I WALK A LITTLE FASTER

FIONA APPLE
SONGWRITERS: CAROLYN LEIGHT & CY COLEMAN
MUSIC: VERNON DUCK
COUNTRY: U. S. A.
ALBUM: THE BEST IS YET TO COME: THE SONGS OF CY COLEMAN
LABEL: COLUMBIA RECORDS
GENRE: POP
YEAR: 2009
 
           Fiona Apple McAfee-Maggart(born September 13, 1977) is an American singer-songwriter. She has released five albums from 1996 to 2020, which have all reached the top 20 on the U.S. Billboard 200 chart. Apple has received numerous awards and nominations, including three Grammy Awards, two MTV Video Music Awards, and a Billboard Music Award.
         The youngest daughter of the actor Brandon Maggart, Apple was born in New York City and was raised alternating between her mother's home in New York and her father's in Los Angeles. Classically trained on piano as a child, she began composing her own songs when she was eight years old. Her debut album, Tidal, containing songs written when she was 17, was released in 1996 and received a Grammy Award for Best Female Vocal Rock Performance for the single "Criminal". She followed with When the Pawn... (1999), produced by Jon Brion, which was also critically and commercially successful and was certified Platinum.
      For her third album, Extraordinary Machine(2005), Apple again collaborated with Brion and began recording the album in 2002. However, Apple was reportedly unhappy with the production and opted not to release the record, leading fans to protest Epic Records, erroneously believing that the label was withholding its release. The album was eventually re-produced without Brion and released in October 2005. The album was certified Gold, and nominated for a Grammy Award for Best Pop Vocal Album. In 2012, she released her fourth studio album, The Idler Wheel..., which received critical praise and was followed by a tour of the United States and was nominated for the Grammy Award for Best Alternative Music Album in 2013. Apple's fifth studio album, Fetch the Bolt Cutters, was released in 2020 to widespread acclaim, earning two Grammy Awards: Best Alternative Music Album and Best Rock Performance for the lead single "Shameika".
          The Best Is Yet to Come: The Songs of Cy Coleman is a compilation album and tribute to Cy Coleman, released in September 2009. The album peaked at number 32 of Billboard's Jazz Albums chart.

Pretending that we'll meet
Each time I turn a corner, I walk a little faster
Pretending life is sweet
'Cause love's around the corner, I walk a little faster
 
Can't begin to see my future shine as yet
No sign as yet, you're mine as yet
Rushing to a face I can't define as yet
Keep bumping into walls and taking lots of falls
 
And even though I meet 'round each and every corner
With nothing but disaster
 
I set my chin a little higher, I hope a little longer
Build a little stronger castle in the air
And thinking you'll be there, I walk a little faster
 
Can't begin to see my future shine as yet
No sign as yet, you're mine as yet
Rushing to a face I can't define as yet
Keep bumping into walls and taking lots of falls
 
And even though I meet 'round each and every corner
With nothing but disaster
 
I set my chin a little higher and I hope a little longer
I build a little stronger castle in the air
And thinking you'll be there, I walk a little faster.

LOVE THE RAIN

TOOTS HIBBERT
SONGWRITERS: ANN PEEBLES; BERNARD MILLER & DON BRYANT
COUNTRY: JAMAICA
ALBUM: TOOTS IN MEMPHIS
LABEL: MANGO RECORDS
GENRE: REGGAE
YEAR: 1988
 
          Frederick Nathaniel "Toots" Hibbert, (8 December 1942–11 September 2020) was a Jamaican singer and songwriter who was the lead vocalist for the reggae and ska band Toots and the Maytals. A reggae pioneer, he performed for six decades and helped establish some of the fundamentals of reggae music. Hibbert's 1968 song "Do the Reggay" is widely credited as the genesis of the genre name reggae. His band's album True Love won a Grammy Award in 2005
       Toots in Memphis is an album by the Jamaican reggae musician Toots Hibbert. Released in 1988, Toots in Memphis was recorded without the Maytals. The majority of the album's tracks are covers of American R&B songs.
         The album was nominated for a Grammy Award, in the "Best Reggae Recording" category. Toots supported the album by embarking on a three-month tour of North America, where he was backed by his late-1980s lineup of the Maytals.

