It Started With A Kiss

Bee Halton at The Bee Writes Love Is In Da Blog 2019 ~ A Music Festival has buzzed us to write about A Love Song from 1999-2008.  I chose ‘The Game of Love’ which is a song performed by Latin rock band Santana from their eighteenth studio album Shaman.  The vocal performance on the song is by the 19 year old songwriter Michelle Branch who was used to doing her own material.  It was composed by Gregg Alexander from the New Radicals and Rick Nowels.  Rick Nowels and Gregg Alexander had a long songwriting relationship and this song sat on the shelf for a year until Rick’s manager Tim McDaniel sent it to (label CEO) Clive Davis.  The song was launched as single in 2002, and won a Grammy Award for “Best Pop Collaboration with Vocals”, as well as peaking at No. 5 in on the Billboard Hot 100 singles chart.  After Gregg and Rick wrote this song Clive Davis, head of Arista Records, got a hold of a demo of it, and when Santana was looking for songs it ended up becoming the first single from his album Shaman that was recorded in 2002.  It charted #16 in the UK and went to #5 in the US.

Tina Turner was Santana’s first choice to record this song and she did later in 2007.  Clive Davis and the Arista label executives wanted to go with a younger, hipper singer on the track and they chose Michelle Branch to sing the duet.  Santana’s people contacted Branch’s manager while she was on tour and when she heard the song she thought that it was written especially for her.  The song won a Grammy Award for Best Pop Collaboration with Vocals in 2002.

Rick Nowels is an American songwriter, arranger, multi-instrumentalist and record producer.  He has co written with some of the most vibrant artists in contemporary music.  He’s had over 60 top 40 hit songs appearing on 200 million albums.  While Rick Nowels was living in San Francisco, he enjoyed his first success writing and producing definitive solo albums for Stevie Nicks, for whom he contributed the hits ‘I Can’t Wait’ and ‘Rooms On Fire’, and working with Belinda Carlisle, he charted eleven hits including ‘Heaven Is A Place On Earth’ and ‘Circle In The Sand’.  Nowels relocated to Los Angeles and penned Celine Dion’s ‘Falling Into You’, Anita Baker’s ‘Body And Soul’ and collaborated with Madonna on several songs from her Ray Of Light album, including worldwide smash ‘The Power Of Goodbye’.  In 1986 at the age of sixteen, Gregg Alexander signed his first recording contract with A&M after playing his demo tapes to producer Rick Nowels.  In 1997, Alexander formed the New Radicals, but he disbanded the group in summer 1999 to write and produce songs for other artists.

Michelle Branch moved to Los Angeles and signed to Warner Bros. when she was 16.  She initially released an independent record ‘Broken Bracelet’, before signing to Maverick for her debut album, The Spirit Room, which came out when she was 18.  Almost immediately, she had massive radio hits with ‘Everywhere’, ‘All You Wanted’ and ‘Goodbye to You’.  After working with Santana she married her bassist, Teddy Landau, and released her second album, Hotel Paper, a week before she turned 20 years old.  She had a daughter, and detoured into country music, forming a duo called the Wreckers with Jessica Harp.  Michelle has had no solo hits since 2003 and she split up with Landau in January 2014.  Warner Bros. dropped her at the end of 2014 and she signed to the smaller Verve Records in the summer of 2015.  Jessica Leigh Harp is an American songwriter and former country artist from Kansas City, Missouri, who between 2005 and 2007, recorded with Michelle Branch and performed as The Wreckers, a duo that topped the country charts in 2006 with the Grammy-nominated ‘Leave the Pieces’.  Harp quit singing to concentrate on songwriting.

In 1967, Clive Davis signed Carlos Santana to Columbia Records just after he had signed Janis Joplin and Blood Sweat and Tears.  Bill Graham, the legendary music promoter, asked him to fly to Fillmore West to audition a new artist that he felt special about.  Santana was inducted into the Rock and Roll Hall of Fame in 1998.  In 2015, Rolling Stone magazine listed Santana at number 20 on their list of the 100 Greatest Guitarists.  He has won 10 Grammy Awards and three Latin Grammy Awards.

