music

  • Good Stuff! The Highwayman by Alfred Noyes

    Alfred Noyes (1880-1958) wrote poetry that thundered and sang. It’s the kind of stuff that begs to be read aloud. And I want to share with you one of my favorites–“The Highwayman.” I love it for the sound, the story, and the awesome images (note all the color).

    All you need to know is that back in the 1600s and 1700s, a highwayman was a robber, often on horseback, who held up travelers. And that when it mentions “priming,” it’s talking about the charge of powder used to ignite a musket.

    For maximum pleasure, let me suggest you start Loreena McKennitt’s killer ballad version I’ve embedded at the end, then scroll back up and read along as she sings.

    THE HIGHWAYMAN
    By Alfred Noyes

    The wind was a torrent of darkness among the gusty trees.
    The moon was a ghostly galleon tossed upon cloudy seas.
    The road was a ribbon of moonlight over the purple moor,
    And the highwayman came riding—
    Riding—riding—
    The highwayman came riding, up to the old inn-door.

    He’d a French cocked-hat on his forehead, a bunch of lace at his chin,
    A coat of the claret velvet, and breeches of brown doe-skin.
    They fitted with never a wrinkle. His boots were up to the thigh.
    And he rode with a jewelled twinkle,
    His pistol butts a-twinkle,
    His rapier hilt a-twinkle, under the jewelled sky.

    Over the cobbles he clattered and clashed in the dark inn-yard.
    He tapped with his whip on the shutters, but all was locked and barred.
    He whistled a tune to the window, and who should be waiting there
    But the landlord’s black-eyed daughter,
    Bess, the landlord’s daughter,
    Plaiting a dark red love-knot into her long black hair.

    And dark in the dark old inn-yard a stable-wicket creaked
    Where Tim the ostler listened. His face was white and peaked.
    His eyes were hollows of madness, his hair like mouldy hay,
    But he loved the landlord’s daughter,
    The landlord’s red-lipped daughter.
    Dumb as a dog he listened, and he heard the robber say—

    “One kiss, my bonny sweetheart, I’m after a prize to-night,
    But I shall be back with the yellow gold before the morning light;
    Yet, if they press me sharply, and harry me through the day,
    Then look for me by moonlight,
    Watch for me by moonlight,
    I’ll come to thee by moonlight, though hell should bar the way.”

    He rose upright in the stirrups. He scarce could reach her hand,
    But she loosened her hair in the casement. His face burnt like a brand
    As the black cascade of perfume came tumbling over his breast;
    And he kissed its waves in the moonlight,
    (O, sweet black waves in the moonlight!)
    Then he tugged at his rein in the moonlight, and galloped away to the west.

    He did not come in the dawning. He did not come at noon;
    And out of the tawny sunset, before the rise of the moon,
    When the road was a gypsy’s ribbon, looping the purple moor,
    A red-coat troop came marching—
    Marching—marching—
    King George’s men came marching, up to the old inn-door.

    They said no word to the landlord. They drank his ale instead.
    But they gagged his daughter, and bound her, to the foot of her narrow bed.
    Two of them knelt at her casement, with muskets at their side!
    There was death at every window;
    And hell at one dark window;
    For Bess could see, through her casement, the road that he would ride.

    They had tied her up to attention, with many a sniggering jest.
    They had bound a musket beside her, with the muzzle beneath her breast!
    “Now, keep good watch!” and they kissed her. She heard the doomed man say—
    Look for me by moonlight;
    Watch for me by moonlight;
    I’ll come to thee by moonlight, though hell should bar the way!

    She twisted her hands behind her; but all the knots held good!
    She writhed her hands till her fingers were wet with sweat or blood!
    They stretched and strained in the darkness, and the hours crawled by like years
    Till, now, on the stroke of midnight,
    Cold, on the stroke of midnight,
    The tip of one finger touched it! The trigger at least was hers!

    The tip of one finger touched it. She strove no more for the rest.
    Up, she stood up to attention, with the muzzle beneath her breast.
    She would not risk their hearing; she would not strive again;
    For the road lay bare in the moonlight;
    Blank and bare in the moonlight;
    And the blood of her veins, in the moonlight, throbbed to her love’s refrain.

    Tlot-tlot; tlot-tlot! Had they heard it? The horsehoofs ringing clear;
    Tlot-tlot; tlot-tlot, in the distance? Were they deaf that they did not hear?
    Down the ribbon of moonlight, over the brow of the hill,
    The highwayman came riding—
    Riding—riding—
    The red coats looked to their priming! She stood up, straight and still.

    Tlot-tlot, in the frosty silence! Tlot-tlot, in the echoing night!
    Nearer he came and nearer. Her face was like a light.
    Her eyes grew wide for a moment; she drew one last deep breath,
    Then her finger moved in the moonlight,
    Her musket shattered the moonlight,
    Shattered her breast in the moonlight and warned him—with her death.

    He turned. He spurred to the west; he did not know who stood
    Bowed, with her head o’er the musket, drenched with her own blood!
    Not till the dawn he heard it, and his face grew grey to hear
    How Bess, the landlord’s daughter,
    The landlord’s black-eyed daughter,
    Had watched for her love in the moonlight, and died in the darkness there.

    Back, he spurred like a madman, shouting a curse to the sky,
    With the white road smoking behind him and his rapier brandished high.
    Blood red were his spurs in the golden noon; wine-red was his velvet coat;
    When they shot him down on the highway,
    Down like a dog on the highway,
    And he lay in his blood on the highway, with a bunch of lace at his throat.

    . . .

    And still of a winter’s night, they say, when the wind is in the trees,
    When the moon is a ghostly galleon tossed upon cloudy seas,
    When the road is a ribbon of moonlight over the purple moor,
    A highwayman comes riding—
    Riding—riding—
    A highwayman comes riding, up to the old inn-door.

