SPOONFUL
HOWLIN' WOLF
SONGWRITER: WILLIE DIXON
COUNTRY: U.S.A.
ALBUM: SPOONFUL
LABEL: CHESS RECORDS
GENRE: BLUES
YEAR: 1960

"Spoonful" is a blues song written by Willie Dixon and first recorded in 1960 by Howlin' Wolf. Called "a stark and haunting work", it is one of Dixon's best known and most interpreted songs. Etta James had a pop and R&B record chart hit with "Spoonful" in 1961, and it was popularized in the late 1960s by the British rock group Cream.
The Howlin' Wolf Album is a 1969 album by Howlin' Wolf, with Rotary Connection as his backing band. It mixed blues with psychedelic rock arrangements on several of Howlin' Wolf's classic songs. Howlin' Wolf strongly disliked the album, and Chess Records referenced this fact on the album's cover. The album peaked at No. 69 on the Billboard Black Albums chart.




It could be a spoonful of coffee
It could be a spoonful of tea
But one little spoon of your precious love
Is good enough for me

Men lie about that spoonful
Some cry about that spoonful
Some die about that spoonful
Everybody fight about a spoonful
That spoon, that spoon, that spoonful

It could be a spoonful of water
To save you from the desert sand
But one spoon of love1 from my forty-five
Will save you from another man
Men lie about that spoonful
Some cry about that spoonful
Some die about that spoonful
Everybody fight about a spoonful
That spoon, that spoon, that spoonful
That spoon, that spoon, that spoonful

It could be a spoonful of sugar
It could be a spoonful of tea
But one little spoon of your precious love
Is good enough for me
Men lie about that spoonful
Some cry about that spoonful
Some die about that spoonful
Everybody fight about a spoonful
That spoon, that spoon, that spoonful
That spoon, that spoon, that spoonful
That spoon, that spoon, that spoonful

That spoon, that spoon, that spoonful
CROSSROAD BLUES
ROBERT JOHNSON
SONGWRITER: ROBERT JOHNSON
COUNTRY: U.S.A.
ALBUM: KING OF DELTA BLUES SINGERS
LABEL: VOCATION REC ORDS
GENRE: BLUES
YEAR: 1961

Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues singer-songwriter and musician. His landmark recordings in 1936 and 1937 display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy and poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul to the devil at a crossroads to achieve success. As na itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime.
It was only after the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers, that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived." Johnson was inducted into the Rock and Roll Hall of Fame as an early influence in its first induction ceremony, in 1986. In 2010, David Fricke ranked Johnson fifth in Rolling Stone magazine's "100 Greatest Guitarists of All Time".
"Cross Road Blues" (more commonly known as "Crossroads") is a blues song written and recorded by American blues artist Robert Johnson in 1936. Johnson performed it as a solo piece with his vocal and acoustic slide guitar in the Delta blues-style. The song has become part of the Robert Johnson mythology as referring to the place where he supposedly sold his soul to the Devil in exchange for his musical talents, although the lyrics do not contain any specific references.
Bluesman Elmore James revived the song with recordings in 1954 and 1960–1961. English guitarist Eric Clapton with Cream popularized the song as "Crossroads" in the late 1960s. Their blues rock interpretation inspired many cover versions and the Rock and Roll Hall of Fame included it as one of the "500 Songs That Shaped Rock and Roll". Rolling Stone placed it at number three on the magazine's list of the "Greatest Guitar Songs of All Time" in recognition of Clapton's guitar work.





I went down to the crossroad
fell down on my knees
I went down to the crossroad
fell down on my knees
Asked the lord above "Have mercy now
save poor Bob if you please"
Yeeooo, standin at the crossroad
tried to flag a ride
ooo ooo eee
I tried to flag a ride
Didn't nobody seem to know me babe
everybody pass me by
Standin at the crossroad babe
risin sun goin down
Standin at the crossroad babe
eee eee eee, risin sun goin down
I believe to my soul now,
Poor Bob is sinkin down
You can run, you can run
tell my friend Willie Brown
You can run, you can run
tell my friend Willie Brown
(th)'at I got the croosroad blues this mornin Lord
babe, I'm sinkin down
And I went to the crossraod momma
I looked east and west
I went to the crossraod baby
I looked east and west
Lord, I didn't have no sweet woman

ooh-well babe, in my distress
I'M A FOOL TO WANT YOU
ROBIN MCKELLE & THE FLYTONES
SONGWRITERS: FRANK SINATRA, JACK WOLF, JOEL S. HERRON
COUNTRY: U.S.A
ALBUM: SOUL FLOWER
LABEL: RCA VICTOR
GENRE: JAZZ BLUE
YEAR: 2012

