Good morning Letty, First up, I have a musical question for you, can you tell me something about one of the first troubadours, Guillaume de Poitiers?
Good morning to all, or if you hail from OZ, good evening
Sunday and Me
Jay and The Americans
Her eyes would make an angel smile
They'd call her Sunday
She'll take a man and drive him wild
Her name is Sunday
And one day I'm gonna make her mine
It's gonna be so fine
You wait and see (ooo-ooo-ooo-ooo)
It's gonna be (ooo-ooo-ooo-ooo)
Just Sunday and me
There's not a star that shines as bright
Her name is Sunday
She'll take the dark out of the night
They call her Sunday
And one day I'm gonna take her home
Tell the world that she's my own
You wait and see (ooo-ooo-ooo-ooo)
It's gonna be (ooo-ooo-ooo-ooo)
Just Sunday and me
Sunday, Sunday, Oh!
Oh I see bells and wedding gowns
When I see Sunday
And all I dream of walkin' down the aisle
With Sunday
And one day it's gonna come for sure
The day that I've been livin' for
You wait and see (ooo-ooo-ooo-ooo)
It's gonna be (ooo-ooo-ooo-ooo)
Just Sunday and me
Sunday, Oh!, Sunday
Good morning, WA2K listeners and contributors.
Why, Dutchy. Would you have your PD begin this dark Sunday morning with research?
I do know that the Frenchman was a medieval troubadour and here is PART of a dream. The rest is a little ribald:
Guilhem de Peitieu/Guilhelm d'Aquitania: Farai un vers, pos mi somelh
How the Count of Poitiers pretended to be mute
I rhymed this while I was asleep
and sunning out among the sheep:
By prejudice, some ladies keep
away from knights,
but gallant cavaliers to spurn
just isn't right!
Great mortal sin a lady does
if she won't give us knights her love.
To favor priests instead of us
is a mistake;
and monks?, I'd say we ought to burn
her at the stake.
When I was roving on the sly
once in Auvergne, as I passed by
I saw two well-appointed wives
survey the square.
In wide-eyed innocence one turned
and spoke me fair
Her style was decorous and prim:
"Good pilgrim, God your soul redeem,
a worthy gentleman you seem,
but in this world
the wanderers, as we have learned,
are often fools."
How I answered you will hear?-
no indiscretion, never fear,
or word that might offend the ear,
just this remark:
"Baboogaloo baboogaloo,
babar babark!"
The FCC censored the rest.
Well, folks, there's our Try back with Jay and a Sunday song. Thanks, buddy.
Thank you for your explanation Letty, I trust you got the message.
I did, Dutchy, and thank you for your subtleness.
For all of you folks out there who are a mite dense in the wee hours of the morning:
Coldplay
» A Message
My song is love
Love to the lovely song
And it goes on
You don't have to be alone
Your heavy heart
Is made of stone
And it's so hard to see you clearly
You don't have to be on your own
You don't have to be on your own
And I'm not gonna take it back
And I'm not gonna say I don't mean that
You're a target that I'm aiming at
Take my message home
My song is love
My song is love, unknown
But I'm on fire for you, clearly
You don't have to be alone
You don't have to be on your own
And I'm not gonna take it back
Oh I'm not gonna say I don't mean that
You're a target that I'm aiming at
And I'm nothing on my own
Got to get that message home
And I'm not gonna stand and wait
Not gonna be there until it's much too late
On a platform I'm gonna stand and say
That I'm nothing on my own
And I love you, please come home
And my song is love, is love unknown
And I've got to get that message home
Clifton Webb
From Wikipedia, the free encyclopedia
Clifton Webb (November 19, 1889 - October 13, 1966) was an American actor, dancer and singer.
Biography
He was born Webb Parmelee Hollenbeck in a rural part of Marion County, Indiana which would, in 1906, become Beech Grove, a self-governing city entirely surrounded by Indianapolis. As a result, virtually all printed sources give the larger city as his place of birth. Webb's parents were Jacob Grant Hollenbeck (1867-May 2, 1939), the son of a grocer from a multi-generational Indiana farming family and Mabelle A. Parmelee (again, most sources give "Parmalee" or "Parmallee") (March 24, 1869-October 17, 1960), the daughter of a railroad conductor.