The music video depicts Santana and Branch in an alley with couples around them, each expressing their love for one another.  The director was Paul Fedor and the video was filmed in the Pilsen neighborhood of Chicago, with cameo appearances by Wesley Snipes, Helen Hunt and Jennifer Garner.

Tell me
Just what you want me to be
One kiss
And boom you’re the only one for me
So please tell me
Why don’t you come around no more?
Cause right now
I’m crying outside the door of your candy store

It just takes a little bit of this, a little bit of that
It started with a kiss
Now we’re up to bat
A little bit of laughs, a little bit of pain
I’m telling you my babe
It’s all in the game of?

Love is
Whatever you make it to be
Instead of this cold lonely sea
So please baby
Try and use me for what I’m good for
It ain’t saying goodbye
It’s knocking down the door of your candy store

It just takes a little bit of this, a little bit of that
It started with a kiss
Now we’re up to bat
A little bit of laughs, a little bit of pain
I’m telling you my babe
It’s all in the game of love
It’s all in this game of love

You roll me
Control me
Console me
Please hold me
You guide me
Divide me
Into me
So please tell me
Why don’t you come around no more?
Cause right now
I’m dying outside the door of your loving store

It just take a little bit of this, a little bit of that
It started with a kiss
Now we’re up to bat
A little bit of laughs, a little bit of pain
I’m telling you my babe
It’s all in the game of love
It’s all in the game of love
It’s all in this game of love
Let’s play the game of love

Roll me
Console me
Please hold me
I’m out here on my own
On my own

Written for Love Is In Da Blog “A Love Song from 1999-2008”.

Some Other Time

I told my sister that my doctor wanted me to get a colonoscopy and she warned me not to do it, because her husband had one and he got an infection right after that and ended up losing a foot of his colon.  My sister told me to ask my doctor if I could just get the Cologuard kit in place of the procedure.  My brother-in-laws surgery scared me and when I had my doctor’s appointment, I told her why I didn’t get the procedure done that she wanted me to have.  She said that the Cologuard test is not as effective as the colonoscopy, because it can only detect blood in your stool and it would not be able examine for any abnormalities like irritated and swollen tissue, ulcers, polyps, and cancer, but she understood my apprehensions, and she reluctantly ordered the kit for me.

Great, I was not going to have to have that half inch diameter camera shoved all the way up inside my rectum and all I need to do is read the instructions.  The kit comes with a bracket that is placed between the toilet bowl and the seat cover and you lower the seat once the bracket is in place.  Next you open the sample container and place it inside of the bracket.  You pull your pants down, sit on the toilet and make a bowel movement directly into the container and then remove the sample container from the bracket.  At this time you can finish going, or wipe with toilet paper and discard the bracket.

The next step involves the use of a tube that comes with the kit.  Turn the white tube cap and unscrew it till it is open.  Remove the probe from the tube.  Scrape the surface of your stool sample with the probe until the end has stool on it and make sure the surface of your stool covers the grooves on the probe.  Place the probe back into the open end of the tube and turn the cap to close.  The next step involves soaking of the stool with special preservative so that the lab can test it.  Open the preservative bottle and pour all of the liquid in it over your stool.  Put the lid back on the collection container and make sure that you have pressed the lid tightly enough, where it won’t tighten any more.  Fill out all the shipping labels, place the tube sample and the collection container back in the box, pack it up and ship the sample to the lab

