我在騎車的時候,打開了自己習慣的音樂播放軟體,當時就播了這首歌,聽她唱第一句,這個人的音色也太特別了,有種不是正統美國腔的發音,然後進入到副歌,她音色搭配著bass,跟鼓,太好聽了吧!
馬上回家製作這首歌的Cover,也是我第一次以英文的方式cover歌曲,還有填詞英文的RAP,也是想挑戰自己,除了經由cover讓不同的族群看見我,也是想從中繼續努力學習關於歌唱或是饒舌,希望你們會喜歡不一樣的我。
RAP的歌詞提到,我是亞洲人,亞洲人好像在國外人的眼中,就是『害羞』其實我們不是害羞,因為從小整個環境就告訴我們要懂得『禮義廉恥』以及尊重別人,所以更希望讓國外人知道這是我們的文化,也是我們迷人的地方。
近期希望在影片加入一些舞蹈,你們覺得可以嗎?
有什麼歌推薦也可以告訴我,喜歡幫我分享下去!謝謝。
According to information on the Internet, Tones And I, a 19-year-old super female newcomer from Australia, has been smashed by Dance Monkey. Recently, Dance Monkey has won the 12-week championship on the Australian Singles Chart (ARIA). Also stayed on the Irish Singles Chart (IRMA) for an eight-week championship, breaking the unprecedented record in both places. The UK Chart has a good three-week championship. It is followed by Lil Nas. After X), the most highly regarded newcomers.
When I was cycling, I turned on the music playing software I used to. I broadcast the song at the time and listened to her singing the first sentence. This person’s voice is too special. There is a kind of pronunciation that is not the orthodox American cavity, and then enters. To the chorus, her tone is matched with bass, with the drum, so nice!
Going home to make the song of Cover, it is also my first time to cover songs in English, as well as RAP in English. I also want to challenge myself. In addition to letting different groups see me through cover, I also want to continue to work hard to learn about it. Singing or rap, I hope you will like me differently.
The lyrics of RAP mentioned that I am Asian. Asians seem to be "shy" in the eyes of foreigners. In fact, we are not shy, because we have to tell us that we have to respect the others, so we hope to let the country Outsiders know that this is our culture and our charming place.
I hope to add some dances to the film in the near future. Do you think it is ok?
Any song recommendation can also tell me, like to help me share it! Thank you.
-
#張家瑋 #鬥牛 #GAWII #DanceMonkey #TonesAndI #DanceMonkeycover
同時也有11部Youtube影片,追蹤數超過100萬的網紅MrYang楊家成,也在其Youtube影片中提到,歌词: The day when I was seventeen, I joined a challenge Star also have training so short only for one year Remember Four bro, Fa bro, I see them alread...
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- 關於old songs english lyrics 在 YOSHITOMO NARA Facebook 的精選貼文
- 關於old songs english lyrics 在 MrYang楊家成 Youtube 的最讚貼文
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old songs english lyrics 在 渡辺レベッカ Rebecca Watanabe Facebook 的最讚貼文
(English and lyrics below)
明けましておめでとうございます!動画をアップするのがかなり久しぶりになりました。加えて、昨夏、予期せず水泳しちゃったとき(つまり「カヌー転覆事故」)に、いつも使っていたビデオカメラが他界してしまったので、新しいカメラを購入して画質の向上を図ってみましたが、いかがでしょうか。
2019年の初動画として、あいみょん「君はロックを聴かない」を英語で歌ってみました。この歌の解釈については、ある男性の視点から描かれたストーリーで、好意を寄せている年下の女性に対し、青春の頃聴いていた音楽やレコードを紹介する形で、お互いの距離を縮めようと努力する恋愛をイメージして訳しました。Enjoy♪
Hello all! It's been a while since I've uploaded a video, but I'm back for the new year and with a new camera to boot, since the other one met its untimely demise during an accidental evening swim (i.e. canoeing incident).
I'm starting the year with an English version of "Kimi wa rokku wo kikanai" (You don't listen to rock) by female Japanese singer-songwriter Aimyon, who gained a lot of popularity last year and appeared for the first time on Kohaku (popular Japanese end-of-year music program) this year. It wasn't with this particular song, but this one is apparently the fan favorite, which I can certainly understand. I plan to get to some of her other songs as well.
This song is from the perspective of a man (which is common for Aimyon) who is introducing a younger love interest to the music that he grew up with, hoping that it will bring them closer together.
Enjoy!
~♪~♪~♪~♪~♪~
歌詞/LYRICS
~♪~♪~♪~♪~♪~
You look a little lonely and a little blue
Come here and let me play this song for you
Follow my lead and clap in time
To this simple little surprise
I’ll give it everything that I have
Upon the dusty record spinning round and round
Lost dreams from long ago are dancing now
I drop the needle with a solemn touch
You don't need to hold your breath so much
Come over and have a seat with me
The rhythm of my youth with a warm pleasant crackle starts to play
And we can dance to the cool and laid back melody
And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
Saw me through the aches and joys of love
My heart is palpitating in time with the beat
A steady BPM of 190
Can you hear it pounding loud?
