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In the mood for love

In the mood for love

I’m in the mood for love
Simply because you’re near me
Funny but when you’re near me,
I’m in the mood for love
Heaven was in your eyes,
Bright as the stars we’re under,
Oh is it any wonder?
I’m in the mood for love
Why stop to think of whether
This little dream might fade,
We’ve put our hearts together
Now we are one, and I’m not afraid.
If there’s a cloud above,
If it should rain, we’ll let it.
But for tonight forget it,
Cause I’m in the mood for love
But for tonight forget it,
Cause I’m in the mood
Oh! What a mood!
I’m in the mood for love!

Quien eres tú

Quien eres tú

Dí quien eres tú
me quemas con tu luz
como sólo mira el diablo
me clavó contra la pared
no sé quien puede ser...
Dí quien eres tú
llegabas desde el sur
como un gallo alborotado
el deseo sobre la piel
buscando donde beber...
Como pesa el calendario sin tí
en la cruz que hay en tu mano lo ví
esta tumba que es mi cama
aún conserva restos de tí
llueve maldito abril!
..era todo tan perfecto
junto a él descendí al infierno
y al cielo también subí.
Como pesa el calendario sin tí
en la cruz que hay en tu mano lo ví
esta tumba que es mi cama
aún conserva restos de tí
llueve maldito abril...
es primavera una vez más maldito abril!

Mambo Italiano

Mambo Italiano

A boy went back to Napoli,
because he missed the scenery,
the native dancers and the charming songs.
But wait a minute, something’s wrong

Hey! Hey!
Now it’s hey Mambo, Mambo Italiano!
Hey Mambo, Mambo Italiano!
Go, go, Joe, you mixed up Sigiliano.
All you Calabrese do the mambo like crazy.

And hey Mambo! Don’t wanna tarantella,
Hey Mambo! No more-a moozzarella.
Hey Mambo! Hey Mambo Italiano.
Try an enchilada with a fish-a-barcalada.

Hey goombah!
I love-a how you dance rumba.
But take-a some advice paisano,
learn how to mambo.
If you’re gonna be a square,
you’re never gonna go nowhere.

Hey Mambo, Mambo Italiano!
Hey Mambo, hey Mambo Italiano!
Go, go, Joe, shake-a like a Gioviano.
Hello quesadicha,
you getta happy in the feets-a
when you Mambo Italiano!

Shake-a baby, shake-a,
’cause I love-a when you take-a me.

Hey Jagool!
You don’t-a have to go to school,
just make a little beef flambino.
It’s-a like-a vino.
Kid you’re good-lookin’,
but you don’t know what’s-a cookin’ till you
Hey! Hey! Hey! Hey! Hey! Hey!

Shake-a baby, shake-a,
’cause I love it when you take-a me
by the pizzeria down-a where I’m gonna be-a.
Don’t ya tell your mama.
Mama’s gonna tell-a papa.
There’s-a nothin’ to it.


Come on baby let’s-a do it!

Hey Mambo, Mambo Italiano!
Hey Mambo, Mambo Italiano!
Go, go, Joe, you mixed up Sigiliano.
It’s-a so delish-a, everybody gonna preshi-ada.
Mambo Italiano!

Do the mambo!

Personality

Personality

Over and over
I tried to prove my love to you
Over and over
What more can I do
Over and over
My friends say I’m a fool
But over and over
I’ll be a fool for you

`cause you got personality
Walk, personality
Talk, Personality
Smile, Personality
Charm, personality
Love, personality
And of Cause you’ve got
A great big heart
So over and over
Oh, I’ll be a fool to you
Now over and over
What more can I do

Over and over
I said that I loved you
Over and over, honey
Now it’s the truth
Over and over
They still say I’m a fool
But Over and over
I’ll be a fool for you

I'll be your mirror

I'll be your mirror

I’ll be your mirror
Reflect what you are, in case you don’t know
I’ll be the wind, the rain and the sunset
The light on your door to show that you’re home
When you think the night has seen your mind
That inside you’re twisted and unkind
Let me stand to show that you are blind
Please put down your hands
’Cause I see you
I find it hard to believe you don’t know
The beauty that you are
But if you don’t let me be your eyes
A hand in your darkness, so you won’t be afraid
When you think the night has seen your mind
That inside you’re twisted and unkind
Let me stand to show that you are blind
Please put down your hands
’Cause I see you
I’ll be your mirror

