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Δ' ΜΕΡΟΣ
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Το Α' ΜΕΡΟΣ στην Ανάρτηση Νο 1877
Το Β' ΜΕΡΟΣ στην Ανάρτηση Νο 1878
Το Γ' ΜΕΡΟΣ στην Ανάρτηση Νο 1879
Το Ε' ΜΕΡΟΣ στην Ανάρτηση Νο 1881
Το ΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1882
Το Ζ' ΜΕΡΟΣ στην Ανάρτηση Νο 1883
Το Η' ΜΕΡΟΣ στην Ανάρτηση Νο 1884
Το Θ' ΜΕΡΟΣ στην Ανάρτηση Νο 1885
Το Ι' ΜΕΡΟΣ στην Ανάρτηση Νο 1886
Το ΙΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1887
Το ΙΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1888
Το ΙΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1889
Το ΙΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1890
Το ΙΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1891
Το ΙΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1892
Το ΙΖ' ΜΕΡΟΣ στην Ανάρτηση Νο 1893
Το ΙΗ' ΜΕΡΟΣ στην Ανάρτηση Νο 1894
Το ΙΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1895
Το Κ' ΜΕΡΟΣ στην Ανάρτηση Νο 1896
Το ΚΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1897
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από https://www.youtube.com/watch?v=4JMSkcCV790
από https://www.youtube.com/watch?v=bPO0bTaWcFQ
από https://www.youtube.com/watch?v=TNQtz6Ajvfg
από https://www.youtube.com/watch?v=BJiY9KJRRKM
από https://www.youtube.com/watch?v=45wZ0zUum7E
από https://www.youtube.com/watch?v=j7sodwiQJ6c
από https://www.youtube.com/watch?v=cQgNmBKhpS0
από https://www.youtube.com/watch?v=zjPN-WWw4rE
από https://www.youtube.com/watch?v=852lHJVJHOU
από https://www.youtube.com/watch?v=2LGdKJdZjkg
από https://www.youtube.com/watch?v=Tbw6wgGCaPo
από https://www.youtube.com/watch?v=T160nEvGgbc
από https://www.youtube.com/watch?v=Zlr-xrSLsFs
από https://www.youtube.com/watch?v=K-w3L2Buy9U
από https://www.youtube.com/watch?v=Te8j1_8iDZs
από https://www.youtube.com/watch?v=RRVM3TZcRLs
από https://www.youtube.com/watch?v=TMzlMHKNjdA
από https://www.youtube.com/watch?v=NfyoDJLBCtA
από https://www.youtube.com/watch?v=Zuq4mNGZdxo
από https://www.youtube.com/watch?v=MAElaa6f948
από https://www.youtube.com/watch?v=f4nc2YVkDiQ
από https://www.youtube.com/watch?v=mx-vkVEmJcE
από https://www.youtube.com/watch?v=Vm5NJDNoKLE
από https://www.youtube.com/watch?v=PFhsgWfiZrs
από https://www.youtube.com/watch?v=k0zuVOQ1RUo
από https://www.youtube.com/watch?v=i5HdMpsJmLI
από https://www.youtube.com/watch?v=1FyCg29ofW4
από https://www.youtube.com/watch?v=uz0-q_kPteg
από https://www.youtube.com/watch?v=1E2MyRsApm0
από https://www.youtube.com/watch?v=ErOujXJjVT0
από https://www.youtube.com/watch?v=oNLs-449r9Y
από https://www.youtube.com/watch?v=hXRCx8yvxCc
από https://www.youtube.com/watch?v=FzpMKJHtMBI
από https://www.youtube.com/watch?v=sihEHyOJjMY
από https://www.youtube.com/watch?v=q5jNUEKQ0Qo
από https://www.youtube.com/watch?v=M_jvW9h7BwU
από https://www.youtube.com/watch?v=nB0hZOlmFlE
από https://www.youtube.com/watch?v=4ZfxfOYL3Kk
από https://www.youtube.com/watch?v=5M_H2QmmPfo
από https://www.youtube.com/watch?v=6JzV4LQUuJE
από https://www.youtube.com/watch?v=DjkGr25PXe4
από https://www.youtube.com/watch?v=vvdqNO3423Q
από https://www.youtube.com/watch?v=vKrnktYx2O0
από https://www.youtube.com/watch?v=_VbyKLhaLTE
από https://www.youtube.com/watch?v=8deawr3FKjc
από https://www.youtube.com/watch?v=Le_vtbWWvXY
από https://www.youtube.com/watch?v=FIcuAXMclPI
από https://www.youtube.com/watch?v=sNUwYqT2XhY
από https://www.youtube.com/watch?v=rnFBloqAJ_o
από https://www.youtube.com/watch?v=_mY_wZtZpEU
Patti Smith
Gloria (In Excelsis Deo)
Μουσική-Στίχοι: Van Morrison, Additional Lyrics: Patti Smith
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Live
With Jools Holland
2007
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Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say "beware!"
But I don't care
The words are just
Rules and regulations to me, me
I-I walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, "oh my God here's midnight!"
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is G-L-O-R-I-A
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. you were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria
And the tower bells chime, "ding dong" they chime
They're singing, "Jesus died for somebody's sins but not mine."
Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A,
Gloria G-L-O-R-I-A, G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria.
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The Story Behind Patti Smith’s “Gloria”
από http://www.covermesongs.com/2014/08/the-story-behind-patti-smiths-gloria.html
Before there was a song called “Gloria,” there was a poem called “Oath.” And the transition from one to the other might never have happened without forty bucks and one loud bass note.
Smith wrote “Oath” in 1970, opening with a line that wouldn’t become famous for five more years: “Christ died for somebody sins but not mine.” A giant kiss-off to her Jehovah’s Witness upbringing, the poem rattled off lines like “Christ, I’m giving you the goodbye, firing you tonight” and “Adam placed no hex on me.” The hostility towards religion that shocked so many in “Gloria” pales in comparison to the text of the original poem.
She performed “Oath” at her very first poetry reading, at St. Marks Church’s prestigious Poetry Project series in February 1971. She opened for Andy Warhol protégé Gerard Malanga in front of an audience that included Allen Ginsberg, Jim Carroll, Sam Shepard, and many other luminaries of the cutting-edge downtown poetry scene. Though Lenny Kaye – who Smith had cold-called after reading a story he had written for Jazz and Pop magazine – backed her up on guitar for several readings, she delivered “Oath” alone. Only later did Kaye begin joining in, adding squalls and feedback bursts to heighten the tension.
“Oath” reading live at St Marks in 1971 (Smith’s first performance):
“Oath” reading live in 1973 with Lenny Kaye:
Though she kept performing “Oath” in both solo and duo incarnations for the next few years, she must have sensed it was missing something. When she released her first book of poems, 1972’s Seventh Heaven, she left “Oath” out. Her second book the following year Witt didn’t include it either. One would never know “Oath” existed unless they came to see a reading in person – and even then they might miss it, since it usually took all of sixty seconds.
It wasn’t until 1975 that “Oath” would get any sort of release – and by then it had changed rather dramatically.
Smith’s poem “Oath” and Them’s garage-band staple “Gloria” merged in a spontaneous moment one day in 1974. Playing regular concerts at Max’s Kansas City and other small clubs, Smith now had a three-piece band and the practiced what they called “fieldwork,” or what a different sort of band might call jamming.
“In the beginning it was just Lenny and I, and then we brought in a piano player, who was Richard Sohl,” Smith told Fresh Air‘s Terry Gross in 2006. “So it was just the three of us… and we did very simple songs, because the configuration was so simple. We just chose songs that were basically three chords, so I could improvise over them.” A song so simple a child could play it, “Gloria” was a staple of these sessions – at a later point they auditioned second guitarists by playing “Gloria” for forty minutes or more to see who dropped out first (after many others couldn’t handle it, Ivan Kral stayed the course and soon joined the band).
