Be-Bop Tango 歌词
| 歌曲 | Be-Bop Tango |
| 歌手 | Frank Zappa |
| 专辑 | The Yellow Shark |
| 下载 | Image LRC TXT |
| 作词 : Zappa | |
| Some of you may know that the tango, | |
| Which is not a very popular dance anymore, | |
| Was at one time reputed to be a dance of unbridled passion. | |
| Back in the old days when it wasn't so easy to get your rocks off, | |
| When it was hard to make contact with a member of the opposite camp | |
| And you had to resort to things like dancing close together | |
| And going hey... | |
| Those were the days. | |
| Well those days are probably gone forever, | |
| I don't know, | |
| Unless Nixon is going to bring them back a little bit later. | |
| But we have this very special highly evolved permutated tango. | |
| It's actually a perverted tango. | |
| By the time... | |
| Yes, it's so perverted! | |
| This is the | |
| Be-Bop Tango, | |
| A special entertainment event that includes choreography a little bit later, so watch out folks... | |
| You can turn on the big lights, we may need 'em. | |
| You know, the ones in the audience. | |
| Heh heh. Okay, 're you ready? | |
| Not too fast now 'cause | |
| I wanna get the right notes on the tape ' | |
| N' this, this has to be the one. | |
| This has to be the one with all the right notes on it. | |
| Okay, 're you ready? | |
| This is a hard one to play. | |
| One two three four... | |
| The cowbell as a symbol of unbridled passion, ladies and gentlemen. | |
| Now, as you might have noticed, | |
| Bruce Fowler has just completed some sort of trombone solo, | |
| Based on the-ah, idea of an evolved tango-event. | |
| Bruce has also prepared for you a demonstration of a dance | |
| That he hopes will sweep the ocean right after the | |
| Mud Shark did. | |
| Bruce is now warming up the important muscles of the body, | |
| In preparation...in preparation for the real live | |
| Be-Bop Tango | |
| Which we're gonna demonstrate. | |
| Napoleon will assist him. | |
| Napoleon just put your horn down, | |
| Just relax, | |
| Put your head back, | |
| Here comes the drill. | |
| Okay, heh heh heh, you know what | |
| I'm talkin' about? | |
| Okay. This is sort of like jazz in it's own peculiar way. | |
| Jazz is not dead, it just smells funny! | |
| Okay, let's go! | |
| Yeah man, jazz man, you know what | |
| I mean? This is | |
| Be-Bop, Even though you think it doesn't sound like that. | |
| Be-Bop! Now, as you might have noticed, | |
| Some of you with a musical education | |
| Can tell that the notes that | |
| George just sang when he went: "This is Be-Bop, even though you think it doesn't sound like that", | |
| Is actually a sort of a twisted form of the theme of the tango itself | |
| Which will get even more depraved as the number goes on. | |
| George will now attempt to dismember that melody, | |
| Play it and sing it at the same time while... | |
| Tu-dup. Hey, that's the way! | |
| While we sort of dance to it. | |
| Okay, try it | |
| George. Tu-dup, tu-dee... | |
| Oh yeah! As | |
| I was saying. | |
| Now, what we'd like to do at this point | |
| Is get some volunteers from the audience to... | |
| I know you will, oh | |
| God you will... | |
| We need some...heh heh heh... | |
| Now, as a matter of fact you did, didn't you... | |
| No, we wanna have some people who've never tried it bef ore, | |
| Who've never even thought of trying it before. | |
| A boy, a girl, preferably who like each other, | |
| Who would like to come up here and attempt to dance to what | |
| George sings. | |
| Do we have anybody who is...you're one. | |
| Okay, what's your name? | |
| Carl. Your name is | |
| Carl? Please | |
| Carl step on to the stage. | |
| Pleased to meet you | |
| Carl. Alright. | |
| Okay? Let's see-ah, is there anybody in the, in the back? | |