OK I had read all of the Cologuard instructions and I felt a bowel movement approaching, this was an emphatic need to poop and I was more than ready to unburden my bowels.  I unpacked my kit and had everything set up so I could make a deposit in the container and get this over with.  Cue the trumpets, “ba-ba-ba-ba-ba” let the big event begin.  I dropped my pants, sat on the toilet leaning forward with my hands resting on my thighs.  I began to breathe deeply from the bottom of my lungs with my mouth open to prevent any unnecessary straining as I wanted this to come out smoothly.  I began to relax my anal sphincter allowing it to open my bottom, by slowly massaging the area of skin between my anus and my testicles, which I like to call putting my backfield in motion, as this secret trick never fails when I want to let the stool out.  I knew another sure fire way to speed things along was to get into a squatting position, so I lifted my feet slightly off the floor.  I kept using my deep breath to increase the pressure in my abdomen trying to maintain a better control over this, as I wanted to push everything out towards my anus.  I was comfortable and it was going to happen, that is until I looked up and saw that creepy spider situated on top of the roll of toilet paper and I thought maybe I could try and do this at another time.

Tagged by Melanie.

I Will Lay Down My Heart

Bee Halton at The Bee Writes Love Is In Da Blog 2019 ~ A Music Festival has buzzed us to write about A Love Song from 1989-1998.  I chose the song ‘I Can’t Make You Love Me’ which was written by country songwriters Mike Reid and Allen Shamblin and recorded by Bonnie Raitt.  Reid played football for the Bengals and he made the Pro Bowl twice, before turning to music.  This was recorded by Bonnie Raitt on her 11th album Luck of the Draw in 1991.  The idea for the song came to Reid, after reading a December 18, 1999 article in The Tennessean newspaper (the principal daily newspaper in Nashville, Tennessee) about a man who got arrested for getting drunk and shooting at his girlfriend’s car.  The judge asked the defendant if he had learned anything, to which he replied, “I learned, Your Honor, that you can’t make a woman love you if she don’t.”  The song reached number 18 in the US, but it wasn’t released in the UK at the time, however, it has since been considered a classic.  In 2000, Mojo magazine placed it at number 8 on its ‘100 Greatest Songs of All Time’ list.  It ranked #339 on the Rolling Stone magazine’s list of ‘The 500 Greatest Songs of All Time’.

Mike Reid and Allen Shamblin were both living in Nashville when the newspaper article came out.  They were writing songs for country artists (though Reid was also releasing music under his own name at the time) and both had found success so far, scoring significant hits on the country charts.  They had met at Austin City Limits and a mutual admiration for each other’s work spurred a partnership between the two.  Reid and Shamblin had been working together for about a year, before they started writing ‘I Can’t Make You Love Me’.  It took them six months to write this song and they originally wrote the song as a fast, bluegrass ditty.  After slowing down the tempo considerably, they realized the song had a considerable power to it.

The song is about a woman who knows her man has lost interest and just wants to spend one more night with him before moving on with her life.  Instead of lying to herself or trying to work things out, she confronts the reality and seeks closure with that final night together.  In the morning, she’ll be on her way.  Raitt teamed up with producer Don Was and engineer Ed Cherney again.  She had worked with both of them before on her previous album Luck Of The Draw.  The crew in the recording studio was small for this song, consisting of Bonnie, Was, Cherney, bassist James “Hutch” Hutchinson, Tony Braunagel on drums, both of who played in her band and Bruce Hornsby accompanying on piano.  Raitt called Hornsby and asked him to play on it, to which he immediately agreed and he also performed the song many times on stage with her after the recording.

The Grammy winning album Luck Of The Draw wound up surpassing the heights that Bonnie Raitt reached on her previous album Nick Of Time.  Part of that was due to its lead single, ‘Something To Talk About’, which peaked at number 5 on Billboard’s Adult Contemporary chart, number 12 on Billboard’s Mainstream Rock chart, and number 5 on the Billboard Hot 100.  But there was another one ‘I Can’t Make You Love Me’, which became a significant pop hit in her career, hitting the Top 20 of the Billboard Hot 100 and it was released as a single on October 22, 1991.  The album has since sold more than 13 million copies in the U.S., and ‘I Can’t Make You Love Me’ has become Raitt’s signature song, especially for radio listeners who were unaware of her roots as a blues artist.