One day though, it evolved into something new. “We bought Richard Hell’s bass guitar from him for $40, sometime in ’74,” Kaye told the blog Rock Town Hall in 2011. “We’re in the practice room, and Patti wanted to play it. She hit a big E note: boinnnggg! She recited a bit of ‘Jesus died for somebody sins but not mine.’ You know, moving into ‘Gloria’ seemed like a natural progression. Especially when we began, there was not a lot of forethought into what we did.”
From the moment Smith hit that E note, “Gloria” ceased being a cover by the strictest standards. Over half the words in the final version are her own, and even the bits she takes from Van Morrison are often radically rewritten. But this loose approach to covers was nothing new for the band.
Their first single, a cover of Jimi Hendrix’s “Hey Joe” (itself a cover of The Leaves) opened with an extended Patty Hearst monologue. Her regular show-opener was a cover of the Velvet Underground’s “We’re Gonna Have a Real Good Time Together,” whose very few lyrics Smith generously fleshed out with verses of her own. Their other Velvet Underground cover, “Pale Blue Eyes,” had a tendency to sacrilegiously segue into “Louie Louie.” Not to mention, of course, Smith’s profane twists on the Who’s “My Generation.”
“Hey Joe” debut single:
“We’re Gonna Have a Real Good Time Together” cover live:
From the original seed, “Gloria” evolved. Smith began adding new lyrics until only the first six lines of “Oath” remained. They began playing it live in late ’74, where it opened with a bass guitar playing the familiar piano riff, reminiscent of that first bass note inspiration.
First recorded live performance of “Gloria,” 1974:
For a live radio concert in ’75, Smith even used the occasion to put the call out for a drummer, the last missing ingredient in the transition from poetry to rock-and-roll band. After a little self-mythologizing about how the band got together, she reaches the next stage while the band vamps behind her: “So they got together and they looked for a drummer. And I know you’re out there! And I’m waiting for you! And we will go, and the rest will follow! The rest will follow! And oh it will be so good…” and right back into the song. After the show ended, Clive Davis went backstage with the contract for a seven-album deal on his new label Arista. And before long, they added Jay Dee Daugherty on drums.
“Gloria” live on WBAI (w/ call for drummer):
With the Clive Davis deal in place, the band set out to record an album. Going into the studio in August 1975, Smith wanted to keep covers to a bare minimum. “On my record, I’m trying to reveal as much about myself as I can,” she told Crawdaddy around that time.
Some have written that Kaye talked Smith into including “Gloria” on the album, a story he disputes. “Nobody needed convincing because we were all on the same page,” he told Rock Town Hall. However, there was little question this song was closer to his heart than it was hers.
Kaye had been performing the song in its more traditional form since before he met Smith, and has often called it “the national anthem of garage rock” (having released the acclaimed Nuggets compilation a few years prior, he was the undisputed authority on the subject). “To me, ‘Gloria’ is the greatest of them all,” he told author David Todd in 2012. “It’s got a great sense of release, and when it hunkers down on those chords, you can do anything. I can take a solo; you can spout out about the night. It just lends itself to everything.”
Smith didn’t seem to feel as strongly. In her earliest interviews, she constantly mentions a trinity of musical heroes: Jimi Hendrix, Brian Jones, and Jim Morrison. Yet that other Morrison – Van – never comes up, despite, by that point, having proven himself in both the worlds of rock and roll raunch and highbrow poeticisms that Smith herself would draw upon. Nevertheless, Kaye – or good sense – prevailed, and the recording got underway at Hendrix’s Electric Lady studios.
The Horses sessions were contentious. Before they even started, Smith’s first choice of producer got vetoed. “I had lined up another producer first,” she told the Independent in ’95. “I didn’t know anything about producers and just picked Tom Dowd because I admired him. But he was on Atlantic, and Ahmet Ertegun [former head of Atlantic Records] was really against me.”
Smith’s second choice was the Velvet Underground’s John Cale, but once he agreed and the sessions began, she began thinking she’d made a mistake. “My picking John was about as arbitrary as picking Rimbaud [as my favorite poet],” she told Rolling Stone in 1976. “I saw the cover of Illuminations with Rimbaud’s face, y’know, he looked so cool, just like Bob Dylan. So Rimbaud became my favorite poet. I looked at the cover of Fear [Cale’s 1974 solo record] and I said, ‘Now there’s a set of cheekbones.’ The thing is I picked John… in my mind I picked him because his records sounded good. But I hired the wrong guy. All I was really looking for was a technical person.” When she told him this, he reportedly responded, “You bloody fool, you should have picked my engineer!”
Over the month-long recording sessions, they fought over everything, from the band’s cheap instruments (Cale made them buy new ones) to the amount of improvisation – Cale pushed for more, eventually pushing the formerly 4-minute track “Birdland” past the nine-minute mark. The fighting didn’t appear to damage “Gloria,” though, which emerged relatively unchanged from the live versions the band had been playing around town.
The band – Smith, Kaye, Kral, Daugherty, and Sohl playing the studio’s massive grand piano – recorded the track totally live, according to engineer Bernie Kirsch in Mix in 2009. “The band was a live group; they were playing in the clubs and they had the songs down, so when they went in the studio it was mostly a matter of picking which performance was best,” he said. “There were not a lot of fixes I can recall.”
By the time it came to mixing, Cale was gone. “I’m not sure what occurred, but he didn’t complete the project,” Kirsch said. “If I recall, he wasn’t there for most of the mixing. I don’t know what the politics were — it wasn’t in my domain. So I basically took over and did the mix with Patti.”
“It was kept together by a really stable engineer who watched all the shenanigans going on and sort of hung onto it,” a placated Cale said in Sound on Sound in 2006. “Bernie, he was great.”
Horses was released on December 13, 1975, with “Gloria” as the opening track (a month later it was released as a single, backed with a live “My Generation”). The critical reaction was immediate, with plenty of praise (the New York Times called it “extraordinary”) and a few detractors (the Village Voice derisively dubbed it “an ‘art’ statement”). But whatever the reaction to the album, many honed in on “Gloria” in particular.
Perhaps not surprisingly, many focused on the first line of the album, slightly rewritten to “Jesus died for somebody sins, but not mine.” Was this a call to arms for atheism? A reflection of Nietsche’s “God is dead”? Simply your everyday punk-rock provocation?
For anyone following Smith’s career, that attitude wouldn’t have been a surprise. She speaks about rebelling against her strict Jehovah’s Witness upbringing in many early interviews. “My father taught us not to be a pawn in God’s game,” she told Interview in 1973. “He used to blasphemy and swear against God, putting him down. I got that side of me from him. The religious part I guess is from my mother, who is a complete religious fanatic.”
Yet anyone outraged – or even anyone thinking Smith was taking a definitive stand – perhaps missed the sense of humor, the tongue just a little in cheek. In her first-ever interview in 1972, already regularly performing “Oath” live, she told Victor Bockris, “When I say that bad stuff about God or Christ, I don’t mean that stuff. I don’t know what I mean; it’s just it gives somebody a new view, a new way to look at something. I like to look at things from ten or fifteen different angles, you know. So it gives people a chance to be blasphemous through me.”
Smith’s definite statement on the matter may have come thirty years later, when she reflected on “Gloria” to Terry Gross. “People constantly came up to me and said ‘You’re an atheist, you don’t believe in Jesus,’ and I said ‘Obviously I believe in him’… I’m saying that, y’know, that the concept of Jesus, I believe in. I just wanted the freedom. I wanted to be free of him. I was 20 years old when I wrote that, and it was sort my youthful manifesto. In other words I didn’t want to be good, y’know, but I didn’t want him to have to worry about me, or I didn’t want him taking responsibility for my wrongdoings, or my youthful explorations. I wanted to be free. So it’s really a statement about freedom.”
Another focal point for analysis was the song’s unusual gender dynamics. Rather than change genders so she was singing about a boy, she kept Morrison’s original – and expanded upon it with all that “humpin’ on a parking meter” bits. Perhaps inevitably, many took it as a lesbian anthem. It wasn’t. Smith had often written from a male perspective, in her poetry and her lyrics.
