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EN 2004 YO SANBA PWAN LA WI POU YO CHANJE YUN NASYON CHANJE MANTALITE.....

by Richard Anthony

J'ai pensé qu'il valait mieux
Nous quitter sans un adieu.
Je n'aurais pas eu le cœur de te revoir...
Mais j'entends siffler le train, {2x}
Que c'est triste un train qui siffle dans le soir...

Je pouvais t'imaginer, toute seule, abandonnée
Sur le quai, dans la cohue des "au revoir".
Et j'entends siffler le train, {2x}
Que c'est triste un train qui siffle dans le soir...

J'ai failli courir vers toi, j'ai failli crier vers toi.
C'est à peine si j'ai pu me retenir !
Que c'est loin où tu t'en vas, {2x}
Auras-tu jamais le temps de revenir ?

J'ai pensé qu'il valait mieux
Nous quitter sans un adieu,
Mais je sens que maintenant tout est fini !
Et j'entends siffler ce train, {2x}
J'entendrai siffler ce train toute ma vie... {2x}

Amoureux de ma femme


by Richard Anthony

Qu'est-ce qui me prend ? Je me sens soudain tout drôle
Comme si j'avais un oiseau sur mon épaule

Qu'est-ce qu'il m'arrive ? Aujourd'hui je suis amoureux de ma femme
Comme au premier jour je suis amoureux de ma femme
J'ai envie de l'embrasser besoin de la caresser
Je sens me piquer au cœur une merveilleuse et tendre douleur

Comme un collégien je suis amoureux de ma femme
Je la trouve belle, je la chante sur toute la gamme
Demain je brise les ponts, je prends deux billets d'avion
Et je vais me l'emmener prendre des vacances en jeunes mariés

Depuis longtemps déjà n'existait plus rien
Nous restait seulement la bourse en commun
Et souvent s'installait au fond de mon cœur
Pour un jour ou deux un nouveau bonheur

Qui sait, peut-être nous nous sommes mariés trop jeunes ?
Et j'avais besoin de vivre ma vie d'homme
De toutes mes idylles, j'en ai fait le tour
Je sais que c'est elle mon unique amour

C'est drôle aujourd'hui je suis amoureux de ma femme
Comme au premier jour je suis amoureux de ma femme
Je me sens prêt à passer trois jours à rester couché
Trois jours à lui faire l'amour, trois nuits sans dormir
Trois jours sans sortir

Qui sait, peut-être nous nous sommes mariés trop jeunes ?
Et j'avais besoin de vivre ma vie d'homme
De toutes mes idylles, j'en ai fait le tour
Je sais que c'est elle mon unique amour

Quelle chance aujourd'hui je suis amoureux de ma femme...

Tchin tchin


by Richard Anthony

Tchin tchin à ma santé
Tchin tchin je veux t'oublier
Depuis que tu es partie
Je me noie dans le whisky
Tchin tchin encore une fois
Tchin tchin wo yé

Tchin tchin à mes amours
Tchin tchin qu'elle me revienne un jour
Je suis prêt à lui pardonner
Car entre nous tout peut recommencer
Tchin tchin mais jusque là
Tchin tchin wo yé

Je t'imagine
Blotti dans ses bras
Lui disant des mots doux
Quand moi tout seul je reste planté là

Tchin tchin je me sens bien
Tchin tchin avec mon chagrin
Je n'ai plus qu'à continuer
C'est bien comme ça qu'on enterre le passé
Tchin tchin encore unefois
Tchin tchin wo yé

Tchin tchin à mes amours
Tchin tchin qu'elle me revienne un jour
Je suis prêt à lui pardonner
Car entre nous tout peut recommencer
Tchin tchin mais jusque là
Tchin tchin wo yé
Tchin tchin mais jusque là
Tchin tchin wo yé
Tchin tchin
mais jusque là
Tchin tchin wo yé

Aranjuez, mon amour


by Richard Anthony

Mon amour
Sur l'eau des fontaines
Mon amour
Où le vent les amène
Mon amour
Le soir tombé
On voit flotter
Des pétales de roses

