Tom’s Diner. Suzanne Vega. Track 1 on Solitude Standing. Produced by. Steve Addabbo & Lenny Kaye. Vega originally wrote “Tom’s Diner” in 1982 and it found its first release in 1984 on a Suzanne Vega was really just the author of a track used as a TEST ITEM for MP3 file format development, but even just a circumstance like that is grounds for me repeating myself talking about Suzanne Vega's importance. but it was Karlheinz Brandenberg who was the genius audio engineer who actually developed this MP3 file format. Tom's Diner. „ Tom's Diner “ je píseň americké zpěvačky Suzanne Vega o newyorském dineru. Vydána byla v roce 1987 na jejím druhém albu Solitude Standing: desku otevírá verze a cappella a uzavírá ji instrumentální podoba téže skladby. Roku 1991 vyšlo několik verzí písně v podání různých hudebníků na albu Tom's Album. 🔥 Suzanne Vega - Tom's Diner (CHAAP Tech Edit) 🔥📥 Get your copy here : https://bit.ly/3APD9x4 CHAAP : ️ https://soundcloud.com/chaapofficial ️ https://www DNA Featuring Suzanne Vega - Tom's Diner (Remix)Remix - Alan CoulthardfromD.N.A.* Featuring Suzanne Vega ‎– Tom's Diner (Remix)Label:A&M Records ‎– AMX 592Fo Become A Better Singer In Only 30 Days, With Easy Video Lessons! I am sitting In the morning At the diner On the corner I am waiting At the counter For the man To pour the coffee And he fills it Only halfway And before I even argue He is looking Out the window At somebody Coming in "It is always Nice to see you" Says the man Behind the counter Grab your free download of Tom's Diner (Mario Eddie X Vandal Steve VIP Mix) by Suzanne Vega, DNA on Hypeddit [Verse 2] "It is always nice to see you" Says the man behind the counter To the woman who has come in She is shaking her umbrella And I look the other way As they are kissing their hellos And I'm Genre: Minimal HouseMusic: Suzanne Vega - Toms Diner (Neight Remix) #Minimal #MinimalHouse #Rave Enjoy and subscribe for more ;) Tom’s Diner with a quiet start, later a guitar that ‘gently weeps’ and a slide overdubI was incredibly happy and surprised to win 1st place in Furch guitars rxr9N9m. Suzanne Vega's catchy tune has made her "Mother of the MP3" -- though it took a while. Vega wrote "Tom's Diner" as an a cappella song way back in 1982. By 1984 it has been released on an obscure folk compilation, and didn't appear on Vega's studio albums until 1987's Solitude Standing. In 1990, the song was remixed by The DNA Disciples, adding a danceable beat and instrumentation -- this version hit the Billboard Hot 100, peaking at #5 in the what does this have to do with MP3? Well, after its release in 1987 audiophiles began using Vega's a cappella track to test speaker systems for clarity. It was considered a good, warm recording of a human voice -- something that could reveal flaws in an audio setup. Working at the Fraunhofer Society in Germany in the 90's, audio engineer Karl-Heinz Brandenburg was hard at work developing the MP3 audio compression scheme. Brandenburg used Vega's a cappella version of "Tom's Diner" to tune the compression system, playing the track before and after compression was applied to tell whether MP3 sounded good enough. He figured Vega's song would be a tough track to compress (as it was already favored by audiophiles), and would be a good test for whether MP3 was really listenable. Although many audiophiles ended up hating MP3, Brandenburg seems to have done pretty well for himself -- MP3 became an incredibly popular technology. On the choice of "Tom's Diner," Brandenburg recalled: "I was ready to fine-tune my compression algorithm...somewhere down the corridor, a radio was playing 'Tom's Diner.' I was electrified. I knew it would be nearly impossible to compress this warm a cappella voice."In last