«Дедушка, голубчик, сделай мне свисток».
«Дедушка, найди мне беленький грибок».
«Ты хотел мне нынче сказку рассказать».
«Посулил ты белку, дедушка, поймать».
— Ладно, ладно, детки, дайте только срок,
Будет вам и белка, будет и свисток!
Marнa Paz Undurraga was the first voice of the trio, she could not fight against her vocation and soon after she was trying to form "The best female vocal group of all time" And they succeeded.
He started working with Marнa Eugenia Peralta and Marнa Cristina Navarro.
Like "Los Cuatro Cuartos", to get established and get used to their new companions, they decided to sing "Jingles" and they did it in the "Show en Colores de Radio Balmaceda".
Soon after, Marнa Eugenia Peralta withdrew and Marнa Elena Infante was given way. Then Marнa Edith Casanova joined and this female vocal group was formed
After long consultations, the name "The Four Witches" came up and then their first album "When you come back" and "Parabienes al reverse" and from there to the Effervescent Show.
And as a work of magic his second album “Adonde Vas Soldado”, all this under the direction of “Chino” Urquidi, who later withdrew from the vocal arrangements.
They were not discouraged and Cristina and Elena took their guitars and the arrangements for "Collar de Caracolas", "Come here, my gift", "Refalosa de las Brujas" and "My grandmother danced Sirilla" were born. Urquidi himself congratulated them.
In 64-65 problems arise and they decide to retire, the press, radio, letters, telephones make them return but this time Marнa Edith Casanova does not return and in her replacement comes the pleasant presence of Marнa Teresa Mainу.
And so this witch story was completed for this L.P. That on side A is the voice of Marнa Edith and on side B Marнa Teresa Mainу. That is part of Chilean musical history.
Born 23rd June 1927 in Paisley, Scotland / Died 9th April 2010 in Lake Tahoe, CA, USA.
Kenneth McKellar was a Scottish tenor. Most famous for his interpretation of the works of Robert Burns.
McKellar studied forestry at the University of Aberdeen. He later trained at the Royal College of Music as an opera singer but rose to prominence as a performer of Scots songs.
His albums of the songs of Robert Burns (now digitised) are considered by musicologists to be definitive interpretations.
He competed for the UK in the 1966 Eurovision Song Contest, performing 'A Man Without Love'. Throughout the 1960s and 1970s he appeared on the BBC Television Hogmanay celebration programme, alongside Jimmy Shand and Andy Stewart.
McKellar made the majority of his recordings on the Decca label. He also recorded several classical works, including Handel's Messiah alongside Joan Sutherland in a performance conducted by Sir Adrian Boult.
American TV personality and country musician, born April 15, 1933 in Meherrin, Virginia. Died November 15, 2018 in Tulsa, Oklahoma. Married to Barbara Clark .
He had been inducted into the Country Music Hall of Fame in 2009, and the American Banjo Museum Hall of Fame in 2017.
Clark got his start in the business in 1947, and by 1955 he was a regular performer on Jimmy Dean’s television show from Washington, DC. As a young man he pursued both professional sports and musical entertainment, switching to music when he was able to play The Grand Ole Opry at only 17.
Later he worked in Las Vegas as a guitarist, supporting country star Wanda Jackson, when he was given the chance to host a daytime country-themed show for NBC. This led to the Hee-Haw program on CBS. His prominence on Hee-Haw led to his serving as a semi-regular fill-in host for Johnny Carson on the Tonight Show.
After Hee-Haw, where Roy both played and sang, and performed in a recurring comedy routine with co-host Buck Owens using his banjo, Clark opened a theater in Branson, MO where he worked in the 1980s and 1990s, until his retirement and a move to Tulsa.
George Jones (born September 12, 1931, Saratoga, Texas, USA - died April 26, 2013, Nashville, Tennessee, USA) was an American award-winning country music singer. He is known for his long list of hit records, his distinctive voice and phrasing, and his marriage to Tammy Wynette. During the latter part of his life, Jones was frequently referred to as "the greatest living country singer".
Virginia Wynette Pugh
American country singer and songwriter, also known as the "First Lady of Country Music". Born on may 5, 1942 and died on April 6, 1998.
