DON'T MAKE ME OVER

DIONNE WARWICK

SONWRITERS: DAVID HAL, BACHARACH BURT F

COUNTRY: U.S.A.

ALBUM: ANYONE WHO HAD A HEART

LABEL: SCEPTER RECORDS

GENRE: POP

YEAR: 1963

"Don't Make Me Over" is a song written by Burt Bacharach and Hal David, originally recorded by Dionne Warwick in August 1962 and released in fall 1962 as her debut single. The song reached number 21 on the US Billboard Hot 100 and number five on the Billboard Hot R&B Singles chart. It was also a top-forty hit in Canada, reaching number 38.

Various covers of the song have been made. Jennifer Warnes recorded a version which reached number 67 on the Billboard Hot 100 in 1979. In 1989 American Singer Sybil reached number 20 on the Billboard Hot 100 with her version, one position above Warwick's original, and number two on the Hot Black Singles chart, eventually receiving a gold certification from the Recording Industry Association of America. This version also became a UK hit, peaking at number 19 on the UK Singles Chart, and topped the New Zealand Singles Chart for four weeks. A prominent sample of Sybil's version of the song became the basis for Caron Wheeler's 1992 hit single "I Adore You" from the soundtrack of the motion picture Mo' Money starring Damon Wayans.

Marie Dionne Warwick(/ˌdiːɒn/DEE-on; née Warrick; born December 12, 1940) is an American singer, actress, television host, and former United Nations Global Ambassador for the Food and Agriculture Organization and United States Ambassador of Health. A six-time Grammy Award winner, Warwick has sold over 85 million records worldwide.

(…)Warwick ranks among the 40 biggest hit makers of the entire rock era (1955–1999), based on the Billboard Hot 100 Pop Singles Charts. She is one of the most-charted female vocalists of all time, with 56 of her singles making the Billboard Hot 100 between 1962 and 1998, and 80 singles making all Billboard charts combined.

In 2011, the New Jazz style CD Only Trust Your Heart was released, featuring many Sammy Cahn songs. In March 2011, Warwick appeared on The Celebrity Apprentice 4. Her charity was the Hunger Project. She was dismissed from her "apprenticeship" to Donald Trump during the fourth task of the season. In February 2012, Warwick performed "Walk On By" on The Jonathan Ross Show. She also received the Goldene Kamera Musical Lifetime Achievement Award in Germany, and performed "That's What Friends Are For" at the ceremony.

On May 28, 2012, Warwick headlined the World Hunger Day concert at London's Royal Albert Hall. She sang the anthem, One World One Song, specially written for the Hunger Project by Tony Hatch and Tim Holder and was joined by Joe McElderry, the London Community Gospel Choir and a choir from Woodbridge School, Woodbridge, Suffolk.

In 2012, the 50th anniversary CD entitled NOW was released; Warwick recorded 12 Bacharach/David tracks produced by Phil Ramone.

On September 19, 2013, she collaborated with country singer Billy Ray Cyrus for his song "Hope Is Just Ahead".

In 2014, the duets album Feels So Good was released. Funkytowngrooves re-issued the remastered Arista albums No Night So Long, How Many Times Can We Say Goodbye("So Amazing"), and Finder of Lost Loves("Without Your Love"), all expanded with bonus material.

In December 2015, Warwick's website released the Tropical Love EP with five tracks previously unreleased from the Aquarel Do Brasil Sessions in 1994 - To Say Goodbye (Pra Dizer Adeus) with Edu Lobo - Love Me - Lullaby - Bridges (Travessia) - Rainy Day Girl with Ivan Lins.

A Heartbreaker two-disc expanded edition was planned for a 2016 release by Funkytowngrooves, which would include the original Heartbreaker album and up to 15 bonus tracks consisting of a mixture of unreleased songs, alternate takes, and instrumentals, with more remastered and expanded Arista albums to follow. In 2016, she was inducted into the Rhythm & Blues Hall of Fame.

In 2017, she performed a benefit in Chicago for the Center on Halstead, an organization that contributes to the LGBTQ community. This event was co-chaired by Rahm Emanuel and Barack Obama.

