dinsdag 23 februari 2016

Valse De La Gueydan (1929) / Ma Blonde Est Partie (1929) / Ville De La Veuve (1930) / Jolie Blonde (1936) / Jole Blon (1946) / New Pretty Blonde (1946) / New Jolie Blonde (1947)

"Jolie Blonde" is a traditional cajun waltz, often called "the cajun national anthem" because of the popularity it had in cajun culture. The song was then later popularized on a nationwide scale by a series of renditions and references in late '40s country songs. It has been the subject of occasional covers later in the 20th century by cajun and classic country revival bands.

The original cajun version is a brief address to a "pretty blonde" who had left the singer and moved back in with her family, and is also now in the arms of another man. The singer concludes that there are plenty of other pretty blonde women. The fiddle-based melody probably dates to before the 1900s. I found a version (titled "La Valse De Gueydan") that predates the 1929 recording of the Breaux family. (SEE FURTHER ON IN THIS POST)

The earliest recording of the song is believed to be a version by the Breaux family trio entitled "Ma Blonde Est Partie", recorded on April 18, 1929 in Atlanta. There is some mystery to its origin. While Amede Breaux is credited with writing the song, it was his sister Cleoma who actually wrote the lyrics and Amede sang the song.

Amadie, Ophy and Cleoma Breaux' version was released on the Columbia and the Okeh-label.


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Listen here:


Dennis McGee claims the original song was written by Angelas Lejeune as "La Fille De La Veuve" (aka "La Valse De La Veuve") during WWI and Cleoma Breaux rewrote the lyrics, allegedly about Amede's first wife.
Angelas Lejeune and Ernest Fruge would eventually record this song on November 19, 1930 in New Orleans (Brunswick 558, Melotone M18052)

(c) Le Jeunne & Fruge (1930)  (as "La Valse De La Veuve")

Listen here:

Angelas LeJeune was one of the most influential of the early Cajun accordion players. His repertoire passed down to his younger cousin Iry LeJeune, who made big hits with his reworkings of tunes by Angelas and Amd Ardoin in the late 1940s, early 1950s.
His "Valse de la Veuve" (aka "La Fille de la Veuve") has the same tune as Jolie Blonde /Jole Blon but with different lyrics.

(c) Guidry Brothers (1929)  (as "Homme Abandonné")

On October 2, 1929, the Guidry Brothers would lay down their version of the melody, calling it "Homme Abandonné".
It was released on the B-side of Vocalion 15849.

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Listen here:

But there's another song with the same melody, that definitely predates "Ma Blonde Est Partie" and all the others.

In January 1929, John Bertrand and Milton Pitre would travel to Chicago and record "La Valse de Gueydan" for Paramount Records (12748A), using the same melody.

Here's a picture of the B-side of that pretty rare release.

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Listen here:


"La Valse de Gueydan" was also recorded in New Orleans on November 19, 1930 by Amade Ardoin and Dennis McGee.

(c) Magee & Ardoin (1930)  (as "La Valse de Gueydan")

Released on Brunswick 513

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Listen here:

With slightly differnt lyrics Leo Soileau also recorded a version of "La Valse Gueydan".

(c)  Leo Soileau and his Three Aces (1935)  (as "La Valse Gueydan [Jolie Fille]")
Recorded on January 18, 1935.
Released on the B-side of his famous "Hackberry Hop" (Bluebird B-2086 and B-2171)

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Listen here:

In 1934 Alan Lomax traveled to Louisiana, recording artists including the Segura Brothers and their version of "La Fille De La Veuve".

