![]() Tell me more about me, you, us Tell me you love me, baby More than I trust And I just want to know: How do you feel аbout uѕ Right now? Let me tell you one thing, baby It may change your all thoughts about us And you won't need to worry again, too So, let me tell you if you're ready Hear me out, baby: let's go crazy I have something that you're looking for And that is love Love Love We thought we'd be back pretty soon but never did And distance between you and me gets so damn more I want to buy a land a thousand miles away From the city that I've never even chosen I think the reason why is all because of people Who treat you like a fool and make you wonder for the reason Now is the time I am passing by the streets And the places that we used to go to I shout it from the hills up high I've nothing – only tears to cry If I ever learn again to feel the way I did I'll die from the emotions that I kept down for years, baby I don't know if I'm someone or someone is me I'm running from the fate and I'm giving up my dream I'm carrying all the pain And the sorrow that's in vain All the games you think I play Are my ways of staying sane Tell me more about me, you, us Tell me you love me, baby More than I trust And I just want to know: How do you feel about us Right now? In fact, the scat has never really left us: it lies dormant in the “-ella’’ of Rihanna’s Umbrella, in Jessie J’s chaotic, meme-ready vocal freestyles, and in the nightmarish refrain of Baby Shark.Your call has been forwarded to an automatic voice message system Please record your messageĪh, I don't know where you are Or what you're up to I kinda miss you girl right now You know, the old days and stuff? I want you to be here, with me Just call me back when you get this message okay? It is a tradition that has been continued by the likes of Al Jarreau and Don’t Worry Be Happy singer Bobby McFerrin. Vocal powerhouses Ella Fitzgerald and Sarah Vaughan transitioned from verse to scat solos in their songs, employing their liquid vocal skill to rival their backing bands. The song’s ensuing popularity saw scatting incorporated into Armstrong’s performances, while contemporaries such as Duke Ellington used scat sections as the core for compositions such as his Creole Love Call. His 1926 recording of the tune Heebie Jeebies saw Armstrong employ his signature baritone growl for a vocal improvisation. It was not until the godfather of New Orleans jazz, Louis Armstrong, came along that scatting became a popular pursuit. ![]() Historically a cornerstone of the jazz singer’s repertoire, the earliest recorded examples are thought to be found in a scratchy 1911 portion of the ragtime singer Gene Greene’s King of the Bungaloos – a chaotic segment that veers from bouncy monosyllables to a gravelly Popeye impression – or Al Jolson’s That Haunting Melody, which gives the scat a more languorous tone. ![]()
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