Top 2000 #13 (editie 2009): Naar Frankrijk met stroopwafels

Monkees!

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Op zondag 27 december 2009 19:12 schreef Ferdo het volgende:

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Tja, zou jij direct naast André Hazes gaan zitten? Nou dan!

ja daar heb je wel weer gelijk in....
ik niet nee

She wears cheap bikini's......

'avond. Zijn we weer. Hoop mooie muziekjes gemist, zie ik.....

Leuk nummer, die hierna is nog veel beter

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Op zondag 27 december 2009 19:15 schreef Diaan73 het volgende:

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Of een fout in de krant.... Volgens de site staan de Police op plaatsen 386 en 385 volgens de krant op 386 en op 381... in het pdfje staan ze ook op 386 en 381. Ik zal wel even een mailtje sturen naar radio2.

Police Every Breath You Take 1983 385
Police Message In A Bottle 1979 386

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Op zondag 27 december 2009 19:16 schreef cafca het volgende:
'avond.

Staat in de top tien

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Op zondag 27 december 2009 19:16 schreef cafca het volgende:
'avond. Zijn we weer. Hoop mooie muziekjes gemist, zie ik.....

Hallo muziekkenner.

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Op zondag 27 december 2009 19:16 schreef MadMaster het volgende:

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Police Every Breath You Take 1983 385
Police Message In A Bottle 1979 386

Ja precies volgens de site lijsten. Maar in de krant staat Every Breath You Take op 381 en volgens het pdf bestand dat ik bekeken heb ook. Het staat dus niet goed in de uurlijsten.

Baby Face, you've got a pretty little baby face,
daarna werd ik gekust en gekroond...

CCR.

Zeiknummer, dit

Misschien leuk om bij elke songtekst/nummer een stukje over de artiest te zetten?

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Op zondag 27 december 2009 19:19 schreef Gitaarmat het volgende:
Misschien leuk om bij elke songtekst/nummer een stukje over de artiest te zetten?

Heb jij daar tijd voor? Ik vind het wel een leuk idee. Ik ga zo weer songteksten posten.

Tip: www.allmusic.com

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Op zondag 27 december 2009 19:20 schreef Ofyles2 het volgende:

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Ik had vanochtend zelfs O.M.D. - Enola Gay gemist.

Die heb ik ook gemist. Heb wel If there is something gehoord in de auto

Nou dit was dus een stelletje studiomuzikanten die het nodig vonden zelf een eigen plaat te maken. Gelukkig zijn ze na 2 hitjes de studio weer ingejaagd

1266 Leo Sayer : Orchard road

To tell the truth it’s really such a sad affair
Standing here waiting in the cold night air
But I’ve got to make this call
‘Cos my heart is breaking
I hear the pips drop a coin in the slot
Has it been that long
I thought you’d forgotten me
Well I know that it’s getting late
But I just couldn’t wait
Will I have the nerve to say
I just wanna come back
You shouldn’t just go away
I just wanna come back
I’ve been struck by such a bad luck
I need a place a little happiness and some love
I think I can see it now
Now let me paint the picture
It’s twelve o’ clock and the curtains are drawn
They’re counting sheep down in Orchard Road
You’re hanging on the telephone line tonight
And I wish I could be
In Orchard Road
Not much been happening here
I think I’ve got a job
They’re gonna call me next week
And I’ll be working out of town
Well it sure beats hanging around
What’s that
Tomorrow at two
You’re kidding me, no
Is it alright with you
I don’t know what to say
It’ll be like a holiday
When you say you’re all alone
Makes me wanna come back
And this house is not a home
I just gotta go back
It’s twelve ten when I put down the phone
The moon’s shining down on Orchard Road
And I’m feeling like a schoolboy again and tonight
I’ll see you in my dreams of Orchard Road

It’s funny but I thought I’d never go back
I think sometimes I might lose track
But I remember you and the things we do
And I want it back
In Orchard Road you’ve got my heart
I left it in your doorway
In Orchard Road a welcome mat
Is waiting there just for me
In Orchard Road
The sun will shine again, I know, I know
In Orchard Road you keep my love
It’s waiting there for me
It’s eight o’clock and the dawn’s arrived
In Orchard Road it’s breakfast time
I climb in my car and I turn the key and I’m gone
I am coming home
To Orchard Road
I’m coming home

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Op zondag 27 december 2009 19:20 schreef Diaan73 het volgende:

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Heb jij daar tijd voor? Ik vind het wel een leuk idee. Ik ga zo weer songteksten posten.