Jolie Blonde ("La Fille de la veuve") - John and Alan Lomax in Louisiana, 1934

Listen here: www.lomax1934.com/uploads/7/9/4/5/7945221/jolie_blonde.mp3

The title "Jolie Blonde" was first given to the melody by the Hackberry Ramblers
Floyd Rainwater [gt], Lennis Sonnier [vcl/gt], Johnny Puderer [bass], Lunderin Darbone [fiddle]
Recorded October 17, 1936 in St. Charles Hotel, New Orleans, LA.
Released on Bluebird B-2003

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Listen here:

And (on the same day) Miller's Merrymakers also used the title: "Te Ma Lessa Jolie Blonde", but with a slightly different melody.
Miller's Merrymakers (J.B. Fuselier [vcl/fiddle], Bethoven Miller [gt], Preston Manuel [gt])
Recorded October 17, 1936 in New Orleans, LA.
Released on Bluebird B-2006

Listen here:

The melody also appears in "La Valse de La Lafayette" and in "Jolie (Brunette)" by the Jolly Boys of Lafayette.
Both recorded on February 21, 1937 in Dallas, TX
Released on Decca 17029 ("La Valse de La Lafayette")

Listen here:

And released on Decca 17032 ("Jolie (Brunette)")

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And also in "Nouveau Grand Gueydan" (New Gran Guadyan) by Happy Fats and his Rayne-Bo Ramblers.
Recorded September 10th 1937 in St. Charles Hotel New Orleans.
Released on Bluebird Records B-2024

Listen here:

(c) Harry Choates (1946)  (as "Jole Blon (Pretty Blond)")
Harry Choates [vcl/fiddle], Esmond Pursley [gt], B.D.Williams [gt], Charles Stagle [banjo],James Foster [bass], William Slay [piano]. Producer: Bill Quinn)
Recorded March 1946 Quinn Recording Co., 3104 Telephone Road, Houston, TX -
Released July 1946 on Gold Star 1314.


When the same master was re-released on Modern Music # 511 end 1946, it hit the charts.


Listen here: http://www.rocky-52.net/son/son_c/choates_harry/choates_harry_joleblon.mp3

(c) Moon Mullican And The Showboys (1946)  (as "New Pretty Blonde (New Jole Blon)")
Moon Mullican [vcl/piano], Mutt Collins [ld gt], Guy Cotton Thompson [fiddle], Acie Peveto [steel], Reggie Ward [bass], Richard Prine [drums], Ralph Lamb [fiddle]
Recorded October 1946 Cliff Herring Studio, 1705 W. 7th St., Ft. Worth, TX –
Released on King 578  (Nr 2 in the C&W charts)


Listen here:

(c) Red Foley and The Cumberland Valley Boys (1947) (as "New Jolie Blonde")
Zeb Turner [gt], Zeke Turner [gt], Smoky Lohman [steel], Louis Innis [bass], Dolph Hewitt [violin], Jimmy Bennett [accordion], Salty Holmes [harmonica], ? [trumpet])
Recorded January 8, 1947 Chicago, IL
Released on Decca 46034  (Nr 1 in the C&W charts)


Listen here:

(c) Johnny Tyler and Riders of Rio Grande (1947)  (as "New Pretty Blonde (New Jole Blon)")
Johnny Tyler [vcl], George Chumura [gt], Richard Hamilton [gt], Judith Lee Cragin [gt], Robert Terry Fell [gt/harmonica], Leodie Jackson [steel], Carl Victor Bias [bass], Ralph Gleason [drums], Jesse Ashlock [fiddle], Norman Baker [fiddle], Robert Armstrong [piano]
Recorded January 9, 1947 RCA Victor Studio, 1016 North Sycamore St., Hollywood CA
Released on RCA-Victor 20-2171


Listen here:

In 1947 Roy Acuff recorded his own version of "Jole Blon",
It was this version that most likely inspired Bruce Springsteen and Gary US Bonds to record their version in 1980.

