HOLD ME NOW
JHONNY LOGAN
SONGWRITER: JHONNY LOGAN
COUNTRY: IRELAND
ALBUM: REACH FOR ME
LABEL: EPIC RECORDS
GENRE: POP ROCK
YEAR: 1987

Seán Patrick Michael Sherrard(born 13 May 1954), better known by his stage name Johnny Logan, is an Irish singer and composer. He is known as being the only performer to have won the Eurovision Song Contest twice, in 1980 and 1987. He also composed the winning song in 1992.
Logan first won the Eurovision Song Contest in 1980, with the song "What's Another Year" written by Shay Healy. In 1984, Logan composed the song "Terminal 3" which placed second at Eurovision, performed by Linda Martin. He won the contest for a second time in 1987 with "Hold Me Now", which he also wrote himself. His third win came in 1992, as composer of Linda Martin's winning entry "Why Me?".
"Hold Me Now" is a song composed and performed by Irish Singer Johnny Logan. It became the winner of the 1987 Eurovision Song Contest. Logan had previously won with "What's Another Year?" in the 1980 Contest and would go on to write the winner of the 1992 Contest("Why Me?" for Linda Martin for whom he had previously written "Terminal 3" at the 1984 Contest). The song is usually sung by Bohemians at home
matches in Dalymount Park.
In 2001, Logan released the Reach for Me with the first two tracks being revamped versions of his Eurovision winning songs which are titled in the album as "What's Another Year 2001" and "Hold Me Now 2001" in a revamped up-beta version. "Hold Me Now" from the album had a limited chart success in Denmark where it made it to #9 in the Hitlisten chart. It also made it to #54 in Swedish Sverigetopplistan Singles Chart.
The song was performed twentieth on the night, following Denmark's Anne-Cathrine Herdorf & Drengene with "En lille melodi" and preceding Yugoslavia's Novi Fosili with "Ja sam za ples". At the close of voting, it had received 172 points, placing 1st in a field of 22. After Logan had been proclaimed the winner with this song, he was overcome with emotion during the reprise and was unable to reach the high notes in this part of the song. As he had when he won in 1980 with "What's Another Year?", he shouted "I still love you, Ireland".
            Lyrically, the song is a ballad sung from the point of view of a man whose love interest is leaving him for someone else ("from now on you'll be with someone else instead of me"). The singer pleads with his girlfriend to "touch, touch me the way you used to do" in order to leave him with good memories of their relationship, even as they "fill this memory/for the last time".
        The chorus then tells the girl "don't say a word", as they prepare to part. Despite the sad nature of the parting, the singer says that "I will know/though we're apart/we'll always be together", which implies some sort of optimism on his part. The music (also composed by Logan) is that of a typical Eurovision power ballad, with the final chorus being introduced by a chorus of backing singers (Joan Lea, Karen Black and Alain Pentony) before they are joined by Logan's voice again.
The song was succeeded as winner in 1988 by Celine Dion representing Switzerland with "Ne partez pas sans moi". It was succeeded as Irish representative at the 1988 contest by Jump The Gun with "Take Him Home". "Hold Me Now" is regarded by many fans as one of the high points of Contest history, recently being voted the third-best song in Eurovision history (behind "Waterloo" and "Nel blu dipinto di blu").
Don't... don't close your heart to how you feel
Dream, and don't be afraid the dream's not real
Close your eyes, pretend it's just the two of us again
Make believe this moment's here to stay
Touch... touch me the way you used to do
I know tonight could be all I'll have with you
From now on, you'll be with someone else instead of me
So tonight, let's fill this memory
For the last time

Hold me now
Don't cry, don't say a word
Just hold me now
And I will know
Though we're apart, we'll always be together
Forever in love
What do you say when words are not enough?

Time... time will be kind once we're apart
And your tears... tears will have no place in your heart
I wish I... I could say how much I'll miss you when you're gone
How my love for you will go on and on and

Hold me now
Don't cry, don't say a word
Just hold me now
And try to understand that
I hope at last you've found
What you've been searchin' for
And though I won't be there anymore
I will always love you

(Hold me now)
(Don't cry,) don't say a word
Just hold me now
And I will know
Though we're apart, we'll always be together
Forever in love
What do you say when words are not enough?