In 1892, his formidable mother, Mabelle, moved to New York with her beloved "little Webb", as she called him for the remainder of her life. She dismissed questions about her husband Jacob, a ticket clerk who, like her father, worked for the Indianapolis-St. Louis Railroad, by saying, "We never speak of him. He didn't care for the theatre."
Privately tutored, Webb started taking dance and acting lessons at the age of five. He made his stage debut at seven in the impressive setting of Carnegie Hall by performing with the New York Children's Theatre in Palmer Cox's The Brownies. This success was followed by a vaudeville tour playing The Master of Charlton Hall, succeeded by leading roles as Oliver Twist and Tom Sawyer in Huckleberry Finn. In between performances, Mabelle saw to it that he studied painting with the renowned Robert Henri and voice with the equally famous Victor Maurel. By his seventeenth birthday in 1906, he was singing one of the secondary leads in the Boston-based Aborn Opera Company's production of the operetta Mignon.
Upon reaching nineteen, he had become a professional ballroom dancer and, taking the stage name "Clifton Webb", sang and danced in about two dozen operettas before debuting on Broadway as Bosco in The Purple Road, which opened at the Liberty Theatre on April 7, 1913 and ran for 136 performances before closing in August. His mother (billed as Mabel Parmalee) was also listed in the program as a member of the opening night cast. His next musical was an Al Jolson vehicle, Sigmund Romberg's Dancing Around. It opened at the Winter Garden Theatre on October 10, 1914, and had 145 performances, closing in February 1915. Later that year, he was in the all-star revue Ned Wayburn's Town Topics, which boasted 117 famous performers, including Will Rogers, listed in the Century Theatre opening night program of September 23. 68 performances later, it closed on November 20. The following year, he had another short run with Cole Porter's operetta See America First, which opened at Maxine Elliott's Theatre on March 28, 1916, and closed after 15 performances on April 8. The World War I year of 1917 proved to be better, with a 233-performance run of Jerome Kern's Love o'Mike, which opened at the Shubert Theatre on January 15. After moving to Maxine Elliott's Theatre and Casino Theatre, it closed on September 29. Future Mama star Peggy Wood was also in the cast. His final show of the 1910s, the musical Listen Lester, had the longest run, 272 performances. It opened at the Knickerbocker Theatre December 23, 1918 and closed in August 1919.
The 1920s saw Clifton Webb in no less than eight Broadway shows, numerous other stage appearances, including vaudeville, and a handful of silent films. The revue As You Were, with additional songs by Cole Porter, opened at the Central Theatre on January 29, 1920 and closed 143 performances later on May 29. Busy with films, tours and vaudeville, he did not return to Broadway until 1923, with the musical Jack and Jill (Globe Theatre) which had 92 performances between March 22 and June 9, and Lynn Starling's comic play Meet the Wife which opened on November 26 and ran into the summer of 1924, closing in August. The play's male ingenue was 24-year old Humphrey Bogart.
In 1925 he appeared on stage in a dance act with vaudeville star and silent film actress Mary Hay. Later that year, when she and her husband, Tol'able David star Richard Barthelmess, decided to produce and star in their own film vehicle New Toys, they chose Webb to be second lead. The movie proved to be financially successful, but nineteen more years would pass before Webb appeared in another feature film.
Clifton Webb's mainstay was the Broadway theatre. Between 1913 and 1947, the tall and slender performer who sang in a clear, gentle tenor, appeared in 23 Broadway shows, starting with major supporting roles and quickly progressing to leads. He introduced Irving Berlin's Easter Parade as well as George and Ira Gershwin's I've Got a Crush on You in Treasure Girl (1928); Arthur Schwartz and Howard Dietz's I Guess I'll Have to Change My Plan in The Little Show (1929) and Irving Berlin's Not for All the Rice in China in As Thousands Cheer (1933).
Most of his Broadway shows were musicals, but he also starred in Oscar Wilde's The Importance of Being Earnest, and his longtime friend Noel Coward's Blithe Spirit and Present Laughter, in parts that Coward wrote with him in mind.
He was a friend, and Broadway co-star, of the lesbian singer Libby Holman. Webb and his mother used to take frequent vacations with Holman, and they would remain friends until the mid-1940s (see [1]).
His Broadway credentials were impressive and his London stage appearances were critically praised, but Hollywood was another story. After New Toys and another 1925 silent The Heart of a Siren, he was classified as a character actor and stereotyped as a fussy effete snob. Mother Mabelle also preferred New York to Hollywood with its "yes men".
