"Daisy Bell" was composed by Harry Dacre in 1892. As David Ewen writes in American Popular Songs: “When Dacre, an English popular composer, first came to the United States, he brought with him a bicycle, for which he was charged duty. His friend (the songwriter William Jerome) remarked lightly: 'It's lucky you didn't bring a bicycle built for two, otherwise you'd have to pay double duty.' Dacre was so taken with the phrase 'bicycle built for two' that he decided to use it in a song. That song, Daisy Bell, first became successful in a London music hall, in a performance by Katie Lawrence. Tony Pastor was the first one to sing it in the United States. Its success in America began when Jennie Lindsay brought down the house with it at the Atlantic Gardens on the Bowery early in 1892.”
It is said that the song was inspired by Daisy Greville, Countess of Warwick, a British socialite and mistress of King Edward VII.
The song "Daisy Bell" is a B-side on CD 2 of Sunday SundayBlur single of 1993. Singer Damon Albarn once mentioned that he would like to make music his grandparents would approve of. Graham Coxon has admitted that the cover versions of "Daisy Bell" and "Let's All Go Down The Strand" were one of the worst moments in Blur's career.
There is a flower within my heart Daisy, Daisy Planted one day by a glancing Dad Planted by daisy bell Whether she loves me or loves me not Sometimes it's hard to tell Yet I am longing to share the lot A beautiful daisy bell
CHORUS: Daisy, Daisy give me your heart to do I'm half crazy, hopeful in love with you It won't be a stylish marraige I can't afford the carriage But you look sweet upon the street On a bicycle built for two
We will go tandem as man and wife Daisy, Daisy Peddling our way down the road of life I and my daisy bell When the roads and we both dispise Please men the lambs as well There are bright lights in those dasling ice A beautiful daisy bell
REPEAT CHORUS
I'll stand by you in wear or well Daisy, Daisy You'll be the bell we'll try to rip you know Sweet little daisy bell, You'll take the lead in each trip we take And if I dropped out, I will say here's the drink by beautiful daisy bell
REPEAT CHORUS (x2)
But you look sweet upon the street On a bicycle built for two On a bicycle built for two On a bicycle built for two For two, For two, For two, For two
Yves Montand (13 October 1921 - 9 November 1991) was an Italian-born French actor and singer.
Lay said, “At that time, it was Barouh’s idea or rather mine to make a recording with a singer! For this 45 single, Pierre one day entrusted me a text entitled “The Bicycle”. The words immediately inspired me. By visualizing these characters who pedal on country
lanes, I found the gimmick intro, a sentence in loop, like the movement of a bicycle’s chain. I recorded a sample where I interpreted the song myself. Pierre borrowed the cassette from me and carried with him on holiday to Saint-Paul-of-Vence. Over there he meets
Montand and makes him listen to this small sample. Immediately, Yves Montand says to him: “Okay, I’ll take it!” And here is how Montand discovered “The Bicycle” and made a success of it that myself as an interpreter, I would never have obtained!
Pour qui veut s'imprégner de la chanson populaire à la Yves Montand, cet album est en tout point idéal. En douze titres, depuis les mythiques "À bicyclette" jusqu'au "Télégramme" (avec une apparition remarquée de Simone Signoret), en passant par "Le Jazz et la Java", qui fut un grand succès pour Claude Nougaro en 1962, Yves Montand, en remarquable interprète, sut s'adapter à toutes les sensibilités de la chanson française grâce à une voix traînante et à une séduction naturelle. Un album qui, avec encore "Madrid" et "Nuit de Camargue", est constitué de douze étapes d'un parcours exceptionnel. --Philippe Margotin
Paroles: Pierre Barouh, Francis Lay
Quand on partait de bon matin Quand on partait sur les chemins A bicyclette Nous étions quelques bons copains Y avait Fernand y avait Firmin Y avait Francis et Sébastien Et puis Paulette
On était tous amoureux d'elle On se sentait pousser des ailes A bicyclette Sur les petits chemins de terre On a souvent vécu l'enfer Pour ne pas mettre pied à terre Devant Paulette
Faut dire qu'elle y mettait du cœur C'était la fille du facteur A bicyclette Et depuis qu'elle avait huit ans Elle avait fait en le suivant Tous les chemins environnants A bicyclette
Quand on approchait la rivière On déposait dans les fougères Nos bicyclettes Puis on se roulait dans les champs Faisant naître un bouquet changeant De sauterelles, de papillons Et de rainettes
Quand le soleil à l'horizon Profilait sur tous les buissons Nos silhouettes On revenait fourbus contents Le cœur un peu vague pourtant De n'être pas seul un instant Avec Paulette
Prendre furtivement sa main Oublier un peu les copains La bicyclette On se disait c'est pour demain J'oserai, j'oserai demain Quand on ira sur les chemins A bicyclette
Liv Maessen rose to fame as an Australian pop singer in 1969 after appearing on a TV talent competition in which she finished second. Agruably her biggest hit was a cover version of "Knock Knock Who's There" in 1970. It quickly rose in the charts and went gold making Liv the first female artist in Australia to 'go gold'. Liv recorded other pop and country singles up until 1974. Her performing career turned to cabaret and TV until she ceased performing toward the end of the seventies.