What can I say
When my words are not enough.
WHY ME?
LINDA MARTIN
SONGWRITER: JHONNY LOGAN
COUNTRY: IRELAND
ALBUM: WHY ME?
LABEL: COLUMBIA
GENRE: POP
YEAR: 1992

Linda Martin(born 27 March 1952) is a singer and television presenter from Northern Ireland. She is best known in Europe as the winner of the Eurovision Song Contest in 1992 with the song "Why Me?", and in Ireland as a member of the 1970s/1980s band, Chips.
She participated in the National Song Contest four times as a member of Chips, however they did not score successfully. She participated another four times in the contest as a soloist and once more as part of the group "Linda Martin and Friends". With nine participations, she has been the most frequent entrant in the National Song Contest's history. She won the contest twice, going on to represent Ireland twice at the Eurovision Song Contest.
The first of these victories was in 1984 with the song "Terminal 3", written by Johnny Logan(under his real name Séan Sherrard). The song came 2nd in the final, being beaten by 8 points. "Terminal 3" reached No.7 in the Irish charts. The second victory was in 1992 when her song "Why Me" (also written by Logan) went on to win the final in Sweden. This became Ireland's 4th victory in the Eurovision Song Contest and the song reached No.1 in the Irish charts as well as becoming a hit in many European countries.
Martin was, at the time, one of only three artists to finish both first and second at Eurovision, behind Lys Assia and Gigliola Cinquetti. Since then, only Elisabeth Andreassen and Dima Bilan have achieved this, raising the number to five. Martin was the first of the three artists to finish second first and first second, matched only later by Bilan.
"Why Me?" was the winner of the Eurovision Song Contest 1992, performed for Ireland by Linda Martin.
The result was also notable as the song was composed by Johnny Logan, who had previously won the Contest with "What's Another Year?" and the self-composed "Hold Me Now". Logan is, to date, the only person to win the Contest with a song composed for him, win the Contest with his own song and then compose another winner.
The song itself is a ballad, which builds in intensity towards the end. The singer describes her thoughts about her lover and asks why she is the lucky one to have his love, as against anyone else.
The song was performed seventeenth on the night, following the United Kingdom's Michael Ball with One Step Out of Time and preceding Denmark's Kenny Lübcke[da] & Lotte Nilsson[da] with "Alt det som ingen ser". At the close of voting, it had received 155 points, placing 1st in a field of 23.
The song was succeeded in 1993 as winner by Niamh Kavanagh, also representing Ireland, with "In Your Eyes".
Logan covered the song on his 2001 album, Reach for Me.
Sometimes I watch you passing by my window
And sometimes I watch you passing through my dreams
And sometimes, when I look at you
You take my breath away

Sometimes I try and understand your reasons
You choose to feel the way you feel about me
And sometimes, when I turn around
And you're there, like today - I wanna say

Why me
I look at you and I get to feeling
Why me
I know it true but I can't believe it
I keep on wondering why
My love shines in your eyes
Why me
I look at you and I ask myself
Why me

Sometimes I lie awake and watch you sleeping
And listen to the beating of your heart
And sometimes, when you're lying there
You take my breath away and I wanna say

Why me
I look at you and I get to feeling
Why me
I know it true but I can't believe that it's me
Who's gonna be holding you in my arms tonight
And why it's me
Who's gonna be the one to make you feel all right
Tonight

Why me
I look at you and I get to feeling
Why me
I know it true but I can't believe it
I keep on wondering why
My love shines in your eyes
Why me
I look at you and I ask myself
Why me
Why me.
ON SATURDAY AFTERNOONS IN 1963
RICKIE LEE JONES
SONGWRITER: RICKIE LEE JONES
COUNTRY: U. S. A.
ALBUM: RICKIE LEE JONES
LABEL: WARNER BROS
GENRE: ROCK
YEAR: 1979