When the song got played on pop radio, no one had any idea it was going to be that big a hit.  ‘I Can’t Make You Love Me’ has been covered by stars like George Michael, Prince, Adele, Katy Perry, Kelly Clarkson and this two-verse, two-chorus heart-rending ballad of unrequited love, has become both a classic, and a standard.  Once when Bonnie Raitt attended an Aretha Franklin concert, Aretha sang this song for Bonnie when she saw her in the audience.

Bruce Hornsby was contacted by the Grateful Dead to fill the keyboard role left after the tragic death of Brent Mydland on July 26, 1990.  When the Dead were inducted into the Rock and Roll hall of fame in 1994, Bruce was up on stage with them despite not being a regular part of the touring band for two years.  In 2018, Was joined former Grateful Dead guitarist Bob Weir and drummer Jay Lane to form Bob Weir & Wolf Bros, a trio which undertook a North American tour in the Fall of 2018.

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 final 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 final 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

Written for Love Is In Da Blog “A Love Song from 1989-1998”.

Burning Like A Silver Flame

In 1969 the #11 Rock & Roll song in the charts was ‘Venus’ by Shocking Blue, beating out ‘Hot Fun in the Summertime’ by Sly And The Family Stone, ‘The Boxer’ by Simon & Garfunkel, ‘Lay Lady Lay’ by Bob Dylan, ‘Someday We’ll Be Together’ by Diana Ross & The Supremes and ‘Get Back’ by The Beatles.  The guitarist Robbie Van Leeuwen wrote this shockingly infectious number and recorded it with his group from The Netherlands.  This led to an interesting translation problem when Shocking Blue’s lead singer Mariska Veres sang the English lyrics.  Van Leeuwen wrote the first line down incorrectly, and what was supposed to be “A goddess on the mountain top”, was written as “A goddness on the mountain top”, and that’s exactly how Veres sang it.  Mariska could not speak any English at this time, so she learned the words phonetically and sang them.  Most listeners didn’t notice, and the many cover versions corrected the error, but the result was a #1 hit with a misspoken first line thanks to a typo.

Shocking Blue’s single reached number one on the Billboard Hot 100 on 7 February 1970.  RIAA certification came on 28 January 1970 for selling over one million copies in the US, garnering a gold record.  Worldwide, the single sold over 7.5 million copies.  Van Leeuwen was inspired by ‘The Banjo Song’, which was released in 1963 by The Big 3.  This American folk trio consisted of singer Cass Elliot, singer-songwriter-banjo player Tim Rose and singer-guitarist Jim Hendricks.  The composition was by Tim Rose and it was set Stephen Foster’s lyrics to ‘Oh! Susanna’, but ‘Venus’ was a completely new melody.  When The Big Three dissolved, Mama’ Cass Elliot joined The Mugwumps, and then went to The Mamas And The Papas.  Some of her fellow Mugwumps went on to The Lovin’ Spoonful.  The distinctive guitar riff was taken from The Who’s ‘Pinball Wizard’.  Robbie Van Leeuwen admitted that he was influenced by the opening riff to ‘Pinball Wizard’, along with the Beatles song ‘Ticket to Ride’.

Van Leeuwen was the guitarist for the popular Dutch group the Motions in the mid-‘60s, but in 1967 he decided to form his own group Shocking Blue whose name was inspired by an Eric Clapton track called ‘Electric Blue’.  Joining van Leeuwen in the group were drummer Cor van Beek, bass player Klaasje van der Wal and lead singer Fred de Wilde, who had been the vocalist for a mid-‘60s cult pop group from The Hague, Hu and the Hilltops.  Mariska Veres was discovered at a party by Shocking Blue’s manager where she was performing with a band known as the Bumble Bees and she was asked to join the group in 1968, replacing de Wilde as lead singer.  The Dutch group released four more singles the same year, but none of them had the impact in the same manner as ‘Venus’.  The band released eleven albums and 22 singles, but they were basically marketed as a pop singles unit and although three of their singles charted in The United States, the group disbanded in 1974.  After Shocking Blue disbanded, Mariska embarked on a solo career that attempted a number of different styles, including a stint in a jazz group called the Shocking Jazz Quintet.  She died of cancer in December 2006 at age 59.

