Yesterday I was dreaming about create a rock band and went to share my dreaminess with a friend. He understand a lot about music, but — he told me yesterday — doesn’t play any musical instrument. Neither do I. So he asked me if our sound could be more nonsense, something purposely bad. I enquired him if there was in fact this kind of style and he showed me the MySpace of LSD March, this Japanese psychedelic rock group.
He also showed the Flaming Lips, but let’s talk about FL later.
The first song I clicked to listen was “Musuu No Taiyo”, but couldn’t hear it till the end because my friend told me to listen to “stone”. “Stone” sounds like a Buddhist mantra, nothing like a Brazilian rock band should play. So I went back to “Musuu No Taiyo” and I heard it entirely. To my surprise the lead singer and guitarist Shinsuke Michishita whistled! And the song is here!
And my psychedelic rock band still remains in my dreams. ^^
Man! This song was part of my childhood! I didn’t remember it has whistling on it. I think I didn’t even know “All That She Wants” started with a whistling. Well, thanks to Carlitos who gave me the tip.
I adore to easily find a whistling song with all its history in the first page of Google. Everything below is Wikipedia:
“All That She Wants” is a hit single of Swedish pop group Ace of Base. The song was produced by Denniz Pop. In early 1993, the song reached the top of the charts in many countries, including Denmark, the United Kingdom and Australia. The single was certified Platinum in the United States, where it peaked at #2. It is one of the highest-selling #2 songs of all time in the States: it stayed in the top three songs on Billboard Hot 100 list for three months, but never actually reached the #1 position. The song is currently the 71st best-selling single of all time in Germany.
Co-written by Jonas Berggren and Ulf Ekberg, the song was originally titled 'Mister Ace’ and included lyrics by both co-writers as well as Jonas’ sister and bandmate Linn Berggren. Fourth group member Jenny Berggren was not present during the recording of the song.
When the band sent in their demo tape, or so the story goes, it became lodged in Denniz Pop’s cassette player while he was on holiday and consequently was the only song he could listen to, and when he returned from his trip he announced his intention of producing the song.
Pop excised the lyrics by Ulf and Jonas, replacing them with whispered vocals (“all that she wants”) and adding distinctive horns and a slightly different bassline. The finalised version was released to radio in November 1992 across Scandinavia and later the rest of the world, quickly becoming a hit in dozens of countries.
She leads a lonely life
she leads a lonely life
when she woke up late in the morning
light and the day had just begun
she opened up her eyes and thought
o’ what a morning
it’s not a day for work
it’s a day for catching tan
just laying on the beach and having fun
she’s going to get you
all that she wants is another baby
she’s gone tomorrow boy
all that she wants is another baby
all that she wants is another baby
she’s gone tomorrow boy
all that she wants is another baby
all that she wants - all that she wants
so if you are in sight and the day is right
she’s a hunter you’re the fox
the gentle voice that talks to you
won’t talk forever
it’s a night for passion
but the morning means goodbye
beware of what is flashing in her eyes
she’s going to get you
Gal Costa is a Brazilian Tropicália and MPB singer. She started her musical career singing the songs written by Caetano Veloso and Gilberto Gil, husbands of her two friends, in the beginning of Tropicália movement. Costa’s voice is at same time melodic and powerful, can reach delicious high pitches and be very technical.
Because her beautiful voice and attitude, at 80s she was labeled the First Lady of MPB. In the late 80s Gal Costa obtained her consecration by audiences and critics, but despite all the expectations, she withdrew from the limelight for the whole year of 1986.
1987 was the year of her great return with the album “Lua de Mel como o Diabo Gosta”, which was criticized because was too romantic, but points her broad technical field and her new directions in music.
“O Vento” — a song composed by Djavan and Ronaldo Bastos — was released in this album. The acoustic guitar and the whistling was done by the musician Djavan, another great name of MPB and Costa’s friend. The song is a request to the wind to bring news of a love that is far away or take the requester to his overseas brunette. Or, ultimately, teach him to play the flute of Pan. The whistling means the melody played in the god's flute.
Acknowledgments to Jeocaz Lee-Meddi who wrote this article about Gal Costa.
