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It’s a still life watercolour
Of a now-late afternoon
As the sun shines through the curtained lace
And shadows wash the room

And we sit and drink our coffee
Couched in our indifference, like shells upon the shore
You can hear the ocean roar

In the dangling conversation
And the superficial sighs
The borders of our lives

And you read your Emily Dickinson
And I my Robert Frost
And we note our place with book markers
That measure what we’ve lost

Like a poem poorly written
We are verses out of rhythm
Couplets out of rhyme
In syncopated time

And the dangled conversation
And the superficial sighs
Are the borders of our lives

Yes, we speak of things that matter
With words that must be said
“Can analysis be worthwhile?”
“Is the theatre really dead?”

And how the room is softly faded
And I only kiss your shadow, I cannot feel your hand
You’re a stranger now unto me

Lost in the dangling conversation
And the superficial sighs
In the borders of our lives

No Doubt is one of my favourite bands, it seems, they have a song for almost any occasion.

You and me
We used to be together
Everyday together always
I really feel
That I’m losing my best friend
I can’t believe
This could be the end
It looks as though you’re letting go
And if it’s real
Well I don’t want to know

Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts
Don’t speak
I know what you’re thinking
I don’t need your reasons
Don’t tell me ’cause it hurts

Our memories
Well, they can be inviting
But some are altogether
Mighty frightening
As we die, both you and I
With my head in my hands
I sit and cry

Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts (no, no, no)
Don’t speak
I know what you’re thinking
I don’t need your reasons
Don’t tell me ’cause it hurts

It’s all ending
I gotta stop pretending who we are
You and me I can see us dying, are we?

Don’t speak
I know just what you’re saying
So please stop explaining
Don’t tell me ’cause it hurts (no, no, no)
Don’t speak
I know what you’re thinking
And I don’t need your reasons
Don’t tell me ’cause it hurts
Don’t tell me ’cause it hurts!
I know what you’re saying
So please stop explaining

Don’t speak
Don’t speak
Don’t speak
Oh I know what you’re thinking
And I don’t need your reasons
I know you’re good
I know you’re good
I know you’re real good
Oh, la la la la la la, la la la la la la
Don’t, don’t, uh-huh hush, hush darlin’
Hush, hush darlin’ hush, hush
Don’t tell me tell me ’cause it hurts
Hush, hush darlin’ hush, hush darlin’
Hush, hush don’t tell me tell me ’cause it hurts

In honour of VNV nation making their way here to North America, and coming to Alberta, we at DWR present their song “Legion”.

For those who like a more classical take on the piece.

Enveloped in a sentiment
A sound that rushes over me
Engage an impulse to pretend
I have a faith as pure

Not forgetting what it means to dream
Indulging everything
Entertaining thoughts that I’ve the strength
Of those I yearn to be

Cheers and tribute greet the saviors
Reckless thoughts survive
Anachronistic and impulsive

And what will happen?
Will I dream?
I am too scared to close my eyes
For a second please hold me

The success of both the album and film sparked a revival of international interest in traditional Cuban music and Latin American music in general. Some of the Cuban performers later released well-received solo albums and recorded collaborations with international stars from different musical genres. The “Buena Vista Social Club” name became an umbrella term to describe these performances and releases, and has been likened to a brand label that encapsulates Cuba’s “musical golden age” between the 1930s and 1950s. The new success was fleeting for the most recognizable artists in the ensemble: Compay Segundo, Rubén González, and Ibrahim Ferrer, who died at the ages of ninety-five, eighty-four, and seventy-eight respectively; Segundo and González in 2003, then Ferrer in 2005.

Several surviving members of the Buena Vista Social Club, such as trumpeter Manuel “Guajiro” Mirabal, laúd player Barbarito Torres and trombonist and conductor Jesus “Aguaje” Ramos currently tour worldwide, to popular acclaim, with new members such as the singer Carlos Calunga, virtuoso pianist Rolando Luna[1][2] and occasionally the solo singer Omara Portuondo, as part of a 13-member band called Orquesta Buena Vista Social Club.

Well, with a neat visualization of how the bowing on this particular piece works a master work becomes even more interesting. :)

Malagueña Salerosa — also known as La Malagueña — is a well-known Son Huasteco or Huapango song from Mexico, which has been covered more than 200 times[1] by recording artists.

The song is that of a man telling a woman (from Málaga, Spain) how beautiful she is, and how he would love to be her man, but that he understands her rejecting him for being too poor.

Bonus – What is up with those strings?  The answer below the fold dear readers.

Read the rest of this entry »

The CBC always comes through for me providing this helpful video on things that one just simply needs to know while on the rigorous path to classical musicianship.

 

The viola/trombone burn is strong with this one. :)

 

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