbroken Blue Velvet Band

Far away o'er the lone western prairie
Her message sped fast o'er the way
To the side of a bed where her cowboy
Was grieving his life fast away

Please grant a last wish, boys, and lay me
Out West on that old Rio Grande
Neath that old willow tree in the churchyard
By my sweetheart, the Blue Velvet Band

May as well make it four. Yep, we're back. Saw a folksinger named John Wesley Harding in Austin the night before we came home and he sang this song by Jake Thackray:

The Bull

On my farm, the bull is the king of the yard;
He's big and bad and fast, he's strong he's . . . hard.
All my other animals would readily concur
That he is the one you salute, he's the one you call "Sir".
But my hens, a noisy, flighty flock -
Led, of course by my unsubmissive cock -
Whenever His Majesty the bull importantly goes by
They dance along behind him and they cry:
"Beware of the bull!"

The bull, the bull is the biggest of all.
He is the boss, he is, because he's big and we are small.
But the bigger the bull, bigger the bull, bigger the balls.
The bigger the bull, the bigger and quicker and thicker the bullshite falls.

Beware of the bull! The dancing cock is right:
Beware of whoever looks down upon you from a height.
Beware of His Honour, His Excellence, His Grace, His Worshipful,
Beware of His Highness, because of the bull.
For if the boss, the chief, the chap at the top
Should let a single lump of claptrap drop,
The greater the weight and the height he is, the harder it will go
With a grander splat! on the bleeders below.
Beware of the bull!

The bull, the bull is the biggest of all.
He is the boss, he is, because he's big and we are small.
But the bigger the bull, bigger the bull, bigger the balls.
The bigger the bull, the bigger and quicker and thicker the bullshite falls.

The hero arrives, we hoist him shoulder-high.
He's good and wise and strong, he's brave, he's . . . shy.
And how we have to plead with him, how bashfully he climbs
Up the steps to the microphone - two at a time.
Then down it comes: slick, slithery pat!
If you must put people on pedestals, wear a big hat.
The tongue he's got is pure gold, the breast is pure brass,
The feet are pure clay - and watch out for the arse.
Beware of the bull!

The bull, the bull is the biggest of all.
He is the boss, he is, because he's big and we are small.
But the bigger the bull, bigger the bull, bigger the balls.
The bigger the bull, the bigger and quicker and thicker the bullshite falls.

At long last, the revolution comes
And in no time at all we're erecting podiums.
Comrades with chests of medals by the balcony-full;
After the Red Flag, the galloping bull.
The Saviour came especially from on high
To face up to the punters eye-to-eye.
No sooner is he dead and gone, there's blessed pulpits-full;
Bestride the holy lamb, behold the bull.
Beware of the bull!

The bull, the bull is the biggest of all.
He is the boss, he is, because he's big and we are small.
But the bigger the bull, bigger the bull, bigger the balls.
The bigger the bull, the bigger and quicker and thicker the bullshite falls.

These well-known men, so over-glorified -
There's one of them here his name's on the poster outside -
And he's up here like this, and you are all down there.
Remember his cock and his bull and mutter: "Beware!"
For when they've done, we clap, we cheer, we roar:
"For he is a jolly good fellow! Encore! More, more!"
How glorious it would be if before these buggers began
We all stood up together and solemnly sang:
"Beware of the bull!"

The bull, the bull is the biggest of all.
He is the boss, he is, because he's big and we are small.
But the bigger the bull, bigger the bull, bigger the balls.
The bigger the bull, the bigger and quicker
And the bigger and quicker and thicker
And the bigger and quicker and thicker and slicker the bullshite falls.


Here's the YouTube version

And a Jewish Canadian - Leonard Cohen.

1. The Guests


One by one, the guests arrive
The guests are coming through
The open-hearted many
The broken-hearted few

And no one knows where the night is going
And no one knows why the wine is flowing
Oh love I need you
I need you
I need you
I need you
Oh . . . I need you now

And those who dance, begin to dance
Those who weep begin
And "Welcome, welcome" cries a voice
"Let all my guests come in."

And no one knows where the night is going ...

And all go stumbling through that house
in lonely secrecy
Saying "Do reveal yourself"
or "Why has thou forsaken me?"

And no one knows where the night is going ...

All at once the torches flare
The inner door flies open
One by one they enter there
In every style of passion

And no one knows where the night is going ...

And here they take their sweet repast
While house and grounds dissolve
And one by one the guests are cast
Beyond the garden wall

And no one knows where the night is going ...

Those who dance, begin to dance
Those who weep begin
Those who earnestly are lost
Are lost and lost again

And no one knows where the night is going ...

One by the guests arrive
The guests are coming through
The broken-hearted many
The open-hearted few

And no one knows where the night is going ...