O Cantinho Musical relembra , nesta edição , os momentos revolucionários da música mundial com uma nova atitude daquela juventude dos anos 60 e 70 que movimentou alucinadamente o rock e o twist no cenário americano , tendo como figuras da época LITTLE RICHARD , CHUBBY CHECKER E BILL HALEY . As canções do trio estão presentes na memória de todos que vivificaram aquele momento de um novo ritmo . Primeiramente apresentaremos uma síntese das músicas de LITTLE RICHARD . Cresceu ouvindo cantores arrebatados de gospel nas igrejas negras e isto influenciou seu modo de cantar. Aprendeu a tocar piano na adolescência e se tornaria um dos desbravadores do rock, misturando boogie-woogie, rhythm & Blues e música gospel, criando um estilo único: uma música agressiva, vibrante, intensa, tocada acelerada ao piano. Desfilaremos a partir de agora algumas de suas músicas que fizeram e fazem sucesso no mundo da rock autêntico .
A canção que iniciaremos é uma demonstração de expectativa entre tia Mary e tio Jonh que aprontava tudo que tinha direito , buscando nas noites muito prazer e divertimento : “ LONG TALL SALLY “ . [ “ / Don't tell Aunt Mary about Uncle John / He claims he got married, but he's having lots of fun / Oh, baby, yeah, baby / Oh, baby, having me some fun tonight / Well, long tall Sally, she's built sweet / She's got everything that Uncle John needs / Oh, baby, yeah baby / Oh, baby, having me some fun tonight / Well, I saw Uncle John with bald-head Sally / He saw Aunt Mary coming and he ducked back in the alley / Oh, baby, yeah baby / Oh, baby, having me some fun tonight / I'm gonna have some fun tonight / Have some fun tonight, have some fun tonight / Everything's all right / Have some fun, having me some fun tonight / . “ ] .
Nesta canção , Little Richard, com uma boa interpretação , aborda todos os frutos e frutas deliciados com sua namoradas externando um prazer imenso dos momentos maravilhosos em provar : “ TUTTI FRUTTI “ . [ “ / Ah whop bop a loom ah whop a lop bam bam / Tutti frutti, aw rooty / Tutti frutti, aw rooty / Tutti frutti, aw rooty / Tutti frutti, aw rooty / Tutti frutti, aw rooty / Ah whop bop a loom ah whop a lop bam boom / I've got a girl named Sue / She knows just what to do / I've got a girl named Sue / She knows just what to do / She rocks to the east / She rocks to the west / She's the girl that I love best / Tutti frutti, aw rooty / (5X ) / Ah whop bop a loom ah whop a lop bam bam / I've got a girl named Daisy / She almost drive me crazy / I've got a girl named Daisy / She almost drive me crazy / She knows how to love me - yes, indeed! / Boy, you don't know what she do to me / Tutti frutti, aw rooty / (5X) / Ah whop bop a loom, aaw / Tutti frutti, aw rooty / (5X) / / Ah whop bop a loom ah whop a lop bam bam / I've got a girl named Daisy / She almost drive me crazy / I've got a girl named Daisy / She almost drive me crazy / She knows how to love me - yes, indeed! / Boy, you don't know what she do to me / Tutti frutti, aw rooty / (5X) / Ah whop bop a loom ah whop a lop bam boom / . “ ] .
Esta canção estourou nas paradas de sucesso nas décadas de 60 e 70 , que empolgava mais pelo ritmo alucinante do que pela mensagem simples contida nela , onde a senhorita Molly é o centro de atenção no tema da música : “ GOOD GOLLY MISS MOLLY “ [ “ / Good golly miss Molly / Sure like to Ball / Good golly miss Molly / Sure like to Ball / When you're rocking and Rolling / I can hear your mama call / From the early early morning / To the early early night / When I caught miss Molly in the house of blue lights / Good golly miss Molly... / Momma poppa told me / Son you'd better watch yourself / If they knew about miss Molly have to watch my pop myself / Good golly miss Molly / Going to the corner / Gonna buy a diamond ring / When she hug me and kiss me / Make a ting-a-ling-a-ling... / Good golly miss molly... / . “ ] .
As lamúria de quem foi abandonado pela mulher amada clama , através da canção , o retorno de sua paixão , satisfazendo o coração do apaixonado . Toda expressão de desejo está contida no chamamento de “ LUCILLE “ . [ “ / Lucille, you won't do your sisters will, / Lucille, you won't do your sisters will, / You ran off and married, but I love you still. / Lucille, please come back where you belong, / Lucille, please come back where you belong, / I've been good to you baby, please don't lead me along. / I woke up this mornin', Lucille was not in sight, / I asked my friends about her but all their lips was tight, / Lucille, please come back where you belong, / I've been good to you baby, please don't lead me along. / Lucille, baby, satisfy my heart, / Lucille, baby, satisfy my heart, / I played love with you baby, and gave you such a wonderful / Start./ “ ] .
