StarkMusic

This composition was written by Charles Mingus and was dedicated to saxophonist Lester Young, who had died a couple of months before the 1959 session. Young was sartorially famous for wearing a pork pie hat and for bringing them back in fashion in the 1940s Preston Murphy-Bass Michael Stark-Guitar

Preston Murphy-Bass Michael Stark-Guitar

"Happy Xmas""God Rest Ye Merry Gentlemen"1:12 "Last Christmas" 2:40 "Silver Bells" 4:33 Preston Murphy-Bass Michael Stark-Guitar Thank you Karen @ the Little Goose!!! .......With this song, Lennon became the first Beatle to release a Christmas song after the breakup of The Beatles two years prior.He said he wrote it “because I was sick of White Christmas,” but this song also serves as a powerful protest song against the Vietnam War. This song came on the heels of two years of activism by John Lennon & Yoko Ono. They had already been spreading the message “WAR IS OVER! If You Want It – Happy Christmas from John & Yoko” on posters and such around the world.Backing vocals on the song are also provided by the Harlem Community Choir — a powerful choice of using children to deliver an anti-war message.

Greenwood said the lyrics were inspired by a woman who Yorke had "followed for a couple of days", and who unexpectedly attended a Radiohead performance. John Harris, then the Oxford correspondent for Melody Maker, said "Creep" was about a girl who frequented the upmarket Little Clarendon Street in Oxford. According to Harris, Yorke preferred the more bohemian Jericho, and expressed his discomfort with the lines "What the hell am I doing here / I don't belong here". Yorke said he was not happy with the lyrics, and "thought they were pretty crap". Asked if they were inspired by a real person who made him feel like a "creep", Yorke said: "Yeah. It was a pretty strange period in my life. When I was at college and stuff and I was really fucked up and wanted to leave and do proper things with my life like be in a rock band."Asked about "Creep" in 1993, Yorke said: "I have a real problem being a man in the '90s... Any man with any sensitivity or conscience toward the opposite sex would have a problem. To actually assert yourself in a masculine way without looking like you're in a hard-rock band is a very difficult thing to do... It comes back to the music we write, which is not effeminate, but it's not brutal in its arrogance. It is one of the things I'm always trying: to assert a sexual persona and on the other hand trying desperately to negate it."Greenwood said "Creep" was in fact a happy song about "recognising what you are" Preston Murphy-Bass Michael Stark-Guitar

Thank you so much to Heatherlea for her vocal tips as Of course I need'em!

Thank you Heatherlea Gelineau!! In this song, Richie sings about giving up on a relationship because it's bringing him down. He feels liberated after the breakup and has a sense of calm that's "easy like Sunday morning." The song is often misinterpreted as a sweet love song.

Thanks again Karen @ the Little Goose Preston Murphy-Bass Michael Stark-Guitar

Vicky Cornell, who was married to Chris from 2004, has recalls their first encounter. She writes of the couple meeting “on a starry Paris night” and remembers “being introduced to you and how your eyes pierced through me”.Of falling for Cornell, she writes: “I thought I needed to be careful and tried to distance my heart from falling in love with you… but you didn’t let that happen, and you zigzagged back and forth across the world to visit me. You were permanently jet-lagged because you couldn’t bear our time away from each other.”Describing how Cornell cried during their wedding, Vicky comments: “I had never met such a sensitive and special man”, adding: “We had our beautiful babies, and you were convinced we were soulmates, and that you had been looking for me. I’m so happy you found me. I’m so happy for the nearly 14 and a half years we spent together. We did everything together, literally, everything. You were my best friend, and when I wasn’t out on tour, we were on the phone at least 4 hours a day.” Much of the song's tension seems to hinge on one lyric: "Times are gone for honest men." Cornell had a lot to say about that line in a 1995 interview:It's really difficult for a person to create their own life and their own freedom. It's going to become more and more difficult, and it's going to create more and more disillusioned people who become dishonest and angry and are willing to fuck the next guy to get what they want. There's so much stepping on the backs of other people in our profession. We've been so lucky that we've never had to do that. Part of it was because of our own tenacity, and part of it was because we were lucky. Preston Murphy-Bass Michael Stark-Guitar