Minha mulher, minha irmã
Minha cara metade
Da carne maçã, maçã
Minha costela-de-Adão
Meu pé de romã, romã
Vento que bate na porta
Trazendo notícias
Que tem de alguém
Vento que entorna a manhã
Do meu bem
Me leva, me leva
Vento
Bate suas asas
Voa sobre as casas
Vento
faz o dia delirar
Traz minha morena do além-mar
Minha irmã, meu irmão
Quem tem ouro na pele
Da alma pagã, pagã
Vento me ensina a tocar
A flauta de Pã, de Pã
Below there is a little "behind the scenes" of this song, told by Eric Bazilian, Marshall's colab, on his website:
Well, let’s see, there’s one, it just popped into my head. It was recording Amanda Marshall, which was just… She was the one who ignited my producer gland, ‘cause up until her, you know, I was on the production team with Cyndi, Joan and the Hooters stuff, but I didn’t really feel like taking on that heartache of being responsible for a whole thing. I think, I love writing songs, playing stuff, putting in my two cents, but Amanda was the first time I thought, you know, I want to do this thing from soup to nuts. Uh, with her I really wanted to get into it. Part was because I liked her so much and part of it was because she was the best singer I ever heard in my life. She’s just an amazing, phenomenal talent. So, the last thing we did here was a song called, "If I Didn’t Have You," and she was on a flight at noon back to Toronto. This was it, this was the end and we had this track. We had it for the last run of the song writing. We loved the track, but we didn’t like the song, and we started and we punched the track up, got all this cool stuff going on and it wasn’t until about three or four in the morning that we started addressing the- OK, how did the song really go, and around seven or eight in the morning was when we really landed on the chorus, on the big hook, and we were ready to go- ready to record that vocal. I remember, I had a new mic I was trying out and I set it up at the end of the room downstairs ‘cause I had some acoustic treatment there. I remember, she did this vocal and there was one point at the end when I said, "I want you to hold this note as long as you possibly can and then do a dazzling malysma riff afterwards, and she did. And I remember, at the end of that take, I was just as out of breath as she was and just thinking, being actually sad, because it was very possible that I would never record a better vocal than that for as long as I live.
I don’t know what I was thinking
'Til I was thinking of you
I don’t remember a thing before I opened my eyes
And you came into view
I don’t know what I was doing
When there was nothing to do
Must’ve been waiting for someone, baby
Now I can see — I was waiting for you
I’d give up my sight just to see you
I’d beg, I would borrow and steal
I’d cut off my hands just to touch you
And tear out my heart so you’d know how I feel
There’s nowhere that I wouldn’t follow
There’s nothing that I wouldn’t do
'Cause I wouldn’t wanna be me
If I didn’t have you
Driving myself to distraction
Until you got in my way
I was just whistling Dixie 'til you struck up the band
And they started to play
I don’t know how I was living
Until you came in my life
I always knew there was something wrong
Then you came along
Baby, you made it right
I’d give up my sight just to see you
I’d beg, I would borrow and steal
I’d cut off my hands just to touch you
And tear out my heart so you’d know how I feel
There’s nowhere that I wouldn’t follow
There’s nothing that I wouldn’t do
'Cause I wouldn’t wanna be me
If I didn’t have you
I was alone in the silence
'Til I was hearing your voice
I couldn’t see my way clear until you parted the clouds
And you gave me a choice
I couldn’t pick up the pieces
'Til I was falling apart
I didn’t know I was bleeding
'Til your love fixed this hole, baby, here in my heart
I’d give up my sight just to see you
I’d beg, I would borrow and steal
I’d cut off my hands just to touch you
And tear out my heart so you’d know how I feel
There’s nowhere that I wouldn’t follow
There’s no place that I’d rather be
This life without you would be hollow
This love is a gift, and you gave it to me
All that I am, you have made me
And baby, I know that it’s true
I’d give it all up in a heartbeat
Just to spend every moment with you
There’s no place that I wouldn’t follow
There’s nothing that I wouldn’t do
'Cause I wouldn’t wanna be me
If I didn’t have you
Oh my love
Here in our darkest hour