| Where...oh-oh, hey! | |
| What's your name? | |
| Rick. Rick, and? | |
| Jane. Rick and | |
| Jane and Carl! | |
| Alright, here's how it works: | |
| There's a beat going on like this; | |
| That's a pedestrian beat. | |
| You don't dance to that beat, | |
| You dance to what | |
| George sings, okay? | |
| The little ones, okay? | |
| The little quick ones, okay? | |
| Ready? George, make them dance! | |
| Dup. No no | |
| Rick, you're too reserved. | |
| Ready? Give it to 'em | |
| George! Tu-dup, tu-dup pu-dee-da... | |
| No no, come on now, loosen up. | |
| Listen, encourage them! | |
| When it... | |
| Ah! Okay! | |
| Alright, one more time: dance! | |
| Tu-dup, du-dee-da... | |
| Let's study this phenomenon. | |
| Tu-duppy-dup-pu-dee-da... | |
| Now look, | |
| Rick and Jane and | |
| Carl, You're, you're wonderful but you're just too reserved. | |
| I still can... | |
| I know you will, maybe in a minute. | |
| Okay, I'll t-tell you what: | |
| Go back to your seats and we'll bring up the next batch. | |
| Okay? Carl, | |
| Rick and Jane! | |
| Alright, you wanna try...? | |
| Anything you say | |
| Frank! Oh my | |
| God! Alright, you're name is | |
| Lana, right? | |
| Lana dance! | |
| Du-dup-dee-dup... | |
| Now that's more like it. | |
| Du-dup-dee-dup... | |
| Lana, you're so good we have to bring up some other people to assist you. | |
| Brenda, imported from | |
| Edward's Air | |
| Force Base, where she... | |
| Ladies and gentlemen, | |
| Brenda... | |
| Brenda is a professional harlot | |
| And she just got finished stripping for a bunch of guys at | |
| Edward's Air | |
| Force Base, | |
| And she made it down here in time for the show. | |
| Two hours of taking it off for the boys in the car, really good. | |
| Okay. Heh. | |
| Brenda, Brenda has a lovely assistant named | |
| Carl, Or Robert | |
| James Davis if you prefer. | |
| Herb Cohen, ladies and gentlemen! | |
| Okay, dance! | |
| Du-du-dip... | |
| You're still too adagio, | |
| I keep telling you! | |
| Du-dup-du-dee-da... | |
| Turn on the bubble machine! | |
| Dup-dee-da, dup-dee-da... | |
| God, is that a cheap bubble-machine! | |
| Bow, du-du-du-du-du-da... | |
| Ladies and gentlemen: | |
| Don's ex-wife! | |
| Ladies and gentlemen, | |
| You're probably sitting in your chairs, | |
| Saying to yourselves: | |
| I could do that. | |
| And of course you can! | |
| And now is your big chance! | |
| All you have to do, | |
| The first step is easy, | |
| All you gotta do is stand up. | |
| Go ahead, just stand up. | |
| There you go, you are standing up. | |
| Yes, some of you are not standing up | |
| But you won't have as much fun as the ones who are standing up. | |
| Okay, turn on the big lights so everybody can see what's going on. | |
| Yes, very many of you are standing up. | |
| Okay, link your mind with the mind of | |
| George Duke! | |
| And when... | |
| Du-dup... | |
| That's it! | |
| When he plays those funny fast little notes, | |
| Twitch around and have a good time with the | |
| Be-Bop Tango, | |
| Let's try it! | |
| Anything you wanna do is alright. | |
| You gotta do anything you wanna do, it's alright. | |
| Yes you got to know you came to the right place, tonight. (Give me some of that wine now). | |
| As you might have guessed, ladies and gentlemen, | |
| This is the end of our concert. | |
| We like to thank you ver... | |
| Wanna thank you very much for coming. | |
| Hope you had a good time. | |
| Bruce Fowler on trombone, | |
| Napoleon Murphy | |
| Brock on tenor sax and lead vocals, | |
| Ruth Underwood on percussion, | |
| Ralph Humphrey on drums, | |
| Chester Thompson on drums, | |
| Tom Fowler on bass | |
| And George | |
| Duke on the keyboards. | |