Why are you smiling at me now?
Until my eyes start shifting bashfully
The rhythm of my youth carries on like everything is the same
As I look into your eyes and the air starts to change
And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow a little closer to me
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
That once upon a time I fell in love to
And even though I know that rock-n-roll ain’t what you listen to
I just want for you to grow to love me like I love you
Even though I know that rock-n-roll ain’t what you’re used to hearin’
These old tunes are the ones I know, melodies that helped me grow
And now that make me ache with love again
君はロックなんか聴かないと思いながら
kimi wa rokku nanka kikanai to omoi-nagara
少しでも僕に近づいてほしくて
sukoshi demo boku ni chikazuite hoshikute
ロックなんか聴かないと思うけれども
rokku nanka kikanai to omou keredomo
僕はこんな歌であんな歌で
boku wa kon'na uta de an'na uta de
恋を乗り越えてきた
koi wo nori-koete kita
恋を乗り越えてきた
koi wo nori-koete kita
https://youtu.be/vZGc1_u_H7o
old songs english lyrics 在 YOSHITOMO NARA Facebook 的精選貼文
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
old songs english lyrics 在 MrYang楊家成 Youtube 的最讚貼文
歌词:
The day when I was seventeen, I joined a challenge
Star also have training so short only for one year
Remember Four bro, Fa bro, I see them already
Later become big star so crazy
Twenty-nine years old get award
The fans so excited
They come to listen to my love song
Lyrics so classy
All my shake voice, fake voice, training already
So the slow song will not go die
Likey me, don't hide face
Let other people see
Come on try
Put some feeling into lyrics
副歌:
Sing love song
Everybody sing
Everyday I remember the fans applauses
I sing love love
From start to ending
If I cry cry it's ok no troube
If the people change slowly
Every song is a new face
【說好不哭】Jay Chou Cover 英語版 | 如果中文歌用中式英語唱...
https://www.youtube.com/watch?v=QpEJkavCViQ
【翻唱】中式英語版演員聽過嗎 l 如果把中文歌翻譯成中式英語 l Ep1
https://youtu.be/aIkCuGezrNo
(English Version)【Mojito】Jay Chou Cover 英語版 Mojito 翻唱 - 周杰倫
https://youtu.be/JzOkqmIoVJw
《安靜 Silence》英文版 Cover:周杰倫 https://youtu.be/7oIyZvsnkI0
==================================================
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Business Email: 908178063@qq.com
old songs english lyrics 在 This is Tina Youtube 的最讚貼文
2019 TOP HIT SONGS - BAD GUY + THANK U, NEXT +Señorita + OLD TOWN ROAD
♡ LIKE & SUBSCRIBE & RING THE BELL If you enjoyed my video ➡️ https://www.youtube.com/channel/UC0ejzproowNwUwOLbWkZY1Q?sub_confirmation=1
SAY HI TO ME ON
Instagram : @sweettinapotato ➡️www.instagram.com/sweettinapotato
LYRICS ( ENGLISH + CHINESE)
BAD GUY - BILLIE EILISH
White shirt now red, my bloody nose
我的鼻血把我的白襯衫染紅了
Sleepin', you're on your tippy toes
當你睡著時,你踮著你的腳尖
Creepin' around like no one knows
我躡手躡腳地走到你的身邊,好似沒有人知道一樣
Think you're so criminal
覺得你是一個作惡多端的人
Bruises on both my knees for you
獻上我雙膝上的瘀青
Don't say thank you or please
不要說謝謝或是拜託
I do what I want when I'm wanting to
我就是隨心所欲的那種人
My soul? So cynical
我的體內存在著憤世忌俗的靈魂
[Chorus]
So you're a tough guy
所以你是個難搞的人
Like it really rough guy
好像又是個粗魯的人
Just can't get enough guy
一個永遠無法滿足的人
Chest always so puffed guy
永遠把胸膛鼓得很大的人
I'm that bad type
我就是那種壞壞的類型
Make your mama sad type
會讓你媽媽傷心的類型
Make your girlfriend mad type
讓你的女友發瘋的類型
Might seduce your dad type
可能還會誘惑你爸的類型
I'm the bad guy
我就是壞蛋
Duh
