CONFRONTATION
DAMIAN MARLEY
SONGWRITER: DAMIAN MARLEY
COUNTRY: JAMAICA
ALBUM: WELCOME TO JAMROCK
LABEL: UNIVERSAL MUSIC
GENRE: REGGAE
YEAR: 2005

Damian Robert Nesta "Jr. Gong" Marley (born 21 July 1978) is a Jamaican DJ, singer, songwriter and record producer. Damian is the youngest son of reggae singer Bob Marley. Damian was 2 years old when his father died; he is the only child born to Marley and Cindy Breakspeare, Miss World 1976. Damian's nickname Junior Gong is derived from his father's nickname of Tuff Gong. Damian has been performing since the age of 13.
Welcome to Jamrock is a Grammy-winning reggae album by Damian "Jr. Gong" Marley. The album was released on September 12, 2005 in the United Kingdom and September 13, 2005 in the United States.
Marley won two 2006 Grammy Awards for the album, Best Reggae Album and Best Urban/Alternative Performance (for the track "Welcome to Jamrock"). Guests on the album include Stephen Marley, Black Thought, Bobby Brown and Nas. The executive producers of the album were Stephen Marley and Damian "Jr. Gong" Marley.
Mr. President, Distinguished delegates
Since the beginning of modern civilization
Generations have witnessed and inherited the only conflicts of world wars
But behold the marriage supper of the lamb and the bridegroom onto his bride
Then shall the earth's children know the true expression of ONE LOVE
Then mother earth shall honeymoon in peace.
Forever eliminating the aspirations, lust and anguish of wars and rumors of wars..SELAH!

See it deh know the innocent going up in vapors
And propoganda spreading inna the sunday papers not even superman coulda save you with him cape cause
Red-a Judgement a blaze, blaze ya
And Babylon a gamble the youth dem life like racehorse
And gi dem a uniform and a shave dem head with razors
And now the clock a strike war, don't be amazed cause
inna dem churches tryin to save...saviours

Can we do it? We can do it, we shall do it!
Boom!
Tell dem fe uh draw mi out when the world government inna falling out
Only few men survive crawling out
Run left him collegues dem sprawling out
NEARLY DEAD!
Medic haffi haul him out
And give him two tranquilizer fi stall him out
DEH PON BASE!
Can't get no calling out when him hear from the shout last week
Him mistress find a new shoes
Wife can't get no news and lately she starting to doubt
SHE STILL SEARCHING!
And the youth dem bawling out
Working hard not to let it all come out
Well it's not safe to go walk about
A slaughterhouse from Bagdad to Waterhouse
She start to arouse sometime she want a spouse
She start go out, start beat a darker stout
GUNS COME OUT!
Working people funds run out
Keep a show last week and no one come out
BOMBS COME OUT!
Mi gas tank just run out
BOMBO CLATT!
The scotch tape just run out
WEED RUN OUT!
Yuh senses must dumb out, Mi have a pound round a back deh a gwan sun out
NAH COME OUT!
Till the chalice bun out,
NAH COME OUT!
Till the malice bun out, A WAR!

Zimbabwe to Berlin Wall
Blazin' like a burnin' ball, loose ball...dat no work...IN WAR
Sleeping...dat no work..IN WAR
Can't wear jheri curl...IN WAR
No diamond and pearl...IN WAR
Can't drink weh a serve...IN BAR
Gas wi fuck up yuh nerves...IN WAR
Shot wi blood up yuh shirt...IN WAR
Can't go lift up no skirt...IN WAR
Now disease and germs...IN WAR
Can't go release your sperms...IN WAR
Stamina must preserve...IN WAR
Fire constantly burn...IN WAR
RED...IT RED...IT RED...IT RED...IT RED!

[Marcus Garvey dialogue 2]
If you cannot do it, if you are not prepared to do it...then you will die.
You race of cowards, you race of imbosiles, you race of good for nothings
If you cannot do what other men have done
What other nations have done, what other races have done
Then you yourself shall die.