| Thank you very much. | |
| Alright, alright... |
| zuo ci : Zappa | |
| Some of you may know that the tango, | |
| Which is not a very popular dance anymore, | |
| Was at one time reputed to be a dance of unbridled passion. | |
| Back in the old days when it wasn' t so easy to get your rocks off, | |
| When it was hard to make contact with a member of the opposite camp | |
| And you had to resort to things like dancing close together | |
| And going hey... | |
| Those were the days. | |
| Well those days are probably gone forever, | |
| I don' t know, | |
| Unless Nixon is going to bring them back a little bit later. | |
| But we have this very special highly evolved permutated tango. | |
| It' s actually a perverted tango. | |
| By the time... | |
| Yes, it' s so perverted! | |
| This is the | |
| BeBop Tango, | |
| A special entertainment event that includes choreography a little bit later, so watch out folks... | |
| You can turn on the big lights, we may need ' em. | |
| You know, the ones in the audience. | |
| Heh heh. Okay, ' re you ready? | |
| Not too fast now ' cause | |
| I wanna get the right notes on the tape ' | |
| N' this, this has to be the one. | |
| This has to be the one with all the right notes on it. | |
| Okay, ' re you ready? | |
| This is a hard one to play. | |
| One two three four... | |
| The cowbell as a symbol of unbridled passion, ladies and gentlemen. | |
| Now, as you might have noticed, | |
| Bruce Fowler has just completed some sort of trombone solo, | |
| Based on theah, idea of an evolved tangoevent. | |
| Bruce has also prepared for you a demonstration of a dance | |
| That he hopes will sweep the ocean right after the | |
| Mud Shark did. | |
| Bruce is now warming up the important muscles of the body, | |
| In preparation... in preparation for the real live | |
| BeBop Tango | |
| Which we' re gonna demonstrate. | |
| Napoleon will assist him. | |
| Napoleon just put your horn down, | |
| Just relax, | |
| Put your head back, | |
| Here comes the drill. | |
| Okay, heh heh heh, you know what | |
| I' m talkin' about? | |
| Okay. This is sort of like jazz in it' s own peculiar way. | |
| Jazz is not dead, it just smells funny! | |
| Okay, let' s go! | |
| Yeah man, jazz man, you know what | |
| I mean? This is | |
| BeBop, Even though you think it doesn' t sound like that. | |
| BeBop! Now, as you might have noticed, | |
| Some of you with a musical education | |
| Can tell that the notes that | |
| George just sang when he went: " This is BeBop, even though you think it doesn' t sound like that", | |
| Is actually a sort of a twisted form of the theme of the tango itself | |
| Which will get even more depraved as the number goes on. | |
| George will now attempt to dismember that melody, | |
| Play it and sing it at the same time while... | |
| Tudup. Hey, that' s the way! | |
| While we sort of dance to it. | |
| Okay, try it | |
| George. Tudup, tudee... | |
| Oh yeah! As | |
| I was saying. | |
| Now, what we' d like to do at this point | |
| Is get some volunteers from the audience to... | |
| I know you will, oh | |
| God you will... | |
| We need some... heh heh heh... | |
| Now, as a matter of fact you did, didn' t you... | |
| No, we wanna have some people who' ve never tried it bef ore, | |
| Who' ve never even thought of trying it before. | |
| A boy, a girl, preferably who like each other, | |
| Who would like to come up here and attempt to dance to what | |
| George sings. | |
| Do we have anybody who is... you' re one. | |
| Okay, what' s your name? | |
| Carl. Your name is | |
| Carl? Please | |
| Carl step on to the stage. | |
| Pleased to meet you | |
| Carl. Alright. | |
| Okay? Let' s seeah, is there anybody in the, in the back? | |