Mon amour
Et les murs se gercent
Mon amour
Au soleil, au vent, à l'averse
Et aux années qui vont passant
Depuis le matin de mai qu'ils sont venus
Et quand chantant, soudain ils ont écrit
Sur les murs, du bout de leur fusil
De bien étranges choses

Mon amour
Le rosier suit les traces
Mon amour
Sur le mur et enlace
Mon amour
Leurs noms gravés
Et chaque été
D'un beau rouge sont les roses

Mon amour
Sèchent les fontaines
Mon amour
Au soleil, au vent de la plaine
Et aux années qui vont passant
Depuis le matin de mai qu'ils sont venus
La fleur au cœur, les pieds nus
Le pas lent et les yeux éclairés d'un étrange sourire

Et sur ce mur, lorsque le soir descend
On croirait voir des taches de sang
Ce ne sont que des roses
Aranjuez, mon amour

Donne-moi ma chance


by Richard Anthony

Donne-moi ma chance, donne-moi ma chance encore
Quoi que tu penses, je n'ai pas tous les torts
Ne me dis pas, que c'est trop tard ,
Que tu n'as plus, pour moi un seul regard

Donne-moi ma chance, donne-moi ma chance encore
Par ton silence, tu parais la plus forte
Mais tu sais bien, que toi et moi
On ne peut pas se séparer comme ça

Donne-moi ma chance allons fais un effort
Les apparences sont contre moi encore
Mais je te jure que ce n'est rien
Je ne veux pas te supplier en vain

Ne me dis rien pour le moment
Réfléchis bien, mais si tu m'aimes vraiment
Donne-moi ma chance, donne-moi ma chance encore
Donne-moi ma chance, allons fais un effort
Donne-moi ma chance, donne-moi ma chance encore

Biographie de Richard Anthony




Note: 5.1/10 (9 votes) Pionnier du rock américain en version française, il fut le grand rival de Johnny Hallyday dans les années 60.

Ricardo Btesh, dit Richard Anthony
Né le 13 janvier 1938 au Caire en Egypte.

Richard Anthony est le fils d\'un industriel turc. Durant les premières années de sa vie, il a du suivre ses parents à travers le monde : l\'Egypte, l\'Angleterre, l\'Argentine, l\'Espagne...Un signe prémonitoire de ses succès internationaux. En1951, il rentre en France et s\'inscrit au Lycée Janson de Sailly à Paris. 1956 est une année décisive pour le futur chanteur: son père meurt, sa disparition le pousse à se lancer dans la vie active. Il a 18 ans, le baccalauréat en poche. Il devient représentant en électroménager.

1959, premiers succès

Il enregistre sa voix sur des musiques originales de Paul Anka, qu\'il transmet aux dirigeants d\'EMI. Sa carrière démarre, nous sommes en 1958. Son premier 45 tours comprend quatre titres dont "You are my destiny"de Paul Anka et "Peggy Sue" de Boddy Holly. Le succès n\'est pas immédiat, Richard Anthony est un précurseur du rock en français. L\'année d\'après, en septembre1959, les ventes commencent à décoller avec " Nouvelle Vague " adaptée d\'un titre des Coasters, " The Cool Cats ".
Les sixties sont les années des plus grands succès de Richard Anthony, ce seront également celles de sa rivalité avec Johnny Hallyday en terme de suprématie sur le rock français. Deux personnages qui se différencient en tout, si ce n\'est dans la qualité de leur oeuvre et dans leur réussite.

L\'influence des plus grands artistes

Son talent fut de coller à l\'évolution de la musique, notamment outre-atlantique, et de s\'inspirer des grands artistes du moment pour composer des tubes qui trouvèrent un public fidèle et nombreux. Ses influences vont des Beatles à Ray Charles et des Rolling Stones à Bob Dylan. Il place des dizaines de titres au sommet des hit-parades français, suisse ou belge : " J\'entends siffler le train ", " Donne-moi ma chance ", " Fich\' le camp Jack ", " Itsy Bitsy petit bikini", " Et je m\'en vais ", " Tu parles trop ", " A présent tu peux t\'en aller ", " Ce monde ", " Ecoute dans le vent ", " Aranjuez mon amour " et bien d\'autres.