Vals del minuto

Vals del minuto

I have got a minute, just a little minute,
I have only got a minute, just minute,
I have only got a minute that is all the time
I have to sing this tiny minute waltz
It isn’t easy but I’ll try it
Than I gotta say goodbye
But first I take a minute
And put in it every note that Chopin wrote
and I shall sing the little minute waltz
And hope that I can sing with no faults
and though it’s difficult
I’ll give it every gust of air I got within in my body
Hope that my performance will be very shiny
Singing every note will not do wonders for my throat
I probably will end up hoarse
Of course I will have done it
And a will for that I made
That what I want is not the money
but the satisfaction that I get
from winning money on this silly kind of bet
Though this kind of solo wasn’t his intention
Chopin isn’t here to make an intervention
So with your permission and no intermission
I will sing each note that that composer wrote
as you can hear my trilling isn’t very thrilling
but no one can say I wasn’t very willing
to attempt a thing that’s not been done
and just for fun to sing the minute waltz
As I sing the seconds fly, oh too soon the minute waltzes by
And now I ask you where am I halfway through the tune

Sweet Surrender

Sweet Surrender

You come to me with open arms
trying to rectify my charms
You say tonight I’m to be your lover
and by the morning light I’m to discover
everything that you’ve held inside of you
What’s a man like me supposed to do
sweet oh sweet surrender
sweet, sweet surrender

You tell me that you’re lonely and you’re sad
and tonight I’m to be your only man
You wear those things that turn my head
You ruffle my ego but not my bed
Seems like summer when you’re close at hand
If I seem eager then you’ll understand
sweet, sweet surrender
sweet, sweet surrender

Heart is tired and full of doubt
now you’ve sucked me in don’t spit me out
Lay your head down next to mine
and in each others arms we’ll entwine
Look me straight in the eyes and tell me
between your heart and mind I see
sweet oh sweet surrender
sweet, sweet surrender
Surrender

My favorite things

My favorite things

Raindrops on roses and whiskers on kittens
Bright copper kettles and warm woolen mittens
Brown paper packages tied up with strings
These are a few of my favorite things
Cream colored ponies and crisp apple strudels
Doorbells and sleighbells and schnitzel with noodles
Wild geese that fly with the moon on their wings
These are a few of my favorite things
Girls in white dresses with blue satin sashes
Snow flakes that stay on my nose and eyelashes
Silver white winters that melt into springs
These are a few of my favorite things
When the dog bites, when the bee stings, when I’m feeling sad
I simply remember my favorite things
Like sliver white winters that melt into springs
And then I don’t feel so bad!

Wuthering Heights

Wuthering Heights


Out on the wiley, possess windy moors, we’d roll and fall in green
You had a temper like my jealousy, too hot, too gready
How could you leave me, when I needed to you
I hated you, I loved you too
Bad dreams in the night
You told me I was going to lose the fight
Leave behind my
Wuthering, Wuthering, Wuthering Heights
Heathcliff, it’s me, I’m Cathy, I’ve come home
I’m - so cold, let me in your window
Heathcliff, it’s me, I’m Cathy, I’ve come home
I’m - so cold, let me in your window
Ooh, it gets dark, it gets lonely
On the other side from you
I pine a lot, I find the lot falls through without you
I’m coming back love, cruel Heathcliff
My one dream, my only master
Too long I roam in the night
I’m coming back to his side to put it right
I’m coming home to
Wuthering, Wuthering, Wuthering Heights
Heathcliff, it’s me, I’m Cathy, I’ve come home
I’m - so cold, let me in your window
Heathcliff, it’s me, I’m Cathy, I’ve come home
I’m - so cold, let me in your window
Ooh, let me have it, let me grab your soul away
Ooh, let me have it, let me grab your soul away
You know it’s me, Cathy
Heathcliff, it’s me, I’m Cathy, I’ve come home
I’m - so cold, let me in your window
Heathcliff, it’s me, I’m Cathy, I’ve come home
I’m - so cold, let me in your window
Heathcliff, it’s me, I’m Cathy, I’ve come home
So cold

Over the Rainbow

Over the Rainbow

Somewhere, over the rainbow, way up high,
There’s a land that I heard of once in a lullaby.

Somewhere, over the rainbow, skies are blue,
And the dreams that you dare to dream really do come true.

Someday I’ll wish upon a star
And wake up where the clouds are far behind me.
Where troubles melt like lemon drops
Away above the chimney tops
That’s where you’ll find me.

Somewhere over the rainbow, bluebirds fly,
Birds fly over the rainbow,
Why then, oh why can’t I?

If happy little bluebirds fly
Beyond the rainbow,
Why oh why can’t I?

Amores

Amores

Amores se van marchando
como las olas del mar
amores los tienen todos
pero quien los sabe cuidar.
El amor es una barca
con dos remos en el mar
un remo aprieta mis manos
el otro lo mueve el azar.