(c) Roy Acuff And His Smoky Mountain Boys (1947)  (as "(Our Own) Jole Blon")
Roy Acuff [vcl], Lonnie Wilson [gt], Brother Oswald Kirby [dobro/vcl], Jess Easterday [mandolin], Welma Williams [bass], Tommy Magness [violin], Francis “Sonny Day”Tamvourin [accordion].
Recorded Jan 1947 CBS Studio (Radio Station KNX) 6121 Gower and Sunset Blvd., Hollywood, CA
Released on Columbia 37287


Listen here:

(c) Johnny and Jack and the Tennessee Mountain Boys (1947)  (as "Jole Blon")
Johnny Wright, Jack Anglin, Ray Atkins, Eddie Hill, Paul Buskirk, Dorris Paul Warren. Recorded March 25, 1947 New York City
Released on Apollo 142


Listen here:

Eventually, in 1951, Amede Breaux would form the band Acadian Aces and record the song again with the title "Jole Blonde" for J. D. "Jay" Miller's Feature Records (F-1023).

(c) Amidie Breaux And The Acadian Aces (1951)  (as "Jole Blonde")


Listen here: http://npmusic.org/Amedee_Breaux_Jolie_Blonde.mp3

(c) Waylon Jennings (1959)
Buddy Holly on guitar and King Curtis on tenor sax
Recorded September 1958 in Clovis, New Mexico


Listen here:

(c) Jimmy Newman (1959)  (as "Jolie Blon")
Recorded June 10, 1959 Bradley Film and Recording Studio, 804 16th Ave. South, Nashville, TN
Released on the album "This is Jimmy Newman" (MGM SE-3777)


Listen here:

Jimmy recorded the song again in 1963.

Released on the album "Folk Songs Of The Bayou Country" (Decca DL 4398)


and in 1974.


(c) Rod Bernard (1965)  (as "My Jolie Blonde")



Listen here:

(c) Gary U.S. Bonds and Bruce Springsteen (1981)  (as "Jole Blon")
Springsteen had originally recorded the song for his 1980 album, The River, but it was never released and he decided to re-record the song with Bonds for his 1981 album, Dedication.
The Bonds/Springsteen version was most likely modeled after the Roy Acuff version (SEE ABOVE)




Listen here;

Gary U.S. Bonds peforms "Jole Blon" with Bruce Springsteen at MetLife Stadium in New Jersey (September 21, 2012). "The Boss says, "I've seen this sign at 95 shows. It's a pain in my ass." So to the satisfaction of the fan who says she's been carry the sign "her whole life", Bruce "imported Gary U.S. Bonds" to finally honor her request."

Listen here:

maandag 15 februari 2016

Twelve Days Of Christmas (1780 / 1909)

"The Twelve Days of Christmas" is an English Christmas carol that enumerates in the manner of a cumulative song a series of increasingly grand gifts given on each of the twelve days of Christmas (the twelve days after Christmas).
The song was published in England in 1780 without music as a chant or rhyme in a children's book "Mirth Without Mischief", as a Twelfth Night "memories-and-forfeits" game, in which a leader recited a verse, each of the players repeated the verse, the leader added another verse, and so on until one of the players made a mistake, with the player who erred having to pay a penalty, such as offering up a kiss or a sweet
It was printed in London by J. Davenport, George's Court. For C. Sheppard No 8 Aylesbury Street, Clerkenwell.


The title page on "Mirth Without Mischief" says “Sung at King Pepin’s ball”, so this could mean the origin of the song is French.

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There is no English King Pepin, but Pepin the Short was the father of Charlemagne. Pepin was King of the Franks from 751 until his death in 768. Another piece of evidence for French origin is that the partridge was unknown in England until 1770s when it was introduced from France. And the song has that light, dancing feel of a French carol.


In the earliest versions, the word "On" is not present at the beginning of each verse—for example, the first verse begins simply "The first day of Christmas".
"On" was added in Frederic Austin's 1909 version, and became very popular thereafter.
In the earliest known book printing of "The Twelve Days of Christmas", Mirth Without Mischief (ca. 1780), we have these lyrics;

The first day of Christmas,
My true love sent to me
A partridge in a pear tree.

The second day of Christmas,
My true love sent to me
Two turtle doves and
A partridge in a pear tree.