Tip: www.allmusic.com

Nou ik was niet van plan om dat steeds te doen maar als we dat met zn allen afspreken en ieder doet om en om een paar of één dan is er samenwerking en hoeft niet 1 iemand heel veel te doen en de anderen niks.

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Op zondag 27 december 2009 19:22 schreef Ofyles2 het volgende:
Huiskamervraag: Van welk van de komende nummers tot 20:00 werd een sample gebruikt (lees: gejat) door Rihanna?

Tainted Love van Soft Cell? Die het nummer weer van Gloria Jones hebben gejat?

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Op zondag 27 december 2009 19:23 schreef Gitaarmat het volgende:

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Nou ik was niet van plan om dat steeds te doen maar als we dat met zn allen afspreken en ieder doet om en om een paar of één dan is er samenwerking en hoeft niet 1 iemand heel veel te doen en de anderen niks.

Ik vind het prima!!

Mooi zo. Maar eerst a Gogo. Tot Straks.

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Op zondag 27 december 2009 19:24 schreef cafca het volgende:
[ afbeelding ]

You know I can dance...

Biography by Stephen Thomas Erlewine

Leo Sayer (born Gerard Sayer) had a string of highly polished mainstream pop hits in the late '70s. Sayer began his musical career as the leader of the London-based Terraplane Blues Band in the late '60s. He formed Patches with drummer Dave Courtney in 1971; Courtney used to play with British pop star Adam Faith. Faith was beginning a management career in the early '70s, so Courtney brought Patches to his former employer in hopes of securing a contract. Patches failed to impress Faith, yet he liked Sayer and chose to promote him as a solo artist. Sayer began recording some solo material written with David Courtney at Roger Daltrey's studio; the Who's lead singer liked the Sayer/Courtney originals enough to record a handful himself, including the hit "Giving It All Away." Sayer's debut single, "Why Is Everybody Going Home," failed to make any impact, yet 1973's "The Show Must Go On" hit number one in the U.K.; a cover by Three Dog Night stopped Sayer's version from charting in the U.S. The following year he released his first album, Silver Bird.

Silver Bird was followed quickly by Just a Boy, which included two more British hit singles, "One Man Band" and "Long Tall Glasses (I Can Dance)"; "Long Tall Glasses" managed to break Sayer into the American Top Ten in early 1975. Sayer's working relationship with Courtney was severed during the recording of his third album, Another Year (1975). The following year, he released Endless Flight, which was co-written with former Supertramp member Frank Furrell; featuring the number one singles "You Make Me Feel like Dancing" and "When I Need You," the record became his biggest hit in both the U.S. and the U.K., selling over a million copies in America. Following Endless Flight, Sayer became a fixture in the American Top 40, yet his hits began to dry up in England.

Sayer began the '80s with the American number two hit, "More Than I Can Say," yet it was his last big single in the U.S. His last chart entry in America was the early 1981 hit "Living in a Fantasy"; the U.K. hits didn't stop until 1983, after "Till You Come Back to Me" scraped the charts. After laying low for the rest of the decade, he attempted a comeback in 1990 with Cool Touch, yet it fell on deaf ears.

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Op zondag 27 december 2009 19:24 schreef Ofyles2 het volgende:
André van Duin mist dit jaar ook in de Top2000...

Zit 'ie in het buitenland dan zonder internet?

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Op zondag 27 december 2009 19:24 schreef MadMaster het volgende:

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You know I can dance...

Die vind ik persoonlijk leuker dan deze.....

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Op zondag 27 december 2009 19:24 schreef Ofyles2 het volgende:
André van Duin mist dit jaar ook in de Top2000...

Ik mis hem niet, hoor!

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Op zondag 27 december 2009 19:22 schreef Ofyles2 het volgende:
Huiskamervraag: Van welk van de komende nummers tot 20:00 werd een sample gebruikt (lees: gejat) door Rihanna?

Beetje moeilijkere vragen mag wel in dit topic hoor

Oja, ik heb een pizza gevonden

het zijn wel lange stukken tekst die bio's.

Biography by Bruce Eder

No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly.

The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were three of five children. The three of them gravitated toward music, encouraged by their father, who saw his sons at first as a diminutive version of the Mills Brothers. The three Gibb brothers made their earliest performances at local movie theaters in Manchester in 1955, singing between shows. The family moved to Australia in 1958, resettling in Brisbane. Now known as the Brothers Gibb -- with Barry writing songs -- they attracted the attention of a local DJ, and eventually got their own local television show. It was around this time that they took on the name the Bee Gees (for Brothers Gibb). The trio was astoundingly popular in the press and on television, but actual hit records eluded them.