SEE IT DEH NOW...Hey!
Now wi fore parents sacrifice enough
Dem blood sweat and tears run like syrup
Any day a revolution might erupt, and the skys over Kingston lighting up
For the new generation rising up, of youths now a days weh dem sighting up
And through reasoning dem biding up,
Searching for the sign and the sign is us,
Searching for the truth all you find is us,
Searching for the troops still behind is us,
The almighty we recruit and we come from the root
We build like roach building boot
Weh just can't done, Rastafari we design tuff
If a the fight for freedom sign me up
Cause you Tell-Lie-Vision can't blind me up
Soldiers and police dem wising up, realizing they're no more right than us
Realizing there's no use fighting us
Realizing their opening their eyes to see the same demoralizing life as us
So we nah tek talk nor smiling up
Cause the word temper tantrum boiling up, and who...
Calling the shots and nah bust none
Controlling the mind of the young, bring down...

Bear famine, no rain nah fall from London to Dadeland mal
All the son of the virgin bawl, institute of the church IN WAR
Preaching and researching WAR
Practice and rehearsing WAR
Teaching and dem learning WAR
Instigating and urging WAR
Always keep alert in WAR
Cause man will jump out a swerving car
Now bees and birds IN WAR
And the freaks and nerds IN WAR
And the straight and curves IN WAR
Forward and reverse IN WAR
RED...IT RED...IT RED...IT RED...IT RED.
BEWITCHED, BOTHERED AND BEWILDERED
ELLA FITZEGERALD
SONGWRITERS: LORENZ HART & RICHARD RODGERS
COUNTRY: U. S. A.
ALBUM: ELLA FITZGERAL CANTA O LIVRO DE CANÇÕES DE RODGERS & HART
LABEL: VERVE RECOPRDS
GENRE: JAZZ
YEAR: 1958

Ella Jane Fitzgerald (April 25, 1917 – June 15, 1996) was an American jazz singer, sometimes referred to as the First Lady of Song, Queen of Jazz, and Lady Ella. She was noted for her purity of tone, impeccable diction, phrasing, timing, intonation, and a "horn-like" improvisational ability, particularly in her scat singing.
After a tumultuous adolescence, Fitzgerald found stability in musical success with the Chick Webb Orchestra, performing across the country but most often associated with the Savoy Ballroom in Harlem. Her rendition of the nursery rhyme "A-Tisket, A-Tasket" helped boost both her and Webb to national fame. After taking over the band when Webb died, Fitzgerald left it behind in 1942 to start her solo career.
Her manager was Moe Gale, co-founder of the Savoy, until she turned the rest of her career over to Norman Granz, who founded Verve Records to produce new records by Fitzgerald. With Verve she recorded some of her more widely noted works, particularly her interpretations of the Great American Songbook.
While Fitzgerald appeared in movies and as a guest on popular television shows in the second half of the twentieth century, her musical collaborations with Louis Armstrong, Duke Ellington, and The Ink Spots were some of her most notable acts outside of her solo career. These partnerships produced some of her best-known songs such as "Dream a Little Dream of Me", "Cheek to Cheek", "Into Each Life Some Rain Must Fall", and "It Don't Mean a Thing (If It Ain't Got That Swing)".
In 1993, after a career of nearly 60 years, she gave her last public performance. Three years later, she died at the age of 79 after years of declining health. Her accolades included fourteen Grammy Awards, the National Medal of Arts, and the Presidential Medal of Freedom. 
Ella Fitzgerald Sings the Rodgers and Hart Song Book é um álbum de estúdio de 1956dacantora de jazz americana Ella Fitzgerald , com uma orquestra de estúdio dirigida e arranjada por Buddy Bregman , com foco nas canções de Richard Rodgers e Lorenz Hart .
Este álbum foi incluído no Grammy Hall of Fame em 1999, que é um prêmio Grammy especial estabelecido em 1973 para homenagear gravações que tenham pelo menos 25 anos de idade e que tenham "significado qualitativo ou histórico". 
Em 2000, foi eleito o número 642 em Colin Larkin 's All Time Top 1000 Albums .
After one whole quart of brandy
Like a daisy, I'm awake
With no bromo-seltzer handy
I don't even shake