week's New York Times, Vega reminisced about the song and her career as a "two-hit wonder" (the other hit was "Luka"). From her article:So Mr. Brandenberg gets a copy of the song, and puts it through the newly created MP3. But instead of the "warm human voice" there are monstrous distortions, as though the Exorcist has somehow gotten into the system, shadowing every phrase. They spend months refining it, running "Tom's Diner through the system over and over again with modifications, until it comes through clearly. "He wound up listening to the song thousands of times," the article, written by Hilmar Schmundt, continued, "and the result was a code that was heard around the world. When an MP3 player compresses music by anyone from Courtney Love to Kenny G, it is replicating the way that Brandenburg heard Suzanne Vega." So goes the legend. The reason I know what that MP3 originally sounded like is that last year I was invited to the Fraunhofer Institute in Erlangen, Germany, where I met the team of engineers who worked on the project — including Mr. Brandenberg, who I had met once before at the launch of the Mobile Music Forum in Cannes in 2001. All the men are obviously intelligent, but Karl-Heinz is a character. He stands out, because he looks like a mad scientist. His hair and tie always look as if they have been blown askew in a stiff wind, and he taps the tips of his fingers together constantly, smiling the rest for one artist's thoughts on her nearly thirty-year career in music -- and the unexpected resonance of a song scribbled on paper back in 1982. Tom's Diner I am sitting in the morningAt the diner on the cornerI am waiting at the counterFor the man to pour the coffeeAnd he fills it only halfwayAnd before I even argueHe is looking out the windowAt somebody coming inIt is always nice to see youSays the man behind the counterTo the woman who has come inShe is shaking her umbrellaAnd I look the other wayAs they are kissing their hellosAnd I'm pretending not to see themInstead I pour the milkI open up the paperThere's a story of an actorWho had died while he was drinkingIt was no one I had heard ofAnd I'm turning to the horoscopeAnd looking for the funniesWhen I'm feeling someone watching meAnd so I raise my headThere's a woman on the outsideLooking inside, does she see me?No, she does not really see me'Cause she sees her own reflectionAnd I'm trying not to noticeThat she's hitching up her skirtAnd while she's straightening her stockingsHer hair is getting wetOh, this rain, it will continueThrough the morning as I'm listeningTo the bells of the cathedralI am thinking of your voiceAnd of the midnight picnicOnce upon a timeBefore the rain beganI finish up my coffeeAnd it's time to catch the train Restaurante do Tom Estou sentada de manhãNa lanchonete da esquinaEstou esperando no balcãoPara o homem servir o caféE ele enche somente até a metadeE antes de eu sequer argumentarEle está olhando pela janelaPara alguém entrandoÉ sempre um prazer te verDiz o homem por trás do balcãoPara a mulher que tinha entradoEla está agitando seu guarda-chuvaE eu olho para o outro ladoEnquanto eles se cumprimentam com beijosE eu estou fingindo que não estou vendo-osEm vez disso eu sirvo o leiteEu abro o jornalHá uma história de um atorQue tinha morrido enquanto ele bebiaNão era alguém que eu já tinha ouvido falar sobreE estou folheando para o horóscopoE procurando pelas histórias em quadrinhosQuando estou sentindo alguém me observarEntão eu ergo a minha cabeçaHá uma mulher do lado de foraOlhando para dentro, será que ela me vê?Não, ela realmente não me vêPorque ela vê seu próprio reflexoE estou tentando não perceberQue ela está levantando a sua saiaE enquanto ajeita suas meiasSeu cabelo está ficando