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Masaryk University
Faculty of Arts

Department of English and American Studies

Teaching English Language and Literature for
Secondary Schools

Petr Husseini

Nick Cave’s Lyrics in Official and Amateur

Czech Translations

Master‟s Diploma Thesis

Supervisor: Mgr. Renata Kamenická, Ph.D.

2009

Declaration

I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography.

..................................................

Author‟s signature

2

Acknowledgements

I would like to thank my supervisor, Mgr. Renata Kamenická, Ph.D., for her kind help, support and valuable advice.

3

Table of Contents

Introduction..................................................................................................................... 5 1. Translation of Lyrics and Poetry .............................................................................. 9
1.1 Introduction................................................................................................... 9 1.2 General Nature of Lyrics and Poetry........................................................ 11 1.3 Tradition of Lyrics Translated into Czech ............................................... 17 1.4 Conclusion ................................................................................................... 20

2. Nick Cave’s Lyrics in King Ink and King Ink II ................................................... 22
2.1 Introduction................................................................................................. 22

2.2 Analysis of Lyrics by Luboš Snížek and Martina Sweeney .................... 26

2.3 Conclusion ................................................................................................... 48
3. Amateur Translations on the Internet.................................................................... 50
3.1 Introduction................................................................................................. 50 3.2 Analysis of Amateur Translations............................................................. 53 3.3 Conclusion ................................................................................................... 69

4. Comparison of Official and Amateur Translations............................................... 71 5. Translations of Selected Love Songs from 2001 to 2008 ....................................... 76
5.1 Introduction................................................................................................. 76 5.2 Translations................................................................................................. 76 5.3 Conclusion ................................................................................................... 95

Conclusion ..................................................................................................................... 96 Czech Résumé ............................................................................................................. 100 English Résumé........................................................................................................... 101 Bibliography................................................................................................................ 102 Appendix...................................................................................................................... 109

4

Introduction

In my thesis, I would like to deal with Czech translations of lyrics by the
Australian author and songwriter Nick Cave. He is one of the musicians whose lyrics might be read without music and thus be considered as poetry not always dependent on the musical background (similarly like the work of musicians/poets such as Leonard

Cohen, Bob Dylan and Tom Waits, for instance). Nick Cave‟s work is a phenomenon

on the music scene as for his poetic talent, challenging song lyrics and independent thinking similar to such music icons as the above mentioned artists. Therefore, his lyrics and translations of them are worth exploring in a deep way. Nick Cave‟s professional career as a musician began three decades ago and during this time, he has managed to produce a considerable work with admirers all over the world. His demanding lyrics

make Cave‟s readers and hearers think about various topics such as spirituality, religion,

existentiality, sexuality, and pure expression of emotions. Moreover, Cave is a very popular musician and author whose live shows in the Czech Republic are broadly attended by a wide range of generations. For the first time, he played in this country in 1992 and returned for instance in 1997, 1999 and 2001. Cave and his band did not omit the Czech Republic on the last two tours in 2005 and 20081.
Thanks to the publishing house Maťa appeared in the Czech Republic two

publications of Nick Cave‟s translated lyrics. The first one was published in 1995 under the name King Ink which deals with the musician‟s older lyrics (translated by Luboš

Sníţek) produced with the band The Birthday Party and his first three albums with his band The Bad Seeds. There are also ten playlets by Cave in the book. The second

1 In Radek Diestler: “Čechům znovu zahrají Nick Cave a Morcheeba”.

<http://kultura.idnes.cz/hudba.asp?c=A080130_151715_hudba_rdd>

5collection was published three years after the first one under the name King Ink II