By late 1966, they'd decided to return to England -- which, thanks to the Beatles, was now the center of the world for rock and popular music. The group had sent demo recordings ahead of them, and "Spicks & Specks" -- which became their first Australian hit while they were in mid-ocean -- had attracted the interest of manager Robert Stigwood. The trio was signed by Stigwood upon their arrival, and began shaping their sound in the environment of Swinging London. Barry and Robin Gibb alternated the lead vocal spot, harmonizing together and with Maurice. Barry played rhythm guitar, while Maurice played bass, piano, organ, and Mellotron, among other instruments. Their first English recording, "New York Mining Disaster 1941," an original by the group with a haunting melody and a strangely surreal, almost psychedelic ambience, was released in mid-1967 and made the Top 20 in England and America. They had successful follow-ups with "Holiday" and "To Love Somebody," the latter actually written for Otis Redding to record, and "Massachusetts," which topped the U.K. charts.

After Bee Gees' 1st, the Gibb brothers took over producing their own records. It was easy, amid the sheer beauty of their recordings, to overlook the range of influences that went into their sound, which came from a multitude of sources, including American country music and soul music. At this point in their history, they were most comfortable deconstructing elements in the singing and harmonies of black American music and rebuilding them in their style.

In 1969, the trio split up in a dispute involving the Odessa album. A lushly orchestrated double-LP, it was their most ambitious recording to date, but they were unable to agree on which song would be the single, and Robin walked out. Barry and Maurice held on to the Bee Gees name for one LP, Cucumber Castle, while Robin released Robin's Reign. Without a group to promote it, the Odessa album never sold the way it might have, even with a hit, "First of May." Cucumber Castle generated several successful singles in England and Germany, including the gorgeous, African-influenced "I.O.I.O.," while Robin had a hit with "Saved by the Bell."

In 1970, almost two years older and a good deal wiser, they decided to get back together. They related to each other better and had also evolved musically, now creating a progressive pop/rock sound similar to the Moody Blues. They came back on a high note with two dazzling songs: the soulful "Lonely Days," the group's first number one hit in America; and the achingly lyrical "Morning of My Life," which proved so popular with fans that the group was still doing it in concert decades later.

Their success began to ebb, however, after another huge international hit with "How Can You Mend a Broken Heart" in 1971. The single "Run to Me" made the Top 20 in 1972, but the album To Whom It May Concern was forgotten almost instantly after a brief chart run. Their fortunes continued in reverse during 1973 withLife in a Tin Can and the single "Saw a New Morning" -- despite a move to America and a heavy promotional push, the song never made the Top 40 and the album stalled out.

The trio was falling into a deep creative and commercial hole. Rescue came from a suggestion by Eric Clapton, that they try recording at Criteria Studios in Miami, FL, where he had just cut an album. The Bee Gees took his advice and came back with Mr. Natural (1974), produced by Arif Mardin. This record was a departure with its heavily Americanized R&B sound, and the following year they plunged head-first into the new sound with Main Course -- the emphasis was now on dance rhythms, high harmonies, and a funk beat. And spearheading the new sound was Barry Gibb, who, for the first time, sang falsetto and discovered that he could delight audiences in that register. "Jive Talkin'," the first single off the album, became their second American number one single, and was followed up with "Nights on Broadway" and then the album Children of the World, which yielded the hits "You Should Be Dancing" and "Love So Right." Then, in 1977, their featured numbers on the soundtrack to the Robert Stigwood-produced Saturday Night Fever, "Stayin' Alive," "How Deep Is Your Love," and "Night Fever," each topped the charts, even as the soundtrack album stayed in the top spot for 24 weeks. In the process, the disco era in America was born -- Saturday Night Fever, as an album and a film, supercharged the phenomenon and broadened its audience by tens of millions, with the Bee Gees at the forefront of the music.

It was a profound moment although, ironically, there wasn't that much difference in their sound. Amid the dance numbers, the Bee Gees still did a healthy portion of romantic ballads that each offered memorable hooks. They'd simply decided, at Arif Mardin's urging, to forget the fact that they were white Englishmen and plunged into soul music, emulating, in their own terms, the funkier Philadelphia soul sounds that all three brothers knew and loved. In one fell swoop, the group had managed to meld every influence they'd ever embraced, from the Mills Brothers and the Beatles to early-'70s soul, into something of their own that was virtually irresistible. Spirits Having Flown was their crowning commercial triumph, topping 30 million in sales and yielding three more number one singles.