It is you, my desert flower
That I am dreaming of
We're up to our neck in foreign soil
We are the sacramental spoils
And they love to choke
The rivers with my brothers' blood
We have given our bodies
To the Mexican army
But my heart and soul
Belong to you my love
So let the enemy guns
Cut me to ribbons
For my eternal soul
Will know the way back home
Sobreviviendo
Sin sangre en mi cuerpo
Era amor de suenos
Somos los terribles
And I have given my body
To the Mexican army
But my heart and soul
Belong to you my love
So let the enemy guns
Cut me to ribbons
For my eternal soul
Will know the way back home
Sobreviviendo
Sin sangre mi cuerpo
Ese amor doloroso
Somos los terribles
Even Björk walks around whistling here and there and, of course, as soon as I found the whistling, I caught it and I gaoled it here. Just because it's already chewed in Wikipedia, I am only copying and pasting the infos that are right there:
“Isobel” is a song by Icelandic singer Björk. It was released as the second single from her 1995 album Post. The lyrics describe a primitive girl who seems to be a personification of Mother Nature, and who tries to warn the technological world of its potential dangers. The music is underscored by lush strings, electronic beats, and a jungle-influenced introduction. The song was rumored to have been inspired by the piece “The Wonderful Widow Of 18 Springs” by John Cage.
Björk has stated that a track on Homogenic, “Bachelorette”, is a continuation of “Isobel”. In an interview with Paper in September 1997, Björk explains, “So Isobel decides to return to the city and to take a train, like in the 30's, in South America somewhere. She decides to confront love with love and confronts the cowards that don't have the guts to fall in love with love. So you see – it's like Isobel has returned”.
The lyrics to both “Isobel” and “Bachelorette” were penned by long-time collaborator, Icelandic poet Sjón. The repeating phrase “moth delivers her message/unexplained on your collar” in the chorus is a reference to when Björk found a moth on her favourite shirt. She wore the shirt all day, and even removed it to go swimming, but the moth remained.
The surreal music video was shot in black and white by director Michel Gondry. It features a number of dream-like images. Björk plays a piano that is full of pipes that fill it with water. Children play in the water, and wear masks. Björk is later shown lying beside a river wearing a dress with lights in it. She pulls some light bulbs off her dress and plants them in the ground. The light bulbs grow and act as incubators or cocoons for toy airplanes inside them. When the airplanes grow big enough, they break out of the bulbs and fly away. At the same time, numerous skyscrapers grow out of the ground and eventually are covered in cockroaches. Björk is also shown walking through the countryside, up a mountain, and beside a river.
In a forest pitch-dark
Glowed the tiniest spark
It burst into a flame
Like me, like me
My name Isobel
Married to myself
My love Isobel
Living by herself
In a heart full of dust
Lives a creature called Lust
It surprises and scares
Like me, like me
My name Isobel
Married to myself
My love Isobel
Living by herself
When she does it, she means to
Moth delivers her message
Unexplained on your collar
Crawling in silence
A simple excuse
Nana na nana
Nana na nana
Nana na nana
Nana na nana
In a tower of steel
Nature forges a deal
To raise wonderful hell
Like me, like me
My name Isobel
Married to myself
My love Isobel
Living by herself
When she does it, she means to
Moth delivers her message
Unexplained on your collar
Crawling in silence
A simple excuse
Nana na nana
Nana na nana
Nana na nana
Nana na nana
Ultraje a Rigor is a Brazilian hard rock group. This band is one of the most famous of the old ones which are consecrated now.
The today's song was first released on the 1989 album "Crescendo".
"Ricota" means in Portuguese what it means in English (and Italian and French and Deustch...) and the lyrics is all about recipes (some of them are weird combinations) we can do with this cheese. The song was written by Scandurra and as we can read on the band's website, the singer Roger is the owner of the whistling. :D
Sanduíche de ricota
Panetone de ricota
Esfiha de ricota
Canelone de ricota (Hmmm...!)
Sorvete de ricota
Feijoada de ricota
Strogonoff de ricota
Limonada de ricota (Hmmm...!)
