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StefanL, 10.03.18 23:59
This is an overview of our comments on great Jewish songs and lyrics some of which belong to the romantic repertoire of Jewish standards. For quite some songs lots of people know that the author/s was/were/is/are Jews but there are also quite some were not that many human beings we know, know that they have deep roots in Jewish Culture.
As can be easily glimpsed from the selection we are great fans of songs that Jews wrote for or have been taken up by African-American artists (formerly called either black or negro singers). Also, in the youth of quite a few of our illustrious editorial staff Viennese Jewish Music played a hard to overestimate role.
As to the languages, many of these are in English, some are in German, and even the oddball Yiddish example can be heard and understood if one really wants to. Up till now there's one in French and one in Hebrew. Ladino songs are to follow but have not yet made it into these pages.
Due to the inner nature of blogging software, articles get posted nicely for daily reading and not so nicely for leisurely sunday afternoon archive browsing. So here's a little implement to make it easier for the p.t. audience to re-read and re-hear.
Thanks to the large GOOG-financed public casting system most of the time we can also offer awesome original interpretations ripped from old video tape and shellac or vinyl records. Many of these copies are probably barely legal. Welcome everybody to the joys of postmodern triple media. Cute they are, are they not?
StefanL, 08.03.18 07:44
Autor: Georg Kreisler
Der Frühling kommt jetzt real und im Kalender in knapp 2 Wochen. Hurra. Viel braucht niemand zu Herrn Kreislers Frühlingsmärchen schreiben, außer vielleicht, "schon wieder der Kreisler". Und das Kreisler natürlich mit dem Palestrina und dem Flötenunterricht vollkommen recht hat. Und wenn auch der Kreisler in der Nachfolge von Lehrer ein viel berühmteres Frühlingslied geschrieben und vorgetragen hat so ist dieses trotzdem mein Lieblingsfrühlingslied. Wir können halt doch nicht leugnen, dass wir hier in Jamaica utopische Romantiker geblieben sind.
Spielt ein Neger auf der Flöte Palestrina,
Dreht ein Mädchen namens Mia sich gen Mekka,
Flötenunterricht kann nicht viel kosten
Denn dann teilen sich die Wolken über China,
StefanL, 22.12.17 14:18
Authors: Bert Berns and Jerry Ragovoy
Born in the Bronx, New York City, in November of 1929 to Russian Jewish immigrants, when Bert Berns was a child rheumatic fever damaged his heart and would mark the rest of his life, resulting in an early death.
Turning to music, he found consolance in the sounds of his African American and Latino neighbors. As a young man, Berns danced in mambo nightclubs, and made his way to Havana before the Cuban Revolution.
Jerry Ragovoy on the other hand was born in Philadelphia, Pennsylvania, less than one year later, in September of 1930, the son of a Hungarian-born Jewish optometrist. He entered the music industry at age 23 in 1953 with "My Girl Awaits Me" by the Castelles, the fabulous creators of the so called "Philadelphia Sound" (high tenor lead, one bass, many tenors in close harmony and minimal instrumentation).
Another well-known song by Ragovoy is "Piece of My Heart", also co-written with Berns and recorded originally by Erma Franklin, the elder sister of guess who, and later famously also covered by Janis Joplin. Between 1966 and 1968, Ragovoy was employed as a producer and songwriter for the Warner Bros subsidiary Loma Records. He went on to co-write several more songs that played a role in Joplin's career, including "Try (Just a Little Bit Harder)", "Get it While You Can" and "My Baby". Prior to Joplin's early death, Ragovoy wrote a song especially for her album to come, titled "I'm Gonna Rock My Way to Heaven". The song was never recorded or performed until shortly before Ragovoy's death in July 2011.
In 1963 Berns and Ragovoy wrote "Cry Baby" which was originally recorded by Garnet Mimms and the Enchanters for United Artists. It topped the R&B chart and went to #4 on the Billboard Hot 100 chart in 1963 and is believed to have paved the way for soul hits by Aretha Franklin and Otis Redding later in the decade. The third verse was spoken by Mimms until the repeated refrain of the repeated song title.
Joplin recorded the song over the course of September and October 1970 for her album Pearl, posthumously released in 1971. It became a staple in her repertoire for the short rest of her life. Its producer was Paul A. Rothchild. On the single, the B-side was "Mercedes Benz".
Berns, who, as we already have said, had a history of cardiac trouble, died in his New York apartment of heart failure on December 30, 1967, aged 38. Bad universe.
Ragovoy on the other hand soldiered on by himself and died, following a stroke, on July 13, 2011, at the age of 80.
Cry baby, cry baby, cry baby
Honey, welcome back home
Come on and cry, cry baby, cry baby, cry baby
Oh honey, welcome back home
Come on and cry, cry baby, cry baby, cry baby
Oh Daddy, like you always saying to do
All you ever gotta do is be a good man one time to one woman
StefanL, 14.12.17 07:00
Musik und katalanischer Text: Lluís Llach
Dieser Song ist ähnlich wie Jerusalem of Gold (ירושלים של זהב) von Naomi Shemer (נעמי שמר) aus dem Jahr 1967, das zur heimlichen Hymne Israels wurde, nur teilweise jüdisch und da vor allem im Text. Und während das eine auf einem sogenannten popular vasca mit dem Titel Pello Joxepe* aufbaut, stammt Der yokh(דער יאָך) aus dem katalanischen Widerstand gegen die Franco-Diktatur und von einem namentlich bekannten Komponisten und Texter namens Lluís Llach.
Yuri Vedenyapin aus Moskau und Cambridge (Massachusetts) hat L'Estaca sehr sehr schön ins Jiddische übertragen.
Mir zaynen geshtanen in tsweyen,
Tsuzamen kenen mir aroys,
Az ikh zol tsien in der mit,
Shoyn lange yorn shteyen mir
Der zeyde iz shoyn lang avek,
* Pello Joxepe tabernan dela
StefanL, 04.12.17 20:25
Words and Music: Tom Lehrer
Dixie is where we like to go ever again, be it in a good or be it in a bad mood. New Yorkers like to write songs about the southland. We have more examples at hand. This one is a wonderful illustration, a poetic tool that this staff here thoroughly approves of.
In his own words (you'll hear them in the video so you can skip this if you'll watch):
I find if you take the various popular song forms to their logical extremes, you can arrive at almost anything from the ridiculous to the obscene, or - as they say in New York - sophisticated.
I'd like to Illustrate this with several hundred examples for you this evening, first of all, the southern type song about the wonders of the American south. It always seemed to me that most of these songs don't go far enough. The following song, on the other hand, goes too far. It's called "I Wanna Go Back To Dixie.
Take me back to dear ol' Dixie
I'll go back to the Swanee
Won'tcha come with me to Alabammy
Yes, for paradise the Southland is my nominee
I wanna talk with Southern gentlemen
The land of the bols evil
I wanna go back to the Southland
last updated: 08.04.18 18:48
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