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Joined: February 8th, 2008, 2:52 am

October 11th, 2010, 7:57 pm #11

[color=#9300C4]First heard at [size=150]EPCOT 2010 , SCARLET BEGONIAS [/size]was a surprise entry into the repertoire of Taylor and The Band. [/color]

Scarlet Begonias" is a song by the Grateful Dead in 4/4 time. The lyrics were written by Robert Hunter and the music by Jerry Garcia.[1] The song first appears on the 1974 release Grateful Dead from the Mars Hotel.
but Scarlet Begonias" debuted on March 23, 1974, at the Cow Palace in Daly City, California.

The song begins in Grosvenor Square in London and also references "Tea for Two" from No, No, Nanette by Irving Caesar and Vincent Youmans. "Heart of Gold Band", from the line "Everyone is playing in the Heart of Gold Band", was used by Keith and Donna Godchaux to name their new group when they left the Grateful Dead in 1980.

[color=#9300C4]Grateful Dead[/color]

When the psychedelic movement in San Francisco was at its artistic peak in the 1960's, the Grateful Dead and others tried to turn music making back into a folk activity. At the "Acid Test" parties of the writer Ken Kesey, the line between performer and audience was erased, and both were on equal footing in one free-wheeling community. But as the years wore on, optimism faded and psychedelic musicians became rock stars, the Grateful Dead soon rose to a top position in the community and a hierarchy took shape. Today, the Dead are neither part of nor leaders of the Deadheads they play to; they are simply the axis around which that community revolves.

There are few sure things at a Grateful Dead performance. The band changes its set every night, plays for anywhere from two to four hours and gives performances that can vary from lackluster to appropriately mind-blowing. It is probably the only surviving 60's band that can get away with not playing its most popular songs in concert, and the only one whose new songs are canonized immediately. — Neil Strauss

"The Dead has always been about more than rock and roll: about artistic curiosity and freedom, and has always been interested in and involved with the musical gamut of the world."
- Bruce Hornsby inducts the Grateful Dead

The Grateful Dead was an American rock band formed in 1965 in the San Francisco Bay Area.The band was known for its unique and eclectic style, which fused elements of rock, folk, bluegrass, blues, reggae, country, jazz, psychedelia, and space rock[2][3]—and for live performances of long musical improvisation.[1][4] "Their music," writes Lenny Kaye, "touches on ground that most other groups don't even know exists."

The fans of the Grateful Dead, some of whom followed the band from concert to concert for years, are known as "Deadheads" and are known for their dedication to the band's music.[1][4] Many referred to the band simply as "the Dead."

The Grateful Dead's musical influences varied widely; in concert recordings or on record albums one can hear psychedelic rock, blues, rock and roll, country-western, bluegrass, country-rock, and improvisational jazz. These various influences were distilled into a diverse and psychedelic whole that made the Grateful Dead "the pioneering Godfathers of the jam band world."[

As the band and its sound matured over thirty years of touring, playing, and recording, each member's stylistic contribution became more defined, consistent, and identifiable


[color=#9300C4]Grateful Dead Scarlet Begonia Lyrics by Robert Hunter [/color]

As I was walkin' 'round Grosvenor Square
Not a chill to the winter but a nip to the air,
From the other direction, she was calling my eye,
It could be an illusion, but I might as well try, might as well try.
She had rings on her fingers and bells on her shoes.
And I knew without askin' she was into the blues.
She wore scarlet begonias tucked into her curls,
I knew right away she was not like other girls, other girls.
In the thick of the evening when the dealing got rough,
She was too pat to open and too cool to bluff.
As I picked up my matches and was closing the door,
I had one of those flashes I'd been there before, been there before.
Well, I ain't always right but I've never been wrong.
Seldom turns out the way it does in a song.
Once in a while you get shown the light
In the strangest of places if you look at it right.
Well there ain't nothing wrong with the way she moves,
Scarlet begonias or a touch of the blues.
And there's nothing wrong with the look that's in her eyes,
Wind in the willow's playin' "Tea for Two";
The sky was yellow and the sun was blue,
Strangers stoppin' strangers just to shake their hand,
Everybody's playing in the heart of gold band, heart of gold band

[color=#9300C4]ROBERT HUNTER [/color]


He was born Robert Burns in San Luis Obispo, California.on June 23, 1941 An early friend of Jerry Garcia, they played together in bluegrass bands (such as the Tub Thumpers) in the early sixties, with Hunter on mandolin and upright bass.