The third day of Christmas,
My true love sent to me
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The fourth day of Christmas,
My true love sent to me
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The fifth day of Christmas,
My true love sent to me
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The sixth day of Christmas,
My true love sent to me
Six geese a laying,
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The seventh day of Christmas,
My true love sent to me
Seven swans a swimming,
Six geese a laying,
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The eighth day of Christmas,
My true love sent to me
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The ninth day of Christmas,
My true love sent to me
Nine drummers drumming, Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The tenth day of Christmas,
My true love sent to me
Ten pipers piping,
Nine drummers drumming,
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The eleventh day of Christmas,
My true love sent to me
Eleven ladies dancing,
Ten pipers piping,
Nine drummers drumming,  Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.

The twelfth day of Christmas,
My true love sent to me
Twelve lords a leaping,
Eleven ladies dancing,
Ten pipers piping,
Nine drummers drumming, 
Eight maids a milking,
Seven swans a swimming,
Six geese a laying,
Five gold rings.
Four colley birds,
Three French hens,
Two turtle doves and
A partridge in a pear tree.


It was also published as an anonymous broadside, Angus, Newcastle, 1774–1825:

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"The Twelve Days of Christmas" has a Roud Folk Song Index number of 68.



The tunes of collected versions vary. The standard tune now associated with it is derived from a 1909 arrangement of a traditional folk melody by English composer Frederic Austin.



More versions here: http://www.originals.be/en/originals.php?id=14488

And here: http://secondhandsongs.com/work/124809/versions#nav-entity

The song was sung by Mrs. Susie Morrison (recorded by Alton Chester Morris for the Library Of Congress in 1937). This recording was never officially released.


On page 144 of the Index to the Field Recordings in the Flanders Ballad Collection at Middlebury College Middlebury, Vermont, a 1930 Field Recording by Mrs Ora Knapp from Dummerston, Vermont is mentioned.



The first released recording I could find:

(o) Tom Glazer (1943)
Released on the album "Tom Glazer Sings Olden Ballads" (Keynote album 131)

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Listen here:

(c) Nelson Eddy (1946)



Listen here:

(c) Fred Waring and his Pennsylvanians (1947)


Listen here:

(c) Bing Crosby and The Andrews Sisters (1949)


Listen here:

(c) Burl Ives (1951)


Listen here:

(c) Perry Como (1953)


Listen here:

(c) Ames Brothers (1953)


Listen here:

(c) Bob and Ron Copper (1955)
Bob and Ron Copper sang it in a Peter Kennedy recording on the album "Folk Song Today"(HMV DLP 1143)


Listen here:

Or listen here: http://sounds.bl.uk/World-and-traditional-music/Reg-Hall-Archive/025M-C0903X0198XX-1700V0

Or here: http://footstompinrecords.bandcamp.com/track/the-twelve-days-of-christmas-bob-and-ron-copper-sussex

In his song book of 1936 Jim Copper called this song "Christmas Presents", and this title has been used for the reissue of Bob and Ron Copper's 1950s recording on the 2007 CD Coppers at Christmas.


(c) Springfields (1962)


Listen here:

(c) The Beatles (1964)

On October 26, 1964 The Beatles recorded a parody on "The Twelve Days Of Christmas" to be released as a Christmas record.


Listen here (at 2 minutes and 46 seconds in the next YT)

(c) The Sinatra Family (1968)
Frank Sinatra and his children, Frank Sinatra, Jr., Nancy Sinatra, and Tina Sinatra, included their own version of "The Twelve Days of Christmas" on their 1968 album, The Sinatra Family Wish You a Merry Christmas

Listen here:

(c) John Denver and The Muppets (1979)
The Muppets and singer-songwriter John Denver performed "The Twelve Days of Christmas" on the 1979 television special "John Denver and the Muppets: A Christmas Together".
It was featured on the album of the same name. The song has been recorded by the Muppets five different times, featuring different Muppets in different roles each time

Listen here:

(c) Swingles (=Swingle Singers) (1986)
Released on the album "Christmas" (Polydor 5206)



(c) Cliff Richard (1991)


Listen here:

(c) Roger McGuinn (2000)
Recorded in 2000 for his Folk Den Project.