Really love the rain against my window
Bringing back sweet memories
I feel a pain when I remember
How sweet it used to be
 
When we were together
Everything was so grand, yeah
Now that we parted, if there's one shout
I gotta shout, I gotta say
 
I really love the rain against my window
But you're never here with me
I feel a pain when I remember
How sweet it used to be
 
Remember those pillows
Where our heads used to live, yeah
No weak and some are sweet memories
If there's one shout, I gotta shout
I gotta say, I really love the rain
 
Really love the rain, rain
Love the, love the rain
Love the rain, love the rain
I love the rain, yeah, love the rain
 
Really love the rain against my window
You never here with me, yeah
I feel a pain when I remember
How sweet it used to be
 
I love the rain, love the rain
Love the rain, love the rain
Love the rain, love the rain, love the rain
Love the rain, love the rain
 
Really love the rain, love the rain
Love the rain, love the rain, love the rain
Love the rain, love the rain
Really love the rain, love the rain, Lord
Really love the rain, love the rain.

Let it bleed
GOAT
SONGWRITER: ROLLING STONES
COUNTRY: U. K.
ALBUM: WORLD MUSIC
LABEL: DECCA RECORDS
GENRE: ROCK
YEAR: 1969

Let It Bleed é o décimo álbum de estúdio na Discografia Americana, e o oitavo na Discografia Britânica da banda de rock inglesa The Rolling Stones, lançado em 29 de dezembro de 1969 pela Decca Records/ABKCO Records no Reino Unido e pela London Records/ABKCO nos Estados Unidos. É o último álbum da banda a ter a participação de Brian Jones (harpa em "You Got the Silver" e percussão em "Midnight Rambler"), que foi expulso da banda e morreu pouco tempo depois em circunstâncias até hoje misteriosas. Este álbum está na lista dos 200 álbuns definitivos no Rock and Roll Hall of Fame.
Let It Bleed alcançou a posição de número 1 no Reino Unido (batendo Abbey Road dos Beatles) e a terceira posição no Top Pop Álbuns da Billboard nos Estados Unidos, onde foi platina duplo. Foi o primeiro álbum dos Stones a ultrapassar a marca de dois milhões de cópias vendidas nos Estados Unidos.
I’m faded, I touch the block
Machine gun, through the lot
They walking past, famous peep
Gotta go, let it bleed

I gotta fall, for me at first
Let it burn, put to rest
Keep for beast, keep for us
Does it mean...
They walking past, famous peep
Gotta go, let it bleed

[Sax solo]

Let it bleed, bleed, let it bleed
Let it bleed, bleed, let it bleed
Let it bleed, bleed, let it bleed
Let it bleed, bleed, let it bleed
Let it bleed, bleed, let it bleed
Let it bleed, bleed, let it bleed.


Músicas del mundo, venid y uníos en Goat

La World Music que proponen Goat no suena al baúl de los recuerdos, ni a corrientes multiculturales contemporáneas que, de tanto girar sobre sí mismas, ya resultan mareantes y aburridas. Esto no es una base pop sobre la que se despedazan dos o tres citares, algún déjeme y arreglos de digerido. Goat no se valen de la música del mundo para presentar un producto más o menos convencional, sino que parten de ella para explorar terrenos tan aparentemente dispares como el avant-folk o la psicodelia. Su utilización de la world music es honesta y talentosa, y por eso suena así de fresca.
No hay que pensar en World Music, no obstante, como un disco intrincado y difícil de afrontar. Todo lo contrario. Desde la complejidad de distintos géneros musicales, el colectivo sueco presenta composiciones adictivas capaces de conquistar el mundo. En World Music podemos rastrear elementos del heavy psych (‘Diarabi’,‘Goatman’), de la música disco (‘Disco Fever‘), del folk progresivo de Fairport Convention (‘Goatlord’) y por supuesto del pop, que está presente de espíritu en las nueve pistas que forman el disco.
Goat, además, se ciñen a la ola revivalista del krautrock y la psicodelia, que abarca bandas tan dispares como Lüger, Lumerians, Dead Skeletons o Toy, aportando puntos de vista antes inimaginables. Podemos pensar en las virtudes eléctricas de los grupos de blues africano (Tinariwen o Terakraft) o en el sentido folk de los grandes maestros de los instrumentos de cuerda malienses (Toumani Diabaté o Alí Farka Touré). La música africana sobrevuela de forma inevitable World Music, desdeel tapiz que ilustra la preciosa portada hasta los propios ropajes del colectivo.
A todas estas virtudes hay que añadir un sentido rítmico sobrenatural, indisimuladamente bailable. Goat son un compendio de la música negra del siglo XX y tampoco hacen ascos al funk de Parliament o Funkadelic. Y sin embargo, no son un grupo estrictamente negro, porque buena parte de los pilares esenciales de su música están construidos con los mimbres de la psicodelia eléctrica y acústica, el fuzz y los desvaríos wah-wah, sin dejar de lado cierto deje experimental que se aprecia especialmente en el desarrollo kraut-jam de ‘Det som aldrig förändras/Diarabi’.