Around 1962, Hunter was an early volunteer test subject (along with Ken Kesey) for psychedelic chemicals at Stanford University's research covertly sponsored by the CIA in their MKULTRA program. [McNally 42] He was paid to take LSD, psilocybin, and mescaline and report on his experiences, which were creatively formative for him: "Sit back picture yourself swooping up a shell of purple with foam crests of crystal drops soft nigh they fall unto the sea of morning creep-very-softly mist...and then sort of cascade tinkley-bell like (must I take you by the hand, every so slowly type) and then conglomerate suddenly into a peal of silver vibrant uncomprehendingly, blood singingly, joyously resoundingbells....By my faith if this be insanity, then for the love of God permit me to remain insane." [McNally 42-43]

Hunter's relationship with the band grew, until he was officially a non-performing band member. When the band was inducted into the Rock and Roll Hall of Fame in 1994, Hunter was included as a band member, the only non-performer ever so honored.[1] The majority of the Grateful Dead's original songs are Hunter/Garcia collaborations, where Garcia composed the music, and Hunter wrote the lyrics. Garcia once described Hunter as "the band member who doesn't come out on stage with us."

The band's primary lyricists, Robert Hunter and John Perry Barlow, commonly used themes involving love and loss, life and death, gambling and murder, beauty and horror, chaos and order, God and other religious themes, travelling and touring, etc. Less frequent ideas include the environment and issues from the world of politics.

What did Robert Hunter have in mind when he wrote this song? Cryptic analysis by two "DeadHeads" .
As I was walkin'
A standard opening line in the British tradition, used in ballads and nursery rhymes. Along with the reference to Grosvenor Square, this line sets the song squarely in Britain.

[color=#9300C4]Rings on her fingers...[/color]
This line echoes another nursery rhyme, "Banbury Cross":

[color=#9300C4]too pat to open and too cool to bluff[/color]
I asked for opinions on these lines, at the prompting of a reader, from the fine folks on the Deadlit conference on the WELL, and with their kind permissions, here is what resulted:

[color=#9300C4]Ain't always right...[/color]
The folk song "Number Twelve Train" contains the line "I may be wrong, but I'll be right some day"

[color=#9300C4]Wind in the Willows[/color]
There are at least two references here. 1. "Blueberry Hill", a song by Al Lewis, Larry Stock, and Vincent Rose, first appeared sung by Gene Autry in the 1941 movie, "The Singing Hills." Glenn Miller made it a hit in the same year. Louis Armstrong recorded it in 1949, and Fats Domino in 1957. The line echoed in Scarlet Begonias is "The wind in the willow played/Love's sweet melody..."
2. The famous children's book by Kenneth Grahame (1859-1932), published in 1908, featuring a cast of animal characters. Frances Clarke Sayers, in a 1959 preface to the book, says ""On the surface, it is an animal story concerned with the small creatures of field and wood and river bank. Aside from their ability to talk, and a brief interlude of mysticism in which the great god of nature makes his presence known, it is a world of reality like that of the fable. ... It is a prose poem spoken in praise of the commonplace; a pastoral set in an English landscape which sings the grace of English life and custom. But it is something more. The tragedy inherent in all life is here, the threat of evil' and the great mysteries are touched upon."

[color=#9300C4]Tea for Two[/color]
A song published in 1924, music by Vincent Youmans (b. NYC 1898, d. Colorado, 1946), words by Irving Caesar (b. NYC 1895). From the musical comedy No No Nanette, which opened in Detroit in April, 1924. This is one of the most familiar and catchy melodies in the world, and has been extensively covered, especially by jazz performers.

[color=#9300C4]Sky was yellow...[/color]
This comment From: Timm Rebitzki
Subject: scarlet begonias

"the sky was yellow and the sun was blue"

Now this just seems to most people a goofy inversion of the well-known fact that the sky is obviously blue and the sun is yellow. BUT, have you ever actually LOOKED?

