This is a fast-paced pop song with male vocals. Rachel's voice is understated, but powerful. This is a passionate song that builds up to a beautiful climax.
#So lyrical full#
This is a fast-paced song dedicated to living life as full as possible.
This song has beautiful male vocals and lyrics. This song has a piano accompaniment with a lilt and lovely male vocals. Sound is energy, and that energy resonates with your energy. Lyrics such as, "I believe that love is the answer," will melt your heart. This is a classic piano ballad that is sure to pull on the heartstrings.
This song has breathy female vocals that soar over a patient guitar accompaniment. This song has roots in country and bluegrass music and will lift the spirits of everyone in the audience. This is a soaring ballad of the human heart. This is an upbeat and bright piano-based song. "Ok, It's Alright With Me" - Eric Hutchinson This song uses percussion instruments to add an interesting beat to this song which has lovely female vocals. John's smooth vocals glide over an upbeat guitar accompaniment that leads into drums. The chorus is legendary.Įverybody is just a stranger, but that's the danger in going my own way. This is John Mayer's rendition of Tom Petty's classic song, expressing the uncertainty that always exists in relationships. "Free Fallin'" - John MayerĪlbum: Where the Light Is: John Mayer Live in Los Angeles This song has a lovely crescendo of female vocals and accompaniment with a very full sound. This song has beautiful, layered female vocals with a peaceful guitar and harmonica accompaniment. "Dream" - Priscilla AhnĪlbum: Disturbia: Original Motion Picture Soundtrack This song has a slow, rocking, and melodic musical accompaniment that is a cross between a waltz and big band music. This song has an easy pace and a soothing melody. Nell Zink has published six novels, including the recent Avalon.Zach Dischner 76. Life could be so lyrical, if it weren’t a novel. I think the last time I saw him he was either cooking shirtless or staring at me across a dance floor, dressed as a pumpkin. Then time resumed, and soon afterward he plunked down on my bed unannounced, not to sing “You Know Who I Am,” but to plead his stunningly counterproductive case for sex with me, citing what he saw as my indiscriminate promiscuity. For once we were in each other’s presence yet not acting like idiots, our dopiness suspended by the schematic innocence of a simple song-transfixed by poetry, lost in the timeless intimacy of two people listening to one of them perform the beauty of someone else. I remember singing “Why are you so quiet now / Standing there in the doorway” while a housemate I had a crush on stood quietly in the doorway. I preferred the songs, which restored the human dignity the novels attacked. The Favorite Game is about getting laid a lot in swinging Montreal (autobiographical). I suspect they’re also from Beautiful Losers. I blame The Favorite Game for the image of a sentient vibrator that drives a couple from their home, as well as a description of getting trapped in a writhing mass of young people at a political rally but failing to orgasm. An image of sainthood from Beautiful Losers haunted me for decades: to live like a runaway ski. I taught myself all the songs on the record and borrowed his novels from the library. But it did take me at least ten listens to acclimate to Cohen’s chansonnier velocity and compound meters while his lyrics were sinking their claws into my soul. Black people were denied decent jobs and homes, but there was no question that high school dances would be themed “Always and Forever” and culminate in “Brick House” and “Flashlight.” At college, surrounded by northern suburbanites’ awkward skanking to babyish punk rock, I realized that I had been inadvertently blessed. A basic tenet of its all-pervasive racism was that white people couldn’t do music. Tidewater, Virginia, was not that milieu. There existed milieus where Cohen’s music was inescapable, such as kibbutzim and the GDR. The third rocketed me, on my return to William & Mary, straight to the town record store, where the cashier sold me Songs of Leonard Cohen with a money-back guarantee on the condition that I listen to it ten times before complaining. The second, its melodic charms notwithstanding, featured the line “They say I’m harder than … a marble shaft,” leading me to believe, until just now when I finally looked him up, that Jorma Kaukonen was born in Finland and never really learned English. There three men taught me to play three songs on guitar: “Babe I’m Gonna Leave You,” “Genesis,” and “Suzanne.” The first left me cold. In December 1981, I visited my older brother at the University of Michigan.
#So lyrical series#
To mark the appearance of Leonard Cohen’s “ Begin Again” in our Summer issue, we’re p ublishing a series of short reflections on his life and work.
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