“Bicycle Morning” is the b-side of the single “Hey mama, sing me a song”.
FensePost is excited to provide you with an exclusive sneak peek off the new Yarn Owl EP, Stay Warm, scheduled for release early next year. “Bicycle” is the name of the song, and it’s their catchiest track since “Yarn Blues”. Yarn Owl’s jangly guitars and dreamy folk-pop is emphasized by harmony vocals that echo in the band’s foreground.
This song comes with Yarn Owl’s first music video, featuring stop-motion photography. The concept is simple, mimicking blinking lights or spinning wheels. I like to think of it as a construction paper version of lights during a live performance. With it, Yarn Owl remains Pullman’s best kept musical secret.
You on a bicycle, riding down the street, am I gonna meet you tonight? Maybe in a park, maybe in a dream, that sounds more right to me What you gotta do, that you need to be, pedaling your bike at such a speed You on a bicycle, such a lovely girl that I'll ever meet is all I see
You on a bicycle, riding down the street, am I gonna meet you tonight? Maybe in a park, maybe in a dream, that sounds more right to me What you gotta do, that you need to be, pedaling your bike at such a speed You on a bicycle, such a lovely girl that I'll ever meet is all I see
You're coming home from your job at the library all the way across the bridge You're coming home from your job at the library, memory repeats the clip
Mark Ronson didn’t mean to make a debut album that reinvented party-friendly hip hop. Nor a follow-up that became one of the defining albums of the second half of the Noughties. He never anticipated that three of the up and coming British singers he produced and wrote with in his scruffy New York studio (…)
Record Collection is the third album headed up by the mid-Atlantic muso mastermind and, as usual, he’s brought a host of famous friends and former collaborators along for the ride. The follow-up to 2007’s triple platinum Version--which sold one million copies in the UK and saw Ronson score the Best Male Solo Artist gong at the Brit Awards--is every bit as impressive as it’s predecessor. This time however, Ronson has made a point of ripping up the rule book that he had written so well. So it’s goodbye to the Dap Kings and their horn-y break downs and au revoir to the innovative cover versions. Instead, Ronson is saying hello to Brooklyn b-boy sonics, swirling retro synthesized sounds and the kind of off-kilter pop sixth sense that it’s impossible not to move to. Recorded at Dunham studios in Brooklyn and working with vintage keyboards, the album melds eighties indie to nineties hip hop beats and also sees someone rather special take to the mic... "Lose It (In The End)" was co-written by Jonathan Pierce of The Drums and features rhymes from Ghostface Killah and vocals from Mark Ronson himself. The old school flavour of the album is behind much of its charm. "The Bike Song"--co-written by the Zutons’ Dave McCabe and with laid back, but never lazy, vocals from The View’s Kyle Falconer--boasts an almost psychedelic sixties vibe while the warm doo-wop of "The Night Last Night" is brought to glorious life by former Pipette Rose Elinor Dougall. "Somebody To Love Me" is another highlight. Jake Shears of Scissors Sisters, Cathy Dennis, erstwhile Dirty Pretty Thing Anthony Rossomando, and Andrew Wyatt all had a hand in writing what Ronson describes as a ‘bionic’ song. Then he persuaded Boy George, to sing this song of ‘earnest blue-eyed soul’ and a lost club classic with a modern twist.
“The Bike Song” features the View’s Kyle Falconer and Spank Rock, and was co-written by The Zutons’s Dave McCabe. Listen for the bicycle bell Ronson added to the beat.
In its original form “The Bike Song” is a breezy ode to Peter Panism. Major Lazer’s remix focuses on Spank Rock’s verse, so it’s a lot less cute, a lot more sexual. Of course. Have a listen.
(…) Record Collection is an infinitely more likable record than Version – even if The Bike Song makes you want to go and kick in some spokes. The cast list is great and some of the songs are excellent. Ever the businessman, Ronson must get props for his abilities to bring so much talent together; he's probably the only pop star you'd trust to organise a booze-up in a brewery. --Will Dean
Weezer are a popular Californian college-rock band fronted by geeky singer Rivers Cuomo. Their self-titled debut album (identified by its blue cover) was a big hit in 1994 thanks to the two lead singles and their videos. Both directed by Spike Jonze, the videos for “Undone – The Sweater Song” and “Buddy Holly” won regular airplay on MTV and won awards, boosting the band’s profile substantially.…
Raditude's swift appearance on the heels of 2008's The Red Album is hardly the only surprise Weezer has in store on its seventh record. Raditude upends any expectations audiences may have of Weezer, amplifying their trademarks to a dizzying degree - the pop hooks dig deeper, the rock hits so hard it bruises - but the group subverts these signatures with a sly hand while pushing boldly into new territory. (...)