Well, on any sunshiny day, if you let your eyes flash by the sun (without actually staring at it, ahem), you can really see that the disk of the sun is light blue and the patch of sky surrounding it is yellow. No doubt it is an optical illusion, caused by the eye replacing the unbearably pure white disk of the sun with the color it had received previously, namely the blue of the sky. Still, illusion or whatever, this is what you SEE! Hey, these guys are just telling it the way it is!!

An interesting viewpoint comes from Dave who writes :

Something about the lyrics kept bringing me back, and it wasn't
until this evening that I finally found my interpretation of this beautiful

I believe we have all met a women at one point in our lives that seemed too
good to be true. A chance run in at a bar perhaps, or maybe a wedding where
we have been left to converse and maybe spend the evening in the company of
a beautiful female who shares your exact interests and you immediately hit
it off... before you know you're intoxicated, hours elapse in minutes, and
the evening is over in a flash. You don't ask for her number, something
stops you... but what exactly? You go home to wake up the next morning
alone, wondering why you didn't pursue another meeting with this woman or
whatnot. You're left with only the memory. We've all been there right?

I think what Garcia and Hunter are trying to tell us in Scarlet Begonias, is
that the beauty in that whole meeting is the memory itself. Trying to "pick
up" the woman would only cheapen the moment and therefore the memory, which
is why he "let her pass by". At the Beginning of the song Hunter describes
a chance meeting with a beautiful woman, she seems too good to be true ("it
could be an illusion..."), but decides to give it a shot. She was obviously
"not like other girls", and perhaps a bit foolish or naive ("Scarlet
Begonias tucked into her curls"). He knew immediately they shared a common
interest (the blues). Later that evening however, the goin' got rough. She
was a confident woman, she was beautiful and knew it, i.e. vain ("She was
too pat to open, and too cool to bluff"). He decides then to not pursue her
("... picked up my matches, and was closing the door"). He knows vanity,
he's "been there before", so he lets her go. These types of relationships
seldom have happy endings ("... it seldom turns out the way it does in the
song"). Although he lets her go, he later says that there is not a damn
thing wrong with her, or the feelings she may have felt for him ("There
ain't nothing wrong the way she moves,..., or the love that's in her eye"),
he has simply learned "the hard way" that it wouldn't work even if he tried.
Now I have no idea what Hunter is trying to say in the last verse, but to
me, I think he is obviously daydreaming about something ("The sky was yellow
and the sun was blue", this must be a dream reference). I think the subject
of the daydream is his evening with this woman ("the wind in the willows
played tea for two"?). The daydream is obviously a happy one which can be
seen from the last two lines of the song.

Once again, I believe Hunter's message is the usual "live the moment". Here
he is intoxicated by a woman but decides not to pursue her because if he
fails, he would have ruined the moment. In not pursuing the woman, he can
kindly re-live it over and over again in his mind and remember her as
untarnished as he met her, besides her slight vanity of course.

Or... whatever, that's just MY take of course.

And from Ron Love"

I've many time said were the only fans who love to go and get kicked in the
eye teeth about our preconceived notions of us and our world. Well it
happened just recently at the Dec 30th 2003 show. I was at the place
inside where one celebrates that which one is, and "scarlet" closed with
"playin in the heart of gold band - heart of gold band" . I heard myself as
being included in this band called the heart of gold band. During first set
break my mind went over this "heart of gold band" then this realization hit.
Wherever that big loving voice that knows comes from, if the perspective
would be from the knowledge of many systems of organized beings and their
types of emotional links to their worlds, our kind would be called a "Heart
of gold band" because we have not replaced the hearts desire for gold/money
with the desire of Love.