2020s to present

In 2020, she appeared as the Mouse on season 3 of The Masked Singer.

Don't make me over

Now that I'd do anything for you

Don't make me over

Now that you know how I adore you

Don't pick on the things I say, the things I do

Just love me with all my fault

The way that I love you

I'm begging you

Don't make me over

Now that I can't make it without you

Don't make me over

I wouldn't change one thing about you

Just take me inside your arms and hold me tight

And always be by my side, if I am wrong or right

I'm begging you

Don't make me over

Don't make me over

Now that you've got me at your command

Accept me for what I am

Accept me for the things that I do

Accept me for what I am

Accept me for the things that I do

Now that I'd do anything for you

Now that you know how I adore you

Just take me inside your arms and hold me tight

And always be by my side, if I am wrong or right

I'm begging you

Don't make me over

Don't make me over

Now that you've got me at your command

Accept me for what I am

Accept me for the things that I do

Accept me for what I am

Accept me for the things that I do.

FROM A SUMMER PLACE

PERCY FAITH & ORCHESTER

SONGWRITERS: MACK DISCANT & MAX STEINER

COUNTRY: U. S. A.

ALBUM:

LABEL: COLUMBIA RECORDS

GENRE: EASY LISTENING/MOVIE THEME

YEAR: 1959

"Theme from A Summer Place" is a song with lyrics by Mack Discant and music by Max Steiner, written for the 1959 film A Summer Place, which starred Sandra Dee and Troy Donahue. It was recorded for the film as an instrumental by Hugo Winterhalter. Originally known as the "Molly and Johnny Theme", the piece is not the main title theme of the film, but a secondary love theme for the characters played by Dee and Donahue.

Following its initial film appearance, the theme has been recorded by many artists in both instrumental and vocal versions, and has also appeared in a number of subsequent films and television programs. The best-known cover version of the theme is an instrumental version by Percy Faith and his orchestra that was a Number One hit for nine weeks on the Billboard Hot 100 chart in 1960.

Percy Faith recorded the most popular version of the theme, an instrumental orchestral arrangement, at the Columbia 30th Street Studio in New York City. It was released in September 1959 as a single on Columbia Records, credited to "Percy Faith and his Orchestra," prior to the November 1959 release of the film A Summer Place.

The single was not an immediate hit and did not enter the Billboard Hot 100 singles chart until mid-January 1960, finally reaching #1 six weeks later on February 22, 1960. It went on to set an at-the-time record of nine consecutive weeks at #1, a record which would not be broken until 1977, when "You Light Up My Life" spent ten weeks at #1. (Elvis Presley's double-sided hit "Don't Be Cruel/Hound Dog" remained at #1 for 11 weeks in 1956 prior to the 1958 creation of the Hot 100 chart; The Beatles' "Hey Jude" tied, but did not break, the nine-week record in 1968.) It remains the longest-running #1 instrumental in the history of the chart. Billboard ranked Faith's version as the Number One song for 1960.

The Faith version reached #2 in the UK. It was also a #1 hit in Italy under the title "Scandalo Al Sole."

Faith won a Grammy Award for Record of the Year in 1961 for his recording. This was the first movie theme and the first instrumental to win a Record of the Year Grammy.

Faith re-recorded the song twice: first, in 1969, as a female choral version, then, in 1976, as a disco version titled "Summer Place '76."

In 2008, Faith's original version was ranked at #18 on Billboard's top 100 songs during the first 50 years of the Hot 100 chart. The Billboard Book of Number One Hits called it "the most successful instrumental single of the rock era."

FIM DE TARDE

CLÁUDIA TELLES

COMPOSITORES: MAURA MOTTA & ROBSON JORGE

PAÍS: BRASIL

ÁLBUM: CLAUDIA TELLES

GRAVADORA:

GÊNERO: BLUES

ANO: 2019

Cláudia Telles de Mello Mattos(Rio de Janeiro, 26 de agosto de 1957 – Ibid., 21 de fevereiro de 2020) foi uma cantora, compositora e instrumentista brasileira, de ascendência portuguesa e francesa, intérprete de canções românticas, dentre elas as mais tocadas: "Fim de Tarde" e "Eu Preciso Te Esquecer".