Webb was in his mid-fifties when actor/director Otto Preminger chose him over the objections of 20th Century Fox chief Darryl F. Zanuck to play the classy, but evil, radio columnist Waldo Lydecker, who is obsessed with Gene Tierney's character in the 1944 film noir Laura. His performance was showered with acclaim and made him an unlikely movie star. Two years later he had another highly-praised role as the elitist Elliott Templeton in The Razor's Edge (1946 film) (1946).
Webb received Academy Award nominations for Best Actor in a Supporting Role in 1945 for Laura and in 1947 for The Razor's Edge (1946 film).
He received an Oscar nomination for Best Actor in a Leading Role in 1949 for Sitting Pretty, the first in a three-film series of comedic "Mr. Belvedere" features with Webb portraying the snide and omniscient central character. In the 50s and 60s TV producers unsuccessfully continued trying to revive "Mr. Belvedere" as a sitcom character?-Reginald Gardiner was the star of the first TV series pilot in 1956, followed by Hans Conried in 1959 and Victor Buono in 1965. It might be purely coincidental but when it finally did become a popular ABC series that ran for five years starting in 1985, "Mr. Belvedere", now reborn as the all-knowing male housekeeper to Bob Uecker, was portrayed by another gay actor, Christopher Hewett.
In 1950's Cheaper by the Dozen, Webb and Myrna Loy played Frank and Lillian Gilbreth, real-life efficiency experts of the 1910s and 1920s, and the parents of twelve children.
Webb's subsequent movie roles include that of college professor Thornton Sayre, who in his younger days was known as silent film idol Bruce "Dreamboat" Blair. Now a distinguished academic who wants no part of his past fame, he sets out to stop the showing of his old films on television in 1952's Dreamboat. Also in 1952 he was John Philip Sousa in Stars and Stripes Forever. In 1953 he had his most dramatic role as the doomed husband of unfaithful Barbara Stanwyck in Titanic and in 1954 played the (fictional) novelist John Frederick Shadwell in Three Coins in the Fountain. In 1957's Boy on a Dolphin, second-billed to Alan Ladd, with third-billed Sophia Loren, he portrayed a wealthy sophisticate who enjoyed collecting illegally obtained Greek antiquities. In a nod to his own identity, the character's amusingly-chosen name was "Victor Parmalee".
Webb's elegant taste kept him on Hollywood's best-dressed lists for decades. Even though he exhibited comically foppish mannerisms in portraying Mr. Belvedere and other movie characters, his scrupulous private life kept him free of scandal.
In fact, the character of Lynn Belvedere is said to have been very close to his real life?-he had an almost Oedipal-like extreme devotion to his mother Mabelle, who was his companion and who lived with him until her death at age ninety-one. Although he admitted to being gay, he was actually more asexual, given that the object of his love and tenderness was his mother (see [2]).
When Webb's mourning for his mother continued for a year with no signs of letting up, Noel Coward, in a fit of comic exasperation is said to have finally told Webb, tongue firmly-in-cheek, "It must be difficult to be orphaned at seventy, Clifton".
But the twilight had arrived for Webb's life and career. Inconsolable in his grief, he completed a final role as an initially sarcastic, but ultimately self-sacrificing Catholic priest in Leo McCarey's Satan Never Sleeps. The film, which was set in China, showed the brutality of the 1949 Communist takeover, but was actually filmed in England during the summer of 1961, using sets from the 1958 film, The Inn of the Sixth Happiness, which had the same milieu.
Webb spent the remaining five years of his life as an ill recluse at his home in Beverly Hills, California, succumbing to a heart attack at the age of 76.
He is interred in crypt 2350, corridor G-6, Abbey of the Psalms in Hollywood Forever Cemetery.
Clifton Webb has a star on the Hollywood Walk of Fame at 6840 Hollywood Boulevard.
Alan Young
From Wikipedia, the free encyclopedia
Alan Young (born November 19, 1919) is an actor best known for his television role opposite a talking horse, Mister Ed.
Mr Young was born in North Shields,Tyne and Wear, England, and had the given name of Angus, he was raised in Edinburgh, Scotland and in Canada. He grew to love radio when bedbound as a child because of severe asthma, and became a radio broadcaster on the Canadian Broadcasting Corporation, then moved to New York where he was given his own television program, The Alan Young Show in 1950. After the show's cancellation, Young appeared in supporting parts in films such as The Time Machine (1960).