molhandoOh, essa chuva, ela vai continuarPela manhã enquanto eu ouçoOs sinos da catedralE estou pensando em sua vozE do piquenique à meia-noiteEra uma vezAntes da chuva começarEu termino meu caféE é hora de pegar o trem I am sittingin the morningat the dineron the corneri am waitingat the counterfor the manto pour the coffeeand he fills itonly halfwayand beforei even arguehe is lookingout the windowat somebodycoming init is alwaysnice to see yousays the manbehind the counterto the womanwho has come inshe is shakingher umbrellaand i lookthe other wayas they are kissingtheir hellosi'm pretendingnot to see themand insteadi pour the milki openup the paperthere's a storyof an actorwho had diedwhile he was drinkingit was no onei had heard ofand i'm turningto the horoscopeand lookingfor the funnieswhen i'm feelingsomeone watching meand soi raise my headthere's a womanon the outsidelooking insidedoes she see me?no she does notreally see mecause she seesher own reflectionand i'm tryingnot to noticethat she's hitchingup her skirtand while she'sstraightening her stockingsher hairhas gotten wetoh, this rainit will continuethrough the morningas i'm listeningto the bellsof the cathedrali am thinkingof your voiceand of the midnight picniconce upon a timebefore the rain begani finish up my coffeeit's timeto catch the train Losy muzycznych klasyków bywają kręte. W tym przypadku powstał oryginał, potem bootleg, który prześcignął popularnością oryginał. Do tej pory nie przedstawialiśmy historii „Tom’s Dinner”, który doczekał się teraz najnowszego odświeżenia formacji Twelve i pod nowym tytułem „Twelve – You Can Have Me (If You Want Me)”. Ten charakterystyczny motyw i melodię Tom’s Dinner zna prawie każdy, bo co jakiś czas powraca. Dwa lata temu powstała na przykład wersja pt.”Sweet & Bitter” Kush Kush feat. Marta Gałuszewska. Niżej piszemy o losach oryginału, a tu polecamy waszej uwadze wersję ad 2020 formacji Twelve, która tez ma inny tytuł niż oryginał. Nazywa się „You Can Have Me (If You Want Me)” Tajemnicza formacja Twelve już kolejny raz serwuje nam adaptację starego hitu. Wcześniej było to „I Think She Knows” z repertuaru Justina Timberlake. Porównajmy to z oryginałem, a może z dwoma, choć dziwnie brzmi sformułowanie „dwa oryginały”. Dlaczego? Wyjaśniamy dalej. „Tom’s Diner ” to piosenka napisana w 1982 roku przez amerykańską piosenkarkę i autorkę tekstów Suzanne Vega . Po raz pierwszy został wydany jako utwór w magazynie Fast Folk Musical Magazine ze stycznia 1984 roku . Kiedy po raz pierwszy pojawił się na jednym z jej własnych albumów studyjnych, pojawił się jako pierwszy utwór z jej albumu „Solitude Standing” z 1987 roku . Został później użyty jako podstawa do remixu przez brytyjską grupę DNA w 1990 roku, który osiągnął numer 1 w Austrii, Niemczech, Grecji i Szwajcarii. W 1990 roku dwóch brytyjskich producentów DNA zremiksowało „Tom’s Diner”, zaszczepiając wokal Vegi w taneczny rytm z Soul II Soul („ Keep On Movin ’ ”) i zmieniając jej proste zakończenie – „Da da da duh, doo da-doo doo”. Ponieważ w tym czasie niemożliwe było umieszczenie całej piosenki w samplerze, więc spędzali wieczory i weekendy, wycinając wokale Vegi na małe kawałki. Bez jej zgody, jej wytwórni płytowej lub wydawcy, duet wydał remiks w ograniczonym zakresie do dystrybucji w klubach jako „Oh Suzanne” zespołu „DNA featuring Suzanne Vega”. A&M – wytwórnia Vegi finalnie wypuściła oficjalnie remiks zamiast pozywać DNA do sądu za naruszenie praw autorskich. Ostatecznie, jak pokazał czas, remiks stał się znacznie większym hitem niż oryginał, który pierwotnie osiągnął 2 miejsce na UK Singles Chart i numer 5 na US Billboard Hot 100. Natomiast wersja z DNA osiągnęła pierwsze miejsce w Austrii, Niemczech, Grecji i Szwajcarii.