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Thursday, December 29, 2011
One Too Many Mornings
Down the street the dogs are barkin’
And the day is a-gettin’ dark
As the night comes in a-fallin’
The dogs’ll lose their bark
An’ the silent night will shatter
From the sounds inside my mind
For I’m one too many mornings
And a thousand miles behind
From the crossroads of my doorstep
My eyes they start to fade
As I turn my head back to the room
Where my love and I have laid
An’ I gaze back to the street
The sidewalk and the sign
And I’m one too many mornings
An’ a thousand miles behind
It’s a restless hungry feeling
That don’t mean no one no good
When ev’rything I’m a-sayin’
You can say it just as good.
You’re right from your side
I’m right from mine
We’re both just one too many mornings
An’ a thousand miles behind
Copyright © 1964, 1966 by Warner Bros. Inc.; renewed 1992, 1994 by Special Rider Music
I once loved a girl, her skin it was bronze
With the innocence of a lamb, she was gentle like a fawn
I courted her proudly, but now she is gone
Gone as the season she's taken.
Through young summer's breeze, I stole her away
From her mother and sister, though close did they stay
Each one of them suffering from the failures of their day
With strings of guilt they tried hard to guide us.
Of the two sister, I loved the young
With sensitive instincts, she was the creative one
The constant scapegoat, she was easily undone
By the jealousy of others around her.
For her parasite sister, I had no respect
Bound by her boredom, her pride to protect
Countless visions of the other she'd reflect
As a crutch for her scenes and her society.
Myself, for what I did, I cannot be excused
The changes I was going through can't even be used
For the lies that I told her in hopes not to lose
The could-be dream-lover of my lifetime.
With unseen consciousness, I possessed in my grip
A magnificent mantelpiece, though it's heart being chipped
Noticing not that I'd already slipped
To a sin of love's false security.
From silhouetted anger to manufactured peace
Answers of emptiness, voice vacancies
Till the tombstones of damage read me no question but, "Please
What's wrong and what's exactly the matter ?"
And so it did happen, like it could have been foreseen
The timeless explosion of fantasy's dream
At the peak of the night, the king and the queen
Tumbled all down into pieces.
"The tragic figure" her sister did shout
"Leave her alone, God damn you, get out"
And I in my armor, turning about
And nailing her in the ruins of her pettiness.
Beneath a bare light bulb the plaster did pound
Her sister and I in a screaming battleground
And she in between, the victim of sound
Soon shattered as a child to the shadows.
All is gone, all is gone, admit it, take flight
I gagged in contradiction, tears blinding my sight
My mind it was mangled, I ran into the night
Leaving all of love's ashes behind me.
The wind knocks my window, the room it is wet
The words to say I'm sorry, I haven't found yet
I think of her often and hope whoever she's met
Will be fully aware of how precious she is.
Ah, my friends from the prison, they ask unto me
"How good, how good does it feel to be free "?
And I answer them most mysteriously
"Are birds free from the chains of the skyway"?
[ Lyrics from: http://www.lyricsfreak.com/b/bob+dylan/ballad+in+plain+d_20021147.html ]
Wednesday, December 28, 2011
|Our Favorite Albums of 2011||New Releases|
|Let England ShakePJ Harvey||No Time For DreamingCharles Bradley||W H O K I L LTune-Yards||James BlakeJames Blake|
|What Were You Hoping For?Van Hunt||Humor RiskCass McCombs||Black UpShabazz Palaces||AnglesThe Strokes|
We couldn't have done it without you.
We have so much in store for you in 2012, and we thank you for helping us achieve all our goals in 2011!
|Editors' Picks of 2011||All Editors' Picks|
|SmileThe Beach Boys |
It was easily the most anticipated reissue of 2011, and what was until now considered to be the Beach Boys' long-lost masterpiece did not disappoint once it saw the light of day, featuring a collection of playful, inspired songs that are more complex than their catchy hooks would lead you to believe. More
|Art of the ImproviserMatthew Shipp |
One of jazz's most forward-thinking pianists delivered one of the year's best jazz albums by pushing improvisation into uncharted territory, as Shipp and his band craft a spur-of-the-moment sound that's propelled by silence and unconventional pacing as much as it is extended jam sessions. More
|The King of In BetweenGarland Jeffreys |
In what has to mark one of the year's great comeback stories, the man once poised to be rock's next big thing in the late '70s has finally resurfaced decades later to create a surprisingly eclectic set of tunes that range from pop ("Coney Island Winter") to blues ("'Til John Hooker Calls Me") without feeling out of place. More
|Catalog Highlights of 2011|
Check out a few of this year's greatest reissues, singles, and more:
|20 Years of DischordVarious||NightlifePhantogram||A Village Of The Pharoahs / Wisdom Through MusicPharoah Sanders||Gloss DropBattles|
|Top Albums of 2011||All Top Albums|
|4Beyonce||Take CareDrake||Born This WayLady Gaga||Watch The ThroneJay Z & Kanye West|
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Wednesday, December 28
Cowell in Cuba
Decades before the Cuban revolution, some decidedly revolutionary sounds had their birth in that country's capital city on today's date in 1930 during a concert of ultra-modern music presented by the Havana Philharmonic.
The concert offered the premiere performance of a new Piano Concerto by the American composer, Henry Cowell, who was also the soloist. Cowell's concerto was structured in the classical mode of three movements: fast-slow-fast, but it broke new ground -- and perhaps a few piano strings -- by employing what Cowell dubbed "tone clusters." These dense dissonant chords were produced by pounding the keys of the piano with the fist, palms, or extended forearms.
The presenters of the concerto prudently arranged for a squad of Cuban policemen to be on hand to forestall threatened disturbances by those in the audience who might not be so willing to sit quietly through even a musical revolution.
Cowell also took his new techniques to the Old World, giving five European tours in the 1920s and 30s, which attracted the attention of Béla Bart*oactute;k, who asked Cowell's permission to employ tone clusters in his own works, and Arnold Schoenberg, who invited Cowell to perform for his Berlin composition classes.
Cowell's oft-stated goal was to embrace what he described as "the whole world of music," whether dissonant or consonant, radical or traditional, Western or non-Western. Perhaps that ideal was even more revolutionary that his Piano Concerto must have seemed back in 1930.
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