Whether you are in NY, London or Prague, whether you are travelling or just want to get nice nightlife experience you look for best night clubs to spend your time with your friends in cool environment with a music you love. There are many such places in any more or less big city. But if you’re in New York and thinking about where to go and what to do there there are great number hottest restaurants and all types of bars with the latest music, movies, and entertainment there. All what you nee is to pick up the most suited to your taste. Check out follow, most famous ones in NY:
Travertine Bar provides an intimate atmosphere makes it a great place for dinner, and those who stay late will be treated to the restaurant’s vibrate nightlife scene with award-winning mixologists crafting tremendous cocktails.
Rose Bar is Gramery Park Hotel’s art-rich nightclub, awash in an exotic milieu that transports the eyes as well as the mind, with expertly mixed cocktails and live music throughout the week.
S.O.B.’s bar is ever-evolving dance club is as diverse as the city itself: music ranging from reggae, hip-hop, and R&B to jazz, salsa, and South Asian dance music.
As far I love Randy Crawford so much certainly I love all the songs she sings. But of course there are songs I love the most and one of them is this one.
Say I’m crazy
Cause I have to have you
Say I’m dreaming
Cause I wanna see this through
Say there’s no meaning to life
If I’m not with you
My love, my only love
Cause it’s you
Who will always be my first love
It’s you
Who first showed me who I really was
In you
My soul has found the one I’m searching for
It’s true, I adore you
Ref.:
Our love is like a merry go round
Sometimes it’s up
Lyrics www.allthelyrics.com/lyrics/randy_crawford/
Sometimes it’s down
Like the sun and the rain
Even good loves found the change
Boy you should know
Cause the love we have we shouldn’t let go
Now you can walk away
Go on without me
Or you can try to stay
And make this easy
Though it’s hard
If you really wanna be alone
It’s okay, okay
Ref.
It’s clear to see
Your heart belongs to me
I’ll always get by
With you in my life
Don’t you ever leave
She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that’s best of dark and bright
Meet in her aspect and her eyes;
Thus mellowed to that tender light
Which heaven to gaudy day denies.
One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o’er her face;
Where thoughts serenely sweet express,
How pure, how dear their dwelling-place.
And on that cheek, and o’er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!
I’m just… could hardly express my feelings. She is really fantastic girl!Orianthi (born Orianthi Panagaris 22 January 1985) is an Australian singer-songwriter and guitarist.
I love this song very much but have heard it in perfoming by Randy Crawford.
Charlene sang it in far 1974. Charlene was christened by her mother under the name Charlene Marilynn D’Angelo, but later she shortened to Charlene for her record label. In 1973, Charlene signed with the legendary record label Motown Records under the name “Charlene Duncan”, and released her first single “All That Love Went to Waste” in January 1974. Charlene originally recorded “I’ve Never Been to Me” in 1976, and the single reached #97 on the USA’s Hot 100 singles chart in 1977. When released again in 1982, the single reached #3 in the United States (US), and #1, by June 1982, in the United Kingdom (UK). The song has been her only Top 40 hit as of 2010.
Charlene did three versions of the song, the initial version of which was actually the second version recorded. Her original (and ultimately most popular) version includes an expanded bridge, in which the singer makes an impassioned comparison between the noncommittal “fantasy about people and places as we’d like them to be,” versus the committed real love of a family
Hey lady, you lady
cursing at your life
you’re a discontented mother
and a regimented wife
I `ve no doubt
you dream about the things you never do
but I wish someone had a talk to me like I wanna talk to you
Oh, I’ve been to Georgia and California and anywhere I could run
Took the hand of a preacher man
and we made love in the sun
But I ran out of places and friendly faces
Because I had to be free
I’ve been to paradise but I’ve never been to me…
Please lady please lady
don’t just walk away
Cause I have this need to tell you
why I’m all alone today
I can see so much of me
still living in your eyes
won’t you share a part
of a weary heart that has lived a million lives
Oh, I’ve been to Nice and the isle of Greece
when I sipped champagne on a yacht
I moved like Harlow in Monte Carlo
and showed them what I’ve got
I’ve been undressed by kings
and I’ve seen some things that a woman ain’t s’pose to see
I’ve been to paradise but I’ve never been to me…
Hey, you know what paradise is?
