Video hit Patrick Bruel

Patrick Bruel - Mon amant de Saint Jean

Mon amant de Saint-Jean, est une chanson française de 1942 qui connut un immense succès.

Chanson réaliste relatant les amours sans lendemain d'une jeune fille pour un séducteur, les paroles sont de Léon Agel et la musique d'Émile Carrara sur un rythme de valse musette.

La première version de la chanson en 1937 sous le titre Les Barbeaux de Saint-Jean, devenu par la suite Mon Costaud de Saint-Jean. Mais celle-ci n'accroche pas le public, probablement parce que les paroles sont jugées trop populaires.

En 1942, elle est réécrite sous son titre actuel et Carrara la dédie à sa fiancée Suzanne (devenue plus tard son épouse) pour marquer leur promesse de mariage faite à La bonne idée une auberge de Saint-Jean-aux-Bois, dans la Forêt de Compiègne.

Interprètes

La chanson fut interprétée par Lucienne Delyle dont ce fut le premier grand succès puis reprise par de nombreux chanteurs. En 1980, François Truffaut l'a utilisée dans son film Le Dernier Métro, de même que Claude Miller dans La Petite Voleuse.

En 2002, elle a été reprise par Patrick Bruel dans son album de chansons anciennes Entre deux (2002), où les paroles sont mises à la troisième personne - dans la version normale, la chanson est une histoire racontée par celle qui l'a vécue.

Autres interprètes: Bourvil, Georgette Plana, Mouloudji et Marcel Azzola, Tue Loup (album La Bancale, 1998), André Rieu (album Les Melodies De Mon Cœur), Louis Corchia (album Piemontissimo), Big Lou (album Polka Casserole), Les Boukakes (album Makach mouch'kil, 2001), Les Croquants (album Ça sent la bière, 2001), Les Castafiores (album Punkitchatcha,2002), Daniel Colin (album Passion Gitane, 2002), Les troubadours du désordre (album Charivari, 2002), Brelan D'as : Jo Privat, Gus Viseur & Médard Ferrero (album Les As Du Musette), Viktor Lazlo (2003, album Loin de Paname), Paola Lombardo, Donata Pinti & Betti Zambruno (album So Sol D'Amarti, 2004), Système D (album Rencontres, 2004), Star Academy 4, Nouvelle Star 2006, Ginette Garcin3, Alain Barrière (album Chansons françaises, 2007), Patrick Bruel, ZAZ, Les Stentors (Album "Une Histoire de France" 2013)...

Bevinda & les XII Alfonso Je vous écrivais sur l'album Claude Monet vol.1 1883 – 1889 2001 (Musea).

Jane Chacun a interprété une variante: Mon costaud de Saint-Jean.

Paroles:

Je ne sais pourquoi j'allais danser

A Saint-Jean au musette,

Mais quand un gars m'a pris un baiser,

J'ai frissonné, j'étais chipée

Comment ne pas perdre la tête,

Serrée par des bras audacieux

Car l'on croit toujours

Aux doux mots d'amour

Quand ils sont dits avec les yeux

Moi qui l'aimais tant,

Je le trouvais le plus beau de Saint-Jean,

Je restais grisée

Sans volonté

Sous ses baisers.

Sans plus réfléchir, je lui donnais

Le meilleur de mon être

Beau parleur chaque fois qu'il mentait,

Je le savais, mais je l'aimais.

Comment ne pas perdre la tête,

Serrée par des bras audacieux

Car l'on croit toujours

Aux doux mots d'amour

Quand ils sont dits avec les yeux

Moi qui l'aimais tant,

Je le trouvais le plus beau de Saint-Jean,

Je restais grisée

Sans volonté

Sous ses baisers.

Mais hélas, à Saint-Jean comme ailleurs

Un serment n'est qu'un leurre

J'étais folle de croire au bonheur,

Et de vouloir garder son cœur.

Comment ne pas perdre la tête,

Serrée par des bras audacieux

Car l'on croit toujours

Aux doux mots d'amour

Quand ils sont dits avec les yeux

Moi qui l'aimais tant,

Mon bel amour, mon amant de Saint-Jean,

Il ne m'aime plus

C'est du passé

N'en parlons plus

Video hit Procol Harum

Procol Harum - A Whiter Shade Of Pale (Live at the Union Chapel)

British rock legends Procol Harum are captured here at their finest, in concert at London's Union Chapel.