The controversial song 'Stand By Your Man' (derided by the Feminist movement of the late 1960s and early 1970s) is one of the most covered songs and one of the
Taroub (born 1937) was a Lebanese actress and singer of Jordanian Circassian origin. She was active in the 1950s to the 1970s. In the 1960s she was married to محمد جمال (Mohamed Jamal) forming an artistic duo togetherwith him. In 1990 she ended her singing career and took on the veil.
Caroline Peyton isn't a familiar name, but her voice has been heard in Disney films including Beauty and the Beast, Aladdin, Pocahontas and The Hunchback of Notre Dame.
Her name might stick if you take time to listen to Celtic Christmas Spirit, Peyton's foray into holiday traditions. Peyton makes excellent use of sacred and secular traditions to assemble an album-length hymn to Christmas -- and it's a shoo-in favorite for anyone fond of Enya, although Peyton follows a more traditional approach in her music.
There are pieces of well-known tunes, such as "I Saw Three Ships" and "Coventry Carol," but much of this music is less well known. Still, Peyton and co-producer Brendan Harkin have arranged various traditional Irish and Yuletide tunes into a distinctive, personal style which makes Celtic Christmas Spirit a pleasure to hear.
Besides Peyton's great vocals, the album features Harkin on mandolin and guitar, plus nine additional musicians. Elizabeth Reed provides coaching so Peyton can handle vocals in Gaelic as well as English. Combined, it's a great package you'll enjoy over and over again.
Turkish adult film actress Figen Han, born Nevval Karpuz in February 1950, appeared in 73 movies – many of them insane sex comedies - between 1966 and 1983. Known as (literally ‘sex fury’) these films have such wonderful titles as The Cruel Also Love, First Love Then Kill, Crazy But Sweet, Warm Lips and my personal favourite, Perversion Death Terminator. These Italian-inspired softcore comedies were big business in Turkey, and the Seks Furyasi genre would remain a favourite with audiences until the 1980 coup, after which the government strictly prohibited graphic sex in the cinema.
The real-life sex kitten likes cats – as you can probably tell from the noises she makes on the a-side of this thoroughly bizarre record, Pisi Pisi (Kitty Kitty), issued in 1977 when she was at the height of her fame. The B-side, Haydi Bastir is virtually instrumental, apart from our Figen whispering ‘Haydi Bastir’ every 30 seconds or so. Figen also appeared in a film of the same name in 1977, so it’s a fairly safe assumption that this was used as the theme tune. For some peculiar reason the ‘song’ appears on the disc’s label as Haydi Bastirrr. The movie itself is unwatchable soft porn nonsense: it’s available to stream on Daily Motion – sadly with the opening and end credits lopped off - if you’re so inclined, but I'd be very wary about Googling Figen Han and 'Turkish sex movies' if I were you. Some of the results are definitely NSFW!
Up to date info on Figen is scarce, but apparently she has retired from acting and currently lives in a basement flat in Sisli, Istanbul with her many, many cats.
Here are both sides of Figen's rare, one-off 7". Apologies for the quality, but mint copies sell for around $150-$100 these days.
Vieze liedjesZingt u even mee? ‘Een flinke boerenzoon zag op een dag in mei/ Een lief en aardig meisje dwalend in de wei/ Ze plukte daar Margrietjes, die bloeiden op ’t land/ Maar plotseling kwam er toen een bij/ en prikte in haar hand.’
En nu allemaal: ‘Als het gras twee kontjes hoog is, helahi, helahop/ Als het gras twee kontjes hoog is/ Meisjes pas dan heel goed op.’
Pikante liedjes – wie zingt ze nog? Annemieke Houben deed bij het Meertens Instituut in Amsterdam onderzoek naar obscuur liedmateriaal uit vroeger tijden. Ze stuitte op een onverwachte hoeveelheid erotische en obscene teksten uit de zeventiende en achttiende eeuw en besloot er een boek over te maken. Met 95 teksten, bijpassende illustraties, bronnen en in veel gevallen ook een aanduiding van de wijs waarop de teksten gezongen kunnen worden.
,,Er is de afgelopen jaren veel aandacht geweest voor de cultuur en economie in de zeventiende en achttiende eeuw”, stelt Houben in de inleiding van het fraai uitgegeven Vieze liedjes uit de zeventiende en achttiende eeuw. ,,Maar daarbij is de erotische cultuur gek genoeg vrijwel niet aan bod gekomen.”