    Over the cobbles he clatters and clangs in the dark inn-yard.
    He taps with his whip on the shutters, but all is locked and barred.
    He whistles a tune to the window, and who should be waiting there
    But the landlord’s black-eyed daughter,
    Bess, the landlord’s daughter,
    Plaiting a dark red love-knot into her long black hair.

     

  • The Story Behind “Amazing Grace”

    John Newton writes the following about himself.

    “My father was a very sensible, and a moral man, as the world rates morality; but neither he, nor my step-mother, was under the impressions of religion: I was, therefore, much left to myself, to mingle with idle and wicked boys; and soon learnt their ways.”

    And learn them he did, and not just from wicked boys.  This is the John Newton who worked aboard a “respectable” slave ship and then became the captain of his own.  But this is also the John Newton who later wrote “Amazing Grace,” probably the most famous of all folk hymns.

    That song has been sung in countless arrangements and to different tunes. I love the version by The Five Blind Boys of Alabama sung to the music of “The House of the Rising Sun”.  Soulful.  Incredible.

    And the fabulous mash up of those two same songs performed by Jerry Lawson And The Talk Of The Town on NBC’s The Sing-Off season 2.

    And the more traditional version featured on the movie Amazing Grace sung by Chris Tomlin and titled “Amazing Grace (my chains are gone)”.

    There are simply too many wonderful versions to list.

    But what makes this song so wonderful is not only the words, but also the story behind the song.  This song isn’t a song of theology—it’s John Newton’s own heartfelt expression of gratitude to God, who helped him turn from his profane and wicked life and eventually fight against the ills he practiced.  Later in life, Newton became a supporter and inspiration to William Wilberforce who lead the fight to pass the British Slave Trade Act in 1807, which abolished the slave trade in that empire.

    Although the experience of Newton’s turning point is dramatic, and referred to in the song, his change didn’t occur over night.  In fact, it took him a number of years to fully come to himself.   It was 34 years AFTER he retired from slavery, which was years AFTER he turned toward a new life, that he published his forceful pamphlet Thoughts Upon the Slave Trade, in which he describes the horrific conditions of the slave ships and apologizes for a confession that “comes too late” and “will always be a subject of humiliating reflection to me, that I was once an active instrument in a business at which my heart now shudders.”

    My heart soars when seeing someone turn a life around (maybe because I’m in need of a turnaround).  It’s such a wonderful and instructive tale of hope.

    Recently, Asbury University Media Com students and an Asbury Art Dept student under the direction of Professor Greg Bandy produced a short 14 minute documentary called Amazing Grace: The Story Behind the Song on the fascinating story of how John Newton wrote the most famous hymn in the world . . . and helped bring about one of the most powerful social justice movements in the history of Western Civilization.  It’s a great tale.  Watch it below.

    Amazing Grace: The Story Behind the Song from Gregory Bandy on Vimeo.

  • Merry Halloween!

    Poetry is a species of literature that struggles to flourish in written and spoken environments.  We forward the occasional insightful, funny, or sentimental poem in our emails. Once in a while speakers will quote a few verses. But we don’t share that form of poetry like we do the poetry in songs. Music is the environment in which poetry thrives.  People say you can’t make money writing poetry—tell that to lyricists and song writers.  I have three poems (songs) that I think you’ll enjoy.

    First is “God Rest Ye Merry Gentlemen / We Three Kings” by Barenaked Ladies and Sarah McLachlan. This is one of the Brown family’s most favorite Christmas songs. It’s such a favorite that we can’t help but listen and sing along all year round. The Bare Naked Ladies put a mix of these two classics to a punchy beat with an acoustic guitar, but then they change the mood part way in by bringing in McLachlan’s haunting, beautiful voice. It is an upbeat, wonderful arrangement.

    The next song is another remake of a classic: “I Heard the Bells on Christmas Day” by Casting Crows.  While the song is updated with modern instruments (drums, piano, guitar), this isn’t a raucous arrangement. It starts with a simple lovely melody and a solo male voice. It moves into a swell with a sweet child chorus that repeats the most important refrain in the song: “peace on earth, good will to men.” There are no bells in the song, but it makes me wish I was back in Europe so that when the bells in the towns there did peal, I would think of the message of this song.

    Now, I know some of you are thinking, “Christmas. In October? Are you kidding me?” So to appease these strict seasonalists, I present “Calling All The Monsters” by China Anne McClain. The perfect groove Halloween song–upbeat and catchy. And you simply must watch the music video that goes with it. It’s good fun that hearkens back to the Michael Jackson “Thriller” music video but is much more playful.  

    All of these songs can be purchased on Amazon for less than a buck each. If you want to preview them, you can on YouTube. Links below. Merry Halloween!

    So what are some of your favorites?

  • The Harry Potter Book of Mormon Hello

    For those who haven’t been tracking the Broadway scene, South Park creators Trey Parker and Matt Stone launched the production of The Book of Mormon musical last year in New York. It won 9 Tony Awards, including best muscial, delighted many critics, and is something I will never see, alas. It’s simply too vulgar for this Mo. However, the show’s cast album did something that hasn’t happened in over 40 years: It hit the top ten on Billboard’s pop charts. While I couldn’t listen to all the songs (yeah, I tried but was almost struck by lightning), “Hello,” the first, is great. But it doesn’t stop there. Oh, no. Tessa Netting, a 20-year-old Broadway actress, recently had the brilliant idea to combine the characters of Harry Potter with the song. I think you’ll be delighted with both.

    “Hello” from the musical

    “Hello – Harry Potter Book of Mormon Parody” which you can get on iTunes.

    You might want to listen to an interesting All Things Considered NRP interview where Stone and Parker talk about the music.