On dit qu'au dela des mers
La-bas sous le ciel clair
Il existe une cite
Au sejour enchante
Et sous les grands arbres noirs
Chaque soir
Vers elle s'en va tout mon espoir
J'ai deux amours
Mon pays et Paris
Par eux toujours
Mon coeur est ravi
Manhattan est belle
Mais a quoi bon le nier
Ce qui m'ensorcelle
C'est Paris, c'est Paris tout entier
Le voir un jour
C'est mon reve joli
J'ai deux amours
Mon pays et Paris
Manhattan est belle
Mais a quoi bon le nier
Ce qui m'ensorcelle
C'est Paris, c'est Paris tout entier
Le voir un jour
C'est mon reve joli
J'ai deux amours
Mon pays et Paris
The declaration of independence
think I can tell you that first sentence
but then I'm lost
I can't begin to count the theories
I had pounded in my head that I forgot
I don't remember all that Spanish
or the Gettysburg address
but there is one speech from high school
I'll never forgot
(*)
come on in boy, sit on down
and tell me about yourself
so you like my daughter, do you now
yeah we think she's something else
she is her daddy's girl and her mama's world
she deserves respect, that's what she'll get, ain't it son
now you all run along and have some fun
I'll see you when you get back
bet I'll be up all night
still cleaning this gun
well now that I'm a father
I'm scared to death one day my daughter's gonna find
that teenage boy I used to be
who seems to have just one thing on his mind
she's growing up so fast it won't be long
before I'll have to put the fear of god
into some kid at the door
(repeat *)
It's all for show, ain't nobody gonna get hurt
It's just a daddy thing, hey believe me man, it works
Gettysburg Address = リンカーンで有名なゲティスバーグの住所ではなく演説
declaration of independenceと共に米国の高校生は暗記させられるようだ。
put the fear of God into = ～をビビらせる
High & Mighty Color のマーキーが結婚引退となって、娘のニューヒーローとなったのがブリグリ。ファースト・アルバムは全曲歌詞が英語だったということからも川瀬の考えるロック感がわかる。でもそれでは悲しいかな売れないので日本語を混ぜたり苦労しているようだ。日本語にちょこっと英語を混ぜるアーティストが多いなかでは異色の存在。こんなアヤシイ英語はかえって英国なんかではオタクっぽくてウケるのではないだろうか？ "Lollipop Candy bad Girl "はマイケル・ジャクソンのスリラー並の１０分を超える大作。コンセプトからか服装の色彩は意外と地味だ。ずいぶんと時間のかかった作品であることがうかがえる。ディズニーの世界にゴスロリっぽくもあり、曲調はどこかで聞いたような気が。。。
La,la,la,la,la La,la,la,la,la
Really scary violet moon light
La,la,la,la,la La,la,la,la,la
Are you ready to say? ''trick or treat''
Let's get dreamer's high! "baby" Charming spider's eyes...
...are watching you tonight Singing for you "na,na,na,na"
Are you ready to meet? Jumpin' "pumpkin monsters!"
Kowai yume ga miremasu you ni
Let's get sugar high! "baby" Charming spider's eyes...
...are watching you all night Are you ready to say...?
''trick or treat''
La,la,lala... La,la,la,la
It's a magical party oh yeah
La,la,la,la... La,la,la,la
It's a magical party oh yeah
Nigakute amai sore wa delicious!
You'll fall into "mysterious cake"
Demo tabetara fushigi sugite
Nakitaku naru But you can't stop
La,la,la,la My cake makes you
"bigger" or "smaller" out of control !!
Dono okashi yori sore wa delicious!
Naitemo dame you can't stop
Kowakunai yo mou hitotsu ikaga?
Tanoshii mysterious cake
La,la,la,la My cake makes you
"good girl" or "bad girl" out of control!!
La,la,la,la La,la,lala
It's a magical halloween night!
"trick or treat"
Let's praise a beautiful night!
Scary horse riding knight
He's running around the town
"smiling!" Giving "knock down!"
Everyone! scream and cry out!
I heard the "vampire's shout"
I wanna dance in the floor!
Someone! please open the door!!
Everlasting... kumo no ito ga Karamaru garasu no yubi ni
Nagaku te wo nobashite kuru Akuma no kiss mitai ni
The way to "lollipop candy land"
Yukou riding "pumpkin roller coaster"
Tobira no mukou ni aru mono wa
Itsu datte suteki na keshiki
The crystal "lollipop candy land"
Utau smiley lovely "pumpkin monsters"
Okashi wo tabeta nara let's become a
"lollipop candy bad girl"
(*)
Get out of here! stay at home
You know, it's time to go to bed, ok?