Weezer's new album cover (the back) consists of all the band members on Sunday/Odyssey bicycles. Yes, DJ Greyboy had a part in this situation. Yes, we are all stoked. Peep pic below...
Raúl Alberto Antonio Gieco, better known as León Gieco (born on November 20, 1951 on a farm near Cañada Rosquín in northern Santa Fe, Argentina) is a pop-folk music composer and interpreter. He is known for mixing popular folkloric genres with Argentine rock, and for lyrics with social and political connotations. This has led to him being called "the Argentine Bob Dylan".
Leon Gieco, ever since his appearance in Argentina's Rock and Folk scene over thirty years, has managed to sing about the injustices he witnessed without compromising the beauty of his melodies. His passion for bringing together the sounds of popular music -whether it was American Rock or the zambas and chamames of his own country- and tell meaningful stories as well, has grown, sharpened its message and give his songs an unmistakable and powerful voice. "Por Favor, Adios, Gracias," his new album, is a gorgeous sum of what I'd call Gieco's "dance of beauty and social conscience," where both elements shine in their own right without deeming each other's light. To start us off, "Yo Soy Juan" offers a fierce Rock riff to the story of a young man who had found out that his real parents were political activists kidnapped and tortured at the time his mother was pregnant, and that he was given to a family once they were killed, something that happened in Argentina quite often during its "infamous decade" beginning in the mid-70's. With this song, Gieco confirms that playing great music does not need to compromise the power of songs to wake people up or have them ponder on the world we get to live in. The same is clear in "El Angel De La Bicicleta" about a young man who dedicated his life to feed people living in the poorest area of one of Argentina's provinces, and was shot to death by the police. Or, his tribute to the late Third World priest Father Mugica -"Los Guardianes De Mugica"- who was killed in one of Buenos Aires shantytowns in the 70's. The rest of the songs are just as beautiful -even those retelling tragedies are beautiful- and moving, listen to the melodies of "Ve A La Luna," "Solo Figuras," "Santa Tejerina," "Al Atardecer," or "Carneada," for further examples of Gieco's musical breadth. And if I don't mention any more is to attempt to keep an already long review from getting longer, rather than because the good tunes end there. These are politically charged songs that never surrender their artistic value, message or music count and deserve attention. Think of Gieco as a disciple of Dylan's who mastered an uncompromising poetic vision, stay current to the music of his times and denounced history's dark side, at the same time. Please, even if your Spanish is weak, give this album the opportunity to stun you with it power and tender call to remain open and sensitive to our beleaguered world.
Popular folk-rock composer León Gieco, well-known for his involvement in social causes, wrote a song dedicated to Lepratti, El ángel de la bicicleta ("The Angel of the Bicycle", alluding to Lepratti's main means of transportation). The video shows scenes of the December 2001 riots and the police repression, along with people writing graffiti about Lepratti. Such graffiti, most commonly the phrase Pocho vive ("Pocho lives"), the picture of an ant, or a winged silhouette (an angel) riding a bicycle, have sprung up in Rosario's walls, including the downtown.
(…) Su corte de difusión fue El ángel de la bicicleta, tema dedicado a Claudio Pocho Lepratti, un joven de 35 años que vivía en el barrio Ludueña de Rosario (provincia de Santa Fe), trabajaba en una escuelita de bajos recursos del empobrecido sur de la ciudad, colaborando con un comedor infantil. En diciembre del 2001, en medio de la gravísima situación sociopolítica que vivía la Argentina, varios policías tirotearon el comedor, y Lepratti se asomó por la terraza para insultarlos y fue asesinado de un balazo en la garganta. Después de aquel asesinato, por las calles de Rosario se ven las pintadas con una bicicleta alada. Esta situación inspiraría la canción.
Cambiamos ojos por cielo Sus palabras tan dulces, tan claras Cambiamos por truenos
Sacamos cuerpo, pusimos alas Y ahora vemos una bicicleta alada que viaja Por las esquinas del barrio, por calles Por las paredes de baños y cárceles ¡bajen las armas Que aquí solo hay pibes comiendo!
Cambiamos fe por lágrimas Con qué libro se educó esta bestia Con saña y sin alma Dejamos ir a un ángel Y nos queda esta mierda Que nos mata sin importarle De dónde venimos, qué hacemos, qué pensamos Si somos obreros, curas o médicos ¡bajen las armas Que aquí solo hay pibes comiendo!
Cambiamos buenas por malas Y al ángel de la bicicleta lo hicimos de lata Felicidad por llanto Ni la vida ni la muerte se rinden Con sus cunas y sus cruces
Voy a cubrir tu lucha más que con flores Voy a cuidar de tu bondad más que con plegarias ¡bajen las armas Que aquí solo hay pibes comiendo!
Cambiamos ojos por cielo Sus palabras tan dulces, tan claras Cambiamos por truenos
Sacamos cuerpo, pusimos alas Y ahora vemos una bicicleta alada que viaja Por las esquinas del barrio, por calles Por las paredes de baños y cárceles ¡bajen las armas Que aquí solo hay pibes comiendo!