Une réussite internationale

Fort de sa réussite en France, il saura profiter de l\'importance d\'une maison de production comme EMI pour lancer des titres à l\'étranger avec succès. Il chante en anglais, en allemand, en espagnol et en italien. En 1970, il fonde sa propre maison de production, Tacoun.
Les années 70 et 80 seront celles des excès. Son train de vie est celui d\'un prince du pétrole mais il se fait épingler par le fisc, qui le contraint à payer près d\'un million de francs sous 48 heures. Il ne peut pas verser une telle somme, il est donc envoyé en prison. Il en sortira rapidement pour s\'expatrier aux Etats-Unis, à Los Angeles. Il fera des allers-retours entre la
France et les Etats-Unis pour finalement se poser à Cannes.
En 1993, EMI sort " L\'Intégrale 1958-1970 ", comprenant dix CD. L\'année d\'après, il publie ses mémoires sous le titre de " Il faut croire aux Etoiles " (Ed. Michel Lafont).

Wyclef Jean - Sang Fezi
(Chorus)

Ki ayisien kap di'm map mache New-York san fezi
Mwen di ou messie nou menti
L?bum yo ginbe ou yo devore ou se l?ou mouri police vini
Mwen di ou messie nou menti

Penden'm kanpe sou flatbush mwen wou?on police ap vini
Li di mwen map vann dr?
Li vin pou'l vin cheke'm mwen di mwen pa gen anyen
Se nan yon ti bal mwen tapwal la pou' cheke on ti zen
Big up big up phantom mwen renmen tabou combo
Se sak f?depwim nan bal la mwen mande kote moun yo
Timtim bwa s? mwen couri l? ouvri p?
Nan yon cimiti?pase mwen wou?on t? san k?
A b c d f g si`ou vl?batay se danje
Mem si ou kon jw?foutbol d?i?g? lan s?pou p??(Even if could play soccer the last goal if for pele (brazilian soccer player)
Pa jour?manmam, manmam s?kr?l
Fesi'm se bous?
Kompa'm se lakol
Original ayisieeennnn kwa d?bouk??
Gen n? ki pens?brooklyn'm f? ayiti'm f? kwa d?bouk?kwa d?bouk?(Some niggers thinks i was born in brooklyn, i was in Haiti in Croix-des-Bouquets)

Tand?(Listen)

(Chorus)

Prezidan mwen pa vl?pr?idan ou
Was?mikrof? nan mwen s?gouv?an ou
Bon nom'm s?Wyclef yo r??m fanfan
Mwen gen on ti s?yo r??roz salon
Mwen yon cheval ki vol?chak swa
Mwen gen cheve pwav mwen pa vl?cheve soi
Bad boy ayisien ki soti en ayiti
Depui mwen gen pwobl? mwen ral?ouzi
L?mal l?? ameriken t?kon jour?m
Yo r?? n? nw?yo r?? ti r?iji?
Jan yo pal?mwen wou yo pa civilis?
Jan yo pal?mwen wou?yo pa kon bon djie
45 bo kotem plis mwen gen de pi?kol?
si on n? test?m map?p??d?gren zie'l
Orijinal ayitien ki soti jerizalem
Si on n? test?m an?sa a ou pap ou?nw?

(Chorus)

Tande

(man's voice)
Kot?moun yo mwen pa wou?moun yo

(Lauryn)
Then you should know
That one day we are gone
So keep your head to the sky
See the path we refuse is the path we should choose
They wont take the world when you die

Ayitien tir?
(Haitian fire)


Lev?l?men lev?l?men chant?chant?