It was the last night of a tour that had taken them from London through Europe, Japan and North America and back again to London and the band celebrated with a truly magical performance of the rarely heard full version of the immortal A Whiter Shade Of Pale.

A Whiter Shade of Pale is the debut single by the English rock band Procol Harum, released 12 May 1967. The record reached number one in the UK Singles Chart on 8 June 1967, and stayed there for six weeks.

Without much promotion, it reached No. 5 on the US charts, as well.

One of the counterculture anthems of the 1967 Summer of Love, it is one of fewer than 30 singles to have sold over 10 million copies worldwide.

With its haunting Bach-derived instrumental melody, soulful vocals, and unusual lyrics—by the song's co-authors Gary Brooker, Keith Reid, and organist Matthew Fisher — "A Whiter Shade of Pale" reached No. 1 in several countries when released in 1967.

In the years since, it has become an enduring classic.

It was the most played song in the last 75 years in public places in the UK (as of 2009), and the United Kingdom performing rights group Phonographic Performance Limited in 2004 recognised it as the most-played record by British broadcasting of the past 70 years.

Also in 2004, Rolling Stone placed "A Whiter Shade of Pale" No. 57 on its list of the 500 Greatest Songs of All Time.

In 1977, the song was named joint winner (along with Queen's "Bohemian Rhapsody") of the Best British Pop Single 1952–1977 at the Brit Awards.

In 1998 the song was inducted into the Grammy Hall of Fame.[9] More than 1000 recorded cover versions by other artists are known.

The song has been included in many music compilations over the decades and has also been used in the soundtracks of numerous films, including The Big Chill, Purple Haze, Breaking the Waves, The Boat That Rocked (in a sinking boat scene) and notably in Martin Scorsese's segment of New York Stories. Cover versions of the song have also been featured in many films, for example by King Curtis in Withnail and I and by Annie Lennox in The Net.

The original writing credits were for Brooker and Reid only.

On 30 July 2009, Matthew Fisher won co-writing credit for the music in a unanimous ruling from the Law Lords.

About lyrics

Reid got the title and starting point for the song at a party. He overheard someone at the party saying to a woman, "You've turned a whiter shade of pale," and the phrase stuck in his mind.

The original lyrics had four verses, of which only two are heard on the original recording. The third verse has been heard in live performances by Procol Harum, and more seldom also the fourth.

The author of Procol Harum: beyond the pale, Claes Johansen, suggests that the song "deals in metaphorical form with a male/female relationship which after some negotiation ends in a sexual act."

This is supported by Tim de Lisle in Lives of the Great Songs, who remarks that the lyrics concern a drunken seduction, which is described through references to sex as a form of travel, usually nautical, using mythical and literary journeys.

Other observers have also commented that the lyrics concern a sexual relationship.

Structurally and thematically, the song is unusual in many respects.

While the recorded version is 4:03 long, it is composed of only two verses, each with chorus. The piece is also more instrument-driven than most songs of the period, and with a much looser rhyme scheme. Its unusually allusive and referential lyrics are much more complex than most lyrics of the time (for example, the chorus focuses on Chaucer's "The Miller's Tale"). Thus, this piece can be considered an early example of progressive rock.

The phrase a whiter shade of pale has since gained widespread use in the English language, noticed by several dictionaries. As such, the phrase is today often used in contexts independent of any consideration of the song.

It has also been heavily paraphrased, in forms like an Xer shade of Y, to the extent that it has been recognised as a snowclone – a type of cliché and phrasal template.

Over time, "A Whiter Shade of Pale" has earned extensive critical acclaim:

John Lennon was a great fan of the song and was known to have played it repeatedly in his Rolls Royce. When it was released in England, Lennon (and friends in his circle) reportedly confused Brooker's soulful vocals with Steve Winwood, who had popularity at the time with The Spencer Davis Group.

It was named joint winner (along with Queen's "Bohemian Rhapsody", which also uses the word "fandango") of the Best British Pop Single 1952–1977 at the BRIT Awards, part of Elizabeth II's Silver Jubilee.

In 1998 the song was inducted into the Grammy Hall of Fame.

