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.
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
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.
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
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
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
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.
Jim Adams’ challenge this week was to write about a song with Hop/Jump/Leap/Pounce/Spring in the lyrics. The Wiggles Shake Your Sillies Out is a great hopping and jumping song. I was first introduced to this song at my eldest daughter’s wedding. While it might seem an odd piece for a wedding, it seemed totally appropriate to mark the big day for my daughter who is a children’s librarian.
Lyrics:
Let’s shake our sillies out
We’re going to shake, shake, shake our sillies out
Shake, shake, shake our sillies out
Shake, shake, shake our sillies out
Wibble our wobbles away
Well, we’ve shaken our sillies out
How about we nod our naughties out?
We’re going to nod, nod, nod our naughties out
Nod, nod, nod our naughties out
Nod, nod, nod our naughties out
Wibble our wobbles away
Now, can we clap our crazies out?
Let’s all clap
We’re going to clap, clap, clap our crazies out
Clap, clap, clap our crazies out
Clap, clap, clap our crazies out
Wibble our wobbles away
Can you show me how high you can jump?
Let’s all jump
We’re going to jump, jump, jump our jiggles out
Jump, jump, jump our jiggles out
Jump, jump, jump our jiggles out
Wibble our wobbles away
Well, all that jumping made us really tired
Let’s have a stretch and a yawn
We’re going to stretch, yawn, stretch and yawn again
Stretch, yawn, stretch and yawn again
Stretch, yawn, stretch and yawn again
Wibble our wobbles away
We’re going to shake, shake, shake our sillies out
Jim Adams’ challenge this week is to tell about a song that contains words such as Anguish/Misery/Torment. Though rather light on lyrics, Hee Haw‘s “Gloom, Despair . . . ” was a recurring piece on the show. The programme ran on CBS from 1969 to 1971, in syndication from 1971 to 1993, and on TNN from 1996 to 1997. I think it captures the prompt perfectly.
I have to admit that I am a big fan of the Cranberries’ music. The song Zombie is a powerful one in my life. But this week Jim Adams’ challenge was to use a coffee themed song and Wake Up and Smell the Coffee fits. The song is the title song from the band’s fifth album. The album was released in October 2001and sold 170,000 copies in the US album and 1,300,000 copies worldwide. Various band members have said the song is about waking up to realities, such as life isn’t all about work. It is a call to live in the moment, and also to take stock of your life.
Lyrics:
I, I went to hell
I might as well learn by my mistakes
I at twenty-four, was insecure, do whatever it takes
Come on and wake up, wake up, wake up, wake up
Shut up, shut up, shut up, shut up
It’s time, smell the coffee, the coffee
Wake up, wake up, wake up, wake up
Shut up, shut up, shut up, shut up
This time, smell the coffee, the coffee
She’s only got one reason to live, this is your life
She’s only got one message to give, give it tonight
She’s so gorgeous, I’ll do anything
She’s so gorgeous, I’ll lose everything
Everything
Come on and wake up, wake up, wake up, wake up
Shut up, shut up, shut up, shut up
It’s time, smell the coffee, the coffee
Wake up, wake up, wake up, wake up
Shut up, shut up, shut up, shut up
This time, smell the coffee, the coffee
She’s only got one reason to live, this is your life
She’s only got one message to give, give it tonight
Jim Adams’ challenge this week is to write about a song containing weather references such as – Breeze/Cloud/Sky/Wind. Andy Stewart’s Donald Where’s Your Troosers? which was first released in 1960, takes the wind very much into consideration as a Scotsman faces all weathers in his kilt. The song reached number 37 in the UK and number 1 in Canada. It was re-released in 1989, it became an even bigger hit, reaching number 4 in the UK.
Donald Where’s Your Troosers?
I’ve just come down from the Isle of Skye I’m no very big and I’m awful shy And the lassies shout when I go by Donald, where’s your troosers?
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go All the lassies say hello Donald, where’s your troosers?
A lassie took me to a ball And it was slippery in the hall And I was feared that I would fall For I had nae on my troosers
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go All the lassies say hello Donald, where’s your troosers?
Now I went down to London Town And I had some fun in the underground The ladies turned their heads around Saying, Donald, where are your trousers?
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go All the lassies say hello Donald, where’s your troosers?
To wear the kilt is my delight It is not wrong, I know it’s right The Highlanders would get a fright If they saw me in the trousers
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go All the lassies say hello Donald, where’s your troosers?
The lassies want me every one Well, let them catch me if they can You can not take the breaks off a Highland man And I don’t wear the troosers
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go All the lassies say hello Donald, where’s your troosers? Donald, where’s your troosers? Donald, where’s your troo…
Oh, well, that’s the way we sing the song in Scotland But of course the song might have more international appeal Sung something like this One, two, three, four
Well, I’ve just come down from the Isle of Skye I’m not very big and I’m awful shy The lassies shout when I go by Hey, Donald, where’s your troosers?
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go All the lassies shout, go, go Hey, Donald, where’s your troosers?
Oh, man, I’m all rock and roll And I’m a-moving and a-grooving to save my soul Grab your kilt and go, go, go Hey, Donald, where’s your troosers?
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go Oh, yeah, go, go, go Hey, Donald, where’s your troosers? Hey, Donald, where’s your troosers? Yeah, hey, Donald
Hey, just a minute, what are you doing there? (Man, I’m rocking it, man, man, I’m really moving it, man) Well just you stop rocking it and moving it, man The song should be sung just exactly like this
I’ve just come down from the Isle of Skye I’m not very big and I’m awful shy And the lassies shout when I go by Donald, where’s your troosers?
Let the wind blow high, let the wind blow low Through the streets in my kilt, I’ll go All the lassies say hello Donald, where’s your troosers?
Padre's Ramblings 