The Cruel Sea are an Australian indie rock band from Sydney formed in late 1987. Originally an instrumental only band, it became best known when it was fronted by the prolific vocalist Tex Perkins (also a member of The Beasts of Bourbon and a solo artist) in addition to Jim Elliott (drums), Dan Rumour (guitar) and Ken Gormley (bass). Other musicians who have been in the band include guitarists Gerard Corben and James Cruikshank; plus Dee Corben and Barry Turnbull on bass. Popular albums include This Is Not The Way Home (1991), The Honeymoon Is Over (1993), and the successful Three Legged Dog (1995). Their best-known songs include "Better Get a Lawyer", "Takin' All Day", "The Honeymoon is Over" and "Reckless Eyeballin'" - an instrumental track from their debut album Down Below that would become the theme song of Australian police drama Blue Heelers.¹
I found nothing about the song... :(
My heart is a muscle
It pumps blood like a big old black steam train
My veins are the tracks
The city is my brain
My stomach is the ocean
It swallows up the sun at the end of a summers day
My breathes like a breeze
It blows all those storm clouds away
My head is the city
It house all the thoughts and secrets that I have
And the mayor of the city
Thinks the citizens ain’t half bad
My arms could be weapons
Or instruments of love
My legs are sky scrapers
They tower above you
I’m From Barcelona is a funny group. It’s almost like a community, so many members are part of it. Twenty-nine! It’s more than Brazilian pagode groups can handle; and they handle very much! Look: 1, 2, 3.
Thanks God I’m From Barcelona hasn’t the pagode style, anyway. The band style is pop, but a pop with “clarinets, saxophones, flutes, trumpets, banjos, accordions, kazoos, guitars, drums, and keyboards among others” instruments¹. The most of the members are back vocals and its lead singer and major composer is Emanuel Lundgren. The band is Swedish, of course. xD
They released three studio albums. I downloaded them illegally and heard them. All three are fine, very very very fine. First album, “Let me Introduce my Friends” is the one that interests us. It was released in 2006 and its singles were “Treehouse” and “Collection of Stamps”.
The whistling song of the day is called “Chicken Pox”. Chicken Pox is a contagious illness that is common in kids and, as the song says, if you had it once you won't have it anymore. And the singer wanted this for his little broken heart.
As a kid I had the chicken pox
the german measles and the scarlet fever
and I don’t ever want to go through that again
I had to tell my little broken heart
I had to tell it I’m immune to love
'cause I don’t ever want to go through that again
You can’t have it once you’ve had it
You can’t have it once you’ve had it
You can’t have it once you’ve had it, no
“There are many layers of jazz influence in Cornflake Girl. But while I was writing it, I refused to go back and listen to those influences because it had to evolve itself.” [Virginian Pilot - July 27, 1994]
“Originally, Steve Caton, who played mandolins and guitars on the record, came up with this little line on the mandolin, and that was the ‘Ding ding-a ding ding’ with the strumming to it [in the beginning of the song]. Everybody really liked that. And even in the mix studio, I was screaming at the top of my lungs that it had to be a whistle. I want the cowboys coming over the hill. Eric was laughing his head off, and the mixer, Kevin Killen, said to me, ‘This whistle is naff, Tori.’ And I said, ‘Well, guess what, Kevin. When you make your own song, you can put your own mandolin on it. This is a whistle. Fucking put it in. Put the sample in.’ So I got my whistle, and I’m happy as a clam to this day.” [Baltimore Sun - July 1994]
Cornflake Girl. I like that Ghost Riders in the Sky/High Plains Drifter whistling part. Who did that?
“Me. I didn’t whistle, though. We found it in an Apple computer.” Who’s Rabbit in that song?
“Rabbit is a Deadhead, who lives in Northern California. Rabbit is a girl. She lives in the forest, and makes beads, and she lives with Fox...I wished I could have been Rabbit!” Tell me about the “man with the golden gun.” Is he a wolf?