Demonstraremos agora uma trajetória musical de CHUBBY CHECKER . É um cantor-compositornorte-americano, conhecido por popularizar o twist com sua gravação, feita na década de 60 . Os êxitos na música pop , com freqüência , dependem de estar exatamente no lugar adequado no momento adequado . Chubby cantou “ The Twist “ em um show sendo elogiado por vários críticos e assistiu , incrédulo , à escala de sucesso resultante do êxito de sua versão . Em poucas semanas , Chubby era universalmente famoso como rei de uma nova loucura americana pelos bailes da época.
Desfilaremos agora alguns sucessos de Chubby Checker que marcaram na nova dança . Não poderíamos deixar de iniciar esta pequena amostra cujo tema é um repetido convite para a execução do ritmo novo que surgia naquele momento de loucura musical nos bailes da juventude , onde seus frequentadores se agitavam na cadência da canção : “ THE TWIST “ . [ “ / Come on baby let's do the twist / Come on baby let's do the twist / Take me by my little hand and go like this / Oooh-yeah just like this / Come on little miss and do the twist / My daddy is sleepin' and mama ain't around / Yeah daddy is sleepin' and mama ain't around / We're gonna twisty twisty twisty / 'Til we turn the house down / Come on and twist yeah baby twist / Oooh-yeah just like this / Come on little miss and do the twist / Yeah you should see my little Sis / You should see my my litlle Sis / She really knows how to rock / She knows how to twist / Come on and twist yeah baby twist / Oooh-yeah just like this / Come on little miss and do the twist / Yeah rock on now / Yeah twist on now / Twist. / . “ ] .
Ainda apresentando uma canção que fez muito sucesso na agitação de Chubby , onde expressa mais um convite a todos para participar da nova onda conhecida como “ twist “ que empolgava a juventude nos salões de baile : “ LET’S TWIST AGAIN “ . [ “ / C'mon everybody, clap your hands / Ah, you're looking good / I'm gonna sing my song and / It won't take long / We gonna to the Twist / And goes like this / C'mon let's twist again / Like we did last summer / Yeah! Let's twist again / Like we did last year / Do you remenber when / Things were really humming / Yeah! Let's twist again / Twistin' time is here / We go round and round / And up and down / We go again / Ooh, baby make me know / You love me so and then / Twist again / Like we did last summer / C'mon. Let's twist again / Like we did last year / Who's that flying up there? / Is it a bird? No / Is it a plane? No / Is it the Twister? Yeah / . “ ] .
As mensagens das canções de Chubby Checker expressam sempre uma apologia ao convite da dança com o ritmo muito movimentado e alucinante . O twist mexeu verdadeiramente com os jovens da época : “ PONY TIME “ . [ “ / It's pony time,get up / Boogety, boogety, boogety shoo / Hey now let's party with the union hall, / It's pony time when ya hear this call, / So get with it, / Don't quit it, / Get up. / Do the pony with your partner, / With a big boss line, / Well anyway ya do it, / You're gonna look real fine, / So get with it, / Don't quit it, / Get up. / Now ya turn to the left when I say gee, / You turn to the right when I say haw, / Now gee, ya ya baby, / Now haw, ya oh baby, oh baby, pretty baby, / Do it baby, oh baby, oh baby, / Boogety, boogety, boogety, boogety shoo. / Gonna see little Suzie, who lives next door, / She's doin' the pony, she's takin' the floor, / Eeea ah, so get with it, don't quit it, come on / Boogety, boogety, boogety, boogety shoo. / Do the pony with your pardner, / Oh in a big boss line, / But anyway / you do it, / You're gonna look just fine, / So get with, Don't quit it, / Come on. Eeeaaah / Now you turn to the left when I say gee, / You turn to the right when I say haw, / Now gee, ya ya little baby, / Now haw, ya oh baby, oh baby, pretty baby, / Do it baby, oh baby, oh baby, / Boogety, boogety, boogety, boogety shoo. / . ] .
Encerrando a participação de Chubby Checker neste artigo , notamos que o tema da música versa sobre uma declaração amorosa onde a pomba simboliza o ritmo da dança e , cosequentemente , a conquista do amor : “ LA PALOMA TWIST “ . [ “ / Ar let's twist / To the pretty melody of the dove / Let's twist / Baby baby this is the dance of love / Ar let's fly / To the heaven's high in the sky above / And I / Wanna tell you dreamin' of / Yeah / I got my eyes on you on through the twistin' / Hopin' that when we're through we'll do some kissin' / Baby you know it's wrong to be resistin' / We gotta fall in love if we keep twistin' / Ar let's twist / To the pretty melody of the dove / Yeah let's twist / Baby baby this is the dance of love / Ar let's fly / To the heaven's high in the sky above / And I / Wanna tell you dreamin' of / I got my eyes on you on through the twistin' / Hopin' that when we're through we'll do some kissin' / Yeah let's twist / To the pretty melody of the dove / Yeah let's twist / Baby baby this is the dance of love / . “ ] .