(translated by Martina Sweeney) following The Bad Seeds‟ first three records with the

next ones dating chronologically from 1988 to 1997. Lyrics from these two publications will be at the centre of my further interest. I will analyse selected lyrics from the two books.
After the 1997 album The Boatman‟s Call, which was the actual peak of the

author‟s lyrical period, Nick Cave released four studio records with The Bad Seeds and

one album with his other band Grinderman. Lyrics from these releases have not been officially translated into Czech until now. The topic of love appears on these newer records as well. Concerning the translated lyrics in King Ink and King Ink II, I will focus on a number of songs that are thematically (although loosely) connected. The

topic of love is one of the major themes in Nick Cave‟s work and that is why I would

like to select particular songs dealing with love. The concept of love is a complex

feature of Nick Cave‟s writing. Initially in the 1980s Nick Cave‟s lyrics dealt primarily

with sexuality, physical expression of love, male power and violence. Later in his career there appeared a shift in his writing where he did not leave the subject of love but modified his approach to it. Since the 1990s, Cave deals mainly with the topic of spiritual love, often addressing God. My intention is to concentrate on the lyrics with the topic of love, namely such songs where Nick Cave addresses a desired and/or beloved person. I will discuss one song from each of his albums recorded with the band The Bad Seeds. Nevertheless, I would like to make an exception with the record The Boatman‟s Call and include three songs from this collection because I regard this release as the very peak of Nick Cave‟s lyrical ballad period. I would like to compare the meaning and form of the lyrics, the use of language, the sound patterns of his lyrics

6

and the corresponding features in translations by Sníţek, Sweeney and the amateur

translators. I will also look at the actual translation strategies.
I would like to discuss three main points in my thesis: firstly, I will deal with the general issue of lyrics translation, namely its similarities and differences in comparison with translation of poetry. I will look at the broader topic of translating song lyrics and its tradition in the Czech environment – work of singers Bob Dylan, Tom Waits and Leonard Cohen – and why are these musicians considered to be among the most important songwriters. The general topic of translating poetry and lyrics will be the

subject of the first chapter. Secondly, I will analyse Nick Cave‟s lyrics and their translations in the second, third and fourth chapter. The official translations by Sníţek

and Sweney will appear in the second chapter. There will be eleven Czech translated lyrics from the collections King Ink and King Ink II. The amateur translations appearing on the internet will then be discussed in the third chapter. There will be eight amateur translations selected. Also, I would like to find out whether these amateur versions seem to be inspired by their official counterparts. We can assume that the amateur translators are fans of Cave‟s work and they may be acquainted with the translations of the lyrics in King Ink and King Ink II. The fourth chapter is dedicated to the comparison of the

professional and amateur Czech translations of Cave‟s lyrics: I will focus on 1) use of

language, 2) sound patterns and 3) translation strategy. Finally in the fifth chapter, I will present translations of seven selected lyrics by Nick Cave from four albums released after 1997. There are no official Czech translations of these records.
The primary argument of the thesis is the following: translations of lyrics by
Nick Cave should remain poetry and at the same time, they should fulfil the features of the accompanying music and the rhythm of the song. In other words, written lyrics should be intended for silent reading and at the same time for reading or singing aloud.

7

My main concern of the thesis is to find out 1) whether Sníţek‟s, Sweeney‟s and the

amateurs‟ translations fulfil both of the requirements, or 2) whether the Czech lyrics by the two professional and the amateur internet translators are rather songs and the features of poetry are missing, or 3) whether the translations are above all poems and the musical and rhythmical attributes of the particular songs are in background. We should bear in mind that lyrics in general are intended for listening primarily. However, I am going to demostrate the features of poetry in the work of Nick Cave and try to discover whether the poetic issues are present in the translations as well.

8

1. Translation of Lyrics and Poetry
1.1 Introduction

The first chapter deals with two particular topics: 1) the first one is the theoretical and practical approach to lyrics translation. I will look at the specifics of translating lyrics in comparison with poetry to find particular similarities and differences of the two concepts. I will use a number of publications by Susan Bassnett, Peter Newmark, Anton Popovič and Geoffrey N. Leech concerning the general approach of poetry and lyrics translation. 2) The second aim of this part is to discover

such features that poetry and lyrics have in common. Vladimír Merta‟s criteria in his

work Zpívaná poezie will be the crucial source for this part of the first chapter. The

findings will then be discussed in the next chapters dealing with Nick Cave‟s lyrics