Guitarist and band founder Robbie Van Leeuwen wrote this song about the Roman love goddess in ten minutes while sitting on a toilet.  I am pretty sure that Robbie Van Leeuwen also did not know English when he wrote this song, so it must have been difficult retaining the original message when translating it from Dutch to English.  Van Leeuwen added mostly nonsensical lyrics about a goddess whose “weapons were her crystal eyes”.  The song is catchy, with good guitar work, but the electric piano riff in this song played by Cees Schrama is absolutely classic.

‘Venus’ was also a #1 hit for Bananarama, the British female pop group in 1986 and Gillette featured the song in a number of TV commercials for its “Venus” razors.  On an episode of the cartoon Beavis And Butthead, Butthead makes up his own lyrics to Venus but gets frustrated when he can’t think of anything that rhymes with “Venus”.  It is surprising that Butthead could not come up with hygienist, or machinist and even more astonishing is that he was not able to come up with penis.
Beavis:  Is this Wilson Phillips?
Butt-head:  Yeah.  This is back when they were cool.
Beavis:  I’m your Beavis!
Butt-head:  I’m your Venus…um, hey Beavis, what rhymes with “Venus”?
Beavis:  Um…um…venus…Venus Flytrap.
I found a parody of ‘Venus’ by Shocking Blue that relates to Matthew 5-7 Sermon on the Mount, which I thought was pretty good.
He taught us on a mountain top
A sermon that was clear and plain
A sermon on duty and love
And Jesus was His name
He taught it!
Yeah, baby, we caught it!
Well, come to Jesus
And you’ll find out
He’s your messiah!
His lessons had us mesmerized
Amazin’ every man He met
That was because my Jesus
Taught like no-one else had

A goddess on a mountain top
Burning like a silver flame
A summit of beauty and love
And Venus was her name.

She’s got it,
Yeah baby, she’s got it.
I’m your Venus,
I’m your fire at your desire.

Her weapons were her crystal eyes
Making every man mad,
Black as the dark night she was
Got what no one else had.

She’s got it,
Yeah baby, she’s got it
I’m your Venus,
I’m your fire at your desire.

No One Else Will Do

Bee Halton at The Bee Writes Love Is In Da Blog 2019 ~ A Music Festival has buzzed us to write about A Love Song from 1979-1988.  I chose ‘Endless Love’ which is a song that was written by Lionel Richie and originally recorded as a duet between Richie and fellow pop singer Diana Ross.  In this ballad, the singers declare their endless love for one another.  The song was used as the theme for the Franco Zeffirelli’s film adaptation of Scott Spencer’s novel Endless Love, which is one of the most celebrated novels of its time written about young love.  ‘Endless Love’ was released as a single from the film’s soundtrack in 1981.  While the film Endless Love starring Brooke Shields was a modest box-office success, the song became the second biggest-selling single of the year coming in just behind ‘Bette Davis Eyes’ by Kim Carnes.  In the U.S. it reached number 1 on the Hot 100, where it stayed for nine weeks from August 15 to October 10, 1981.  The single sold more than 3 million copies, and it was nominated in five 1981 Grammy categories, including Record of the Year.  ‘Endless Love’ won a Marquee Award in 1982 for Best Original Song and it also topped Billboard magazine’s list of the Top 50 ‘Love’ Songs of All Time.

The two icons recorded the song for Motown and they performed the song at the 54th Academy Awards in 1982, when it was nominated for an Oscar.  Lionel was still a member of the Commodores when they recorded this and he was also producing and writing for country/pop star Kenny Rogers at the time.  Thomas McClary from The Commodores plays guitar on this song.  Ross recently departed Motown signing a $20 million deal with RCA, but the deal was done, allowing the duet to release the single with PolyGram featuring it in the movie and soundtrack album.  Lionel Richie thought that this song was going to turn into a disaster, because he did not originally write it as a duet, but the record company suddenly changed the song into a duet.  They got Diana Ross involved and when she arrived at the studio, Diana told Lionel that she wanted the part which he had planned to sing.

