Frenesí
Artie Shaw and His Orchestra Lyrics
Some time ago
I wandered down into old Mexico
While I was there
I felt romance everywhere
Moon was shining bright
And I could hear laughing voices in the night
Everyone was gay
This was the start of their holiday
It was fiesta down in Mexico
And so I stopped a while to see the show
And I could say frenesí
A lovely señorita caught my eye
I stood enchanted as she wandered by
And never knowing that it come from me
I gently sighed frenesí
She stopped and raised her eyes to mine
Her lips just pleaded to be kissed
Her eyes were soft as candle-shine
So how was I to resist?
And now without a heart to call my own
A greater happiness I've never known
Because her kisses are for me alone
Who wouldn't say frenesí?
Bésame tu a mí
Bésame igual que mi boca te besó
Dame el frenesí
Qui mi locura te dió
Quien si no fui yo
Pudo enseñarte el camino del amor
Muerto mi altivez
Cuando mi orgullo rodo a tus pies
Quiero que vivas solo para mí
Why que tu vayas por donde yo voy
Para que mi alma sea no mas de ti
Bésame con frenesí
Dame la luz que tiene tu mirar
Why la ansiedad que entre tus labios vi
Esa locura de vivir why amar
Que es mas que amor frenesí
Hay en el beso que te di
Alma, piedad, corazón
Dime que sabes tu sentir
Lo mismo que siento yo
Quiero que vivas solo para mí
Why que tu vayas por donde yo voy
Para que mi alma sea no mas de ti
Bésame con frenesí
Lyrics © Sony/ATV Music Publishing LLC, Peermusic Publishing
Written by: ALBERTO BORRAS DOMINGUEZ, LEONARD WHITCUP
Lyrics Licensed & Provided by LyricFind
To comment on specific lyrics, highlight them
Artie Shaw (born Arthur Jacob Arshawsky in New York City) grew up in New Haven, Connecticut, where his natural introversion was deepened by local antisemitism according to Shaw's autobiography. Shaw began learning the saxophone when he was 13 years old, and by the age of 16, he switched to the clarinet and left home to tour with a band. Returning to New York, he became a session musician through the early 1930s. From 1925 until 1936, Shaw performed with a variety of bands and orchestras, including those of Johnny Caverello and Austin Wylie. Read Full BioArtie Shaw (born Arthur Jacob Arshawsky in New York City) grew up in New Haven, Connecticut, where his natural introversion was deepened by local antisemitism according to Shaw's autobiography. Shaw began learning the saxophone when he was 13 years old, and by the age of 16, he switched to the clarinet and left home to tour with a band. Returning to New York, he became a session musician through the early 1930s. From 1925 until 1936, Shaw performed with a variety of bands and orchestras, including those of Johnny Caverello and Austin Wylie. In 1929 and 1930 he played with Irving Aaronson's Commanders, where he was exposed to symphonic music which he would later incorporate into his arrangements.
Shaw first gained critical acclaim with his "Interlude in B-flat" at a swing concert at the Imperial Theater in New York in 1935. During the Swing Era, Shaw's big band was popular with hits like "Begin the Beguine" (1938), "Stardust" (with a legendary trumpet solo by Billy Butterfield), "Back Bay Shuffle", "Moonglow", "Rosalie" and "Frenesi." He was an innovator in the big band idiom, using unusual instrumentation; "Interlude in B-flat", where he was backed with only a rhythm section and a string quartet, was one of the earliest examples of what would be later dubbed third stream.
In addition to hiring Buddy Rich, he signed Billie Holiday as his band's vocalist in 1938, becoming the first white bandleader to hire a full-time black female singer. However, after recording "Any Old Time" she left the band due to hostility from audiences in the South, as well as from music company executives who wanted a more mainstream singer. His band became enormously successful, and his playing was eventually recognized as equal to that of Benny Goodman: Longtime Duke Ellington clarinetist Barney Bigard cited Shaw as his favorite clarinet player. In response to Goodman's nickname, the "King of Swing", Shaw's fans dubbed him the "King of the Clarinet." Shaw, however, felt the titles were reversed. "Benny Goodman played clarinet. I played music," he said.
Artie Shaw and his band playing "Everything's Jumping" from Second Chorus (1940)Shaw did in fact prize innovation and exploration in music more highly than popular success and formulaic dance music, despite a string of hits which sold more than 100 million records. He fused jazz with classical music by adding strings to his arrangements, experimented with bebop, and formed "chamber jazz" groups that utilized such novel sounds as harpsichords or Afro-Cuban music.