It’s a lie
a fantasy we created about people and places
as we like them to be
but you know what truth is?
it’s that little baby you’re holding
and it’s that man you fought with this morning
the same one you are gonna make love to tonight
that’s truth that’s love
Sometimes I’ve been to crying for unborn children
that might have made me complete
but I, I took the sweet life
I never knew I’d be bitter from the sweet
I spent my life exploring
the subtle whoring
that costs too much to be free
hey lady I’ve been to paradise
but I’ve never been to me…
At eight o’clock we said goodbye
that’s when I left her house for mine.
She said that she’d be staying in
well she had to be at work by nine
So I get home and have a bath
and let an hour or two pass
drifting in front of my tv
when a film comes on that she wants to see.
It’s monday morning 5:19
and I’m still wondering where she’s been
’cos every time I try to call
I just get her machine.
and now it’s almost six am,
and I don’t want to try again,
’cos if she’s still not back
then this must be the end.
.at first I guess she’s gone to get
herself a pack of cigarettes,
a pint of milk, food for the cat
but it’s midnight now and she’s still not back.
It’s monday morning 5:19
and I’m still wondering where she’s been
’cos every time I try to call I just get her machine
and now it’s almost six am
and I don’t want to try again,
’cos if she’s still not back then heaven knows,
what then, is this the end?
At half past two I picture her
in the back of someone else’s car
he runs his fingers through her hair…
oh you shouldn’t let him touch you there!
It’s monday morning 5:19
and I’m still wondering where she’s been
’cos every time I try to call I just get her machine
and now it’s almost six am
and I don’t want to try again,
’cos if she’s still not back then heaven knows,
what then, is this the end?
Reach out and touch faith
Your own Personal Jesus
Someone to hear your prayers
Someone who cares
Your own Personal Jesus
Someone to hear your prayers
Someone who’s there
Feeling’s unknown and you’re all alone
Flesh and bone by the telephone
Lift up the receiver
I’ll make you a believer
Take second best
Put me to the test
Things on your chest
You need to confess
I will deliver
You know I’m a forgiver
Reach out and touch faith
Your own Personal Jesus
Feeling’s unknown and you’re all alone
Flesh and bone by the telephone
Lift up the receiver
I’ll make you a believer
I will deliver
You know I’m a forgiver
Reach out and touch faith
Your own Personal Jesus
Reach out and touch faith
Don´t tell me to stop
Tell the rain not to drop
Tell the wind not to blow
´Cause he said so
Tell me love isn´t true
It´s just something we do
Tell me everything I´m not
Don´t tell me to stop
Tell the sun not to shine
Not to get up this time
Let it fall by the way
Leave me where I lay
Tell the leaves not to turn
Don´t tell me I´ll learn
Take the black off a crow
But don´t tell me go
Tell the bed not to lay
Like the mouth of a grave
Not to stare up at me
Like a calf on its knees
Tell me love isn´t true
It´s just something we do
Tell me everything I´m not
But don´t tell me to stop
Tell me everything I´m not
Don´t tell me to stop
Lizz Wright’s first two Verve releases, Salt and Dreaming Wide Awake, established her as one of the jazz world’s most celebrated rising stars, both an accomplished songwriter and a versatile, deeply expressive singer. On her third album The Orchard, the Georgia-bred, New York-based artist takes a substantial leap forward, transcending genre distinctions to deliver a vibrant, intensely creative milestone.
The largely self-penned The Orchard finds Wright mining her own experience to create an unmistakably personal musical statement. The warmth and resonance of Wright’s gospel-trained contralto is matched by the intimacy and authority of such original compositions as “Coming Home,” “My Heart,” “Another Angel” and “When I Fall.” Wright’s interpretive skills are equally impressive on revelatory readings of the Ike and Tina Turner classic “I Idolize You,” Sweet Honey in the Rock’s “Hey Mann,” the Led Zeppelin ballad “Thank You” and Patsy Cline’s haunting “Strange.”