“I always enjoyed doing transgender songs,” she told The Observer in 2005. “That’s something I learnt from Joan Baez, who often sang songs that had a male point of view. No, my work does not reflect my sexual preferences, it reflects the fact that I feel total freedom as an artist.”
Besides, she had no reason to write a lesbian anthem. “I tried to make it with a chick once and I thought it was a drag,” she told Bockris. “She was too soft. I like hardness. I like to feel a male chest. I like bone. I like muscle. I don’t like all that soft breast.”
A lot of people had opinions. The obvious question was: What did Van think? If he ever said anything to her privately, Smith hasn’t said. His one public statement on the matter, in a Rolling Stone profile two years later, reveals muted approval.
“Yeah, I’ve heard that,” he said when asked about the cover. “I could even dig that for what it is. It doesn’t floor me like some things. I’m the type of cat that would listen to black soul music or black gospel music… that’s what I would listen to. But if something comes along like what Patti Smith is doing, I have a tendency now to accept it as what it is and get off… it’s just what it is and I enjoy it that way.”
Since then, other artists have been more forthcoming. “The opening to ‘Gloria’ might be one of the greatest moments in American music,” Rage Against the Machine’s Zack de la Rocha said when inducting her into the Rock and Roll Hall of Fame. Johnny Marr called it “a massive influence on me” and said that “she gave new energy to American garage rock.” Even Madonna named her as an inspiration in an HMV ad campaign a few years back.
With Horses having her raised her profile outside of New York, she continued to tour and perform “Gloria” as her regular set closer. Most notably, she performed the song on the first season of Saturday Night Live, supposedly singing the “Jesus died” line right as the stroke of midnight signaled Easter’s arrival. CBGB tuned all their TVs in the bar to Channel 4 so everyone could watch – and earned themselves a shoutout at the performance’s end. The show’s Gilda Radner later got a lot of mileage out of a Patti Smith parody named Candy Slice.
In January 1977, Smith’s relationship with the song changed forever, without her even playing it. Six songs into a show in Tampa opening for Bob Seger, she fell 15 feet off the stage and broke several vertebrae in her neck. After an experience than could have killed her, she began reevaluating “Gloria”‘s message. In fact, she blamed her attitude toward the divine for her injury.
“I fell during ‘Ain’t It Strange’,” she told Melody Maker not long after the accident. “Now all this sounds like mythical bull but it is a truth – just like the guy at Altamont got shot during ‘Under My Thumb,’ I fell just as I was saying ‘hand of God, I feel the finger.’ And I did feel the finger push me right over. It was like, I spend so much time challenging God when I perform and in everything I do… that I feel it was his way of saying, ‘you keep battering against my door and I’m gonna open that door and you’ll fall in.'”
“I did say ‘Jesus died for somebody’s sins but not mine,’ and I still believe that,” she continued. “I wasn’t saying that I didn’t like Christ or didn’t believe in him, just that I wanted to take the responsibility for the things I do… I’m a one-to-one girl and I have always sought to communicate with God through myself. And I feel that was one of the reasons I fell offstage.”
“I think Patti changed [after the fall] and came to grips with her own spirituality and some sort of a spiritual system,” her drummer Jay Dee Daugherty said in punk oral history Please Kill Me. “I think she didn’t feel that way anymore. This is something I’ve not talked to her about, this is my own observation. She was working out some theme of resurrection and corning to a different place.”
When she returned, the song stopped getting played quite as often. Then on September 10, 1979, in Florence, she played her biggest concert ever, her last before a 16-year retirement. For the first time ever, she opened with her usual show-closer: “Gloria.” And she made one dramatic change to reflect her new beliefs. “Jesus died for somebody’s sins,” she sang. “Why not mine?”
“Gloria” live in Florence 1979:
The small change was “a long time coming,” she said about that moment in the Philadelphia City Paper when she reemerged in 1995. “I was very involved with Christianity in my youth and had grown skeptical of church dogma… As I got older, I did more New Testament studying, especially through Passolini. His words were enlightening, portraying Christ as a revolutionary. I reassessed [Jesus Christ] and realized that he gave us the simplest and greatest ideas: to love one another, making God accessible to all men, and giving people a sense of community, that they would never be alone. It’s not reconciliation as much as it is a tip of the hat.”
She didn’t perform it on her comeback tour with Bob Dylan in 1995, but by the following year it was back in the setlist – original line intact.
Smith continues to perform “Gloria” regularly at her concerts in its original form, but she’s lucky she released it when she did. If she tried to get permission now for her quasi-cover, she probably couldn’t.
“You can’t really do that with most songs [anymore], because artists won’t give you the licensing,” she told LA City Beat in 2007. “I developed [a version of] the Prince song ‘When Doves Cry’ and put a biblical verse in the middle of it, and he blocked it. He made me take off the Bible verse, and the Hendrix Foundation does not allow you to put your own poetry on a Jimi Hendrix song.”
On the other hand, maybe such restrictions wouldn’t stop her even today. Because, as she first sang in 1975:
People say “beware!”
But I don’t care
The words are just
Rules and regulations to me, me
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Album "Horses"
(C) 2016 Arista Records LLC
The defining album opening track from Smith’s debut, Horses. A re-working of the Van Morrison/Them song
But not mine
Melting in a pot of thieves
Wild card up my sleeve
Thick, heart of stone
My sins my own, they belong to me
Me
People said "Beware"
But I don't care
Their words are just rules and regulations to me
Me
I walk in a room
You know I look so proud
I move in this here atmosphere where
Anything's allowed
And I go to this here party
And I just get bored
Until I look out the window, see a sweet young thing
Humping on a parking meter
Leaning on the parking meter
Oh, she looks so good
Oh, she looks so fine
And I've got this crazy feeling
That I'm going to make her mine
Oh I'll put my spell on her
Here she comes
Walking down the street
Here she comes
Coming through my door
Here she comes
Crawling up my stair
Here she comes
Waltzing through the hall
In a pretty red dress
And oh, she looks so good
Oh, she looks so fine
And I've got this crazy feeling
That I'm going to make her mine
Then I hear this knocking on my door
Hear this knocking on my door
And I look up to the big tower clock
And say, "Oh my God here's midnight"
And my baby is walking through the door
Leaning on my couch
She whispers to me
And I take the big plunge
And oh, she was so good
Oh, she was so fine
And I'm going to tell the world
That I just made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is
G L O R I A
(G L O R I A) Gloria x 4
I was at the stadium
There were two thousand girls
Called their names out to me
Marie, Ruth, but to tell you the truth
I didn't hear them
I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chiming in my heart
Going Ding Dong, Ding Dong
Ding Dong, Ding Dong
Ding Dong, Ding Dong
Ding Dong, Ding Dong
Chiming the time when you came to my room
And you whispered to me and we took the big plunge
And oh, you were so good
Oh, you were so fine
And I've got to tell the world
That I made her mine, made her mine
Made her mine, made her mine
Made her mine, made her mine
G L O R I A (Gloria) x 4
Tower bells chime
Ding Dong, they chime
They're singing
"Jesus died for somebody's sins
But not mine"
Gloria, (G L O R I A)
(repeat to end)
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Album "Horses"
Songwriters: RICCA, VINCENZO
Gloria lyrics © Warner/Chappell Music, Inc.
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Jesus died for somebody';s sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say 'beware!'
But I don't care
The words are just
Rules and regulations to me, me
I-i walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, 'oh my God here's midnight!'
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is G-l-o-are-i-a
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. you were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria,
G-l-o-are-i-a Gloria
And the tower bells chime, 'ding dong' they chime
They're singing, 'Jesus died for somebody's sins but not mine.'
Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a,
Gloria g-l-o-are-i-a, G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria,
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria,
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria .
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(Live at the Latitude Festival) - in July 2006
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Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say "beware!"
But I don't care
The words are just
Rules and regulations to me, me
I-I walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then
I'm gonna ah-ah make her mine
Ooh i'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, "oh my God here's midnight!"
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is,
And her name is G-L-O-R-I-A
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
I was at the stadium
There were twenty thousand girls
Called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. You were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria
And the tower bells chime, "ding dong" they chime
They're singing, "Jesus died for somebody's sins but not mine."
Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A,
Gloria G-L-O-R-I-A, G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria
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--------------------------------------------
LIVE 1976 (Reelin' In The Years Archive)
--------------------------------------------
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
--------------------------------------------
Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say 'beware!'
But I don't care
The words are just
Rules and regulations to me, me
I walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knock on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, 'oh my God here's midnight!'
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is G-l-o-are-i-a
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong, ding dong, ding dong, ding dong.
Ding dong, ding dong, ding dong, ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh you were so good, oh, you were so fine
And I gotta tell the world that I make her mine, make her mine
Make her mine, make her mine, make her mine, make her mine
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria,
G-l-o-are-i-a, Gloria
And the tower bells chime, 'ding dong' they chime
They're singing, 'Jesus died for somebody's sins but not mine.'
Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a,
Gloria, g-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria,
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
--------------------------------------------
--------------------------------------------
Patricia Lee Smith was born in Chicago. Her mother, Beverly, was a waitress, and her father, Grant, worked at the Honeywell plant. The family was of Irish heritage. She spent her early childhood in the Germantown neighborhood of Philadelphia,before her family moved to Woodbury, New Jersey. Her mother was a Jehovah's Witness. Patti had a strong religious upbringing and a Bible education, but left organized religion as a teenager because she felt it was too confining; much later, she wrote the line "Jesus died for somebody's sins, but not mine" in her cover version of Them's "Gloria" in response to this experience.
--------------------------------------------
--------------------------------------------
Paradiso-Amsterdam--25 october 2015
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1976 - Stockholm
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--------------------------------------------
--------------------------------------------
« DREAM OF LIFE » : LE PREMIER FILM SUR PATTI SMITH
ONZE ANS DE TRAVAIL POUR UN FILM DÉJÀ CULTE !
IMAGES CHOC ET ÉMOTION : UNE DÉCHARGE ÉLECTRIQUE
DE CULTURE ROCK
PATTI SMITH
DREAM OF LIFE
Un film de Steven Sebring
Patti Smith (voc,cl)
Lenny Kaye & Oliver Ray (g)
Tony Shanahan (b,voc)
Jay Dee Daugherty (dr)
et la participation d' Allen Ginsberg, Philip Glass
Durée du film : 109 minutes
Date de sortie : 16/10/2008
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on Jools Holland show.
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live concert in florence 10 09 2009
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Sotheby's Benefit Art Auction 3.15.2010
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all'Arezzo Play Festival 01-07-2009
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@ Assembly Rooms - Leamington Spa. 26/03/2010
Lenny Kaye is on acoustic guitar on the right, Tony Shanahan on keyboard.
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12.06.2007, Hamburg, Große Freiheit 36
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(Firenze, P.zza S. Croce - 10.11.2009)
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at the Santa Monica Pier in Santa Monica, CA, on September 3, 2009.
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(live acoustic trio, Parma, cortile della Pilotta)
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at the Lincoln Center 8/25/2008
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O jornalista Roberto Maia e o videomaker Fernando Brandão se infiltram e filtram os arquivos da Information Highway para pinçar fatos e focos relevantes da cultura e da música pop.
Aqui o destaque fica para Patti Smith cujo ultimo disco: TWELVE traz doze clássicos do rock em uma visão pessoal desta genial figura do mundo pop. Nesta edição está o clip : Gloria, gravado em 2007no programa de Jools Holland!
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live performance on Offest festival in Skopje on July 10, 2009.
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Festival Les Déferlantes d'Argelès 2010
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live at Sydney's State Theatre on 11-04-17
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09/03/2009 Santa Monica Pier
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03-13-2017
at the Carnegie Music Hall in Pittsburgh, PA
--------------------------------------------
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album "Horses"
--------------------------------------------
Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say 'beware!'
But I don't care
The words are just
Rules and regulations to me, me
I-i walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, 'oh my God here's midnight!'
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is g-l-o-r-i-a
G-l-o-r-i-a gloria g-l-o-r-i-a gloria
G-l-o-r-i-a gloria g-l-o-r-i-a gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. you were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria,
G-l-o-r-i-a gloria
And the tower bells chime, 'ding dong' they chime
They're singing, 'jesus died for somebody's sins but not mine.'
Gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a,
Gloria g-l-o-r-i-a, g-l-o-r-i-a gloria g-l-o-r-i-a gloria
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria,
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria,
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria .
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@ Paléo 2015
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Live @ Arena, Vienna, Austria
2015-07-14
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(Live Lausanne 2014)
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Paradiso, june 28, 2013
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@ Festival de Nîmes, 2013
Concert aux arènes de Nîmes, le 17 juillet 2013
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au théatre à Charleville-Mézières, 10 novembre 2011
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(Live in Seoul 2.2.2013)
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à la Fête de l' Huma 16-9-2012
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Vieilles Charrues 2004
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at church De Duif in Amsterdam, on june 7, 2011
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en concert à la Fête de l'Humanité 2012
à la Fête d' l'Huma, au Communist National Park de la Courneuve, le 15 septembre 2012.
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Les Ardentes 2012
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7 novembre 2011, Marseille, le Silo.
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Patti returns to Detroit where she lived for 18 years while being married to Fred Smith of the MC5 and played a 2 hour set on September 7, 2013 at the Majestic Theatre.
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21:8 2017 Gröna Lund Stockholm Sweden
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17 Nov 2011
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live, 1975.
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Concert de Patti Smith le 7 novembre 2011 au Silo (Marseille, FR).
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2012 Detroit Institute of Arts Premier Show BANGA tour & release
On June 1, 2012, Patti Smith, backed by her children Jesse and Jackson Smith, performs "Gloria" from album "Horses." Watch as Patti braids her hair, spits, and rocks it out in this live concert footage.
Smith is slated to tour the UK & Germany in the summer of 2012. Her next stop is the June 23 Bergen Festival. Her next US show is in November in Boston followed by Madison Square Garden in November 2012.
This show took place at the Detroit Institute of Arts and included the opening of "Camera Solo," an exhibition of her photographs, and the installation of her late husband, Fred Sonic's guitar into the museum's collection. The exhibit runs through September 2, 2012 at the Museum and is Patti's first photographic exhibition.