"I'm a Fool to Want You" is a 1951 song composed by Frank Sinatra, Jack Wolf, and Joel Herron. Frank Sinatra released the song as a Columbia Records single. The ballad is considered a pop and jazz standard.
It certainly is rare to read about a soul/blues singer who once finished third in the Thelonious Monk International Jazz Vocal competition. Originally from Rochester, NY, vocalist Robin McKelle migrated to France, where two recordings of big band swing material made her a star. Five years ago she began a transformation that took her through songs from composers like Willie Dixon and Doc Pomus to this latest recording that celebrates the musical legacy of the city of Memphis.
McKelle’s  band, the Flytones, quickly serve notice that they have an innate understanding of  sweet soul music with Al Street on guitar, Ben Stivers on a multitude of keyboards, Derek Nievergelt on bass and Adrian Harpham on drums 7 percussion. Producer Scott Bomar certainly brings a wealth of experience to the project. He is the bass player for the Bo-Keys and learned how to work a studio alongside the legendary Willie Mitchell, leading to Bomar engineering two Al Green recordings. Two other members of the Bo-Keys add their considerable talents to the mix – Mark Franklin on trumpet & flugelhorn and Kirk Smothers on saxophones & flute.




I'm a fool to want you
I'm a fool to want you
To want a love that can't be true
A love that's there for others too

I'm a fool to hold you
Such a fool to hold you
To seek a kiss not mine alone
To share a kiss the Devil has known

Time and time again I said I'd leave you
Time and time again I went away
But then would come the time when I would need you
And once again these words I'll have to say

I'm a fool to want you
Pity me, I need you
I know it's wrong, it must be wrong
But right or wrong I can't get along

Without you
BEI MIR BIST DU SCHÖN
THE HOT SARDINES
SONGWRITERS: SHOLOM SECUNDA & JACOB JACOBS
COUNTRY: U.S.A.
ALBUM: LIVE AT JOE’S PUB
LABEL: THE HOT SARDINES
GENRE: JAZZ BAND
YEAR: 2013

The Hot Sardines is an American jazz band formed in New York City in 2007 by artistic director, singer and writer Elizabeth Bougerol and artistic director, actor and piano player Evan Palazzo.
"Bei Mir Bistu Shein" é uma canção popular de língua iídiche. Foi composta por Jacob Jacobs e Sholom Secunda em 1932 para a comédia musical I Would If I Could. O título da canção original em iídiche é "Bay Mir Bistu Sheyn". A versão em iídiche original da canção (em Dó menor) é um diálogo entre dois amantes que compartilham os versos da canção.
A canção ficou famosa após ser interpretada em inglês, mas mantendo o título iídiche, "Bei Mir Bistu Shein". Em uma regravação alemã, a canção apareceu com o título em alemão "Bei Mir Bist Du Schön".




Of all the boys I’ve known and I’ve known some
‘Til I first met you I was lonesome
You came in sight and my heart grew light
The world was new to me

You’re swell I’ll admit you
Deserve expressions that fit you
Racked my brain hoping to explain
Things you do to me

Bei mir bist du schoen
Please let me explain
Bei mir bist du schoen
Means that you’re grand

Bei mir bist du schoen
Again and again
Means you’re the fairest in the land

I could say bella bella
Even say wunderbar
Each language only goes to show
How wonderful you are

I try to explain
Bei mir bist du schoen
So kiss me, say you’ll understand

Zulu man is feeling blue, hear his heart beat a little tattoo
(Diga diga doo diga doo doo, diga diga doo diga doo)
You love me and I love you, when you love it’s natural to
(Diga diga doo diga doo doo, diga diga doo diga doo)
Well I’m so diga diga doo by nature (by nature)
If you don’t say diga diga doo to your mate you’ll lose that papa
Let those funny people smile, how can there be a virgin isle
(Diga diga doo diga doo doo, diga diga doo diga doo)

Bei mir bist du schoen
Please let me explain
Bei mir bist du schoen
Means that you’re grand

Bei mir bist du schoen
Again and again
Means that you’re the fairest in the land
I could say bella bella
Even say wunderbar
Each language only goes to show
How wonderful you are

I try to explain

Bei mir bist du schoen
Kiss me, kiss me

Kiss me, baby

Bei mir bist du schoen