The Orchard reflects Wright’s lifelong musical journey. The artist was born in the small rural town of Hahira, Georgia, one of three children of a minister father and a mother who sang gospel at church services. In her childhood, she began playing piano and singing in church with her two siblings. In high school, she broadened her musical horizons by studying choral singing, performing with groups of various sizes and winning several regional and national awards.
Her 2003 debut Salt introduced Wright as both an accomplished songwriter and an effortlessly magnetic performer, delivering subtly persuasive vocal performances in understated jazz/R&B settings. Salt won international acclaim, earning Wright comparisons with such formidable figures as Nina Simone and Abbey Lincoln. It also struck a chord with the public, reaching the Number Two slot on Billboard’s Contemporary Jazz chart.
The New York Times’ Stephen Holden praised Wright’s “astonishing maturity and poise” and wrote that she “stirs jazz, gospel and rhythm and blues into a reflective, flowing style that elongates songs into prayerful meditations that never wander into vagueness,” and described her singing as “pitch-perfect, with a smoky, full-bodied texture… impressive in its steadiness, control and rhythmic subtlety.”
Wright’s collaboration with Street continues on The Orchard. While her prior releases boasted contributions from some of the jazz world’s most respected jazz players, The Orchard features an eclectic cast that includes noted singer/songwriter Toshi Reagon, who co-wrote several songs with Wright; Calexico members Joey Burns and John Convertino; avant-guitar hero Oren Bloedow; longtime Bob Dylan sideman Larry Campbell; Ollabelle member Glenn Patscha; and guest vocalists Catherine Russell and Marc Anthony Thompson (aka Chocolate Genius).
“The Orchard started with a trip that I took home to see my grandparents, and watching how they interacted with their neighbors and friends,” Wright recalls. “It got me thinking about where I was born and grew up, and that really inspired me a lot. I took some pictures of that area, and I made a little slide show and set it to the Tom Waits song “I Hope That I Don’t Fall In Love With You” and I took that to Verve and said ‘This is what I want to do.’ We went back to do another photo shoot, before we’d even recorded any music. And when I sat down with Craig and the writers and musicians, I showed them the pictures and played them the Tom Waits song. Everyone responded to them in their own way, and everyone brought their own insight and sensibilities to this concept that I showed them, and that helped to take the record to a different place.
“I liked the idea of this record having a soul that was centered around the orchard,” she explains. “But I didn’t feel compelled to stay married to the concept. I Initially wanted this record to be very much about home, about Hahira, and I took a lot of signals from there, but it ended up becoming something else. I wanted to name it The Orchard because that’s where it started.”
Before they began recording, Wright and Reagon debuted The Orchard’s songs with a series of low-key live sets at the small East Village club Banjo Jim’s. “We played through everything to figure out how we wanted to approach the songs. We tried out a lot of arranging ideas and different approaches, and the arrangements changed every night. That was a great process, and it was a challenge to me to make something real out of these songs that I didn’t really know yet. It’s the first time I’ve done that, working through songs live before making a record and learning just how far I could push myself.”
That organic approach was maintained throughout the recording process, which took place at studios in upstate New York’s Catskill mountains, in Tucson, Arizona and Brooklyn. The sessions emphasized spontaneity and chemistry. “We exchanged different sounds and different textures, and worked out the arrangement right then and there,’” Wright notes. “We didn’t decide before going into the studio what the songs would sound like; we just had an idea or a feeling, and sometimes Craig would suggest something or someone would play something and we’d follow the vibe. All of the musicians who were involved in this record had something to do with the way we ended up playing the songs, and I think that gave the project breadth and depth.”
That rare ability to exist within the musical moment is one of the qualities that make Lizz Wright a special artist and The Orchard a career milestone. “This record was a huge learning experience, in every way, and I think it showed me a lot about myself,” she states. “I never would have imagined that I would have written some of the things I wrote on this record, or told some of these stories. But I felt really free and I really let myself go, and I surprised myself.”
via http://www.lizzwright.net/
