I listened again to that song
And discovered for years I got it wrong
I put my trust in words misheard
Proving to the cool kids I was a nerd
So now I shall listen more carefully
Paying attention to lyrics and not just melody
Padre
Music
Chart Topper
It is popular – a real hit
Personally I like it
Well just a bit
While the beat was not my thing
The melody is pleasant
And easy to sing
Others however, think it tops
I guess that why they call it pop
Padre
Yodel
Musical tastes over the years
Brought various changes to what we hear
In Country and Western of bygone days
It seems the yodel was all the craze
Roy Rogers, the Delmores, and Jimmie Rodgers too
Thought that yodelling was quite the thing to do
From tenor to falsetto at a rapid rate
They let their voices oscillate
Padre
Wrappers
When eating sweets or crisps for that matter
What’s to be done with the wrapper?
That thing once used is oft discarded
We don’t keep hold – but with it soon are parted
Wrappers are things we throw away
We don’t want them for yet another day
And so I often remind my tutees
That with their music they should do their duty
For when it comes to the rappers of today
We should be sure to throw the rubbish away
Padre
Flash Mob
It wasn’t really so much a flash mob as it was a flash presence. It had sounded a great idea when the local orchestral society had discussed doing it.
“What about Bolero?” Heidi had suggested.
“Wonderful choice,” Peter replied and they were off. They spent the next three rehearsals going over and over the same piece.
Finally the appointed day arrived, and Heidi was off early to plot out her seat at the airport. Twenty minutes later Tom Weaver showed up as well and the pair waited for the rest of the orchestra to arrive. They waited. They waited some more.
Finally, they started to play the piece the best they could in the domestic departure lounge. The show must go on they reasoned, though they were quite annoyed at the others.
Meanwhile, a enthralled crowed enjoyed the “spontaneous” rendition of Bolero which was played by nearly an entire orchestra in international arrivals.
Padre
To Never Learn
Jim Adams’ challenge is to “select two songs and discuss some type of relevant association between them.” I have chosen to go with Gordon Lightfoot’s Protocol and Smith and Sinclair’s Again.
Lightfoot’s Protocol is from his 1976 Summertime Dream album which reached at Number 1 in Canada and Number 12 on the US Billboard chart. The sond goes through a list of several catagories of people who make fatal decisions, such as sea captains and generals who seek “mermaid’s tale” or victory all at too great a cost. By following “Protocol” lessons never seem to be learned and the cycle continues.
Lyrics:
Who are these ones who would lead us now
To the sound of a thousand guns
Who’d storm the gates of hell itself
To the tune of a single drum?
Where are the girls of the neighborhood bars
Whose loves were lost at sea
In the hills of France and on German soil
From Saigon to Wounded Knee?
Who come from long lines of soldiers
Whose duty was fulfilled
In the words of a warrior’s will
And protocol
Where are the boys in their coats of blue
Who flew when their eyes were blind?
Was God in town for the Roman games
Was he there when the deals were signed?
Who are the kings in their coats of mail
Who rode by the cross to die?
Did they all go down into worthiness?
Is it wrong for a king to cry?
And who are these ones who would have us now
Whose presence is concealed
Whose nature is revealed
In a time bomb?
Last of all you old sea dogs
Who travel after whale
You’d storm the gates of hell itself
For the taste of a mermaid’s tail
Who come from long lines of skippers
Whose duty was fulfilled
In the words of a warrior’s will
And protocol
Source: LyricFind
Songwriters: Gordon Lightfoot
Protocol lyrics © Warner Chappell Music, Inc
Again is from Songs For The Betrayed World which reflects on and furthers awareness of the Holocaust. The song is haunting and asks key questions, and like Lightfoot’s song in a list. The song notes that “you said Dachau would never happen again . . . since then Mỹ Lai, since then [the killing fields] Kampuchea, since then ethic cleansing and paralysis.”
I could not find a printed copy of the full lyrics of the song, but a listen will clearly show the parallels with Protocol, and that we never learn from our darkest deeds.
Padre
Misty in the Lift
Jim Adams has challenged us to write about backgound or “elevator” music. One piece that I have liked, and that I have heard as instrumental background music is “Misty.” Ella Fitzgerald’s version is wonderful and calming. I have attached it to this post. I wasn’t able to get a true “elevator” version to play alongside it, but I have linked the composer’s version below:
The song (piece) was written in 1954 by pianist Erroll Garne as an instrumental. The lyrics were added a few years later and it was performed by Johnny Mathis reaching number 12 in the US. It has also been recorded Ella Fitzgerald (as attached) and Frank Sinatra.
Lyrics:
Thank you
I thank you so much
Look at me, I’m as helpless as a kitten up a tree
And I feel like I’m clingin’ to a cloud
I can’ t understand
I get misty, just holding your hand
Walk my way
And a thousand violins begin to play
Or it might be the sound of your hello
That music I hear
I get misty, whenever you’re near
You can’t see that you’re leading me on?
