Les 39 chansons 3 (Acte 2)

ACTE II

BABY, THAT'S ROCK AND ROLL

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YAKETY YAK

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Take out the papers and the trash
Or you don't get no spendin' cash
If you don't scrub that kitchen floor
You ain't gonna rock and roll no more
Yakety yak (don't talk back)

Just finish cleanin' up your room
And sweep the dust out with that broom
Get all that garbage out of sight
Or you don't go out Friday night
Yakety yak (don't talk back)

You just put on your coat and hat
And walk yourself to the laundromat
And when you finish doin' that
Bring in the dog and put out the cat
Yakety yak (don't talk back)

Don't you give me no dirty looks
Your father's hip; he knows what cooks
Just tell your hoodlum friend outside
You ain't got time to take a ride
Yakety yak (don't talk back)

(Repeat and fade:)
Yakety yak, yakety yak

CHARLIE BROWN

Fe fe fi fi fo fo fum
I smell smoke in the auditorium
Charlie Brown, Charlie Brown
He's a clown, that Charlie Brown
He's gonna get caught, just you wait and see
(Why's everybody always pickin' on me?)

That's him on his knees, I know that's him
From 7 come 11 down in the boys' gym
Charlie Brown, Charlie Brown
He's a clown, that Charlie Brown
He's gonna get caught, just you wait and see
(Why's everybody always pickin' on me?)

Who's always writing on the wall?
Who's always goofin' in the hall?
Who's always throwin' spit balls?
Guess who! (Who, me?) Yeah, you!

Who walks in the classroom cool and slow?
Who calls the English teacher Daddy-O?
Charlie Brown, Charlie Brown
He's a clown, that Charlie Brown
He's gonna get caught, just you wait and see
(Why's everybody always pickin' on me?)

Who walks in the classroom cool and slow?
Who calls the English teacher Daddy-O?
Charlie Brown, Charlie Brown
He's a clown, that Charlie Brown
He's gonna get caught, just you wait and see
(Why's everybody always pickin' on me?)

STAY A WHILE

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Stay awhile, let me hold you
Stay awhile, 'till I've told you oh oh
Of the love that I feel tonight oh yeah

Stay awhile what's your hurry?
Stay awhile, 'cause I worry oh oh
Any time that you're out of sight

I hate to see you go Tell you what I'll do I'll be good to you
I'll make you glad that you are mine, so come on baby

Treat me right, must you run now
For the night's just begun now oh oh
Honey please, won't you stay awhile with meoh yeh yeh

(break)

Oh I hate to see you go Tell you what I'll do I'll be good to you
I'll make you glad that you are mine, so come on baby

Treat me right, must you run now
For the night's just begun now oh oh
Honey please, won't you stay awhile with meoh yeh yeh
Stay awhile with me.

PEARL'S A SINGER

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Une version live de la chanteuse anglaise Elkie Brokks (1977)

TEACH ME HOW TO SHIMMY

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Bon ...Un peu d'exercice avant :



C'est parti !

YOU'RE THE BOSS

LOVIN' YOU

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I will spend my whole life through
loving you, loving you.
Winter, summer, spring-time, too,
loving you, loving you.
Makes no difference where I go or what I do.
You know that I'll always be loving you.

If I'm seen with someone new,
don't be blue, don't be blue.
I'll be faithful I'll be true;
always true, true to you.
There is only one for me, and you know who.
You know that I'll always be loving you.

TREAT ME NICE

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When I walk through that door
Baby be polite
You're gonna make me sore
If you don't greet me right
Don't you ever kiss me once, kiss me twice
Treat me nice

I know that you've been told
It's not fair to tease
So if you come on cold
I'm really gonna freeze
If you don't want me to be cold as ice
Treat me nice

Make me feel at home
If you really care
Scratch my back and run your pretty
Fingers through my hair

You know I'll be your slave
If you ask me to
But if you don't behave
I'll walk right out on you
If you want my love then take my advice
Treat me nice

Make me feel at home
If you really care
Scratch my back and run your pretty
Fingers through my hair

You know I'll be your slave
If you ask me to
But if you don't behave
I'll walk right out on you
If you want my love then take my advice
Treat me nice

If you really want my love then treat me nice

HOUND DOG

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Ici, une anecdote sur la génèse du morceau avec l'effrayante Big Mama T. !