No. 57 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time in 2004.

British TV station Channel 4 placed the song at No. 19 in its chart of the 100 greatest number one singles.

The lyrics:

We skipped the light fandango

Turned cartwheels 'cross the floor

I was feeling kinda seasick

But the crowd called out for more

The room was humming harder

As the ceiling flew away

When we called out for another drink

And the waiter brought a tray

And so it was that later

As the miller told his tale

That her face, at first just ghostly,

Turned a whiter shade of pale

She said, "There is no reason

And the truth is plain to see."

But I wandered through my playing cards

And they would not let her be

One of sixteen vestal virgins

Who were leaving for the coast

And although my eyes were open wide

They might have just as well been closed

And so it was that later

As the miller told his tale

That her face, at first just ghostly,

Turned a whiter shade of pale

She said, "I'm here on a shore leave,"

Though we were miles at sea.

I pointed out this detail

And forced her to agree,

Saying, "You must be the mermaid

Who took King Neptune for a ride."

And she smiled at me so sweetly

That my anger straightway died.

And so it was that later

As the miller told his tale

That her face, at first just ghostly,

Turned a whiter shade of pale

If music be the food of love

Then laughter is it's queen

And likewise if behind is in front

Then dirt in truth is clean

My mouth by then like cardboard

Seemed to slip straight through my head

So we crash-dived straightway quickly

And attacked the ocean bed

And so it was that later

As the miller told his tale

That her face, at first just ghostly,

Turned a whiter shade of pale

Video hit The Doors

The Doors - Light My Fire (Live In Europe, 1968)

Light My Fire is a song by The Doors, which was recorded in August 1966 and released the first week of January 1967 on the Doors' debut album. Released as an edited single in April, it spent three weeks at number one on the Billboard Hot 100 chart in late July, and one week on the Cash Box Top 100, nearly a year after its recording. It was their breakthrough hit, and is considered their signature song.

A year later, it re-entered the Billboard Hot 100 in 1968 following the success of Jose Feliciano's version of the song (which peaked at number 3 on the Billboard chart), peaking at number 87.

The song was largely written by Robby Krieger, and credited to the entire band. The single was certified gold by the Recording Industry Association of America in 1967, representing sales of one million units.

A live version was released in 1983 on their album Alive, She Cried, the first of several live albums released in subsequent decades to include the song.

"Light My Fire" achieved modest success in Australia, where it peaked at number 22 on the ARIA chart. The single originally reached number 49 in the UK in 1967, but experienced belated success in that country in 1991, when a reissue peaked at number 7. The reissue occurred on the back of revived interest in the band following Oliver Stone's film biopic The Doors.

The song is number 35 on Rolling Stone's list of the 500 Greatest Songs of All Time.

It was included in the Songs of the Century list.

José Feliciano's cover version won a 1969 Grammy Award for Best Male Pop Vocal Performance, the same year he won another Grammy for Best New Artist.

The Buick Incident

John Densmore recalls, that Buick offered $75,000 in October 1968 to adapt the song for use in a Buick Opel TV commercial ("Come on, Buick, light my fire").

Morrison, however, was still in London after a European tour had just ended on September 20 and could not be reached by the other group members, who agreed to the deal in his absence.

As the band had agreed in 1965 to both equal splits and everyone having veto power in decisions, Morrison consequently called Buick and threatened to smash an Opel with a sledgehammer on television should the commercial be aired.

The lyrics:

You know that it would be untrue

You know that I would be a liar

If I was to say to you

Girl, we couldn't get much higher

Come on baby, light my fire

Come on baby, light my fire

Try to set the night on fire

The time to hesitate is through

No time to wallow in the mire

Try now we can only lose

And our love become a funeral pyre

Come on baby, light my fire

Come on baby, light my fire

Try to set the night on fire, yeah

The time to hesitate is through

No time to wallow in the mire

Try now we can only lose

And our love become a funeral pyre

Come on baby, light my fire

Come on baby, light my fire

Try to set the night on fire, yeah

You know that it would be untrue

You know that I would be a liar

If I was to say to you

Girl, we couldn't get much higher

Come on baby, light my fire

Come on baby, light my fire

Try to set the night on fire

Try to set the night on fire

Try to set the night on fire

Try to set the night on fire

Video hit Peter Cetera

Peter Cetera - Hard To Say I'm Sorry (live)

Hard to Say I'm Sorry/Get Away is a 1982 Billboard Hot 100 #1 hit ballad performed by American rock group Chicago, written by band member Peter Cetera and producer David Foster from the album Chicago 16, released in 1982.