Quién no escribió poemas
huyendo de la soledad
quién a los quince años
no dejó su cuerpo abrazar
y quién, cuando la vida se apaga
y las manos tiemblan ya,
quién no buscó ese recuerdo
de una barca naufragar.

Amores se vuelven viejos
antes de empezar a amar
porque el amor es un niño
que hay que enseñar a andar.
El amor es como tierra
que hay que arar y sembrar
míralo al caer la tarde
que no lo vengan a pisar.

Quién no escribió poemas
huyendo de la soledad
quién a los quince años
no dejó su cuerpo abrazar
y quién, cuando la vida se apaga
y las manos tiemblan ya,
quién no buscó ese recuerdo
de una barca naufragar.

Amores se van marchando.

¿ Por qué te vas ?

¿ Por qué te vas ?



Hoy en mi ventana brilla el sol
y el corazón
se pone triste contemplando la ciudad
por qué te vas

Como cada noche desperté
pensando en ti
y en mi reloj todas las horas vi pasar
por qué te vas

Todas las promesas de mi amor se irán contigo
me olvidarás
me olvidarás

Junto a la estación yo lloraré igual que un niño
por qué te vas
por qué te vas
por qué te vas
por qué te vas

Bajo la penumbra de un farol
se dormirán
todas las cosas que quedaron por decir
se dormirán

Junto a las manillas de un reloj
esperarán
todas las horas que quedaron por vivir
esperarán

Todas las promesas de mi amor se irán contigo
me olvidarás
me olvidarás

Junto a la estación yo lloraré igual que un niño
por qué te vas
por qué te vas
por qué te vas
por qué te vas

Todas las promesas
Todas las promesas de mi amor se irán contigo
me olvidarás
me olvidarás

Junto a la estación yo lloraré igual que un niño
por qué te vas
por qué te vas (bis)

O mio babbino caro

O mio babbino caro O mio babbino caro,
mi piace, è bello bello!
Vo’ andare in Porta Rossa
a comperar l’anello.
Sì, sì, ci voglio andare!
E se l’amassi indarno
andrei sul Ponte Vecchio...
ma per buttarmi in Arno!
Mi struggo e mi tormento!
O Dio, vorrei morir!
Babbo, pietà, pietà!
Babbo, pietà, pietà!

Lauretta

Oh, mi papaíto querido,
me gusta, ¡es tan apuesto!
Quiero ir a la Porta Rossa
a comprar el anillo.
¡Sí, sí, quiero ir!
Y si le amase en vano
iría al Ponte Vecchio...
¡pero a tirarme al Arno! *
¡Me consumo y me atormento!
¡Oh, Dios, quisiera morir!
Papá, piedad, ¡piedad!
Papá, piedad, ¡piedad!

* El río de Florencia. Sobre él, en el Ponte Vecchio, se encontraban (y aún existen) varios talleres de joyería.

En el amor todo es empezar

En el amor todo es empezar


A A A A

En el amor todo es empezar

A A A A

En el amor todo es empezar

Si él te lleva a un sitio oscuro
Que no te asuste la oscuridad
Pues casi nunca se está seguro
Si es por amor o para algo más.

A A A A

En el amor todo es empezar

A A A A

En el amor todo es empezar.
Si tú notaras que es un tormento
Y no se acaba de decidir
Para ayudarle es el momento
De que enseguida le des el sí

Explota, explotamé, expló *
Explota, explota mi corazón
Explota, explotamé, expló*
Explota, explota mi corazón

Libe, libe, libelai
Qué desastre si tu te vas

Explota, explotamé, expló
Explota, explota mi corazón

A A A A
En el amor todo es empezar
A A A A
En el amor todo es empezar

Explota, explotamé, expló *
Explota, explota mi corazón
Explota, explotamé, expló*
Explota, explota mi corazón


Libe, libe, libelai
Qué desastre si tu te vas

Explota, explotamé, expló *
Explota, explota mi corazón
Explota, explotamé, expló*
Explota, explota mi corazón

A A A A
En el amor todo es empezar
A A A A
En el amor todo es empezar

Explota, explotamé, expló *
Explota, explota mi corazón
Explota, explotamé, expló*
Explota, explota mi corazón

Libe, libe, libelai
Qué desastre si tu te vas

Explota, explotamé, expló *
Explota, explota mi corazón

(Música ***)

Explota, explotamé, expló *
Explota, explota mi corazón
Explota, explotamé, expló*
Explota, explota mi corazón

Libe, libe, libelai
Qué desastre si tu te vas

Explota, explotamé, expló *
Explota, explota mi corazón
Explota, explotamé, expló*
Explota, explota mi corazón