Listen here: http://ibiblio.org/jimmy/folkden/php/music/12days.mp3

In 2002 Destiny's Child only needed 8 days in stead of 12 to reach the US charts

A special Creature Comforts orchestral arrangement of "The Twelve Days of Christmas" was made by British animator Nick Park and Aardman Animations. Featuring different animals discussing or trying to remember the lyrics of the song, it was released on Christmas Day 2005

See this animated clip here:

donderdag 11 februari 2016

Ντιρλαντά / Ntirlanta / Dirlada / Dirlanda (1965)

The Dirlada has been popular on the Greek island Kalymnos for a very long time.
Dirlada, which we encounter in several versions and in a number of variants, is a work song, which might be sung oil-press to hearten the workers tolling at the hand-press of the time, or in the boats during the processing of sponges, or when pulling the oars.
The tune but also the name, seem to be related to similar songs of the peoples of North Africa, with whom the Kalymnians long maintained - and still maintain - close relations, owing to the islanders' sponge-diving activities along the coasts of Egypt and Cyrenaica.
The musicologist Samuel Baud-Bovy speaks of tunes that are common to the peoples of the Mediterranean. We encounter such tunes in Kalymnos, as well (see the Smuggler's Song.. CD Lyceum Club of Greek Women, Kalymnos Annex).
In the years after the last world war, it began to be danced on Kalymnos in a manner reminiscent of Arabic dances, arapika , as they were called; that is, it was danced by couples, as a face-to-face, and the steps were quick and springy. The song is begun by one singer, the rest of the group joining in at the "break" and repeating the words.

Description is from the next CD: http://www.hotelelies.gr/sites/default/files/lykeio_cd2.jpg



The first recorded version I could find is by Παντελής Γκίνης (Pantelis Ginis).
It was recorded around 1965 under the production of Domna Samiou.

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Listen here: http://www.hotelelies.gr/sites/default/files/DIRLADA-by-PANTELIS-GINIS.mp3

Or here:

The verses of this particular version are - as is generally admitted - the singer's own.
"Kapetan" Pantelis Ginis was discovered in the '60s by Domna Samiou, under whose direction were recorded the outstanding songs, the "Aghanda Yialessa" and the "Dirlada", which were recorded on the Fidelity-label (a sublabel of Polygram).
Today, as Domna Samiou herself confesses, she no longer remembers the names of the musicians who accompanied the song. Vivid in her memory, on the other hand, remains the extraordinary personality and fine voice of the late lamented "Kapetan Ginis".

The "DIRLADA DIRLADADA" is a sponge diver's song. Pantelis Ginis was a captain on a sponge diver's boat. Thus, to understand the lyrics, even if you know Greek, you have to know a few things about sponge divers' life and their working conditions.
Sponge divers started their trip to the North African coasts (so called "Barbaria") at Easter time and returned at the end of October.


They used a big boat called "Rezerva" as a storage for supplies, to store the sponges and to meet for dinner, which was the only meal they had during a day. The sponge diving was done with smaller boats most of which were operated by oars.
So sponge divers were working under the hot African sun all day, with very little hot and rusty water, with nothing around them but the open sea.
It was normal that after a while they had little courage to continue working. Their mind was at home, at food and of course at sex that have missed for months.
The purpose of Dirlada was to encourage sponge divers and to give them the rhythm while oaring. This was done by imaginary returning them to Kalymnos and offering visions of what they mostly desired at these difficult times.