Ron Love
organic farmer feeding healing food to humans
In times as complex as these it's hard to remember it begins with the

P.S. Loser's "put your gold money where your love is baby" probably aligned
the "scarlet" realization. I said no deal close those curtains on paradise ,
I'm going to stay right here and maybe we can make it a place where there is
"nothing to get hung about". How can we communicate these wonders? put your
gold money where your love is baby (create it and show it, don't just talk
it) "It dont take much to get the word around" It's hard to love when your a
"heart of gold band" There's a big "fire on the mountian" that's ok it's
mostly hot air.

searchlight casting (jstrahl)

I always had the impression that the "dealing" that got rough wasn't
about cards, that the singer picked up his matches the next morning,
and was regretting the encounter, and the last verse is him finding
solace in the show's music, psychedelic environment (with its altered
colors) and communal feelings.

Charlie Hatfield (mr-charlie)
I find it interesting that Hunter addresses the issue of
temperature/climate by saying that theres "not a chill to the winter".
By saying so he draws direct attention to the play on words "but a Nip
to the air" as being other than having to do with the weather and puts
the emphasis on time (headline on a specific date) and place
(Grosevenor Square, London). Without speaking to the man one can never
be sure however, it seems very likely that Hunter opens Scarlet
Begonias by establishing time in addition to the obvious place.

As a personal aside, I always invisioned him talking about Janis

"She had rings on her fingers and
bells on her shoes,
And I knew without askin' she was
into the blues
Scarlet begonias
tucked into her curls
I knew right away
she was not like other girls--
other girls"

[color=#9300C4]Covered by Sublime in 1974 and later : with a change in lyric[/color]

[url=">">[/url]credit to HotWaterSystem


Joined: February 8th, 2008, 2:52 am

November 6th, 2010, 1:59 am #12

At Taylor's final "concert" in his summer series , THE BORDER SONG was introduced to the appreciative audience. Taylor had sung this song before at THE HIGH NOON SALOON - DECEMBER 11, 2009 as an Encore. Why so long between presentations????

Music: Elton John
Lyrics: Bernie Taupin (last verse by Elton John)

Border Song" is a gospel ballad originally performed by British musician Elton John. Lyrics are credited to Bernie Taupin (although John himself wrote the words to the final verse). The music was composed by John.

"Border Song" initially appeared on the 1970 album Elton John, and was released in the spring of 1970 as the LP's first single. A flop in the UK, it was released in North America a few months later. It met with more success there, especially in Canada, where it peaked at #34. The appearance of "Border Song" on the Canadian charts was Elton John's first chart appearance in any country.

"Border Song" was also John's first song to chart in the United States, peaking at number 92 on the Hot 100. A cover by soul icon Aretha Franklin fared better the following year reaching the top 40.


BORN: March 25, 1947, Pinner, Middlesex, England

In terms of sales and lasting popularity, Elton John was the biggest pop superstar of the early '70s. Initially marketed as a singer/songwriter, John soon revealed he could craft Beatlesque pop and pound out rockers with equal aplomb. He could dip into soul, disco and country, as well as classic pop balladry and even progressive rock. His versatility, combined with his effortless melodic skills, dynamic charisma and flamboyant stage shows made him the most popular recording artist of the '70s. Unlike many pop stars, John was able to sustain his popularity, charting a Top 40 single every single year from 1970 to 1996.

During that time, he had temporary slumps in creativity and sales, as he fell out of favor with critics, had fights with his lyricist Bernie Taupin, and battled various addictions and public scandals. But through it all, John remained a remarkably popular artist and many of his songs -- including "Your Song," "Rocket Man," "Goodbye Yellow Brick Road," and "Don't Let the Sun Go Down On Me" -- became contemporary pop standards.

The son of a former Royal Air Force trumpeter, Elton John was born Reginald Kenneth Dwight in 1947. Dwight began playing piano at the age of four, and when he was 11, he won a scholarship to the Royal Academy of Music. After studying for six years, he left school with the intention of breaking into the music business. In 1961, he joined his first band, Bluesology, and divided his time between playing with the group, giving solo concerts at a local hotel, and running errands for a London publishing house. By 1965, Bluesology were backing touring American soul and R&B musicians like Major Lance, Doris Troy and the Bluebells.