The song hit number one for two weeks on the Billboard Hot 100 chart on September 11 of that year. It was their first top 50 hit since "No Tell Lover" in 1978.

The song, as well as the album on which it is featured, was a marked departure from Chicago's traditional soft rock, horns-driven sound, taking on a polished and modern feel. There were minimal horns on the track, instead featuring more layered synthesizers and heavier distorted electric guitars in a contemporary 1980s styling. This was done to revitalize the band that was considered by some to be past its commercial prime at the time.

The album version of "Hard to Say I'm Sorry" segued into a second song titled "Get Away," which was closer to the older horn-driven Chicago sound.

Most adult contemporary radio stations at the time did not play the entire album track, however, choosing to cut it off just before "Hard to Say I'm Sorry" segued into "Get Away." About half the Top 40 radio stations played the longer version with "Get Away".

Deviating from Chicago's practice of having mostly band members playing on their albums, "Hard to Say I'm Sorry" featured several session musicians.

The song featured producer David Foster on the piano, as well as three members of the American rock band Toto: Steve Lukather on guitar, while David Paich and Steve Porcaro both contributed synthesizers. The song's vocals were performed by Peter Cetera.

The lyrics:

Everybody needs a little time away

I've heard her say from each other

Even lovers need a holiday, ooh

Far away from each other

Hold me now, it's hard for me to say

I'm sorry, I just want you to stay

And after all that you've been through

I will make it up to you, I promise you, baby

And after all that's been said and done

You're just the part of me, I can't let go

Ooh, bup bup, bup bup

Couldn't stand to be kept away

Just for a day, from your body

Wouldn't want to be swept away

Far away from the one that I love

Hold me now, it's hard for me to say

I'm sorry, I just want you to know

Hold me now, I really want to tell you

I'm sorry, I could never let you go

And after all that we've been through

I will make it up to you, I promise you

And after all that's been said and done

You're just a part of me, I can't let go, I can't let go

Video hit Amos Lee

Amos Lee - Arms Of A Woman

Amos Lee is the self-titled debut album by American singer-songwriter Amos Lee, released in the U.S. by Blue Note Records on March 1, 2005.

The album was produced by Lee Alexander, the bassist in Norah Jones' band.

The songs on the album incorporate themes of folk music, soul music, and jazz.

In popular culture

Lee's song, "Colors" was featured on the soundtrack of the film Just Like Heaven and on episodes of House, Six Feet Under, Grey's Anatomy, Brothers & Sisters, and Parenthood.

His song, "Keep it Loose, Keep it Tight" was featured on Conviction and his composition "Seen It All Before" was featured on an episode of ER.

The song "Arms of a Woman" appeared in the film "The Last Kiss (2006 film)".

The lyrics:

I am at ease in the arms of a woman.

Although now,

most of my days i spend alone.

A thousand miles,

from the place i was born.

But when she wakes me,

she takes me back home.

Now, most days,

i spend like a child.

Who's afraid of ghosts in my mind.

I know, there aint nothing out there.

I'm still afraid to turn on the lights.

I am at ease in the arms of a woman.

Although now,

most of my days a i spend alone.

A thousand miles,

the place i was born.

When she wakes me,

she takes me back home.

A thousand miles,

the place i was born.

When she wakes me,

she takes me back home.

I am at ease in the arms of a woman.

Although now,

most of my days i spend alone.

A thousand miles,

from the place i was born.

When she wakes me,

she takes me..

Ya, when she wakes me,

she takes me back home.

When she wakes me,

she takes me back home.

Video hit Guillaume Grand

Guillaume Grand - Toi et moi

Guillaume Grand, born in 1983 in Bergerac, is a French singer and composer. He is best known for his song "Toi et Moi".

Un premier album comme un appel au voyage, suivez Guillaume Grand sans préavis.