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Stockholm Music & Arts Festival, Stockholm 2012.08.03
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Patti Smith
Gloria (In Excelsis Deo)
Μουσική-Στίχοι: Van Morrison, Additional Lyrics: Patti Smith
--------------------------------------------
ΣΥΝΕΧΕΙΑ στην ανάρτηση Νο 1881
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Δ' ΜΕΡΟΣ
--------------------------------------------
Το Α' ΜΕΡΟΣ στην Ανάρτηση Νο 1877
Το Β' ΜΕΡΟΣ στην Ανάρτηση Νο 1878
Το Γ' ΜΕΡΟΣ στην Ανάρτηση Νο 1879
Το Ε' ΜΕΡΟΣ στην Ανάρτηση Νο 1881
Το ΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1882
Το Ζ' ΜΕΡΟΣ στην Ανάρτηση Νο 1883
Το Η' ΜΕΡΟΣ στην Ανάρτηση Νο 1884
Το Θ' ΜΕΡΟΣ στην Ανάρτηση Νο 1885
Το Ι' ΜΕΡΟΣ στην Ανάρτηση Νο 1886
Το ΙΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1887
Το ΙΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1888
Το ΙΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1889
Το ΙΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1890
Το ΙΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1891
Το ΙΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1892
Το ΙΖ' ΜΕΡΟΣ στην Ανάρτηση Νο 1893
Το ΙΗ' ΜΕΡΟΣ στην Ανάρτηση Νο 1894
Το ΙΘ' ΜΕΡΟΣ στην Ανάρτηση Νο 1895
Το Κ' ΜΕΡΟΣ στην Ανάρτηση Νο 1896
Το ΚΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1897
--------------------------------------------
από https://www.youtube.com/watch?v=4JMSkcCV790
από https://www.youtube.com/watch?v=bPO0bTaWcFQ
από https://www.youtube.com/watch?v=TNQtz6Ajvfg
από https://www.youtube.com/watch?v=BJiY9KJRRKM
από https://www.youtube.com/watch?v=45wZ0zUum7E
από https://www.youtube.com/watch?v=j7sodwiQJ6c
από https://www.youtube.com/watch?v=cQgNmBKhpS0
από https://www.youtube.com/watch?v=zjPN-WWw4rE
από https://www.youtube.com/watch?v=852lHJVJHOU
από https://www.youtube.com/watch?v=2LGdKJdZjkg
από https://www.youtube.com/watch?v=Tbw6wgGCaPo
από https://www.youtube.com/watch?v=T160nEvGgbc
από https://www.youtube.com/watch?v=Zlr-xrSLsFs
από https://www.youtube.com/watch?v=K-w3L2Buy9U
από https://www.youtube.com/watch?v=Te8j1_8iDZs
από https://www.youtube.com/watch?v=RRVM3TZcRLs
από https://www.youtube.com/watch?v=TMzlMHKNjdA
από https://www.youtube.com/watch?v=NfyoDJLBCtA
από https://www.youtube.com/watch?v=Zuq4mNGZdxo
από https://www.youtube.com/watch?v=MAElaa6f948
από https://www.youtube.com/watch?v=f4nc2YVkDiQ
από https://www.youtube.com/watch?v=mx-vkVEmJcE
από https://www.youtube.com/watch?v=Vm5NJDNoKLE
από https://www.youtube.com/watch?v=PFhsgWfiZrs
από https://www.youtube.com/watch?v=k0zuVOQ1RUo
από https://www.youtube.com/watch?v=i5HdMpsJmLI
από https://www.youtube.com/watch?v=1FyCg29ofW4
από https://www.youtube.com/watch?v=uz0-q_kPteg
από https://www.youtube.com/watch?v=1E2MyRsApm0
από https://www.youtube.com/watch?v=ErOujXJjVT0
από https://www.youtube.com/watch?v=oNLs-449r9Y
από https://www.youtube.com/watch?v=hXRCx8yvxCc
από https://www.youtube.com/watch?v=FzpMKJHtMBI
από https://www.youtube.com/watch?v=sihEHyOJjMY
από https://www.youtube.com/watch?v=q5jNUEKQ0Qo
από https://www.youtube.com/watch?v=M_jvW9h7BwU
από https://www.youtube.com/watch?v=nB0hZOlmFlE
από https://www.youtube.com/watch?v=4ZfxfOYL3Kk
από https://www.youtube.com/watch?v=5M_H2QmmPfo
από https://www.youtube.com/watch?v=6JzV4LQUuJE
από https://www.youtube.com/watch?v=DjkGr25PXe4
από https://www.youtube.com/watch?v=vvdqNO3423Q
από https://www.youtube.com/watch?v=vKrnktYx2O0
από https://www.youtube.com/watch?v=_VbyKLhaLTE
από https://www.youtube.com/watch?v=8deawr3FKjc
από https://www.youtube.com/watch?v=Le_vtbWWvXY
από https://www.youtube.com/watch?v=FIcuAXMclPI
από https://www.youtube.com/watch?v=sNUwYqT2XhY
από https://www.youtube.com/watch?v=rnFBloqAJ_o
από https://www.youtube.com/watch?v=_mY_wZtZpEU
Patti Smith
Gloria (In Excelsis Deo)
Μουσική-Στίχοι: Van Morrison, Additional Lyrics: Patti Smith
--------------------------------------------
Live
With Jools Holland
2007
--------------------------------------------
Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say "beware!"
But I don't care
The words are just
Rules and regulations to me, me
I-I walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, "oh my God here's midnight!"
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is G-L-O-R-I-A
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. you were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria
And the tower bells chime, "ding dong" they chime
They're singing, "Jesus died for somebody's sins but not mine."
Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A,
Gloria G-L-O-R-I-A, G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria.
--------------------------------------------
The Story Behind Patti Smith’s “Gloria”
από http://www.covermesongs.com/2014/08/the-story-behind-patti-smiths-gloria.html
Before there was a song called “Gloria,” there was a poem called “Oath.” And the transition from one to the other might never have happened without forty bucks and one loud bass note.
Smith wrote “Oath” in 1970, opening with a line that wouldn’t become famous for five more years: “Christ died for somebody sins but not mine.” A giant kiss-off to her Jehovah’s Witness upbringing, the poem rattled off lines like “Christ, I’m giving you the goodbye, firing you tonight” and “Adam placed no hex on me.” The hostility towards religion that shocked so many in “Gloria” pales in comparison to the text of the original poem.
She performed “Oath” at her very first poetry reading, at St. Marks Church’s prestigious Poetry Project series in February 1971. She opened for Andy Warhol protégé Gerard Malanga in front of an audience that included Allen Ginsberg, Jim Carroll, Sam Shepard, and many other luminaries of the cutting-edge downtown poetry scene. Though Lenny Kaye – who Smith had cold-called after reading a story he had written for Jazz and Pop magazine – backed her up on guitar for several readings, she delivered “Oath” alone. Only later did Kaye begin joining in, adding squalls and feedback bursts to heighten the tension.
“Oath” reading live at St Marks in 1971 (Smith’s first performance):
“Oath” reading live in 1973 with Lenny Kaye:
Though she kept performing “Oath” in both solo and duo incarnations for the next few years, she must have sensed it was missing something. When she released her first book of poems, 1972’s Seventh Heaven, she left “Oath” out. Her second book the following year Witt didn’t include it either. One would never know “Oath” existed unless they came to see a reading in person – and even then they might miss it, since it usually took all of sixty seconds.
It wasn’t until 1975 that “Oath” would get any sort of release – and by then it had changed rather dramatically.
Smith’s poem “Oath” and Them’s garage-band staple “Gloria” merged in a spontaneous moment one day in 1974. Playing regular concerts at Max’s Kansas City and other small clubs, Smith now had a three-piece band and the practiced what they called “fieldwork,” or what a different sort of band might call jamming.
“In the beginning it was just Lenny and I, and then we brought in a piano player, who was Richard Sohl,” Smith told Fresh Air‘s Terry Gross in 2006. “So it was just the three of us… and we did very simple songs, because the configuration was so simple. We just chose songs that were basically three chords, so I could improvise over them.” A song so simple a child could play it, “Gloria” was a staple of these sessions – at a later point they auditioned second guitarists by playing “Gloria” for forty minutes or more to see who dropped out first (after many others couldn’t handle it, Ivan Kral stayed the course and soon joined the band).
One day though, it evolved into something new. “We bought Richard Hell’s bass guitar from him for $40, sometime in ’74,” Kaye told the blog Rock Town Hall in 2011. “We’re in the practice room, and Patti wanted to play it. She hit a big E note: boinnnggg! She recited a bit of ‘Jesus died for somebody sins but not mine.’ You know, moving into ‘Gloria’ seemed like a natural progression. Especially when we began, there was not a lot of forethought into what we did.”
From the moment Smith hit that E note, “Gloria” ceased being a cover by the strictest standards. Over half the words in the final version are her own, and even the bits she takes from Van Morrison are often radically rewritten. But this loose approach to covers was nothing new for the band.
Their first single, a cover of Jimi Hendrix’s “Hey Joe” (itself a cover of The Leaves) opened with an extended Patty Hearst monologue. Her regular show-opener was a cover of the Velvet Underground’s “We’re Gonna Have a Real Good Time Together,” whose very few lyrics Smith generously fleshed out with verses of her own. Their other Velvet Underground cover, “Pale Blue Eyes,” had a tendency to sacrilegiously segue into “Louie Louie.” Not to mention, of course, Smith’s profane twists on the Who’s “My Generation.”
“Hey Joe” debut single:
“We’re Gonna Have a Real Good Time Together” cover live:
From the original seed, “Gloria” evolved. Smith began adding new lyrics until only the first six lines of “Oath” remained. They began playing it live in late ’74, where it opened with a bass guitar playing the familiar piano riff, reminiscent of that first bass note inspiration.