Explota, explotamé, expló *
Explota, explota mi corazón

Libe, libe, libelai
Qué desastre si tu te vas

Explota, explotamé, expló*
Explota, explota mi corazóóóóón

It Never Rains In Southern California

It Never Rains In Southern California


Got on a board a west bound 747
Didn’t think before deciding what to do
All that talk of opportunities, TV breaks and movies
Rang true, sure rang true.
Seems it never rains in Southern California
Seems I’ve often heard that kind of talk before
It never rains in California
But girl, don’t they warn ya
It pours man it pours.
Out of work, I’m out of my head
Out of self respect I’m out of bread
I’m under loved I’m under fed
I wanna go home
It never rains in California
But girl don’t they warn ya, it pours, man it pours.
Will you tell the folks back home I nearly made it
Had offers but don’t know which one to take
Please don’t tell them how you found me
Don’t tell them how you found me give me a break
Give me a break
Seems it never rains in Southern California
Seems I’ve often heard that kind of talk before
It never rains in California
But girl, don’t they warn ya
It pours man it pours

L'AMOUR EST BLEU

L'AMOUR EST BLEU

Doux, doux, l’amour est doux
Douce est ma vie, ma vie dans tes bras
Doux, doux, l’amour est doux
Douce est ma vie, ma vie près de toi

Bleu, bleu, l’amour est bleu
Berce mon cœur, mon cœur amoureux
Bleu, bleu, l’amour est bleu
Bleu comme le ciel qui joue dans tes yeux

Comme l’eau, comme l’eau qui court
Moi, mon cœur court après ton amour

Gris, gris, l’amour est gris
Pleure mon cœur lorsque tu t’en vas
Gris, gris, le ciel est gris
Tombe la pluie quand tu n’es plus là

Le vent, le vent gémit
Pleure le vent lorsque tu t’en vas
Le vent, le vent maudit
Pleure mon cœur quand tu n’es plus là

Comme l’eau, comme l’eau qui court
Moi, mon cœur, court après ton amour

Bleu, bleu, l’amour est bleu
Le ciel est bleu lorsque tu reviens
Bleu, bleu, l’amour est bleu
L’amour est bleu quand tu prends ma main

Fou, fou, l’amour est fou
Fou comme toi et fou comme moi
Bleu, bleu, l’amour est bleu
L’amour est bleu quand je suis à toi
L’amour est bleu quand je suis à toi


Album : Why Say Goodbye
(Paroles : Pierre Cour / Musique : André Popp, 1967)

Michèle Torr (France)
Vicky Leandros

Waltzing Matilda

Waltzing Matilda

"Waltzing Matilda" is Australia’s most widely known folk song, and one that has been popularly suggested as a potential national anthem many times.

The lyrics were written in 1895 by the poet and nationalist Banjo Paterson, who set them to a slightly different tune. Extensive folklore surrounds the song and the process of its creation, to the extent that the song has its own museum, the Waltzing Matilda Centre of Winton, Queensland.

Official status

There have long been persistent calls for the establishment of Waltzing Matilda as the national anthem over the current national anthem, "Advance Australia Fair". The song is recognisable and easily sung, but its lyrics, narrating the story of a swagman, the Australian equivalent of a hobo, render it unlikely to ever gain acceptance in official circles. Many Australians, however, continue to regard it with great affection. Some have suggested using the same tune, but with different lyrics, but supporters argue the lyrics contribute substantially to the song’s character.

The song enjoyed a brief period of official recognition as the Australian national song (coexisting with "Advance Australia Fair" as the National Anthem). It was used at the Montreal Olympic Games in 1976, and, as a response to the New Zealand All Blacks haka, it has gained popularity as a sporting anthem for the Australia national rugby union team. It is also performed, along with "Advance Australia Fair", at the annual AFL Grand Final. As of 2006 it has no official status, but it continues to be used unofficially (and sometimes in error) in many contexts.

[edit] The song’s appeal

Reasons for the strong empathy Australian’s feel for this song includes its:

* appeal to a rural ideal,
* featuring a underdog or anti-hero,
* status as unofficial,
* links to an historical shearers’ strike that was foundational to the labour movement in Australia, and
* use of many obsolete words and phrases that give native Australian English speakers an insiders knowledge about ths song’s meaning that distinguishes them from outsiders.

[edit] Lyrics

Once a jolly swagman sat beside a billabong,
Under the shade of a coolibah tree,
And he sang as he sat and waited while his billy boiled
"Who’ll come a-Waltzing Matilda, with me?"

Waltzing Matilda, Waltzing Matilda
Who’ll come a-Waltzing Matilda, with me
And he sang as he sat and waited while his billy boiled
"Who’ll come a-Waltzing Matilda, with me?"