By the end of the '70s, however, the disco era was waning from a combination of the bad economy, political chaos domestically and internationally (leading to the election of Ronald Reagan), and a general burnout of the participants from too many drugs and profligate sex (which would precipitate an epidemic of sexually transmitted diseases and herald the outbreak of AIDS in the United States). There had already been an ad hoc reaction against the group's dominance of the airwaves, with mass burnings of Bee Gees posters and albums organized by DJs. The group itself helped contribute to the end of the party with their participation (at Stigwood's insistence) in the film Sgt. Pepper's Lonely Hearts Club Band, "inspired" (if that's the word) by the Beatles' album. The movie was a commercial and critical disaster, and an embarrassment to all concerned.

In America, the Bee Gees were virtually invisible for most of the '80s. Instead, Barry Gibb pursued work as a producer for other artists, creating hits for Barbra Streisand and Diana Ross. By 1987 and the E.S.P. album, their sales had rebounded everywhere but the United States, yielding a number one single (outside of the U.S.) in "You Win Again." Their 1989 album One got a good reception around the world and generated a Top Ten U.S. single. And in the '90s, Polygram Records released the four-CD anthology Tales from the Brothers Gibb, which sold well around the world. The trio's 1997 induction into the Rock & Roll Hall of Fame led to a resurgence of interest, which heralded the release of the live album One Night Only (1998), cut at their first American concert in almost a decade.

The Bee Gees remained active until the death of Maurice in January 2003, from cardiac arrest during surgery. Following his death, Robin and Barry decided to cease performing as the Bee Gees. Their recorded legacy, however, subsequently became more visible than it had been in decades with the move of their catalog to Warner/Reprise. The latter company began the long-awaited upgraded CD reissue of the Bee Gees' post-1966 library, including the first-ever release of outtakes and rehearsal versions of songs.

1265 Bee Gees : How can you mend a broken heart

How Can You Mend a Broken Heart

I can think of younger days when living for my life
Was everything a man could want to do.
I could never see tomorrow, but I was never told about the sorrow.

And how can you mend a broken heart?
How can you stop the rain from falling down?
How can you stop the sun from shining?
What makes the world go round?
How can you mend this broken man?
How can a loser ever win?
Please help me mend my broken heart and let me live again.

I can still feel the breeze that rustles through the trees
And misty memories of days gone by
I could never see tomorrow, no one said a word about the sorrow.

And how can you mend a broken heart?
How can you stop the rain from falling down?
How can you stop the sun from shining?
What makes the world go round?
How can you mend this broken man?
How can a loser ever win?
Please help me mend my broken heart and let me live again.

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Op zondag 27 december 2009 19:27 schreef Diaan73 het volgende:
het zijn wel lange stukken tekst die bio's.

Ik lees ze eerlijk gezegd ook niet...

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Op zondag 27 december 2009 19:26 schreef D. het volgende:
Oja, ik heb een pizza gevonden

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Op zondag 27 december 2009 19:27 schreef Diaan73 het volgende:
het zijn wel lange stukken tekst die bio's.

Je hoeft ze niet over te typen hoor

Ik ben niet dol op de Bee Gees, maar dit nummer vind ik echt helemaal niets.

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Op zondag 27 december 2009 19:26 schreef Ofyles2 het volgende:

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Lijkt wel een piramidespel dit...

Gloria Jones -> Soft Cell -> Rihanna

Laatstgenoemde artieste heeft daarna nog wat samples gejat van Justin Timberlake (What Goes Around) en New Order (Blue Monday).

En vergeet Michael Jackson niet! (Wanna Be Startin' Something)

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Op zondag 27 december 2009 19:28 schreef D. het volgende:

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Je hoeft ze niet over te typen hoor

Ow dat is het makkelijkst... Ik kan blind en met 10 vingers typen.

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Op zondag 27 december 2009 19:27 schreef Diaan73 het volgende:

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Ik heb 'm nog niet geproefd, hij zit in de oven

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Op zondag 27 december 2009 19:29 schreef Diaan73 het volgende:

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Ow dat is het makkelijkst... Ik kan blind en met 10 vingers typen.

Dat kan ik ook, maar dan kunnen jullie het niet meer lezen

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Op zondag 27 december 2009 19:28 schreef Ofyles2 het volgende:

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Ik ga er zo weer eentje verzinnen.

Post hem hier: Fok! Muziek Trivia deel MLVII

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Op zondag 27 december 2009 19:29 schreef D. het volgende:

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Dat kan ik ook, maar dan kunnen jullie het niet meer lezen

Stukken van mij wel hoor

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Op zondag 27 december 2009 19:30 schreef MadMaster het volgende:

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Post hem hier: Fok! Muziek Trivia deel MLVII

Kunnen we de punten die we hier halen niet daar erbij tellen? dan kan ik ranja en schaap nog inhalen