| Where... ohoh, hey! | |
| What' s your name? | |
| Rick. Rick, and? | |
| Jane. Rick and | |
| Jane and Carl! | |
| Alright, here' s how it works: | |
| There' s a beat going on like this | |
| That' s a pedestrian beat. | |
| You don' t dance to that beat, | |
| You dance to what | |
| George sings, okay? | |
| The little ones, okay? | |
| The little quick ones, okay? | |
| Ready? George, make them dance! | |
| Dup. No no | |
| Rick, you' re too reserved. | |
| Ready? Give it to ' em | |
| George! Tudup, tudup pudeeda... | |
| No no, come on now, loosen up. | |
| Listen, encourage them! | |
| When it... | |
| Ah! Okay! | |
| Alright, one more time: dance! | |
| Tudup, dudeeda... | |
| Let' s study this phenomenon. | |
| Tuduppyduppudeeda... | |
| Now look, | |
| Rick and Jane and | |
| Carl, You' re, you' re wonderful but you' re just too reserved. | |
| I still can... | |
| I know you will, maybe in a minute. | |
| Okay, I' ll ttell you what: | |
| Go back to your seats and we' ll bring up the next batch. | |
| Okay? Carl, | |
| Rick and Jane! | |
| Alright, you wanna try...? | |
| Anything you say | |
| Frank! Oh my | |
| God! Alright, you' re name is | |
| Lana, right? | |
| Lana dance! | |
| Dudupdeedup... | |
| Now that' s more like it. | |
| Dudupdeedup... | |
| Lana, you' re so good we have to bring up some other people to assist you. | |
| Brenda, imported from | |
| Edward' s Air | |
| Force Base, where she... | |
| Ladies and gentlemen, | |
| Brenda... | |
| Brenda is a professional harlot | |
| And she just got finished stripping for a bunch of guys at | |
| Edward' s Air | |
| Force Base, | |
| And she made it down here in time for the show. | |
| Two hours of taking it off for the boys in the car, really good. | |
| Okay. Heh. | |
| Brenda, Brenda has a lovely assistant named | |
| Carl, Or Robert | |
| James Davis if you prefer. | |
| Herb Cohen, ladies and gentlemen! | |
| Okay, dance! | |
| Dududip... | |
| You' re still too adagio, | |
| I keep telling you! | |
| Dudupdudeeda... | |
| Turn on the bubble machine! | |
| Dupdeeda, dupdeeda... | |
| God, is that a cheap bubblemachine! | |
| Bow, dudududududa... | |
| Ladies and gentlemen: | |
| Don' s exwife! | |
| Ladies and gentlemen, | |
| You' re probably sitting in your chairs, | |
| Saying to yourselves: | |
| I could do that. | |
| And of course you can! | |
| And now is your big chance! | |
| All you have to do, | |
| The first step is easy, | |
| All you gotta do is stand up. | |
| Go ahead, just stand up. | |
| There you go, you are standing up. | |
| Yes, some of you are not standing up | |
| But you won' t have as much fun as the ones who are standing up. | |
| Okay, turn on the big lights so everybody can see what' s going on. | |
| Yes, very many of you are standing up. | |
| Okay, link your mind with the mind of | |
| George Duke! | |
| And when... | |
| Dudup... | |
| That' s it! | |
| When he plays those funny fast little notes, | |
| Twitch around and have a good time with the | |
| BeBop Tango, | |
| Let' s try it! | |
| Anything you wanna do is alright. | |
| You gotta do anything you wanna do, it' s alright. | |
| Yes you got to know you came to the right place, tonight. Give me some of that wine now. | |
| As you might have guessed, ladies and gentlemen, | |
| This is the end of our concert. | |
| We like to thank you ver... | |
| Wanna thank you very much for coming. | |
| Hope you had a good time. | |
| Bruce Fowler on trombone, | |
| Napoleon Murphy | |
| Brock on tenor sax and lead vocals, | |
| Ruth Underwood on percussion, | |
| Ralph Humphrey on drums, | |
| Chester Thompson on drums, | |
| Tom Fowler on bass | |
| And George | |
| Duke on the keyboards. | |
| Thank you very much. | |
| Alright, alright... |