Il a vécu son enfance au rythme des mutations de son père. Des déménagements comme des voyages sans fin.Dans les cartons de ce jeune auteur-compositeur, on trouve une guitare dont on entend presque le bois craquer à force d’avoir été malmenée; une voix rocailleuse et minérale qui accroche l’oreille; et une sacrée énergie vitale comme un sentiment d’urgence à exister.

Une névrose par-ci («je suis hypocondriaque»), une obsession par-là («je suis un hyperactif du bonheur»), Guillaume vit chaque jour comme si c’était le dernier et n’arrive pas à fermer les yeux s’il n’a pas vécu quelque chose de fort dans la journée."L’amour est laid", certes, mais le disque, lui, est beau.

The lyrics:

Je voudrais partir

Jusqu’à la mer

Allongé sur le sable

Prendre un peu l’air

Et sentir les embruns

Rester encore

Rester jusqu’à

M'ensaler le corps

[Refrain]

On serait juste Toi et Moi

Près d’ici ou là-bas

Sans règles dignes et sans foi

Quand tu veux on y va

Toutes les couleurs du ciel

Un plein de bouteilles

Du rhum, du vin, du miel

Quand tu veux on y va

Cachés par les dunes

Entre terre et mer

Voler un peu de paix

Des refrains à la mer

Bien sûr tu serais là

Moi blotti contre toi

J'te raconterais ce rêve

Quand tu veux on y va

[Refrain]

On serait juste Toi et Moi

Près d’ici ou là-bas

Sans règles dignes et sans foi

Quand tu veux on y va

Toutes les couleurs du ciel

Un plein de bouteilles

Du rhum, du vin, du miel

Quand tu veux on y va

Si on vit cachés

Si on vit damnés

Et si le temps se compte

On frustre nos hontes

Là-bas tu peux mentir

Là-bas tu peux tricher

Là-bas on peut salir, là-bas…

On peut… être juste Toi et Moi

Près d’ici ou là-bas

Sans règles dignes et sans foi

Quand tu veux on y va

Toutes les couleurs du ciel

Un plein de bouteilles

Du rhum, du vin, du miel

Quand tu veux on y va

On serait juste Toi et Moi

Près d’ici ou là-bas

Sans règles dignes et sans foi

Quand tu veux on y va (x2)

Quand tu veux on y va ...

Video hit Ben Harper

Ben Harper - With My Own Two Hands

With My Own Two Hands is a single from Ben Harper's 2003 release Diamonds on the Inside.

The lyrics focus on the how changes in the world can come about when a single person decides to take action. This song, which features an up-tempo reggae groove was played in regular rotation on European radio stations.

The song's popularity in Europe was such that Ben Harper was awarded French Rolling Stone Magazine's "Artist of the Year" (Artiste De L'Année) in 2003.

An alternate version featuring Jack Johnson is also featured on the Curious George film soundtrack Sing-A-Longs and Lullabies for the Film Curious George.

The B-side to the single was "Bring the Funk", also taken from Diamonds on the Inside. It has been included on some TV programmes as background music.

The lyrics:

I can change the world

With my own two hands

Make a better place

With my own two hands

Make a kinder place

Oh- with my

Oh- with my own two hands

With my own

Oh- with my own two hands

With my own

With my own two hands

I can make peace on earth

With my own two hands

And I can clean up the earth

Oh- with my own two hands

And I can reach out to you

Oh- with my own two hands

With my own

With my own two hands

Oh- with my own

Oh- with my own two hands

I'm gonna make it a brighter place

(with my own)

I'm gonna make it a safer place

(with my own)

I'm gonna help the human race

(with my own)

(with my own two hands)

Now I can hold you

With my own two hands

And I can comfort you

With my own two hands

But you got to use

Use your own two hands

Use your own

Use your own two hands

Use your own two hands

And with our own

With our own two hands

With our

With our

With our own two hands

Oh- with my own

With my own two hands

I'm gonna make it a brighter place

(with my own)

I'm gonna make it a safer place

(with my own)

I'm gonna help the human race

(with my own)

Oh- make it a brighter place

(with my own)

I can hold you

(with my own)

And I can comfort you

(with my own)

But you got

You got

You got

You got

You got

You got

You got to use

Oh- use your own

Oh- use your own

Lord

But you got

You got

You got

You got

You got to use - use

Use your own

Use your own

Use your own

Use your own

Use your own

Use your own

Use your own

Use your own

Use your own

Use your own

Video hit Vonda Shepard

Vonda Shepard - Baby, Don't You Break My Heart Slow

Vonda Shepard (born July 7, 1963) is an American pop/rock singer. She appeared as a regular in the television show Ally McBeal in seasons 1 through 5, in which she played a resident performer at the bar where the show's characters drank after work. Her version of Kay Starr’s Christmas classic (Everybody's Waitin' For) The Man with the Bag was featured on a season 4 episode of Ally McBeal and has become a popular holiday song. She plays piano, guitar, and bass.