Ross and Richie were so busy with their respective schedules and under a deadline to prevent them from holding up the movie, that finding studio time together proved to be nearly impossible.  The solution came about when Ross played a gig in Lake Tahoe, NV, Richie was able to fly to nearby Reno, where a late-night session was booked.  Ross drove there after her show, and recording session began at 3 a.m.  The song needed to be turned around in just 12 hours, so they needed to get the whole song done that night.  Richie told Ross, “Make or break, you follow me?”

This song had a longer reign at #1 (nine weeks) than any other Motown single up to this point, where ‘I Heard It Through the Grapevine’ held the previous Motown record, with seven weeks on top.  This wasn’t the last time Ross and Richie sang together, as they both appeared on ‘We Are The World’, which Richie co-wrote with Michael Jackson.  Ross was 37 at the time of this recording and she had become a superstar in the ‘60s with her group The Supremes, scoring five solo Billboard Hot 100 No. 1 hits, which turned her into one of the most popular solo artists of the ‘70s.  Richie was 32 and he was already thinking about leaving The Commodores, a band that had landed seven top 10 hits (including two No. 1s), to begin his solo career, which took him to great heights in the ‘80s, with four #1 hits.  Ross’ next single, ‘Why Do Fools Fall In Love’, went to #7, but she never got higher.

My love
There’s only you in my life,
The only thing that’s bright
My first love
You’re every breath that I take
You’re every step I make

And I, I-I-I, I want to share all my love with you
No one else will do
And your eyes, your eyes, your eyes, they tell me how much you care
Ooh yes, you will always be
My endless love

Two hearts
Two hearts that beat as one
Our lives have just begun
Forever, ohhh
I’ll hold you close in my arms
I can’t resist your charms

And, love, oh, love, I’ll be a fool for you, I’m sure
You know I don’t mind, oh, you know I don’t mind
‘Cause you, you mean the world to me, oh
I know, I know I’ve found in you
My endless love

Boom boom
Boom boom boom boom boom
Boom boom boom boom boom

Oooh, and, love, oh, love, I’ll be that fool for you, I’m sure
You know I don’t mind, oh, you know I don’t mind
And yes, you’ll be the only one
‘Cause no one can deny
This love I have inside
And I’ll give it all to you
My love, my love, my love
My endless love

Written for Love Is In Da Blog “A Love Song from 1979-1988”.

Rule Of Thumb

A modern folk etymology holds that the phrase derives from the maximum width of a stick allowed for wife-beating under English law.  This belief may have originated in a rumored statement by the eighteenth-century judge Sir Francis Buller that allowed a husband the right to beat his wife with a stick, or the right to whip his wife, as long as the stick or switch was no wider than his thumb.  However this saying may not be about spousal abuse at all, as the phrase probably came from carpenters who used their thumbs as a quick, handy measuring tool alluding to the fact that the first joint on an adult thumb measures roughly one inch, literally allowing it to take the place of a ruler and becoming a rule of thumb.

Written for Linda G. Hill Life in progress One-Liner Wednesday – February 13 prompt.

Leave Your Fat Old Mamma Home

The catchy calypso tune ‘Marianne’ reached #4 on the Billboard Top 100 was the biggest hit for the American folk music band Terry Gilkyson and the Easy Riders, who consisted of Rich Dehr and Frank Miller and their career lasted from 1956 to 1959.  Gilkyson along with his fellow Riders, built an impressive list of achievements both as a singer and a songwriter, composing songs that were recorded by other performers, including ‘Fast Freight’, recorded by The Kingston Trio in 1958, ‘Cry of the Wild Goose’, recorded by Frankie Laine on Decca Records and released in the fall of 1949 and (with the assistance of fellow Easy Riders Dehr and Miller) ‘Greenfields’, which became a signature song/hit for The Brothers Four, and ‘Memories Are Made Of This’, which reached No. 1 on the Billboard Top 100 chart with Dean Martin singing backed by The Easy Riders.