"Mercy Mercy Me (The Ecology)" is the second single from Marvin Gaye's 1971 album, What's Going On. Following the breakthrough of the title track's success, the song, written solely by Gaye, became regarded as one of popular music's most poignant anthems of sorrow regarding living conditions under criminal governments.Led by Gaye playing piano, strings conducted by Paul Riser and David Van De Pitte, multi-tracking vocals from Gaye and The Andantes, multiple background instruments provided by The Funk Brothers and a leading sax solo by Wild Bill Moore, the song rose to number 4 on Billboard's Pop Singles chart and number one for two weeks on the R&B Singles charts on August 14 through to August 27, 1971. The distinctive percussive sound heard on the track was a wood block struck by a rubber mallet, drenched in studio reverb Preston Murphy-Bass Michael Stark-Guitar

Heatherlea Gelineau-Vocals/Tambourine Michael Stark-Guitar/Vocals The members of Fleetwood Mac were experiencing emotional upheavals while recording the Rumours album. Mick Fleetwood was going through a divorce. Christine McVie and John McVie were separating, while Lindsey Buckingham and Stevie Nicks were ending their eight-year relationship. "We had to go through this elaborate exercise of denial," explained Buckingham to Blender magazine, "keeping our personal feelings in one corner of the room while trying to be professional in the other."

"Stay"(I missed you) "Back on the chain gang" 2:33 "Fly me to the moon" 6:17 "You don't mess around with Jim" 8:25 Heatherlea Gelineau-Vocals/Tambourine Michael Stark-Guitar/Vocals Thank you Rob @ the Stand!!!! "Stay (I Missed You)" is a song by American singer-songwriter Lisa Loeb. It was released in May 1994 by RCA and BMG as the lead single from the original movie soundtrack to Reality Bites (1994). The song was written and composed by Loeb herself, while production was handled by Juan Patiño. "Stay" was originally conceived in 1990, at one point with the intent of selling it to Daryl Hall for a project he was seeking music for.[2] Upon deciding to use the song herself, Loeb's neighbor and friend, actor Ethan Hawke, heard the song and submitted it to Ben Stiller for use in the film he was directing, Reality Bites. The song plays over the film's closing credits. Musically, "Stay" is a pop rock song influenced by folk rock music. Lyrically, the song deals with a relationship that has recently ended, but the narrator is now regretful. "Back on the Chain Gang" is a song written by Chrissie Hynde and originally recorded by her band the Pretenders, and released as a single by Sire Records in September 1982.[3] The song also was released on The King of Comedy soundtrack album in March 1983 and later was included on the Pretenders' next album, Learning to Crawl, in January 1984. "Fly Me to the Moon", originally titled "In Other Words", is a song written in 1954 by Bart Howard. The first recording of the song was made in 1954 by Kaye Ballard. The lyrics of "You don't mess around with Jim" concern the fate of a 'pool-shooting son-of-a-gun' by the name of 'Big' Jim Walker when his 'mark', Willie 'Slim' McCoy, from South Alabama, shows up to get a refund from being hustled or get revenge. The song is notable for the line, "You don't tug on Superman's cape/You don't spit into the wind/You don't pull the mask off that ol' Lone Ranger/And you don't mess around with Jim." However, after the song ends with Jim being thoroughly thrashed by his victim ("he'd been cut 'n 'bout a hundred places/ and he'd been shot in a couple more"), the chorus now goes, "You don't mess around with Slim."