Along came a jumbuck to drink beside the billabong,
Up jumped the swagman and seized him with glee,
And he sang as he talked to that jumbuck in his tucker bag,
"You’ll come a-Waltzing Matilda, with me".

Waltzing Matilda, Waltzing Matilda
Who’ll come a-Waltzing Matilda, with me
And he sang as he talked to that jumbuck in his tucker bag,
"You’ll come a-Waltzing Matilda, with me?".

Up rode the squatter, mounted on his thoroughbred,
Down came the troopers, one, two, three,
"Where’s that jolly jumbuck you’ve got in your tucker bag?"
"You’ll come a-Waltzing Matilda, with me".

Waltzing Matilda, Waltzing Matilda
Who’ll come a-Waltzing Matilda, with me
"Where’s that jolly jumbuck you’ve got in your tucker bag?",
"You’ll come a-Waltzing Matilda, with me?".

Up jumped the swagman, leapt into the billabong,
"You’ll never catch me alive," said he,
And his ghost may be heard as you pass by the billabong,
"Who’ll come a-Waltzing Matilda, with me".

Waltzing Matilda, Waltzing Matilda
Who’ll come a-Waltzing Matilda, with me
And his ghost may be heard as you pass by the billabong,
"Who’ll come a-Waltzing Matilda, with me?"

Spoiler warning: Plot and/or ending details follow.

The song narrates the story of an itinerant worker making a crude cup of tea at a bush camp and stealing a sheep to eat. When the sheep’s owner arrives with three police officers to arrest the itinerant worker, he drowns himself in a small lake and haunts the site. The lyrics contain many distinctively Australian words, some now rarely used in Australian English outside this song. These include:

swagman
the Australian equivalent of a hobo; a swagman is a romanticised figure who travelled the country looking for work, usually sporting a hat hung with cork to ward off flies. The swagman’s "swag" was his bundle of belongings.
waltzing
derived from the German term auf der Walz, which means to travel while working as a craftsman and learn new techniques from other masters before returning home after three years and one day, a custom which is still in use today among carpenters.
Matilda
a romantic term for a swagman’s bundle. See below, "Waltzing Matilda."
Waltzing Matilda
from the above terms, "to waltz Matilda" is to travel with a swag, that is, with all one’s belongings on one’s back wrapped in a blanket or cloth. The exact origins of the term "Matilda" are disputed; one fanciful derivation states that when swagmen met each other at their gatherings, there were rarely women to dance with. Nonetheless, they enjoyed a dance, and so they danced with their swags, which was given a woman’s name. However, this appears to be influenced by the word "waltz", hence the introduction of dancing. It seems more likely that, as a swagman’s only companion, the swag came to be personified as a woman.
Another explanation is that the term also derives from German immigrants. German soldiers commonly refered to their greatcoats as "Matilda" supposedly because the coat kept them as warm as a woman would. Early German immigrants who "went on the waltz" would wrap their belongings in their coat and took to calling it by the same name their soldiers had used.
billabong
a stagnant pool found along the side of a river where eddies and directional changes of the water keep it from moving.
coolibah tree
a kind of eucalyptus which grows near billabongs.
jumbuck
a sheep. A "jombok" is a large, fluffy cloud that drifts across inland Australia. The Indigenous Australians, when they saw sheep for the first time, were reminded of jomboks and called them a similar word. An alternative explanation is that it is an Aboriginally pronounced "jump up."
billy
a can for boiling water in, usu. 2-3 pints.
tucker bag
a bag for carrying food ("tucker").
troopers
policemen.
squatter
Australian squatters started as early farmers who raised livestock on land which they did not legally have the right to use, but in many cases later gained legal use of the land even though they did not have full possession and became wealthy thanks to their large land holdings.

[edit] Variations

Current variations include the third line of the verse saying "And he sang as he sat and waited by the billabong" or "And he sang as he watched and waited ’til his billy boiled"; and the third line of the chorus remaining unchanged from the first verse, instead of changing to the third line of each preceding verse.

The lyrics of Banjo Paterson’s original version differ slightly from the ones generally known today, and ran as follows:

Oh, there once was a swagman camped in the billabongs,
Under the shade of a coolibah tree,
And he sang as he looked at the old billy boiling,
Who’ll come a-waltzing Matilda with me?

Chorus:
Who’ll come a-waltzing Matilda my darling,
Who’ll come a-waltzing Matilda with me?
Waltzing Matilda and leading a waterbag,
"Who’ll come a-waltzing Matilda with me?

Up came the jumbuck to drink at the waterhole,
Up jumped the swagman and grabbed him in glee,
And he sang as he put him away in the tucker-bag,
"You’ll come a-waltzing matilda with me."