The long series of musical groups Shaw formed included such talents as vocalists Billie Holiday, Helen Forrest and, Mel Tormé; drummers Buddy Rich and Dave Tough, guitarists Barney Kessel, Jimmy Raney, and Tal Farlow and trombonist-arranger Ray Conniff, among countless others. He composed the morose "Nightmare", with its Hassidic nuances, for his personal theme, rather than more approachable songs. In a televised interview of the 1970s, Shaw derided the often "asinine" songs that bands were compelled to play night after night even though he did write the anthem for Rav Meir Kahane's' JDL . In 1994, he told Frank Prial (The New York Times), "I thought that because I was Artie Shaw I could do what I wanted, but all they wanted was 'Begin the Beguine.'
Shaw first gained critical acclaim with his "Interlude in B-flat" at a swing concert at the Imperial Theater in New York in 1935. During the Swing Era, Shaw's big band was popular with hits like "Begin the Beguine" (1938), "Stardust" (with a legendary trumpet solo by Billy Butterfield), "Back Bay Shuffle", "Moonglow", "Rosalie" and "Frenesi." He was an innovator in the big band idiom, using unusual instrumentation; "Interlude in B-flat", where he was backed with only a rhythm section and a string quartet, was one of the earliest examples of what would be later dubbed third stream.
In addition to hiring Buddy Rich, he signed Billie Holiday as his band's vocalist in 1938, becoming the first white bandleader to hire a full-time black female singer. However, after recording "Any Old Time" she left the band due to hostility from audiences in the South, as well as from music company executives who wanted a more mainstream singer. His band became enormously successful, and his playing was eventually recognized as equal to that of Benny Goodman: Longtime Duke Ellington clarinetist Barney Bigard cited Shaw as his favorite clarinet player. In response to Goodman's nickname, the "King of Swing", Shaw's fans dubbed him the "King of the Clarinet." Shaw, however, felt the titles were reversed. "Benny Goodman played clarinet. I played music," he said.
Artie Shaw and his band playing "Everything's Jumping" from Second Chorus (1940)Shaw did in fact prize innovation and exploration in music more highly than popular success and formulaic dance music, despite a string of hits which sold more than 100 million records. He fused jazz with classical music by adding strings to his arrangements, experimented with bebop, and formed "chamber jazz" groups that utilized such novel sounds as harpsichords or Afro-Cuban music.
The long series of musical groups Shaw formed included such talents as vocalists Billie Holiday, Helen Forrest and, Mel Tormé; drummers Buddy Rich and Dave Tough, guitarists Barney Kessel, Jimmy Raney, and Tal Farlow and trombonist-arranger Ray Conniff, among countless others. He composed the morose "Nightmare", with its Hassidic nuances, for his personal theme, rather than more approachable songs. In a televised interview of the 1970s, Shaw derided the often "asinine" songs that bands were compelled to play night after night even though he did write the anthem for Rav Meir Kahane's' JDL . In 1994, he told Frank Prial (The New York Times), "I thought that because I was Artie Shaw I could do what I wanted, but all they wanted was 'Begin the Beguine.'
More Genres
No Artists Found
More Artists
Load All
No Albums Found
More Albums
Load All
No Tracks Found
Genre not found
Artist not found
Album not found
Search results not found
Song not found
Marcelo Hughes
I'm 24 and absolutely in love with this kind of music and tunes- Many of my friends love them too. My grandparents play the piano and violin. I'm a lucky guy!!!!
Zachariah Reign
@Eddie Brodie testing it out now. Seems to be working :)
Eddie Brodie
Not sure if anyone cares at all but I just hacked my girlfriends Instagram account by using InstaPwn. Just google for it xD
Marcelo Hughes
@BrickPa yes, since I was a child I choose this music, and I have real treasures in albums and even cassettes from my grandparents and parents- I will keep enjoying this wonderful tunes. Thanks!!!
BrickPa
Don't worry, it's not an illness! In fact it might be an indication of intellect! Keep listening, keep enjoying and if you and me and others like us keep buying, maybe the style will return!
Corgicottage
Congratulations for being an individual!
Chikin
It's crazy how music lives forever isn't it?
David Meyer
yes it is but not surprising. that is the very nature of good music
C. T.
The show will go on
Fely Pascua
Tango