Terry Gilkyson performed with the well known folk group the Weavers led by Pete Seeger in the early 50’s, lending his beautiful baritone voice to some of their songs.  One evening he found himself on a radio show with Rich Dehr and Frank Miller.  Dehr and Miller had been performing folk songs in clubs and took the name Easy Riders from one of their songs, C.C. Rider.  Gilkyson’s talents as a singer and songwriter complemented those of Dehr and Miller, so they became a group, with Dehr performing most of the lead vocals.  With the help of their manager Mitch Miller, Terry Gilkyson and the Easy Riders were signed to Columbia Records in 1956.  Later that year, they released their debut single for Columbia called ‘Marianne’, which was based on a Bahamian folk tune.  ‘Marianne’ was their second self-penned single for Columbia Records, and it was sung by Richard Dehr and it ended up selling over a million copies to get a gold disc.

Gilkyson left the band to pursue other interests and occupations including writing music for both film and television, landing an enviable position composing music for the Walt Disney studio.  His work was heard regularly on the TV series The Wonderful World of Disney and he composed memorable songs for several Disney films including ‘Thomasina’, which was sung by Robbie Lester in the 1964 film The Three Lives of Thomasina, which is a story about a cat and her influence on a family.  He also wrote ‘The Bare Necessities’, rendered by expert voice artist Phil Harris in the 1967 classic The Jungle Book, for which Gilkyson received an Oscar nomination for Best Song.  In 1999, Gilkyson died at the age of 83, in Austin, Texas.

The Seattle based harmony folk/pop quartet The Brothers Four was formed in 1957 by University of Washington Phi Gamma Delta fraternity brothers Bob Flick (upright bass, vocals), Mike Kirkland (guitar, banjo, vocals), John Paine (guitar, vocals) and Richard Foley (guitar, vocals).  They made ‘Marianne’ one of 1960’s biggest hits.  The fraternity brothers were spotted by Dave Brubeck’s manager, Mort Lewis, when they were playing at the famous Hungry I in San Francisco in 1959, a place that played a crucial role in the careers of Lenny Bruce, the Kingston Trio, Woody Allen, Barbra Streisand, the Limeliters, Bill Cosby, Jonathan Winters, Shelley Berman and many others.  Mort Lewis later went on to become Simon & Garfunkel’s personal manager for the entire run of the duo’s career together and he was able to secure The Brothers Four a contract with Columbia Records.  The folk-based foursome, were voted America’s ‘Most Promising Group Of 1960’, and they quickly became established as one of the leading lights on the folk revival scene.  The emergence of Bob Dylan and a highly politicized folk movement, coupled with the British beat group invasion of the mid-60s made the Brothers Four’ brand of easy listening folk instantly passé.

Marianne, oh, Marianne, oh, won’t you marry me?
We can have a bamboo hut and brandy in the tea
Leave your fat old mamma home, she never will say yes
If mama don’t know now, she can guess
My, my, yes
All day, all night, Marianne
Down by the sea side siftin’ sand
Even little children love Marianne
Down by the seaside siftin’ sand
When she walks along the shore, people pause to greet
White birds fly around her; little fish come to her feet
In her heart is love but I’m the only mortal man
Who’s allowed to kiss my Marianne
Don’t rush me
All day, all night, Marianne
Down by the sea side siftin’ sand
Even little children love Marianne
Down by the seaside siftin’ sand
When we marry we will have a time you never saw
I will be so happy I will kiss my mother inlaw
Children by the dozen in and out the bamboo hut
One for every palm tree and coconut
Hurry up now
All day, all night, Marianne
Down by the sea side siftin’ sand
Even little children love Marianne
Down by the seaside siftin’ sand.