Rickie Lee Jones(born November 8, 1954) is an American vocalist, musician, songwriter, producer, actress and narrator. Over the course of a career that spans five decades, Jones has recorded in various musical styles including rock, R&B, blues, pop, soul, and jazz.
Jones is a two-time Grammy Award winner. Additionally, she was listed at number 30 on VH1's 100 Greatest Women in Rock & Roll in 1999. Her album Pirates was number 49 on NPR's list of the 150 Greatest Albums Made by Women.
After Ghostyhead, Jones largely retired from public view and admitted that she had battled writer's block. She spent much of her time at her home in Tacoma, Washington, tending her garden and bringing up her now-teenage daughter Charlotte.
Released on the independent label V2 in October 2003, The Evening of My Best Day featured influences from jazz, Celtic folk, blues, R&B, rock, and gospel, and spawned a successful and lengthy spurt of touring. The album peaked at No. 189 on the Billboard 200. She invited punk bass icon Mike Watt(the Minutemen, Iggy Pop) to perform on "It Takes You There", while "Ugly Man" was a direct aim at the George Bush 'regime' evoking, with an anthem-like Hugh Masekela arrangement, what she termed "the Black Panther horns", and calling for "revolution, everywhere that you're not looking, revolution."
Renewed interest in Jones led to the three-disc anthology Duchess of Coolsville: An Anthology, released through reissue specialists Rhino in June 2005. A lavish package, the alphabetically arranged release featured album songs, live material, covers, and demos, and featured essays by Jones as well as various collaborators, as well as tributes from artists including Randy Newman, Walter Becker, Quincy Jones, and Tori Amos.
Also in 2005, Jones was invited to take part in her boyfriend and collaborator Lee Cantelon's music version of his book The Words, a book of the words of Christ, set into simple chapters and themes. Cantelon's idea was to have various artists recite the text over primal rock music, but Jones elected to try something that had never been done, to improvise her own impression of the texts, melody and lyric, in stream of consciousness sessions, rather than read Jesus' words. The sessions were recorded at an artist's loft on Exposition Boulevard in Culver City. When Cantelon could no longer finish the project, Jones picked it up as her own record and hired Rob Schnaf to finish the production at Sunset Sound in 2007, and the result was The Sermon on Exposition Boulevard, released on the independent New West Records in February 2007. It included "Circle in the Sand", recorded for the soundtrack to the film Friends With Money(2006), for which Jones also cut "Hillbilly Song". The Sermon on Exposition Boulevard debuted at No. 158 on the Billboard 200 and No. 12 on the Top Independent Albums tally. Writer Ann Powers included this on her list of Grammy-worthy CDs for 2007.
For her next project, Jones opted to finish half-written songs dating back as far as 1986 ("Wild Girl") as well as include new ones (the 2008-penned "The Gospel of Carlos, Norman and Smith", "Bonfires"). Working closely with long-time collaborator David Kalish, with whom Jones first worked on 1981's Pirates, Jones released Balm in Gilead on the Fantasy label in November 2009. The album also included a new recording of "The Moon Is Made of Gold", a song written by her father Richard Loris Jones in 1954. Ben Harper, Victoria Williams, Jon Brion, Alison Krauss and the late Vic Chesnutt all made contributions to the album.
In May 2010 Jones performed at the Sydney Opera House as part of the Vivid Live festival.
On September 18, 2012, Jones released The Devil You Know on Fantasy/Concord Records. The Devil You Know includes a collection of covers produced by Ben Harper, including a solo version of "Sympathy for the Devil".
In 2015, Jones released her álbum The Other Side of Desire, and the single "Jimmy Choos" which references the shoe brand. A documentary film, Rickie Lee Jones: The Other Side of Desire, on the making of the album, was also released.
In 2018, Jones' autobiography Rickie Lee was released.
In 2019, Jones released a single of the Paul Rodgers/Simon Kirke song, "Bad Company", followed by her álbum Kicks which included "Bad Company" and cover versions of many other songs.
She played at the Glastonbury Festival in June 2019.
On June 25, 2019, The New York Times Magazine listed Rickie Lee Jones among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.
The most as you'll ever go
Is back where you used to know
If grown-ups could laugh this slow
Where as you watch the hour snow
Years may go by

So hold on to your special friend
Here, you'll need something to keep her in :
"Now you stay inside this foolish grin ... "
Though any day your secrets end
Then again
Years may go by

You saved your own special friend
'Cuz here you need something to hide her in
And you stay inside that foolish grin
When everyday now secrets end
Oh and then again
Years may go by.
MISTY
SARAH VAUGHAN
SONGWRITER: ERROLL GARNER & JOHNNY BURKE
LIVE: FROM SWEDEN
COUNTRY: U. S. A.
ALBUM: BROKEN HEARTED MELODY
LABEL: MERCURY RECORDS
GENRE: JAZZ
YEAR: 1964