Dat laatste is een beetje overdreven. Gerrit Komrij stelde tien jaar geleden een bundeltje samen met werk van zogenaamde drekpoëeten, achttiende-eeuwse dichters met een voorkeur voor onderwerpen waar een fatsoenlijk mens zijn neus voor ophaalde: stront en seks. En vlak voor de zomer verscheen het boek Seks, drugs en rock ’n roll in de Gouden Eeuw waarin Benjamin Roberts aandacht besteedt aan de losbandige jeugd in de zeventiende eeuw.
Met Vieze liedjes concentreert Houben zich op schunnige liedjes zoals die in de kroeg en op bruiloftsfeesten, maar ook tijdens picknicks werden gezongen. Door wie ze zijn geschreven weten we niet. Wat we wel weten is dat ze werden bewaard in liedboeken.
De schrijvers benaderden het thema van alle kanten. Van homoseksualiteit tot de huwelijksnacht, van incest tot geslachtsziekten – prostituees gebruikten ze om klanten te lokken. Sommige liedjes waren een en al fantasie, andere verwezen naar bestaande personen, veelal hoeren. Wat ze gemeen hebben is het vrolijk onbeschaamde.
De schrijvers maakten zich er niet van af, blijkt uit een klucht van een apotheker die zijn dienstmaagd bevruchtte. We pikken het lied op met de zesde strofe: ‘Ik ging terstond aan ’t stoten/ en ’t heeft ‘r niet verdroten;/ Zij zei: ‘Toe meester toe!’/ Ik zei: ‘Meisje ik word moe…’/ Zij zei: ‘Meester helpt toch mijn,/ ik zal u behulpzaam zijn.’/ En ik hield veel van haar/ en wij stieten met malkaar.’ Daarna volgen nog zeven strofen.
De handel in erotische teksten was opvallend openbaar. Bij haar onderzoek trof Houben in kranten advertenties aan, zoals voor De waare biegt van eene der bekendste hoeren te Amsterdam. Een paar maanden later gevolgd door de mededeling dat het boekje nagenoeg is uitverkocht en een nieuw deel in de maak is. Het boek zelf, mogelijk een soort 50 Tinten Gouden Eeuw, is niet overgeleverd.
Vroeger kon niet alles door de beugel, Houben ontdekte echter dat er nauwelijks werd opgetreden tegen het maken, kopen of zingen van obscene liedteksten. ,,Gedurende de zeventiende en achttiende eeuw bleven er veelvuldig waarschuwingen opduiken tegen het zingen en verspreiden van onkuise liedjes. Het mocht niet baten: ze bleven onverwijld populair.”
Toch raakten ze uit zwang, ergens in de negentiende eeuw. Waarom en waardoor, dat valt helaas buiten het bestek van dit boek, maar het zal met opleiding, welvaart en vooral deugd te maken hebben gehad.
Gelukkig zijn er archieven. Houben: ,,De vluchtigheid van hun onderwerpen, de anonimiteit van veel van hun niet altijd even begaafde makers en hun scabreuze toonzetting hebben tienduizenden liedjes een slapend en onopgemerkt bestaan bezorgd”, schrijft Houben. ,,En nu mogen wij ze wakker kussen. Dankzij grote digitaliseringprojecten zijn oude liedteksten en melodieën opeens binnen ieders handbereik.”
Sandhya Mukhopadhyay, born in 1931, is a famous Indian singer and musician, specialising in Bengali music. She was born in Kolkata, India. She is also known as Sandhya Mukherjee.
Sandhya started her music training under the direction of Pandit Santosh Kumar Basu, Professor A Kannan and Professor Chinmay Lahiri. However, her guru was Ustad Bade Ghulam Ali Khan under whom she mastered Indian classical music.
Though classically trained, the bulk of her work consists of Bengali modern songs. She began her career in Mumbai singing Hindi songs, starting with a song in the film Anjan Garh at the age of 17. Following her marriage to the Bengali poet Shyamal Gupta she settled in her home city of Kolkata. Gupta went on to write the lyrics for many of her famous songs.
Her most famous collaboration is arguably with the Bengali singer Hemanta Mukherjee with whom she sang numerous duets, primarily as playback for Bengali films produced from Kolkata. Hemanta and Sandhya became known as the voices behind the pairings of the Bengali superstar Uttam Kumar and his numerous heroines. She also sang several of Salil Chowdhury's hit Bengali songs, such as Ujjwal Ek Jhank Payra, regarded as a classic.