Yon bagay yo di'm fi petyon vil pa vl?n? ki gen cheve pwav mwen gen cheve pwav

{S} indicates the actual words in spanish
{T} indicates the translation into english

---
{S} Hola! Soy Celia Cruz
{T} (Hi! I am Celia Cruz)
{S} Y estoy aqui con Wyclef, celebrando Carnival;
Azucar!!)
{T} (And I'm here with Wyclef celebrating Carnival;
Azucar!!)
[singing] Guantanamera
[Wyclef] We out here in Miami just shining
[singing] Guajira, Guantanamera
[Wyclef] Worldwide
[singing] Guan-tana-mera
[Wyclef] Bout to bring it to you in stereo
[singing] Guajira voy, de na meda
Yo soy un hombre sincero
[Wyclef] That was then, this is now
Welcome to the Carnival, the arrival... c'mon!
[singing] De donde crecen las palmas

[Wyclef Jean]
Spanish Harlem! Oahh-eee-ohh!
Boogie Down Bronx! Oahh-eee-ohh!
Manhattan! Oahh-eee-ohh!
Back to Staten! Oahh-eee-ohh!

[Wyclef sings, then raps]
Guantanamera
Hey yo I'm standing at the bar with a, Cuban cigar
Guajira, Guantanamera
Hey, yo, I think she's eyeing me from afar
Guan-tana-mera...
Guajira Guan-tana-mera...

Verse One: Wyclef Jean

Yo, I wrote this in Haiti, overlooking Cuba
I asked her what's her name, she said,
'Guantanamera'
Remind me of an old latin song, my uncle used to
play
On his old forty-five when he used to be alive
She went from a young girl, to a grown woman
Like a Virgin, so she sex with no average mahn
Peep the figure, move like a caterpillar
Fly like a butterfly, let your soul feel her glide
Pac Woman better yet Space Invader
If your name was Chun-Li, we'd be playin Street
Fighter
Penny for your thoughts, a nickel for your kiss
A dime if you tell me that you love me

Chorus:

Guantanamera
Hey yo, I'm standin at the bar with a, Cuban cigar
Guajira, Guantanamera
Yo, I think she's eyeing me from afar
Guan-tana-mera...
Guajira Guan-tana-mera...

[singing in Spanish, with Wyclef responses]
{S} Soy una mujer, sincera
{T} (I am a sincere woman)
Do you speak English?
{S} De donde crecen las palmas
{T} (From where the palm tree grows)
Can I buy you a drink?
{S} Soy una mujer, sincera
{T} (I am a sincere woman)
Uh-huh uh-huh uh-huh
{S} De donde creeeeeeecen las palmas
{T} (From where the palm tree grows)
You killin me
{S} Y antes de morir, yo quiero
{T} (And before I die, I want to)
..
{S} cantar mis versos del alma
{T} (sing the verses in my heart)
Te quiero mama, te quiero!!

Guantanamera
Aiyyo I'm standing at the bar with a, Cuban cigar
Guajira, Guantanamera
Hey yo John Forte, she's eyeing me from far
Guan-tana-mera...
Guajira Guan-tana-mera

Verse Two: Lauryn Hill

Yo, she was a rose in Spanish Harlem, mamacita beg
your pardon
Make stakes at a faster rate then she fornicates
Pure traits of genius, Goddess of Black Venus
Crab niggaz angry cause they can't get between us
to no sele-xion, smooth complex-ion
The lexicon of Lexington, parents came from Cuba
Part Mexican, pure sweet, dimes fell to her feet
She like Movado, and shook her hips like Delgado
And broke niggaz down from the Grounds to Apollo
and then some, she took her act sent it to dim sum
And waited patiently while the businessmen come
Call late on purpose, got even politicians nervous
And made plans to infiltrate the street secret
service
This gentle flower, fertility was her power
Sweet persona, Venus Flytrap primadonna
Que sera que sera she turned dinero to dinera

[Wyclef responds to singing again]
Guantanamera
Hey yo I'm standing at the bar with a, Cuban cigar
Guajira Guantanamera
Hey yo... I think she's eyein me from afar
Guan-tana-mera...
Guajira Guan-tana-mera..

