Greetings Truthwarriors, asking ‘the almighty Father we praise’ in the name of Jesus… write, and read good.
That be a Sizzla-like start. That be listening to my limited fasting playlist style.
On to hear Shaka set Gregory alight.
"I'd really like to make a confirm reservation. So here I am, with my application."
This one entitled River Jordan, y’know...
Gregory Isaacs selection.
[Next weekend Part 3. and writing, makes, —Part 4. And so... apologies, x3.]
Well I say let the almighty Father we praise and yes black people I love you always. Farmer-man till it some more, till the soil some more, bare war ah-gwan and the ghetto youths poor. Till it some more, rain-shower me say pour, yow ghetto youths skull ah bore. So farmer-man, till it some more, till it some more. Politician war ah gwan so put the food ah mi door. Till it some more, till it some more —yow, make the youths set secure, know now.
[Vinyl. Stick with the man/film. He says; 'This is not to share the song - there's better copies on youtube...'. Nah. Na' mate. You making the runnings. Will leave a comment to thank.]
Before I spoke a word, you were singing over me. You have been so so good, to me. Before I took a breath, you breathed your life in me —yes, you did. You have been so so kind, to me. And oh, the overwhelming never-ending reckless love of God. Oh it chases me down, fights 'til I'm found, leaves the ninety-nine. And I couldn't earn it, and I don't deserve it —still you give yourself away. OH... —THE–OVERWHELMING–NEVER-ENDING–RECKLESS–LOVE OF GOD.
Give me back, all my love, I've had a... change of heart. Give me back, all my love, I've had a... change of heart. I have opened up my eyes, now I can see clearly. You told there's no other guy, who would be as good to me. I fell in love, and didn't stop to think what you would do with me. But now I know, I don't need you at all, you're no good for me. I've changed my mind, I'm taking back my love. Give me back, all my love, I've had a change of heart. Give me back, all my love, I've had a... change of heart.
I say you bum right here and you bounce over there sponji reggae. I say you bum right here and you bounce over there sponji reggae. I say you rock right here and you rock over there sponji reggae. I say you bounce right here and bounce over here sponji reggae. I been trying very hard to succeed. I almost lost my reflex. My bare feet was burn. And I almost lost my nerves. My fingers are shaking, as the day start breaking. I could a never keep it no longer, I had to tell it to one another.
I'd really like to make a confirm reservation. So here I am, with my application. I want to be with my friends and family where the living is much easier for me, ‘cause in this town, I can't take the vibe no more. Couldn’t take another day under this condition. I'm going over to cross River Jordan. Though I may lose, one day I'm gonna win, I’m going to where-live, there is no sin. 'Cause in this town I can't take the vibes no more, can't take the vibe no more.
[Played by Shaka. Vinyl, and valve amps. Bins; bass, mid's and top's.]
So I am in the twilight of my youth. Not that I'm going to remember. And have you seen the moon tonight, is it full? Still burning in its embers. The people dancing in the corner they seem, happy —but I am sad. I'm still dancing in the coma of the drinks I've just had. Does anybody want to take me home? Does anybody want to take me home? Take me to your house and I'll leave you alone —of course, we will. Of course, I won't. Seems so tragic but it disappear —like... magic. Like magic.
(Before I die I’m trying to fuck you baby. Hopefully we don’t have no babies. I don’t even want to go back home. Hopefully don’t leave you on your own). Trips that you plan for the next whole, week bands too long for a nigga so cheap and your flex-OD and you sex-OD. You got it girl, you got it. You got it girl, you got it. Pretty little thing you got a bag and now you wilding. You just took it off the lot no mileage. Way they hitting you the DM looking violent. Talking why you come running now they silent. Flew the coop at 17 no guidance. You be staying low but you know what the vibes is.
The duty of the words is to say just as much as the music has left unsaid and no more. —Ralph Vaughan Williams
The great men of music close periods; they do not inaugurate them. The pioneer work, the finding of new paths, is left to smaller men. —Ralph Vaughan Williams
Beethoven was ahead of the times, Bach behind them. —Ralph Vaughan Williams
The sincerest flattery to Jean Sibelius, whose great example is worthy of imitation. —Ralph Vaughan Williams
Vaughan Williams made his first sketches for this symphony in 1936, began composition in earnest in 1938, completed the work early in 1943, and made minor revisions in 1951. The first performance was given on June 24, 1943, at a Promenade Concert in Royal Albert Hall, with the composer conducting the London Philharmonic.
Vaughan Williams dedicated his fifth symphony “without permission and with the sincerest flattery to Jean Sibelius, whose great example is worthy of imitation” (in the published score that was simplified to “Dedicated without permission to Jean Sibelius”). Sibelius heard the work for the first time in November 1946, when it was performed in Helsinki. Vaughan Williams eventually returned to work on The Pilgrim’s Progress and completed the score in 1949, more than four decades after his first sketches. The premiere was given at Covent Garden in London, on April 26, 1951.
Letter from Jean Sibelius to Ralph Vaughan Williams:
June 18, 1946 Järvenpää
Dear Dr. Vaughan-Williams.
Through the British Council I have these days received a full-score edition of your Symphony in D-major which you kindly have dedicated to me. Please accept my most cordial thanks for your great kindness which I consider a great honour to me. I am very happy that this honour has been shown me by an English composer as my music has many friends in Great Britain.
I have heard your Symphony in the Radio and now it has been a great pleasure to study it more closely. It is a well-rounded, harmonious and vivid work. Moreover I have seldom heard anything that is more English. I do not mean that you were influenced by British folk songs but the symphonic grip seems to me to be English.
Thanking you once more, I remain, with admiration and friendship,