Token

Run Run Run By The Water

#ستو_أنا 
#مكتوب_عليا 
#رمضان٢٠٢٢ 

———————————-

غناء: أكرم حسني / أيتن عامر / كريم صالح
كلمات: أكرم حسني
الحان: أحمد وحيد كينج / كريم عاشور
توزيع: أحمد وحيد كينج

إنتاج شركة ك ميديا للإنتاج الفني ( كريم أبو ذكري )
Produced By Synergy And K Media Production
تابعونا علي مواقع التواصل الإجتماعي: 
https://www.facebook.com/Productionkmedia/
https://www.instagram.com/productionkmedia/

#مكتوب_عليا
#ك_ميديا
#KMEDIA

Akram Hosny - Seto Ana | أغنية ستو انا من مسلسل "مكتوب عليا" رمضان ٢٠٢٢ - أكرم حسني وأيتن عامر

[Hino 715] http://hinario.org/detail.php?id=794

Agradecimentos à: Lucas Costa, Marina Costa, Pedro Xavier, Rian Barbosa e Jheniffer Luiza.

1   Um dia, que enfim virá,
     Ao ver meu glorioso Rei,
     Então eu vou compreender
     As lágrimas que derramei.

        Confia, sim, em teu bom Deus,
        Não temas, Ele é capaz;
        Na dor não deixes de louvar,
        Um dia tu entenderás.

2   Irei então lá concluir
     O que aqui já comecei;
     Deus vai enfim me explicar,
     Mistérios eu entenderei.

        Confia, sim, em teu bom Deus,
        Não temas, Ele é capaz;
        Na dor não deixes de louvar,
        Um dia tu entenderás.

3   Por que aquilo aconteceu?
     Eu finalmente vou saber;
     Por que cessaram as canções?
     Um dia vou compreender.

        Confia, sim, em teu bom Deus,
        Não temas, Ele é capaz;
        Na dor não deixes de louvar,
        Um dia tu entenderás.

4   Por que o que desejo mais,
     Às vezes é só ilusão?
     Por que fracassam planos meus?
     Deus me dará compreensão.

        Confia, sim, em teu bom Deus,
        Não temas, Ele é capaz;
        Na dor não deixes de louvar,
        Um dia tu entenderás.

5   Deus sabe os detalhes meus,
     E me conduz com Sua mão;
     Um dia me confortará,
     E eu entenderei então.

        Confia, sim, em teu bom Deus,
        Não temas, Ele é capaz;
        Na dor não deixes de louvar,
        Um dia tu entenderás.

17/09/2022

Um Dia Tu Entenderás - Hino 715

بينك و بيني حب عمر - عود

Part celebration of traditional English/British folk music and festival, part heart-singing pagan hymn (Oh Come All Ye Folkful?) but above all having some fun (mostly at our own expense) this is our BRAND NEW ONE, rehearsed and gigged and lived since the run up to Christmas and OUT TODAY. We've adapted two of the lyric verses to fit the instruments we have in our repertoire including on this occasion leader of the JD BIG BAND John Davies on sexy sax and his bonnie lassie Kathleen on guest drum roll on the drum verse. (They also have a little married duet of sax and drum roll in the play out.) It was an absolute treat to play live with them at Burns Night and to have their jelly roll jazz ( it's probably swing but you know where I and it's coming from) as part of our folk minstrel one. You can watch a film of us playing this track live with the JD Big Band and the Ecclefechan Tarts Orchestra and Choir last week at our annual Burns Night supper on YouTube film The Full Rabbie which premieres tonight at 7.30 - https://www.youtube.com/watch?v=_ioIP6Qt5hw

Come all ye rolling minstrels
And together, we will try
To rouse the spirit of the earth
And move the rolling sky

Those that dance, will start to dance
And those who don't will stay
In time to list our merry tune
That we play for you today

So, come all ye rolling minstrels
And together we will try
To rouse the spirit of the earth
And move the rolling sky

Our tooter, he just loves to toot
Upon his common flute
Recorder by another name
Much better with a mute.