Vonda Shepard was born in New York but her family relocated to California when she was a child. She played piano from an early age. Her father is Richmond Shepard, a mime and improv actor.

Vonda has three sisters: Armina, Rosetta (now Brianna) and Luana.

After performing as a backing singer for many years she was eventually given her own recording contract. Shepard's first chart appearance was in 1987 when she recorded a duet with Dan Hill entitled "Can't We Try". Before this she tried out for the part of Michael J. Fox's sister in Light of Day but lost the part to Joan Jett.

She was also poised to sing on Peter Cetera's duet "The Next Time I Fall" but he picked Amy Grant instead.

She released her first self-titled album in 1989 with little fanfare. The album did yield one chart single, "Don't Cry Ilene", a mid-tempo, piano-driven jazz-R&B flavored song dealing with the break-up of a relationship between a black woman and a white man, arising from adult peer pressure. The track is sung from the perspective of the woman's white female friend, who harbors a desire to have the man for herself, but keeps her distance out of respect for her friend. The song peaked at Number 17 on the Billboard Hot Adult Contemporary chart and stayed on the charts for 12 weeks.

After her third album, Shepard was signed up to appear on Ally McBeal after being spotted by the show's creator David E. Kelley. While on the show she recorded two full soundtrack albums and was featured on two other Ally McBeal compilations.

The songs Shepard recorded for Ally McBeal soundtrack albums were mainly covers of old songs with lyrics that paralleled what was happening in the title character's life onscreen. However, the album's biggest hit single, "Searchin' My Soul" was an original penned by Shepard and Paul Gordon. Since appearing in the show, Shepard has released two more studio albums and a live album.

Shepard has been married to music producer Mitchell Froom since 2004; they had their first child, Jack Froom, on 15 April 2006. She is also the stepmother to Froom's daughter, Ruby, from his marriage to Suzanne Vega.

Shepard recently provided vocals on the score by James Newton Howard for the 2010 film Love and Other Drugs, starring Jake Gyllenhaal and Anne Hathaway.

The lyrics:

I like the way you wanted me

Every night for so long baby

I like the way you needed me

Every time things got rocky

I was believing in you

Was I mistaken do you say

Do you say what you mean

I want our love to last forever

(Chorus)

But I'd rather you be mean than love and lie

I'd rather hear the truth and have to say goodbye

I'd rather take a blow at least then I would know

But baby don't you break my heart slow

I like the way you'd hold me

Every night for so long baby

I like the way you'd say my name

In the middle of the night

While you were sleeping

I was believing in you

Was I mistaken do you mean

Do you mean what you say

When you say our love could last forever

(Chorus)

Well I'd rather you be mean than love and lie

I'd rather hear the truth and have to say goodbye(goodbye)

I'd rather take a blow at least then I would know

But baby don't you break my heart slow

(Bridge)

You would run around and lead me on forever

While I wait at home still thinking we're together

I wanted our love to last forever

I was believing in you

(Chorus)

I'd rather you be mean than love and lie

I'd rather hear the truth and have to say goodbye

I'd rather take a blow at least then I would know

But baby don't you break my heart slow

Don't love and lie

I'd rather hear the the truth and have to say goodbye

I'd rather take a blow at least then I would know

But baby don't you break my heart slow

Baby don't you break my heart slow

Video hit Kiss

Kiss - Forever

Forever is a power ballad by the American rock band Kiss. It was released as the second single from the 1989 album Hot in the Shade.

The track was co-written by guitarist/vocalist Paul Stanley and singer/songwriter Michael Bolton. Bolton was then at the peak of his commercial popularity and had performed with guitarist Bruce Kulick previous to Kiss.