Good girls! hey bad girls!
Get together here! right now oh yeah!
La,la,la,la La,la,la,la
It's a magical party oh yeah
La,la,la,la La,la,la,la
It's a magical party oh yeah
Sore wa kitto suteki na sekai Subete ga yume no you
Hitome de ii kono me de mitai Demo doresu ga nai no
La,la,la,la La,la,la,la
I want to meet "romantic prince"
Dakedo kyou mo orusuban yo Shikata nai no yeah... it's ok
Sou watashi ni aru no wa Kono misubarashii fuku dake
La,la,la,la La,la,la,la
I know my dream will come true someday
La,la,la,la La,la,la
It's ok, I know my dream will come true
Naze jama suru no?! kore kara na noni!!
Tojikomenaide... taikutsu na no!!!
Fuzakenaide yo hey baby leave me alone
Koko kara dashite Someone! please open my door
Why do you confuse me?! kasanari
Kiete yuku like a melty sugar cream
Aimai na kioku ga tobu tenshi no jump mitai ni
The way to "lollipop candy land" Kiete shimau ashita ga
Nanimokamo wo nomikomu mae ni Hitotsu dake nozomi wo kiite
The crystal "lollipop candy land" Odorimashou come closer prince
Watashi ga dare demo ai shite Tatoe tenshi demo akuma demo
(repeat *)
The way to "lollipop candy land" Kono tobira ga tojitemo
Mukae ni yuku wa itsuka mata Kowai yume de aemasu you ni
The crystal "lollipop candy land" Yo ga aketemo subete wo
Wasurenu you ni uchitsukete Sono mune ni umeta juujika ni...
(repeat *)
My chocolate door closed again
What's the pain in my chest?!
You know why?
Munashiku naru yo... what's my life...?
So・don't confuse me anymore
Mata torawareta sometimes
I don't know about my self
Kokoro wo tozashite shimau tears on my pillow
Shinjiru jibun wo yeah miushinau kedo
It's not the end of the world
Someday my dream will come true
予想通りスーパーチューズデーは大接戦でしたね。かねてからの民主党派でニューヨーカーのスカーレット・ヨハンソンはヒラリーではなくオバマ支持でキャンペーンにも参加しているわけですが、キャンペーン・ビデオ "Yes We Can" にも登場しています。しかし、これ実によくできていますね。タチアナ・アリなんて使ったりして。
It was a creed written into the founding documents
that declared the destiny of a nation
Yes we can
It was whispered by slaves and abolitionists
as they blazed a trail toward freedom
Yes we can Yes we can
It was sung by immigrants as they struck out from distant shores
and pioneers who pushed westward against an unforgiving wilderness
Yes we can Yes we can
It was the call of workers who organized
women who reached for the ballots
a President who chose the moon as our new frontier
and a King who took us to the mountain-top
and pointed the way to the Promised Land
Yes we can to justice and equality
(yes we can, yes we can, yes we can, yes we can...)
Yes we can to opportunity and prosperity
Yes we can to opportunity and prosperity
Yes we can heal this nation
Yes we can repair this world
Yes we can Si Se Puede
(yes we can, yes we can, yes we can, yes we can...)
We know the battle ahead will be long
but always remember that no matter what obstacles
nothing can stand in the way of the power of millions
of voices calling for change
We want change!
(We want change! We want change! We want change...)
We have been told we cannot do this by a chorus of cynics
who will only grow louder and more dissonant
We've been asked to pause for a reality check
We've been warned against offering the people of this nation false hope
But in the unlikely story that is America, there has never been anything false about hope.
We want change!
(We want change! I want change! We want change! I want change...)
The hopes of the little girl who goes to a crumbling school in Dillon
are the same as the dreams of the boy who learns on the streets of LA
we will remember that there is something happening in America
that we are not as divided as our politics suggests
that we are one people
we are one nation
and together, we will begin the next great chapter in America's story with three words that will ring from coast to coast
from sea to shining sea - Yes We Can
(yes we can, yes we can, yes we can, yes we can, yes we can, yes we can, yes we can, yes we can...)
a King = Martin Luther King
Si Se Puede = Spanish for "Yes, It can be done!"
a crumbling school in Dillon = サウスカロライナ州ディロン(Dillon)郡は貧しい地域で1896年に建てられた古い校舎を今も使っている
On me dit que nos vies ne valent pas grand chose,
Elles passent en un instant comme fanent les roses.