His most popular venture, however, was Mister Ed, a CBS television show which ran from 1961 to 1966. He played the owner of a talking horse - which would talk to no one but him.
He founded a broadcast division for the Christian Science church.
In later life he has done a great deal of voice acting for animated cartoons and films. He has been the voice of Scrooge McDuck in many Disney films and television series since Mickey's Christmas Carol in 1983 (where, as Scrooge McDuck, he portrays the character's miserly namesake). He also provides the voice of Jack Allen on the Focus on the Family radio drama Adventures in Odyssey.
Young voiced a small role on The Ren and Stimpy Show as Haggis McHaggis. Additionally Young provided the voice of the kilt-wearing barber-pirate Haggis McMutton in the highly acclaimed computer-adventure game The Curse of Monkey Island (Monkey Island 3). Not too surprisingly the character's voice is very similar to that of Scrooge.
Looking up from our studio window and calling:
Hawk, are you still there?
Here's the Hawk's joke for the day:
Computers are like air conditioners. They work fine until you start opening windows.
Raggedy will be along in a bit, folks, and we'll comment on those two bio's of Bob's.
All I Do Is Drive
Well, I asked an old truckdriver about life out on the road
If he does a lotta singing when he's bringing in his load
If there's a pretty waitress crying for him every hundred miles
If he gets a lotta loving if he has a lot of smiles
And I asked him if those trucking songs tell about a life like his
He said, if you want to know the truth about it here's the way it is
All I do is drive, drive ,drive try to stay alive
And keep my mind on my load keep my eye upon the road
I got nothin' in common with any man
Who's home every day at five
All I do is drive, drive, drive, drive, drive, drive
---- Instrumental Interlude ----
Well, we shared a cup of coffee then I had to warm it up
And his greasy fingers trembled as he held onto the cup
And I said don't you hear a lot of music see a lot of sights
But if you'll tune into the Grand Ole Opry Saturday night
I will dedicate you a trucking song to which you can relate
He said, you just do the singing and I'll do the driving mate
All I do is drive, drive ,drive try to stay alive
And keep my mind on my load keep my eye upon the road
I got nothin' in common with any man
Who's home every day at five
All I do is drive, drive, drive, drive, drive, drive
If I can get the fuel, fuel
Johnny Cash
Good morning.
Here are Clifton and Alan (on the right)
and Gene Tierney (I wonder if they had two birthday cakes - one for Gene and one for Clifton on the set of "Laura") (She had such a tragic life.)
and as Happy 73rd to Larry King; 70th to Dick Cavett (I don't have a more recent picture of him. He's now airing old and new interviews on TCM) and 68th to Ted Turner.
Well, There's our Raggedy, folks, right on cue with her famous photo's.
That's right, PA, Clifton was the villain in Laura. My, my, how Ted has aged. Must have something to do with his parting of the waves with Jane.
Larry King live? Almost didn't make it after that heart attack and xanax.
Well, edgar's talkin' about Johnny saying "all I do is drive", and the BeeGee's are talkin about staying alive:
Well, you can tell by the way I use my walk,
I'm a woman's man, no time to talk.
Music loud and women warm.
I've been kicked around since I was born.
And now it's all right, it's O.K.
And you may look the other way.
We can try to understand
The New York Times' effect on man.
Whether you're a brother
Or whether you're a mother,
You're stayin' alive, stayin' alive.
Feel the city breakin'
And ev'rybody shakin'
And we're stayin' alive, stayin' alive.
Ah, ha, ha, ha,
Stayin' alive.
Stayin' alive.
Ah, ha, ha, ha,
Stayin' alive.
Well now, I get low and I get high
And if I can't get either I really try.
Got the wings of heaven on my shoes
I'm a dancin' man and I just can't lose.
You know it's all right, it's O.K.
I'll live to see another day.
We can try to understand
The New York Times' effect on man.
Whether you're a brother
Or whether you're a mother,
You're stayin' alive, stayin' alive.
Feel the city breakin'
And ev'rybody shakin'
And we're stayin' alive, stayin' alive.
Ah, ha, ha, ha,
Stayin' alive.
Stayin' alive.
Ah, ha, ha, ha,
Stayin' alive.