First recorded live performance of “Gloria,” 1974:
For a live radio concert in ’75, Smith even used the occasion to put the call out for a drummer, the last missing ingredient in the transition from poetry to rock-and-roll band. After a little self-mythologizing about how the band got together, she reaches the next stage while the band vamps behind her: “So they got together and they looked for a drummer. And I know you’re out there! And I’m waiting for you! And we will go, and the rest will follow! The rest will follow! And oh it will be so good…” and right back into the song. After the show ended, Clive Davis went backstage with the contract for a seven-album deal on his new label Arista. And before long, they added Jay Dee Daugherty on drums.
“Gloria” live on WBAI (w/ call for drummer):
With the Clive Davis deal in place, the band set out to record an album. Going into the studio in August 1975, Smith wanted to keep covers to a bare minimum. “On my record, I’m trying to reveal as much about myself as I can,” she told Crawdaddy around that time.
Some have written that Kaye talked Smith into including “Gloria” on the album, a story he disputes. “Nobody needed convincing because we were all on the same page,” he told Rock Town Hall. However, there was little question this song was closer to his heart than it was hers.
Kaye had been performing the song in its more traditional form since before he met Smith, and has often called it “the national anthem of garage rock” (having released the acclaimed Nuggets compilation a few years prior, he was the undisputed authority on the subject). “To me, ‘Gloria’ is the greatest of them all,” he told author David Todd in 2012. “It’s got a great sense of release, and when it hunkers down on those chords, you can do anything. I can take a solo; you can spout out about the night. It just lends itself to everything.”
Smith didn’t seem to feel as strongly. In her earliest interviews, she constantly mentions a trinity of musical heroes: Jimi Hendrix, Brian Jones, and Jim Morrison. Yet that other Morrison – Van – never comes up, despite, by that point, having proven himself in both the worlds of rock and roll raunch and highbrow poeticisms that Smith herself would draw upon. Nevertheless, Kaye – or good sense – prevailed, and the recording got underway at Hendrix’s Electric Lady studios.
The Horses sessions were contentious. Before they even started, Smith’s first choice of producer got vetoed. “I had lined up another producer first,” she told the Independent in ’95. “I didn’t know anything about producers and just picked Tom Dowd because I admired him. But he was on Atlantic, and Ahmet Ertegun [former head of Atlantic Records] was really against me.”
Smith’s second choice was the Velvet Underground’s John Cale, but once he agreed and the sessions began, she began thinking she’d made a mistake. “My picking John was about as arbitrary as picking Rimbaud [as my favorite poet],” she told Rolling Stone in 1976. “I saw the cover of Illuminations with Rimbaud’s face, y’know, he looked so cool, just like Bob Dylan. So Rimbaud became my favorite poet. I looked at the cover of Fear [Cale’s 1974 solo record] and I said, ‘Now there’s a set of cheekbones.’ The thing is I picked John… in my mind I picked him because his records sounded good. But I hired the wrong guy. All I was really looking for was a technical person.” When she told him this, he reportedly responded, “You bloody fool, you should have picked my engineer!”
Over the month-long recording sessions, they fought over everything, from the band’s cheap instruments (Cale made them buy new ones) to the amount of improvisation – Cale pushed for more, eventually pushing the formerly 4-minute track “Birdland” past the nine-minute mark. The fighting didn’t appear to damage “Gloria,” though, which emerged relatively unchanged from the live versions the band had been playing around town.
The band – Smith, Kaye, Kral, Daugherty, and Sohl playing the studio’s massive grand piano – recorded the track totally live, according to engineer Bernie Kirsch in Mix in 2009. “The band was a live group; they were playing in the clubs and they had the songs down, so when they went in the studio it was mostly a matter of picking which performance was best,” he said. “There were not a lot of fixes I can recall.”
By the time it came to mixing, Cale was gone. “I’m not sure what occurred, but he didn’t complete the project,” Kirsch said. “If I recall, he wasn’t there for most of the mixing. I don’t know what the politics were — it wasn’t in my domain. So I basically took over and did the mix with Patti.”
“It was kept together by a really stable engineer who watched all the shenanigans going on and sort of hung onto it,” a placated Cale said in Sound on Sound in 2006. “Bernie, he was great.”
Horses was released on December 13, 1975, with “Gloria” as the opening track (a month later it was released as a single, backed with a live “My Generation”). The critical reaction was immediate, with plenty of praise (the New York Times called it “extraordinary”) and a few detractors (the Village Voice derisively dubbed it “an ‘art’ statement”). But whatever the reaction to the album, many honed in on “Gloria” in particular.
Perhaps not surprisingly, many focused on the first line of the album, slightly rewritten to “Jesus died for somebody sins, but not mine.” Was this a call to arms for atheism? A reflection of Nietsche’s “God is dead”? Simply your everyday punk-rock provocation?
For anyone following Smith’s career, that attitude wouldn’t have been a surprise. She speaks about rebelling against her strict Jehovah’s Witness upbringing in many early interviews. “My father taught us not to be a pawn in God’s game,” she told Interview in 1973. “He used to blasphemy and swear against God, putting him down. I got that side of me from him. The religious part I guess is from my mother, who is a complete religious fanatic.”
Yet anyone outraged – or even anyone thinking Smith was taking a definitive stand – perhaps missed the sense of humor, the tongue just a little in cheek. In her first-ever interview in 1972, already regularly performing “Oath” live, she told Victor Bockris, “When I say that bad stuff about God or Christ, I don’t mean that stuff. I don’t know what I mean; it’s just it gives somebody a new view, a new way to look at something. I like to look at things from ten or fifteen different angles, you know. So it gives people a chance to be blasphemous through me.”
Smith’s definite statement on the matter may have come thirty years later, when she reflected on “Gloria” to Terry Gross. “People constantly came up to me and said ‘You’re an atheist, you don’t believe in Jesus,’ and I said ‘Obviously I believe in him’… I’m saying that, y’know, that the concept of Jesus, I believe in. I just wanted the freedom. I wanted to be free of him. I was 20 years old when I wrote that, and it was sort my youthful manifesto. In other words I didn’t want to be good, y’know, but I didn’t want him to have to worry about me, or I didn’t want him taking responsibility for my wrongdoings, or my youthful explorations. I wanted to be free. So it’s really a statement about freedom.”
Another focal point for analysis was the song’s unusual gender dynamics. Rather than change genders so she was singing about a boy, she kept Morrison’s original – and expanded upon it with all that “humpin’ on a parking meter” bits. Perhaps inevitably, many took it as a lesbian anthem. It wasn’t. Smith had often written from a male perspective, in her poetry and her lyrics.
“I always enjoyed doing transgender songs,” she told The Observer in 2005. “That’s something I learnt from Joan Baez, who often sang songs that had a male point of view. No, my work does not reflect my sexual preferences, it reflects the fact that I feel total freedom as an artist.”
Besides, she had no reason to write a lesbian anthem. “I tried to make it with a chick once and I thought it was a drag,” she told Bockris. “She was too soft. I like hardness. I like to feel a male chest. I like bone. I like muscle. I don’t like all that soft breast.”
A lot of people had opinions. The obvious question was: What did Van think? If he ever said anything to her privately, Smith hasn’t said. His one public statement on the matter, in a Rolling Stone profile two years later, reveals muted approval.
“Yeah, I’ve heard that,” he said when asked about the cover. “I could even dig that for what it is. It doesn’t floor me like some things. I’m the type of cat that would listen to black soul music or black gospel music… that’s what I would listen to. But if something comes along like what Patti Smith is doing, I have a tendency now to accept it as what it is and get off… it’s just what it is and I enjoy it that way.”
Since then, other artists have been more forthcoming. “The opening to ‘Gloria’ might be one of the greatest moments in American music,” Rage Against the Machine’s Zack de la Rocha said when inducting her into the Rock and Roll Hall of Fame. Johnny Marr called it “a massive influence on me” and said that “she gave new energy to American garage rock.” Even Madonna named her as an inspiration in an HMV ad campaign a few years back.