On me dit que le temps qui glisse est un salaud que de nos chagrins il s'en fait des manteaux pourtant quelqu'un m'a dit...
(*)
Que tu m'aimais encore,
C'est quelqu'un qui m'a dit que tu m'aimais encore.
Serais ce possible alors ?
On me dit que le destin se moque bien de nous
Qu'il ne nous donne rien et qu'il nous promet tout
Parais qu'le bonheur est à portée de main,
Alors on tend la main et on se retrouve fou
Pourtant quelqu'un m'a dit ...
(repeat *)
Mais qui est ce qui m'a dit que toujours tu m'aimais?
Je ne me souviens plus c'était tard dans la nuit,
J'entend encore la voix, mais je ne vois plus les traits
"Il vous aime, c'est secret, lui dites pas que j'vous l'ai dit"
Tu vois quelqu'un m'a dit...
Que tu m'aimais encore, me l'a t'on vraiment dit...
Que tu m'aimais encore, serais ce possible alors ?
On me dit que nos vies ne valent pas grand chose,
Elles passent en un instant comme fanent les roses
On me dit que le temps qui glisse est un salaud
Que de nos tristesses il s'en fait des manteaux,
Pourtant quelqu'un m'a dit que...
(repeat *)
<Someone said to me in English >
Someone said to me that our lives are pretty worthless
They pass in an instant just like roses wilt
Someone said to me that time that slips away is a bastard
Who takes our sorrows to make overcoats for himself
And yet someone said to me…
(*)
That you still loved me
Someone said to me that you still loved me
Could it be true ?
Someone said to me that fate makes fun of us
That it gives us nothing and promises us everything
It seems like happiness is within our grasp
So we reach out to grab it and find that we’ve gone mad
And yet someone said to me…
(repeat *)
But who was it who said to me that you still loved me ?
I don’t remember any more
It was late at night
I can still hear the voice, but I can’t make out his face
“He loves you, it’s a secret, don’t tell him that I told you so”
You see, someone said to me…
(repeat *)
Someone said to me that our lives are pretty worthless
They pass in an instant just like roses wilt
Someone said to me that time that slips away is a bastard
Who takes our sorrows to make overcoats for himself
And yet someone said to me…
(Dec 12th NY Times The Songs Remain the Same, Just Played a Little Slower)
LONDON — Some rock bands accelerate their tempos when they perform their old songs decades after the fact. Playing fast is a kind of armor: a refutation of the plain reality of aging — all that unregainable enthusiasm and lost muscle mass — and a hard block against a band’s lessened cultural importance.
But Led Zeppelin slowed its pace down a little. At the O2 arena here on Monday night, in its first full concert since 1980 — without John Bonham, who died that year, but with his son, Jason, as a natural substitute — the band found much of its former power in tempos that were more graceful than those on the old live recordings. The speed of the songs ran closer to that on the group’s studio records, or slower yet. “Good Times Bad Times,” “Misty Mountain Hop” and “Whole Lotta Love” were confident, easy cruises; “Dazed and Confused” was a glorious doom-crawl.
It all goes back to the blues, where oozing gracefully is a virtue, and from which Led Zeppelin initially got half its ideas. The band’s singer, Robert Plant, doesn’t want you to forget that: He introduced “Trampled Under Foot” by explaining its connection to Robert Johnson’s “Terraplane Blues,” and mentioned Blind Willie Johnson as the inspiration for “Nobody’s Fault but Mine.” (Beyond that, the band spent 10 luxuriant minutes each in two other blues songs from its back catalog: “Since I Been Loving You” and “In My Time of Dying.”)
Ahmet Ertegun, to whom the concert was dedicated, would have been satisfied, sure as he was of the centrality of Southern black music to American culture. Mr. Ertegun, who died last year, signed Led Zeppelin to Atlantic Records; the show was a one-off benefit for the Ahmet Ertegun Education Fund, which will offer music students scholarships to universities in the United States, England and Turkey, his homeland.
By the end of Zeppelin’s more-than-two-hour show, it was already hard to remember that anyone else had been on the bill. But the band was preceded by Bill Wyman’s Rhythm Kings — a good-timey rhythm-and-blues show with revolving singers including Paolo Nutini and Albert Lee, as well as a few songs each by Paul Rodgers (of Free and Bad Company) and Foreigner — who all had recorded for Atlantic under Mr. Ertegun.
There was a kind of loud serenity about Led Zeppelin’s set. It was well rehearsed, for one thing: Planning and practice have been under way since May. The band members wore mostly black clothes instead of their old candy-colored wardrobes. Unlike Mick Jagger, Mr. Plant — the youngest of the original members, at 59 — doesn’t walk and gesture like an excited woman anymore. Some of the top of his voice has gone, but except for one attempted and failed high note in “Stairway to Heaven” (“There walks a la-dy we all know ...”), he found other melodic routes to suit him. He was authoritative; he was dignified.
As for Jimmy Page, his guitar solos weren’t as frenetic and articulated as they used to be, but that only drove home the point that they were always secondary to the riffs, which on Monday were enormous, nasty, glorious. (He did produce a violin bow for his solo on “Dazed and Confused” during that song’s great, spooky middle section.)
John Paul Jones’s bass lines got a little lost in the hall’s acoustics — like all such places, the 22,000-seat O2 arena is rough on low frequencies — but he was thoroughly in the pocket with Jason Bonham; when he sat down to play keyboards on “Kashmir” and “No Quarter” and a few others, he simultaneously operated bass pedals with his feet, keeping to that same far-behind-the-beat groove.
And what of Jason Bonham, the big question mark of what has been — there’s no way to prove this scientifically, but let’s just round it off — the most anticipated rock reunion in an era full of them? He is an expert on his father’s beats, an encyclopedia of all their variations on all the existing recordings. And apart from some small places where he added a few strokes, he stuck to the sound and feel of the original. The smacks of the snare drum didn’t have exactly the same timbre, that barbarous, reverberant sound. But as the show got into its second hour, and a few of the sound problems were gradually corrected, you found yourself not worrying about it anymore. It was all working.
Led Zeppelin has semi-reunited a few times in the past, with not much success: short, problematic sets at Live Aid in 1985 and at Atlantic Records’ 40th anniversary concert in 1988. But this was a reunion that the band had invested in, despite the fact that there are no plans yet for a future tour; among its 16 songs was one it had never played live before: “For Your Life,” from the album “Presence.”
The excitement in the hall felt extreme, and genuine; the crowd roars between encores were ravenous. At the end of it all, as the three original members took a bow, Mr. Bonham knelt before them and genuflected.
＊ニューヨークタイムズも"The Songs Remain the Same" と曲を見出しに使いながら"Just Played a Little Slower"とその貫禄に満ちた様子を粋に伝えている。
(From The Times December 11, 2007)
Back in 1976, when Led Zeppelin were part of the musical furniture, Jimmy Page claimed that the minutes before a show were the worst. “I always get very edgy, not knowing what to do with myself.” Lord knows, then, what he must have been feeling as the lights went down to herald a comeback far more hotly anticipated than any show Led Zeppelin played during their 12 years together. If he was nervous though, you couldn’t tell. Silhouetted by lights at the back of the stage, he gazed out behind his shades and casually dropped his hand onto six strings, playing the first chord to bear the Led Zeppelin imprint.
With Good Times, Bad Times came a noise that suggested the rockers were, for a laugh, setting themselves the task of inventing heavy metal all over again. It seemed to catch everyone by surprise, including Robert Plant, who momentarily struggled to assert his vocals.
At a rehearsal a few weeks ago, Plant was heard to complain about the challenges of divining a voice of a 20-year-old from the body of a 60-year-old man. He needn’t have worried. Older equipment may take a while to get going, but once the requisite valves heat up, the quality is unmistakeable. And so it turned out 15 minutes in, when a bracing round of call-and-response oh-yeahs triggered an incendiary Black Dog. Plant’s quick kick to the base of his mike stand sent it flying up into the path of his hand. Page dispensed powerchords like an aged Thor lobbing down thunderbolts for kicks. It had been good before, but something of the devil seemed to get hold of them at this point. Now sans shades, Page launched into a filthy seam of swamp guitar, from which a magnificent In My Time of Dying swelled to epic proportions.
Events that have so much resting on them rarely unfold with such an air of assurance. The three original members of the band and Jason Bonham, the drumming son of John Bonham, seemed relieved to be relinquishing the burden of anticipation. Their heaviosity has always been the cornerstone of their reputation but it was astonishing to see how funky they could be for a rock band. Moving to electric harpsichord, John Paul Jones offered some redress on a pile-drivingly danceable Trampled Underfoot.
Bonham’s volcanic fills on Nobody’s Fault But Mine confirmed that there are some things that can be transmitted only through DNA.
In a set of trusted crowd-pleasers the inclusion of Stairway to Heaven was inevitable, but the song’s ubiquity made it difficult to summon much enthusiasm for it. Perhaps it just comes down to the fact that some tunes have dated better than others — because the moment Page and Bonham locked into Kashmir something transcendent took hold. Over a rhythm that have a way of advancing like Martian tripods, John Paul Jones billowed out chords of portent while Plant’s used his wildcat roar to the best effect of the evening.
An on-stage embrace and sundry bows seemed to hint at the band’s relief. They returned for a cathartic Whole Lotta Love and a sublime Rock’N’Roll. “It’s been a long, lonely time since I last rock’n’rolled” screeched Plant. Well, at least since he has showed this sort of fire-eyed intensity. And so, was it all for a one-off show in memory of their label boss Ahmet Ertegun? Come on. With a synergy like this going on, it would be an act of cosmic perversity to stop now.
Used to sit and worry about the future
Worrying about the future don't change the past
Used to think that tomorrow would be better
But now I know that I'm doing the best I can
I'm just a man trying to find the reasons why I stand
Took some time to realize that I am what I am
(repeat *)
And I wanna be rich, I wanna be happy
And live inside a love that shines bright enough to last a lifetime
I wanna be rich more than a fantasy
Ride the winds and climb, cause it's all a state of mind
Wake up in the morning and I turn the pages
Don't understand what's going down
Everybody's acting so outrageous
It's gonna take a lot of love to turn things around
I'm just a man trying to find the reasons why I stand
Took some time to realize that I am what I am
(*)
Hear people talk about going to heaven
Grab a little bit of heaven right here on earth
Troubled times lead to healing times
I was sad now I'm feeling fine
It's the taking and the giving that makes this life worth living,
Makes this life worth living
(*)
Ride the winds and fly,
Spread your wings and fly
Cause its all a state of mind
(repeat)
I saw you there so beautiful
You stop then stare so magical
Then you ask me for my name
And we took a uptown train
Before you need get up to go
I wanted to know
Do you like Shakespeare
Jeff Buckley,watching movies on a Sunday
Do you like kissing when it's raining
making faces in the station
What do you like I need to know
What do you like before you go
:
:
Ha ha ha Pump it Ha ha ha
And pump it (louder) [4x]
Turn up the radio Blast your stereo Right
Niggas wanna hate on us (who)
Niggas be envious (who)
And I know why they hatin' on us (why)
Cause that's so fabulous (what)
I'ma be real on us (c'mon)
Nobody got nuttin' on us (no)
Girls be all on us, from London back down to the US (s, s)
We rockin' it (contagious), monkey business (outrageous)
Just confess, your girl admits that we the shit
F-R-E-S-H (fresh) D-E-F, that's right we def (rock)
We definite B-E-P, we rappin' it
So, turn it up (turn it up) [3x]
C'mon baby, just
粋を語るうえで外せないのがこのアルバムです。ブラジルでは『ボサノバの神様』と呼ばれるもう７０歳を過ぎているジョアン・ジルベルトの白鳥の歌とでも言うべきギターの弾き語りが楽しめます。このアルバムの最後を飾る曲Chega De Saudadeは５９年に初めて録音されていますが、これがボサノヴァの元祖の曲と言われています。これはもう黙って聴くしかありません。
Vai minha tristeza e diz a ela que sem ela no pode ser
Diz-lhe numa prece que ela regresse, porque eu no posso mais sofrer
Chega de saudade, a realidade que sem ela no h paz
No h beleza s tristeza e a melancolia que no sai de mim,
No sai de mim, no sai
Mas se ela voltar, se ela voltar, que coisa linda, que coisa louca
Pois h menos peixinhos a nadar no mar,
Do que os beijinhos que eu darei na sua boca
Dentro dos meus braos os abraos ho de ser milhes de abraos
Aper- tado assim, colado assim, calado assim,
Abraos e beijinhos e carinhos sem ter fim
Que pr acabar com esse negcio de viver longe de mim
No quero mais esse negcio de voc viver assim
Vamos deixar desse negcio de voc viver sem mim
Do your thing honey!
I could feel it from the start, Couldn't stand to be apart.
Something about you caught my eye, Something moved me deep inside!
Don't know what you did boy but
You had it and I've been hooked ever since.
told my mother, my brother, my sister and my friends
told the others, my lovers, both past and present tense.
That everytime I see you everything starts making sense.
Just do your thing honey!
Ain't no other man, can stand up next to you
Ain't no other man on the planet does what you do
(what you do).
You're the kinda guy, a girl finds in a blue moon.
You got soul, you got class.
You got style, with your badass - oh yeah!
Ain't no other man its true Ain't no other man but you.