Filha do violonista, compositor e advogado Candinho, e de uma das precursoras da bossa nova, a cantora Sylvia Telles, Cláudia Telles, ainda menina, foi convidada pela mãe para subir ao palco do Teatro Santa Rosa, no Rio, no último show da temporada do espetáculo "Reencontro", que reuniu Sylvia Telles, Edu Lobo, Trio Tamba e Quinteto Villa-Lobos, para cantar "Arrastão" (de Edu Lobo e Vinicius de Moraes). Ficou órfã de mãe aos nove anos, tendo sido criada por seus avós maternos, tendo tido pouco contato com o pai. Aos dezesseis anos, após ter perdido os avós, foi viver sozinha no apartamento que era de sua mãe, em Copacabana. Nesta época trabalhava em musicais no teatro.

Cláudia iniciou sua carreira fazendo coro para artistas famosos em suas gravações, entre eles The Fevers, Roberto Carlos, José Augusto, Gilberto Gil, Jerry Adriani, Jorge Ben, Belchior, Simone, Rita Lee, Fafá de Belém, entre vários outros. Sua chance de "brilhar" veio, entretanto, quando uma amiga do Trio Esperança, Regina, precisou se afastar do grupo por causa da gravidez, Claudia a substituiu em gravações e shows, ganhando experiência de público. Daí para frente ela se dedicaria completamente à arte musical.

Além das gravações em estúdio, Claudia foi crooner do conjunto de Chiquinho do Acordeon, um dos mais conceituados da época, durante um ano. Saiu quando Walter D'Ávila Filho, ao escutar uma música nova de seu parceiro e também produtor na época da CBS (hoje Sony Music) Mauro Motta, se lembrou dela e de sua voz - um pouco parecida com a da mãe, mas com um timbre metálico, diferente das vozes que havia no mercado e deu-lhe, a título de experiência a “tal” música para gravar. O sucesso foi estrondoso.

A música logo passou aos primeiros lugares das paradas. Todos queriam saber de quem era aquela voz suave e vieram os diversos convites para programas de televisão. O público jovem se identificou imediatamente com aquela menina de cabelos escorridos, tímida, que lhes derramava versos de amor. "Fim de Tarde" foi um dos grandes sucessos daquele ano de 1976 e agora menina-mulher, amadurecida pelo tempo e pelas circunstâncias, conhecia a fama. Foram vendidas mais de 500 mil cópias do compacto simples, o que lhe valeu o primeiro disco de ouro da carreira, oportunidades para excursionar e também para gravar a música em inglês e espanhol.

Aos 19 anos, Cláudia se projetava nos mesmos caminhos antes trilhados com incomparável êxito pela mãe. Passou então a ser requisitada para shows, cantando do samba ao bolero. Mas sua paixão era a Bossa Nova, chegando a ser considerada a mais perfeita intérprete de "Dindi", uma das muitas músicas que havia feito de sua mãe uma celebridade e unanimidade nacional, ultrapassando as fronteiras do Brasil.

No seu primeiro LP, em 1977, Claudia regrava “Dindi”, de Tom Jobim e Aloysio de Oliveira, grande sucesso na voz de sua mãe, e faz mais dois grandes sucessos, “Eu preciso te esquecer” e “Aprenda a amar”.

Cláudia nunca escondeu de ninguém o prazer que sentiu ao gravar "Dindi", um dos grandes sucessos de Sylvinha Telles: "Foi uma forma de homenageá-la". A homenagem foi além, veio em forma de batalha. A mesma batalha empreendida por Sylvinha para mostrar o que queria e do que era capaz, apenas com uma diferença: a dura comparação do seu trabalho com o da mãe, a eterna luta para provar que chegou onde quis sem nunca contar apenas com o fato de ser mais uma filha da mãe famosa.

Quatro anos após o sucesso de "Fim de Tarde", em entrevista à revista O Cruzeiro, contou do seu desejo de resgatar à memória os sucessos da Bossa Nova. Seria um tributo a sua mãe e ao maior movimento da história da música brasileira. Entrou em contato com sua gravadora e discutiram esta possibilidade. A ideia, entretanto, nunca saiu da gaveta, deixando seu sonho adormecido por algum tempo.