And it’s just what I want you to do
Don’t you notice how hopelessly I’m lost
That’s why I’m following you
On my own
When I wander through this wonderland alone
Never knowing my right foot from my left
My hat from my glove
I’m too misty, and too much in love
Too misty
And too much
In love
Look at meSource: Musixmatch
Songwriters: Garner Erroll / Burke Johnny
Misty lyrics © Octave-music Publishing Corp., Octave Music Publishing Corp., Reganesque Music Company, Marke-music Publishing Co., Inc., Octave Music Publ Corp, Marke-music Publishing Co Inc
Padre
Danke schoen . . . Auf wiedersehen
Jim Adams’ challenge this week is to write about a song that has words that express different ways of saying goodbye. I recently rewatched Ferris Bueller’s Day Off which contained Wayne Newton’s version of Bert Kaempfert’s song Danke Schoen. The version reached number13 on Billboard‘s pop chart, and third on the easy listening chart. It’s place in the 1986 movie was a spring back in the song’s popularity as well. Auf wiedersehen and thank you.
Lyrics:
Danke schoen, darling, danke schoen
Thank you for all the joy and pain
Picture shows, second balcony
Was the place we’d meet
Second seat, go Dutch treat, you were sweet
Danke schoen, darling, danke schoen
Save those lies, darling don’t explain
I recall Central Park in fall
How you tore your dress
What a mess, I confess, that’s not all
Danke schoen, darling, danke schoen
Thank you for walks down Lover’s Lane
I can see hearts carved on a tree
Letters intertwined for all time
Yours and mine, that was fine
Danke schoen, darling, danke schoen
Thank you for seeing me again
Though we go on our separate ways
Still the memory stays for always
My heart says danke schoen
Danke schoen, oh darling, danke schoen
I said thank you for, hmm, seeing me again
Though we go on our separate ways
Still the memory stays for always
My heart says danke schoen
Danke schoen, auf wiedersehen
Danke schoen
Source: LyricFind
Songwriters: Bert Kaempfert / Kurt Schwabach / Milt GablerDanke Schoen lyrics © Sony/ATV Music Publishing LLC
Padre
Sandy
Jim Adams’ challenge is to note a song which is about a woman whose name begins with “S.” The musical Grease provides us with the song Sandy. In the song the character Danny is regretting his unenlightened pre-WOKE attitudes and his inappropriate, unwanted advances on Sandy. She has run off leaving him alone (Too bad it takes that for him to start to “get it,” but I deviate). His “awakening” leads him to realise he loves her and wants to be with her beyond teen lust. Though he still unfortunately doesn’t fullly see why she left.
Lyrics:
Stranded at the drive-in
Branded a fool
What will they say
Monday at school?
Sandy, can’t you see
I’m in misery?
We made a start, now we’re apart
There’s nothing left for me
Love has flown
All alone, I sit and wonder why
Oh, why you left me?
Oh, Sandy
Oh Sandy, baby, someday
When high school is done
Somehow, someway
Our two worlds will be one
In Heaven forever
And ever we will be
Oh please, say you’ll stay
Oh, Sandy
Sandy, my darlin’
You hurt me real bad
You know it’s true
But baby, you gotta believe me when I say
I’m helpless without you
Love has flown
All alone, I sit, I wonder why
Oh, why you left me?
Oh, Sandy
Sandy
Sandy
Why?
Oh, Sandy
Source: Musixmatch
Songwriters: Scott Simon / L. St. LouisSandy lyrics © Ensign Music Corporation
Padre
Legs Went On Forever
Jim Adams’ challenge is to write about a song which has lyrics including Endless/Eternity/ Everlasting/Forever/Infinity and Omega. I have posted about Jethro Tull’s Budapest before, but it fits this prompt really well. The song is from the Crest of a Knave album released in 1987. “Her legs went on for ever. Like staring up at infinity,” is such a descriptive line, and fits the theme perfectly. For those that don’t know Tull’s music -“The flute is a heavy, metal instrument!” sums it up well.
Lyrics: I think she was a middle-distance runner…
(The translation wasn’t clear).
Could be a budding stately hero.
International competition in a year.
She was a good enough reason for a party…
(Well, you couldn’t keep up on a hard track mile)
While she ran a perfect circle.
And she wore a perfect smile
In Budapest… hot night in Budapest. We had to cozzy up in the old gymnasium…
Dusting off the mandolins and checking on the gear.
She was helping out at the back-stage…
Stopping hearts and chilling beer.
Yes, and her legs went on for ever.
Like staring up at infinity
Through a wisp of cotton panty
Along a skin of satin sea.
Hot night in Budapest. You could cut the heat, peel it back with the wrong side of a knife.
Feel it blowing from the sidefills. Feel like you were playing for your life
(If not the money).
Hot night in Budapest. She bent down to fill the ice box
And stuffed some more warm white wine in
Like some weird unearthly vision
Wearing only T-shirt, pants and skin.
You know, it rippled, just a hint of muscle.
But the boys and me were heading west
So we left her to the late crew
And a hot night in Budapest.
It was a hot night in Budapest. She didn’t speak much English language…
(She didn’t speak much anyway).
She wouldn’t make love, but she could make good sandwich
And she poured sweet wine before we played. Hey, Budapest, cha, cha, cha. Let’s watch her now. I thought I saw her at the late night restaurant.
She would have sent blue shivers down the wall.
But she didn’t grace our table.
In fact, she wasn’t there at all.
Yes, and her legs went on forever.
Like staring up at infinity.
Her heart was spinning to the west-lands
And she didn’t care to be
That night in Budapest.
Hot night in Budapest.
Source: LyricFind Songwriters: Ian Anderson
Budapest lyrics © BMG Rights Management
Padre
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