FUGEES



chorusStrummin' my pain with his fingers (one time)
Singin' my life with his words (two times)
Killin' me softly with his song
Killin' me softly, with his song
Tellin' my whole life, with his words
Killin' me softly, with his song

Yo, this is Wyclef, Refugee Camp, Prakazrel
This little base sittin' up here on the base
While I'm on this pro
I got my girl "L", one time, one time
Hey yo, "L", you know you got the lyrics

I heard he sang a good song
I heard he had a style
And so I came to see him
And listen for a while
And there he was, this young boy
Stranger to my eyes

Chorus

I felt all flushed with fever
Embarrassed by the crowd
I felt he found my letters
And read each one out loud
I prayed that he would finish
But he just kept right on

Chorusx2

Strummin' my pain...
Singin' my life with his words
Killin' me softly with his song
Killin' me softly, with his song
Tellin' my whole life with his words. . .

Fugees Biography


was watching this comedian today," recalls Wyclef "Clef" Jean -- who happens to be the Fugees' proud, Haitian-blooded, rhyme-sayin' guitar hero (and the son of a pastor) -- "that was talkin' about rappers, and he said that all they do is 'grip the mic and grab their dicks.' We want to show that there's much more to hip hop than what people think." The Fugees sound, style and spirit, without question, goes a long way to dispel the stereotypical crotch-grabbing approach to making modern urban melodies. Comprising the other two-thirds of the Fugees' trinity are Lauryn "L" Hill -- a sweet sounding, African-American rapstress whose voice can also carry blissful, strong soul singing -- and Prakazrel "Pras" Michel - an amazing verbal acrobat, capable of leaping tall buildings with a single, hip hop tinged syllable. (Pras is Wyclef's microphone fiending cousin and the son of a church deacon.)

The Fugees have done much to change the movement of hip hop. There is of course, our very first introduction to these cats via their 1993 debut full length, Blunted On Reality. On said debut, the "Tranzlator Crew" (the group's original name before getting signed) shined a raw blend of earnest, acoustic funkiness that was unheard in the then current age of rap. "The combination is just so ill, so deadly and so powerful," says Clef, about the incredible concentration of talent that formulates the essence of his band. "This is what hip hop needed for the music to go to the next level where you could pick up a guitar, or sing, and not feel like you've gotta front."

The story, basically, starts off like this: Pras and Lauryn went to the same high school, Pras and Lauryn formed a group and commenced to battling fools left and right. Cousin Clef joined the fold, the crew battled fools from high school to high school, the winner takes everything. Six or so odd years later, the Fugees are in the studio, cutting an album. (The name, "Fugees" is short for refugee, a symbol for the refuge that we each seek in our minds; there's also the fact that two of the up members are of Haitian descent; since there are so many displaced Haitians who have looked to the United States for political and social asylum, the term "refugee" is sometimes used as a derogatory term for Haitians in general.

Either way, the group wears its moniker as a badge of honor.) Before Blunted On Reality, the members of this New Jersey-based, lyric-crafting posse were just three kids who worked, scratched and saved, with a feverish determination, dreaming of the opportunity to one day shock the house till the break of dawn.

"I was fifteen years old, makin' my little money off the soaps," replies the sultry, veteran actress Lauryn, who's been seen in various theatrical productions, including "Sister Act II" opposite Whoopi Goldberg, and, is also currently involved with undergraduate studies at New York's prestigious Columbia University. When asked about the lean, early, struggling-assed times, Lauryn remembers that "Wyclef was so determined. I used to hit him off with whatever I could every now and then, and he would buy another piece of equipment.

Over time, he accumulated a complete studio. "That studio, and the feel that emanates from it, is crucial to the Fugee persona. "We've always related to Tuff Gong ," says Lauryn, who equates and parallels the Fugees' in-house, basement production slant to that of Bob Marley's sacred recording place. In the basement is where the Fugee sound began, and today, the basement is where it's still created even as it reaches out into the world. The Salaam Remi re-mix of "Nappy Heads" (a piece which appeared in authentic Fugee form on Blunted On Reality) became a chart-topping, radio-played hit that helped to sprinkle Fugee logic, in a more conventional way, upon the dancing souls of rap land who weren't yet ready for their highly skilled sonic refinement.

