Shadow in the Night

Date: Tue Jun 24 17:20:19 1997
Subject: Shadow in the Night

Well, with last week's insight into Mike's writing methods, and thanks to Yuri's excellent analysis of his most frequently used song words, I'm well on the way to writing the ultimate Mike song:

Shadow in the Night
(Lyrics R. Ewins, Music M. Oldfield)

Feel the wind in the moonlight
See a shadow in the candlelight
In the day the sun shines bright
But at night it's blue and never white

It's the way to reach paradise
Feel the love come shining through
Open your heart and your eyes
And then dream the moon is blue

If you need some time in heaven
Where it's bright and dark as well
Open your hands and your heart
Or else you can go to hell

(Thank you everybody, and good-niiiiiiight!)

 

Date: Wed Jun 25 10:25:13 1997
Subject: Re: Oldfield lyrics?

Eitan wrote:

I'm sorry to tell you both, Rory and Pedro, although you got the right words, the order is all wrong! both of you lyrics make sense.. so that CAN'T be a Oldfield lyric.

Gee. My lyrics didn't make sense to me...

An empty door... glass all on the floor
I need my hands, I need my (b)eat
Bloody hell, I've cut my feet.

 

Date: Thu Jun 26 10:12:46 1997
Subject: Re: Shadow in the Night

David Pye wrote:

I thought that Rory's Shadow in the Night lyrics were frightening like some of Mike's actual songs, except for one minor detail. They need either:

(i) a word that rhymes well but doesn't fit with what the song is about at all

I thought I'd scored there with 'But at night it's blue and never white'.

(ii) a word that has to be pronounced incorrectly to make it fit the tune.

Well, at one stage I was toying with using 'dark' as a verb in the third verse, but my own sense of perfectionism prevented me. Curses, I'll never beat the Master.

 

Date: Thu Jun 26 10:29:40 1997
Subject: 30.5 cm

Paul wrote:

Rory, did you and Mike ever get around to releasing a 12" of Shadow in the Night?

Well, I was tossing the idea back and forth with him on IRC a couple of months ago, and he said he'd get back to me. Then he sends me this totally wussy remix of the original by Henry Jackman, with 245 bpm in the background and some American woman singing 'high energy' between each verse. I said to him, 'Mike, it's just not doing it for me. I'm thinking Celtic, I'm thinking guitars, I'm thinking Ommadawn Part 2 meets Magic Touch.' And he comes back with a stripped down orchestral New Age version that sounds like something off 'David Palmer and the LSO play the Songs of Enya' - sheesh! As for the kazoo solo, where that came from I have no idea.

©2001 Rory Ewins