So, come all ye rolling minstrels
And together we will try
To rouse the spirit of the earth
And move the rolling sky

Possessor of our sax appeal (see picture)
And no old folkie he
Folk is just some wayward notes
Jazz a wayward key.

So, come all ye rolling minstrels
And together we will try
To rouse the spirit of the earth
And move the rolling sky

Sound of beating on the drum
Song behind you'll hear
And to the rhythm of guitar
We hope you'll lend an ear

So, come all ye rolling minstrels
And together we will try
To rouse the spirit of the earth
And move the rolling sky

Well, the man who plays the bass does make
Those low notes that you hear
And the high notes come from you and me
For we will sing so clear

So, come all ye rolling minstrels
And together we will try
To rouse the spirit of the earth
And move the rolling sky

Source: Musixmatch
Songwriters: Sandy Denny / Ashley Stephen Hutchings / Dp
Come All Ye lyrics © Warlock Music Ltd
Comic adaptations to lyrics of verses 2 and 3 to fit our instruments (and in my case level of virtuosity) by Peacock's Tale.

Come All Ye (A Folk Song)

It Was 62 years ago today, Hard Days taught the band to play. On February 11 1963 , after an eight days a week schedule of hard day’s nights across the north of England (including their first out of town gig at the Oasis Club Manchester,) 4 likely lads from Liverpool went in to Studio Two EMI Studios London to record a fabulous 14 track debut album. They could only afford to book the studio for one day so the whole thing was recorded in 24 continuous hours. This track (originally from our album " It Was 60 Years Ago Today" peacocks-tale.bandcamp.com/track/beat-music) tells the story of that moment.

Once upon a time there was darkness. The repeated
hitting of a metallic object: at first without
rhythm, then attaining rhythm. A train-rhythmic bell-
beat of hard docky places.

“Beat music. Music of the beaten. Only we weren’t
beaten. We beat. Where are we going fellers?”
“To the top, Johnny, to the top.”
“And where’s that fellers?”
“To the toppermost of the poppermost.”

The beat was seized from the heart of darkness and
brought in chains down rivers of blood. It came back
to haunt the harbours of Slave City. It was unloaded
in the cargoes. It broke out of caverns and
warehouses, out of steel and stone, off wharfs and
docksides, out of ships from America. It scraped its
feet across concrete. It ran wild in young bloods and
cool cats in the corridors and cul-de-sacs of
Liverpool...

“We quarried the beat from metal and stone.”
“We called ourselves the Quarrymen.”
“We hammered it into life and shape.”
“We called it - The Beat-alls.”

When George joins, they start going places, like the
Oasis Club Manchester. When Ringo joins, they start
rocking the world. Whoops of joy in 4 part harmony. 3 cool cat choir. Cavernous drum. Great clunking guitar solos. A HAND FULL OF PERFECT NOTES.

Holding hands that wash
dishes, hands that cup faces. Hands flung at
diamonds, hands ringed with dreams, shake-it-up baby
faces, sweet little teens. Anything that you want.
We. Can. Do!

Peterborough:

"The exciting Beatles rock group quite frankly failed to excite me. The drummer apparently thought his job was to lead, not to provide rhythm. He made for too much noise and in their final number 'Twist and Shout' it sounded as though everyone was trying to make more noise than the others. In a more mellow mood, their 'A Taste of Honey' was much better and "Love Me Do' was tolerable.

Abergavenny, Aston, Middlesborough, Newcastle, Leeds,
Norwich, Great Yarmouth, London...
“Doesn’t it worry you that teenagers are imitating
you by wearing Beatle wigs?”
They’re not imitating us because we don’t wear Beatle
wigs.

Paris...
“John, the French haven’t made up their minds about
the Beatles yet. What do you think of them?”
“Oh, we like the Beatles. They’re gear.”

