XLNT LYRICS PRE 1980 ( Archived) (39)

Everything from the Moody Blues is Great!

"Hotel California"

On a dark desert highway, cool wind in my hair
Warm smell of colitas, rising up through the air
Up ahead in the distance, I saw shimmering light
My head grew heavy and my sight grew dim
I had to stop for the night
There she stood in the doorway;
I heard the mission bell
And I was thinking to myself,
'This could be Heaven or this could be Hell'
Then she lit up a candle and she showed me the way
There were voices down the corridor,
I thought I heard them say...

Welcome to the Hotel California
Such a lovely place (Such a lovely place)
Such a lovely face
Plenty of room at the Hotel California
Any time of year (Any time of year)
You can find it here

Her mind is Tiffany-twisted, she got the Mercedes Benz
She got a lot of pretty, pretty boys she calls friends
How they dance in the courtyard, sweet summer sweat.
Some dance to remember, some dance to forget

So I called up the Captain,
'Please bring me my wine'
He said, 'We haven't had that spirit here since nineteen sixty nine'
And still those voices are calling from far away,
Wake you up in the middle of the night
Just to hear them say...

Welcome to the Hotel California
Such a lovely place (Such a lovely place)
Such a lovely face
They livin' it up at the Hotel California
What a nice surprise (what a nice surprise)
Bring your alibis

Mirrors on the ceiling,
The pink champagne on ice
And she said 'We are all just prisoners here, of our own device'
And in the master's chambers,
They gathered for the feast
They stab it with their steely knives,
But they just can't kill the beast

Last thing I remember, I was
Running for the door
I had to find the passage back
To the place I was before
'Relax,' said the night man,
'We are programmed to receive.
You can check-out any time you like,
But you can never leave!'

(The Doors original)

There is a house in New Orleans
They call the Risin' Sun
And it's been the ruin of many a poor boy.
And God, I know I'm one.

My mother was a tailor.
She sewed my new blue jeans.
My father was a gamblin' man
Down in New Orleans.

Now, the only thing a gambler needs
Is a suitcase and a trunk
And the only time that he's satisfied
Is when he's on a drunk

Oh, Mother, tell your children
Not to do what I have done.
Spend your lives in sin and misery
In the house of the risin' sun.

Well, I've got one foot on the platform.
the other foot on the train.
I'm goin' back to New Orleans
To wear that ball and chain.

Well, there is a house in New Orleans
They call the Risin' Sun
And it's been the ruin of many a poor boy.
And God, I know I'm one.

Would you like to see a picture of a hotel California? Where you can check-out anytime you like, but you can never leave?

Nope I don't think so

Well, if you ever change your mind, just let me know. I was shocked when I ask the folks in the area. For some strange reason they have seen many people walk in, but never seen people walk out of that place. Strange huh?

walking distance from that Plaza I was telling you about.

Toccata and Fugue in F major, BWV 540
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The Toccata and Fugue in F Major, BWV 540 is an organ work written by J.S. Bach. The toccata is thought to be written after 1714, and the fugue before 1731. It is thought by some that Bach joined together two previously separate pieces to create this work.
Contents


* 1 Score
o 1.1 Toccata
o 1.2 Fugue
* 2 See also
* 3 External links

Score

Toccata

The toccata starts with a large linear canon over a pedal point in F major. It is than followed by a pedal solo vamping material from the canon. The canon is reiterated with some variations in the dominant in C major. This is again followed by a long pedal solo. The two large flourishes cover 98 measures of the composition. The pedal solo cover 58 measures. The concerto movement exhibits a seven-part structure. The canons and pedal solos effect the departure from the home key of F to the dominant C, and the entire rest of the movement, with its concertante 3-part imitation and striking "proto-waltzes", constitute the harmonic return. This formal pattern is unique within Bach's œuvre. Bach has even included his own family name within the music: at one point in the pedal part may be successively found the notes (in the German language, on the first beat of four consecutive bars) B - A - C - H. In English, these notes are B flat, A, C and B natural. Rightly so Hermann Keller expresses his rapture as follows: " At the beginning the extensive linear construction of the two voices in canon, the proud calmness of the solos in the pedal, the piercing chord strokes, the fiery upswing of the second subject, the bold modulatory shifts, the inwardness of the three minor movements, the splendour of the end with the famous third inversion of the seventh chord, who would not be enthralled by that?" Because of the range of the pedal parts, the organ at Weißenfels, with a pedal compass of f1, may be the organ the composition was written on. The Toccata (as a prelude) is proportionally the largest of all Bach's works in the format of prelude-fugue. It is often treated as a show piece, with the ensuing fugue omitted. The Toccata's rhythmic signiature suggests a passepied or a musette, although the monumental scale of the movement does not support these characterizations. Nor does the harmonic adventurousness: 45 measures after the second pedal solo there is a dominant chord which resolves deceptively to the third-inversion dominant applied to the neapolitan. In particular, the doubled root is found to move outward in contrary chromatic motion to a major 9th; in the bass is a descending augmented unison, which absolutely could not be farther from the expected fifth. Bach implements this powerful deceptive cadence three times in the piece; it would not become idiomatic until Chopin and Tchaikovsky. (see below)

Fugue

The double fugue is not well-known. The first subject in the fugue is chromatic and ornamental. The second subject has a lot of modulation shifts and is sometimes is initially presented as the counter-subject of the first. The Fugue is Bach's only thorough-going double fugue, where two subjects are exposed in separate sections and then combined to produce enhanced by the increasing rhythmic activity of the second subject and by the more frequent use of modulation in the final section of the fugue. The bravura of the F-Major toccata, with its pedal solos and manual virtuosity, contrasts sharply with the rather sober opening of the Fugue. Both represent two diverse aspects of Italian influence: the motoric rhythms and sequential passagework of the Toccata, and the traditional alla breve counterpoint of the Fugue, with its chromaticism, harmonic suspensions, and uninterrupted succession of subjects and answers.

If I leave here tomorrow
Would you still remember me?
For I must be travelling on, now,
There's too many places I haven't seen
And if I stayed here with you, now
Things just wouldn't be the same
Well I'm as free as a bird now,
And a bird you can not change.
And a bird you can not change.
And a bird you can not change.
Lord knows I can't change

Bye, bye, its been a sweet love.
And though this feeling I can't change.
Please don't take it badly,
The Lord knows I'm to blame.
And, if I stayed here with you now
Things just wouldn't be the same.
For I'm as free as a bird now,
And this bird you'll never change.
And the bird you can not change.
And the bird you can not change.
Lord knows, I can't change.
Lord help me, I can't change.