Maggie's Farm

TC, if you get me off into ELH and Pancho & Lefty, i'll find myself still sitting here at 4:00 a.m., dusty face streaked with muddy tears, lost in looking for things that'll never be found, the speaker cord for my headphones hopelessly tangled in purple Sagaro cactus that won't ever let aloose, my old hoss dropping road apples behind my desk chair that i'll step on every time i git up fer nother shot o whusky --here --in attempt to stave that off --this is Southwestern and a story song, tho not the single balladeer classical-like. Pay attention to full throated guiter and banjo intro, it's a nice song, Kingston Trio, Farewell Adelita

http://www.youtube.com/watch?v=KmILpmO6s9Y

http://www.youtube.com/watch?v=TljIfAjx-eI

When Liberty Valance rode to town the womenfolk would hide, they'd hide
When Liberty Valance walked around the men would step aside
'cause the point of a gun was the only law that Liberty understood
When it came to shootin' straight and fast---he was mighty good.

From out of the East a stranger came, a law book in his hand, a man
The kind of a man the West would need to tame a troubled land
'cause the point of a gun was the only law that Liberty understood
When it came to shootin' straight and fast---he was mighty good.

Many a man would face his gun and many a man would fall
The man who shot Liberty Valance, he shot Liberty Valance
He was the bravest of them all.

The love of a girl can make a man stay on when he should go, stay on
Just tryin' to build a peaceful life where love is free to grow
But the point of a gun was the only law that Liberty understood
When the final showdown came at last, a law book was no good.

Alone and afraid she prayed that he'd return that fateful night, aww that night
When nothin' she said could keep her man from goin' out to fight.

From the moment a girl gets to be full-grown the very first thing she learns
When two men go out to face each other only one returns.

Everyone heard two shots ring out, a shot made Liberty fall!

The man who shot Liberty Valance, he shot Liberty Valance,
He was the bravest of them all.

The man who shot Liberty Valance, he shot Liberty Valance,
He was the bravest of them all.

===

(emphasis mine)

TC, vous les trouvez a ''lyrics freak''

http://tinyurl.com/oone9sm

Wow --i'd forgotten all about that song --hadn't heard it since --i was 'son' --and now i'm the old guy wastin awa y --f**k!

Sam Bush is that great fiddler on those incandescent ELH "Making Believe" cuts from the early 90s with the Nash Ramblers. He is GOOD alright !

TC --i'm catching up --but i have to vamoose and dine on spaghetti cooked up by daughter Hettie first. Naw her name ain't Hettie butitrhymes

--bringing dessert, Miss Sarah N. Getty,
a dish from the Desert of the Serengeti

((gRoaN

I'm gonna listen to all of 'em --but haven't yet --here is my first obsessional song --mom and dad laughed at the memory their whole lives --of me a pre-schooler listening to this thing over and over as long as they'd let me sit in front of the machine -- and look at the comments --LOTs of very young kids were doing the same thing --magic in thar somewhere --

http://www.youtube.com/watch?v=W9VrgRIgOK0

...and none of 'em are cooked, like the USA's goose is

:-(

"Oklahoma!" --Rodgers & Hammerstein. Hammerstein's poppa was the German Jewish immigrant whose Borscht Belt Vaudeville act 'invented' the 'pie-in-the-face' routine.

http://www.youtube.com/watch?v=ZbrnXl2gO_k

http://en.wikipedia.org/wiki/Oklahoma!

http://www.youtube.com/watch?v=Vg5cwSBnyQU

===

Problem was, the actual folks who settled the frontier were great talents as settlers but weren't much fer show-biz, and the actual show-biz talents weren't gonna write "Oklahoma!" --and get it to Broadway --ropin' dogies from hossback out on the frontier.

"I'll teach you all a little sayin'
And learn the words by heart the way you should
I don't say I'm no better than anybody else
But I'll be danged if I ain't just as good!

I don't say I'm better than anybody else
But I'll be danged if I ain't just as good!"

===

http://www.elyrics.net/song/o/oscar-hammerstein-lyrics.html

===

TC, i'll get to 'im --got to type befo the arthritee gets in m'fangers --

There was also a Japanese version:

YOOOOko-hama, where the wind comes sweepin' down the prain,
And the wavin' wheat can sure smerr sweet, When the wind comes right behind the rain!

Yooooko-hama, Ev'ry night my honey ramb and I, Sit arone and tark and watch a hawk makin' razy circers in the sky.

We know we berong to the rand (yo-ho)
And the rand we berong to is gland!
And when we say
Yeeow! Aye-yip-aye-yo-ee-ay!
We onry sayin'
You're doin' fine, Yokohama!
Yokohama O.K.!

--and always, behind the myth stands a transcending fact --that aside from the geography, the frontier was a gap between the Paleolithic and the Industrial, where in almost living memory, our grandfather fathers with railroad and telegraph collided head-on under an open sky on an endless plain with painted warriors of the stone-age.

Sounds like sci-fi, don't it? Like what a writer might imagine if his assigment was to take out everything from Homer to Napoleon and then bring together the people standing there at either edge of the missing gap.

--ok, let's go for baroque and see who's rococonuts:
name the best combos of film and song!

3)
2) Liberty Valance
1) High Noon*


* by Dimitri Zinovich Tiomkin,

http://www.dimitritiomkin.com/biography/dimitri-tiomkin/

... born in Kremenchuk on May 10, 1894. His mother, Marie (née Tartakovsky), was a music teacher and his father, Zinovie, a physician. A student at the St. Petersburg Conservatory, he excelled as a solo pianist under the tutelage of Felix Blumenfeld and Isabelle Vengerova, and also studied with composer Alexander Glazunov, the conservatory’s director. In his spare time, Tiomkin frequented the “Homeless Dog” café, fraternizing with other avant-garde bohemian artists, including fellow student Serge Prokofiev and dancer Mikhail Fokine.