Finalizando o artigo , apresentaremos uma pequena amostra dos sucessos de BILL HARLEY , que revolucionaram , também , a juventude da época quando executavam suas danças nos grandes bailes . Faremos agora a demonstração de algumas canções que se identificam com de Bill Harley no cenário musical . Esta canção versa sobre um convite alucinante para todos dançarem o rock não se importando com a hora de duração , podendo esticar , na dança do ritmo maravilhoso , por toda a noite até amanhecer , no prazer de “ ROCK AROUND THE CLOCK “ . [ “ / One, two, three o'clock, four o'clock rock, / Five, six, seven o'clock, eight o'clock rock. / Nine, ten, eleven o'clock, twelve o'clock rock, / We're gonna rock around the clock tonight. / Put your glad rags on and join me hon', / We'll have some fun when the clock strikes one. / We're gonna rock around the clock tonight, / We're gonna rock, rock, rock, 'till broad daylight, / We're gonna rock we're gonna rock around the clock tonight. / When the clock strikes two, three and four, / If the band slows down we'll yell for more. / When the chimes ring five, six, and seven, / We'll be right in seventh heaven. / When it's eight, nine, ten, eleven too, / I'll be goin' strong and so will you. / When the clock strikes twelve we'll cool off then, / Start rockin' 'round the clock again. / . “ ] .
Incrível a maneira com que se exige a presença de alguém , executando sons estranhos à música , mas seguindo a cadência , com panelas e frigideiras , o ritmo gostoso e alucinante do rock : “ SHAKE RATTLE AND ROLL “ . [ “ / Get out from that kitchen / and rattle those pots and pans, / Get out from that kitchen / and rattle those pots and pans. / Well, roll my breakfast, / 'cause I'm a hungry man. / I said Shake rattle and roll, (4X ) / You never do nothin' / to save your doggone soul. / Wearin' those dresses / your hair done up so nice / Wearin' those dresses / your hair done up so nice / You look so warm / but your heart is cold as ice / I said Shake rattle and roll ........ / I'm like a one-eyed cat, / peepin' in a sea-food store, / I'm like a one-eyed cat, / peepin' in a sea-food store; / I can look at you, / till you don't love me no more / I believe you're doin' me wrong / and now I know, / I believe you're doin' me wrong / and now I know; / The more I work, / the faster my money goes. / I said Shake rattle and roll ......./ . “ ] .
Esta canção expressa , no som cadenciado da época , uma forma pedagógica de ensinar às crianças o novo ritmo envolvente , método aplicado na escola pela orientação da professora que inova uma maneira de ensinar musicalmente o “ ABC BOOGIE “ . [ “ / Down around the corner in a little school / Children learn their lessons and the golden rule / 'Cause they got a teacher up from Basin Street / And she does her teaching with a boogie beat / Teachin' the ABC with rhtyhtm and E / Every single morning, it's the same old thing / All the kids are waiting for the bell to ring / When they hear it ringing, they all jump in line / Walking to the classroom, feeling mighty fine / They learn their ABC with rhtyhm and E / Well, a-reading, writing, arithmetic / Taught to the tune of a liquorice stick / No education is ever complete / Without a boogie-woogie-woogie beat, well all reet / When the day is over and it's time to go / The children get their books and stand right at the door / Teacher is so happy, because she's done her bit / To educate the kids and make 'em really fit / To say their ABC with rhtyhm and E / Well, a-reading, writing, arithmetic / Taught to the tune of a liquorice stick / No education is ever complete / Without a boogie-woogie-woogie beat, well all reet / When the day is over and it's time to go / The children get their books and stand right at the door / Teacher is so happy, because she's done her bit / To educate the kids and make 'em really fit / To say their ABC with rhtyhm and E / . “ ] “ QUANDO UM RITMO NOVO MODIFICA UM PANORAMA MUSICAL , COM CERTEZA TODO O MOVIMENTO INOVADOR TEM UMA LIDERANÇA QUE EMPOLGA VERDADEIRAMENTE OS JOVENS , FAZENDO-OS INTERAGIR NA CADÊNCIA RÍTMICA DO QUE É NOVIDADE . O ROCK E O TWIST TIVERAM VÁRIAS LIDERANÇAS QUE REVOLUCIONARAM A MÚSICA E A DANÇA DA ÉPOCA E , DENTRE MUITOS REVOLUCIONÁRIOS , ENCONTRAMOS OS TRÊS ASTROS : LITTLE RICHARD , CHUBBI CHECKER E BILL HALEY . “