¤ S T I N G
«Desert Rose» is noted for Sting‘s duet performance with Algerian raï singer Cheb Mami, creating a distinct world music feel to the song. It also has a popular music video featuring Sting taking a trip through the Mojave Desert in a Jaguar S-Type and then going to a nightclub in Las Vegas, Nevada to perform the song with Cheb Mami.
The lyrics of the song are inspired by Frank Herbert‘s novel, Dune. Sting also played the villainous Feyd Rautha in the 1984 film adaptation.
◊ → ‘Desert Rose‘ ⇓ (- Brand New Day, 1999)
Cheb Mami Intro (Algerian Arabic):
Hadaee mada tawila Wa ana nahos ana wahala ghzalti
Wa ana nahos ana wahala ghzalti Wa ana nahos ana wahala ghzalti
[English:]
Oh night oh night It has been a long time And I am looking for myself and my loved one
And I am looking for myself and my loved one – And I am looking for myself and my loved one
Sting:
I dream of rain – I dream of gardens in the desert sand
I wake in pain – I dream of love as time runs through my hand
I dream of fire – Those dreams are tied to a horse that will never tire
And in the flames – Her shadows play in the shape of a man’s desire
This desert rose – Each of her veils, a secret promise
This desert flower – No sweet perfume ever tortured me more than this
And as she turns – This way she moves in the logic of all my dreams
This fire burns – I realize that nothing’s as it seems
I dream of rain – I dream of gardens in the desert sand
I wake in pain – I dream of love as time runs through my hand
I dream of rain – I lift my gaze to empty skies above
I close my eyes – This rare perfume is the sweet intoxication of her love
I dream of rain – I dream of gardens in the desert sand
I wake in pain – I dream of love as time runs through my hand
Sweet desert rose – Each of her veils, a secret promise
This desert flower – No sweet perfume ever tortured me more than this
Sweet desert rose – This memory of Eden haunts us all
This desert flower – This rare perfume, is the sweet intoxication of the fall
∞ with The Chieftains ↓ ‘Mo Ghile Mear’
‘Se/ mo laoch, mo Ghile Mear – ‘Se/ mo Chaesar Gile Mear Suan na/ se/an ni/ bhfuaireas fe/in – O/ chuaigh i gce/in mo Ghile Mear . . . Grief and pain are all I know – My heart is sore My tears a’flow – We saw him go. [ . . . ] No word we know of him, ochon ‘Se/ mo laoch, mo Ghile Mear – ‘Se/ mo Chaesar Gile Mear Suan na/ se/an ni/ bhfuaireas fe/in – O/ chuaigh i gce/in mo Ghile Mear A proud and gallant chevalier – A high man’s scion of gentle mean A fiery blade engaged to reap – He’d break the bravest in the field ‘Se/ mo laoch, mo Ghile Mear – ‘Se/ mo Chaesar Gile Mear Suan na/ se/an ni/ bhfuaireas fe/in – O/ chuaigh i gce/in mo Ghile Mear Come sing his praise as sweet harps play and proudly toast his noble frame With spirit and with mind aflame – So wish him strength and length of day ‘Se/ mo laoch, mo Ghile Mear – ‘Se/ mo Chaesar Gile Mear Suan na/ se/an ni/ bhfuaireas fe/in – O/ chuaigh i gce/in mo Ghile MearΦ ‘A Thousand Years‘ ↓
•→ ‘Englishman in New York’ ⇔ [lyrics] / •→ ‘Russians’ ⇔ [lyrics]
•→ ‘Moon Over Bourbon Street‘ ⇐
⇓ ‘She’s Too Good For Me ‘
She don’t like to hear me sing – She don’t want no diamond ring
She don’t want to drive my car – She won’t let me go that far
She don’t like the way I look – She don’t like the food I cook
She don’t like the way I play – She don’t like the things I say
But oh the games we play – She’s too good for me …
She don’t like the jokes I make – She don’t like the drugs I take
She don’t like the friends I got – She don’t like my friends a lot
She don’t like the clothes I wear – She don’t like the way I stare
She don’t like the tales I tell – She don’t like the way I smell
But oh the game we play – She’s too good for me …
Would she prefer it if I washed myself more often than I do
Would she prefer it if I took her to an opera or two
I could distort myself to be the perfect man
She might prefer me as I am
She don’t want to meet my folks – She don’t want to hear my jokes
She don’t want to fix my tie – She don’t even want to try
She don’t like the books I read – She don’t like the way I feed
She don’t want to save my life – She don’t want to be my wife
But oh the games we play – She’s too good for me …
Φ ‘Fragile‘ ⇓
If blood will flow when flesh and steel are one
Drying in the colour of the evening sun
Tomorrow’s rain will wash the stains away
But something in our minds will always stay
Perhaps this final act was meant
To clinch a lifetime’s argument
That nothing comes from violence and nothing ever could
For all those born beneath an angry star
Lest we forget how fragile we are
On and on the rain will fall
Like tears from a star like tears from a star
On and on the rain will say
How fragile we are how fragile we are . . .