| zuò cí : Zappa | |
| Some of you may know that the tango, | |
| Which is not a very popular dance anymore, | |
| Was at one time reputed to be a dance of unbridled passion. | |
| Back in the old days when it wasn' t so easy to get your rocks off, | |
| When it was hard to make contact with a member of the opposite camp | |
| And you had to resort to things like dancing close together | |
| And going hey... | |
| Those were the days. | |
| Well those days are probably gone forever, | |
| I don' t know, | |
| Unless Nixon is going to bring them back a little bit later. | |
| But we have this very special highly evolved permutated tango. | |
| It' s actually a perverted tango. | |
| By the time... | |
| Yes, it' s so perverted! | |
| This is the | |
| BeBop Tango, | |
| A special entertainment event that includes choreography a little bit later, so watch out folks... | |
| You can turn on the big lights, we may need ' em. | |
| You know, the ones in the audience. | |
| Heh heh. Okay, ' re you ready? | |
| Not too fast now ' cause | |
| I wanna get the right notes on the tape ' | |
| N' this, this has to be the one. | |
| This has to be the one with all the right notes on it. | |
| Okay, ' re you ready? | |
| This is a hard one to play. | |
| One two three four... | |
| The cowbell as a symbol of unbridled passion, ladies and gentlemen. | |
| Now, as you might have noticed, | |
| Bruce Fowler has just completed some sort of trombone solo, | |
| Based on theah, idea of an evolved tangoevent. | |
| Bruce has also prepared for you a demonstration of a dance | |
| That he hopes will sweep the ocean right after the | |
| Mud Shark did. | |
| Bruce is now warming up the important muscles of the body, | |
| In preparation... in preparation for the real live | |
| BeBop Tango | |
| Which we' re gonna demonstrate. | |
| Napoleon will assist him. | |
| Napoleon just put your horn down, | |
| Just relax, | |
| Put your head back, | |
| Here comes the drill. | |
| Okay, heh heh heh, you know what | |
| I' m talkin' about? | |
| Okay. This is sort of like jazz in it' s own peculiar way. | |
| Jazz is not dead, it just smells funny! | |
| Okay, let' s go! | |
| Yeah man, jazz man, you know what | |
| I mean? This is | |
| BeBop, Even though you think it doesn' t sound like that. | |
| BeBop! Now, as you might have noticed, | |
| Some of you with a musical education | |
| Can tell that the notes that | |
| George just sang when he went: " This is BeBop, even though you think it doesn' t sound like that", | |
| Is actually a sort of a twisted form of the theme of the tango itself | |
| Which will get even more depraved as the number goes on. | |
| George will now attempt to dismember that melody, | |
| Play it and sing it at the same time while... | |
| Tudup. Hey, that' s the way! | |
| While we sort of dance to it. | |
| Okay, try it | |
| George. Tudup, tudee... | |
| Oh yeah! As | |
| I was saying. | |
| Now, what we' d like to do at this point | |
| Is get some volunteers from the audience to... | |
| I know you will, oh | |
| God you will... | |
| We need some... heh heh heh... | |
| Now, as a matter of fact you did, didn' t you... | |
| No, we wanna have some people who' ve never tried it bef ore, | |
| Who' ve never even thought of trying it before. | |
| A boy, a girl, preferably who like each other, | |
| Who would like to come up here and attempt to dance to what | |
| George sings. | |
| Do we have anybody who is... you' re one. | |
| Okay, what' s your name? | |
| Carl. Your name is | |
| Carl? Please | |
| Carl step on to the stage. | |
| Pleased to meet you | |
| Carl. Alright. | |
| Okay? Let' s seeah, is there anybody in the, in the back? | |
| Where... ohoh, hey! | |
| What' s your name? | |