Chorus

Up came the squatter a-riding his thoroughbred,
Up came policemen one two and three.
Whose is the jumbuck you’ve got in the tucker-bag?
You’ll come a-waltzing matilda with we.

Chorus

Up sprang the swagman and jumped in the waterhole,
Drowning himself by the Coolibah tree.
And his voice can be heard as it sings in the billabongs,
"Who’ll come a-waltzing matilda with me."

Chorus:

An even earlier version used the term "a-roving Australia" rather than "waltzing matilda", although Paterson was talked out of using this.

[edit] History

[edit] Writing of the song

The song was written in 1895 by Banjo Paterson, a famous Australian poet, and the music written (or possibly adapted) by Christina MacPherson. Banjo Paterson wrote the piece while staying at the Dagworth Homestead, a bush station in Queensland. While he was there his hosts played him a traditional Celtic folktune called "the Craigeelee", and Paterson decided that it would be a good piece to set lyrics to, producing the song during the rest of his stay.

The tune is most probably based on the Scottish song "Thou Bonnie Wood of Craigielea" which Christina MacPherson heard played by a band at the Warrnambool steeplechase. Robert Tannahill wrote the words in 1805 and James Barr composed the music in 1818. In 1893 it was arranged for brass band by Thomas Bulch. The tune again was possibly based on the old melody of "Go to the Devil and Shake Yourself" composed by John Field (1782-1837) some time before 1812. It’s sometimes also called: "When Sick is it Tea you want?" (London 1798) or "The Penniless Traveller" (O’Neill’s 1850 collection).

There is also speculation about the relationship it bears to "The Bold Fusilier", a song dated by some back to the eighteenth century.

"Waltzing Matilda" is probably based on the following story:

In Queensland in 1891 the Great Shearers’ Strike brought the colony close to civil war and was broken only after the Premier Samuel Griffith called in the military.

In September 1894, on a station called Dagworth (north of Winton), some shearers were again on strike. It turned violent with the strikers firing their rifles and pistols in the air and setting fire to the woolshed at the Dagworth Homestead, killing dozens of sheep.

The owner of Dagworth Homestead and three policemen gave chase to a man named Samuel Hoffmeister - also called Samuel "French(y)" Hoffmeister. Rather than be captured, Hoffmeister shot and killed himself at the Combo Waterhole.

Bob Macpherson (the brother of Christina) and Paterson are said to have taken rides together at Dagworth. Here they may have passed the Combo Waterhole, where Bob may have told this story to Paterson.

The song itself was first performed on 6 April 1895 at the North Gregory Hotel in Winton, Queensland. The occasion was a banquet for the Premier of Queensland. It became an instant success.

[edit] Ownership

In 1903 it was picked up by the Billy Tea company for use as an advertising jingle, making it nationally famous. A third variation on the song, with a slightly different chorus, was published in 1907. Paterson sold the rights to "Waltzing Matilda" and "some other pieces" to Angus and Robertson Publishers for five pounds (the then currency).

The song was falsely copyrighted by an American publisher in 1941 as an original composition. However, no copyright applies in Australia.

[edit] Covers and derivative works

The song is a feature at many Australian sporting events. "Waltzing Matilda" was performed at the Closing Ceremony of the 2000 Olympic Games in Sydney by legendary singer Slim Dusty — as well as at the Opening Ceremony of the subsequent Sydney 2000 Paralympic Games by Australian pop star Kylie Minogue — and was also sung at the Opening Ceremony of the 1982 Commonwealth Games in Brisbane, by Rolf Harris. It is sung during the pre-game entertainment of the Australian Football League Grand Final each year.

The song has been recorded by many Australian musicians and singers, including by The Seekers,Tenor Australis, Thomas Edmonds, Rolf Harris and Lazy Harry.

In 1958, Bill Haley and His Comets recorded a version with new lyrics entitled "Rockin’ Matilda" (Haley’s version is about a beautiful Australian girl named Matilda).

Bands from other nations, including The Irish Rovers and the Red Army Choir, have also recorded the song.

The score of the 1959 film On the Beach, written by Ernest Gold is based heavily on motifs from "Waltzing Matilda". The film, about the end of the world in a nuclear holocaust, is set in Australia and director Stanley Kramer was insistent on the "Waltzing Matilda" motif. The song itself is heard in the last minutes of On the Beach.

A derivative work, "And The Band Played Waltzing Matilda", was created by Eric Bogle in 1972, and performed most popularly by The Pogues on the album Rum Sodomy & the Lash. The song graphically documents the Australian experience at the Battle of Gallipoli and ANZAC Day remembrance since, from the point of view of a soldier who loses both legs in the fighting. The song incorporates the melody and a few lines of the "Waltzing Matilda’s" lyrics at its conclusion.