•→w/ George Dalaras:→ ‘Mad About You’ ←(2001)
•→ w/ Craig David: ‘Rise & Fall’ ⇐
∇ ‘In darkness let me dwell’ ↓
In darkness let me dwell is a song by the lutenist and composer John Dowland (1563-1626). Like many of Dowland’s songs, its subject matter is melancholy and its lyrics anonymous. It is a late work showing the influence of Italian music of the early baroque.
The roof despair to bar all cheerful light from me,
My music hellish jarring sounds, to banish friendly sleep.
O, let me, living, living, die, till death do come.
∇ w/ Shaggy ⇓ ‘It Wasn’t Me’ [2018]
(Open up, man) What do you want, man?
(My girl just caught me) You let her catch you?
(I don’t know how I let this happen) With who?
(The girl next door, you know) Man
(I don’t know what to do) Say it wasn’t you
(Alright)
Honey came in and she caught me red-handed
Creeping with the girl next door
Picture this, we were both butt-naked, banging on the bathroom floor
How could I forget that I had
Given her an extra key
All this time she was standing there
She never took her eyes off me
How you can give your woman access to your villa?
Trespass and a-witness while you cling to your pillow
You better watch your back before she turn into a killer
Let’s review the situation that you caught up in a
To be a true player you have to know how to play
If she say a night, convince her say a day
Never admit to a word when she say
And if she claim, ah, you tell her, «Baby, no way»
But she caught me on the counter (It wasn’t me)
Saw me bangin’ on the sofa (It wasn’t me)
I even had her in the shower (It wasn’t me)
She even caught me on camera (It wasn’t me)
She saw the marks on my shoulder (It wasn’t me)
Heard the words that I told her (It wasn’t me)
Heard the scream get louder (It wasn’t me)
She stayed until it was over
Honey came in and she caught me red-handed
Creeping with the girl next door
Picture this, we were both butt-naked, banging on the bathroom floor
I had tried to keep her
From what she was about to see
Why should she believe me
When I told her it wasn’t me
Make sure she knows it’s not you and lead her on no right to vex
Whenever you should see her make the gigolo flex
Somebody else as it be by you, it not that complex
Seeing is believing so you better change your specs
You know she are gon’ bring ‘bout things up from the past
All the little evidence you better know to mask
Quick upon your answer: go over there
But if she pack a gun you know you better run fast
But she caught me on the counter (It wasn’t me)
Saw me bangin’ on the sofa (It wasn’t me)
I even had her in the shower (It wasn’t me)
She even caught me on camera (It wasn’t me)
She saw the marks on my shoulder (It wasn’t me)
Heard the words that I told her (It wasn’t me)
Heard the scream get louder (It wasn’t me)
She stayed until it was over
Honey came in and she caught me red-handed
Creeping with the girl next door
Picture this, we were both butt-naked, banging on the bathroom floor
How could I forget that I had
Given her an extra key
All this time she was standing there
She never took her eyes off me
Gonna tell her that I’m sorry
For the pain that I’ve caused
I’ve been listening to your reason
It makes no sense at all
We should tell her that I’m sorry
For the pain that I’ve caused
You may think that you’re a player
But you’re completely lost
That’s why I sing
Honey came in and she caught me red-handed
Creeping with the girl next door
Picture this, we were both butt-naked, banging on the bathroom floor
How could I forget that I had
Given her an extra key
All this time she was standing there
She never took her eyes off me
÷ ÷ ÷ ÷ ÷ ÷
¤ David Bowie [1947-2016]
⇓ ‘Look Back In Anger‘⇐
•→‘In the Port of Amsterdam’ ⇔ [lyrics⇐]
◊→ ‘Wild Is The Wind’ ⇓
. . . love me, say you doLet me fly away with you
For my love is like the wind
And wild is the wind, wild is the wind Give me more than one caress
Satisfy this hungriness
Let the wind blow through your heart
For wild is the wind, wild is the wind You touch me, I hear the sound of mandolins
You kiss me, with your kiss my life begins
You’re spring to me, all things to me
Don’t you know, you’re life itself? Like the leaf clings to the tree
Oh, my darling, cling to me
For we’re like creatures of the wind
Wild is the wind, wild is the wind You touch me, I hear the sound of mandolins
You kiss me, with your kiss my life begins
You’re spring to me, all things to me
Don’t you know, you’re life itself? Like the leaf clings to the tree
Oh, my darling, cling to me
For we’re like creatures of the wind
And wild is the wind, wild is the wind
Wild is the wind . . .
Φ ‘Scary Monsters (and Super Creeps)’ ⇓ [feat. Robert Fripp]
«…Scary monsters, super creeps – Keep me running, running scared…»
•→ ‘Ashes To Ashes’ ⇐
•→ ‘I’m deranged’ ⇐[1995]⇒lyrics⇐
∇ ‘Sound & Vision’ ⇓
Don’t you wonder sometimes‘Bout sound and vision Blue, blue, electric blue
That’s the colour of my room
Where I will live
Blue, blue Pale blinds drawn all day
Nothing to do, nothing to say
Blue, blue I will sit right down,
Waiting for the gift of sound and vision
And I will sing, waiting for the gift of sound and vision
Drifting into my solitude,
over my head Don’t you wonder sometimes
‘Bout sound and vision
♣ Sound & Vision . . . [a doc in seven parts ]
•→ [Part 1]⇐ / •→[Part 2]⇐ / •→ [Part 3]⇐ / •→[Part 4]⇐
. . . ⇒[Part 7]⇐
¤ The Life and Career of David Bowie ⇐ [watch_mojo]
• Musical Beginnings
David Robert Jones was born on January 8th, 1947 in Brixton, London, England. Though he showed musical interest at a young age, it was only in the early 60s that he really pursued the art. He started by joining several blues bands, but branched off on his own when they had little success. Renaming himself David Bowie, he released his self-titled debut in 1967.