| Rick. Rick, and? | |
| Jane. Rick and | |
| Jane and Carl! | |
| Alright, here' s how it works: | |
| There' s a beat going on like this | |
| That' s a pedestrian beat. | |
| You don' t dance to that beat, | |
| You dance to what | |
| George sings, okay? | |
| The little ones, okay? | |
| The little quick ones, okay? | |
| Ready? George, make them dance! | |
| Dup. No no | |
| Rick, you' re too reserved. | |
| Ready? Give it to ' em | |
| George! Tudup, tudup pudeeda... | |
| No no, come on now, loosen up. | |
| Listen, encourage them! | |
| When it... | |
| Ah! Okay! | |
| Alright, one more time: dance! | |
| Tudup, dudeeda... | |
| Let' s study this phenomenon. | |
| Tuduppyduppudeeda... | |
| Now look, | |
| Rick and Jane and | |
| Carl, You' re, you' re wonderful but you' re just too reserved. | |
| I still can... | |
| I know you will, maybe in a minute. | |
| Okay, I' ll ttell you what: | |
| Go back to your seats and we' ll bring up the next batch. | |
| Okay? Carl, | |
| Rick and Jane! | |
| Alright, you wanna try...? | |
| Anything you say | |
| Frank! Oh my | |
| God! Alright, you' re name is | |
| Lana, right? | |
| Lana dance! | |
| Dudupdeedup... | |
| Now that' s more like it. | |
| Dudupdeedup... | |
| Lana, you' re so good we have to bring up some other people to assist you. | |
| Brenda, imported from | |
| Edward' s Air | |
| Force Base, where she... | |
| Ladies and gentlemen, | |
| Brenda... | |
| Brenda is a professional harlot | |
| And she just got finished stripping for a bunch of guys at | |
| Edward' s Air | |
| Force Base, | |
| And she made it down here in time for the show. | |
| Two hours of taking it off for the boys in the car, really good. | |
| Okay. Heh. | |
| Brenda, Brenda has a lovely assistant named | |
| Carl, Or Robert | |
| James Davis if you prefer. | |
| Herb Cohen, ladies and gentlemen! | |
| Okay, dance! | |
| Dududip... | |
| You' re still too adagio, | |
| I keep telling you! | |
| Dudupdudeeda... | |
| Turn on the bubble machine! | |
| Dupdeeda, dupdeeda... | |
| God, is that a cheap bubblemachine! | |
| Bow, dudududududa... | |
| Ladies and gentlemen: | |
| Don' s exwife! | |
| Ladies and gentlemen, | |
| You' re probably sitting in your chairs, | |
| Saying to yourselves: | |
| I could do that. | |
| And of course you can! | |
| And now is your big chance! | |
| All you have to do, | |
| The first step is easy, | |
| All you gotta do is stand up. | |
| Go ahead, just stand up. | |
| There you go, you are standing up. | |
| Yes, some of you are not standing up | |
| But you won' t have as much fun as the ones who are standing up. | |
| Okay, turn on the big lights so everybody can see what' s going on. | |
| Yes, very many of you are standing up. | |
| Okay, link your mind with the mind of | |
| George Duke! | |
| And when... | |
| Dudup... | |
| That' s it! | |
| When he plays those funny fast little notes, | |
| Twitch around and have a good time with the | |
| BeBop Tango, | |
| Let' s try it! | |
| Anything you wanna do is alright. | |
| You gotta do anything you wanna do, it' s alright. | |
| Yes you got to know you came to the right place, tonight. Give me some of that wine now. | |
| As you might have guessed, ladies and gentlemen, | |
| This is the end of our concert. | |
| We like to thank you ver... | |
| Wanna thank you very much for coming. | |
| Hope you had a good time. | |
| Bruce Fowler on trombone, | |
| Napoleon Murphy | |
| Brock on tenor sax and lead vocals, | |
| Ruth Underwood on percussion, | |
| Ralph Humphrey on drums, | |
| Chester Thompson on drums, | |
| Tom Fowler on bass | |
| And George | |
| Duke on the keyboards. | |
| Thank you very much. | |
| Alright, alright... |
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