With Horses having her raised her profile outside of New York, she continued to tour and perform “Gloria” as her regular set closer. Most notably, she performed the song on the first season of Saturday Night Live, supposedly singing the “Jesus died” line right as the stroke of midnight signaled Easter’s arrival. CBGB tuned all their TVs in the bar to Channel 4 so everyone could watch – and earned themselves a shoutout at the performance’s end. The show’s Gilda Radner later got a lot of mileage out of a Patti Smith parody named Candy Slice.
In January 1977, Smith’s relationship with the song changed forever, without her even playing it. Six songs into a show in Tampa opening for Bob Seger, she fell 15 feet off the stage and broke several vertebrae in her neck. After an experience than could have killed her, she began reevaluating “Gloria”‘s message. In fact, she blamed her attitude toward the divine for her injury.
“I fell during ‘Ain’t It Strange’,” she told Melody Maker not long after the accident. “Now all this sounds like mythical bull but it is a truth – just like the guy at Altamont got shot during ‘Under My Thumb,’ I fell just as I was saying ‘hand of God, I feel the finger.’ And I did feel the finger push me right over. It was like, I spend so much time challenging God when I perform and in everything I do… that I feel it was his way of saying, ‘you keep battering against my door and I’m gonna open that door and you’ll fall in.'”
“I did say ‘Jesus died for somebody’s sins but not mine,’ and I still believe that,” she continued. “I wasn’t saying that I didn’t like Christ or didn’t believe in him, just that I wanted to take the responsibility for the things I do… I’m a one-to-one girl and I have always sought to communicate with God through myself. And I feel that was one of the reasons I fell offstage.”
“I think Patti changed [after the fall] and came to grips with her own spirituality and some sort of a spiritual system,” her drummer Jay Dee Daugherty said in punk oral history Please Kill Me. “I think she didn’t feel that way anymore. This is something I’ve not talked to her about, this is my own observation. She was working out some theme of resurrection and corning to a different place.”
When she returned, the song stopped getting played quite as often. Then on September 10, 1979, in Florence, she played her biggest concert ever, her last before a 16-year retirement. For the first time ever, she opened with her usual show-closer: “Gloria.” And she made one dramatic change to reflect her new beliefs. “Jesus died for somebody’s sins,” she sang. “Why not mine?”
“Gloria” live in Florence 1979:
The small change was “a long time coming,” she said about that moment in the Philadelphia City Paper when she reemerged in 1995. “I was very involved with Christianity in my youth and had grown skeptical of church dogma… As I got older, I did more New Testament studying, especially through Passolini. His words were enlightening, portraying Christ as a revolutionary. I reassessed [Jesus Christ] and realized that he gave us the simplest and greatest ideas: to love one another, making God accessible to all men, and giving people a sense of community, that they would never be alone. It’s not reconciliation as much as it is a tip of the hat.”
She didn’t perform it on her comeback tour with Bob Dylan in 1995, but by the following year it was back in the setlist – original line intact.
Smith continues to perform “Gloria” regularly at her concerts in its original form, but she’s lucky she released it when she did. If she tried to get permission now for her quasi-cover, she probably couldn’t.
“You can’t really do that with most songs [anymore], because artists won’t give you the licensing,” she told LA City Beat in 2007. “I developed [a version of] the Prince song ‘When Doves Cry’ and put a biblical verse in the middle of it, and he blocked it. He made me take off the Bible verse, and the Hendrix Foundation does not allow you to put your own poetry on a Jimi Hendrix song.”
On the other hand, maybe such restrictions wouldn’t stop her even today. Because, as she first sang in 1975:
People say “beware!”
But I don’t care
The words are just
Rules and regulations to me, me
--------------------------------------------
Album "Horses"
(C) 2016 Arista Records LLC
The defining album opening track from Smith’s debut, Horses. A re-working of the Van Morrison/Them song
What have the artists said about the song?
In her lyrics collection Complete Smith writes of the song that it came from:
Jesus died for somebody's sinsCrossing the poem ‘Oath,’ written in 1970, with the Van Morrison classic. It was to be the first PSG [Patti Smith Group] single and in the words of writer Paul Williams ‘a declaration of existence.’ ‘Gloria’ gave me the opportunity to acknowledge and disclaim our musical and spiritual heritage. It personifies for me, within its adolescent conceit, what I hold sacred as an artist. The right to create, without apology, from a stance beyond gender or social definition, but not beyond the responsibility to create something of worth.--------------------------------------------
But not mine
Melting in a pot of thieves
Wild card up my sleeve
Thick, heart of stone
My sins my own, they belong to me
Me
People said "Beware"
But I don't care
Their words are just rules and regulations to me
Me
I walk in a room
You know I look so proud
I move in this here atmosphere where
Anything's allowed
And I go to this here party
And I just get bored
Until I look out the window, see a sweet young thing
Humping on a parking meter
Leaning on the parking meter
Oh, she looks so good
Oh, she looks so fine
And I've got this crazy feeling
That I'm going to make her mine
Oh I'll put my spell on her
Here she comes
Walking down the street
Here she comes
Coming through my door
Here she comes
Crawling up my stair
Here she comes
Waltzing through the hall
In a pretty red dress
And oh, she looks so good
Oh, she looks so fine
And I've got this crazy feeling
That I'm going to make her mine
Then I hear this knocking on my door
Hear this knocking on my door
And I look up to the big tower clock
And say, "Oh my God here's midnight"
And my baby is walking through the door
Leaning on my couch
She whispers to me
And I take the big plunge
And oh, she was so good
Oh, she was so fine
And I'm going to tell the world
That I just made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is
G L O R I A
(G L O R I A) Gloria x 4
I was at the stadium
There were two thousand girls
Called their names out to me
Marie, Ruth, but to tell you the truth
I didn't hear them
I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chiming in my heart
Going Ding Dong, Ding Dong
Ding Dong, Ding Dong
Ding Dong, Ding Dong
Ding Dong, Ding Dong
Chiming the time when you came to my room
And you whispered to me and we took the big plunge
And oh, you were so good
Oh, you were so fine
And I've got to tell the world
That I made her mine, made her mine
Made her mine, made her mine
Made her mine, made her mine
G L O R I A (Gloria) x 4
Tower bells chime
Ding Dong, they chime
They're singing
"Jesus died for somebody's sins
But not mine"
Gloria, (G L O R I A)
(repeat to end)
--------------------------------------------
Album "Horses"
Songwriters: RICCA, VINCENZO
Gloria lyrics © Warner/Chappell Music, Inc.
--------------------------------------------
Jesus died for somebody';s sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say 'beware!'
But I don't care
The words are just
Rules and regulations to me, me
I-i walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, 'oh my God here's midnight!'
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is G-l-o-are-i-a
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. you were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria,
G-l-o-are-i-a Gloria
And the tower bells chime, 'ding dong' they chime
They're singing, 'Jesus died for somebody's sins but not mine.'
Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a,
Gloria g-l-o-are-i-a, G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria,
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria,
G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria G-l-o-are-i-a Gloria .
--------------------------------------------
(Live at the Latitude Festival) - in July 2006
--------------------------------------------
Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say "beware!"
But I don't care
The words are just
Rules and regulations to me, me
I-I walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then
I'm gonna ah-ah make her mine
Ooh i'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, "oh my God here's midnight!"
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is,
And her name is G-L-O-R-I-A
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria
I was at the stadium
There were twenty thousand girls
Called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. You were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria
And the tower bells chime, "ding dong" they chime
They're singing, "Jesus died for somebody's sins but not mine."
Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A,
Gloria G-L-O-R-I-A, G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria
G-L-O-R-I-A Gloria G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria,
G-L-O-R-I-A Gloria G-L-O-R-I-A
Gloria G-L-O-R-I-A Gloria
--------------------------------------------
LIVE 1976 (Reelin' In The Years Archive)
--------------------------------------------
Lyrics © Sony/ATV Music Publishing LLC, Warner/Chappell Music, Inc.
--------------------------------------------
Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say 'beware!'