"Gimme three steps" 0:41 "Landslide" 2:08 "To hell with love" 4:14 "I can't tell you why" Heatherlea Gelineau-Vocals/Tambourine Michael Stark-Vocals/Guitar I really need to work on cropping these vids better....jeesh....

and then on 10/8... come see "Goose Lee" Jazz Martial Arts Duo Live...:) Thank you Karen!! Preston Murphy-Bass Michael Stark-Guitar

THE STARK TRIO Michael Stark-Guitar/Vocals Preston Murphy-Bass Joe Corsello-Drums Live @ the Port 5 National Association of Naval Veterans Cigar,Steak and Whiskey Dinner 9/19/23

Heatherlea Gelineau-Vocals Michael Stark-Guitar

Preston Murphy-Bass Michael Stark-Guitar

The Oscar-winning song "Somewhere Over the Rainbow" was nearly pulled by MGM for being too slow for the film. The song takes the now-standard format of a Broadway "I Want" song that establishes a character's motivations and desires in a way that touches the audience, thanks to composer Harold Arlen and lyricist E.Y. Harburg. According to their biography by Walter Frisch, the beats of the song have sentimental meaning to the duo: An Arlen trademark is to begin a song with an octave leap, as in the opening syllables’ ‘Some-WHERE.’ The section ‘Someday I’ll wish upon a star’ was meant to imitate a child’s piano exercise, Arlen claimed. Harburg recalled that it was the way Arlen whistled to call his dog. When Harburg and Arlen were stuck on an ending for the song, Ira Gershwin stepped in to help. When asked why he suggested ending the song with the question, ‘Why, oh, why can’t I,’ Gershwin later recalled, ‘Well, it was getting to be a long evening.’ Another note of music that was famously cut was a jazzy song called "The Jitterbug." When the four friendly travelers make their way through the cursed forest, they see what the Wicked Witch calls “a little insect” in the final cut. The little insect is the jitterbug, which sends the group into a dance where they can not get the jitters out. The jazz sequence was cut from the film but can still be viewed on YouTube or various biographical websites. Taken out of context, it's actually a bit disturbing.

Thank you to the great Heatherlea Gelineau for the her talent and time. i'm gonna like somebody and let them like me going further means chains and i was born to be free to hell with love to hell with love i'll find a way to keep from gettin' them too deep i like to sleep when night comes and laugh every day and when you're in love it just doesn't work that way to hell with love to hell with love i'm gonna backup fast so love stays in my past to hell with love i've been in love so bad i thought that i would die i could build a waterbed with all the tears i cried to hell with love to hell with love forget what other people do as from me and you to hell with love

Heatherlea Gelineau-Vocals/Tambourine Michael Stark-Guitar/Vocals Song by the great Jim Croce

All of me, why not take all of me? Can't you see I'm no good without you? Take my lips, I want to lose 'em Take my arms, I'll never use them Your goodbye left me with eyes that cry How can I go on, dear, without you? You took the part that once was my heart So why not take all of me? Preston Murphy-Bass Michael Stark-Guitar

"You've got a friend" 1:15 "What's New" 2:32 Nick Longo -Drums Preston Murphy-Bass Michael Stark-Guitar/Vocals

Joe Corsello-Drums Preston Murphy-Bass Michael Stark-Guitar

Heatherlea Gelineau - Harmonies/Tambourine Michael Stark - Vocal/Guitar The "Jim" in this song is not Croce. Ingrid Croce, who was married to Jim when he died in a 1973 plane crash at age 30, told Songfacts the story: "Jim [Croce] sold air time for a radio station. When he got out of college, his parents wanted him to get a good 9-to-5 job. We had always intended to do music, but he'd had a college education and the first to graduate from his family with a college education, they wanted him to become a professional, to really do something that would get pension, and good solid work.So Jim went out, because we were married, and he got a job helping me to get through school at the time, and he started selling air time in a really shady area down in south and west Philadelphia. He used to go to some of these pool halls to sell the air time, because it wasn't a very good neighborhood. He would sit there and watch the pool games and see what people were doing, and he ended up with a guy named Jim Walker, who was one of the guys who used to play pool there. And that's really the story behind it: he used to hang out at any of those little shops down on South Street and down in west Philly where it really was quite unacceptable for him to be trying to sell air time down there, but it was one of those things where he was hoping someday he could actually bring his music to the radio, so he thought it might be a good way to get going as a salesman.Then later he met a guy whose name was Melvin Goldfield, and Melvin was an artist, and he grew up in areas like that. Melvin used to take him down to the dumps down in south Philadelphia and tell him about all kinds of stories that went on down there, and introduced him to a lot of the guys. Jim actually did run into this guy, Big Jim Walker, pool-shootin' son of a gun. And so that story really comes out of an experience that he kind of put the story together."Ingrid Croce added to Songfacts: "I think that often in Jim's songs there's a composite situation, but when he sat down to write, usually the song would come out altogether. There might be a verse that he'd add later, but usually he'd sit down and play. I've got hundreds of tapes of Jim performing - playing at home and the two of us singing, or just having friends over and singing, whether it was the Manhattan Transfer, James Taylor, Arlo Guthrie, Bonnie Raitt... people that just come over and we'd hang out and sing. It was very comfortable to just put everything down on tape back then. People weren't as worried about who wrote the song as they were about writing it.""You Don't Mess Around With Jim" was Croce's first single. After several years struggling for success and battling music industry politics, the song got the promotion it deserved when rep at ABC/Dunhill named Matty Singer visited radio stations in the Philadelphia area to promote the song. It got solid airplay and national attention, which was followed by lots of positive press for the album. You Don't Mess Around With Jim wasn't released until nine months after it had been recorded, so Croce and his musical partner Maury Muehleisen had perfected the songs in performance, earning rave reviews.

