Somethings Goin On (Dave Audé Vocal) download full album zip cd mp3 vinyl flac
I Don't Mind You can rest up on my shoulder Tell me all you cares You can roll me in the clover Take me anywhere When it's time to take that ride into the Great Beyond You can tell me that I told you so Should've used that magic wand Dorothy and Cinderella Got nothin' on you You cutting heat and crazy ways They kill me through and through But I don't mind No, I don't mind I don't mind If I do -- love you You an perch upon a boulder Tell me all your lies You can show me that it's over Cut me down to size When it's time to take that ride into the Great Beyond You can tell me that I told you so Should've used that magic wand Dorothy and Cinderella Got nothin' on you You cutting heat and crazy ways They kill me through and through But I don't mind No, I don't mind I don't mind If I do -- love you.
Something Goin' On You can hear it when she talks You can see it when she walks You Somethings Goin On (Dave Audé Vocal) feel it in the air You can feel it in her stare There's something goin' on There's something goin' on Something going on There's something goin' on And if I only knew I would make it up to you Is it something that I did?
Is it something that I hid? Did something come to light? Afterglow Bring Us Your Tired A knock at the door What is it for? Who could it be now? Move Along Passions Have many friends who've come and gone And those who've been there all along On the ride There's a few out there I used to know In younger days When passions flowed What's come of them I still don't know Decades on, have we all grown?
I dare not look them up and say, "Hey, how have you been? Berlin It was a heady time The winter of '89 The city was restless Both sides of its ocean And the hammers and hammers and hammers and hammers they chipped away At the memories and memories and colors and poems that scarred their days Frozen for decades and decades and decades and built to stay Powers and powers and towers and killing kept them away Met up with a merry tribe And rambled around both sides Through a gash in the wall A soldier told us all And the hammers and hammers and hammers and hammers they chipped away At the memories and memories and colors and poems that scarred their days Frozen for decades and decades and decades and built to stay Powers and powers and towers and killing kept them away Berlin, Berlin What have you done now?
Could it be somehow After all these years After all these years Right next to the gate Is where she met her fate With joy they all danced through The celebration grew And the hammers and hammers and hammers and hammers they chipped away At the memories and memories and colors and poems that scarred their days Frozen for decades and decades and decades and built to stay Powers and powers and towers and killing kept them away Berlin, Berlin What have you done now?
After all these years. I knew them well Those islands of granite at sea The photo asked Can you still recognize me? Postcards and songs Postcards and songs Postcards and songs You pulled the rug right out on me The curly girl Sung me a song on a tape Green-eyed girl Gave me a piece of her cake Postcards and songs Postcards and songs Postcards and songs You pulled the rug right out on me With you I find It's more than a matter of luck Life's been kind As long as we made it all up Postcards and songs Postcards and songs Postcards and songs You pulled the rug right out on me Right out on me.
Need Kindness Over Here No more picking on her No more picking on her Bite back your angry words Bite back your angry words What's the reason For this season Of destructive fear? Had enough Let's shake it up Need kindness over here Kindness over here No more picking on him No more picking on hm What you got to win?
What you got to win? What's the reason For this season Of destructive fear? Had enough Let's shake it up Need kindness over here Kindness over here No more picking on them No more picking on them This has got to end This has got to end What's the reason For this season Of destructive fear? I was quite taken by him; he was a superior musician and poet. I became a lifelong fan, recording more of his works on subsequent records.
He enjoys a singular place among vocal pianists. In spirit, he stands close to Hoagy Carmichael, crafting characters and narratives that breathe. He is a winning story teller, a humanist in a zoot suit. In all cases, he proves himself a keen observer of the human condition. Dave began his career as an instrumentalist. He grew into an accompanist, supporting the likes of Carmen McRae, among others, which ultimately lead to accompanying himself.
Listen for those piano figures under and around his vocals and how he uses the piano to reinforce the power Somethings Goin On (Dave Audé Vocal) his songs. I was delighted Somethings Goin On (Dave Audé Vocal) spend time with Dave for this interview.
He revealed much about himself and his approach to songwriting. I was reminded of how I felt when we first spoke 35 years ago, thrilled to be in the presence of a master.
I never could write for kids. That statement stood out to me. DF: When I was a child. I was a natural piano player before I Somethings Goin On (Dave Audé Vocal) any lessons. When my parents finally persuaded me to go take lessons, I was turned off by the teacher.
I was about ten years old, going to this teacher in St. She had me playing a Mozart piece. I could learn quickly, and this was a simple piece suitable for children to play. I changed it.
I turned it into a conga rhythm. I really spent a lot of time at the piano by myself figuring it out and playing the blues and boogie-woogie. DF: Well, the blues underlies jazz as a whole, I think. I really got interested in listening to jazz. He showed me how to play the blues, how it was constructed. So I understood those principles of the I chord and the V chord. Mort was a pianist. Both older brothers played popular piano.
I could play the blues in any key, but I never ventured into the black keys a lot. I wanted to play just like Albert Ammons and Pete Johnson was the guy that I really thought was great.
DF: My parents were bewildered, Somethings Goin On (Dave Audé Vocal). My Dad always impressed on me that music was a great thing to do for a hobby, but you gotta do something else to make a living. I subscribed to that in kind of a passive way. I was most interested in classic jazz. It was a book from the s about the romance of being a jazz musician.
When I met Marian McPartland decades later, she said that was the book that caught her attention and got her interested in jazz when she was living in England before she came over here.
DF: I worked part time at the Columbia distribution center in those days. I Somethings Goin On (Dave Audé Vocal) a guy Jimmy Mulcrone, a pianist who was working with me packaging records.
At that time you could walk in to the department store and record an acetate record. He taught me music theory in my middle teens, assigning me pop songs to learn. I caught on quickly and it all made sense to me, almost immediately.
Then, he taught me how bebop musicians manipulated harmony. Who were you listening to at that juncture of enlightenment? I liked the two-fisted piano players.
They were big stars. Nat Cole hit me hard; I was listening to his piano playing. RV: Oh yes, Nat was such a big influence in so many ways. I always admired their understated brilliance. I started playing with cats in high school ensembles and knew it was what I really wanted to do. We had combos and I started playing gigs. Usually the leader was a kid my age and would provide the arrangements. We copied songs off bebop records and made simple arrangements of pop songs.
It was the pop music of the day. On the radio in Minneapolis there was really good jazz programming two or three times a week. I got to hear Charlie Ventura and Jackie and Roy. I saw Charlie Parker play on the University of Minnesota campus and it knocked me out. He was big giant. We were asked to play on an ocean liner. We hitchhiked to New York to get on the cruise. It was safe in those days, not fraught with danger like it is now. We had eight weeks off in Europe before we played the return to New York.
It was so much fun. The whole trip was great experience for about eight of us guys from the Twin Cities. DF: Frank Loesser comes to mind right away. That was the first time I was struck with the craftsmanship of that world of people who wrote songs. Up until then, it was about learning tunes so that you could solo over them. I started to play rehearsals having to deal with singers and their songs. I learned about harmony and music theory from the world of pop songs.
It was the literature we were playing. I learned to appreciate the craftsmanship of songwriting then. It was a revelation. His way of addressing the piano was really appealing to me. DF: God knows! It seemed natural to me, the concept of accompaniment.
I look back and what I had to learn all those years was to shut up and stop treating my accompaniment as if it were the main focus. One thing really knocked me when I was in Los Angeles and already an experienced accompanist, was my first experience with Carmen McRae.
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