Windsor:

And which one are you? I'm the one with then big...fringe.
Oh haw haw haw.

New York, San Francisco, Sydney...
Nice feller Sidney.

Detroit….
“John, there is a Stamp Out The Beatles movement
under way in Detroit. What you going to do about it?”
“We have a plan to stamp out Detroit.”

Dallas.
"John aren't you ever afraid of getting shot."

"More so in Dallas than other places..."

There are places I remember...

Beatlepus Rex. The Fab Force. Conquering the planet. Saving the city. And getting the girl.

Everywhere. For three screaming years...

Even Nowhere.

Beat Music (The Story of the Beatles)

For those struggling with mental illness and addiction

Finding Myself.m4a

An acoustic version live in the front room of this wonderful David Francey song (following the version by Leslie and Miller) with the amps off and a bespoke foot bodhran in place of the big bass drum. With bells on the instrumental bridge. youtu.be/PBL_l0p5ukQ  Some call this an anti-hymn but we've always found it a genuinely spiritual song carrying the real message of all faiths out to everyone and suffering humanity's yearnings for truth and love rather than the dogma and parrotry which often poses in its stead , which is rather the point we thought. It is after all a very long way from heaven to Bethlehem. The picture is the ceiling of Ely cathedral in December. 

Verse 1]
It was Sunday morning in our town
And I sat on they steps and I stared at the ground
And I bowed my head while they shuffled past
All the saints being called to the morning mass

[Chorus]
And off in the distance there rang a bell
Way off in the distance there rang a bell
And it rang for saints and the sinners as well
Way off in the distance there rang a bell

[Verse 2]
I remember the lessons of Sunday school
And I can't help but think, maybe I'm the fool
But I see no sign of a greater plan
Just the joy and sorrow of my fellow man

[Chorus]
And off in the distance there rang a bell
Way off in the distance there rang a bell
And it rang for saints and the sinners as well
Way off in the distance there rang a bell

[Bridge]
And here we stand while life rushes past
Between the first breath and the last
And here we stand between East and West
And here we stand between birth and death


[Verse 3]
I was watching the news the other night
There was a war on the Left, there was a war on the Right
And it's no surprise that it's us or them
It's a long way from heaven to Bethlehem

[Chorus]
And off in the distance there rang a bell
Way off in the distance there rang a bell
And it rang for saints and the sinners as well
Way off in the distance there rang a bell

©David Francey 1999


from Saints and Singers (Our Christmas album), released December 6, 2022 https://peacocks-tale.bandcamp.com/album/saints-and-singers-our-christmas-album
Maz - lead and harmony vocal, acoustic guitar.
Gaz - support vocal, bass guitar, foot drum, bells.

Saints and Sinners

This was performed by a gospel duo called The Two Gospel Keys - Emma Daniels (vocals and guitar) and Mother Sally Jones (vocals and tambourine) - and released on 78-rpm in 1948.

It was subsequently performed and recorded by such reverend gospellers as Sister Rosetta Tharpe (1950) the Original Five Blind Boys of Alabama (1953) the Hightower Brothers (1956) the Reverend Gary Davis (1962) and an English gospel choir called The Rolling Stones -whose version we follow here. (1971).

This was the first song Gaz ever sang in public and he did so at Meher Baba's Tomb in India in 1994, exquisitely backed with a vocal and instrumental brilliance comically out of all proportion to his efforts by a professional American guitar player and singer (who learned her version from a Black female gospel singer).
lyrics
You gotta move
You gotta move
You gotta move, child
You gotta move
Oh, when the Lord get ready
You gotta move
You may be high
You may be low
You may be rich, child
You may be poor
But when the Lord get ready
You gotta move
You see that woman
Who walks the street
You see that police
Upon his beat
But then the Lord get ready
You gotta move
You gotta move

from Untied States of Americana (LP), released September 8, 2022
Songwriters: Gary Davis / Fred McDowell
https://peacocks-tale.bandcamp.com/album/untied-states-of-americana-lp

You Gotta Move lyrics © Sony/ATV Music Publishing LLC, BMG Rights Management

Pic of us with the Easter bunnies (grandkids) by EC.