In 1966, Bluesology became Long John Baldry's supporting band, and began touring cabarets throughout England. Dwight became frustrated with Baldry's control of the band and began searching for other groups to join. He failed his lead vocalist auditions both King Crimson and Gentle Giant before responding to an advertisement by Liberty Records. Though he failed his Liberty audition, he was given a stack of lyrics Bernie Taupin, who had also replied to the ad, had left with the label. Dwight wrote music for Taupin's lyrics and began corresponding with him through mail. By the time the two met six months later, Dwight had changed his name to Elton John, taking his first name from Bluesology saxophonist Elton Dean and his last from John Baldry.

John and Taupin were hired by Dick James to become staff songwriters at his fledgling DJM in 1968. The pair collaborated at a rapid rate, with Taupin submitting batches of lyrics -- he often wrote a song an hour -- every few weeks. John would then write music without changing the words, sometimes completing the songs in under a half hour. Over the next two years, the duo wrote songs for pop singers like Roger Cook and Lulu. In the meantime, John recorded cover versions of current hits for budget labels to be sold in supermarkets.

By the summer of 1968, he had begun recording singles for release under his own name. Usually, these songs were more rock and radio-oriented than the tunes he and Taupin were giving to other vocalists, yet neither of his early singles for Phillips, "I've Been Loving You Too Long" and "Lady Samantha," sold well. In June of 1969, he released his debut album for DJM, Empty Sky, which received fair reviews, but no sales.

For his second album, John and Taupin hired producer Gus Dudgeon and arranger Paul Buckmaster, who contributed grandiose string charts to Elton John. Released in the summer of 1970, Elton John began to make inroads in America, where it was appeared on MCA's Uni subsidiary. In August, he gave his first American concert at the Troubadour in Los Angeles, which received enthusiastic reviews, as well as praise from Quincy Jones and Leon Russell. Throughout the fall, Elton John continued to climb the charts on the strength of the Top 10 single, "Your Song."

John followed it quickly in February 1971 with the concept album Tumbleweed Connection, which received heavy airplay on album-oriented radio in the US, helping it climb into the Top 10. The rapid release of Tumbleweed Connection established a pattern of frequent releases that John maintained throughout his career. In 1971, he released the live 11-17-70 and the Friends soundtrack, before releasing Madman Across the Water late in the year. Madman Across the Water was successful, but John achieved stardom with the followup, 1972's Honky Chateau. Recorded with his touring band -- bassist Dee Murray, drummer Nigel Olsson and guitarist Davey Johnstone -- and featuring the hit singles "Rocket Man" and "Honky Cat," Honky Chateau became his first American number one album, spending five weeks at the top of the charts.

Between 1972 and 1976, Elton John and Bernie Taupin's hit-making machine was virtually unstoppable. "Rocket Man" began a four-year streak of 16 Top 20 hits in a row; out of those 16 -- including "Crocodile Rock," "Daniel," "Bennie and the Jets," "The Bitch Is Back" and "Philadelphia Freedom" -- only one, the FM hit "Saturday Night's Alright for Fighting," failed to reach the Top Ten. Honky Chateau began a streak of seven consecutive number one albums -- Don't Shoot Me I'm Only the Piano Player (1973), Goodbye Yellow Brick Road (1973), Caribou (1974), Greatest Hits (1974), Captain Fantastic and the Brown Dirt Cowboy (1975), Rock of the Westies (1975) -- that all went platinum. John founded Rocket, a record label distributed by MCA, in 1973 in order to sign and produce acts like Neil Sedaka and Kiki Dee.

John didn't become a Rocket recording artist himself, choosing to stay with MCA for a record-breaking eight million dollar contract in 1974. Later in 1974, he co-wrote John Lennon's number one comeback single, "Whatever Gets You Through the Night," and he persuaded Lennon to join him onstage at Madison Square Garden on Thanksgiving Day 1974; it would prove to be Lennon's last live performance. The following year, Captain Fantastic became the first album to enter the American charts at number one. After its release, he revamped his band, which now featured Johnstone, Quaye, Roger Pope, Ray Cooper and bassist Kenny Passarelli; Rock of the Westies was the first album to feature this lineup.