“No. Never. He is dreams. He was never a contender, nor did he ever want to be. He is someone who, you know, he is just someone who...” [BAM - March 11, 1994]
“So Cornflake, Bells, and Waitress are a triangle together. Part of this record is dealing with the betrayal of women, between women. These three, Cornflake is, I’ve been reading Possessing the Secret of Joy by Alice Walker. It went in depth of just women betraying women, and how the mothers really sold their daughters to the butchers, and had their genitalia removed, et cetera. A lot of memory came to me. Just social memory, not necessarily personal memory - collective memory of how women have turned on each other. And the concept of a sisterhood is not real. I think that hurts me more than most concepts, because the idea that - we’ve been, women have had obviously very little to say in their lives, and it’s been a difficult road. See, I believe in past lives, so I’ve been a man making it hard on women also. Just if we look at it from objective viewpoints, just the history of woman has been very lonely, and when you think that we should support each other, understand each other, that makes sense to me. You would think.” [Baltimore Sun - January 1994]
“After I read Possessing the Secret Of Joy by Alice Walker, about how mothers sold their daughters to the butchers, that kind of floored me. One always feels safer when there are good guys and bad ones. But there are no good guys out there. And its not as if one sex can make it okay. Now with Cornflake Girl, the idea was that I always had this sisterhood and it was just blown to bits. I was betrayed by someone, a girlfriend, who gave me a pretty shitty deal. Her opinion was - I’m a shit - it depends on whose table it is that you’re having arsenic at. I think the disappointment of being betrayed by a woman is way heavier than being betrayed by a man. We expect it from you guys. It hurts, but I’m not shocked.” [The New Review of Records - 1994]
“There’s the Cornflake Girls and the Raisin Girls, and they represent two different ways of thinking: narrow-mindedness and open-mindedness. It’s about the disillusionment that comes from the realization that someone has gone from one way of thinking to another. It’s also about this idea that women are the good guys and men the bad guys, which just isn’t true all the time.” [Upside Down flyer - February 1994]
“In Cornflake, you think, no, this is not really happening - you bet your life it is. It’s a betrayal of women against women, which I really wanted to go into.” [St Louis Dispatch - July 15, 1994]
“It’s been - again, it’s the victims become the abusers, it’s that whole - which is explored in Waitress, too, where I become the one who wants to slice this person’s head off. But the thing is, it’s been, it’s so disappointing for me when I feel betrayed by another woman. So Cornflake Girl is that disappointment. ‘This is not really happening, you bet your life it is. Never was a cornflake girl, thought that was a good solution.’ Cornflake being white bread, closed. ‘Hanging with the raisin girls,’ you know, whole wheat, multicultural, open, a little more going on. ‘She’s gone to the other side, giving us a yo heave ho. Things are getting kind of gross.’ I think that’s clear. ‘And I go at sleepytime, this is not really happening. You bet your life it is.’
“The second verse, it just supports the whole thing. ‘Rabbit, where’d you put the keys, girl?’ Rabbit, in certain Indian traditions, it represents fear. ‘Rabbit, where’d you put the keys, girl? And the man with the golden gun thinks he knows so much.’ Well, those are my God references again. ‘All the sweateaze are gone, gone to the other side, with my encyclopedia. They musta paid her a nice price. She’s putting on her string bean love.’ Anorexic. They just put it on. If you go to their side and take up their case, then you’re a strong, independent woman. Well, you know, I’m tired of strong, independent woman equals. And there’s a list. Instead of - well, hang on a minute, the most interesting word here is vulnerability, that’s getting left out, because it’s associated with weakness. You don’t dress a certain way to be a strong independent woman. It’s fascist, and it’s the same - they’re no different. They’re the other extreme. I don’t feel a part of any kind of sisterhood.” [Baltimore Sun - January 1994]
“It [Alice Walker’s book, Possessing the Secret of Joy] talks about how the mothers took their daughters to the butchers to have their genitals removed. Even though it may be instituted by the patriarchal group in the culture, it’s very telling that the monsters were the ones who took this away from the daughters. When I just started to feel what that made me feel like, I started to really have to deal with my illusion of the sisterhood. I mean, we all like to think that only guys can do something like that, but we [women] can be very, very vicious and we have to be responsible as women for the fact that we’ve got a lot of blame going on. We blame each other, we blame men, we take very little responsibility for what we’ve created.”
