"You've gotta know when to hold 'em, know when to fold 'em", as the songster intones, and thus and so this is to bid a somewhat premature "Adieu" to Neil Diamond, Elton John and Paul Simon - in opposite order to my personal fandom thereof, but in the sequence of the recent announcements of their worldwide concert finales over upcoming weeks and months. 'Thank you for the music, the songs you've .........., along with all the joy you've given' [withal]. Though I'll not be attending, my thoughts will be with the outgoing flourishes of these three 'rock legends' as they traverse the globe, and no doubt set foot once more upon our own Antipodean shores, over this coming year.
Though I could say much - in every way - about the way in which the music and even more the incredible lyrics of the memorable hits gifted to our generation by the genius duo that was 'Simon and Garfunkel' has touched and transformed my life, thoughts, feelings and moods at times when little else seemed to suffice - ministering to my 'spirit' when nothing else was able (to) - and despite also making extensive reference to the ongoing impact of a select few (but nevertheless relatively numerous) 'bunch' of songs created by another musically powerful twosome, i.e. Bernie Taupin and Elton John, in a mini-treatise upon Lady Diana's death twenty years on, here I'll simply...
pay tribute to the pop artist above I've by far the least personal musical loyalty to: Neil Diamond. Though I'll always cherish such songs as 'Sweet Caroline' and 'I am, I said', may I here and now pay special tribute to a record like none other, one coincidentally referred to recently by a talkback host I regularly tune in to of an evening. When Marcus Lush made reference to Neil Diamond's upcoming final world tour recently, he mentioned a record he, apparently as many others, had grown up with but was subsequently hardly ever heard of: Jonathan Livingston Seagull. It's also one my oldest sister said she'd had and loved as a kid, and which I've managed to come across (and 'get') three times now.
Without further ado, let me simply mention that, though I was unable to attend Neil Diamond's concert in my hometown of Dunedin awhile ago, upon observing a beautiful sunset - as Dunedin is so often graced with - that very evening, all I could bring to mind was a combination of the wonderful and eerie music and words and yes, awesome, scenescape upon that LP's cover...and if I could've, would've communicated to him while visiting my hometown to simply let him know that, as one such song upon said album expresses it so well and perfectly: (sadly memory's doing me a number tonight, and don't wanna revisit the entire songlist to obtain this)...
but it was basically about something 'made for the poet's eye', and surely that summed up both that song, the album itself and everything about it and the artist 'compering' the same...and moreover the place Mr Diamond was choosing to sing in that evening, if he'd only been able to raise his eyes to the hills, the sky and the sea...fit indeed 'for the poet's eye' alone.
...But finally, after just now reluctantly revisiting said equal all-time favourite LP alongside Chariots of Fire (as apart from not necessarily being 'in the mood' to do so, one thing I especially dislike is seeking to clinically dissect into its component parts and analyse, to metaphorically slice and dice, in a purely rational, ever-so-logical manner with my head, the right side of my cranium, something which the left side of said brain, i.e. my so-called (emotional) 'heart', loves and cherishes (for reasons known only to my subconscious self). But yes, I've at last found the song with the lyrics I've been seeking, that I've been alluding to, and they are indeed wonderful, 'awesome' ones, if I do say so...
With due, respectful acknowledgment to and of Neil Diamond in this, his personal adaptation of and re-enactment of the text of the same name by Richard Sebastian Bach (I believe), in the final song on side B, a third version of 'Be' - initially (side A): 'Introduction of Jonathan - his flight and fall'; then (earlier - side B): 'Jonathan returns to teach the flock' - 'Be' (#3) concludes as a 'Recapitulation and farewell to Fletcher'.
Lost...on a painted sky...where the clouds are hung, for the poet's eye...you may find him...if you may find him...
There...on a distant shore, by the wings of dreams, through an open door, you may know him...if you may be...
As a page that aches for a word which speaks on a theme that is time-less...while/which the Sun-God will make for your day...
See, as a song in search of a voice that is silent, and the One God will make for your way...
Nuff said. Yes, 'that's all she (I mean he) wrote'.
Thank you, Neil. For a split-second in the scheme of things that All-Transcendent One has blessed you with just such a poet's keen, all-observant eye of appreciation...to discern, depict and describe, and then deploy your profound discernment to all round.
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