Musically, "Forever" is a power ballad. It begins with Stanley singing over an acoustic guitar intro, with the full band coming in for the first refrain.

The song was remixed at Electric Lady Recording Studios in New York, by Michael Barbiero and Steve Thomlinson for commercial release as a single.

A music video was released to promote the song. It received heavy airplay on MTV, attaining the #1 position on the channel's "Most Requested Videos" show several times.

The clip is perhaps the most understated video Kiss has released, as it shows the band (then consisting of Stanley, Gene Simmons, Bruce Kulick and Eric Carr) playing the song in an empty room.

"Forever" peaked at number 8 on the Billboard Hot 100 chart, making it the group's first US Top 40 single since "I Was Made for Lovin' You" reached number 11 in 1979.

It was the band's seventh and, to date, last Top 20 American single.

It also reached number 17 on Billboard's Hot Mainstream Rock Tracks.

The lyrics:

I gotta tell you what I'm feelin' inside, I could lie to myself, but it's true

There's no denying when I look in your eyes, girl I'm out of my head over you

I've lived so long believin' all love is blind

But everything about you is tellin' me this time

It's forever, this time I know and there's no doubt in my mind

Forever, until my life is through, girl I'll be lovin' you forever

I hear the echo of a promise I made

When you're strong you can stand on your own

But those words grow distant as I look at your face

No, I don't wanna go it alone!

I never thought I'd lay my heart on the line

But everything about you is tellin' me this time

It's forever, this time I know and there's no doubt in my mind, forever!

Until my life is through, girl I'll be lovin' you forever

Yeah! (Yeah, yeah)

*****instrumental*****

Woah, I see my future when I look in your eyes

It took your love to make my heart come alive

Coz I've lived my life believin' all love is blind

But everything about you is tellin' me this time

It's forever, this time I know and there's no doubt in my mind, forever.

Until my life is through, girl I'll be lovin' you forever

Oh it's forever, this time I know and there's no doubt in my mind, forever

Until my life is through girl I'll be lovin' you forever

Yeah

Video hit Nana Mouskouri

Nana Mouskouri & Harry Belafonte - Try To Remember (live)

Try to Remember is a song from the musical comedy The Fantasticks.

It is the first song sung in the show, to get the audience to imagine what the sparse set suggests. Its lyrics, written by Tom Jones, famously rhyme "remember" with "September", "so tender", and "December", and repeat the sequence -llow throughout the song: verse 1 contains "mellow", "yellow", and "callow fellow"; verse 2 contains "willow", "pillow", "billow"; verse 3 contains "follow", "hollow", "mellow"; and all verses end with "follow".

Harvey Schmidt composed the music.

Pop charts and Early Recordings

"Try to Remember" was originally sung by Jerry Orbach in the Original Off-Broadway production of The Fantasticks.

"Try To Remember" made the Billboard Hot 100 pop chart three times in 1965 in versions by Ed Ames, Roger Williams, Barry McGuire, The Kingston Trio, The Sandpipers, and The Brothers Four.

Patti Page released a version in 1965 on her album Hush, Hush, Sweet Charlotte.

Andy Williams released a version in 1966 on his album The Shadow of Your Smile.

Perry Como released a version in 1968 on his album Look to Your Heart.

The song was the first Australian hit for the then-Brisbane based trio New World, billed at the time as The New World Trio. Their version peaked at 11 in late 1968.

In 1971 Netherlandish singing duo Saskia & Serge had a national smash hit with their signature song 'Zomer in Zeeland', based on the music of 'Try to Remember'.

In 1975 Gladys Knight & the Pips had a huge international hit with their version of "Try to Remember", combining it into a medley with a cover of Barbra Streisand's "The Way We Were". It reached #11 on the Hot 100 chart. In Knight's version, she recited some of the lyrics from "Try To Remember" in spoken-word fashion before beginning to sing "The Way We Were".

Harry Belafonte has recorded the song multiple times.

The Greek singer Nana Mouskouri also recorded it in three languages: German, French, and Italian.

Romanian singer Aura Urziceanu recorded a Romanian language version in duet with Aurelian Andreescu in 1975, Septembrie.