primarily. In this chapter, I will also introduce the Czech tradition of translated English lyrics of musicians of the similar genre, that means songs by Bob Dylan, Leonard Cohen and Tom Waits. The aim of this chapter is not to cover the issue of poetry translation theory thoroughly but rather to formulate the significant specifics within the differences of translating poetry and lyrics.
Nick Cave is considered to be a poet among musicians. Although he is primarily regarded as a musician and a songwriter, his lyrics are also published individually in a written form in particular collections. Therefore, Cave is on the one hand considered to be a singer and an interpreter of his own songs and on the other one, a poet whose lyrics can be read without the musical accompaniment. One of the primary principles of Nick Cave‟s work is the artistic one – for instance, he does not take part in various competitions of the music industry. Although Cave is in fact a representative of the music show business, his music and lyrics are unique regarding his own muse which is, according to him, in no competition with anybody. On the contrary, Cave stands as an

9individual outside the glittering prizes of the music industry. He uses an original language which has a lot of cultural references to Biblical sources (of both the Old and

New Testament) and Biblical language. The creativity in Cave‟s lyrics is grounded in

the rich vocabulary he uses and in the way he works with metaphors, similes and sound parallelisms. To fully understand the meaning and the connotations of his work, the readers and hearers usually need background knowledge of the popular western culture in general, literature (references to writers and poets such as W. H. Auden, Dylan Thomas, Vladimir Nabokov), music (he follows the legacy of Johnny Cash and his

“desperado” character in his songs – such as in “(I‟ll Love You) Till the End of the World” or “The Mercy Seat” – and Leonard Cohen as the new “chanson singer of rock and roll”). Not only lyrics with a wide variety of topics are at the centre of his creativity.

It is also the richness of styles that displays the uniqueness of his work: formerly with the band The Birthday Party and in the early years with The Bad Seeds, Cave produced a garage rock sound which converted into a blues style. In the course of the 1980s, Cave included swing and Latin American elements into his music. In the 1990s, there appeared romantic ballads, songs of longing and records which sought inspiration in

traditionals. The Boatman‟s Call album features Cave‟s music in the most inward way

and presents the Australian musician as an outstanding composer of ballads and a brilliant piano player. In general, his music corresponds with the character of his lyrics. The tender and melancholic lyrics are often accompanied by calm and slow melodies where piano and organ are often the most significant musical instruments (such as in

“The Ship Song”, “Into My Arms”, “Where Do We Go Now but Nowhere?” and “Still in Love”, for instance). On the other hand, the lyrics where Cave presents aggresive

issues, sexuality and black humour have a musical accompaniment dominated by electric guitars with faster melodies (such as in “Hard on for Love”, “Deanna” and “Lie

10
Down Here (& Be My Girl)”, for instance). The musical features can be compared with the nature of the particular lyrics on two CDs which are appendices of the thesis. Altogether, there are 21 songs on the two compact discs. Cave‟s albums are always accompanied by inventive booklets, pictures, drawings and illustrations. His music and lyrics go beyond mass production.

1.2 General Nature of Lyrics and Poetry

First, I will deal with the topic of translating poetry, which is an individual field of the theory of translation. Not every translator is able to translate poetry as opposed to prose and vice versa. The prose has often a more developed and idiomatic sentence structure and poetry – such as prose – is characterized by specific imagery and sensitive

word selection (Levý 226). Peter Newmark remarks that in poetry “as a unit, the word

has greater importance than in any other type of text” (Newmark 163). According to

him, poetry‟s aim is to transmit the feeling which represents the poet‟s behaviour and view of life. The translator‟s task is to convey the effect the poem made on himself

(Newmark 164-5). One of the problems the translators have to face is the particular period of time when the piece of poetry work was written. First, the genre may be extinct, and second, the attempt to revive the form and the tone – such as of pastorals – often leads to failure. Susan Bassnett points out that not only the poet and his contemporaries are dead, but the significance of the poem in its context might be dead

too. She accepts Popovič‟s theory of the “inevitability of shifts of expression in the translation process” (Bassnett 83).