Throughout the mid-'70s, John's concerts were enormously popular, as were his singles and albums, and he continued to record and perform at a rapid pace until 1976. That year, he revealed in an interview in Rolling Stone that he was bisexual; he would later admit that the confession was a compromise, since he was afraid to reveal that he was homosexual. Many fans reacted negatively to John's bisexuality, and his audience began to shrink somewhat in the late '70s. The decline in his record sales was also due to his exhaustion. After 1976, John cut his performance schedule drastically, announcing that he was retiring from live performances in 1977 and started recording only one album a year.

His relationship with Taupin became strained following the release of 1976's double-album Blue Moves, and the lyricist began working with other musicians. John returned in 1978 with A Single Man, which was written with Gary Osborne; the record produced no Top 20 singles. That year, he returned to live performances, first by jamming at the Live Stiffs package tour, then by launching a comeback tour in 1979 accompanied only by percussionist Ray Cooper. "Mama Can't Buy You Love," a song he recorded with Phillie soul producer Thom Bell in 1977, returned him to the Top Ten in 1979, but that year's Victim of Love was a commercial disappointment.

John reunited with Taupin for 1980's 21 at 33, which featured the Top 10 single "Little Jeannie." Over the next three years, John remained a popular concert artist, but his singles failed to break the Top 10, even if they reached the Top 40. In 1981, he signed with Geffen Records and his second album, Jump Up! became a gold album on the strength of "Blue Eyes" and "Empty Garden (Hey Hey Johnny)," his tribute to John Lennon. But it was 1983's Too Low for Zero that began his last great streak of hit singles, with the MTV hit "I'm Still Standing" and the Top Ten single "I Guess That's Why They Call It the Blues."

Throughout the rest of the '80s, John's albums would consistently go gold, and they always generated at least one Top 40 single; frequently, they featured Top 10 singles like "Sad Songs (Say So Much)" (1984), "Nikita" (1986), "Candle in the Wind" (1987), and " I Don't Want To Go On With You Like That" (1988). While his career continued to be successful, his personal life was in turmoil. Since the mid-'70s, he had been addicted to cocaine and alcohol, and the situation only worsened during the '80s. In a surprise move, he married engineer Renate Blauel in 1984; the couple stayed married for four years, although John later admitted he realized he was homosexual before his marriage. In 1986, he underwent throat surgery while on tour in 1986, but even after he successfully recovered, he continued to abuse cocaine and alocohol.

Following a record-breaking five-date stint at Madison Square Garden in 1988, John auctioned off all of his theatrical costumes, thousands of pieces of memorabilia and his extensive record collection through Sotheby's. The audction was a symbolic turning point. Over the next two years, John battled both his drug addiction and bullimia, undergoing hair replacement surgery at the same time. By 1991, he was sober and the following year, he established the Elton John AIDS Foundation; he also announced that he would donate all royalties from his single sales to AIDS research.

In 1992, John returned to active recording with The One. Peaking at number eight on the US charts and going double platinum, the album became his most successful record since Blue Moves, and sparked a career renaissance for John. He and Taupin signed a record-breaking publishing deal with Warner/Chappell Music in 1992 for an estimated $39 million. In 1994, John collaborated with lyricist Tim Rice on songs for Disney's animated feature The Lion King. One of their collaborations, "Can You Feel the Love Tonight," won the Academy Award for Best Original Song, as well as the Grammy for Best Male Pop Vocal Performance. John's 1995 album Made In England continued his comeback, peaking at number 3 on the UK charts and number 13 in the US; in America, the album went platinum.

