Mbube (The Lion Sleeps Tonight)

Originally recorded in South Africa by Solomon Linda and The Evening Birds in 1939, the song Mbube, which most of us are familiar with as The Lion Sleeps Tonight, earned for its writer a one time fee and no royalties. It has been rewritten twice, and covered by such artists as Pete Seeger and the Weavers, The Kingston Trio, The Tokens, Miriam Makeba (famous also for her "Click Song"), and R.E.M. The song earned some $15 million dollars in licensing fees from the Disney movie The Lion King alone. It is arguably one of the most beloved and successful musical compositions of the Twentieth Century.

The song was written about King Shaka of the Zulus (1787-1828) who was refered to as The Lion and of whom it was rumored he had not died, but was asleep in the jungle and would one day return. The bastardized word "Wimoweh" which was the title of Seeger's version of the song is a corruption of the Zulu uyimbube, "you are a lion."



In its various versions the song was a hit in South Africa and Britain, and reached the top twenty in the US three times, reaching number one with The Tokens in 1961. Below are three versions of the song. The first is the original recording of Mbube by Solomon Linda and The Evening Birds from 1939. Second is Miriam Makeba's 1960 cover of Mbube. Third is the Token's 1961 number one US hit.

Canciones: "Cucurrucucú Paloma" & "Volver"

Although I am a huge fan of Pedro Almodóvar, I cannot recommend all of his films. Some are simply much too dark, and Talk to Her, which won an Oscar for best screenplay, is one of these. The heroine, were she allowed to be one, is gored by a bull, and dies in a coma. A second plot revolves about a deranged male nurse who rapes another woman in a coma. There is nothing to celebrate or admire. Yet as always, Almodóvar's mechanical skills are top notch. And as is his wont he interjects this otherwise morbid work with a beautiful musical interlude. In a flashback we see the bullfighter and her boyfriend at a party. There the Spanish musician Caetano Veloso gives a haunting rendition of Cucurrucucú Paloma by Tomás Méndez which we can enjoy as an excerpt, available here at YouTube:



Another wonderful song, Volver, from Almodóvar's much better movie of the same name, (see here) is also available. Here we see Penelope Cruz lip sinking to the voice of Estrella Morente. But that is easy to forgive.

"Heroes" David Bowie & Brian Eno

While it failed to chart in the US and only reached 24 in the UK, David Bowie's and Brian Eno's collaborative single "Heroes" has become one of Bowie's most enduringly popular songs, widely regarded as one of the top 100 pop songs of all time. The track features inspirational lyrics and innovative recording methods, and this as well as its conception in Berlin in 1977 as a love song for a couple separated by The Wall has secured it a place in the cultural history of the Twentieth Century.

Originally conceived as an instrumental track, "Heroes" was the intended title for the peice even before Bowie composed the lyrics. The guitars, percusion, synthesizers and intentional feedback and reverb (see Wikipedia) give the song a Phil Spector-like "Wall of Sound" effect. Bowie, not the most dynamic of singers, begins the song merely speaking the lyrics. He is recorded with one microphone for the introduction. As the power of his voice grows, another microphone was opened up at twenty feet, and as he belts out the climax a third mic is recording him at a fifty foot distance. Although Bowie goes from talking to yelling without passing through what could truly be called song, this lends his performance an everyman atmosphere which only heightens the epic effect.

The song has been recorded in English and German as well as several other languages and the conservative American magazine National Review has listed it as 21st in its list of all time conservative rock songs. It has continued to be adapted for use in commercials and as a theme for popular TV shows until today. When it was released, even though its creators realized its epic romantic and triumphant nature, they did suffer from this moral cowardice; they added scare quotes to lend the title an ironic air. Given their achievement, I vote we forgive them. Given the end of the Cold War, the fall of The Wall, and the triumph of freedom, I suggest we imagine the quote marks as pairs of fingers raised in a double sign of victory.



Here is the original video with the English lyric studio-version release:

Celia Cruz "Guantanamera"

There are some drugs so strong that daily usage is contraindicated. I don't know what side-effects, other than tears of joy, Celia Cruz's voice may cause, but if the issue were potency, I'm sure the FDA would want to have her banned. Celia Cruz, 1925-2003, was, according to Wikipedia, (and here one cannot doubt them) "the most influential female figure in the history of Cuban music." Her clear and powerful voice had few rivals, and her sense of joy was incomparable.

Cruz's career had just begun to take off when the communists rose to power in Cuba. In 1960 she left the country, moving to New Jersey and becoming a US citizen. She recorded some 60 albums. She had a famous long term collaboration with Latin drummer Tito Puente. She performed constantly until shortly before her death from cancer. She was buried in Woodlawn Cemetary in the Bronx with soil she had saved from a visit to Guantánamo.

