Summary

Not an easy talent, but with one Irish track a group of German musicians managed to capture the beating heart of the music, put relatively straight forward lyrics to it and turn it into what I think would be a ***wonderful*** track for a wedding or similar event

The album that for me marked the transition away from sixth form college into ‘the world of work’ during my year out in the very late 1990s in Cambridge was Forgiven not forgotten by The Corrs. 1998 was actually a really crap year for music – I still remember John Peel describing Brimful of Asha by Cornership/Norman Smith as the only decent song in what was a very very average year for music. (Wot?!?! No ‘Horny’?!?). Funnily enough it was a time when I wanted to get back into music but could not break out of the inertia of living at home. By the time I got to February 1999 I could feel my heart wanting to fledge the childhood nest. In those days my plan was never to return – though I also had no idea what was about to hit the world over the next 20 years.

Anyway, it was the music from the first album of The Corrs. (I always found their next one, Talk on corners over-rated by critics bathing in a crap year of music. For me it was over-produced). Two tracks caught my heart at the time. The first was the finale of Lough Erin Shore – the ending is just purely magical. (And makes for a nice slow Viennese Waltz – but only if it’s two of you in a dance hall – it doesn’t work as a social dance). The other one was this one. You can see why it made me want to pick up the violin that had gathered dust for about six years – I never got to play music like this.

Hence my various comments over the years about how evil the middle-class music exams culture is and how the exam boards should be taxed out of existence. Well…not quite, but this blogpost from 2012 (before I joined the Dowsing/We are sound music collective) makes for interesting reading in that context.

Then late last year, the German musician Senta-Sofia Delliponti, AKA Oonagh went and put some lyrics to it.

I remember when hearing the opener when scrolling through the album thinking “Oh, she’s covered The Corrs”. Then I heard this lovely female voice that for me vocal and tone-wise hits that sweet spot in my hearing range.

With my limited German I already had some idea of what the song was about – well…even a non-speaker could guess from the title: “Tanz mit mir”.

Komm, tanz mit mir
Bis zum Morgen bis du mein
Die Nacht ist jung
Unser Schicksal liegt im Feuerschein
Komm, tanz mit mir
Bis der Morgen bricht herein
Nimm meine Hand
Es soll nie zu Ende sein 

What I also like is how the chorus is so dead simple, matches the music and at the same time is so uplifting.

“Come, dance with me / ’till the morning you are mine / the night is young / our destiny lies in the bright fire”

“Come, dance with me / ’till the morning you are mine / take my hand / it should never end”

The above is my attempt at translating it as word-for-word online translations never quite get across the meaning.

I won’t claim the lyrics are Shakespearean love poetry or something so complex that the critics will be pleased.

Sometimes music just hits you. There.

 

Original source – A dragon’s best friend

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