“In the book [Possessing the Secret of Joy], it wasn’t the men, it was the mothers, the ones you trusted more than anyone, telling you it’s the best thing for you. It brought an ache to my being. What we as women haven’t really owned is how we withhold from each other - we’ll cut each other out of our lives so fast if we feel our position’s being threatened. We don’t look at how vicious we can be toward each other. You can blame men for eternity, but the blame is not going to give us self empowerment.” [Life - February 7, 1994]
“Again, it’s not about good guys or bad guys. It’s not about this team or that team, although on Cornflake Girl there are the cornflake girls and the raisin girls. And you know I’m a raisin girl.” [Creem - March 1994]
“The fact is that women have betrayed one another. I agree with Alice Walker when she talks about the cellular memory that is passed down, which all women have to come to terms with. Whether it is the women taking the daughters to the butchers to have their genitalia removed, or the mothers that bound the feet of the daughters, it is often women who betray their own kind, not just men. Likewise the mother who sells her eight year old daughter in Egypt, to the Saudi Prince, or, as I said, women who say I shouldn’t express myself as I have chosen to. That’s why I say Cornflake Girl is about how I came to terms with the naive notion that all women are the good guys and men are always the bad guys. That, obviously, is not always the case. I still feel so much love for my women friends, nothing is more sacred to me than that, except my relationship with Eric. So when we turn on each other it has to be devastating.” [Hot Press - February 23, 1994]
“Cornflake Girl is about betrayal between women. It was based on Alice Walker’s Possessing the Secret of Joy. That book hit me on so many levels, if you know what I mean. I believe that cultural memory is passed down through the genes. Why do I react to certain things that... hey, I just fell off the swing. What’s happening here?” [Creem - March 1994]
“History has recorded some pretty nasty things that have happened to people. I think we remember, I think it’s in our cells and I think it can still hurt sometimes.” [Under the Pink songbook]
“It’s like in Possessing the Secret of Joy, that novel by Alice Walker: cornflake girls are prudish, unconformistic and obedient to authority, whereas raisin girls are original, wilful and sexual. A cornflake girl is Wonder bread, whereas a raisin girl is whole wheat bread. In an American perspective the cornflake girl comes from a redneck-family from the mid-west and the raisin girl would be the product of a multi-racial circle of friends from the big city. It’s of course, like all previous generalizations, a black/white picture. And the whole idea of good girls and bad girls is of course relative. That’s why I like Trading Places, with the homeless moron Eddie Murphy temporarily takes the place of a manager. So much depends on the way you’re living... I must admit, by the way, that long ago, I played the role of a bar pianist in an ad for Cornflakes [actually it was for Kellogg’s Just Right cereal]. I flattered myself with the thought I was the Trojan Horse there: a raisin girl amid cornflake girls.”
“That book [Possessing the Secret of Joy] deals with women betraying each other. You have the Cornflake girls and the Raisin girls and they are two different beings. Cornflake girls are narrowminded and full of prejudice, whereas Raisin Girls are open to everything. My song is about someone who turned from a Cornflake girl to a Raisin girl and think it a disillusion. It’s also about the idea that women are always the good ones and men the bad ones, which is not always true.” [Hitkrant - March 12, 1994]
Never was a cornflake girl
Thought that was a good solution
Hanging with the raisin girls
She's gone to the other side
Giving us a yo-heave-ho
Things are getting kind of grose
And I go at sleepy time
This is not really, this, ah this, ah
This is not really happening
You bet your life it is
You bet your life it is
Honey, you bet your life
Peel out the watchword
Just peel out the watchword
She knows what's going on
Seems we got a cheaper feel now
All the sweeteaze are gone
Gone to the other side
With my encyclopedia
They must've paid her a nice price
She's putting on her string bean love
This is not really, this, ah this, ah
This is not really happening
You bet your life it is
You bet your life it is
Honey, you bet your life
Peel out the watchword
Just peel out the watchword
Never was a cornflake girl
Thought that was a good solution
Rabbit
Where'd you put the keys, girl?
