King Crimson -The Sheltering Sky
An evening pause: From an 1982 tour. Somehow the title seems entirely apt to me.
Hat tip Diane Wilson.
An evening pause: From an 1982 tour. Somehow the title seems entirely apt to me.
Hat tip Diane Wilson.
An evening pause: With Aaron Jones on the bouzouki guitar, Jack Smedley on the fiddle, and Euan Burton on the bass.
There is music, and then there is music. The latter, as here, always sends chills up my spine.
Hat tip Danae.
An evening pause: Fans of the show will appreciate this more, but I like it because of its heart felt sincerity.
Hat tip Edward Thelen.
An evening pause: Hat tip Edward Thelen.
This pause is late partly because I forgot to schedule something, but mostly because I am desperately in need of suggestions. If you’ve sent me suggestions before, you know the routine. If you haven’t but have something you want to suggest, don’t post the link in a comment here. Just comment that you have something, and I will contact you.
An evening pause: On many cellos. Music by Lana Del Rey.
Hat tip Clark Lindsey, who runs Hobbyspace.com.
An evening pause: A nice rendition of a song by Kate Wolf about crossing the divide between life and death, who herself died far too young.
Hat tip Danae.
An evening pause: Watch those fingers dance. The instrument she’s playing is called a harp guitar.
Hat tip Tom Biggar.
An evening pause: This group’s full name is “Ùr: The Future Of Our Past,” but that’s incredibly unwieldy. Their performance of this beautiful song, however, live in 2017, is superb.
Hat tip Danae.
An evening pause: Performed live on television 1999. The strange blue instrument being played by Dennis James is called a glass harmonica (or armonica).
Hat tip Danae.
An evening pause: Hat tip Jim Mallamace, who said, “A song about longing and being incomplete.”
And seeing Willie Nelson without a beard in itself makes this worth watching.
An evening pause: A song that looks back at September, from the cold fading days of December.
From The Fantasticks.
An evening pause: I like the commentary about this song at the youtube webpage. “Although it has been described as a protest song, it poses a series of rhetorical questions about peace, war and freedom. The refrain “The answer, my friend, is blowin’ in the wind” [is] … impenetrably ambiguous: either the answer is so obvious it is right in your face, or the answer is as intangible as the wind.
In this sense, Bob Dylan’s song really does transcend the 1960s, as does much of his work.
Hat tip John Vernoski.
An evening pause: The original by Fred Astaire, with Ginger Rogers, is incomparable. This performance however is a superb.
Hat tip Danae.
An evening pause: From the Wikipedia page:
Havah Nagilah…was composed in 1915 in Ottoman Palestine, when Hebrew was being revived as a spoken language after falling into disuse in this form for approximately 1,700 years, following the destruction of the Second Temple in 70 CE and the Bar Kokhba revolt in 132–136 CE. For the first time, Jews were being encouraged to speak Hebrew as a common language, instead of Yiddish, Arabic, Ladino, or other regional Jewish languages.
The lyrics reflect these events:
Let’s rejoice
Let’s rejoice
Let’s rejoice and be happy
Let’s sing
Let’s sing
Let’s sing and be happy
Awake, awake, my brothers!
Awake my brothers with a happy heart
Awake, my brothers, awake, my brothers!
With a happy heart
May we all sing with as much joy.
Hat tip Edward Thelen.
An evening pause: Listen to the words. They ask the most fundamental questions of existence.
Hat tip Tom Wright.
An evening pause: Stay with it. The title will become clear, and you will then want to stay with the end.
Hat tip Edward Thelen.