Translation and explanation of the Pantelis Ginis-version
Geek Lyrics in latin charactersTranslationExplanation
Eh! dirlada dirladada, da da dirladadaEh! dirlada dirladada, da da dirladadano translation
Oh! dirlada ke teza oliOh! dirlada everybody exhaustedexhausted from the work
vre gia na paroume tin Poli,courage to get the Poli (Constantinople)the expression "to get Constantinople" also means "to conquer  woman"
Oh! dirlada dirladada, apo tin Poli tin ChaliOh! dirlada dirladada, from the Poli the ChaliFrom the inexpugnable  Chali.
Chali is a cape at the East side of Kalymnos. It belonged to the Municipality of Kalymnos who sold it to Nikolas Vouvalis the most famous and rich sponge trader. He made it his summer resort. With the money from this sale, the old port was built. It does not exist any more.
tin Atsaina tin Kali, Oh! dirlada dirladadaThe Kali of  Atsa, Oh! dirlada dirladadaThe Calliope daughter or wife of Atsas - probably another captain 
Oh! dirlada ke teza plates vre gia xanthes gia mavromates.Oh! dirlada keep your back tight for  blondes and  black-eyed women of course
Oh! dirlada dirladada, choro ton go pou den trava
i aderfi tou me ta mas
Oh! dirlada dirladada, I can see this guy not roaring,
well his sister is with us
This is a very insulting expression for a Kalymnian man.
Oh! dirlada vre levedonia
vre ke tis Barbarias glaronia Oh! dirlada dirladada
Oh! dirlada you upstanding man you seagull of Barbaria Oh! dirlada dirladada
vre dirlada, vre ke vradiazi, vre ki i kouverta 'nestenazi
vre ke o mageras fonazi, Oh! dirlada dirladada
vre dirlada, the night is coming, the deck is overcrowded and the cook is screaming, Oh! dirlada dirladada
Oh! dirlada ke teza oli vre gia na paroume tin Poli,
apo tin Poli tin Chali tin Atsaina tin Kali
Oh! dirlada everybody tight to get the  Poli,
from the Poli the Chali the Kali of Atsas
repeating previous lyrics
vre ti Chali to limionari, vre ti Maria tou Lisgari
ke pano sto aspro tis podari tha pa na deso palamari
then the little port of Chali, then Maria of Lisgaris
and on her white foot I am going to belay a cable.
Maria is the daughter or wife of Lisgaris (another captain probably), while the word cable is also used to describe the male sex
Oh! dirlada dirladada,Oh! dirlada ki irten o kombos
vre sto lemo ndos ton archondo
Oh! dirlada dirladada,Oh! dirlada and the bend has reached the lords' throatsThe meaning of this lyric is not quite obvious.
It might mean that we are ready to kill the lords or that the lords make so much money from us that they filled their stomach and reached their throat.
irthen o kombos to Kombali, i Katerina tou Tsagari,
vre tha ti valo mes sti plori ke tha tis kamo gio ke kori
Kombali the bend arrived, Katerina of Tsagaris,
well, I am going to put her in the bow and I am going to make her a girl and a boy
Kombali and Tsagaris are probably captains.
The meaning of the rest is quite obvious.
Oh! dirlada dirladada,Oh! dirlada vre sis levendes
vre tha sas kopso 'go violendes,
vre olonon 'po ena dyo vre ke tou Giorgou den tou dino.
Oh! dirlada dirladada,Oh! dirlada you upstanding man
I am going to cut violets for you, one or two for each one,
 but I will not give none to George

But according to some sources there is a version that even predates the Pantelis Ginis-version !!!

This version is included in the CD of "Lykeion ton Hellnidon" with the following description.
4. PENDE KE TESSERA ENNIA (Dirladada) (Five and four make nine) (Vocal)
Satirical song sung by women at "glentia". The first woman sings the song proper, while the others clap hands in rythm and join in singing "da da dirladada" at the end of each verse.
There are other verses to the same tune sung by men (See Lyceum Club of Greek Women 107 CD B no.24).

Listen here:


Or here:

It was subsequently recorded by Dionisis Savopoulos and became his best commercial hit.

(c) Dionysis Savvopoulos (1969)


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Listen here:

Nikos Xilouris then followed along with many Greek and foreigner musicians.

