Bluma

you pull
my heartstrings
with your unpredictable notes
up and down
the ladder
your melody
connects
with my melancholy
and directs it
to a feeling
of playful happiness
all Bluma
your lyrical finesse

I wrote these words to an instrumental song played by Biréli Lagrene. He was only 13 when he recorded it. He was a child prodigy and today, and/or to this day, he is one of the best (jazz) guitarists out there.

Bowie

shining starman
galactic eyes
this lyrical labyrinth
his myth in disguise

fallen to earth
blessed with dark voice
his majestic apparel
and intellectual poise

shy oddity
golden hair
humble chameleon
with androgynous flair

magical star lit
in a theatrical maze
graciously styled
a visual daze

talented genius
majored in Tom
gracious Jones
my musical bomb

You need hands

You need hands to hold someone you care for
You need hands to show that you’re sincere
When you fear nobody wants to know you
You need hands to brush away the tears

When you hold the brand new baby
You need tender hands to guide them on their way
You need hands to thank the Lord for living
And forgiving us this day

You need hands to show the world you’re happy
And you need hands when you have to stop the bus
But the hands we love so dear
Are the hands we love to hear

Are the hands that You give to us
Everybody holds the hands that You give to us
Hold on, I don’t believe it, fantastic, that’s so wonderful

~Malcolm McLarren – Sex Pistols

Dear Amy

precious jazzy jewel
diamond in the rough
colourful and bright
tender and yet tough

raw voice
with innocent delight
left with struggle
lost her daily fight

afraid of fame
a broken frame
died lonely
with some to blame

a devotee she’ll find in me
dear Amy,
wine in my house
please sing for Me

How insensitive – Bireli Lagrene

How insensitive
I must have seemed
When she told me that he loved me
How unmoved and cold
I must have seemed
When she told me so sincerely
Why she must have asked
Did I just turn and stare in icy silence
What was I to say
What can you say when a love affair is over
Now she’s gone away
And I’m alone with the memory of her last look
Vague and drawn and sad
I see it still
All her heartbreak in that last look
Why she must have asked
Did I just stare in icy silence
What was I to do
What can one do when a love affair is over

Songwriters: Norman Gimbel / Vinicius De Moraes / Antonio Carlos Jobim

Featuring: Tom Waits

Today I’m featuring this man, this musician (and actor) whom I love for his style and gravelly dark voice, his intelligence and dark humor. Not known to everybody, this extraordinary individual brings with his own distinct, off-kilter brand of weirdness to his music and acts the boozy troubadours and raspy-voiced noir loners who populate his songs. Using his distinct voice, Tom Waits conjures up boozy ballads designed to be played low at 3 a.m. and melodies that might echo off the broken-down rides of an abandoned, haunted carnival. His is an eclectic style, combining blues, jazz, cabaret, Spooky Sounds of Halloween sound effects tapes, and more. This distinct, unmistakable style goes beyond Waits’ musical accomplishments, finding its way into his acting in the two dozen or so film appearances the singer has made.

Thomas Alan Waits (born December 7, 1949) is an American singer, songwriter, musician, composer, and actor. His lyrics often focus on the underbelly of society and are delivered in his trademark deep, gravelly voice. He worked primarily in jazz during the 1970s, but his music since the 1980s has reflected greater influence from blues, rock, vaudeville, and experimental genres.

Waits was born and raised in a middle-class family in Pomona, California. Inspired by the work of Bob Dylan and the Beat Generation, he began singing on the San Diego áfolk music circuit as a teenager. He relocated to Los Angeles in 1972, where he worked as a songwriter before signing a recording contract with Asylum Records. His first albums were the jazz-oriented Closing Time (1973) and The Heart of Saturday Night (1974), which reflected his lyrical interest in nightlife, poverty, and criminality. He repeatedly toured the United States, Europe, and Japan, and attracted greater critical recognition and commercial success with Small Change (1976), Blue Valentine (1978), and Heartattack and Vine (1980). He produced the soundtrack for Francis Ford Coppola’s film One from the Heart (1981), and subsequently made cameo appearances in several Coppola films.

In 1980, Waits married Kathleen Brennan, split from his manager and record label, and moved to New York City. With Brennan’s encouragement and frequent collaboration, he pursued a more experimental and eclectic musical aesthetic influenced by the work of Harry Partch and Captain Beefheart. This was reflected in a series of albums released by Island Records, including Swordfishtrombones (1983), Rain Dogs (1985), and Franks Wild Years (1987). He continued appearing in films, notably starring in Jim Jarmusch’s Down by Law (1986), and also made theatrical appearances. With theatre director Robert Wilson, he produced the musicals The Black Rider and Alice, first performed in Hamburg. Having returned to California in the 1990s, his albums Bone Machine (1992), The Black Rider (1993), and Mule Variations (1999) earned him increasing critical acclaim and multiple Grammy Awards. In the late 1990s, he switched to the record label ANTI-, which released Blood Money (2002), Alice (2002), Real Gone (2004), and Bad as Me (2011).
Despite a lack of mainstream commercial success, Waits has influenced many musicians and gained an international cult following, and several biographies have been written about him. In 2015, he was ranked at No. 55 on Rolling Stone’s “100 Greatest Songwriters of All Time”. He was inducted into the Rock and Roll Hall of Fame in 2011.

There is a lot more information to be found on Wikipedia which is too much to mention here and I don’t want to bore readers with endless details. I do suggest you check him out, his music and his acting: https://en.wikipedia.org/wiki/Tom_Waits

Sources: Wikipedia, YouTube, interweb, poetpas

Ole Dan Tucker

Old Dan Tucker was a fine old man
Washed his face with a fryin’ pan
Combed his hair with a wagon wheel
And died with a toothache in his heel

Get out the way old Dan Tucker,
You’re too late to get your supper,
Supper’s over, and dinner’s cookin’,
Old Dan Tucker just stands there lookin

Old Dan Tucker come to town
Riding a billy goat, leading a hound
The hound dog barked and billy goat jumped
And landed old Tucker on a stump

Get out the way old Dan Tucker,
You’re too late to get your supper,
Supper’s over, and dinner’s cookin’,
Old Dan Tucker just stands there lookin

Old Dan Tucker got drunk an fell
In the fire and kicked up holy hell
A red-hot coal got in his shoe
An oh my Lord the ashes flew

Get out the way old Dan Tucker,
You’re too late to get your supper,
Supper’s over, and dinner’s cookin’,
Old Dan Tucker just stands there lookin

Now Old Dan Tucker come to town
Swinging them ladies all round
First to the right an then to the left
Then to the gal that he loved best

Get out the way old Dan Tucker,
You’re too late to get your supper,
Supper’s over, and dinner’s cookin’,
Old Dan Tucker just stands there lookin

Songwriter: Mister Edwards, Walnut Grove
(truthfully Dan Emmett)