One day in 1952, Johnny (“Willie and the Hand Jive”) Otis was looking for a song for “Big Mama” and summoned Jerry and Mike, a pair of teenaged wizards who’d scored a couple of R&B hits, including “Kansas City,” to his garage, where he was rehearsing wit his band and singers.
They listened to the brash Thornton, dressed, as usual, in coveralls and combat boots, and found her “a bit frightening,” according to Stoller. When Otis asked if they had a song for her, his partner replied, “We don’t now, but we will in a few minutes.”
Leiber writes: “We raced back to Mike’s house and knocked out a song in a matter of minutes … We knew, as they say in the south, that this dog would hunt. ‘Hound Dog’ had the right country-funky feel that the great lady embodied.”
They gave her the song, Mike Stoller began playing it on the piano, and Thornton began crooning it. Leiber broke in: “Big Mama, that ain’t the way it goes.”
OK. I have to break in here. In the Leiber and Stoller book, written with ace biographer David Ritz, Leiber says that Thornton retorted, “I know how it go,” and wagged her tongue at him.
But in the book Tell the Truth Until They Bleed, author Josh Alan Friedman, who profiled and spoke extensively with the two songwriters, reports that Thornton’s response to Leiber was: “White boy, don’t tell me how it go. I know how it go,” and then “flapped her tongue like a snake.”
Oh, yes: Jerry Leiber and Mike Stoller were white, Jewish kids who just happened to love blues, jazz and R&B music.
Otis, himself a white man who grew up loving and performing black music, became a mediator. He pacified Thornton and then turned to Leiber. “You sing it, Jerry,” he said. “You show ‘Big Mama’ how it goes.”
And he did. As Stoller recalls: “She heard the rough-and-tough of the song and, just as important, the implicit sexual humor. In short, she got it.” Her croon turned into a more appropriate growl.
The next day, she recorded the song, which would go on to top the R&B charts, and the boys were at the session. “Listening to the playback,” says Leiber, “hearing how ‘Big Mama’ fulfilled our dream, we were the happiest teenagers in the United States of America.”
And that was before Elvis Presley got hold of it, in 1956, and took it to Number One on the pop charts.
By the way, in the “Comments” section for Thornton, one Vault listener writes: “Janis (Joplin) was the only one that called Big Mama to ask permission to sing one of her songs. She also made sure that Big Mama received royalties for that song, unlike Elvis.”
Actually, since Thornton didn’t compose the song, no such permission was needed. And royalties would also go to the writers. Any performance royalties “Big Mama” earned would be the responsibility of her record company, not fellow artists.
Anyway, “Big Mama” did just fine. In the matter of “Hound Dog,” she will always be the originator.

You ain't nothin' but a hound dog
cryin' all the time.
You ain't nothin' but a hound dog
cryin' all the time.
Well, you ain't never caught a rabbit
and you ain't no friend of mine.

When they said you was high classed,
well, that was just a lie.
When they said you was high classed,
well, that was just a lie.
You ain't never caught a rabbit
and you ain't no friend of mine.

LITTLE EGYPT
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I went and bought myself a ticket and
I sat down in the very first row, wo wo.
They pulled the curtain but then when
they turned the spotlight way down low, wo wo,
little Egypt came out strotting,
wearing nothing but a button and a bow, wo wo,
singing, "Yeah yeah! Yeah yeah! Yeah yeah! Yeah yeah''.