Here's Nikos:

In 1970 Boris Bergman, who had worked previously with Greek popgroup Aphrodite's Child, wrote French lyrics for this traditional song and it became a big hit in France in 1970.

(c) Les Dirlada (1970)  (as "Darla Dirladada")


Listen here:

Take notion of the "OB LA DI OB LA DA" bassline beginning at 1 minute and 9 seconds

(c) Dalida (1970) (as "Darla Dirladada")




(c) Marva (1970)  (as "Darla Dirladada") (Dutch lyrics Nelly Byl)

Listen to a sample here:



(c) Dunja Rajter (1971)  (as "Salem Aleikum")


(c) Polis (1971)
Former singer of Les Helleniques.


In 1971 2 smart Germans (Michael Schepior and Dieter Dierks) wrote English lyrics for the tune and this version became a big hit in Germany, The Netherlands and Belgium.

(c) Juan Bastos (1971) (as "Loop Di Love")


(c) Shag (=Jonathan King) (1972)  (as "Loop Di Love")


(c) In the French movie "Les Bronzés" (1978)
It was first sung as a parody in the French cult movie "Les Bronzés", directed by Patrice Leconte.
Performed by Josiane Balasko, Michel Blanc, Marie-Anne Chazel, Christian Clavier, Gérard Jugnot, Thierry Lhermitte and Bruno Moynot.

This parody was written by the Café-théâtre company "Le Splendid St Martin", with Patrice Leconte



It was sung at about 20 minutes and 35 seconds in that movie
And it was reprised at 1 hour 29 minutes and 30 seconds during the endcredits:

And here's the version from the soundtrack of "Les Bronzés".

(c) G.O. Culture (1993)  (as "Darla Dirladada")
In 1993 G.O. Culture had a massive hit in France with a cover-version of the 1978 parody version of Dirlada from the French cult movie "Les Bronzés".


(c) Wendy Van Wanten (2014)  (as "DarliDarlidada")  (Dutch lyrics Petr Van Noort

Listen to a sample here:



dinsdag 2 februari 2016

Quiereme Mucho (1923) / Yours (1932) / Du Bist Mein Erster Gedanke (1955) / Nimm Deine weisse Gitarre (1963) / Gisteren Heeft Zij Me Verlaten (1984) / Neem Mij Nog Eens In Je Armen (1973) / Niemand Kan Mij Doen Geloven (1992)

"Quiereme Mucho" was originally titled "Serenata Criolla" (or "Serenata Cubana") and was released in the former missing Havana Theater "Alhambra", as part of the play "El Servicio Militar Obligatorio", in 1915.
The duo that performed it in the play were Blanca Becerra and Rafael Llorens.
Gonzalo Roig wrote the music and two prestigious Cuban authors were in charge of its lyrics. Ramon R. Gollury, who signed with the alias of Roger de Lauria, wrote the first part; whereas Agustin Rodriguez, the popular comedian of "Marti Theater", was in charge of the second.
Tenor Mariano Melendez was in 1917 the first to sing Gonzalo Roig’s "Quiereme Mucho", as a complete song that already belongs to the soul of many countries, because singers from all over the world have made it their own.

Maybe Mariano Melendez was the first performer of the song, but the first recording by Mariano Melendez I could find is from end 1924 early 1925, with an orchestra directed by Jaime Pratts, who also played piano
Released on Pathe 06637.


Tito Schipa was actually the first artist to record the song in 1923.

(c) Tito Schipa 1923
Recorded March 12, 1923 in Camden, NJ.
Released on Victrola 66142


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Also released on Victrola 929.



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Tito Schipa recorded the song again on September 9, 1926.
Released on Victor 1181.