Life goin' nowhere.
Somebody help me.
Somebody help me, yeah.
Life goin' nowhere.
Somebody help me, yeah.
Stayin' alive
Well, you can tell by the way I use my walk,
I'm a woman's man, no time to talk.
Music loud and women warm.
I've been kicked around since I was born.
And now it's all right, it's O.K.
And you may look the other way.
We can try to understand
The New York Times' effect on man.
Whether you're a brother
Or whether you're a mother,
You're stayin' alive, stayin' alive.
Feel the city breakin'
And ev'rybody shakin'
And we're stayin' alive, stayin' alive.
Ah, ha, ha, ha,
Stayin' alive.
Stayin' alive.
Ah, ha, ha, ha,
Stayin' alive.
Life goin' nowhere.
Somebody help me.
Somebody help me, yeah.
Life goin' nowhere.
Somebody help me, yeah.
Stayin' alive
Life goin' nowhere.
Somebody help me.
Somebody help me, yeah.
Life goin' nowhere.
Somebody help me, yeah.
Stayin' alive
here's fairly grim advice on stayin' alive from Howlin' Wolf:
I should'a quit you, long time ago
I should'a quit you, baby, long time ago
I should'a quit you, and went on to Mexico
If I ha'da followed, my first mind
If I ha'da followed, my first mind
I'd'a been gone, since my second time
I should'a went on, when my friend come from Mexico at me
I should'a went on, when my friend come from Mexico at me
I was foolin' with ya baby, I let ya put me on the killin' floor
Lord knows, I should'a been gone
Lord knows, I should'a been gone
And I wouldn't've been here, down on the killin' floor
Ah, Mr. Turtle, your song, especially the line "on the killin' floor", reminded me of the Khmer Rouge. Big shiver, folks, and now that place has become a tourist attraction.
Hey, it's almost Thanksgiving here in the U.S. How about a little mnemonic device to help use remember the first Thanksgiving
The year 1620 the pilgrims came over.
The good ship Mayflower brought them cross the sea.
I read a book many years ago called The Plymouth Adventure. There may NOT have been a rock and the pilgrims might not have landed there. Anyone remember that?
Well, let's play a song from Jethro tull:
my sunday feeling is coming on over me,
my sunday feeling is coming on over me,
now that the night is over.
got to clear my head so i can see.
till i get to put together, that old feeling won't let me be.
won't somebody tell me where i laid my head last night?
won't somebody tell me where i laid my head last night?
i really don't remember,
but with one more cigarette i think i might.
till i get to put together, well that old feeling can't get me right.
need some assistance, have you listened to what i've said?
need some assistance, have you listened to what i've said?
oh, i don't feel so good.
need someone to help me to my bed
till i get to put together, that old feeling is in my head
Touch Me In The Morning
Diana Ross
[Written by Ron Miller and Michael Masser)
Touch me in the morning
Then just walk away
We don't have tomorrow
But we had yesterday
Hey, wasn't it me who said
That nothin' good's gonna last forever
And wasn't it me who said
Let's just be glad for the time together
Must've been hard to tell me
That you've given all you had to give
I can understand your feelin' that way
Ev'rybody's got their life to live
Well, I can say goodbye
In the cold morning light
But I can't watch love die
In the warmth of the night
If I've got to be strong
don't you know I need to have tonight
When you're gone, till you go
I need to lie here and
Think about the last time
You'll touch me in the morning
Then just close the door
Leave me as you found me
Empty like before
Hey, wasn't it yesterday
We used to laugh at the wind behind us
Didn't we run away and hope
That time wouldn't try to find us
Didn't we take each other
To a place where no one's ever been
Yeah I realy need you near me tonight
'Cause you'll never take me there again
Let me watch you go with the sun in my eyes
We've seen how love can grow
Now we'll see how it dies
If I've got to be strong
Don't you know I need to have tonight
When you're gone, till you go
I need to hold you until the tie
Your hands reach out and
Touch me in the morning
Then just walk away
We don't have tomorrow
But we had yesterday
We're blue and gold
and we could feel one another living
We walked with a dream to hold
And we could take what the world was giving
There's no tomorrow here
There's only love and the time to chase it
Yesterday's gone my love
There's only now and it's time to face it
Well, edgar, here's an answer to your song.