She had a ruby on her tummy and
a diamond big as Texas on her toe, wo wo.
She let her hair down and
she did the hoochie koochie real slow, wo wo,
When she did her special number on a zebra skin,
I thought she'd stop the show, wo wo,
singing, "Yeah yeah! Yeah yeah! Yeah yeah! Yeah yeah!".

She did a triple somersault and when she hit the ground,
she winked at the audience and then she turned around.
She had a picture of a cowboy tattooed on her spine,
saying Phoenix, Arizona, nineteen forty-nine.

Yeah, but let me tell you people,
little Egypt doesn't dance there anymore, wo wo.
She's too busy mopping and
a taking care of shopping at the store, wo wo.
'Cause we got seven kids and
all day long they crawl around the floor, wo wo,
singing, "Yeah yeah! Yeah yeah! Yeah yeah! Yeah yeah!"

I'M A WOMAN
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I can wash out forty-four pairs of socks
And have them hangin out on the line
I can starch and iron two dozen shirts
Before you can count from one to nine
I can scoop up a great big dipper
Full of lard from the drippin's can
Throw it in the skillet, go out and do my
Shopping and be back before it melts in the pan
'Cause I'm a woman
Double U O M A N
I'll say it again

I can rub and scrub till this old house
Is shinin like a dime
Feed the baby, grease the car and
Powder my face at the same time
Get all dressed up, go out and swing
Till four a.m. and then
Lay down at five, jump up at six
And start all over again
'Cause I'm a woman
Double U O M A N
I'll say it again

If you come to me sickly, you know
I'm gonna make you well
If you come to me hexed up,
You know I'm gonna break the spell
If you come to me hungry,
You know I'm gonna fill you full o' grits
If it's lovin' you're lackin', I'll kiss you
And give you the shiverin' fits
'Cause I'm a woman
Double U O M A N
I'll say it again

I can stretch a greenback dollar bill
From here to kingdom come
I can play the numbers, pay my bills
And still end up with some
I got a twenty dollar gold piece says
There ain't nothin I can't do
I can make a dress out of a feed bag
And I can make a man out of you
'Cause I'm a woman
Double U O M A N
I'll say it again
'Cause I'm a woman
Double U O M A N
And that's all





Un duo de blondes (Petula et Peggy !)



Et une sacrée brune ! (Koko Taylor)

THERE'S GOES MY BABY

(Bo-bo, doo-doot-doo-doo-doo-doo)
(There she goes) (doo-doot-doo-doo-doo-doo)
(There she goes) (doo-doot-doo-doo-doo-doo)
(Bo-bo) (doo-doot-doo-doo)
(Bo-bo) (doo-doo-doo-doo)


There goes my baby, movin' on down the line
Wonder where, wonder where, wonder where she is bound?
I broke her heart and made her cry
Now I'm alone, so all alone
What can I do, what can I do?

(There goes my baby) Whoa-oh-oh-oh-oh
(There goes my baby) Yeah, yeah, yeah, yeah
(There goes my baby) Whoa-oh-oh-oh
(There she goes) Yeah! (There she goes)

I wanna know if she loved me
Did she really love me?
Was she just playing me for a fool?

I wonder why she left me
Why did she leave me so all alone
So all alone

I was gonna tell her that I loved her
And that I need her
Beside my side to be my guide

I wanna know where is my (doo-doot-doo-doo-doo-doo)
Where is my baby (doo-doot-doo-doo-doo-doo) ?
I want my baby
I need my baby

Yeah, whoa-oh-oh

FADE
(There goes my baby)
Whoa-oh-oh-oh-oh

LOVE POTION N°9
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I took my trouble down to madame Ruth
You know that gypsy with gold-capped tooth
She lives on the bloc down on thirty-fourth an? vine
Sellin? little bottles of
Love potion number nine

I told her that i was a flop with chicks
I?d been this way from nineteen fifty-six
She looked at my palm and she made a magic sign
Said ?uh what you need is
Love potion number nine

She bent down an? turned around an? give me a wink
She said I'm gonna mix it up right here in the sink
It smelled like turpentine an? looked like Indian ink
I held my nose I closed my eyes
I took a drink

I didn?t know if it was day or night
I started kissin? everything in sight
But when i kissed a cop on the thirty-four an?vine
He broke my little bottle of
Love potion number nine

SOME CATS KNOW
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Liza chez Oprah

JAILHOUSE ROCK
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The King first !



