p>Tanrıya Feryat

Tanrıya Feryat(1969)

Jose James – Back Magic (untold Remix) http://www.brownswoodrecordings.com

Can – Vitamin C (Ege Bamyasi 1972)

Can_-_Vitamin_C (Ege Bamyasi 1972)

Sixtoo – Storm Clouds & Silver Linings (Boxcutter Emporium 2004)

Sixtoo – Storm Clouds _ Silver Linings _Featuring Damo Suzuki of CAN.mp3

Can spent some time recording soundtracks for art films and porno movies (music that was compiled on the album  Soundtracks) before releasing its second proper effort in 1971. The album “Tago Mago” introduced a new vocalist, Damo Suzuki, a twenty-one-year-old Japanese singer whom Liebezeit and Czukay saw busking outside a cafe in Munich. “I saw Damo from far away, and he was screaming and sort of adoring the sun,” Czukay told Bussy and Hall. “I said to Jaki, ‘Here comes our vocalist!’ and Jaki said, ‘No, no, it can’t be true!’” Suzuki was invited to that night’s performance. He began screaming at the audience and cleared the room in record time, thereby assuring his position in the band.

A Hot Chip remix of classical musicians already doing contemporary experimental pieces. Something close to techno. Cello, viola, violin and stuff. Take the generic robotic metaphors applied to techno music and put an ultra realistic skin on it. Click above link to listen. Also these links to purchase:

http://www.elysianquartet.com/photos/biogpic.jpg

http://playlouder.com/downloads/release/~gabriel-prokofiev-string-quartet-1/

Leadbelly – In The Pines (Black Girl)
Leadbelly – In The Pines

Leadbelly – In The Pines
Leadbelly – In The Pines

Nirvana -Where did you sleep last night?
Nirvana -Where did you sleep last night?

A Simple Song That Lives Beyond Timeby Eric Weisbard

Immediately after the suicide of Kurt Cobain, lead singer of the rock band Nirvana, last April, MTV broadcast almost continuously an hour-long "Unplugged" special that the band had recorded the previous fall. The final song on the program was unexpected: it was the only one not previously recorded by Nirvana or even written by an alternative rocker. Called "Where Did You Sleep Last Night," it had the cadences of an old ballad or blues tune and lyrics that Mr. Cobain’s deathly rasp made absolutely haunting.

In fact, the song was a folk song, usually known as "In the Pines," which dates back at least to the 1870′s. Its appearance in the repertory of a Seattle grunge singer is only the latest chapter in its complex history. (An album of Nirvana’s MTV concert, "Unplugged in New York," was recently released on the DGC label.) Those who have recorded the song include the folk legends Leadbelly, Joan Baez and Pete Seeger, the country pioneers Bill Monroe and Chet Atkins, the rockers Sir Douglas Quintet and Duane Eddy, the pop vocalist Connie Francis and the jazz saxophonist Clifford Jordan.

Even within alternative music, "In the Pines" has something of a history. Annette Zalinskas, formerly of the Bangles, recorded the song with her band Blood on the Saddle on 1986′s "Poison Love" album. Australia’s Triffids did a takeoff on "In the Pines." (The genre-crossing Beck used the phrase "in the pines" in doggerel he wrote for the booklet that accompanies his recent album "Mellow Gold.")

Researching the song for a 1970 dissertation, Judith McCulloh found 160 different versions, a finding that raises the question: Why does a song like "In the Pines" endure and permutate so insistently? The answer may be that its essence is not a specific story or even a musical style but the kind of intensely dark emotion that, as is the case with much in American music, survives longer in popular memory than does treacly sentiment.

The song probably has its origins in the Southern Appalachians, where it is still passed on as part of an oral tradition. The mystery writer Sharyn McCrumb says a college friend from Georgia taught her a verse that she used as a chapter heading in her 1992 novel, "The Hangman’s Beautiful Daughter." As she demonstrated in a telephone conversation, she can also sing a very different "Mitchell County, N.C." version that includes a reference to the local Clenchfield railroad line.