THANK U, NEXT - ARIANA GRANDE
Thought I'd end up with Sean
我曾經覺得我會和Big Sean互訂終生
But he wasn't a match
但後來才發現他和我並不配
Wrote some songs about Ricky
寫了一些關於Ricky Alvarez的情歌
Now I listen and laugh
但現在我聽來卻覺得好笑
Even almost got married
即便我差點就結婚了
And for Pete, I'm so thankful
對於Pete Davidson,我仍然非常感激
Wish I could say, "Thank you" to Malcolm
我多麼希望我可以和Mac Miller道謝
'Cause he was an angel
因為他現在已經活在天堂了
[Pre-Chorus]
One taught me love
一個讓我知道什麼是愛
One taught me patience
一個讓我有了耐心
And one taught me pain
一個讓我徹底體會到傷痛
Now, I'm so amazing
現在,我已經變得和以前不一樣了
I've loved and I've lost
曾經愛過也曾經失去過
But that's not what I see
但我並不把這些看作失敗
So, look what I got
所以,看看我成長了多少
Look what you taught me
看看你們教會了我什麼
And for that, I say
對於你們給我們一切,我要說
[Chorus]
Thank you, next (Next)
謝謝你,下一位(下一位)
Thank you, next (Next)
謝謝你,下一位(下一位)
Thank you, next
謝謝你,下一位
I'm so fuckin' grateful for my ex
我對我的前男友真的太感激了
Thank you, next (Next)
謝謝你,下一位(下一位)
Thank you, next (Next)
謝謝你,下一位(下一位)
Thank you, next (Next)
謝謝你,下一位(下一位)
I'm so fuckin'—
我真的是太感謝了
Señorita - SHAWN MENDES , CAMILA CABELLO
I love it when you call me señorita
我喜歡你用西班牙文叫我小姐的時候
I wish I could pretend I didn't need ya
我多麼希望我能夠假裝自己不需要你
But every touch is ooh-la-la-la
但每一次你撫摸我的時候
It's true, la-la-la
那感覺都是如此地真實
Ooh, I should be runnin'
噢,我應該要遠離你的
Ooh, you keep me coming for ya
噢,但你又讓我不知不覺投入你的懷抱
Land in Miami
來到了邁阿密
The air was hot from summer rain
夏日午後的大雨讓暑氣蒸騰
Sweat drippin' off me
我開始汗如雨下
Before I even knew her name, la-la-la
在我知道她的名字之前
It felt like ooh-la-la-la, yeah, no
我就能感受到難以言喻的美妙感覺
Sapphire and moonlight, we danced for hours in the sand
如同藍寶石和月光般美好,我們在沙灘上共舞了好幾小時
Tequila sunrise, her body fit right in my hands, la-la-la(註2)
如同調酒”龍舌酒日出”般熱情,我的手徹底摸透了她身體的曲線
It felt like ooh-la-la-la, yeah
讓我有種很微妙的感覺
OLD TOWN ROAD - Lil NAX X
Yeah, I'm gonna take my horse to the old town road
我將騎著我的馬兒到老鎮街區
I'm gonna ride 'til I can't no more
直到筋疲力盡
I'm gonna take my horse to the old town road
我將騎著我的馬兒到老鎮街區
I'm gonna ride 'til I can't no more
直到筋疲力盡
I got the horses in the back
我準備好了
Horse tack is attached
馬兒也整裝待發
Hat is matte black
戴著消光黑牛仔帽
Got the boots that's black to match
再搭配黑色的靴子
Ridin' on a horse, ha
我騎我的馬兒 哈
You can whip your Porsche
你開你的保時捷
I been in the valley
雖然我現在處境低落
You ain't been up off that porch, now
但我也不屑和你往來
Can't nobody tell me nothin'
沒有人能影響我的決心
You can't tell me nothin'
你也不能動搖我
Can't nobody tell me nothin'
沒有人能影響我的決心
You can't tell me nothin'
你也不能動搖我
Ridin' on a tractor
我開著拖拉機
Lean all in my bladder
喝著嗨嗨水(紫飲料)
Cheated on my baby
背著我的情人出軌
You can go and ask her
你可以去探望她
My life is a movie
我的人生像場電影
Bull ridin' and boobies
享受著騎公牛和乳房
Cowboy hat from Gucci
戴著*Gucci牛仔帽
(*Gucci並沒有賣牛仔帽)
Wrangler on my booty
穿著*Wrangler的牛仔褲
(*Wrangler是牛仔褲的品牌)
Can't nobody tell me nothin'
沒有人能影響我的決心
You can't tell me nothin'
你也不能動搖我
Can't nobody tell me nothin'
沒有人能影響我的決心
You can't tell me nothin'
你也不能動搖我
Yeah, I'm gonna take my horse to the old town road
我將騎著我的馬兒到老鎮街區
I'm gonna ride 'til I can't no more
old songs english lyrics 在 Dd tai Youtube 的最佳解答
Adeste Fideles
“O Come, All Ye Faithful” (originally written in Latin as Adeste Fideles) is a Christmas carol which has been attributed to various authors, including John Francis Wade (1711–1786), with the earliest copies of the hymn all bearing his signature, John Reading (1645–1692) and King John IV of Portugal (1604–1656).