You Gotta Move (featuring Nancy the Studio Cat)

https://youtu.be/ajVfKAQeLWg (second half)

A comedy song with a howl at its heart ("we're anchorless and quite alone") and some scholarly research into an obscure period, 14C Hanseatic Lynn. 

(spoken at start) I send ambassadors to scold
The Grand Teutonic Chief
And stops all England trading till
Lynn funds that royal brief:

It’s trade that makes the world go round:
Their timber for our wool;
War by another name, not love,
Who dreams it's love's a fool.

He’s 5 times Mayor, the Merchant Prince,
Twice MP of his town;
He’ll rope you in, he'll haul you up,
Make waves where others drown.

He represents His Majesty
Against the Prussian threat;
Their ships attack ours over there,
We make theirs pay the debt.

We're anchorless and quite alone,
Is all he says to me;
I say we're washed in Jesu's love,
He says we're all at sea.

I hear the angels’ soaring song
In whipped sails and Wash gulls;
Their wings in trade winds fair and foul,
The bumping of the hulls.

The privateers and pirates steal
Where merchants wheel and deal;
Our Hanseatic treaties keep 
A kind of even keel.

We're anchorless and quite alone,
Is all he says to me;
I say we're washed in Jesu's love,
He says we're all at sea.

The biggest fish in Lynn's great pool,
Lynn's news, its Public Face;
It all comes out, or in, his Wash,
His Tuesday Market Place.

“It’s trade that makes the world go round:
Their fish and pitch; our salt;
War by another name, not love,
Who dreams it's love's a dolt.”

We're anchorless and quite alone,
Is all he says to me;
I say we're washed in Jesu's love,
He says we're all at sea.

“You can't wed Jesus, daughter dear,
Unless you are a nun,
There's plenty more fish in the sea
With a house and shop to run.

“It’s trade that makes the world go round:
Their furs; our cloth and grain;
War by another name, not love,
Who dreams it's love's insane.”

Margery is usually portrayed as proud of her merchant prince father, Richard III's royal agent in the then premier league Hanseatic port of Lynn and - by contrast - highly critical of her less high-ranking burgess husband There is certainly no explicit antagonism in the Book towards her father and plenty towards the husband who got her pregnant 14 plus times in 20 years. If in  "The Book of Margery Kempe" Book 1 Chapter 46, she sounds proud of her husband, it is surely only because she is emphasising the respectability of her kindred under threat of prison.
So if we can perhaps question the father pride too. True, she doesn't disparage him elsewhere in the text as she does John and the common people of Lynn; but she doesn't show much interest in him either. Except when she drops his name in a tight spot, the autobiography is silent about the father who, under Richard III, was the prime mover and shaker in one of the biggest ports of the Hanseatic world. Margery's two efforts at business - brewing and a horse mill- both failed dismally and seem amateur. She doesn't seem to have been prepared for anything except marriage and endless childbearing.
Tune by Andy wall. This track imagines her dreamy-teen thoughts about her very worldly father. Pic is Maz at Brandon Creek, source of Lynn's prosperity.

The Ballad of John Brunham

A marriage (and we are actually married, 45 years so far) of melody and rhythm. We do folk, indie, Americana, Norfolk noir, beat poems &  ghazals. Traditional tunes with contemporary beats. Music videos  https://www.youtube.com/channel/UCb8wV0-DNiFs1R5G2VSytBQ
Maz lead & harmony vocals, acoustic guitar. Gaz vocals, voice, bass, drums & percussion, harmonium, recorders, lyre harp, field recordings.

The Ballad of John Brunham

Peacock's Tale Musical Storytelling

Related tracks