But I don't care
The words are just
Rules and regulations to me, me
I walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knock on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, 'oh my God here's midnight!'
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is G-l-o-are-i-a
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and Ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong, ding dong, ding dong, ding dong.
Ding dong, ding dong, ding dong, ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh you were so good, oh, you were so fine
And I gotta tell the world that I make her mine, make her mine
Make her mine, make her mine, make her mine, make her mine
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria,
G-l-o-are-i-a, Gloria
And the tower bells chime, 'ding dong' they chime
They're singing, 'Jesus died for somebody's sins but not mine.'
Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a,
Gloria, g-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria,
G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria, G-l-o-are-i-a, Gloria
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Patricia Lee Smith was born in Chicago. Her mother, Beverly, was a waitress, and her father, Grant, worked at the Honeywell plant. The family was of Irish heritage. She spent her early childhood in the Germantown neighborhood of Philadelphia,before her family moved to Woodbury, New Jersey. Her mother was a Jehovah's Witness. Patti had a strong religious upbringing and a Bible education, but left organized religion as a teenager because she felt it was too confining; much later, she wrote the line "Jesus died for somebody's sins, but not mine" in her cover version of Them's "Gloria" in response to this experience.
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Paradiso-Amsterdam--25 october 2015
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1976 - Stockholm
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« DREAM OF LIFE » : LE PREMIER FILM SUR PATTI SMITH
ONZE ANS DE TRAVAIL POUR UN FILM DÉJÀ CULTE !
IMAGES CHOC ET ÉMOTION : UNE DÉCHARGE ÉLECTRIQUE
DE CULTURE ROCK
PATTI SMITH
DREAM OF LIFE
Un film de Steven Sebring
Patti Smith (voc,cl)
Lenny Kaye & Oliver Ray (g)
Tony Shanahan (b,voc)
Jay Dee Daugherty (dr)
et la participation d' Allen Ginsberg, Philip Glass
Durée du film : 109 minutes
Date de sortie : 16/10/2008
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on Jools Holland show.
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live concert in florence 10 09 2009
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Sotheby's Benefit Art Auction 3.15.2010
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all'Arezzo Play Festival 01-07-2009
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@ Assembly Rooms - Leamington Spa. 26/03/2010
Lenny Kaye is on acoustic guitar on the right, Tony Shanahan on keyboard.
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12.06.2007, Hamburg, Große Freiheit 36
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(Firenze, P.zza S. Croce - 10.11.2009)
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at the Santa Monica Pier in Santa Monica, CA, on September 3, 2009.
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(live acoustic trio, Parma, cortile della Pilotta)
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at the Lincoln Center 8/25/2008
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O jornalista Roberto Maia e o videomaker Fernando Brandão se infiltram e filtram os arquivos da Information Highway para pinçar fatos e focos relevantes da cultura e da música pop.
Aqui o destaque fica para Patti Smith cujo ultimo disco: TWELVE traz doze clássicos do rock em uma visão pessoal desta genial figura do mundo pop. Nesta edição está o clip : Gloria, gravado em 2007no programa de Jools Holland!
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live performance on Offest festival in Skopje on July 10, 2009.
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Festival Les Déferlantes d'Argelès 2010
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live at Sydney's State Theatre on 11-04-17
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09/03/2009 Santa Monica Pier
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03-13-2017
at the Carnegie Music Hall in Pittsburgh, PA
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album "Horses"
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Jesus died for somebody's sins but not mine
Meltin' in a pot of thieves
Wild card up my sleeve
Thick heart of stone
My sins my own
They belong to me, me
People say 'beware!'
But I don't care
The words are just
Rules and regulations to me, me
I-i walk in a room, you know I look so proud
I'm movin' in this here atmosphere, well, anything's allowed
And I go to this here party and I just get bored
Until I look out the window, see a sweet young thing
Humpin' on the parking meter, leanin' on the parking meter
Oh, she looks so good, oh, she looks so fine
And I got this crazy feeling and then I'm gonna ah-ah make her mine
Ooh I'll put my spell on her
Here she comes
Walkin' down the street
Here she comes
Comin' through my door
Here she comes
Crawlin' up my stair
Here she comes
Waltzin' through the hall
In a pretty red dress
And oh, she looks so good, oh, she looks so fine
And I got this crazy feeling that I'm gonna ah-ah make her mine
And then I hear this knockin' on my door
Hear this knockin' on my door
And I look up into the big tower clock
And say, 'oh my God here's midnight!'
And my baby is walkin' through the door
Leanin' on my couch she whispers to me and I take the big plunge
And oh, she was so good and oh, she was so fine
And I'm gonna tell the world that I just ah-ah made her mine
And I said darling, tell me your name, she told me her name
She whispered to me, she told me her name
And her name is, and her name is, and her name is, and her name is g-l-o-r-i-a
G-l-o-r-i-a gloria g-l-o-r-i-a gloria
G-l-o-r-i-a gloria g-l-o-r-i-a gloria
I was at the stadium
There were twenty thousand girls called their names out to me
Marie and ruth but to tell you the truth
I didn't hear them I didn't see
I let my eyes rise to the big tower clock
And I heard those bells chimin' in my heart
Going ding dong ding dong ding dong ding dong.
Ding dong ding dong ding dong ding dong
Counting the time, then you came to my room
And you whispered to me and we took the big plunge
And oh. you were so good, oh, you were so fine
And I gotta tell the world that I make her mine make her mine
Make her mine make her mine make her mine make her mine
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria,
G-l-o-r-i-a gloria
And the tower bells chime, 'ding dong' they chime
They're singing, 'jesus died for somebody's sins but not mine.'
Gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a,
Gloria g-l-o-r-i-a, g-l-o-r-i-a gloria g-l-o-r-i-a gloria
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria,
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria,
G-l-o-r-i-a gloria g-l-o-r-i-a gloria g-l-o-r-i-a gloria .
--------------------------------------------
@ Paléo 2015
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Live @ Arena, Vienna, Austria
2015-07-14
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(Live Lausanne 2014)
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Paradiso, june 28, 2013
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@ Festival de Nîmes, 2013
Concert aux arènes de Nîmes, le 17 juillet 2013
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au théatre à Charleville-Mézières, 10 novembre 2011
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(Live in Seoul 2.2.2013)
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à la Fête de l' Huma 16-9-2012
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Vieilles Charrues 2004
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at church De Duif in Amsterdam, on june 7, 2011
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en concert à la Fête de l'Humanité 2012
à la Fête d' l'Huma, au Communist National Park de la Courneuve, le 15 septembre 2012.
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Les Ardentes 2012
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7 novembre 2011, Marseille, le Silo.
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Patti returns to Detroit where she lived for 18 years while being married to Fred Smith of the MC5 and played a 2 hour set on September 7, 2013 at the Majestic Theatre.
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21:8 2017 Gröna Lund Stockholm Sweden
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17 Nov 2011
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live, 1975.
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Concert de Patti Smith le 7 novembre 2011 au Silo (Marseille, FR).
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2012 Detroit Institute of Arts Premier Show BANGA tour & release
On June 1, 2012, Patti Smith, backed by her children Jesse and Jackson Smith, performs "Gloria" from album "Horses." Watch as Patti braids her hair, spits, and rocks it out in this live concert footage.
Smith is slated to tour the UK & Germany in the summer of 2012. Her next stop is the June 23 Bergen Festival. Her next US show is in November in Boston followed by Madison Square Garden in November 2012.
This show took place at the Detroit Institute of Arts and included the opening of "Camera Solo," an exhibition of her photographs, and the installation of her late husband, Fred Sonic's guitar into the museum's collection. The exhibit runs through September 2, 2012 at the Museum and is Patti's first photographic exhibition.
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Stockholm Music & Arts Festival, Stockholm 2012.08.03
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Patti Smith
Gloria (In Excelsis Deo)
Μουσική-Στίχοι: Van Morrison, Additional Lyrics: Patti Smith
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ΣΥΝΕΧΕΙΑ στην ανάρτηση Νο 1881
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