• Moon Landing and «Space Oddity»
Its lack of success led Bowie to participate in a promotional film called “Love You till Tuesday,” which showcased several of his songs. Of particular interest was “Space Oddity,” which tells the story of an astronaut named Major Tom. That track became a hit after it was released at the same time as the first moon landing. His sophomore effort of the same name, however, was another commercial disappointment.
• The Spiders from Mars
To promote his third album, The Man Who Sold the World, Bowie was put in a dress to capitalize on his androgynous look. In 1971, a pop-influenced record called Hunky Dory came out and was followed by the creation of his flamboyant Ziggy Stardust persona and stage show with backing band, The Spiders from Mars.
• Breakthrough and Number One Album
Then came his breakthrough record, The Rise and Fall of Ziggy Stardust and the Spiders from Mars, which climbed the charts thanks to his performance of the single, “Starman” on “Top of the Pops.” 1973’s Aladdin Sane was his first number one album, mixing a hard rock sound with styles such as avant-garde jazz. The Spiders from Mars were disbanded shortly thereafter.
• Touring and Cocaine
After the covers album, Pin Ups, turned Bowie into the UK’s best-selling artist, the funky concept record, Diamond Dogs, featuring the hit, “Rebel Rebel,” was released. The elaborate stage shows for the tour that followed, as well as the worsening state of Bowie’s health due to his cocaine addiction, would later be seen in the documentary, “Cracked Actor.”
• Thin White Duke
1975 saw the release of Young Americans, an album that was less glam rock and more soul. This album spawned his first U.S. hit, a track that was written with John Lennon, “Fame.” His next album, Station to Station, featured the song, “Golden Years,” and introduced another alter ego, the Thin White Duke. This persona resembled his character in the 1976 movie, “The Man Who Fell to Earth.”
• Working with Brian Eno
Up next was a trio of albums recorded with Brian Eno known as the Berlin Trilogy, beginning with 1977’s Low. This ambient and abstract album produced the UK hit, “Sound and Vision.” This was followed by a more pop rock but still minimalist album called Heroes, whose title track later became a Bowie signature tune. And in 1979, with his drug addiction now behind him, Bowie released Lodger, which contained new wave and world music elements.
• «Let’s Dance»
1980’s Scary Monsters (and Super Creeps) featured the hit, “Ashes to Ashes,” which was accompanied by an iconic music video. Bowie’s career leapt to new heights in 1983 with the success of the album, Let’s Dance, and the music videos for the singles, “Modern Love” and “China Girl.” High sales continued with the dance-inspired Tonight, an album that featured the Top 10 hit, “Blue Jean.”
• Mick Jagger
In 1985, the music video for Bowie’s duet with Mick Jagger, “Dancing in the Street,” was debuted at Live Aid. Two years later, Bowie released the more techno-based album, Never Let Me Down, that featured the single, “Day-In, Day-Out.”
• Acting
Bowie took on a number of acting roles during the ‘80s. Examples include a Broadway production of “The Elephant Man,” and the films, “Absolute Beginners,” “Labyrinth,” and “The Last Temptation of Christ.”
• Tin Machine
At the end of the 80s, Bowie fronted a band called Tin Machine, which recorded two studio albums. But, because the material was less successful than his solo work, they dissolved in 1992. Bowie then returned to his solo career with the jazzier album, Black Tie White Noise, in 1993.
• Industrial and Techno Elements
This was closely followed by the soundtrack for a television series called The Buddha of Suburbia. In 1995, Bowie brought industrial elements to the mix with the album Outside. He gained more critical and commercial success with the techno-infused sounds of 1997’s Earthling.
• More Albums and a Rest
1999 saw the release of an album with more rock tracks entitled ‘Hours…’ This was followed by the critically and commercially acclaimed Heathen in 2002 and another successful record in 2003 called Reality. Emergency heart surgery in 2004 forced Bowie to slow down, so in the latter half of the decade, he recorded only a few songs and played a couple of gigs. A live compilation capturing performances from his 2003 tour called A Reality Tour came out in 2010.
• More Acting
Bowie continued to act while he released albums. Some of his most notable film appearances include “Twin Peaks: Fire Walk with Me,” “Mr. Rice’s Secret,” “Zoolander,” and “The Prestige.”
• A Musical Chameleon
A true chameleon of the music world, David Bowie has incorporated many different styles to make his own. With his distinctive voice and extravagant stage shows, he is surely an artist who will continue to be influential throughout the ages.
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