The warden threw a party in the county jail.
The prison band was there and they began to wail.
The band was jumpin' and the joint began to swing.
You should've heard those knocked out jailbirds sing.
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

Spider Murphy played the tenor saxophone,
Little Joe was blowin' on the slide trombone.
The drummer boy from Illinois went crash, boom, bang,
the whole rhythm section was the Purple Gang.
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

Number forty-seven said to number three:
"You're the cutest jailbird I ever did see.
I sure would be delighted with your company,
come on and do the Jailhouse Rock with me."
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

The sad sack was a sittin' on a block of stone
way over in the corner weepin' all alone.
The warden said, "Hey, buddy, don't you be no square.
If you can't find a partner use a wooden chair."
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

Shifty Henry said to Bugs, "For Heaven's sake,
no one's lookin', now's our chance to make a break."
Bugsy turned to Shifty and he said, "Nix nix,
I wanna stick around a while and get my kicks."
Let's rock, everybody, let's rock.
Everybody in the whole cell block
was dancin' to the Jailhouse Rock.

FOLLS FALL IN LOVE (REPRISE)

SPANISH HARLEM
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There is a rose in Spanish Harlem
A red rose up in Spanish Harlem
It is a special one, it's never seen the sun
It only comes out when the moon is on the run
And all the stars are gleaming
It's growing in the street right up through the concrete
But soft and sweet and dreamin'

There is a rose in Spanish Harlem
A red rose up in Spanish Harlem
With eyes as black as coal that look down in my soul
And starts a fire there and then I lose control
I have to beg your pardon
I'm going to pick that rose and watch her as she grows in my garden



I'm going to pick that rose and watch her as she grows in my garden

(There is a rose in Spanish Harlem)
La-la-la, la-la-la, la-la-la-la
(There is a rose in Spanish Harlem)
La-la-la, la-la-la, la-la-la-la
(There is a rose in Spanish Harlem)
FADE

I WHO I HAVE NOTHING
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I, I who have nothing
I, I who have no one
Adore you, and want you so
I'm just a no one,
With nothing to give you but, oh
I Love You
He, He buys you diamonds
Bright, sparkling diamonds
But believe me, dear when I say,
That he can give you the world,
But he'll never love you the way
I Love You

He can take you anyplace he wants
To fancy clubs and restaurants
Where I can only watch you with
My nose pressed up against the window pane

I, I who have nothing
I, I who have no one
Must watch you, go dancing by
Wrapped in the arms of somebody else
When darling it's I
Who Loves you
I Love You
I Love You
I Love You

NEIGHBORHOOD (REPRISE)

STAND BY ME
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Composée pour Ben E King en 1961, le revoici la chantant au festival de Montreux...25 ans plus tard !




Et devinez qui chante "Tu cloilas" ??



When the night has come
And the land is dark
And the moon
Is the only light we'll see

No, I won't be afraid
No, I won't be afraid
Just as long as you stand
Stand by me

So, darling, darling stand by me,
Oh, stand by me,
Oh stand, stand by me, stand by me

If the sea that we look upon
Should tumble and fall

Or if the mountain should crumble in the sea

I won't cry, no, I won't cry
No I won't shed a tear

Just as long, as you stand
Stand by me
So darling, darling stand by me
Oh, stand by me
Oh stand, stand by me
Stand by me.

BOWS (Instrumental)

BABY THAT'S ROCK AND ROLL (REPRISE)


OH YEAH !!!