The American singer Tom Waits combined "Waltzing Matilda" with original material in "Tom Traubert’s Blues (Four Sheets to the Wind in Copenhagen)", the first track of his 1976 album Small Change.

In 2003 the Scared Weird Little Guys released "Cleanin’ Out My Tuckerbag", an comic interpretation of the song in the vein of Eminem’s "Cleanin’ Out My Closet" and "Lose Yourself".

In the story "The Mountain Movers" by Australian Science Fiction writer A. Bertram Chandler, the song gets new words in the mouth of future Australian space adventurers, with the first stanza running:

"When the jolly Jumbuk lifted from Port Woomera
Out and away for Altair Three
Glad were we all to kiss the tired old Earth goodbye
Who’ll come a-sailing in Jumbuk with me?"

"Waltzing Matilda" is the official march of the U.S. 1st Marine Division, commemorating the time the unit spent in Australia during the Second World War.

If You Can't Give Me Love

If You Can't Give Me Love

(Chapman/Chinn)

Well I’ve seen you before on that discotheque floor
You were driving me out of my mind
But I could have swore that I saw something more in your eyes
Although you were surrounded by beauty unbounded
Your glance was intended for me
And though I tried to hide it I found myself looking to see you
So then you took your chances, you made your advances
Your touch took my breath away
But when you said hello, are you ready to go
Well I had just one thing to say

If you can’t give me love honey, that aint enough
Let me go look for somebody else
If you can’t give me feelings with old fashioned meanings
You’re just in love with yourself
If you can’t give me love(Love)If you can’t give me love(Love)
If you can’t give me love(Love)If you can’t give me love(Love)
If you can’t give me love(Love)

Well you may be the king of this discotheque scene
But honey I aint looking for that
What I need is a man, not some so-called aristocrat
Oh if only you’d waited, just hesitated, or maybe just asked me to dance
But you really don’t know why I don’t want to go
And baby that’s why we don’t stand a chance

So if you can’t give me love honey, that aint enough
Let me go look for somebody else
If you can’t give me feelings with old fashioned meanings
You’re just in love with yourself
If you can’t give me love(Love)If you can’t give me love(Love)
If you can’t give me love(Love)If you can’t give me love(Love)
If you can’t give me love(Love)

Oh if you can’t give me love honey, that aint enough
Let me go look for somebody else
If you can’t give me feelings with old fashioned meanings
You’re just in love with yourself

If you can’t give me love honey, that aint enough
Let me go look for somebody else
If you can’t give me feelings with old fashioned meanings
You’re just in love with yourself
If you can’t give me love(Love)If you can’t give me love(Love)
If you can’t give me love(Love)If you can’t give me love(Love)
If you can’t give me love(Love)If you can’t give me love(Love)
If you can’t give me love(Love)If you can’t give me love(Love)
Give me love(Love)Give me love(Love)
Give me love(Love)Give me love(Love)
Give me love(Love)

I've Told Every Little Star

I've Told Every Little Star Da-dum, da-da-da-da-da-da-da
Da-dum, da-dum
Da-da-da-da-da-da-da-da
Da-dum, Da-dum
Da-da-da-da-da-da-da-da
Why haven’t I told you

Oh, baby, I’ve told every little star
Just how sweet I think you are
Why haven’t I, I told you

Da-dum, da-da-da-da-da-da-da

I’ve told ripples in a brook
Made my heart an open book
Why haven’t I, I told you

Friends ask me "am I in love"
I always answer "yes"
Might as well confess
If the answers yes

Maybe, you may love me too
Oh, my darling, if you do
Why haven’t you told me

Da-dum, da-da-da-da-da-da-da
Da-dum, da-dum
Da-da-da-da-da-da-da-da

Friends ask me "am I in love"
I always answer "yes"
Might as well confess
If the answers yes

Maybe, you may love me too
Oh, my darling, if you do
Why haven’t you told me

Da-dum, da-da-da-da-da-da-da
Da-dum, da-dum
Da-da-da-da-da-da-da-da
Da-dum, da-dum
Da-da-da-da-da-da-da-da
Da-dum, da-dum


Linda Scott was a pop singer active in the early to mid 1960’s. She was born in Queens, New York as Linda Joy Sampson on June 1st 1945. Her biggest hit was the 1961 million-selling hit ’I’ve Told Every Little Star’. She went on to place 12 songs on the charts over the next 4 years, the last being ’Who’s Been Sleeping In My Bed,’ which was one of the first collaborations between the legendary writing team of Hal David and Burt Bacharach.