During the Bangladesh Liberation War she joined the mass movement among Indian Bengali artistes to raise money for the millions of refugees who had poured into Kolkata and West Bengal to escape the fighting, and to raise global awareness for the cause of Bangladesh. She assisted Bangladeshi musician Samar Das as he set up the Swadhin Bangla Betar Kendro, the clandestine radio station broadcasting to Bangladesh and recorded several patriotic songs for him. On the occasion of the release of Sheikh Mujibur Rahman, the imprisoned leader of the new country of Bangladesh, she released a famous song Bangabandhu Tumi Phirey Ele. She later became one of the first foreign artistes to visit Dhaka, performing at an open-air concert in Paltan Maidan in Dhaka to celebrate the first Ekushey February after Bangladeshi independence in 1971. She also recorded several songs for Samar Das's film Dhirey Bohey Meghna and Salil Chowdhury's Raktakta Bangla.
1–The Space CossacksBittersweet Samba
Bass – Catherine Gray
Drums – Doug Hoekstra
Guitar – Ivan Pongracic, Mark English
2–Insect SurfersSurfin' Senorita
Bass – Dan Valentie
Bongos, Guiro – Danny Frankel
Drums – Mike Gregan
Guitar – Dan Sullivan, David Arnson
3–Sir FinksSpanish Flea
Bass – Jason Gentry
Drums – Damien Llanes
Guitar – Mike Guerrero
4–Herb The Work Song
Bass – Steve Lew
Drums – Wes Anderson
Guitar – Steve Kirk
Keyboards – Mark Wyman
Trombone – Balboa Becker
Trumpet – Jab , Peter Anastos
5–SlacktoneMexican Shuffle
Bass – Mike Sullivan
Drums – Dusty Watson
Guitar – Dave Wronski
6–The Exotics Whipped Cream
Bass, Triangle – Jonathan Ziegler
Drums, Maracas – Donald Nelson
Guitar – Rob Seiser
Guitar, Banjo, Xylophone – Brandt Zacher
7–Herman The GermanStruttin' With Maria
Bass – Denzel Smith
Drums – Jeff Morre
Guitar – Bert McIlwan, Herman The German
8–The HalibutsA Taste Of Honey
Bass – Kevin Daley
Drums – Randy Haskins
Guitar – Pete Curry, Rick Johnson
Organ – Bruce Paddy
Saxophone – Joe Lyou
9–The SandblastersMemories Of Madrid
Bass – Drew Shuller
Drums – Spencer Clarke
Guitar – Mark Stultz
10–Pollo Del MarSouth Of The Border
Bass – Jefferson Turner
Drums – Chris Thomas
Guitar – Ferenc Dobronyi, Jono Jones
11–The SlackmatesThird Man Theme
Bass – Jack Cornell
Drums – Whitt Helton
Guitar – Jeff Anderson, Rod Abernethy
Guitar, Keyboards, Accordion – Dave Adams
Saxophone – Rodney Marsh
12–Three Balls Of FireLonely Bull
Bass – Vic Gerard
Drums – Chris Staples
Guitar – Mike Vernon 1999
A1–Ron Goodwin And His OrchestraThe Gypsy Fiddler
A2–Helmut Zacharias And His Orchestra- Light My Fire
A3–Valentino Aranjuez Mon Amour
A4–Royal Liverpool Philharmonic OrchestraSpitfire Prelude
A5–Mr. Acker BilkBasin Street Blues
Strings – The Leon Young String Chorale
A6–Bravo BrassoWhen I'm Sixty-Four
A7–Vilem TauskyOverture: The Arcadians
B1–Manuel And The Music Of The MountainsThe From "A Summer Place"
B2–Brian BennettWichita Lineman
B3–Wout Steenhuis And The Kontikis*Patu Patu Ake
B4–The Hallé OrchestraIn The Hall Of The Mountain King
B5–Sid Sidney OrchestraSpanish Eyes
B6–Franck Pourcel And His Orchestra Hey Jude
B7–Chico Arnez And His Cubana BrassMexican Whistler
B8–Johnny Douglas And His OrchestraOverture: "Bitter Sweet" 1969