GOAT Y TODO LO DEMÁS

Las voces (femeninas, por cierto) también tienen reminiscencias de los cantos de llamada y respuesta, dirigiendo nuestra mirada de nuevo al continente africano. Es la gema que completa un pastel de proporciones escuetas, pero muy sabroso. Todas y cada una de las piezas que componen la tarta, además, esconden ciertas virtudes pop que estallan en la estupendísima ‘Let It Bleed’, un hit auténtico que lo tiene todo para ser una de las mejores y más exquisitas canciones del año, desde sus repetitivos y adictivos acordes de guitarra hasta los arreglos de saxo y los coros extasiados.
Porque a semejante catarata de referencias hay que añadirle el elemento fundamental para que World Music sea, no tengamos miedo a reconocerlo, uno de los discos más emocionantes del año: la diversión que parece emanar de forma sencilla y natural de Goat, como si no hubieran llegado del rincón más siniestro y oscuro de Suecia, como ellos mismos dicen, como si su espíritu, quién sabe si efecto del vudú, hubiera estado bañado durante toda su vida por las aguas del Mediterráneo. Una frescura y una química como grupo que es una auténtica bendición.
Todo lo demás ayuda. Tanto las máscaras, como la obsesión por las cabras como que, al parecer, en sus directos un hombre aparezca y clame a los cuatro vientos que él y no otro es el undécimo hijo de las plegarias vudú. Es el atrezzo seguramente inevitable a una fusión multicultural tan efectiva. Merece la pena comprar la historia de Goat si lo que adquirimos a cambio es una clarividencia de ideas musicales así de sólida. De todos modos, leyendas más grandes se han levantado en torno a mentiras más endebles, y podemos otorgar a los suecos el beneficio de la ingenuidad. Se lo han ganado.
OLÉ
ADELÉN
COMPOSers: Ina wroldsen, Andreas romdhane; josef larossi
ALBUM: OLÉ
LABEL: Sony music entretainement
GÊNERO: Latin pop;
ANO: 2014


"Olé" is a 2014 anthem song performed by Norwegian singer Adelén. The song is an anthem for the FIFA World Cup 2014 and is track number 11 on the album One Love, One Rhythm – The 2014 FIFA World Cup Official Album. The song peaked at number 3 in Norway
I’mma I’mma I’mma a little loca for you
Lemme lemme lemme show you the way that we do
When I, when I, when I hear the roar from the crowd
I like like it loud, I like it!
My name is ADELEN
From Rio to Bailén
Let me see some hands in the air!!
One more time turn up the MUSIC and look to the SKY
This is the moment, the time of your LIFE
Pick up your glasses, and raise them up high, high high
Everybody!
Na na na na na na
Oooo ooo ooole!
Na na na na na na
Oooo ooo ooole!
Come on, come on let me see what you’ve got
Bring the fire baby, I like it hot
When I, when I see the way that you move
I like what you do, I like it!
My name is ADELEN
From Rio to Bailén
Let me see some hands in the air!!
One more time turn up the MUSIC and look to the SKY
This is the moment, the time of your LIFE
Pick up your glasses, and raise them up high, high high,
Everybody!
Na na na na na na
Oooo ooo ooole! Ole! Ole!
Na na na na na na
Oooo ooo ooole! Ole! Ole!
AdelénTake my love, learn my life
Light me up, up all night
Night is ours, ours to keep
Keep me!
Ole! Ole! Ole! Ole!
Ole! Ole! Ole! Ole!
One more time!!!
One more time turn up the MUSIC and look to the SKY
This is the moment, the time of your LIFE
Pick up your glasses, and raise them up high, high high,
Now everybody!
Na na na na na na
Oooo ooo ooole! Ole! Ole!
Na na na na na na
Oooo ooo ooole! Ole! Ole!