There's no tomorrow when love is new
Now is forever when love is true
So kiss me and hold me tight
There's no tomorrow
There's just tonight
Love is a flower that blooms so tender
Each kiss a dew drop of sweet surrender
Love is a moment of life enchanting
Let's take that moment
That tonight is granting
There's no tomorrow when love is new
Now is forever when love is true
So kiss me and hold me tight
There's no tomorrow
There's just tonight.
and, for our Spanish folks:
No hay man¢ana en que el amor es nuevo
Ahora es por siempre en que el amor es verdad
Béseme tan y sosténgame apretado
Hay ningún mañana
Hay justo esta noche
El amor es una flor esa oferta de las floraciones tan
Cada beso una gota del rocío de la entrega dulce
El amor es un momento de encantar de la vida
Tomemos ese momento
Eso está concediendo esta noche
No hay man¢ana en que el amor es nuevo
Ahora es por siempre en que el amor es verdad
Béseme tan y sosténgame apretado
Hay ningún mañana
Hay justo esta noche
Edgar's song reminds me of my favorite by Bonnie Raitt. Always makes me choke up...but then, Bonnie can do that better than anyone.
I CAN'T MAKE YOU LOVE ME
Turn down the lights, turn down the bed
Turn down these voices inside my head
Lay down with me, tell me no lies
Just hold me close, don't patronize - don't patronize me
'Cause I can't make you love me if you don't
You can't make your heart feel something it won't
Here in the dark, in these lonely hours
I will lay down my heart and I'll feel the power
But you won't, no you won't
'Cause I can't make you love me, if you don't
I'll close my eyes, then I won't see
The love you don't feel when you're holding me
Morning will come and I'll do what's right
Just give me till then to give up this fight
And I will give up this fight
'Cause I can't make you love me if you don't
You can't make your heart feel something it won't
Here in the dark, in these lonely hours
I will lay down my heart and I'll feel the power
But you won't, no you won't
'Cause I can't make you love me, if you don't
I'll Be Your Baby Tonight
Bob Dylan
Close your eyes
Close the door
You don't have to worry
Anymore
I'll be your baby tonight.
Shut the light
Shut the shade
You don't have
To be afraid
I'll be your baby tonight.
Well that mocking bird's gonna sail away
We're gonna forget it
That big fat moon's gonna shine like a spoon
But we're gonna let it
You won't regret it.
Kick your shoes off
Do not fear
Bring that bottle
Over here
I'll be your baby tonight.
I'm Little But I'm Loud - Little Jimmy Dickens
A lots of folks have told me I was poor for I got right
A winter apple picked up in the fall
But even as a young'n I was not the bashful type
Cause I could yell up loud to stop them all
I'm little but I'm loud I'm poor but I'm proud
I'm countrified and I don't care who knows it
I'm like a Banty Rooster in a big red rooster crowd
I'm puny short and little but I'm loud
---- Instrumental Interlude ----
I learned to do my singing walking long behind a plow
The singing teacher always passed me by
And so I had to sing the only way I know how
Just rear back open up and let her fly
I'm little but I'm loud I'm poor but I'm proud
I'm countrified and I don't care who knows it
I'm like a Banty Rooster in a big red rooster crowd
I'm puny short and little but I'm loud
---- Instrumental Interlude ----
I sang a special solo song in church one Sunday morn
And I was plumbing barest to my skin
I hit a high and looked around and as sure as I was born
Two cows and fourteen herses come walking in
I'm little but I'm loud I'm poor but I'm proud
I'm countrified and I don't care who knows it
I'm like a Banty Rooster in a big red rooster crowd
I'm puny short and little but I'm loud
<sniff, dries eyes> Yes, that's better, edgar.
If Dogs Run Free
Bob Dylan
If dogs run free, why not we
Across this swoopin' plain?
My ears hear a symphony
Two mules, trains an' the wind
The best is always yet to come
That's what they explain to me
Just do your thing
You'll be king
If dogs run free.
If dogs run free, why not me
Across the swamp of time
My mind weaves a symphony
An' tapestry of rhyme
Oh winds which rush my tale to thee
So it may flow an' be
To each his own
It's all unknown
If dogs run free.
If dogs run free then what must be
Must be an' that is all
True love can make a blade of grass
Stand up straight an' tall
In harmony with the cosmic sea
True love needs no company
It can cure the soul
It can make it whole
If dogs run free.