In this paragraph, I will discuss the written and spoken form of poetry and song lyrics and the importance of meaning in poems and lyrics. Poetry in its most common form is written and the same stands for its particular translations. Poems are individual

11 pieces of work. However, only a limited number of songwriters are able to write lyrics that can live their own life without music. A songwriter has to work with an original language so that his/her lyrics are able to stand alone without music (such as Cave‟s language with Biblical and cultural references and a rich vocabulary). The mass production of musical industry creates an immense quantity of music which is in fact for the audience more important than the content of the lyrics. The hearers often listen to the music only as background while doing something else and therefore, there is no special need to translate these lyrics into target languages. Popular music lyrics are often full of clichés that would also sound strange in the target language; the lyrics are predominantly meant to accompany the music, not vice versa. Apparantly, it is not surprising that Czech translations of lyrics are centered around the work of such musical

legends such as Cave, Dylan, Cohen and Waits. Nick Cave‟s ability to create original

language makes his lyrics attractive. Along with the three songwriters, Cave stands out above the world of popular music. He is able to produce lyrics that can be read in the original and target language without listening to the music. The purpose of poems and lyrics is therefore different: the readers of poetry and its translations concentrate solely on the written or spoken form and concentrate on its meaning. Most of the hearers of popular music pay more attention to the melody and they do not always observe every single word in a particular song. The richness of vocabulary and the language make Cave‟s audience return to his lyrics to completely grasp the point of his songs.
Let us look at the tradition of translating poems and lyrics. There is a longer tradition of poetry translation than of lyrics. This claim is entirely logical as the history of popular music – which is inevitably connected with the history of lyrics – is limited to the period after World War II. If we translate, for instance, a piece of poetry work written many hundred years ago, the semantic shift may be more significant in

12 comparison with a more recent poetry that still keeps the contemporary meaning. Thus,

the shifts in translation can be semantic because, as Popovič claims, “the translator is

endeavouring to convey the semantic substance of the original in spite of the differences

separating the system of the original from that of the translation” (Popovič 49).

Therefore, the issue of time and meaning of poems and lyrics respectively is a crucial

one when we accept Bassnett‟s claim that the significance of an old poem might be

dead. The translator may not need to tackle the difficulty of the semantic shift in the course of lyrics translation because the meaning is a more recent one. The lyrics of the famous artists such as Bob Dylan, Leonard Cohen, Tom Waits and Nick Cave originated in the last fifty years. Because of the rich language they use and the ability to formulate their inner feelings, is their work considered to be the peak of the songwriter tradition of the second half of the twentieth century.
Now, I will discuss the suprasegmental features of poetry and lyrics. The

translator‟s task is to keep the rhythm and stress in the target language and the

suprasegmental features are crucial for the rhythmical structure of poems and song lyrics. These issues may seem more important when translating lyrics if we regard the accompanying music and the rhythm of the songs. The lyrics and their rhythm are significant for the interpreter‟s phrasing; furthermore, the particular form has to fit within the whole song. On the other hand, Newmark allows the possibility that in translations of poetry the rhyming scheme – a part of a poem‟s form – can be altered.

According to him, the priorities depend on the translator‟s decision which particular

aspect – metre, rhyme, sound or structure – is a more important one (Newmark 165). In other words, the translator of poetry decides which linguistic function or functions will be preserved in the translation but the translator of lyrics is bound by the characteristics of each particular song. However, the translated lyrics by Cave (and Dylan, Cohen and

13
Waits as well) were not primarily intended for singing. However, the translator has to take the suprasegmental features into account to preserve the form and rhythm of the songs. Without them, the translations might be a mere word-for-word interpretation of the original.

According to Popovič, the translator should not reduce his work only to

translating words but he/she has to preserve the actual text and its stylistic features. The

idea lies behind the image of an internally organized coherent unit (Popovič 103). His

claim can be applied to all the genres of translation whether it is prose, poetry or song

lyrics. Popovič adds that apart from the role of language, there are also metalinguistic

issues such as paralinguistic and compositional features. These all have to be taken into consideration.