In the meantime, the Fugees toured the globe, perfecting their skills while splashing their ragga-rock & roll flavored, poetic gospel into the minds of new apostles, laying the ground work for their latest album, The Score "It is an audio film is how Lauryn describes the scope of the group's sophomore long-player. "It's like how radio was back in the 40's . . . it tells a story, and there are cuts and breaks in the music. It's almost like a hip hop version of Tommy like what the Who did for rock & roll."

The Score is just that -- a well scripted and flowing form of ghetto theater that 1996's prototypical hip hop heads (and red blooded, free thinking music lovers at large) are finally ready for. Heads are checking for the Fugees because they recognize the gift . . . they've either witnessed the live Fugees miracle in person, or, they've heard from a friend who told two friends who told two friends The Fugees live has the force of Michael Jordan on the court, or Langston Hughes at the typewriter or Malcolm X behind a podium shooting enlightenment to a street corner crowd in Harlem: people watch, they listen, they study, and, ultimately, they're in awe. Too many rap shows boil down to repetitive on-stage strutting set to tracks. The Fugees, in the tradition of the R&B greats, turn their music into a series of soul-packed epiphanies on-stage.

"At a Fugees show," boasts the sly tongued, b-boy representer Wyclef, "you could expect the next level. You might see me on the accordion, or the keyboards, you might see L grab a guitar, Pras grab a bass -- it's just gonna be real. I think the Fugees have make a statement in hip hop within the past two years, and we don't get credit for it. I've seen peoples' shows get a lot better after performing with us."

The Score (produced by Refugee Camp Productions: Lauryn and Wyclef handling the bulk of the beats, while Prakazrel and his cousin Jerry co-produced), when popped into the playing device of choice, strikes you immediately with the velocity of a comet-fast foul ball knocking out a diamond- entranced baseball voyeur. Old school hip hop DJ and personality Red Alert introduces us to the players and the plot, while also re-appearing here and there only to accent the scenery. Narration, by others, also lashes up here and there only to further guide the moviegoer through the Fugees' intriguing world view, a view of our world through the eyes of the group's own reality-drenched cyber-cipher.

The majestic ditties of The Score possess an electric personality. Joints like the group's first single "FU-GEE-LA" (a space aged scientific cool out rant that floats supreme, vibe-heavy harmony via L's devastating vocal phrasings), "The Mask" (a seriously satirical, jazzy / ragtime-esque tune that addresses our roles as pawns in the game of life, and our need to carry out these roles strictly because of human nature and our need to survive) and "No Woman, No Cry" (an impassioned cover of the Rasta prophet Bob Marley's classic call for strength) are firm specimens of rhythm commanding long lasting respect, stretching across a spectrum of black musical genres -- from revolutionary rap to super slick soul to the easy goin' chassis of reggae.

After all is said and done, real rap fanatics must agree: the Fugees embody everything that hip hop is supposed to be while maintaining and exercising these elements in the form of a holy musical trinity. The Fugees ARE hip hop: proud, loud, original, sincere, funky fresh (on the beat side), dope (on the rhyme and lyrics side), fearless, beautiful and fearsome. Can I please hear a "yes, yes y'all.?" Fugee-tastic!

l'adieu de johnny halliday a ses fans a Lens (66 ans} wow dejas

Johnny c'est la vie qui est toute petite et non la terre !

ki moun lan laj mwen ki pa sonje mizik sa [INOUBLIABLE]

NOU SONJE TOTO GUITARIST SICOT A

Zouke,

Toto se te yon exselan guitarist !!!

Te gen Ti Simone ki te a lepok kanpe devan char Sicot ap danse.

Fanatik Kadans Ranmpa yo a pye otour char la ap chante an kèur : <<Ti

Simone, Ti Simone, madan Toto !!! >>.


Amoph