Preston Murphy-Bass Michael Stark-Guitar "Bye Bye Blackbird" No one here can love or understand me Oh, what hard luck stories they all hand me Pack up all my cares and woe, here I go, swinging low Bye, bye, blackbird Where somebody waits for me Sugar's sweet, so is she Bye, bye, blackbird Make my bed and light the light, I'll arrive late tonight Blackbird, bye, bye Freed wings soar high, Toxic ties untied. Their shadows fade, My soul renewed, abide. Through darkness, I've found light, Now I thrive in flight, Released from the blackbird's cry, Better off, I soar, blackbird bye bye.....

Nick Longo-Drums Preston Murphy-Bass Michael Stark-Guitar "On the Sunny Side of the Street" was composed by Jimmy McHugh with lyrics by Dorothy Fields in 1930. Some authors say that Fats Waller was the original composer, but had sold the rights to the song. This is something that he did, and there’s a pretty impressive list of songs in that category that have gone on to become standards.Jimmy McHugh was a very successful composer in his own right. His songs have appeared in hundreds of films and have have been recorded by dozens of major artists. His first hit song was “When My Sugar Walks Down the Street” in 1924.Dorothy Fields was the first woman inducted into the Songwriters Hall of Fame and she also has her own US postage stamp. In her seven years of collaboration with McHugh they wrote “I Can’t Give You Anything But Love,” “Don’t Blame Me,” and “I’m in the Mood for Love.” She later won an Academy Award for “The Way You Look Tonight.”“On the Sunny Side of the Street” was recorded by Billie Holiday, Bing Crosby, Judy Garland, Nat King Cole, Jo Stafford, Tommy Dorsey and so many others. Here is a wonderful version of the song by Louis Armstrong, and an equally satisfying rendition by Ella Fitzgerald with the Count Basie Orchestra.It’s a bright tune with some nice, unexpected features. The climb at the end of the first line with the leap to the tenth scale degree is exciting and infectious. It’s that kind of fresh interval that can make a song distinctive and memorable. The use of the circle of fifths, the chain of borrowed dominant chords in the bridge, is very effective, and the diminished chord has a nice way of pulling things together at the end. Here are the chords in the key of C: G7Grab your Ccoat and get your E7hat, Leave your Fworries on the G7doorstep. AmJust direct your D7feet To the Dm7sunny G7side of the Cstreet. G7 Can't you Chear that pitter E7pat That Fhappy tune is G7your step. AmLife can be so D7sweet On the Dm7sunny G7side of the Cstreet. I used to C7walk Gm7in the C7shade With my Fblues C7on paFrade. But D7I'm Am7not aD7fraid, this G7rover, Gdimcrossed G7over. If C I never had a E7cent, I'd be Frich as RockeG7feller. AmGold dust at my D7feet On the Dm7sunny G7side of the Cstreet.