In the book Translation Studies, Susan Bassnett lists André Lefevere‟s seven

strategies of poetry translation. She discusses methodological issues from a

non-empirical position which she claims is “the most valuable and most needed”

in the field of poetry translation (Bassnett 81). These are the seven strategies by Lefevere: 1) Phonemic translation: its characteristics is based on reproducing SL sound in the TL and at the same time producing an adequate paraphrase. 2) Literal translation: the dominant criterion is the word-for-word translation. 3) Metrical translation: the emphasis lies in the reproduction of SL metre. 4) Poetry into prose: the communicative value and syntax of the SL text is significant. 5) Rhymed translation: the translation is governed by both metre and rhyme. 6) Blank verse translation: accuracy and high degree of literalness are needed. 7) Interpretation: the TL text differs from its source as the form and content are changed (Bassnett 81-2). I will work with this list of translation strategies in further chapters to find out which types prevail in the

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    JAZZ ARTIST TITLE LABEL RETAIL ADDERLEY, CANNONBALL SOMETHIN' ELSE BLUE NOTE RM112.00 ARMSTRONG, LOUIS LOUIS ARMSTRONG PLAYS W.C. HANDY PURE PLEASURE RM188.00 ARMSTRONG, LOUIS & DUKE ELLINGTON THE GREAT REUNION (180 GR) PARLOPHONE RM124.00 AYLER, ALBERT LIVE IN FRANCE JULY 25, 1970 B13 RM136.00 BAKER, CHET DAYBREAK (180 GR) STEEPLECHASE RM139.00 BAKER, CHET IT COULD HAPPEN TO YOU RIVERSIDE RM119.00 BAKER, CHET SINGS & STRINGS VINYL PASSION RM146.00 BAKER, CHET THE LYRICAL TRUMPET OF CHET JAZZ WAX RM134.00 BAKER, CHET WITH STRINGS (180 GR) MUSIC ON VINYL RM155.00 BERRY, OVERTON T.O.B.E. + LIVE AT THE DOUBLET LIGHT 1/T ATTIC RM124.00 BIG BAD VOODOO DADDY BIG BAD VOODOO DADDY (PURPLE VINYL) LONESTAR RECORDS RM115.00 BLAKEY, ART 3 BLIND MICE UNITED ARTISTS RM95.00 BROETZMANN, PETER FULL BLAST JAZZWERKSTATT RM95.00 BRUBECK, DAVE THE ESSENTIAL DAVE BRUBECK COLUMBIA RM146.00 BRUBECK, DAVE - OCTET DAVE BRUBECK OCTET FANTASY RM119.00 BRUBECK, DAVE - QUARTET BRUBECK TIME DOXY RM125.00 BRUUT! MAD PACK (180 GR WHITE) MUSIC ON VINYL RM149.00 BUCKSHOT LEFONQUE MUSIC EVOLUTION MUSIC ON VINYL RM147.00 BURRELL, KENNY MIDNIGHT BLUE (MONO) (200 GR) CLASSIC RECORDS RM147.00 BURRELL, KENNY WEAVER OF DREAMS (180 GR) WAX TIME RM138.00 BYRD, DONALD BLACK BYRD BLUE NOTE RM112.00 CHERRY, DON MU (FIRST PART) (180 GR) BYG ACTUEL RM95.00 CLAYTON, BUCK HOW HI THE FI PURE PLEASURE RM188.00 COLE, NAT KING PENTHOUSE SERENADE PURE PLEASURE RM157.00 COLEMAN, ORNETTE AT THE TOWN HALL, DECEMBER 1962 WAX LOVE RM107.00 COLTRANE, ALICE JOURNEY IN SATCHIDANANDA (180 GR) IMPULSE
  • Wiseman-Trowse20134950