Rabbit
Where'd you put the keys, girl?
Rabbit
Where'd you put the keys?
Rabbit
Where'd you put the keys?
Where'd you put the keys, girl?
And the man with the golden gun
Thinks he knows so much
Thinks he knows so much, yeah
Because the song was released in 1974, it is often associated with the Vietnam War, though it may also refer to the American Civil War as evidenced by the “soldier blues” (the Union Forces) in the lyrics and on the cover of the single album. A young woman is distraught that her fiancé chooses to leave the area with an Army contingent passing through the town and go with them to fight.
The song goes on to describe how Billy is killed in action in a pitched battle after volunteering to ride out and seek reinforcements. In the end, the woman throws away the regret letter notifying her of Billy’s “heroic” death.
Paper Lace’s version of “Billy Don't Be a Hero” hit number one on the UK singles chart on March 16 1974. The band made plans to release it in America but the song was covered and released by Bo Donaldson and the Heywoods. Their version was rushed out before Paper Lace could release and it hit no 1 on the Billboard Hot 100 on June 15. Subsequently although Paper Lace had the chart-topper in the UK, its version stalled at #96 on the Billboard Hot 100. The Bo Donaldson version failed to chart at all in the UK.¹
The marching band came down along Main Street
The soldiers blue step in behind
I looked across and there I saw Billy
Waiting to go and going the line
And with her head upon his shoulder
His young and lovely fiance
From were I stood I saw she was crying
And through a tear I heard her say
"Billy, don’t be a hero,
Don’t be a fool with your life!
Billy, don’t be a hero,
Come back and make me your wife."
And as Billy started to go
She said "keep your pretty head low,
Billy, don’t be a hero, come back to me"
The soldiers blue were traped on a hill side
The battle raging all around
The seargent cried "we’ve got to hang on, boys.
We’ve got to hold this piece of land
I need a voluteer to ride up
And bring us back some extra men"
And Billy’s hand was up in a moment
forgeting all the words she said.
She said:
"Billy, don’t be a hero,
Don’t be a fool with your life!
Billy, don’t be a hero,
Come back and make me your wife."
And as Billy started to go
She said "keep your pretty head low,
Billy, don’t be a hero, come back to me"
I heard his fiance got a lettter
That told how Billy died that day
The lettter said that he was a hero
She should be proud he died that way
I heard she threw the letter away
"Billy, don’t be a hero,
Don't be a fool with your life!
Billy, don’t be a hero,
Come back and make me your wife."
And as Billy started to go
She said "keep your pretty head low,
Billy, don’t be a hero, come back to me"
Today is April 13th 2011. It's 5 AM and I'm awake working in the posts that are blank.
When I first posted this song, I didn't know anything about Roger Whittaker. I don't know now much more than I knew before, but I'm appreciating this Anglo-Kenyan musician a lot! His ability in whistling is so enviable! And his songs are very bright! When I'm happy I come here just to sing and whistle this song with Whittaker. He is one of the best discovers I did thanks to this blog.
I don't know what you think about Whittaker's style (well, I don't think about style when I hear music). I just know he's a piece of gold and I can't stop to listen to this beautiful and optimistic song... :)
Everybody talks about a new world in the morning. A new world in the morning so they say.
I, myself don't talk about a new world in the morning. A new world in the morning, that's today.
And I can feel a new tomorrow comin' on.
And I don't know why I have to make a song. Everybody talks about a new world in the morning. New world in the morning takes so long.
I met a man who had a dream he had since he was twenty. I met that man when he was eighty-one. He said too many folks just stand and wait up til the mornin', Don't they know tomorrow never comes?
And he would feel a new tomorrow comin' on. And when he'd smile his eyes would twinkle up in thought. Now everybody talks about a new world in the morning. New world in the morning takes so long.And I can feel a new tomorrow coming on.
And I don't know why I have to make a song. Now everybody talks about a new world in the morning. New world in the morning takes so long.
And my psychedelic rock band still remains in my dreams. ^^
The surreal music video was shot in black and white by director 