Men are not a new sensation
I've done pretty well I think
But this half-pint imitation
Put me on the blink

I'm wild again, beguiled again
A simpering, whimpering child again
Bewitched, bothered and bewildered am I

Couldn't sleep and wouldn't sleep
When love came and told me, I shouldn't sleep
Bewitched, bothered and bewildered am I

Lost my heart, but what of it?
He is cold I agree
He can laugh, but I love it
Although the laugh's on me

I'll sing to him, each spring to him
And long for the day when I'll cling to him
Bewitched, bothered and bewildered am I

He's a fool, and don't I know it?
But a fool can have his charms
I'm in love and don't I show it
Like a babe in arms

Love's the same old sad sensation
Lately I've not slept a wink
Since this half-pint imitation
Put me on the blink

I've sinned a lot, I'm mean a lot
But I'm like sweet seventeen a lot
Bewitched, bothered and bewildered am I

I'll sing to him, each spring to him
And worship the trousers that cling to him
Bewitched, bothered and bewildered am I

When he talks, he is seeking
Words to get, off his chest
Horizontally speaking, he's at his very best

Vexed again, perplexed again
Thank god, I can be oversexed again
Bewitched, bothered and bewildered am I

Wise at last, my eyes at last
Are cutting you down to your size at last
Bewitched, bothered and bewildered no more

Burned a lot, but learned a lot
And now you are broke, so you earned a lot
Bewitched, bothered and bewildered no more

Couldn't eat, was dispeptic
Life was so hard to bear
Now my heart's antiseptic
Since you moved out of there

Romance, finis
Your chance, finis
Those ants that invaded my pants, finis
Bewitched, bothered and bewildered no more.
BEWITCHED, BOTHERED, AND BEWILDERED
DORIS DAY
SONGWRITERS: LORENZ HART & RICHARD RODGERS
COUNTRY: U. S. A.
ALBUM: DORIS DAY
LABEL: COLUMBIA RECORDS
GENRE: EASY LISTENING
YEAR: 1949

"Bewitched, Bothered and Bewildered" is a show tune and popular song from the 1940 Rodgers and Hart musical Pal Joey. It is part of the Great American Songbook. The song was introduced by Vivienne Segal on December 25, 1940, in the Broadway production during Act I, Scene 6, and again in Act II, Scene 4, as a reprise. Segal also sang the song on both the 1950 hit record and in the 1952 Broadway revival. It was performed by Carol Bruce in the 1954 London production.
Doris Day (born Doris Mary Anne Kappelhoff; April 3, 1922 – May 13, 2019) was an American actress, singer, and animal welfare activist. She began her career as a big band singer in 1939, achieving commercial success in 1945 with two No. 1 recordings, "Sentimental Journey" and "My Dreams Are Getting Better All the Time" with Les Brown & His Band of Renown. She left Brown to embark on a solo career and recorded more than 650 songs from 1947 to 1967.
Day was one of the biggest film stars in the 1950s-1960s era. Day's film career began during the Golden Age of Hollywood with the film Romance on the High Seas (1948). She starred in films of many genres, including musicals, comedies, dramas, and thrillers. She played the title role in Calamity Jane (1953) and starred in Alfred Hitchcock's The Man Who Knew Too Much (1956) with James Stewart. Her best-known films are those in which she co-starred with Rock Hudson, chief among them 1959's Pillow Talk, for which she was nominated for the Academy Award for Best Actress. She also worked with James Garner on both Move Over, Darling (1963) and The Thrill of It All (1963), and starred alongside Clark Gable, Cary Grant, James Cagney, David Niven, Ginger Rogers, Jack Lemmon, Frank Sinatra, Kirk Douglas, Lauren Bacall, and Rod Taylor in various movies. After ending her film career in 1968, only briefly removed from the height of her popularity, she starred in her own sitcom The Doris Day Show (1968–1973).
In 1989, she was awarded the Golden Globe Cecil B. DeMille Award for lifetime achievement in motion pictures. In 2004, she was awarded the Presidential Medal of Freedom. In 2008, she received the Grammy Lifetime Achievement Award as well as a Legend Award from the Society of Singers. In 2011 she was awarded the Los Angeles Film Critics Association's Career Achievement Award. Also in 2011, she released her 29th studio álbum My Heart which contained new material and became a UK Top 10 album. As of 2020, she was one of eight record performers to have been the top box-office earner in the United States four times
I'm wild again, beguiled again
A simpering, whimpering child again
Bewitched, bothered, and bewildered am I