Biography by 10-year-old Laura Chase (

Elton John was the single most successful pop artist of the '70s, and he continued to score hits for decades after his initial reign of popularity. Born Reginald Dwight in Pinner, England, he showed an early aptitude for the piano and received classical training, winning a scholarship to the Royal Academy of Music at the age of 11. But after six years he turned to pop music, and struggled as a songwriter, sideman, and member of unsuccessful groups for the rest of the '60s. During this period, he hooked up with lyricist Bernie Taupin through a newspaper advertisement, and the two were signed as songwriters to publisher Dick James, who was to have a tremendous impact on John's early career. A debut album sponsored by James, Empty Sky, flopped in 1969, but in 1970, with the album Elton John and the single "Your Song," Elton John took off, scoring especially well in America. For the next five years, his output -- and the sales that material racked up -- was enormous. John always had an ability to hit with ballads like the wistful "Daniel," then turn around and rock as hard as The Rolling Stones on a song like "Saturday Night's Alright for Fighting." There hardly seemed a day from 1972, when "Rocket Man" began a streak of 16 straight Top 20 hits (15 of which went Top Ten), to 1976, when John took a breather, that his songs were not dominating the airwaves and the record charts. The late '70s seem to have been a period of recovery and indecision for the singer, but by 1980 he had settled into making one well-crafted album a year, and many of them tossed off hits, if not with such consistency as before. "Little Jeannie" (1980), "I Guess That's Why They Call It the Blues" and "Sad Songs (Say So Much)" (both 1984), and "Nikita" (1986) all showed John could still hit the upper reaches of the charts, especially with his trademark ballads. The late '80s again saw a slowing in John's record success, but by the start of the '90s he had gone public about drug and alcohol problems he said were behind him, and he looked poised for a new start. After several more years of adult contemporary hits in the early '90s, John moved into film, writing the music for Walt Disney's 1994 film The Lion King. The soundtrack was an enormous success and John's version of "Can You Feel the Love Tonight" was his biggest hit in years. ... 76001fcecf

The Border Song ( Elton John ) jinzoAgain ... ram><param name=


Bernie Taupin (born May 22, 1950) is a lyricist famous for his collaboration with Elton John.

Taupin was born in Sleaford, Lincolnshire, in the United Kingdom. He showed an early flair for writing while at school and he then started working in a printing firm.

In 1967, he answered an advertisement for a lyric-writer printed in the New Musical Express which began a famous and well-loved team of John/Taupin. John and Taupin have collaborated on over 30 albums. Taupin's lyrics include such memorable tunes as "Candle in the Wind," "Don't Let the Sun Go Down on Me," and 1969's "Your Song," his and John's first hit.

Taupin has written a book The One Who Writes the Words for Elton John, and has recorded two works for aural medium.



Holy Moses I have been removed
I have seen the spectre he has been here too
Distant cousin from down the line
Brand of people who ain't my kind
Holy Moses I have been removed
Holy Moses I have been deceived
Now the wind has changed direction and I'll have to leave
Won't you please excuse my frankness but it's not my cup of tea
Holy Moses I have been deceived
I'm going back to the border
Where my affairs, my affairs ain't abused
I can't take any more bad water
I've been poisoned from my head down to my shoes
Holy Moses I have been deceived
Holy Moses let us live in peace
Let us strive to find a way to make all hatred cease
There's a man over there what's his colour I don't care
He's my brother let us live in peace
He's my brother let us live in peace
He's my brother let us live in peace

John has said that the song is about the alienation Taupin felt in and about London at the time ("Brand of people who ain't my kind"), and his desire to visit home as often as he could. Some believe the song is speaking against bigotry. The last verse, written by John himself, seems to support this idea: "Holy Moses, let us live in peace/let us strive to find a way to make all hatred cease/there's a man over there. What's his colour I don't care/he's my brother let us live in peace." But according to Lord Choc Ice
Bernie (writer) claims that the song is about nothing in particular.
Elton says that it's about how alienated Bernie felt in London at the time ("Brand of people who ain't my kind") and his desire to visit home as much as he could.

Sir Elton's audience seems to feel that it is about racism .
sebastianquilt :

To me, this is the OBVIOUS black movement idea going on here, Taupin (Elton's Lyricist) was making a stab at the racisit people by just writing in the view of a black person, it's FAR TOO EVIDENT, I cannot believe these people didn't see it. I mean BOrder, hint hint-foreigners?? It is also in the form of a gospel song, well not form but it has that feeling, it's great, one of my fave's. Cheers

Sure this is a homage to the black movement around 1970, at a troubled time (city violence, increasing crime, disarray after the murders of Robert Kennedy and Martin Luther King, and the resistance of Nixon and others who wanted to think it was all through now and the blacks had got all they bargained for).

Often the listener will read into lyrics more then was intended................ we hear

Several others have covered this song :

The Border Song ( Eric Clapton ) aforoc48 ... ram><param name=

The Border Song ( Taylor Hicks ) Gypsee44 ... ram><param name=