Tudo se perdeu

Foi tudo em vão

Da vida que eu pensei

De um sonho a dois

No meu peito uma saudade

Veio sem querer

E as coisas que são tuas

Eu não posso esquecer

Tanto tempo

Eu tive pra dizer

Que tudo que eu te fiz

Foi sem querer

Já não tem por que chorar

Se eu sei que te perdi

E a mágoa que você deixou

Só faz eu te dizer agora

(2x):

Eu preciso te esquecer

E ter que seguir

Sem pensar em você

Uh, uh, uh!

I DON'T WANT TO KNOW

GLADYS KNIGHT

SONGWRITER: KENNETH EDMONDS

COUNTRY: U. S. A.

ALBUM: JUST FOR YOU

LABEL: MCA RECORDS

GENRE: SOUL

YEAR: 1994

Gladys Maria Knight(born May 28, 1944), known as the "Empress of Soul", is an American singer, songwriter, actress, businesswoman, and author. A seven-time Grammy Award-winner, Knight is known for the hits she recorded during the 1960s, 1970s, and 1980s with her group Gladys Knight & the Pips, which also included her brother Merald "Bubba" Knight and cousins Edward Patten and William Guest.

Knight has recorded two number-one Billboard Hot 100 singles ("Midnight Train to Georgia" and "That's What Friends Are For"), eleven number-one R&B singles, and six number-one R&B albums. She has won seven Grammy Awards (four as a solo artist and three with the Pips) and is an inductee into the Rock and Roll Hall of Fame along with The Pips. She also recorded the theme song for the 1989 James Bond film Licence to Kill. Knight is also listed as one of Rolling Stone magazine's 100 Greatest Singers of All Time.

In 1996, Gladys Knight & the Pips were inducted into the Rock and Roll Hall of Fame. One year before, Knight had received a star on the Hollywood Walk of Fame. In 2007, Knight received the Society of Singers ELLA Award at which time she was declared the "Empress of Soul". She is listed on Rolling Stone's list of the Greatest Singers of All Time.

I've heard it all before

A love is a two way street

You have to give something to this relationship

I'm all out of understanding

It's always something with you

And all I've got to say is

Gave you the best, best years of my life and I

Gave you a woman who stood by your side

Through all your ups and downs

Your rights and all your wrongs

And God knows there were wrongs

I should've been long gone, but when I

Made you that promise for better or worse I said I'd

Stand by your side, I swallowed my pride

And now you're asking me to understand

And I'm telling you I can't

Why should I care about your feelings

When you don't give a damn about mine

Well, I don't want to know

I couldn't care less about your feelings

Don't you know

You should've cared more about mine

And I don't want to know

It really doesn't matter why you're leavin'

You should know

You're really throwin' away your life

And I won't sympathize

You've hurt me for the last time

Got no more tears left to cry

Baby, gave you three hearts

One boy and one girl and a

A woman who loves you

We're sittin' here falling apart

All through your ins and outs

Your fears and all your doubts

God knows there been doubts

But we've given you a home, and you're just

Throwing it away baby

All for some girl born yesterday

And what about your children

There is nothing to explain

But still you're asking us to understand

Well I'm telling you we can't

Why should we care about your reasons

When you're walking right out of our lives

And I don't want to know

I couldn't care less about your feelings

Don't you know

You should've cared more about mine

And I don't want to know

It really doesn't matter why you're leavin'

You should know

You're really throwin' away your life

And I won't sympathize

You've hurt me for the last time

Got no more tears left to cry

Say goodbye to all the love and memories

One last time, one good look at all the love

That won't be in your life

Say goodbye I hope that you'll be happy

Don't look back, 'cause it'll be too late

I've gone on with my life

And I don't want to know

I couldn't care less about your feelings

Oh, don't you know

You should've cared more about mine

And I don't want to know

It really doesn't matter why you're leavin'

You, you should know

You're really throwin' away your life

And I won't, I won't, I won't sympathize

You've hurt me, hurt me, hurt me for the last time

Got no tears left to cry, no no.