Sarah Lois Vaughan(March 27, 1924 – April 3, 1990) was an American jazz singer.
Nicknamed "Sassy" and "The Divine One", she won four Grammy Awards, including the Lifetime Achievement Award. She was given an NEA Jazz Masters Award in 1989. Critic Scott Yanow wrote that she had "one of the most wondrous voices of the 20th century".
Parallels have been drawn between Vaughan's voice and that of opera singers. Jazz Singer Betty Carter said that with training Vaughan could have "...gone as far as Leontyne Price." Bob James, Vaughan's musical director in the 1960s said that "...the instrument was there. But the knowledge, the legitimacy of that whole world were not for her ... But if the aria were in Sarah's range she could bring something to it that a classically trained singer could not."
In a chapter devoted to Vaughan in his book Visions of Jazz(2000), critic Gary Giddins described her as the "...ageless voice of modern jazz – of giddy postwar virtuosity, biting wit and fearless caprice". He concluded by saying that "No matter how closely we dissect the particulars of her talent ... we must inevitably end up contemplating in silent awe the most phenomenal of her attributes, the one she was handed at birth, the voice that happens once in a lifetime, perhaps once in several lifetimes."
Her voice had wings: luscious and tensile, disciplined and nuanced, it was as thick as cognac, yet soared off the beaten path like an instrumental solo ... that her voice was a four-octave muscle of infinite flexibility made her disarming shtick all the more ironic." – Gary Giddins
Her obituary in The New York Times described her as a "singer who brought an operatic splendor to her performances of popular standards and jazz." Jazz singer Mel Tormé said that she had "...the single best vocal instrument of any singer working in the popular field." Her ability was envied by Frank Sinatra who said, "Sassy is so good now that when I listen to her I want to cut my wrists with a dull razor." New York Times critic John S. Wilson said in 1957 that she possessed "what may well be the finest voice ever applied to jazz." It was close to its peak until shortly before her death at the age of 66. Late in life she retained a "youthful suppleness and remarkably luscious timbre" and was capable of the projection of coloratura passages described as "delicate and ringingly high".
Vaughan had a large vocal range of soprano through a female baritone, exceptional body, volume, a variety of vocal textures, and superb and highly personal vocal control. Her ear and sense of pitch were almost perfect, and there were no difficult intervals.
In her later years her voice was described as a "burnished contralto" and as her voice deepened with age her lower register was described as having "shades from a gruff baritone into a rich, juicy contralto". Her use of her contralto register was likened to "dipping into a deep, mysterious well to scoop up a trove of buried riches." Musicologist Henry Pleasants noted, "Vaughan who sings easily down to a contralto low D, ascends to a pure and accurate [soprano] high C."
Vaughan's vibrato was described as "an ornament of uniquely flexible size, shape and duration," a vibrato described as "voluptuous" and "heavy" Vaughan was accomplished in her ability to "fray" or "bend" notes at the extremities of her vocal range. It was noted in a 1972 performance of Leslie Bricusse and Lionel Bart's "Where Is Love?" that "In mid-tune she began twisting the song, swinging from the incredible cello tones of her bottom register, skyrocketing to the wispy pianissimos of her top."
She held a microphone in live performance, using its placement as part of her performance. Her placings of the microphone allowed her to complement her volume and vocal texture, often holding the microphone at arm's length and moving it to alter her volume.
She frequently used the song "Send in the Clowns" to demonstrate her vocal abilities in live performance. The performance was called a "three-octave tour de force of semi-improvisational pyrotechnics in which the jazz, pop and operatic sides of her musical personality came together and found complete expression" by The New York Times.
Singers influenced by Vaughan include Phoebe Snow, Anita Baker, Sade, and Rickie Lee Jones. Singers Carmen McRae and Dianne Reeves both recorded tribute albums to Vaughan following her death; Sarah: Dedicated to You(1991) and The Calling: Celebrating Sarah Vaughan(2001) respectively.
Though usually considered a jazz singer, Vaughan avoided classifying herself as one. She discussed the term in a 1982 interview for Down Beat:
I don't know why people call me a jazz singer, though I guess people associate me with jazz because I was raised in it, from way back. I'm not putting jazz down, but I'm not a jazz singer ... I've recorded all kinds of music, but (to them) I'm either a jazz singer or a blues singer. I can't sing a blues – just a right-out blues – but I can put the blues in whatever I sing. I might sing 'Send In the Clowns' and I might stick a little bluesy part in it, or any song. What I want to do, music-wise, is all kinds of music that I like, and I like all kinds of music. 
Look at me, I'm as helpless as a kitten up a tree
And I feel like I'm clingin' to a cloud
I can' t understand
I get misty, just holding your hand

Walk my way
And a thousand violins begin to play
Or it might be the sound of your hello
That music I hear
I get misty, the moment you're near

You can see that you're leading me on
But is just what I want you to do
Don't you notice how hopelessly I'm lost
That's why I'm following you

On my own
When I wander through this wonderland alone
Never knowing my right foot from my left
My hat from my glove
I'm too misty, and too much in love

I'm just too misty
And too much in love.