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(c) International Novelty Orchestra (1924)  (as "Love Me")
Recorded June, 13, 1924 in New York


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(c) Jose Moriche (1924) (as "Quiereme Mucho" (Serenata Criolla)
Recorded October 7, 1924
Released on Okeh 16147


(c) Carlos Mejía and Rodolfo Hoyos (1925) (as "Quiereme Mucho" (Serenata Criolla)
Recorded June 25, 1925 in Camden, New Jersey.
Released on Victor 78584


(c) Jose Moriche (tenor) con Los Castilians (1926)
Recorded January 15, 1926 in New York
Released on Vocalion 15249 and 8057 and Brunswick 40117


(c) Orquesta Antillana ( & Margarita Cueto &  Luis Alvarez) (1934)
Recorded on November 9, 1934 in New York
Released on Victor 32345


Listen here: http://lascancionesdelabuelo.blogspot.nl/2012/01/luis-alvarez-los-exitos-rareza.html

In 1932 Carol Raven wrote English lyrics for "Quiereme Mucho" and it was re-titled "Love Me Tonight" (NOT to be confused with the Rodgers/Hart song which was published 2 months later)

In 1932 Jack Sherr wrote English lyrics for "Quiereme Mucho" and this was re-titled "Yours".
But in the coming years it met with little succes despite the 1939 Xavier Cugat recording with Dinah Shore as vocalist.

(c) Xavier Cugat and his Waldorf-Astoria Orchestra (1939) (as "Quiereme Mucho (Yours)"
Recorded June 12, 1939
Released on Victor 26384

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In 1941 Jimmy Dorsey recorded the song and this time the ballad really took off, with its lyrics resonating wartime.

(c) Jimmy Dorsey and his Orchestra (1941)  (as "Yours (Quiereme Mucho)")
Recorded February 3, 1941 in New York
Released on Decca 3657.

(c) Vera Lynn (1941)  (as "Yours")
Recorded October 1, 1941 in London
Released on Decca F 9959

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In the summer of 1952 Vera Lynn recorded the song again, and this time her version reached the TOP 10 in the US charts.

(c) Vera Lynn (1952) (as "Yours")


(c) Mieke Telkamp (1955) (as "Du bist mein erster Gedanke")



Listen to a sample here:


(c) Connie Francis (1960) (as "Quiereme mucho (Yours)"


(c) Marty Robbins (1962)  (as "Yours")
Released in August 1962 on the album "Portrait Of Marty".


Listen here:

In 1963 a Dutch version by Gert Timmerman reached the # 2 spot on the Dutch charts.

(c) Gert Timmerman (1963)  (as "Nimm Deine Weisse Gitarre")


Listen here:

(c) Conny Vandenbos (1963)  (as "Van Mij") (Dutch lyrics Red Debroy and Ad Remy)



In 1966 Conny Vandenbos again recorded this song this time with different lyrics.

(c) Conny Vandenbos (1966)  (as "Waarom") (Dutch lyrics Chis van Hoorn)


(c) Cliff Richard & The Shadows (1966) (as "Du bist mein erster Gedanke")


(c) Anni-Frid Lyngstad (1967) (as "Din")


(c) Albert Hammond (1976) (as "Quiereme Mucho") 


(c) Julio Iglesias (1978) (as "Quiereme Mucho")


and (1982) (as "Du Bist Mein Erster Gedanke")


In 1984 a Dutch version by Koos Alberts reached the TOP 5 of the Dutch charts.

(c) Koos Alberts (1984) (as "Gisteren heeft zij me verlaten")


And here are a few Flemish versions:

(c) Eddy Wally (1973) (as "Neem mij nog eens in je armen")


Listen to a sample here:


(c) Jo Vally  (1992) (as "Niemand kan mij doen geloven")

Listen to a sample here;


(c) Frank Galan (1993) (as "Waarom kwam jij in m'n leven")

Listen to a sample here:


(c) Linda Ronstadt (1992)  (as "Quiereme Mucho")
Released in 1992 on her album "Frenesi"


Listen here:

(c) Dick Dale (2001)  (as "Yours")


Listen here:

(c) Ibrahim Ferrer (2007) (as "Quiéreme Mucho")

(c) Buena Vista Social Club feat. Eliades Ochoa (2015)  (as "Quiéreme Mucho")

more versions: