Living Room de Marquise des Loups

"Les Kinks "Je ne suis pas comme Everybody Else" de leur album de 1994 To The Bone, qui était la libération Kinks finale avant leur éclatement 1996. Vivez la performance. Lyrics: Je ne prendrai pas tout ce qu'ils me prononcer, Et faire un sourire, si je porte un froncement de sourcils, Et je ne le prendrai pas tous couchés, Parce que une fois que j'aurai commencé, je vais en ville . Parce que je ne suis pas comme tout le monde, je ne suis pas comme tout le monde. Et je ne veux pas à la balle au sujet comme tout le monde, Et je ne veux pas vivre ma vie comme tout le monde, Et que j'ai gagné " t dire que je me sens bien comme tout le monde, Parce que je ne suis pas comme tout le monde, je ne suis pas comme tout le monde. Mais chéri, tu sais que je t'aime vrai, faire tout ce que vous voulez que je, Avoue tout mon péchés comme vous le voulez, je ne suis pas comme tout le monde. Si vous voulez tous me calmer, ralentir et arrêter tous ma course 'round, tout faire comme vous le voulez, Il ya une chose que je vais dire à vous, je ne suis pas comme tout le monde."

"Having started in the 1960s with a British Invasion band that had such hits as "Do Wah Diddy Diddy" and "The Mighty Quinn", then moving on to Jazz Fusion with Manfred Mann's Chapter Three, Manfred's third band, "The Earth Band' is still alive and recording. In his 2003 biography, former member of Manfred Mann's earlier Manfred Mann Band and Beatles-associate Klaus Voormann alleged to have inspired Mann for the Earth Band's name by having besought Mann several times throughout the 1960s that Mann's soft pop style of those days had to become more "earthier" and rockier, not least of all because of the seemingly effeminate image of Mann's earlier band which had led to a number of close encounters with violence particularly in Ireland.[1]

The membership of the Earth Band was stable through their first six albums before becoming relatively informal; Mick Rogers originally performed lead guitar and lead vocal duties before being replaced by Chris Thompson on vocals and Dave Flett on guitar, who is currently working on his solo album Flying Blind. Drumming duties were fulfilled by Chris Slade, who was later to be a member of AC/DC and Asia. Bass player Colin Pattenden, after leaving the Earth Band, became a sound consultant, running his own company designing and installing sound systems. There was much about the Earth Band that was potentially successful, but the contrariness of the band's approach and Mann's perfectionism meant that albums frequently came out with different track listings in different territories, or in alternative versions.


The Earth Band combines the stylistic approach of progressive rock with Mann's jazz-influenced Moog synthesizer playing and keen ear for melody. Beside producing own material, a staple of the band's music and live performances from the beginning has been also relying on covers of songs by other modern pop/rock artists, notably Bob Dylan and Bruce Springsteen, in MMEB's progressive rock style.

Mann's interest in English 20th century classical music saw him adapt Gustav Holst's Planets Suite, garnering an unlikely UK hit with a version of the "Jupiter" movement, with lyrics added, entitled Joybringer (included on the 1973 album Solar Fire). Another classical reference was Questions on the 1976 album The Roaring Silence that is based upon the main theme of Franz Schubert's Impromptu in G flat Major.

The title song to 1973's Messin', as well as most of the album The Good Earth tapped into ecological concerns, a recurring theme in Mann's music in later years, with The Good Earth giving away a free gift of a piece of land in Wales with each album sold. Like other progrock acts, beside treating environmental issues the band also issued concept albums on space and sci-fi themes (particularly Solar Fire, a minor resurgence of which was seen in the songs Launching place off The Good Earth, and Starbird, based upon Igor Stravinski's ballet The Firebird, on The Roaring Silence) and a number of their songs featured religious or biblical imagery (Prayer on the band's debut album, Buddah on Messin', Dylan's Father of day, father of night and In the beginning, darkness on Solar Fire, The road to Babylon and This side of paradise on The Roaring Silence, Resurrection on Angel Station).

Social criticism was tackled throughout the 1970s (Black and blue on Messin' dealt particularly with slavery, and Chicago institute on Watch with mental institutions and science as a mean of social control), a trend which grew throughout the 1980s, with songs such as Lies (through the 80s) on technological progress vs. social setbacks on Chance, and with Mann's growing involvement with the anti-apartheid movement which spawned the 1982 album Somewhere in Afrika. Mann's intention for acknowledgement of oppressed ethnics also influenced the 1992 album Plains Music working with traditional North-American natives material.

Source: Wiki :"

"Harry Waldau's valse-hesitation received in Polish a charming, witty text of one of the finest cabaret writers of the inter-war Poland, Konrad Tom. He tells us a heartbreaking story of Madame Loulou, who is so pretty, so charming, so friendly, and who lives alone "without any storm around her" - that she must be "a victim of a gossip" made about her by people jealous of her parfumes, her gowns and those men, who "only sometimes" visit her in her elegant apartment in a Alee of the Roses...

The great text and many first-class performers (among the best is Adam Aston, who relly touches the very fin-de-siecle core of this tune's style)made this song an evergreen - one of the classics of the Polish cabaret.

Adam Aston - Madame Loulou (Konrad Tom/Harry Waldau), Syrena Electro 1943."

"I.C.U.enregistré @studio Ferber- Single déjà disponible 11 juin .Lou Doillon se lance dans une carrière musicale L'actrice, qui composait jusque-là des chansons , a enregistré un premier album à Paris, réalisé et arrangé par Etienne Daho ensuite mixé par Philippe Zdar (Phoenix, Cat Power). Il se dévoilait lors du récent Disquaire Day avec le 45 tours I.C.U. Le disque ne sortira pas avant l'automne mais un EP digital est annoncé pour le 11 juin 2012."
http://loudoillon.fr ."

"Du sang musical astral coule dans vos veines chère Lou...
You are un sacré Feu sacré inné ...
Perfect so perfect cette composition en tous points; timbre de voix non falsifié donc authentifié; vos cordes vocales sont un instrument musical à part entière, musical so damn goood! Best regards à tous ces musiciens qui oeuvrent en complète synergie avec vous...
You touch this soul of mine; votre carrière musicale s'avère sans contredit assurée dear Ladylou.
Best Music regards..."

"From her 1968 album, "Any Day Now: Songs of Bob Dylan", Joan Baez sings the song Dylan wrote for Sara Lownds, the woman he began seeing after his love relationship with Baez ended. "Sad-Eyed Lady Of The Lowlands" was the closing song on Dylan's 1966 album, "Blonde On Blonde". Joan Baez recorded her Dylan tribute in a Nashville studio cutting country-inflected renditions of 16 Dylan songs. She was backed by Pete Drake, David Briggs, Norbert Putnam, Jerry Reed, Stephen Stills, and others. "Any Day Now" remains one of Baez's essential recordings."