The original four verses of the hymn were extended to a total of eight, and these have been translated into many languages. The English translation of “O Come, All Ye Faithful” by the English Catholic priest Frederick Oakeley, written in 1841, is widespread in most English speaking countries. The present harmonization is from the English Hymnal (1906).
O Tannenbaum:
It is a German Christmas song. Based on a traditional folk song, it became associated with the Christmas tree by the early 20th century and sung as a Christmas carol.
Jingle Bells:
One of the best-known and commonly sung American Christmas songs in the world. It was written by James Lord Pierpont (1822–1893) and published under the title “One Horse Open Sleigh” in the autumn of 1857.
White Christmas
It is an Irving Berlin song reminiscing about an old-fashioned Christmas setting. According to the Guinness World Records, the version sung by Bing Crosby is the best-selling single of all time, with estimated sales in excess of 50 million copies worldwide.
Winter Wonderland
Silent Night
“Silent Night” (German: Stille Nacht, heilige Nacht) is a popular Christmas carol, composed in 1818 by Franz Xaver Gruber to lyrics by Joseph Mohr in the small town of Oberndorf bei Salzburg, Austria. It was declared an intangible cultural heritage by UNESCO in March 2011.
Sleigh Ride:
It is a popular light orchestral piece composed by Leroy Anderson. The composer had the original idea for the piece during a heat wave in July 1946; he finished the work in February 1948. Though it was originally an instrumental piece, lyrics, about a person who would like to ride in a sleigh on a winter’s day with another person, were written by Mitchell Parish in 1950.
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歌曲
White Christmas
演出者
José Carreras;Plácido Domingo;Luciano Pavarotti
Writers
Irving Berlin
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); UMPI, UMPG Publishing, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, ASCAP, BMG Rights Management, LatinAutor, LatinAutor - UMPG, Concord Music Publishing與 9 個音樂版權協會
歌曲
Let It Snow
演出者
José Carreras;Plácido Domingo;Luciano Pavarotti
Writers
Sammy Cahn, Jule Styne
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, UMPG Publishing, CMRRA, PEDL, Concord Music Publishing, LatinAutor - Warner Chappell, Warner Chappell, BMG Rights Management, LatinAutor, UMPI, ARESA與 13 個音樂版權協會
歌曲
O Tannenbaum
演出者
José Carreras;Plácido Domingo;Luciano Pavarotti
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); Sony ATV Publishing, UMPG Publishing, SODRAC, UMPI與 18 個音樂版權協會
歌曲
Carol of the Drum (The Little Drummer Boy)
演出者
José Carreras;Plácido Domingo
Writers
Katherine Davis
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); UMPI, Sony ATV Publishing, PEDL, LatinAutor, CMRRA, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, EMI Music Publishing, LatinAutor - Warner Chappell與 6 個音樂版權協會
歌曲
Jingle Bells
演出者
José Carreras, Plácido Domingo, Luciano Pavarotti
專輯
Christmas All Over The World
Writers
Frank Farian
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); SODRAC, PEDL, UMPG Publishing, Sony ATV Publishing, Public Domain Compositions與 11 個音樂版權協會
歌曲
Adeste Fideles
演出者
José Carreras;Luciano Pavarotti
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); Public Domain Compositions, LatinAutor - UMPG, SODRAC, LatinAutor, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, Sony ATV Publishing與 11 個音樂版權協會
歌曲
Cantique de nöel (O Holy Night)
演出者
Plácido Domingo;Luciano Pavarotti
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); EMI Music Publishing, Sony ATV Publishing, SODRAC, ASCAP, Public Domain Compositions與 14 個音樂版權協會
歌曲
Amazing Grace
演出者
José Carreras;Plácido Domingo;Luciano Pavarotti
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); LatinAutor, EMI Music Publishing, ASCAP, Public Domain Compositions, LatinAutor - SonyATV, UMPI與 15 個音樂版權協會
歌曲
Winter Wonderland
演出者
José Carreras;Plácido Domingo;Luciano Pavarotti
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); LatinAutor, LatinAutor - Warner Chappell, PEDL, EMI Music Publishing, Sony ATV Publishing, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM, AMRA, Warner Chappell與 11 個音樂版權協會
歌曲
Sleigh Ride
演出者
José Carreras;Plácido Domingo;Luciano Pavarotti
Writers
Anderson Leroy, Mitchell Parish
授權 YouTube 的內容擁有者:
SME (代表Sony Classical); LatinAutor - SonyATV, Warner Chappell, EMI Music Publishing, SOLAR Music Rights Management, LatinAutor, CMRRA, UNIAO BRASILEIRA DE EDITORAS DE MUSICA - UBEM與 6 個音樂版權協會
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