    Wiseman-Trowse20134950

    This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Book Section Title: The singer and the song: Nick Cave and the archetypal function of the cover version Creators: Wiseman-Trowse, N. J. B. R Example citation: Wiseman-Trowse, N. J. B. (2013) The singer and the song: Nick Cave and the archetypal function oAf the cover version. In: Baker, J. (ed.) The Art of Nick Cave: New Critical Essays. Bristol: Intellect. pp. 57-84. T Version: Final draft C NhttEp://nectar.northampton.ac.uk/4950/ The singer and the song: Nick Cave and the archetypal function of the cover version Nathan Wiseman-Trowse The University of Northampton A small proscenium arch of red light bulbs framing draped crimson curtains fills the screen. It is hard to tell whether the ramshackle stage is inside or outside but it appears to be set up against a wall made of corrugated metal. All else is black. The camera cuts to a close-up of the curtains, which are parted to reveal a pale young man with crow’s nest hair wearing a sequined tuxedo and a skewed bow tie. The man holds a lit cigarette and behind him, overseeing proceedings, is a large statue of the Virgin Mary. As the man with the crow’s nest hair walks fully through the arch he opens his mouth and sings the words ‘As the snow flies, on a cold and grey Chicago morn another little baby child is born…’. The song continues with the singer alternately shuffling as if embarrassed by the attention of the camera and then holding his arms aloft in declamation or fixing the viewer with a steely gaze.
  • Pop / Rock / Commercial Music Wed, 25 Aug 2021 21:09:33 +0000 Page 1

    Pop / Rock / Commercial Music Wed, 25 Aug 2021 21:09:33 +0000 Page 1

    Pop / Rock / Commercial music www.redmoonrecords.com Artist Title ID Format Label Print Catalog N° Condition Price Note 10000 MANIACS The wishing chair 19160 1xLP Elektra Warner GER 960428-1 EX/EX 10,00 € RE 10CC Look hear? 1413 1xLP Warner USA BSK3442 EX+/VG 7,75 € PRO 10CC Live and let live 6546 2xLP Mercury USA SRM28600 EX/EX 18,00 € GF-CC Phonogram 10CC Good morning judge 8602 1x7" Mercury IT 6008025 VG/VG 2,60 € \Don't squeeze me like… Phonogram 10CC Bloody tourists 8975 1xLP Polydor USA PD-1-6161 EX/EX 7,75 € GF 10CC The original soundtrack 30074 1xLP Mercury Back to EU 0600753129586 M-/M- 15,00 € RE GF 180g black 13 ENGINES A blur to me now 1291 1xCD SBK rec. Capitol USA 7777962072 USED 8,00 € Original sticker attached on the cover 13 ENGINES Perpetual motion 6079 1xCD Atlantic EMI CAN 075678256929 USED 8,00 € machine 1910 FRUITGUM Simon says 2486 1xLP Buddah Helidon YU 6.23167AF EX-/VG+ 10,00 € Verty little woc COMPANY 1910 FRUITGUM Simon says-The best of 3541 1xCD Buddha BMG USA 886972424422 12,90 € COMPANY 1910 Fruitgum co. 2 CELLOS Live at Arena Zagreb 23685 1xDVD Masterworks Sony EU 0888837454193 10,90 € 2 UNLIMITED Edge of heaven (5 vers.) 7995 1xCDs Byte rec. EU 5411585558049 USED 3,00 € 2 UNLIMITED Wanna get up (4 vers.) 12897 1xCDs Byte rec. EU 5411585558001 USED 3,00 € 2K ***K the millennium (3 7873 1xCDs Blast first Mute EU 5016027601460 USED 3,10 € Sample copy tracks) 2PLAY So confused (5 tracks) 15229 1xCDs Sony EU NMI 674801 2 4,00 € Incl."Turn me on" 360 GRADI Ba ba bye (4 tracks) 6151 1xCDs Universal IT 156 762-2
  • Every Purchase Includes a Free Hot Drink out of Stock, but Can Re-Order New Arrival / Re-Stock