Linda Scott was still in high school when she auditioned for Arthur Godfrey’s radio show on CBS in 1959. After having won a place on the show, Linda and other young performers became regular guests on the show. During the show’s run the young singer came to the attention of Epic records and Linda made her recording debut (singing as Linda Sampson) with the single ’In-Between Teen’.

In 1961 she signed with the Canadian-American label, a label that had struck gold with the Santo & Johnny single ’Sleep Walk’. Though still in high school, the label changed her performing name to Linda Scott producing and releasing the hit ’I’ve Told Every Little Star’. The song was originally written by Oscar Hammerstein II and Jerome Kern and was first used in the 1932 production of ’Music In The Air’. That year Scott had a total of 3 top 20 hits. She also wrote some of her own music, unusual for the time, including ’Three Guesses’ which was the B side of ’I’ve Told Every Little Star’ The next year she recorded for both Canadian-American records and it’s sister label Congress records. She also appeared in ’Don’t Knock The Twist’ starring Chubby Checker singing Yessiree’. Though she released several more singles over the next 3 years they were less and less successful. Her last chart appearance was ’Who’s Been Sleeping In My Bed’ released in January 1964, the same month the Beatles made their first chart appearance.

In 1965 she became a cast member of the T.V. rock show ‘Where the Action is’ which she co-hosted with singer Steve Alaimo. Scott’s last recording, ’They Don’t Know You’, was released in 1968 on RCA records and Scott quit show business soon after to pursue studies in theology. She was an army medical laboratory technician for two years and later received a degree in Theology from Kingsway Christian College and Theological Seminary in Des Moines. The Complete Hits of Linda Scott was released by Bay area Eric records and “I’ve Told Every Little Star” was included in director David Lynch’s film “Mulholland Drive.”

http://www.encore4.net/livelyset/closeup/linda-scott/lindascott2.html

Maggie May

Maggie May


Wake up Maggie I think I got something to say to you
It’s late September and I really should be back at school
I know I keep you amused but I feel I’m being used
Oh Maggie I couldn’t have tried any more
You lured me away from home just to save you from being alone
You stole my heart and that’s what really hurt

The morning sun when it’s in your face really shows your age
But that don’t worry me none in my eyes you’re everything
I laughed at all of your jokes my love you didn’t need to coax
Oh, Maggie I couldn’t have tried any more
You lured me away from home, just to save you from being alone
You stole my soul and that’s a pain I can do without

All I needed was a friend to lend a guiding hand
But you turned into a lover and
mother what a lover, you wore me out
All you did was wreck my bed
and in the morning kick me in the head
Oh Maggie I couldn’t have tried anymore
You lured me away from home ’cause you didn’t want to be alone
You stole my heart I couldn’t leave you if I tried

I suppose I could collect my books and get on back to school
Or steal my daddy’s cue and make a living out of playing pool
Or find myself a rock and roll band that needs a helpin’ hand
Oh Maggie I wish I’d never seen your face
You made a first-class fool out of me
But I’m as blind as a fool can be
You stole my heart but I love you anyway

Maggie I wish I’d never seen your face
I’ll get on back home one of these days




This article is about the Rod Stewart song. For the original traditional Liverpool song as sung since the 1830s or earlier, see Maggie May (traditional song).

"Maggie May" is a song written by Rod Stewart and musician Martin Quittenton and recorded by Stewart with his band The Faces in 1971. It tells the story of a younger man becoming obsessed with an older woman and was written from Stewart’s own personal experiences.

The song was initially released in the United Kingdom as the B-side of the single "Reason to Believe", but DJs became more fond of the B-side and, after two weeks in the chart, the song was re-classified with "Maggie May" as the A-side. However, the single continued to be pressed with "Maggie May" designated the B-side.

In October 1971, the song went to number one in the UK, and simultaneously topped the charts in the United States; the album on which it appeared, Every Picture Tells a Story, achieved the same feat at the same time. To top the UK and U.S. singles and album charts simultaneously is a rare achievement which has been achieved by only a handful of acts other than Stewart, notably The Beatles, Simon and Garfunkel and, most recently, Beyoncé Knowles.

The song launched Stewart as a solo artist. While he has sold millions of records and had countless hits around the world, it is still "Maggie May" for which he arguably is best known. A famous live performance of the song on Top of the Pops saw the Faces joined onstage by DJ John Peel who pretended to play the mandolin. Stewart himself was bemused by the song’s success saying I still can’t see how the single is such a big hit. It has no melody. Plenty of character and nice chords, but no melody.

The song re-entered the UK charts in December 1976, but only reached thirty-one. No other act has released the song as a single, though both Blur and Wet Wet Wet have recorded versions of it, and Melissa Etheridge has performed it in concert as have The Pogues.