Tiomkin’s professional debut in film music came in St. Petersburg’s cinemas, where he accompanied Russian and French silent films. He also provided piano accompaniment for the ballerina Thamar Karsavina on army post tours and improvised on the piano during performances by the comedian Max Linder. These experiences and the skills he gained helped lay the foundation of his American film music career. Even Tiomkin’s interest in American popular music began in Russia, where he first heard Irving Berlin’s Alexander’s Ragtime Band at the “Homeless Dog,” and where he was exposed to ragtime, blues, and early jazz through one of his piano students, a black minstrel-show singer from New Orleans who had remained in Russia after a vaudeville tour.

In St. Petersburg, Tiomkin’s early life was marked by such political events as the overthrow of the Tsar, the Russian Revolution, and the rise of Soviet Russia. His whereabouts from 1919 to 1921 are unclear. He apparently was involved in the music direction of the 1920 reenactment of “The Storming of the Winter Palace.” This massive pageant featured thousands of performers, including 500 musicians and 125 ballet dancers.

...

it was the film High Noon (1952), produced by Kramer and directed by Fred Zinnemann, that changed the course of Tiomkin’s career. The unorthodox score, incorporating a song with lyrics, “Do Not Forsake Me, Oh My Darlin’,” fueled a theme-song craze. Songs written for films – as opposed to preexisting songs used in films – grew in popularity. Over the next dozen years, Tiomkin himself wrote a title song or ballad for nearly every picture he scored, often collaborating with Ned Washington or Paul Francis Webster. A number of Oscar-nominated songs followed: “Thee I Love” from Friendly Persuasion, the title song from Wild Is the Wind, “Strange Are the Ways of Love” from The Young Land, “The Green Leaves of Summer” from The Alamo, the title song from Town Without Pity, and “So Little Time” from 55 Days at Peking. His songwriting talent, combined with his scoring expertise, led to song compositions that graced their films with a dramatic narrative.

===

So the icon film of American of Westerns, the theme song Ike Eisenhower's favorite, starring American ideals Gary Cooper and Grace Kelly, had previously saved the Moscow-famine-digraced 1921 Bolsheviks from extinction with release of the Bolshi iconic film "The Storming of the Winter Palace" --!

--ok, let's go for baroque and see who's rococonuts:
name the best combos of film and song!

3)
2) Liberty Valance
1) High Noon*


* by Dimitri Zinovich Tiomkin,

www.dimitritiomkin.com/biography/dimitri-tiomkin/

... born in Kremenchuk on May 10, 1894. His mother, Marie (née Tartakovsky), was a music teacher and his father, Zinovie, a physician. A student at the St. Petersburg Conservatory, he excelled as a solo pianist under the tutelage of Felix Blumenfeld and Isabelle Vengerova, and also studied with composer Alexander Glazunov, the conservatory’s director. In his spare time, Tiomkin frequented the “Homeless Dog” café, fraternizing with other avant-garde bohemian artists, including fellow student Serge Prokofiev and dancer Mikhail Fokine.

Tiomkin’s professional debut in film music came in St. Petersburg’s cinemas, where he accompanied Russian and French silent films. He also provided piano accompaniment for the ballerina Thamar Karsavina on army post tours and improvised on the piano during performances by the comedian Max Linder. These experiences and the skills he gained helped lay the foundation of his American film music career. Even Tiomkin’s interest in American popular music began in Russia, where he first heard Irving Berlin’s Alexander’s Ragtime Band at the “Homeless Dog,” and where he was exposed to ragtime, blues, and early jazz through one of his piano students, a black minstrel-show singer from New Orleans who had remained in Russia after a vaudeville tour.

In St. Petersburg, Tiomkin’s early life was marked by such political events as the overthrow of the Tsar, the Russian Revolution, and the rise of Soviet Russia. His whereabouts from 1919 to 1921 are unclear. He apparently was involved in the music direction of the 1920 reenactment of “The Storming of the Winter Palace.” This massive pageant featured thousands of performers, including 500 musicians and 125 ballet dancers.

...

it was the film High Noon (1952), produced by Kramer and directed by Fred Zinnemann, that changed the course of Tiomkin’s career. The unorthodox score, incorporating a song with lyrics, “Do Not Forsake Me, Oh My Darlin’,” fueled a theme-song craze. Songs written for films – as opposed to preexisting songs used in films – grew in popularity. Over the next dozen years, Tiomkin himself wrote a title song or ballad for nearly every picture he scored, often collaborating with Ned Washington or Paul Francis Webster. A number of Oscar-nominated songs followed: “Thee I Love” from Friendly Persuasion, the title song from Wild Is the Wind, “Strange Are the Ways of Love” from The Young Land, “The Green Leaves of Summer” from The Alamo, the title song from Town Without Pity, and “So Little Time” from 55 Days at Peking. His songwriting talent, combined with his scoring expertise, led to song compositions that graced their films with a dramatic narrative.

===

So the icon film of American of Westerns, the theme song Ike Eisenhower's favorite, starring American ideals Gary Cooper and Grace Kelly, had previously saved the Moscow-famine-digraced 1921 Bolsheviks from extinction with release of the Bolshi iconic film "The Storming of the Winter Palace" --!