    Every Purchase Includes a Free Hot Drink out of Stock, but Can Re-Order New Arrival / Re-Stock

    every purchase includes a free hot drink out of stock, but can re-order new arrival / re-stock VINYL PRICE 1975 - 1975 £ 22.00 30 Seconds to Mars - America £ 15.00 ABBA - Gold (2 LP) £ 23.00 ABBA - Live At Wembley Arena (3 LP) £ 38.00 Abbey Road (50th Anniversary) £ 27.00 AC/DC - Live '92 (2 LP) £ 25.00 AC/DC - Live At Old Waldorf In San Francisco September 3 1977 (Red Vinyl) £ 17.00 AC/DC - Live In Cleveland August 22 1977 (Orange Vinyl) £ 20.00 AC/DC- The Many Faces Of (2 LP) £ 20.00 Adele - 21 £ 19.00 Aerosmith- Done With Mirrors £ 25.00 Air- Moon Safari £ 26.00 Al Green - Let's Stay Together £ 20.00 Alanis Morissette - Jagged Little Pill £ 17.00 Alice Cooper - The Many Faces Of Alice Cooper (Opaque Splatter Marble Vinyl) (2 LP) £ 21.00 Alice in Chains - Live at the Palladium, Hollywood £ 17.00 ALLMAN BROTHERS BAND - Enlightened Rogues £ 16.00 ALLMAN BROTHERS BAND - Win Lose Or Draw £ 16.00 Altered Images- Greatest Hits £ 20.00 Amy Winehouse - Back to Black £ 20.00 Andrew W.K. - You're Not Alone (2 LP) £ 20.00 ANTAL DORATI - LONDON SYMPHONY ORCHESTRA - Stravinsky-The Firebird £ 18.00 Antonio Carlos Jobim - Wave (LP + CD) £ 21.00 Arcade Fire - Everything Now (Danish) £ 18.00 Arcade Fire - Funeral £ 20.00 ARCADE FIRE - Neon Bible £ 23.00 Arctic Monkeys - AM £ 24.00 Arctic Monkeys - Tranquility Base Hotel + Casino £ 23.00 Aretha Franklin - The Electrifying £ 10.00 Aretha Franklin - The Tender £ 15.00 Asher Roth- Asleep In The Bread Aisle - Translucent Gold Vinyl £ 17.00 B.B.
  • 10 07 2020 Playlist

    10 07 2020 Playlist

    Friday Fest ~ 10 July 2020 Track Title Artist CD / Album 01 Yolnu Woman Yothu Yindi Homeland Movement 02 Exhilarating Sadness The Saw Doctors All The Way From Tuam 03 My Special Child Sinead O'Connor Celtic Heart 04 Botany Bay Claddagh Easy & Slow 05 Don't Leave Me This Way Catherine Traicos & the Starry Night Gloriosa 06 Piece of My Heart Janis Joplin Janis Joplin's Greatest Hits 07 Merman Tori Amos No Boundaries - A Benefit for the Kosovar Refugees 08 The Time British India Homebake 2005 09 My Time Mark Wilkinson Cellophane Life 10 A World of Our Own The Seekers The Seekers Again 11 Gordon Basic Shape Boat Without a Sail 12 Corn Circles The Waterboys Dream Harder 13 The Sweetest Name Gurrumul The Gospel Album 14 Last Kiss Pearl Jam No Boundaries - A Benefit for the Kosovar Refugees 15 I'm Gonna Be (500 Miles) The Proclaimers The Best Scottish Album in the World.....Ever 16 Morning Has Broken Cat Stevens The Very Best Of Cat Stevens 17 The Consort Rufus Wainwright Poses 18 Hallelujah Nick Cave and the Bad Seeds No More Shall We Part 19 Knock'on Heaven's Door Dunblane The Best Scottish Album in the World.....Ever 20 Ain't Nothing You Can Do Andrew Strong The Best Of The Commitments 21 Orphans of the Empire Johnny Clegg (Savuka) Anthology 22 Riverman Pigram Brothers Jiir 23 Oceans Ernest Ellis & The Panamas Kings Canyon 24 Mull of Kintyre Paul McCartney & Wings The Best Scottish Album in the World.....Ever 25 Every Beat of My Heart Rod Stewart The Best Scottish Album in the World.....Ever 26 The Day the World Stood Still Edmund Choi, Melbourne Symphony Orchestra Music From The Motion Pichure The Dish.