My favorite song by "La Celia" and her most well known among Americans is Guantanamera which means "The Girl from Guantánamo." The song is the unofficial anthem of the island. One of the most beautiful ballads of the 20th Century, it was composed in 1929 by Joselíto Fernández. It was inspired when Fernandez was spurned by a pretty girlk at whom he had made a pass. Over the years the lyrics have evolved to have a more topical meaning. The music is plaintive yet joyful and defiant.

The first verse is:

Yo soy un hombre sincero
De donde crece la palma
Y antes de morirme quiero
Echar mis versos del alma
Guantanamera, guajira, Guantanamera

which translates as:

I am a sincere man
From where the palm tree grows
And before dying I want
To share the verses of my soul.


You can see the full lyrics here. The simple melody performed with steel drums and flute is one of the purest and transporting of sounds. While the song may make you cry, it should be with tears of joy. Here is one of the better performances by Cruz available on YouTube:

Carl Orff "Carmina Burana"

Discovered in 1803 in the Benediktbeuern abbey by the German scholar Johann Andreas Schmeller, the Codex Burana is a collection of 228 poems written in Latin, Middle German and Old Provençal. They were recorded by students and clergy about the year 1230 in southern Bavaria. Meant to be set to music they include love songs, drinking songs and scandalous chucrh parodies. The songs provide a fascinating uncensored view into the cultural life of the high middle ages.

Schmeller published the codex and named it the Carmina Burana (Songs of Beuern) in 1847. In 1935 and '36 the German composer Carl Orff set 24 of the songs to new music, producing a work meant for orchestra, soloists and choir. Subtitled cantiones profanae, the styles range from plaintive and pastoral to comical to demonic to ecstatic. The composition was highly successful, long outliving the Nazi regime which at first found the work too controversial for public performance.

It premiered at the Alte Oper, Frankfurt, in 1937. The opening movement, O Fortuna, is one of the most well known pieces of classical music, familiar to many as the theme to the film The Omen. Covered by performers from the Doors' Ray Manzarek to Enya and by every classical venue on the planet, performances of this work are a guaranteed to sell out.

The Carmina Burana is meant to be performed operatically, and in 1975, Jean-Pierre Ponnelle produced a West German film version which faithfully produces scenes from mediaeval festivals and morality plays with an effect that seems to cross Easter with Halloween.

The text of Orff's Carmina Burana is available at Teach Yourself Latin. It includes the Latin, French and German lyrics with a loose English translation. The 1975 film by Ponnelle, with a fine musical recording is available in full, starting here with O Fortuna, at YouTube:

Delibes "Lakmé" The Flower Duet

While I do enjoy classical music, I mostly prefer instrumental pieces, for example Beethoven's Symphonies or tone poems such as Liszt's Preludes. I am not much of an opera fan. Having greatly enjoyed the musical Amadeus I was disappointed to find that just about everything of Mozart's that I liked was already in the film, and I found such works of his as Don Giovanni and The Magic Flute unappealing.

In college, a friend rented a favorite movie of his, The Hunger, with Susan Sarandon, David Bowie and Catherine Deneuve. A stylish vampire movie, it is just a bit too bloody for my taste, but it is quite worth seeing for those who like the genre. The greatest reward from watching it was learning of the "Flower Duet" from Léo Delibes' opera Lakmé. I immediately piurchased the opera. The bulk of it did not interest me. But the price was well paid to have a recording of that song. The story is simple. The daughter of a Hindu priest and her servant girl sing of a garden filled with flowers, jasmine and birds. I have placed some of the French lyrics and the English translation below, under the YouTube clip. The lyrics are for the part about 1:09 into the song.

In the movie The Hunger Catherine Deneuve says the "Flower Duet" is a love song, and Susan Sarandon asks Deneuve if Deneuve is seducing her. (Deneuve is.) But whether we imagine the duet as a love song or a vision of some oriental paradise, or even recall it as a theme that we have heard in commercials for Godiva Chocolate or British Airways, the melody is incomparable, the music transcendant. If you do not recognize this piece by the title, you will recognize it, and enjoy it immensely, upon hearing it.

I have chosen a performance by Carolyn Withers & Melissa Batalles accompanied only by Piano. There are other versions, with full orchestra. I think this simple arrangement shows the power of the music, without any need for strong back-up orchestration. It is divine without need for special devices. Enjoy.



Sous le dôme épais, où le blanc jasmin
À la rose s’assemble
Sur la rive en fleurs, riant au matin
Viens, descendons ensemble.

Doucement glissons de son flot charmant
Suivons le courant fuyant
Dans l’onde frémissante
D’une main nonchalante
Viens, gagnons le bord,
Où la source dort
Et l’oiseau, l’oiseau chante.

"Under the thick dome, where the white jasmine
Gathers with the rose,
On the riverbank in bloom, laughing in the morning,
Come, let us go down together.

"Gently let us slip from the pleasant rising flow,
Let us follow the fleeting current
In the shimmering stream,
Without any care,
Come, let us reach the bank,
Where the spring waters slumber
And the bird, the bird, she sings."