The lyrics:

Try to remember the kind of September

When life was slow and so mellow

Try to remember the kind of September

When grass was green and the grain was yellow

Try to remember the kind of September

When you were a young and callow fellow

Try to remember and if you remember

Then follow, follow

Try to remember when life was so tender

When no one wept except the willow

Try to remember when life was so tender

When dreams were kept beside your pillow

Try to remember when life was so tender

When love was an ember about to billow

Try to remember and if you remember

Then follow, follow

Deep in December, it' s nice to remember

Although you know the snow will follow

Deep in December, it' s nice to remember

Without the hurt the heart will follow

Deep in December it's nice to remember

The fire of September that made you mellow

Deep in December our hearts should remember

Then follow, follow

Video hit Queen

Queen - Under Pressure

Under Pressure is a 1981 song recorded by Queen and David Bowie, featured on Queen's 1982 album Hot Space.

The song reached No. 1 on the UK Singles Chart. It was also number 31 on VH1's 100 Greatest Songs of the '80s.

The song was played live at every Queen concert from 1981 until the end of Queen's touring career in 1986.

It is recorded on the live albums Queen Rock Montreal and Queen at Wembley.

The song was included on some editions of Queen's first Greatest Hits compilations, such as the original 1981 Elektra release in the US.

It is included on the band's compilation albums Greatest Hits II, Classic Queen, and Absolute Greatest as well as the compilation Best of Bowie.

Queen had been working on the song under the title "Feel Like" but were not yet satisfied with the result.

David Bowie had originally come to Mountain Studios in order to sing backing vocals on another Queen song, "Cool Cat", which would end up being edited out since he was not satisfied with it. Once he got there, they worked together for a while and wrote the song.

The final version that became "Under Pressure" evolved from a jam session that Bowie had with the band at Queen's studio in Montreux, Switzerland; therefore it was credited as co-written by the five musicians. The scat singing that dominates much of the song is evidence of the jam-beginnings as improvisation.

According to Queen bassist John Deacon (as quoted in a French magazine in 1984), however, the song's primary musical songwriter was Freddie Mercury — though all contributed to the arrangement.

Brian May recalled to Mojo magazine in October 2008 that, "It was hard, because you had four very precocious boys and David, who was precocious enough for all of us. David took over the song lyrically. Looking back, it's a great song but it should have been mixed differently. Freddie and David had a fierce battle over that. It's a significant song because of David and its lyrical content."

The earlier, embryonic version of the song without Bowie, "Feel Like", is widely available in bootleg form, and was written by Queen drummer Roger Taylor.

There has been some confusion about who created the song's bassline. John Deacon said (in Japanese magazine Musiclife in 1982, and in the previously mentioned French magazine) that David Bowie had created it.

In more recent interviews, Brian May and Roger Taylor have credited the bass riff to Deacon. Bowie, on his website, said that the bassline was already written before he became involved.

Roger Taylor, in an interview for the BBC documentary Queen: the Days of Our Lives, stated that Deacon had indeed created the bassline, stating that all through the sessions in the studio he had been playing the riff over and over; he also claims that when the band returned from dinner Deacon had, amusingly, forgotten the riff, but fortunately Taylor was still able to remember it.

The lyrics:

Pressure pushing down on me

Pressing down on you, no man ask for

Under pressure that burns a building down

Splits a family in two

Puts people on streets

It's the terror of knowing

What this world is about

Watching some good friends

Screaming, "Let me out!"

Tomorrow gets me higher

Pressure on people - people on streets

Chippin' around, kick my brains 'round the floor

These are the days - it never rains but it pours

People on streets - people on streets

It's the terror of knowing

What this world is about

Watching some good friends

Screaming, "Let me out!"

Tomorrow gets me higher, higher, higher...

Pressure on people - people on streets

Turned away from it all like a blind man

Sat on a fence but it don't work

Keep coming up with love but it's so slashed and torn

Why, why, why?

Love

Insanity laughs under pressure we're cracking

Can't we give ourselves one more chance?

Why can't we give love that one more chance?

Why can't we give love, give love, give love, give love, give love, give love, give love, give love?..

'Cause love's such an old-fashioned word

And love dares you to care for

The people on the edge of the night

And love dares you to change our way of

Caring about ourselves

This is our last dance

This is our last dance

This is ourselves

Under pressure

Under pressure

Pressure