Dolly Parton, who performs a version on her recent album "Heartsongs" says: "The song has been handed down through many generations of my family. I don’t ever remember not hearing it and not singing it. Any time there were more than three or four songs to be sung, ‘In the Pines’ was one of them. It’s easy to play, easy to sing, great harmonies and very emotional. The perfect song for simple people."

In the 1981 book "Long Steel Rail: The Railroad in American Folksong," the music historian Norm Cohen notes that "In the Pines" has three frequent elements, not all of which always appear. There is the chorus "in the pines," a stanza about "the longest train I ever saw" and another verse in which someone is decapitated by a Train.

"The longest train" section probably began as a separate song, which merged with "In the Pines"; references in some renditions to "Joe Brown’s coal mine" and "the Georgia line" may date its origins to Joseph Emerson Brown, a former Georgia governor, who operated coal mines in the 1870′s. The earliest printed version was four lines and a melody compiled by Cecil Sharp in Kentucky in 1917. Another variant, mentioning the train accident, was recorded in 1925 by a folk collector onto cylinder, a precursor of the phonograph. The next year, commercial hillbilly recordings of "In the Pines" and "The Longest Train" began appearing.

How did Kurt Cobain discover "In the Pines"? Long before Nirvana’s rise, he and Mark Lanegan, leader of the Seattle rock group Screaming Trees, formed a friendship around a mutual love of Leadbelly. Mr. Lanegan owned a copy of the original Musicraft 78 rpm of "Where Did You Sleep Last Night" that Leadbelly recorded in 1944. "My father gave me the record when I was a kid," Mr. Lanegan says. "He was a schoolteacher, and he found in the attic of an old school a box of blues records." Mr. Lanegan and Mr. Cobain recorded an EP of Leadbelly tunes, but only "Where Did You Sleep" was released on Mr. Lanegan’s 1990 album, "The Winding Sheet," with Mr. Cobain playing guitar.

Although Leadbelly is credited with authorship of "Where Did You Sleep" on "The Winding Sheet" and Nirvana’s "Unplugged in New York," his own discovery of the song was almost as secondhand as that of the Seattle musicians. Alan Lomax, the folk music archivist and promoter, reported to Ms. McCulloh that Leadbelly learned parts of the song from someone who had taken it from the 1917 Sharp version and other parts from the 1925 cylinder recording.

For all its complicated history, the meaning of "In the Pines" may be even more blurry, a vast continuum of different varieties of misery and suffering. "This unique, moody, blues-style song from the Southern mountain country is like a bottomless treasure box of folk-song elements," wrote James Leisy in his 1966 book "The Folk Song Abecedary." "The deeper you dig, the more you find."

The basic elements of the song remain similar from version to version, but the context can be altered with a few words. It may be a husband, a wife or even a parent whose head is "found in the driver’s wheel" and whose "body has never been found." Men, women and sometimes confused adolescents flee into the sordid pines, which serve as a metaphor for everything from sex to loneliness and death. The "longest" train can kill or give one’s love the means to run away or leave an itinerant worker stranded far from his home.

In the bluegrass and country versions popularized by Mr. Monroe, the song’s eerie qualities are rooted in the genre’s "high lonesome" sound, with fiddles and yodeling harmonies used to evoke the cold wind blowing. Lyrics about beheading drop out, but the enigmatic train is almost as frightening, suggesting an eternal passage: "I asked my captain for the time of day/ He said he throwed his watch away."

In other versions, the focus is clearly, as the novelist Ms. McCrumb notes, on a confrontation: "There’s a woman doing something not socially acceptable, and she’s been caught at it." In one case, a husband demands: "Don’t lie to me; where did you sleep last night?" In their traditional interpretation, the Kossoy Sisters begin: "Little girl, little girl, where’d you stay last night? Not even your mother knows." Despite all the variations of "In the Pines," these questions are almost never asked of a man. The woman may also be asked, "Where did you get that dress, and those shoes that are so fine?" and the answer is "from a man in the mines, who sleeps in the pines."

In Mr. Jordan’s jazz version, recorded for Atlantic in 1965, the singer Sandra Douglass makes the meaning even more explicit, drawing on a later Leadbelly version known as "Black Girl." Here the woman is in the pines because her husband has died under the train, leaving her with little choice but prostitution. "You caused me to weep/ And you caused me to moan/ You caused me to leave my home," she sings, perhaps to the cruel fates, perhaps to the ghost of her husband.

When Hole, the band led by Mr. Cobain’s widow, Courtney Love, played in New York in September, the final encore was "Where Did You Sleep Last Night." The sense of ghosts was palpable: a widow singing a widow’s tune, biting as heavily into each "don’t lie to me" as her husband had. But the ghosts were already there in the Nirvana version, which looked at death square on — Mr. Cobain’s voice cracks and pauses during the final line, then soldiers through.

Nirvana’s "Where Did You Sleep" is so definitive that the stray ends of the history of "In the Pines" come together. Mr. Lanegan sang his version as a spectator might have, with a bit of a leer. "I like the blood and guts theme of it: betrayal and murder," he says now. But Kurt Cobain inhabits the place from which the song sprang. His voice mixes fatalism and placidity much as Leadbelly’s had 50 years before; one hears a folkish impassivity that may well have been found on the 1925 cylinder recording as well.

Mr. Cobain’s identification with female rockers, from Hole to the Raincoats, encompasses the trespassing woman of the tale. And his origins in the pines-stripped lumber town of Aberdeen, Wash., take in the "simple people" who, as Dolly Parton notes, have always turned this cry of anxiety into a source of strength. "In the Pines" will have other versions, of course. But there is really no need for anyone to ever sing it again.

Variations on a Theme

The folk song usually known as "In the Pines" dates back at least to the 1870′s. Here are three versions:

Black girl, black girl, don’t lie to me
Where did you stay last night?
I stayed in the pines where the sun never shines
And shivered when the cold wind blows.Lizzie Abner, 1917

The Longest train I ever saw
Went down that Georgia line
The engine passed at 6 o’clock
The cab passed by at 9.

In the pines, in the pines, where the sun never shines
And we shiver when the cold wind blows.

I asked my captain for the time of day
He said he throwed his watch away
A long steel rail and a short crosstie
I’m on my way back home.

Little girl, little girl, what have I done
That makes you treat me so?
You caused me to weep, you caused me to moan
You caused me to leave my home.Bill Monroe, 1952

My girl, my girl, don’t lie to me
Tell me, where did you sleep last night?
In the pines, in the pines, where the sun don’t ever shine
I would shiver the whole night through.

Her husband was a hard-working man
Just about a mile from here
His head was found in the driver’s wheel
But his body never was found.

My girl, my girl, where will you go?
I’m going where the cold wind blows
In the pines, in the pines, where the sun don’t ever shine
I would shiver the whole night through.Nirvana, 1993

 

---

http://www.newstatesman.com/200704160044

"…Cobain’s companion is Leadbelly, a favourite of folk aficionados who to this day perceive him as a giant of "black music", even though the vast majority of his fans were white. (When white producers brought Leadbelly to New York City in 1935 to play "traditional" music, Life magazine declared in a headline: "Bad Nigger Makes Good Minstrel".) Cobain’s swan song, performed on MTV’s Unplugged a few months before his suicide, was a cover of Leadbelly’s "Where Did You Sleep Last Night", about a woman who wanders into the woods after her husband is hit by a train. Cobain, so deep into the authenticity trap by then that he’d never escape, seemed to be making one last attempt not to "fake it", by reviving a song by his "favourite performer", and exiting the stage without an encore.

But Leadbelly, Barker and Taylor reveal, was by necessity a master of "faking it", a sophisticated musician of cosmopolitan taste limited to a repertoire of "Negro" songs and told by his manager to perform in prison garb. That manager was John Lomax, one of the early 20th-century giants of what has come to be known as "roots music". "The music that was, for Lomax, the most authentic," write the authors, "the most black, the most free from ‘white influence’, was the most primitive." That doesn’t mean Leadbelly was primitive, only that Lomax and, decades later, Cobain decided to believe that he was, the better to break the bonds of artificiality they felt modernity and celebrity imposed. Leadbelly was a tool. This shifty truth comes to us by way not of postmodernism, but of old-timey Marxist analysis. In 1937, the novelist Richard Wright, profiling Leadbelly for the Daily Worker, declared his coerced performances "one of the greatest cultural swindles in history".

But that’s not quite right, either. Wright recognised Lomax’s manipulation of Leadbelly (who later successfully sued Lomax), but he assumed there was a genuine Leadbelly behind the music, a real black expression minstrel-ised by the white man. In fact, many of Leadbelly’s songs came from white folks, who’d learned them from black musicians, who’d composed them with African inflections as reinterpreted by white musicians eager to add "floating" rhythms to the marching beat of Scots-Irish reels. The strongest argument of Faking It is for the endless "miscegenation" of music. Great popular music is always a collage of cultures, while the quest for authenticity all too often functions as a means of policing racial boundaries…"

 

From The Library of Congress > American Memory Home > Search Results:

[Prison compound no. 1, Angola, Louisiana. Leadbelly (Huddie Ledbetter) in the foreground]. – 1934 July.

Werner Meyer-Eppler, then the director of Phonetics at Bonn University, recognised the relevance of the machines to electronic music after Dudley visited the University in 1948, and used the vocoder as a basis for his future writings which in turn became the inspiration for the German “Electronische Musik” movement.

Check out the introduction:
thevoder

Nina Simone – Mood Indigo

“everyman thinketh hiz burden iz te ‘eaviest” is from bible I think.

Terranova did a great version of this song, along with fine remixes from a bunch of guys I couldn’t remember now, just google them, it was out on K7.

Wikipedia

Laurie Anderson – O Superman

O Superman. O judge. O Mom and Dad. Mom and Dad
O Superman. O judge. O Mom and Dad. Mom and Dad

Hi. I’m not home right now
But if you want to leave a message
Just start talking at the sound of the tone

Hello? This is your Mother
Are you there? Are you coming home?
Hello? Is anybody home?

Well, you don’t know me, but I know you.
And I’ve got a message to give to you.
Here come the planes.
So you better get ready.
Ready to go.
You can come as you are, but pay as you go
Pay as you go

And I said:
  OK. Who is this really?
And the voice said:
  This is the hand, the hand that takes
  This is the hand, the hand that takes
  This is the hand, the hand that takes

Here come the planes
They’re American planes
Made in America
Smoking or non-smoking?

And the voice said:
  Neither snow nor rain nor gloom of night shall
  stay these couriers from the swift completion
  of their appointed rounds
  ‘Cause when love is gone, there’s always justice
  And when justice is gone, there’s always force
  And when force is gone, there’s always Mom

Hi Mom!
So hold me, Mom, in your long arms
So hold me, Mom, in your long arms
In your automatic arms
Your electronic arms
In your arms
So hold me, Mom, in your long arms
Your petrochemical arms
Your military arms
In your electronic arms

“Doomsday Clock ticks closer to midnight”

http://www.thebulletin.org/minutes-to-midnight/

Long Distance Drunk

long distance drunk

Two versions of the same song.  World, world, sister world.

Romica Puceanu. The romanian queen of melismas:

lume_lume.mp3 

 Lume, Lume

Lume Lume soro lumeLume
lume soro lume
Ca asa e lumea trecatoare
Unul naste si altul moare
Lume soro lume
Cel ce naste chifueste Cel ce moare petrezeste
Lume soro lume
Caci de mama si de tata
Nu te saturi nici o data
Lume soro lume
Si de frati si de surori
Nu te saturi pina mori
Lume soro lume

Fanfare Ciocarlia versiyonu:

 08-fanfare-ciocarlia-lume-lume.mp3

World, World

World, world – sister world
World, world – sister world
That is how our world is – transient.
One is born – the other dies.
World, sister world.
The one who is born – celebrates life.
The one who dies – turns to dust.
World, sister world.
World, world – sister world
World, world – sister world
You will never get tired of your mother and father.
World, world – sister world
And you will never be weary of your brothers and sisters
- until you die.
World, sister world

“…The Gore Brothers accompanied many different performers over the years with their band, but their favourite singer was Puceanu, because she sang one hundred per cent Lautari music and enjoyed improvising. Puceanu was a lively, funny woman, who never turned up at the studio without her teapot – filled with cognac. When one of the sound engineers noticed during a studio take that she was holding her words the wrong way up and mentioned this to her, Romica replied: “Would I ever have sung with these men (the Gore Brothers) if I could read?”. Yet the arrival of modern music in the long isolated Balkan state has seen to it that only a few young Romanians know such Puceanu classics as “Doi tovarasi am la drum” or “Balanus”. Romica Puceanu sang both of these songs on her debut record in 1964, using but few of the usual clichés of the ever-revelling Gypsy musician. The recordings with the Gore Brothers still represent the traditional “raw” withdrawn sound of the old taraf. The arrangements are clear and minimalist, creating space befitting Puceanu’s sparkling voice. Romica Puceanu meant to many Gypsies as much as the legendary chanson singer Maria Tanase meant to the Romanians. And it wasn’t only Bucharest intellectuals who saw in Romica Puceanu the “Billy Holliday of the East”.

But the Romanian music scene in the nineties was dominated by Balkan pop and there was hardly any room for the old generation of the Lautari. The Gore Brother’s Band disintegrated after the death of Aurel Gore, and the incomparable Romica Puceanu died following a serious car accident in 1996 on her way home from a wedding performance….”Grit Friedrich

The Romanian Doina
By Robert Garfias
The folk song type known as doina is widespread throughout most of Romania. It may be related to and may even have its origins in the cintec de leagan, or lullaby. In order to better comprehend the vast number of variants which exist in Romania under the general name, doina, I compiled a short taxonomy of all the recorded doine in my collection, including my original field tapes recorded there in 1977.This is therefore, neither a complete list of all known doinas nor even of all existing doina types. Since the collection is quite extensive, however, I am confident that this taxonomy gives a view of the great majority of Doina types.

 
The Doina is always sung in free rhythm with varying degrees of embellishment and melisma.There are a number of tune types used for these semi-improvised performances of the doina. In this listing I have used the Romanian names for the type or sub type as given by the peformer, but at times I added my own observed description of the type based on similarity with others in the same category.The items in the list are each numbered according to the order of accession and thus the number is meaningless other than serving as a means of identifying each individual record. Many examples appear only with the type given as doina. Others have further descriptions based on origin, intent, tune type or function. For further clarification, I have added here, an unpublished article I wrote on the relationship of the Doine to Romanian urban popular music. Included in this listing are the locations of the recordings. The major cultural regions of Romania are Muntentia, Oltenia, Moldavia, Dobroghea, Banat and Transylvania. During the period of my research in Romania, it was not permitted to mention the names of these cultural and geographic regions, nor to describe their boundries. This was perhps out of fear of encroachment from Romania’s neighbors. The major traditional cultural regions are indicated in the map.The country was divided into smaller regions, like counties, and these were known as judet. The name of the judet as well as the town or city or origin are also given where ever known.

The Development of the Romanian Urban Gypsy Song Form
There is no other form of musical expression which in the minds of the general population of the Socialist Republic of Romania conjures up so clearly the essence of all its music, and, indeed, the best of the entire artistic expression of the culture as does the doina. This free lyrical song form is widespread in the folk traditions of many regions of the country where it remains strong. It is also a mainstay of all performances by the new style State Folk Music and Dance Ensembles of Romania as well as being regularly played by bands of professional musicians, largely made up of Gypsies, and even frequently used by Romanian composers using the Western European Classical tradition.

A more significant argument is raised by the Romanian musicologist, Gheorghe Ciobanu, who notes that there are notable parallels between the Muntenian doina of the subcarpathian region and that of the hora lunga of Maramures,, from which he infers the possibility that the form of the doina may originate in a very ancient Daco-Thracian strata dating back to a time when the tribes of what is now the North and South of Romania were united. Thus we have several possibilities, that the doina was, in fact, an ancient expressive form of the earliest Romanians and has remained so, that the above is true but that the form has been subjected to various influences since that time including some which are of unmistakable Turkish character, or finally, that the form is one borrowed from Turkish models.

Coming from the lower Danube plains area of Romania and being recognized as a more modern and popular form of the doina it was perhaps only natural that the cîntec de dragoste should have been influenced by current fashion. Usually performed by professional Gypsy musicians who already possessed the strength of what remained of the Turkish musical tradition in Romania, the flavor of the Turkish makam system was imprinted on these songs along with the highly expressive and personal style of Gypsy interpretation.

During the last years of the 19th Century and the early years of the present new popular music forms were developing in the cities of Romania, particularly those in Muntenia and Oltenia, such as Bucuresti and Craiova. In these larger urban centers a new type of popular culture was evolving one which drew from the Greek, Turkish and Armenian popular traditions of many of the most recent inhabitants but then mixed with elements of popularized Romanian sources such as the cîntec de dragoste. Meanwhile as Gypsies were finally liberated from their status as slaves, many migrated to these larger cities and settled in small enclaves surrounding the cites known collectively as mahale. In these mahalale (plural) new variant forms of the current urban popular styles also evolved.
While the cîntec de dragoste greatly influenced the evolution of new popular song in Romania, it was also one of the very important influences on the newly evolving song of the Gypsy mahalale. Like the cîntec de dragoste, these urban Gypsy songs appeared to have been based first on doina like vocal lines in free ornamented structure with a fixed rhythmic accompaniment provided by a small band of Gypsy musicians, usually called a taraf in Romanian. This urban Gypsy style of song came to be known by many names, cîntec de petrecere, “songs of pleasure’, cîntec de pahar, “songs of the cup”, or “drinking songs”, and cîntec de mahala, “songs of the Gypsy enclaves”, the word implying something of the sense of slums with just a hint of Romantic nostalgia. This genre is also sometimes referred to as cîntec tiganeste or “Gypsy song”. However, under recent Romanian State policy the word Gypsy was forbidden – officially there were no Gypsies in Romania, although there are officially recognized groups of Saxons, Swabians and Hungarians – so in any document approved by the State, even for example, a record jacket, the term Gypsy is avoided. It is interesting that neither the sizable communities of Turks and Tatars nor even the Jews living in Romania were recognized either.

Type two resembles type one in its general similarity to the cîntec de dragoste, that is in its use of slower tempos under the free melodic line of the voice. Type two however is characterized by the use of a special rhythm in the accompaniment called tiitura de of. In this case, it is actually identified as such by the musicians who provide this accompaniment. This name derives from the word of, used frequently as an exclamation in songs of this type to express grief or longing. Among the Gypsy audiences of Romania, particularly in the larger cities, the distinctively staggered rhythms of the cîntec de pahar set in type two are the most popular and most frequently heard also in instrumental settings.

The third type of cîntec de pahar uses a fast tempo of accompaniment under a highly ornamented melodic line which is closer to the folk doina in character but with distinctive urban Gypsy melodic tendencies. In this type, the generally fast tempo of the accompanying harmonic structure minimizes the disruption which might otherwise occur between voice and accompaniment.

As one listens to these three types of Gypsy song it is only gradually that one becomes aware that the melody is really a free doina and the fixed rhythm of the accompaniment is free in relation to the melody line. Yet the fixed rhythm contains the harmonic element which supports and delineates the melody of the vocal line. Since the singer is free to extend any note as long as needed for the balance of the overall phrase, the number of measures during which the harmony must continue varies accordingly. Thus this form is identified by a relationship between the melody and the accompaniment which is at the same time both free and fixed.

Thus the roots of these forms of Romanian urban Gypsy song are mixed with elements of Romanian folk Doina and then overlaid with various popular urban stylistic elements, notable among these are the Greek and Turkish. As a style which is strongly Romanian in its fundamental form and character, nonetheless in its incorporation of such foreign elements as were popular during the period of its development, these forms of the cîntec de pahar also represent what may be at the limits of the furthest cultural outreach of Ottoman Turkish cultural influence.

From wikipedia:

“Mess Around” was one of the first big hits by music legend Ray Charles. It is noted for its insistent chorus of “Shake that thing!”.

The song was written by Atlantic Records president and founder Ahmet Ertegun using most of the lyrics of the 1929 blues anthem, “Pinetop’s Boogie Woogie”, by Pinetop Smith.”

http://en.wikipedia.org/wiki/Mess_Around

“”C.C. Rider” hit #1 on the R&B charts in 1957 and it started the dance craze,”The Stroll”. However, Chuck did not write the song. It’s an old blues standard first recorded by Ma Rainey in 1925 under the title, “See See Rider Blues”. “Rider” is supposed to be slang for prostitute and in the lyric “you made me love you, now your man done come” “your man” refers to the woman’s pimp. So, instead of being directed to a person named “C.C.”, the song is really an admonition to an anonymous prostitute to giver up her evil ways. ”

http://www.monomood.com/blog/wp-content/uploads/2006/12/1943_143-bea-booze-see-see-rider-blues-80-m-309.mp3

Anyhow, buy it here:

http://www.playwordandsound.net/article/1454

seelenluft – manila

I hate blogging about song lyrics but I loved this one where this 12 year old starts dancing as his plane is going down. It reminded me of the Central Park drum circle. 

MANILA

On my Plane to Manila
sit row to row
The Flight staff served the courage again,
When I heard the turbine go, Yerh
Out of my window was a sunset, On the wings a funny glow,
Then my seat started rattling, Assured that wasn’t part of the show,

So i started to dance, Without wearing no seatbelts
So i started to dance, Without wearing no life vest,
I started to dance..

My plane noise went down, I heard the pilot talk regrets,
That people didn’t panic, But they all stared at me,
And they started to dance, Without wearing no seatbelts,
we all started to dance, Without wearing no life vest,
We all started to dance, It was quiet a ride.
So i started to dance, Without wearing no seatbelts
So i started to dance, Without wearing no life vest, I started to dance..

There’s also an electro housy Ewan Pearson remix which people like.

(intro, strings)

olursem kabrime gelme istemem
olursem kabrime gelme gelme istemem istemem istemem!

inim inim inle olme istemem. (the last e letter here is so long and strong here that Ibrahim Tatlises’ vocal penetrates through your ears travels to your heart and tear comes to your eyes)

inim inim inle olme istemem
istemem valla
istemem

strings again then a beautiful saz solo

akan gozyaslarimi silme istemem istemem
akan gozyaslarimi silme istemem

aciyip lutfedip sevme istemem (the last e letter here is so long and strong here )
aciyip lutfedip sevme istmemem

istemem, allah
istemem

English lyrics:

intro, strings

if I die don’t come to my tomb I don’t want you to. I don’t want you to. I don’t want you to.
if I die don’t come to my tomb I don’t want you to. I don’t want you to. I don’t want you to.

lament in pain and not die I don’t want you to. lament in pain and not die I don’t want you to.
I don’t want you to. Allah.
I don’t want you to.

don’t wipe my dropping tears. I don’t want you to.
don’t wipe my dropping tears. I don’t want you to.

Don’t pity and grant your love. I don’t want it.
Don’t pity and grant you love. I don’t want it.
I dont want it, allah
I don’t want it.

Jay McShann, Duke Robillard & Maria Muldaur – Sunny Side of the Street

Grab your coat and get your hat, leave your worry at the doorstep
Just direct your feet to the sunny side of the street
Can’t you hear that pitter pat and that happy tune is your step
Life can be so sweet on the sunny side of the street
I used to walk in the shade with those blues on parade
But I’m not afraid ’cause this rover, crossed over

If I never had a cent I’ll be as rich as Rockfeller
Gold dust at my feet on the sunny side of the street

With those blues on parade
Because this rover, it crossed over

If I never had a cent I’ll be as loaded as old Rockfeller
With that gold dust ’round my feet
On the sunny side of the street
On the side, at that side of the street that is sunny