Couldn't sleep and wouldn't sleep
Then love came and told me I shouldn't sleep
Bewitched, bothered, and bewildered am I

Lost my heart but what of it?
He is cold, I agree
He can laugh but I love it
Although the laugh's on me
I'll sing to him, each Spring to him
And long for the day when I cling to him

Bewitched, bothered, and bewildered am I
instrumental interlude

(You'll sing to him, each Spring to him)
And long for the day when I cling to him
Bewitched, bothered, and bewildered am I.
I’M A FOOL TO WANT YOU
BILLIE HOLIDAY
SONGWRITER: FRANK SINATRA; JACK WOLF, JOEL HERRON & TAITO VAINIO
COUNTRY: U. S. A.
ALBUM: LADY IN SATIN
LABEL: COLUMBIA
GENRE: JAZZ
YEAR: 1958

Lady in Satin is an album by jazz singer Billie Holiday released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is the penultimate album completed by the singer and last released in her lifetime (her final album, Last Recording, being recorded in March 1959 and released just after her death). The original album was produced by Irving Townsend, and engineered by Fred Plaut.
For the majority of the 1950s, Billie Holiday was signed to jazz producer Norman Granz's Clef Records, which was later absorbed into the newly founded Verve Records by 1956. All of her work for Norman Granz consisted of small jazz combos, reuniting her with musicians she recorded with back in the 1930s when she made her first recordings with Teddy Wilson. There were talks in the early 1950s of Holiday making albums, or songbooks, dedicated to composers such as George and Ira Gershwin and Jerome Kern, but they fell through and ended up going to Ella Fitzgerald when she signed to Verve. By 1957, Holiday had recorded twelve albums for Granz and was unhappy. Therefore, she decided not to renew her contract.
By October 1957, Holiday contacted Columbia producer Irving Townsend and expressed interest in recording with bandleader Ray Ellis after listening to his album Ellis in Wonderland. Originally, she wanted to do an album with bandleader Nelson Riddle after hearing his arrangements for Frank Sinatra's albums, particularly In the Wee Small Hours, but after hearing Ellis's version of "For All We Know", she wanted to record with him. When Holiday came to Townsend about the album, he was surprised:
It would be like Ella Fitzgerald saying that she wanted to record with Ray Conniff. But she said she wanted a pretty album, something delicate. She said this over and over. She thought it would be beautiful. She wasn't interested in some wild swinging jam session...She wanted that cushion under her voice. She wanted to be flattered by that kind of sound.
Townsend got in touch with Ellis about the album. Ellis, having heard of Holiday's work throughout the 1930s and 1940s, was excited for the project, saying: "I couldn't believe it...I didn't know she was aware of me." Townsend arranged a meeting for both Holiday and Ellis to sign a contract with Columbia. Columbia provided an unlimited budget for the album. The musicians in the orchestra were paid $60 for the three sessions and Holiday was paid $150 per side in advance. Townsend went on to set up the recording dates for late February 1958.
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'd 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
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'd 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.